MUSIC THEORY

MODES

The common heptatonic (7-degree) major scale, cyclically

extended both directions by octave, consists of 8 notes and 7
steps. In the model Pythagorean major scale, which is an
abstraction, we have 5 tones (T) and 2 limmas (λ, AKA
Pythagorean or grave semitones).

C, D, E, F, G, A, B, C’, (D’, E’, F’, G’, A’, B’, C’’, …)

Thus we have a “major scale” or a “major mode” or a “C mode”

arranged as TTλTTTλ

The fundamental modal concept says that you can use any degree
of this model scale to start a new scale on, and that was called by
Aristoxenus “periphora of the tonal bases” (περιφορά meaning
“cycling around”).

Thus in Pythagorean terms you will have seven cases:

C mode (AKA major): TTλTTTλ, D mode: TλTTTλT, E mode:

λTTTλTT, F mode: TTTλTTλ, G mode: TTλTTλT, A mode (AKA
minor): TλTTλTΤ, B mode : λTTλTTT.

These 7 modes had Greek names, which Glareanus used for

Gregorian chant by simple nonchalant guesswork, so he got all the
names but one wrong. Unfortunately, Glareanus’s guesswork
passed into Western music, thus today’s Western musicians know
the so-called “church” modes in his style, most all misnamed. In
the original Greek:

C mode (major): lydios, D mode: phrygios, E mode: dorios, F

mode: hypolydios (or perhaps also syntonolydios), G
mode: ionios (and informally iasteios), A mode
(minor): aeolios / locrios, B mode : (attic or
dramatic) mixolydios.

Thence, the Western term “modal” may mean any of the following
three:

i. one of the above other than major or minor (i.e. the modes of D,
E, F, G, B);

ii. a different rearrangement of tones and limmas not included

above (e.g. TTλTλTT, TTTλλTT);

iii. a combination of steps different from “tones and limmas /

semitones”, derived from and/or used by some other musical
culture.