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Originally Posted by mutedeity  Diatonically speaking, in terms of chord structures the tonal centre is where the dominant resolves to. That also technically means that if you are playing in a minor key that your V chord will be dominant too. As far as I am concerned that is the only real defining factor in key to me.
On the other hand this is all based on diatonic paradigm as usual and the belief that what we are culturally conditioned to accept is a universal for all musical persuit. I believe personally that it is not. I don't see why the major scale has to be the parent key for any given modal permutation. The way I see it the "lydian mode" is an enharmonic of the fourth mode of the major scale. Which is to say that I believe it is its own parent scale not necessarily subject to the major scale.
As far as key goes, I personally don't think it is much more than a way to shorthand score reading. Key, in terms of actual application, limits everything down to being diatonic. Technically it doesn't have to, but how often do you hear anyone say, "This piece is in the key of F Byzantine"? |
Modal Harmony works very differently my friend. Unless there were a G Major at the end of the vamp it would definitely be in A Dorian.
The bridge looks like 2 Imaj7-vii7's, first in F Lydian and then in Eb Lydian.
