Hmmm. I wonder, though, if the *reason* that the C#D cadence sounds "strongest" to modern ears is because people are used to Ionian, so the Ionian cadence C#D sounds "stronger" than the pure-Dorian cadence CD? I wonder what the opinion of people who have *not* spent a lifetime of listening to almost purely Ionian-mode rock & pop on the radio would be on those two cadences? To *me*, the C#D cadence, as the ending to a *Dorian* melody, while it does have a yearning, pulling sound to it, and a sense of resolution, it also sounds unnatural, meretricious, transplanted. As for the first few examples, I must admit that, yes, DACED or DACC3D both sound much stronger than DACBD. As for DACAD, though, it actually sounds weaker to me, due to the excessive repetition and being palindromic. Fascinating video, though; sets my mind thinking along lines I'd never thought of before. Though, it does feel odd to be listening to what is obviously part of a college course, considering that I'm not an (official) student of your course. Consider me an "auditor" or "unofficial student". :-) (I got here by searching for videos on "Dorian mode".)
Well, yes. And one of the distinguishing characteristics of the Dorian mode is that it does not have a leading tone, so to "borrow" a C# from the Ionian (as you say) is to abandon the Dorian mode for the ascending melodic minor: compare the pitches of the D Dorian (d, e, f, g, a, b, c, d) and the pitches of the D ascending melodic minor (d, e, f, g, a, b-natural, c#, d). I suppose such a drastic shift in mood might be reserved exclusively for the final cadence, since it is comparable to resolving a minor key on a Picardy third. I'd ask the instructor to comment.
Uhmmmm....if you use the sensible 7th degree into dorian mode you will destroy dorian sound
Melodic tritone allowed? I noticed G C# motion.
some textbooks would say no... but personally, if it sounds good to me, I allow it!
I love this it mentions sheets though any available somewhere?
Can you recommend any books for theory of modes (i know lots of major and minor)or composing in modes dorian mixolydian etc.
Where can I download PDF files of these lesson?
Thanks for sharing this Mister G!
Great video! Extremely helpful and proffetional!
Hmmm. I wonder, though, if the *reason* that the C#D cadence sounds "strongest" to modern ears is because people are used to Ionian, so the Ionian cadence C#D sounds "stronger" than the pure-Dorian cadence CD? I wonder what the opinion of people who have *not* spent a lifetime of listening to almost purely Ionian-mode rock & pop on the radio would be on those two cadences?
To *me*, the C#D cadence, as the ending to a *Dorian* melody, while it does have a yearning, pulling sound to it, and a sense of resolution, it also sounds unnatural, meretricious, transplanted.
As for the first few examples, I must admit that, yes, DACED or DACC3D both sound much stronger than DACBD. As for DACAD, though, it actually sounds weaker to me, due to the excessive repetition and being palindromic.
Fascinating video, though; sets my mind thinking along lines I'd never thought of before.
Though, it does feel odd to be listening to what is obviously part of a college course, considering that I'm not an (official) student of your course. Consider me an "auditor" or "unofficial student". :-) (I got here by searching for videos on "Dorian mode".)
Well, yes. And one of the distinguishing characteristics of the Dorian mode is that it does not have a leading tone, so to "borrow" a C# from the Ionian (as you say) is to abandon the Dorian mode for the ascending melodic minor: compare the pitches of the D Dorian (d, e, f, g, a, b, c, d) and the pitches of the D ascending melodic minor (d, e, f, g, a, b-natural, c#, d). I suppose such a drastic shift in mood might be reserved exclusively for the final cadence, since it is comparable to resolving a minor key on a Picardy third. I'd ask the instructor to comment.
The Examples are just epic, thanks a lot!