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See church mode.
Church mode, also called ecclesiastical mode, in music, any one of eight scalar arrangements of whole and half tones, derived by medieval theorists, most likely from early Christian vocal convention.
For example, C major (C D E F G A B) can be made into the Dorian church mode by using D as the pitch centre without changing the pitches used (D E F G A B C), and the whole scale and its modes can be transposed to a higher or lower pitch level (F major, E♭ major, etc.).
For example, C major (C D E F G A B) can be made into the Dorian church mode by using D as the pitch centre without changing the pitches used (D E F G A B C), and the whole scale and its modes can be transposed to a higher or lower pitch level (F major, E♭ major, etc).
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Originally, the church modes were known by their respective numbers.
Lydian mode, in music, fifth of the eight medieval church modes.
Hypomixolydian mode, in music, last of the eight medieval church modes.
Hypolydian mode, in music, sixth of the eight medieval church modes.
Phrygian mode, in music, third of the eight medieval church modes.
The church modes may be regarded as older diatonic variants of the major-minor system.
In medieval and Renaissance music, eight church modes dictated the organization of musical harmony.
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