Mode Textures and Symmetrical Chords

        Modes have a specific beauty in the way they are attributed. Their
texture
differs from the bright modes to the darker ones.  The Lydian mode is
readily inkey and has the nearest in conjunction its tonal harmonies
(secondal).  This sets forth a very solid, hard, and percussive
environment to it.  The Ionian mode is slightly looser in formation
(tertian) and therefore not as solid and also partially liquid (or
molten).  This continues down to the locrian, where there is a complete
loss of sensations to a non-atmosphere of a void.

6

        Just as the two newer systems Atonality and Twelve-Tone Tonality
is based rather on pitch classes sets and serial tones.  This system is
based lightly on overtones and rather on the roll-around of tonal
equitempered intervals and its symmetric relationships in the tonal
realm.

        The chords of the modes can be varied.  Even though, as it stands,
it does not appear as symmetrical, the harmonies may be rotated around to
make other possible strings of diatonic tones.  These symmetrical chords
are not to be confused with the rich supply of chords known of the tertian
harmony or other non-diatonic means: augmented triads, diminished triads,
major seventh, French augmented sixth, and whole tones scale, etc.
Symmetry is often found in music but these chords do have roots yet may
not necessarily have a pivoting quality to them as practiced in
major/minor tonality. Some of the functions in jazz, though, may be
adopted into this system which includes many more harmonies. See this
site: A Jazz
Improvisation Primer by Marc Sabatella for more information.

        In the Lydian the basic harmony is secondal and so is read
diatonically as 111-111-1.  One less integer is used because it works out
better mathematically.  So, what is meant by 1 is ascending one diatonic
tone up the scale, according to the mode that it is in.  From the tonic F,
this would read as:

        f g a b   c d e   f
         1 1 1 - 1 1 1 - 1

In Ionian using tertians would read as:

        c e g b   d f a   c
         2 2 2 - 2 2 2 - 2

And so on, through all the modes.

        One can roll around these intervals and produce more possibilities
of chords that hit all the diatonic notes.  The numbers range from zero to
six, however zero will also be written as seven.

        2 2 2   Taking only the first section of Modes 2's basic intervals
                its rotation is by changing one number up an integer and
                another integer down one:
        1 3 2   Now, taking this partial string and reflecting it,
                would render:

        1 3 2 - 2 3 1 - 2       This particular rotation does not hit all
                                the diatonic notes:
       c d g  b  d g a   c      It has repeated notes d & g and no e & f.
                                Note, however the last stretch is 2, which
                                I call the Mode Signature, it determines
                                what mode is suggested in the roll-around.

                Another possibility is:

        1 2 3   Therefore, it's reflection is:

        1 2 3 - 3 2 1 - 2
       c d f  b  e g a   c      This arrangement does work, touching all
                                diatonic notes, thereby no repeats and are
                                new chord intervals for Mode 2 (Ionian).

        Eight, in all, possible symmetrical chords are producible for each
of the modes, except Locrian.  Making 48 symmetrical
chords with the last interval back to the tonic signifying the
mode.