Tonal versus modal
In a tonal piece the center is confirmed by the V7–I cadence. In a modal piece the center is asserted through repetition, pedal and use of the characteristic chord, avoiding precisely the dominant with leading tone that would bring everything back to major or minor.
Characteristic chords (center on C)
- C Dorian: Cm7 – F7 (the major 6th A is in F7).
- C Phrygian: Cm – Db (or Dbmaj7/C).
- C Lydian: C – D/C (F# in the D).
- C Mixolydian: C – Bb – F (or Gm7 – C).
- C Aeolian: Cm – Ab – Bb.
With the notes of C major
D Dorian Dm7–G, E Phrygian Em–F, F Lydian F–G, G Mixolydian G–F–C, A Aeolian Am–F–G.
Techniques
- Vamp of two chords (Dorian i–IV) with the melody insisting on the characteristic note.
- Pedal of the tonic in the bass, or a static 808 on the tonic while triads change above.
- Constant structures: the same type of chord moving in parallel (Cm7 – Dm7 – Ebm7…), typical of modal jazz and lo-fi pads.
- Quartal voicings: by not clearly defining the third, they reinforce the ambiguity.
In pop and trap
Many trap and rage loops are pure Aeolian or Phrygian, without a V: Am – F – Am – Bb (Phrygian). In funk and “girl crush” K-pop the Dorian gives a brighter minor.
Real example
“Get Lucky” (Daft Punk, 2013) repeats Bm7 – D – F#m7 – E: the E major chord contains the G#, the major 6th of B, so the loop is in B Dorian. “So What” by Miles Davis (1959) is the manifesto of modal jazz in D Dorian.