Modes

UNDER CONSTRUCTION
*Due to the relatively limited number of modal music compositions within the
common practice, a variety of composers are listed here.

*Since some of these pieces have never been commercially recorded, therefore
there are a few MIDI recordings.
Dorian
pdfmp3Jenny’s Chickens, Traditional Irish Reel
pdfMIDILang, Josephine, Zwei Charakterstücke,Op. 32
No. 1 Nachtgesang Eines Gondoliers, Allegretto e parlando. mm.1-4
pdfmp3Yoshimatsu, Takashi, Pleiades Dances for piano, No. 7 Platan Dance,
Allegro mm.53-64
pdfmp3Shirley, Nathan, The Seven Modes, No.4 Dorian, mm.1-8
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
Phrygian
pdfmp3Shirley, Nathan, The Seven Modes, No.2 Phrygian, mm.1-8
pdfmp3Barrios, Agustin, Leyenda de España for guitar, mm.1-5
pdfmp3Mendoza, David, Phrygia for string septet and percussion,
mvt. III Cappricioso, mm. 122-134
pdfmp3Holst, Gustav, Four Songs for voice and violin, Op.35, No. 4,
My Leman is so true, Allegretto, mm.1-14
pdfmp3Adams, John, Phrygian Gates for piano, mm.114-120
pdfmp3Bingen, Hildegard von, Ave generosa, vocal chant/hymn
pdfmp3Bingen, Hildegard von, O magne pater, vocal antiphon
pdfmp3Bingen, Hildegard of, Symphonia et Ordo virtutum, for voice,
Spiritus sanctus vivificans vita, second part
Lydian
pdfmp3Yoshimatsu, Takashi, Pleiades Dances for piano, No. 3 Apple Seed Dance,
Allegro mm.1-7
pdfmp3Shirley, Nathan, The Seven Modes, No.7 Lydian, mm.1-8
pdfmp3Jensen, Nathan, Aubade for solo piano, mm.21-28
Mixolydian
pdfmp3Shirley, Nathan, The Seven Modes, No.5 Mixolydian, mm.1-10
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
Aeolian
pdfmp3Jaëll, Maire, Les Jours Pluvieux, No. 4, Petite Pluie Fine, Vite, mm.1-18
pdfmp3Pärt, Arvo, Für Alina for piano
pdfmp3Bingen, Hildegard of, Ave Generosa, vocal chant/hymn
pdfmp3Bingen, Hildegard of, Symphonia et Ordo virtutum, for voice,
Spiritus sanctus vivificans vita, first part
Locrian
pdfmp3Shirley, Nathan, The Seven Modes, No.1 Locrian, mm.1-13
pdfmp3Bartok, Bela, Mikrokosmos, Book 2, Sz.107 No. 63, Buzzing, Con moto
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
pdfmp3Apache Prayer Song, transcribed by David D. Mendoza
(^1,^2,^3,^6)
pdfmp3Navajo Four Sacred Mountain Song, transcribed by David D. Mendoza
(^1,^b3,^5,^b7)
pdfmp3Osoak, Leo, The Time I Arrive, (Aiya surli tikiatasanga) Traditional Inuit Song
transcribed by David D. Mendoza – (^1^b3^4^5)
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
pdfmp3Yamada, Kōsaku, Three Old Japanese Art Dances for piano,
mvt. II, Kyo No Shiki, Allegretto mm.1- 10 (In scale / Miyaho-bushi)
pdfmp3McPhee, Colin, Balinese Ceremonial Music, mvt. I Pemoengkah, Animato
(Slendro ^1^2^4^5^6 traditional scale contains microtonal variations)
Pentatonic Modes – North American based
pdfmp3Bird Song, Traditional, Tohono O’odham Nation,
transcribed by David D. Mendoza (pentatonic mode 1 – ^1,^2,^3,^5,^6)
aka major pentatonic
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
pdfmp3Onyeji, Christian, Ufie III for piano, Fast, ritmico, mm.2-10
(pentatonic mode 2 – ^1,^2,^4,^5,^b7)
pdfmp3Onyeji, Christian, Ufie III for piano, Fast, ritmico, mm.29-40
(pentatonic mode 3 – ^1,^b3,^4,^b6,^b7)
Pentatonic Modes – Western European based
pdfmp3Erart, Jehans, Au Tems Pascor, Trouvère Pastourelle
(^1,^2,^3,^4,^5 – pentatonic collection)
pdfmp3Christe Fili Dei and Erue a framea Gregorian Chant
(^1,^2,^3,^4,^6 – pentatonic collection)
Hexatonic Modes – Asian based
pdfmp3Rain in Jiang Nan for erhu, contemporary/commercial Chinese
(aeolian hexatonic – ^1^2^b3^4^5^b7)
Hexatonic Modes – Western European based
pdfmp3St Patrick´s Andro, Traditional Breton Music
transcribed by Henrik Norbeck (aeolian hexatonic – ^1^2^b3^4^5^b7)
pdfmp3Dies Irae, Gregorian Chant (aeolian hexatonic – ^1,^2,b3,^4,^5,^b7)
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
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
pdfmp3Al-Arian, Ibraheem, Samai Bayat – maqam bayati, mm.1-11
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