Writing Modal Progressions

Hey I Thought Modal Harmony Is Static?

In fact, it is. The key to writing good modal harmony is to actually not have it
progress at all.
We simply need to create a static harmonic structure that supports the mode
that we want to use. There
are a few ways people do this. One way is to find in each mode the notes that
kind of make up its
personality. For example, if you check out the formula for a Lydian mode in the
Understanding
Modes lesson available for free at www.GuitarLessons365.com , you will see
that it is basically a
major scale with the 4th scale degree raised a half-step. So obviously the #4
scale degree is crucial to
creating a Lydian type sound. So a lot of players when wanting to create a
Lydian type harmony to solo
over will use a major type chord with a #11th in it for the harmony. For those who
don't know about
chord extensions. The #4th scale degree is the same as the #11th just an octave
lower. We will have a
lesson on extensions soon so I won't go into it now. But basically that chord
actually sounds like the
Lydian mode and it sounds great underneath Lydian mode scales.
But the method I will show you today doesn't involve finding all the tones that
are essential to a
particular modes sound. It will actually give you all of those and more by simply
doing the same thing
for each progression. The reason you want to use these larger chord forms to
solo over is that they
actually sound like the mode that you are trying to learn to hear and use. So if
you have a harmony that
sounds like the mode you are using, you can get much better at learning which
notes to lean on so to
speak to really give the mode it's intended sound. Eventually you will just need
a one note foundation
and you will be able to bring the character of whatever mode you want over it
out, without needing a
full harmony. Kinda like I did in the visualizing modes lesson with just a low E
note underneath me.
But for now, it is best to hear these harmonies while you are soloing so you can
really get the character
of each mode down.
Pre-requisites OOOHH NOOO!!
Don't worry I want make you do to much reviewing, but if you can make sure
that you are
familiar with your major and minor triad inversions that would make you
absolutely fly through this
method. I have a full series on learning all of your triad inversions available for
FREE at
www.GuitarLessons365.com, so it would be best if you could get those down
before doing the lesson.
You will thank yourself later, because we will be using those major and minor
triad inversions almost
exclusively in the video lesson for this tutorial. You should also review your
writing major key
progressions lesson, because your knowledge of the chords of a major key is
also very essential. OK,
lets get down to the good stuff!!
Finding Your Parent Key
The most critical thing in writing a modal progression is to be able to figure out
your parent key.
We covered this in the Understanding Modes lesson, but as a quick review,
you need to understand
that G Dorian is in the Key of F Major and A Lydian is in the Key of E Major. So
that is definitely the
first step in this process, you have to be able to confidently figure out your
parent key for ANY mode
that you want to play.
Locate The Pillars Of The Key
The foundation of all western music can be broken down into one chord
progression. That chord
progression is I, IV, V. If you can recall from your major key chord progression
studies, those are the
major chords that are found in every major key. The I chord is always major, the
IV chord is always
major and the V chord is always major. In modern music theory courses we
refer to those 3 chords as
the pillars of a key or primary chords if you will. The reason is that the I chord is
obviously the tonic of
the key, but in order to really establish a tonality or key you have to have a
progression from IV to V to
I or V7 to I. You can see that the only place in a major key where there are two
major chords just a
whole-step apart is the IV and V. So in modern ear training classes they try to
get you to be able to
recognize when you hear those two major chord types side by side like that and
it will completely give
away the key. But lets not get to far ahead of ourselves yet. There will be plenty
of eartraining studies
on the site in the near future. But for now I just want you to understand the
importance of the I IV V
chords. In fact, in modern music theory they are considered the primary triads,
and all other chords in
the key are considered secondary triads. And when we use those secondary
triads they are just
considered substitutions of the I IV V chords.
Laying The Foundation
We will be using our IV V chords to create a modal progression, but like we said
before, we still
need the overall harmony to remain static. We do this by simply keeping the
root of the mode you are
wanting to play, as the root of the harmony underneath. So if your are playing A
Lydian, you need to
have a constant A going as the root of the harmony at all times. This will be
easy to see as we build our
first progression. So lets get started.
Lets Build A House!!
The first step in building any house, besides the rediculous permits and
everything, is to build
the foundation. That will be easy enough for us. Simply put, the foundation to
our modal progression,
will always be the same note as the root of the mode. So if we wanted to build a
nice foundation for A
Lydian, we will use the note A as our foundation for the modal progression.
Put Up The Pillars!!
The second step in building our modal progression is to locate the right pillars
so the house
doesn't fall down taking your prized Eric Johnson Signature Model Strat with it.
UHHGHH, it just
gives me the shivers. Anyway, so we need some good pillars for our A Lydian
mode. If you can recall
from before, we now need to locate the Parent Major Key for A Lydian. So
knowing that Lydian is the
4th mode of the parent key all we have to do is count backwards to one. So we
have A/4th , G/3rd , F/2nd
and E/1st . So by counting backward we got down to our parent key found at the
one. But you have to
make sure you have the right E key. We just counted backwards with no
regards for the letter names
actually being correct, we just wanted to get down to E. But now you need to
make sure that they
original A that we started from is actually found in the Key of E major. It is so we
are fine, but if we
actaully wanted Ab Lydian instead, then counted down to E, we will find that Ab
isn't in the Key of E.
We would use the other E key instead of Eb in that situation. This will all get
much easier the more you
work with keys. The Understanding Keys lesson available from
www.GuitarLessons365.com will
help out a lot in that regard.
So now that we know the Parent Key of A Lydian is E Major, we need to quickly
figure out
what the IV and V chords are for that key. Hopefully if you have been through
the major key chord
progressions studies on the main site, you will know that the IV and V chords in
the Key of E Major are
A major and B Major respectively. We are now going to use these two chords in
our progression.
Putting It All Together
After we have our foundation and pillars, we are ready to put them together to
create our modal
progression. All we have to do is play a chord progression back and forth
between A major and B major
while constantly keeping an A in the bass even under the B major chord and we
will have a modal
progression that sounds like A Lydian. You would actually write this chord
progression on paper like
this.
A Lydian Modal Progression
A to B/A back and forth
This means A major to B Major with A in the bass.
You should now try this in as many modes and keys as you can. Here are a few
modal
progressions for different modes and keys, lets see if you can figure out how I
created them all.
A Dorian
C/A to D/A back and forth
B Phrygian
C/B to D/B back and forth
C Mixolydian
Bb/C to C back and forth
B Aeolian
G/B to A/B back and forth
B Locrian
F/B to G/B back and forth
Add Some Spice To You New Progressions!!
Yeah I know, using the same IV V progressions over the root of the mode can
get a little boring.
So we can now spice it up a bit by using some secondary triads. The secondary
triad for the IV chord is
the ii minor chord and the secondary triad for the V chord is either the iii minor
chord or vii dimished
chord. You can now experiment and replace the IV or V chords with their
seconday triads to
occasionaly give the modal progression a little less predictability while at the
same time retaining the
proper modal static harmony. Just make sure that you always keep the root of
the mode in the bass of
the chords no matter what triads you use on top. That will make everything
static. Be sure to watch the
video lesson on modal chord progressions, so you can see how I will use those
major and minor triad
inversions we talked about earlier together with the root of the mode, to create
modal progressions on
the guitar that you can record and then go back and improvise or compose
over. :) Until next time...
Carl Brown
Los Angeles, CA