I found something like this in book 'Chord Scale Theory & Jazz Harmony' - B. Nettles, Richard Graf

On page 129 we have also modal interchange with examples for each mode
(lydian interchange,mixolydian etc etc).

I need something more about these topics.
1- Polimodality
2 - not ordinary modal interchange but modal interchange for each modes(like in book).

Materials for exercises, songs for analysis etc

You're getting into some more advanced theory topics which is pretty awesome but this might not be the right forum for these kinds of questions. I would suggest checking out sevenstring.org as they have a few theory "gurus" there. Also, check out Rick Beato's YouTube channel and Adam Neeley as well.

Wish I could help on this topic but I haven't read the book you mentioned. My knowledge on modal borrowing/interchange is probably similar to yours and I'm somewhat out of practice there.

For what it's worth, artists like Symphony X and Coroner come to mind as metal bands that incorporate modal interchange into their tunes as far as my ears can tell. Try the chorus from Symphony X's "Egypt". I haven't actually sat down and analysed that song however so it could just be doing a key modulation as opposed to model interchange. They definitely like to step "outside" the box on a harmonic level on occasion so I feel like you could mine a lot of material from their 90's and early 00's albums.

You're getting me inspired to transcribe some harder stuff now.

sevenstring.org... for me it is impossible to register on this site because when I fill out a form
I am blocked as spam/automatic application etc




good,try with this Michael Brecker's and Mike Mainieri's solos
https://www.youtube.com/watch?v=6HQa5so4Fow

in case of trouble, use Transcribe App
https://www.youtube.com/watch?v=DcwwJtbKYw0

My computer is too weak and I can not install this program.

PS. Or Nocturnus "Alter Reality" riffs and solos do you accept the challenge?

Modal interchange is super simple. You're borrowing chords from parallel modes. Modes are considered parallel when they share the same tonic, or root note. Such as C Major and C minor. This image will give you a representation on the different diatonic chords for each mode. For example, say you're in C Major (which is Ionian mode), you can swap your II-7 chord for the II-7 (b5) in C minor (Aeolian). This opens up your harmonic possibilities by a *huge* amount. You can swap any chord using this method and make musical sense. Hope it helps:

Yes but it's about specific modal interchange ( to emphasize character/mood of the chosen mode).









By the way, how to arrange chords progression in ionian, dorian, phrygian mood etc?

You haven't provided enough information in your original post to solve *specific* modal interchanges, you simply asked for something more on the topic. If you can be more precise with your question, I can help you.

Could You explain 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)??

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.

Your question makes no sense to me, I'm sorry. Maybe it's a language barrier or something, but I am having trouble understanding what exactly you're asking. If you are in the key of C Major, you're already in Ionian mode. So any chord progressions that are diatonic to C Major will be Ionian by default. If you're using many chords from an entirely different mode, you will effectively no longer be in your C Major key. If you want to emphasize that you're using modal interchange, it's best to end your chord progression on a chord that is unique to the mode you are borrowing it from, and then resolve back to the tonic or I chord.

Are you just asking how to make natural chord progressions using the different modes? Are you familiar with the concept of leading tones?

I think I get what you're asking. Frank Gambale talks about this a bit in his Modes: No More Mystery video. The example that he uses is a IVmaj-Vmaj progression being distinctly Ionian. If you have two major chords separated by a whole step in any other degrees of the scale, then you're in a different mode. Only Ionian has them as the IV and V chords.

So for example, if you were playing in Phyrgian and decided to toss in a IVmaj-Vmaj movement, you'd be referencing a distinctly Ionian movement.

Are we on the same page so far?

It seems to me that rexxz has a point--the question you're asking seems quite broad and there isn't really a fast, easy answer for this. Best thing to do would be to study the chart he/she provided above and find some chord movements you like from each mode and try splicing them into other modes to see how the different cadence effects the mood. I feel that the strongest qualities (ie, the most tension) of each mode are found in the half-steps and the leading tones, like rexxz also mentioned.

If I'm understanding the question correctly (and I might not be) then once you've figured out the chord progression that "fits" a Dorian scale--i.e. so you've got a major chord for the tonic, a minor chord for the 2nd, etc.--then to translate it into any other mode you simply start with the chord that maps to the position of the root note of that mode relative to Dorian.

So if you're in Aeolian you'd start with a minor chord, then a diminished chord for the 2nd (which would be the root note if you started in Locrian), then a major chord for the 3rd (the root for Dorian), etc.

So you've only gotta figure it out once. But that seems too easy so maybe I don't understand the question.

Maybe I will try to explain differently
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?

I read this as C Ionian because we're starting with "C" and the G7 preps up for a cadence going back to Cmaj7.

To hear this as F lydian I'd want to start on the Fmaj7 chord and maybe even superimpose an F note in the bass of one or two of the other chords. Same idea for G-mixo.

In a case where the chords are all diatonic to each other, whatever note you establish as a tonal center would determine what mode you'd expect to hear.

I'm afraid it is not that simple
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 :/

Cmaj7 | Fmaj7 | G7 is simple. Now you've changed the question.

As far as I can tell, this progression only works as a Lydian function if you consider the relationship of Fmaj7 to Cmaj7. So if you want this to sound Lydian, you'd probably want to make F your tonal center. The C7 would be borrowing from the F Ionian mode, so you'd have to work around that. Whether or not it sounds Lydian will depend on how you structure everything else around these chords... the melody, the bass notes, the rhythm of the chord changes... without that extra context, my first instinct is to read this as a C Ionian progression that borrows from C-Mixolydian. I'd probaby try playing C Major Blues licks and slipping into C Mixo/Minor Blues as needed if I were asked to try soloing over it.

As an aside, you could emphasize Lydian sounds on a melodic level by playing C Lydian - F Lydian - G Lydian Dominant (b7) melodies over those chords. You're not diatonic, but you've basically fucked yourself over from that by using non-diatonic keys so you might as well embrace the colour a little bit.

This simple topic is such difficult issue

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:
G7|Cmaj -diatonic

A7|Dm
B7|Em
C7|Fmaj
D7|G
E7|Am - (also diatonic but in harmonic minor)
F#7| B dim.

What's next?

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.



PS. Scales, each of them is a sequence of appropriate intervals, one after the other.
What we do when we want to hear ionian scale/mode/mood?
We play W W H W W W H ascending

BUT

when we play the same notes descending what we play?
H W W W H W W and this is NOT ionian sequence
it is PHRYGIAN, right?


So,which scale we should play up and down to stay in ionian mood/mode?
ionian - ascending
dorian - descending

Unfortunately, staying with the root note we will change the key...do you have any thoughts about this???