The following is similar to Part 3, only it focuses instead on Mode 4:
Unlike Mode 3, which can be looked at as three symmetrical trichords, it’s probably best to think of Mode 4 as two symmetrical tetrachords (group of four different pitches). Each tetrachord is primarily made up of half steps (H – H – H – min 3rd), and the starting notes of each of these tetrachords are separated by the interval of a tritone (C and F# in the example above).
Through various combinations of stepping or skipping from note to note, we can build the following triads (among others):
Mode 4 is more commonly encountered than Mode 3. When starting the transposition above on the note D and stepping downward, it is possible to outline an altered dominant or diminished quality:
I’ll explore some other possibilities in a future post.
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August 27, 2014 at the Garage
10:30 pm – 1:30 am
with Mark Cocheo (guitar), Nitzan Gavrieli (piano), Gary Wang (bass), Chris Benham (drums)
SPECIAL GUEST: The King Sweater
In response to John’s question about practical uses for Mode 3, I submit the following:
Although I’m generally not a fan of plugging licks, the truth of the matter is that licks are a very effective means of integrating new material. The lick below shows a practical use for Type 4 trichords from Mode 3, which contain a series of major triads.
A D dorian scale is used in measure 1 to set up the C major tonality. The descending Mode 3 trichords (Type 4) begin on the second note (and-of-1) of measure 2, down one trichord, up the next, etc., continuing through to beat 3 of the final measure.
Carrying the idea further, the licks listed below follow the exact same methodology, only they begin on the third and fifth scale degrees of the D minor 7 chord.
The following is an extension of my previous post. Whereas the last post looked at a series of trichords derived from Messiaen’s Mode 3, the grids below depict tetrachords derived from the same. The first grid is all possible combinations of any four pitches (pitch 1, pitch 2, pitch 3, and pitch 4). The second grid is a collection of tetrachords that occur when applying certain step/skip patterns to the Mode. In comparing these tetrachords to traditional harmony, you’ll see Major 7 chords in Type 5, Dominant 7 in Type 4, Minor 7 in Type 3, Major 6ths, Minor 6ths, and more.
Continuing on from my last post about the subject, the following matrix depicts one transposition of Messiaen’s Mode 3:
In keeping with the last post’s concept of looking at the mode as a symmetrical collection of trichords, the matrix below charts all possible arrangements of three pitches (listed here as pitch 1, pitch 2, and pitch 3):
Much in the same way that triads are made from skipping notes within major scales, the following is a series of trichords that are made up of different combinations of skipping and stepping through the mode:
These trichords are selected and named arbitrarily, with the intention of displaying some of the vertical possibilities of Mode 3. For example, Type 4 contains a series of trichords that can be looked upon as major triads. Likewise, Type 3 contains trichords that are identical to minor triads, Type 2 contains diminished triads, and Type 5 contains augmented triads. There are other trichords within each of these grids that can suggest some other tonalities, or better yet, can be used as a means of combining tonalities.
Extended tonality, polytonality . . . however you choose to define it, Mode 3 provides a systematic way of creating combinations of trichords (such as Type 4′s C major, Eb major, E major, G major, Ab major, and B major) that would not be possible within the traditional major scale-based system.