Musical mode - Citizendia

This article is about modes as used in music. For other uses, see mode.

In music, a scale is an ordered series of musical intervals, which, along with the key or tonic, define the pitches. Music is an Art form in which the medium is Sound organized in Time. In Music theory, the term interval describes the relationship between the pitches of two Notes Intervals may be described as vertical In Music theory, the term key is used in many different and sometimes contradictory ways The tonic is the first note of a musical scale in the tonal method of Musical composition. Pitch represents the perceived Fundamental frequency of a sound However, mode is usually used in the sense of scale applied only to the specific diatonic scales found below. In Music, a scale is a group of musical notes collected in ascending and descending order that provides material for or is used to conveniently represent part or all In Music theory, a diatonic scale (from the Greek διατονικος, meaning " through tones" also known as the heptatonia prima and The use of more than one mode is polymodal, such as with polymodal chromaticism. In music polymodal chromaticism is the use of any and all Musical modes sharing the same final simultaneously or in succession and thus creating a texture involving While all tonal music may technically be described as modal, music that is called modal often has less diatonic functionality and changes key less often than other music. A diatonic function, in tonal Music theory, is the specific recognized Roles of Notes or chords in relation to the key.

1 Modern
- 1.1 Use
- 1.2 Chords
2 Other types
3 Greek
4 Western Church
- 4.1 Use
5 Analogues in different musical traditions
6 See also
7 References
8 Further reading

Modern

The modern conception of modes describes a system where each mode encompasses the usual diatonic scale but with a different tonic or tonal center. On a piano or other such keyboard instrument, one can find a diatonic scale by using the white keys. The seven-note scale starting on middle C is an Ionian scale. Going up the keyboard one gets a Dorian scale by starting on the D, a Phrygian scale by starting on the E, a Lydian scale by starting on the F, a Mixolydian scale starting on the G, an Aeolian scale starting on the A, and a Locrian scale starting on the B. As a memory aid, there is a mnemonic: I Don't Play Like My Aunt Lilly (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian). Others include I Don't Particularly Like Modes A Lot and I Don't Play Loud Music After Lunch.

The modes can be arranged in the following sequence, where each mode has one more shortened interval in its scale than the one preceding it.

mode	Intervals in the modal scales
mode	prime	second	third	fourth	fifth	sixth	seventh
Lydian IV	perfect	major	major	augmented	perfect	major	major
Ionian I	perfect	major	major	perfect	perfect	major	major
Mixolydian V	perfect	major	major	perfect	perfect	major	minor
Dorian II	perfect	major	minor	perfect	perfect	major	minor
Aeolian VI	perfect	major	minor	perfect	perfect	minor	minor
Phrygian III	perfect	minor	minor	perfect	perfect	minor	minor
Locrian VII	perfect	minor	minor	perfect	diminished	minor	minor

The first three modes are termed major, the remaining four are minor. A mode is deemed major or minor by the intervallic relationship between the 1st and 3rd scale degrees. A mode is considered minor if the 1st and 3rd scale degrees form a minor 3rd (3 semitones above the root). In Music theory, the term interval describes the relationship between the pitches of two Notes Intervals may be described as vertical A major mode instead has a major 3rd (4 semitones) from the 1st scale degree to the 3rd.

The Locrian mode is traditionally considered theoretical rather than practical because the interval between the 1st and 5th scale degrees is diminished rather than perfect, which creates difficulties in voice leading. However, Locrian is recognized in jazz theory as the preferred mode to play over a iiø7 chord in a minor iiø7-V7-i progression, where it is called a 'half-diminished' scale.

Major modes The Ionian mode is identical to a major scale. The Lydian mode is a major scale with a raised 4th scale degree. The Mixolydian mode is a major scale with a lowered 7th scale degree.

Lydian (IV) (listen)
Ionian (I) (listen)
Mixolydian (V) (listen)

Minor modes The Aeolian mode is identical to a natural minor scale. Due to historical confusion Lydian mode can refer to two very different Musical modes or Diatonic scales Greek Lydian mode The Lydian mode The Ionian mode is a Musical mode of Diatonic scale. It was part of the Music theory of Ancient Greece, and was based around the relative natural The Mixolydian mode is a Musical mode or Diatonic scale. It has the same series of tones and semitones as the Major scale, except The Dorian mode is a natural minor scale with a raised 6th scale degree. The Phrygian mode is a natural minor mode with a lowered 2nd scale degree.

Dorian (ii) (listen)
Aeolian (vi) (listen)
Phrygian (iii) (listen)

Diminished modes Locrian is the only mode with a lowered 5th or diminished 5th. Due to historical confusion Dorian mode or Doric mode can refer to two very different Musical modes or Diatonic scales Greek The Aeolian mode is a Musical mode or Diatonic scale. An Aeolian mode formed part of the Music theory of Ancient Greece, based around The Phrygian mode can refer to two different Musical modes or Diatonic scales the ancient Greek Phrygian mode and the Mediaeval Phrygian mode This interval is the same distance (6 semitones from the first) as an augmented 4th which one would find in the lydian mode. Locrian's (I)'s seventh chord is naturally a half diminished seventh which is a diminished triad with a minor seventh on top. In Classical music, the Locrian exists only in theory, but certain Jazz musicians came at it 'through the back door,' as it were, and, not knowing that it was "supposed to be" only theoretical, used it.

Locrian (vii°) (listen)

The relationship between the seven modern modes is discussed in more detail in the article on properties of musical modes. The Locrian mode is a Musical mode or Diatonic scale. It may be considered a Minor scale with the second and fifth scale degrees lowered a Semi-tone The modern Musical modes consist of seven different scales related to the familiar major and minor keys each with different properties and characteristics which distinguish

Use

Modes came back into favor some time later with the developments of impressionism, jazz, (modal jazz) and more contemporary 20th century music. The impressionist movement in music was a movement in European Classical music, mainly in France that began in the late nineteenth century and continued into the middle Jazz is an American Musical art form which originated in the beginning of the 20th century in African American communities in the Southern United States Modal jazz is Jazz using Musical modes rather than chord progressions as its harmonic framework

The use and conception of modes or modality today is different from their use and conception in early music. As Jim Samson (1977, p. 148) 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 nineteenth century requiring, a dialogue between modal and diatonic procedure. "

The Ionian mode is another name for the major mode, in which much Western music is composed. In Music theory, the major scale or Ionian scale is one of the diatonic scales It is made up of seven distinct Notes plus an eighth The Aeolian forms the base of the most common Western minor scale; however, a true Aeolian mode composition will use only the seven notes of the Aeolian scale, while nearly every minor mode composition of the common practice period will have some accidentals on the sixth and seventh scale degrees in order to facilitate the cadences of western music. The common practice period, in the history of European Art music (broadly called Classical music) spanning the Baroque, Classical, and In Western Musical theory, a harmonic cadence (Latin cadentia, "a falling" is a formula of two chords that conclude

Besides the Ionian major and modern (harmonic/melodic) minor modes, the other modes have limited use in music today. Folk music is often best analysed in terms of modes. Folk music can have a number of different meanings including Traditional music: The original meaning of the term "folk music" was synonymous For example, in Irish traditional music the Ionian, Dorian, Aeolian and Mixolydian modes occur (in roughly decreasing order of frequency); the Phrygian mode is an important part of the flamenco sound. The folk music of Ireland (also known as Irish traditional music, Irish trad, Irish folk music, and other variants is the generic term for music that has Flamenco is a Spanish term that refers both to a musical genre known for its intricate rapid passages and a dance genre characterized by its audible footwork The Dorian mode is also found in other folk music, particularly Latin and Laotian music, while Phrygian is found in some Central European or stylized Arab music, whether as natural Phrygian or harmonic Phrygian (Phrygian Dominant), which has a raised third (the so-called "gypsy scale"). Latin music, includes the music of all countries in Latin America (and the Caribbean) and comes in many varieties Central Europe is the Region lying between the variously and vaguely defined areas of Eastern and The araB gene Promoter is a bacterial promoter activated by e L-arabinose binding The Gypsy scale, (also known as the Ciprian scale refers to a musical scale used in Gypsy music Mixolydian mode is quite common in jazz and most other forms of popular music. Jazz is an American Musical art form which originated in the beginning of the 20th century in African American communities in the Southern United States Because of its dream-like sound, the Lydian mode is most often heard in soundtrack and video game music.

Some works by Beethoven contain modal inflections, and Chopin, Berlioz, and Liszt made extensive use of modes. Ludwig van Beethoven ( English ˈlʊdvɪg væn ˈbeɪtoʊvən, 16 December 1770 &ndash 26 March 1827 was a German Composer and Pianist. They influenced nineteenth century Russian composers, including Mussorgsky and Borodin; many twentieth century composers drew on this earlier work in their incorporation of modal elements, including Claude Debussy, Leoš Janáček, Jean Sibelius, Ralph Vaughan Williams and others. Modest Petrovich Mussorgsky (Моде́ст Петро́вич Му́соргский Modest Petrovič Musorgskij) ( March 21 March 9 1839 &ndash March Alexander Porfiryevich Borodin (Александр Порфирьевич Бородин Aleksandr Porfir'evič Borodin) ( &ndash) was a Russian Composer Achille-Claude Debussy (aʃil klod dəbysi (August 22 1862 &ndash March 25 1918 was a French Composer. Leoš Janáček ( (July 3 1854 &ndash August 12 1928 was a Czech Composer, musical theorist, folklorist, publicist and teacher Ralph (reɪf Vaughan Williams OM (12 October 1872 &ndash 26 August 1958 was an English Composer of symphonies, Chamber music Zoltán Kodály, Gustav Holst, Manuel de Falla use modal elements as modifications of a diatonic background, while in the music of Debussy and Béla Bartók modality replaces diatonic tonality. Zoltán Kodály ( Hungarian: Kodály Zoltán, ˈkodaːj ˈzoltaːn December 16 1882 &ndash March 6 1967 was a Hungarian Composer, Ethnomusicologist Gustav Theodore Holst (21 September 1874 – 25 May 1934was an English Composer and was a music teacher for nearly 20 years Manuel de Falla y Matheu ( November 23, 1876 &ndash November 14, 1946) was a Spanish Composer of classical music Achille-Claude Debussy (aʃil klod dəbysi (August 22 1862 &ndash March 25 1918 was a French Composer. Béla Viktor János Bartók (March 25 1881&ndashSeptember 26 1945 was a Hungarian Composer and Pianist, considered to be one of the greatest (Samson 1977)

They have also been used in popular music, especially in rock music. Rock music is a genre of Popular music often though not necessarily employing Electric guitar, Bass guitar, and Drums. Some notable examples of songs using modality include Scarborough Fair, which uses the Dorian mode, and many of the jam-songs of The Grateful Dead. " Scarborough Fair " is a traditional English Fair, as well as a traditional English Ballad. The Grateful Dead was an American rock band formed in 1965 in the San Francisco Bay Area. The Dorian and Aeolian modes are also very prevalent in modern punk and post-hardcore music. Post-hardcore evolved from Hardcore punk, itself an offshoot of the broader Punk rock movement

While remaining relatively uncommon in modern (Western) popular music, the darker tones implied by the flatted 2nd and/or 5th degrees of (respectively) the Phrygian and Locrian modes are evident in diatonic chord progressions and melodies of many guitar-oriented rock bands, especially in the late 1980s and early 1990s, as evidenced on albums such as Metallica's "Ride the Lightning" and "Master of Puppets", among others. Metallica is an American heavy metal band that formed in 1981 in. Ride the Lightning is the second album by American heavy metal band Metallica, released on July 27 1984 by Megaforce Records Master of Puppets is the third studio album by American heavy metal band Metallica.

Chords

In jazz, the modes correspond to and are played over particular chords. The chord examples below are shown for the modes of the key of C. For example, over an Fmaj7♯11 chord, musicians typically play notes from the F Lydian mode.

Mode	Ionian	Dorian	Phrygian	Lydian	Mixolydian	Aeolian	Locrian
Chord	Cmaj7	Dm7	Esus♭9 (or Em7)	Fmaj7♯11	G7	Am7	Bø (Bm7♭5)

Although both Dorian and Aeolian can be played over a minor seventh (m7) chord, the Dorian mode is most commonly used in straightahead jazz because the Dorian mode has a whole step between the 5th and 6th scale degrees, in contrast to the more jarring half step in the Aeolian.

Similarly, over a half-diminished (ø or m7♭5) chord, many jazz musicians will alter the Locrian mode by raising the second degree of the scale by a semitone, in order to form a major ninth over the chord (e. g. C♯ over Bø), rather than the more dissonant minor ninth (e. g. C natural over Bø). This scale is also called the 6th mode of the melodic minor. And over the "sus♭9" chord, the sixth scale degree of the Phrygian mode is often raised by a semitone, in order to make a major sixth in the chord, rather than the more dissonant minor sixth. This mode is also called the 2nd mode of melodic minor. See Other modes below for more about the melodic minor modes and their associated chords.

Other types

In modern music theory, scales other than the major scale sometimes have the term "modes" applied to the scales which begin with their degrees. This is seen, for example, in "melodic minor" scale harmony (see Minor scale for a brief description of the melodic minor), which is based on the seven modes of the melodic minor scale, yielding some interesting scales as shown below. Minor Scale was a test conducted by the United States Defense Nuclear Agency (now part of the Defense Threat Reduction Agency) involving the detonation The "Chord" row lists chords that can be built from the given mode.

Mode	I	II	III	IV	V	VI	VII
Name	Melodic Minor	Dorian ♭2	Lydian augmented	Lydian dominant	Mixolydian ♭6 or "Hindu"	half-diminished (or) Locrian ♯2	altered (or) diminished whole-tone (or) Super Locrian
Chord	C-maj7	Dsus♭9	E♭maj♯5	F7♯11	G7♭6	Aø (or) A-7♭5	B7alt

Mode	I	II	III	IV	V	VI	VII
Name	Harmonic Minor	Locrian Natural 6th	Harmonic Major ♯5	Dorian ♯4	Phrygian major 3rd	Lydian ♯2	Super locrian diminished
Chord	C-minmaj7	Dø	E♭-maj7♯5	F-7	G-7	A♭-maj7 (or) A♭-minmaj7	B-Dim7

Most of these chords and modes are commonly used in jazz; the min/maj chord, 7♯11 and alt were in common use in the bebop era (indeed, the Lydian dominant scale and 7♯11 chord practically defined the bebop sound), while Coltrane-era and later jazz made extensive use of sus♭9 chords. Maj♯5 is less common, but appears in Wayne Shorter's compositions. Wayne Shorter (born August 25 1933) is an American Jazz Composer and Saxophonist, commonly regarded as one of the The ♭6♭7 is rarely seen as such.

Though the term "mode" is still used in this case (and is useful in recognizing that these scales all have a common root, that is the melodic minor scale); it is more common for musicians to understand the term "mode" to refer to Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, or Locrian scales. In everyday speech, this is the most common understanding.

However, strictly speaking, for any possible scale, the number of possible distinct melodic modes is dictated by the pattern of intervals in the scale. For scales built of a pattern of intervals that only repeats at the octave, the number of modes is the number of notes in the scale: such 6-note scales have 6 modes, 5-note scales have 5 modes, etc. Scales that repeat their interval pattern at some subdivision of the octave, however, have only as many modes as notes within that subdivision: e. g. the diminished scale, which is built of alternating whole and half steps, has only two distinct modes, since all odd-numbered modes are equivalent to the first (starting on the whole step) and all even-numbered modes are equivalent to the second (starting on the half step). An octatonic scale is an eight-note musical scale Among the most famous of these is a scale in which the notes ascend in alternating intervals of a whole step and a half step These scales are sometimes referred to as modes of limited transposition. The modes of limited transposition are Musical modes which were first compiled by the French composer Olivier Messiaen. 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. The chromatic scale is a Musical scale with twelve pitches each a Semitone or Half step apart In Music, a whole tone scale is a scale in which each Note is separated from its neighbours by the interval of a Whole step.

While most scales (a defined number of notes occurring in defined intervals) have commonly accepted names, most of the modal variations of the more obscure scales do not, and are instead referred to as "3rd mode of [your-scale-name-here]", etc.

Greek

Early Greek treatises on music referred to modes, or scales, which were named after certain of the Ancient Greek subgroups (Ionians, Dorians, Aeolians), one small region in central Greece (Locris), and certain neighboring (non-Greek) peoples from Asia Minor (Lydia, Phrygia). The term ancient Greece refers to the period of Greek history lasting from the Greek Dark Ages ca In Music, a scale is a group of musical notes collected in ascending and descending order that provides material for or is used to conveniently represent part or all The Ionians ( Greek:, Iōnes singular) were one of the three populations into which the Ancient Greeks considered the population of Hellenes to have been The Dorians or Dorian Greeks ( Greek:, Dōrieis singular, Dōrieus were The Aeolians (Αἰολεῖς were one of the three ancient Greek tribes Locris ( Greek, Modern Lokrida, Ancient Lokris) was a region of Ancient Greece, the homeland of the Locrians, made up of two districts Anatolia (Anadolu Ανατολία Anatolía) or Asia minor, comprising most of modern Turkey, is the geographic region bounded by the Black Defining Lydia Aside from a legend related by Herodotus, who states that the name Lydia came from king Lydus at the time of the fall of Troy In antiquity Phrygia (Φρυγία was a kingdom in the west central part of Anatolia, in what is now modern-day Turkey.

The Greek modes were:

Plato felt that playing music in a particular mode would incline one towards specific behavior associated with that mode, and suggested that soldiers should listen to music in Dorian or Phrygian modes to help make them stronger, but avoid music in Lydian, Mixolydian or Ionian modes, for fear of being softened. The Ionian mode is a Musical mode of Diatonic scale. It was part of the Music theory of Ancient Greece, and was based around the relative natural Due to historical confusion Dorian mode or Doric mode can refer to two very different Musical modes or Diatonic scales Greek The hypodorian mode, literally meaning 'below dorian ' is a Musical mode or Diatonic scale of Ancient Greece that was based upon the dorian The Phrygian mode can refer to two different Musical modes or Diatonic scales the ancient Greek Phrygian mode and the Mediaeval Phrygian mode The Hypophrygian mode, literally meaning 'below Phrygian' is a Musical mode or Diatonic scale of Ancient Greece that was based upon the Phrygian Due to historical confusion Lydian mode can refer to two very different Musical modes or Diatonic scales Greek Lydian mode The Lydian mode The Hypolydian mode, literally meaning 'below Lydian' is a Musical mode or Diatonic scale of Ancient Greece that was based upon the Lydian The Mixolydian mode is a Musical mode or Diatonic scale. It has the same series of tones and semitones as the Major scale, except The Aeolian mode is a Musical mode or Diatonic scale. An Aeolian mode formed part of the Music theory of Ancient Greece, based around The Locrian mode is a Musical mode or Diatonic scale. It may be considered a Minor scale with the second and fifth scale degrees lowered a Semi-tone Biography Early life Birth and family Plato was born in Athens Greece Plato believed that a change in the musical modes of the state would cause a wide-scale social revolution.

The philosophical writings of Plato and Aristotle (c. Biography Early life Birth and family Plato was born in Athens Greece Aristotle (Greek Aristotélēs) (384 BC – 322 BC was a Greek philosopher a student of Plato and teacher of Alexander the Great. 350 BC) include sections that describe the effect of different musical modes on mood and character formation. For example, this quote from Aristotle's Politics:

“

The musical modes differ essentially from one another, and those who hear them are differently affected by each. Some of them make men sad and grave, like the so called Mixolydian; others enfeeble the mind, like the relaxed modes; another, again, produces a moderate or settled temper, which appears to be the peculiar effect of the Dorian; and the Phrygian inspires enthusiasm.

”

Plato and Aristotle describe the modes to which a person listened as molding the person's character. The modes even made the person more or less fit for certain jobs. The effect of modes on character and mood was called the "ethos of music".

Western Church

There is a common misconception that the church modes (also called ecclesiastical modes) of medieval European music were directly descended from the Greek notion of modality mentioned above. In fact, the church modes originated in the 9th century. The 9th century is the period from 801 to 900 in accordance with the Julian calendar in the Christian / Common Era. Authors from that period misinterpreted a text by Boethius, a scholar from the 6th century who had translated the Greek musical theory into Latin. Anicius Manlius Severinus Boethius (480&ndash524 or 525 was a Christian philosopher of the 6th century The 6th century is the period from 501 to 600 in accordance with the Julian calendar in the Christian / Common Era. In the 16th century, the Swiss theorist Henricus Glareanus published Dodekachordon, in which he solidified the concept of the church modes, and added four additional modes: the Aeolian, Hypoaeolian, Ionian, and Hypoionian. Heinrich Glarean (also Glareanus) (June 1488– March 28, 1563) was a Swiss music theorist, poet and humanist Thus, the names of the modes used today do not actually reflect those used by the Greeks.

The eight church modes, or Gregorian modes, can be divided into four pairs, where each pair shares the "final" note. A Gregorian mode ( church mode) is one of the eight scales supposedly underlying Gregorian chant. In the Church modes of Gregorian chant a final is the note or pitch in which most chants in a given mode end The pair also shares the central five notes of the scale. If the "scale" is completed by adding the three upper notes, the mode is termed authentic, while if the scale is completed by adding the three lower notes, the mode is called plagal (serious). An authentic mode is one of four Gregorian modes whose tonic is the first note of the scale A plagal mode (from Greek πλαγιος 'oblique sideways' is a Musical mode, and one of four Gregorian modes whose tonic is the fourth note of the scale Otherwise explained: if the melody moves mostly above the final, with an occasional cadence to the sub-final, the mode is authentic. Plagal modes shift range and also explore the fourth below the final as well as the fifth above.

The pairs are organized so that the modes sharing a final note are numbered together, with the odd numbers used for the authentic modes and the even numbers for the plagal modes.

In addition, each mode has a "dominant" or "reciting tone", which is the tenor of the psalm tone. In Chant, a reciting tone (also called a recitation tone) is a repeated musical pitch around which the other pitches of the chant gravitate or by extension In Chant, a reciting tone (also called a recitation tone) is a repeated musical pitch around which the other pitches of the chant gravitate or by extension The reciting tones of all authentic modes began a fifth above the final, with those of the plagal modes a third above. The perfect fifth ( is the Musical interval between a note and the note seven Semitones above it on the musical scale 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 1978, p. A semitone, also called a half step or a half tone, is the smallest Musical interval commonly used in Western tonal music and it is considered the A major second () also called a whole step or a whole tone, is a Musical interval that occurs between the first and second degrees of a 67).

Only one accidental is used commonly in Gregorian chant—si (B) may be lowered by a half-step. In Music, an accidental is a Note whose pitch (or Pitch class) is not a member of a scale or mode indicated by the History Gregorian chant was organized codified and notated mainly in the Frankish lands of western and central Europe during the 12th and 13th centuries with later additions This usually (but not always) occurs in modes V and VI, and is optional in other modes.

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	A	C	A	D	C
Dominant (solfege)	la	fa	si-do	la	do	la	re	do

Given the confusion between ancient, Early, and modern terminology, "today it is more consistent and practical to use the traditional designation of the modes with numbers one to eight," (Curtis 1998) using Roman numeral (I-VIII), rather than using the pseudo-Greek naming system. Due to historical confusion Dorian mode or Doric mode can refer to two very different Musical modes or Diatonic scales Greek The hypodorian mode, literally meaning 'below dorian ' is a Musical mode or Diatonic scale of Ancient Greece that was based upon the dorian The Phrygian mode can refer to two different Musical modes or Diatonic scales the ancient Greek Phrygian mode and the Mediaeval Phrygian mode The Hypophrygian mode, literally meaning 'below Phrygian' is a Musical mode or Diatonic scale of Ancient Greece that was based upon the Phrygian Due to historical confusion Lydian mode can refer to two very different Musical modes or Diatonic scales Greek Lydian mode The Lydian mode The Hypolydian mode, literally meaning 'below Lydian' is a Musical mode or Diatonic scale of Ancient Greece that was based upon the Lydian The Mixolydian mode is a Musical mode or Diatonic scale. It has the same series of tones and semitones as the Major scale, except The Mixolydian mode is a Musical mode or Diatonic scale. It has the same series of tones and semitones as the Major scale, except Roman numerals are a Numeral system originating in ancient Rome, adapted from Etruscan numerals. Contemporary terms, also used by scholars, are simply Latin denominators: Protus, Deuterus, Tritus and Tetrardus, in practice used as : protus authentus / plagalis.

The eight musical modes. f indicates "final" (Curtis, 1998).

Use

Early music made heavy use of the Church modes. Early music is commonly defined as European classical music from the Middle Ages, the Renaissance and the Baroque. 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 (ie, emotional effect). Liane Curtis (1998) writes that "Modes should not be equated with scales: principles of melodic organization, placement of cadences, and emotional affect are essential parts of modal content," in Medieval and Renaissance music. While it is true that other technical features such as reciting tones, cadences, and expressive qualities have roles in modal theory, it was nevertheless the scalar aspect of mode–in authentic and plagal forms–that was most universally described by theorists, and which has the greatest use in Renaissance polyphony. The use of cadences on important modal steps (especially the modal final) greatly helps to establish the sound of the mode, and once that has taken place, it is natural that the inherent expressive sounds of the modes are heard. The different orders of tones and semitones were widely recognized as creating the expressive qualities of the modes. Although today the significance of mode in Renaissance polyphony is being debated, most Renaissance theorists refer to the use of mode in polyphonic composition, and the principles of diatonic scale and practice of composing music around central pitches are so common in the music of this period that it is probable that composers did directly apply the modes to their compositions.

Carl Dahlhaus (1990, p. Carl Dahlhaus ( June 10 1928 – March 13, 1989) a Musicologist from Berlin, has been one of the major contributors to the 192) lists "three factors that form the respective starting points for the modal theories of Aurelian of Réôme, 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. Aurelian of Réôme ( Aurelianus Reomensis) (fl c 840 &ndash 850) was a Frankish writer and music theorist. Hermann of Reichenau (also called Hermannus Contractus or Hermannus Augiensis) ( 1013 July 18 &ndash 1054 September 24) Guido of Arezzo or Guido Aretinus or Guido da Arezzo or Guido Monaco or Guido D'Arezzo (991/992&ndashafter 1033 was a music theorist "

The oldest medieval treatise regarding modes is Musica disciplina by Aurelian of Réôme while Hermannus Contractus was the first to define modes as partitionings of the octave (ibid, p. 192-191).

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 Espinoza Medrano (1632-1688), follow:

Name	Mode	D'Arezzo	Fulda	Espinoza	Example chant
Dorian	I	serious	any feeling	happy, taming the passions	Veni sancte spiritus (listen)
Hypodorian	II	sad	sad	serious and tearful	Iesu dulcis amor meus (listen)
Phrygian	III	mystic	vehement	inciting anger	Kyrie, fons bonitatis (listen)
Hypophrygian	IV	harmonious	tender	inciting delights, tempering fierceness	Conditor alme siderum (listen)
Lydian	V	happy	happy	happy	Salve Regina (listen)
Hypolydian	VI	devout	pious	tearful and pious	Ubi caritas (listen)
Mixolydian	VII	angelical	of youth	uniting pleasure and sadness	Introibo (listen)
Hypomixolydian	VIII	perfect	of knowledge	very happy	Ad cenam agni providi (listen)

Most of the theoretical writings on Gregorian chant modes postdate the composition of the early Gregorian chant repertoire, which was not composed with the intention of conforming to particular modes. Guido of Arezzo or Guido Aretinus or Guido da Arezzo or Guido Monaco or Guido D'Arezzo (991/992&ndashafter 1033 was a music theorist Adam of Fulda (c 1445 &ndash 1505 was a German Musical Author of the second half of the 15th century Juan de Espinosa Medrano (ca 1629— November 13, 1688) known as El Lunarejo (“The Spotty-Faced” was a Peruvian Cleric, preacher As a result, for these chants, the application of a mode number can be only approximate. Later chants, however, were written with a conscious eye on the eight modes.

Analogues in different musical traditions

References

Dahlhaus, Carl. Echos ( Greek:, 'ixos pl Echoi, 'içi is the name in Byzantine music theory for the Melody type used in the composition of music See also List of Makams, Maqam In Turkish classical music, Mevlevi music and some Mosque music a system of Melody types called makam Maqam is a modal structure that characterizes the art of music of countries in North Africa, the Middle East and Central Asia. A pentatonic scale is a musical scale with five pitches per Octave in contrast to an heptatonic (seven note scale such as the Major scale Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used A thaat (ঠাট also transliterated as that) is a mode in Hindustani music. A melody type is a term used by Musicologists and Ethnomusicologists to represent a set of melodic formulas figures and patterns which are used in the composition The modern Musical modes consist of seven different scales related to the familiar major and minor keys each with different properties and characteristics which distinguish Rāga ( Sanskrit, lit "colour" or "mood" or rāgam in Carnatic music) refers to melodic modes used Maqam is a modal structure that characterizes the art of music of countries in North Africa, the Middle East and Central Asia. Byzantine music is the music of the Byzantine Empire composed to Greek texts as ceremonial festival or church music Gjerdingen, Robert O. trans. (1990). Studies in the Origin of Harmonic Tonality. Princeton University Press. ISBN 0-691-09135-8.

Hoppin, Richard H. (1978). Medieval Music. New York: W. W. Norton & Co. ISBN 0-393-09090-6.
Judd, Cristle Collins (ed. ) (1998). Tonal Structures of Early Music. New York: Garland Publishing. ISBN 0-8153-2388-3.
Curtis, Liane. "Mode".

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