Modes in a single tonality
In the second semester, we will spend time studying modality from the standpoing of Renaissance history and Renaissance modal composition.
But in this semester, we are studying modes as a way to understand basic principles of musical organization, and also to better understand the music that hear today, both modern classical music and rock and jazz music, which are heavily influenced by modal thinking.
In modern usage, we do not think of modes as being all based on the same seven notes, with "modality" arising from the choice of central or starting/ending pitch. Rather, modes are thought of as scales that can be compared to each other on the same starting pitch, resulting in a variety of subtle differences in scale step and therefore in expressive content.
In the book Harmonic Experience, mentioned on the last page, Mathieu points out how modes can be arranged according to how much they partake of overtonal or reciprocal energies. Organized in this way, we can see the modes as descending from the complete overtonal energy of the Lydian mode, (compare the mode to the notes of the spines in the previous page), down to the Phrygian mode, with its preponderance of reciprocal energy. As you listen to them, you can hear this descent as well.
NOTE: I inadvertently left out the Mixolydian mode. It should appear between Ionian and Dorian, and have all natural notes except the Bb, the lowered seventh. Note that this creates two groups: three with the major third, and three with the minor third.
Viewed from the standpoint of the Ionian mode, which is the same as the basic major scale in modern music, we can view the modes in this way. This is probably the most useful way to learn them, assuming that you have the sound of the major scale well in your earsl
- The Lydian mode is like a major scale with a raised fourth.
- The Ionian is idential to the major scale, and in fact in modal thinking, Ionian is never used as a terminology: major scale will suffice.
- The Mixolydian mode is like a major scale with a lowered seventh.
- The Dorian mode is like a natural minor scale with a raised or major sixth.
- The Aeolian mode is just like the natural minor scale. We actually haven't covered this concept yet, but many of you have already played major and minor scales on an instrument, so this will seem familiar to you. If not, we get to relative major and minor presently.
- The Phrygian mode is a natural minor scale with a lowered second.
Listen carefully to the modes and be able to recognize them when you hear them or when you write with them.
Next: 4F Intoduction to Modal Counterpoint