In music, a scale is an ordered series of musical intervals, which, along with the key or tonic, define the pitches. However, mode is usually used in the sense of scale applied only to the specific diatonic scales found below. The use of more than one mode is polymodal, such as with polymodal chromaticism. While all tonal music may technically be described as modal, music that is called modal often has less diatonic functionality and changes key less often than other music. Look up mode in Wiktionary, the free dictionary. ... For other uses, see Music (disambiguation). ... In music theory, an interval is the difference (a ratio or logarithmic measure) in pitch between two notes and often refers to those two notes themselves (otherwise known as a dyad). ... In music theory, the key identifies the tonic triad, the chord, major or minor, which represents the final point of rest for a piece, or the focal point of a section. ... The tonic is the first note of a musical scale, and in the tonal method of music composition it is extremely important. ... Pitch is the perceived fundamental frequency of a sound. ... In music, a scale is a set of musical notes that provides material for part or all of a musical work. ... In music theory, a diatonic scale (from the Greek diatonikos, to stretch out; also known as the heptatonia prima; set form 7-35) is a seven-note musical scale comprising five whole-tone and two half-tone steps, in which the half tones are maximally separated. ... Polymodal chromaticism is a musical term coined by composer, ethnomusicologist and pianist Béla Bartók. ... See also: function and functional. ...

Modern modes

The modern conception of modes describes a system where each mode encompasses the usual diatonic scale but with a different tonic or tonal center. On a piano or other such keyboard instrument, one can find a diatonic scale by using the white keys. The seven-note scale starting on middle C is an Ionian scale. Going up the keyboard one gets a Dorian scale by starting on the D, a Phrygian scale by starting on the E, a Lydian scale by starting on the F, a Mixolydian scale starting on the G, an Aeolian scale starting on the A, and a Locrian scale starting on the B. As a memory aid, there is a mnemonic: I Do Follow Lonely Men And Laugh (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian). Another one is I Don't Particularly Like Modes A Lot. Yet another mnemonic is I Don't Play Loud Music After Lunch.

The modes can be arranged in the following sequence, where each mode has one more shortened interval in its scale than the one preceding it.

The first three modes are termed major, the remaining four are minor. A mode is deemed major or minor by the intervallic relationship between the 1st and 3rd scale degrees. A mode is considered minor if the 1st and 3rd scale degrees form a minor 3rd (3 semitones above the root). A major mode instead has a major 3rd (4 semitones) from the 1st scale degree to the 3rd. In music theory, the term interval describes the difference in pitch between two notes. ...

The Locrian mode is traditionally considered theoretical rather than practical because the interval between the 1st and 5th scale degrees is diminished rather than perfect, which creates difficulties in voice leading. However, Locrian is recognized in jazz theory as the preferred mode to play over a iiø7 chord in a minor iiø7-V7-i progression, where it is called a 'half-diminished' scale.

Major modes The Ionian mode is identical to a major scale. The Lydian mode is a major scale with a raised 4th scale degree. The Mixolydian mode is a major scale with a lowered 7th scale degree.

• Ionian (I) (listen)
• Lydian (IV) (listen)
• Mixolydian (V) (listen)

Minor modes The Aeolian mode is identical to a natural minor scale. The Dorian mode is a natural minor scale with a raised 6th scale degree. The Phrygian mode is a natural minor mode with a lowered 2nd scale degree. The Locrian mode is a natural minor mode with lowered 2nd and 5th scale degrees. The Ionian mode is a musical mode or diatonic scale. ... Due to historical confusion, Lydian mode can refer to two very different musical modes or diatonic scales. ... The Mixolydian mode is a musical mode or diatonic scale. ...

• Dorian (ii) (listen)
• Phrygian (iii) (listen)
• Aeolian (vi) (listen)
• Locrian (vii) (listen)

The relationship between the seven modern modes is discussed in more detail in the article on properties of musical modes. Due to historical confusion, Dorian mode can refer to two very different musical modes or diatonic scales. ... Due to historical confusion, Phrygian mode can refer to two very different musical modes or diatonic scales. ... The Aeolian mode comprises a musical mode or diatonic scale. ... The Locrian mode is a musical mode or diatonic scale. ... The modern musical modes consist of seven different scales related to the familiar major and minor keys; each has different properties distinguishing it from the others, and a number of mnemonics for keeping them all straight. ...

Use of the modes

Modes came back into favor some time later with the developments of impressionism, jazz, (modal jazz) and more contemporary 20th century music. This article is about the art movement. ... For other uses, see Jazz (disambiguation). ... Modal jazz is jazz played using musical modes rather than chord progressions. ...

The use and conception of modes or modality today is different from their use and conception in early music. As Jim Samson (1977, p.148) explains, "Clearly any comparison of medieval and modern modality would recognize that the latter takes place against a background of some three centuries of harmonic tonality, permitting, and in the nineteenth century requiring, a dialogue between modal and diatonic procedure."

The Ionian mode is another name for the major mode, in which much Western music is composed. The Aeolian forms the base of the most common Western minor scale; however, a true Aeolian mode composition will use only the seven notes of the Aeolian scale, while nearly every minor mode composition of the common practice period will have some accidentals on the sixth and seventh scale degrees in order to facilitate the cadences of western music. In music theory, the major scale is one of the diatonic scales. ... In music the common practice period is a long period in western musical history spanning from before the classical era proper to today, dated, on the outside, as 1600-1900. ... In Western musical theory a cadence (Latin cadentia, a falling) is a particular series of intervals or chords that ends a phrase, section, or piece of music. ...

Besides the Ionian major and modern (harmonic/melodic) minor modes, the other modes have limited use in music today. Folk music is often best analysed in terms of modes. For example, in Irish traditional music the Ionian, Dorian, Aeolian and Mixolydian modes occur (in roughly decreasing order of frequency); the Phrygian mode is an important part of the flamenco sound. The Dorian mode is also found in other folk music, particularly Latin and Laotian music, while Phrygian is found in some Central European or stylized Arab music, whether as natural Phrygian or harmonic Phrygian (Phrygian Dominant), which has a raised third (the so-called "gypsy scale"). Mixolydian mode is quite common in jazz and most other forms of popular music. Because of its dream-like sound, the Lydian mode is most often heard in soundtrack and video game music. Folk music can have a number of different meanings, including: Traditional music: The original meaning of the term folk music was synonymous with the term Traditional music, also often including World Music and Roots music; the term Traditional music was given its more specific meaning to distinguish it from the... Ireland is an island in the North Atlantic politically divided between the Republic of Ireland and Northern Ireland. ... Flamenco is a Spanish musical genre with strong, rhythmic undertones and is often accompanied with a similarly impassioned style of dance involving vigorous movements, such as hand-clapping and foot-stamping. ... Latin American music, or the music of Latin America, is sometimes called Latin music. ... Central Europe The Alpine Countries and the Visegrád Group (Political map, 2004) Central Europe is the region lying between the variously and vaguely defined areas of Eastern and Western Europe. ... For other uses, see Arab (disambiguation). ... The Gypsy Scale refers to a musical scale used in Gypsy music. ... For other uses, see Jazz (disambiguation). ...

Some works by Beethoven contain modal inflections, and Chopin, Berlioz, and Liszt made extensive use of modes. They influenced nineteenth century Russian composers, including Mussorgsky and Borodin; many twentieth century composers drew on this earlier work in their incorporation of modal elements, including Claude Debussy, Leoš Janáček, Jean Sibelius, Ralph Vaughan Williams and others. Zoltán Kodály, Gustav Holst, Manuel de Falla use modal elements as modifications of a diatonic background, while in the music of Debussy and Béla Bartók modality replaces diatonic tonality. (Samson 1977) “Beethoven” redirects here. ... Chopin redirects here. ... Painting of Berlioz by Gustave Courbet, 1850. ... “Liszt” redirects here. ... Modest Petrovich Mussorgsky Modest Petrovich Mussorgsky (Russian: , Modest Petrovič Musorgskij, French: ) (March 9/21, 1839 – March 16/28, 1881), one of the Russian composers known as the Five, was an innovator of Russian music. ... Alexander Porfiryevich Borodin (Russian: , Aleksandr Porfirevič Borodin) (31 Oct. ... Claude Debussy, photo by Félix Nadar, 1908. ... LeoÅ¡ Janáček in 1928 LeoÅ¡ Janáček ( ; July 3, 1854 in Hukvaldy, Moravia, then Austrian empire – August 12, 1928 in Ostrava, then Czechoslovakia) was a Czech composer. ... Johan Julius Christian Jean / Janne Sibelius ( ; December 8, 1865 – September 20, 1957) was a Finnish composer of classical music and one of the most notable composers of the late 19th and early 20th centuries. ... A statue of Ralph Vaughan Williams in Dorking. ... Zoltán Kodály (IPA: ), (pronunciation, Zol-tan Kod-eye) (November 16, 1882 – March 6, 1967) was a Hungarian composer, ethnomusicologist, educator, linguist and philosopher. ... Gustav Holst Gustav Holst (September 21, 1874, Cheltenham, Gloucestershire - May 25, 1934, London) [1] [2] was an English composer and was a music teacher for over 20 years. ... Manuel de Falla y Matheu (November 23, 1876 – November 14, 1946) was a Spanish composer of classical music. ... Claude Debussy Claude Achille Debussy (August 22, 1862 – March 25, 1918), composer of impressionistic classical music. ... Bartok redirects here. ...

They have also been used in popular music, especially in rock music. Some notable examples of songs using modality include Simon and Garfunkel's Scarborough Fair (although the ballad was not composed by the group, Simon and Garfunkel popularized it, and will be considered as a modal song in this article), which uses the Dorian mode, and many of the jam-songs of The Grateful Dead. The Dorian and Aeolian modes are also very prevalent in modern punk and post-hardcore music. For other uses, see Rock music (disambiguation). ... The duo of Paul Simon and Art Garfunkel are American popular musicians known collectively as Simon and Garfunkel. ... A setting of the first verse of Scarborough Fair Annotation: The extract of the musical score represented herewith details a variation: the last note of the second measure may be rendered E not F. Scarborough Fair is a traditional English fair, as well as a traditional English ballad. ... Jerry Garcia later in life The Grateful Dead was an American rock band, which was formed in 1965 in San Francisco from the remnants of another band, Mother McCrees Uptown Jug Champions. ... Look up punk in Wiktionary, the free dictionary. ... Post-hardcore; this specific genre was created by others as a sourse to relaese the emotion that builds inside, making the music intimate and touching to listeners. ...

While remaining relatively uncommon in modern (Western) popular music, the darker tones implied by the flatted 2nd and/or 5th degrees of (respectively) the Phrygian and Locrian modes are evident in diatonic chord progressions and melodies of many guitar-oriented rock bands, especially in the late 1980s and early 1990s, as evidenced on albums such as Metallica's "Ride the Lightning" and "Master of Puppets", among others. Metallica is a Grammy Award-winning American heavy metal/thrash metal band formed in 1981[1] and has become one of the most commercially successful musical acts of recent decades. ... For the album by Marshmallow Coast, see Ride the Lightning (Marshmallow Coast album). ... For the Metallica song of the same name, see Master of Puppets (song). ...

Chords with the modes

In jazz, the modes correspond to and are played over particular chords. The chord examples below are shown for the modes of the key of C. For example, over an Fmaj7♯11 chord, musicians typically play notes from the F Lydian mode.

Although both Dorian and Aeolian can be played over a minor seventh (m7) chord, the Dorian mode is most commonly used in straightahead jazz because the Dorian mode has a whole step between the 5th and 6th scale degrees, in contrast to the more jarring half step in the Aeolian.

Similarly, over a half-diminished (ø or m7♭5) chord, many jazz musicians will alter the Locrian mode by raising the second degree of the scale by a semitone, in order to form a major ninth over the chord (e.g. C♯ over Bø), rather than the more dissonant minor ninth (e.g. C natural over Bø). This scale is also called the 6th mode of the melodic minor. And over the "sus♭9" chord, the sixth scale degree of the Phrygian mode is often raised by a semitone, in order to make a major sixth in the chord, rather than the more dissonant minor sixth. This mode is also called the 2nd mode of melodic minor. See #Other types of modes below for more about the melodic minor modes and their associated chords.

Other types of modes

In modern music theory, scales other than the major scale sometimes have the term "modes" applied to the scales which begin with their degrees. This is seen, for example, in "melodic minor" scale harmony (see Minor scale for a brief description of the melodic minor), which is based on the seven modes of the melodic minor scale, yielding some interesting scales as shown below. The "Chord" row lists chords that can be built from the given mode. A minor scale in musical theory is a diatonic scale whose third scale degree is an interval of a minor third above the tonic. ...

Most of these chords and modes are commonly used in jazz; the min/maj chord, 7♯11 and alt were in common use in the bebop era (indeed, the Lydian dominant scale and 7♯11 chord practically defined the bebop sound), while Coltrane-era and later jazz made extensive use of sus♭9 chords. Maj♯5 is less common, but appears in Wayne Shorter's compositions. The ♭6♭7 is rarely seen as such. Wayne Shorter (born August 25, 1933) is an American jazz composer and saxophonist. ...

Though the term "mode" is still used in this case (and is useful in recognizing that these scales all have a common root, that is the melodic minor scale); it is more common for musicians to understand the term "mode" to refer to Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, or Locrian scales. In everyday speech, this is the most common understanding.

However, strictly speaking, for any possible scale, the number of possible melodic modes is dictated by the number of notes in the scale. 6-note scales have 6 modes, 5-note scales have 5 modes, etc. While most scales (a defined number of notes occurring in defined intervals) have commonly accepted names, most of the modal variations of the more obscure scales do not, and are instead referred to as "3rd mode of [your-scale-name-here]", etc.

Greek modes

Early Greek treatises on music referred to modes, or scales, which were named after certain of the Ancient Greek subgroups (Ionians, Dorians, Aeolians), one small region in central Greece (Locris), and certain neighboring (non-Greek) peoples from Asia Minor (Lydia, Phrygia). In music, a scale is a collection of musical notes that provides material for part or all of a musical work. ... The Ionians were one of the three main ancient Greek ethno-linguistic groups, linked by their use of the Ionic dialect of the Greek language. ... This article or section should include material from Dorian invasion The Dorians were one of the ancient Hellenic (Greek) races. ... The Aeolians were one of the ancient Greek tribes. ... Locris was a region of ancient Greece, made up of two districts. ... Anatolia (Greek: ανατολη anatole, rising of the sun or East; compare Orient and Levant, by popular etymology Turkish Anadolu to ana mother and dolu filled), also called by the Latin name of Asia Minor, is a region of Southwest Asia which corresponds today to... Lydia (Greek ) is a historic region of western Anatolia, congruent with Turkeys modern provinces of Ä°zmir and Manisa. ... In antiquity, Phrygia (Greek: ) was a kingdom in the west central part of the Anatolia. ...

The Greek modes were:

• Ionian
• Dorian and Hypodorian
• Phrygian and Hypophrygian
• Lydian, Hypolydian
• Mixolydian
• Aeolian
• Locrian

Plato felt that playing music in a particular mode would incline one towards specific behavior associated with that mode, and suggested that soldiers should listen to music in Dorian or Phrygian modes to help make them stronger, but avoid music in Lydian, Mixolydian or Ionian modes, for fear of being softened. Plato believed that a change in the musical modes of the state would cause a wide-scale social revolution. The Ionian mode is a musical mode or diatonic scale. ... Due to historical confusion, Dorian mode can refer to two very different musical modes or diatonic scales. ... The hypodorian mode, literally meaning below dorian, is a musical mode or diatonic scale of ancient Greece that was based upon the dorian tetrachord: a series of rising intervals of a semitone followed by two whole tones. ... Due to historical confusion, Phrygian mode can refer to two very different musical modes or diatonic scales. ... The Hypophrygian mode, literally meaning below Phrygian, is a musical mode or diatonic scale of ancient Greece that was based upon the Phrygian tetrachord: a series of rising intervals of a whole tone, followed by a semitone, followed by another whole tone. ... Due to historical confusion, Lydian mode can refer to two very different musical modes or diatonic scales. ... The Hypolydian mode, literally meaning below Lydian, is a musical mode or diatonic scale of ancient Greece that was based upon the Lydian tetrachord: a series of rising intervals of two whole tones followed by a semitone. ... The Mixolydian mode is a musical mode or diatonic scale. ... The Aeolian mode comprises a musical mode or diatonic scale. ... The Locrian mode is a musical mode or diatonic scale. ... For other uses, see Plato (disambiguation). ...

The philosophical writings of Plato and Aristotle (c. 350 BCE) include sections that describe the effect of different musical modes on mood and character formation. For example, this quote from Aristotle's Politics: For other uses, see Plato (disambiguation). ... For other uses, see Aristotle (disambiguation). ... BCE is a TLA that may stand for: Before the Common Era, date notation equivalent to BC (e. ...

Plato and Aristotle describe the modes to which a person listened as molding the person's character. The modes even made the person more or less fit for certain jobs. The effect of modes on character and mood was called the "ethos of music".

Church modes

There is a common misconception that the church modes (also called ecclesiastical modes) of medieval European music were directly descended from the Greek notion of modality mentioned above. In fact, the church modes originated in the 9th century. Authors from that period misinterpreted a text by Boethius, a scholar from the 6th century who had translated the Greek musical theory into Latin. In the 16th century, the Swiss theorist Henricus Glareanus published Dodekachordon, in which he solidified the concept of the church modes, and added four additional modes: the Aeolian, Hypoaeolian, Ionian, and Hypoionian. Thus, the names of the modes used today do not actually reflect those used by the Greeks. As a means of recording the passage of time the 9th century was the century that lasted from 801 to 900. ... For other people of the same name, see Boethius (disambiguation). ... The 6th century is the period from 501 - 600 in accordance with the Julian calendar in the Christian Era. ... (15th century - 16th century - 17th century - more centuries) As a means of recording the passage of time, the 16th century was that century which lasted from 1501 to 1600. ... Heinrich Glarean (also Glareanus) (June 1488 – March 28, 1563) was a Swiss music theorist, poet and humanist. ...

The eight church modes, or Gregorian modes, can be divided into four pairs, where each pair shares the "final" note. The pair also shares the central five notes of the scale. If the "scale" is completed by adding the three upper notes, the mode is termed authentic, while if the scale is completed by adding the three lower notes, the mode is called plagal (serious). A Gregorian mode (church mode) is one of the eight scales supposedly underlying Gregorian chant. ... In the church modes of Gregorian chant a final is the note or pitch in which most chants in a given mode end. ... An authentic mode is a term used to describe four of the seven church modes. ... Refers to the notes of a plagal mode lying on either side of the final, beginning on the dominant (a tone of a fourth below the keynote of the authentic church mode) and then up to its key octave. ...

The pairs are organized so that the modes sharing a final note are numbered together, with the odd numbers used for the authentic modes and the even numbers for the plagal modes.

In addition, each mode has a "dominant" or "reciting tone", which is the tenor of the psalm tone. 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 during the 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, p.67). In the church modes of Gregorian chant the reciting tone (also dominant, tenor, tubae) is the melodic formula used for reciting psalm tones. ... In chant, a reciting tone (also called a recitation tone) is a repeated musical pitch around which the other pitches of the chant gravitate, or by extension, the entire melodic formula that centers on one or two such pitches. ... The perfect fifth or diapente is one of three musical intervals that span five diatonic scale degrees; the others being the diminished fifth, which is one semitone smaller, and the augmented fifth, which is one semitone larger. ... In music, see the following intervals: Major third Minor third The mediant, and the chord built on the mediant, is often called simply the third, as it is the third degree of the diatonic scale. ... Look up step in Wiktionary, the free dictionary. ... A half step is either: the interval of a minor second in music, or the half step (dance move) in dance. ... The musical interval of a major second — also called a whole-tone — is the relationship between the first note (the root or tonic) and the second note in a major scale (and also a minor scale). ...

Only one accidental is used commonly in Gregorian chant—si (B) may be lowered by a half-step. This usually (but not always) occurs in modes V and VI, and is optional in other modes. An accidental is a musical notation symbol used to raise or lower the pitch of a note from that indicated by the key signature. ... Gregorian chant is the central tradition of Western plainchant, a form of monophonic, unaccompanied sacred song of the Roman Catholic Church. ...

Given the confusion between ancient, Early, and modern terminology, "today it is more consistent and practical to use the traditional designation of the modes with numbers one to eight," (Curtis 1998) using Roman numeral (I-VIII), rather than using the pseudo-Greek naming system. Due to historical confusion, Dorian mode can refer to two very different musical modes or diatonic scales. ... The hypodorian mode, literally meaning below dorian, is a musical mode or diatonic scale of ancient Greece that was based upon the dorian tetrachord: a series of rising intervals of a semitone followed by two whole tones. ... Due to historical confusion, Phrygian mode can refer to two very different musical modes or diatonic scales. ... The Hypophrygian mode, literally meaning below Phrygian, is a musical mode or diatonic scale of ancient Greece that was based upon the Phrygian tetrachord: a series of rising intervals of a whole tone, followed by a semitone, followed by another whole tone. ... Due to historical confusion, Lydian mode can refer to two very different musical modes or diatonic scales. ... The Hypolydian mode, literally meaning below Lydian, is a musical mode or diatonic scale of ancient Greece that was based upon the Lydian tetrachord: a series of rising intervals of two whole tones followed by a semitone. ... The Mixolydian mode is a musical mode or diatonic scale. ... The Mixolydian mode is a musical mode or diatonic scale. ... The system of Roman numerals is a numeral system originating in ancient Rome, and was adapted from Etruscan numerals. ...

The eight musical modes. f indicates "final" (Curtis, 1998).

Download high resolution version (2216x373, 15 KB) Wikipedia does not have an article with this exact name. ... Download high resolution version (2216x373, 15 KB) Wikipedia does not have an article with this exact name. ...

Use of the modes

Early music made heavy use of the Church modes. A 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 (ie, emotional effect). Liane Curtis (1998) writes that "Modes should not be equated with scales: principles of melodic organization, placement of cadences, and emotional affect are essential parts of modal content," in Medieval and Renaissance music. While it is true that other technical features such as reciting tones, cadences, and expressive qualities have roles in modal theory, it was nevertheless the scalar aspect of mode–in authentic and plagal forms–that was most universally described by theorists, and which has the greatest use in Renaissance polyphony. The use of cadences on important modal steps (especially the modal final) greatly helps to establish the sound of the mode, and once that has taken place, it is natural that the inherent expressive sounds of the modes are heard. The different orders of tones and semitones were widely recognized as creating the expressive qualities of the modes. Although today the significance of mode in Renaissance polyphony is being debated, most Renaissance theorists refer to the use of mode in polyphonic composition, and the principles of diatonic scale and practice of composing music around central pitches are so common in the music of this period that it is probable that composers did directly apply the modes to their compositions. Early music is commonly defined as European classical music from the Middle Ages, the Renaissance and the Baroque. ...

Carl Dahlhaus (1990, p.192) lists "three factors that form the respective starting points for the modal theories of Aurelian of Réôme, Hermannus Contractus, and Guido of Arezzo: Carl Dahlhaus (June 10, 1928- May 1989), a musicologist from Berlin, has been one of the major contributors to the development of musicology as a scholarly discipline during the post-war era. ... Aurelian of Réôme (Aurelianus Reomensis) (fl. ... Hermannus Contractus (also called Hermannus Augiensis, Hermann of Reichenau) (1013 July 18 – 1054 September 24) was an 11th century scholar, composer, and music theorist. ... Statue of Guido in Arezzo Guido of Arezzo or Guido Aretinus or Guido da Arezzo or Guido Monaco or Guido DArezzo (991/992 – after 1033) was a music theorist of the Medieval era. ...

1. the relation of modal formulas to the comprehensive system of tonal relationships embodied in the diatonic scale;
2. the partitioning of the octave into a modal framework; and
3. the function of the modal final as a relational center."

The oldest medieval treatise regarding modes is Musica disciplina by Aurelian of Réôme while Hermannus Contractus was the first to define modes as partitionings of the octave (ibid, p.192-191).

Various interpretations of the "character" imparted by the different modes have been suggested. Three such interpretations, from Guido D'Arezzo (995-1050), Adam of Fulda (1445-1505), and Juan de Espinoza Medrano (1632-1688), follow:

Most of the theoretical writings on Gregorian chant modes postdate the composition of the early Gregorian chant repertoire, which was not composed with the intention of conforming to particular modes. As a result, for these chants, the application of a mode number can be only approximate. Later chants, however, were written with a conscious eye on the eight modes.

Analogues in different musical traditions

• Echos
• Makam
• Maqam
• Pentatonic scale
• Raga
• Thaat

In the theory of byzantine music echos is the concept most akin to that of mode or maqam. ... ‹ The template below has been proposed for deletion. ... In Arabic music a maqaam (Arabic: ‎, Hebrew: ) is, a technique of improvisation that defines the pitches, patterns, and development of a piece of music and which is unique to Arabian art music. ... A pentatonic scale is a musical scale with five pitches per octave. ... Raga (rāg /राग (Hindi), raga (anglicised from rāgaḥ/रागः (Sanskrit)) or rāgam /ராகம் (Tamil)) are the melodic modes used in Indian classical music. ... A thaat is a musical mode in Hindustani music which always has seven notes (excluding the repeated tonic) and is considered the basis for the system of organizing and classifying ragas in North Indian classical music. ...

See also

• Melody type
• Properties of musical modes
• Diatonic and chromatic
• Gamut (music)

A melody type is a term used by musicologists and ethnomusicologists to represent a set of melodic formulas, figures, and patterns which are used in the composition of an enormous variety of music, especially non-Western and early Western music. ... The modern musical modes consist of seven different scales related to the familiar major and minor keys; each has different properties distinguishing it from the others, and a number of mnemonics for keeping them all straight. ... Diatonic and chromatic are important terms in Western music theory. ... Diatonic and chromatic are terms in music theory that are most often used to characterise scales, and are also applied to intervals, chords, notes, musical styles, and kinds of harmony. ...

References

• Dahlhaus, Carl. Gjerdingen, Robert O. trans. (1990). Studies in the Origin of Harmonic Tonality. Princeton University Press. ISBN 0-691-09135-8.

• Hoppin, Richard H. (1978). Medieval Music. New York: W.W. Norton & Co. ISBN 0-393-09090-6.
• Judd, Cristle Collins (ed.) (1998). Tonal Structures of Early Music. New York: Garland Publishing. ISBN 0-8153-2388-3.
  • Curtis, Liane. "Mode".

Further reading

• Apel, Willi (1968). Harvard Dictionary of Music. Cambridge, MA: Belknap Press. 2nd edition.
• Grout, Donald; Palisca, Claude; and Burkholder, J. Peter (2006). A History of Western Music. New York: W. W. Norton. 7th edition. ISBN 0-3939799-1-1.
• Levine, Mark (1989). The Jazz Piano Book. Petaluma, CA: Sher Music Co. ISBN 0-9614701-5-1.
• 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.
• Miller, Ron (1996). Modal Jazz Composition and Harmony, Vol. 1. Rottenburg, Germany: Advance Music.
• Powers, Harold S. (1980). "Mode", in The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie. London: Macmillan. (The classic treatment of mode in the English language.)