Mode (music)
In music theory, the term mode or modus is used in a number of distinct senses, depending on context.
Its most common use may be described as a type of
In the Middle Ages the term modus was used to describe both intervals and rhythm.
Outside of
Mode as a general concept
Regarding the concept of mode as applied to pitch relationships generally, Harold S. Powers proposed that "mode" has "a twofold sense", denoting either a "particularized scale" or a "generalized tune", or both. "If one thinks of scale and tune as representing the poles of a continuum of melodic predetermination, then most of the area between can be designated one way or the other as being in the domain of mode".[1]
In 1792,
The word encompasses several additional meanings. Authors from the 9th century until the early 18th century (e.g., Guido of Arezzo) sometimes employed the Latin modus for interval,[7] or for qualities of individual notes.[8] In the theory of late-medieval mensural polyphony (e.g., Franco of Cologne), modus is a rhythmic relationship between long and short values or a pattern made from them;[9] in mensural music most often theorists applied it to division of longa into 3 or 2 breves.[10]
Modes and scales
A
The concept of "mode" in Western music theory has three successive stages: in
By the early 19th century, the word "mode" had taken on an additional meaning, in reference to the difference between major and minor keys, specified as "major mode" and "minor mode". At the same time, composers were beginning to conceive "modality" as something outside of the major/minor system that could be used to evoke religious feelings or to suggest folk-music idioms.[12]
Greek modes
Early Greek treatises describe three interrelated concepts that are related to the later, medieval idea of "mode": (1)
Greek scales
The Greek scales in the Aristoxenian tradition were:[14][15]
- Mixolydian: hypate hypaton–paramese (b–b′)
- Lydian: parhypate hypaton–trite diezeugmenon (c′–c″)
- Phrygian: lichanos hypaton–paranete diezeugmenon (d′–d″)
- Dorian: hypate meson–nete diezeugmenon (e′–e″)
- Hypolydian: parhypate meson–trite hyperbolaion (f′–f″)
- Hypophrygian: lichanos meson–paranete hyperbolaion (g′–g″)
- Common, Locrian, or Hypodorian: mese–nete hyperbolaion or proslambnomenos–mese (a′–a″ or a–a′)
These names are derived from an ancient Greek subgroup (
Depending on the positioning (spacing) of the interposed tones in the
In contrast to the medieval modal system, these scales and their related tonoi and harmoniai appear to have had no hierarchical relationships amongst the notes that could establish contrasting points of tension and rest, although the mese ("middle note") may have had some sort of gravitational function.[20]
Tonoi
The term tonos (pl. tonoi) was used in four senses: "as note, interval, region of the voice, and pitch. We use it of the region of the voice whenever we speak of Dorian, or Phrygian, or Lydian, or any of the other tones".[21] Cleonides attributes thirteen tonoi to Aristoxenus, which represent a progressive transposition of the entire system (or scale) by semitone over the range of an octave between the Hypodorian and the Hypermixolydian.[13] According to Cleonides, Aristoxenus's transpositional tonoi were named analogously to the octave species, supplemented with new terms to raise the number of degrees from seven to thirteen.[21] However, according to the interpretation of at least three modern authorities, in these transpositional tonoi the Hypodorian is the lowest, and the Mixolydian next-to-highest – the reverse of the case of the octave species,[13][22][23] 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 Hypoaeolian
- G: Hypophrygian
- F♯: Low Hypophrygian or Hypoiastian
- F: Hypodorian
Ptolemy, in his Harmonics, ii.3–11, construed the tonoi differently, presenting all seven octave species within a fixed octave, through chromatic inflection of the scale degrees (comparable to the modern conception of building all seven modal scales on a single tonic). In Ptolemy's system, therefore there are only seven tonoi.[13][24] Pythagoras also construed the intervals arithmetically (if somewhat more rigorously, initially allowing for 1:1 = Unison, 2:1 = Octave, 3:2 = Fifth, 4:3 = Fourth and 5:4 = Major Third within the octave). In their diatonic genus, these tonoi and corresponding harmoniai correspond with the intervals of the familiar modern major and minor scales. See Pythagorean tuning and Pythagorean interval.
Harmoniai
Mixolydian | 1⁄4 | 1⁄4 | 2 | 1⁄4 | 1⁄4 | 2 | 1 |
---|---|---|---|---|---|---|---|
Lydian | 1⁄4 | 2 | 1⁄4 | 1⁄4 | 2 | 1 | 1⁄4 |
Phrygian | 2 | 1⁄4 | 1⁄4 | 2 | 1 | 1⁄4 | 1⁄4 |
Dorian | 1⁄4 | 1⁄4 | 2 | 1 | 1⁄4 | 1⁄4 | 2 |
Hypolydian | 1⁄4 | 2 | 1 | 1⁄4 | 1⁄4 | 2 | 1⁄4 |
Hypophrygian | 2 | 1 | 1⁄4 | 1⁄4 | 2 | 1⁄4 | 1⁄4 |
Hypodorian | 1 | 1⁄4 | 1⁄4 | 2 | 1⁄4 | 1⁄4 | 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.[25]
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.
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 group of theorists known as the harmonicists to bring these harmoniai into a single system and to express them as orderly transformations of a single structure. Eratocles was the most prominent of the harmonicists, though his ideas are known only at second hand, through Aristoxenus, from whom we learn they represented the harmoniai as cyclic reorderings of a given series of intervals within the octave, producing seven octave species. We also learn that Eratocles confined his descriptions to the enharmonic genus.[27]
In the
The philosophical writings of Plato and Aristotle (c. 350 BC) include sections that describe the effect of different harmoniai on mood and character formation. For example, Aristotle stated in his Politics:[29]
But melodies themselves do contain imitations of character. This is perfectly clear, for the harmoniai have quite distinct natures from one another, so that those who hear them are differently affected and do not respond in the same way to each. To some, such as the one called Mixolydian, they respond with more grief and anxiety, to others, such as the relaxed harmoniai, with more mellowness of mind, and to one another with a special degree of moderation and firmness, Dorian being apparently the only one of the harmoniai to have this effect, while Phrygian creates ecstatic excitement. These points have been well expressed by those who have thought deeply about this kind of education; for they cull the evidence for what they say from the facts themselves.[30]
Aristotle continues by describing the effects of rhythm, and concludes about the combined effect of rhythm and harmonia (viii:1340b:10–13):
From all this it is clear that music is capable of creating a particular quality of character [ἦθος] in the soul, and if it can do that, it is plain that it should be made use of, and that the young should be educated in it.[30]
The word ethos (ἦθος) in this context means "moral character", and Greek ethos theory concerns the ways that music can convey, foster, and even generate ethical states.[26]
Melos
Some treatises also describe "melic" composition (μελοποιΐα), "the employment of the materials subject to harmonic practice with due regard to the requirements of each of the subjects under consideration"[31] – which, together with the scales, tonoi, and harmoniai resemble elements found in medieval modal theory.[32] According to Aristides Quintilianus, melic composition is subdivided into three classes: dithyrambic, nomic, and tragic.[33] These parallel his three classes of rhythmic composition: systaltic, diastaltic and hesychastic. Each of these broad classes of melic composition may contain various subclasses, such as erotic, comic and panegyric, and any composition might be elevating (diastaltic), depressing (systaltic), or soothing (hesychastic).[34]
According to Thomas J. Mathiesen, music as a performing art was called melos, which in its perfect form (μέλος τέλειον) comprised not only the melody and the text (including its elements of rhythm and diction) but also stylized dance movement. Melic and rhythmic composition (respectively, μελοποιΐα and ῥυθμοποιΐα) were the processes of selecting and applying the various components of melos and rhythm to create a complete work. According to 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, simply a certain sound; in the case of rhythm, a motion of sound; and in the case of diction, the meter. The things contingent to perfect melos are motion-both of sound and body-and also chronoi and the rhythms based on these.[35]
Western Church
Tonaries, lists of chant titles grouped by mode, appear in western sources around the turn of the 9th century. The influence of developments in Byzantium, from Jerusalem and Damascus, for instance the works of Saints John of Damascus (d. 749) and Cosmas of Maiouma,[36][37] are still not fully understood. The eight-fold division of the Latin modal system, in a four-by-two matrix, was certainly of Eastern provenance, originating probably in Syria or even in Jerusalem, and was transmitted from Byzantine sources to Carolingian practice and theory during the 8th century. However, the earlier Greek model for the Carolingian system was probably ordered like the later Byzantine oktōēchos, that is, with the four principal (authentic) modes first, then the four plagals, whereas the Latin modes were always grouped the other way, with the authentics and plagals paired.[38]
The 6th-century scholar
Later, 9th-century theorists applied Boethius's terms tropus and modus (along with "tonus") to the system of church modes. The treatise De Musica (or De harmonica institutione) of Hucbald synthesized the three previously disparate strands of modal theory: chant theory, the Byzantine oktōēchos and Boethius's account of Hellenistic theory.[43] The late-9th- and early 10th-century compilation known as the Alia musica imposed the seven octave transpositions, known as tropus and described by Boethius, onto the eight church modes,[44] but its compilator also mentions the Greek (Byzantine) echoi translated by the Latin term sonus. Thus, the names of the modes became associated with the eight church tones and their modal formulas – but this medieval interpretation does not fit the concept of the ancient Greek harmonics treatises. The modern understanding of mode does not reflect that it is made of different concepts that do not all fit.
According to Carolingian theorists the eight church modes, or
Although the earlier (Greek) model for the Carolingian system was probably ordered like the Byzantine oktōēchos, with the four authentic modes first, followed by the four plagals, the earliest extant sources for the Latin system are organized in four pairs of authentic and plagal modes sharing the same final: protus authentic/plagal, deuterus authentic/plagal, tritus authentic/plagal, and tetrardus authentic/plagal.[38]
Each mode has, in addition to its final, a "
After the reciting tone, every mode is distinguished by scale degrees called "mediant" and "participant". The mediant is 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 is somewhat irregular. The participant is an auxiliary note, generally adjacent to the mediant in authentic modes and, in the plagal forms, coincident with the reciting tone of the corresponding authentic mode (some modes have a second participant).[50]
Only one accidental is used commonly in Gregorian chant – B may be lowered by a half-step to B♭. This usually (but not always) occurs in modes V and VI, as well as in the upper tetrachord of IV, and is optional in other modes except III, VII and VIII.[51]
Mode | I (Dorian) | II (Hypodorian) | III (Phrygian) | IV (Hypophrygian) | V (Lydian) | VI (Hypolydian) | VII (Mixolydian) | VIII ( Hypomixolydian )
|
---|---|---|---|---|---|---|---|---|
Final | D (re) | D (re) | E (mi) | E (mi) | F (fa) | F (fa) | G (sol) | G (sol) |
Dominant | A (la) | F (fa) | B (si) or C (do) | G (sol) or A (la) | C (do) | A (la) | D (re) | B (si) or C (do) |
In 1547, the Swiss theorist Henricus Glareanus published the Dodecachordon, in which he solidified the concept of the church modes, and added four additional modes: the Aeolian (mode 9), Hypoaeolian (mode 10), Ionian (mode 11), and Hypoionian (mode 12). A little later in the century, the Italian Gioseffo Zarlino at first adopted Glarean's system in 1558, but later (1571 and 1573) revised the numbering and naming conventions in a manner he deemed more logical, resulting in the widespread promulgation of two conflicting systems.
Zarlino's system reassigned the six pairs of authentic–plagal mode numbers to finals in the order of the natural hexachord, C–D–E–F–G–A, and transferred the Greek names as well, so that modes 1 through 8 now became C-authentic to F-plagal, and were now called by the names Dorian to Hypomixolydian. The pair of G modes were numbered 9 and 10 and were named Ionian and Hypoionian, while the pair of A modes retained both the numbers and names (11, Aeolian, and 12 Hypoaeolian) of Glarean's system. While Zarlino's system became popular in France, Italian composers preferred Glarean's scheme because it retained the traditional eight modes, while expanding them. Luzzasco Luzzaschi was an exception in Italy, in that he used Zarlino's new system.[52][53][54]
In the late-18th and 19th centuries, some chant reformers (notably the editors of the
Given the confusion between ancient, medieval, and modern terminology, "today it is more consistent and practical to use the traditional designation of the modes with numbers one to eight",
Use
A mode indicated a primary pitch (a final), the organization of pitches in relation to the final, the suggested range, the
- 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
- the function of the modal final as a relational center.
The oldest medieval treatise regarding modes is Musica disciplina by Aurelian of Réôme (dating from around 850) while Hermannus Contractus was the first to define modes as partitionings of the octave.[57] However, the earliest Western source using the system of eight modes is the Tonary of St Riquier, dated between about 795 and 800.[38]
Various interpretations of the "character" imparted by the different modes have been suggested. Three such interpretations, from Guido of Arezzo (995–1050), Adam of Fulda (1445–1505), and Juan de Espinosa Medrano (1632–1688), follow:[citation needed]
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 |
Modern modes
Modern Western modes use the same set of notes as the
Mode | Tonic relative to major scale |
Interval sequence | Example |
---|---|---|---|
Ionian | I | W–W–H–W–W–W–H | C–D–E–F–G–A–B–C |
Dorian | ii | W–H–W–W–W–H–W | D–E–F–G–A–B–C–D |
Phrygian | iii | H–W–W–W–H–W–W | E–F–G–A–B–C–D–E |
Lydian | IV | W–W–W–H–W–W–H | F–G–A–B–C–D–E–F |
Mixolydian | V | W–W–H–W–W–H–W | G–A–B–C–D–E–F–G |
Aeolian | vi | W–H–W–W–H–W–W | A–B–C–D–E–F–G–A |
Locrian | viiø | H–W–W–H–W–W–W | B–C–D–E–F–G–A–B |
For the sake of simplicity, the examples shown above are formed by
Although the names of the modern modes are Greek and some have names used in ancient Greek theory for some of the harmoniai, the names of the modern modes are conventional and do not refer to the sequences of intervals found even in the diatonic genus of the Greek octave species sharing the same name.[60]
Analysis
Each mode has characteristic intervals and chords that give it its distinctive sound. The following is an analysis of each of the seven modern modes. The examples are provided in a key signature with no sharps or flats (scales composed of
Ionian (I)
The
Natural notes
|
C | D | E | F | G | A | B | C |
---|---|---|---|---|---|---|---|---|
Interval from C | P1 | M2 | M3 | P4 | P5 | M6 | M7 | P8 |
- Tonic triad: C major
- 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 seventh chord, so-called because of its position in this – and only this – modal scale)
Dorian (II)
The Dorian mode is the second mode. The example composed of natural notes begins 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
- Tonic triad: Dm
- Tonic seventh chord: Dm7
- Dominant triad: Am
- Seventh chord on the dominant: Am7 (a minor seventh chord)
Phrygian (III)
The Phrygian mode is the third mode. The example composed of natural notes starts 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
- Tonic triad: Em
- Tonic seventh chord: Em7
- Dominant triad: Bdim
- Seventh chord on the dominant: Bø7 (a half-diminished seventh chord)
Lydian (IV)
The Lydian mode is the fourth mode. The example composed of natural notes starts 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 an augmented 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)
Mixolydian (V)
The Mixolydian mode is the fifth mode. The example composed of natural notes begins 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 a minor seventh (m7) above the tonic (G), rather than a major seventh (M7). Therefore, the seventh scale degree becomes a subtonic to the tonic because it is now a whole tone lower than the tonic, in contrast to the seventh degree in the major scale, which is a semitone tone lower than the tonic (leading-tone).
- Tonic triad: G
- Tonic seventh chord: G7 (the dominant seventh chord 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)
Aeolian (VI)
The
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)
Locrian (VII)
The Locrian mode is the seventh mode. The example composed of natural 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 is the only one in which the chords built on the tonic and dominant scale degrees have their roots separated by a diminished, rather than perfect, fifth. Similarly the tonic seventh chord is half-diminished.
- Tonic triad: Bdim or B°
- Tonic seventh chord: Bm7♭5 or Bø7
- Dominant triad: F
- Seventh chord on the dominant: FM7 (a major seventh chord)
Summary
The modes can be arranged in the following sequence, which follows the circle of fifths. In this sequence, each mode has 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, the augmented fourth of the Lydian mode has been reduced to a perfect fourth in Ionian, the major seventh in Ionian to a minor seventh in Mixolydian, etc.[citation needed]
Mode | White note |
Intervals with respect to the tonic | |||||||
---|---|---|---|---|---|---|---|---|---|
unison | 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 first three modes are sometimes called major,
- The Ionian mode corresponds to the major scale. Scales in the Lydian mode are major scales with an augmented fourth. The Mixolydian mode corresponds to the major scale with a minor seventh.
- The Aeolian mode is identical to the minor second.
- The Locrian 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 is sometimes called a "diminished" scale, though in jazz theory this term is also applied to the enharmonically equivalent to the augmented fourth found between scale degrees 1 and 4 in the Lydian mode and is also referred to as the tritone.
Use
Use 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 a background of some three centuries of harmonic tonality, permitting, and in the 19th century requiring, a dialogue between modal and diatonic procedure".[67] Indeed, when 19th-century composers revived the modes, they rendered them more strictly than Renaissance composers had, to make their qualities distinct from the prevailing major-minor system. Renaissance composers routinely sharped leading tones at cadences and lowered the fourth in the Lydian mode.[68]
The Ionian, or Iastian,
Traditional folk music provides countless examples of modal melodies. For example,
In some regions of Ireland, such as the west-central coast area of counties Galway and Clare, “flat” keys are far more prevalent than in other areas. Instruments will be constructed or pitched accordingly to allow for modal playing in C-Major/D-Dorian/G-Mixolydian or F-Major/G-Dorian/C-Mixolydian/D-Aeolian (minor), with some rare exceptions in Eb-Major/C-minor being played regionally. Some tunes are even composed in Bb-Major, with modulating sections in F-Mixolydian. Interestingly, A-minor is less popularly played in the region, despite the localised prevalence of tunes in C-Major and related modes.[77] Much Flamenco music is in the Phrygian mode, though frequently with the third and seventh degrees raised by a semitone.[78]
Zoltán Kodály, Gustav Holst, and Manuel de Falla use modal elements as modifications of a diatonic background, while modality replaces diatonic tonality in the music of Claude Debussy and Béla Bartók.[79]
Other types
While the term "mode" is still most commonly understood to refer to Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, or Locrian modes, in modern music theory the word is often applied to scales other than the diatonic. This is seen, for example, in
Mode | I | II | III | IV | V | VI | VII |
---|---|---|---|---|---|---|---|
Name | Ascending melodic minor |
Dorian ♭2 or Phrygian ♯6 |
Lydian augmented | Acoustic | Aeolian dominant or Mixolydian ♭6 | Half-diminished |
Altered |
Notes | 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 | 1 2 ♭3 4 ♭5 ♭6 ♭7 | 1 ♭2 ♭3 ♭4 ♭5 ♭6 ♭7 |
Chord | C–Δ | D–7 | E♭Δ♯5 | F7♯11 | G7♭6 | Aø | B7alt |
Mode | I | II | III | IV | V | VI | VII |
---|---|---|---|---|---|---|---|
Name | Harmonic minor |
Locrian ♯6 | Ionian ♯5 | Ukrainian Dorian | Phrygian Dominant | Lydian ♯2 | Altered Diminished |
Notes | 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 | 1 ♯2 3 ♯4 5 6 7 | 1 ♭2 ♭3 ♭4 ♭5 ♭6 7 |
Chord | C–Δ | Dø | E♭Δ♯5 | F–7 | G7♭9 | A♭Δ or A♭–Δ | Bo7 |
Mode | I | II | III | IV | V | VI | VII |
---|---|---|---|---|---|---|---|
Name | Harmonic major | Dorian ♭5 or Locrian ♯2 ♯6 | Phrygian ♭4 or Altered Dominant ♯5 | Lydian ♭3 or Melodic Minor ♯4 | Mixolydian ♭2 | Lydian Augmented ♯2 | Locrian 7 |
Notes | 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 | 1 ♯2 3 ♯4 ♯5 6 7 | 1 ♭2 ♭3 4 ♭5 ♭6 7 |
Chord | CΔ | Dø7 | E–7or E7 | F–Δ | G7 | A ♭+Δ | Bo7 |
Mode | I | II | III | IV | V | VI | VII |
---|---|---|---|---|---|---|---|
Name | Double harmonic | Lydian ♯2 ♯6 | Phrygian 7 ♭4 (or Altered Diminished ♯5) | Hungarian minor | Locrian ♮6 ♮3 or Mixolydian ♭5 ♭2 |
Ionian ♯5 ♯2 | Locrian 3 7 |
Notes | 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 | 1 ♯2 3 4 ♯5 6 7 | 1 ♭2 3 4 ♭5 ♭6 7 |
Chord | CΔ | D♭Δ♯11 | E–6 or E6 | F–Δ | G7♭5 | A♭Δ♯5 | Bo3 |
The number of possible modes for any intervallic set is dictated by the pattern of intervals in the scale. For scales built of a pattern of intervals that only repeats at the octave (like the diatonic set), the number of modes is equal to the number of notes in the scale. Scales with a recurring interval pattern smaller than an octave, however, have only as many modes as notes within that subdivision: e.g., the
The chromatic and whole-tone scales, each containing only steps of uniform size, have only a single mode each, as any rotation of the sequence results in the same sequence. Another general definition excludes these equal-division scales, and defines modal scales as subsets of them: according to Karlheinz Stockhausen, "If we leave out certain steps of a[n equal-step] scale we get a modal construction".[81] In "Messiaen's narrow sense, a mode is any scale made up from the 'chromatic total,' the twelve tones of the tempered system".[82]
Analogues in different musical traditions
- Cantillation (Jewish music)
- Echos (Byzantine music)
- Dastgah (Persian traditional music)
- Maqam (Arabic music)
- Turkish classical music)
- Raga (Indian classical music)
- Hindustani music)
- Melakarta (South Indian or Carnatic music)
- Pann (Ancient Tamil music)
- Pathet (Javanese music for gamelan)
- Pentatonic scale
See also
- Gamut (music)
- Jewish prayer modes
- List of musical scales and modes
- Modal jazz
- Znamenny chant
References
Footnotes
- ^ a b Powers (2001), §I,3
- ^ Powers (2001), §V,1
- ^ Powers (2001), §III,1
- ^ Dahlhaus (1968), pp. 174 et passim
- ^ Meier (1974)
- ^ Meier (1992)
- ^ Powers (2001), §1,2
- ^ N. Meeùs, "Modi vocum. Réflections sur la théorie modale médiévale." Con-Scientia Musica. Contrapunti per Rossana Dalmonte e Mario Baroni, A. R. Addessi e. a. ed., Lucca, Libreria Musicale Italiana, 2010, pp. 21-33
- ^ Powers (2001), Introduction
- ^ A. M. Busse Berger, "The Evolution of Rhythmic Notation", The Cambridge History of Western Music Theory, Th. Christensen ed., Cambridge University Press 2002, pp. 628-656, particularly pp. 629-635
- ^ a b Winnington-Ingram (1936), pp. 2–3
- ^ Porter (2001)
- ^ a b c d e Mathiesen (2001a), 6(iii)(e)
- ^ Barbera (1984), p. 240
- ^ Mathiesen (2001a), 6(iii)(d)
- ^ Bélis (2001)
- ^ Cleonides (1965), pp. 35–36
- ^ Cleonides (1965), pp. 39–40
- ^ Mathiesen (2001a), 6(iii)(c)
- ^ Palisca (2006), p. 77
- ^ a b Cleonides (1965), p. 44
- ^ Solomon (1984), pp. 244–245
- ^ West (1992), [page needed]
- ^ Mathiesen (2001c)
- ^ Mathiesen (2001b)
- ^ a b Anderson and Mathiesen (2001)
- ^ Barker (1984–89), 2:14–15
- ^ Plato (1902), III.10–III.12 = 398C–403C
- ^ Aristotle (1895), viii:1340a:40–1340b:5
- ^ a b Barker (1984–89), 1:175–176
- ^ Cleonides (1965), p. 35
- ^ Mathiesen (2001a), 6(iii)
- ^ Mathiesen (1983), i.12
- ^ Mathiesen (2001a), p. 4
- ^ Mathiesen (1983), p. 75
- ^ Nikodēmos ’Agioreitēs (1836), 1:32–33
- ^ Barton (2009)
- ^ a b c Powers (2001), §II.1(ii)
- ^ Powers (2001)
- ^ Palisca (1984), p. 222
- ^ Bower (1984), pp. 253, 260–261
- ^ Powers (2001), §II.1(i)
- ^ Powers (2001), §II.2
- ^ Powers (2001), §II.2(ii)
- ^ Rockstro (1880), p. 343
- ^ Apel (1969), p. 166
- ^ Smith (1989), p. 14
- ^ Fallows (2001)
- ^ Hoppin (1978), p. 67
- ^ a b Rockstro (1880), p. 342
- ^ Powers (2001), §II.3.i(b), Ex. 5
- ^ a b Powers (2001), §III.4(ii)(a)
- ^ Powers (2001), §III.4(iii)
- ^ Powers (2001), §III.5(i & ii)
- ^ Curtis (1997), p. 256
- ^ a b Curtis (1997), p. 255
- ^ a b Dahlhaus (1990), pp. 191–192
- ^ Levine (1995), Figure 2-4
- ^ Boyden (1994), p. 8
- ^ Kolinski, Mieczyslaw (September 9, 2010). "Mode". Encyclopædia Britannica. Retrieved November 13, 2020.
- ^ Carroll (2002), p. 134
- ^ a b Marx (1852), p. 336
- ^ Marx (1852), pp. 338, 342, 346
- ^ a b Serna (2013), p. 35
- ^ Carroll (2002), p. 153
- ^ Voitinskaia, Anastasia (9 December 2018). "The Aural Illusions of the Locrian Mode". Musical U. Retrieved 2022-09-04.
- ^ Samson (1977), p. 148
- ^ Carver (2005), 74n4
- ^ Anon. (1896)
- ^ Chafe (1992), pp. 23, 41, 43, 48
- ^ Glareanus (1965), p. 153
- ^ Hiley (2002), §2(b)
- ^ Pratt (1907), p. 67
- ^ Taylor (1876), p. 419
- ^ Wiering (1995), p. 25
- ^ Jones (1974), p. 33
- ^ Cooper (1995), pp. 9–20
- ^ Gómez, Díaz-Báñez, Gómez, and Mora (2014), pp. 121, 123
- ^ Samson (1977), [page needed]
- ^ Levine (1995), pp. 55–77
- ^ Cott (1973), p. 101
- ^ Vieru (1985), p. 63
Bibliography
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- Gómez, Francisco, José Miguel Díaz-Báñez, Emilia Gómez, and Joaquin Mora (2014). "Flamenco Music and Its Computational Study". In Proceedings of Bridges 2014: Mathematics, Music, Art, Architecture, Culture, edited by Gary Greenfield, George Hart, and Reza Sarhangi, 119–126. Phoenix, Arizona: Tessellations Publishing. ISBN 978-1-938664-11-3.
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- Mathiesen, Thomas J. (2001c). "Tonos". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
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- Meier, Bernhard (1992). Alte Tonarten: dargestellt an der Instrumentalmusik des 16. und 17. Jahrhunderts. Kassel: [full citation needed]
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- JSTOR 763812(subscription required).
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- Powers, Harold S. (2001). "Mode". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers.
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- 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
- Chalmers, John H. (1993). Divisions of the Tetrachord / Peri ton tou tetrakhordou katatomon / Sectiones tetrachordi: A Prolegomenon to the Construction of Musical Scales, edited by Larry Polansky and Carter Scholz, foreword by Lou Harrison. Hanover, New Hampshire: Frog Peak Music. ISBN 0-945996-04-7.
- Fellerer, Karl Gustav (1982). "Kirchenmusikalische Reformbestrebungen um 1800". Analecta Musicologica: Veröffentlichungen der Musikgeschichtlichen Abteilung des Deutschen Historischen Instituts in Rom 21:393–408.
- ISBN 0-393-97991-1.
- Jowett, Benjamin (1937). The Dialogues of Plato, translated by Benjamin Jowett, third edition, 2 vols. New York: Random House. OCLC 2582139
- Jowett, Benjamin (1943). Aristotle's Politics, translated by Benjamin Jowett. New York: Modern Library.
- 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, California: Sher Music Co. ISBN 0-9614701-5-1.
- Lonnendonker, Hans. 1980. "Deutsch-französische Beziehungen in Choralfragen. Ein Beitrag zur Geschichte des gregorianischen Chorals in der zweiten Hälfte des 19. Jahrhunderts". In Ut mens concordet voci: Festschrift Eugène Cardine zum 75. Geburtstag, edited by Johannes Berchmans Göschl, 280–295. St. Ottilien: EOS-Verlag. ISBN 3-88096-100-X
- ISBN 0-8032-3079-6.
- McAlpine, Fiona (2004). "Beginnings and Endings: Defining the Mode in a Medieval Chant". Studia Musicologica Academiae Scientiarum Hungaricae 45, nos. 1 & 2 (17th International Congress of the International Musicological Society IMS Study Group Cantus Planus): 165–177.
- Meeùs, Nicolas (1997). "Mode et système. Conceptions ancienne et moderne de la modalité". Musurgia 4, no. 3:67–80.
- Meeùs, Nicolas (2000). "Fonctions modales et qualités systémiques". Musicae Scientiae, Forum de discussion 1:55–63.
- Meier, Bernhard (1974). Die Tonarten der klassischen Vokalpolyphonie: nach den Quellen dargestellt. Utrecht.
- 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. ISBN 978-0-8450-7025-3
- Meier, Bernhard (1992). Alte Tonarten: dargestellt an der Instrumentalmusik des 16. und 17. Jahrhunderts. Kassel
- Miller, Ron (1996). Modal Jazz Composition and Harmony, Vol. 1. Rottenburg, Germany: Advance Music. OCLC 43460635
- Ordoulidis, Nikos. (2011). "The Greek Popular Modes". 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 hundertjährigen Bestehen der Kirchenmusikschule Regensburg, Schriftenreihe des Allgemeinen Cäcilien-Verbandes für die Länder der Deutschen Sprache 9, edited by Franz Fleckenstein, 221–252. Bonn: Allgemeiner Cäcilien-Verband, 1974.
- Powers, Harold (1998). "From Psalmody to Tonality". In Tonal Structures in Early Music, edited by Cristle Collins Judd, 275–340. Garland Reference Library of the Humanities 1998; Criticism and Analysis of Early Music 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 Music 135, no. 2 (Summer): 26–44.
- Scharnagl, August (1994). "Carl Proske(1794–1861)". In Musica divina: Ausstellung zum 400. Todesjahr von Giovanni Pierluigi Palestrina und Orlando di Lasso und zum 200. Geburtsjahr von Carl Proske. Ausstellung in der Bischöflichen Zentralbibliothek Regensburg, 4. November 1994 bis 3. Februar 1995, Bischöfliches Zentralarchiv und Bischöfliche Zentralbibliothek Regensburg: Kataloge und Schriften, no. 11, edited by Paul Mai, 12–52. Regensburg: Schnell und Steiner, 1994.
- Schnorr, Klemens (2004). "El cambio de la edición oficial del canto gregoriano de la editorial Pustet/Ratisbona a la de Solesmes en la época del Motu proprio". In El Motu proprio de San Pío X y la Música (1903–2003). Barcelona, 2003, edited by Mariano Lambea, introduction by María Rosario Álvarez Martínez and José Sierra Pérez. Revista de musicología 27, no. 1 (June) 197–209.
- Street, Donald (1976). "The Modes of Limited Transposition". The Musical Times 117, no. 1604 (October): 819–823.
- Vieru, Anatol (1980). Cartea modurilor. Bucharest: Editura Muzicală. English edition, as The Book of Modes, translated by Yvonne Petrescu and Magda Morait. Bucharest: Editura Muzicală, 1993.
- Vieru, Anatol (1992). "Generating Modal Sequences (A Remote Approach to Minimal Music)". JSTOR 3090632
- OCLC 249898056
- The New Oxford History of Music, vol. 2:14–57. Oxford University Press.
- Wiering, Frans (1998). "Internal and External Views of the Modes". In Tonal Structures in Early Music, edited by Cristle Collins Judd, 87–107. Garland Reference Library of the Humanities 1998; Criticism and Analysis of Early Music 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
- The use of guitar modes in jazz music
- Neume Notation Project Archived 2011-07-16 at the Wayback Machine
- Division of the Tetrachord, John Chalmers
- Greek and Liturgical Modes
- The Ancient Musical Modes: What Were They?, Eric Friedlander MD
- An interactive demonstration of many scales and modes
- The Music of Ancient Greeks, an approach to the original singing of the Homeric epics and early Greek epic and lyrical poetry by Ioannidis Nikolaos
- Ἀριστοξενου ἁρμονικα στοιχεια: The Harmonics of Aristoxenus, edited with translation notes introduction and index of words by Henry S. Macran. Oxford: Clarendon Press, 1902.
- Monzo, Joe. 2004. "The Measurement of Aristoxenus's Divisions of the Tetrachord"