VARIATION5 Parallel Intervals

While scales and modes are undoubtedly extremely useful for creating singlenote lines, they can also be effectively employed to create a wonderfully useful series of ascending or descending chord voicings. Here we see a combination of G Mixolydian and C Mixolydian modes harmonised in 4th and 3rd intervals to create an ascending line that both supports the harmony and creates a logical and cohesive theme that builds beautifully as the sequence unfolds. We switch to some quartal harmony in bar 55 - chords based entirely on 4th intervals - while the final four bars in this variation introduce the concept of an ostinato pedal-tone in the treble (holding onto a single high D while the voicings beneath shift to outline the harmony).