Editing Locrian mode (section)

==Overview==
The Locrian mode is the only modern diatonic mode in which the [[tonic chord|tonic triad]] is a [[diminished triad|diminished chord]] ([[diminished fifth|flattened fifth]]), which is considered very [[consonance and dissonance|dissonant]]. This is because the interval between the [[root (chord)|root]] and fifth of the chord is a [[tritone|diminished fifth]]. For example, the tonic triad of B&nbsp;Locrian is made from the notes B, D, F. The root is B and the [[diminished (music)|dim]]&nbsp;5th is F. The diminished-fifth interval between them is the cause for the chord's striking dissonance.{{citation needed|date=January 2018}}
: <score sound=1 lang="lilypond"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' { 
  \clef treble \time 7/4
  b4^\markup { B Locrian mode } c d e f g a b2

} }
</score>

The name "Locrian" is borrowed from music theory of [[Music of ancient Greece|ancient Greece]]. However, what is now called the ''Locrian mode'' was what the Greeks called the [[Mixolydian mode#Greek Mixolydian|diatonic ''Mixolydian'' tonos]]. The Greeks used the term "Locrian" as an alternative name for their "[[Hypodorian mode|Hypodorian]]", or "common" tonos, with a scale running from ''mese'' to ''nete hyperbolaion'', which in its diatonic genus corresponds to the modern [[Aeolian mode]].<ref>{{cite dictionary |first=T.J. |last=Mathiesen |author-link=Thomas J. Mathiesen |year=2001 |section=Greece, §1:&nbsp;Ancient; §6:&nbsp;Music Theory |dictionary=[[The New Grove Dictionary of Music and Musicians]] |edition=2nd  |editor1-first=Stanley |editor1-last=Sadie |editor1-link=Stanley Sadie |editor2-first=John |editor2-last=Tyrrell |editor2-link=John Tyrrell (professor of music) |place=London, UK |publisher=Macmillan Publishers |pages= }}</ref>

In his reform of modal theory,<ref>{{cite book |first=H. |last=Glarean |author-link=Heinrich Glarean |year=1547 |title=Dodecachordon }}</ref>  [[Heinrich Glarean|Glarean]] named this division of the octave "hyperaeolian" and printed some musical examples (a three-part polyphonic example specially commissioned from his friend [[Sixtus Dietrich]], and the Christe from a mass by [[Pierre de La Rue|{{nobr|de la Rue}}]]), though he did not accept hyperaeolian as one of his twelve modes.<ref name=Powers-2001c>{{cite dictionary |first=Harold S. |last=Powers |title=Hyperaeolian |year=2001c |dictionary=[[The New Grove Dictionary of Music and Musicians]] |edition=2nd |editor1-first=Stanley |editor1-last=Sadie |editor1-link=Stanley Sadie |editor2-first=John |editor2-last=Tyrrell |editor2-link=John Tyrrell (professor of music) |place=London, UK |publisher=Macmillan Publishers |pages= }}</ref> The use of the term "Locrian" as equivalent to Glarean's ''hyperaeolian'' or the ancient Greek (diatonic) ''mixolydian'', however, has no authority before the 19th&nbsp;century.<ref name=Powers-2001a/>