Multimodal Madness - add
depth and interest to your solos with this approach.
Figure 5.2.1 Multimodal Madness chord sequence
The harmony of the first four bars is
derived from the 4th mode of A melodic minor over an ostinato riff in D. This
implies a D Lydian dominant tonality. Bars 5-7 are major scale derived and the
final Eb7#11 is derived from Eb Lydian Dominant a semitone up from the opening
bars.
Bars 1-2 Mode 3
Before
proceeding it is worth discussing exactly how I conceive mode 3. Here is Messiaen’s
own definition from the ‘Technique’:
"It is transposable four times,
as is the chord of the augmented fifth. It is divided into three symmetrical
groups of four notes each. These "tetrachords," taken in ascending
movement, are divided themselves into three intervals : a tone and two semitones.“
My
conception of it is more guitar-centric, thinking of it as three groups of a
tone, semitone, each of which are separated by a semitone. This reflects the
geometric fretboard patterns that are formed if one arranges things in the
standard 3 note per string way. However, due to the repeating, symmetrical
nature of the mode there are many ways of organising any symmetrical mode
across the neck.
Figure 5.2.2 Mode
3 three note per string fretboard diagram
This
practice will emphasise certain intervals within the mode and draw out
different sounds making it endlessly multifaceted. Once metric and harmonic
placement is factored into the equation then the possibilities become even
greater. As there is a larger palette of notes to draw upon, the aural effect
of a particular transposition can be manipulated. By careful note choice and
intervallic shape relative to the harmony it is being superimposed upon the
improvisor/composer can sway the listener’s perception of how far in or out the
line is from the harmony. Once again, we come back to Messiaen's own well-worn
phrase, The charm of impossibilities. Holdsworth also alluded to this in
various ways over the years.
Bars 1-2: Mode 3
Utilising a symmetrical pattern derived
from Mode 3 in C the line transitions into the melodic minor (Lydian dominant)
for the second bar creating a pattern of tension and release.
Figure 8.2.2 Multimodal Madness bars 1-2
5.3 Harmonic congruence between the transpositions
of Mode 3 and Cmaj7#5
Figure 5.3.1 Harmonic
congruence between the Mode 3 in C and Cmaj7#5
Here we can see how Mode 3 C dovetails
with the A melodic minor in part but not fully. This analysis will look at two levels of
congruence. The first in relation to the prevailing Cmaj7#5 chord and the
second to the underlying Lydian dominant mode of the parent A melodic minor.
Those notes found in the Lydian Dominant will be highlighted in blue. Those
notes falling outside either the chord or Lydian Dominant will be described as
extensions, altered or otherwise. Dominant extension notes marked in red and
totalled to give an index of that mode's overall dissonance.
C
D Eb - contains the 3rd
E
F#
G - contains the 5th
G# A# B - contains the 7th
Eb is the b9
Ab is the
b13
In this instance the major 3rd axis of
Messiaen's definition neatly correlates with the first chord. Interestingly the
root of the parent melodic minor is avoided. Herein lies the charm and aural
intrigue of this superimposition.
As Mode 3 yields three transpositions a
comparative study is in order. Here we have the comparative congruency diagram
for the first transposition starting on Db
The 1st transposition starting on Db
Figure 5.3.2 Harmonic
congruence between the Mode 3 in Db and Cmaj7#5
Db Eb E - contains the 3rd
F
G Ab - contains the #5
A
B C - contains 7th and
R
Db is the #7
Eb is the b9
F is the #9
G is the natural 11 - in conflict with
the diatonic #11
The 2nd transposition starting on D
Figure 5.3.3 Harmonic
congruence between the Mode 3 in D and Cmaj7#5
The 2nd transposition
D
E F -
contains the 3rd
F# G# A -
contains the 7th
Bb C Db - contains the Root
F is the the #9
Bb is the b13
Db is sharp 7 in conflict with the minor
7th
The 3rd transposition starting on Eb
Figure 5.3.4 Harmonic
congruence between the Mode 3 in Eb and Cmaj7#5
Eb F Gb - no chord tones
G A Bb
- no chord tones
B C# D - no
chord tones
Eb is the b9
F is the #9
G is the natural 11
B is the natural 13
C# is the sharp 7 in conflict with the
minor 7th.
Congruence index for each of the
transpositions
|
|
Non
Lydian Dominant tones |
No
of Chord tones |
Congruence
index |
|
C |
2 |
4 |
7 |
|
1st
transposition Db |
4 |
4 |
5 |
|
2nd
transposition D |
3 |
3 |
5 |
|
3rd
transposition Eb |
5 |
0 |
0 |
The maximum number of non Lydian dominant
mode 3 scale tones that are not chord tones = 5
Taking the number of non Lydian dominant
tones from 5 gives a positive number indicator of congruence.
The maximum number of chord tones is 4
adding this to the non Lydian dominant number gives an overall congruence index
where the higher the number the greater the degree of congruence.
The following video has the opening line
replayed with the mode 3 element in every transposition.
Although the preceding analysis goes some
way to quantifying the relative congruence of each of mode 3’s transpositions ultimately,
it’s down to the subjective opinion of the listener as to which is the most
aurally satisfying. It should also be noted that in all this musical bean
counting no account has been made as to how phrasing and rhythmic emphasis
impacts on our perception of ‘in’ and ‘out’, ‘wrong note’, ‘right note’ and
more simply right and wrong.
Having said that I would contend that the
indexes marry up to the aural experience surprisingly accurately but again,
this is purely subjective.
Listeners versed purely in major key,
pentatonic based music often struggle to come to terms with Holdsworth’s music
and equally Messiaen’s language is still challenging to some.
5.4 Line
analysis of Multimodal Madness
Multimodal
Madness was composed
as an exemplar for how Modes of Limited Transposition can be applied to a tonal
progressive metal context. The precomposed lines serve as models upon which to
develop gestural fretboard knowledge in conjunction with harmonic and melodic
connections. This internalisation is an important step in the development of my
own compositional language as they relate to the remit of this masters thesis.
Bar 7: Mode 3
In bar 7 we see that given the correct
transposition mode 3 can fit into a minor 7th tonality. Mode 3 starting on B
provides all the chord tones of Bm7. The remaining notes are either expected
intervening scale tones (C# and G would suggest an Aeolian mode choice) or are
more unexpected tension notes. All of the non-chord tones function
by virtue of the internal logic of the symmetrical mode 3.
Figure 5.4.2 Congruence of Mode 3 B and Bm7
Bar 9: Mode 6
As alluded to elsewhere in this work Mode
6 can be thought of as a game of two halves. It is constructed from two
tetrachords separated by a tritone, creating a symmetrical division that
inherently resists full tonal alignment. As a result, its congruence with any
given tonal centre is essentially split — each tetrachord aligns with tonal
structures to varying degrees, but never completely, making the mode feel
perpetually unsettled or ambiguous. This 50/50 split in tonal affiliation is
what gives Mode 6 its distinctive, almost dualistic character. Mode 6 lines
perpetually weave in and out of a tonality. In this instance the harmonic
context are chords diatonic to the melodic minor, Cma7#5 going to E7. As the
second chord is an upper extension of the first most improvisers would treat
them as a single harmonic entity or tonal region.
This duality in Mode 6
mirrors a common trick among jazz improvisers, the practice of shifting a
melodic phrase up a tritone and then returning to the original key. Just as
Mode 6 is built from two tetrachords a tritone apart, this improvisational
device exploits the inherent instability and ambiguity of the tritone interval.
By momentarily shifting the listener’s harmonic frame of reference, the
improviser creates a tension that is both surprising and structurally coherent
when resolved. In both cases, the tritone functions not just as a harmonic
dissonance, but as a tool for structural symmetry and contrast. This interplay
between tonal centre, whether embedded in the scale itself or navigated in real
time through improvisation, reveals a shared logic. On the guitar this results
in more of the fretboard symmetry we see exhibited in many of the 7+ modes and
particularly in Messiaen’s Modes of limited transposition.
Figure 5.4.3 Multimodal Madness bars 9-10
The C-F tetrachord notes
are blue and the F#-B tetrachord notes are in red. Here we see those notes and
their function in the prevailing harmonic context. Note the one uncoloured note
at the end of the line and the subsequent final note suggesting a resolution
into the diatonic Lydian dominant. The following diagram illustrates the dual
functionality of the individual notes of mode 6 in relation to the two chords.
This harmonic and melodic ambiguity is something I exploit as a composer in
works such as Elisions and Articles of Faith.
Figure 5.4.4 Congruence of Mode 6 C/F# to Cmaj7#5
Bar 12: symmetrical
shape
Figure 5.4.5 Multimodal Madness bar 12
The first
two beats of bar 12 make use of tetrachords derived from Mode 2, but rather
than being spaced a tritone apart, they are separated by a major
third—mirroring the fretboard symmetry typical of Mode 3. This intervallic
shift creates partial overlap between the two tetrachords, resulting in a
blurred or ambiguous modal identity. The resulting sonority could be loosely
described as a Mixonyphyllic mode,
but it’s more accurately understood as a practical adaptation of the
symmetrical scale approach favoured by many guitarists. Most notably, Edward
Van Halen often employed this technique, moving scale shapes around the neck in
repeating geometric patterns to generate unpredictable and harmonically
ambiguous lines*. This was, in part, his way of emulating Allan Holdsworth’s
use of symmetrical modes, albeit a more shape-based, tactile logic, grounded in
the guitar’s neck layout. Van Halen’s well-known quote about ‘falling down the
stairs and landing on your feet’ springs to mind here!**
This
ambiguity is partially resolved by the line falling into mode 3 for the
remainder of the bar. Thus, we have layers of tension and resolution as the bar
progresses. Starting with overlapping repeating symmetrical shapes into mode 3
and its partial connection to the harmony and finally into the final resolved
end note.
* Van Halen.E (1984). “Hot
for Teacher”. (Song)- Guitar Tab | Lesson | Cover | Tutorial
Bar 15: Mode 2
Figure 5.4.6 Multimodal Madness bar 15
This line in
Mode 2 functions in a similar way to the previous example in Mode 6. Like Mode
3, Mode 2 is also built from two tetrachords a tritone apart; however, their
intervallic makeup differs, following a whole-step, half-step, whole-step
(W–H–W) pattern. The line 'hooks' into the harmony by starting on the 9th, and
through assertion and sequential patterning, it descends from the notes of the
tetrachord that aligns with the chord (the 'congruent' tetrachord) into the
notes of the contrasting, non-congruent tetrachord. This descent ultimately
resolves on the first beat of the next bar, coinciding with a harmonic shift to
the Eb7#11 chord.
Figure 5.4.7 Congruence of Mode 2 B and Bm7
5.5
Conclusions
This
exemplar demonstrates how +7 scales, and the modes of limited transposition in
particular can weave in and out of tonal harmony in a way that contradicts
their inherent symmetrical nature and similarly the connections that can be
made to more familiar diatonic scales. Although
the context may be very different this is the same interplay we see at work
within the Messiaen examples discussed earlier. In the “Louange à l'Éternité
de Jésus” the symmetry of mode 2 is used to weave in and around the
prevailing tonal framework of the piano part. As the piece develops different
transpositions are brought into play. This is highly reminiscent of
Holdsworth’s modal juxtaposition approach to improvisation typified by the “Pud
Wud” and “Devil Take the Hindmost” examples given earlier.
