GREGORIAN MODES

ECCLESIASTICAL MODES
CHURCH MODES
MEDIEVAL CHURCH MODES
OCTOECHOS
 Theoretical characteristics of each mode

 Mode – a manner of arranging whole and half

steps and their relationship to a tonic and a
dominant

 Final ‘finalis’ – or tonic, end note of the chant.

 Theoretical characteristics of each mode

 Tenor – or dominant, the note that dominates

over the melody, or which appears most often or
at least the note around which revolve the most
important melodic designs of the composition.

 Ambitus – in general, it is the range of the notes

used in that chant / mode.
 Theoretical characteristics of each mode

 Tetrachord – a series of four tones

 Pentachord – a series of five tones

 Authentic modes – modes I, III, V, and VIII

 Plagal modes – modes II, IV, VI, and VIII.

 Summary Tables(arranged by final)

FAMILY NAMES
Mode
1 and 2 Re Protus Dorian
3 and 4 Mi Deuterus Phrygian
5 and 6 Fa Tritus Lydian
7 and 8 Sol Tetrardus Mixolydian
Authentic mode - The octave of ambitus starts on the
final

Mode Ambitus Tenor (a 5° above

the finalis)
1 Re Re - Re La
3 Mi Mi - Mi Si → Do
5 Fa Fa - Fa Do
7 Sol Sol - Sol Re
Plagal mode – The ambitus starts a 4th below the final

Mode Ambitus Tenor (a 3° below

the Authentic tenor)
2 Re La - La Fa
4 Mi Si - Si La
6 Fa Do - Do La
8 Sol Re – Re Si → Do
Protus: Authentic / Plagal - Dorian – Hypodorian

 Mode I – Final: Re Ambitus: Re-Re Tenor: La

 Mode II - Final: Re Ambitus: La–La Tenor: Fa
Deuterus: Authentic / Plagal - Phrygian / Hypophrygian

Mode III – Final: Mi Ambitus: Mi – Mi Tenor: Do

Mode IV – Final: Mi Ambitus: Si – Si Tenor: La
Tritus: Authentic / Plagal - Lydian / Hypolydian
Mode V Final: Fa Ambitus: Fa - Fa Tenor: Do
Mode VI Final: Fa Ambitus: Do – Do Tenor: La
Tetrardus: Authentic / Plagal - Mixolydian / Hypomixolydian

Mode VII Final: Sol Ambitus: Sol – Sol Tenor: Re

Mode VIII Final: Sol Ambitus: Re – Re Tenor: Do
 THE PRONUNCIATION OF CHURCH LATIN
- In the Gregorian chants, the language of the music,
the spirit of the music, the rhythm of the music, all
arise from the language of the words - LATIN.

a - is as the a in the English word «father» - Páter

e - is as the e in the English word «red» - Amén

- is sometimes sounded more like ‘eh’ in the initial
sound of the English a - Déus
 THE PRONUNCIATION OF CHURCH LATIN
i – is as the i in the English «police» - Filium
o – is as the o in the English word «for» - Dóminus
u – is as the oo in the English word «moon» - únum

Special cases:
y is like the Latin i - mártyrum
ae and oe are diphthongs and are like the Latin e –
caéli, poéna
 THE PRONUNCIATION OF CHURCH LATIN
au – is like the vowel sound in the English word
«house» (au is nver separated) – laudamus; auxílium

THE CONSONANTS – most consonants have the same sound

in Latin and English.
Exceptions:
Before e, ae, oe, i and y – c is like ch – caéli
cc is like tch - écce
sc is like sh - descéndit
 THE PRONUNCIATION OF CHURCH LATIN
Otherwise - g is a soft - regina
c is like k - caro
cc is like k - ecclésiam
sc is like sk - discussúrus
g is a hard g – glória
- ch is always like k – chérubim
- th is always like t - thrónum
- gn is like the ny in the English word «canyon» - ágnus
 THE PRONUNCIATION OF CHURCH LATIN
- h is like k in the words mihi and nihil otherwise
h is silent - hónor
- ti before any vowel and after any letter except s, t, or x,
is like tsi – grátia, laetítia
- ti before any vowel but proceded by s, t, or x
is regular – hóstia
- J is like the English y – Jésus
- xc before e is like a soft x (or k) with sh – excélsis
otherwise xc is treated regularly (x with k) - excussórum