I think this theme has a nice modal sound.
Are there any theoretical rules I can use to expand on it (and still keep it modal)?
How do I analyse this theme and assert it has a modal sound?



________________3
______________2
_____T___T__T______T
_______L_____________L
_______________________6
_________________________5___5__5.
___________________________4

I've never seen anything like that...what does it mean?

rada

Assuming Ionian mode and T stands for tonic and L for leading tone then there's nothing modal about this that isn't also in a simple major scale. If it sounds modal it's because the 4 is not a leading tone to 5 (easily remedied with a secondary dominant giving you a #4), but that would also imply possible modulation. If I've misread your shorthand please correct me. To enhance the modal sound use more subdominant to dominant progressions or flat your leading tone or use a different mode. Most people who are savvy enough to hear a flat seventh will assume some mode is being used, hence "it sounds modal."

Thanks for the response!
I forgot to mention that this phrase Tonic is note C. ( Though trying the other modes, this phrase only seem "fit/sound good" at C to my ears ).

Interestingly, as you suggest, flatting the leading tone (in this case B -> Bb) sounds different, but still good.

Though trying a #4, totally removes the "modal sound".
Which suggest I may have analysed wrong. If I put Tonic at G, the phrase will begin on 4 and end on the new tonic G:

Here, T= note G. 3 is either B or Bb (but consistent).
L = note F (cant be F#).

________________6
______________5
_____4___4__4______4
_______3_____________3
_______________________2
_________________________T___T__T.
___________________________L

Dear larryz

Would you have recording of this?

Is this a recognised system of notation, or your own invention? It would be much easier if you showed us your melody in standard notation.

Hi Larry,

Welcome to the forums. If you want any of us to take even a bit of this seriously, then use standard staff notation, with intended pitches and note values. There is a universally accepted set of symbols to represent music - let's use them.

Ed

Perhaps he doesn't know how to show us notation? Could someone run down the various ways Larry could attach the output of a scorewriting program or a scan of handwritten manuscript to a message?

Hello larryz

Your theme is as follows:
C B C C D E C B A G F G G

Second voice (example 1) is as follows:
C D E G F E E D F E D E C

Second voice (example 2) is as follows:
C D E G F A A G D E D D C

Both second voices example 1 and 2 use lower C compared to the theme, which uses upper C.

I would select the "second voice (example 1)" to show the contrast to the theme as the theme uses many upper Cs. Contrast and variety keeps music interesting in my view.

Hello larryz

I wasn't sure if you were using both second voice examples 1 and 2 or not, so I said I would select the one that would contrast the theme.

Your piece is perhaps one of the more interesting piece of composition I have encountered in this site. It has many interesting elements.

I will be very interested to read more of your writing so continue to post.

Hello larryz

One more comment:

Both of your "second voice examples" 1 and 2 are using middle c as opposed to your theme, which is using treble c.

Keep posting. It is an interesting piece.

I was unable to understand all the basic things.I need some more details about it.

I've completed five measures which brings it to cadence. Though it doesn't sound so original, I'm sticking with it, to have something to work on.


.........................................O................
+============================+=========O=================+
|.............O..............|.O...O.O.....O.............|
|===========O================|===O===========O===O=======|
|...O...O.O.....O............|.................O.........|
|=====O===========O==========|=====================O===O=|
|...................O........|.......................O...|
|=&===================O==O=O=|===========================|
|.......................O....|...........................|
+============================+===========================+



+=========================+===============+=============+
|...........O.............|...............|.............|
|=========O===============|===============|=============|
|...O.O.O.....O...........|.O.............|.............|
|===============O=========|===O===========|=============|
|.................O.......|.....O.........|.............|
|=O=================O===O=|=======O====O=O|=============|
|.....................O...|.........O.....|.O...........|
+=========================+===============+===O=========+
...............................................O........
...............................................==O=.=O==
...................................................O....

Why waste time writing out countless rows of equals signs and periods when you could just write the note names?

Hello larryz

Below are what I came up with regarding your new and interesting score.

1st measure;
CBCCDECBAGFGG

2nd measure;
EDEEFGEDCDBAB

3rd measure;
GCCCDECBAGFG

4th measure;
CBAGFGG

5th measure;
FEDCBC

Wish the best with your composition.

Hello larryz

You mentioned the cadence and I think it does end well. On the next to the last measure, there are many dominant notes, and the last measure ends on a tonic. To me, this is a nice ending.