In his book The Technique of My Musical Language
The third mode is transposable four times just like an augmented triad. The mode is constructed in tetrachords (groups of four notes) following the interval pattern whole step-half step-half step. The four transpositions are shown below.
With nine pitches in Messiaen’s mode three, the possibilities for harmonic complexity advance dramatically.
For the ecclesiastical mode three, see the Phrygian mode.
In his book The Technique of My Musical Language
Mode 2 is transposable three times. It is constructed by alternating half and whole steps. The three transpositions are:
It is the symmetry of these modes that limits the number of times they may be transposed. Even by beginning the scale with a whole step, the same limited set of transpositions is generated. The example below uses the same transposition number scheme as the one above so that you may easily see the relation:
In his book Breaking Free, Jeffrey Brillhart offers an entire chapter on the Second Mode with several characteristic harmonic progressions and many suggested ways to use the mode.
The whole tone scale is a scale of six notes where each tone is separated from the next by the distance of a whole step. Olivier Messiaen called the whole tone scale his first mode of limited transposition because there are only two possible transpositions of the scale. Because each note is equidistant from the next, there is no leading tone that would help establish a tonic note. Instead, the scale creates a more fuzzy, dreamlike environment, in part because it was used often by impressionistic composers like Claude Debussy.
While the term Locrian mode has been used by several early music theorists, it was first applied to chant in the 18th century. In modern terms, it is most easily described as the scale from B to B using only the white notes of the piano. In order to construct the scale starting on other notes, follow the pattern ascending from tonic: half step – whole step – whole step – half step – whole step – whole step – whole step.
A handout showing the mode starting from all twelve notes is available here.
The Locrian mode is considered a minor mode because of the minor third above the tonic. It differs from the natural minor scale by having lowered second and fifth degrees. The ancient Greek Locrian mode in the diatonic genus resembles the Mixolydian mode rather than the modern Locrian mode.
The presence of a diminished fifth in the tonic triad (B-F) has resulted in few composers actually using the mode for more than brief passages. Claude Debussy’s includes three extended passages in the Locrian mode in his composition Jeux.
The Aeolian mode was named in the 16th century by Heinrich Glarean. In modern terms, it is known as the natural minor scale and can be described as the scale from A to A using only the white notes of the piano. In order to construct the scale starting on other notes, follow the pattern ascending from tonic: whole step – half step – whole step – whole step – half step – whole step – whole step.
A handout showing the mode starting from all twelve notes is available here.
While the Hypodorian mode also corresponds to the same A to A note range, it is considered a plagal mode counterpart to the authentic first mode, the Dorian mode.
The Mixolydian mode is Mode 7 of the church modes used in Gregorian chant. In modern terms, it is most easily described as the scale from G to G using only the white notes of the piano. In order to construct the scale starting on other notes, follow the pattern ascending from tonic: whole step – whole step – half step – whole step – whole step – half step – whole step.
A handout showing the mode starting from all twelve notes is available here.
The Mixolydian mode is considered a major mode because of the major third above the tonic. It differs from the major scale by having a lowered seventh degree. The ancient Greek Mixolydian mode in the diatonic genus resembles the Locrian mode rather than the ecclesiastical Mixolydian mode.
Some themes in the Mixolydian mode include:
The Lydian mode is Mode 5 of the church modes used in Gregorian chant. In modern terms, it is most easily described as the scale from F to F using only the white notes of the piano. In order to construct the scale starting on other notes, follow the pattern ascending from tonic: whole step – whole step – whole step – half step – whole step – whole step – half step.
A handout showing the mode starting from all twelve notes is available here.
The Lydian mode is considered a major mode because of the major third above the tonic. It differs from the major scale by having a raised fourth degree, though some chants will use a B-flat negating any difference between this mode and the major scale. The ancient Greek Lydian mode in the diatonic genus resembles the major scale rather than the ecclesiastical Lydian mode.
Some themes in the Lydian mode include:
Videos:
Olivier Latry – Improvisation on The Simpsons Theme – Toronto
The Phrygian mode is Mode 3 of the church modes used in Gregorian chant. In modern terms, it is most easily described as the scale from E to E using only the white notes of the piano. In order to construct the scale starting on other notes, follow the pattern ascending from tonic: half step – whole step – whole step – whole step – half step – whole step – whole step.
A handout showing the mode starting from all twelve notes is available here.
The Phrygian mode is considered a minor mode because of the minor third above the tonic. It differs from the natural minor scale by having a lowered second degree. This makes the chord built on the dominant a diminished triad, so final cadences tend to be vii – i or iv – i. While named for an original Greek mode, the ecclesiastical Phrygian mode actually resembles the Greek Dorian mode (and vice versa).
For suggested ways to practice a mode, please read the newsletter issue on Learning Modes.
Some themes in the Phrygian mode include:
“I am always doing that which I cannot do, in order that I may learn how to do it.”
― Pablo Picasso
Learning to do something requires us to step beyond our comfort zone. Just as hearing someone describe a watermelon to you will not allow you to taste it, reading about improvisation does not allow you to become an improviser. At some point, it is essential to sit down at the keyboard and, as Nike encourages us, “Just do it.”
Some people learn best by watching someone else do the task first. Others need to hear someone give an example. This is one of the reasons why I include YouTube videos at organimprovisation.com. While all of the videos provide auditory examples, when I am searching for videos to include, I will give a preference for those where you can see the player’s hands at the keyboard as well. I know from my own personal experience that it has been very helpful in my learning process to be able to see exactly how someone is creating the sounds that I am hearing. The organ offers so many different sound combinations and such complex sounds (through the use of mixtures and other upper work), that a quick glance to see where the hands are at the keyboard can settle many questions that the ear might have posed. I remember even my teacher peering around the corner once after I had been asked to improvise with my left hand and feet alone. I’m sure he was checking to make sure I didn’t slip my right hand into the texture!
Some people also learn best by touch. You can explain to them and show them, but until they can use their hands and do it for themselves, their learning will be incomplete. For me, this is where scales, arpeggios, cadences and other progression exercises help train us as improvisers. Any one who has ever memorized a piece of music is familiar with the idea of muscle memory. We need to find ways to train and take advantage of this muscle memory when we improvise as well. Knowing our muscles know where to go next frees up brain power for us to focus on form or any of the other elements we need to consider as improvisers.
As a young piano student, I learned to play all the major and minor scales, along with arpeggios, chords and cadences. These drills helped build technique and were my introduction to harmonic theory. If you have not learned to play scales, arpeggios, chords and cadences (I-IV-I-V-I) in all the keys, I strongly urge you to do so. While I have most often done these at the piano, we shouldn’t forget to practice them with our feet as well. Go as slowly as you need to in order to play accurately, then you can work for speed.
While the major and minor scales are part of most every musician’s formation, other modes are frequently omitted or only touched briefly. As an improviser, I believe the more tools we have in our toolbox, the better we will be prepared to improvise on any given theme. For this reason, I’d like to recommend spending some time getting to know other modes as well as we know the major and minor modes.
As mode number one in the codification of the church modes used for Gregorian chant, I’d like to start with the Dorian Mode. It differs from the natural minor scale by having a raised sixth degree.
Rather than playing minor scales this week when you practice, how about playing the Dorian mode? Be sure you can play the mode starting from each of the different pitches. If you need to verify or want to have a reminder in front of you, I prepared a pdf that you can download here.
Aside from scales, here are a few other ways to practice and learn the Dorian mode:
or Hanon
for example) in the Dorian mode.What else can we do to get the Dorian mode into our ears and fingers?
In the coming weeks, I plan to include posts about other modes on the website, explaining how they are constructed and identifying themes that are in the mode. All of the suggestions for the Dorian mode today can be (and should be) applied for each of the other modes that will be presented in the weeks to come. Part of creating colorful improvisations is the ability to use different modes. Regardless of how you might choose to go about learning the modes, be sure to find a way to include them in your improviser’s toolbox.
Hoping you will venture into new territory in order to learn more,
Glenn
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The Dorian mode is Mode 1 of the church modes used in Gregorian chant. In modern terms, it is most easily described as the scale from D to D using only the white notes of the piano. As improvisers, however, we need to know the structure of the scale in order to apply it from any starting note. The Dorian mode happens to be a symmetric scale in that the same pattern to generate the scale works either ascending or descending from the starting note. For the Dorian mode, that pattern is: whole step – half step – whole step – whole step – whole step – half step – whole step.
A handout showing the mode starting from all twelve keys is available here.
The Dorian mode is considered a minor mode because of the minor third above the tonic. It differs from the natural minor scale by having a raised sixth degree, though some chants labeled as mode 1 include the flatted sixth degree. While named for an original Greek mode, the ecclesiastical Dorian mode actually resembles the Greek Phrygian mode (and vice versa).
For suggested ways to practice a mode, please read the newsletter issue on Learning Modes.
Some themes in the Dorian mode include:
