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Are there any particular chord changes that are common to particular modes?


not counting Ionian, Aeolian (natural minor) and Locrian

for instance in Ionian: I-V is a perfect authentic cadence invoking a sense of resolution in the listener, it is also one of the most common chord changes in music

but playing this back in the modes it seems this principle doesn't apply to the modes, so what are the more typical chord changes in Dorian, Lydian, Mixolydian, and Phrygian?

The purpose of my asking this question is in trying to find how to bring out the "sound" of each mode, because it's difficult to get away from the sound of the major and natural minor scales, when improvising.

Thx for your time :)

It's a little tough to escape the finality of V->I resoulution even within the various modal patterns. Won't write an essay here.but consider Dorian, for instance.........the I chord is still a minor triad and the V chord isn't influenced by the intevallic make-up of the mode i.e. it's still also a minor triad.

Perhaps that's why V->I is, in fact, referred to as perfect authentic vs. a plagal cadence that relies on a IV->I for resolution.

Best way to handle it is to feature chords that are derived from the altered noted.

For instance, if you are suggesting Lydian, you may want to feature a F#-half-dim7 (in C Lydian) as the iv chord. But if you have it resolving to V all the time, V will start to sound like !.

The presence of a minor 7th on a I chord will give you a mixolydian feel, but will also swing the piece to a blues feel - where minor 7ths on ALL the chords are appropriate.

Extraplotae your complete chord series from the modes and then see which ones contain the alterations and how you'd like to feature them.

I think the best way to think about this is to keep the two ideas separate. Think of modes when the music is stagnant on that one mode and then any combination of notes from that mode will work together (with varying levels of consonance nd dissonance). Also, you can always use the natural 7 of any mode (as the 3rd of the 5 chord) to give a 5-1 resolution sound. Chords progress, modes stagnate (not a bad thing).

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