Common Articulations. Solutions to Exercises in Chapter 1. The Shape or Contour of a Melody. Melodic Motion. Melodic Phrases. Melodies in Counterpoint. Suggestions for Presenting these Concepts to Children. Terms that Describe Texture. Suggested Listening. Some useful terms. Vocal Ranges. Instrumental Ranges. Classifying Music. Western and Non-Western. Jazz, Blues, and World Music. Tonal, Atonal, and Modal Music. Classical and Art Music. Folk and Popular music.
Suggestions for Listening and Further Study. Western Classical. Non-Western Classical. Western Folk. Non-Western Folk. The Physical Basis. Acoustics for Music Theory. Music is Organized Sound Waves. Longitudinal and Transverse Waves. Wave Amplitude and Loudness. Wavelength, Frequency, and Pitch. Standing Waves and Musical Instruments. What is a Standing Wave?
Standing Waves on Strings. Standing Waves in Wind Instruments. Standing Waves in Other Objects. Harmonic Series I: Timbre and Octaves.
Physics, Harmonics and Color. The Harmonic Series. Solution to Exercises in Chapter 3. Notes and Scales. Octaves and the Major-Minor Tonal System. Where Octaves Come From. Naming Octaves. Dividing the Octave into Scales. Half Steps and Whole Steps Example. Major Keys and Scales. Tonal Center Example. Major Scales. Music in Different Keys. Minor Keys and Scales. Music in a Minor Key. The tritone is a very unstable and dissonant interval that wants to resolve.
And it does so either:. Modal songs can be written in any mode not just major and minor , so for example it can be in the key of D Dorian. Each chord just floats there by itself as a standalone entity. In order to achieve this you have to avoid playing the diatonic tritone — because this tritone interval creates a dissonance which sounds like a Dominant Chord and feels like it wants to resolve to the Tonic Chord, thus turning the music tonal.
So you:. On that chord, melodies or improvisations based on the chosen modal scale are then created. In the history of Western music, modal music preceded tonal music. In the transition to the tonal system, the previously used modal scales were abandoned. Only two main scales survived, the major scale and the natural minor scale. Is modal music therefore music of the past?
Not only. Since the beginning of the 20th century, some musicians have started to use modal scales again, to experiment with fresh and new sounds. This type of research coincided with the rediscovery of popular traditions in areas other than music, for example in painting. The exoticism that took hold at the beginning of the last century favoured the study and discovery of non-western musical traditions, which used modal musical systems.
For example, much African music is based on the pentatonic scale and does not use chords. It is therefore an excellent example of modal music. Below is the sheet music of a melody from South Africa. The interest in modal music also affected jazz and rock musicians, who were looking for new possibilities in modal scales for improvisation. Here are some examples. Among jazz musicians, the first to use modal scales for improvisation were Charles Mingus, Miles Davis and John Coltrane.
Particularly important was Miles Davis' album entitled Kind of Blue , released in , in which the trumpeter and his musicians experimented with improvisation on certain modal scales. Another very important recording in this area was made by John Coltrane about a year later and is entitled My Favorite Things.
Miles Davis and John Coltrane were key figures in the spread of modal improvisation among jazz musicians. Psychedelic rock dates back to the s and featured historic bands such as Jefferson Airplane, the Grateful Dead and the Doors. The Beatles and Pink Floyd also played modal music. Jimy Hendrix and Carlos Santana have also played modal music. While jazz musicians explored modal music in a more rigorous and comprehensive way, in psychedelic rock and rock in general, it is often only a part of the song that is modal, mostly the part intended for solos.
You can have a composition in all but the last one since the 1st 3rd and 5th notes of this mode will result in a diminished triad which is unstable.
Modes are also built on the melodic and harmonic minor scales. Fewer compositions are seen using the major modes and all modes in jazz are used to improvise. The simplest answer was given to me by my jazz teacher, Mr. Bennett Friedman. Music tonality is like gravity; it wants to get back to its home. Chords are pushing the music forward.
Tonal music is based around the chord progression. Modal music is organized around melody. It's the relationship of note to note. Natural modes are of the harmonic and melodic relationships to the tonal center or chord center of the progression and these are built from different steps of the diatonic scale.
The scale of the mode is the notes in stepwise succession. Other modes that are altered or come from a diatonic variant such as harmonic or melodic minor Dorian 4 or Lydian 5 or harmonic major Mixolydian b2 can be used to provide a tonal center or chord center in a progression also. Now Phrygian is part of two diatonic sets. Secondary dominants and secondary half diminished can be used for your progressions to reinforce the definitive major Ionian or the definitive minor Phrygian.
The book to get is "Modal Diatonicism" available on Amazon. It has in depth theory and method for modal writing and explains the diatonic sets and their secondaries with the resulting diatonic variants for each. Tonal music uses all chords built on the scale - and they can move with fast or slow movements, depending on the tempo- but create compositions that give a different atmosphere, maybe more complex because of the chords that move often, compared to modal music - A good example of tonal music is Mozart's Eine Kleine Nachtmusik and virtually all the music from the Baroque and Classical era -and the Romantic, as well.
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