![]() This is determined by both the feeling of another degree (e.g. In a way, the biggest challenge for understanding modal progressions is knowing when a major or minor key doesn't resolve around the more common I or vi of the scale. This means the progression will typically begin or feel at rest on one of these other degrees. But we can also have a "Dorian tonic", built on the ii of the scale. Most often it'll be Ionian ( I) or Aeolian ( vi), the natural (and strongest) major and minor key centers. With a modal progression, one of the degrees of the parent scale becomes the tonic. The tonic of a progression can also be thought of as the "home" chord, or the center around which a movement or progression resolves. My chord progressions section will help you with this. Get to know the harmonised major scale sequence in all keys first, then identifying modal progressions will be a lot easier. So all we're really doing is harmonising the appropriate major (parent) scale in chord form and identifying one of its degrees as the center/tonic of our modal progression. As you can see all the different modes are very closely related.This is how we'd get the chords for our modes G Ionian, A Dorian, B Phrygian, C Lydian, D Mixolydian, E Aeolian and F♯ Locrian. Each of these modes will start on a different scale degree. In any given major key you can play all seven modes. The modes are sometimes referred to as Greek Modes or modal scales. The musical modes are a series of seven diatonic scales based on the major scale. Which chord progressions can you use the Ionian scale with?.
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