Dorian 5
Roxanna Bornemann
In the diatonic genus, the sequence over the octave is the same as that produced by playing all the white notes of a piano ascending from E to E,[1] a sequence equivalent to the pattern of the modern Phrygian mode, although the temperament differs by small amounts.
Placing the single tone at the bottom of the scale followed by two conjunct tetrachords (that is, the top note of the first tetrachord is also the bottom note of the second), produces the Hypodorian ("below Dorian") octave species: A B C D E (E) F G A. Placing the two conjunct tetrachords together and the single tone at the top of the scale produces the Mixolydian octave species, a note sequence equivalent to modern Locrian mode.[2]
The early Byzantine church developed a system of eight musical modes (the octoechos), which served as a model for medieval European chant theorists when they developed their own modal classification system starting in the 9th century.[3] The success of the Western synthesis of this system with elements from the fourth book of De institutione musica of Boethius, created the false impression that the Byzantine octoechos was inherited directly from ancient Greece.[4]
Originally used to designate one of the traditional harmoniai of Greek theory (a term with various meanings, including the sense of an octave consisting of eight tones), the name was appropriated (along with six others) by the 2nd-century theorist Ptolemy to designate his seven tonoi, or transposition keys. Four centuries later, Boethius interpreted Ptolemy in Latin, still with the meaning of transposition keys, not scales. When chant theory was first being formulated in the 9th century, these seven names plus an eighth, Hypermixolydian (later changed to Hypomixolydian), were again re-appropriated in the anonymous treatise Alia Musica. A commentary on that treatise, called the Nova expositio, first gave it a new sense as one of a set of eight diatonic species of the octave, or scales.
It may be considered an "excerpt" of a major scale played from the pitch a whole tone above the major scale's tonic, i.e., a major scale played from its second scale degree up to its second degree again. The resulting scale is, however, minor in quality, because, as the D becomes the new tonal centre, the F a minor third above the D becomes the new mediant, or third degree. Thus, when a triad is built upon the tonic, it is a minor triad.
The modern Dorian mode is equivalent to the natural minor scale (or the Aeolian mode) but with a major sixth. The modern Dorian mode resembles the Greek Phrygian harmonia in the diatonic genus.
Registration will open September 2024. Like last year, we will be able to accept online credit card payments for festival fees, in addition to receiving payments by check and/or cash.
This year, we will be able to accept online credit card payments for festival fees, in addition to receiving payments by check and/or cash. Download the paper form if you are paying with cash or check.
PLEASE READ: In an effort to have the roster information and the fees form match, please refer to the roster, found in your teacher email from Dorian, prior to submission. If you have ANY changes to your roster, including but not limited to: lessons, housing, number of attendees, you MUST reach out to dor...@luther.edu with that update prior to filling out this form.
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