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Plagal Modesĭuring the papacy of Pope Gregory four more modes were added called Plagal modes.Įach plagal mode is developed from a related authentic mode. However, it is worth knowing about some other modes as well. When studying the music theory of modes and their use in music we tend to focus on the seven authentic modes outlined above – the six authentic modes highlighted by Glareanus with the addition of a seventh mode, the Locrian mode. Subsequently, another authentic mode (Locrian mode) was added towards the end of the 18th century, bringing the total to seven authentic modes: Henricus Glareanus, a Swiss monk produced a book called Dodecachordan in 1547 in which he highlighted the subsequent addition of two more authentic modes (Aeolian and Ionian).
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Note how the authentic modes are all based on the odd numbers of the system (I, III, V, VII). The use of modes developed and by the 5th century four modes were adopted, called the Authentic Modes. Have a listen to this piece of plainchant called Ubi Caritas, which is based upon a mode: The early Christian Church were heavily influenced by the Greeks and adopted modes as a basis for its music.
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The Development of a System of Music Modes The “feel” of the Ionian Mode is quite “happy” and “positive”. The pattern of intervals between notes for the Ionian Mode is Tone, Tone, Semitone, Tone, Tone, Tone, Semitone.Ĭan you also hear how the sound of the Ionian Mode is very different to the Dorian mode? Notice how the spacing of the semitones/tones is different to the Dorian. (this pattern of notes is what we would now describe in contemporary music as a C major scale, but it was originally a mode). Now, if we play a scale using the white notes, but this time starting on C and ending on the C above it then we are playing the Ionian Mode.
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The Dorian mode has its own distinctive sound – it is very “Celtic” and “folky” in its feel. The pattern of intervals between notes for the Dorian Mode is Tone, Tone, Tone, Tone, Tone, Semitone, Tone. If we play a “scale” using all the white notes starting and ending on the note D then we are actually playing the Dorian mode.Īs we know with scales there is a set pattern of tone/semitone interval spacing between the notes. Modes can be understood with reference to the white notes on a piano, which broadly correspond to the scale calculated scientifically in the 4th century BC by Pythagoras and the Greek thinkers of his time. They originated in ancient Greece where modes were named after different regions – this is why all the modes still have Greek names to this day.Įssentially a music mode is a scale and each mode has its own distinctive sound. Music Modes were around long before the major and minor “keys” were developed. The term modes in music describes the scales which dominated European music for over 1,000 years up until 1500 and continued to be heavily influential for another 100 years after that.