Sure, that works. Dmin7 (the ii chord) has a pre-dominant function. Playing the dominant seventh chord, with its tritone interval, would bring us into the territory of a 4-5-1 tonal harmony chord progression and remove us from modal harmony. The most cadential chord in Mixolydian modal harmony is the♭VII(maj7). Alter one note, just one scale degree, and it’s no longer the same mode. C is our tonal centre here. It contains the characteristic tone of D Dorian (B); it doesn’t have a tritone interval, and it’s based on stepwise motion. A note by itself is like a single point in one dimension. I hope this article has provided some insight into playing and writing with modal harmony. Lateral cadential movement: The modal centre is the D Dorian chord and the cadential chord is the E Phrygian chord. Modal harmony is where we use only the notes of a specific mode in the harmony of a chord progression, melody line, or any other musical context we find ourselves in. A cool little side note about tonal harmony is that the vii* (half-diminished) is a substitute chord for the V7 (dominant). One more thing to note is that Aeolian itself is the relative minor of a functional major tonic. Phrygian is interesting since its v* chord is quite unstable and wants to resolve. Secundal harmony means that the chords are built by stacking seconds or sevenths (second’s inversion) instead of the typical thirds. But gives a good idea of what mode we happen to be in. The v chord in Dorian has a minor quality rather than a dominant quality. I love this example of the Aeolian mode (D Aeolian to be precise). Building chords in this fashion doesn’t necessarily make us “modal” as much as it takes the listener out of “normal harmony.”, D G C F (stacking fourths on the root D Dorian), D A E B (stacking fifths on the root D Dorian). The Harmonic Minor Scale acts as a handy substitute for the Natural Minor key, allowing the v (minor seventh chord) to be substituted for a V7 (dominant seventh chord). I’d say that this is a good example of a Mixolydian piece that doesn’t have an overbearing dominant quality about it. Let’s look into the circular movement in Aeolian and see how we can use the chords in modal context. I like to think of it as walking home from the bar. The most cadential chord in Aeolian modal harmony is the♭VII triad (once again, not the seventh chord). These lesser utilized scales can really create an interesting sound when we use them modally. Notice that we’re not strictly stacking perfect fifths or perfect fourths here. We even refer to the scale degrees of any given scale as their intervals to the root. I’ll share some examples here: These examples are simply those that sound good to me. As long as we pay special attention to the i chord and avoid the use of functional harmony, we should be able to achieve a Dorian sound with the chords stated above. I actually kind of like these two chords together. However, the characteristic tone and its relationship (interval) with the root really distinguish one mode from a similar mode. The tertian seventh chord built on G is G7 (G B D F). In the above example, the same scale is being played, but the pedal point gives us a strong sense of our modal root, and therefore a strong sense of what mode we are playing in. To stay within the mode, this resolution would be B-F into C-E. And with this resolution, brings a strong sense of tonality to C Major (the parent scale or “key” of D Dorian). It’s not super cadential, but not terrible either. This song shows the technique of using the pedal point. A heptatonic mode (or a mode made of any number of notes for that matter) is unique. But let’s take a look at our possible circular movements and see how they apply to Dorian.
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