{"id":1645,"date":"2021-05-04T06:18:03","date_gmt":"2021-05-04T06:18:03","guid":{"rendered":"https:\/\/www.shockwave-sound.com\/blog\/?p=1645"},"modified":"2022-01-23T19:08:49","modified_gmt":"2022-01-23T19:08:49","slug":"notes-and-emotions-the-major-modes","status":"publish","type":"post","link":"https:\/\/www.shockwave-sound.com\/blog\/notes-and-emotions-the-major-modes\/","title":{"rendered":"Notes and Emotions: The Major Modes"},"content":{"rendered":"

\"\"Music Modes Chart and Circle of Fifths by Endorpheus<\/em><\/p>\n

Musical modes<\/a> are variations of musical scales by moving the tonic (the root note) up or down a number of degrees and beginning the scale from that new starting point, while retaining the same notes of the scale. As with everything human made or discovered, the modern modes have a long history behind them. The concept began in ancient Greece and underwent stages in which they grew from 4 modes to 12 over the centuries. Early Christian, Jewish and Eastern cultures contributed to what became known as the \u201cchurch modes of the Middle Ages” in Europe. Today, the modes retain their original Greek names: the Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, Locrian.<\/span><\/p>\n

These seven modes<\/strong> can be transposed onto our current twelve note system to create all twelve keys. Various modes are used throughout all musical styles, heavily for example in jazz, but by musicians of all other genres as well. Each mode within each key creates a different emotional feel elicited from the listener due to the various intervals played. There is agreement that certain abstract concepts and emotions such as \u201ctriumphant,\u201d \u201csomber,\u201d and \u201cexotic\u201d can be attributed specifically to certain modes. Each one has its own character. When combining each mode to each key we have a plethora of possible variations with which to approach music composition and improvisation.<\/span><\/p>\n

1. Music makes the mood\/mode<\/strong><\/h4>\n

\"\"The idea that modes produce emotions<\/strong> is ancient and goes even further: that exposure to certain modes influences behavior. The great Plato himself believed that soldiers should only listen to Dorian Phrygian modes which elicit strong powerful vibes, but not Lydian or Ionian as they to feel more dreamlike, innocent – not qualities wanted in warfare. Like the ancient Chinese concept of a people\u2019s music representing the behavior of the people themselves, Plato felt that music can also go the other way and influence the behavior of people. Aristotle, in <\/span>Politics<\/span><\/i>, writes that the essential differences between the modes create a different effect on all those who listen, \u201cSome of them make men sad and grave .. enfeeble the mind \u2026 produce a moderate or settled temper\u201d or \u201centhusiasm\u201d as in the Phrygian mode.<\/span><\/p>\n

2. Major and minor modes and the intervals between<\/strong><\/h4>\n

The most striking difference between the 7 modes are the 3rd interval, which determines whether a mode in question has a minor or major feel to it. This is the interval between the root note of the scale and the third note. If it is a major third (whole step between the 2nd and 3rd note) and then the mode is major. If it is a minor third (half step between the 2nd and 3rd notes) then the mode is minor.<\/span><\/p>\n

The there major modes are Ionian, Lydian and Mixolydian. Because, for example, in C Major the 3rd between C and E in Ionian is major, the third between F and A is major in Lydian, and in Mixolydian as well the third between G and B is major. \u00a0On the other hand, the four minor modes are Dorian, Phrygian, Aeolian, and Locrian. The post will cover the history, characteristics and emotions associated with the major modes only. Importantly, most might agree that it is the key, not necessarily the mode, that determines the emotional feel of a piece of music. That said, musicians employ a wide variety of modes across all keys to capture their emotional intent and messages<\/span><\/p>\n

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3. Mode I: Ionian<\/strong><\/h4>\n

The first mode is the Ionian. It is basically the modern major scale that most of us know: doh re mi fa so la ti.\u201d The sequence of steps is W, W, H, W, W, W, H (with W being whole-step and H being half-step). The Ionian mode was singled out to be named in 1547 by Henricus Glareanus, a Swiss humanist in his work, \u201cDodecachordon,\u201d a treatise on music that expanded the contemporary eight mode church musical system. Major and minor modes of the time were increasing in significance and Glareanus saw a need to incorporate them into the current agreed upon church modes, therefore naming the major mode Ionian and also adding Aeolian which, by the way, is the current modern minor mode to be discussed in another post.<\/span><\/p>\n

Ionian in the key of C nearly universally the first scale that children and future musicians are taught. It is generally thought of as happy, bright, innocent, reassuring, cheery, joyous and absolutely \u201cmajor.\u201d \u00a0When played at a slower tempo it can sound royal and majestic – add a little tempo and we have triumphant. <\/span><\/p>\n

\"\"<\/p>\n

Examples of C major songs range from childhood tunes such as \u201cTwinkle Twinkle Little Star\u201d to timeless masterpieces such as John Lennon\u2019s \u201cImagine.\u201d Only John Lennon with his genius could turn C Major bittersweet, but there it is folks. \u00a0I often think C major gets a bad rap from music snoots – Lennon made it work, it\u2019s not just Twinkle Twinkle territory:<\/span><\/p>\n