Mixolydian mode
Mixolydian mode , or Mixolydian for short , originally denotes an octave genre of the ancient Greek Systema Téleion , later the seventh tone or tetrardus authenticus (characterized by the ambitus gg 1 , the repercussa d and the finalis g) in the medieval system of church tones .
Today (for example in modal jazz ) it is often only understood as a modal scale with the same interval structure.
Since the third stage of mixolydian scale a major third is the keynote, it has a durähnlichen character. There is a semitone step between the third and fourth as well as the sixth and seventh step , the other intervals are whole steps . The minor seventh in contrast to the major scale is characteristic .
The key of G-Mixolydian contains the original notes of Western music, to which the white keys correspond on keyboard instruments .
history
The Mixolydian scale originated in ancient Greece , where it was initially called hypophrygic (or hyperlydic , iastic or ionic ), while the later locrian mode was called mixolydian .
It was not until the early Middle Ages that the modes were confused due to a misunderstanding. The Mixolydian was in the Christian church music of the Middle Ages used. In this tradition, the ethos of this key stands for the character of praise, request or thanks.
Mixolydian contains the tonic chord with a minor seventh used in the blues . This is why the scale plays an important role in blues and rock music.
In Klezmer music she appears under the name "Adonoy Moloch".
The Mixolydian mode corresponds to the Indian Raga Khamaja and the Ethiopian scale Ambassel .
Chord alterations and scales
The dominant seventh chord (1, 3, 5, ♭ 7) is formed from the notes of the Mixolyic scale . This scale is therefore often played at the same time as the dominant seventh chord. The 4th level is an "Avoid Note" in the Mixolydian scale , as it is a semitone higher than the 3rd level and is therefore dissonant to the basic chord. In jazz, blues and rock music, the chord tones are often altered so that the following additional scales result from modifications from the Mixolydian scale (1, 2, 3, (4), 5, 6, ♭ 7) (the tension tones are emphasized ):
- Mixo ♭ 9 (1, ♭ 2 , 3, (4), 5, 6, ♭ 7) to the chord (1, 3, 5, ♭ 7, ♭ 9 , 13)
- Mixo # 11 (1, 2, 3, # 4 , 5, 6, ♭ 7) to the chord (1, 3, 5, ♭ 7, 9, # 11 , 13)
- Mixo ♭ 13 (1, 2, 3, (4), 5, ♭ 6 , ♭ 7) to the chord (1, 3, 5, ♭ 7, 9, ♭ 13 )
If both ♭ 9 and ♭ 13 are altered, the HM5 scale (1, ♭ 2 , 3, (4), 5, ♭ 6 , ♭ 7) results in the chord (1, 3, 5, ♭ 7, ♭ 9) , ♭ 13 ).
use
Classical music
The mode is used by some composers in classical music to achieve certain effects. An example in secular choral music are the Three Madrigals in the words of the young Werther by Arnold Mendelssohn .
Audio sample and illustration
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: On the Ethos of Church Tones , accessed on November 23, 2014
- ↑ Lazare Saminsky: Music of the Ghetto and the Bible , p. 30