Quels accords jouer derrière un mode ?

Salut !

Si ça peut t'aider, un fil sur le sujet :
http://fr.audiofanzine.com/the(...).html

(...) Modal jazz composers didn't want any such inbuilt messages or meanings in their chords; they wanted to explore modes as sources of pure melody, without any need for the harmony to "go" anywhere. A kind of meditative harmonic stasis, a single mood. So they built chords in 4ths as much as possible (but usually including 2nds, 5ths, and OK maybe the occasional 3rd somewhere). Chords built in 4ths ("quartal harmony") have an ambiguous sound, it's hard to tell what the root is supposed to be, and hard to discern any function in the chord; which is the idea. Chords in modal jazz often sound like random bunches of notes, because that's more or less what they are.

So - to play lydian mode in jazz, you would have NO chord "progression". You would have ONE chord (if any), including various notes from the mode. For C lydian, there would be C in the bass; probably a G to support it; a maj7 (B) and a #11 (F#) to identify the mode. And then any other note from the mode that you felt like.
If you did want to use tertian chords (triads and 7ths), then you might use a normal C or Cmaj7, with perhaps a second contrasting chord, such as D major. (This is what Joe Satriani did in Flying in a Blue Dream, which is - mostly - in C lydian: a C chord, with a brief D/C resolving back to C, to highlight the F# in the mode.)
What you need to avoid (probably) is a G chord, F#dim, or D7, all of which will (due to familiarity) pull the sound back towards G major.

Some modes can stand using a few more chords (mixolydian anyway), but most are tonally weak, meaning too many chords (of the traditional triadic variety) will point the sound towards the relative major key.
So "modal harmony" means essentially one chord (anything built on the root), with possibly a second contrasting chord. Eg, if the root chord doesn't identify the mode in itself (eg using Am7 for dorian, which could also stand for aeolian or phrygian), then you'd add a secondary chord which contains the crucial missing modal identifiers. So for A dorian mode, you'd include D, D7 or Bm as a contrast to Am, to provide the F# which tells you it's dorian (Am7 and Bm7 between them spell the whole mode, but Am and D are enough to imply it). But no other chords!
http://forum.emusictheory.com/(...)11595

The difference between modal and tonal are in the harmonic languages surrounding the tonal center. Tonality implies the system of common-practice harmony well-established by the eighteenth century that uses major and minor keys. The tonal center of a tonal work is the first note of the major or minor scale in use as the pitch collection. The harmonic implications of tonality are more than just the use of major and minor scales, as functional harmony is also a feature of tonal music. The progression from the dominant sonority (a major triad with or without a minor seventh from the triad root based on the fifth note of the major or minor scale in use, or a similar-sounding substitute such as a fully-diminished seventh chord based on the leading tone) to the tonic triad to end a work is just one characteristic of functional harmony. This characteristic is so important that, if the dominant sonority is instead a minor chord (thereby lacking the leading tone), the work no longer sounds tonal. This means that even in a minor key, the seventh note of the scale is very often raised so that it becomes the leading tone.

Modal music uses diatonic scales that are not necessarily major or minor and does not use functional harmony as we understand it within tonality. The term modal is most often associated with the eight church modes. The tonal center of these modes is called its "final." All the church modes use a pattern of half and whole steps that could be played on the white keys of a piano. You may notice that there are only four different patterns among the church modes; the difference between e.g. "dorian" and "hypodorian" is whether the final occurs at or near the bottom of the melodic range or whether the final occurs in the middle of the melodic range. The term "modal" has expanded in more modern music to encompass any non-tonal music that uses a diatonic pitch collection and has a tonal center.

There are many types of music other than modal and tonal. Some examples include:

chromatic music, which uses all twelve of the standard Western pitch classes instead of the diatonic pitch collection, and which may or may not have a tonal center;
serial music, sometimes called "dodecaphonic," which is chromatic music that intentionally avoids a tonal center, often by avoiding repetition of a pitch class until all twelve pitch classes have been used;
bitonal or polytonal music, which uses multiple diatonic pitch collections and multiple tonal centers simultaneously;
microtonal music, which uses pitches with frequencies between those of the standard twelve Western pitch classes;
whole-tone music, which uses a six-note scale comprised entirely of whole steps; and
non-Western music, which uses a pitch collection outside the twelve Western pitches (this is not a good classification, as there are many cultures with many different kinds of music that are very different from one another in pitch collection).

I did not even touch on music that does not use pitches at all; for example, an unpitched percussion work would clearly not be modal or tonal.
http://music.stackexchange.com(...)music

L'harmonie modale

L'harmonie modale supprime les notions de cadences parfaite(V I), cette cadence est nous l'avons vu, une cadence tonale, les accords de tensions au profit des accords II, III, VI.

Les accords ne sont plus utilisés pour leurs fonctions tonales mais plutôt pour leurs couleurs.En régle générale, les grilles sont plus aérées et les accords durent plus longtemps, ce qui permet de dévelloper les modes correspondants, ce qui n'est pas possible sur une grille tonale.

Il est possible d'harmoniser les modes de la même façon que les gammes.La seule différence c'est que l'on évitera les accords contenant des tritons.L'évitement des tritons trouve son origine dans la musique médiévale chrétienne, à l'époque cet intervalle était considéré comme, "diabolus in musica".diabolus parce que l'église de l'époque édicté ses lois et ne supportait pas cette sonorité.Aujourd'hui, les choses ont beaucoup évoluées mais les modes conservent cette caractéristique.voyons comment harmoniser les modes.

Suite...

Ok, donc : modes = bourdon = une note =pas d'accords

Le mot « mode » a l'unique signification, en musicologie, de désigner la composition elle-même d'une échelle, quelle qu'elle soit : a) de fréquences; comme les échelles modales et tonales sont hiérarchisées, le mot mode tend à se référer à une échelle hiérarchisée (donc, les échelles atonales ne correspondent pas à des modes); dans un sens plus restreint, le mot mode se réfère à la constitution des deux échelles tonales possibles, majeure et mineure. Pour être précis, le "ton" est la note sur laquelle s'établit la "tonique" de l'échelle considérée, le "mode" est le système (organisation interne, schéma d'intervalles), majeur ou mineur, appliqué à ce "ton", par transposition du modèle initial (do majeur ou la mineur); l'ensemble, "ton" et "mode" se dénommant "tonalité" (ainsi, on peut "tonuler" en changeant de ton, "moduler" en changeant simplement le mode, ou "tonuler et moduler").
http://fr.wikipedia.org/wiki/S(...)tonal