scales and chords

[6StringGod]

If you harmonize a scale such as C major it could be CM7, Dm7, Em7, FM7, G7, Am7, Bm7b5

Ok so now say I want to outline the dorian mode over a progression... do I just play D dorian over the progression I play or should I actually harmonize a D dorian scale. How about if I want it in lydian? Just play F lydian or again should I harmonize the F lydian scale? by the way I am talking about for writing a song not playing solo. I am really into instrumental melodic.. so the chords would be the rhtyhm part and then the mode I'm playing over it would be the melody.

 

I hope I make sense. There are a million differents things goin on in my head and I am just confusing myself.

[Poparad]

Well, what mode you're emphasising is dependant soley upon what chord you keep returning to. While you could use triads harmonised up the scale, it's not the only option you have for modal playing.

If I were to write a progression in, say D dorian, I might use something like this:

Dm7 Em7 Dm7 Am7 Fmaj7 Dm7 Dm7

The persistance of the Dm7 chord helps to accentuate that as the tonic chord.

Also, doing a V -> I in the mode's key will work well. In D dorian that would be going from Am7 to Dm7.

[6StringGod]

Originally posted by Poparad Well, what mode you're emphasising is dependant soley upon what chord you keep returning to. While you could use triads harmonised up the scale, it's not the only option you have for modal playing. If I were to write a progression in, say D dorian, I might use something like this: Dm7 Em7 Dm7 Am7 Fmaj7 Dm7 Dm7 The persistance of the Dm7 chord helps to accentuate that as the tonic chord. Also, doing a V -> I in the mode's key will work well. In D dorian that would be going from Am7 to Dm7.

 

How did you come up with V-I works well? And thanks for the info you cleared up a lot.

[6StringGod]

Poparad?

[Poparad]

The V to I is the foundation of Western harmony. It's the strongest sounding resolution there is, and in one way or another, all progressions end up having something to do with a V to I cadence. Just play Cmajor, G7, Cmajor and your ears will tell you what I mean.


Modal music sidesteps this a bit, in that there is a lot of parallel motion, however, the V to I still works since it's job at emphasising the I is so engrained into our ears from major key music, that it works well here too.

As for the parallel thing in modal pieces, if a good progression for F lydian could be nothing more than F G, F G, etc. In the end, modality is all about what chord you end on and emphasise the most, whether by repetition, V-I, or melodically.