This precisely exemplifies why it's incorrect to assert that those with less knowledge than you should refrain from sharing their knowledge. From a theoretical point of view, we can impose a total order on those with knowledge of a given subject and consequently, that implies that only one person should be sharing knowledge. That is, there's always someone who knows more about a subject than anyone else in the world, or, as is practical, the limited shared subset of the world, in this case KVR. Practically, we can partition the set into equivalence classes by those who agree with each other with respect to a particular assertion.jof wrote:jancivil wrote: Modes are MELODIC material, not harmonic material. The person interested really in modes is looking for the character and feel they avail us of. The interest is in melody, chords isn't it.Actually, you couldn't be more wrong. You need to get off your high horses and start doing your homework. I suggest reading Jeppesen, especially page 80.JumpingJackFlash wrote: The thing is, triadic harmony is a feature of tonality, but it doesn't work the same way (if at all) with modality. Typically, modal music uses very few chords.
Here is a short quote for you:Your complete lack of understanding of modal music is immediately apparent to anyone with the slightest knowledge of the Palestrina style and you are totally out of line lecturing the OP the way you have been doing. The only thing you have achieved in this thread is making yourselves look like arrogant idiots. YOU are the ones spreading misunderstandings and you need to just STFU and stop pretending you are music theory experts.Every ecclesiastical mode actually has at its disposal many more
chordal possibilities than the major and minor scales. If we compare,
for example, the Dorian with D minor (the two having almost the same
scale) we see that the Dorian has two triads (D major and D minor)
on the first degree, whereas the D minor scale has only one. On the
second degree there are two possibilities available for the ecclesiastical
mode, but only one for the D minor scale.
...
As may be seen, we have in the Dorian no less than six pure triads — the
most valuable tonal combinations — which deviate from D minor: D
major, E minor, F major, G major, A minor, and C major.
So we are left with a binary proposition. Since both JumpingJackFlash and jancivil have asserted their belief that only those who "know" should be sharing, then they are obligated to either A) refute jof's assertions and claim their rightful position as top, or, B) apologize to the OP for acting in an "extremely irresponsible" fashion for distributing incorrect information on the interwebs.
So what's it going to be folks? A debate, or an apology?