Hi Adam,

I don't know about the melodic formulas, although I suspect this is correct, having sung so much chant now. The "dominant" is an unfortunate term borrowed from tonal harmony to describe the co-final (cofinalis is the period term) or reciting tone for each mode. "Dominant" is bad because it does not serve that function.

The main thing to understand in the modes are the species of 4ths and 5ths that make them up. For example, Dorian (Mode 1) is T(one) s(emitone) T T T s T (DEFGABCD). The 5th species is D-A (TsTT), the 4th species is A-D (TsT). The qualities of those interval patterns make Dorian sound "Dorian". No other mode has a 5th species like that. Even if you flip them and put the 4th on the bottom and the 5th on the top (TsT-TsTT), you still have the Dorian 4th and 5th, but we call it Hypodorian (Mode 2). The final is still D, but the reciting tone or cofinalis changes to F, giving this mode a different color and cadencing patterns.

Do let us know if you find a source that discusses melodic patterns associated with the modes. I'd be glad to know about it. It makes sense that it would exist.

This book has what you are looking for, I think. There is an entire section of the book that goes at length to describe the nature of the Gregorian modes. Listed are all of the melodic tendencies, structural pitches, characteristic uses, this sort of a thing. It is probably too much information, but is a wonderful font of information for your own reflection on Gregorian modality.

I picked up these poems (in translation) somewhere:

The first is serious,
the second is sad,
the third is mystic,
the fourth is harmonious,
the fifth makes happy,
the sixth is devout,
the seventh angelical,
and the eighth is perfect.

– Guido of Arezzo (c. 990-1050)


The first mode lends to any feeling,
the second is suitable for the sad things,
the third is vehement,
the fourth has tender effects,
the fifth is fitting for those who are happy,
the sixth for those of proven piety,
the seventh belongs to the youth,
the eighth one to the knowledge .

– Adam of Fulda (c.1445-1505)

FWIW, I'm attaching the little mode book I once prepared for my schola - let's hope the attachment works.

awr

Someone in Chicago (and I can't remember if it was Scott at the Chant Intensive or Jenny with our polyphonic choir) handed out a sheet to us with a Latin phrase set to Mode I which had the word "primus" in it, Mode II with the word "secundus", etc.

I can't find it these two or three years later, but that would be a wonderful thing if anyone has it and could post it here........

Dom Saulnier recently published a book titled, "The Gregorian modes". After a quick search, I could only find it at theabbeyshop.com (UK) in Eng translation.

Thanks for the file, Fr. Ruff!

I have notes from a workshop with Fr. Columba Kelly that described the moods of the modes. I'll try to find it.

Fr. Ruff's booklet, combined with the pages in Don Suñol's Textbook were exactly what I was looking for.

Although....
I'd take more if someone's got it!

The link that Noel shared way back in 2011 (3rd comment on the page) has expired. The page no longer exists. Here is a link to an archive.org snapshot of the page from March of 2010: https://web.archive.org/web/20100327110038/http://romancatholicsacredmusic.com/modes.html

Edit: After trying to use this page, I believe it runs flash, which makes it useless, as modern browser won't run flash.

I logged on to ask something mundane and somehow my phone directed me to this lovely and useful thread, with two references to Fr. Columba Kelly, OSB (RIP), whom I was privileged and blessed to call friend.

Many thanks to all.
Kenneth