Modality and Tonality

This post might oversimplify the concepts of modality and tonality but I want to share some ideas about how to think of them and why, as music creators, it's important to consider (and practice) them.

Modality refers to the relationship of the notes in a chord or scale to their own root.

Tonality refers to the relationship of the notes in a chord or scale to the key.

hmmmm.  So what does that mean?  

I think of it this way.  A major triad has a distinct sound.  As does a minor triad, a seventh chord, a diminished chord, and on and on.  The arrangement (and even number of notes) in a scale are distinct.  The sound of that chord or scale taken just by itself refers to modality.

A simple example:

If I play C-E-G together most people could identify this as a major chord.

(flatten the E for an minor chord, still no problem.)

If I add a B, it becomes a major seventh chord.  I'd say a majority of musicians could identify this chord.

 

If I flatten the B, it becomes a dominant seventh chord.  Easy enough.  The group of people who can identify and play this chord is still quite large.

Now lower the E have a step, minor seventh chord.  Still simple.  I'm pretty sure we haven't lost too many musicians yet.  Especially if we are staying in the same key and doing these in order. (tonality - but, I'm getting ahead of myself.)

Most musicians can easily identify these chords.  Most musicians can also play these chords, good musicians can play these chords in many keys.  Great musicians can play these chords in any key - even if the lead sheet shows a different key.  How?  PRACTICE.

Let’s move on...

Now we'll add more notes (usually thirds) on top of the 4 note chords we have reviewed so far. I'll save the discussion of diatonic vs. chromatic, tensions, available tensions and all that JAZZ for later. This is where things get a little tougher. This is the part that is stretch for me to hear - but I employ these ideas easily in composing because these next ones have a lot to do with context or tonality.

Now add a D.  Now we have a Cm7/9 (or C-7/9, there are lots of notation systems.)  This chord is getting a little harder to hear and identify.  Lot's of serious musicians are still with us (these are the ones who have spent a lot of time training their ears!)

Take that C and move it between the Bb and the D.   Now what do we have?  Is it an inversion of the 7/9 chord or something else?  Here's where tonality might start coming into play.

If this chord were in a piece in the key of Bb - you might call this an EbMAJ7/13.

But the sound of the chord is the same no matter which key it is in!

That's what MODALITY means. In another post I'll share how I understand TONALITY.

It wasn't until I understood what Modality meant that learning different modes made much sense to me.  It all seemed like just common sense and using different Greek names for simply starting on different scale degrees was a waste of time.  

By understanding modality better I am more able to hear the structures of chords (and scales) and appreciate how mixing modes can make my music more interesting.  (Still takes a lot of practice to really hear it.  I'm always learning and experimenting on how to apply it to make my music better.)