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The Ionian mode is a musical mode or, in modern usage, a diatonic scale also called the major scale.It is named after the Ionian Greeks.. It is the name assigned by Heinrich Glarean in 1547 to his new authentic mode on C (mode 11 in his numbering scheme), which uses the diatonic octave species from C to the C an octave higher, divided at G (as its dominant, reciting tone/reciting note or tenor ...
The Locrian mode is traditionally considered theoretical rather than practical because the triad built on the first scale degree is diminished. Because diminished triads are not consonant they do not lend themselves to cadential endings and cannot be tonicized according to traditional practice. The Ionian mode corresponds to the major scale.
Ionian mode or major scale: Ionian on C. Play ... Ukrainian Dorian mode on C. Play ...
The major scale (or Ionian mode) is one of the most commonly used musical scales, especially in Western music. It is one of the diatonic scales. Like many musical scales, it is made up of seven notes: the eighth duplicates the first at double its frequency so that it is called a higher octave of the same note (from Latin "octavus", the eighth).
A Hellenistic Ionic song, it is either in the Phrygian octave species or Ionian (Iastian) tonos. The melody of the song is recorded, alongside its lyrics, in ancient Greek musical notation . While older music with notation exists (e.g. the Hurrian songs or the Delphic Hymns ), all of it is in fragments; the Seikilos epitaph is unique in that it ...
A three-note ligature followed by a succession of duple ligatures indicated mode 1; the reverse—a succession of duple ligatures ending with a ternary on—indicated mode 2; a single note followed by a series of ternary ligatures mean mode 3 and the reverse mode 4; uniform ternary ligatures signified mode 5, and a four-note ligature followed ...
That means that each appearance of the melody in a new part is in a different mode, in this order: Aeolian on E (double basses, 2nd part) Phrygian on B (double basses, 1st part) Locrian on F ♯ (cellos, 2nd part) Lydian on C (cellos, 1st part) Ionian on G (violas, 2nd part) Mixolydian on D (violas, 1st part) Dorian on A (2nd violins, 2nd part)
The following episodes continue with the same dramatic development. Episode 2 (in G Mixolydian) ends unexpectedly with the use of a single motet in the Hypoaolian mode, the only one in the collection (motet 19). The final 2 episodes are in the E Phrygian mode and F Ionian mode respectively. [2]