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Mode (music)

In music theory, the term mode or modus is used in a number of distinct senses, depending on context.

This article is about modes as used in music. For "modes" in statistics, see Mode (statistics). For other uses, see Mode (disambiguation).

Its most common use may be described as a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. It is applied to major and minor keys as well as the seven diatonic modes (including the former as Ionian and Aeolian) which are defined by their starting note or tonic. (Olivier Messiaen's modes of limited transposition are strictly a scale type.) Related to the diatonic modes are the eight church modes or Gregorian modes, in which authentic and plagal forms of scales are distinguished by ambitus and tenor or reciting tone. Although both diatonic and Gregorian modes borrow terminology from ancient Greece, the Greek tonoi do not otherwise resemble their mediaeval/modern counterparts.


In the Middle Ages the term modus was used to describe both intervals and rhythm. Modal rhythm was an essential feature of the modal notation system of the Notre-Dame school at the turn of the 12th century. In the mensural notation that emerged later, modus specifies the subdivision of the longa.


Outside of Western classical music, "mode" is sometimes used to embrace similar concepts such as Octoechos, maqam, pathet etc. (see § Analogues in different musical traditions below).

Mode as a general concept[edit]

Regarding the concept of mode as applied to pitch relationships generally, Harold S. Powers proposed that "mode" has "a twofold sense", denoting either a "particularized scale" or a "generalized tune", or both. "If one thinks of scale and tune as representing the poles of a continuum of melodic predetermination, then most of the area between can be designated one way or the other as being in the domain of mode".[1]


In 1792, Sir Willam Jones applied the term "mode" to the music of "the Persians and the Hindoos".[2] As early as 1271, Amerus applied the concept to cantilenis organicis, i.e. most probably polyphony.[3] It is still heavily used with regard to Western polyphony before the onset of the common practice period, as for example "modale Mehrstimmigkeit" by Carl Dahlhaus[4] or "Alte Tonarten" of the 16th and 17th centuries found by Bernhard Meier.[5][6]


The word encompasses several additional meanings. Authors from the 9th century until the early 18th century (e.g., Guido of Arezzo) sometimes employed the Latin modus for interval,[7] or for qualities of individual notes.[8] In the theory of late-medieval mensural polyphony (e.g., Franco of Cologne), modus is a rhythmic relationship between long and short values or a pattern made from them;[9] in mensural music most often theorists applied it to division of longa into 3 or 2 breves.[10]

Modes and scales[edit]

A musical scale is a series of pitches in a distinct order.


The concept of "mode" in Western music theory has three successive stages: in Gregorian chant theory, in Renaissance polyphonic theory, and in tonal harmonic music of the common practice period. In all three contexts, "mode" incorporates the idea of the diatonic scale, but differs from it by also involving an element of melody type. This concerns particular repertories of short musical figures or groups of tones within a certain scale so that, depending on the point of view, mode takes on the meaning of either a "particularized scale" or a "generalized tune". Modern musicological practice has extended the concept of mode to earlier musical systems, such as those of Ancient Greek music, Jewish cantillation, and the Byzantine system of octoechoi, as well as to other non-Western types of music.[1][11]


By the early 19th century, the word "mode" had taken on an additional meaning, in reference to the difference between major and minor keys, specified as "major mode" and "minor mode". At the same time, composers were beginning to conceive "modality" as something outside of the major/minor system that could be used to evoke religious feelings or to suggest folk-music idioms.[12]

: hypate hypaton–paramese (b–b′)

Mixolydian

: parhypate hypaton–trite diezeugmenon (c′–c″)

Lydian

: lichanos hypaton–paranete diezeugmenon (d′–d″)

Phrygian

: hypate meson–nete diezeugmenon (e′–e″)

Dorian

: parhypate meson–trite hyperbolaion (f′–f″)

Hypolydian

: lichanos meson–paranete hyperbolaion (g′–g″)

Hypophrygian

Common, , or Hypodorian: mese–nete hyperbolaion or proslambnomenos–mese (a′–a″ or a–a′)

Locrian

the relation of modal formulas to the comprehensive system of tonal relationships embodied in the diatonic scale

the into a modal framework

partitioning of the octave

the function of the modal final as a relational center.

Tonic : C major

triad

Tonic : CM7

seventh chord

Dominant triad: G (in modern tonal thinking, the fifth or dominant , which in this case is G, is the next-most important chord root after the tonic)

scale degree

Seventh chord on the dominant: G7 (a , so-called because of its position in this – and only this – modal scale)

dominant seventh chord

(Jewish music)

Cantillation

(Byzantine music)

Echos

(Arabic music)

Maqam

(Arabic, Persian and Turkish classical music)

Makam

(North Indian or Hindustani music)

Thaat

(South Indian or Carnatic music)

Melakarta

(Javanese music for gamelan)

Pathet

Pentatonic scale

Gamut (music)

Jewish prayer modes

List of musical scales and modes

Modal jazz

Znamenny chant

All modes mapped out in all positions for 6, 7 and 8 string guitar

The use of guitar modes in jazz music

Archived 2011-07-16 at the Wayback Machine

Neume Notation Project

John Chalmers

Division of the Tetrachord

Greek and Liturgical Modes

Eric Friedlander MD

The Ancient Musical Modes: What Were They?

An interactive demonstration of many scales and modes

an approach to the original singing of the Homeric epics and early Greek epic and lyrical poetry by Ioannidis Nikolaos

The Music of Ancient Greeks

, edited with translation notes introduction and index of words by Henry S. Macran. Oxford: Clarendon Press, 1902.

Ἀριστοξενου ἁρμονικα στοιχεια: The Harmonics of Aristoxenus

Monzo, Joe. 2004. ""

The Measurement of Aristoxenus's Divisions of the Tetrachord