Field Guide to the Modes: Hexatonic

A Field Guide to Modes Identifying Western Modal Music Part II: Hexatonic Modes by Patricia Vivian Yarrow You may be familiar with the term “mode” as it applied to the major and minor scales, or to the Dorian, Aeolian, Phrygian, Locrian, Lydian, Ionian and Mixolydian modes, discussed in the previous article. Each of these modes has seven notes; however, a mode may have six, ive, four or even three notes, or more than seven. This article looks at identiication of various kinds of hexatonic (six-note) Name modes. Hexatonic modes come in two basic varieties: those with a gap where a semitone would normally fall, and those with a gap at another location, generally the sixth, seventh, or second scale degree. We will look at the irst category irst. Bertrand Harris Bronson created a standard nomenclature for this class of hexatonic modes. Those with a gap where a semitone would normally fall share characteristics of two heptatonic modes, and are therefore named with both mode names together, as shown in the chart below. “Basic scales” are those given in basic tuning (no sharps or lats). Hexatonic Modes Basic Scales in Authentic Range Dorian/Aeolian D-D, A-A Aeolian/Phrygian A-A, E-E Phrygian/Locrian E-E, B-B Lydian/Ionian F-F, C-C Ionian/Mixolydian C-C, G-G Mixolydian/Dorian G-G, D-D Included Semitone 2-3 5-6 1-2 7-8 3-4 6-7 The irst basic scale for each mode is given with the B omitted, the second with the F. The hexatonic mode which would be called the Locrian/Lydian is impossible due to the omission of the irst scale degree, the keynote. One important characteristic of tunes in these modes is that they have two basic scales possible; a practical advantage is that they can Omitted Scale Degree/Basic note 6th/ B, F 2nd/ B, F 5th/ B, F 4th/ B, F 7th/ B, F 3rd/ B, F Major (M) or minor (m) m m m M M Neither be played in two locations on a diatonic harp without retuning. This can be very useful when you are playing with a singer or with other instruments. It is also true that the tune can be played in the one position whether the harp is in basic tuning or with Bs latted, and in the other position whether the harp is in basic tuning or with Fs sharped. Just remember the wire srings July 2012 3 irst rule of playing modal music: include no note in the accompaniment unless it occurs in the tune. Like heptatonic modal tunes, hexatonic ones may be in authentic, plagal, mixed or extended ranges. An authentic tune extends approximately an octave up (or down) from the keynote; a plagal tune surrounds its keynote, extended roughly a fourth below and a ifth up. A mixed range tune combines the plagal and the authentic ranges, extending a fourth below to an octave above the keynote. An extended range tune (rarer) extends an octave plus at least a fourth up from the keynote, or an octave down from the keynote as well as a ifth up from it. Unlike heptatonic tunes, hexatonic ones may also have a range of a sixth or less; this is the limited range. Since the tune is already in basic form, your next step is to ind the keynote. Generally this will be the last note in the tune, in this case D. The typical cadential voice leading, from scale degree 5 to scale degree 1, helps to conirm this assumption, as does the fact that the tune be- As with heptatonic tunes, the irst step in identifying a hexatonic tune is to place it in basic form (no sharps or lats). Disregard its accompaniment. Examine the key signature very carefully. Not only do you want to watch for scale degrees that have been sharped, latted or naturalized, you also want to watch for altered scale degrees in the key signature that are not present in the tune. For example, let’s suppose that you’re looking at a tune given in a key signature with one sharp, but the F is the omitted note in the tune. You might think you would need to transpose it, but there’s no need. Let’s look at a tune in its basic form. This is an Irish tune that was irst published in 1651, in Playford’s English Dancing Master, where it was titled The Irish Lady or Anniseed-Water Robin. It has had many titles since that time. gins with the same note. The half cadences fall on A, scale degree 5, which provides further reinforcement of the key feeling. The range is extended, ranging an octave down from the keynote, D, and a fourth above it to G. wire srings July 2012 4 Next, we count the number of notes in the tune, counting notes an octave apart as the same note. The notes present are D E F G A C, six notes total, so we have a hexatonic (six note) mode. The missing note, B, falls where there would normally be a semitone, between the B and the C, so we’re looking at a irstcategory hexatonic mode. Next, we look at the quality of the intervals as counted from the keynote. We have a major second, minor third, perfect fourth, perfect ifth, omitted sixth, minor seventh, and per- fect octave. Because the third is minor, this is a minor mode, as are the Dorian, Aeolian, Phrygian and Locrian. The Phrygian and Locrian share a minor second, the Dorian and Aeolian a major second. As you may recall from the previous article, the only diference between the Dorian and Aeolian modes is the quality of the sixth scale degree, which is major in Dorian and minor in Aeolian. In this tune, the sixth is omitted. This tune is in Dorian/Aeolian. This should mean that the tune can be transposed to a second basic form, with keynote A and F omitted, and, again, this is the case. The Dorian/Aeolian mode is very common throughout the Western world in all periods and place, especially in Celtic and American traditional music. It is common in plainchant, and was used by the troubadours. You probably already have several Dorian/Aeolian tunes in your harp repertoire, such as Brian Boru’s March, The Butterly (slip jig), Da Day Dawis,or The Foggy Dew. Familiar American Dorian/Aeolian tunes include When Johnny Comes Marching Home (Johnny I Hardly Knew Ye), Lily of the West, and House of the Rising Sun. wire srings July 2012 5 Let’s look at our next example, from the Straloch Manuscript, c. 1627-29. Isolating the tune and transposing it into basic form gives us a choice of the following two options: The keynote is the inal note, which is supported by the irst accented note following on that note as well as the two cadences ending there. The harmonic structure in the manuscript, not given here, also supports the inal note as keynote. Note that the voice leading approaches the keynote either downward by a third or upward by a second. The range extends an octave up from the keynote, and is thus authentic. There are six notes in the tune. The interval qualities are omitted second, minor third (thus making this a minor mode), perfect fourth, perfect ifth, minor sixth, minor seventh, and perfect octave. Of the minor heptatonic modes, the Aeolian, Phrygian, and Locrian share a minor sixth, but the Locrian has a diminished ifth. The Aeolian and Phrygian are alike in all respects except the quality of the second, which is major in Aeolian and minor in Phrygian. It is omitted in this example, which is authentic Aeolian/Phrygian. The Aeolian/Phrygian mode is much rarer than the Dorian/Aeolian. Most of the examples I have found are either of Scottish origin or come from the English Robin Hood ballads. wire srings July 2012 6 Let’s move on to our next example, an Irish tune from the Neale collection. The keynote here is E; I’ll omit the transposed setting, which as you may have guessed, has B for its keynote. The range is mixed, extending a ifth below the keynote and a ninth above it. There are six notes in the tune; the omitted note is B, the ifth scale degree. Interval qualities are minor second, minor third, perfect fourth, omitted ifth, minor sixth, minor seventh, perfect octave; this is a minor mode. Pay particular attention to the full cadences, at the end of the A section and at the end of the piece. This kind of voice leading, approaching the keynote from above and below, should be familiar to you from the Locrian and Phrygian examples in the previous article. wire srings July 2012 7 Of the heptatonic modes, only the Phrygian and Locrian have a minor second. The two share all interval qualities with the exception of the ifth, which is perfect in Phrygian but diminished in Locrian. The ifth is the omitted note in our example, which is thus Phrygian/ Locrian. This mode is unusual in traditional music but not uncommon in plainchant. The next example is traditional Irish, and was originally associated with a song in Irish Gaelic, Iseart Nuadhain. It appears in the Henry collection as Wester Snow. The keynote is C. The tune ranges a tenth up from the keynote, and could be termed either authentic or extended. There are six notes. The interval qualities are major second, major third, omitted fourth, perfect ifth, major sixth, major seventh, perfect octave. Of the heptatonic modes, the Lydian, Ionian and Mixolydian have a major third. The Mixolyd- ian is the only one with a minor seventh. The Lydian and Ionian difer from each other in the quality of the fourth, which is perfect in Ionian and augmented in Lydian. This tune is in the Lydian/Ionian. The transposed form would have F as its keynote and C as the omitted note. This is an extremely common mode in both traditional and early music. wire srings July 2012 8 The next example was irst published in John Playford’s Musicks Hand-Maid: New Lessons and Instructions for the Virginals or Harpsychord in 1663. It is associated with the Marquis of Montrose, who was executed in 1650. Our keynote is C. The range is plagal, extending down a fourth and up a sixth from the keynote. Interval qualities are major second, major third, perfect fourth, perfect ifth, major sixth, omitted seventh, perfect octave. As previously noted, the Lydian, Ionian and Mixolydian heptatonic modes share a major third, but the Lydian has an augmented fourth. The Ionian and Mixolydian difer from each other only in the quality of the seventh, which is here omitted. This tune, then, is in plagal Ionian/Mixolydian, which is also a very common mode throughout the Western world and in early music. The other basic transposition would have G as its keynote. wire srings July 2012 9 Our inal example in the irst category of hexa- Collection, published in London in 1756. tonic modes is a Jacobite reel from the Rutherford The keynote is D. The range is authentic. The interval qualities are major second, omitted third, perfect fourth, perfect ifth, major sixth, minor seventh, perfect octave. Of the heptatonic modes, the Mixolydian and the Dorian difer only in the quality of the third, and this tune is in authentic Mixolydian/Dorian. Its other basic setting would have G for a keynote. The mode is fairly common in Irish and Scottish Gaelic traditional music and those areas of America settled by the Irish and Scottish, but rare elsewhere. With no third, this mode is neither major nor minor. This ambiguous quality is the most noticeable feature of Mixolydian/Dorian tunes. A well-known example is the Appalachian Christmas carol, I Wonder as I Wander. The second category of hexatonic modes describes those modes that have a gap at a part of the scale other than where a semitone would fall. Some common patterns include wire srings July 2012 10 Ionian with no sixth, Mixolydian with no sixth, Aeolian with no seventh, and Dorian with no seventh. Less common include Dorian with no second, Ionian with no ifth, Lydian with no seventh, Mixolydian with no fourth, Phrygian with no seventh, Phrygian with no sixth, and Locrian with no sixth. Some of the less common patterns are found primarily in chant. Let’s look at an example of each of the more common modes. The keynote here is C; this is conirmed not only by the cadences, but also by the pickup note on G, scale degree ive, leaping up to C as the irst accented note. The range is plagal, from a fourth below to a ifth above the keynote. The interval qualities are major second, major third, perfect fourth, perfect ifth, omitted sixth, major seventh. There is no other basic form of the tune; to transpose it would require introducing a lat or sharp into the key signature. This mode resembles the Ionian, or modern major, mode in every aspect except the omitted sixth. It is therefore Ionian with no sixth. Typical cadential voice leading is upward or downward by step, or up a fourth from the ifth scale degree. This mode is common in chant, carols, and other early and traditional music in Europe and America. The Cornish version of the following song was collected at Carclew in 1698. The song is also known in Welsh, Irish and English versions. The English title is Where Are You Going, My Pretty Maid? wire srings July 2012 11 Here’s a song that may be more familiar to you by the title, The Fairy’s Lullabye, by which it appears in The Girl Scout Handbook. The lyrics tell of a mother’s search for a child stolen away by the fairies. There are many versions of the song, not all in this mode. This particular one was collected by Frances Tolmie in Ross-shire in 1870. The keynote is G. The range extends one note below the keynote to the ifth above it, and is thus limited. The interval qualities are major second, major third, perfect fourth, perfect ifth, omitted sixth, minor seventh. There is no other basic (no lats or sharps) form. This tune is therefore authentic Mixolydian, no sixth. Typical cadential voice leading for the mode is either downward or upward by a step. Mixolydian with no sixth is common in chant and in music from the Hebrides. The keynote is A. The range extends up a sixth from the keynote and is limited. The interval qualities are major second, minor third, perfect fourth, perfect ifth, minor sixth, omitted seventh. There is no other basic form (no sharps or lats). This tune is in the Aeolian with no seventh mode, which is fairly common in chant, English and Welsh music, and also occurs in Western Europe. Typical voice leading for this mode is downward by step. The next example is a Passiontide carol from England. It is also known as The Seven Virgins. wire srings July 2012 12 The next example is a French Christmas carol. You may also know this as Now the Green Blade Riseth. The keynote is D, which is both the irst and inal note. The range is from a fourth below the keynote to a sixth above, and is thus plagal. Interval qualities are major 2nd, minor 3rd, perfect fourth, perfect ifth, major sixth, omitted seventh. There is no alternate basic (all white notes) setting available. This tune is in Dorian, no seventh. Typical cadential voice leading for this mode is downward by step. This mode can be found in America as well as the British Isles and Europe. Whenever you are arranging a hexatonic tune, or any tune with fewer than seven notes, remember that a note that is not part of the tune should not be in the accompaniment. Remember also that you don’t always need to use three-note chords or taller chords; a simple interval, octave or unison may serve the harmony better. With modal music, the tune dictates the harmony, not the other way around. As I stated earlier, these examples represent the from Gloss on the Psalms, c. 12th cen. wire srings July 2012 13 most common hexatonic modes; many others are possible and to be found in traditional music. There are also hexatonic modes based on other arrangements of tones and semitones, for example harmonic minor with no sixth. The next article will cover identiication and classiication of ive-note modal tunes. Patricia Vivien Yarrow, a new contributor to Wire Strings, has been studying modes in traditional and early music since 1983. Ms. Yarrow holds a B.A. in English from the University of Denver plus extensive coursework in music history and theory from Metropolitan State College of Denver where she is a staf member in the Art Department and performs as a guest with the college’s Early Music Ensemble, Peter Schimpf, director. Pat gives a special thanks to Peter Greenhill for his comments on this article. A series of books on modes is in preparation, with numerous fully arranged examples drawn from early and traditional Western repertoire. Ms. Yarrow may be contacted by email at: yarrowp@mscd.edu. CONGRATULATIONS! ANN HEYMANN AWARDED FELLOWSHIP Ann and Charlie Heymann have recently been awarded a visiting fellowship by The Moore Institute for Research in the Humanities and Social Studies, in association with the College of Arts, Social Sciences & Celtic Studies, the James Hardiman Library, and the National University of Ireland, Galway. Their project, Exploring the Role of the Cláirseach in the Performance of Early Irish Poetry is crucial both to Gaelic harp performance practice and to the singing of the text. This fellowship will put them in direct contact with foremost scholars in the ields of Celtic and Irish Studies, Classics, medievalists, archeologists, etc. to form or acknowledge hypothethetical models for performance. Their study will include comparative traditions, such as that of Early Welsh poetry and the Robert ap Huw harp tablature, plain chant, and especially piobaireachd and Scots Gaelic singing. The breadth of the topic will require a number of historical instruments, including: a Trinity College copy, c. 1415th century; an interpretation of the St. Mogue harp, c. 1000; a copy of the Bunworth harp, 1734; a reconstruction of a telyn rawn from early 11th century iconography, a Gothic bray harp, as well as a crwth and various lyres. Ann will be in Ireland mid-August through December 22. contact Ann at: annheymann@gmail. com. for event/workshop planning. wire srings July 2012 14