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<div dir="ltr">Thanks to M. Meeùs for the thoughtful comments on mode. I spent a good time this summer reading the excellent <i>Cambridge History of Western Music Theory</i>, and finally realized not only how poorly I understand "mode," but also why; among the prominent contenders for "basic" theoretical terms, such as "tone," "scale," chord," "measure," or "key," every one of them formidably resistant to definition, "mode" stands out as especially baffling. As Nicolas's comments suggest, "mode" is not merely ambivalent, it is used to embrace outright contradictory phenomena. Even something as anodyne as "a regular group of tones" is, well, no more helpful than calling all of the Boy Scouts, Spanish anarchists, a tupperware party, Central Park corner vendors, Arctic explorers, and klezmer musicians all "groups of people."<div><br></div><div>Despite the narrative clunkiness and more than clumsy musical historiography, the locus for jazz theory, including modal theory, is doubtless still George's Russell's <i>Lydian Chromatic Concept of Tonal Organization</i>. Russell delivers a conception of mode in jazz that is doubtless more elaborate and complex than most jazz players deploy. And it doesn't include directly all of the practices they do engage, such as creating secondary dominants for each scale degree, thus introducing extra-modal chromatic harmony--[passing] E7 to precede the second degree of G mixolydian, the tone 'A,' for example. But it does explain both the specificity and flexibility of mode for jazz players<br><br>Perhaps no theory could ever engage the full intellectual range of possibility brought to bear on "mode" in jazz; again, Russell comes impressively close, the more so because modal jazz didn't exist when he wrote his book! In that sense, jazz experience melds nicely with the longer history of the concept, which is eternally rich with contradictory bedevilments and fascinations.</div><div><br></div><div>MW Morse</div><div>Trent University</div><div>Oshawa, Peterborough<br><div><hr id="stopSpelling">Date: Fri, 23 Aug 2013 10:30:40 +0200<br>From: nicolas.meeus@scarlet.be<br>To: wguerin@indiana.edu<br>CC: lschwartzmusic@gmail.com; smt-talk@lists.societymusictheory.org<br>Subject: Re: [Smt-talk] Examples of Modes<br><br>
<font face="Calibri">It seems to me that CHURCH modes are historical
by nature and that the modes in jazz cannot be termed 'church
modes'. If this usage exists (I am not knowledgeable enough in
jazz theory), it should be changed! The jazz modes considered here
are DIATONIC modes, i.e. all based on the diatonic scale and
differing from each other by the reference tone. There are seven
diatonic modes (as there are seven notes in the diatonic scale)
and eight church modes (making use of only four reference tones).<br>
<br>
Church modes traditionally are identified by their final (which is
their reference tone) and its position within the overall range.
But they also are based on a limited number of melodic formulas,
probably originating in the formulas of psalm tones. This is
highly characteristic of an oral tradition, where one rearranges
known formulas in various combinations. One may argue that the
formulas have a pentatonic origin – the background scale, in the
conventions of traditional notation, being D F G A C or its
permutations. Church modes cannot be reduced to mere scales: they
also are sets of formulas.<br>
<br>
Jazz modes probably are much more difficult to define because they
originate in harmonic colours. For instance, playing the chord of
II as a major chord in major may result in an apparent Lydian
mode; playing the chord of V as minor may result in a Mixolydian
mode; etc. The number of combinations is endless, contrarily to
the situation in the case of church modes, especially if one does
not feel constrained to strictly keep to one single mode. Jazz
'modes' should probably better be described as scales (as many of
the modern 'modes', e.g. Messiaen's 'modes' of limited
transposition). One may define each of the seven diatonic scales
by the specific set of chords that they form. It would soon appear
that the set actually is determined by the diatonic scale itself,
forming a succession, say, of triads that may be described as<br>
</font>
<blockquote><font face="Calibri">... M m m M M m dim M m m
M M m dim M</font> ...<br>
</blockquote>
and within which the various 'modes' would again differ by the
choice of the reference tone or chord, taken as tonic. A similar
succession of sevenths would again produce an unique result (I mean,
one is which no two different reference tones would result in the
same arrangement): this indicates the remarkable dissymetry of the
diatonic scale. Different modes of the same tonic result from
transpositions of the background diatonic scale, while different
tonics within the same diatonic scale result in 'modes' sharing the
same notes.<br>
<br>
A nice topic to end the summer...<br>
<br>
Nicolas Meeùs<br>
Université Paris-Sorbonne<br>
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<div class="ecxmoz-cite-prefix">Le 22/08/2013 21:09, Guerin, William
Brian a écrit :<br>
</div>
<blockquote cite="mid:CE3BD663.1BEFF%25wguerin@umail.iu.edu">
<div>Dear Luke, </div>
<div><br>
</div>
<div>Excellent question! There are probably two ways to answer
it, depending on whether you're more concerned with the
historical Church modes, or with the modes as thought of by jazz
musicians (that is, as rotations of the major scale without
concern for things like range, typical intervallic gestures,
etc.)</div>
<div><br>
</div>
<div>In the latter, case, I don't know of any single source — a
lot of elementary jazz theory books diagram the modes, but they
don't seem to give examples from the literature. However,
looking up each individual mode on Wikipedia gives some
examples, which should probably be verified of course! :-)</div>
<div><br>
</div>
<div>As far as the historical Church modes go, yes, you could pick
up one of the Catholic chant books and hunt at random according
to the mode numbers, but p. 141 of Willi Apel's "Gregorian
Chant" (Indiana University Press, 1958) gives some examples of
each of the modes that he claims to be typical and to meet all
the theoretical requirements. They seem to! Page numbers are
for the 1961 "Liber Usualis", which any decent-sized music
library will have, but since it's in the public domain you can
also access the massive 115+ megabyte download here:</div>
<div><br>
</div>
<div><a href="http://archive.org/details/TheLiberUsualis1961" target="_blank">http://archive.org/details/TheLiberUsualis1961</a></div>
<div><br>
</div>
<div>This is in traditional chant notation, but if a 5-line staff
and modern noteheads are more appropriate for your students you
can hunt around for the 1923 version of the Liber Usualis and
consult the index for the page numbers.</div>
<div><br>
</div>
<div>Anyway, here are the examples.</div>
<div><br>
</div>
<div>Dorian: Viderunt omnes, p. 410</div>
<div>Hypodorian: Ego sum pastor, p. 439</div>
<div>Phrygian: Gustate, p. 1015</div>
<div>Hypophyrigian: Quod dico, p. 1173</div>
<div>Lydian: Dico vobis, p. 984</div>
<div>Hypolydian: Exsultavit, p. 352</div>
<div>Mixolydian: Dicite, p. 337</div>
<div>Hypomixolydian: Modicum, p. 824</div>
<div><br>
</div>
<div>Hope this helps (if not you then someone else!)</div>
<div><br>
</div>
<div>Cheers, </div>
<div>Bill</div>
<div><br>
</div>
<div>
<div>
<div style="font-family:Calibri, sans-serif;"><font class="ecxApple-style-span" color="rgb(0, 0, 0)"><font class="ecxApple-style-span" face="Calibri">
<hr size=""3"" width=""95%"" align="center">
</font></font></div>
<div style="font-family:Calibri, sans-serif;"><span class="ecxApple-style-span" style="font-family:Calibri;">William
Guerin</span></div>
<div style="font-family:Calibri, sans-serif;"><span class="ecxApple-style-span" style="font-family:Calibri;">Ph.D.
Candidate, Music Theory, Indiana University</span></div>
<div style="font-family:Calibri, sans-serif;">Software
Developer, Web Systems</div>
<div style="font-family:Calibri, sans-serif;">Music
Information Technology Services</div>
<div style="font-family:Calibri, sans-serif;">Indiana
University Jacobs School of Music</div>
<div style="font-family:Calibri, sans-serif;"><a class="ecxmoz-txt-link-abbreviated" href="mailto:wguerin@indiana.edu">wguerin@indiana.edu</a></div>
</div>
</div>
<div> </div>
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<span style="font-weight:bold;">From: </span>Luke Schwartz
<<a href="mailto:lschwartzmusic@gmail.com">lschwartzmusic@gmail.com</a>><br>
<span style="font-weight:bold;">Date: </span>Saturday, August
17, 2013 11:12 PM<br>
<span style="font-weight:bold;">To: </span><<a href="mailto:smt-talk@lists.societymusictheory.org">smt-talk@lists.societymusictheory.org</a>><br>
<span style="font-weight:bold;">Subject: </span>[Smt-talk]
Examples of Modes<br>
</div>
<div><br>
</div>
<blockquote id="ecxMAC_OUTLOOK_ATTRIBUTION_BLOCKQUOTE" style="BORDER-LEFT:#b5c4df 5 solid;PADDING:0 0 0 5;MARGIN:0 0 0 5;">
<span style="line-height:normal;background-color:rgba(255,255,255,0);">Dear
Colleagues, </span>
<div><span style="line-height:normal;background-color:rgba(255,255,255,0);"><br>
</span></div>
<div><span style="line-height:normal;background-color:rgba(255,255,255,0);">I
am in search of examples of all church modes. I'm sure
this has come up before, but it seems as though there is
not an easy-to-find solid source or textbook with
examples from literature for all the modes. Any
suggestions out there for sources or individual examples<span></span>?
Thanks for your time! </span></div>
<div><span style="line-height:normal;background-color:rgba(255,255,255,0);"><br>
</span></div>
<div><span style="line-height:normal;background-color:rgba(255,255,255,0);">Kind
Regards, </span></div>
<div>
<div><span style="line-height:normal;background-color:rgba(255,255,255,0);"><br>
</span></div>
<span style="line-height:normal;background-color:rgba(255,255,255,0);">-- <br>
</span>
<div dir="ltr"><span style="line-height:normal;background-color:rgba(255,255,255,0);">Luke
P. Schwartz, Composer/Guitarist<br>
Music Faculty - Kaufman Center - <a target="_blank">New York, NY</a><br>
<a href="mailto:LSchwartzMusic@gmail.com" target="_blank">LSchwartzMusic@gmail.com</a><br>
<a href="http://www.lukeschwartz.com/" target="_blank">www.lukeschwartz.com</a></span></div>
</div>
<br>
<br>
-- <br>
<div dir="ltr">Luke P. Schwartz, Composer/Guitarist<br>
Music Faculty - Kaufman Center - New York, NY<br>
<a href="mailto:LSchwartzMusic@gmail.com" target="_blank">LSchwartzMusic@gmail.com</a><br>
<a href="http://www.lukeschwartz.com/" target="_blank">www.lukeschwartz.com</a><br>
<br>
<br>
<br>
</div>
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