JAZZ COMPOSITION THEORY AND PRACTICE

Harmonic Variation via Modal Interchange

Modal interchange occurs when a diatonic chord from one tonality or modality is borrowed for use in another tonality or modality. Modal interchange is used by composers and arrangers when a repetitive chord progression involving II7, IV, IV, or V7 needs some reharmonization for the sake of variety. MODAL INTERCHANGE FROM MINOR TO MAJOR The following minor-key chords are liberally borrowed via modal interchange for use in the parallel major key (e.g., from C minor to C major). CHORD II-7(%5) %IIIMaj7 IV7 or IV6 V7 %VIMaj7 %VII7 FUNCTION replaces II7 replaces IV or V7 replaces IV replaces V7 replaces IV replaces IV EXAMPLE IN C MAJOR D7(%5) E%Maj7 F7 or F6 G7 A%Maj7 B%7

MODAL INTERCHANGE FROM MODAL TO MAJOR The following chord is liberally borrowed from Dorian mode for use in the parallel major key (e.g., from C Dorian to C major): CHORD V7 FUNCTION replaces V7 EXAMPLE IN C MAJOR G7

The following chord is liberally borrowed from Phrygian mode for use in the parallel major key (e.g., from C Phrygian to C major): CHORD %IIMaj7 FUNCTION replaces IV EXAMPLE IN C MAJOR D%Maj7

The following chord is liberally borrowed from Lydian mode for use in the parallel major key (e.g., from C Lydian to C major): CHORD IMaj7(#11) FUNCTION tonic alias in C EXAMPLE IN C MAJOR CMaj7(#11)

The following chord is liberally borrowed from Mixolydian mode for use in the parallel major key (e.g., from C Mixolydian to C major): CHORD %VIIMaj7 FUNCTION replaces IV EXAMPLE IN C MAJOR B%Maj7

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CHAPTER 2 MODAL INTERCHANGE FROM MAJOR TO MODAL

HARMONIC CONSIDERATIONS

The following chord is liberally borrowed from Ionian (major) mode for use in the parallel Dorian mode (e.g., from C major to C Dorian): CHORD IV Maj7 FUNCTION replaces IV7 (avoids tritone) EXAMPLE IN C DORIAN FMaj7

In the following example, each of the previous examples of modal interchange is written out for aural comparison. In the first measure of each two-measure example, CMaj7 (I) is followed by either II7, IV, IV, or V7 for reference. In the second measure of each two-measure example, CMaj7 is followed by a related modal interchange chord from the preceding list. (In the final example, the I chord is I7 in Dorian mode.) It is suggested that you play these examples at the piano several times in order to train your ear to hear them.

Modal Interchange

CMaj7

D7

CMaj7

D7( 5)

CMaj7

F6

G7

CMaj7

E Maj7

II7

II7( 5) (from C natural minor)

IV

V7

IIIMaj7 (from C natural minor)

CMaj7

F6

CMaj7

F6

CMaj7

G7

CMaj7

G7

IV6

IV6 (from C natural minor)

V7

V7 (from C natural minor)

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