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Intercambio Modal Exercise

This document discusses modal interchange, where chords are borrowed between parallel major and minor modes. It provides the example of borrowing the major IV chord (FMaj7) from Ionian (C major) for use in the parallel Dorian mode (C Dorian) to avoid the tritone. Several musical examples are then provided to allow the reader to aurally compare modal interchange chords. The document concludes with an exercise asking the reader to apply modal interchange chords in short musical passages.

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luvin yanes castellares
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201 views3 pages

Intercambio Modal Exercise

This document discusses modal interchange, where chords are borrowed between parallel major and minor modes. It provides the example of borrowing the major IV chord (FMaj7) from Ionian (C major) for use in the parallel Dorian mode (C Dorian) to avoid the tritone. Several musical examples are then provided to allow the reader to aurally compare modal interchange chords. The document concludes with an exercise asking the reader to apply modal interchange chords in short musical passages.

Uploaded by

luvin yanes castellares
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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CHAPTER 2 HARMONIC CONSIDERATIONS

MODAL INTERCHANGE FROM MAJOR TO MODAL

The following chord is liberally borrowed from Ionian (major) mode for use in the parallel
Dorian mode (e.g., from C major to C Dorian):

CHORD FUNCTION EXAMPLE IN C DORIAN


IV Maj7 replaces IV7 FMaj7
(avoids tritone)

In the following example, each of the previous examples of modal interchange is written
out for aural comparison. In the first measure of each two-measure example, CMaj7 (I) is
followed by either II–7, IV, IV–, or V7 for reference. In the second measure of each
two-measure example, CMaj7 is followed by a related modal interchange chord from the
preceding list. (In the final example, the I chord is I–7 in Dorian mode.)

It is suggested that you play these examples at the piano several times in order to train your
ear to hear them.

Modal Interchange

CMaj7 D–7 CMaj7 D–7( 5) CMaj7 F6 G7 CMaj7 E Maj7

II–7 II–7( 5) IV V7 IIIMaj7


(from C natural minor) (from C natural minor)

CMaj7 F6 CMaj7 F–6 CMaj7 G7 CMaj7 G–7

IV6 IV–6 V7 V–7


(from C natural minor) (from C natural minor)

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JAZZ COMPOSITION THEORY AND PRACTICE

CMaj7 F–6 CMaj7 A Maj7 CMaj7 F–6 CMaj7 B 7

IV–6 VIMaj7 IV–6 VII7


(from C natural minor) (from C natural minor)

CMaj7 G7 CMaj7 G–7 CMaj7 F–6 CMaj7 D Maj7

V7 V–7 IV–6 IIMaj7


(from C Dorian) (from C Phrygian)

CMaj7 G7 CMaj7( 11) G7 CMaj7 FMaj7 CMaj7 B Maj7

IMaj7 IMaj7( 11) IVMaj7 VIIMaj7


(from C Lydian) (from C Mixolydian)

C–7 F7 C–7 FMaj7

IV7 IVMaj7
(from C major)

(tritone) (no tritone)

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CHAPTER 2 HARMONIC CONSIDERATIONS

EXERCISE
Use modal interchange chords at the spots marked with a box. Compare your choices to
the original.

CMaj7 A–7 D–7 G7 CMaj7 D–7 F–6

CMaj7 G–7 C7 FMaj7 F–6 B 7

E Maj7 B 7 E Maj7 A –

G–7 C7 F–7 B 7 E Maj7 G7

C Dorian F7 C Dorian F7

C–7 F7 E–7 A7 D–7 G7

CMaj7 D–7 G7 E–7 A–7 FMaj7

E–7 A–7 D–7 G7 F–6 CMaj7

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