the chord structure (changes/progressions) in "Eight Miles High" by the Byrds. In tonal-centre-neutral terms, the harmonic outline is: i, ii, III VII, VI (Note how/that the 6th degree of e natural minor is C-natural, not a raised C# , as would be the case in 'E' dorian mode.) C♮ III ( G Major, in this case) and VII and VI again. in e-dorian, the modal instrumental stuff is: i, ii, III maybe add '7ths' to each: i7, ii7, and III7 which are typical chords of _Modal Jazz_ ( Those same three are used throughout most of the classic period Soft Machine, and used in "Moondance" by Van Morrison" (in 'A') , "Reno Nevada" , which was covered by Fairport Convention) and, in fact, "Renaissance Fair" by the Byrds (tonal centre of 'B' : ii7, i7 , ii7 , III7 ) . __ Here is another famous 1960s hit song that has those three dorian mode seventh chords: "She's Not There" by Rod Argent of the Zombies. He used a Hohner Pianet and this was the band's first hit in 1964. So, instead of i and IV (a minor and D Major) he used a "ii" in place of the "IV" (and if you combine the "ii" and "IV" triads, you get "ii7") a minor 7 , b minor 7 , and C Major 7 and then, down to F Major (which is rooted on the (lowered) 6th degree of the scale, whose tonic is 'A') so, the a min.7 , and b min. 7 , and C Maj.7 can be described as: i(7) , (ii/IV) (, III7 = III + v i.e. : C Maj. + e min. ) and the a min. and F Maj. triads are: i , (♭)VIIII IV i ii
C Maj. D Maj. a min. b min. That same progression was used by the Jefferson Airplane in "Go To Her". Also, That same progression (chord relationship) was used by Strawberry Alarm Clock in their big hit "Incense and Peppermints" albeit in the key (tonal center) of 'E' e minor, A Major, e minor, C Major I don't know if you'd use dorian e min.7 , f# min.7 and G Maj.7 in that song, but another passage uses modal parallel P4ths/P5ths. e, g, e, a, g b, d, b, e, dRod Argent (Zombies) “She’s Not There” A dorian ( a m 7 b m7 C M 7 (in 3rd inv. and show in root position too?) i7 ii7 III7 1OBRQgt_QPO5sdjg94SdQgFeU-DiKFYT51QK9y5h_bUE ♭VI F Major and then F Major (♭VI) show relation with i and IV (a min. and D Maj.) (make third of tonic i I (Major Third) (C#) (and add dom. 7 G (natural)) blues (i ii III triads too) lead into another British “Close to the Edge” verse “Total Mass Retain” i7 VII7 i7 ii7 (not III 7 ? ) maybe no 7 just triads i , VII , i , ii then modulate (tonal centre) to ‘5’ (dominant) oh yea,h the three i7 , ii7 , III7 then down a whole step to the sub-dominant (‘4’ IV) -- tonal centre movement i7 ii7 III7 again then back to home key (tonal centre) i7 , VII7 , i7 , ii7 : ||OR, is that?: e, g, e, a, g a, c, a, d, cThat figure is then played, down one whole step from that. Well, not quite (not perfectly parallel ) : d, F#, d, g, F# a, C#, a, d, C#___ Yes's "Roundabout" (another hit single, in fact) used those kinds of progressions -- (i) e min. , (ii) f# min. , (III) G Maj. , (ii) f# min. At times, 7ths were added atop each of those three chords. went down to C Major (♭VI triad)."Close to the Edge" (title track from the 1972 album) -- the 2nd movement ("Total Mass Retain") , consists of a pop-song-like structure. Tonal centre is 'A' The chords can be understood as being in terms of a Major key (G Major, in this case) , or in terms of its relative dorian mode, (rooted on 'a') : Presentation slides: "Simple triads stack" In fact, the chord that bridges the end of the first movement ("Solid Time of Change") into that 2nd movement is F Major, which can be seen in terms of being rooted on the (lowered-)6th degree of 'a' minor (or dorian). Presentation slides of all chord changes in "Close to the Edge" Presentation slides: "British Rock seventh chords in dorian mode : "She's Not There" and C.T.T.E. http://docs.google.com/presentation/d/1OBRQgt_QPO5sdjg94SdQgFeU-DiKFYT51QK9y5h_bUE__ P.S. "Incense and Peppermints" maybe e min. A Major. to G Major (instead of C Major.) (or C Maj. adds a 'D' like G Maj.?) another section/passage of that song goes from, two simple Major triads: D Maj., to G Major. Then, a figure based on e minor with descending chromatic pitches: E, D#, D♮, C#, Sorry, that is a whole-step lower than what's used in the song. instead of e minor, use f# minor, and descend chromatics: F#, F-natural, E-natural, D# end on A Major. --- (Robert Wyatt used the descending chromatic thingy , but starting with , based upon _'a'_ minor triad A, G#, G-natural (G♮), F#, f# diminished 7, F Maj. 7 in "Moon in June" presentation slides - "d min - descending chromatic" : http://docs.google.com/presentation/d/1KiQxkuZ68wSOq4dfn9nUofFjZNfNcW5QPTQRkymcNbg/view#slide=id.g12eecf55f7_0_66 shows in tonal centre (harmonic root pitch) of 'D', instead of 'A' (P5th above, P4th lower) That was used by Sergio Mendes in his arr. of "Norwe Wood" on the Ye Me Le (1969) LP/album + that song by Rascals - as well as in "Moon in June" alternative URL : http://drive.google.com/open?id=1KiQxkuZ68wSOq4dfn9nUofFjZNfNcW5QPTQRkymcNbg then G Major, but not quite chromatic, G, F#, E, F#, G Then, that goes to : C Major, D Maj. E Maj. then descend in parallel Major traids, rooted on E Maj., E-flat Maj. , D Maj. , D-flat Maj. C Major, b minor (7??) , A sus4 with 'B' (A+B + D+E) something.
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