The seven church modes, also known as the "modes of ancient Greek music," are a set of seven musical modes that were used in Western liturgical music from the 9th to the 13th centuries. These modes were derived from the musical modes of ancient Greek music and were used to set the melodies of hymns and other religious music in the Christian church. The church modes are a set of musical modes that were used in the medieval period, particularly in Gregorian chant. There are seven church modes, each with a distinct set of characteristics and uses. The modes are:
- Ionian mode: This mode is characterized by a major scale. It is named after the ancient Ionians and is often used in music with a joyful or celebratory character.
- Dorian mode: This mode is characterized by a natural minor scale with a raised sixth scale degree. It is named after the ancient Greek Dorians and is often used in music with a somber or mournful character.
- Phrygian mode: This mode is characterized by a natural minor scale with a lowered second scale degree. It is named after the ancient Phrygians and is often used in music with a Spanish or Middle Eastern flavor.
- Lydian mode: This mode is characterized by a major scale with a raised fourth scale degree. It is named after the ancient Lydians and is often used in music with a bright or luminous character.
- Mixolydian mode: This mode is characterized by a major scale with a lowered seventh scale degree. It is named after the ancient Mixolydians and is often used in blues and rock music.
- Aeolian mode: This mode is characterized by a natural minor scale. It is named after the ancient Aeolians and is often used in music with a sad or introspective character.
- Locrian mode: This mode is characterized by a natural minor scale with a lowered second and fifth scale degree. It is the least commonly used of the church modes and is often used in music with a dissonant or unstable character.
It is not known who invented the seven church modes, but they were likely developed by ancient Greek musicians and were later adopted and adapted by the Christian church. Today, the church modes are still used in certain styles of classical and religious music, and they are also used as a theoretical framework for understanding and creating melodies in various musical styles. The church modes are not as commonly used as they were in the medieval period, but they are still studied by musicians as a way of understanding the foundations of Western music theory. Musicians may learn the church modes to broaden their understanding of different tonal systems and to develop their ability to create and analyze music in different modes. In modern music, the church modes are sometimes used to create melodies or harmonies, or as a basis for improvisation.
Musicians should learn the church modes because they provide a foundation for understanding the structure and organization of melodies in Western music. By learning the church modes, musicians can develop a deeper understanding of the relationship between different notes and chords in a melody, and they can use this understanding to create more expressive and nuanced music. In addition, learning the church modes can also help musicians to become more familiar with the historical and cultural context of Western music, which can deepen their appreciation for different musical styles and traditions.