modes (last gasp)

>These are the proverbial "church modes" used in Gregorian chant [....]

An adequate description of the church modes is beyond the scope of a
reasonable post, but, just for the record, the primary distinguishing
characteristics of the original church modes are as follows (numbered and
named as by the medieval writers):

Final Nominal Nominal
lower upper
bound of bound of
melody melody

1) Dorian D D d
2) Hypodorian D A a
3) Phrygian E E e
4) Hypophrygian E B b
5) Lydian F F f
6) Hypolydian F C c
7) Mixolydian G G g
8) Hypomixolydian G D d

(The note names refer to the double octave A-G,a-g,aa of available notes -
tuned in 3-limit JI - then in use.)

In the 16th century, Glarean added four more:

9) Aeolian A A a
10) Hypoaeolian A E e
11) Ionian C C c
12) Hypoionian C G g


This would all be much simpler if whoever first threw away everything but the
note range, redefined *that* as a "white note scale", ignored half the modes,
and added the "Locrian" scale had chosen a new term for his/her creation....

Gordon Collins

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