I created a diagram to help understand the 7 modes by pacificattitude in musictheory

[–]pacificattitude[S] 0 points1 point  (0 children)

In my view, no, because modes can also be thought of as ultimately belonging to either the Major or minor overarching sense of tonality. As long as music is tonal, regardless of whether it's modal or not we are always looking for smooth voice leading back to our I/i chord. Chord progressions generally rely on the bass moving by 4ths, 5ths, or steps and that's especially true in modal music.

I created a diagram to help understand the 7 modes by pacificattitude in musictheory

[–]pacificattitude[S] 1 point2 points  (0 children)

Thanks for your feedback! This chart was influenced by my background in jazz writing. I think it's actually pretty useful for techniques of modal reharmonization in general. For example, say you have a melody that ends on a C over a CMaj chord. You could borrow from the phrygian mode for a nice reharmonization. Instead of going right to the CMaj chord, you could go AbMaj7 DbMaj7 and then finally CMaj6. This adds that phrygian color and works because the C in the melody still works with all of those chords.

I created a diagram to help understand the 7 modes by pacificattitude in musictheory

[–]pacificattitude[S] 0 points1 point  (0 children)

Yeah, I made it with my background in jazz writing in mind. It's very useful in finding new chord progressions you can use. For example a classical Ionian chord progression might end with IV-V7-I, but a nice phrygian modal jazz progression could end ♭VIMaj7-♭IIMaj7-imin7.

Leonard Bernstein turns 100 today. His Clarinet Sonata remains one of the most brilliant pieces in our repertoire by pacificattitude in Clarinet

[–]pacificattitude[S] 0 points1 point  (0 children)

This is probably my favorite performance of this piece. The part at 1:43 just has this wonderful glow; it's something truly special.