7 Modal Compositional Etudes
LYDIAN
A focus of these etudes was dominant-tonic relationships.
Lydian generally sounds like major, but the predominant chords have a different qualities.
The altered qualities allow for a change in colors in Tonic, Pre-dominant, Dominant progressions.
The major II chord to the traditional ear propels the piece to the dominant tonal center.
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2. Locrian
This was one of the tougher etudes to work on.
The goal was to see if the diminished tonic chord could be tonicized.
I think by the end of the piece, the pitch B is being tonicized but I’m not convinced by the diminished tonic.
3. Phrygian
Similar to Locrian, Phrygian was tough to get into.
It felt foreign compared to major and minor.
I was avoiding over using the half-step between scale degree 1 and 2, which might have worked more against me than for me.
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4. Aeolian
This felt more natural.
I challenged myself by writing a secondary line in the piano’s right hand.
A fun twist is the melody, which starts on scale degree 5, remains on the same pitch during the B section.
Then, in the return to A, the melody transitions to scale degree 3.
5. Dorian
The end is the only thing that feels lacking or inconclusive.
I was aiming for a syncopated latin vibe.
I wonder if the piece becomes to much of a groove and loses melodic interest or direction.
This might be the reason for my feelings on the ending.
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6. Myxolydian
This was one of the hits of the etudes.
The consistent shape melodic shape really fits well for the piano.
At this point, I became to feel more comfortable with writing for piano.
As a band director and tuba player, sometimes writing for piano is different.
7. Ionian
This was the reward at the end of the exercise.
Maybe coming from 5. Dorian, I mainly explored rhythms and how to develop them.
Similar to 4. Aeolian and 6. Myxolydian, I focused on keeping the same pattern in the right hand.
Overall, I really enjoyed working through these etudes and could feel things develop the further I got into the project.
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