d9 $ midicmd "start" # s "midi"
let melody = slow 6 $ "0 2 [4 8 .] [3 4 3] 8 4 9"
d4 -- $ rev \n $ note ((scaleP scalePattern -- $ off 4 ((+ 2 ).slow 2) \n -- $ off 1 (inversion.slow 2) \n $(rotR 1.5 ) $(+ slow 8 "x" <~> generateMelodicSeed) -- $ inversion \n $ generateMelodicSeed ))#s "[pe-gtr:12,midi]" #gain 1.2 #orbit 3 #midichan 4
generateMelodicSeed = slow 4 $ linger 0.5 $ repeatCycles 3 -- $ palindrome \n $ (+ (slow (irand (4)+1) (sometimes (inversion) (run (irand (4)+1))))) $ slow ((irand 3) + 1) $ e ("x"<~>(irand 8)) 8 $ "x*16"<~>(irand 5)
Primary Chords
In 20th Century Harmony by Vincent Persichetti, in the section on modal writing, Persichetti proposes the idea of thinking about modal harmony in terms of Primary chords, secondary chords, and avoid chords.
Primary Chords
The primary chords for the mode will include one of the mode’s
[[
characteristic scale degrees]]. For example, [[Dorian
]] is distinguished by its minor 3rd, and raised 6th degree. Alternating these chords creates a sense of cadence that falls back on the home chord of the mode. For Dorian, these chords are the i, ii, and IV chords. Tensions can be freely added to these chords as long as they do not create a dissonance that pulls toward the major key.
Secondary chords
The secondary chords are the chords that do not contain the characteristic notes for the mode but also do not contain the diminished 5th (tritone) interval that belongs to the major key. They can be used to lead away from the home chord before cadencing again with one of the primary chords. For Dorian, these chords are the III, V, and VII chords. Tensions can be freely added to these chords as long as they do not create a dissonance that pulls toward the major key.
Avoid chords
Some chords contain the dissonant diminished 5th (tritone) interval that pull towards the major key. Using these chords risks re-centering to the major key and ending the sense of modality. For Dorian, the vi° should be avoided if you want to maintain the sense of Dorian-ness.
Primary Chords for the diatonic modes
The following is a list of all the primary and secondary chords for each mode with a list of the tensions that can be added without distorting the modal flavor. Locrian is omitted as it contains tritones in its primary chords plays by its own rules.
Ionian (major)
Primary
I with tensions: maj7, 6, 9, 11
IV with tensions: maj7, 6, 9, #11
V with tensions: 7, 6, 9, 11
Secondary
ii with 7, 6, 9, 11
iiiwith 7, 6, 9, 11
vi with 7, 6, 9, 11
vii° with 7, 6, 9, 11
Dorian
Primary
i with 7, 9, 11
ii with 7, 6, 11
IV with 6, 9, 11
Secondary
III with maj7, 6, 9
v with 7, 6, 9, 11 but not 6 and 9
VII with maj7, 6, 9, 11 but not 11 and maj7
Phrygian
Primary
i with 7, 6, 11
II with 7, 6, 9
vii with 7, 9, 11
Secondary
III with 6, 9, 11
vi with 7, 6, 9, 11 but not 6 and 9
VI with maj7, 6, 9, 11
Lydian
Primary
I with 7, 6, 9
II with 6, 9, 11
vii with 7, 6, 11
Secondary
iii with 7, 6, 9, 11 but not 6 and 9
V with maj7, 6, 9, 11
vi with 6, 9, 11
Mixolydian
Primary
I with 6, 9, 11
v with 7, 9, 11
VII with 7, 6, 9
Secondary
ii with 7, 6, 9, 11 but not 6 and 9
IV with maj7, 6, 9, 11
vi with 6, 9, 11
Notes mentioning this note
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