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Thread: What are various ways to create....

  1. #1

    What are various ways to create....

    What are various ways to create chord progressions that support the mode?

  2. #2
    Registered User Malcolm's Avatar
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    Feb 2004
    Deep East Texas Piney Woods
    Chord progressions call attention to the tonal center of the progression. What you want with a mode is a modal vamp, one or two chords, that will not have a V-I cadence to bring resolution - you do not want resolution you want the chords to sustain so the modal mood has time to develop. http://www.riddleworks.com/modalharm3.html Or put another way a mode should be played over a vamp that stays around long enough for the mode's mood to develop.

    In a nut shell your vamp could contain the tonic chord and one other chord that contains the characteristic note of the mode you are using.

    Lydian's characteristic note is a #4.
    Mixolydian's characteristic note is a b7.
    Dorian's characteristic note is the natural 6.
    Phrygian characteristic note is the b2.
    Locrian's characteristic note is the b5. I have found Locrian is best served over a one chord vamp of the m7b5 chord in the key being used.

    Modes need a droning effect, a chord progression does not drone.

    Notice I have not listed Ionian or Aeolian as they are:

    The major scale which gives an up beat sound, so if that is what you want just use a major scale and a normal I IV V progression.
    If you want a minor generic sad sound then use the natural minor scale with a i-iv-v progression.

    Good luck.
    Last edited by Malcolm; 07-10-2012 at 03:33 PM.

  3. #3
    Registered User Malcolm's Avatar
    Join Date
    Feb 2004
    Deep East Texas Piney Woods
    OK post # 2 talked about selecting chords for modes. Now to selecting chords for a chord progression.

    It is a balancing act between the verse movement, using the I chord for the verse at rest, IV to bring in tension to add interest then when bringing in the climax the V7 chord is called for. Then for the ending of the verse or resolution a return to the I chord could be used.

    The second part of this balancing act is to have the chord used harmonize the melody being played at this moment in the song. If the melody and the chord contain some of the same notes you get harmonization.

    So your chords should bring movement and harmonization. How many like notes are needed for harmonization? Not a lot. One per measure will get harmonization - you may want to add that note as an extension, 6, 7 or b7 or as a sus 2 or 4 chord and not disrupt the movement you have already established.

    www.musictheory.net Lessons and then go to common chord progression.


    Have fun.
    Last edited by Malcolm; 07-10-2012 at 04:03 PM.

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