Editing Mode (music) (section)

==Western Church==
[[File:Boezio, De Institutione Musica - scale.jpg|thumb|Excerpt from [[Boethius]]' ''De musica'' depicting a [[Scale (music)|scale]]]]
[[Tonary|Tonaries]], lists of chant titles grouped by mode, appear in western sources around the turn of the 9th century. The influence of developments in Byzantium, from Jerusalem and Damascus, for instance the works of Saints [[John of Damascus]] (d. 749) and [[Cosmas of Maiuma|Cosmas of Maiouma]],<ref>{{harvp|Nikodēmos 'Agioreitēs|1836|loc=1:32–33}}</ref><ref>{{harvp|Barton|2009}}</ref> are still not fully understood. The eight-fold division of the Latin modal system, in a four-by-two matrix, was certainly of Eastern provenance, originating probably in Syria or even in Jerusalem, and was transmitted from Byzantine sources to Carolingian practice and theory during the 8th century. However, the earlier Greek model for the Carolingian system was probably ordered like the later Byzantine ''[[Octoechos|oktōēchos]]'', that is, with the four principal ([[Gregorian mode#Authentic mode|authentic]]) modes first, then the four [[Gregorian mode#Plagal mode|plagals]], whereas the Latin modes were always grouped the other way, with the authentics and plagals paired.<ref name="Powers-2001-§II.1.ii">{{harvp|Powers|2001|loc=§II.1(ii)}}</ref>

The 6th-century scholar [[Anicius Manlius Severinus Boethius|Boethius]] had translated Greek music theory treatises by [[Nicomachus]] and [[Ptolemy]] into Latin.<ref>{{harvp|Powers|2001}}</ref> Later authors created confusion by applying mode as described by Boethius to explain [[Plainsong|plainchant]] modes, which were a wholly different system.<ref>{{harvp|Palisca|1984|p=222}}</ref> In his ''De institutione musica'', book 4 chapter 15, Boethius, like his Hellenistic sources, twice used the term ''harmonia'' to describe what would likely correspond to the later notion of "mode", but also used the word "modus" – probably translating the Greek word τρόπος (''tropos''), which he also rendered as Latin ''tropus'' – in connection with the system of transpositions required to produce seven diatonic octave species,<ref>{{harvp|Bower|1984|pp=253, 260–261}}</ref> so the term was simply a means of describing transposition and had nothing to do with the [[church modes]].<ref>{{harvp|Powers|2001|loc=§II.1(i)}}</ref>

Later, 9th-century theorists applied Boethius's terms ''tropus'' and ''modus'' (along with "tonus") to the system of church modes. The treatise ''De Musica'' (or ''De harmonica institutione'') of [[Hucbald]] synthesized the three previously disparate strands of modal theory: chant theory, the Byzantine ''oktōēchos'' and Boethius's account of Hellenistic theory.<ref>{{harvp|Powers|2001|loc=§II.2}}</ref> The late-9th- and early 10th-century compilation known as the ''Alia musica'' imposed the seven octave transpositions, known as ''tropus'' and described by Boethius, onto the eight church modes,<ref>{{harvp|Powers|2001|loc=§II.2(ii)}}</ref> but its compilator also mentions the Greek (Byzantine) [[Echos|echoi]] translated by the Latin term ''sonus''. Thus, the names of the modes became associated with the eight church tones and their modal formulas – but this medieval interpretation does not fit the concept of the ancient Greek harmonics treatises. The modern understanding of mode does not reflect that it is made of different concepts that do not all fit.

[[File:JubilateDeoIntroit.jpg|thumb|400px|The [[introit]] ''Jubilate Deo'', from which [[Jubilate Sunday]] gets its name, is in Mode&nbsp;8.]]
According to Carolingian theorists the eight church modes, or [[Gregorian mode]]s, can be divided into four pairs, where each pair shares the "[[final (music)|final]]" note and the four notes above the final, but they have different intervals concerning the species of the fifth. If the octave is completed by adding three notes above the fifth, the mode is termed ''authentic'', but if the octave is completed by adding three notes below, it is called ''plagal'' (from Greek πλάγιος, "oblique, sideways"). Otherwise explained: if the melody moves mostly above the final, with an occasional cadence to the sub-final, the mode is authentic. Plagal modes shift range and also explore the fourth below the final as well as the fifth above. In both cases, the strict [[Ambitus (music)|ambitus]] of the mode is one octave. A melody that remains confined to the mode's ambitus is called "perfect"; if it falls short of it, "imperfect"; if it exceeds it, "superfluous"; and a melody that combines the ambituses of both the plagal and authentic is said to be in a "mixed mode".<ref>{{harvp|Rockstro|1880|p=343}}</ref>

Although the earlier (Greek) model for the Carolingian system was probably ordered like the Byzantine ''oktōēchos'', with the four authentic modes first, followed by the four plagals, the earliest extant sources for the Latin system are organized in four pairs of authentic and plagal modes sharing the same final: protus authentic/plagal, deuterus authentic/plagal, tritus authentic/plagal, and tetrardus authentic/plagal.<ref name="Powers-2001-§II.1.ii" />

Each mode has, in addition to its final, a "[[reciting tone]]", sometimes called the "dominant".<ref>{{harvp|Apel|1969|p=166}}</ref><ref>{{harvp|Smith|1989|p=14}}</ref> It is also sometimes called the "tenor", from Latin ''tenere'' "to hold", meaning the tone around which the melody principally centres.<ref>{{harvp|Fallows|2001}}</ref> The reciting tones of all authentic modes began a [[perfect fifth|fifth]] above the final, with those of the plagal modes a [[Mediant|third]] above. However, the reciting tones of modes 3, 4, and 8 rose one [[Steps and skips|step]] during the 10th and 11th centuries with 3 and 8 moving from B to C ([[half step]]) and that of 4 moving from G to A ([[whole step]]).<ref>{{harvp|Hoppin|1978|p=67}}</ref>

[[File:Gregorian chant.gif|thumb|300px|[[Kyrie]] "orbis factor", in mode 1 (Dorian) with B{{Music|flat}} on scale-degree 6, descends from the reciting tone, A, to the final, D, and uses the ''[[Subtonic|subtonium]]'' (tone below the final).]]

After the reciting tone, every mode is distinguished by scale degrees called "mediant" and "participant". The mediant is named from its position between the final and reciting tone. In the authentic modes it is the third 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 reciting tone of the corresponding authentic mode (some modes have a second participant).<ref name=Rockstro-1880-342>{{harvp|Rockstro|1880|p=342}}</ref>

Only one [[Accidental (music)|accidental]] is used commonly in [[Gregorian chant]] – B may be lowered by a half-step to B{{music|flat}}. This usually (but not always) occurs in modes V and VI, as well as in the upper [[tetrachord]] of IV, and is optional in other modes except III, VII and VIII.<ref>{{harvp|Powers|2001|loc=§II.3.i(b), Ex. 5}}</ref>

{| class="wikitable"
|-
!Mode || I ([[Dorian mode|Dorian]]) || II ([[Hypodorian mode|Hypodorian]]) || III ([[Phrygian mode|Phrygian]]) || IV ([[Hypophrygian mode|Hypophrygian]]) || V ([[Lydian mode|Lydian]]) || VI ([[Hypolydian mode|Hypolydian]]) || VII ([[Mixolydian mode|Mixolydian]]) || VIII ([[Hypomixolydian mode|Hypomixolydian]])
|-
!in Italian music<br>until 17th century
|''primi toni''||''secundi toni''||''terzi toni''||''quarti toni''||''quinti toni''||''sexti toni''||''septimi toni''||''octavi toni''
|-
!Final
|D (=re)||D||E (=mi)||E||F (=fa)||F||G (=sol)||G
|-
!Dominant
|A (=la)||F||B (=si) or C (=do)||G or A||C||A||D||B or C
|}

In 1547, the Swiss theorist [[Heinrich Glarean|Henricus Glareanus]] published the ''Dodecachordon'', in which he solidified the concept of the church modes, and added four additional modes: the Aeolian (mode 9), [[Hypoaeolian mode|Hypoaeolian]] (mode 10), [[Ionian mode|Ionian]] (mode 11), and Hypoionian (mode 12). A little later in the century, the Italian [[Gioseffo Zarlino]] at first adopted Glarean's system in 1558, but later (1571 and 1573) revised the numbering and naming conventions in a manner he deemed more logical, resulting in the widespread promulgation of two conflicting systems.

Zarlino's system reassigned the six pairs of authentic–plagal mode numbers to finals in the order of the natural hexachord, C–D–E–F–G–A, and transferred the Greek names as well, so that modes 1 through 8 now became C-authentic to F-plagal, and were now called by the names Dorian to Hypomixolydian. The pair of G modes were numbered 9 and 10 and were named Ionian and Hypoionian, while the pair of A modes retained both the numbers and names (11, Aeolian, and 12 Hypoaeolian) of Glarean's system. While Zarlino's system became popular in France, Italian composers preferred Glarean's scheme because it retained the traditional eight modes, while expanding them. [[Luzzasco Luzzaschi]] was an exception in Italy, in that he used Zarlino's new system.<ref name="Powers-2001-§III.4.ii.a">{{harvp|Powers|2001|loc=§III.4(ii)(a)}}</ref><ref>{{harvp|Powers|2001|loc=§III.4(iii)}}</ref><ref>{{harvp|Powers|2001|loc=§III.5(i & ii)}}</ref>

In the late-18th and 19th centuries, some chant reformers (notably the editors of the [[Mechelen|Mechlin]], [[Pustet]]-Ratisbon ([[Regensburg]]), and [[Rheims]]-[[Cambrai]] Office-Books, collectively referred to as the [[Cecilian Movement]]) renumbered the modes once again, this time retaining the original eight mode numbers and Glareanus's modes 9 and 10, but assigning numbers 11 and 12 to the modes on the final B, which they named Locrian and Hypolocrian (even while rejecting their use in chant). The Ionian and Hypoionian modes (on C) become in this system modes 13 and 14.<ref name=Rockstro-1880-342 />

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",<ref>{{harvp|Curtis|1997|p=256}}</ref> using [[Roman numeral]] (I–VIII), rather than using the pseudo-Greek naming system. Medieval terms, first used in Carolingian treatises, later in Aquitanian tonaries, are still used by scholars today: the Greek ordinals ("first", "second", etc.) transliterated into the Latin alphabet protus (πρῶτος), deuterus (δεύτερος), tritus (τρίτος), and tetrardus (τέταρτος). In practice they can be specified as authentic or as plagal like "protus authentus / plagalis".

<!--this image displayed wider than 400px for clarity-->
[[File:The eight musical modes.png|600px|thumb|center|The eight musical modes. '''f''' indicates "final".<ref name=Curtis-1997-p255>{{harvp|Curtis|1997|p=255}}</ref>]]

===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 />-->