HARMONIC ANALYSIS OF THE MODAL PIECE “ACTUAL PROOF” BY H. HANCOCK
It is not by chance that I chose this piece for harmonic analysis; the reason lies in the fact that it is a modal piece and therefore the resulting harmonic analysis is also modal.
It is a piece that expresses some rules of modal composition well and constitutes a “model” for our compositions.
I consider it absolutely useless to perform the piece exactly as conceived by the Author, just as I consider it useless to perform the Author's melodic line. Modal harmonic analysis allows the musician to create a personal atmosphere and a personal melodic line, preferably improvised.
I took the chord sequence from the sheet music present in “The New Real Book – Vol. 3”.
I intentionally modified the chord sequence in the sense that I simplified it by eliminating passing chords that do not influence the harmonic/modal concept of the piece at all. I also modified the duration of some measures, which also do not influence the harmonic/modal concept of the piece. For example, if Mode “x” lasts 1 measure and Mode “y” lasts 3 measures, it changes nothing if both Modes last 2 measures each for the purposes of the modal harmonic analysis which is the subject of this article.
The simplified chord sequence from the sheet music is as follows:
Cm7 – Gb ma7(+11)/Bb – A13 SUS - Ebm7(b5) - Ama9 - Ebma7(+11)/D - F7 -
The Modes resulting from the modifications I have made generate the following modal sequence:
/ C dorian / C dorian / Bb aeolian / Bb aeolian / A mixolydian / A mixolydian / Eb locrian /
Eb locrian / A Lydian / A Lydian / D phrygian / D phrygian / F mixolydian / F mixolydian /
ORIGIN OF THE MODE
La modal scale from which C dorian Mode originates is Eb lydian.
La modal scale from which Bb aeolian Mode originates is Gb lydian.
La modal scale from which A mixolydian Mode originates is G lydian.
La modal scale from which Eb locrian Mode originates is A lydian.
La modal scale from which A lydian Mode originates is A lydian.
La modal scale from which D phrygian Mode originates is Eb lydian.
La modal scale from which F mixolydian Mode originates is Eb lydian.
HARMONIC RHYTHM
It is the speed with which the changes of Mode occur.
In this case, we are faced with a fast harmonic rhythm because the Modes follow each other quite rapidly; in fact, there are no areas where a Mode has a prolonged duration such as four or more measures. The presence of a fast harmonic rhythm makes us understand that we are not facing a “tranquil” piece; our interpretation will therefore be connoted by a sense of restlessness.
TENSION/RELEASE ANALYSIS
The tension hierarchy of the Modes, proceeding from the least tense to the most tense, is as follows:
Lydian – Ionian – Mixolydian – Dorian – Aeolian – Phrygian – Locrian.
On this basis, I present the tension-release progression of the modal sequence under examination.
The piece begins with the Dorian Mode, which possesses medium tension; it proceeds with the Aeolian Mode, which possesses medium/high tension; it continues with a reduction in tension due to the appearance of the Mixolydian Mode; it proceeds with a sharp increase in tension due to the Locrian Mode; followed by a sharp lowering of tension due to the Lydian Mode; it proceeds with a fairly significant increase in tension due to the Phrygian Mode; and continues with a subsequent lowering of tension due to the Mixolydian Mode, with which the single chorus that forms the piece concludes.
The most important tension movement is found in the center of the piece and is due to the transition from the Mode with the highest tension present in the piece: Eb locrian, to the Mode with the lowest tension: A lydian. It is at this point that the musician must create the greatest emotional intensity.
The “false cadence” A lydian – D phrygian is noteworthy.
A complete cadential progression involves a cascade of fifths, for example D-G-C, and a change of modal scale: D-7 (dorian scale) – GVII (mixolydian scale) – C (ionian scale). When we have only the indicated scales without the cascade of fifths, we are faced with a false cadence: C dorian – A mixolydian – G ionian. When the cascade of fifths exists but the scales are different, we are also faced with a false cadence: A lydian – D phrygian.
It should also be noted that the Eb locrian Mode and the subsequent A lydian Mode have the same common scale of origin, namely A lydian; therefore, the two Modes have a different modal tonic but the spelling of the scale of origin is the same. The presence of notes common to both Modes makes the
pleasant transition from one Mode to another. The same applies to the three modes: D phrygian followed by F mixolydian and the Mode that begins the chorus, C dorian. These three Modes have the Eb lydian scale in common as their origin.
Obviously, the Modes present in the piece can be, depending on the musician's musical taste, "altered" while preserving their diatonicism or "chromatized."
For more details: http://ettoregarzia.blogspot.it/2013/09/giuseppe-perna-armonia-funzionale.html