I am from Poland, I use google translator so I hope that what I want to say will be understood
Here are some of my troubles.
Problem number 1
How can I create chord progression
which has to rely on emphasize character/mood of chosen scale?
How it looks chords progression (in the key of C major)
with ionian mood and how it looks chords progression with phrygian mood
(in the key of C major/e minor -efgabcd-)??
Each scale has its own characteristic chord progression?
There is such a thing as “phrygian progression” etc?
I dont understand how create ionian progression,dorian progression ,phrygian progression etc
Scale have own mood because of characteristic notes but how about progression.
Let’s take this progressions:
Cmaj7 | Fmaj7 | G7 | - what mood we have here?
This is ionian progression,lyidian or mixolydian?
Which mood(of which mode/scale) is emphasized in this progression?And why?
What if play like this Cmaj7 | Fmaj7 | C7 |
Now it is lydian progression?
C7 is dominant for Fmaj7 ,but chord C7 contains non-diatonic note a# (for key of C).
And final question:
- how to keep character of chosen mode in progression, using modal interchange ?
Problem number 2
We have seven diatonic chords within one key.
Only one diatonic dominant V which determines tonal center I.
Other chords ii,iii,IV,V,vi,vii - how to determine each of them as a tonal center
they have only non-diatonic dominants.
In the key of C we have:
E7|Am - (also diatonic but in harmonic minor)
F#7| B dim.
A7 to Dm is dorian move,or C#7 to Dm is more “dorianish”…or *Eb7 to Dm?
- triton substitution for non-diatonic A7 chord,in the key of C.
In reference to the problem 1
Someone told me that in natural scale cdefgab
we have two characteristic notes f & b for all modes
with exception of lydian (b & e) and locrian (c & f).
Problem number 3
how about harmonic: cdef g# ab
and melodic: cde f# g# ab?
Which notes are characteristic here?
In harmonic “ionian #4” scale (cdefg#ab)
we have three characteristic notes f,b and g#?
These three notes (f,b,g#) are characteristic for other inversions
And on the same principle in melodic (cde f# g# ab )
we have three characteristic notes f#,b and g# for all seven modes?
What we can do with scales (f# g# abcde) and (g# abcde f#)?