1^ LESSON
ABBREVIATIONS:
Lydian Chromatic Concept of Tonal Organization = Lccoto
Ionian Concept of Tonal Organization = Icoto
Modal Harmony = MH
Tonal Harmony = TH
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MH uses Lccoto
TH uses Icoto
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In this first lesson, I wish to explain the difference between MH and TH, and therefore between Lccoto and Icoto. Understanding this difference is FUNDAMENTAL for subsequent studies.
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WHAT HAPPENS in Icoto:
Let's take any chord, e.g., D-
If we find a D- chord in a tonal piece, the scale we play over it is different in relation to the key of the piece.
-If we are in the key of Bb, then D- is the third degree of the Bb Ionian scale, and over the D- chord, we will play the Bb Ionian scale.
-If we are in the key of F, then D- is the sixth degree of the F Ionian scale, and over the D- chord, we will play the F Ionian scale.
-And if we are in the key of C, then D- is the second degree of the C Ionian scale, and over the D- chord, we will play the [C] Ionian scale.
As you can see, for a single chord, we have three possible parent Ionian scales.
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WHAT HAPPENS IN Lccoto:
Let's take the same D- chord.
This chord is played in alliance with ONE AND ONLY ONE SCALE.
The chord and the scale therefore constitute an inseparable whole.
In the case of the D- chord, the scale is D Dorian (the sixth degree of the F Lydian scale).
EVERY TIME we find the D- chord, we will play the D Dorian scale in alliance with it REGARDLESS OF THE KEY OF THE PIECE.
A chord and its allied scale therefore express a single mode.
A difference from Icoto, where a chord can be paired with multiple modes.
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This produces incredible consequences on the harmonic level:
-Try to think of a piece in Bb, where obviously the key signature contains two flats, namely Bb and Eb. If a D- chord appears in this piece and if we play such a chord as D Dorian, thus allied to the D Dorian scale, suddenly the two flats of the key signature will be missing; this produces a verticalization of the melody and harmony that certainly would not exist if we played the Dā as the third degree of the Bb Ionian scale.
-We play unlinked from the key of the piece since every chord in the piece possesses its own specific scale, and therefore every chord is seen as an expression of a mode.
THEREFORE:
the succession of chords in a piece in Icoto generally presupposes a line played on the Ionian scale of the tonic chord, whereas in Lccoto, every chord lives and expresses itself based on the mode it represents.
This is the difference between TONAL HARMONY AND MODAL HARMONY.
You will have realized by this point that:
EVEN A TONAL PIECE CAN BE ANALYZED AND PLAYED ACCORDING TO MODAL RULES.
This is referred to as "modalization of a tonal piece."
MODAL HARMONY IN THE STRICT SENSE IS SOMETHING ELSE AND WILL BE THE SUBJECT OF THIS SEMINAR.
See "articulation of the teaching project" in PREFACE.
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