Chord Symbol plus mode

Is there a way to create a chord symbol that includes both the the chord symbol and the mode automatically in Dorico (e.g., Dm7 (dor.), Am7 (aeol.) or Em7 (phy.), Fmaj7#11 (lyd.), etc.)? I always thought that modes should be included whenever a minor chord was presented for speed and ease of analysis for soloists. Thanks.

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Not really, because most of the time it’s just unnecessary clutter. Dm7(dor.) is the same as Dm7 so why add the “(dor.)” if it’s just going to take up space? Same with Fmaj7(#11). For Am7(aeol.) you could easily use Am7(b6) or A Aeol. and it would be clear. For Em7(phy.) I would just use EPhryg. although it’s often encountered with a slash as Fmaj7/E, Dm7/E, G7sus/E, etc.

That said, these are somewhat hackable using doricolib files if you really want to spend the effort. Dorico doesn’t have a mechanism for displaying the full modal name, only abbreviated (which seems like a pretty big oversight to me!), so I created a doricolib file that will display the full name when “Do not append period” is selected, but keeps the abbreviated name when “Append period” is selected. Gif below:
modal

It would be a bit of work, but I assume it would also possible to edit these to display as you would want with a doricolib file. It just seems completely unnecessary to me though.

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Thanks for your reply Fred.

The issue we are discussing is, should the chart be for the accompanist or the soloist or both. The accompanist wants to see either a notated voicing or chord symbol. The soloist wants to understand the underlying harmony immediately and the implications (what scales will work against the harmony).

The easiest solution would be to provide the chord symbol (e.g., Am7(b6)) and then add a fill-in blank in the properties window to allow a scale to be included, if so desired. (This would be similar to the Rehearsal Mark property that allows for a prefix or suffix to the rehearsal mark.) This is a simple solution, as long as it allows for music symbols to be included in these properties (e.g., F#7(b13) (Mixolydian b6) or G#m7b5/F# (Locrian â™®2); both chords imply modes of melodic minor) and are not standard.

To respond to your comment. I have written pieces that use the same voicing and imply different soloing scales. So, Am (Aeolian) and Am (Dorian) use the same voicing in the piece. If I leave off the mode, the soloist flounders unless they can analyze the underlying harmony on the spot. Also, since Aeolian and Phrygian both have a b6, you create a lack of clarity just by saying Am7(b6), unless you want to differentiate Phrygian by calling it a sus4b9 chord, which ignores the 3rd altogether.

All I am after is clarity and simplicity for the musicians. Writing out voices gives the accompanist the voicing but the chord symbol will assist the soloist in understanding immediately the scale implied by the underlying harmony.

Musicians have enough complexity, let’s make it easier for them if we can.

Thanks again.

Larry

Unless we’re talking about middle/high school kids or beginners, I don’t really see a difference here. Dm7 clearly tells both the soloist and the accompanist what to play. I’ll grant your idea could possibly be useful in the education market with simple chords and where a soloist doesn’t know that Dm7 means D Dorian minor and what those notes are.

Am7(b6) has never meant Phrygian in any arrangement or real book that I’ve ever seen, so there’s no confusion. Am7 is Dorian and Am7(b6) is Aeolian. Yes, Phrygian also has a b6, but if the second scale degree isn’t mentioned, it’s unmodified from Dorian.

Now we’re in agreement! I think Dorico definitely needs more options for custom and nonstandard chord symbol notation.

In all honesty, I would hate to have to sleuth my way through a chart like this …

… when this works perfectly fine and is immediately recognizable for both rhythm section and soloist.

The top example certainly doesn’t seem easier to me anyway!

(I’m never gonna think of Bb7(b9#5) modally here, so if you want to call it some other mode other than B Melodic Minor, like E Lydian Dominant, or D Ionian #5, or Ab Locrian #2, or Bb Diminished Whole Tone, or whatever, I’m not going to argue the point.)

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