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Modal Music Composition (Expanded Edition) by Stephen M. Cormier	Purchase Money-back guarantee
Modal Music Composition (Expanded Edition) 370 pages, 14 Tables, 97 numbered music examples, Audio CD included. ISBN 0-9754318-2-X	$35 Special Offer Details
Table of Contents  Audio CD

Beethoven and Miles Davis – not much connection, one would say, except that both had a serious interest in modal music at the height of their careers and used it in some of their finest pieces.

In fact, modal passages were used extensively by noted composers throughout the 19th and 20th centuries. Surprisingly, this persistent interest by composers has not generated much in-depth coverage of modal music in instructional texts. This book, therefore, fills the need by composers and songwriters alike for a comprehensive description and analysis of the melodic and harmonic characteristics of the modal scales and their interrelations. Numerous examples and tables provide important information in easy-to-use form. Only a modest knowledge of traditional (tonal) harmony and forms is necessary. No knowledge of modal music is assumed.

Although composers have often used modal passages, it is acknowledged that the modal scales have less harmonic stability than the still predominant major-minor scales. To remedy this, Dr. Cormier has taken a fresh look at the modal scales and developed a systematic set of procedures that can maintain modal stability while retaining their special character. Three extended study compositions illustrate the procedures more vividly than standard examples. Some cognitive processes relevant to musical form and comprehension are discussed as well. Thus, Modal  MusicComposition serves as a reference work unlikely to be superseded and also as a source of fresh ideas for composers and songwriters looking to use modal music as a true alternative to the tonal system. The 3 study compositions and examples are recorded on the included audio CD.

Special Offer for First Edition Purchasers   

As a purchaser of the first edition of  Modal Music Composition,  Inman & Artz thanks you for your early support. To show our appreciation, we offer purchasers a $25 credit towards the purchase price of the Expanded Edition. Contact us by email, fax or post and simply provide a copy of the sales receipt or other evidence of purchase.  

Modal Music Composition
(Expanded Edition)
Table of Contents

• Table of Contents
• Introductory Edition
• Preface
• About the Author 
• About the Audio CD

Introduction - Page 1

The Modal Scales - 9

• The Diatonic Modes 
• Melodic Characteristics Distinguishing Each Mode
• Modal Melody Example           
• Modal Melodic Practices 
• Harmonic Implications of the Modal Scales
• The Keys and Their Modes         
• Modern Symmetric Modes 
• Harmonic Progressions of the Diatonic Modes

The Relation of Modal to Tonal Scales    - 55

• Major-Minor Tonality Properties
• Comparison with Modality

A Modern Modal System  - 65

• Relation of Major and Minor Modes
• Parenthetic Harmonies
• Defining and Maintaining the Mode Harmonically           
• Dyadic Relationships Between Modes 
• Overview of Modal Scalar Dyad Characteristics 

Stylistic and Cognitive Considerations for the Modal System  - 112

• Harmonic Stylistic Issues
• Melodic Organization                            
• Rhythmic Considerations in the Modal System
• General Issues from a Cognitive Perspective

The Mixolydian-Phrygian Dyad  - 175

• Melodic Character - 175
• Cadential Charater - 176
• Mixolydian-Phrygian Parenthetic Harmonies - 177
• Modulation in the Mixolydian-Phrygian Dyad - 180

The Lydian - Dorian Dyad - 203

• Melodic Character - 203
• Cadential Charater - 204
• Lydian-Dorian Parenthetic Harmonies - 205
• Modulation in the Lydian-Dorian Dyad - 208

The Ionian - Aeolian Dyad - 231

• Melodic Character - 231
• Cadential Charater - 231
• Ionian-Aeolian Parenthetic Harmonies - 231
• Modulation in the Ionian-Aeolian Dyad - 234

References - 257

Appendix 1  Study Composition M-P: Analysis - 259

Appendix 1-A  Study Composition M-P: Score - 272

Appendix 2  Study Composition L-D: Analysis - 295

Appendix 2-A  Study Composition L-D: Score - 306

Appendix 3  Study Composition I-A: Analysis - 331 

Appendix 3-A  Study Composition I-A: Score - 340

Appendix 4  Root Position Triad Progressions - 359

Index - 367

 

Audio CD   

Modal Music Composition

About the Audio CD

Track Listing

1. [1]  Ex. 1:  Modal Scales
   a. Ionian  b. Dorian   c. Phrygian   d. Lydian   e. Mixolydian f. Aeolian   g. Locrian   h. Plagal Ionian
2. [2]  Ex. 2:  Modal Melody Example
   a. Ionian   b. Dorian   c. Phrygian   d. Lydian   e. Mixolydian f. Aeolian   g. Locrian
3. [3]  Ex. 3:  Rewritten Dorian Melody
   a. Straight Transposition   b. Rewritten for Dorian
4. [4]  Ex. 4: Rewritten Phrygian Melody
   a. Straight Transposition   b. Rewritten for Phrygian
5. [5]  Ex. 5:  Chromatic Scale
6. [6]  Ex. 6:  The 2 Whole Tone Scales
   a. Scale 1   b. Scale 2
7. [7]  Ex. 7:  The 3 Octatonic Scales
   a. Scale 1   b. Scale 2   c. Scale 3
8. [8]  Ex. 8:  C Ionian Root Position Triad Progressions to Other Triads and Seventh Chords
   a. C to D triads   b. C to E   c. C to F   d. C to G   e. C to A   f. C to B
9. [9]  Ex. 9:  Ionian and Aeolian Triads
   a. Ionian   b. Aeolian
10. [10]  Ex. 10:  Lydian and Dorian Triads
    a. Lydian            b. Dorian
11. [11]  Ex. 11:  Mixolydian and Phrygian Triads
    a. Mixolydian   b. Phrygian
12. [12]  Ex. 12:  Locrian Triads and False Major Triads
    a. Locrian   b. D Mixolydian
13. [13]  Ex. 13:  Dominant Ionian Progressions
14. [14]  Ex. 14:  Secondary Dominant Ionian Progressions
15. [15]  Ex. 15:  Modal V - I Progressions - Ionian to Locrian
16. [16]  Ex. 16:  Parenthetic Ionian Harmonies to the Dominant
17. [17]  Ex. 17:  Extended Parenthetic Dominant Progressions
18. [18]  Ex. 18:  Parenthetic Ionian Harmonies to the Subdominant and Mediant
19. Ex. 19:  Lydian Parenthetic Harmonies
20. Ex. 20:  Alternative Lydian V -VI - II - V - I Progressions
    a. Triads   b. II7   c. II7 and V7   d. V7   e. [V7 of V] and V7
21. Ex. 21:  Dorian Modulation
    a. D – A   b. D - G
22. Ex. 22:  Phrygian Modulation
    a. E – D   b. E – B
23. Ex. 23:  Lydian Modulation
    a. F – C   b. F - G
24. Ex. 24:  Mixolydian Modulation
    a. G – C   b. G - D
25. Ex. 25:  Aeolian Modulation
    a. A – E   b. A - D
26. Ex. 26:  Locrian Modulation
    a. B - F#  b. B - A
27. Ex. 27:  Ionian Augmented Chords
    a. Augmented Tonic   b. Augmented Subdominant  
    c. Augmented Dominant   d. Augmented six-four  
    e. Augmented six-five
28. Ex. 28:  Modal Augmented Chords
    a. Lydian Augmented Dominant   b. Lydian Augmented Tonic c. Locrian Augmented Dominant   d. Mixolydian Augmented Subdominant   e. Mixolydian Augmented Tonic   f. Mixolydian Augmented Dominant g. Dorian Augmented Subdominant   h. Dorian Augmented Tonic  i. Dorian Augmented Dominant   j. Phrygian Augmented Tonic k. Phrygian Augmented Subdominant  l. Aeolian Augmented Dominant m. Aeolian Augmented Tonic
29. Ex. 29:  Modal Augmented six-four and six-five Progressions
    a. Ionian six-four   b. Ionian six-five   c. Dorian six-four   d. Dorian six-five e. Phrygian six-four   f. Phrygian six-five   g. Lydian six-four   h. Lydian six-five   i. Mixolydian six-four   j. Mixolydian six-five k. Aeolian six-four   l. Aeolian six-five   m. Locrian six-four   n. Locrian six-five
30. Ex. 30:  Dominant Inversions and Root Progressions
31. Ex. 31: Myxolydian Progressions with Inversions
    a. Root Position   b. Non-dominant inversions   c. Dominant inversions
32. Ex. 32:  Lydian Progressions with Inversions
    a. Root Position   b. First Inversions   c. Second Inversions
33. *Omitted   Ex. 33:  Aeolian Progressions Compared to Dorian Progressions
34. Ex. 34:  Secondary Dominant Progressions
    a. Ionian   b. Aeolian   c. Mixolydian   d. Phrygian   e. Lydian   f. Dorian
35. Ex. 35:  Modulation between Major and Minor
    a. A minor to A major   b. A Aeolian to A Ionian
36. * Omitted Ex 36: Parenthetic Progressions of the Modal Dyads
37. Ex. 37:  Parenthetic Progressions Only to Modal Steps in Agreement
    a. Lydian   b. Dorian   c. Mixolydian   d. Phrygian
38. * Omitted Ex 38:  Tonal Degrees of the Modes
39. Ex. 39:  Diatonic Cadences
    a. Ionian   b. Dorian   c. Phrygian   d. Lydian   e. Mixolydian   f. Aeolian g. Locrian
40. Ex. 40:   Dissonant Cadences
    a. Diatonic   b. Modal Chromatic   c. Unprepared Chromatic   d. Chromatic                       
41. Ex. 41:  Dorian Within-mode Modulation from D to A
    a. version 1   b. version 2                       
42. Ex. 42:  Mixolydian Within-mode Modulation from G to D
    a. version 1   b. version 2
43. Ex. 43:  Ionian-Aeolian Within-dyad Modulation from C to B
44. Ex. 44:  Lydian-Dorian Within-dyad Modulation from F Lydian to A Dorian
45. Ex. 45:  Mixolydian-Phrygian within-dyad modulation from G Mixolydian  to A Phrygian
46. Ex. 46:  Between-Dyad Modulation from A Aeolian  to A Mixolydian
47. Ex. 52:  Bass Modal Melody Example
    a. version 1   b. version 2   c. version 3           
48. Study Composition 1: Mixolydian-Phrygian
49. Study Composition 1: Slower tempo
50. Study Composition 2: Lydian-Dorian
51. Study Composition 2: Slower tempo
52. Study Composition 3: Ionian-Aeolian

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