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Sheet 9 LINEAR MODES Sheet 9

OPEN MODES
Five-octave Modes
Basic Mode of Fourth (a); module: perfect fourth; all modules are identical; Pattern: 32

Ï ÒÓ
Any of 5-tone segments of the Mode is a pentatonic scale!

Ï w
In this basic shape it can primarily be used for making chords or pentatonic-like melody;

. w .
Ï w Ï w
Ï #w .
Look in After the Scent of the Blossomed Cherry, from p. 15 onward - Shiraame ni

& b w b Ï bw#w Ï #w

bw
bÏ 2 w 3bÏ 2
a)
?
bÏ 2w
etc.
w Ï 2w 3
3
3

# Ï Ï ÒÓ D w Ï Ï w
. . . .D
w
D


Homogenious Mode of Fourth made up of Dorian tetrachords only (b)
Ï #w # .
Ï Ï w #Ï Ï
D
& Ï b Ï bw#w #Ï Ï #w
D
bÏ b w
Ï
. Ï w Ï b Ï 2 w 2 Ï b1 Ï 2 2 1 2 . etc.
D
b)
? D
D
w Ï bÏ b w D
D

w Ï 2 2 1 D
2 1 D

Ï Ï ÒÓ w bÏ Ï w
.. . .Ph
w
Ph Ph
Ï
.
Ï #w Ï w Ï Ï
bw#w Ï Ï #w Ï
Homogenious Mode of Fourth made up of Phrygean tetrachords only (c) Ph
& Ph
bÏ b w b Ï bÏ Ph
b Ï
.Ï Ï w b Ï b Ï 2 w b1 Ï 2b Ï 2 1 2Ph 2 1. etc.
c)
? Ph
Ph
w b Ï bÏ b w Ph
Ph

wb 2 1
2
2

w Ï#Ï Ï ÒwÓ Ï#Ï Ï w b ÏnÏ Ï w


1 Ph

. ... . ..
Ï #w Ï #Ï Ï
#w Ï#Ï
Homogenious Mode of Fourth made up of pentachords (1112) throughout the mode (d)
& bÏ bw bÏnÏ bÏ bw#w Ï#Ï Ï
Ïn Ï
w bÏ nÏ1bÏ 2bwb1. .etc.
d)
..
? w b Ï nÏ b Ï

w b Ïn Ï Ï 2w b1Ï1nÏ1 2 1 1 1
2 1 1
1 1 1
2 Sheet 10 LINEAR MODES Sheet 10

OPEN MODES
The Mode of Fourth (cont.)

Ï Ï ÒÓ D w Ï Ï w
The Mode of Fourth; one of possible combinations of Dorian and Phrygean tetrachords in random order

. . w #Ï Ï .D
w
D
Ï
#w Ï Ï #w # Ï . .
Ph
& Ï bÏ b w #w n Ï Ï
D
bÏ bw
bÏ 2bw Ï
. Ï w bÏ b Ï 2 w 1 2 2 2
Ï .
e) Ph
? w
Ph
D bÏ bÏ etc.
D

Ï
1
w 2 1 2 D
2 1 Ph
The Mode of Fourth organized symmetrically - 24+1+24 tones; (acctually it might belong to the Sheet 12)

ÒÓ
homogeneus "wings"; left "wing" has pentachords (1211), while right "wing" has pentachors (1121);
The central tone G# is tonic; it is surrounded by two semitones from each side (leading tones),
b Ï
.
Ï b Ï ÏnÏ #Ï w
. . . . nw . .. .
Ïnw b
what gives it a uniqe position and meaning in the Mode. Also it is the axis of symmetry
Ï #w Ï b Ï b Ï bÏ bÏnw
& Ï # Ï Ï #w Ï bÏ Ï#w Ï bÏ
Ï#w
bÏ n Ïbw n Ï #Ï.etc.
f)
.
? w bÏ
Tonic
b Ï n Ï
w b Ï2 Ï#Ï1 w bÏ bÏn Ï w bÏ
1 2 1 1
1 2 1 1 1 2 1 1
1

1 1
1
Ï bw
1

. #w
& Ï bw Ï bw n Ï 1bw
Ï #w
If we take only the central area - two modules
&
Ï #w Ï #w
on each side - we get a very interesting mode, 2 1
with a range of less than two octaves and #w Ï 1 2 1 1
2 1
17 tones [4+4 - 1 - 4+4] 1 2 1
1 1

bw bw bw
& #w #w bw
#w
Just for fun, we can take apart its constitutive
parts - in fact: the root modes of fourth (I & II). I
It should be noted that the mode I is on black #w #w
Ï
.
Ï
keys while the mode II on the white ones.
& Ï Ï Ï ?
Look at Jeu a quatre, II/b from p.10-15 II
Ï Ï Ï
3
Sheet 11 LINEAR MODES Sheet 11

OPEN MODES
The Mode of Fifth (7-octave)

This mode is called The Mode of Fifth, since it has the module of perfect fifth; pattern (a - 25) or (b - 52).
In its root shape it is mostly used to make harmonic ground or a certain type of melody - look at Jeu a quatre, p. 25

ÒÓ
Though it is possible, there isn't much sence to fill its modules in with smaller intervals (as it was done with the Mode of Fourth).

Ï w
.
# Ï bw Ï w
#Ï # w . #w .
& #w #Ï #w #Ï #w . .

#Ï w .
a)
? . w Ï w .Ï w Ï w
w Ï
ÒÔ
2 5 2 5 etc.
5 5 2
2

ÒÓ Ï w
#Ï # w bÏ w
#Ï # wbw . .
& Ï #w #Ï #w . . 4
4
Ï #w
Ï w
b)
? Ï Ï w 4
Ï w Ï w 4
w w
ÒÔ
5 2 2 5 2 etc.
5 2 5

Possible harmonic progression:


#ú #ú
###úúú ### úúú
4
&4 ###úúúú ##úúú
# úú ú
?4 úúú úúú #úúú
4 úúúú úú ú úúúú
ú ú
4
Sheet 12 CENTRALLY-ORIENTED MODES Sheet 12

SYMMETRICAL MODES
Gravitationonal Mode

Symmetrical Gravitational Mode with the unique ton G# (tonic). 18 +1 +18 = 37 tones

All modules contain five tones (pentachords); they gradually expand their range (dim. 4, perfect 4, aug. 4, perf. 5, min. 6)
looking from the center - simmetrically - towards both ends (up and down).

Tone G# is the tonic with two leading tones from both sides; it is also the axis of symmetry.

ÒÓ
Look at Jeu a quatre, p.p. 23, 24 and elsewhere perf. 5
Ï Ï w
#
w bÏ . . Ï w
2 1 3

. 1 2. 3
perf. 4
Ï Ï
1
b w Ï #Ï #Ï
1 Ï 1# Ï 1 Ï 2 #w Ï #Ý Ï
bw Ï #Ï Ï 1 1 1
perf. 4
&
2 2
2 1 1
#w
2
1 1 1 1 min. 6
augm. 4
perf. 5 dim. 4

? w
3
b Ï n #Ï w 2Ï b1Ï 1n Ï 2# w
1 2 1
Ï
axis of symmetry middle upper section extreme upper section

w 3 Ï 2 Ï 1b Ï 2 augm. 4
central section
min. 6

extreme lower section middle lower section Compare with the central section of
the Mode (f) on Sheet 10

"Harmonization" of the mode. All tones (in order) are in outer voices.
Chords are made by using every other tone of the mode.

ÒÏÓ Ï bÏ
ÏÏ #Ï ÏÏ #Ï Ï nbnÏÏÏÏÏ #b #ÏÏÏÏÏ nnbÏÏÏÏÏ #b #ÏÏÏÏ nnÏÏÏÏ #b #ÏÏÏ nnÏÏÏÏ #bÏbÏÏ nÏÏÏ
& #Ï nÏÏ #bÏÏÏÏ #bnÏÏÏÏÏ b# nÏÏÏÏ
Ï
Ï b# Ï Ï n bÏ Ï bÏ Ï bÏ bbÏÏ ÏÏ bÏ Ï #w

# Ï Ï #Ï
Ï # Ï
? bÏÏÏÏ #bnÏÏÏÏ #bÏnÏÏÏÏ #bnÏÏÏÏ # bÏnÏÏÏÏ nb#nÏÏÏÏÏÏ ## bÏnÏÏÏÏ nn#ÏÏÏÏÏ ##b ÏÏÏÏ
ÏÏ b ÏÏ Ï bÏ & ÏÏÏÏÏ #b# ÏÏÏÏ Ï #Ï nÏÏÏ ##ÏÏ ÏÏ #Ï Ï #w
nn ÏÏÏ ## ÏÏ