Modal Music Working with the Dorian Scale

Modal Music Working with the Dorian Scale Suzy S. Modal music is interesting for several reasons: First, it gives us a glimpse into the past of the scale development, but also shows how basic harmonic construct has taken place and shape over the period of several centuries. The modal scale that I am going to use in this example is a Dorian scale. For those who are not familiar with modes, it is essentially a natural D minor that contains B instead of B flat, which changes the placement of whole and half steps (which indeed determines the character of any given scale). To get into the modal “mood,” first play the natural D minor scale several times, up and down. Now, play the same scale using B instead B flat. You will notice how the mood of the scale has changed and that the upper tetrachord has attained some brightness and optimism. You have to allow your ears to get used to this new tonal experience. Play the scale a few more times. If you need a little more guidance getting into the Dorian scale, there are great guides online for guitar, piano, and other instruments. Harmonizing the Scale Harmonizing the scale should be as straightforward as possible while avoiding the tritone F â€" B or its inversion. Here are several ways of harmonizing the tones of the scale using triads : D E F G A B C D Dm Em F G Am Em C Dm Dm Am Dm Em Am Em Am Dm Dm C F Em Am G C Dm Note: Chords other than triads can be used (for example, major and minor 7 th), however in order to properly understand the modal principle, the simple triads should be used at this stage. The chord B-D-F or any inversion of the same should be avoided because its presence could easily pull us into C major. The absence of tensions and resolutions found in major scales (I-IV-V-V) makes modal music softer and more abstract. The Dorian 6th (D-B) allows us to construct the very powerful two chord progression Dmâ€"G. Resolution should not follow into C because the progression Dm-G-C presents a “turnaround” or dominant cadence that confirms the key of C. Instead, it is better to aim for the minor key that will ensure the tonal ambiguity. Sometimes the tonal ambiguity can be preserved and enhanced by using only the root and the fifth instead the whole chord. Here we’re not bound by classical harmony rules, and some degree of experimentation is necessary to attain satisfactory results. However, care should be exercised in voice leading, especially in a four-part harmony layout: no unnecessary leaps and no intervals larger than octave. Tritone should be avoided for now, although it is possible to use it under certain circumstances and still retain the modal feel. The Treatment of Passing and Sustained Tones Passing tones (in relation to main chords) should create acceptable dissonances that can easily be resolved into the third or fifth of the next chord. Typical sustained tones such as sus2 and sus4 should be properly resolved into nearest consonance (usually on the way down). Lastly, remember that melody should be developed in a predetermined manner that ensures fluency and modal integrity. Peter B. teaches piano, violin, and music theory lessons in Stratford, CT. He specializes in teaching classical and jazz styles as well as advanced music theory. Peter has been teaching for over 20 years and he joined the TakeLessons team in August 2012. Learn more about Peter  here! Interested in Private Lessons? Search thousands of teachers for local and live, online lessons. Sign up for convenient, affordable private lessons today! Search for Your Teacher Photo by  Nick Koutoulas

Using Passed and Past in English with Explanations and Examples

Using Passed and Past in English with Explanations and Examples Please, PASS the salt.It is common for native and nonnative English speakers to confuse these two words. It is also common for Spanish, Portuguese, or Italian speakers to misuse the verb pass.So, this blog is to clarify the difference between past and passed as well as to demonstrate where passed might be misused by English students.Common Mistakes With PassedFirst, lets look at examples common mistakes that English students may make with passed. 1. I passed a good time over Christmas. INCORRECT! I HAD a good time over Christmas. CORRECT! 2. I like passing time with my family. INCORRECT! I like SPENDING time with my family. CORRECT! 3. We passed for the park. INCORRECT! We went for a walk in the park. CORRECT!The difference between past and passed.PAST can be an adjective, noun, adverb, and preposition but it can NEVER be a verb. If you think you want to use it as a verb in the sentence (including the participle and continuous form) you really need to use pass, passing, or passed.PA ST refers to location and time.Examples:This country has a difficult past. -(noun) referring to an earlier time.My house is just past the school. -(preposition) referring to the a location.All past students have gotten very good jobs. -(adjective) describes the time of the students.She sped past the car on her way to the hospital. -(adverb) describes the way she sped.PASS/PASSED/PASSING-is a verb. It means to move forward.Examples:The students passed the exam. (they are moving forward to the next level)Time passes so quickly. (time is continuing)Please pass me the salt. (give me the salt)She has been passing by a lot lately, I think she likes you. (coming to your house or work or location.)There are times when these two words are more likely to be confused. Often in the past participle form they are confused, for example: I like keeping a journal to look at the stages of life that I have PASSED through. (This is the past participle of the verb. Pass through is also a phrasal verb.) The children passed the puppies without noticing them. (The children were walking and went by the puppies without noticing. PASSED is the verb in the sentence)Still have questions? Ask your teacher to help you understand or take a class with us!