Incubator escapee wiki

Dorian mode

Article Discussion

Template:Short description Template:Use dmy dates The Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek harmoniai (characteristic melodic behaviour, or the scale structure associated with it); one of the medieval musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself.

<score sound="1"> {

\key c \dorian \override Score.TimeSignature #'stencil = ##f \relative c' { 

 \clef treble \time 7/4
 c4^\markup { Modern C Dorian mode } d es f g a bes c2

} } </score>

Greek Dorian mode Edit

The Dorian mode (properly harmonia or tonos) is named after the Dorian Greeks. Applied to a whole octave, the Dorian octave species was built upon two tetrachords (four-note segments) separated by a whole tone, running from the hypate meson to the nete diezeugmenon.

In the enharmonic genus, the intervals in each tetrachord are quarter tone–quarter tone–major third.

<score sound="1"> {

\override Score.TimeSignature #'stencil = ##f \relative c' { 

 \clef treble \time 4/4
 e4^\markup { Greek Dorian tonos (enharmonic genus) on E } feh geses a b ceh deses e

} } </score>

In the chromatic genus, they are semitone–semitone–minor third.

<score sound="1"> {

\override Score.TimeSignature #'stencil = ##f \relative c' { 

 \clef treble \time 4/4
 e4^\markup { Greek Dorian tonos (chromatic genus) on E } f ges a b c des e

} } </score>

In the diatonic genus, they are semitone–tone–tone.

<score sound="1"> {

\override Score.TimeSignature #'stencil = ##f \relative c' { 

 \clef treble \time 4/4
 e4^\markup { Greek Dorian tonos (diatonic genus) on E } f g a b c d e

} } </score>

In the diatonic genus, the sequence over the octave is the same as that produced by playing all the white notes of a piano ascending from E to E,<ref>Thomas J. Mathiesen, "Greece, §I: Ancient: 6. Music Theory: (iii) Aristoxenian Tradition: (d) Scales". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan, 2001).</ref> a sequence equivalent to the pattern of the modern Phrygian mode, although the temperament differs by small amounts.

Placing the single tone at the bottom of the scale followed by two conjunct tetrachords (that is, the top note of the first tetrachord is also the bottom note of the second), produces the Hypodorian ("below Dorian") octave species: A | B C D E | (E) F G A. Placing the two conjunct tetrachords together and the single tone at the top of the scale produces the Mixolydian octave species, a note sequence equivalent to modern Locrian mode.<ref>Thomas J. Mathiesen, "Greece, §I: Ancient: 6. Music Theory: (iii) Aristoxenian Tradition: (e) Tonoi and Harmoniai". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan, 2001).</ref>

Medieval Dorian modeEdit

The early Byzantine church developed a system of eight musical modes (the octoechos), which served as a model for medieval European chant theorists when they developed their own modal classification system starting in the 9th century.<ref>Harold S. Powers, "Mode, §II: Medieval modal theory, 2: Carolingian synthesis, 9th–10th centuries", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries of Music, 2001). Template:ISBN</ref> The success of the Western synthesis of this system with elements from the fourth book of De institutione musica of Boethius, created the false impression that the Byzantine octoechos was inherited directly from ancient Greece.<ref>Peter Jeffery, "Oktōēchos", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan; New York: Grove's Dictionaries of Music, 2001). Template:ISBN</ref>

Originally used to designate one of the traditional harmoniai of Greek theory (a term with various meanings, including the sense of an octave consisting of eight tones), the name was appropriated (along with six others) by the 2nd-century theorist Ptolemy to designate his seven tonoi, or transposition keys. Four centuries later, Boethius interpreted Ptolemy in Latin, still with the meaning of transposition keys, not scales. When chant theory was first being formulated in the 9th century, these seven names plus an eighth, Hypermixolydian (later changed to Hypomixolydian), were again re-appropriated in the anonymous treatise Alia Musica. A commentary on that treatise, called the Nova expositio, first gave it a new sense as one of a set of eight diatonic species of the octave, or scales.

In medieval theory, the authentic Dorian mode could include the note BTemplate:Music "by licence", in addition to BTemplate:Music.<ref>Harold S. Powers, "Dorian", The New Grove Dictionary of Music and Musicians, second edition, 29 vols., edited by Stanley Sadie and John Tyrrell (London: Macmillan, 2001): 7:507. Template:ISBN</ref> The same scalar pattern, but starting a fourth or fifth below the mode final D, and extending a fifth above (or a sixth, terminating on BTemplate:Music), was numbered as mode 2 in the medieval system. This was the plagal mode corresponding to the authentic Dorian, and was called the Hypodorian mode.<ref>Harold S. Powers, "Hypodorian", The New Grove Dictionary of Music and Musicians, second edition, 29 vols., edited by Stanley Sadie and John Tyrrell (London: Macmillan, 2001): 12:36–37. Template:ISBN</ref> In the untransposed form on D, in both the authentic and plagal forms the note C is often raised to CTemplate:Music to form a leading tone, and the variable sixth step is in general BTemplate:Music in ascending lines and BTemplate:Music in descent.<ref>Felix Salzer and Carl Schachter, Counterpoint in Composition: The Study of Voice Leading (New York: Columbia University Press, 1989): 10. Template:ISBN.</ref>

Modern Dorian modeEdit

The modern Dorian mode (also called "Russian minor" by Balakirev,<ref>Richard Taruskin, "From Subject to Style: Stravinsky and the Painters", in Confronting Stravinsky: Man, Musician, and Modernist, edited by Jann Pasler, 16–38 (Berkeley, Los Angeles, and London: University of California Press, 1986): 33. Template:ISBN.</ref>) by contrast, is a strictly diatonic scale corresponding to the white keys of the piano from D to D (shown below)

<score sound="1"> {

\override Score.TimeSignature #'stencil = ##f \relative c' { 

 \clef treble \time 7/4
 d4^\markup { Modern D Dorian mode } e f g a b c d2

} } </score>

or any transposition of its interval pattern, which has the ascending pattern of whole steps and half steps as follows:

whole, half, whole, whole, whole, half, whole

Thus, the Dorian mode is a symmetric scale, since the pattern of whole and half steps is the same ascending or descending.

The modern Dorian mode can also be thought of as a scale with a minor third and seventh, a major second and sixth, and a perfect fourth and fifth, notated relative to the major scale as:

1, 2, Template:Music3, 4, 5, 6, Template:Music7, 8

It may be considered an "excerpt" of a major scale played from the pitch a whole tone above the major scale's tonic, i.e., a major scale played from its second scale degree up to its second degree again. The resulting scale is, however, minor in quality, because, as the D becomes the new tonal centre, the F a minor third above the D becomes the new mediant, or third degree. Thus, when a triad is built upon the tonic, it is a minor triad.

The modern Dorian mode is equivalent to the natural minor scale (or the Aeolian mode) but with a major sixth. The modern Dorian mode resembles the Greek Phrygian harmonia in the diatonic genus.

It is also equivalent to the ascending melodic minor scale with a minor seventh.

List of Modern Dorian scalesEdit

Major Key Minor Key Key Signatures Tonic (Dorian) Component pitches (Dorian)
G♯ major E♯ minor 8♯ A♯ A♯ B♯ C♯ D♯ E♯ F𝄪 G♯
C♯ major A♯ minor 7♯ D♯ D♯ E♯ F♯ G♯ A♯ B♯ C♯
F♯ major D♯ minor 6♯ G♯ G♯ A♯ B C♯ D♯ E♯ F♯
B major G♯ minor 5♯ C♯ C♯ D♯ E F♯ G♯ A♯ B
E major C♯ minor 4♯ F♯ F♯ G♯ A B C♯ D♯ E
A major F♯ minor 3♯ B B C♯ D E F♯ G♯ A
D major B minor 2♯ E E F♯ G A B C♯ D
G major E minor 1♯ A A B C D E F♯ G
C major A minor - D D E F G A B C
F major D minor 1♭ G G A B♭ C D E F
B♭ major G minor 2♭ C C D E♭ F G A B♭
E♭ major C minor 3♭ F F G A♭ B♭ C D E♭
A♭ major F minor 4♭ B♭ B♭ C D♭ E♭ F G A♭
D♭ major B♭ minor 5♭ E♭ E♭ F G♭ A♭ B♭ C D♭
G♭ major E♭ minor 6♭ A♭ A♭ B♭ C♭ D♭ E♭ F G♭
C♭ major A♭ minor 7♭ D♭ D♭ E♭ F♭ G♭ A♭ B♭ C♭
F♭ major D♭ minor 8♭ G♭ G♭ A♭ B𝄫 C♭ D♭ E♭ F♭

Notable compositions in Dorian modeEdit

File:Bloch Chanty Poems of the Sea mm. 1-8.png
Dorian mode in Ernest Bloch's "Chanty" from Poems of the Sea, mm. 1–8.<ref>Bruce Benward and Marilyn Nadine Saker, Music in Theory and Practice: Volume II, eighth edition (Boston: McGraw-Hill, 2009): 243–244. Template:ISBN.</ref>File:Bloch Chanty Poems of the Sea, mm. 1-8.mid

Template:Quote

TraditionalEdit

|CitationClass=web }}</ref>

|CitationClass=web }}</ref>

MedievalEdit

RenaissanceEdit

BaroqueEdit

RomanticEdit

|CitationClass=web }}</ref>

JazzEdit

|CitationClass=web }}</ref>

PopularEdit

|CitationClass=web }}</ref> is often cited as a Dorian modal piece, and while the melody line in places uses the major sixth scale degree, the chord progression is in Aeolian (I–Template:MusicVI and Template:MusicVI–I).<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Clarify

  • The chord sequence i–III–VII–IV is sometimes used in pop songs, where the harmonic rhythm leads the listener to think of it as a minor song. In the final chord of the sequence, however, the third is a major sixth above the tonic, as in the Dorian scale. Examples include: "Mad World" by Tears for Fears.<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

|CitationClass=web }}</ref> but is actually played in E Dorian.<ref>Template:Cite book</ref> It shares a key signature (FTemplate:Music, CTemplate:Music) with its relative key, D major.<ref>Template:Citation</ref>

OtherEdit

  • Kimigayo, the national anthem of Japan
  • The Halo theme, taking significant inspiration from the aforementioned medieval Gregorian chants to effect an "ancient and mysterious" sound, is written in E dorian
  • The Angry Birds theme

See alsoEdit

ReferencesEdit

Template:Reflist

External linksEdit

Template:Modes Template:Authority control

Retrieved from "https://zalansite.site/mediawiki/index.php?title=Dorian_mode&oldid=304863"