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

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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