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	Medieval Church Modes
		In chants sung in a given mode, the cofinalis was often used as a secondary tonal center.
		Among the authentic modes, the Phrygian is the transgressor to this convention.
		A liturgical mode shouls rather be understood as specified by a sequence of intervals (not well tempered), a range, and by its finalis and cofinalis.
	graham.main.nc.us /~bhammel/MUSIC/Cmodes.html (446 words)

	CATHOLIC ENCYCLOPEDIA: Church Music (Site not responding. Last check: 2007-09-11)
		The first and most urgent condition which the Church imposes in regard to her music is that it be in conformity with the place, time, and purpose of Divine worship; that it be sacred and not profane, in other words that it be church, and not theatrical, music.
		Church music should be free from exaggerated and extravagant expression of joy or sorrow, sentimental yearning, and theatrical effects of every kind; it should be the utterance of fervent prayer springing from faith and charity.
		The church hymn or chorale, which, with the cantata and oratorio, is essential to the Protestant cult, is a development in popular form of the singing of the Gregorian chant by the congregation.
	www.newadvent.org /cathen/10648a.htm (9623 words)

	Church Mode - Search Results - MSN Encarta
		Church Mode, in music, any of eight modes or scales developed by the medieval church.
		A church mode centers on the notes D, E, F, or G, and uses the...
		Lydian mode is based on a scale centered on and beginning on F, but using only notes of the C major...
	encarta.msn.com /Church_Mode.html (214 words)

	Philip Tagg \| Modality - EPMOW entry (2000)
		Modes are distinct from melody types, such as the Hindu raga or Arab maqam, which contain not only modal templates but also basic formulae for the improvised performance of melodic contour, mood and direction.
		Church modes presuppose: (i) the diatonic division of the octave into seven constituent pitches, five separated by a whole tone, two by a semitone; (ii) a tonal centre or ‘tonic’, which may sometimes be identified as a (real or potential) drone or as the final, or most frequently recurring, melodic note.
		Three interrelated factors determine each mode’s unique sonic character: (i) the position of the two semitone steps (bracketed in the left column, shown as numbers in the right); (ii) the one tritone interval (marked with a slur in the right column); (iii) the relation of these two phenomena to the tonic.
	www.tagg.org /articles/epmow/modality.html (1078 words)

	ORB: The Online Reference Book for Medieval Studies--Intro to Church Modes
		The eight modes (sometimes called church modes or ecclesiastical modes to distinguish them from the rhythmic modes) were defined through a combination of range and final (the final is the note on which a melody ends).
		For instance, the placement of the half-step within the mode (and its distance from the final) was a defining characteristic for the sound of that mode, especially since the actual pitch of the melody was determined by the singer rather than being standardized.
		Mode first began as a method for classifying existing melodies, perhaps as an aid to memorization.
	the-orb.net /encyclop/culture/music/orbmode.html (494 words)

	Music Tutor: Modes (Site not responding. Last check: 2007-09-11)
		Any scale may be considered a mode but most commonly modes refer to the medieval church modes.
		None of the church modes used B as a dominant or tonic because of its imperfect relationship to F.
		The Dorian Mode is usually described as the notes of the C-Major scale with D (the 2nd degree) as the finalis (tonic) and A as the tenor (dominant).
	www.cinderzelda.com /musictutor/scales/modes.htm (274 words)

	Modes and Ragas: More Than just a Scale
		But the Dorian mode, for example, didn't have to start on the pitch we call a D. The important thing was the pattern of half steps and whole steps within that octave, and their relationship to the notes that acted as the modal equivalent of tonal centers, the finalis and the dominant.
		Some of these have modes similar to the medieval Church modes; they also tend to be a list of notes (or a pattern of intervals) used with a specific finalis, which may encourage certain types of melodies.
		While the church mode/jazz mode tradition features diatonic modes (which can be played using only the white keys of a piano), non-Western modes may use other types of scales.
	cnx.org /content/m11633/latest (2308 words)

	Aspects of Early Major-Minor Tonality: Chapter 5 (Site not responding. Last check: 2007-09-11)
		Unlike the two "modes" of tonality (major and minor), which allow a fair range of chromatic inflection, the traditional modes are generally assumed to require scalar purity, although there are a limited number of well defined exceptions.
		These church keys apparently were the conceptualization at that time of the eight church modes, particularly in the transpositions at which they were normally sung or played.
		Although the church keys have a fairly limited range of key signatures, their choice does not seem to have been motivated by a desire to ensure effective key relationships, which might be considered a theoretical motivation.
	bama.ua.edu /~danderso/diss/chap5.htm (7725 words)

	Origins of the church modes
		Their modes (scales) came mostly from Jewish temple songs and from other common modes in the Middle East and the Eastern Mediterranean.
		I always feel uncomfortable when the concept of a church mode as a song gets muddied with the method whereby a church mode can be produced in the major/minor scale system...
		The church modes just couldn't explain all the musical things people were doing during the mid 1600's, and they were obsoleted by the major/ minor scale system.
	www.engr.mun.ca /~whitt/bass/mode_origins_old.html (862 words)

	Introduction to Music - Western Music: How Did it Begin?
		He discovered eastern modes, in particular the hymns of the Byzantine Church with a scale structure borrowed from Greek modes, where intervals between notes were smaller.
		The Church, anxious to preserve the pure and universal nature of its music, wished to prevent this.
		Religious music within the confines of the medieval Church did not develop much, since religious authorities were concerned with preserving it unchanged.
	www.scena.org /lsm/sm8-5/musique-en.htm (675 words)

	The Neume Notation Project -- Historical Background -- Influences of Byzantium and Syria
		The Western system of church modes, for example, probably derived from an older modal system in the East (an argument championed by Jacques Chailley) or, at least, it was a combination of Byzantine and the ancient Greek modal systems.
		The Western ecclesiastical modes, in any case, are a classification system that is distinct from the ancient Greek modes of octave species, as presented in the Greek musical treatises.
		Late in the Middle Ages, Church melodies were written to conform to theoretical notions about the ecclesiastical modes, but I believe the modal system was initially used descriptively to impose order upon a disorganized corpus of melodies.
	www.scribeserver.com /medieval/byzantin.htm (2873 words)

	Modes
		The melody of the antiphon, its range and final, determine its assignment to a mode, and the mode of the antiphon in turn determines the tone to which the accompanying psalm is recited.
		The Locrian mode would have been problematic in the Middle Ages, in that it would imply the existence of a mode with a final on "B" and a reciting-note on "F", the two notes being a diminished 5th apart, the "diabolus" in music.
		Gélineau suggests that the mode reciting and ending on "b" has counterparts in the traditional chant of both Eastern and Western rites of the Christian church, and that it may therefore be descended from a responsorial psalm form in the early church.
	www.beaufort.demon.co.uk /modes.htm (1692 words)

	[No title]
		Notice that no modes begin on A, B, or C. This is because a B flat was allowed, and the modes beginning on D, E, and F, when they use a B flat, sound the same as the A, B, and C modes would.
		After medieval times, modes beginning on A, B, and C were named, but they are still not considered Church modes.
		These modes are part of the same theoretical system as the church modes, but they were not used.
	cnx.org /content/m11633/1.3/source (1285 words)

	The Ancient Musical Modes: What Were They?
		The church modes of medieval and early modern music supposely derive from modes named by the ancient Greeks and described by their writers.
		When Plato said the Dorian mode sounds sincere, and Aristotle said that it avoids extremes, they perhaps meant that there are no 1 1/2-step intervals, and/or that the upper tetrachord matches the lower tetrachord and/or that the tonic would usually fall on one of the middle strings.
		The Dorian mode settles the mind and is gravest and manliest and "avoids extremes".
	www.pathguy.com /modes.htm (2829 words)

	[No title]
		Sometimes the church modes are described in terms of a process whereby the notes may be sounded.
		E.g., Phrygian mode can sounded by playing the white keys on a piano from E to E. But Phrygian mode is not just a C scale starting on a different note.
		The church modes are not derived from a major scale.
	customized-applications.com /bassline/id29_m.htm (2871 words)

	(Church) Modes
		Many church musicians adapt their playing to the expectation of many church members, who through daily experiences only require to do away with the silence.
		The modes ("old scales") from 'before 1600' are not per definition church modes, because they were used in all music, in secular music as well.
		For church musicians in the reformed churches who take their job seriously, it is indispensable to know and understand the modes.
	www.churchmusic.ca /modes.htm (1233 words)

	Back To Scale School
		The previous paragraph is a worthwhile explanation of modes, but it is the one which consistently traps the mind of theory students in a quagmire of doubt and confusion, so I am about to tell you maybe one of the easiest and most common uses for the modes.
		What it entails is switching modes, but keeping the same root tone; for example, you can use F as your root, and switch keys from F major to F Phrygian to F Mixolydian, to F Locrian, back to F major, all in the course of one song.
		With modes especially, the dominant chord is changed around a lot, so the V is not always a dominant 7th.
	hometown.aol.com /gsrjls/lesson7.html (1821 words)

	Medieval Musical Tuning Theory
		In plagal modes the final note is the fourth of the scale.
		The Lydian mode with Bb is equivalent to the modern major mode, as is the Mixolydian mode with F#.
		Like Pythagorean tuning of the ancient Greek Phrygian mode all possible five note steps in the scale are true harmonic fifths (3 / 2), except that between B and the F, which is a semitone smaller.
	www.midicode.com /tunings/medieval.shtml (1851 words)

	Church Modes in theory
		The church modes were also chategorized by numbers, and grouped in pairs: authentic, the odd-numbered, and plagal, the even-numbered.
		In the plagal modes, the confinalis was placed a third below the confinalis of the corresponding authentic mode - unless it fell on a B, in which case it was moved up to C (compare Mixolydian and Hypomyxolydian mode for example).
		The difference between any of the modes is, as you may already have discovered, the interval pattern between the different notes of a mode.
	www.guitarpress.com /hsp3a.html (575 words)

	Modes and the Dulcimer (Site not responding. Last check: 2007-09-11)
		A mode then, is simply an arrangement of whole and half steps in such a way as to end up at the octave after seven steps.
		Here is a table showing the names of the heptatonic church modes, their traditional associated tunings for the key of D, and the starting fret for the scale.
		They may be tunes that have accidentals in the melody, (occasional notes that are not in the basic scale), or that they are in one of the "non Church modes," the harmonic minor, for example, or that the piece is simply not modal.
	www.sksmithmusic.com /virtual_classroom/modes.html (1754 words)

	Talk:Musical mode - Wikipedia, the free encyclopedia
		The church modes are the ones used in the renaissance period, and they correspond to the ionian through to aeolian modes.
		Finally, having established that a given term like Phrygian mode has different meanings whether you are using the Greek, Church, or Modern definitions, maybe the section on "Use of the modes" should make clear which definition is being used (I suspect people use Modern definitions unless otherwise specified but I can't swear to it).
		For example, the intervals that define the mode should be given at say, somewhere near the top of the article in a section called "intervals" or something (whatever, as long as its standard for all articles and maximally descriptive).
	en.wikipedia.org /wiki/Talk:Musical_mode (3258 words)

	Modes
		The "modes" we use most are the "church modes", named after the Roman Catholic Church, which borrowed them from ancient Greece, re-categorized and then used them for at least 1500 years!
		They're called "modes" because they're all derived from one musical "system" -- a system which consists, quite simply, of the notes C, D, E, F, G, A and B -- with no sharps or flats.
		The church modes gave way to the "major-minor" system, which in turn dominated European art-music until the beginning of our own century.
	www.heathertrail.com /modes.html (287 words)

	The Evolution of Scales
		After their introduction into the Christian church, the scales and modes were considered as ascending and called Church Modes.
		After the adoption of these modes into the Christian Church, the names were retained but the mode was considered as ascending, hence all scales were now figured upwards.
		The mode is widely used in music for modern bagpipes and the scale is sometimes called the "Scotch" scale.
	janpress.freeservers.com /LCscales.htm (524 words)

	miq productions Rebetika music website
		This mode was quite uncommon in Greece and Turkey before Rebetika; it is essentially Ussak with a flat fourth and flat octave (!), and for some reason appears to evoke emotions of sadness, longing, loss, etc. better than other modes.
		These modes are very, very common in Armenia, and quite common in Gypsy music (they have been nicknamed the cengane makams in Turkey) -- I am not sure, but would guess that Armenians and cengane gypsies living in Smyrna and Istanbul taught these to Greeks.
		This is the common mode associated with anything Eastern, the sound of the arab bazaar in the movie adaptation of Aladdin, the mode of Miserlou (the first Armenian pop song in America).
	www.musiq.com /rebetika/page3.html (838 words)

	What were the twelve modes? (Site not responding. Last check: 2007-09-11)
		The first eight modes were designated in the medieval era, as a way to classify pre-existing Gregorian chants.
		In the authentic modes, the final is the lowest note of the mode's scale, whereas in the plagal modes, the final is the fourth note.
		Convenviently, the scales for these modes are easily represented (aside from issues of tuning) by the white keys on the modern piano, simply by starting from different notes.
	www.medieval.org /emfaq/misc/modes.html (546 words)

	c. renz \| modes
		I'd like to cite one example of using implied modes that results in a scale that is not one the usual church modes.
		Again, mixolydian mode on B is a perfect match with a natural minor scale on C#.
		It is not one of the seven church modes from classical music theory, but it is a mode used by real people to compose real songs.
	www.web42.com /crenz/de/data/modes.html (2213 words)

	LM
		A musical mode provides a scale or pattern of intervals for the arrangement of tones and semitones.
		Four more modes were added to the system of plainsong during the papacy of Gregory the Great (c.
		The system of eight ecclesiastical or church modes for plainsong has continued to the present day.
	www.episcopalchurch.org /19625_15034_ENG_HTM.htm (181 words)

	Modal scales: The ancient church modes
		(Actually deriving from the Greeks some thousand years before.) And since music was centered in the church during that period (I'm sure there was plenty outside the church as well, but we don't have much in the way of records of that period) they came to be known as "church modes".
		The thing that makes these modes so appealing and distinctive now is that now they are being used in the context of a harmonic setting -- in other words, with chords in the background.
		So by using these modes to improvise in, along with a chordal background based on more-or-less traditional harmony, these fusion musicians create exciting new sounds by juxtaposing various scale degrees against the backdrop of semi-standard chord progressions.
	www.playpiano.com /Tips/46-modal-scales.htm (873 words)

	Guitarsecrets.com - C Ionian mode and guitar scales
		The Ionian mode is a medieval church mode corresponding to the modern major diatonic scale, or the first mode of the major key.
		This mode is the first mode in the Key of C major.
		The Dorian mode and all the modes in the key of C major have been included on our CD ROM.
	guitarsecrets.com /c_scales.htm (1024 words)

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