by Sr Fidelis
Another “Relative”
Just as there are two RE Modes (Modes 1 and 2), the MI Mode comes in pairs as well — Modes 3 and 4. Mode 3 has some specific characteristics: a more expansive range, often going above the reciting tone TI, and the characteristic ending of FA-MI.
Mode 4 recites on LA (a note lower than TI), but shares the home tone of MI. For the most part, Mode 4 pieces dwell in the lower part of the range, and often the reciting tone LA, is the highest pitch of the piece. Take a look and listen to the example below.
The next example is a short antiphon from the Midday Office.
The first five notes of this brief piece go right down the modal scale from LA to MI. We hear the characteristic FA-MI sound twice in this antiphon.
Although these short snippets give us the essence of each Mode, it is important to remember that Modal theory was applied years after pieces that were already freely composed! There are some that do not fit into the molds. That’s what makes the study of Gregorian Chant so fascinating. Only the Holy Spirit could inspire such melodies.