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Mode (music)
This book is for musicians who know what works 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 Mathiesen a , 4. 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: The things contingent to perfect melos are motion-both of sound and body-and also chronoi and the rhythms based on these.
Mathiesen , Tonaries , which are 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. 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. The 6th century scholar Boethius had translated Greek music theory treatises by Nicomachus and Ptolemy into Latin Powers Later authors created confusion by applying mode as described by Boethius to explain plainchant modes, which were a wholly different system Palisca , The treatise De Musica or De harmonica institutione of Hucbald synthesized the three previously disparate strands of modal theory: Thus, the names of the modes became associated with the eight church tones and their modal formulas, but this medieval interpretation does actually not fit to the concept of the Ancient Greek harmonics treatises.
The understanding of mode today does often not reflect that it is made of different concepts which cannot fit altogether. According to Carolingian theorists the eight church modes, or Gregorian modes , can be divided into four pairs, where each pair shares the " final " note and the four notes above the final, but they have different intervals concerning the species of the fifth.
Plagal modes shift range and also explore the fourth below the final as well as the fifth above. In both cases, the strict ambitus of the mode is one octave. A melody that remains confined to the mode's ambitus is called "perfect"; if it falls short of it, "imperfect"; if it exceeds it, "superfluous"; and a melody that combines the ambituses of both the plagal and authentic is said to be in a "mixed mode" Rockstro , Each mode has, in addition to its final, a " reciting tone ", sometimes called the "dominant" Apel , ; Smith , It is also sometimes called the "tenor", from Latin tenere "to hold", meaning the tone around which the melody principally centres Fallows 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 during the 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 , 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 Rockstro , In , the Swiss theorist Henricus Glareanus published the Dodecachordon , in which he solidified the concept of the church modes, and added four additional modes: A little later in the century, the Italian Gioseffo Zarlino at first adopted Glarean's system in , but later and 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. 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 Cecilian Movement renumbered the modes once again, this time retaining the original eight mode numbers and Glareanus's modes 9 and 10, but assigning numbers 11 and 12 to the modes on the final B, which they named Locrian and Hypolocrian even while rejecting their use in chant.
The Ionian and Hypoionian modes on C become in this system modes 13 and 14 Rockstro , 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" Curtis , , using Roman numeral I—VIII , rather than using the pseudo-Greek naming system. Medieval terms, first used in Carolingian treatises, later in Aquitanian tonaries, are still used by scholars today: A 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.
Liane Curtis writes that "Modes should not be equated with scales: Various interpretations of the "character" imparted by the different modes have been suggested.
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The 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 of the harmoniai , the names of the modern modes are conventional and do not indicate a link between them and ancient Greek theory, and they do not present the sequences of intervals found even in the diatonic genus of the Greek octave 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 its seven degrees in turn as a "tonic", and so present a different sequence of whole and half steps.
Bebop scale
The interval sequence of the major scale being W-W-H-W-W-W-H, where "H" means a semitone half step and "W" means a whole tone whole step , it is thus possible to generate the following scales:. For the sake of simplicity, the examples shown above are formed by natural notes also called "white-notes", as they can be played using the white keys of a piano keyboard. However, any transposition of each of these scales is a valid example of the corresponding mode. In other words, transposition preserves mode. 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 natural notes. Ionian may arbitrarily be designated the first mode. It is the modern major scale. The example composed of natural notes begins on C, and is also known as the C-major scale:.
MODALOGY - scales, modes & chords: the primordial building blocks of music
The Dorian mode is very similar to the modern natural minor scale see Aeolian mode below. The only difference with respect to the natural minor scale is in the sixth scale degree , which is a major sixth M6 above the tonic, rather than a minor sixth m6. The Phrygian mode is very similar to the modern natural minor scale see Aeolian mode below. The only difference with 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.