A Dictionary of Music and Musicians/Mixolydian Mode

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A Dictionary of Music and Musicians
edited by George Grove

Mixolydian Mode by William Smyth Rockstro

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From volume 2 of the work.

1687077A Dictionary of Music and Musicians — Mixolydian ModeGeorge GroveWilliam Smyth Rockstro

MIXOLYDIAN MODE. (Lat. Modus Mixolydius; Modus Angelicus.) The Seventh of the Ecclesiastical Modes. [See Modes, the Ecclesiastical.]

The Final of the Mixolydian Mode is G. Its compass, in the Authentic form, extends upwards from that note to its octave; and its semitones occur between the third and fourth, and the sixth and seventh degrees. Its Dominant is D, its Mediant, C (B being rejected, on account of its forbidden relations with F), and its Participant, A. Its Conceded Modulations are B, and E; and its Absolute Initials, G, B, C, D, and sometimes, though not very frequently, A. The subjoined example will give a clear idea of its most prominent characteristics:—

Mode VII.

${ \override Score.TimeSignature #'stencil = ##f \relative g' { \cadenzaOn g1^"Fin." a^"Part." b( c)^"Med." d^"Dom." e( f) g \bar "||" s } }$

In its Plagal, or Hypomixolydian form, (Mode VIII, Modus Hypomixolydius. Modus perfectus), its compass lies a Fourth lower—from D to D; and the semitones fall between the second and third, and the sixth and seventh degrees. The Dominant of this Mode is C; B being inadmissible, by reason of its Quinta falsa with F. Its Mediant is F—for which note A is sometimes, though not very frequently, substituted, in order to avoid the false relation of Mi contra Fa, with B. [See Mi contra Fa.] Its Participant is the lower D. Its Conceded Modulations are, the upper D, and B; and its Absolute Initials, the lower C, (below the normal compass of the mode), D, F, G, A, and C.

Mode VIII.

${ \override Score.TimeSignature #'stencil = ##f \relative d' { \cadenzaOn d1^"Part." e( f)^"Med." g^"Fin." a b( c)^"Dom." d \bar "||" s } }$

In performance, Mode VII is almost always transposed, in order to escape the high range of its upper notes. Mode VIII, on the contrary, lies well within the compass of ordinary Voices.

The Antiphon, 'Asperges me,' as given in the Roman Gradual, and the Sarum Melody of 'Sanctorum meritis,' printed in the Rev. T. Helmore's 'Hymnal Noted,' may be cited as highly characteristic examples of the use of Mode VII; and an equally perfect illustration of that of Mode VIII will be found in the Melody of 'Iste confessor,' as given in the Roman Vesperal.^[1]

In Polyphonic Music, the Mixolydian Mode is used, with great effect, both in its Authentic and Plagal form. We can scarcely call attention to a finer instance of the use of the VIIth mode than Palestrina's Missa 'Dies sanctificatus'; or, of that of the VIIIth, than his Missa 'Iste confessor.'

[ W. S. R. ]

↑ Care must be taken to distinguish these Melodies from the Roman 'Sanctorum meritis,' and the Sarum 'Iste confessor', which are not in the Modes here indicated.

[1] Care must be taken to distinguish these Melodies from the Roman 'Sanctorum meritis,' and the Sarum 'Iste confessor', which are not in the Modes here indicated.

[1]