Unit 3-4: Modal Harmony

Objectives

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

Identify common modal harmony and schemata associated with each mode and explain which chords/scale degrees in the progression suggest the mode identified.
Identify which chords are associated with a Dorian, Lydian, Aeolian, and Subtonic shuttles, and write chord progressions of each in different keys.
Compose a verse or a chorus using a modal shuttle or modal chord loop, then voice the progression in 3- or 4-voice keyboard style with a basic rhythmic accompaniment and melody.
Categorize schemata and shuttles into those that use flat-side and sharp-side harmonies.

Preparation for Class

Read:

Review the reading on modes from Unit 1-4, as needed.
Modal Schemas (OMT, Megan Lavengood)

Watch

Songs that use the “Eight Days a Week” Progression
(David Bennett, 12 mins)

What name does Open Music Theory give this chord schema?

Songs that Use the Running Up That Hill Progression
(David Bennett, 8 mins) - Just watch 0:00–4:22

What name does Open Music Theory give this chord schema?

Reference Aids

1) Modes: Arranged from Bright to Dark with Scale Degrees Labeled (PDF Handout) (Source: Sarah Louden , NYU)

2) Modes: Triads Built on Each Step (PDF Handout) (Source: Sarah Louden , NYU)

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

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

Discussion

Why Use Labels? Over the last four lessons, we've learned the specific names for several harmonic schemata. What are some of the reasons that it might be useful to memorize the names and patterns of chord schemata? Consider how these might be applied in composition, analysis, and aural transcription.
Summarizing Harmonic Patterns: List the common chord schemata and shuttles associated with the Mixolydian, Aeolian, Dorian, and Lydian modes discussed in the reading. Compose a 4-chord progression using each of these in a different key. Notate both Roman numerals and chord symbols.
- - Which of these progressions use flat-side harmonies and which use sharp-side harmonies? (See “Reference Aids” in Unit 3-1).

Activities

Modal Schema Practice: Work through the Open Music Theory worksheet in groups or as a class: Docx | PDF | Playlist.
Modal Reharmonization: Reharmonize Rihanna's “Desperado” (2016) with a modal schema. (Open Music Theory) MuseScore | PDF.
Analysis in Repertoire: See relevant sections in the theory anthology to analyze examples from the repertoire and practice identifying modes:
- - Modal Harmony & Modal Shuttles: Identify the mode that is represented by the harmonic progression. Pinpoint the chord that suggests that this is the mode suggested.
  - Other Schemata: Analyze examples that use the Lydian Cadence and Aeolian Shuttle. Identify Roman numerals and keys for each.
Composition: For each of the progressions outlined below, compose a chord progression using both Roman numerals and lead sheet notation. Each example should be in a different key. Indicate harmonic rhythm (e.g. | I IV | V | I IV | V | ). Then, select one or two of your progressions to compose a chordal accompaniment and melody. Compose the harmony in a 3- or 4-part texture, applying voice leading guidelines from Unit 2. Add a rhythmic accompaniment; use one of the accompanimental patterns here (PDF | MuseScore) or create your own. Then, compose a simple melody for your progression that uses only chord tones.
- - A 4-bar chord progression that uses a modal shuttle.
  - A 4-bar chord progression that uses the Lydian cadence.
  - A 4-bar chord progression that uses a modal chord loop you've composed.

Repertoire for Practice

Note: Modal progressions occur on 4 separate pages of the anthology. See the first three for examples of the schemata discussed in the OMT reading.

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.

Anthology: Other Schemata

Anthology: Descending 4ths & 5ths

Anthology: Modal Shuttles

Anthology: Modal Harmony

Assignment

Assignment 3-4

NEXT STEP

Next Lesson: Other Common Schemata

Practice

Musition:
- Key/Mode ID: Level 4
- Pop Progressions: Level 1
Quizlet (flashcards): Mode ID from Chords

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