MODAL HARMONY
Modal tension and relaxation
We all know the modes and their names:
Ionian-Dorian-Phrygian-Lydian-Mixolydian-Aeolian-Locrian-
I have inserted their names in the succession in which we find them in the Ionian scale.
In modal harmony and composition, the succession is different:
Lydian-Ionian-Mixolydian-Dorian-Aeolian-Phrygian-Locrian-
Such a succession is based on defined criteria :
light color-dark color
stable-unstable
mor tense-less tense.
The distinction and understanding of the modes and their succession based on these intrinsic qualities is fundamental for the musician who wishes to dedicate themselves to modal harmony, as the succession of musical elements (scale-modal chords) finds its logic in these qualities.
In the following explanation, I will refer to scales with a tonal center: C.
The C Lydian scale, unlike other modal scales, possesses only one tonic: C; for this reason, it is the most stable. In fact, the other modal scales with a tonal center in C possess two tonics, C and F, so their harmonic production oscillates between the two tonics, which is an element of tonal instability.
The C Locrian scale, unlike other modal scales, does not possess a perfect fifth and for this reason is the most unstable.
So we have a sequence of modes where at the extremes there is the Lydian scale, which is the most stable, and the Locrian scale, which is the least stable.
LYDIAN------------------------------------------------------------------------LOCRIAN.
In what order do we insert the other modal scales?
Let's look at the keys to which the modal scales belong:
C Lydian is in the key of G maj
C Locrian is in the key of Db maj
C Ionian is in the key of C maj
C Dorian is in the key of Bb maj
C Mixolydian is in the key of F maj
C Aeolian is in the key of Eb maj
C Phrygian is in the key of Ab maj
The strongest harmonic interval in overtones is the perfect fifth interval.
At this point, if we order the modes based on the perfect fifth interval, we get:
C Lydian is in the key of G maj
C Ionian is in the key of C maj
C Mixolydian is in the key of F maj
C Dorian is in the key of Bb maj
C Aeolian is in the key of Eb maj
C Phrygian is in the key of Ab maj
C Locrian is in the key of Db maj
We have thus obtained the correct succession of modes and, above all, it has been explained scientifically based on the strongest interval from a harmonic point of view: the perfect fifth interval.
At this point, we can apply various and often subjective criteria to such a succession.
If we start from the Lydian mode and move towards the Locrian mode, we have a transformation of musical color from light to dark, from Western sound towards Eastern sound, from real towards mystic, from tense towards less tense, from stable to unstable, and so on.
These "character" differences of the modes allow us to construct logical sequences based on criteria different from tonal ones, i.e., non-hierarchical sequences, different from various II-V-I, turnarounds, Gershwin-style circle of fifths, etc.
Obviously, this is not the only method to obtain logical modal sequences. There are several other methods that allow us to obtain the "modal contour".
In this way, one escapes the tonal cage and the artist has many more creative and artistic possibilities.