Doric mode
Doric mode , or Doric for short , originally referred to an octave genre of the ancient Greek Systema Téleion , later the first tone or protus authenticus in the medieval system of church tones (characterized by the ambitus dd 1 , the repercussa a and the finalis d).
Today (for example in modal jazz ) it is often only understood as a modal scale with the same interval structure.
Since the third degree of the Doric scale forms a minor third to the root note, it has a minor-like character. There is a semitone step between the second and third as well as the sixth and seventh step , the other intervals are whole steps .
The key of D-Doric contains the original notes of Western music, to which the white keys correspond on keyboard instruments .
The Doric mode has counterparts to the Indian raga Kafi (also written Kaphi ).
Audio sample and illustration
history
The Doric scale originated in ancient Greece , where it was initially called Phrygian . It was there as the scale that strengthened the morale of the people and the fighting strength of the warriors.
In the early Middle Ages , a misunderstanding led to confusion with the Phrygian mode . The Doric was later used in Christian church music of the Middle Ages , but also in minnesong (for example Neidhart von Reuental ) and in folk songs . The ethos of this key stands in this custom for the character of beginning and expectation, which is often used in Advent .
use
Classical music
The mode is used by some composers in classical music to achieve certain effects. Examples are the Three Madrigals in secular choral music by Arnold Mendelssohn in the words of young Werther or the St. Matthew Passion by Heinrich Schütz in sacred choral music . In contrast, Johann Sebastian Bach's organ work, known as the Doric Toccata, is in pure D minor .
Folk music
The Doric mode is used in the music of the Celtic-Anglo-Saxon folklore and is found in the English folk song Scarborough Fair or the Breton Tri martolod . Some traditional Irish music also exists in this mode, such as Drowsy Maggie . This in turn influenced the use of the Doric mode in Anglo-Saxon shanties , such as What shall we do with the drunken sailor .
Jazz music
In jazz , at least since modal jazz of the 1950s, the Doric scale has been a means of expression for modern jazz . Among the most famous recordings of the counts Jazz Standard So What on the album Kind of Blue by Miles Davis , who consistently runs in the Doric mode. This technique was retained in hard bop and soul jazz , where the Doric mode in third, fourth, fifth and seventh coincides with the blues pentatonic scale that is widespread there . In the postbop , modal and especially Doric intonated sections are used as stylistic devices and improvisational frameworks, as in the standard Fly With The Wind by McCoy Tyner . Since the abolition of tonality in free jazz , the Doric key has lost its importance, but still occurs today in funk and fusion pieces with characteristic step-harmonic ostinato II-III , as in Eumir Deodato .
pop music
Examples from popular music are I Feel Love by Donna Summer (covered by Bronski Beat ), which is written in A-Doric, and Sweet Lullaby by Deep Forest , written in H-Doric . The British pop song Mad World from Tears for Fears , which was covered by Gary Jules , is in E-Doric. The chorus on Stayin 'Alive by the Bee Gees , Billie Jean by Michael Jackson and Another Brick in the Wall by Pink Floyd are also in Doric mode. An example of a melody in Doric mode is also Samba Pa Ti by Carlos Santana .
Rock music
The Doric scale was used in instrumental improvisation in rock music of the 1970s. The Doric scale, with its minor third and major sixth in the tone material, has similarities with the blues rock and roll scale. This can be a reason for using them in the skirt. Examples can be found on the second half of the album Live At Fillmore East by the Allman Brothers Band or on Pink Floyd in the instrumental piece Any Color You Like from the LP The Dark Side of the Moon . In the 1970s, however, accompanying patterns for instrumental passages also made use of Dorian sound material, such as the e-piano chord splits in School by Supertramp from the album Crime of the Century .
Examples of Doric hymns
| Surname | No. in " God's praise " | No. in the EC |
|---|---|---|
| Christ is risen | 318 | 99 |
| The sun has turned with its shine | 476 | |
| O Savior, tear open the heavens | 231 | 7th |
| O blessed source of all being | 359 |
See also
Web links
References and comments
- ↑ Luigi Agustoni, Johannes Berchmans Göschl: Introduction to the Interpretation of Gregorian Chant , Volume 1: Basics, Chapter 1.3.2: The eight modes of the octo echo . Gustav Bosse Verlag, Kassel 1995.
- ↑ In addition to the correct spelling authenticus , the incorrect spelling authentus is also found quite often in the literature .
- ↑ Markus Bautsch: About the ethos of church tones . accessed on November 23, 2014.