Modal Cadences Glen Halls © All Rights Reserved 'Modal' is a term with many inflections and uses both in the classical and jazz world. The word modal in the phrase 'modal cadence', which is transferable to both contexts, refers primarily to a kind of function distinct from other conventional functions of classical music, though oft found in folk musics. Specifically, the modal cadence is, like all resolutions in tonal music, essentially upper partials closing on lower partials, and refers to the sound of predominantly whole step motion as opposed to the 1/2 step motion characteristic of the other functions. For example, in D minor ( dorian?) "Upper Partials closing on lower partials" e g b closing on d f a 9 11 13 closing on 1 3 5 The modal cadence presents a unique contextual issue: a modal cadence often occurs in a 'modal style' in which a drone is prolonged but is rarely fully at rest. Modal cadences are appropriate and somewhat 'open- ended' structures in this context. Cadence is such a grey area term; does it mean an end, is it motion to rest, or is it simply motion ( instability )to less motion ( relative stability ) In many instances such as in drone based modal jazz, modal cadences are really suspensions and resolutions over a continuing pedal point. Unlike conventional functions where dissonance is clearly resolved and in the expected direction, most modal cadences are simply voice leading illusions which play with these expectations. First, from an acoustic-functional point of view, there are only three notes capable of true modal function, in other words , where all three chord tones are upper partials, all resolution tones are lower partials, and all motion is by whole step. These are -7 , 6, and 2 in major., -7,6, and 4 in major. From this perspective there are really only Two definitive modal cadences: bVII(7) to I in Major, and ii to i in minor. We then again enter the grey areas of harmony and terminology. The reason there is really nothing written about modal cadences is that it requires judgment calls, and as mentioned earlier the word modal has so many connotations, which will hopefully be addressed to some satisfaction later in this paper. Many would regard IImi to I in major keys as well as bVII to Imi in minor keys as 'modal cadences'. Certainly, given the options of our other functional terms such as dominant and subdominant, modal is the best, most representative and distinctive description of the above progressions. This may seem trivial, and perhaps given the complexities and realities of actual jazz performance, it is- nonetheless we shall attempt to make some distinctions. In the Dmi to C progression, even though with the F-E is a proper subdominant resolution, from a perceptual point of view the progression is equally characterized by the two whole step resolutions in the outer voices. What this implies is a) outer voices will always carry extra perceptual weight b) any kind of strict parallelism will stand out as another kind of accent, and c) the behavior of the majority of tones ( in this case two whole steps vs. one half step) also contributes, to what degree I am not sure at this point. Arguably, the addition of 1/2 step motion renders these progressions stronger than the true whole-step modal cadences. To summarize the distinctions made to this point: 1) There are only two true modal cadences in which all three tones resolve by whole step and in which all tones are upper partials closing on lower partials. 2) If a majority of tones resolve by whole step, and if these tones tones are in the outervoices and move in parallel, this will also be termed a modal cadence. Now it gets interesting. There are other progressions which ought to be termed modal cadences, and which are infrequent in classical music. One recalls the term used in renaissance counterpoint, the 'phrygian cadence'. What does this mean? The phrygian , in layman's terms, is a major scale in which the third degree is taken as root.. (Note, in actual fact there are many phrygian modes- there will be a phrygian mode for each type of basic scale set, and it is defined by the presence of the flattest flat in that scale set five descending fifths on a 'circle of fifths' relative to the tonic.) The textbook phrygian cadence in counterpoint involves a descending 1/2 step in the lower voice with an ascending step in the upper voice. ( In contrast to other cadences in which the intervals are reversed) If the idea is extended into the harmonic context TWO phrygian cadences are suggested. Strictly speaking, the F to Emi progression would be termed a strong subdominant progression, not a modal cadence. Dmi to Emi , however, would be termed a phrygian modal cadence. Why? Traditional theory leaves off at just this point, just where it gets confusing and less definitive. First, it is reasonable that a 'modal' cadence might also reflect the colour (tonal possibilities ) unique to a given mode, if possible. Secondly, if we consider the Dmi to Emi example, upper partials are not closing to the expected lower partials. This is the voice leading illusion mentioned earlier, and we will now see that there are many other examples. In other words, in E mi , or if you will in the case of a basically minor tertian stack which takes E as its root, partials 7 9 and 11 ( or D mi) ought to close on partials 1 and 3. ( root doubled- The behavior of a -7 partial will be dealt with elsewhere. From an acoustic perspective and in terms of conventional resolution it ought to close on either 5,1 and 3, or 6 , 1, and 3, or 1 , 1, and 3. In all cases the listener would have the impression that the dissonance is resolved as expected. ) Here 7, 9, and 11 resolve to 1 3 and 5. The 9th and the 11th will typically resolve down to the root and third respectively. Significantly, we also note that in a phrygian mode the 9th is flat. This b2 subdominant will strongly suggest resolution to the root, but instead it moves away by whole step. So, we do have upper partials closing on lower partials, but working against this feeling of closure is the impression of deceptive resolution in at least two voices. This is a unique effect and as mentioned at the outset it is largely responsible for the impression of open-ended closure. This also is a characteristic of many modal cadences. Make no mistake, harmony is complex and we ought not to look for simple and tidy solutions. If the twentieth century has taught us anything, it is that all sounds, and especially the sounds of tonal harmony, may exhibit complexity - the suggestion of more than one impulse or meaning simultaneously. As to the issue of modal cadences reflecting the character of a given scale mode, this is true to a degree. Just as certain scales and modes present new possibilities for 1/2 step resolution, or in other words present new and often unique subdominant, dominant, or mixed functions, it should follow that new possibilities for whole step motion or 'modal function' might also present themselves. So, before looking at modal types individually and offering more qualifications, let us review the situation. Upper to lower partial motion, in parallel ( an issue still requiring more discussion) will be in one of these four forms: * This is yet another contingency. Lower partial triads starting from 3 will be termed an 'alternate' resolution and triads from 6 will be termed'ïdeceptive'. Both are slightly weaker or 'less closed' than resolutions to 1,3, 5, naturally. Let us remind ourselves of the tones we are talking about. In, for example, C major: Bb to C D to C D to E A to A to B F to G F# to E And in C minor: F to Eb Db to Eb Ab to Bb. OK. I realize it's awkward and cumbersome, but we must bear in mind that in addition to the parameters previously mentioned, some modes may exhibit up to three modal cadences. The same cadence may occur in more than one mode. For the sake of terminology we have to make more distinctions, weak and unfounded though they may seem. In terms of the number of subdominants we are all familiar with the order of the modes: Lydian, Ionian, Mixolydian, Dorian, Aeolian, Phrygian, Locrian, . Mode 8 , mode 9, mode 10, and mode 11. The first instance of a particular chord and cadence type will be given priority. If more than one cadence is possible within a given scale , priority will be given to the resolution to the lowest partials. We will likely end up with 'primary' and 'secondary' cadences I promise that the list will follow shortly, but there is one more nuance one should be aware of- the modal sus chord. It was suggested earlier that a great many modal cadences in the context of real music and especially modal jazz, are really suspension. In other words the root of the first term of the cadence is not the root of the chord. Somewhere in a lower octave the drone of the tonic is perceived. However, why not play the tonic directly with the first term of the cadence? This is an interesting quality, more ambiguous, which is termed a modal sus chord. For example, given the Lydian cadence D to C in C major, ( 9 +11 13 to 1 3 5 ) place the D triad directly over the C and you have a C Lydian Sus chord.