Messe de Nostre Dame (Mass of Our Lady) is a polyphonic mass composed before 1365 by French poet and composer Guillaume de Machaut (c. 1300–1377). Widely regarded as one of the masterpieces of medieval music and of all religious music, it is historically notable as the earliest complete setting of the Ordinary of the Mass attributable to a single composer (in contrast to earlier compilations such as the Tournai Mass).

Structure

The Messe de Nostre Dame consists of six movements, namely the Kyrie, Gloria, Credo, Sanctus, Agnus Dei, and the dismissal Ite, missa est. The tenor of the Kyrie is based on Vatican Kyrie IV, the Sanctus and Agnus correspond to Vatican Mass XVII and the Ite is on Sanctus VIII. The Gloria and Credo have no apparent chant basis, although they are stylistically related to one another.

Machaut's Messe de Nostre Dame is for four voices rather than the more common three. Machaut added a countertenor voice that moved in the same low range as the tenor, sometimes replacing it as the lowest voice.

Unification

In the liturgy of the Mass, the items of the Ordinary are not performed consecutively, but are separated from one another by prayers and chants. Machaut's unification of these items into an artistic whole is the earliest instance of an Ordinary of the Mass setting that is stylistically coherent and was also conceived as a unit. This gesture imposed on the Ordinary is a previously unconsidered abstract artistic idea and potentially influenced composers throughout the ages to continue setting the Ordinary to stylistically coherent music.

Purpose and style

Machaut composed his Messe de Nostre Dame for the Cathedral at Reims where he served as a canon, a permanent member of the clergy. According to a rubric found at the Cathedral, it would have likely been performed for the Saturday Lady Mass. Some scholars hypothesize that, contrary to popular belief, Machaut did not actually come to work for the Reims Cathedral until the end of the 1350s, composing the mass as an act of devotion and dedication marking his arrival in the precinct. In conformity with the wills of Guillaume and his brother Jean, also a canon at the Cathedral, the mass was believed to have been transformed into a memorial service for them following their deaths. However, neither the specific nature of its performance (if such a performance exists) nor the service the Mass was prepared for has been conclusively ascertained.

It is possible that Machaut was familiar with the Tournai Mass, an even earlier polyphonic 14th-century mass setting in which each movement is believed to have been written independently by different composers. The Gloria and Credo of the Messe de Nostre Dame exhibit some similarities to the Tournai mass, such as textless musical interludes, simultaneous style, and long melismatic Amens. The other four movements of Machaut's mass are composed in motet style with Mass text.

Recordings

It is often stated that the Messe de Nostre Dame was first recorded by Safford Cape in 1956 for the Deutsche Grammophon Archiv Produktion Series. However, earlier recordings were made by the Dessoff Choirs under Paul Boepple, in 1951; and a partial recording by Les Paraphonistes de Saint-Jean-des-Matines under Guillaume de Van in 1936. More recent recordings include the following:

• Guillaume de Machaut: Messe de Nostre Dame. (1984), Taverner Consort and Taverner Choir directed by Andrew Parrott (EMI ASD1435761)
• Guillaume de Machaut: Messe de Nostre Dame. (1993), Hilliard Ensemble directed by Paul Hillier (Hyperion CDA66358)
• Early Music – Machaut: La Messe De Nostre Dame, Le Voir Dit (1996), Oxford Camerata directed by Jeremy Summerly (Naxos 553833)
• Guillaume de Machaut – Messe de Notre Dame. (1996), Ensemble Organum directed by Marcel Peres
• Guillaume de Machaut: Messe de Nostre Dame. (2000), Ensemble Gilles Binchois directed by Dominique Vellard (Cantus 9624)
• Guillaume de Machaut: Messe de Nostre Dame. (2008), Diabolus in Musica directed by Antoine Guerber (Alpha 132)
• Guillaume de Machaut: Messe de Nostre Dame. (2016), Graindelavoix directed by Björn Schmelzer (Glossa GCD-P32110)

Notes

References

• Guillaume De Machaut's Messe De Nostre Dame Archived 2006-03-02 at the Wayback Machine
• Gilbert Reaney, Machaut (London: Oxford University Press, 1971).
• Daniel Leech-Wilkinson, Machaut's Mass: An Introduction. Oxford: Oxford University Press, 1990.
• Anne Walters Robertson. Guillaume de Machaut at Reims: Context and Meaning in his Musical Works. Cambridge, England: Cambridge University Press, 2002.

External links

• Free scores of the Messe de Nostre Dame in the Choral Public Domain Library (ChoralWiki)
• Complete discography

A pastiche is a work of visual art, literature, theatre, music, or architecture that imitates the style or character of the work of one or more other artists. Unlike parody, pastiche pays homage to the work it imitates, rather than mocking it.

The word pastiche is the French borrowing of the Italian noun pasticcio, which is a pâté or pie-filling mixed from diverse ingredients. Metaphorically, pastiche and pasticcio describe works that are either composed by several authors, or that incorporate stylistic elements of other artists' work. Pastiche is an example of eclecticism in art.

Allusion is not pastiche. A literary allusion may refer to another work, but it does not reiterate it. Moreover, allusion requires the audience to share in the author's cultural knowledge. Both allusion and pastiche are mechanisms of intertextuality.

By art

Literature

In literary usage, the term denotes a literary technique employing a generally light-hearted tongue-in-cheek imitation of another's style; although jocular, it is usually respectful. The word implies a lack of originality or coherence, an imitative jumble, but with the advent of postmodernism, pastiche has become positively construed as deliberate, witty homage or playful imitation.

For example, many stories featuring Sherlock Holmes, originally penned by Arthur Conan Doyle, have been written as pastiches since the author's time. Ellery Queen and Nero Wolfe are other popular subjects of mystery parodies and pastiches.

A similar example of pastiche is the posthumous continuations of the Robert E. Howard stories, written by other writers without Howard's authorization. This includes the Conan the Barbarian stories of L. Sprague de Camp and Lin Carter. David Lodge's novel The British Museum Is Falling Down (1965) is a pastiche of works by Joyce, Kafka, and Virginia Woolf. In 1991 Alexandra Ripley wrote the novel Scarlett, a pastiche of Gone with the Wind, in an unsuccessful attempt to have it recognized as a canonical sequel.

In 2017, John Banville published Mrs. Osmond, a sequel to Henry James's The Portrait of a Lady, written in a style similar to that of James. In 2018, Ben Schott published Jeeves and the King of Clubs, an homage to P. G. Wodehouse's character Jeeves, with the blessing of the Wodehouse estate.

Music

Charles Rosen has characterized Mozart's various works in imitation of Baroque style as pastiche, and Edvard Grieg's Holberg Suite was written as a conscious homage to the music of an earlier age. Some of Pyotr Ilyich Tchaikovsky's works, such as his Variations on a Rococo Theme and Serenade for Strings, employ a poised "classical" form reminiscent of 18th-century composers such as Mozart (the composer whose work was his favorite). Perhaps one of the best examples of pastiche in modern music is that of George Rochberg, who used the technique in his String Quartet No. 3 of 1972 and Music for the Magic Theater. Rochberg turned to pastiche from serialism after the death of his son in 1963.

"Bohemian Rhapsody" by Queen is unusual as it is a pastiche in both senses of the word, as there are many distinct styles imitated in the song, all "hodge-podged" together to create one piece of music. A similar earlier example is "Happiness is a Warm Gun" by the Beatles. One can find musical "pastiches" throughout the work of the American composer Frank Zappa. Comedian/parodist "Weird Al" Yankovic has also recorded several songs that are pastiches of other popular recording artists, such as Devo ("Dare to Be Stupid"), Talking Heads ("Dog Eat Dog"), Rage Against the Machine ("I'll Sue Ya"), and The Doors ("Craigslist"), though these so-called "style parodies" often walk the line between celebration (pastiche) and send-up (parody). Acclaimed Alternative rock band Ween, known for their eclectic catalog of inspirations, have been argued to have created pastiches superior to their source inspirations.

A pastiche Mass is a musical Mass where the constituent movements come from different Mass settings. Most often this convention has been chosen for concert performances, particularly by early-music ensembles. Masses are composed of movements: Kyrie, Gloria, Credo, Sanctus, Agnus Dei; for example, the Missa Solemnis by Beethoven and the Messe de Nostre Dame by Guillaume de Machaut. In a pastiche Mass, the performers may choose a Kyrie from one composer, and a Gloria from another; or choose a Kyrie from one setting of an individual composer, and a Gloria from another.

Musical theatre

In musical theatre, pastiche is often an indispensable tool for evoking the sounds of a particular era for which a show is set. For the 1971 musical Follies, a show about a reunion of performers from a musical revue set between the World Wars, Stephen Sondheim wrote over a dozen songs in the style of Broadway songwriters of the 1920s and 1930s. Sondheim imitates not only the music of composers such as Cole Porter, Irving Berlin, Jerome Kern, and George Gershwin but also the lyrics of writers such as Ira Gershwin, Dorothy Fields, Otto Harbach, and Oscar Hammerstein II. For example, Sondheim notes that the torch song "Losing My Mind" sung in the show contains "near-stenciled rhythms and harmonies" from the Gershwins' "The Man I Love" and lyrics written in the style of Dorothy Fields. Examples of musical pastiche also appear in other Sondheim shows including Gypsy, Saturday Night, Assassins, and Anyone Can Whistle.

Film

Pastiche can also be a cinematic device whereby filmmakers pay homage to another filmmaker's style and use of cinematography, including camera angles, lighting, and mise en scène. A film's writer may also offer a pastiche based on the works of other writers (this is especially evident in historical films and documentaries but can be found in non-fiction drama, comedy and horror films as well). Italian director Sergio Leone's Once Upon a Time in the West is a pastiche of earlier American Westerns. Another major filmmaker, Quentin Tarantino, often uses various plots, characteristics and themes from many films to create his films, among them from the films of Sergio Leone, in effect creating a pastiche of a pastiche. Tarantino has openly stated that "I steal from every single movie ever made." Director Todd Haynes' 2002 film Far from Heaven was a conscious attempt to replicate a typical Douglas Sirk melodrama—in particular All That Heaven Allows.

In cinema, the influence of George Lucas' Star Wars films (spawning their own pastiches, such as the 1983 3D film Metalstorm: The Destruction of Jared-Syn) can be regarded as a function of postmodernity.

Architecture

In discussions of urban planning, the term "pastiche" may describe developments as imitations of the building styles created by major architects: with the implication that the derivative work is unoriginal and of little merit, and the term is generally attributed without reference to its urban context. Many 19th and 20th century European developments can in this way be described as pastiches, such as the work of Vincent Harris and Edwin Lutyens who created early 20th century Neoclassical and Neo-Georgian architectural developments in Britain, or of later pastiche works based on the architecture of the modernist Ludwig Mies van der Rohe and the Bauhaus movement. The term itself is not pejorative; however, Alain de Botton describes pastiche as "an unconvincing reproduction of the styles of the past".

See also

References

Further reading

• Jameson, Fredric (1989). "Postmodernism and Consumer Society". In Foster, Hal (ed.). The Anti-Aesthetic: Essays on Post-Modern Culture. Seattle: Bay Press. pp. 111–125.
• Jameson, Fredric (1991). Postmodernism, or, the Cultural Logic of Late Capitalism. Durham: Duke University Press. ISBN 978-0-8223-1090-7. OCLC 21330492.
• Dyer, Richard (2007). Pastiche. New York: Routledge. ISBN 978-0-415-34009-0. OCLC 64486475.

Ars nova (Latin for new art) refers to a musical style which flourished in the Kingdom of France and its surroundings during the Late Middle Ages. More particularly, it refers to the period between the preparation of the Roman de Fauvel (1310s) and the death of composer Guillaume de Machaut in 1377. The term is sometimes used more generally to refer to all European polyphonic music of the fourteenth century. For instance, the term "Italian ars nova" is sometimes used to denote the music of Francesco Landini and his compatriots, although Trecento music is the more common term for the contemporary 14th-century music in Italy. The "ars" in "ars nova" can be read as "technique", or "style". The term was first used in two musical treatises, titled Ars novae musicae (New Technique of Music) (c. 1320) by Johannes de Muris, and a collection of writings (c. 1322) attributed to Philippe de Vitry often simply called "Ars nova" today. Musicologist Johannes Wolf first applied to the term as description of an entire era (as opposed to merely specific persons) in 1904.

The term ars nova is often used in juxtaposition to two other periodic terms, of which the first, ars antiqua, refers to the music of the immediately preceding age, usually extending back to take in the period of Notre Dame polyphony (from about 1170 to 1320). Roughly, then, ars antiqua refers to music of the thirteenth century, and the ars nova that of the fourteenth; many music histories use the terms in this more general sense.

The period from the death of Machaut (1377) until the early fifteenth century, including the rhythmic innovations of the ars subtilior, is sometimes considered the end of, or late, ars nova but at other times an independent era in music. Other musical periods and styles have at various times been called "new art." Johannes Tinctoris used the term to describe Dunstaple; however, in modern historiographical usage, it is restricted entirely to the period described above.

Versus ars antiqua

Stylistically, the music of the ars nova differed from the preceding era in several ways. Developments in notation allowed notes to be written with greater rhythmic independence, shunning the limitations of the rhythmic modes which prevailed in the thirteenth century; secular music acquired much of the polyphonic sophistication previously found only in sacred music; and new techniques and forms, such as isorhythm and the isorhythmic motet, became prevalent. The overall aesthetic effect of these changes was to create music of greater expressiveness and variety than had been the case in the thirteenth century. Indeed, the sudden historical change which occurred, with its startling new degree of musical expressiveness, can be likened to the introduction of perspective in painting, and it is useful to consider that the changes to music in the period of the ars nova were contemporary with the great early Renaissance revolutions in painting and literature.

The most famous practitioner of the new musical style was Guillaume de Machaut, who also had a distinguished career as a canon at Reims Cathedral and as a poet. The ars-nova style is evident in his considerable body of motets, lais, virelais, rondeaux and ballades.

Towards the end of the fourteenth century, a new stylistic school of composers and poets centered in Avignon in southern France developed; the highly mannered style of this period is often called the ars subtilior, although some scholars have chosen to consider it a late development of the ars nova rather than separating it into a separate school. This strange but interesting repertory of music, limited in geographical distribution (southern France, Aragon and later Cyprus), and clearly intended for performance by specialists for an audience of connoisseurs, is like an "end note" to the entire Middle Ages.

List of composers

Discography

• Chants du XIV^ème siècle. Mora Vocis Ensemble. France: Mandala, 1999. CD recording MAN 4946.
• Denkmäler alter Musik aus dem Codex Reina (14./15. Jh.). Syntagma Musicum (Kees Otten, dir.). Das Alte Werk. [N.p.]: Telefunken, 1979. LP recording 6.42357.
• Domna. Esther Lamandier, voice, harp, and portative organ. Paris: Alienor, 1987. CD recording AL 1019.
• La fontaine amoureuse: Poetry and Music of Guillaume de Machaut. Music for a While, with Tom Klunis, narrator. Berkeley: 1750 Arch Records, 1977. LP recording 1773.
• Guillaume de Machaut. Je, Guillaumes Dessus Nommez. Ensemble Gilles Binchois (Dominique Vellard, dir.). [N.p.]: Cantus, 2003. CD recording 9804.
• Guillaume de Machaut. La Messe de Nostre Dame und Motetten. James Bowman, Tom Sutcliffe, countertenors; Capella Antiqua München (Konrad Ruhland, dir.). Das Alte Werk. Hamburg: Telefunken, 1970. LP recording 6.41125 AS.
• Guillaume de Machaut. La messe de Nostre Dame; Le voir dit. Oxford Camerata (Jeremy Summerly, dir.). Hong Kong: Naxos, 2004. CD recording 8553833.
• Guillaume de Machaut. Messe de Notre Dame. Ensemble Organum (Marcel Pérès, dir.). Arles: Harmonia Mundi, 1997. CD recording 901590.
• Guillaume de Machaut. Messe de Notre Dame; Le lai de la fonteinne; Ma fin est mon commencement. Hilliard Ensemble (Paul Hillier, dir.). London: Hyperion, 1989.
• Guillaume de Machaut. Motets. Hilliard Ensemble. Munich: ECM Records, 2004.
• Philippe De Vitry and the Ars Nova—Motets. Orlando Consort. Wotton-Under-Edge, Glos., England: Amon Ra, 1990. CD recording CD-SAR 49.
• Philippe de Vitry. Motets & Chansons. Sequentia (Benjamin Bagby and Barbara Thornton, dir.) Freiburg: Deutsche Harmonia Mundi, 1991. CD recording 77095-2-RC.
• Roman de Fauvel. Jean Bollery (speaker), Studio der Frühen Musik (Thomas Binkley, dir.). Reflexe: Stationen europäischer Musik. Cologne: EMI, 1972. LP recording 1C 063-30 103.
• Le roman de Fauvel. Anne Azéma (soprano, narration), Dominique Visse (countertenor, narration), Boston Camerata and Ensemble Project Ars Nova (Joel Cohen, dir.). France: Erato, 1995. CD recording 4509-96392-2.
• The Service of Venus and Mars: Music for the Knights of the Garter, 1340–1440. Gothic Voices (Christopher Page, dir.). London: Hyperion, 1987. CD recording CDA 66238.
• The Spirit of England and France I: Music of the Late Middle Ages for Court and Church. Gothic Voices (Christopher Page, dir.). London: Hyperion Records, 1994. CD recording CDA66739.
• The Study of Love: French Songs and Motets of the 14th Century. Gothic Voices (Christopher Page, dir.). London: Hyperion Records, 1992. CD recording CDA66619.

Notes

References

• Earp, Lawrence (1995). "Ars nova". In Medieval France: An Encyclopedia, edited by William W. Kibler, Grover A. Zinn, Lawrence Earp, and John Bell Henneman, Jr., 72–73. Garland Reference Library of the Humanities 932; Garland Encyclopedias of the Middle Ages 2. New York: Garland Publishers. ISBN 978-0-8240-4444-2.
• Schrade, Leo (1956). "Philippe de Vitry: Some New Discoveries". The Musical Quarterly 42, no. 3 (July): 330–54.

Further reading

• Arlt, Wulf [in German] (1973). "The Development of French Secular Music during the Fourteenth Century". Musica Disciplina. 27: 41–59. JSTOR 20532157.
• (1980). "Ars nova". The New Grove Dictionary of Music and Musicians, edited by Stanley Sadie. 20 vols. London: Macmillan Publishers Ltd. ISBN 1-56159-174-2.
• Fuller, Sarah (1985–86). "A Phantom Treatise of the Fourteenth Century? The Ars Nova". The Journal of Musicology 4, no. 1 (Winter): 23–50.
• Gleason, Harold, and Warren Becker (1986). Music in the Middle Ages and Renaissance. Music Literature Outlines Series 1. Bloomington, Indiana: Frangipani Press. ISBN 0-89917-034-X.
• Hoppin, Richard (1978). Medieval Music. The Norton Introduction to Music History (1st ed.). New York, New York: W. W. Norton & Company. ISBN 978-0-393-09090-1.
• Leech-Wilkinson, Daniel (1990). "Ars Antiqua—Ars Nova—Ars Subtilior". In Antiquity and the Middle Ages: From Ancient Greece to the 15th Century, edited by James McKinnon, 218–40. Man and Music. London: Macmillan Publishers. ISBN 0-333-51040-2 (cased); ISBN 0-333-53004-7 (pbk).
• Leech-Wilkinson, Daniel (1995). "The Emergence of ars nova". The Journal of Musicology. 13 (3): 285–317. doi:10.2307/764132. JSTOR 764132.
• Wilkins, Nigel (1979). Music in the age of Chaucer. Cambridge, England: D.S. Brewer. ISBN 978-0-85991-052-1.
• Philippe de Vitry, ARS NOVA (1320) French: http://centrebombe.org/livre/Ars.Nova.html
• Snellings, Dirk (2003). "Ars Nova and Trecento Music in 14th Century Europe" (retrieved on 2008-06-14), translated by Stratton Bull, 12. CD Booklet CAPI 2003.

The French composer Guillaume de Machaut was the most prolific composer of his time, with surviving works encompassing many forms, the three formes fixes rondeaux, virelais, ballades, as well as motets, lais and a single representative of the complainte, chanson royale, double hocket and mass genres. Most of his extant output is secular music, a notable exception being the renowned Messe de Nostre Dame. His oeuvre as a whole represents an unprecedented volume of surviving music for a single mediaeval composer, largely in part due to his own efforts to preserve and curate manuscripts for his music. The dominant figure of the ars nova style in late medieval music, Machaut is regarded as the most significant French composer and poet of the 14th century and often seen as the century's leading European composer.

Since many titles are merely the first lines of the texts used, in different sources individual pieces may be referred to by slightly different titles. For example, R20 is known both as Douce dame and Douce dame tant qui vivray. Furthermore, some of Machaut's works (most notably the motets) employ simultaneous performance of several different texts. In such cases, the title of the work lists all texts used, starting from the top voice.

Machaut was the first composer to concentrate on self-anthologization of his works, supervising the creation of three complete-works manuscripts during his life. In the last manuscript, written c. 1370, the scribe wrote Vesci l'ordinance que G. de Machau wet qu'il ait en son livre—Here is the order that G. de Machaut wants his book to have.

Works are organized by genre. The numbering scheme, from the classic edition of Machaut's works by Leo Schrade, does not represent chronology, since few of Machaut's works can be reliably dated.

Ballades

• B1 S'Amours ne fait
• B2 Helas! tant ay dolour
• B3 On ne porroit penser
• B4 Biaute qui toutes autres pere
• B5 Riches d'amour et mendians
• B6 Doulz amis
• B7 J'aim mieus languir
• B8 De desconfort
• B9 Dame, ne regardes pas
• B10 Ne penses pas
• B11 N'en fait n'en dit
• B12 Pour ce que tous mes chans
• B13 Esperance qui m'asseure
• B14 Je ne cuit pas
• B15 Se je me pleing
• B16 Dame, comment qu'amez
• B17 Sanz cuer m'en vois / Amis, dolens/ Dame, par vous
• B18 De petit po
• B19 Amours me fait desirer
• B20 Je sui aussi com cilz
• B21 Se quanque amours
• B22 Il m'est avis
• B23 De Fortune me doy pleindre
• B24 Tres douce dame
• B25 Honte, paour, doubtance
• B26 Donnez, signeurs
• B27 Une vipere en cuer
• B28 Je puis trop bien
• B29 De triste cuer / Quant vrais amans / Certes, je di
• B30 Pas de tor
• B31 De toutes flours
• B32 Ploures, dames
• B33 Nes que on porroit
• B34 Quant Theseus / Ne quier veoir
• B35 Gais et jolis
• B36 Se pour ce muir
• B37 Dame, se vous m'estes
• B38 Phyton, le mervilleus serpent
• B39 Mes esperis
• B40 Ma chiere dame
• B41 En amer a douce vie from Le Remède de Fortune (before 1342)
• B42 Dame, de qui toute ma joie from Le Remède de Fortune (before 1342)

Complainte

• Tels rit au main from Le Remède de Fortune (before 1342)

Chanson royale

• Joie, plaisence from Le Remède de Fortune (before 1342)

Double hocket

• David Hoquetus (1360s)

Lais

• L1 Loyaute, que point ne delay
• L2 J'aim la flour de valour
• L3 Pour ce qu'on puist
• L4 Nuls ne doit avoir
• L5 Par trois raisons
• L6 Amours doucement
• L7 Le lay des dames: Amis t'amour
• L8 Le lay mortel: Un mortel lay weil commencier
• L9 Le lay de l'ymage: Ne say comment commencier
• L10 Le lay de Nostre Dame: Contre ce doulz mois de may
• L11 Le lay de la fonteinne: Je ne cesse de prier
• L12 Le lay de confort: S'onques doulereusement
• L13 Le lay de bonne esperance: Longuement me sui
• L14 Le lay de plour: Malgre fortune
• L15 Le lay de la rose: Pour vivre joliement
• L16 Le lay de plour: Qui bien aimme
• L17 Un lay de consolation: Pour ce que plus proprement
• L18 En demantant
• L19 Qui n'aroit autre deport from Le Remède de Fortune (before 1342)

Mass

• Messe de Nostre Dame (1360s)
  • Kyrie
  • Gloria
  • Credo
  • Sanctus
  • Agnus Dei
  • Ite missa est

Motets

• M1 Quant en moy / Amour et biauté / Amara valde
• M2 De souspirant / Tous corps qui de bien amer / Suspiro
• M3 Fine Amour / He! Mors com tu es haie / Quare non sum mortuus
• M4 Puisque la douce rousee / De Bon Espoir / Speravi
• M5 Qui plus aimme / Aucune gent m'ont demandé / Fiat voluntas tua
• M6 S'Amours tous amans joir / S'il estoit nulz qui pleindre / Et gaudebit cor vestrum
• M7 Lasse! je sui en aventure / J'ay tant mon cuer / Ego moriar pro te
• M8 Ha! Fortune / Qui es promesses de Fortune / Et non est qui adjuvet
• M9 O livoris feritas / Fons totuis superbie / Fera pessima
• M10 Helas! ou sera pris confors / Hareu! hareu! le feu / Obediens usque ad mortem
• M11 Fins cuers doulz / Dame, je sui cilz / Fins cuers doulz
• M12 Corde mesto cantando / Helas! pour quoy virent / Libera me
• M13 Eins que ma dame / Tant doucement m'ont attrait / Ruina
• M14 De ma dolour / Maugre mon cuer / Quia amore langueo
• M15 Faus Samblant m'a deceu / Amours qui ha le pouoir / Vidi Dominum
• M16 Se j'aim mon loyal ami / Lasse! comment oublieray / Pour quoy me bat mes maris?
• M17 O series summe rata / Quant vraie amour enflamee / Super omnes speciosa
• M18 Bone pastor, qui pastores / Bone pastor, Guillerme / Bone pastor (c. 1324)
• M19 Diligenter inquiramus / Martyrum gemma latria / A Christo honoratus
• M20 Biaute paree de valour / Trop plus est belle / Je ne sui mie certeins
• M21 Veni creator spiritus / Christe, quie lux es / Tribulatio proxima est et non est qui adjuvet (c. 1358–60 or later)
• M22 Plange, regni respublica / Tu qui gregem tuum ducis / Apprehende arma et scutum et exurge (c. 1358–60 or later)
• M23 Inviolata genitrix / Felix virgo / Ad te suspiramus gementes et flentes (c. 1358–60 or later)
• M24 De touz les biens / Li enseignement / Ecce tu pulchra es amica mea (doubtful)

Rondeaux

• R1 Doulz viaire gracieus
• R2 Helas! pour quoy
• R3 Merci vous pri
• R4 Sans cuer, dolens
• R5 Quant j'ay l'espart
• R6 Cinc, un, treze
• R7 Se vous n'estes
• R8 Vos doulz resgars
• R9 Tant doucement
• R10 Rose, liz, printemps
• R11 Comment puet on mieus
• R12 Ce qui soustient
• R13 Dame, se vous n'aves aperceu
• R14 Ma fin est mon commencement
• R15 Certes, mon oueil
• R16 Dame, qui weult
• R17 Dix et sept, cinc, trese
• R18 Puis qu'en oubli
• R19 Quant ma dame les maus
• R20 Douce dame tant qui vivray
• R21 Quant je ne voy
• R22 Dame, mon cuer from Le Remède de Fortune (before 1342)

Virelais

• V1 He! dame de vaillance
• V2 Layaute weil tous jours
• V3 Ay mi! dame de valour
• V4 Douce dame jolie
• V5 Comment qu'a moy
• V6 Se ma dame
• V7 Puis que ma dolour
• V8 Dou mal qui m'a longuement
• V9 Dame, je weil endurer
• V10 De bonte, de valour
• V11 He! dame de valour
• V12 Dame, a qui m'ottri
• V13 Quant je sui mis
• V14 J'aim sans penser
• V15 Se mesdisans
• V16 C'est force, faire le weil
• V17 Dame, vostre doulz viaire
• V18 Helas! et comment
• V19 Dieus, Biaute, Douceur
• V20 Se d'amer
• V21 Je vivroie liement
• V22 Foy porter
• V23 Tres bonne et belle
• V24 En mon cuer
• V25 Tuit mi penser
• V26 Mors sui, se je ne vous voy
• V27 Liement me deport
• V28 Plus dure que un dyamant
• V29 Dame, mon cuer emportes
• V30 Se je souspir
• V31 Moult sui de bonne heure nee
• V32 De tout sui si confortee
• V33 Dame, a vous sans retollier from Le Remède de Fortune (before 1342)

Alternate cataloging

The works from Le Remède de Fortune have presented a problem for modern-day collections, as they appeared in the manuscript in the poem, not with other works of its genre. Thus, occasionally Le Remède de Fortune works are given their own category and catalogued according to the order of their appearance:

• RF1 Qui n'aroit autre deport (Lai)
• RF2 Tels rit au main (Complainte)
• RF3 Joie, plaisence (Chanson Royale)
• RF4 En amer a douce vie (Balladele)
• RF5 Dame, de qui toute ma joie (Ballade)
• RF6 Dame, a vous sans retoller (Chanson Baladée)
• RF7 Dame, mon cuer (Rondeau)

References

Sources

Books and chapters

Journal and encyclopedia articles

Online

External links

• Free scores by Guillame de Machaut at the International Music Score Library Project (IMSLP)
• List of compositions by Guillaume de Machaut at the Digital Image Archive of Medieval Music
• Works by Guillaume de Machaut in the Medieval Music Database from La Trobe University

Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek harmoniai (characteristic melodic behaviour, or the scale structure associated with it); one of the medieval musical modes; or—most commonly—one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of itself.

Greek Dorian mode

The Dorian mode (properly harmonia or tonos) is named after the Dorian Greeks. Applied to a whole octave, the Dorian octave species was built upon two tetrachords (four-note segments) separated by a whole tone, running from the hypate meson to the nete diezeugmenon.

In the enharmonic genus, the intervals in each tetrachord are quarter tone–quarter tone–major third.

In the chromatic genus, they are semitone–semitone–minor third.

In the diatonic genus, they are semitone–tone–tone.

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, 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.

Medieval Dorian mode

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. 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.

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.

In medieval theory, the authentic Dorian mode could include the note B♭ "by licence", in addition to B♮. The same scalar pattern, but starting a fourth or fifth below the mode final D, and extending a fifth above (or a sixth, terminating on B♭), was numbered as mode 2 in the medieval system. This was the plagal mode corresponding to the authentic Dorian, and was called the Hypodorian mode. In the untransposed form on D, in both the authentic and plagal forms the note C is often raised to C♯ to form a leading tone, and the variable sixth step is in general B♮ in ascending lines and B♭ in descent.

Modern Dorian mode

The modern Dorian mode (also called "Russian minor" by Balakirev,) by contrast, is a strictly diatonic scale corresponding to the white keys of the piano from D to D (shown below)

or any transposition of its interval pattern, which has the ascending pattern of whole steps and half steps as follows:

whole, half, whole, whole, whole, half, whole

Thus, the Dorian mode is a symmetric scale, since the pattern of whole and half steps is the same ascending or descending.

The modern Dorian mode can also be thought of as a scale with a minor third and seventh, a major second and sixth, and a perfect fourth and fifth, notated relative to the major scale as:

1, 2, ♭3, 4, 5, 6, ♭7, 8

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.

It is also equivalent to the ascending melodic minor scale with a minor seventh.

Notable compositions in Dorian mode

Hit songs in Dorian include, "Evil Ways..., "I Wish"..., "Lowdown"..., "Foxy Lady"..., "Owner of a Lonely Heart"..., "Moondance"..., "Billie Jean"..., and many others.

Traditional

• "Drunken Sailor"
• "Scarborough Fair"
• "Noël nouvelet" (15th century French Christmas carol, often sung in English as "Sing We Now of Christmas")

Medieval

• "Ave maris stella", Gregorian chant (Marian hymn)
• "Dies irae" (original setting in Gregorian chant, sequence).
• "Victimae paschali laudes", Gregorian chant (sequence)
• "Veni Sancte Spiritus", Gregorian chant (sequence)
• Alle Psallite Cum Luya, an anonymous three-part Latin motet from the late 13th or early 14th century, recorded in the Montpellier Codex and thought to have originated in France.
• Chominciamento di gioia, a 14th-century monophonic Italian estampie in five sections (British Library, Add MS 29987, No. 78).
• Lamento di Tristano, a 14th-century monophonic Italian dance in two parts, with the second section designated "La Rotta" (British Library, Add MS 29987, No. 91).
• La Manfredina, a 14th-century monophonic Italian dance in two parts, with the second section designated "La Rotta della Manfredina" (British Library, Add MS 29987, No. 92).
• The Kyrie, Gloria, and Credo of Messe de Nostre Dame (Mass of Our Lady), a polyphonic mass composed before 1365 by French poet and composer Guillaume de Machaut (c. 1300–1377).
• "Personent Hodie", Medieval Latin Christmas carol

Renaissance

• "Il est bel et bon", a madrigal by Pierre Passereau

Baroque

• "Chorale prelude for organ in Dorian mode, BuxWV 180: Christ, unser Herr zum Jordan kam", an organ piece by Dieterich Buxtehude

Romantic

• The "Et incarnatus est" in the Credo movement of Beethoven's Missa Solemnis.
• The "Royal March of the Lions" from Camille Saint-Saëns's Carnival of the Animals suite uses Dorian mode to evoke a "Persian style."
• Large portions of the Symphony No. 6 by Jean Sibelius are in the Dorian mode.
• In "La Brise" (from the Mélodies Persanes, Op. 26), Saint-Saëns uses an E Dorian scale in the first half of the song.

Jazz

• "Maiden Voyage" by Herbie Hancock – The composition takes an AABA form with chords in the "A" sections in D Dorian and the "B" section in E♭ Dorian.
• "Milestones" by Miles Davis
• "Oye Como Va" by Tito Puente, popularized by Santana
• "So What" by Miles Davis – The composition takes an AABA form with the "A" sections in D Dorian and the "B" section in E♭ Dorian.

Popular

• "Born Under a Bad Sign" written by Booker T. Jones and William Bell. The song is a simple but atypical I7-V7-IV7 12-bar progression with a key signature corresponding to C♯ major but with every B♯ and E♯ lowered to B♮ and E♮, making the song C♯ Dorian.
• "Dorian" by First of October. The song uses the modern Dorian scale on the piano during the choruses to build tension, while staying in the key of D minor for the verses and melody.
• "Eleanor Rigby" by the Beatles is often cited as a Dorian modal piece, and while the melody line in places uses the major sixth scale degree, the chord progression is in Aeolian (I–♭VI and ♭VI–I).
• The chord sequence i–III–VII–IV is sometimes used in pop songs, where the harmonic rhythm leads the listener to think of it as a minor song. In the final chord of the sequence, however, the third is a major sixth above the tonic, as in the Dorian scale. Examples include: "Mad World" by Tears for Fears.
• "Get Lucky" by Daft Punk featuring Pharrell Williams (B Dorian)
• "The Night The Lights Went Out In Georgia" (1973) by Vicki Lawrence
• "Rapper's Delight" by Sugarhill Gang is often written in E minor with a persistent C♯ accidental, but is actually played in E Dorian. It shares a key signature (F♯, C♯) with its relative key, D major.
• "Tick Tock" by Clean Bandit (and Mabel) sounds heavily pentatonic, but is in fact (nominally) in the 'D' Dorian mode.
• "Radioactive" by Imagine Dragons (B Dorian)
• "Autumn Sweater" by Yo La Tengo (D Dorian)
• "Adiemus" by Karl Jenkins performed with Miriam Stockley, Mary Carewe and London Philharmonic Orchestra (D Dorian)
• "Mad World" by Tears for Fears (F♯ Dorian, F Dorian cover by Gary Jules)
• "Karma Police" by Radiohead (A Dorian)
• "Everything Means Nothing To Me" by Elliott Smith (B♭ Dorian)
• "I Me Mine" by the Beatles (A Dorian, then briefly D Dorian #4)
• "15 Step" by Radiohead (G♯ Dorian)
• "Don't Bother Me" by the Beatles (E Dorian)
• "Lotus Flower" by Radiohead (verse; D Dorian)
• "Billie Jean" by Michael Jackson (verse; F♯ Dorian)
• "Blinding Lights" by the Weeknd (F Dorian)
• "Thriller" by Michael Jackson (C♯ Dorian)
• "Riders on the Storm" by the Doors (E Dorian)
• "Breathe" by Pink Floyd (E Dorian)
• "Lucky" by Radiohead (chorus; E Dorian)
• "Purple Haze" by Jimi Hendrix (E Dorian)
• "I Can't Dance" by Genesis (B♭ Dorian)
• "Great Gig in the Sky" by Pink Floyd (G Dorian)
• "Give It to Me Baby" by Rick James (D Dorian)
• "Blue Jeans" by Lana Del Rey (F Dorian)
• "Love Me Again" by John Newman (G Dorian)
• "Woodstock" by Joni Mitchell (E♭ Dorian)
• "Supersonic" by Oasis (E Dorian)
• "No Quarter" by Led Zeppelin (C♯ Dorian)
• "Money" by Pink Floyd (B Dorian)
• "Norwegian Wood (This Bird Has Flown)" by the Beatles (chorus; E Dorian)
• "Stairway To Heaven" by Led Zeppelin (chorus; A Dorian)
• "Watermelon Sugar" by Harry Styles (D Dorian)
• "What Goes Around... Comes Around" by Justin Timberlake (A Dorian)
• "Wicked Game" by Chris Isaak (B Dorian)
• "Burn it Down" (D Dorian) and "New Divide" (F Dorian) by Linkin Park
• "Heart-Shaped Box" by Nirvana (G♯ Dorian)
• "The Fox (What Does the Fox Say?)" by Ylvis (C♯ Dorian)
• "Uptown Funk" by Mark Ronson featuring Bruno Mars (D Dorian)

Other

• Kimigayo, the national anthem of Japan
• The Halo theme, taking significant inspiration from the aforementioned medieval Gregorian chants to effect an "ancient and mysterious" sound, is written in E dorian
• The Angry Birds theme

See also

• Kafi, the equivalent scale in Hindustani music
• kOdipPaalai / Pann Marudham in Ancient Tamil music, see Evolution of Panns
• Kharaharapriya, the equivalent scale in Carnatic music
• Ukrainian Dorian scale

References

External links

• Dorian Mode – Analysis
• Dorian Scale over the Circle of Fifths
• Dorian Scale on guitar

The modern Lydian mode is a seven-tone musical scale formed from a rising pattern of pitches comprising three whole tones, a semitone, two more whole tones, and a final semitone.

Because of the importance of the major scale in modern music, the Lydian mode is often described as the scale that begins on the fourth scale degree of the major scale, or alternatively, as the major scale with the fourth scale degree raised half a step. This sequence of pitches roughly describes the scale underlying the fifth of the eight Gregorian (church) modes, known as Mode V or the authentic mode on F, theoretically using B♮ but in practice more commonly featuring B♭. The use of the B♭ as opposed to B♮ would have made such piece in the modern-day F major scale.

Ancient Greek Lydian

The name Lydian refers to the ancient kingdom of Lydia in Anatolia. In Greek music theory, there was a Lydian scale or "octave species" extending from parhypate hypaton to trite diezeugmenon, equivalent in the diatonic genus to the modern Ionian mode (the major scale).

In the chromatic and enharmonic genera, the Lydian scale was equivalent to C D♭ E F G♭ A B C, and C C E F F A B C, respectively, where "" signifies raising the pitch by approximately a quarter tone.

Medieval Lydian mode

In the Middle Ages and Renaissance, this mode was described in two ways. The first way is the diatonic octave species from F up to F an octave above, divided at C to produce two segments:

The second is as a mode with a final on F and an ambitus extending to F an octave higher and in which the note C was regarded as having an important melodic function. Many theorists of the period observed that B♭ is used more typically than B♮ in compositions in Lydian mode.

Modern Lydian mode

The Lydian scale can be described as a major scale with the fourth scale degree raised a semitone, making it an augmented fourth above the tonic, e.g., an F-major scale with a B♮ rather than B♭. This mode's augmented fourth and the Locrian mode's diminished fifth are the only modes to have a tritone above the tonic.

In Lydian mode, the tonic, dominant, and supertonic triads are all major. The subdominant is diminished. The triads built on the remaining three scale degrees are minor.

Alternatively, it can be written as the pattern

whole, whole, whole, half, whole, whole, half or (W-W-W-H-W-W-H)

Notable compositions in the Lydian mode

Classical (Ancient Greek)

The Paean and Prosodion to the God, familiarly known as the Second Delphic Hymn, composed in 128 BC by Athénaios Athenaíou is predominantly in the Lydian tonos, both diatonic and chromatic, with sections also in Hypolydian.

Medieval

The 12th-century "Hymn to St. Magnus" from the Orkney Islands, referencing Magnus Erlendsson, Earl of Orkney, is in Gregorian mode or church mode V (F white notes), extending from the E below to the octave above, with B♮'s throughout, in two-part harmony of mostly parallel thirds. The Sanctus, Agnus Dei, and Ite, missa est of Guillaume de Machaut's Messe de Nostre Dame feature extensive use of F♮ and B♮, as well as F♯ and B♭.

Romantic

A rare, extended use of the Lydian mode in the Classical repertoire is Simon Sechter's 1822 Messe in der lydischen Tonart (Mass in the Lydian Mode). A more famous example from around the same time is the third movement of Ludwig van Beethoven's String Quartet No. 15 in A minor, Op. 132 (1825), titled by the composer "Heiliger Dankgesang eines Genesenen an die Gottheit, in der lydischen Tonart" ("Holy Song of Thanksgiving by a Convalescent to the Divinity, in the Lydian Mode"). The alternating passages in F use the Lydian scale with sharp fourth scale degree exclusively.

Charles-Valentin Alkan's Allegro barbaro (Étude Op. 35, No. 5, published in 1848) is written strictly in F Lydian, with no B♭'s present at all.

Anton Bruckner employed the sharpened fourth of the Lydian scale in his motet Os justi (1879) more strictly than Renaissance composers ever did when writing in this mode.

Gabriel Faure's song Lydia from "2 Melodies" Op 4 ?1872. This ode to Lydia - by Parnassian poet Leconte de Lisle - starts, appropriately, in the Lydian mode and, in F, has a raised 4th (B natural) in the first line of the melody.

Modern

In the 20th century, composers began once again to exploit modal scales with some frequency. George Enescu, for example, includes Lydian-mode passages in the second and third movements of his 1906 Decet for Winds, Op. 14. An example from the middle of the century is the scherzo movement of Carlos Chávez's Symphony No. 3 (1951–54). The movement opens with a fugue subject, featuring extremely wide leaps, in C Lydian with following entries in F and G Lydian. Alexei Stanchinsky wrote a Prelude in Lydian mode earlier in the 20th century.

Jazz

In Lydian Chromatic Concept of Tonal Organization, George Russell developed a theory that became highly influential in the jazz world, inspiring the works of people such as Miles Davis, John Coltrane, Ornette Coleman, and Woody Shaw.

Popular

In practical terms it should be said that few rock songs that use modes such as the phrygian, Lydian, or locrian actually maintain a harmony rigorously fixed on them. What usually happens is that the scale is harmonized in [chords with perfect] fifths and the riffs are then played [over] those [chords].

• "Blue Jay Way" (1967) by The Beatles
• "Peregrine" (1968) by Donovan
• "Billy Goat Hill" (1961) by The Kingston Trio
• "Waltz #1" from the 1998 album XO by Elliott Smith (D♭ Lydian).
• Passage beginning at the words "Much as I definitely enjoy solitude" in the song "Possibly Maybe" by Björk.
• XTC's "Jason and the Argonauts" from their English Settlement album.
• "Mihalis" (1978) by David Gilmour
• "Flying in a Blue Dream" (1989) by Joe Satriani
• "Terrapin Station" (1977) by The Grateful Dead
• "Unravel" from the album "Homogenic" by Björk
• "Man on the Moon" by R.E.M
• "When We Dance" by Sting
• Ending part of "Man in the Mirror" by Michael Jackson
• Ending part of "The Trader" by the Beach Boys
• The Simpsons Theme by Danny Elfman
• Cut the Rope theme by Alexander Falinski

Folk

• Many Polish folksongs, including the mazurka, are in the Lydian mode; the first six notes of this mode were sometimes known as the "Polish mode".

See also

• Lydian chord, a chord that is related to the Lydian scale
• Lydian dominant scale
• Kalyani (raga), the equivalent scale (melakarta) in Carnatic music

Notes

Sources

Further reading

External links

• The Lydian mode in all seven three note per string positions, with intervals mapped out for guitar.
• Lydian mode in six positions for guitar at GOSK.com
• Lydian Mode – Analysis
• Lydian mode theory and improvisation application

In music theory, a perfect fifth is the musical interval corresponding to a pair of pitches with a frequency ratio of 3:2, or very nearly so.

In classical music from Western culture, a fifth is the interval from the first to the last of the first five consecutive notes in a diatonic scale. The perfect fifth (often abbreviated P5) spans seven semitones, while the diminished fifth spans six and the augmented fifth spans eight semitones. For example, the interval from C to G is a perfect fifth, as the note G lies seven semitones above C.

The perfect fifth may be derived from the harmonic series as the interval between the second and third harmonics. In a diatonic scale, the dominant note is a perfect fifth above the tonic note.

The perfect fifth is more consonant, or stable, than any other interval except the unison and the octave. It occurs above the root of all major and minor chords (triads) and their extensions. Until the late 19th century, it was often referred to by one of its Greek names, diapente. Its inversion is the perfect fourth. The octave of the fifth is the twelfth.

A perfect fifth is at the start of "Twinkle, Twinkle, Little Star"; the pitch of the first "twinkle" is the root note and the pitch of the second "twinkle" is a perfect fifth above it.

Alternative definitions

The term perfect identifies the perfect fifth as belonging to the group of perfect intervals (including the unison, perfect fourth and octave), so called because of their simple pitch relationships and their high degree of consonance. When an instrument with only twelve notes to an octave (such as the piano) is tuned using Pythagorean tuning, one of the twelve fifths (the wolf fifth) sounds severely discordant and can hardly be qualified as "perfect", if this term is interpreted as "highly consonant". However, when using correct enharmonic spelling, the wolf fifth in Pythagorean tuning or meantone temperament is actually not a perfect fifth but a diminished sixth (for instance G♯–E♭).

Perfect intervals are also defined as those natural intervals whose inversions are also natural, where natural, as opposed to altered, designates those intervals between a base note and another note in the major diatonic scale starting at that base note (for example, the intervals from C to C, D, E, F, G, A, B, C, with no sharps or flats); this definition leads to the perfect intervals being only the unison, fourth, fifth, and octave, without appealing to degrees of consonance.

The term perfect has also been used as a synonym of just, to distinguish intervals tuned to ratios of small integers from those that are "tempered" or "imperfect" in various other tuning systems, such as equal temperament. The perfect unison has a pitch ratio 1:1, the perfect octave 2:1, the perfect fourth 4:3, and the perfect fifth 3:2.

Within this definition, other intervals may also be called perfect, for example a perfect third (5:4) or a perfect major sixth (5:3).

Other qualities

In addition to perfect, there are two other kinds, or qualities, of fifths: the diminished fifth, which is one chromatic semitone smaller, and the augmented fifth, which is one chromatic semitone larger. In terms of semitones, these are equivalent to the tritone (or augmented fourth), and the minor sixth, respectively.

Pitch ratio

The justly tuned pitch ratio of a perfect fifth is 3:2 (also known, in early music theory, as a hemiola), meaning that the upper note makes three vibrations in the same amount of time that the lower note makes two. The just perfect fifth can be heard when a violin is tuned: if adjacent strings are adjusted to the exact ratio of 3:2, the result is a smooth and consonant sound, and the violin sounds in tune.

Keyboard instruments such as the piano normally use an equal-tempered version of the perfect fifth, enabling the instrument to play in all keys. In 12-tone equal temperament, the frequencies of the tempered perfect fifth are in the ratio ${\displaystyle ({\sqrt[{12}]{2}})^{7}}$ or approximately 1.498307. An equally tempered perfect fifth, defined as 700 cents, is about two cents narrower than a just perfect fifth, which is approximately 701.955 cents.

Kepler explored musical tuning in terms of integer ratios, and defined a "lower imperfect fifth" as a 40:27 pitch ratio, and a "greater imperfect fifth" as a 243:160 pitch ratio. His lower perfect fifth ratio of 1.48148 (680 cents) is much more "imperfect" than the equal temperament tuning (700 cents) of 1.4983 (relative to the ideal 1.50). Hermann von Helmholtz uses the ratio 301:200 (708 cents) as an example of an imperfect fifth; he contrasts the ratio of a fifth in equal temperament (700 cents) with a "perfect fifth" (3:2), and discusses the audibility of the beats that result from such an "imperfect" tuning.

Use in harmony

W. E. Heathcote describes the octave as representing the prime unity within the triad, a higher unity produced from the successive process: "first Octave, then Fifth, then Third, which is the union of the two former". Hermann von Helmholtz argues that some intervals, namely the perfect fourth, fifth, and octave, "are found in all the musical scales known", though the editor of the English translation of his book notes the fourth and fifth may be interchangeable or indeterminate.

The perfect fifth is a basic element in the construction of major and minor triads, and their extensions. Because these chords occur frequently in much music, the perfect fifth occurs just as often. However, since many instruments contain a perfect fifth as an overtone, it is not unusual to omit the fifth of a chord (especially in root position).

The perfect fifth is also present in seventh chords as well as "tall tertian" harmonies (harmonies consisting of more than four tones stacked in thirds above the root). The presence of a perfect fifth can in fact soften the dissonant intervals of these chords, as in the major seventh chord in which the dissonance of a major seventh is softened by the presence of two perfect fifths.

Chords can also be built by stacking fifths, yielding quintal harmonies. Such harmonies are present in more modern music, such as the music of Paul Hindemith. This harmony also appears in Stravinsky's The Rite of Spring in the "Dance of the Adolescents" where four C trumpets, a piccolo trumpet, and one horn play a five-tone B-flat quintal chord.

Bare fifth, open fifth, or empty fifth

A bare fifth, open fifth or empty fifth is a chord containing only a perfect fifth with no third. The closing chords of Pérotin's Viderunt omnes and Sederunt Principes, Guillaume de Machaut's Messe de Nostre Dame, the Kyrie in Mozart's Requiem, and the first movement of Bruckner's Ninth Symphony are all examples of pieces ending on an open fifth. These chords are common in Medieval music, sacred harp singing, and throughout rock music. In hard rock, metal, and punk music, overdriven or distorted electric guitar can make thirds sound muddy while the bare fifths remain crisp. In addition, fast chord-based passages are made easier to play by combining the four most common guitar hand shapes into one. Rock musicians refer to them as power chords. Power chords often include octave doubling (i.e., their bass note is doubled one octave higher, e.g. F3–C4–F4).

An empty fifth is sometimes used in traditional music, e.g., in Asian music and in some Andean music genres of pre-Columbian origin, such as k'antu and sikuri. The same melody is being led by parallel fifths and octaves during all the piece.

Western composers may use the interval to give a passage an exotic flavor. Empty fifths are also sometimes used to give a cadence an ambiguous quality, as the bare fifth does not indicate a major or minor tonality.

Use in tuning and tonal systems

The just perfect fifth, together with the octave, forms the basis of Pythagorean tuning. A slightly narrowed perfect fifth is likewise the basis for meantone tuning.

The circle of fifths is a model of pitch space for the chromatic scale (chromatic circle), which considers nearness as the number of perfect fifths required to get from one note to another, rather than chromatic adjacency.

See also

• All fifths tuning

References

Deo gratias (Latin for "thanks [be] to God") is a response in the Latin Mass, derived from the Vulgate text of 1 Corinthians 15:57 and 2 Corinthians 2:14.

Description

It occurs in the Mass

• as an answer of the server to the Epistle or Prophecies; in High Mass this answer should not be sung by the choir. In the Mozarabic and Gallican Rite the Deo gratias follows the title of the Epistle or the Prophecy; at its end the Amen is said. The Orthodox churches do not use this formula in connection with the Epistle. In the Latin Church the Deo gratias is not said on Ember Saturday after the fifth lesson, which is followed by the canticle of the Three Young Men in the furnace, in order not to interrupt the sense; neither is it said after the lessons on Good Friday or after the Prophecies on Holy Saturday and the eve of Pentecost;
• in answer to the Ite, missa est and the Benedicamus Domino, in thanksgiving for the graces received at Mass;
• after the second Gospel, while after the first Gospel the server answers Laus tibi Christe (praise be to you, Christ). Quarti explained this by saying that the first Gospel signifies the preaching of Christ, while the second Gospels signifies the preaching of the Apostles, while Holweck (1908) holds such an interpretation to be "artificial and arbitrary";
• in the Breviary the Deo gratias is used more frequently; in Matins (except the last three days of Holy Week and the office of the Dead) after every lesson answering to the invocation: Tu autem Domine miserere nobis; also after the capitula, the short lesson in Prime and Compline; and in answer to the Benedicamus Domino Compline; and in answer to the Benedicamus Domino at the close of every Hour. The Mozarabic Breviary puts the Deo gratias after the title of the lesson, the Amen to the end.

The formula Deo gratias was used in extra-liturgical prayers and customs by the Christians of all ages. The rule of St. Benedict prescribes that the doorkeeper shall say Deo gratias, as often as a stranger knocks at the door or a beggar asks for assistance.

When St. Augustine announced to the people the election of his coadjutor and successor, Evodius of Uzalis, they called out Deo gratias thirty-six times.

In Africa it was the salutation used by the Catholics to distinguish themselves from the Donatists who said Deo laudes instead. Therefore, in Africa, Deo gratias was used as a Catholic given name, e.g. St. Deogratias, Bishop of Carthage (r. 453–456). The name of the deacon for whom St. Augustine wrote his treatise De catechizandis rudibus was also called Deogratias. Felix of Cantalice (1515–1587) used this interjection so often that the people called him "Brother Deogratias".

Musical settings

Deo gratias has been set to music by several composers.

• Guillaume de Machaut's Messe de Nostre Dame (mid 1300s) is a complete setting of the Ordinary and thus ends with Ite, missa est. / Deo gratias, both sung in the same setting.
• Johannes Ockeghem wrote a setting for 36 voices (mid 1400s).
• William Byrd published a four-part instrumental version in 1605 in his Gradualia I.

The 15th-century poem "Adam lay ybounden" ends with Deo gratias and it has been set by many composers, including the tenth movement of Benjamin Britten's A Ceremony of Carols (1942).

A 2005 documentary film on the life of Antonín Dvořák is titled Deo Gratias.

See also

• Thank God

References

• Holweck, F. (1908), Deo Gratias, Catholic Encyclopedia, New York: Robert Appleton Company.