Medieval Church Modes

Question 1

Dorian

Answer 1

Mode 1 - final is d

Question 2

Hypodorian

Answer 2

Mode 2 - final is d

Question 3

Phrygian

Answer 3

Mode 3 - final is e

Question 4

Hypophrygian

Answer 4

Mode 4 - final is e

Question 5

Lydian

Answer 5

Mode 5 - final is f

Question 6

Hypolydian

Answer 6

Mode 6 - final is f

Question 7

Mixolydian

Answer 7

Mode 7 - final is g

Question 8

Hypomixolydian

Answer 8

Mode 8 - fianl is g

Question 9

What are the criteria for determining a mode?

Answer 9

1. Final - ending pitch
2. Ambitus - range
3. Reciting tone (tenor or dominant)

Question 10

Three types of Plainsong Chants

Answer 10

Syllabic (one note per syllable); Neumatic (two to four notes per syllable); Melismatic (many notes per syllable of text)

Question 11

Plainsong / Plainchant

Answer 11

Connected to the liturgy of the Roman Catholic Church. Ordinary is the texts and prayers present in every mass and the Proper are the texts and prayers that change according to the mass occasion.

Question 12

Sequences

Answer 12

an independent composition which was an outgrowth of melismatic and textual additions to the Alleluia and which contain syllabically set prose couplets of varying length. Many were composed by Notker Balbus. The Council of Trent (1545-63) reduced the number of acceptable sequences to four: Victimae paschali laudes, Dies irae, Lauda Sion, Veni Sancte Spiritus; Stabat Mater was added in 1727.

Question 13

Tropes

Answer 13

chants that contain the addition of text, music or both. Typically they are melismas added to existing chants, syllabic settings of text added to existing chants, or text and music added to existing chants.

Question 14

Hexachords

Answer 14

Ut queant laxis; Six notes used to compose plainchant. If chant exceeds six note range must mutate to another hexachord

Question 15

Ambitus

Answer 15

Typically an octave or less in male vocal range

Question 16

Plainsong melodies

Answer 16

Typically conjunct movement with occasional leap