Counterpoint and Harmony by Edward C. Bairstow

Author:Edward C. Bairstow [Bairstow, Edward C.]
Language: eng
Format: azw3, pdf
Publisher: Read Books Ltd.
Published: 2013-04-15T16:00:00+00:00

155. The Mixo-Lydian Mode. Ex. D. This mode became very like G major, because F sharp was constantly used for all three purposes mentioned above. Ex. D should also be played with the signature of one sharp. The student will now realise why modulations can be made without accidentals (81); it is a legacy handed down to us from modal times. Ex. D seems to end quite satisfactorily in the key of G, as did Ex. 66, although there is no F sharp.

Ex. D. Mixo-lydian

156. The Æolian Mode. Ex. E (1). This resembles A minor more strongly than the Dorian or Phrygian modes resemble their modern minor prototypes, for G sharp has to be continually used for the perfect cadence. It was rarely used in the XVIth century.

Ex. E. (1) Æolian

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