Lessons · Musicianship

Modal color

Dorian, Phrygian, Lydian, Mixolydian — as inflections

% A MODE is the key you are already in with one degree bent. One key
% command in this whole lesson, no modulation, every bar in D — so
% each mode arrives as an accidental on a degree. Ionian first, the
% plain theme under I IV V I: "major", once you are counting modes.
 
bpm 60
key d maj
 
Ion     ::= 1 _2 5 _4 6 _2 5 _2 7 _2 '1 _4 5 _2 4 _2 3 _2 2 _2 1 _8
IonVamp ::= ..1Maj _4 ..4Maj _4 ..5Maj _4 ..1Maj _4
 
{Ion, IonVamp*2}
 
 
% LYDIAN is the only bend that goes UP: raise the fourth. One token
% changes in the theme, and underneath it the minor ii turns major —
% the E chord's G# IS the raised fourth, which is why the vamp can sit
% on two chords and still sound like a whole mode.
 
Lyd     ::= 1 _2 5 _4 6 _2 5 _2 7 _2 '1 _4 5 _2 4# _2 3 _2 2 _2 1 _8
LydVamp ::= ..1Maj _8 ..2Maj _8
 
assert ..2Maj == {e2, g#2, b2}
 
{Lyd, LydVamp*2}
 
 
% Now downward, one degree per step. MIXOLYDIAN lowers the seventh:
% C natural, so the theme's climb to the octave loses its leading tone
% and the chord on the flat seventh is plain C major. I bVII IV I —
% the cadence rock took from the modes and never gave back.
 
Mixo     ::= 1 _2 5 _4 6 _2 5 _2 7b _2 '1 _4 5 _2 4 _2 3 _2 2 _2 1 _8
MixoVamp ::= ..1Maj _4 ..7bMaj _4 ..4Maj _4 ..1Maj _4
 
assert ..7bMaj == {c3, e3, g3}
 
{Mixo, MixoVamp*2}
 
 
% DORIAN lowers the third as well, so the theme is now minor — but
% the sixth is still untouched, and that is the whole sound: a minor
% tune over a MAJOR four. The B in the G chord is degree 6, the note
% every other minor mode below this one flattens.
 
Dor     ::= 1 _2 5 _4 6 _2 5 _2 7b _2 '1 _4 5 _2 4 _2 3b _2 2 _2 1 _8
DorVamp ::= ..1Min _8 ..4Maj _8
 
assert ..4Maj == {g2, b2, d3}
 
{Dor, DorVamp*2}
 
 
% The last two steps. AEOLIAN flattens that sixth and the major four
% collapses to minor — plain natural minor, i iv bVII i. PHRYGIAN then
% flattens the second, and Eb major a half step above the tonic is the
% chord no other mode here can build: the flamenco cadence.
 
Aeol     ::= 1 _2 5 _4 6b _2 5 _2 7b _2 '1 _4 5 _2 4 _2 3b _2 2 _2 1 _8
AeolVamp ::= ..1Min _4 ..4Min _4 ..7bMaj _4 ..1Min _4
 
Phryg     ::= 1 _2 5 _4 6b _2 5 _2 7b _2 '1 _4 5 _2 4 _2 3b _2 2b _2 1 _8
PhrygVamp ::= ..1Min _8 ..2bMaj _8
 
assert ..2bMaj == {eb2, g2, bb2}
 
{Aeol, AeolVamp*2}
{Phryg, PhrygVamp*2}
 
 
% The ladder as one piece: six variations on one theme in order of
% brightness, each lowering exactly one more degree than the one above
% it — the fourth, the seventh, the third, the sixth, the second.
% Rhythm, contour and length never move; the octave doubling on the
% last variation is the only change here that is not a bent degree.
 
{Lyd, LydVamp*2}
{Ion, IonVamp*2}
{Mixo, MixoVamp*2}
{Dor, DorVamp*2}
{Aeol, AeolVamp*2}
{Phryg, {Phryg}@12, PhrygVamp*2}

% A MODE is the key you are already in with one degree bent. One key
% command in this whole lesson, no modulation, every bar in D — so
% each mode arrives as an accidental on a degree. Ionian first, the
% plain theme under I IV V I: "major", once you are counting modes.

bpm 60
key d maj

Ion     ::= 1 _2 5 _4 6 _2 5 _2 7 _2 '1 _4 5 _2 4 _2 3 _2 2 _2 1 _8
IonVamp ::= ..1Maj _4 ..4Maj _4 ..5Maj _4 ..1Maj _4

{Ion, IonVamp*2}

% LYDIAN is the only bend that goes UP: raise the fourth. One token
% changes in the theme, and underneath it the minor ii turns major —
% the E chord's G# IS the raised fourth, which is why the vamp can sit
% on two chords and still sound like a whole mode.

Lyd     ::= 1 _2 5 _4 6 _2 5 _2 7 _2 '1 _4 5 _2 4# _2 3 _2 2 _2 1 _8
LydVamp ::= ..1Maj _8 ..2Maj _8

assert ..2Maj == {e2, g#2, b2}

{Lyd, LydVamp*2}

% Now downward, one degree per step. MIXOLYDIAN lowers the seventh:
% C natural, so the theme's climb to the octave loses its leading tone
% and the chord on the flat seventh is plain C major. I bVII IV I —
% the cadence rock took from the modes and never gave back.

Mixo     ::= 1 _2 5 _4 6 _2 5 _2 7b _2 '1 _4 5 _2 4 _2 3 _2 2 _2 1 _8
MixoVamp ::= ..1Maj _4 ..7bMaj _4 ..4Maj _4 ..1Maj _4

assert ..7bMaj == {c3, e3, g3}

{Mixo, MixoVamp*2}

% DORIAN lowers the third as well, so the theme is now minor — but
% the sixth is still untouched, and that is the whole sound: a minor
% tune over a MAJOR four. The B in the G chord is degree 6, the note
% every other minor mode below this one flattens.

Dor     ::= 1 _2 5 _4 6 _2 5 _2 7b _2 '1 _4 5 _2 4 _2 3b _2 2 _2 1 _8
DorVamp ::= ..1Min _8 ..4Maj _8

assert ..4Maj == {g2, b2, d3}

{Dor, DorVamp*2}

% The last two steps. AEOLIAN flattens that sixth and the major four
% collapses to minor — plain natural minor, i iv bVII i. PHRYGIAN then
% flattens the second, and Eb major a half step above the tonic is the
% chord no other mode here can build: the flamenco cadence.

Aeol     ::= 1 _2 5 _4 6b _2 5 _2 7b _2 '1 _4 5 _2 4 _2 3b _2 2 _2 1 _8
AeolVamp ::= ..1Min _4 ..4Min _4 ..7bMaj _4 ..1Min _4

Phryg     ::= 1 _2 5 _4 6b _2 5 _2 7b _2 '1 _4 5 _2 4 _2 3b _2 2b _2 1 _8
PhrygVamp ::= ..1Min _8 ..2bMaj _8

assert ..2bMaj == {eb2, g2, bb2}

{Aeol, AeolVamp*2}
{Phryg, PhrygVamp*2}

% The ladder as one piece: six variations on one theme in order of
% brightness, each lowering exactly one more degree than the one above
% it — the fourth, the seventh, the third, the sixth, the second.
% Rhythm, contour and length never move; the octave doubling on the
% last variation is the only change here that is not a bent degree.

{Lyd, LydVamp*2}
{Ion, IonVamp*2}
{Mixo, MixoVamp*2}
{Dor, DorVamp*2}
{Aeol, AeolVamp*2}
{Phryg, {Phryg}@12, PhrygVamp*2}

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Modal color · Pattern Engine