The modes in music

1. The modes and their character tones: (Finalis, Confinalis, Cursus turba)
   • The authentic modes:
     • Dorian: D E F G A B C D
     • Phrygian: E F G A H C D E
     • Lydian: F G A B C D E F
     • Mixolydian: G A B C D E F G
   • The additional authentic modes:
     • Ionian: C D E F G A B C
     • Aeolian: A B C D E F G A
   • The plagal modes:
     • Hypoionian: G A B C D E F G
     • Hypodorian: A B C D E F G A
     • Hypophrygian: B C D E F G A B
     • Hypolydian: C D E F G A B C
     • Hypomixolydian: D E F G A B C D
     • Hypoaeolian: E F G A B C D E
2. Relations between the modes:
   • Between the authentic mode and the (belonging) plagal mode with the same name (e.g. mixolydian and hypomixolydian): Same end note (Finalis) and Confinalis (a fifth above the Finalis, which some voices may also end, i.e. the ‘co-end note’). The range of the plagal mode is one fourth lower than the authentic mode.
   • Between the authentic mode and the plagal mode with the same range (e.g. dorian and hypomixolydian): The Finalis of the authentic mode is the same as the Confinalis of the plagal mode. Besides the Phrygian and the Hypoaeolian have the same Cursus turba C.
   • Concerning the Cursus turba (Repercussa):
     The median relations:
     • Hypoionian – Phrygian: The Finalis of Hypoionian mode is the same as the Cursus turba of Phrygian mode (C), the Finalis of Phrygian mode is the same as the Cursus turba of Hypoionian mode (E).
     • Hypodorian – Lydian: The Finalis of Lydian mode is the same as the Cursus turba of the Hypodorian mode (F).
     • Hypolydian – Aeolian: The Finalis of Aeolian mode is the same as the Cursus turba of Hypolydian mode (A).
     • Hypoaeolian – Ionian: The Finalis of Ionian mode is the same as the Cursus turba of Hypoaeolian mode (A).

     The fourth relations:

     • Hypophrygian – Aeolian: The Finalis of Hypophrygian mode is the same as the Cursus turba of Aeolian mode (E), the Finalis of Aeolian mode is the same as the Cursus turba of Hypophrygian mode (A).
     • Hypomixolydian – Ionian: The Finalis of Hypomixolydian mode is the same as the Cursus turba of Ionian mode (G), the Finalis of Ionian mode is the same as the Cursus turba of Hypomixolydian mode (C).
3. Modal fingering on keyboards:
   The usual fingering on the keyboards is (1 is the thumb … 5 is the small finger):
   • Right hand: 1 2 3 1 2 3 4 5/1
   • Left hand: 1/5 4 3 2 1 3 2 1

   Note that on the right hand the thumb plays the first and the fourth note, i.e. the scale is a plagal scale. On the left hand the thumb plays the first note/octave and the fifth note, i.e. the scale is an authentic scale. In a modal fingering, the thumb plays the Finalis and the Confinalis of a modal scale. It means when we plays an authentic mode on the right hand, the fingering is 1 2 3 4 1 2 3 4/1, and a plagal mode on the left hand: 1/4 3 2 1 4 3 2 1.
   Playing an authentic mode on both hands:

   • Right hand: 1 2 3 4 1 2 3 4/1
   • Left hand: 1/5 4 3 2 1 3 2 1

   Playing a plagal mode on both hands:

   • Right hand: 1 2 3 1 2 3 4 5/1
   • Left hand: 1/4 3 2 1 4 3 2 1

Terms of sound

1. In English:
   • Sound: the simple term.
   • Noise: sound cluster which does not have a frequency.
   • Tone: A sound which is sung or played by a musical instrument, or the step between two next tones. E.g. the A tone, the B tone, whole tone, semitone.
   • Tune: A melody. Or the pitch of an instrument.
   • -phone: (Greek) meaning voice. E.g. telephone, saxophone, homophony, polyphony.
   • -son-: (Latin) meaning sound. E.g. supersonic=ultra-sound, unison, sonata.
   • -ton-: (Greek) meaning tone or tune. E.g. monotony, tonic, tonal.
2. In German:
   • Schall: the physical sound. E.g. Ultraschall=supersonic, Schallplatte=CD.
   • Geräusche: noise.
   • Läute: a phonetic sound. E.g. a-Läute, Umläute, s-Läute.
   • Klang: the musical sound, rather refering to the timbre or the tone colour. E.g. Klang vom Klavier, Klang der Violine, Zusammenklang, Dreiklang.
   • Ton: tone, as a musical sound with attitude or as a step between two next tones. E.g. A-Ton, B-Ton, Ganzton, Halbton, Semiton.
   • -phon or -fon: (Greek) same as in English, meaning voice. E.g. Saxophon, Telefon, homophon, polyphon.
   • -son-: (Latin) same as in English, meaning sound. E.g. Unison, Sonate.
   • -ton-: (Greek) same as in English, meaning tone or tune. E.g. monoton, Tonika, tonal.

Thought of the day

• One can not do everything.
• “Light is light.” / “Licht ist leicht.”
• Better a small problem which can be solved than a big problem without solution.

One crazy idea

Concerto for piano and orchestra “The Dictator”

Probleme heute

• Es kommen immer schwache Ansätze zur Anwendung.
• Die Krise beginnt schon mit einem falsch ausgewählten Wort.

Thought of the day

Is there an orchestra, or is it already destroyed?

Types of concertos – comments

• The basis to determine whether if a concerto is a chamber concerto, a multiple concerto or a concerto for 2 orchestras is the score (partiture) of the work. If there are separate parts with ripieno functions only which formed a complete orchestra (2 violins, viola, bass and possibly winds), it is a solo or multiple concerto. If there is nothing which may seem like a orchestra (for example a violin, an oboe, a flute, a violoncello and basso continuo), it is a chamber concerto. Concertos for 2 orchestras often included parts of the orchestras as solo parts, which is not much different from a multiple concerto or a chamber concerto (when nearly all parts of the orchestra(s) play solo parts). For example: a concerto for violin and strings with the 2 violins and violoncello of the orchestra also playing solo is almost a chamber concerto for 3 violins, viola, violoncello and basso continuo.
• The change between concertino and ripieno makes one concerto to be one ‘between’ the types.

Types of concertos

• Orchestral concerto is the most frequently seen type of concerto. In an orchestral concerto one or several solo instruments play with the orchestra. When there is one solo instruments, one may say of solo concerto, while concertos with more than one solo instruments (the ‘concertino’) are called double, triple, quadruple and multiple concerto respectively. The orchestra (the ‘ripieno’) can be a full symphony orchestra or a string orchestra.
• Chamber concerto is another type of concerto. In a chamber concerto there are only solo parts playing together.
• There are also concertos for orchestra or for 2 orchestras. Some concertos are for solo instrument(s) and 2 orchestras.
• Some concertos are arranged for a keyboard instrument, for example harpsichord or organ.
• Examples among the well-known concertos:
  • Brandenburg Concertos by J.S. Bach: Brandenburg Concerto no. 1 is a concerto for orchestra with strings, 3 oboes, bassoon, 2 horns and a solo piccolo violin. Brandenburg Concerto no. 2 is a quadruple concerto for clarino (trumpet), flute, oboe, violin and string orchestra. Brandenburg Concertos nos. 3 and 6 are chamber concertos. Brandenburg Concerto no. 4 is a triple concerto for 2 recorders/flutes, violin and string orchestra. Brandenburg Concerto no. 5 is a triple concerto for flute, violin, harpsichord and a string orchestra with only one violin part.
  • Many chamber concertos and orchestral concertos are also written by G.P. Telemann.
  • Most of the concertos written by A. Vivaldi are concertos for solo instrument(s) and orchestra. Remarkable are the concertos for many solo instruments (4, 5 and more) and orchestra [they might be chamber concertos or concertos for 2 orchestras indeed]. There are also concertos for violin and 2 orchestras, some concertos for several instruments with 2 orchestras [possibly concertos for 2 orchestras]. Besides there are also concertos for strings and chamber concertos. [Note that the bass line in Baroque works are played by the basso continuo.]
  • Concertos for 2 orchestras are written by A. Vivaldi and G. F. Handel.
  • Concerto arrangements for harpsichord or organ are made by J. S. Bach and G. F. Handel. Notable is the Italian Concerto by J.S. Bach, which is written for harpsichord with the model of a concerto for a solo instrument and orchestra.

Positioning in the choir and in the orchestra

• In a choir with 4 voices (soprano, alto, tenor and bass)
  • Each voices on one whole row (or two whole rows for more singers). Sopranos on the top or in front. Voices placed in the order soprano, alto, tenor, bass or in other orders. In this type of positioning when there are two or more choirs they can be heard very clearly.
  • Each voices on one section (on all rows). For example sopranos on the most left, then the altos, the tenors and the basses on the most right (viewed from the conductor and the audience). Or in other orders for more distinguishing the voices. For two or more choirs this positioning is not appropriate.
  • Each voices on one area behind or in front. For example sopranos on the top left behind, altos on the left in front, tenors on the top right behind, basses on the right in front. It can be arranged for the female voices on the left or on top rows. Or for high male and female voices on the left or on top rows. For two or more choirs this positioning is also inappropriate.
• In an orchestra
  • From left to right (viewed from the conductor and the audience): the violins I, the violins II, the violas and the basses [from high to low]. The winds on rows at the back. Often 2 flutes and 2 oboes on the first row, 2 clarinets and 2 bassoons on the second row, trumpets, horns, other brass and percussion either on third row or on the sides of the rows.
  • From left to right: the violins I, the basses, the violas and the violins II [violins I and II on two sides]. Winds and percussion as above.
  • From left to right: the violins I, the violas, the basses and the violins II [violins I and II on two sides]. Winds and percussion as above.
  • From left to right: the violins I, the violins II, the basses and the violas [violins I and violas on two sides]. Winds and percussion as above.
  • From left to right: the violins I, the basses, the violins II and the violas [violins I and violas on two sides]. Winds and percussion as above.
  • Notice that when there are 2 orchestras, they cannot be heard clearly, excerpt when the instruments are placed in 2 orchestras (for example symmetric, i.e. basses in the middle then higher strings to the both sides).

Bach’s Brandenburg Concertos no. 3 and no. 6

• The Brandenburg Concerto no. 3 by Johann Sebastian Bach can be considered as a Concerto for 3 string trios, each with one violin, one viola and one violoncello, with the common basso continuo by violone and harpsichord.
• The Brandenburg Concerto no. 6 by Johann Sebastian Bach can be considered as a Concerto for a low string trio with 2 violas (named ‘viola da braccio’) and violoncello and a viol consort with 2 tenor/bass viols (named ‘viola da gamba’) and basso continuo by violone and harpsichord.
• Note that in the concertos the parts are played either divisio or all’unisono, therefore it is difficult to distinguish the parts by both the players and the hearers.
• Possibilities of positioning the parts in performance:
  • Grouping the parts as above. Note that in the Brandenburg Concerto no. 6 the 2 violas often play on the same attitude and cross each other, also the 2 viols (in solo passages). This is common in trio sonatas.
  • Another possibility is that to place the two violas on two sides of the stage, the 2 viols also on two sides and nearer to the middle, the violoncello and basso continuo parts in the middle. Note that for these 2 settings, in passages all’unisono each voice is sounded from both sides and/or from the middle. This is not like in a string ensemble where each voice is sounded from one angle of the stage.
  • The groups can be placed in rows with rows behind a step higher than the front rows. In passages all’unisono each voice is sounded from one column. The first row can be used for the foreground group (i.e. solo group) or for the lower group (then the highest group on the highest row backside). For the first case the basso continuo groups or the harpsichord can be placed either on the side or at the back. For the second case the basso continuo groups or the harpsichord can be placed on the side.