I don't know how to get into "what to do with Dorian" and not talk technically. Also I'm not being interpretative but talking from long experience and an abiding interest.
Now, we might say 'no, it's better to use three chords than your two' as a matter of opinion, but in_fact the major IV chord (eg., G major as to D Dorian and its D minor "i" chord) contains the character tone of the mode. So perhaps I could say "in my opinion" (all you really need is the two) but experience may out. For instance Carlos Santana did it all the time, i and IV in a vamp for soloing. And I don't know how a third chord, say bVII achieves more enhancement, ie., at a certain point I find it's doing too much. I would be remiss if I didn't also opine 'you don't need any chord', based in what Indian Classical Music is and my own exploration. The same notes of Dorian existed as "Kafi" thaat probably back to the 15th c. (according to Bhatkande)
So, I don't consider the uniquness of modes (or say our more "exotic" scale forms) as abstractions at_all. They have a sound, in physical ie., concrete terms. When I construct a mode where I'm going to pretty much stick to 5, 6, or 7 notes I'm looking for a sound, not for an abstract technicality.
In sum, I think of modal music and music that's about a chord progression as different approaches. As far as that being interpretative it's also a view held by many, or a prevailing historical view.
Now, we might say 'no, it's better to use three chords than your two' as a matter of opinion, but in_fact the major IV chord (eg., G major as to D Dorian and its D minor "i" chord) contains the character tone of the mode. So perhaps I could say "in my opinion" (all you really need is the two) but experience may out. For instance Carlos Santana did it all the time, i and IV in a vamp for soloing. And I don't know how a third chord, say bVII achieves more enhancement, ie., at a certain point I find it's doing too much. I would be remiss if I didn't also opine 'you don't need any chord', based in what Indian Classical Music is and my own exploration. The same notes of Dorian existed as "Kafi" thaat probably back to the 15th c. (according to Bhatkande)
So, I don't consider the uniquness of modes (or say our more "exotic" scale forms) as abstractions at_all. They have a sound, in physical ie., concrete terms. When I construct a mode where I'm going to pretty much stick to 5, 6, or 7 notes I'm looking for a sound, not for an abstract technicality.
In sum, I think of modal music and music that's about a chord progression as different approaches. As far as that being interpretative it's also a view held by many, or a prevailing historical view.
Statistics: Posted by jancivil — Wed Mar 13, 2024 10:38 pm