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Modal Music Composition (Expanded Edition) by Stephen M. Cormier Purchase
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Modal Music Composition (Expanded Edition) 370 pages, 14 Tables, 97 numbered music examples, Audio CD included.
ISBN 0-9754318-2-X
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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 Thus, Modal  MusicComposition serves as a reference work unlikely to be superseded and also as a source of fresh ideas for composers and songwriters looking to use modal music as a true alternative to the tonal system.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

Introduction - Page 1

The Modal Scales - 9

The Relation of Modal to Tonal Scales    - 55

A Modern Modal System  - 65

Stylistic and Cognitive Considerations for the Modal System  - 112

The Mixolydian-Phrygian Dyad  - 175

The Lydian - Dorian Dyad - 203

The Ionian - Aeolian Dyad - 231

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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