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Originally, the church modes were known by their respective numbers.
As in Debussy, familiar chords play on the notes of the old church modes.
A systematic organization of tonal materials also was gradually accomplished, resulting in the eight church modes.
Lydian mode, in music, fifth of the eight medieval church modes.
Phrygian mode, in music, third of the eight medieval church modes.
Hypomixolydian mode, in music, last of the eight medieval church modes.
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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).
The choice also signals a church in fighting mode.
Finite element calculations of the normal modes of church, carillon, hand and fire-alarm bells have been made.
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