-
Mode (music) 1
Mode (music)This article is about modes as used in music. For
other uses, see Mode (disambiguation).
Modern Dorian mode on C PlayWikipedia:Media helpFile:Dorian mode
C.mid
In the theory of Western music, mode (fromLatin modus, "measure,
standard, manner,way, size, limit of quantity, method")(Powers
2001, Introduction; OED) generallyrefers to a type of scale,
coupled with a setof characteristic melodic behaviours. Thisuse,
still the most common in recent years,reflects a tradition dating
to the MiddleAges, itself inspired by the theory of ancient Greek
music. The word encompasses several additional meanings,however.
Authors from the ninth century until the early eighteenth century
sometimes employed the Latin modus forinterval. In the theory of
late-medieval mensural polyphony, modus is a rhythmic relationship
between long andshort values or a pattern made from them (Powers
2001, Introduction). Since the end of the eighteenth century,
theterm "mode" has also appliedin ethnomusicological contextsto
pitch structures in non-European musicalcultures, sometimes with
doubtful compatibility (Powers 2001, V,1). Regarding the concept of
mode as applied topitch relationships generally, Harold S. Powers
describes a continuum between abstract scale and specific tune,
with"most of the area between ... being in the domain of mode"
(Powers 2001, I,3).
Modes and scalesA "scale" is an ordered series of pitches that,
with the key or tonic (first tone) as a reference point, defines
that scale'sintervals, or steps. The concept of "mode" in Western
music theory has three successive stages: in Gregorian chanttheory,
in Renaissance polyphonic theory, and in tonal harmonic music of
the common practice period. In all threecontexts, "mode"
incorporates the idea of the diatonic scale, but differs from it by
also involving an element ofmelody type. This concerns particular
repertories of short musical figures or groups of tones within a
certain scale sothat, depending on the point of view, mode takes on
the meaning of either a "particularized scale" or a
"generalizedtune". Modern musicological practice has extended the
concept of mode to earlier musical systems, such as those ofAncient
Greek music, Jewish cantillation, and the Byzantine system of
octoechos, as well as to non-Western musics(Powers 2001, I, 3;
Winnington-Ingram 1936, 23).By the early 19th century, the word
"mode" had taken on an additional meaning, in reference to the
differencebetween major and minor keys, specified as "major mode"
and "minor mode". At the same time, composers werebeginning to
conceive of "modality" as something outside of the major/minor
system that could be used to evokereligious feelings or to suggest
folk-music idioms (Porter 2001).
GreekEarly Greek treatises on music do not use the term "mode"
(which comes from Latin), but do describe threeinterrelated
concepts that are related to the later, medieval idea of "mode":
(1) scales (or "systems"), (2) tonospl.tonoi(the more usual term
used in medieval theory for what later came to be called "mode"),
and (3) harmonia(harmony)pl. harmoniaithis third term subsuming the
corresponding tonoi but not necessarily the converse(Mathiesen
2001a, 6(iii)(e)).
-
Mode (music) 2
Greek scales
Greek Dorian octave species in the enharmonic genus, showing the
two componenttetrachords PlayWikipedia:Media helpFile:Greek Dorian
mode on E,
enharmonic genus.mid
Greek Dorian octave species in the chromatic genus
PlayWikipedia:MediahelpFile:Greek Dorian mode on E, chromatic
genus.mid
Greek Dorian octave species in the diatonic genus
PlayWikipedia:MediahelpFile:Phrygian mode E.mid
The Greek scales in the Aristoxeniantradition were (Barbera
1984, 240;Mathiesen 2001a, 6(iii)(d)):
Mixolydian: hypate hypatonparamese(bb)
Lydian: parhypate hypatontritediezeugmenon (cc)
Phrygian: lichanos hypatonparanetediezeugmenon (dd)
Dorian: hypate mesonnetediezeugmenon (ee)
Hypolydian: parhypate mesontritehyperbolaion (ff)
Hypophrygian: lichanos mesonparanetehyperbolaion (gg)
Common, Locrian, or Hypodorian:mesenete hyperbolaion
orproslambnomenosmese (aa or aa)
These names are derived from AncientGreek subgroups (Dorians),
one smallregion in central Greece (Locris), andcertain neighboring
(non-Greek) peoplesfrom Asia Minor (Lydia, Phrygia). Theassociation
of these ethnic names with the octave species appears to precede
Aristoxenus, who criticized theirapplication to the tonoi by the
earlier theorists whom he called the Harmonicists (Mathiesen 2001a,
6(iii)(d)).
Depending on the positioning (spacing) of the interposed tones
in the tetrachords, three genera of the seven octavespecies can be
recognized. The diatonic genus (composed of tones and semitones),
the chromatic genus (semitonesand a minor third), and the
enharmonic genus (with a major third and two quarter tones or
dieses) (Cleonides 1965,3536). The framing interval of the perfect
fourth is fixed, while the two internal pitches are movable. Within
thebasic forms, the intervals of the chromatic and diatonic genera
were varied further by three and two "shades"(chroai), respectively
(Cleonides 1965, 3940; Mathiesen 2001a, 6(iii)(c)).
In contrast to the medieval modal system, these scales and their
related tonoi and harmoniai appear to have had nohierarchical
relationships amongst the notes that could establish contrasting
points of tension and rest, although themese ("middle note") may
have had some sort of gravitational function (Palisca 2006,
77).
Tonoi
The term tonos (pl. tonoi) was used in four senses: "as note,
interval, region of the voice, and pitch. We use it of theregion of
the voice whenever we speak of Dorian, or Phrygian, or Lydian, or
any of the other tones" (Cleonides1965, 44). Cleonides attributes
thirteen tonoi to Aristoxenus, which represent a progressive
transposition of the entiresystem (or scale) by semitone over the
range of an octave between the Hypodorian and the
Hypermixolydian(Mathiesen 2001a, 6(iii)(e)). Aristoxenus's
transpositional tonoi, according to Cleonides (1965, 44), were
namedanalogously to the octave species, supplemented with new terms
to raise the number of degrees from seven to
-
Mode (music) 3
thirteen. However, according to the interpretation of at least
two modern authorities, in these transpositional tonoi
theHypodorian is the lowest, and the Mixolydian next-to-highestthe
reverse of the case of the octave species(Mathiesen 2001a,
6(iii)(e); Solomon 1984, 24445), with nominal base pitches as
follows (descending order): f: Hypermixolydian (or Hyperphrygian)
e: High Mixolydian or Hyperiastian e: Low Mixolydian or Hyperdorian
d: Lydian c: Low Lydian or Aeolian c: Phrygian B: Low Phrygian or
Iastian B: Dorian A: Hypolydian G: Low Hypolydian or Hypoaelion G:
Hypophrygian F: Low Hypophrygian or Hypoiastian F:
HypodorianPtolemy, in his Harmonics, ii.311, construed the tonoi
differently, presenting all seven octave species within a
fixedoctave, through chromatic inflection of the scale degrees
(comparable to the modern conception of building all sevenmodal
scales on a single tonic). In Ptolemy's system, therefore there are
only seven tonoi (Mathiesen 2001a, 6(iii)(e);Mathiesen 2001c).
Pythagoras also construed the intervals arithmetically (if somewhat
more rigorously, initiallyallowing for 1:1 = Unison, 2:1 = Octave,
3:2 = Fifth, 4:3 = Fourth and 5:4 = Major Third within the octave).
In theirdiatonic genus, these tonoi and corresponding harmoniai
correspond with the intervals of the familiar modern majorand minor
scales. See Pythagorean tuning and Pythagorean interval.
Harmoniai
Harmoniai of the School of Eratocles (enharmonic genus)
Mixolydian 2 2 1
Lydian 2 2 1
Phrygian 2 2 1
Dorian 2 1 2
Hypolydian 2 1 2
Hypophrygian 2 1 2
Hypodorian 1 2 2
In music theory the Greek word harmonia can signify the
enharmonic genus of tetrachord, the seven octave species,or a style
of music associated with one of the ethnic types or the tonoi named
by them (Mathiesen 2001b).Particularly in the earliest surviving
writings, harmonia is regarded not as a scale, but as the epitome
of the stylised singing of a particular district or people or
occupation (Winnington-Ingram 1936, 3). When the late 6th-century
poet Lasus of Hermione referred to the Aeolian harmonia, for
example, he was more likely thinking of a melodic style
characteristic of Greeks speaking the Aeolic dialect than of a
scale pattern (Anderson and Mathiesen 2001). By the late fifth
century BC these regional types are being described in terms of
differences in what is called harmoniaa word with several senses,
but here referring to the pattern of intervals between the notes
sounded by the strings of a lyra or a kithara. However, there is no
reason to suppose that, at this time, these tuning patterns stood
in any straightforward and organised relations to one another. It
was only around the year 400 that attempts were made by a
-
Mode (music) 4
group of theorists known as the harmonicists to bring these
harmoniai into a single system, and to express them asorderly
transformations of a single structure. Eratocles was the most
prominent of the harmonicists, though his ideasare known only at
second hand, through Aristoxenus, from whom we learn they
represented the harmoniai as cyclicreorderings of a given series of
intervals within the octave, producing seven octave species. We
also learn thatEratocles confined his descriptions to the
enharmonic genus (Baker 198489, 2:1415).In The Republic, Plato uses
the term inclusively to encompass a particular type of scale, range
and register,characteristic rhythmic pattern, textual subject, etc.
(Mathiesen 2001a, 6(iii)(e)). He held that playing music in
aparticular harmonia would incline one towards specific behaviors
associated with it, and suggested that soldiersshould listen to
music in Dorian or Phrygian harmoniai to help make them stronger,
but avoid music in Lydian,Mixolydian or Ionian harmoniai, for fear
of being softened. Plato believed that a change in the musical
modes of thestate would cause a wide-scale social revolution
(Plato, Rep. III.10III.12 = 398C403C)The philosophical writings of
Plato and Aristotle (c. 350 BC) include sections that describe the
effect of differentharmoniai on mood and character formation. For
example, Aristotle in the Politics (viii:1340a:401340b:5):
But melodies themselves do contain imitations of character. This
is perfectly clear, for the harmoniaihave quite distinct natures
from one another, so that those who hear them are differently
affected and donot respond in the same way to each. To some, such
as the one called Mixolydian, they respond withmore grief and
anxiety, to others, such as the relaxed harmoniai, with more
mellowness of mind, and toone another with a special degree of
moderation and firmness, Dorian being apparently the only one ofthe
harmoniai to have this effect, while Phrygian creates ecstatic
excitement. These points have beenwell expressed by those who have
thought deeply about this kind of education; for they cull the
evidencefor what they say from the facts themselves. (Barker
198489, 1:17576)
Aristotle continues by describing the effects of rhythm, and
concludes about the combined effect of rhythm andharmonia
(viii:1340b:1013):
From all this it is clear that music is capable of creating a
particular quality of character [] in thesoul, and if it can do
that, it is plain that it should be made use of, and that the young
should be educatedin it. (Barker 198489, 1:176)
The word ethos () in this context means "moral character", and
Greek ethos theory concerns the ways in whichmusic can convey,
foster, and even generate ethical states (Anderson and Mathiesen
2001).
MelosSome treatises also describe "melic" composition, "the
employment of the materials subject to harmonic practicewith due
regard to the requirements of each of the subjects under
consideration" (Cleonides 1965, 35)which,together with the scales,
tonoi, and harmoniai resemble elements found in medieval modal
theory (Mathiesen 2001a,6(iii)). According to Aristides
Quintilianus (On Music, i.12), melic composition is subdivided into
three classes:dithyrambic, nomic, and tragic. These parallel his
three classes of rhythmic composition: systaltic, diastaltic
andhesychastic. Each of these broad classes of melic composition
may contain various subclasses, such as erotic, comicand panegyric,
and any composition might be elevating (diastaltic), depressing
(systaltic), or soothing (hesychastic)(Mathiesen 2001a,
4).According to Mathiesen, music as a performing art was called
melos, which in its perfect form (teleion melos)comprised not only
the melody and the text (including its elements of rhythm and
diction) but also stylized dancemovement. Melic and rhythmic
composition (respectively, melopoia and rhuthmopoia) were the
processes ofselecting and applying the various components of melos
and rhythm to create a complete work.
Aristides Quintilianus: And we might fairly speak of perfect
melos, for it is necessary that melody, rhythm and diction be
considered so that the perfection of the song may be produced: in
the case of melody; a simple sound, in the case of rhythm, a motion
of sound, and in the case of diction, the meter.
-
Mode (music) 5
The things contingent to perfect melos are motion-both of sound
and body-and also chronoi and therhythms based on these. (Mathiesen
1999,Wikipedia:Citing sources)
Western ChurchTonaries, which are lists of chant titles grouped
by mode, appear in western sources around the turn of the
9thcentury. The influence of developments in Byzantium, from
Jerusalem and Damascus, for instance the works ofSaints John of
Damascus (d. 749) and Cosmas of Maiouma (Nikodmos Agioreits 1836,
1:3233) (Barton 2009),are still not fully understood. The
eight-fold division of the Latin modal system, in a four-by-two
matrix, wascertainly of Eastern provenance, originating probably in
Syria or even in Jerusalem, and was transmitted fromByzantine
sources to Carolingian practice and theory during the 8th century.
However, the earlier Greek model forthe Carolingian system was
probably ordered like the later Byzantine oktchos, that is, with
the four principal(authentic) modes first, then the four plagals,
whereas the Latin modes were always grouped the other way, with
theauthentics and plagals paired (Powers 2001, II.1(ii)).The 6th
century scholar Boethius had translated Greek music theory
treatises by Nicomachus and Ptolemy into Latin(Powers 2001). Later
authors created confusion by applying mode as described by Boethius
to explain plainchantmodes, which were a wholly different system
(Palisca 1984, 222). In his De institutione musica, book 4 chapter
15,Boethius, like his Hellenistic sources, twice used the term
harmonia to describe what would likely correspond to thelater
notion of "mode", but also used the word "modus"probably
translating the Greek word (tropos),which he also rendered as Latin
tropusin connection with the system of transpositions required to
produce sevendiatonic octave species (Bower 1984, 253, 26061), so
the term was simply a means of describing transposition andhad
nothing to do with the church modes (Powers 2001, II.1(i)).Later,
9th-century theorists applied Boethiuss terms tropus and modus
(along with "tonus") to the system of churchmodes. The treatise De
Musica (or De harmonica institutione) of Hucbald synthesized the
three previously disparatestrands of modal theory: chant theory,
the Byzantine oktchos and Boethius's account of Hellenistic theory
(Powers2001, II.2). The later 9th-century treatise known as the
Alia musica imposed the seven species of the octavedescribed by
Boethius onto the eight church modes (Powers 2001, II.2(ii)). Thus,
the names of the modes usedtoday do not actually reflect those used
by the Greeks.
The introit Jubilate Deo, from which Jubilate Sunday gets its
name, is in Mode8.
The eight church modes, or Gregorianmodes, can be divided into
four pairs,where each pair shares the "final" noteand the four
notes above the final, buthave different ambituses, or ranges.
Ifthe "scale" is completed by addingthree higher notes, the mode is
termed authentic, if the scale is completed by adding three lower
notes, it is calledplagal (from Greek , "oblique, sideways").
Otherwise explained: if the melody moves mostly above thefinal,
with an occasional cadence to the sub-final, the mode is authentic.
Plagal modes shift range and also explorethe fourth below the final
as well as the fifth above. In both cases, the strict ambitus of
the mode is one octave. Amelody that remains confined to the mode's
ambitus is called "perfect"; if it falls short of it, "imperfect";
if it exceedsit, "superfluous"; and a melody that combines the
ambituses of both the plagal and authentic is said to be in a
"mixedmode" (Rockstro 1880, 343).
Although the earlier (Greek) model for the Carolingian system
was probably ordered like the Byzantine oktchos,with the four
authentic modes first, followed by the four plagals, the earliest
extant sources for the Latin system areorganized in four pairs of
authentic and plagal modes sharing the same final: protus
authentic/plagal, deuterusauthentic/plagal, tritus
authentic/plagal, and tetrardus authentic/plagal (Powers 2001 II, 1
(ii)).
-
Mode (music) 6
Each mode has, in addition to its final, a "reciting tone",
sometimes called the "dominant" (Apel 1969, 166; Smith1989, 14). It
is also sometimes called the "tenor", from Latin tenere "to hold",
meaning the tone around which themelody principally centres
(Fallows 2001). The reciting tones of all authentic modes began a
fifth above the final,with those of the plagal modes a third above.
However, the reciting tones of modes 3, 4, and 8 rose one step
duringthe tenth and eleventh centuries with 3 and 8 moving from B
to C (half step) and that of 4 moving from G to A(whole step)
(Hoppin 1978,67).After the reciting tone, every mode is
distinguished by scale degrees called "mediant" and "participant".
The mediantis named from its position between the final and
reciting tone. In the authentic modes it is the third of the
scale,unless that note should happen to be B, in which case C
substitutes for it. In the plagal modes, its position issomewhat
irregular. The participant is an auxiliary note, generally adjacent
to the mediant in authentic modes and, inthe plagal forms,
coincident with the reciting tone of the corresponding authentic
mode (some modes have a secondparticipant) (Rockstro 1880,
342).Only one accidental is used commonly in Gregorian chantB may
be lowered by a half-step to B. This usually (butnot always) occurs
in modes V and VI, as well as in the upper tetrachord of IV, and is
optional in other modes exceptIII, VII and VIII (Powers 2001,
II.3.i(b), Ex. 5).
Kyrie "orbis factor", in mode 1 (Dorian) with B on scale-degree
6, descendsfrom the reciting tone, A, to the final, D, and uses the
subtonium (tone below the
final).
Mode I II III IV V VI VII VIII
Name Dorian Hypodorian Phrygian Hypophrygian Lydian Hypolydian
Mixolydian Hypomixolydian
Final (note) D D E E F F G G
Final (solfege) re re mi mi fa fa sol sol
Dominant (note) A F B-C G-A C A D B-C
Dominant (solfege) la fa si-do sol-la do la re si-do
In 1547, the Swiss theorist Henricus Glareanus published the
Dodecachordon, in which he solidified the concept ofthe church
modes, and added four additional modes: the Aeolian (mode 9),
Hypoaeolian (mode 10), Ionian (mode11), and Hypoionian (mode 12). A
little later in the century, the Italian Gioseffo Zarlino at first
adopted Glarean'ssystem in 1558, but later (1571 and 1573) revised
the numbering and naming conventions in a manner he deemedmore
logical, resulting in the widespread promulgation of two
conflicting systems. Zarlino's system reassigned thesix pairs of
authenticplagal mode numbers to finals in the order of the natural
hexachord, C D E F G A, andtransferred the Greek names as well, so
that modes 1 through 8 now became C-authentic to F-plagal, and were
nowcalled by the names Dorian to Hypomixolydian. The pair of G
modes were numbered 9 and 10 and were namedIonian and Hypoionian,
while the pair of A modes retained both the numbers and names (11,
Aeolian, and 12Hypoaeolian) of Glarean's system. While Zarlino's
system became popular in France, Italian composers
preferredGlarean's scheme because it retained the traditional eight
modes, while expanding them. Luzzasco Luzzaschi was anexception in
Italy, in that he used Zarlinos new system (Powers 2001
III.4(ii)(a), (iii) & III.5(i & ii)).
-
Mode (music) 7
In the late-eighteenth and nineteenth centuries, some chant
reformers (notably the editors of the Mechlin,Pustet-Ratisbon
(Regensburg), and Rheims-Cambrai Office-Books, collectively
referred to as the CecilianMovement) renumbered the modes once
again, this time retaining the original eight mode numbers and
Glareanus'smodes 9 and 10, but assigning numbers 11 and 12 to the
modes on the final B, which they named Locrian andHypolocrian (even
while rejecting their use in chant). The Ionian and Hypoionian
modes (on C) become in thissystem modes 13 and 14 (Rockstro 1880,
342).Given the confusion between ancient, medieval, and modern
terminology, "today it is more consistent and practicalto use the
traditional designation of the modes with numbers one to eight"
(Curtis 1997), using Roman numeral(IVIII), rather than using the
pseudo-Greek naming system. Contemporary terms, also used by
scholars, are simplythe Greek ordinals ("first", "second", etc.),
usually transliterated into the Latin alphabet: protus (),
deuterus(), tritus (), and tetrardus (), in practice used as:
protus authentus / plagalis.
The eight musical modes. f indicates "final" (Curtis 1997).
UseA mode indicated a primary pitch (a final); the organization
of pitches in relation to the final; suggested range;melodic
formulas associated with different modes; location and importance
of cadences; and affect (i.e., emotionaleffect/character). Liane
Curtis writes that "Modes should not be equated with scales:
principles of melodicorganization, placement of cadences, and
emotional affect are essential parts of modal content" in Medieval
andRenaissance music (Curtis 1997 in Knighton 1997).Carl Dahlhaus
(1990, 192) lists "three factors that form the respective starting
points for the modal theories ofAurelian of Rme, Hermannus
Contractus, and Guido of Arezzo: the relation of modal formulas to
the comprehensive system of tonal relationships embodied in the
diatonic scale; the partitioning of the octave into a modal
framework; and the function of the modal final as a relational
center."The oldest medieval treatise regarding modes is Musica
disciplina by Aurelian of Rme (dating from around 850)while
Hermannus Contractus was the first to define modes as partitionings
of the octave (Dahlhaus 1990, 19291).However, the earliest Western
source using the system of eight modes is the Tonary of St Riquier,
dated betweenabout 795 and 800 (Powers 2001, II 1(ii)).Various
interpretations of the "character" imparted by the different modes
have been suggested. Three suchinterpretations, from Guido of
Arezzo (9951050), Adam of Fulda (14451505), and Juan de Espinosa
Medrano(16321688), follow:
-
Mode (music) 8
Name Mode D'Arezzo Fulda Espinosa Example chant
Dorian I serious any feeling happy, taming the passions Veni
sancte spiritus
Hypodorian II sad sad serious and tearful Iesu dulcis amor
meus
Phrygian III mystic vehement inciting anger Kyrie, fons
bonitatis
Hypophrygian IV harmonious tender inciting delights, tempering
fierceness Conditor alme siderum
Lydian V happy happy happy Salve Regina
Hypolydian VI devout pious tearful and pious Ubi caritas
Mixolydian VII angelical of youth uniting pleasure and sadness
Introibo
Hypomixolydian VIII perfect of knowledge very happy Ad cenam
agni providi
ModernThe modern Western modes consist of seven scales related
to the familiar major and minor keys.Although the names of the
modern modes are Greek and some have names used in ancient Greek
theory for some ofthe harmoniai, the names of the modern modes are
conventional and do not indicate a link between them and
ancientGreek theory, and they do not present the sequences of
intervals found even in the diatonic genus of the Greekoctave
species sharing the same name.Modern Western modes use the same set
of notes as the major scale, in the same order, but starting from
one of itsseven degrees in turn as a "tonic", and so present a
different sequence of whole and half steps. The interval sequenceof
the major scale being T-T-s-T-T-T-s, where "s" means a semitone and
"T" means a whole tone, it is thus possibleto generate the
following scales:
Mode Tonic relativeto major scale
Interval sequence Example
Ionian I T-T-s-T-T-T-s C-D-E-F-G-A-B-C
Dorian II T-s-T-T-T-s-T D-E-F-G-A-B-C-D
Phrygian III s-T-T-T-s-T-T E-F-G-A-B-C-D-E
Lydian IV T-T-T-s-T-T-s F-G-A-B-C-D-E-F
Mixolydian V T-T-s-T-T-s-T G-A-B-C-D-E-F-G
Aeolian VI T-s-T-T-s-T-T A-B-C-D-E-F-G-A
Locrian VII s-T-T-s-T-T-T B-C-D-E-F-G-A-B
For the sake of simplicity, the examples shown above are formed
by natural notes (also called "white-notes", as theycan be played
using the white keys of a piano keyboard). However, any
transposition of each of these scales is avalid example of the
corresponding mode. In other words, transposition preserves
mode.
Pitch constellations of the modern musical modes
-
Mode (music) 9
AnalysisEach mode has characteristic intervals and chords that
give it its distinctive sound. The following is an analysis ofeach
of the seven modern modes. The examples are provided in a key
signature with no sharps or flats (scalescomposed of natural
notes).
Ionian (I)
Ionian mode on C PlayWikipedia:MediahelpFile:Ionian mode
C.mid
Ionian may arbitrarily be designated the first mode. It is the
modernmajor scale. The example composed of natural notes begins on
C, andis also known as the C-major scale:
Natural notes C D E F G A B C
Interval from C P1 M2 M3 P4 P5 M6 M7 P8
Tonic triad: C Tonic seventh chord: CM7 Dominant triad: G (in
modern tonal thinking, the fifth or dominant scale degree, which in
this case is G, is the
next-most important chord root after the tonic) Seventh chord on
the dominant: G7 (a "dominant 7th" chord type, so-called because of
its position in thisand
only thismodal scale) The major-minor 7th chord ("dominant 7th"
type chord) occurs on V, the one mode where the major-minor 7th
is
actually a dominant 7th chord.
Dorian (II)
Dorian mode on D PlayWikipedia:MediahelpFile:D Dorian mode
midi.mid
Dorian is the second mode. The example composed of natural
notesbegins on D:
Natural notes D E F G A B C D
Interval from D P1 M2 m3 P4 P5 M6 m7 P8
The Dorian mode is very similar to the modern natural minor
scale (see Aeolian mode below). The only differencewith respect to
the natural minor scale is in the sixth scale degree, which is a
major sixth (M6) above the tonic, ratherthan a minor sixth (m6).
Tonic triad: Dm Tonic seventh chord: Dm7 Dominant triad: Am Seventh
chord on the dominant: Am7 (a "minor seventh" chord type). The
major-minor 7th chord ("dominant 7th" type chord) occurs on IV.
-
Mode (music) 10
Phrygian (III)
Phrygian mode on E PlayWikipedia:MediahelpFile:Phrygian mode
E.mid
Phrygian is the third mode. The example composed of natural
notesstarts on E:
Natural notes E F G A B C D E
Interval from E P1 m2 m3 P4 P5 m6 m7 P8
The Phrygian mode is very similar to the modern natural minor
scale (see Aeolian mode below). The only differencewith respect to
the natural minor scale is in the second scale degree, which is a
minor second (m2) above the tonic,rather than a major second (M2).
Tonic triad: Em Tonic seventh chord: Em7 Dominant triad: Bdim
Seventh chord on the dominant: B, a "half-diminished seventh" chord
type. The major-minor 7th chord ("dominant 7th" type chord) occurs
on III.
Lydian (IV)
Lydian mode on F PlayWikipedia:MediahelpFile:Lydian mode
F.mid
Lydian is the fourth mode. The example composed of natural
notesstarts on F:
Natural notes F G A B C D E F
Interval from F P1 M2 M3 A4 P5 M6 M7 P8
The single tone that differentiates this scale from the major
scale (Ionian mode), is its fourth degree, which is anaugmented
fourth (A4) above the tonic (F), rather than a perfect fourth (P4).
Tonic triad: F Tonic seventh chord: FM7 Dominant triad: C Seventh
chord on the dominant: CM7, a "major-seventh" chord type. The
major-minor 7th chord ("dominant 7th" type chord) occurs on II.
-
Mode (music) 11
Mixolydian (V)
Mixolydian mode on G PlayWikipedia:MediahelpFile:Mixolydian mode
G midi.mid
Mixolydian is the fifth mode. The example composed of natural
notesbegins on G:
Natural notes G A B C D E F G
Interval from G P1 M2 M3 P4 P5 M6 m7 P8
The single tone that differentiates this scale from the major
scale (Ionian mode), is its seventh degree, which is aminor seventh
(m7) above the tonic (G), rather than a major seventh (M7). Tonic
triad: G Tonic seventh chord: G7 (the "dominant-seventh" chord type
in this mode is the seventh chord built on the tonic
degree) Dominant triad: Dm Seventh chord on the dominant: Dm7, a
"minor-seventh" chord type. The major-minor 7th chord ("dominant
7th" type chord) occurs on I.
Aeolian (VI)
Aeolian mode on A PlayWikipedia:MediahelpFile:Aeolian mode
A.mid
Aeolian is the sixth mode. It is also called the natural minor
scale. Theexample composed of natural notes begins on A, and is
also known asthe A-minor scale:
Natural notes A B C D E F G A
Interval from A P1 M2 m3 P4 P5 m6 m7 P8
Tonic triad: Am Tonic seventh chord: Am7 Dominant triad: Em
Seventh chord on the dominant: Em7, a "minor-seventh" chord type.
The major-minor 7th chord ("dominant 7th" type chord) occurs on
VII.
Locrian (VII)
-
Mode (music) 12
Locrian mode on B PlayWikipedia:MediahelpFile:Locrian mode B
midi.mid
Locrian is the seventh and final mode. The example composed
ofnatural notes begins on B:
Natural notes B C D E F G A B
Interval from B P1 m2 m3 P4 d5 m6 m7 P8
The distinctive scale degree here is the diminished fifth (d5).
This makes the tonic triad diminished, so this mode isthe only one
in which the chords built on the tonic and dominant scale degrees
have their roots separated by adiminished, rather than perfect,
fifth. Similarly the tonic seventh chord is half-diminished. Tonic
triad: Bdim or B Tonic seventh chord: Bm75 or B Dominant triad: FM
Seventh chord on the dominant: FM7, a major-seventh chord type. The
major-minor 7th chord ("dominant 7th" type chord) occurs on VI.
SummaryThe modes can be arranged in the following sequence,
which follows the circle of fifths. In this sequence, each modehas
one more lowered interval relative to the tonic than the mode
preceding it. Thus taking Lydian as reference,Ionian (major) has a
lowered fourth; Mixolydian, a lowered fourth and seventh; Dorian, a
lowered fourth, seventh,and third; Aeolian (Natural Minor), a
lowered fourth, seventh, third, and sixth; Phrygian, a lowered
fourth, seventh,third, sixth, and second; and Locrian, a lowered
fourth, seventh, third, sixth, second, and fifth. Put another way,
theaugmented fourth of the Lydian scale has been reduced to a
perfect fourth in Ionian, the major seventh in Ionian, to aminor
seventh in Mixolydian, etc.
Mode Whitenote
Intervals with respect to the tonic
prime second third fourth fifth sixth seventh octave
Lydian F perfect major major augmented perfect major major
perfect
Ionian C perfect
Mixolydian G minor
Dorian D minor
Aeolian A minor
Phrygian E minor
Locrian B diminished
The tonic of a transposed mode is at the same number of 5ths
down (resp. up) from the natural tonic of the mode asthere are
flats (resp. sharps) in its signature: e.g. the Dorian scale with 3
is F dorian as F is three 5ths down from D(F - C - G - D) and the
Dorian scale with 3 is B dorian as B is three 5ths up from D (D - A
- E - B). Or equivalentlyit is at the same interval from the tonic
of the major scale with the same signature (its relative major) as
that formedby its natural tonic and C: e.g. the Lydian scale with 2
is E Lydian and the Lydian scale with 2 is G Lydian as Eforms with
B (relative major) and G forms with D (relative major), the same
interval as between F and C.
-
Mode (music) 13
Conversely the signature of a transposed mode has as many sharps
(resp. flats) as there are 5ths up (resp. down)between the tonic of
the natural mode and the tonic of the transposed mode: e.g. B
Dorian's signature is 4 as B isfour 5ths down from D (B - F - C - G
- D) and A lydian's signature is 4 as A is four 5ths up from F (F -
C - G - D -A). Or again equivalently the signature of a transposed
mode is the same as that of its relative major. That forms withthe
tonic of the transposed mode the same interval as C with the tonic
of the natural mode: e.g. B Phrygian'ssignature is 6 as its
relative major is G (C is a major 3rd down from E) and C
Mixolydian's signature is 6 as itsrelative major is F (C is a 5th
down from G).For example the modes transposed to a common tonic of
C have the following signatures:
C Lydian 1 C D E F G A B C
C Ionian (major) C D E F G A B C
C Mixolydian 1 C D E F G A B C
C Dorian 2 C D E F G A B C
C Aeolian (natural minor) 3 C D E F G A B C
C Phrygian 4 C D E F G A B C
C Locrian 5 C D E F G A B C
The first three modes are sometimes called major, the next three
minor, and the last one diminished (Locrian),according to the
quality of their tonic triads.The Locrian mode is traditionally
considered theoretical rather than practical because the triad
built on the first scaledegree is diminished. Diminished triads are
not consonant and therefore do not lend themselves to cadential
endings.A diminished chord cannot be tonicized according to tonal
phrasing practice.
Major modes
The Ionian mode ( listenWikipedia:Media helpFile:C Ionian.ogg)
corresponds to the major scale. Scales in theLydian mode (
listenWikipedia:Media helpFile:C Lydian.ogg) are major scales with
the fourth degree raised asemitone. The Mixolydian mode (
listenWikipedia:Media helpFile:C Myxolydian.ogg) corresponds to the
majorscale with the seventh degree lowered a semitone.
Minor modes
The Aeolian mode ( listenWikipedia:Media helpFile:C Aeolian.ogg)
is identical to the natural minor scale. TheDorian mode (
listenWikipedia:Media helpFile:C Dorian.ogg) corresponds to the
natural minor scale with thesixth degree raised a semitone. The
Phrygian mode ( listenWikipedia:Media helpFile:C
Phrygian.ogg)corresponds to the natural minor scale with the second
degree lowered a semitone.
Diminished mode
The Locrian ( listenWikipedia:Media helpFile:C Locrian.ogg) is
neither a major nor a minor mode because,although its third scale
degree is minor, the fifth degree is diminished instead of perfect.
For this reason it issometimes called a "diminished" scale, though
in jazz theory this term is also applied to the octatonic scale.
Thisinterval is enharmonically equivalent to the augmented fourth
found between scale-degrees 1 and 4 in the Lydianmode and is also
referred to as the tritone.
-
Mode (music) 14
UseUse and conception of modes or modality today is different
from that in early music. As Jim Samson explains,"Clearly any
comparison of medieval and modern modality would recognize that the
latter takes place against abackground of some three centuries of
harmonic tonality, permitting, and in the nineteenth century
requiring, adialogue between modal and diatonic procedure" (Samson
1977, 148). Indeed, when 19th-century composers revivedthe modes,
they rendered them more strictly than Renaissance composers had, to
make their qualities distinct fromthe prevailing major-minor
system. Renaissance composers routinely sharped leading tones at
cadences and loweredthe fourth in the Lydian mode (Carver 2005, 74
n4).The Ionian (or Iastian) mode is another name for the major
scale used in much Western music. The Aeolian formsthe base of the
most common Western minor scale; in modern practice the Aeolian
mode is differentiated from theminor by using only the seven notes
of the Aeolian scale. By contrast, minor mode compositions of the
commonpractice period frequently raise the seventh scale degree by
a semitone to strengthen the cadences, and in conjunctionalso raise
the sixth scale degree by a semitone to avoid the awkward interval
of an augmented second. This isparticularly true of vocal music
(Jones 1974, 29).Traditional folk music provides countless examples
of modal melodies. For example, Irish traditional music
makesextensive usage not only of the major mode, but also the
Mixolydian, Dorian, and Aeolian modes (Cooper 1995,920). Much
Flamenco music is in the Phrygian mode.Wikipedia:Citation
neededZoltn Kodly, Gustav Holst, Manuel de Falla use modal elements
as modifications of a diatonic background, whilein the music of
Debussy and Bla Bartk modality replaces diatonic tonality (Samson
1977, Wikipedia:Citingsources)
Other typesWhile the term "mode" is still most commonly
understood to refer to Ionian, Dorian, Phrygian, Lydian,
Mixolydian,Aeolian, or Locrian scales, in modern music theory the
word is sometimes applied to scales other than the diatonic.This is
seen, for example, in "melodic minor" scale harmony, which is based
on the seven rotations of the ascendingmelodic minor scale,
yielding some interesting scales as shown below. The "chord" row
lists tetrads that can be builtfrom the pitches in the given mode
(Levine 1995, p. 55ff); see also Avoid note.
Mode I II III IV V VI VII
Name AscendingMelodic Minor
Dorian 2 Lydian 5 or LydianAugmented
Lydian 7 orLydian Dominant
Mixolydian 6or Hindu
Locrian 2 orHalf-Diminished
Locrian 4 orAltered Dominant
Notes 1 2 3 4 5 6 7 1 2 3 4 56 7
1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4
5 6 7
Chord C C/D E5 F711 C/G A B7alt
-
Mode (music) 15
Mode I II III IV V VI VII
Name HarmonicMinor
Locrian 6 Ionian 5 Dorian 4 orUkrainian Minor
Phrygian 3 or PhrygianDominant
Lydian 2 Locrian 7 4 or AlteredDiminished
Notes 1 2 3 4 5 67
1 2 3 4 56 7
1 2 3 4 56 7
1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 56 7
1 2 3 4 5 6 7
Chord C D E5 F7 G79 A orA
Bo
Mode I II III IV V VI VII
Name DoubleHarmonic
Lydian 26
Phrygian 74
Aeolian 7 4 or Lydian 6 3 orHungarian Minor
Locrian 6 3 orMixolydian 5 2
Ionian 52
Locrian 37
Notes 1 2 3 4 5 6 7 1 2 3 4 56 7
1 2 3 4 5 67
1 2 3 4 5 6 7 1 2 3 4 5 6 7 1 2 3 4 56 7
1 2 3 4 56 7
Chord C D11 E6 F G75 A5 Bo3
The number of possible modes for any intervallic set is dictated
by the pattern of intervals in the scale. For scalesbuilt of a
pattern of intervals that only repeats at the octave (like the
diatonic set), the number of modes is equal tothe number of notes
in the scale. Scales with a recurring interval pattern smaller than
an octave, however, have onlyas many modes as notes within that
subdivision: e.g., the diminished scale, which is built of
alternating whole andhalf steps, has only two distinct modes, since
all odd-numbered modes are equivalent to the first (starting with
awhole step) and all even-numbered modes are equivalent to the
second (starting with a half step). The chromatic andwhole-tone
scales, each containing only steps of uniform size, have only a
single mode each, as any rotation of thesequence results in the
same sequence. Another general definition excludes these
equal-division scales, and definesmodal scales as subsets of them:
"If we leave out certain steps of a[n equal-step] scale we get a
modal construction"(Karlheinz Stockhausen, in Cott 1973, 101). In
"Messiaen's narrow sense, a mode is any scale made up from
the'chromatic total,' the twelve tones of the tempered system"
(Vieru 1985, 63).
Analogues in different musical traditions Echos Dastgah Maqam
Makam Raga Thaat Melakarta Pathet Pentatonic scale
-
Mode (music) 16
References Anderson, Warren, and Thomas J. Mathiesen (2001).
"Ethos". The New Grove Dictionary of Music and
Musicians, second edition, edited by Stanley Sadie and John
Tyrrell. London: Macmillan Publishers. Aristotle (1895). Aristotles
Politics: A Treatise on Government [1]. , translated from the Greek
of Aristotle by
William Ellis, MA, with an Introduction by Henry Morley. London:
George Routledge and Sons, Ltd. Barbera, Andr (1984). "Octave
Species". The Journal of Musicology 3, no. 3 (July): 22941.
doi:10.1525/jm.1984.3.3.03a00020 [2] http:/ / www. jstor. org/
stable/ 763813 (Subscription access) Barker, Andrew (ed.) (198489).
Greek Musical Writings. 2 vols. Cambridge & New York:
Cambridge
University Press. ISBN 0-521-23593-6 (v. 1) ISBN 0-521-30220-X
(v. 2). Barton, Louis W. G. (2009). " Influence of Byzantium on
Western Chant [3]". The Neume Notation Project:
Research in Computer Applications to Medieval Chant [4]
Bower, Calvin M. (1984). "The Modes of Boethius". The Journal of
Musicology 3, no. 3 (July): 25263.doi:10.1525/jm.1984.3.3.03a00040
[5] http:/ / www. jstor. org/ stable/ 763815 (Subscription
access)
Carver, Anthony F. (2005). "Bruckner and the Phrygian Mode".
Music and Letters 86, no. 1:7499.doi:10.1093/ml/gci004 [6]
Chalmers, John H. (1993). Divisions of the Tetrachord / Peri ton
tou tetrakhordou katatomon / Sectionestetrachordi: A Prolegomenon
to the Construction of Musical Scales [7], edited by Larry Polansky
and CarterScholz, foreword by Lou Harrison. Hanover, NH: Frog Peak
Music. ISBN 0-945996-04-7
Cleonides (1965). "Harmonic Introduction," translated by Oliver
Strunk. In Source Readings in Music History,vol. 1 (Antiquity and
the Middle Ages), edited by Oliver Strunk, 3446. New York:
Norton.
Cooper, Peter (1995). Mel Bay's Complete Irish Fiddle Player.
Pacific, Missouri: Mel Bay Publications. ISBN0-7866-6557-2
Cott, Jonathan (1973). Stockhausen: Conversations with the
Composer. New York: Simon and Schuster. ISBN0-671-21495-0
Curtis, Liane (1997). "Mode". In Companion to Medieval and
Renaissance Music, edited by Tess Knighton andDavid Fallows.
Berkeley: University of California Press. ISBN 0-520-21081-6.
Dahlhaus, Carl (1990). Studies on the Origin of Harmonic
Tonality. Princeton, New Jersey: Princeton UniversityPress. ISBN
0-691-09135-8.
Fallows, David (2001). "Tenor 1". The New Grove Dictionary of
Music and Musicians, second edition, edited byStanley Sadie and
John Tyrrell. London: Macmillan Publishers.
Hoppin, Richard (1978). Medieval Music. The Norton Introduction
to Music History. New York: Norton. ISBN0-393-09090-6.
Jones, George Thaddeus (1974). Music Theory. Barnes & Noble
College Outline Series 137. New York: Barnes& Noble Books. ISBN
0-06-467168-2.
Jowett, Benjamin (1937). The Dialogues of Plato, translated by
Benjamin Jowett, 3rd ed. 2 vols. New York:Random House. OCLC2582139
[8]
Jowett, Benjamin (1943). Aristotle's Politics, translated by
Benjamin Jowett. New York: Modern Library. Levine, Mark (1995). The
Jazz Theory Book. Petaluma, California: Sher Music Co. ISBN
1-883217-04-0. Mathiesen, Thomas J. (1999). Apollo's Lyre: Greek
Music and Music Theory in Antiquity and the Middle Ages [9].
Publications of the Center for the History of Music Theory and
Literature 2. Lincoln: University of NebraskaPress. ISBN
0-8032-3079-6.
Mathiesen, Thomas J. (2001a). "Greece, I: Ancient". The New
Grove Dictionary of Music and Musicians, editedby Stanley Sadie and
John Tyrrell. London: Macmillan.
Mathiesen, Thomas J. (2001b). "Harmonia (i)". The New Grove
Dictionary of Music and Musicians, edited byStanley Sadie and John
Tyrrell. London: Macmillan.
Mathiesen, Thomas J. (2001c). "Tonos". The New Grove Dictionary
of Music and Musicians, edited by StanleySadie and John Tyrrell.
London: Macmillan.
-
Mode (music) 17
Nikodmos Agioreits [St Nikodemos of the Holy Mountain] (1836).
Eortodromion: toi ermneia eis tousadmatikous kanonas tn despotikn
kai theomtorikn eortn, edited by Benediktos Kralids. Venice: N.
Gluku.Reprinted, Athens: H.I. Spanos, 1961.
Palisca, Claude V. (1984). "Introductory Notes on the
Historiography of the Greek Modes". The Journal ofMusicology 3, no.
3 (Summer): 22128. doi:10.1525/jm.1984.3.3.03a00010 [10] http:/ /
www. jstor. org/ stable/763812 (Subscription access)
Palisca, Claude V. (2006). Music and Ideas in the Sixteenth and
Seventeenth Centuries. Studies in the History ofMusic Theory and
Literature 1. Urbana and Chicago: University of Illinois Press.
ISBN 9780252031564.
Porter, James (2001). "Mode IV: Modal Scales and Traditional
Music". The New Grove Dictionary of Music andMusicians, second
edition, edited by Stanley Sadie and John Tyrrell. London:
Macmillan Publishers
Powers, Harold S. (2001). "Mode". The New Grove Dictionary of
Music and Musicians, second edition, edited byStanley Sadie and
John Tyrrell. London: Macmillan Publishers.
Rockstro, W[illiam] S[myth] (1880). "Modes, the Ecclesiastical".
A Dictionary of Music and Musicians (A.D.14501880), by Eminent
Writers, English and Foreign, vol. 2, edited by George Grove, D. C.
L., 34043.London: Macmillan and Co.
Samson, Jim (1977). Music in Transition: A Study of Tonal
Expansion and Atonality, 19001920. Oxford & NewYork: Oxford
University Press. ISBN 0-460-86150-6.
Smith, Charlotte (1989). A Manual of Sixteenth-Century
Contrapuntal Style [11]. Newark: University of DelawarePress;
London: Associated University Presses. ISBN 978-0-87413-327-1
Solomon, Jon (1984). "Towards a History of Tonoi". The Journal
of Musicology 3, no. 3 (July):
24251.doi:10.1525/jm.1984.3.3.03a00030 [12] http:/ / www. jstor.
org/ stable/ 763814 (Subscription access)
Vieru, Anatol (1985). "Modalism A 'Third World'". Perspectives
of New Music 24, no. 1 (FallWinter): 6271. Winnington-Ingram,
Reginald Pepys (1936). Mode in Ancient Greek Music. Cambridge
Classical Studies.
Cambridge: Cambridge University Press. Reprinted, Amsterdam:
Hakkert, 1968.
Further reading Brent, Jeff, with Schell Barkley (2011).
Modalogy: Scales, Modes & Chords: The Primordial Building
Blocks of
Music. Milwaukee: Hal Leonard Corporation. ISBN
978-1-4584-1397-0 Fellerer, Karl Gustav (1982).
"Kirchenmusikalische Reformbestrebungen um 1800". Analecta
Musicologica:
Verffentlichungen der Musikgeschichtlichen Abteilung des
Deutschen Historischen Instituts in Rom 21:393408. Grout, Donald,
Claude Palisca, and J. Peter Burkholder (2006). A History of
Western Music. New York: W. W.
Norton. 7th edition. ISBN 0-393-97991-1. Judd, Cristle (ed)
(1998). Tonal Structures in Early Music: Criticism and Analysis of
Early Music, 1st ed. New
York: Garland. ISBN 0-8153-2388-3. Levine, Mark (1989). The Jazz
Piano Book. Petaluma, CA: Sher Music Co. ISBN 0-9614701-5-1.
Lonnendonker, Hans. 1980. "Deutsch-franzsische Beziehungen in
Choralfragen. Ein Beitrag zur Geschichte des
gregorianischen Chorals in der zweiten Hlfte des 19.
Jahrhunderts". In Ut mens concordet voci: FestschriftEugne Cardine
zum 75. Geburtstag, edited by Johannes Berchmans Gschl, 28095. St.
Ottilien: EOS-Verlag.ISBN 3-88096-100-X
McAlpine, Fiona (2004). "Beginnings and Endings: Defining the
Mode in a Medieval Chant". StudiaMusicologica Academiae Scientiarum
Hungaricae 45, nos. 1 & 2 (17th International Congress of the
InternationalMusicological Society IMS Study Group Cantus Planus):
16577.
Mees, Nicolas (1997). "Mode et systme. Conceptions ancienne et
moderne de la modalit". Musurgia 4, no.3:6780.
Mees, Nicolas (2000). "Fonctions modales et qualits systmiques".
Musicae Scientiae, Forum de discussion1:5563.
-
Mode (music) 18
Meier, Bernhard (1988). The Modes of Classical Vocal Polyphony:
Described According to the Sources,translated from the German by
Ellen S. Beebe, with revisions by the author. New York: Broude
Brothers. ISBN978-0-8450-7025-3
Miller, Ron (1996). Modal Jazz Composition and Harmony, Vol. 1.
Rottenburg, Germany: Advance Music.OCLC43460635 [13]
Ordoulidis, Nikos. (2011). "The Greek Popular Modes [14]".
British Postgraduate Musicology 11 (December).(Online journal,
accessed 24 December 2011)
Pfaff, Maurus (1974). "Die Regensburger Kirchenmusikschule und
der cantus gregorianus im 19. und 20.Jahrhundert". Gloria Deo-pax
hominibus. Festschrift zum hundertjhrigen Bestehen der
KirchenmusikschuleRegensburg, Schriftenreihe des Allgemeinen
Ccilien-Verbandes fr die Lnder der Deutschen Sprache 9, editedby
Franz Fleckenstein, 22152. Bonn: Allgemeiner Ccilien-Verband,
1974.
Powers, Harold (1998). "From Psalmody to Tonality". In Tonal
Structures in Early Music, edited by CristleCollins Judd, 275340.
Garland Reference Library of the Humanities 1998; Criticism and
Analysis of EarlyMusic 1. New York: Garland Publishing. ISBN
0-8153-2388-3.
Ruff, Anthony, and Raphael Molitor (2008). "Beyond Medici: The
Struggle for Progress in Chant". Sacred Music135, no. 2 (Summer):
2644.
Scharnagl, August (1994). "Carl Proske (1794-1861)". In Musica
divina: Ausstellung zum 400. Todesjahr vonGiovanni Pierluigi
Palestrina und Orlando di Lasso und zum 200. Geburtsjahr von Carl
Proske. Ausstellung inder Bischflichen Zentralbibliothek
Regensburg, 4. November 1994 bis 3. Februar 1995,
BischflichesZentralarchiv und Bischfliche Zentralbibliothek
Regensburg: Kataloge und Schriften, no. 11, edited by PaulMai,
1252. Regensburg: Schnell und Steiner, 1994.
Schnorr, Klemens (2004). "El cambio de la edicin oficial del
canto gregoriano de la editorial Pustet/Ratisbona ala de Solesmes
en la poca del Motu proprio". In El Motu proprio de San Po X y la
Msica (19032003).Barcelona, 2003, edited by Mariano Lambea,
introduction by Mara Rosario lvarez Martnez and Jos SierraPrez.
Revista de musicologa 27, no. 1 (June) 197209.
Street, Donald (1976). "The Modes of Limited Transposition". The
Musical Times 117, no. 1604 (October):81923.
Vieru, Anatol (1992). "Generating Modal Sequences (A Remote
Approach to Minimal Music) [15]". Perspectivesof New Music 30, no.
2 (Summer): 178200.
Vincent, John (1974). The Diatonic Modes in Modern Music,
revised edition. Hollywood: Curlew Music.OCLC249898056 [16]
Wiering, Frans (1998). "Internal and External Views of the
Modes". In Tonal Structures in Early Music, edited byCristle
Collins Judd, 87107. Garland Reference Library of the Humanities
1998; Criticism and Analysis of EarlyMusic 1. New York: Garland
Publishing. ISBN 0-8153-2388-3.
External links All Modes mapped out in all positions for 6, 7
and 8 string guitar [17]
Neume Notation Project, "is principally an exploration of data
representations for medieval music notations anddata streams"
http:/ / www. scribeserver. com/ medieval/ index. html#contents
Booklet on the modes of ancient Greece with detailed examples of
the construction of Aolus (reed pipeinstruments) and monochord with
which the intervals and modes of the Greeks might be reconstructed
http:/ /www. nakedlight. co. uk/ pdf/ articles/ a-002. pdf
Division of the Tetrachord is a methodical overview of ancient
Greek musical modes and contemporary use,including developments to
Xenakis http:/ / eamusic. dartmouth. edu/ ~larry/
published_articles/divisions_of_the_tetrachord/ index. html
Delahoyd notes on ancient Greek music http:/ / www. wsu. edu/
~delahoyd/ greek. music. html
-
Mode (music) 19
Hammel on modes,"We are not quite sure what a Greek mode really
was.", with other useful glosses on musictheory http:/ / graham.
main. nc. us/ ~bhammel/ MUSIC/ Gmodes. html
A Pathologist and pianist http:/ / www. pathguy. com/ modes. htm
with some examples of 7 string tuningsshowing modes for popular
songs and a collection of links.
An interactive demonstration of many scales and modes http:/ /
www. looknohands. com/ chordhouse/ piano/ Nikolaos Ioannidis
musician, composer has attempted to reconstruct ancient Greek music
from a combination of
the ancient texts (to be performed) and his knowledge of Greek
music. http:/ / homoecumenicus. com/ioannidis_music_ancient_greeks.
htm
relatively concise overview of ancient Greek musical culture and
philosophy http:/ / arts. jrank. org/ pages/
258/ancient-Greek-music. html
: The Harmonics of Aristoxenus [18], edited with translation
notes introductionand index of words by Henry S. Macran. Oxford:
Clarendon Press, 1902.
Monzo, Joe. 2004. "The Measurement of Aristoxenus's Divisions of
the Tetrachord [19]" Lloren Balsach: Modes of the first eight
7-note chord-mode classes http:/ / www. lamadeguido. com/
appendix2.
htm
References[1] http:/ / books. google. com/
books?id=UHYWAAAAIAAJ& printsec=frontcover& dq=Aristotle+
Treatise+ Government&
cd=3#v=onepage&
q=how%20variously%20it%20can%20fascinate%20it& f=false[2]
http:/ / dx. doi. org/ 10. 1525%2Fjm. 1984. 3. 3. 03a00020[3]
http:/ / www. scribeserver. com/ medieval/ byzantin. htm#music[4]
http:/ / www. scribeserver. com/ medieval/[5] http:/ / dx. doi.
org/ 10. 1525%2Fjm. 1984. 3. 3. 03a00040[6] http:/ / dx. doi. org/
10. 1093%2Fml%2Fgci004[7] http:/ / eamusic. dartmouth. edu/ ~larry/
published_articles/ divisions_of_the_tetrachord/ index. html[8]
http:/ / www. worldcat. org/ oclc/ 2582139[9] http:/ / books.
google. com/ books?id=Td5odzctae8C& pg=PA25& dq=Apollo%27s+
Lyre+ perfect+ melos& cd=1#v=onepage& q=&
f=false[10] http:/ / dx. doi. org/ 10. 1525%2Fjm. 1984. 3. 3.
03a00010[11] http:/ / books. google. co. uk/
books?id=usc74SGmrf8C& pg=PA14& lpg=PA14& dq=dominant+
reciting+ tone+ tenor& source=bl&
ots=WJY8oaf5WU& sig=SzGikjFrIoRCV7xMdfWv_YQ-F9k&
hl=en& ei=FsG7Sp3iGJ-UjAfRioSpCw& sa=X&
oi=book_result&ct=result& resnum=6#v=onepage&
q=a%20manual%20of%20sixteenth& f=false
[12] http:/ / dx. doi. org/ 10. 1525%2Fjm. 1984. 3. 3.
03a00030[13] http:/ / www. worldcat. org/ oclc/ 43460635[14] http:/
/ www. bpmonline. org. uk/ bpm11/
ordoulidis_the_greek_popular_modes. pdf[15] http:/ / www. jstor.
org/ stable/ 3090632[16] http:/ / www. worldcat. org/ oclc/
249898056[17] http:/ / robsilverguitars. blogspot. co. uk/ 2013/
07/ modes-summary-all-modes-mapped-out-for. html[18] http:/ / www.
archive. org/ stream/ aristoxenouharm00arisgoog[19] http:/ / www.
tonalsoft. com/ monzo/ aristoxenus/ aristoxenus. aspx
-
Article Sources and Contributors 20
Article Sources and ContributorsMode (music) Source:
http://en.wikipedia.org/w/index.php?oldid=615964531 Contributors:
.mau., 9ign, A4, Acalamari, Acarva1, Alphax, Alphonserdv, Ams80,
Anarchangel, Andeggs,Andycjp, Animum, Antandrus, Antti29, ArdClose,
Arny, Arunsingh16, Basemetal, Bdesham, Bdiscoe, Belizefan, Ben
Tibbetts, Bhuston, Billinghurst, Blahedo, Blehfu, Bmschmidt,
Bplohr,Brennan Milligan, Brentt, Bubba73, C777, CPGACoast, CWii,
Camembert, Catalographer, Chad.netzer, Charles Matthews, Chester
Markel, Chinasaur, Cholmes75, Chris Capoccia,ChrisGualtieri,
Chrylis, Conversion script, CountMacula, Cralize, Creatavision,
Cwunch, DTOx, DannyMuse, DavidRF, Ddxc, Destern, Diberri,
Dirac1933, Dougher, Dvyost, ERcheck, EdChem,El C, Elphion,
Ensibemol, Epbr123, Epolk, ExecutorElassus, Exteravical, Falstaft,
Feline Hymnic, Flapdragon, Fleeb, FordPrefect42, Fretsource,
Frokor, Furrykef, Garzo, Gimboid13,Glenfarclas, Glogger,
GoPlayerJuggler, Goethe1990, Grandpafootsoldier, Greenwoodtree,
Guaka, Guitaristhelp, Gwalla, H.Sdraulig, HarryHenryGebel, Hu12,
Hucbald, Hyacinth, Iluvcapra,J.F.Quackenbush, J.delanoy,
JMyrleFuller, Japanese Searobin, Jerome Kohl, Jesse V., Jhoughton3,
Jmclark56, Jogers, John Baez, Johnkarp, Jordanotto, Joshbuddy,
Joyous!, Just plain Bill,Justinmeister, Kakugo, Karl E. V. Palmen,
Kaustin6969, Keenan Pepper, Ken Gallager, Kethvan Karleitz, Kikos,
Kilo-Lima, King Art, Kungfuadam, Kwertii, Leviathon7, LilHelpa,
Locrian,Lrpelkey, Lufthansa1978, Luk, MBisanz, Mackensen, Magnus,
Mahlerlover1, MarkBuckles, Maroux, Martin strid, Martinuddin,
MatthewVanitas, Merphant, Methegreat, Michael Bednarek,Michael
Hardy, Michaelscales, MidnightBlue, Mindspillage, MishaPan,
Missmarple, Mnemolyst, Mpolo, Mr. Scholarly Guy, MrOllie, Msgrjosh,
Mwasheim, Naddy, Nae'blis, Narssarssuaq,Naruto137, Natedean,
Nathanael Bar-Aur L., Neonkick, Nick Number, Nikolidas, Noetica,
Officiallyover, Ogg, Oscar, P4limpsest, PS4FA, Paolo.dL, Paul
Richter, Pax85, Petrusdecruce, PhilBastian, Phil Holmes,
PierreAbbat, Pinkfloyd5040, Polylerus, R'n'B, RainbowCrane,
Rainwarrior, Random account 47, Reconsider the static, Redheylin,
Retroguy90, Reubenbsr, RexNL, Rictus,Rigadoun, Rigaudon,
Riggwelter, Robert.Allen, RuED, RuM, SFK2, Sam Hocevar,
Scarymonsters85, Sct72, Shimwell, Shirulashem, Shizhao, Simetrical,
Simon D M, Smjg,Someoneinmyheadbutit'snotme, SpK, Sparafucil, Sue
Rangell, Summer Song, Supermusicmaniac13, TUF-KAT, Tavernsenses,
Tcolgan001, The Anome, TheMrDunny, Timneu22,
Tiuks,Tohd8BohaithuGh1, Tom Lougheed, Tomas0132, Tot12, Trelawnie,
UtherSRG, Vague Rant, Vardos, VeryVerily, Violncello, Vreejack,
WarpstarRider, WikHead, Wikipeditor40, Woodstone,Woohookitty,
Yamamoto Ichiro, Yms, Yopienso, Yourcelf, Zimmermanstein, Zoicon5,
Zoukboy, 480 anonymous edits
Image Sources, Licenses and ContributorsFile:Loudspeaker.svg
Source:
http://en.wikipedia.org/w/index.php?title=File:Loudspeaker.svg
License: Public Domain Contributors: Bayo, Frank C. Mller,
Gmaxwell, Gnosygnu, Graphium,Husky, Iamunknown, Mirithing,
Myself488, Nethac DIU, Nixn, Omegatron, Rocket000, Shanmugamp7,
Snow Blizzard, Steinsplitter, The Evil IP address, Trelio,
Wouterhagens, 29anonymous editsFile:Dorian mode C.png Source:
http://en.wikipedia.org/w/index.php?title=File:Dorian_mode_C.png
License: GNU Free Documentation License Contributors: Created by
User:Hyacinth03:26, 19 April 2011 in Sibelius.File:Greek Dorian
enharmonic genus.png Source:
http://en.wikipedia.org/w/index.php?title=File:Greek_Dorian_enharmonic_genus.png
License: Creative Commons Zero Contributors:Jerome KohlFile:Greek
Dorian chromatic genus.png Source:
http://en.wikipedia.org/w/index.php?title=File:Greek_Dorian_chromatic_genus.png
License: Creative Commons Zero Contributors: JeromeKohlFile:Dorian
diatonic.png Source:
http://en.wikipedia.org/w/index.php?title=File:Dorian_diatonic.png
License: Creative Commons Zero Contributors: Jerome
KohlFile:JubilateDeoIntroit.jpg Source:
http://en.wikipedia.org/w/index.php?title=File:JubilateDeoIntroit.jpg
License: Public Domain Contributors: Gregorian chant; author
unknownFile:Gregorian chant.gif Source:
http://en.wikipedia.org/w/index.php?title=File:Gregorian_chant.gif
License: unknown Contributors: Alex299006, Balbo, Claritas,
Davepape, Donarreiskoffer, Joga, 4 anonymous editsFile:The eight
musical modes.png Source:
http://en.wikipedia.org/w/index.php?title=File:The_eight_musical_modes.png
License: unknown Contributors: User:BdeshamFile:Modes.svg Source:
http://en.wikipedia.org/w/index.php?title=File:Modes.svg License:
GNU Free Documentation License Contributors:
User:Tcolgan001File:Ionian mode C.png Source:
http://en.wikipedia.org/w/index.php?title=File:Ionian_mode_C.png
License: GNU Free Documentation License Contributors: Created by
User:Hyacinth inSibelius.File:D Dorian mode.png Source:
http://en.wikipedia.org/w/index.php?title=File:D_Dorian_mode.png
License: GNU Free Documentation License Contributors: Original
uploader wasHyacinth at en.wikipediaFile:Phrygian mode E.png
Source:
http://en.wikipedia.org/w/index.php?title=File:Phrygian_mode_E.png
License: GNU Free Documentation License Contributors: Created by
Hyacinth (talk)09:56, 19 April 2011 (UTC) using Sibelius
5.File:Lydian mode F.png Source:
http://en.wikipedia.org/w/index.php?title=File:Lydian_mode_F.png
License: GNU Free Documentation License Contributors: Created by
Hyacinth (talk)09:57, 19 April 2011 (UTC) using Sibelius
5.File:Mixolydian mode G.png Source:
http://en.wikipedia.org/w/index.php?title=File:Mixolydian_mode_G.png
License: GNU Free Documentation License Contributors: Created by
Hyacinth(talk) 09:59, 19 April 2011 (UTC) using Sibelius
5.File:Aeolian mode A.png Source:
http://en.wikipedia.org/w/index.php?title=File:Aeolian_mode_A.png
License: GNU Free Documentation License Contributors: Created by
Hyacinth (talk)10:00, 19 April 2011 (UTC) using Sibelius
5.File:Locrian mode B.png Source:
http://en.wikipedia.org/w/index.php?title=File:Locrian_mode_B.png
License: GNU Free Documentation License Contributors: Created by
Hyacinth (talk)16:51, 30 July 2008 in Sibelius.
LicenseCreative Commons Attribution-Share Alike
3.0//creativecommons.org/licenses/by-sa/3.0/
Mode (music)Modes and scalesGreekGreek
scalesTonoiHarmoniaiMelos
Western ChurchUse
ModernAnalysisIonian (I)Dorian (II)Phrygian (III)Lydian
(IV)Mixolydian (V)Aeolian (VI)Locrian (VII)
Summary Major modesMinor modesDiminished mode
Use
Other typesAnalogues in different musical
traditionsReferencesFurther readingExternal links
License