Shifting Modes

        The chords in this system play an essential role in realizing what
key and mode one is in.

More precisely explaining modes and keys:  11

        My hope is that by using modality it may be understood the there
isn't just merely one tonal center but seven centers, and what is desired
to return to is not an established home tone but to an established home
scale.

        If a melody is written and the chords do not keep up with the
tune, ambiguity may arise.  For a melody shall by (almost?) anything, it
therefore will not be assumed that the ear should recognize the melody in
other than the mode observed by the chord or mode swings. Sometimes
ambiguity is preferred to peek interest in a piece. See this site for loads of
thought provoking views.

        As mentioned earlier, unless specifically intended, when changing
modes the new mode's melody should be placed where it hits the same
established tones.  That is to say, if one is writing in e Phrygian, then
moves to Lydian - he or she would change keys to f.

                Keys    B  C  D  E  F  G  A
                Modes   7  2  4  6  1  3  5

        The table displays were to move when shifting modes.  If, per
chance, one is in c mixolydian, replace above 3 with c and continue across
with the mixolydian scale.  Now, if it is deemed right to alter the
established tones, so that it is less than absolute concordance, one from
that point could find that key in the Key Changes Chart.

        There are various different ways that harmonies can be appointed
to the modes.  This would mean that Locrian is not the only mode which may
act as a focal point.  By this I mean that the harmony of octals may be
applied to other modes.  Normally the fix is -

                        M:7 is octal (0)

                        M:6 is septal (6)
                        M:5 is sextal (5)
                        M:4 is quintal (4)
                        M:3 is quartal (3)
                        M:2 is terian (2)
                        M:1 is secondal (1)

Thereby having  M:4 and M:3
                M:5 and M:2
                M:6 and M:1
                                and the center being
                    M:7

        Now it is possible to have other focal points, for example:
Mixolydian -

                M:7 and M:1
                M:6 and M:2
                M:5 and M:3
                    M:4

The harmonies applied to these arrangements are also altered.  In this
example M:4 has (0) - M:5 has (1) & M:3 has (6), and M:6 has (2) & M:2
has (5), and M:7 has (3) & M:1 has (4).

        Cycles should not be measure by semitones but in-keeping with the
modes.

        So now if we view the accessment we derive the following: (Using
one example where M:4 as the focal mode.)

                F  C  G  D  A  E  B     Lydian by Fifths

                B  E  A  D  G  C  F     Locrian by Fourths

        They maintain all the aspects as when Locrian was the focal mode.
These altered focals are to be used when key changes takes place from off
the original scale.

        Accordance      Key changes to          Focal mode

        +3              Tonic                   M:7
        +2              4th/5th                 M:6
        +1              Maj 3rd/Aug 5th         M:5
         0              Min 3rd/6th             M:4
        -1              2nd/Min 7th             M:3
        -2              Min 2nd/7th             M:2
        -3              Dim 5th                 M:1

Here is the Focal
Modes table.

        Harmonies are reversable to its related mode.

        The Mode Signatures from the chords determine the textures.