source file: mills2.txt Date: Tue, 3 Jun 1997 15:21:40 +0200 Subject: modes (last gasp) From: "Collins, Gordon" >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 Received: from ns.ezh.nl [137.174.112.59] by vbv40.ezh.nl with SMTP-OpenVMS via TCP/IP; Tue, 3 Jun 1997 16:00 +0200 Received: by ns.ezh.nl; (5.65v3.2/1.3/10May95) id AA01469; Tue, 3 Jun 1997 16:00:40 +0200 Date: Tue, 3 Jun 1997 16:00:40 +0200 Received: from ella.mills.edu by ns (smtpxd); id XA01447 Received: (qmail 641 invoked from network); 3 Jun 1997 14:00:24 -0000 Received: from localhost (HELO ella.mills.edu) (127.0.0.1) by localhost with SMTP; 3 Jun 1997 14:00:24 -0000 Message-Id: <01IJMR7Q3H0I8Y5EU0@ONLINE.EMICH.EDU> Errors-To: madole@mills.edu Reply-To: tuning@eartha.mills.edu Originator: tuning@eartha.mills.edu Sender: tuning@eartha.mills.edu