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modes
I just did a homework assignment today for my music theory class on modes. I had to compose two, eight measure phrase periods--one in a minor mode (dorian,phrygian,locrian) and one in a major mode (lydian, mixo).
Using the harmony patterns of Baroque theory of moving either up a 2nd, down a 3rd, or down a 5th in any order, an entirely acceptable progression can be composed in either ionian or aeolian. Meaning if I was playing in a minor, for example, I could move from the VI chord to either a VII (F -- up a 2nd), a ii dim (b -- down a 3rd), or a V chord (E -- down a 5th).
In modal progressions this pattern is traditionially reversed. You move down a 2nd, up a 3rd, or up a 5th. I don't know why, but it works. Meaning in F Lydian you would move from a iii chord (a) to a II (G), a V (C), or a vii (e).
That's just a little advice on how to write progressions in modes. I'm not sure how widely practiced that is in pop or rock music, but that's what my textbook said. As for why you would use them, each mode (including ionian and aeolian) have a ranking on a scale of darkness --> brightness. Locrian is the darkest sounding mode and Mixolydian is the brightest. I can't remember how the others place off the top of my head but I'm guessing you would use modes for their tonal color, and the emotion they help convey.
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