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Home , Aeolian mode, Dorian mode

6 The Harp Therapy Journal --summer201~1

consisting of three from the The perfect mode pitches to Eb or to natural. This interval occurs other places within the byJulieAnn Smith BM, MA, IRTF, VAHTP modes and scales by the way but it is the occurrence of this interval between Do and Mi of any mode that is the How often do you start a therapeutic music session and ask yourself, "What do I deciding sound between the major and play?" This is a serious question. When thinking about musical modes I have often minor mode groups. wondered about one being superior. In considering music for therapeutic settings I Throughout time there has been also have wondered what mode might be an all-encompassing mode. Is there a mode a lot of emphasis placed on how we that could effectively work in any therapeutic situation; at least as a starting point? view the third note of any mode and its Therapeutic musicians are so often presented with the dilemma of what to play first, role in music with regards to our mood what key to play in or what mode would work, among other factors. So in considering and how the music affects us. There is which mode would be most important, there are several factors to consider. a different opinion about what affect, 1. Matching and meeting the patient's needs. Is she in pain? Is he sad, anxious, with- effect or emotion music should evoke. drawn, or depressed? Does she need relief from pain or anxiety? Does he just want Socrates and others prescribed that to feel better? Obviously our goal as therapeutic musicians is to address the patient's music should be played that was the needs. Always it will be to a positive end but at least we can say that the client is on proper music to affect the correct the negative side of emotions in the beginning and our intentions are to slide them emotions of valor, strength and over to the happier side of the scale during therapeutic sessions. So assuming the character (A Historyof WesternMusic patient is in pain what do I play? p.161). Plato felt music to be a serious 2. Should it be a major mode or mode that you play in? What makes a science that "morally affected people mode a major or minor mode? Modes and scales have been classified for some time and must be used with discretion" in one of two groups: the major modes and scales and the minor modes and scales. (http://ctl.cedarville.edu/ musicology / This reference is about the interval that occurs between the first pitch and the third wordpress/?p=37). Aristotle thought pitch of any given mode or scale. This interval is either a consisting of music affected behavior (A Historyof four semitones or half steps; say from C to or D to F#; or the interval Continued next page

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I Summer 2013 The Harp Therapy Journal 7

Mode, frompage6 DorianMode WesternMusic, p. 14). Some people and Plato and Guido of Arezzo felt the def gab c d musical periods have said the minor was considered "serious" (Cedarville.edu, p.37). The i ii III IV v vi VII modes are better because the minor third Dorian mode was used to bolster the troops going into interval was more religious or reverent battle. According to Christina Tourin in the Harp TherapyManua4 this mode is good (Ibid., p. 59). The minor modes evolved for focus and grounding also (fourin, p. 201). out of Pythagorean theory, which states In Pythagorean Theory the intervals of the unison, , and that certain intervals are consonant and were considered consonant because of their ratios to the whole. This certain are not. Through just intonation formula makes them perfect intervals. That is why they were considered the intervals and later mean tuning around 1482, both of choice in the beginning chant and other music composition because they were the major third and minor third became considered perfect from a mathematical and scientific standpoint. This made these more or less consonant through adjusted intervals sacred. The minor third interval runs a close second to these perfect tuning. Consonant intervals originally intervals and is considered an imperfect consonant interval. were considered pleasing to the ear. See Mode, page 9 In medieval sacred music or chant the major third was avoided at all costs as that interval was not considered con- sonant or sacred. (Ibid., p. 159). Music New! with the major third (M3) interval such as the was thought to make people lazy and the sound of the M3 was very unappealing to the ear. It did not connote happiness like it does in today's music. In ancient music the minor third Comfort Music was not thought of as a happy sound per se but wasn't sad like we think of that sound today. Think of folk songs originating in medieval times such as Greensleeves; you'll find the minor mode being used. The minor third interval was considered more or less somber, not sad but reverent and strengthening of the moral character. (Harp TherapyManual Cradleoj Sound,p. 201). In fact people danced to it all the time. 3. What resonance is the patient speak- ing to you? Is it happy or sad? What key is it in? Is she stressed, angry, depressed? Through listening to the client speak we can ascertain many things. One is that one of the two emotions, happy or sad, a collection of songs and their na"at;ves, from ancient to modern, for intermediate pedal and non-pedal harp will be reflected in the client's speech. Looking at pitch variation, studies have shown that in speech the natural pitch by Sarajane Williams that indicates a minor third interval re- flects sadness and can be seen to be the SUva Vocat equivalent of a minor third while happy emotions, thoughts and feelings are ap- proximately reflected with a major third interval in speech. (Curtis and Bharu- 57 pages, 22 c%r & &Wimages, soft bound, $18.95 + S/H cha). We can see and hear that a patient who is clearly hurting, anxious, worried To order, visit: etc. has a speech pattern that reflects the nature of his dis-ease. These indicators www.planetharp.com or lead me to believe the Dorian mode to phone: 610-966-5677 be the perfect mode.

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Summer 2013 The Harp Therapy Journal 9

Mode, from page 7 It is as close to consonant as can be eM). The jazzprogression used most is ii - V7 - 1.The ii chord in e is the Dorian I without being one of the perfect four chord; the V7 chord in e is the Dorian IV7 chord and the I chord in e is the VII in (unison, 8th, 5th, and 4th). In other the Dorian mode. See charts below. words the minor third is the only Chord Name Chord Notes Function in Dorian Function in Ionian nonperfect interval that was considered () consonant (http://en.wikipedia.org/ Dm (minor) d-f-a i (minor chord built on ii ( built wiki/Minor_third). Ist degree of mode) on 2nd degree of scale) If we are going to match the patient's mood and resonance, and have intentions CM (major) c-e- VII ( built I (Major chord built on the 7th degree of mode) 1st degree of scale) of turning her mood happier or healthier through easing pain etc., I see the Dorian G7 g-b-d-f IV7 (Dominant 7th V7 (Dominant 7th chord mode again as the perfect mode. chord built on 4th built on 5th degree of degree of mode) the scale) Using the Dorian Mode 1. The Dorian mode (we'll always The Dorian mode for jazz has become perhaps the most popular mode. A tune reference from the traditional key of can be in one chord: The i chord in Dorian mode, or perhaps the verse in the "one" e, so the Dorian scale will begin on D) chord with the bridge going to a more traditional harmonic evolution. The Dorian is perfect for moving from the minor mode often will be the "key" used for improvisa- Dorian To Ionian tion and works well for a more modal sound modes to the major modes smoothly. i chord IV7 chord VII chord When, as is often the case, the therapist and less diatonic sound; which fits jazz. Often ii chord V7 chord I chord is starting from a point of sadness, pain, the Dorian mode might shift to another mode anxiety or the like, music that resonates during improvisation if the song dictates another chord or a . with the patient's disease, provides help The use of the Dorian mode for jazz, rock 'n roll and therapeutic music is evident for the patient. Starting from a matching just like when Pythagoras thought it would bolster military troops. All evidence of point allows the therapist to move on to its superiority. a place the patient needs or wants to go 3. The Dorian mode is perfect for moving from the minor modes to the major to such as relaxation, relief of pain or See Mode, page 11 anxiety etc. The therapist can move to either the Ionian (starting on C) mode or Mixolydian (starting on GM with a lowered 7th) mode first and travel to the Ionian to finally reach a point of true major mode sound that the modern ear is ultimately searching for. This would look like this: Dorian (1),to The Mixolydian National mode (the IV chord in D Dorian). The . Standards Board!D[ chord built on the fourth degree of the ~Therapeutic Musin ,rr; Dorian, while not the dominant chord, can have the same effect when moving away from the Dorian mode because the fourth degree 7th chord is major and has · Guidelinesfor professional presentations a dominant seventh. Additionally this IV7 chord is the V7 of the VII chord in the · Presentation planning worksheets Dorian mode: the e Major chord. This · Resourcesheetsfor various playing environments progression would be: · Therapeutic Music FAQ handout Function Chord Name Notes . And more! Dm d-f-a IV7 G7 g-b-d-f VII CM c-e-g 2. Another way this progression works Order your copy now at fabulously is in jazz. You're in the Dorian www.therapeuticmusician.com mode and want to progress to the Io- nian mode. The I chord in Dorian (Dm spelled d - f- a ) is the ii in Ionian (in Summer 2013 The Harp Therapy Journal 11

Mode, frompage9

matter what the mode or scale. modes smoothly (http://www.cymascope.com/pdf). The IV7 chord in the Dorian mode is the V7 of the Ionian mode and acts as a modulation chord from the Dorian We have seen many ways to use the mode to the Ionian mode. Dorian mode and why it works for so 4. The Dorian mode also works well when you want to go to the harmonic minor many applications. keys because they are so close in notes. Or you could go to the (A nat- · Grounding your patient and yourself ural minor) in the Dorian key you are in and switch to Aeolian harmonic minor. At - important for starting any successful this point some might ask why not just use the Aeolian mode? I feel the Aeolian isn't intention-driven therapeutic session as versatile in sound and harmonic progression as is the Dorian because it reminds . Matching the patient's needs and resonance us so much of the minor scales compared to a mode. Also there is what I call the "Lydian Effect." Notice the 6th degree of the Dorian mode. It is a major 6th not a . Modal playing and improvisation minor 6th which lends more to a minor sound such as the Aeolian mode. This major . For use in any situation from serious, 6th interval sounds somewhat ethereal when played either in Dorian mode or if you somber, transitional, dying, happy wanted to go to a III chord (FMajor which would naturally contain a Bb). There is or with any genre of music from no Bb still in your playing in F major or if still in the Dorian mode the B natural has classical, jazz, folk, celtic, modern, a slightly Lydian sound or the "Lydian Effect." This gives us a natural way to sound improvisational, et.al. somewhat ethereal or to be able to shift to F Lydian for when needing transitioning These factors are why the Dorian or dying music. mode is superior to the other modes in This factor, harmonic progressions, alone makes playing in one mode a fascin- my opinion and is an all-encompassing ating prospect today and gives argument to the Dorian mode again being the superior mode for use at the beginning of your mode of choice. The actual playing in a mode in and of itself is not something session, during the middle when you special, but the playing in one mode without a "harmonic agenda" is a challenge need improvisational music and which brings me to my question again: Is one mode superior? Our modern ear is so especially for modulating to a "happier" sophisticated compared to the ear of the Medieval or Renaissance ear. We have the mode or another mode or style of music rare advantage over all people throughout rime because we have heard and stored in needed to move the patient to his or our brain the sounds of all of the different musical genres and eras up to today. Early her desired end result. This mode is a musicians heard plainchant which contained no and they didn't even have true starter for any session in which the concept of harmony yet. Songs didn't progress to other keys, modes or, as stated, you are unsure of what to play first or a contain harmony. The notes reflected the text, not harmony and progression (A "stand alone" mode with strength and many applications. t7 Mode Chord Progression Function Dorian i -IV7 - VII Modal progression from Dm - G7 -CM Dorian to Ionian mode Citations: Ionian Ii -G7 - I Jazz "Turn around" chord Burkholder,J.P.,Grout, D., Palisca,C. (2010).A Historyof WesternMusic 8th ed.,New York, ,NY: Dm-G7 -CM progressiOn WW Norton & Co. Tourin, C. (2006). Harp TherapyManual Cradleof Lydian or i-III To get the "Lydian Effect" Sound, Mt. Laguna, CA: Emerald Harp Prod. http:// ase.tufts.edu/psychology / music-cognition/ Dorian to Lydian i - iv - i or go to pdfs/Curtis & Bharucha http:// en.wikipedia.org/wiki/ Aeolian Am-Dm-Am For a minor sound or to Semiditone#Pyrhagorean minor_third go to the harmonic minor http:// cti.cedarville.edu/ musicolgy /Wordpress/ ?p+ 37 http://pianonoise.com/ Article.Plato.hrm Historyof WesternMusic, p. 24-35). "It alters what we hear in the mode compared to http://www.cymascope.com/pdf/ listeners of old" (Samour, 1977, p. 148). Our modern ear has the capability of guess- Caduceus%20article-1.pdf ing the harmonic direction of most music. Our ear actually anticipates what it thinks Wikipedia.org/wiki/Musika-mode 2010Emotion.pdf is coming. This is an important modern ear fact: our ear and music contain complex Samour 1977 melodic patterns, rhythms and, most importantly, harmonic capabilities, and our ear expects these harmonic shifts. Whether one is progressing harmonically or static today is challenging; however the Dorian mode lends to both situations well. Harpist Julie.Ann Smith BM, MA, 5. Lastly, I want to mention the ability to use the Dorian mode for happy music IHTP, VAHT residesin Anchor Point, making. There are many studies on using a "major mode" or "minor mode" to Alaska. Formoreinftrmation visit: .' achieve a happy sound or sad sound. While not going into that let me just state that harpiano.net or cal/907 -299-37 41. studies have shown playing faster generally lends to a cheerier sounding music no

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