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#Warning Theory Geek#

I hear these changes ALL the time, but I never see it described as such.

If any of you have seen the Harvard Lectures by Bernstein on UTube, you will understand what I mean by the title "Deep Syntactic structure". If not, then it does not matter.

Suppose you were to ask yourself a composer's question....

Assumption: The modal chords can be arranged from "sonorous to dissonant"
Major, Dominant, minor, Dim7

Question: What if I took a rule, where I chose the most sonorous chord for each note of the scale; then created melodies only with notes that appear in that chord. Creating chords/melody note, pairs.

Walk through the first one....

The first note of the scale is C, the strongest chord with a C in it is the C triad.

The second note is D, which does not appear in either the ionian or lydian triads, so we go to look at the dominant. Sure enough D appears as the fifth here. Pair them up

Third Note is E, pair it up with the Triad on C

Fourth Note is F, pairs with the Lydian triad F major

Fifth note is G, you can pair the with C triad, but bending a rule slightly, you can also pair it with G7, as it functions as its route.

6th Note is A - don't use the modal minor, instead use the Lydian major (F major) as this is more sonorous.

7th Note is B. B does not appear in either of the two major modal triads, so next type of chord is a dominant 7th, where it appears as a third.

Constructing melodies with these kind of structures, yeilds results similar to folk songs. In other words, songs that endure into the vocabulary of a cultures mind, often choose chords from this pallet.
After you get comfortable, try different voicings of the chords.

The Main point is that when a melody note is selected, it comes from a modal chord, a strong one is always possible.

Time spent manipulating these ideas, really strengthens the foundations

Z

I question your question, why would someone want only the most sonorous chords? In my experience one of the important aspects of composing is contrast. Your question obviates minor and diminished chords. How do I express myself if that's what I feel?

Of course any post that begins with a warning is obviously intended as provocative.

I don't think that's the point.

One can walk through valleys' or climb hills. Just because you can....

Point is that these chords are strong, like like the standard 1,4,5 form.
Folk songs use these kind of moves...

From time to time someone suggests a "formula" to create a melody. The idea that some "system" can be employed to allow "easy access" to that unique genius of the composer confounds me.

And so far, none of the proponents of such "systems" seem to have produced any melody which would encourage a serious composer to try it out. I want "proof of the pudding".

Now if the ghost of Beethoven leaned over my shoulder and whispered to me exactly how he managed to convert "dah dah dah DAH" into one of the most stirring pieces of music ever written ... THEN I'd drop everything to listen. And I'd hang on every word.

But so far all I hear is words and theories. And occasionally someone offers a brittle and robotic MIDI version of something quite impossible to play by a human. Any shards of melody are purely by chance.

A theory or system must be backed up by examples. Live examples. Not concoctions whipped up on a computer keyboard. I think of Audrey Hepburn in "My Fair Lady" singing "Show me ...SHOW me!"

The ANT

To be fair To Zero ... ... pondering on the relationships of the various modes and chords is ALWAYS an asset when one gets stuck somewhere in a composition ... wondering how to transition or develop a theme. But I don't believe "melody" can be created with a system. As another poster here on PW recently commented ... there is a "mystical" element which comes from the heart and genius of the composer. Theory becomes a framework for that inspiration.

What I am saying is that it is a "deep syntactic structure" The foundation is modal roots, only 'strong' chords, and melody notes from the triads.

"Formula". We use the 'formula' as we wish. You can add connecting notes, you can decorate, maybe blues up a bit.... Then you can go of in any direction you want.

It's a useful way of thinking, getting to chordal tones, but not using the (also legitimate) 'weaker' minor modes.

It's another way to explore.

Z

Could you demonstrate with some tunes ?

Melodies are born from harmony very often -so if that harmony includes minor
chords, how are these notes less sonorous? What if a piece is in a minor key?
There are many Welsh folk melodies in A minor!

Another use for minor chords is the change of colour - and opposition to the major chords -as Steve Chandler kind of says -this contrast is very powerful -
It helps make the Tchaikovsky Bb minor concerto theme so amazing -for example -