About the author: Dr. Marshall Tuttle received his DMA in Music Composition from Stanford University. His works have been performed in Europe and America and he has lectured in Europe, America and Australia on subjects related to opera, voice, and vocal science. Dr. Tuttle has taught at Oklahoma City University, Langston University, and Mount Hood Community College and was a co-Founder of the Berkeley promenade orchestra.
2016 1-4955-0516-2 This work examines a specific technical and expressive means by which the various ecclesiastical modes persisted and were integrated into compositional practices of the tonal period, from the time of Bach through to the early twentieth century.
It is demonstrated that a technique of integrating modes into tonal music is not through the use of melodic or harmonic materials, but through modulation. Modulations can be drawn from and limited to those keys which derive from chords that exist in the modal scale of the final key of a composition. This leads to what can only be referred to as a kind of pseudo-diatonic chromaticism. Modulations are limited by a diatonic scale, but that scale is distinct from the major-minor scale system which characterizes the surface level musical activity of a composition. Hence the modulations are chromatic according to a given key, but individual keys visited are limited by a very traditional set of diatonic relationships among themselves.