#1
is sort of like doing a puzzle. Finding 1 or 2 chords other than the first chord that both fits well AND contains the modal note.

So far I've found these:
Dorian: ii-V7
Phrygian: iii, IV, V7, ii6 or iii-IV
Aeolian: vi, V7, IV, iii?

Any suggestions on some more, as in do more of this puzzle for me?
Personally I think the only concrete one up there is the dorian one.
#2
Quote by demonofthenight
is sort of like doing a puzzle. Finding 1 or 2 chords other than the first chord that both fits well AND contains the modal note.

So far I've found these:
Dorian: ii-V7
Phrygian: iii, IV, V7, ii6 or iii-IV
Aeolian: vi, V7, IV, iii?

Any suggestions on some more, as in do more of this puzzle for me?
Personally I think the only concrete one up there is the dorian one.



I'm not entirely sure what you're trying to do, could you elaborate for me please

EDIT: Nevermind, I get it.
Last edited by michal23 at Jun 1, 2008,
#3
Major: I-IV-V7; V7-I; ii-V7-I
Dorian: i-ii; i - IV7
Phrygian: i-II; (really, II-i, or II-v, any-quality)
Lydian: I-II7
Mixo: VII-I7; vi-VII-I7
Aeolian: i-iv-v (iv any quality); VI-VII7-i
Locrian: i(dim)
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#4
Mixo: I IV VII

yeah it's a I IV V started on the V, but it beats me why E A D wants to go back to E.

Also, I don't think it's necessary that it has the modal note. It could be left ambiguous
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#5
^BGC reckons there needs to be a modal note
Quote by Corwinoid
Major: I-IV-V7; V7-I; ii-V7-I
Dorian: i-ii; i - IV7
Phrygian: i-II; (really, II-i, or II-v, any-quality)
Lydian: I-II7
Mixo: VII-I7; vi-VII-I7
Aeolian: i-iv-v (iv any quality); VI-VII7-i
Locrian: i(dim)
thanks
Also, I wrote my progressions as if they were normal diatonic progressions (as in I would be the first chord of the major scale), is that wrong?
#6
I is always the tonic, regardless of the mode... so, yeah. It's not a big deal though, as long as it's understandable, and in this case it is.
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#7
Quote by Corwinoid

Phrygian: i-II; (really, II-i, or II-v, any-quality)

The II is meant to be a bII is it not?
Phrygian - i-bII etc

A good phrygian dominant one is - I-bII
That highlights all the notes of phrygian dominant except from the 7th, so you could also use it for the double harmonic major (1 b2 3 4 5 b6 7)
#8
Yeah, I omitted the alterations, since they should be obvious.
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#10
Quote by one vision
You just construct them using the scale degrees and the notes of the scale don't you?


Yes, but most most modes are harmonically unstable and have a tendency to want to resolve to the relative major/minor.
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#11
I really like this progression in phrygian: i - bII - bVI - bvii

The cadence isn't too strong, but I like it when played in power chords.
#12
Quote by Archeo Avis
Yes, but most most modes are harmonically unstable and have a tendency to want to resolve to the relative major/minor.

True. I don't have a deep knowledge of modes and their progressions, but I noticed that they're very different from regular major/minors. For example, when I play Phrygian dominant, it feels like it wants to resolve to the subdominant minor chord. Maybe I'm not doing it right.
#13
^ That sounds like you're doing it wrong... spanish phrygian is special.
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