Sheet 1 Sheet 1

MEDIAEVAL TRETACHORDS

Lydian L Mixolydian M Dorian D Phrygean P

& ú Ï Ï Ï ú Ï Ï Ï Ï Ï Ï
ú Ï Ï ú Ï
2 2 2 1 2 2
2 2 2 1 1 2

Characteristic interval
Ï
1 Hypolydian mode

.Ï Ï Ï ú Ï Ï Ï
Ï
Lydian mode
Ï Ï Ï Ï ú
&ú Ï ú
M L Lyd. 4
L M

Characteristic interval

&. Ï . . .Ï .ú Ï Ï Ï
Ionian mode Hypoionian mode
Ï Ï
2
Ï Ï Ï Ï
ú Ï Ï
M None
M
M M

Characteristic interval
Mixolydian mode 2
Ï Ï Ï Ï Hypomixolydian mode
ú
&ú Ï Ï Ï Ï Ï Ï
Ï Ï Ï ú ú
D
M M Mixolyd. 7
D

Hypodorian mode Characteristic interval

. .Ï .Ï ú Ï Ï Ï
Dorian mode

&ú Ï
2
Ï Ï Ï Ï ú
Ï Ï ú
D Ï
D D Dorian 6
D

Characteristic interval

&. .
Hypoionian mode

.
Aeolian mode
Ï Ï Ï
2
Ï Ï Ï Ï Ï Ï Ï ú
ú Ï Ï Ï
D None
Ph Ph
D

Characteristic interval

. . Ï ú Ï Ï Ï
Hypophrygean mode
Ï
Phrygean mode
Ï
2
Ï Ï Ï
&ú Ï Ï ú ú
Ph
Ï Ï
Ph Ph Phrygean 2
Ph

Characteristic interval

&. . .
Hypolocrian mode
Ï Ï Ï
Locrian mode
Ï ú
1
Ï Ï Ï Ï Ï Ï Ï ú
ú Ï Ï Ph ú
L L None
Ph
Sheet 2 Sheet 2
MESSIAEN'S MODES

& . ú
1st. Mode (6 tones); pattern: 2-2-2-2-2-2 1 possible transposition

ú # ú # ú #ú
ú ú ú ú ú bú
ú bú bú

& . b ú b ú nú #ú ú ú b ú ú .Ï Ï Ï Ï Ï bÏ bÏ n Ï # Ï Ï bÏ Ï bÏ bÏ nÏ Ï Ï
2nd Mode (8 tones); pattern: 12-12-12-12 2 possible transpositions
Ï
ú #

3 possible transpositions

& . ú bú nú #ú ú bú bú n ú ú . #Ï Ï Ï Ï bÏ nÏ Ï Ï #Ï Ï Ï Ï bÏ etc.
3rd Mode (9 tones); pattern: 211-211-211

ú bÏ Ï # Ï Ï etc.
#Ï
... ...

4th Mode (8 tones); pattern: 1131-1131 5 possible transpositions

& ú. bú nú ú #ú ú bú nú ú . Ï #Ï#Ï Ï etc. Ï Ï bÏ ... Ï #Ï Ï ...

etc.
Ï bÏ Ï #Ï Ï Ï
etc. etc. etc.
#Ï
... ... ...

5th Mode (6 tones); pattern: 141-141 5 possible transpositions

& . b ú ú #ú ú ú ú . Ï #Ï Ï b Ï Ï #Ï Ï bÏ Ïetc. #Ï Ï Ï ... Ï bÏ bÏ

etc. etc.
ú #Ï
...
#Ï Ï ...
Ï

6th Mode (8 tones); pattern: 2211-2211 5 possible transpositions

& . ú ú ú #ú #ú #ú ú ú bÏbÏ Ï bÏ nÏ ... Ï Ï #Ï Ï ... bÏ Ï Ï #Ï ... Ï Ï Ï ...

etc.
Ï
etc. etc. etc. etc.
ú
...
Ï #

7th Mode (10 tones); pattern: 11121-11121 5 possible transpositions

& . . ú bú ú #ú ú bú nú ú ú . Ï#Ï Ï#Ï Ï ... Ï #Ï Ïetc.

...#Ï Ï Ï ... Ï Ï bÏ ... Ï#Ï Ï ...
etc. etc. etc. etc.
ú #ú #Ï
Sheet 3 Sheet 3
PENTATONIC SCALE

Module of perfect 4th; pattern: 23. The Mode is made of two moduls tied on sinaphe.
Between the second module and next (octave) transposition is a whole-tone diazeuxis

ú
.
3
ú
.
2
2 3
ú ú ú ú
& ú ú ú ú
2 3
2 3 the whole-tone
diazeuxis

some typical chords of pentatonic mode

w w w w w w w ww w
w
& w
ww ww
w w
w w
w w
w w
w ww
ww ww
w w
ww w
ww w
w ww
w

ANTIQUE MAJOR SCALE

M
Ï bú
.
M
Ï
& . . . . Ï Ï ú Ï Ï bú
M
Ï bú Ï
M
M
ú Ï Ï ú 2 2 1 2 1 2 2 1
2 1 2 2
2 2 1
Aeolian mode
Mixolydian mode

UNUSUAL COMBINATIONS
of mediaeval tetrachords

The 2nd Messiaen's mode; pattern: 212-1-212-1

& . . . Ï Ï #Ï Ï ú
"Phrigo-dorian" mode
#Ï Ï #Ï ú
ú Ï Ï Ï #Ï
ú bÏ Ï 2 1 2
2 1 2 1 2 1 2 1
1 2 2
2
This tone row can be found in melodic g-minor, Two dorian (or minor) tetrachords with a semitone
but differently treated. Here the tonic is A and diazeuxis - in fact make the 2nd Messiaen's mode!
E and F# are stable and quite normal.

"Dori-lydian" mode; pattern: 212-1-222

Ï bÏ Ï Ï ú
& ú #Ï Ï
2 1 22 2 2
1
The same tone row as upper "Phrigo-dorian" mode, but
with different tonic - E not A
Sheet 4 Sheet 4
LINEAR MODES

ONE-OCTAVE MODES

(Re-shaped 3rd Messiaen's Mode)

One-octave mode of 9 tones; module - maj 3; three different tetrachords: 211-121-112
The mode is symetrical in relation to non-existent tone f#;
or if it is expanded to two octaves, the symetry exists in relation to c2

1 Ï 1b Ï 2 ú
. . .
b ú n
1.
Ï Ï
& . Ï #Ï ú Ï Ï 1 bú nÏ b Ï ú 2 Ï #Ï ú 1
1 1
1 2 2
ú2 1 1 1 1 2

The axis of symmetry

within an octave
The axis of symmetry
within two octaves

"Harmozation" of the mode; in outer voices are both "wings" of the mode.
Chords are made by using every other tone of the mode.

ÏÏÏÏÏ bbbÏÏÏÏÏ nnÏÏÏÏ bbÏÏÏÏ nÏÏÏ bÏÏÏ nÏÏ bÏÏ Ï w

&

& bbbÏÏÏÏ w
Ï nnÏÏÏÏ bbÏÏÏÏ nnÏÏÏ bbÏÏÏ nÏÏ bbÏÏ nÏ bÏ
 LINEAR MODES Sheet 5
Sheet 5

SEMI-CLOSED MODES
Two-octaves Modes

Two-octaves mode; 12 diferent tones; modul - min. 6

Three identical pentachords (on sinaphe); pattern: 3212
The Mode is symmetrical towards the axis situated between a and bb
Ton a as the central tone of the Mode can be regarded as tonic (ex. a, b, c)
but it is more interesting to see tones a and b as double tonic!
ali je mnogo zanimljivije videti tonove a ib b kao dvosrtruku toniku! (ex. d)

Ï bÏ 2 b ú <b Ï. >
. .
bÏ .
"double tonic"

.
& Ï Ï bÏ ú
Ï #Ï Ï ú 3 2 1
#ú 2 1 2
2 3
2 1
3

Axis of symmetry

a) Multy-voice progression, from 1 to 7 tones; center (tonic): a

<n>ÏÏÏ bb ÏÏÏ <n><n>ÏÏÏ bb ÏÏÏ <n>ÏÏÏ bbÏÏÏ

bÏ b Ï bÏ
& Ï bÏÏ ÏÏ bbÏÏÏ ÏÏ bÏÏ w
Ï Ï # ÏÏ <n> ÏÏ ## ÏÏÏ <n> ÏÏ # ÏÏ Ï Ï

b) Four-voice progression; center (tonic): a

úú bbúú b úú bbúú úú
& úúú bbúúú bbúúú w
ww
ú ú # úú úú ## úú úú # úú ú w

c) Another harmonic progression - from 1 to 6 different tones; center (tonic): a

#ú #úú ## úú ú bnúú
#ú ##úú ú bbbúúú úú
bbúú úú bú
& ú w

# #úú <n>#úúú
1 2 3 4 5 2

#úú ##úúú 6 5 4 3 1
? #ú #ú ú úú w
& nú # úú úú ú
n úú

d) Harmonic progression - from 2 to 8 (10) different tones; "double tonic": a-b

b ú ú b b ú
ú b úú bbb úúú bbb úúú #
úú bb úú b ú b ú
##Ïúú b úú bb úú úú bbbúúú úú bbúú ú bw
& bú ú b ú ú b ú ú ú
2 2 4 4 6 6 6 8 (10) 8 6 6 6 4 4 2 2

& ú ú úú úú ú
# úú úúú # úú úúú # Ïúú úúú # úú úúú ú
# úú úú
úú ú w
# ú # ú ## úú # ú #ú
Sheet 7 LINEAR MODES Sheet 7

SEMI-CLOSED MODES
Two-octave Modes (3)

Two-octave mode; 19 tones; modul - min. 6; lower part is identical as in mode A (sheet 6)
The mode is symetrical towards the central tone (tonic) g#. There are leading tones from both sides.
There are 3 different heptachords on sinaphe; The first and the third are mutually symetrical,
while the second one is symetrical in itself; pattern: 211121 - 211112 - 121112 Skipped
tones
b Ï 2b ú
B & / . . . . #Ï ú # Ï Ï #Ý Ï b Ï ú 1 #Ï # Ï Ï Ï / ÏÏÏ
1 1

ÏÏ.
2 1

# ú # Ï Ï 1 Ï 1#Ï 2 1 2 1 1 1 1 2 Ï
2 1
Axis of symetry
The same mode as the previous one but divided into six moduls of maj. 3
There are three different tretrachords: 211 - 121 - 112 (each shows up twice)
All of them are symetrically situated towards central tone (tonic) - g#

Look at the sheet 4: one-octave mode and its "two-octave variant"

In fact, this is the same mode, transposed from c to g#

Skipped
tones
1 Ï 1 b Ï 2b ú
B1 & / . . . 1 . 2# Ï 1 ú #Ï Ï #Ý Ï b Ï 2 ú #Ï # Ï ú 1 / 1 ÏÏÏ
ÏÏ.
# ú # Ï Ï 1 ú #Ï
1
Ï
1 2
2 1 1
2 1
Axis of symetry

Two-octave Modes - "unregular"

Modul of perfect 5. Three different hexachords with one semitone-diazeuxis and one wholetone.
Pattern: 21112 - 1 - 21211 - 2 - 11212 Skipped
Ï bÏ bú
Ï 1 bÏ 1 nú # ú 1 Ï 1bÏ 2 1 2 /
ÏÏ
A2 & / . . .Ï #/
tones

ú ú #Ï Ï
1 2 b.ÏÏÏ
Ï
#
2
#ú #Ï Ï Ï Ï
1 2 2
2 1 1
1

Example of "unregular" and non-periodic mode; from "After the Scent of the Blossomed Cherry" (five haiku)
Ï Ï nÏ
. . #Ï. . b Ï b Ï bÏ Ï bÏ ú #Ï Ï
& . . Ï Ï Ï bÏ Ï . . . .
2 Ï bÏ b Ï Ï
2
N.B.! Lower, hexachordal "wing" combines Phrigean mode
and whole-tone scale, while in the upper pentachordal "wing" Naturally, this example, as many others,
a segment of Messiaen's Second mode can be seen as well as can be understood as polymodality, if we
mixolydian (major) tetrachord. Only they are differently marked. take every modul as a particular mode.
In either way the register change should
be noted
Sheet 7 Sheet 7
LINEAR MODES

SEMI-CLOSED MODES
Two-octave Modes (3)

Two-octave mode; 19 tones; module - min. 6; lower part is identical as in mode A (sheet 6)
The mode is symetrical towards the central tone (tonic) g#. There are leading tones from both sides.
There are three different heptachords on sinaphe; The first and the third are mutually symetrical,
while the second one is symetrical in itself; pattern: 211121 - 211112 - 121112

In this case and some other cases later, ton G# is taken as the axis of symmetry since piano keyboard
is symmetrical related to it Skipped
tones
b Ï 2b ú ÏÏ
B & / . . . . #Ï ú #Ï Ï #Ý Ï b Ï ú 1 #Ï #Ï Ï Ï / ÏÏ.
2 1 1 1

ÏÏ
# ú # Ï Ï 1 Ï 1#Ï 2 1 2 1 1 1 1 2
2 1
Axis of symmetry

The same mode as the previous one but divided into six modules of maj. 3
There are three different tretrachords: 211 - 121 - 112 (each shows up twice)
All of them are symetrically situated towards central tone (tonic) - g#

Look at the sheet 4: one-octave mode and its "two-octave variant"

In fact, this is the same mode, transposed from c to g# Skipped
tones

ú 1 Ï 1 b Ï 2b /
ú ÏÏÏ
B1 & / . . . 1 . 2#Ï 1 ú #Ï Ï #Ý Ï
2 ú #Ï # Ï
b Ï Ï.Ï
1 1

#ú # Ï Ï ú #Ï 2 1 1
1 2 1
Ï
1
2 1
Axis of symetry

Two-octave Modes - "irregular"

Module of perfect 5. Three different hexachords with one semitone-diazeuxis and one wholetone.
Pattern: 21112 - 1 - 21211 - 2 - 11212 Skipped
Ï bÏ bú
2 /
ÏÏ
A2 & / . . .Ï #/
Ï bÏ
tones

ú ú #Ï Ï
2 1 2 Ï 1 bÏ 1 nú # ú
b.ÏÏÏÏ
# ú #Ï Ï 1 Ï 2#
2 1
Ï
1 1
2
2 1 1
1

Example of "irregular" and non-periodic mode; from "After the Scent of the Blossomed Cherry" - Taoraruru
Ï Ï nÏ
. . #Ï. . b .Ï b .Ï bÏ Ï bÏ ú #Ï Ï
.Ï . . .
?
& Ï Ï Ï bÏ
2
Ï bÏ b Ï Ï
2
N.B.! Lower, hexachordal "wing" combines Phrigean mode
and whole-tone scale, while in the upper pentachordal "wing" Naturally, this example, as many others,
a segment of Messiaen's Second mode can be seen as well as can be understood as polymodality, if we
mixolydian (major) tetrachord. Only they are differently marked. take every module as a particular mode.
In either way the register change should
be noted
Sheet 8 LINEAR MODES Sheet 8

SEMI-CLOSED MODES
Three-octave Modes

The three-octave mode (21 tones); four identical modules of maj.6; Pattern: 32112

/ Ï Ï bÏ n Ï #ú
Tonic
& Ï ú
Lower
ú bÏ Ï #Ï
Lower
Tritonante Mediante
ú
Upper
Ï Ï bÏ /
Upper
? Ï #Ï #ú #Ï # Mediante Tritonante

#ú Ï Ï 1 1 2
3 2 Tonic

4-tone chords made up of every other tone of the mode

& w
bw ÏÏ b#ÏÏ nÏÏ b#ÏÏ nww
Ï bÏ ÏÏ ##bw #ÏÏ #bÏÏ ÏÏ nÏ w
? ##w ##ÏÏÏÏ #Ï#ÏÏ n##ÏÏÏ ##ÏÏ w
w
ww
#w

Ï # Ï n#ÏÏ ##w# w
w
Ï bÏÏ nÏÏ b#ÏÏÏ ww
w b#ÏÏÏÏ nÏÏÏ b#ÏÏÏ nÏÏ w
& nw
ww #ÏÏÏ nÏÏ #ÏÏ Ï w
? w

Note! The chords on Tonic, both Mediantes and Tritonantes have identical "consonant", fourth-fifth structure (5-7-12)