OMG - MJT

The Power Of Limits

7/1/2016

While the concepts of 'Symmetric Modal Fusion' involve the entire circle. The study of 'Modal Jam Theory' focuses on 'half' the circle (the other half being seen/heard as a 'reflection'). These articles (The Power Of Limits) are an attempt to reveal why:

This first example shows where we draw this dividing line -- as we can see... our half (of study) is taken out of the middle by including the Dominant ('G') and its Tri-tone Substitute ('Db'):

The Eternal Flat (b)

 The most obvious reason we draw this line can be seen in the next example. If we continue around the circle (more than half way), the 'root' in the center (our symmetric root) drops by one half-step -- and this is where the symmetry (of each mode in relation to a central root) ends. This is an incomplete model - but with a little study we can see where it goes. This model has five 'rings' with all twelve 'elements' branching out like 'spokes' of a wheel. The completed model would have eight 'rings' - with the last ring being identical to the first ring. Then - it would repeat infinitely.

We can make a "whole" lot of interesting (and colorful) harmony using only the 'C' Modes shown in the first ring of this (infinite) model. As for the 'small part' of the circle (the remaining five tones) - we will explore these tones as reflections... as mirrors within the circle. This is the 'Power Of Limits.'

Practically Speaking:

The following model represents a more practical understanding -- and reveals the impact of the tri-tone interval as a 'dominating' factor of tonal harmony:

The Tri-tone Substitute

6/30/2016

Modal Jam Theory is anything but conventional (actually - it's much more 'stream-lined' than what is described in this article) - but for a better understanding of how the 'Circle Of 'C' can be divided by the 'G' and the 'Db' -- we must explore what can be found in most conventional textbooks: The Tri-tone Substitute.
The short story of everything to follow in this article is that the 'Db7' produces the same critical 'active' tones ('Fa' and 'Ti' in the key of 'C') as the 'G7.' Both of these chords may set the ear's strong anticipation to resolve to 'C.'

The Tri-tone Substitute

If you have studied at the university level – you are familiar with the Tri-Tone Substitute (Db7) for the Dominant Chord (G7) in the key of ‘C.’ The following is a brief explanation of the mechanism(s) involved in the Tri-Tone Substitute:
     The critical “active half-step” tones of a G7 are ‘B’ and ‘F’ (‘Ti’ and ‘Fa’ of the Home Key Center). When we look at these same tones in the Db7 (the Dominant Chord with its root at the Tri-Tone), we find that this chord also contains the same tones – but their roles are reversed.
     In the G7 – ‘Ti’ is functioning as the Major 3rd of the chord – and ‘Fa’ is functioning as the b7 of the chord. In the cadence of G7 - C (V - I) – ‘Fa’ resolves to ‘Mi’ and ‘Ti’ resolves to ‘Do.’
     In the Db7 – ‘Fa’ is functioning as the Major 3rd of the chord – and ‘Ti’ is functioning as the b7 of the chord. In the cadence of Db7 - C (bII - I) – ‘Fa’ still resolves to ‘Mi’ and ‘Ti' still resolves to ‘Do.’
     As is the case with all concepts of chord substitution – I would not suggest that Db7 – C sounds the same as G7 – C --- it does not. When we analyze the Db7 – C cadence, we also hear the sound of ‘Ra’ resolving to ‘Do’ – and we hear ‘Le’ resolving to ‘So.’ This chromaticism is not inherent in the cadence of G7 – C.
     The sound of the Tri-Tone Substitute (Db7) resolving to the Tonic (C) is much more “colorful” than the sound of the Dominant (G7) resolving to the Tonic (C) – but the ear remembers ‘Fa’ and ‘Ti’ of the Home Key Center – and, as we know, the ear is always listening for a way home.

The Color Of 'Fa'

6/29/2016

The following articles will attempt to demonstrate that harmony is a consequence of melody... and not the other way around.
It is precisely because the tone 'Fa' cannot be found (anywhere) in the harmonic overtone series that awards it - the profound catalyst... the melodic tone of greatest influence over any (and all) movement in natural harmony.

So far - in our study of Modal Jam Theory - we have been looking at this model of the Circle Of Fifths:

For a moment - let's revisit the guts of this thing... laid out flat. These are the 12 Major Scales (15 Major Key Signatures) represented using the solfege syllables of 'C' Major (only). Notice the column of 'Fa' (in the center of the 'grid'). As we look up the column (clockwise in the circle) - we see flatted tones.... and as we look down the column (counter-clockwise in the circle) we see (mostly) the diatonic tones in the Key of 'C.'

As we stay focused on this "column" of 'Fa' (above) --- follow this table:

Have we missed one (other than Locrian)? I count only 5 Modes. Yes - we are missing the Lydian Mode. It turns out that 'C' Lydian is the only 'C' Mode that reenforces the key of the Dominant with a raised 'Fa' (F#) - also known as '#11' or 'Fi'. It is the mode that claims 'Fa' as its root - and the only mode that does not have any 'Fa' of it's own. I call it the 'Harmonic Mode' because all its tones match the harmonic overtone series.
When we are playing a tune - we know when we've 'landed' in the Lydian mode... as all its tones 'work' with the harmony and everything feels like a 'bright' harmonic soup --- but eventually - as most tunes go - 'Fi' is flatted to become 'Fa' (in the melody) and the harmony responds with it. For me - this very common change feels like adding a shade of 'blue.'
The following table adds the true 'Fa' of Lydian into the scenario of 'melodic' modes. The true 'Fa' of Lydian is 'Do.'

'Do' is the true 'Fa' of Lydian? Huh?

6/27/2016

 The tonal relationship of 'Fa' (in relation to its fundamental) does not exist in the natural harmonic overtone series.

The intention of these articles (The Color Of 'Fa') is to demonstrate that there is a difference between melody and harmony. This difference is subtle and profound.

The 'F#' ('Fi') in the mode of 'C' Lydian is 'produced' in the natural harmonic overtone series by the single thump of the bass player's 'C' note. The 'F' ('Fa') in the Major Scale ('C' Ionian) is not heard (with this 'C' note) unless it is (physically) struck. When 'Fa' is (physically) struck with/against this 'C' note -- it is heard as a 'flatted tone' against the harmony.

The following is a general statement that can have a profound impact on the development of the musical ear:

Though - an experienced musician may hear the tone 'Fi' as an integral tone in the harmonic overtone series -- the average western ear is only 'practiced' in listening to melody [those tones that are (physically) struck or sung]. As I refrain from speculating about the details of music history -- let's just say that after thousands of years of singing tunes that sound a lot like 'Happy Birthday' --- the western ear just loves the way 'Fa' feels. The 'balanced' melodic palette we have come to know (and love) as the 'Dia-tonic' Scale (Ionian) is here to stay... as an integral part of our intricate and complex muse.

... but what happens when our (Fa' conditioned) melodic ear hears the tone 'F#' ('Fi') - (physically) struck in the melody - against the root of 'C'? The answer to this question is somewhat fascinating: First - it can hear this sharped tone 'Fi' - as 'Ti' -- then uses the uniqueness of the tri-tone interval to 'locate' a new 'Fa.' [In this particular case -- the new 'Fa' happens to be the root of 'C' Lydian (in the 'Key Of The Dominant' ('G' Major - Ionian).]

The Lydian Reflection

6/24/2016

'Fa' can be heard (as a melodic tone) within all the modes - except one: Lydian. We can hear Lydian by identifying just one other tone: 'Fi' (measured from the root of any chord).

The following articles of 'The Lydian Reflection' will add unique elements and ideas to our current model of the Circle Of Fifths...

The Lydian Pivot

6/22/2016

Let's consider a single idea for reflection -- in our current model of the Circle Of Fifths -- that is simple and profound... it may just change everything we thought we knew.

We have been exploring the following statement:

We will now implement this idea into the circle. We will identify every flatted tone -- and every flatted solfege syllable with the Lydian Mode. This will result in the inner ring on the right side of the circle -influencing- the outer ring of that side.... and the outer ring on the left side of the circle -influencing- the inner ring of that side.

Look carefully as the 'C' modes on the outer ring of the right side (the main focus of our study) have shifted.

The Lydian Reflection is a sort of 'global' model that proposes the roots of the left side of the dividing line (G D A E B F#) are 'governed' by the 'Key Of The Dominant' ['G' Ionian and its 'leading tone' (F#)] --- and that each root on the right side of the dividing line (C F Bb Eb Ab Db) is heard as 'Fa' - indicating the roots of Lydian Modes (IV Chords).

Now - let's reintegrate the 'C' Modes (in parenthesis) that were in the outer ring on the right side before the 'Lydian Pivot' - this reintegration is intended to introduce the idea of unique 'pivots' between 'modal pairs.'

The Concept Of Modal Pairs

6/21/2016

When we are improvising with the tones of 'C' Ionian (melody) --- the harmony we are hearing (considering only the dominant [most audible] overtone) is the tone of the perfect fifth interval above each note. These are the tones of the 'Key Of The Dominant' - 'G' Ionian. This means there is an 'F#' in the natural (Dominant) harmony of the 'C' Major Scale. This 'F#' is the result of the dominant overtone (perfect fifth) of the 'leading tone' in 'C' Ionian: 'B.'

Considering the 'Harmony' as a 'palette' of tones (rather than a series of ascending or descending notes) -- might we - just as well - call this 'Harmonic Scenario' by the name of 'C' Lydian?

Now - we can see that 'C' Lydian is the natural harmony of 'C' Ionian.

We will return to the idea of these two scales being identified as the first modal pair... but before we explore how the natural overtone series can lend itself to concepts of natural modulation -- we'll make a general distinction between traditional 'Diatonic Harmony' and 'Modal Jam Theory.'

Traditional Diatonic Harmony

Traditional Diatonic Harmony is a valuable study that employs a time tested premise: the 'Western Ear' has been so conditioned by the Major Scale (Ionian) - that it 'engages' the uniqueness of the tri-tone interval to 'locate' harmonic tones that, ultimately, 'set up' a tension that 'resolves' (returns) to the root (Tonic) in the key of study. This is another way of saying that the ear prefers memorable melodic tones - before considering the overtone series for harmonic reflection to reference 'outside' melodic movement.

In short - the diatonic scale employs the tones of that scale (exclusively) for its harmony. The crux of the theory of Diatonic Harmony (and it's a good one that cannot be ignored when working in any single key) is that when the leading tone 'B' ('Ti') is heard - the ear 'locates' the memorable 'Fa' ('F') - the unique and unambiguous tri-tone interval - to 'create' the highly 'active' V7 (G7). This chord contains the two most 'active' tones of the diatonic key: 'Ti' and 'Fa' ('B' and 'F'). 'Ti' ('B') is heard as the 3rd of the V7 (G7) and 'Fa' ('F') is heard as the 'b7' of the chord. This sets up a reaction (cadence) where 'Fa' resolves to 'Mi' ('F' resolves to 'E') and 'Ti' resolves to 'Do' ('B' resolves to 'C'). This is the crux of traditional diatonic harmony: the V7 - I cadence.

Modal Jam Theory

Modal Jam Theory proposes that we begin to hear the notes we play as the harmony - itself... and that we begin to listen for a certain symmetry below all harmonic tones... harmonic tones that are physically struck with all the characteristics of melodic tones. In this way - Modal Jam Theory is a practice of avoiding the tri-tone interval of traditional harmony (or learning to listen to how this avoidance sounds).
When we strike a 'C' note -- we generate (create) a 'G' note in the harmony -- Modal Jam Theory proposes that we hear that 'C' note as the perfect fifth of an 'F' note. In this particular scenario - the 'creator' becomes the 'created.'
The concepts of Symmetric Modal Fusion - and - Modal Jam Theory can be simple - but it's not as simple as hearing every note we play as a perfect fifth (So). The reality is that our 'C' note will still generate an audible 'G' note -- the difference is that we will be learning to listen for the 'F' note as the generating tone... a tone that's not really there - until we 'put' it there (either - in our listening - or somewhere within our instrument -- and, ultimately, both. It is a resonance we learn to recognize in our physical body... but before that happens --- we need to learn how to produce it on our instrument and listen to it....

If you've been studying these articles of Modal Jam Theory - it should come as no surprise that the Color Of 'Fa' is at the heart of these matters. For continued reference - here (again) are the main premises of these articles:

Now - let's continue the discussion of Modal Pairs:

Modal Pairs

The Lydian/Ionian Pair

... again... we see that 'C' Lydian is the natural harmony of 'C' Ionian. The 'F#' is borrowed from the 'key of the dominant' and provides the static stability on the left side of our model of the 'Lydian Reflection.' This 'F#' creates harmonic symmetry between the two tetrachords of 'C' Ionian (specifically - it balances the leading tone - 'B' - by avoiding the tri-tone interval between 'B' and 'F').

When we hear 'Do' ('C') -- we know we're flirting with the harmony of 'C' Lydian --- and we listen for how 'Fa' (F) can recreate the true 'Fa' of Lydian ('C') as the dominant overtone of its harmony.

When the bass player thumps a hard 'Fa' (progresses to the IV Chord) - the ear finds 'So' in two places:

The Ionian/Mixolydian Pair

... we see here that 'C' Ionian is the natural harmony of 'C' Mixolydian. When we hear 'Fa' ('F') -- we know we're flirting with the harmony of 'C' Ionian --- and we listen for how 'Te' (Bb) can recreate the true 'Fa' of Ionian ('F') as the dominant overtone of its harmony.

When the bass player thumps a hard 'Te' (progresses to the bVII Chord) - the ear finds 'So' in two places (we hear music in two keys at once):

The Mixolydian/Dorian Pair

... we see here that 'C' Mixolydian is the natural harmony of 'C' Dorian. When we hear 'Te' ('Bb') -- we know we're flirting with the harmony of 'C' Mixolydian --- and we listen for how 'Me' (Eb) can recreate the true 'Fa' of Mixolydian ('Bb') as the dominant overtone of its harmony.

When the bass player thumps a hard 'Me' (progresses to the bIII Chord) - the ear finds 'So' in two places (we hear music in two keys at once):

The Dorian/Aeolian Pair

... we see here that 'C' Dorian is the natural harmony of 'C' Aeolian. When we hear 'Me' ('Eb') -- we know we're flirting with the harmony of 'C' Dorian --- and we listen for how 'Le' (Ab) can recreate the true 'Fa' of Dorian ('Eb') as the dominant overtone of its harmony.

When the bass player thumps a hard 'Le' (progresses to the bVI Chord) - the ear finds 'So' in two places (we hear music in two keys at once):

The Aeolian/Phrygian Pair

... we see here that 'C' Aeolian is the natural harmony of 'C' Phygian. When we hear 'Le' ('Ab') -- we know we're flirting with the harmony of 'C' Aeolian --- and we listen for how 'Ra' (Db) can recreate the true 'Fa' of Aeolian ('Ab') as the dominant overtone of its harmony.

When the bass player thumps a hard 'Ra' (progresses to the bII Chord) - the ear finds 'So' in two places (we hear music in two keys at once):

Now - we can see (again) the modes in the outer ring on the right side of the circle - paired - with the modes (in parentheses) that create them.

The Concept Of Three IV Chords

6/19/2016

The primary intention of Modal Jam Theory is to provide a structure of thought that affords an approach to experimenting with the sound(s) of modal triads (G C F Bb Eb Ab Db) that are 'suspended' over various 'Bass Roots.'
Modal Jam Theory suggests the employment of three unique 'harmonic shapes' for beginning this exploration.

The Harmonic IV Chord

In Diatonic Harmony - the harmony of the IV Chord is [virtually] inevitable... when the tone 'Fa' makes an appearance (on any harmonic pulse) in the melody. At the moment the IV Chord ('F') occurs -- 'Do' ('C') becomes the perfect fifth of that IV Chord -- and sounds like 'So.'
 The following harmony suggests an 'F' triad -- with the Bass Player enjoying a 'C' note. In this scenario: 'Do' ('C') sounds like 'So' -- and 'C' Mixolydian is the melodic terrain. We could refer to this 'harmonic shape' as 'The Harmonic IV Chord' -- I call it the 'Harmonic Shape of Mixolydian.'

The Melodic IV Chord

When 'Do' pivots to become 'So' -- a new 'Fa' is created that is one whole-step down from that 'Do.' This suggests that any time we hear the progression of 'Cma' -- 'Bbma' -- it sounds like 'V' - 'IV' (double pivot). But what happens when we 'keep' the triad that causes 'Do' to sound like 'So' ('F') and (simply) move the 'home root' ('C') down to 'Bb?'
The following harmony suggests an 'F' triad -- with the Bass Player enjoying a 'Bb' note. In this scenario: 'Bb' sounds like 'Fa' -- and 'Bb' Lydian is the melodic terrain. We could refer to this 'harmonic shape' as 'The Melodic IV Chord' -- I call it the 'Harmonic Shape of Lydian.'

Before we move on to the third 'IV Chord Type' -- let's take a look at what can be understood 'within' the makeup of these first two 'Harmonic Shapes:'

Where's The One Chord?

When any triad is assumed to be a 'V' Chord ('Root' sounds like 'So') -- we can use 'its' I Chord (a perfect fourth above) for melodic embellishment:

When any triad is assumed to be a 'IV' Chord ('Root' sounds like 'Fa') -- we can use 'its' I Chord (a perfect fifth above) for melodic embellishment:

The three harmonic shapes of Modal Jam Theory 'abandon' the I Chord (as a theoretical construct from the root of Ionian).

When we are focused on a 'C' Triad (as the Tonic) - we think of 'C' as being the root of the 'Harmonic Shape of Mixolydian:' 'F/C.'
When we are focused on the 'tighter' harmony of 'Cma7' (as the Tonic) - we think of 'C' as being the root of the 'Harmonic Shape of Lydian:' G/C.

The Minor IV Chord

When 'Fa' (F) pivots to become 'So' -- a new 'Fa' is created that is one whole-step down from that 'Fa.' This suggests that any time we hear the progression of 'Fma' -- 'Ebma' -- it sounds like 'V' - 'IV' (double pivot). But what happens when we 'keep' the root of 'C' -- under this new IV Chord?
The following harmony suggests an 'Eb' triad -- with the Bass Player enjoying a 'C' note. In this scenario: 'C' sounds like 'Re' -- and 'C' Dorian is the melodic terrain. We could refer to this 'harmonic shape' as 'The Minor IV Chord' -- I call it the 'Harmonic Shape of Dorian.'

Three Harmonic Shapes

Let's take a look at the three 'Harmonic Shapes' of Modal Jam Theory:

Even though we have 'declared' the 'Harmonic IV Chord' as the 'Harmonic Shape of Mixolydian' -- realize that its tones are those of the 'true 'IV' Triad of Ionian' ('F'). Of these three harmonic shapes -- the 'Harmonic Shape of Mixolydian' is the most 'flexible' - making it ideal for exploiting melody with modal triads.
The following example suggests that it's not much of a stretch to hear 'F/C' as having the melodic terrain of 'F' Mixolydian ('C' Dorian)... and to my way of thinking -- It's also not much of a stretch to think of a II-V-I progression as a II-V-IV.
Study the following II-V-I model well - with both ears and eyes. The ear's reaction to the harmonic overtone series results in a leap in mental logic. It is this 'leap' that musicians can learn to see... as well as they hear:

Modal Jam Theory

​ ​ ​ The Eternal Flat (b)

Practically Speaking:

​ The Tri-tone Substitute

​ ​ Traditional Diatonic Harmony​

​ Modal Jam Theory

Modal Pairs

​ ​ The Lydian/Ionian Pair​​

​​​ The Ionian/Mixolydian Pair

​​ ​ The Mixolydian/Dorian Pair​

​​ ​ The Dorian/Aeolian Pair​

​​ The Aeolian/Phrygian Pair

The Harmonic IV Chord

​ The Melodic IV Chord

​​ Where's The One Chord?

The Minor IV Chord

​ Three Harmonic Shapes

﻿© 2012-2024 Organa Music Group. All rights reserved. ﻿

The Eternal Flat (b)

The Tri-tone Substitute

Traditional Diatonic Harmony

Modal Jam Theory

The Lydian/Ionian Pair

The Ionian/Mixolydian Pair

The Mixolydian/Dorian Pair

The Dorian/Aeolian Pair

The Aeolian/Phrygian Pair

The Melodic IV Chord

Where's The One Chord?

Three Harmonic Shapes

© 2012-2024 Organa Music Group. All rights reserved.