Mode (tonal music)

See also: Mode

In the tonal music, a mode is defined by “the precise extent of the interval separating each degree from a Tonalité given, of its tonic”. In a practical way more - although corresponding less to musical reality -, the mode relates to the distribution of the joint intervals - i.e., intervals between close degrees - since the tonic.

  • For example, according to whether one takes for tonic one or the other of the seven degrees of the diatonic scale natural - only white keys of the Piano -, one obtains seven possible distributions of the tons and of the Demi-ton S, that is to say, seven different modes:

  • As of the Rebirth, these seven modes, known as old modes used in the modal System, will gradually cease being employed with the profit of the two modes associated with the tonal Système, the major mode and the minor mode. The old modes will be however given to the honor by certain type-setters starting from the end of the 19th century.

Since the 13th century, the interpreters take the practice to correct the height certain notes by a Dièse or a Bémol - not generally noted -, this, in order to soften a melody interval or harmonic, or, later, to transform a significant Sous-tonique into . This tradition, called Musica ficta , ended up involving at the 16th century a standardization of the old modes - the musical scales used during the Moyen-âge. As of this time, indeed, all the modes end more or less up resembling each other, and from now on, the qualifier of the third located between Ier and IIIe degrees is enough to indicate one of the two only possible modes: if it is about a third major, the mode is known as major , if it acts contrary to a minor third , the mode is known as minor .

  • the word “mode” having other directions in music - in particular in the modal music medieval -, certain musicologists prefer not to use this term in the tonal Système, and recommend the use of the expressions “major tonality” and “minor tonality”, or, “major range” and “minor range”. Names “mode major” and “minor mode” however are very usually used.

Major mode

The major mode is derived from old the mode of C of which it is the exact counterpart. The major mode is the mode standard tonal Système. It has merry and luminous sonorities, and is opposed in that to the minor, darker mode, and more interiorized.

  • the range of major C is thus the prototype of this mode:

Minor mode

The minor mode is derived from old the mode of the of which it is the exact counterpart - if one disregards mobile degrees which we will study hereafter. The range of minor is to it thus the prototype of this mode. The minor mode can take three forms: natural, harmonic or melody.

Natural minor mode

The mode minor naturalness is perfectly in conformity with the diatonic scale natural - or with the one of its Transposition S. In Classical music, this mode is used very little such as it is, because of its VIIe degree which is a Sous-tonique.

  • Example, range of it minor naturalness :

Harmonic minor mode

The mode minor harmonic , called thus because its structure is used to constitute the agreements tonal Système, is the minor mode traditional . Its main feature is that its VIIe degree is affected of a accidental weathering so that this one becomes a sensitive .

  • Example, range of it minor harmonic :

Melody minor mode

The melody mode minor is a particular form of the traditional minor mode, to which one has recourse for melody reasons , which explains its name.

  • One can notice that between the Life and VIIe degree of the harmonic minor a increased second appears, unexpected, and difficult interval of intonation. In order to avoid making hear this interval surprising , one carries out the following corrections.

- While going up, i.e. while going towards the tonic - the sensitive one is thus essential, and cannot be modified -, one assigns an ascending deterioration to the Life degree - it is the ascending form of the melody minor mode.

- While going down, one gives up the sensitive one - this one is necessary only when it goes up towards the tonic -: the minor mode becomes again then the certified copy of the mode of the, copied on the diatonic scale - it is the downward form of the melody minor mode.

  • This double installation makes it possible to avoid the melody interval of second increased while preserving at this mode its tonal character. Example, melody range of it minor :

Mobile degrees

The Life and VIIe degrees of the minor mode, are called mobile degrees , or mobile notes , because them height is likely to be modified. The Life high degree - ascending melody minor - and the subtonic - melody minor going down - must be analyzed like secondary degrees , generally, passing notes, without incidence on the harmony. In addition, the sensitive one as well as the Life high degree are usually accidental notes, because foreign with the constitution of the diatonic scale.

Minor melody and minor harmonic should not be opposite - they besides are generally used simultaneously -: it is appropriate contrary to regarding them as the “ two forms complementary ” - one, horizontal, the other, vertical - “ minor mode of the Tonal System ”.

See too

Internal bonds

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