# Modes - Traditional or New Chord Functions?



## om30tools (Jul 13, 2010)

Hi all, I'm nearly finished with my Kostka - Tonal Harmony TextBook, and I'm starting to wonder how do Ioninan & Aeolian chord functions work in other modes. Do I have new chord functions available or do I have to label out the triads in each mode and just translate the traditional functions to the chords that embody similar functions e.g. find the chord that is a Mm7 and identify it as my dominant.


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## nikolas (Jul 13, 2010)

hmmm...

There isn't a set rule anywhere really. I mean, since you've visited the modal world you're 'advanced' enough to realise that anything is up for usage. 

If you want a more 'familiar' aesthetic, then you could use the very similar major/minor chord construction to different modes.

Each mode has 3 different 'strongest' beats, where the more important aspects lie. In major/minor mode (Ionian and Aealian) these ones are I, IV and V, based from the cycle of 5ths (4hts). In other modes, things differ. 

I know it's not exactly what you've asked, but feel free to reply and ask again...


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## bryla (Jul 13, 2010)

I don't really understand the question, but regarding modes, each mode - as Nikolas says - has it's cadences. The interesting ones other than the tonic are those that contain the modal specific derivatives but doesn't have a tritone, since it will lead to a dominant effect which is set aside in modal writing.


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## gsilbers (Jul 13, 2010)

Kinda. It's chord scales. 
Each chord now can be part of another scale degree. That other scale can be anything really. 
so the dominant chord can be in another scale in another degree, it will keep it's dominant nature but will be in another scale degree besides V. 
I'm not used to using the term aeolian or ioNian chord so may I'm not undertanding your question . 
And modal theory I know it more from jazz than tradictional. So you have V of V and that dominant can jump anywhere like crazy. Don't know the translation in traditional thoery.


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## Narval (Jul 14, 2010)

Tonal harmony teaches you to chain chords within the tonal system of the common practice period (1600-1900). Step outside that system, and suddenly you're free to chain your chords in whatever way you want - no one expects you to follow any rules. No one cares.

But while you are outside that system, if you sit back and really look at the things music is made of, you will find that actually there's no chords, no functions, no modes, and no rules. On top of that, there is no criteria to judge a musical composition. Which means you are free to create whatever you want. Puzzling idea and feeling, isn't it? Imo, the best way to deal with creative freedom is: establish a musical system and its "rules," then follow through by playfully meeting and deceiving the expectations that presumably arise from your "rules." See how others do it. You want "modal?" Then look into Bartok.

Your need for rules comes from the old school of doing things: you learn the rules, then you apply them. Easy. The absence of rules makes things hard, doesn't it? Freedom brings anxiety, as you are never sure what will come out of what you're doing. You start asking yourself: am I doing the right thing? Thing is, when everything is allowed, there is no right thing. Or, if you want, everything is the right thing. Confusing, isn't it? You are completely free: no God, no Ten Commandments, no punishment, no reward, no certainty, nothing to hinge upon. It's Heaven and Hell at the same time. Painful. Delightful. They call it life. Enjoy!


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## gsilbers (Jul 14, 2010)

harvestthesouls @ Wed Jul 14 said:


> Basically, I've studied Tonal Harmony using Maj mode & Harmonic Minor;
> 
> 1). Typical Chord Uses & Functions.
> 
> ...




just learn how to build each scale and play it, get the feel for it. 
lydian would be the same scale that the major/ionian but with a raised 4th. in C that F# will change the chords of that scale right? D will not be minor anymore it will be a D major. that D major now can also be the D major of another scale like D major, in ionian. the 3rd chord of a harmonic minor scale and so on.. 
so u can change to other scales easily. but youll need to know the flats and sharps notes that go with those new chords and write them on each chord because u leave the key signature world behind. =o 

i also agree with the above post about there is no rules. its a start and a guide but 
u can go anywhere with it. 
in berklee, i learnt in the final harmony class ... after so many other classes... that there are no rules.. u just have to know what u are doing. sigh! after so many other classes :x


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## clarkcontrol (Jul 14, 2010)

Nowadays modes are used primarily to describe harmonic function, the chord/scale as mentioned above. 

Modes can be seen as a tonal system unto themselves but this is limited to the medieval usage. I am not terribly familiar with ancient practices but I can tell you that they never built harmony and harmonic functions around each scale degree. Chords (or what sounded like chords) would come years later maybe the late 16th century. 

Even then they weren't calling chords chords. Just coincidental sonorities achieved by their linear voices. So harmonic analysis of chords built on each modal scale degree for it's OWN sake is not useless but does not fortify any real contemporary understanding or usage. 

Clark


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## om30tools (Jul 14, 2010)

Okay, I get the impression, there isn't as much research & development directed to a tonal system of all the different modes, as much as there is to Ionian and Aeolian. No function progression chains available.

Btw, I am not afraid of freeness, I have always composed freely, I use modes all the time, but I'd like more harmonic direction, hence wanting to learn all the common tendancies and useages (the more recent, the better) of all the modes. 

- Thanks for replying everyone!


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## gsilbers (Jul 14, 2010)

well, different modes will give u different emotions. 

and in film there are cuts to different emotions, so u jump to a different scale if u need or not. millions of options. 

if i understand your query, i think the answer is that the other modes stay similar to the ionian and aelioan structure u are familiar with ,meaning that if u like the I-II-V-I progression, then in lydian it will be the same except for the raised 4th which will lead better into resolution into the 5th and that sort of deal. its a matter of trial and error to see what u like.


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## Narval (Jul 14, 2010)

harvestthesouls @ Wed Jul 14 said:


> I use modes all the time, but I'd like more harmonic direction, hence wanting to learn all the common tendancies and useages (the more recent, the better) of all the modes.


So, you want direction? Then sorry, but there is no pre-established direction. You want someone or something to tell you right from wrong? Then sorry, but there's no right and no wrong. Also, for better and for worse, there is no one to show you the way. Actually, there is no way. And you are free, and alone in your freedom. Which is a blessing and a curse. You got to make your way yourself, and in your own way. As others said, that is done by trial and error until you find something that suits your needs. Sorry, there's no "common tendencies" and no shortcuts, only long hard work.

What do you want to use "modal chords" for? Why do you want to use them in a way others did? And, if that's what you want, then what keeps you from studying those others? What do you want to sound like? What do you want to achieve with your music? How are you going to go about it? - Answer these questions to yourself, and your answers will provide all the info you need.


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## Dave Connor (Jul 14, 2010)

harvestthesouls @ Wed Jul 14 said:


> Okay, I get the impression, there isn't as much research & development directed to a tonal system of all the different modes...



No, there is a gem on the subject: Persichetti's book on 20th Century Harmony has an absolutely brilliant section on use of the modes and in the exact context you mentioned: new chord functions.


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## om30tools (Jul 15, 2010)

Dave Connor @ Thu 15 Jul said:


> No, there is a gem on the subject: Persichetti's book on 20th Century Harmony has an absolutely brilliant section on use of the modes and in the exact context you mentioned: new chord functions.



Thank You


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## Dave Connor (Jul 15, 2010)

Cheers! (Many other valuable things in that book).


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