Critical and Historical Essays by Edward MacDowell (famous ebook reader .TXT) 📕

Aeolian or Locrian, Hypo- (or low) Lydian, Phrygian, Hypo- (or low) Phrygian, and Mixolydian or mixed Lydian. The invention of the latter is attributed to Sappho by Plutarch, quoting Aristoxenus.

These modes were all invested with individual characters by the Greeks, just as in the present day we say our major mode is happy, the minor sad. The Dorian mode was considered the greatest, and, according to Plato, the only one worthy of men. It was supposed to have a dignified, martial character. The Lydian, on the other hand, was all softness, and love songs were written in it. The Phrygian was of a violent, ecstatic nature, and was considered as being especially appropriate for dithyrambs, the metre for the wild bacchanalian dances. For instance, Aristotle tells how Philoxenus attempted to set dithyrambic verse to the Dorian mode, and, failing, had to return to the Phrygian. The Mixolydian, which was Sappho's mode, was the mode for sentiment and passion. The Dorian, Phrygian, and Lydian were the oldest modes.

Each mode or scale was composed of two sets of four notes, called tetrachords, probably derived from the ancient form of the lyre, which in Homer's time is known to have had four strings.

Leaving the matter of actual pitch out of the question (for these modes might be pitched high or low, just as our major or minor scale may be pitched in different keys), these three modes were constructed as follows:

Greek Dorian (E F) G A (B C) D E,
that is, semitone, tone, tone.

/
| Phrygian D (E F) G A (B C) D,
| or F[#] (G[#] A) B C[#] (D[#] E) F[#],
Asiatic | that is, tone, semitone, tone.
|
| Lydian C D (E F) G A (B C),
that is, tone, tone, semitone.

Thus we see that a tetrachord commencing with a half-tone and followed by two whole tones was called a Dorian tetrachord; one commencing with a tone, followed by a half-tone, and again a tone, constituted a Phrygian tetrachord. The other modes were as follows: In the Aeolian or Locrian the semitones occur between the second and third notes, and the fifth and sixth: [F: b, (c+ d) e (f+ g) a b] Theraclides Ponticus identifies the Hypodorian with the Aeolian, but says that the name "hypo-" merely denoted a likeness to Doric, not to pitch. Aristoxenus denies the identity, and says that the Hypodorian was a semitone below the Dorian or Hypolydian. In the Hypophrygian, the semitones occur between the third and fourth, and sixth and seventh degrees: [F: c+ d+ (e+ f+) g+ (a+ b) c+'] In the Hypolydian, the semitones occur between the fourth and fifth, and seventh and eighth: [F: e- f g (a b-) c' (d' e-')] The Dorian (E), Phrygian (commencing on F[sharp] with the fourth sharped), and the Lydian (A[flat] major scale) modes we have already explained. In the Mixolydian, the semitones occur between the first and second, and fourth and fifth degrees: [G: (a b-) c' (d' e-') f' g' a']

According to the best evidence (in the works of Ptolemy, "Harmonics," second book, and Aristides), these were approximately the actual pitch of the modes as compared one to another.

And now the difficulty was to weld all these modes together into one scale, so that all should be represented and yet not be complicated by what we should call accidentals. This was accomplished in the following manner, by simple mathematical means:

We remember that the Dorian, which was the most greatly favoured mode in Greece, was divided into two tetrachords of exactly the same proportions, namely, semitone, tone, tone. By taking the lowest note of the Mixolydian, B, and forming a Dorian tetrachord on it, B C D E were acquired. Adding to this another Dorian tetrachord, E F G A (commencing on the last note of the first), and repeating the same series of tetrachords an octave higher, we have in all four Dorian tetrachords, two of which overlap the others. The two middle tetrachords, constituting the original Dorian mode, were called disjunct, the two outer ones which overlap the middle ones were called conjunct or synemmenon tetrachords.

If we consider this new scale from octave to octave, commencing with the lowest note, that is to say from B to B, we find that it coincides exactly with the Mixolydian mode; therefore this was called the Mixolydian octave. The octave in this scale from the second note, C to C, coincides exactly with the Lydian mode, and was called the Lydian octave; from the third note, D, up to its octave gives the Phrygian; from the fourth note, E, the Dorian; from the fifth, F, the Hypolydian; from the sixth, G, the Hypophrygian; and from the seventh, A, the Aeolian or Hypodorian octave. Add one note to the lower end of this universal Greek scale, as it was called, and we see that the whole tonal system was included within two octaves. To each of the notes comprising it was given a name partly derived from its position in the tetrachords, and partly from the fingering employed in lyre playing, as shown in the diagram on page 87.

The fifteen strings of the kithara were tuned according to this scale, and the A, recurring three times in it, acquired something of the importance of a tonic or key note. As yet, however, this scale allowed of no transposition of a mode to another pitch; in order to accomplish this the second tetrachord was used as the first of another similar system. Thus, considering the second tetrachord, E F G A, as first of the new scale, it would be followed by A B[flat] C D, and the two disjunct tetrachords would be formed. Followed by the two upper conjunct tetrachords, and the proslambanómenos added, our system on a new pitch would be complete. This procedure has come down almost unchanged to our times; for we have but two modes, major and minor, which are used on every pitch, constituting various keys. These Greek modes are the basis on which all our modern ideas of tonality rest; for our major mode is simply the Greek Lydian, and our minor mode the Aeolian.


LIST OF NOTES IN THE GREEK SCALE

disjunct Aeolian. [G: a'] +- A. Nete, or highest. --+ Hypophrygian. +-| G. Páranete, next highest. | Hypolydian. +-| | F. Trite, third. | Dorian. +-| | | E. Néte, highest. --+ conjunct Phrygian. +-| | | | D. Páranéte, next highest. --+ --+ Lydian. +-| | | | | C. Trite, third. | | Mixolydian. +-| | | | | | B. Paramese, next to central tone | |
| | | | | | +- A. Mese, central tone. --+ +
| | | | | +-- G. Líchanos, index finger. |
| | | | +--- F. Parhýpate, next to lowest. |
| | | +---- E. Hýpate, lowest. +
| | +----- D. Líchanos, index. |
| +------ C. Parhýpate, next to lowest. |
+------- B. Hýpate, lowest. --+
[F: a,] A. Proslambanómenos, added tone.

To go into detailed explanation of the Greek enharmonic and chromatic pitch will scarcely be worth while, and I will therefore merely add that the instruments were sometimes tuned differently, either to relieve the inevitable monotony of this purely diatonic scale or for purposes of modulation. A Dorian tetrachord is composed of semitone, tone, tone; to make it chromatic, it was changed as follows: [G: e' f' g-' a'] the líchanos, or index finger string, being lowered a semitone.

The enharmonic pitch consisted of tuning the líchanos down still further, almost a quarter-tone below the second string, or parhýpate, thus making the tetrachord run quarter-tone, quarter-tone, two tones. Besides this, even in the diatonic, the Greeks used what they called soft intervals; for example, when the tetrachord, instead of proceeding by semitone, tone, tone (which system was called the hard diatonic), was tuned to semitone, three-quarter-tone, and tone and a quarter. The chromatic pitch also had several forms, necessitating the use of small fractional tones as well as semitones.

Our knowledge of the musical notation of the Greeks rests entirely on the authority of Alypius, and dates from about the fourth century A.D. That we could not be absolutely sure of the readings of ancient Greek melodies, even if we possessed any, is evident from the fact that these note characters, which at first were derived from the signs of the zodiac, and later from the letters of the alphabet, indicate only the relative pitch of the sounds; the