Modes

Dorian
pdfmp3Bartok, Bela, Fifteen Hungarian Peasant Songs, No. 7, Allegro, mm.1-12
pdfmp3Bartok, Bela, Fifteen Hungarian Peasant Songs, No. 9, Allegretto, mm.1-16
pdfmp3Bartok, Bela, Fifteen Hungarian Peasant Songs, No. 10, L’istesso tempo, mm.1-19
pdfmp3Bartok, Bela, Fifteen Hungarian Peasant Songs, No. 11, Assai moderato, mm.1-18
linkmp3Belousova, Sonya, and Giona Ostinelli, Geralt of Rivia, The Witcher Main Theme, (Netflix) mm.1-13
(i – VII – VI – v progression) alternates dorian and traditional minor
pdfmp3Jenny’s Chickens, Traditional Irish Reel
pdflinkKilcher, Jewel, Who Will Save Your Soul, mm.5-16
pdfMIDILang, Josephine, Zwei Charakterstücke,Op. 32, No. 1 Nachtgesang Eines Gondoliers,
Allegretto e parlando. mm.1-4
pdfmp3Orzabal, Roland, Mad World, piano arrangement, mm.1-20
pdfmp3Sharp, Cecil J., Bruton Town, Traditional English Folk Song, collected and arranged by Cecil J. Sharp
multiple modal cadences (Dorian example, VII – IV, ii – v, VII – i6) (recording link) (sometimes also known
as Burton Town
pdfmp3Sharp, Cecil J., Robin Hood and the Tanner, Traditional English Folk Song, collected and arranged by
multiple modal cadences (Dorian example)
pdfmp3Shirley, Nathan, The Seven Modes, No.4 Dorian, mm.1-8
pdfmp3Yoshimatsu, Takashi, Pleiades Dances for piano, No. 7 Platan Dance, Allegro mm.53-64
pdfmp3Zimmer, Hans, Time from Inception, mm. 17-24 (Plagal half cadences)
Phrygian
pdfmp3Adams, John, Phrygian Gates for piano, mm.114-120
pdfmp3Balfe, Lorne, Al’Neito (The Flame) From the “Wheel of Time” soundtrack, mm.1-24
(phrygian ostinato)
pdfmp3Barrios, Agustin, Leyenda de España for guitar, mm.1-5
pdfmp3Bingen, Hildegard of, Symphonia et Ordo virtutum, for voice, Spiritus sanctus vivificans vita,
second part (recording is down a half step) (link)
pdfmp3Bingen, Hildegard von, Ave generosa, vocal chant/hymn
pdfmp3Bingen, Hildegard von, O magne pater, vocal antiphon
pdfmp3Djawadi, Ramin, Westworld: Main Title Theme, Piano arr. Patrik Pietschmann, mm.1-10
(Phrygian inflection m. 9)
pdfmp3Holst, Gustav, Four Songs for voice and violin, Op.35, No. 4, My Leman is so true, Allegretto, mm.1-14
pdfmp3 Shirley, Nathan, The Seven Modes, No.2 Phrygian, mm.1-8
Phrygian Dominant / Bebop Phrygian Dominant / Maqam Hijaz
pdfmp3Hadjidakis, Manos, Six Popular Pictures, Op. 5, No. 3 It Became Cloudy, A light Rain Started,
(G. Mitsakis), mm.38-47 (link to recording)
pdfmp3Hadjidakis, Manos, The Ionian Suite, Op. 7, V. Allegro – Moderato, mm. 62-72
(link to recording)
pdfmp3Mendoza, David, Phrygia for string septet and percussion, Cappricioso, mm.122-134
(link to recording)
Zagimic
pdfmp3Zimmer, Hans, Paul’s Dream, Dune, mm.5-20
Lydian
pdfmp3Nobilis Humilis, Hymn to St. Magnus, 12th century Irish Hymn
(Example and recording from Schola Sainte Cécile)
pdfmp3Jensen, Nathan, Aubade for solo piano, mm.21-28
pdfmp3Shirley, Nathan, The Seven Modes, No.7 Lydian, mm.1-8
pdfmp3Yoshimatsu, Takashi, Pleiades Dances for piano, No. 3 Apple Seed Dance, Allegro mm.1-7
Mixolydian
pdfmp3Bartok, Bela, Fifteen Hungarian Peasant Songs, No. 15, Allegro, mm.1-12
pdfmp3Bingen, Hildegard of, Symphonia et Ordo virtutum, for voice, item de virginibus, last phrase
pdflinkSharp, Cecil J., The Rambling Sailor, Traditional English Folk Song,
collected and arranged by Cecil J. Sharp (Mixolydian example) (another version)
pdflinkSharp, Cecil J., As I Walked Through the Meadows, Traditional English Folk Song,
collected and arranged by Cecil J. Sharp
pdfmp3Shirley, Nathan, The Seven Modes, No.5 Mixolydian, mm.1-10
Aeolian
pdfmp3Bingen, Hildegard of, Ave Generosa, vocal chant/hymn
pdfmp3Bingen, Hildegard of, Symphonia et Ordo virtutum, for voice,
Spiritus sanctus vivificans vita, first part
pdfmp3Djawadi, Ramin, Mhysa, Game of Thrones, mm.1-13 (VII to i subtonic cadence)
pdfmp3Donaldson, David, David Long, Steve Roche and Janet Roddick,
Misty Mountains, The Hobbit: An Unexpected Journey
pdfmp3Horner, James, For the Love of a Princess, from Braveheart, mm.1-16
pdfmp3Howard, Jame Newton, Gravel Road, The Village Score, mm.21-32
(Transcribed by Gino Moscati)
pdfmp3Jaëll, Maire, Les Jours Pluvieux, No. 4, Petite Pluie Fine, Vite, mm.1-18
pdfmp3Madonna, Devil Pray, 2014, also written by Avicii, DJ Dahi, and Michael Diamond (BloodPop), with additional
writing by Arash Pournouri, Carl Falk, Rami Yacoub, and Savan Kotecha, , (i – VI – VII – i progression) (i – III – VII progression) and (i – VII – i progression)
pdfmp3Onyeji, Christian, Ufie III for piano, Fast, ritmico, mm.2-10
pdfmp3Pärt, Arvo, Für Alina for piano
pdfmp3Shore, Howard, Evenstar, The Lord of the Rings: The Two Towers, mm.5-16
pdfmp3Traditional Norse, My Mother Told Me, arranged by Marie-Éve Mainguy
Locrian
pdfmp3Bartok, Bela, Mikrokosmos, Book 2, Sz.107 No. 63, Buzzing, Con moto
pdfmp3Gordon, Mick, arr. Yug Guy, At Doom’s Gate, from Doom, mm.1-10
pdfmp3Kirkpatrick, John, Dust to dust
pdfmp3Mendoza, David Dean, Malum Somnium for solo contrabass, mm.1-8
pdfmp3Perlner, Ray, Locrian Fugue, mm.1-7 (link to recording)
pdfmp3Shirley, Nathan, The Seven Modes, No.1 Locrian, mm.1-13
SUPPLEMENTAL MATERIAL
*Some of these examples are short transcriptions of indigenous music. These are for educational purposes only and created with the utmost respect and with the spirit of bringing people together through music.
Tritonic Modes – Asian based
pdfmp3Prajñaparamita mantra, Buddhist chant from the Heart Sutra
transcribed by David D. Mendoza – (^1,^b3,^b7) there are various versions of this
chant, some use only two notes while others up to five.
Tetratonic Modes – Western European based
pdfmp3Epistle for the solemn mass of easter day, Gregorian Chant
^1,^2,^6,^7 (last phrase is written on B but is sung on C in the recording)
Tetratonic Modes – North American based (educational uses only please)
pdfmp3Apache Prayer Song, Dishchii’Bikah Group
transcribed by David D. Mendoza (^1,^2,^3,^6) (song link)
linklinkBuck, Joshua “Billy”, Dream Song, Iroquois
transcribed by William N. Fenton (^1^2^4^5)
pdfmp3Navajo Four Sacred Mountain Song, Diné (Navajo)
transcribed by David D. Mendoza (^1,^b3,^5,^b7) (song link)
pdfmp3Osoak, Leo, The Time I Arrive, (Aiya surli tikiatasanga) Traditional Inuit Song
transcribed by David D. Mendoza – (^1^2^3^6)
Pentatonic Modes – Asian based
pdfmp3Kwan Seum Bosal, Korean Buddhist Chant,
transcribed by David D. Mendoza (pentatonic mode 5 – ^1,^b3,^4,^5,^b7)
aka, minor pentatonic / P’yongjo-kyemyonjo scale
pdfmp3Luting, He, Rebirth in the Mountains for Orchestra, section after introduction
(link to recording) (major pentatonic)
pdfmp3Luting, He, Night Flute in a Desolate Village, for Orchestra , mm.1-9
(link to recording) (natural pentatonic 1,2,4,5,b7)
pdfmp3McPhee, Colin, Balinese Ceremonial Music, mvt. I Pemoengkah, Animato
(Slendro ^1^2^4^5^6 traditional scale contains microtonal variations)
pdfmp3Yamada, Kōsaku, Three Old Japanese Art Dances for piano,
mvt. I, Tsuru – Kame (Crane and Tortoise), Andante tranquillo, mm.1-8 (Han-Kumoi scale)
(link to recording)
pdfmp3Yamada, Kōsaku, Three Old Japanese Art Dances for piano,
mvt. II, Kyo No Shiki, Allegretto mm.1- 10 (In scale / Miyaho-bushi)
Pentatonic Modes – North American based (educational uses only please)
pdfmp3Bird Song, Traditional, Tohono O’odham Nation,
transcribed by David D. Mendoza (pentatonic mode 1 – ^1,^2,^3,^5,^6)
aka major pentatonic (song link)
linklinkHandle, Tom, Lullaby, Cherokee
transcribed by Willard Rhodes – (pentatonic mode 2 – ^1^2^4^5^6)
pdfmp3Shenandoah, Joanne, Kalunyaha-Wi, from her album Matriarch – Iroquois Women’s Songs
transcribed by David D. Mendoza – (pentatonic mode 1 – ^1,^2,^3,^5,^6)
pdfmp3Wendeyaho, traditional Cherokee
arranged by Clint Goss – (pentatonic mode 1 – ^1,^2,^3,^5,^6)
linklinkWilson, Charlton, Peyote Song, Delaware
transcribed by Willard Rhodes (pentatonic mode 1 – ^1,^2,^3,^5,^6)
Pentatonic Modes – South American based
pdfmp3A las orillas del Titicaca, Traditional Andean Folk Music, Huayno/Wayñu genre
transcribed by Henrik Norbeck (pentatonic mode 5 – ^1,^b3,^4,^5^b7)
Pentatonic Modes – African based
linkChiweshe, Stellla Rambisai, The Speech
(major pentatonic ^1^2^3^5^6) (not sure, but could be Nyamaropa tuning)
pdfmp3Onyeji, Christian, Ufie III for piano, Fast, ritmico, mm.29-40
(pentatonic mode 5 – ^1,^b3,^4,^5,^b7)
pdfmp3Tu!Tu! Gbovi, Ewe Children’s Song
(^1^b2^b3^b6^b7)
Pentatonic Modes – Western European based
pdfmp3Christe Fili Dei and Erue a framea Gregorian Chant
(^1,^2,^3,^4,^6 – pentatonic collection)
pdfmp3Erart, Jehans, Au Tems Pascor, Trouvère Pastourelle
(^1,^2,^3,^4,^5 – pentatonic collection)
Hexatonic Modes – Asian based
pdfmp3Hon Shirabe, Traditional Japanese Honkyoku
arranged by Clint Goss – (^1^2^3^#4^5^7)
pdfmp3Rain in Jiang Nan for erhu, contemporary/commercial Chinese
(aeolian hexatonic – ^1^2^b3^4^5^b7)
Hexatonic Modes – Western European based
pdfmp3Dies Irae, Gregorian Chant (aeolian hexatonic – ^1,^2,b3,^4,^5,^b7)
pdfmp3Kyd, Jesper, arr. Noah Wojcik, Ezio’s Family, piano arrangement, mm.34-41 (phrygian hexatonic – ^1^b3^4^5^b6^b7)
pdfmp3St Patrick´s An dro, Traditional Breton Music
transcribed by Henrik Norbeck (aeolian hexatonic – ^1^2^b3^4^5^b7)
pdfmp3Wild Mountain Thyme, traditional Scottish folk song, mm.1-10.
Hexatonic Modes – North American based
pdfmp3Kayowjineh, traditional Seneca, collected by Pete Seeger
^1^2^3^4^5^6
Hexatonic Modes – South American based
pdfmp3El Sicuri, Traditional Andean Folk Music, Huayno/Wayñu genre
transcribed by Henrik Norbeck (aeolian hexatonic – ^1,^2,b3,^4,^5,^b7)
Hexatonic Modes – African based
pdfmp3Onyeji, Christian, Oga for piano, mm.3-10
pdfmp3Roux, Isak, Preludes in African Rhythm, Lullaby, Lento e molto rubato, mm.1-4
(Ionian hexatonic – ^1,^2,^3,^4,^5,^6)
Heptatonic Modes – Middle East based
pdfmp3Al-Arian, Ibraheem, Samai Bayat – maqam bayati, mm.1-11
pdfmp3Al-Atrash, Farid, Noura Ya Noura
Bayat/Bayati has a D/Re tonic
pdfmp3Cemil Bey, Tanburi, Cecen Kizi – maqam huseini
(^1^qb2^b3^4^5^qb6^b7 – ^b6 may also be present)
Huseini is variant of Bayati with an emphasis on ^6 to ^5 motion
pdfmp3Ekserciyan, Tatyos, Samai Rast – maqam rast
(^1^2^qb3^4^5^6^qb7 – ^b7 may also be present)
Rast has a C/Do tonic
pdfmp3Shawwā, Sāmī al, Samai Bayat – maqam bayati, mm.1-7
(^1^qb2^b3^4^5^b6^b7 – ^qb6 may also be present)
Bayat/Bayati has a D/Re tonic
Heptatonic Mode – Eastern European based
pdfmp3Cadaneasca, Romanian folk song
(Phrygian Dominant, Spanish Phrygian, Hijaz Maqam, Freygish scale) phrygian #^3
Klezmer Modes
pdfmp3Sher or Sherele, Yiddish freilach (lively song/dance)
(Freygish scale) phrygian #^3
pdfmp3Freylekhs fun der khupe, Yiddish freilach (lively song/dance)
(Misheberekh mode aka Ukrainian Dorian scale)