| GREGORIAN CHANT - TECHNICAL NOTES |
6. Gregorian Chant Modes
The gregorian modes are the different scales with base in which the melodies were composed.
These scales include a central fifth from the tonic note, also called final note, plus three sounds in the superior part, and in this case they are called authentic modes (acute), or in the inferior part, and then they are called plagal modes (deep).
The names of these modes are:
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It exists, in addition, in each mode one dominant note, so called because the melody returns to this one with relative frequency. The dominant ones are:
| MODE | I | II | III | IV | V | VI | VII | VIII |
| DOMINANT | D | F | B-D | A | C | A | D | C |
Each one of these modes has a peculiar character, due to the different positioning from the halftones, and therefore an own expressive power.
It can be transported, combined and sometimes free.
The Mode in which a gregorian piece was composed is indicated with a number put before the first tetragram.
The example shows that the Antiphon is written in 8th Mode.
The expressive sense of the gregorian modes was described thus by Guido D'Arezzo: "The first Mode is serious, the second sad one, the third mystic, the fourth harmonious one, the fifth glad one, the sixth is devote, the seventh angelical one, eighth is the perfect one ".
Adam de Fulda comments them in this manner: " the first mode is suitable to all feeling, the second is apt for the sad things, third is vehement, the fourth has effects to tier to us, fifth agrees to the glad ones, the sixth to those of proven mercy, seventh belongs to youth, the eighth to the wisdom ".
Juan de Espinoza, author of century XVI, comments on the other hand: " the first is all glad and very capable one to tame the passions of the spirit...; serious and with a character of weep it is the second, it is the most appropriate one to cause tears...; the third is very effective to urge wrath...; whereas the fourth takes in himself all joy, it urges the delights and it moderates the viciousness...; the fifth causes joy and pleasure to which they are in sadness...; weeping and pious it is the sixth...; pleasure and sadness they meet in the seventh...; by force it has to be very glad the eighth... " (Treaty of principles, 1520).
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