Hi, I'm Pedro. I'm going to show you how you can create surprising harmonic landscapes by using a technique called model layering. It consists of doing exactly what the name says, which is adding a mode on top of the other. If you were a piano player, it is like having a mode on the left hand and another on the right hand. I'm going to go step by step through the thought process and procedures that I use throughout the piece of music that you will hear near the end.
O let's get right into it. The whole A section is basically a harmonic melody created by a tenth interval relationship between the left and right hands moving in parallel. The left hand is using C Aeolian mode or C minor, while the right hand is on C Lydian flat 7. Momentarily, I adjusted the right hands to get the notes from C Lydian because I was hearing something different in those places.
So I experimented with it. Let's hear how it would have sounded if I had stayed with the C Lydian Flat 7 throughout. And again, what I ended up with a bit more dramatic. I suppose the difference is with using either AB flat or AB natural. I much prefer the overall harmonic effect of the last one, but this is completely for you to decide based on your personal taste.
As for the scene solo on top of this harmonic base, the obvious choices would be using the mode either from the left hand, the right hand, or even mixing them up and thus introducing some chromaticism. Overall, what I chose to use was C minor pentatonic and some notes from the diatonic and using the occasional F# that can be considered either the augmented 4th or blue note of the pentatonic, or because of harmonic context, it's the F# from the Lydian modes.
In the second-half of the solo, I used C Lydian only to return to C minor pentatonic. As for everything that happens on the B section, the general approach is the same, but with some differences. I still divided the modal layering to the left and right hands, but this time the right hand is doing chords. Again. The general principle is the same, in which you think about the harmonic melody or a melody that dictates how the harmony
will move. The technique for this type of harmonic movement is called parallel harmony or harmonic planning, where chord voices move all at the same time and in the same direction. The bass is doing a melodic phrase that repeats throughout the whole section.
The overall vibe is of C minor pentatonic, but the way I created the line was thinking in C minor pentatonic mixed with C Lydian flat 5. As for the chords on the right hand, I used chords made by stacking forth intervals and thus creating what is also called as quartal harmony. Mind you that when you go about creating these type of harmonic effects, you will want to think of a melody for the harmonic
movement. You can either pick the root or the top note of the chord structure for that purpose. I did both and in the first half of the B section I chose C region to define the direction of my harmonic melody on the bottom. Then I stacked perfect 4th intervals on top of each note that I chose for the harmonic melody. And then for the second-half, I chose the top notes of the chord structure using C Lydian flat 7. This time I added fourths that would belong to the modes I am
using. Mind you that the bass is mixing the modes C minor and C Lydian flat 7, so I thought of also doing that. Here. There are four voices in each chord from the top down. The 1st is the harmonic melody in C Lydian flat 7 and the second is a natural 4th found in that mode. The next two 4th intervals belong to C minor Aeolian and that is how I got those harmonies along with the bass. The whole section as a sounding out type of vibe caused by means of layering modes.
Or we can also refer to it as polymodality. Here's how it sounds all put together. There is a solo in the second-half of this section. For the most part, I followed the harmonic melody that is underneath and added some extra notes all from Cilidian Flat 7 for a bit more weight in that direction. And now the whole piece put together As usual, it consists of an A&B section with their respective synth solos. And with no further ado, here's the complete piece of music.
As always, these were just my choices for layering modes and create this type of effect. My suggestion is that you play around with these materials and then explore the same approach using different modes as each combination will have a different vibe. And if you want to suggest other ideas to implement this approach, please leave them in
the comments. Finally, if you haven't, please subscribe and check out the links in the description that supports some of the music theory implied in this episode. Also check out the Beyond Music Theory blog that has online courses, online music lessons, and the Beyond Music Theory ebook. Check them out. Thanks for watching and until next time.