Basic Materials/Four Strong Modes/Preface/Alternative Disposition

An Alternative Disposition of the 4 Strong Modes






The previous disposition was oriented toward the generation of the modes,
all in the same (natural) Window,
with the 2 major modes together top-right and the 2 minor modes together bottom-left,
and with the 2 diatonic modes together top-left and the 2 chromatic modes together bottom-right,
the modes of the same direction being isolated in opposite corners.

This disposition will, on the contrary, be oriented toward the direction of the modes,
in 2 different Windows (natural and 3 flats),
around a central TONIC chord which may be either major or minor, C(m),
with the 2 flattening modes together above and the 2 sharpening modes together below,
and with the addition of the ANTE-1 at each end,
the two best known modes sharing the same DOMINANT and the same ANTE-1.

The 2 Leading Tones of the TONIC FRAME, placed a minor second on either side, B and Ab,
will be present above and below, in the DOMINANT and in the ANTE-1 chords.
They will be alternately diatonic and chromatic depending on the Window involved,
and the DOMINANT of one side will have a Metamorphosis 4 relationship
with the ANTE-1 of the other side,
consisting of exactly the same notes, with inversion of the Primary and Secondary Notes.

The Dm7-5 chord deserves special attention if compared to the D7, a V of V,
whose F# is a Leading Tone of the GD FRAME, and not of the CG FRAME, as is the Ab.

The Two Leading Tones
1. The Diatonic Major Mode
2. The Diatonic Minor Mode
3. The Chromatic Major Mode
4. The Chromatic Minor Mode
5. Adjacent Chromatic Modes
6. A melodic Example