Chord Sequences, Mode Key Chart, and Key Changes

Stephanie-Felicite Du Crest De Saint-Aubin Genlis, Comtesse, de

        Can any one be a connoisseur in music, without knowledge of the
science?  No; it is absolutely impossible.

        - - "Music," Tales of the Castle c. 1793

        Chords sequences in the basic Ionian (major) indicates true to
the overtones a 4-0 [5-1] sequence as conclusive cadence, but this does
not hold true to all intervals orders and their modes. Modes 1's
(Lydian) conclusive sequence is the tone after the first interval, modes
2's (Ionian) is the second, mode 3's (Mixolydian) is the third, mode 4's
(Dorian) is the fourth, mode 5's (Aeolian) is the fifth, mode 6's
(Phrygian) is the sixth, and mode 7's (Locrian) is back to the tonic.

                                          |
        Lydian                         C  D  E  F# G  A  B
        Phyrian         C  Bb Ab G  F  Eb D
                                          |
        Ionian                      C  E  G  B  D  F  A
        Aeolian            C  Ab F  D  Bb G  Eb
                                          |
        Mixolydian               C  F  Bb E  A  D  G
        Dorian                C  G  D  A  Eb Bb F
                                          |

        Ionian and Aeolian (Major & ~Minor) are the two that expresses 4-0
(V-I) as strong sequence, which is probably the explanation why they were
the only two modes accepted.

        With modes, I think there are greater interplays if one looks at
it as a whole - a three-dimensional aspect of the scheme.

A supposition of seven chord
sequences may be exercised.  The notes and their location determine
the effect in all possible chords.  In mode 3's basic intervals they are
the 3rd and 1st tones, 2nd with 2nd, 7th with 4th, and 6th with 5th
functioning together in coherence.  The following will continually be the
sequences
of strength for the Basic chords.

        More than just these paired sequences is capable to be employed.
Taking from the other modes arrays one is able to expand.  In the example:
(Mode 2's) The A to B sequence, causes a lift sensation.  If, however, a
third chord is required in a musical piece, one may split the first or
second part of the sequence (B, the second part, in this case), which is
in this system 6.  Refer to that array, and choose one of the pairs,
making a three chord sequence.  So, now instead of just 5 and 6, we may
also have 5, 3, 2, etc.  This can be continued on to a predetermined
length of up to 6.  More on this later.

        The Key
Mode Chart manifest the distinctions between the keys and the modes.
A melody that is played with the corresponding #'s or b's determines key
and mode.

        What is actually the determining factor for key changes in
relationship to the original key.  In other words, what keys are closer in
association to the initial key of a piece.  It is know that moving to a
key a fifth or a forth away is most often used, possibly because of the
harmonic series or maybe they are only one tone different from the
original scale.  There is a third suggestive implication to assume, and
that is the tones that are most harmonic to the tonic. 

6.1

        There are relations in Key
Changes in that having the same notes touched gives to no tensions
being felt.  Changing key a fifth or a fourth defines a very slight
tension: 5/6 concordance to 1/6 discordance.  And where changing keys a
minor third or a sixth, there is a medium tension: 3/6 concordance to 3/6
discordance.  A diminished fifth causes the most tension: 0/6 concordance
to 6/6 discordance.

        By summing up the availed tones per mode, the following table is
derived:

       +3      +2      +1       0      -1      -2      -3

M1      1       1       1       1       1       1       1
M2      1       2       1       1       1       1       -
M3      1       2       1       1       2       -       -
M4      1       2       -       2       1       1       -
M5      1       2       1       1       2       -       -
M6      1       2       1       1       1       1       -
M7      1       1       1       1       1       1       1

        It would appear that Mixolydian and Aeolian would produce the
shiniest effect when considering the chords in relationship to the tonic.
But most will still hear that Lydian is most in-key, bright or solid, and
if it can be felt, there must be a reasoning behind it.  At this point, my
best answer refering to line is that the Lydian mode has the greatest
amount of sharps.

        All the modes have an opposite scalar degree by their vectors.
Dorian is its own opposite - 2122212. Mixolydian's is Aeolian - 2212212,
Ionian's is Phrygian - 2212221, and Lydian's is Locrian - 2221221.  This
is probably not good theory, since this is being measured from the same
starting point or tonic.  It isn't so much the implication that the scales
have their counterparts by vectors, but instead the respect of keeping a
set of tones that belong to a home scale.

        When composing in this system, both mode and key changes become
prominent. 78 It is
imperative to realize that permutation to an accepted diatonic set of
seven tones will cause characteristic modifications.  To with, unless it
is intended a distinction, when applying a change in modes it should be
placed where the notes remain the same.