Gregorian mode
Encyclopedia
A Gregorian mode is one of the eight systems of pitch organization used to describe Gregorian chant
.
The name of Pope Gregory I
was 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 the Carolingian
period (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.).
es in a modal
melody are the final and cofinal (tenor, dominant, or reciting 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). The final is the pitch in which the chant usually ends; it may be approximately regarded as analogous (but not identical) to the tonic
in the Western classical tradition. Likewise the cofinal is an additional resting point in the chant; it may be regarded as having some analogy to the more recent dominant
, 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 position between 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).
The eight modes are grouped into four pairs, each pair comprising an authentic mode
and a plagal mode
.
An authentic mode has its final as the lowest note of the scale (it may occasionally go one note below). These four modes correspond to the modern modal scales starting on D (Dorian
), E (Phrygian
), F (Ionian
= the Gregorian Lydian
), and G (Mixolydian).
A plagal mode (from Greek πλάγιος '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-numbered authentic mode with the addition of the prefix "hypo-": Hypodorian
, Hypophrygian
, Hypolydian
, and Hypomixolydian (Powers 2001).
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).
Gregorian chant
Gregorian chant is the central tradition of Western plainchant, a form of monophonic liturgical music within Western Christianity that accompanied the celebration of Mass and other ritual services...
.
The name of Pope Gregory I
Pope Gregory I
Pope Gregory I , better known in English as Gregory the Great, was pope from 3 September 590 until his death...
was 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 the Carolingian
Carolingian
The Carolingian dynasty was a Frankish noble family with origins in the Arnulfing and Pippinid clans of the 7th century AD. The name "Carolingian", Medieval Latin karolingi, an altered form of an unattested Old High German *karling, kerling The Carolingian dynasty (known variously as the...
period (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
Old Roman chant
Old Roman chant is the liturgical plainchant repertory of the Roman rite of the Roman Catholic Church formerly performed in Rome, closely related to but distinct from the Gregorian chant, which gradually supplanted it between the 11th century and the 13th century...
, Mozarabic
Mozarabic chant
Mozarabic chant is the liturgical plainchant repertory of the Mozarabic rite of the Roman Catholic Church, related to the Gregorian chant...
, Ambrosian
Ambrosian chant
Ambrosian chant is the liturgical plainchant repertory of the Ambrosian rite of the Roman Catholic Church, related to but distinct from Gregorian chant. It is primarily associated with the Archdiocese of Milan, and named after St. Ambrose much as Gregorian chant is named after Gregory the Great...
, etc.).
Tonality
Two characteristic notes or pitchPitch (music)
Pitch is an auditory perceptual property that allows the ordering of sounds on a frequency-related scale.Pitches are compared as "higher" and "lower" in the sense associated with musical melodies,...
es in a modal
Musical mode
In the theory of Western music since the ninth century, mode generally refers to a type of scale. This usage, still the most common in recent years, reflects a tradition dating to the middle ages, itself inspired by the theory of ancient Greek music.The word encompasses several additional...
melody are the final and cofinal (tenor, dominant, or reciting tone
Reciting tone
In chant, a reciting 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. In Gregorian chant, reciting tones are used for a number of contexts, including the chanting of psalm...
). 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). The final is the pitch in which the chant usually ends; it may be approximately regarded as analogous (but not identical) to the tonic
Tonic (music)
In music, the tonic is the first scale degree of the diatonic scale and the tonal center or final resolution tone. The triad formed on the tonic note, the tonic chord, is thus the most significant chord...
in the Western classical tradition. Likewise the cofinal is an additional resting point in the chant; it may be regarded as having some analogy to the more recent dominant
Dominant (music)
In music, the dominant is the fifth scale degree of the diatonic scale, called "dominant" because it is next in importance to the tonic,and a dominant chord is any chord built upon that pitch, using the notes of the same diatonic scale...
, 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 position between 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).
The eight modes are grouped into four pairs, each pair comprising an authentic mode
Authentic mode
An authentic mode is one of four Gregorian modes whose final is the lowest note of the scale...
and a plagal mode
Plagal mode
A Plagal mode may mean different church chanting modes, depending on the context.-In Western Practice:A plagal mode is a musical mode, which is one of four Gregorian modes whose range includes the octave from the fourth below the tonic, or final, to the fifth above...
.
Dorian mode
Due to historical confusion, Dorian mode or Doric mode can refer to three very different musical modes or diatonic scales, the Greek, the medieval, and the modern.- Greek Dorian mode :...
), E (Phrygian
Phrygian mode
The Phrygian mode can refer to three different musical modes: the ancient Greek tonos or harmonia sometimes called Phrygian, formed on a particular set octave species or scales; the Medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter...
), F (Ionian
Ionian mode
Ionian mode is the name assigned by Heinrich Glarean in 1547 to his new authentic mode on C , which uses the diatonic octave species from C to the C an octave higher, divided at G into a fourth species of perfect fifth plus a third species of perfect fourth : C D...
= the Gregorian Lydian
Lydian mode
The Lydian musical scale is a rising pattern of pitches comprising three whole tones, a semitone, two more whole tones, and a final semitone. This sequence of pitches roughly describes the fifth of the eight Gregorian modes, known as Mode V or the authentic mode on F, theoretically using B but in...
), and G (Mixolydian).
A plagal mode (from Greek πλάγιος '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-numbered authentic mode with the addition of the prefix "hypo-": Hypodorian
Hypodorian mode
The Hypodorian mode, a musical term literally meaning 'below dorian', derives its name from a tonos or octave species of ancient Greece which, in its diatonic genus, is built from a tetrachord consisting of a semitone followed by two whole tones. The rising scale for the octave is a single tone...
, Hypophrygian
Hypophrygian mode
The Hypophrygian mode, literally meaning 'below Phrygian', is a musical mode or diatonic scale in medieval chant theory, the fourth mode of church music. This mode is the plagal counterpart of the authentic third mode, which was called Phrygian...
, Hypolydian
Hypolydian mode
The Hypolydian mode, literally meaning "below Lydian", is the common name for the sixth of the eight medieval church modes . The name is taken from Ptolemy of Alexandria's term for one of his seven tonoi, or transposition keys...
, and Hypomixolydian (Powers 2001).
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).