DJ Warmonger wrote:
What is suggested there, I believe, is that you should be ready to identify the tracks - in terms of key, or matching note content here vis a vis '_ mode' - by your ear.
Yes, that's right. But now I actually want to compose a track and wonder how it will work in the mix. That's why I asked for opinion of musicans who probably use different modes a lot. I never considered harmony of other modes before.
Keep in mind that I am not musican by tranining, I am engineer. I like to know how things really
work before trying them, and the answer "everybody knows that" is unsatisfactory
Yet it seems that your first post, jancivil, confirms my belief.
I am indicating to you the difference between information and knowledge.
"How it works" here is restricted to what you want, which seems to be you don't want a jarring or interruptive change. So, understanding cycle of fifths I think has its place. Like I said, you have no sharps or flats, and the closest thing is one of either 'in a key signature'. However you've now been advised not to confound key signature with key here, per "D dorian". EG: D dorian would not use sharps or flats in its signature. C dorian would use two if such a signature be required. However D dorian is not C major and C dorian is not Bb major.
These advisements do not come out of opinion really.
I don't know how well 'key' will be detected from a mode, or how you're indicating the mode, even; through what mechanism or how the machine prejudges what it's given.
D minor key contains A# note, which is not white key of C Dorian. This breaks decent progression around circle of fifths, since for example distance from G to C is one note, while from G to Dmin is 2 notes (plus major-minor change).
What you're after is *degree of distance*. The Bb [NB: not A#; you won't find that through cycle of fifths before five removes from 'all white keys'] indicates one remove from 'all white keys'. A problem, how much of a problem? This needs to be a matter between you and your ear.
Having the information does not rise to knowing
it works. Knowing what to do in music, well, music is contextual. It depends. I realize what you want is much more rudimentary than that, but if you're going to move from an engineering mindset towards musicianship, well the former is not through itself conducive to the latter.
You're inclined to want to trust the machine, but you have acknowledged it's prone to error in this matter. Does it consider 'B in D dorian' vis a vis 'D minor' and a sort of mistake, will it form 'C major' as the answer, who knows. "eventually" it's in the ballpark? Seems not too useful.
Since D dorian is
neither, it looks like a problem and I think the path to knowledge
lies elsewhere than interest in the machine's result.