Introduction

        Tonality in music composition still makes up till today most of
what is heard.  The birth of the equitempered tuning system allowed
freedom in movement to other keys, indicating the possibilities to
generalize relationships to tones, and permitting variations and mutations
of roots compared to the fixed just intonation system.  Musical
expression of dynamics, color, and rhythm may be better enabled through
the allowance of all extension in harmony and modes. Therefore, one
may argue, has music composition become too generalized losing most forms
of rules to vague distant relations?  Should tonality or modality be
looked at as a macro-structure only?  Couldn't it also be conceived as a
micro-structure?  If we get away from the idea of triad fascination and
conceive notions in an angle of chord relationships it may be possible to
hear it as musically valid.

        Freedom in music is obviously imperative, but it should not
expound only in the degree to which there are hazzy systematic agreements.
Granted there are many semantics that the ear may adhere to, but
ineluctable are they related and wouldn't it disperse an argument of what
terms are leading in a piece.  I am not saying to abstract the artistic
approach or making the rule before the experience, but eventually resolve
the cause to deliberations and imply a system of organized formulas as a
basis from what was previously perceived and known as successful.

         Music throughout the centuries has lost the free need of modality
and became connected to the principles of the structures:  tertians,
major, minor tonality, and pseudo modality.  This is based on the strong
evidence of the overtones.  Prior to the acceptance of tertian harmony,
modes flourished the music scene, and after with the idea of modernism and
pandiatonics, modes were able to come in play again.  Musica ficta is the
first step in the right direction in getting the modality concept correct,
ie. the recognizing comparability between Ionian and Aeolian.  My question
is why only have tertian harmony, and why only use two modes when all
stretches of harmony and all modes are readily available.  Modality has in
time become the Lady Omit.  This report may also be conceived as an
attempt to tie together pandiatonics and modality as its freeing agent.

4

        All intervals are found in the 
overtones.  The chart displays that if one extends to the 17th
overtone, all stretches of intervals become available.  This proves
favorable that other harmonies are utilizable.  Modes can be more
openly used if certain harmonies are turned deliberative to specific
modes.

        Modality is important in that it exhibits a certain feel to the
musical themes, there are shifts in energies that need to become
accustomed to, yet ample relations that an audience could delve into. 5

        Modes have a different arrangement by chromatics.

        The Seven modes arranged from brightest to darkest:

                        Mode Nomenclature       Half-Step
                                                Increments

        Mode 1          Lydian                  2221221
        Mode 2          Ionian (major)          2212221
        Mode 3          Mixolydian              2212212
        Mode 4          Dorian                  2122212
        Mode 5          Aeolian (~minor)        2122122
        Mode 6          Phrygian                1222122
        Mode 7          Locrian                 1221222

        What is interesting to me is that if one observes the Ionian mode
(major) and the Aeolian Mode (~minor) and compares it to the harmonies
applicable to the major mode being tertian and an inverse tertian, namely
sextal harmony, given to the Aeolian mode in its relative position - it
becomes possible to realize that the ascending in the chords maintain the
same tones only reversed when using the appropriate key that holds the
established scale.

Ionian
        C  E  G  B  D  F  A
Aeolian
        A  F  D  B  G  E  C

        Wouldn't it be more cohesive to conceive that maybe the manner
inwhich the minor key has been adapted is more accurate than the major if
in the upward motion of the melodic line is directly used Ionian and in
the downward motion Aeolian? Moreover, even while doing so, adjust the
keys to keep the same tones for concordance purposes.  Furthermore, I
would like to ask, is it really the harmonic series that is the reasoning
to the inkeyness of the modes Lydian, Ionian, and Mixolydian? - or is it
the sharps in the mode that determine the inkeyness.  Look at Locrian,
this mode is so dark one needs to be continually reminded what key is it -
with this it is plausible to suppose that a perpetual reminder using octal
harmony may be the remedy.  Now each mode lighter (sharper) would use a
harmony less expansive due to its inkeyness.  Jazz composers and
musicians have used mixolydian and quatral harmony regularly.  So now, if
we were to associate the same reasoning to the other modes, Phrygian's
harmony, being one less in dark temperament, would have Septal Harmony:

        Modes           Harmonies

        Lydian          Secondal
        Ionian          Tertian
        Mixolydian      Quatral
        Dorian          Quintal
        Aeolian         Sextal
        Phrygian        Septal
        Locrian         Octal

Further evidence can be noted that the Ionian mode (major) uses its
natural chord formation tertians.

        Now, to have a thorough system, it becomes necessary to have all
the diatonic notes be sounded.  This is functional in each of the
harmonies.  For example:  (using C as tonic)

                Secondal        C  D  E  F# G  A  B
                Tertian         C  E  G  B  D  F  A     (# & b's are
                Quatral         C  F  Bb E  A  D  G     incurred by the
                Quintal         C  G  D  A  Eb Bb F     modes they refer.)
                Sextal          C  Ab F  D  Bb G  Eb
                Septal          C  Bb Ab G  F  Eb Db
                Octal           C  C  C  C  C  C  C

The only exception is, of course, the Octal Harmony.  Nevertheless, notice
the vertical assessment:  each total to the tonic C.  Locrian as Octal
Harmony is the mode that will show to have this only harmony (well,
almost, more on this later.)