The Mechanics And Effects Of Modality

Root Tones: The Mechanics And Effects Of Modality

In the last installment of Root Tones™, we explored the history of modern music therapy as a profession and touched upon the concepts of modal music and its effects on the human psyche and physiology. We discussed rhythm, tempo, and dynamics as conveyances of melodic and harmonic concepts and the effect that these various nuances have on the listener. Our investigation focused on Western composers and modalities. Before we turn our attention to more Ancient modalities and their subsequent effects let's extend our understanding of the Western system in comparison to the Ancient systems.

Modern Western music is based on a twelve-tone system of chromatic notes (exemplified by the 7 white keys and 5 black keys on the piano) that are used to create scale systems and modes that may be played in all twelve keys. Each scale or mode is comprised of a family of notes that are strictly adhered to while playing in a specified key or modality. Interestingly, notes outside of the scale pattern are called "accidentals". Western study of modality begins in Ancient Greece. A chord or group of notes played simultaneously in any specific key or mode will contain only notes that are part of the scale or modal family of notes. Notes outside of this group of notes will sound "discordant" or dissonant. The relationship between any notes with the "family" is called intervals. For example, in the key of C major the notes and their corresponding intervals would be as shown in the diagram below.

C-D-E-F-G-A-B-C

1- 2-3-4-5-6-7-8

1=tonic

2=major 2nd

3=major 3rd

4=perfect 4th

5=perfect 5th

6=major 6th

7=major 7th

8=octave

Chords within C major (or any key for that matter) are based upon a formula of relationships between intervals. For example, a C major scale, which exemplifies the Western Ionian scale system that we know as doe-rey-me-fa-so-la-tee-doe, can be played on all white keys on the piano beginning and ending with the note "C" in any octave. However, if one plays a C chord which is comprised of the intervals 1-3-5 (or the notes C-E-G) while simultaneously playing the note "F" (next to the note "E") one will experience the sound of dissonance even though "F" is a part of the major scale family of notes. This is due to the half-step or chromatic relationship between "E" and "F". This half-step relationship is clearly seen on the piano as there is the natural absence of a black note between these two white keys. This is also seen on the piano between the notes "C" and "B", and consequently, if one plays a "B" with a 1-3-5 chord, the sense of dissonance is also present although it is not as pronounced.

This sense of dissonance within the Western tonal system displays a "communication" problem as it were, even among the "family" of notes. This problem does not exist within the Ancient pentatonic system which limits the family of notes to five tones. This system is naturally exemplified with the five black keys on the piano. Ancient music from Africa and Asia is identifiable by the use of this system or family of five tones. An exceptionally large body of music can be attributed to this seemingly limited group of notes. If ten groups of musicians were to each play ten different compositions in the same key in the same auditorium using the pentatonic family of notes, the result would be harmonious as long as each instrument was in tune. This would not be true of the same group playing 10 different groups playing ten compositions use the seven tone lonian mode.

Is there a difference between these modes in terms of the effects they each have on the human psyche and physiology? It is reported that the Jazz composer and band-leader, Sun Ra once performed in West Africa for a large audience in a stadium. Minutes after the performance began, one by one, people began to leave the performance until not one person was left in the audience. Sun Ra was a unique and eccentric musician who enjoyed a huge, almost cult-like, following in the US and throughout Europe. Never before had he experienced such seeming rejection of his music. The reason for this mass exodus from his concert was his exclusive use of dissonance as an integral part of his harmonic concept. This overt use of dissonance did not resonate with this audience of people who were accustomed to music based on the pentatonic family of notes and used for ritual and celebration. The "spirit" of this group of people was obviously perturbed by the "non-sacred" breaking of the rules of the harmonic paradigm that had been established for ages.

The power of music created within the pentatonic system can be thought of as a mantra. Repetition used in mantras has been known to bring about trance states. African drummers are able to create harmonic overtones that actually sound like Ancestral singing to bring about trance dance states. Miles Davis, who was known for his strong tonal "voice" on the trumpet combined with his economy of notes, coined the phrase, “Less is more”. Need I say any more? Well maybe next time, as we continue to get to the root. Until then, B natural and C# (see sharp).