Author Topic: The Basic Modes  (Read 2399 times)

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Patrick O'Keefe

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Re: The Basic Modes
« Reply #15 on: June 17, 2017, 12:56:00 PM »
One of the really good things about exercises like this is seeing how others treat the material.

Jay, I really liked your Lydian piece.  I liked the melodic material in the Phrygian piece but I didn't navigate the modulations although they felt smoother as I listened additional times.   (I sometimes find modal modulations tough so I'm probably speaking mostly to myself there.) Of course, in the real world we don't have to stay "in mode" and can use non-modal notes to ease modulations.

Terence, I found your piece interesting because I don't hear the brightness I associate with Lydian.   I also love the rhythm. I've done recreational Balkan (Eastern European) folk dancing for about 40 years so feel at home in many asymmetrical meters.  I was surprised to not be able to think of any Balkan dance with a slow-slow-quick-quick rhythm, but I do know of a  western European dance (which I cannot do) using that rhythm: the German Zweifacher Alte Kath.  Zweifachers mixes waltz and pivot.  Zweifacher Alte Kath is waltz-waltz-pivot-pivot (123-123-12-12).  Your piece doesn't sound anything like a Zweifacher except for the rhythm.
 

Tritonus

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Re: The Basic Modes
« Reply #16 on: June 17, 2017, 02:15:44 PM »

Thanks for the exercise, I was looking for something to work on for the week.

My fault for not making it piano.  I spent most of the week working with Finale + VSL and got through the strings somewhat.
Tried the Lydian mode and focused on the #4.  I heard others using the 9th chord to help bring out the Lydian.


http://supertonictriad.com/sites/default/files/2017-06/Lydian.pdf
http://supertonictriad.com/sites/default/files/2017-06/Lydian2.mp3

I heard the one of the Phyrigan 's piece and just hearing the tonal difference really sticks out.  Liked it.

tbmartin

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Re: The Basic Modes
« Reply #17 on: June 17, 2017, 02:21:33 PM »
...
Terence, I found your piece interesting because I don't hear the brightness I associate with Lydian.  ....

My original sketch is in a major key and I simply transposed it to Lydian to see what it sounded like. If I had started with Lydian in mind, I would probably have tried to emphasize the #4. I might take another run at it, modifying the melody and chords to give it more of the Lydian brightness.

Thanks for the comments on the time. My plan right now is to start this section in 10/8 and then go to 11/8, 12/8, and finally 14/8 (which will probably act more like 7/8 x 2). That progression of numbers: 10, 11, 12, 14 will have meaning to the intended audience.
Terence Martin

Tools: Finale 2003 on Windows XP
Day job: Actuary
Composing/Arranging output: mostly sax quartets
http://bit.ly/TerenceMartinSaxArranger
Goal: Improve quantity and quality of concert band compositions.
Play: Saxophones (all, but tenor primary), Bass Clarinet, Piano (poorly)

sandalwood

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Re: The Basic Modes
« Reply #18 on: June 18, 2017, 01:33:15 PM »
A very "free-style" modal exercise, a snippet.
« Last Edit: June 18, 2017, 02:29:51 PM by sandalwood »