UDP: Difference between revisions

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Often, the modes are explained first in terms of a static set of unchanging base pitches, such as the white notes on a keyboard. Then, the individual modes are defined by picking different choices of tonic within that pitch set. As a result, this leads to the sequence of '''relative''' mode positions, based on where the tonic appears: C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian, and B Locrian. This is the perspective taught in many beginner treatments of modal harmony.

In comparison, the sequence we have given is the sequence of '''parallel''' modes with the same tonic (C), and with the pitch set changing. When we change the number of generators going "up" or "down," this equates to sharpening or flattening a note in the ~~scale~~. As a result, taking one of the generators away from the stack going "down", and re-stacking it on top of the stack going "up", leads to the sharpening of a note, and vice versa if a generator is placed downward. This perspective is one of the first things usually taught in jazz music school, and other musical programs that focus on modal harmony.

In comparison, the sequence we have given is the sequence of '''parallel''' modes with the same tonic (C), and with the pitch set changing. When we change the number of generators going "up" or "down," this equates to sharpening or flattening a note in the mode. As a result, taking one of the generators away from the stack going "down", and re-stacking it on top of the stack going "up", leads to the sharpening of a note, and vice versa if a generator is placed downward. This perspective is one of the first things usually taught in jazz music school, and other musical programs that focus on modal harmony.

It is somewhat unfortunate that the "relative" perspective is usually the only one given in beginner treatments of modal harmony, given that the "parallel" perspective of "brightest to darkest" modes is *far* more important to how modal harmony really works. To understand why, note that the "brightest to darkest" sequence that we gave has the following properties:

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 Often, the modes are explained first in terms of a static set of unchanging base pitches, such as the white notes on a keyboard. Then, the individual modes are defined by picking different choices of tonic within that pitch set. As a result, this leads to the sequence of '''relative''' mode positions, based on where the tonic appears: C Ionian, D Dorian, E Phrygian, F Lydian, G Mixolydian, A Aeolian, and B Locrian. This is the perspective taught in many beginner treatments of modal harmony.
-In comparison, the sequence we have given is the sequence of '''parallel''' modes with the same tonic (C), and with the pitch set changing. When we change the number of generators going "up" or "down," this equates to sharpening or flattening a note in the scale. As a result, taking one of the generators away from the stack going "down", and  re-stacking it on top of the stack going "up", leads to the sharpening of a note, and vice versa if a generator is placed downward. This perspective is one of the first things usually taught in jazz music school, and other musical programs that focus on modal harmony.
+In comparison, the sequence we have given is the sequence of '''parallel''' modes with the same tonic (C), and with the pitch set changing. When we change the number of generators going "up" or "down," this equates to sharpening or flattening a note in the mode. As a result, taking one of the generators away from the stack going "down", and  re-stacking it on top of the stack going "up", leads to the sharpening of a note, and vice versa if a generator is placed downward. This perspective is one of the first things usually taught in jazz music school, and other musical programs that focus on modal harmony.
 It is somewhat unfortunate that the "relative" perspective is usually the only one given in beginner treatments of modal harmony, given that the "parallel" perspective of "brightest to darkest" modes is *far* more important to how modal harmony really works. To understand why, note that the "brightest to darkest" sequence that we gave has the following properties: