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Modal Interchange Document

Natural minor, Phrygian, and Locrian modes can be used for modal interchange, with natural minor having the most notes in common with the parent scale. Using G natural minor as the source scale would result in a C Dorian chord scale for a IV-7 chord, with tensions 9, 11, and 13 available. When exploring modal interchange on your own, consider experimenting with chords from the 7 harmonized modes, but be careful not to conflict with the melody, establish the original key, precede and follow modal chords with diatonic chords, avoid overuse to prevent unwanted modulation, and don't create a cadence to the relative Ionian I chord if using multiple modal chords in a

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245 views

Modal Interchange Document

Natural minor, Phrygian, and Locrian modes can be used for modal interchange, with natural minor having the most notes in common with the parent scale. Using G natural minor as the source scale would result in a C Dorian chord scale for a IV-7 chord, with tensions 9, 11, and 13 available. When exploring modal interchange on your own, consider experimenting with chords from the 7 harmonized modes, but be careful not to conflict with the melody, establish the original key, precede and follow modal chords with diatonic chords, avoid overuse to prevent unwanted modulation, and don't create a cadence to the relative Ionian I chord if using multiple modal chords in a

Uploaded by

golf12345
Copyright
© © All Rights Reserved
Available Formats
Download as RTF, PDF, TXT or read online on Scribd
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Natural Minor (Aeolian) has four notes in common, Phrygian has three, and Lokrian only

has two. Our first choice would therefore be Natural Minor, but all three are theoretically
possible and would affect the chord scale and available tensions for the IV-7 chord. If we
stick to G Natural Minor as our source this will equal a C Dorian chord scale with
tensions 9, 11 and 13 available over the IV-7.

Some General Guidelines When Exploring Modal


Interchange On Your Own
This wraps up part one of my series on modal interchange. Until next time, try
experimenting with the chords from the diagram of the 7 harmonized modes. This is an
extensive list that will give you plenty of options for creating new and interesting colors
when composing.
Keep in mind that modal interchange chords can be used in different ways. They can
replace their diatonic counterpart, harmonize non-diatonic melodies, act as pivot chords
for modulation, or serve as a link between two diatonic chords.
Finally, here are several general guidelines to keep in mind when using modal
interchange:
0 Make sure that there is no conflict between the melody and the chords.
1 Make sure that the original key is clearly established.
2 Modal interchange chords should be preceded- and followed by diatonic chords.
3 Do not overuse. This could lead to an unwanted modulation or create an
ambiguous key center.
4 If using two or more modal interchange chords in row, be careful not to create a
cadence to the I chord of the relative Ionian.

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