Contents
4. Theory of the Dorian Mode
That being said, theorizing every bit of songwriting is what music theory is about. From here, for those who want to grasp everything theoretically, I will provide detailed explanations. If you feel confident to go with your instincts, feel free to skip this part.
Since the A Dorian mode has a sharp on F, the basic chords used will also change. Let’s examine how the usual chords transform.
(In this chapter, even in the church mode, for the minor scale, we will continue to use the labeling of “The chord boss is VIm, and the melodic boss is la.”1)
Alright. Some chords haven’t changed, while others have. Naturally, usability and other factors change, so let’s classify the roles each one plays.
Neutral Chords
Firstly, there are four chords that remain unchanged from the A minor key.
Being in a neutral position that doesn’t favor either the A minor key or the A Dorian mode, we will refer to them as Neutral Chords. The neutral chords are powerful allies that precisely stabilize the position of the chordal tonic.
Among the neutral chords, the tonic chord is, of course, particularly crucial. In the Dorian mode, it is the VIm. Following that, I and V are also frequently used. IIIm is not used much, perhaps because it reminds you of the original A minor key.
Pay Attention to Seventh Chords
However, concerning the V chord, if you add the seventh, a sharp appears, making it no longer “neutral”. So, it can be considered a somewhat special case.
Therefore, when using the V chord, it’s recommended not to add the seventh. If GΔ7 sounds, it inevitably reminds us of the G major key. If you choose to use the seventh, subtly incorporate it within the range that does not sway the chordal tonic.
Character Chords
However, if you only use neutral chords, the distinctive features of the Dorian mode won’t come to life. Chords that have the characteristic note while not posing threat to the tonal center are referred to here as Character Chords.
Using character chords strongly emphasizes that the composition is different from typical minor key songs. For the Dorian mode, the most crucial is the II chord. This chord is often encountered in regular minor keys through quality-changes, so it doesn’t pose the risk of instantly disturbing the tonality.
Here is the progression introduced in the “Secondary Dominant” episode: VImIIVII7. Since these chords casually appear in this manner, there is no need to worry when using them. To construct a composition in the Dorian mode, “neutral chords” and the II chord are sufficient. Focus on VIm and use other chords to add color to the piece.
This is a modified version of the previous example where the chord progression is embellished with various neutral chords and character chords. The development has become richer, yet the chordal tonic is firmly established.
The progression VIm→I is considered a taboo in traditional music theory, but it is commonly used in modal compositions. This practice is rooted in the everyday use of such progressions in genres like Celtic music, where the Dorian mode is in daily use. Additionally, chords deviating from classical theory often enhance the characteristic features of modal music.
On the other hand, while it’s not impossible to use VIIm, as the root VII is not so common even in regular minor keys, it is challenging to maintain the intended chordal tonic. If you dare use it, consider incorporating it in a descending bass line such as 2-1-7-6 or ensure a resolution in the melody. Due to its risk, II is likely a more common alternative in many situations.
Foreign Chords
Due to the addition of a sharp to the characteristic note, some chords have transformed into completely unfamiliar sounds.
Usualy a minor key has the versatile IV chord. But in Dorian mode, the Rt being raised, it becomes an unfamiliar chord called “♯IVm(-5)“. This chord produces a rather intense dissonance, and using it can break the traditional flavor of the Dorian mode. If used, it is advisable to insert it briefly and transitively between other chords, preserving the distinctive character of the Dorian mode.
Chords that have become less user-friendly due to the displacement of characteristic notes are referred to as Foreign Chords.
Auxiliary Chords
Temporarily deviating from the Dorian mode can be effective for balancing, depending on the context.
III employs the so♯ leading to la, as was the case with the “Three Minor Scales”, creating the impression that la is the tonal center.
IV simply means abandoning the characteristics of Dorian temporarily and reverting to normal Western music. Creating familiar progressions like IVVVIm helps firmly establish the right chordal tonic.
The usage of VI depends on the context. When transitioning from V to VI, you can introduce the emotional pattern of “hopeful sentiments”, as discussed in the “Quality Change” session, emphasizing that VI is the center.
All of these chords help stabilize the chordal tonic while infusing a slightly modern impression. These additional chords are referred here to as Auxiliary Chords. These choices are not systematically done but rather a personal selection of chords that are practical and commonly used in practice.
If you want to evoke the pure mood of the Dorian mode, it’s advisable to refrain from using auxiliary chords. Additionally, when using the IV chord, it’s better to avoid using fa♮ prominently in the melody, as it may diminish the mood of the Dorian mode.
Example
“Elenor Rigby” by The Beatles is a good example of mixing auxiliary chords. The verse part (0:14-) starts with E Dorian mode melody lines on Em chord; you can find the character note C♯ is used twice. But then the chord progresses to C, canceling the sharp on C and going back to a normal E minor key environment. The melody also plays C here.
By using E Dorian scale and E minor scale alternately, it achieves a charming balance between the folk-like mood and the familiar pops style.
Summing up the discussion, it can be outlined as follows:
- Neutral Chords
Chords that can be used similarly to major/minor keys, stabilizing the tonality. - Character Chords
Chords containing characteristic tones, serving as the foundation for creating the sound of the mode. - Foreign Chords
Chords with altered qualities due to character notes, becoming somewhat challenging to handle and reminiscent of other tonalities. - Auxiliary Chords
Chords that temporarily deviate from the sound of the mode, bringing them closer to conventional Western music.
The basic approach involves creating comfortable chord progressions using only “neutral chords” and “character chords”, complemented by enchanting melodies.
Terminology
The classification of “Neutral, Character, Foreign, and Auxiliary” is unique to LMT and is more of an experiential and loose categorization rather than a well-defined criterion. Modal theory primarily involves issues related to melody, and the recognition of tonal centers is influenced by human physiological and psychological responses. Therefore, a systematic classification or theorization is not easy.
If you seek a more mechanical classification, in the jazz theory of the Berklee system, there is an explanation of modes under the name Modal Harmony, where chord classification is also performed. You may refer to that for a more systematic breakdown.
However, it’s important to note that this classification is specifically designed for incorporating modal harmony into jazz and may have a slightly different focus compared to the theory aimed at creating the authentic sound of the modes, as discussed here.
Melodic Consideration
When it comes to melody, you can enhance the authority of the modal tonic with a little consideration. By making movements that do not follow the tendency in the G Major key, you create an atmosphere of “Hmm, is G not the center now? The direction of gravity seems different,” stabilizing the dominance of Am.
Using motions like B→C and F♯→E (especially in the way like C or E is emphasized) makes the listeners feel that C and E are the stable tones, giving a firmer impression of being in Am key rather than G key.
Well, in actual composition, you should be able to create lines properly without thinking too much about it… However, during composition, one tends to be preoccupied with chord progressions, so it’s good to be aware that fine control of tonality through such subtle melodies is important in music using modes.
Bringing an exotic atmosphere, this knowledge can be quite meaningful depending on the genre.
Summary of this Session
- The Dorian mode is a scale derived by raising the sixth note of the minor scale by a half-step, and it’s a scale used in Celtic music and similar genres.
- Perhaps due to such cultural backgrounds, the Dorian mode evokes a “folk” or “exotic” sound.
- As we are very accustomed to the “major/minor key world”, conflicts between modal tonic and chordal tonic can occur when creating modal music. To avoid this, thoughtful chord usage is necessary.
- Classifying chords into “Neutral/Character/Foreign/Auxiliary” provides clarity on how to use different chords.
