Unit 3-4: Modal Harmony

Objectives

By the end of this lesson, students will be able to:

Aurally identify asymmetrical meters by type in songs from the repertoire.
Transcribe chord progressions that incorporate modal harmony, and identify the mode that the harmony implies.
Improvise a simple melody over a 5/4, 5/8, 7/4, and 7/8 meter.
Demonstrate further proficiency sight singing modal melodies.

Preparation for Class

Read:

Performing Asymmetric Meters (Cleland & Dobrea-Grindahl, Developing Musicianship through Aural Skills) - Just read p. 467

Watch

Songs that Use 5/4 Time
(David Bennett, 17 mins)

Songs that Use 7/4 Time
(David Bennett, 17 mins)

Reference Aids

Major Triads in Unaltered Modes
Source: Philip Tagg, Everyday Tonality, p. 276

This is a table displaying the chord-scale relationships of the six primary modes in Western music theory. The table categorizes which chord functions (Roman numerals) appear in each mode, using checkmarks (✓) to indicate presence. Table Structure: Rows (Leftmost Column): Six modal names (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian). Columns (Top Row): Eight chord functions, labeled with Roman numerals: I (tonic major) ♭II (lowered second) II (major second) ♭III (minor third) IV (subdominant) V (dominant) ♭VI (lowered sixth) ♭VII (lowered seventh) Each checkmark (✓) in the table signifies that the corresponding chord function appears in the given mode. Mode Breakdown: Ionian (Major Scale) Contains: I, IV, V Omitted Chords: ♭II, II, ♭III, ♭VI, ♭VII Dorian (Minor Scale with a Raised Sixth) Contains: II, IV, V Omitted Chords: I, ♭II, ♭III, ♭VI, ♭VII Phrygian (Minor Scale with a Lowered Second) Contains: ♭II, ♭III, ♭VI Omitted Chords: I, II, IV, V, ♭VII Lydian (Major Scale with a Raised Fourth) Contains: I, II, IV, V Omitted Chords: ♭II, ♭III, ♭VI, ♭VII Mixolydian (Major Scale with a Lowered Seventh) Contains: I, IV, V, ♭VII Omitted Chords: ♭II, II, ♭III, ♭VI Aeolian (Natural Minor Scale) Contains: ♭III, ♭VI, ♭VII Omitted Chords: I, ♭II, II, IV, V This table visually summarizes which chords naturally occur in each mode, assisting in modal analysis, composition, and improvisation in music theory.

Tertial Triad Types for Scale Degrees in the Six Church Modes
Source: Philip Tagg, Everyday Tonality, p. 285

Also see the handout: Modes: Triads built on Each Step (Source: Sarah Louden)

This is a table displaying the harmonized chords of diatonic modes, organized by scale degree. The table has eight columns and seven rows. Column headers: "scale degree - ↓ mode ↓" "1̂" (tonic) "2̂" (supertonic) "3̂" (mediant) "4̂" (subdominant) "5̂" (dominant) "6̂" (submediant) "7̂" (leading tone or subtonic) Each row represents a different diatonic mode (Ionian, Dorian, Phrygian, Lydian, Mixolydian, and Aeolian), listing the corresponding diatonic chords for each scale degree. Roman numerals indicate chord qualities: uppercase for major, lowercase for minor, diminished (°), augmented (+), and alterations like flat (♭). Row data (chords per mode and scale degree): Ionian mode: 1̂: I 2̂: ii 3̂: iii 4̂: IV 5̂: V 6̂: vi 7̂: vii° (diminished, in gray) Dorian mode: 1̂: i or I 2̂: ii 3̂: ♭III 4̂: IV 5̂: v or V 6̂: vi° (diminished, in gray) 7̂: ♭VII Phrygian mode: 1̂: i or I 2̂: ♭II 3̂: ♭III 4̂: iv 5̂: v° (diminished, in gray) or V 6̂: ♭VI 7̂: ♭vii Lydian mode: 1̂: I 2̂: II 3̂: iii 4̂: +vii° (augmented diminished, in gray) 5̂: V 6̂: vi 7̂: vii Mixolydian mode: 1̂: I 2̂: ii 3̂: iii° (diminished, in gray) 4̂: IV 5̂: v 6̂: vi 7̂: ♭VII Aeolian mode (natural minor): 1̂: i or I 2̂: ii° (diminished, in gray) 3̂: ♭III 4̂: iv 5̂: v or V 6̂: ♭VI 7̂: ♭VII This table visually represents the diatonic chord structures of different modes, highlighting the characteristic alterations in each.

Relative Darkness and Brightness of Modes (Source: Chelsey Hamm, OMT, "Introduction to Diatonic Modes")

This is a spectrum. "Darker" is on the left and "brighter" is on the right. In order, the modes from left (darker) to right (brighter) are Locrian (lowered te - 7, ra - 2, me - 3, se - 5, and le - 6); Phrygian ((lowered te - 7, ra - 2, me - 3, and le - 6), Aeolian (lowered te - 7, me - 3, and le - 6), Dorian (lowered te - 7 and me - 3), Mixolydian (lowered te - 7), Ionian, and Lydian (raised fi - 4).

In-Class Activities

Improvisation

Rhythmic Improvisation (Asymmetrical Meters): Select one of the asymmetrical time signatures below to use as your backing track, then improvise rhythms using the rhythm grid provided. Improvise one measure using a neutral syllable; the class responds by singing back the rhythm with correct rhythmic syllables to ID the rhythm. Be sure to conduct to practice the 5- and 7-beat patterns.
- - Rhythm Grid with Takadimi syllables | Rhythm Grid without rhythmic syllables
  - 5/4 : Jazz Swing, 120bpm | 5/4: Groove, 160bpm
  - 7/4: Rock, 200bpm | 7/8: Middle Eastern, 100bpm
  - Looped Grooves in 5 and 7 from Pop Repertoire (by Trevor de Clercq)
Modal Progressions in Asymmetrical Meters: Pick one of the backing tracks above. Improvise a melodic improvisation over the track using a pentatonic collection. Then, try improvising using a modal schema. Arpeggiate the progression all together as a group first, then improvise with the backing track.

Sight Reading

Sight-Singing (Modal Melodies): Continue practice sight-reading melodies in the section "Modes."
Sight-Singing (Skips in IV and V): Continue practice sight-reading melodies in all sections.
Rhythm Sight-Reading: Sight-read rhythms in the sections "5/8 and 5/4 Meters" and "Other Meters with Unequal Beats."
- - Try performing the rhythms over the top of a rhythmic backing track in 5 or 7 (From Trevor de Clercq's Index of Rhythm Grooves)

Sight Singing: Modal Melodies

Sight Singing: Skips with 4 and 6

Rhythms: Asymmetrical Meters

Aural ID and Dictation

Aural Anthology: See the "Asymmetrical Playlist" at the top of the page to practice identifying different asymmetrical meters in popular music. Identify the meter, then count and conduct along with the recording.
Theory Anthology (Asymmetrical Meters): Practice transcribing rhythms and melodies in asymmetrical meters. Check out the examples in both the Theory and Aural anthology pages to the right.
Theory Anthology (Modal Progressions): Modal progressions are featured on 4 separate pages of the theory anthology, listed below. For dictation and aural ID, focus especially on the examples from the OMT reading here.
- - Other Schemata: See this page for examples of the "Lydian Cadence" and "Aeolian Shuttle."
  - Descending 4ths & 5ths: See this page for examples using the "Double Plagal" schema.
  - Modal Shuttles: See this page for examples of modal shuttles. Identify the mode represented by the harmonic progression.
  - Modal Harmony: Examples of progression that include purely modal harmony. Practice identifying which mode is most likely represented. Try transcribing a few progressions.

Aural Anthology: Asymmetrical Meters

Theory Anthology: Asymmetrical Meters

Assignment

Assignment 3-4

NEXT STEP

Next Lesson: Other Common Schemata

Additional Practice

Auralia:
- Meter Recognition: Levels 4a–4c
- Rhythm Dictation: Level 12
Musition:
- Rhythm Tapping: Levels 10a, 10b

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