Musical Modes

Recently, I've been fascinated with musical modes (particularly ancient Greek modes). They're definitely a refreshing change from just "major or minor", and, at the same time, it opens up a whole new world of music and possibilities. They're awesome. ^_^

So, I was wondering: does anyone have a favorite mode, and a particular piece of music that you feel exemplifies the mode (or at least is a good example of it), or anything you've written in it?

My absolute favorite mode is Mixolydian. I think it's impossible for anything in it to sound bad. Okay...maybe not impossible but pretty darn hard. ^_^;; It's so beautiful and angelic yet it has that tiny tinge of sadness that makes it sound so gorgeous. *_*

A good example of this is from Chrono Trigger - Millenia Fair, by Yasunori Mitsuda (attached here for your aural enjoyment =D).

Your turn. =)

P.S. I recently wrote a Mixolydian Piece called "Magic Kingdom" in the Orchestra section. Check it out. =D

Chrono_Trigger___Millenia_Fair.mid

phrygian...just because of the harmonics on some of the keys (a phrygian, for example)

I think modes are an overrated concept. Pieces in a single mode often lose my attention, because of their static harmonical nature. Modality is IMHO best used in a tonal context. Using just one mode reminds me of the silly counterpoint exercises in Gradus ad parnassum (by Fux). ["Now take all the cantus firmi which were given for the first species of counterpoint and go through the five remaining modes ..."]

The keyword should be variation, change.

Edit: by that I mean that modality can even be used throughout an entire composition, when other contrasts are present. I'm talking about dynamics, melodical countours, rhythm, intensity. You should check out Indian classical music, especially raga. It's an interesting tradition: multiple improvisers working within a certain modal context, expressing their thoughts and feelings but also the ideas that go along with that specific context, the raga.

I have to agree with Snees.

A lot of times, new composers discover modes and will wite an entire piece sitting on that one mode because it is so exciting to them (I used to do the same thing).

You still need to modulate and have a direction, just as you would in a "Sonata in C Major." The difference, though, is that you can have the second theme in d dorian rather than d minor, for example.

P.S. I only have 6 posts? It sure feels like more than that! I don't live in Minneapolis anymore, either. Ha!

If you are interested in modes, be sure to check out the 1,135 modes listed at http://www.xs4all.nl/~huygensf/doc/modename.html. Note that not all of these are playable on the tuning you (perhaps blindly) have accepted as the industry standard, although a good chunk are, under "12 tone modes." Unfortunately, there's no easy way to hear these scales. But where there's a will there's a way.

As far as "12 tone modes" go, I have always been a big fan of Dorian and Mixolydian. At the core of these both is a v-I or I-iv relationship that you just don't tend to get with 80% of common practice tonality. Because common practice is for some reason obsessed with a raised leading tone. I think my ear developed a preference for them in response to early exposure to new age music (Ray Lynch particularly).

Opening it up to microtonal modes, you mustn't forget the ancient greek enharmonics. They are always something like C C+ Db F G G+ Ab C, where +'s are near quartertones. My absolute favorite mode to play in on a keyboard is a variation on this which adds E, E+, B, and B+, approximately.

To hear an enharmonic piece, try the only one I've written, "exposition: B enharmonic" at www.soundclick.com/funwithxenharmonicity

Also nice are some scale families called Hedgehog, Superpyth, and Vulture. Superpyth is vaguely recognizeable as an exaggerated white-key scale.

Recently, I've been trying to write a piece in a newly-invented nine-step mode from quartertones that goes (in step sizes in multiples of quartertone): 4 1 4 1 4 1 4 1 4. That's C D D+ E+ F G G+ A+ Bb C. A very interesting scale, and yet I'm not sure whether it can sustain my interest for a whole piece. I'll be sure to let you know how it turns out :)

Note: If anything I said was confusing, please ask me to clarify. I don't want to discourage anyone from anything.

If you are interested in modes, be sure to check out the 1,135 modes listed at http://www.xs4all.nl/~huygensf/doc/modename.html.

i like to use lydian and dorian in guitar pieces

I'm rather fascinated with modes, myself. My favorites are definitely Lydian and Dorian, though recently I've done some experimentation with the Locrian mode (7th degree mode of a major scale, I think). It can produce some very dark colors. Combined with polytonality...wow. There are so many possibilities!

I particularly like Dorian...

I also enjoy Aeolian a lot, especially in jazz.

I admit, I really like dorian and mixolydian modes...especially when they are used in heavy metal. I highly recommend that people interested in modes listen to melodic heavy metal. One of my favorite examples comes from the band Lacuna Coil in their song "Honeymoon Suite." The male vocals are in aeolian mode, while the female vocals are blatantly in dorian. The mode switches depending on which singer is singing and it affects the mood of the song (thereby enhancing the meaning of the lyrics as dorian is a brighter mode than aeolian).

Eselbeus: Awesome a fellow melodic metal fan! I am afraid I haven't heard too much Lacuna coil. I can think of a wonderful piece by Opeth however called "Atonement" which I believe uses the mixolydian mode. Very attractive. Modes create such a marvelous array of colors, all within a single set of 7 notes! (speaking of the traditional 7 tone modes of course, there are obviously many many others from different tuning systems) Wow!

In fact, upon another listen it is precisely A mixolydian, the fifth mode of D major. That makes sense, Opeth tunes to D. Sweet

I love dorian! Except... I don't think it's depressing like most people do. I find it to be the most attractively beautiful mode there is. 'Course, that's just me.

Dorian can produce some really gorgeous sounds I totally agree. It is interesting to contrast two versions of Greensleeves, one in Aeolian and one in Dorian.

I admit, I really like dorian and mixolydian modes...especially when they are used in heavy metal. I highly recommend that people interested in modes listen to melodic heavy metal. One of my favorite examples comes from the band Lacuna Coil in their song "Honeymoon Suite."

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i love a lot of metal but i can't compare the new generation of metal to the 80.s and 90.s heyday.......(.i haven heard of Lacuna Coil)......do you know a lot of classic metal? e.g. Metallica's "Sanitarium" solo or some of the Megadeth "Countdown to extinction" however the latter album seems use Aeolian blues very fast. lots of fast arpeggio gives that metal sound and the diatonic scale. I also like that rock effect where two guitars slowly glide within the same mode whilst several intervals apart..the Smashing Pumpkins used that a lot to get that dreamy sound but it used in a more upbeat manner the likes of the last bars of Thin Lizzy's "Boys are back in town" and particularly throughout e.g. Black Sabbath's "National Acrobat"