Tag Archives: Mode

A season of resurrection

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EasterIIHappy Easter! I hope all of you who had extra and important services over the last weeks are now recovered and ready to continue with your improvisation study. During this season with liturgical churches focus on the resurrection of Jesus Christ, it seemed fitting that I should resurrect the newsletter and take up the task once again of encouraging people to improvise at the organ. The message of Christianity has not spread far and wide because it was only practiced by a few people, but because those who practiced it told others about it. We must do the same for improvisation. If you have colleagues that do not improvise, teach them something simple as a way to get started (or send them to explore the previous newsletters).

Gradus Ad Parnassum

Aloysius– But are you not aware that this study is like an immense ocean, not to be exhausted even in the lifetime of a Nestor? You are indeed taking on a heavy task, a burden greater than Aetna.

My area of focus for 2016 is counterpoint. I was fortunate as an undergraduate student that my composition teacher included counterpoint exercises as part of every lesson. Most undergraduate theory programs include some study of harmony and counterpoint, but usually spend more time analyzing them than actually creating them. For me, this is the equivalent of learning to read, but never learning to write or speak. As improvisers, we need to learn to speak music, and thus have embarked upon the lifetime of learning Johann Joseph Fux mentions in the quote above.

Gradus Ad Parnassum is one of the classic texts for the study of counterpoint. Written in 1725 by Johann Joseph Fux, it was held in high esteem and used by such composers as Mozart, Haydn, Beethoven, Brahms, and even Strauss. It is written as a dialogue between a student, Josephus, and the teacher, Aloysius, identified in the Foreward as Palestrina. The dialogue is a fictional creation of Fux therefore, but is meant to present the rules of counterpoint (indeed all musical composition) as practiced by Palestrina.

Species Counterpoint

One of the advantages of learning composition through the study of counterpoint is the very easily identified and graded levels. Beginning with only two voices, the student progresses through five species before adding another voice:

  1. First Species – note against note
  2. Second Species – two notes against one
  3. Third Species – four notes against one
  4. Fourth Species – syncopation
  5. Fifth Species – florid counterpoint

When creating counterpoint, one of the voices is identified as the cantus firmus. This is the given melody for the exercise that may not be changed. The other voice(s) must be written to follow the rules and fit correctly with the cantus firmus. Here is the first theme Fux provides:
FuxDorianTheme

All notes in first species counterpoint must be consonant intervals: 3rds, 5ths, 6ths, or octaves. There are many more rules regulating the movement between the voices, but before we get there, let’s consider some practice ideas we can take away from what we’ve covered so far.

  • All rhythms are equal in first species. What happens to a melody or theme if we strip the rhythm away from it? Some hymns are almost all quarter notes, so won’t change much. Others have a variety of rhythms and will sound quite different when equalized.
  • Counterpoint can appear either above or below the cantus firmus. Here is a chance to practice our dexterity at the organ. Each of your hands, as well as your feet could be the cantus firmus, while one of the others plays the counterpoint. For an added challenge, play the theme in the bass register with the right hand while your feet play an added melody above on a 4′ (or 2′) stop!
  • Fux (and Palestrina) make use of the church modes: Dorian, Phrygian, Lydian, and Mixolydian. If these modes are not part of your improvisational vocabulary, spend some time becoming more familiar with them. Ideas for practicing them can be found here and here. Counterpoint is not required in order to learn a mode.
  • Themes are written in whole notes. Practice slowly. Whether it is counterpoint, or some other improvisation technique, take your time. Especially as we move into more complicated counterpoint, never play faster than you can think.

Spread the Word

Improvisation is not an easy task to master. It takes time and practice, but there are ways to start and make it accessible to everyone. In this Easter season when Jesus sent his disciples out to spread the Good News, I hope you will practice your improvisations and share with others the joy and delight you find in creating music in the moment.

Wishing you all the best,
Glenn

Newsletter Issue 56 – 2016 04 04

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Mode Three

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In his book The Technique of My Musical Language, Olivier Messiaen identifies seven modes of limited transposition. Within the chromatic system of twelve sounds, Messiaen has identified groups of pitches which after a certain number of transpositions are no longer transposable. These modes may be used both melodically and harmonically and give the impression of several tonalities without polytonality. The first of these modes is the whole tone scale. The second mode is probably the best known of the modes Messiaen identifies as it is also known as the octatonic scale.

The third mode is transposable four times just like an augmented triad. The mode is constructed in tetrachords (groups of four notes) following the interval pattern whole step-half step-half step. The four transpositions are shown below.
Mode3
With nine pitches in Messiaen’s mode three, the possibilities for harmonic complexity advance dramatically.

For the ecclesiastical mode three, see the Phrygian mode.

Whole Tone Scale

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WholeToneScale
The whole tone scale is a scale of six notes where each tone is separated from the next by the distance of a whole step. Olivier Messiaen called the whole tone scale his first mode of limited transposition because there are only two possible transpositions of the scale. Because each note is equidistant from the next, there is no leading tone that would help establish a tonic note. Instead, the scale creates a more fuzzy, dreamlike environment, in part because it was used often by impressionistic composers like Claude Debussy.

Lydian mode

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LydianMode
The Lydian mode is Mode 5 of the church modes used in Gregorian chant. In modern terms, it is most easily described as the scale from F to F using only the white notes of the piano. In order to construct the scale starting on other notes, follow the pattern ascending from tonic: whole step – whole step – whole step – half step – whole step – whole step – half step.

A handout showing the mode starting from all twelve notes is available here.

The Lydian mode is considered a major mode because of the major third above the tonic. It differs from the major scale by having a raised fourth degree, though some chants will use a B-flat negating any difference between this mode and the major scale. The ancient Greek Lydian mode in the diatonic genus resembles the major scale rather than the ecclesiastical Lydian mode.

Some themes in the Lydian mode include:

Videos:
Olivier Latry – Improvisation on The Simpsons Theme – Toronto

Phrygian Mode

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PhrygianMode
The Phrygian mode is Mode 3 of the church modes used in Gregorian chant. In modern terms, it is most easily described as the scale from E to E using only the white notes of the piano. In order to construct the scale starting on other notes, follow the pattern ascending from tonic: half step – whole step – whole step – whole step – half step – whole step – whole step.

A handout showing the mode starting from all twelve notes is available here.

The Phrygian mode is considered a minor mode because of the minor third above the tonic. It differs from the natural minor scale by having a lowered second degree. This makes the chord built on the dominant a diminished triad, so final cadences tend to be vii – i or iv – i. While named for an original Greek mode, the ecclesiastical Phrygian mode actually resembles the Greek Dorian mode (and vice versa).

For suggested ways to practice a mode, please read the newsletter issue on Learning Modes.

Some themes in the Phrygian mode include:

Learning Modes

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“I am always doing that which I cannot do, in order that I may learn how to do it.”
― Pablo Picasso

Learning to do something requires us to step beyond our comfort zone. Just as hearing someone describe a watermelon to you will not allow you to taste it, reading about improvisation does not allow you to become an improviser. At some point, it is essential to sit down at the keyboard and, as Nike encourages us, “Just do it.”

How to Learn

Some people learn best by watching someone else do the task first. Others need to hear someone give an example. This is one of the reasons why I include YouTube videos at organimprovisation.com. While all of the videos provide auditory examples, when I am searching for videos to include, I will give a preference for those where you can see the player’s hands at the keyboard as well. I know from my own personal experience that it has been very helpful in my learning process to be able to see exactly how someone is creating the sounds that I am hearing. The organ offers so many different sound combinations and such complex sounds (through the use of mixtures and other upper work), that a quick glance to see where the hands are at the keyboard can settle many questions that the ear might have posed. I remember even my teacher peering around the corner once after I had been asked to improvise with my left hand and feet alone. I’m sure he was checking to make sure I didn’t slip my right hand into the texture!

Some people also learn best by touch. You can explain to them and show them, but until they can use their hands and do it for themselves, their learning will be incomplete. For me, this is where scales, arpeggios, cadences and other progression exercises help train us as improvisers. Any one who has ever memorized a piece of music is familiar with the idea of muscle memory. We need to find ways to train and take advantage of this muscle memory when we improvise as well. Knowing our muscles know where to go next frees up brain power for us to focus on form or any of the other elements we need to consider as improvisers.

Modes

As a young piano student, I learned to play all the major and minor scales, along with arpeggios, chords and cadences. These drills helped build technique and were my introduction to harmonic theory. If you have not learned to play scales, arpeggios, chords and cadences (I-IV-I-V-I) in all the keys, I strongly urge you to do so. While I have most often done these at the piano, we shouldn’t forget to practice them with our feet as well. Go as slowly as you need to in order to play accurately, then you can work for speed.

While the major and minor scales are part of most every musician’s formation, other modes are frequently omitted or only touched briefly. As an improviser, I believe the more tools we have in our toolbox, the better we will be prepared to improvise on any given theme. For this reason, I’d like to recommend spending some time getting to know other modes as well as we know the major and minor modes.

Dorian Mode

As mode number one in the codification of the church modes used for Gregorian chant, I’d like to start with the Dorian Mode. It differs from the natural minor scale by having a raised sixth degree.

DorianMode

Rather than playing minor scales this week when you practice, how about playing the Dorian mode? Be sure you can play the mode starting from each of the different pitches. If you need to verify or want to have a reminder in front of you, I prepared a pdf that you can download here.

Aside from scales, here are a few other ways to practice and learn the Dorian mode:

  1. Play the same arpeggios, chords and cadences that you would play when practicing a major or minor scale.
  2. Practice any other technical exercises that you might normally do (Czerny or Hanon for example) in the Dorian mode.
  3. Change the key signature for a hymn to the equivalent Dorian mode signature. This will be easiest with hymns that have no accidentals, but you could also try with more complicated hymns.
  4. Create melodies in the Dorian mode. Be sure to include the scale degrees that make it different from the natural minor so that you can learn to hear the difference.
  5. Practice the Dorian mode in different keys by playing a pedal point on the tonic and chords or melodies with the hands. After 1-2 minutes, change the pedal point and tonic to a new key.

What else can we do to get the Dorian mode into our ears and fingers?

In the coming weeks, I plan to include posts about other modes on the website, explaining how they are constructed and identifying themes that are in the mode. All of the suggestions for the Dorian mode today can be (and should be) applied for each of the other modes that will be presented in the weeks to come. Part of creating colorful improvisations is the ability to use different modes. Regardless of how you might choose to go about learning the modes, be sure to find a way to include them in your improviser’s toolbox.

Hoping you will venture into new territory in order to learn more,
Glenn

 
Recent additions to organimprovisation.com:

Organists:

Mode:

Themes

 
Newsletter Issue 18 – 2014 09 01
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Dorian Mode

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DorianMode
The Dorian mode is Mode 1 of the church modes used in Gregorian chant. In modern terms, it is most easily described as the scale from D to D using only the white notes of the piano. As improvisers, however, we need to know the structure of the scale in order to apply it from any starting note. The Dorian mode happens to be a symmetric scale in that the same pattern to generate the scale works either ascending or descending from the starting note. For the Dorian mode, that pattern is: whole step – half step – whole step – whole step – whole step – half step – whole step.

A handout showing the mode starting from all twelve keys is available here.

The Dorian mode is considered a minor mode because of the minor third above the tonic. It differs from the natural minor scale by having a raised sixth degree, though some chants labeled as mode 1 include the flatted sixth degree. While named for an original Greek mode, the ecclesiastical Dorian mode actually resembles the Greek Phrygian mode (and vice versa).

For suggested ways to practice a mode, please read the newsletter issue on Learning Modes.

Some themes in the Dorian mode include: