We are here in an assumed improvisatio which alternates the 3 major chords 1M 4M 5M of a diatonic scale, and thus if the melodic theme is within a single chord, we alternate the Ionian, Lydian and Mixolydian modes
The usual 1ST TYPE substitutions are the lower melodic relative chord or major with its major 6th
1M with 6m (Aeolian modulation)
4M with 2m (Dorian modulation)
5M with 3m (Frygian modulation)
But it can as well be the 2ND TYPE upper melodic relative chord (substitutes with maj 7nth)
1M with 3m (Frygian modulation)
4M with 6m (Aeolian modulation)
5M with 7d (Locrian modulation)
Beaitifull substitutions are THE 3RD TYPE with double relative to an harmonic minor will be
1M with 6M7 which contains the 3-note chord 1#dim
4M with 2M7 which contains the 3-note chord 4#dim
5M with 3M7 which contains the 3-note chord 5#dim
(example of such substitutions is in the famous by Bach prelude in C major BWV 846 on which it was based also the Ave Maria)
Or also the 4TH TYPE
1M with 3M7 which contains the 3-note chord 5#dim
4M with 6M7 which contains the 3-note chord 1#dim
5M with 7M7 which contains the 3-note chord 2#dim
Also the 5TH TYPE
1M with 1m
4M with 4m
5M with 5m
Also the 6TH TYPE (usual in Bach)
1M with 1dim7
4M with 4dim7
5M with 5dim7
Also the 7TH TYPE (usual in Bach)
1M with 1aug
4M with 4aug
5M with 5aug
Based on this perception, the 7 modes of the diatonic scale have the following chord triads:
(that is chords on their 1st 4th and 5th step, and we symbolize by m=minor M=major d=diminsihed.
Based on this perception, the 7 modes of the diatonic scale have the following chord triads:
(that is chords on their 1st 4th and 5th step, and we symbolize by m=minor M=major d=diminsihed.
1. IONIAN : HARMONIC TRIPLET (1M, 4M, 5M)
2. DORIAN : HARMONIC TRIPLET (2m, 5M, 6m) (Can be conceived as 5th type substitution)
3. PHRYGIAN : HARMONIC TRIPLET (3m, 6m, 7d) (Can be conceived as 5th type substitution)
4. LYDIAN: HARMONIC TRIPLET (4M, 7d,1M) (Can be conceived as 5th type substitution)
5. MIXOLYDIAN: HARMONIC TRIPLET (5M, 1M,2m) (Can be conceived as 5th type substitution)
6. AEOLIAN: HARMONIC TRIPLET (6m, 2m, 3m) (Can be conceived as 5th type substitution)
7. LOCRIAN: HARMONIC TRIPLET (7d, 3m, 4M) (Can be conceived as 5th type substitution)
We may compare the basic harmonic triplets with the basic chromatic triplets (see also post 322)
1. IONIAN : CHROMATIC TRIPLET (7d, 1M, 2m)
2. DORIAN : CHROMATIC TRIPLET (1M, 2m, 3m )
3. PHRYGIAN : CHROMATIC TRIPLET(2m,3m, 4M)
4. LYDIAN: CHROMATIC TRIPLET(3m, 4M, 5M)
5. MIXOLYDIAN: CHROMATIC TRIPLET (4M, 5M, 6m)
6. AEOLIAN: CHROMATIC TRIPLET (5M, 6m, 7d)
7. LOCRIAN: CHROMATIC TRIPLET (6m, 7d, 1M)
If we want an ordering of how much "minor" and "sad" or "anxious" is a mode and how much "major" and "happy" or "serene" is a mode based on the ordering d<m<M then we get the next partial ordering (non-linear ordering)
PHRYGIAN<AEOLIAN<DORIAN<MIXOLYDIAN<IONIAN
and
LOCRIAN<DORIAN
LYDIAN<MIXOLYDIAN
But the Locrian and Lydian are not comparable with all the others so as to put all of them in a linear order.
Here is a musicological old qualitative description of it, but the names are not the standard but an older version of them (e. mode V is referred in this table as Lydian , while nowadays is named Mixolydian). To realize about which mode is referenced we must look at the 2nd column with the latin numerals.
Based on this concept it is possible to define tunings of an harmonica (see post 274 ) with these types of triads of chords so as to improvise with the corresponding harmony on each of the 7 modes!
FOR STEPS IN CREATING A MELODY SEE THE 6 STEPS BELOW AND THE POST 402
1) CHOSE THE TYPE OF CHROMATIC-TONALITY HARMONY
2) COMPOSE THE CHORD PROGRESSION AFTER THE CHOSEN CHROMATIC TONALITY
3) PARTITION THE CHORD PROGRESSION TO SINGLETS, PAIRS, TRIPLETS ETC OF CHORDS THAT WOULD SUPPORT BRIDGING MELODIC THEMES
4) COMPOSE THE SIMPLICIAL SUBMELODY (A DEFAULT IS THE MIDLLE NOTES OF THE CHORDS) . For each partition segment of chords, the last note of the simplicial melody ofthe last chord is the main note of the simplicial submelody for this segment.
5) COMPOSE THE MOVE OF THE BRIDGING MELODIC THEMES BY THE TRIAD UP-DOWN-STATIONARY BY FOLLOWING PRINCIPLES OF BALANCE AND THE EMOTIONS OF THE UNDERLYING PARTITIONED SEGMENT OF CHORDS. ONE POLARITY FOR EACH PARTITIONED SEGMENT OF CHORDS. E.g. partition segments ending in minor chord may be down-moves and those ending in major chord an up-move. If we assume the x-axis the time and the y-axis the pitch (the simplicial submelody set as basic pitch zero level) we may symbolize a rhythmic melodic bridge with a flag. Glag symmetric to a vertical axis are melodic bridges with inverse rhythmic pattrn. So such arrangments of the melody are like geometric frieze patterns and their 7 types of symmetry (see link below) . Of course most melodies are asymmetric
https://en.wikipedia.org/wiki/Frieze_group
6) COMPOSE THE RHYTHMIC PATTERN OF THE BRIDGING MELODIC THEMES AND THEMSELVES TOO.
