Editing Mode (music) (section)

===Use===
A mode indicated a primary pitch (a final), the organization of pitches in relation to the final, the suggested range, the [[melodic formula]]s associated with different modes, the location and importance of [[cadence]]s, and the affect (i.e., emotional effect/character). Liane Curtis 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.<ref name=Curtis-1997-p255 />

[[Carl Dahlhaus|Dahlhaus]] lists "three factors that form the respective starting points for the modal theories of [[Aurelian of Réôme]], [[Hermannus Contractus]], and [[Guido of Arezzo]]":<ref name=Dahlhaus-1990-pp191-192>{{harvp|Dahlhaus|1990|pp=191–192}}</ref>
* the relation of modal formulas to the comprehensive system of tonal relationships embodied in the diatonic scale
* the [[Octave species|partitioning of the octave]] into a modal framework
* the function of the modal final as a relational center.
The oldest medieval treatise regarding modes is ''Musica disciplina'' by [[Aurelian of Réôme]] (dating from around 850) while Hermannus Contractus was the first to define modes as partitionings of the octave.<ref name=Dahlhaus-1990-pp191-192 /> However, the earliest Western source using the system of eight modes is the Tonary of St Riquier, dated between about 795 and 800.<ref name="Powers-2001-§II.1.ii" />

Various interpretations of the "character" imparted by the different modes have been suggested. Three such interpretations, from [[Guido of Arezzo]] (995–1050), [[Adam of Fulda]] (1445–1505), and [[Juan de Espinosa Medrano]] (1632–1688), follow:{{Citation needed|reason=What are the primary sources?|date=November 2020}}

{| class="wikitable"
|-
!Name||Mode||D'Arezzo ||Fulda||Espinosa||Example chant
|-
!Dorian
|I||serious||any feeling||happy, taming the passions||[[File:Venisancte.ogg]] ''Veni sancte spiritus''
|-
!Hypodorian
|II||sad||sad||serious and tearful||[[File:Iesudulcis.ogg]] ''Iesu dulcis amor meus''
|-
!Phrygian
|III||mystic||vehement||inciting anger||[[File:Kyrie.ogg]] ''Kyrie, fons bonitatis''
|-
!Hypophrygian
|IV||harmonious||tender||inciting delights, tempering fierceness||[[File:Conditor.ogg]] ''Conditor alme siderum''
|-
!Lydian
|V||happy||happy||happy||[[File:Salve.ogg]] ''Salve Regina''
|-
!Hypolydian
|VI||devout||pious||tearful and pious||[[File:Ubicaritas.ogg]] ''Ubi caritas''
|-
!Mixolydian
|VII||angelical||of youth||uniting pleasure and sadness||[[File:Introibo.ogg]] ''Introibo''
|-
!Hypomixolydian
|VIII||perfect||of knowledge||very happy||[[File:Adcenam.ogg]] ''Ad cenam agni providi''
|}
<!--*All odd-numbered modes are authentic as for each mode the fourth and fifth are above the final.
*All even-numbered modes are plagal as for each mode the fourth is below the final.

In addition to the final each mode has a cofinal (confinal), which is the fifth (above) for authentic modes and the third below for plagal modes.<ref name=Curtis-1997-p255 />-->