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One of the main components of tonal music is the idea of tension and release, i.e., dissonance to consonance. This is the type of thing you want to think about if you’re writing a melody or improvising, says Susanna Sifter in this excerpt from her Berklee Online course, Piano Scales 101. The most common cadence in traditional pop music of Europe and the US is the V7 to I, which is highlighted by the tritone interval found on the V7 chord (Sol-TI-Re-FA), in which both notes tend to resolve a semitone up or down. In this case the note Ti goes up a semitone and lands on Do, and Fa resolves a semitone down to Mi, taking us back to the I chord (DO-MI-Sol). But this sort of resolve doesn’t happen in modal music. In fact, if you want to stay in a mode’s tonality, you should aim to avoid common cadences like V7-I as they can take us back to tonal music.

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ABOUT SUZANNA SIFTER:
Suzanna Sifter is a jazz pianist, author, and educator who has been on faculty at Berklee College of Music for 30 years. She holds a BM from Berklee and a Master’s Degree from New England Conservatory. Suzanna has released five recordings as a leader, composer, and arranger: “Flowers for You,” “Awakening,” “The Illumination,” “Sophisticated Lady,” and the play along CD to her book, “Berklee Jazz Keyboard Harmony: Using Upper Structure Triads.” The second edition of Suzanna’s book was released through Hal Leonard/Berklee Press in 2015.

About Berklee Online:
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