Mode Swings

        There seems to be an interesting play with chords and the manner
inwhich they may function.  The use of spirals has often been adapted in
tonal music, such as fifths, fourths and thirds.  Tersian harmony is
applied to the Ionian mode or Major: C E G B D F A - C.  These tones are
in keeping with the scale.  Spirals by fifths is the most commonly
accepted cycling where it is understood the array of the bright to dark
modes.  Even if some may not adhere to this, everyone should agree that
the Locrian mode is the `Oddball' mode.  What if different harmonies are
adopted to each of the modes?  If we take all the spirals from 2nds to
7ths - with Locrian as common ground - we may result with the following
charts: Spirals

        All the cycles touch all the diatonic tones, that's obvious since
there is an odd number.

        It can be noted that the modes pair off:

Ionian (major)          Lydian          Mixolydian
Aeolian (minor)         Phrygian        Dorian

        Ionian and Aeolian have been working together for the longest
time, especially when using minor - where, I believe, in the upward
motion should be used Ionian and in the downward motion should be
Aeolian.  Therefore Lydian & Phrygian and Mixolydian and Dorian
should work in coherence.

        As I view it, the keys of modes become prominent in determining
the effect.  What has been established was major or minor tonality, but
this is essentially Ionian and Aeolian.  These two modes seem to go
hand-in-hand; I believe that Lydian & Phrygian and Mixolydian & Dorian
work together well.  So, what I mean by hand-in-hand is that, if the modes
are placed in their relative location whereby the same seven tones are
established, Lydian being in the key of F and Phrygian in E - the scale of
the Lydian mode becomes the opposite of the Phrygian by vectors and tones
played.  This is also true to the other two mode pairs. 

        Now, it is possible to utilize these modes interchangeably, much
like minor has been used, only applying directly Ionian in one segment and
Aeolian in another.  The brightness and darkness of each paired modes
counterbalances proportionately.  Why do they balance out? - it is because
of the differentiality of flats or sharps.  But as much as the affects of
the modes - that is determined by the composer and music maker.

9.1

        What is to be considered consonance and dissonance in modality,
since they all start at different points and each have a distinct
character?  Modality, since there are seven starting points, should be
considered, as far as changing keys, when one returns at the end of a
piece, to have a home scale (`scalic') and not a home tone (tonic).  One
may conceive notions in the angle of inkey-ness of the modes, Lydian being
the most and Locrian being least.

        Music often has a manner to which a portion of a melodic theme
responds to the other(s).  One may exercise splicing these sections to
adapt modal changes.  Now, there are certain modes that relate well
together:

Mode Swing Table:

Mode 1 and Mode 6
Mode 2 and Mode 5
Mode 3 and Mode 4

These modes are inversion, mirrors, or may be considered as a
non-simultaneous compound.  They also maintain the same intervallic
tensions and have tonal centers. The first pair gives an effect of
extremity, the second is moderate, and the third minimal in contrasts.
Great closeness or distance can be affected in the first pair and less so
in the others.  Even as these paired modes reflect, as in the first one,
great brightness and darkness, on the key board they are positioned
distantly by ascending order, when moving from the bright to the dark.
Mode 1 (Lydian) is F and Mode 6 (Phrygian) is E.  The second being
moderate where Mode 2 (Ionian)  is C and and Mode 6 (Aeolian) is A.  And
lastly Mode 3 (Mixolydian) is G and Mode 4 (Dorian) is D.  An inverse
effects occurs when moving from the darker to the lighter.  You will
notice, when moving from Mode 1 down through to Mode 7 the lengths of the
placements of the modes become lesser by pattern when ascending in order.

        Modes           Position on scale

        1 - 6           F       E
        2 - 5           C       A
        3 - 4           G       D
        4 - 3           D       G
        5 - 2           A       C
        6 - 1           E       F

        It is interesting to perceive also that at the end point where
there is the mode signature, it is the note of its mode swing partner's
root tone.  For example notice the commonness when using 4b's:

Mode 1                             Mode 1
Db Eb F  G  Ab Bb C                Db Eb F  G  Ab Bb C
                  C  Bb Ab G  F Eb Db                etc.
                  Mode 6

Mode 2
Ab C  Eb G  Bb Db F
                  F  Db Bb G  Eb C  Ab
                  Mode 5

Mode 3
Eb Ab Db G  C  F  Bb
                  Bb F  C  G  Db Ab Eb
                  Mode 4

10

        Again, it is possible to section the modes into other modes to
create more combinations: 

                1:      0+2     6+3     5+4
                2:      1+3     0+4     6+5
                3:      2+4     1+5     0+6
                4:      3+5     2+6     1+0
                5:      4+6     3+0     2+1
                6:      5+0     4+1     3+2
                0:      6+1     5+2     4+3

So that now Mode 5 and 2 relation may be split by further sectioning.  For
example 1, 2 and 4.  (The method will be explained in a little bit.)
However, the Locrain mode, may for the most part be avoided by splitting
it.