Authentic Finalis Plagal Scales

7/27/2019 Authentic Finalis Plagal Scales

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This article has been split chronologically into three parts:

Hagiopolitan Octoechos(6th-13th century)

Papadic Octoechos(13th-18th century)

Neobyzantine Octoechos(18th-21th century)

Read more:http://www.answers.com/topic/octoechos#ixzz2YZRTFfVk

http://graham.main.nc.us/~bhammel/MUSIC/Cmodes.html

Liturgical mode nomenclature

compared to modern nomenclature.

Liturgical Modern Pitches in ascending order

I - Authentic modes (tones in medieval paralance)

Dorian Dorian |D| E F G (A) B C D

Phrygian Phrygian |E| F G A B (C) D E

Lydian Lydian |F| G A B (C) D E F

Mixolydian Mixolydian |G| A B C (D) E F G

II - Plagal modes (derived tones)

Hypodorian Aeolian A B C |D| E (F) G A

Hypophrygian Locrian B C D |E| F G (A) B

Hypolydian Ionian C D E |F| G (A) B C

Hypomixolydian Dorian D E F |G| A B (C) D

[Grout 1973]

The enclosed pitch |X| is the 'finalis' of the mode, what we might today call the tonic note; the pitch enclosed (X) is

the 'cofinalis' or what we would call a dominant. In chants sung in a given mode, the cofinalis was often used as a

secondary tonal center. In modern harmonic theory, the tonic going up to the dominant always form the interval ofthe fifth.

Among the authentic modes, the Phrygian is the transgressor to this convention. These designated pitches must not

be construed in terms of absolute pitch; never, as that concept and standard was not yet developed.

A liturgical mode should rather be understood as specified by a sequence of intervals (not well tempered), a range,

and by its finalis and cofinalis. It must also be recognized that a mode is a theoretical construct derived by
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abstraction from practice. The medieval construct of mode relied also very heavily on the misreading of the

available ancient Greek theory.

In the modern modal sense, the finalis is always the first note of the mode's 'scale', wwhile the dominant (analog of

the cofinalis) is always gotten by counting up four "white steps" from the finalis (tonic).

In all cases but the Locrian mode, this gives an interval of a well tempered fifth between tonic and dominant; in thelocrian mode, it gives a tritone. If we use an accidental to correct the tritone to a fifth, we have to replace F with F#;

doing this, however, gives the G Phrygian mode; so one is really stuck with the tritone relation, the intervallus

diabolus.

Writing in an essentially C major key, but making the resting tone B (which is classically considered the leading

tone - that is leading to C) requires a considerable amount fancy footwork, and a placing of a great emphasis on the

returning to B as a resting tone. The Locrian mode was not and is not much used for exactly that reasoning.

With regard to use of the accidental operators (#, b), only Bb was in use. An older German notation calls "B" what

we now call "Bb" and calls "H" what we call "B": thus the possibility of motivizing the name of BACH, exploited

by J. S. Bach himself in the final and uncompleted (B A C H) fugue from his The Art of the Fugue, as well as by

numerous other composers in homage to the master; most notably, in works for the organ by Liszt and Reger.

Since it is possible to think of a keyboard tuned to a just tempered C major tonality including the Bb, the above

notation is a justifiable one, and ones sees either eight or nine (with the Bb) pitches, with different sets of finalis and

cofinalis. The expression of these distinguished pitches within the chant was by way of certain characteristic phrases

or cadential formulas for the mode to terminate a phrase or semiphrase on the finalis or cofinalis respectively.

It is probably worth mentioning that in addition to modes of pitch in medieval church music, there were also modes

of rhythm[Grout 1973]. For some other musical definitionsEric's Treasure Trove: musicis helpful.

If you can serialize pitch intervals ( la Schoenberg), then you can also serialize rhythms la Milton Babbit. This

idea, clearly, has a long history.

http://www.answers.com/topic/gregorian-mode-1

A Gregorian mode (orchurch mode) is one of the eight systems of pitch

organization used to describeGregorian chant.

Contents

1 History

2 Tonality

o 2.1 Authentic mode

o 2.2 Plagal mode

2.2.1 In Western Practice

2.2.2 In Byzantine Practice

o 2.3 Hierarchy of tones

3 See also
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4 References

History

The name ofPope Gregory Iwas attached to the variety of chant that was to become

the dominant variety in medieval western and central Europe (the diocese of Milan

was the sole significant exception) by the Frankish cantors reworking Roman

ecclesiastical song during theCarolingianperiod (McKinnon 2001). The theoretical

framework of modes arose later to describe the tonal structure of this chant repertory,

and is not necessarily applicable to the other European chant dialects (Old

Roman,Mozarabic,Ambrosian, etc.).

The repertory of Western plainchant acquired its basic forms between the sixth and

early ninth centuries, but there are neither theoretical sources nor notated music fromthis period. By the late eighth century, a system of eight modal categories, for which

there was no precedent in Ancient Greek theory, came to be associated with the

repertory of Gregorian chant. This system likely originated from the medieval

Byzantineoktchos, as indicated by the non-Hellenistic Greek names used in the

earliest Western sources from about 800 (Powers 2001b, II.1(ii)). Ignorant of these

developments,Hucbald(840930) created a series of eight modes (Powers 2001a).

Tonality

In the traditional system of eight modes (in use from the 8th century up to 1547) thereare four pairs, each pair comprising an authentic mode and a plagal mode.

The eight Gregorian modes: f indicates 'final'

Authentic mode

The authentic modes were the odd-numbered modes, 1, 3, 5, 7, and this distinction

was extended to theAeolianandIonian modeswhen they were added to the original
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eight Gregorian modes in 1547 by Glareanus in hisDodecachordon (Powers 2001a).

An authentic mode has its final as the lowest note of the scale, though in modes 1, 3,

and 7 it may occasionally descend one note further, in which case this added scale

degree is called the "subfinal" which, since it lies a whole tone below the final is also

the "subtonium" of the mode. The range of mode 5 (Lydian) does not employ a

subfinal, and so always maintains the note F as its lower limit (Powers 2001d). Thesefour modes correspond to the modern modal scales starting on D (Dorian), E

(Phrygian), F (Ionian= the GregorianLydian), and G (Mixolydian). The tenor, or

dominant (corresponding to the "reciting tone" of the psalm tones), is a fifth above the

final of the scale, with the exception of mode 3 (Phyrigian), where it is a sixth above

the final. This is because a fifth above the tonic of mode 3 is the "unstable" B/B.

The older Byzantine system still retains 8tones ( echoi), each consisting of asmall family of closely related modes that, if rounded to their diatonic equivalents,

would be the eight modes of Gregorian chant. However, they are numbereddifferently, the authentic modes being 1, 2, 3, 4 (Anon. n.d.). Other Eastern Christian

rites use similar systems of eight modes; seeSyriac usage of OctoechosandArmenian

usage of Octoechos.

Plagal mode

A plagal mode (from Greek 'oblique, sideways, athwart') (Merriam

Webster's 1963; Liddell and Scott 1996) has a range that includes the octave from the

fourth below the final to the fifth above. The plagal modes are the even-numbered

modes, 2, 4, 6 and 8, and each takes its name from the corresponding odd-numberedauthentic mode with the addition of the prefix "hypo-

":Hypodorian,Hypophrygian,Hypolydian, andHypomixolydian(Powers 2001c).

In Western Practice

The earliest definition of the term is found in Hucbald's treatiseDe harmonica (ca.

880), who specifies the range as running from the fourth below the final to the fifth

above. Later writers extend this general rule to include the sixth above the final and

the Fifth below, except for theHypolydian mode, which would have a diminished

fifth below the final and so the 4th below, C, remained the lower limit (Powers2001c). In addition to the range, thetenor(cofinal, or dominant, corresponding to the

"reciting tone" of the psalm tones) differs. In the plagal modes, the tenoris a third

lower than the tenorof the corresponding authentic mode, except in mode 8

(hypomixolydian), where it is raised to a 4th above thefinalis (a second below the

tenor of the authentic mode, 7) in order to avoid the "unstable" degree B/B (in the
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authentic mode 3, the tenor is similarly raised to the 6th above thefinalis, and the

tenor of plagal mode 4hypophrygianis therefore also a fourth above thefinalis).

In Byzantine Practice

In Byzantine modal theory (octoechos), the word "Plagal" ("plagios") refers to thefour lower-lying echoi, or modes (Powers 2001c). Thus Plagal first mode (also known

as "Tone 5" in the Russian naming system (Suchy-Pilalis 2007) represents a

somewhat more developed and widened in range version of the first mode. The plagal

second mode ("Tone 6" in the Russian system) has a similar relation to the second

mode, and the plagal fourth moderespectively to the fourth mode. Though there is

no "plagal third mode," the mode that one would expect ("Tone 7") is called the

"grave tone" (Takis n.d.).

Hierarchy of tones

Rockstro's fourteen modes, showing the range, final, cofinal (or dominant),

mediant(s), and participant(s) of each
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Two characteristicnotesorpitchesin a modal melody are

the final and cofinal (tenor, dominant, orreciting tone). These are the primary

degrees (often l, 5) on which the melody is conceived and on which it most often

comes to rest, in graduated stages of finality (Berry 1987,[page needed]). The final is the

pitch in which the chant usually ends; it may be approximately regarded as analogous

(but not identical) to thetonicin the Western classical tradition. Likewise the cofinalis an additional resting point in the chant; it may be regarded as having some analogy

to the more recentdominant, but its interval from the tonic may not be a fifth. In

addition to the final and cofinal, every mode is distinguished by scale degrees called

the mediant and the participant. The mediant is named from its positionin the

authentic modesbetween the final and cofinal. In the authentic modes it is the third

degree of the scale, unless that note should happen to be B, in which case C

substitutes for it. In the plagal modes, its position is somewhat irregular. The

participant is an auxiliary note, generally adjacent to the mediant in authentic modes

and, in the plagal forms, coincident with the cofinal of the corresponding authentic

mode (some modes have a second participant) (Rockstro 1880, 342).

Given the confusion between ancient, medieval, and modern terminology, "today it is

more consistent and practical to use the traditional designation of the modes with

numbers one to eight" (Knighton and Fallows 1998, 256)

http://www.answers.com/topic/properties-of-musical-modes

Mode characteristics

Each mode has a characteristicscale degreeand certainharmonic structuresthat give

each its distinctive sound. Although the names are of Greek origin, the tone sequences

are different from Greek modes with similar names.

TheIonian modeis the only mode whosedominant seventh chordtype occurs

naturally on the fifth scale degree, as V7. Without further clarification, "major

mode" or just "major" refers to the Ionian mode.

TheDorian modehas a characteristic raised sixth relative to the Aeolian mode,

which produces a major IV chord and a minor II chord. The dominant seventhchord in this mode occurs on the fourth scale degree, as IV7.

ThePhrygian modehas a lowered second relative to Aeolian, which creates its

characteristic II major and v diminished chords. The dominant seventh chord

in this mode occurs on the third scale degree, as III7.
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TheLydian modehas a raised fourth relative to the Ionian, and creates a iv

diminished, vii minor, and a II major chord. The dominant seventh chord in

this mode occurs on the second scale degree, as II7.

TheMixolydian modehas a lowered 7th degree relative to the Ionian. The

dominant seventh chord in this mode therefore occurs on the tonic, as I7.

Other characteristic chords are v minor, and a VII major chord. There is also a

iii dim chord, but it is not used extensively in modal compositions.

TheAeolian modehas a 3, 6 and 7. The dominant seventh chord in this

mode occurs on the seventh scale degree, as VII7. Its other characteristic

chords are the minor iv and v chords. There is a subtle distinction between an

Aeolian modal composition and a composition in aminorkey, because the

sixth and seventh degrees in a minor key can be altered to create major IV and

V chords. The Aeolian mode is also more commonly known as the Natural

(Pure) minor scale. In cases where the Aeolian mode has the samekey

signatureas a particular major key but with a different tonic, it is referred to

as therelative minorscale. For example, A Aeolian is the relative minor of the

C major scale.

TheLocrian modehas lowered second and fifth scale degrees relative to the

Aeolian and has a diminished i chord. It is highly unstable, and its diminished i

chord makes establishingtonalityin the mode nearly impossible. The few

pieces written in this mode usually used an altered i minor chord (B-D-F) to

establish the tonal center, and then used the minor iii (D-F-A) and major V

chord (F-A-C) to establish the modality. Omitting the fifth degree when using

the i chord is another option. The dominant seventh chord in this mode occurs

on the sixth scale degree, as VI7.

Relationship between the modes

Perhaps the simplest way to understand the seven modern modes and the relationship

between them is to view them as successive rotations of a single set of seven notesfor example, using the notes of the C Major scale: C, D, E, F, G, A, B, C. This is the C

Ionian mode because C is the referential note, and the pattern of intervals above that

note corresponds to Ionian. (The major scale and Ionian modal scale in any key are

identical.) Retaining the notes of the C-major scale as the frame of reference:
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C Ionian mode consists of the notes C, D, E, F, G, A, B, C (Do, Re, Mi, Fa, Sol, La,

Ti, Do)

D Dorian mode consists of the notes D, E, F, G, A, B, C, D (Re, Mi, Fa, Sol, La, Ti,

Do, Re)

E Phrygian consists of E, F, G, A, B, C, D, E (Mi, Fa, Sol, La, Ti, Do, Re, Mi)

F Lydian consists of F, G, A, B, C, D, E, F (Fa, Sol, La, Ti, Do, Re, Mi, Fa)

G Mixolydian consists of G, A, B, C, D, E, F, G (Sol, La, Ti, Do, Re, Mi, Fa, Sol)

A Aeolian consists of A, B, C, D, E, F, G, A (La, Ti, Do, Re, Mi, Fa, Sol, La)

B Locrian consists of B, C, D, E, F, G, A, B (Ti, Do, Re, Mi, Fa, Sol, La, Ti)

All of the above examples consist of precisely the same notes; the distinction amongst

them is the tonal centerof each mode. The D Dorian scale assumes the note D to be

central. In other words, the note D becomes the tonic, while all the notes remain the

same as those of the C-major scale. This concept can be transposed chromatically

to every major scale.

Applying this principle to thefixed-do solfgesyllables and scale-degree numbers

from the original major scale results inmovable-do solfgeand scale-degree numbers

relative to each new tonic (and with accidentals applied in relation to the degrees as

found in the major scale) as follows:

Ionian mode

Do, Re, Mi, Fa, Sol, La, Ti, Do

1, 2, 3, 4, 5, 6, 7, 1

Dorian mode

Re, Mi, Fa, Sol, La, Ti, Do, Re

2, 3, 4, 5, 6, 7, 1, 2

---becomes---

Do, Re, Me, Fa, Sol, La, Te, Do

1, 2, 3, 4, 5, 6, 7, 1

Phrygian mode

Lydian m

Fa, Sol, L

4, 5, 6, 7

---becom

Do, Re, M

1, 2, 3,

Mixolyd
http://www.answers.com/topic/solfegehttp://www.answers.com/topic/solfegehttp://www.answers.com/topic/solfegehttp://www.answers.com/topic/solfegehttp://www.answers.com/topic/solfegehttp://www.answers.com/topic/solfegehttp://www.answers.com/topic/solfegehttp://www.answers.com/topic/solfege


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Mi, Fa, Sol, La, Ti, Do, Re, Mi

3, 4, 5, 6, 7, 1, 2, 3

---becomes---

Do, Ra, Me, Fa, Sol, Le, Te, Do

1, 2, 3, 4, 5, 6, 7, 1

Sol, La,

5, 6, 7, 1

---becom

Do, Re, M

1, 2, 3, 4

The seven modern modal scales may therefore be regarded as a shifting of center onto

successive degrees of the major scale. It follows that each interval within a mode is

assigned a new interval designation according to its position relative to the new tonic.

http://www.ultimate-guitar.com/forum/archive/index.php?t-304393.html

california girl01-11-2006, 09:12 AM

hey Silentdeftone ...erm, i reassure you, that on Mattias IA Eklundhs site there are 7 church modes (ie. the ones mentioned above!!)

but and i am not 100% sure on this, but i think i know what you mean by saying that there are 8.

here goes...

Liturgical mode nomenclaturecompared to modern nomenclature.

Liturgical ModernI - Authentic modesDorian DorianPhrygian PhrygianLydian LydianMixolydian Mixolydian

II - Plagal modesHypodorian AeolianHypophrygian LocrianHypolydian IonianHypomixolydian Dorian

as you can see above, yes there are 8, but two of them are dorian! (look at right hand side...) so erm, that makes 7 thenyes?!

for further study/info go to Mattias IA Eklundhs own website.

hope this helped

ps.(this benefits no-one... lets keep things simple next time!!!)

http://www.ultimate-guitar.com/forum/archive/index.php?t-632772.html
http://www.ultimate-guitar.com/forum/archive/index.php?t-304393.htmlhttp://www.ultimate-guitar.com/forum/archive/index.php?t-304393.htmlhttp://www.ultimate-guitar.com/forum/archive/index.php?t-632772.htmlhttp://www.ultimate-guitar.com/forum/archive/index.php?t-632772.htmlhttp://www.ultimate-guitar.com/forum/archive/index.php?t-632772.htmlhttp://www.ultimate-guitar.com/forum/archive/index.php?t-304393.html


10/16

kirbyrocknroll07-23-2007, 12:52 PM

Extremely facinating, they are batched into 4 pairs ( the original scale name and with a hypo prefix) They begin with whatis called the "final note", let's do a dorian Hypodorian pair in D. With this mode the dorian would be d-e-f-g-a-b-c-D, thefirst note is called the "final note". This is called an "Authentic" mode. To create the second scale, the three highest notesof the last scale are removed and the preceding 3 low notes are added. Hypodorian in D would look like a-b-c-d-e-f-g-a.The forth is Final in this case and has a dominant note of A. This is called the "plagal" mode. The patter is the same forphrygian Lydian and mixolydian, as always you just up one step to switch modes.I don't understand how you got from Dorian to Hypodorian. Can you explain again please? =\

zhille07-23-2007, 02:19 PM

Here is something to clear this out a little bit.

In the medieval church choral there were rules about the use of the Tonus Finalis(in further text - finalis) which is the

starting note of the mode, and the Dominant. They were very very strict (the rules) and that's why all the music fromMedieval period sounds almost the same. Dark or not...

In Authentic (normal) modes, the finalis is both the starting and the finishing note, and the melody never went below thefinalis. And the dominant was the fifth tone with one exception, the B in Phrygian was altered one half-step up to C,because the tritone you get in E phrygian was an avoid interval.

The other type, the PLAGAL modes, were the same thing, basically, with the upper tetrachord moved to the bottom. Thedifference is in the span, The span of a plagal mode was fourth below the finalis and fifth above it. And the melody alwaysbegan the fourth below the finalis. Another difference is in the Dominant, which was a third lower then in thecorresponding Authentic Mode.The Dominant exceptions in the plagal modes were the Hypophrygian(A insead of G) and Hypomixolydian(C instead of B).

Another thing to note, back then modes were not thought of like the scales of today, they were considered mostly as aspan of notes within which the melody moves. So Hypodorian and Aeolian did have the same W-h formula, but the use ofthem was completely different.

The Locrian mode did not even exist back then :D

Now to clarify how to get the e.g. Hypodorian.Dorian: D E F G A B C D - D is the finalis. Now take that finalis, the Dand make it a base for the hypodorian. Extend to fourth down and fifth up and you get it. Hypodorian: A B C D E F G A.Hope this clarifies a bit. Now apply the dominant rule, and you get F as a dominant.

There were a lot more rules to the application of modes to Medieval church "music" they were very strict, but I don't havethe nerves to write about that...this is maybe confusing enough :D

In Serbia music students learn that in the third year of music high school, from a book called the Vocal Counterpoint,which studies a lot from that period, mostly the vocal choral music. I was not a music school student but I own a lot ofbooks from which I have learned that things. Get those books :D from your music school and you'll learn a lot. I firstlylearned my modes from that Vocal Counterpoint book.

http://www.all-guitar-chords.com/lesson.php?id=282

Scale Degree Names

Here are the names of the scale degrees.
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11/16

Here is what each of the names mean.

Tonic -- The tonal center -- the final resolution tone

Supertonic -- One step above the Tonic

Mediant -- Between the Tonic and the Dominant

Subdominant -- The lower dominant -- one fifth below the Tonic and one fourth above the Tonic

Dominant -- Because its function next to the tonic

Submediant -- The lower mediant -- between the Tonic and the lower dominant (Subdominant)

Leading Tone -- Melodically leads to the tonic; only used when it is a half step below the tonic

Subtonic -- Only used to designate the 7 of the natural minor scale

http://www.answers.com/main/ntquery?tname=dorian-

mode&curtab=2222_1&hl=mixolydian&hl=mode

A medievalmodewhose scale pattern is that of playing D to D on the white keys of a piano.

Read more:http://www.answers.com/topic/dorian-mode#ixzz2YZIcTAnp

orian mode or Doric mode can refer to three very different but interrelated things: one of the AncientGreekharmoniai (characteristic melodic behaviour, or the scale structure associated with it), one of the medievalmusicalmodes, or one of the modern modaldiatonic scales(also called Russian minor byBalakirev[1]) .

Contents

1 Greek Dorian mode

2 Medieval and modern Dorian modeo 2.1 Medieval Dorian mode
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o 2.2 Modern Dorian mode

3 Notable compositions in Dorian modeo 3.1 Traditionalo 3.2 Classicalo 3.3 Jazzo 3.4 Popular

4 See also

5 References

Greek Dorian mode

Greek Dorian mode (enharmonic genus) on E, divided into two tetrachords. Play

Greek Dorian mode (chromatic genus) on E. Play

Greek Dorian mode (diatonic genus) on E Play.

The Dorian mode (properly harmonia or tonos) is named after theDorianGreeks. Applied to a wholeoctave, the Dorianoctavespecieswas built upon twotetrachords(four-note segments) separated by a whole tone, running from the hypate meson tothe nete diezeugmenon. In theenharmonic genus, the intervals in each tetrachord arequarter-tonequarter-tonemajor third; inthechromatic genus, semitone-semitone-minor third; in thediatonic genus, semitone-tone-tone. In the diatonic genus, thesequence over the octave is the same as that produced by playing all the white notes of a piano ascending from E to E: E F G A |B C D E,[2]a sequence equivalent to the modern Phrygian mode. Placing the single tone at the bottom of the scale followed bytwo conjunct tetrachords (that is, the top note of the first tetrachord is also the bottom note of the second), producestheHypodorian("below Dorian") octave species: A | B C D E | (E) F G A. Placing the two tetrachords together and the single toneat the top of the scale produces theMixolydianoctave species, a note sequence equivalent to modern Locrian mode.[3]

Medieval and modern Dorian mode

Medieval Dorian mode

The earlyByzantine churchdeveloped a system of eight musical modes (theoctoechoi), which served as a model for medievalEuropean chant theorists when they developed their own modal classification system starting in the 9th century .[4]The success ofthe Western synthesis of this system with elements from the fourth book of De institutione musica ofBoethius, created the falseimpression that the Byzantine oktchos were inherited directly from ancient Greece.[5]Originally used to designate one of thetraditional harmoniai of Greek theory (a term with various meanings, including the sense of an octave consisting of eight tones),the name was appropriated (along with six others) by the 2nd-century theoris tPtolemyto designate his seven tonoi, ortransposition keys. Four centuries later, Boethius interpreted Ptolemy in Latin, still with the meaning of transposition keys, notscales. When chant theory was first being formulated in the 9th century, these seven names plus an eighth, Hypermixolydian(later changed to Hypomixolydian), were again re-appropriated in the anonymous treatiseAlia Musica. A commentary on thattreatise, called the Nova expositio, first gave it a new sense as one of a set of eight diatonicspecies of the octave, or scales. In
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medieval theory, the authentic Dorian mode could include the note B "by licence", in addition to B.[6]The same scalar pattern,

but starting a fourth or fifth below the mode final D, and extending a fifth above (or a sixth, terminating on B), was numbered

as mode 2 in the medieval system. This was theplagalmode corresponding to the authentic Dorian, and was called

theHypodorian mode.[7]In the untransposed form on D, in both the authentic and plagal forms the note C is often raised to C to

form aleading tone, and the variable sixth step is in general B in ascending lines and B in descent.[8]

Modern Dorian mode

Modern Dorian scale on D Play.

Dorian mode inErnest Bloch'sChantyfrom Poems of the Sea, mm. 1-8.[9] Play

The modern Dorian mode, by contrast, is a strictlydiatonic scalecorresponding to the white keys of the piano from "D" to "D", orany transposition of its interval pattern, which has the ascending pattern of:

Whole Step - Half Step - Whole Step - Whole Step - Whole Step - Half Step - Whole Step

or more simply:

w-h-w-w-w-h-w.

It can also be thought of as:

Tone - Semitone - Tone - Tone - Tone - Semitone - ToneT-S-T-T-T-S-T.

or simply as a scale with a minor 3rd and 7th, a major 2nd and 6th, and a perfect 4th and 5th.

It may be considered an "excerpt" of amajor scaleplayed from thepitchawhole toneabove the major scale'stonic(in the keyof C Major it would be D, E, F, G, A, B, C, D), i.e., a major scale played from its second scale degreeup to its second degreeagain. The resulting scale is, however, minorin quality, because, as the "D" becomes the new tonal centre, the F a minor thirdabove the D becomes the newmediantthirddegree. If we build a chord on the tonic, third and fifth, it is a minor chord.

Examples of the Dorian mode include:

The D Dorian mode, which contains all notes the same as the Cmajor scalestarting on D.
http://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-6http://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-6http://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-6http://www.answers.com/topic/gregorian-mode-1http://www.answers.com/topic/gregorian-mode-1http://www.answers.com/topic/gregorian-mode-1http://www.answers.com/topic/hypodorian-modehttp://www.answers.com/topic/hypodorian-modehttp://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-7http://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-7http://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-7http://www.answers.com/topic/leading-tonehttp://www.answers.com/topic/leading-tonehttp://www.answers.com/topic/leading-tonehttp://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-8http://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-8http://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-8http://upload.wikimedia.org/wikipedia/en/d/d9/D_Dorian_mode.midhttp://upload.wikimedia.org/wikipedia/en/d/d9/D_Dorian_mode.midhttp://www.answers.com/topic/ernest-blochhttp://www.answers.com/topic/ernest-blochhttp://www.answers.com/topic/ernest-blochhttp://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-9http://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-9http://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-9http://upload.wikimedia.org/wikipedia/en/c/cf/Bloch_Chanty_Poems_of_the_Sea_mm._1-8.midhttp://upload.wikimedia.org/wikipedia/en/c/cf/Bloch_Chanty_Poems_of_the_Sea_mm._1-8.midhttp://www.answers.com/topic/diatonic-scale-2http://www.answers.com/topic/diatonic-scale-2http://www.answers.com/topic/diatonic-scale-2http://www.answers.com/topic/major-scalehttp://www.answers.com/topic/major-scalehttp://www.answers.com/topic/major-scalehttp://www.answers.com/topic/pitch-musichttp://www.answers.com/topic/pitch-musichttp://www.answers.com/topic/pitch-musichttp://www.answers.com/topic/major-secondhttp://www.answers.com/topic/major-secondhttp://www.answers.com/topic/major-secondhttp://www.answers.com/topic/tonichttp://www.answers.com/topic/tonichttp://www.answers.com/topic/tonichttp://www.answers.com/topic/degree-musichttp://www.answers.com/topic/degree-musichttp://www.answers.com/topic/degree-musichttp://www.answers.com/topic/medianthttp://www.answers.com/topic/medianthttp://www.answers.com/topic/medianthttp://www.answers.com/topic/thirdhttp://www.answers.com/topic/thirdhttp://www.answers.com/topic/thirdhttp://www.answers.com/topic/major-scalehttp://www.answers.com/topic/major-scalehttp://www.answers.com/topic/major-scalehttp://en.wikipedia.org/wiki/File:Bloch_Chanty_Poems_of_the_Sea_mm._1-8.midhttp://en.wikipedia.org/wiki/File:Bloch_Chanty_Poems_of_the_Sea_mm._1-8.pnghttp://en.wikipedia.org/wiki/File:D_Dorian_mode.midhttp://en.wikipedia.org/wiki/File:D_Dorian_mode.pnghttp://en.wikipedia.org/wiki/File:Bloch_Chanty_Poems_of_the_Sea_mm._1-8.midhttp://en.wikipedia.org/wiki/File:Bloch_Chanty_Poems_of_the_Sea_mm._1-8.pnghttp://en.wikipedia.org/wiki/File:D_Dorian_mode.midhttp://en.wikipedia.org/wiki/File:D_Dorian_mode.pnghttp://en.wikipedia.org/wiki/File:Bloch_Chanty_Poems_of_the_Sea_mm._1-8.midhttp://en.wikipedia.org/wiki/File:Bloch_Chanty_Poems_of_the_Sea_mm._1-8.pnghttp://en.wikipedia.org/wiki/File:D_Dorian_mode.midhttp://en.wikipedia.org/wiki/File:D_Dorian_mode.pnghttp://en.wikipedia.org/wiki/File:Bloch_Chanty_Poems_of_the_Sea_mm._1-8.midhttp://en.wikipedia.org/wiki/File:Bloch_Chanty_Poems_of_the_Sea_mm._1-8.pnghttp://en.wikipedia.org/wiki/File:D_Dorian_mode.midhttp://en.wikipedia.org/wiki/File:D_Dorian_mode.pnghttp://www.answers.com/topic/major-scalehttp://www.answers.com/topic/thirdhttp://www.answers.com/topic/medianthttp://www.answers.com/topic/degree-musichttp://www.answers.com/topic/tonichttp://www.answers.com/topic/major-secondhttp://www.answers.com/topic/pitch-musichttp://www.answers.com/topic/major-scalehttp://www.answers.com/topic/diatonic-scale-2http://upload.wikimedia.org/wikipedia/en/c/cf/Bloch_Chanty_Poems_of_the_Sea_mm._1-8.midhttp://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-9http://www.answers.com/topic/ernest-blochhttp://en.wikipedia.org/wiki/File:Bloch_Chanty_Poems_of_the_Sea_mm._1-8.pnghttp://upload.wikimedia.org/wikipedia/en/d/d9/D_Dorian_mode.midhttp://en.wikipedia.org/wiki/File:D_Dorian_mode.pnghttp://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-8http://www.answers.com/topic/leading-tonehttp://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-7http://www.answers.com/topic/hypodorian-modehttp://www.answers.com/topic/gregorian-mode-1http://www.answers.com/main/ntquery?tname=dorian-mode&curtab=2222_1&hl=mixolydian&hl=mode#cite_note-6


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The G Dorian mode, which contains all notes the same as the F major scalestarting on G.

The A Dorian mode, which contains all notes the same as the Gmajor scalestarting on A.

The Dorian mode issymmetric, meaning that the pattern of tones andsemitones(T-s-T-T-T-s-T) is the same ascending ordescending.

The modern Dorian mode is equivalent to thenatural minor scale(or theAeolian mode) but with the sixth degree raised a semi-tone. Confusingly, the modern Dorian mode is the same as theGreek Phrygian mode.

The only difference between the Dorian and Aeolian scales is whether or not the 6th is major (in the Aeolian it is minor, in theDorian it is major). The I, IV, and V triads of the Dorian mode are minor, major, and minor, respectively (i-IV-v), instead of allminor (i-iv-v) as in Aeolian. In both the Dorian and Aeolian, strictly applied, the dominant triadis minor, in contrast tothetonalminor scale, where it is normally major (seeharmonic minor). It is also worth noting that the sixth scale degree is oftenraised in minor music, just as it is often lowered in the Dorian mode (seemelodic minor). The majorsubdominantchord gives theDorian mode a brighter tonality than natural minor; the raised sixth is a tritoneaway from the minor third of the tonic. Thesubdominant also has amixolydian("dominant") quality.

The Dorian mode is commonly used infunkbecause of its major/minor sound.[vague] The Dorian mode is also the basis of theascendingmelodic minor scale, which is also known as thejazz minor scale.

Notable compositions in Dorian modeTraditional

"Drunken Sailor"[10]

"Scarborough Fair"[10]

Classical

The "Et incarnatus est" in the Credo movement ofBeethoven's Missa Solemnis.[11]

Jazz

"Maiden Voyage" byHerbie Hancock[12] The composition takes the form aabba with the a sections in G Dorian and theb sections in AAeolian.[13]

"Milestones" byMiles Davis[12]

"Oye Como Va" byTito Puente, popularized bySantana[14]

"So What" byMiles Davis[12]Written in D dorian and E dorian.[15]

Popular

"Along Comes Mary" byThe Association[16]

"Billie Jean" byMichael Jackson[12]

"Eleanor Rigby" byThe Beatles[17]

is often cited as a Dorian modal piece, and while the melody line is a Dorian melody(bar some portions), the song is based on anAeolianmodal progression (IVI and VII).[18]

"Smoke on the Water" byDeep Purple[14]

"The Wreck of the Edmund Fitzgerald" byGordon Lightfoot[19]

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ymous,"Traditional & Folk MusicEncyclopedic Dictionary (Section M3)". Retrieved 2008-09-05.

Mo

Gregorian

uthentic

Dorian

Phrygian

Lydian

Mixolydian

Plagal

Hypodorian

Hypophrygian

Hypolydian

Hypomixolydian

Other

Ionian

Hypoionian

Aeolian

Hypoaeolian

Locrian

Hypolocrian

Diatonic

Ionian (I)

Dorian (II)

Phrygian (III)

Lydian (IV)

Mixolydian (V)

Aeolian (VI)

Locrian (VII)

Minor

Melodic minor (I)

Dorian 2 (II)

Lydian Augmented (III)

Lydian Dominant (IV)

Mixolydian 13 (V)
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Locrian 2 (VI)

Altered (VII)

See also

T

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Authentic Finalis Plagal Scales

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