The Concept Of Modal Pairs

     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.'
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​     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?

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

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​      Traditional Diatonic Harmony
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     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.
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​     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....   

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

     




                 Modal Pairs

      


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​          The Lydian/Ionian Pair
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​     ... 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').
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     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:

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          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.
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     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):
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​            The Mixolydian/Dorian Pair
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​     ... 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.

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​     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):
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​          The Dorian/Aeolian Pair
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        ... 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. 

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     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):
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         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.

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     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):
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     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

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