Here is a table of these related modes, and their names:
After a painting by Garofalo, National Gallery at Rome.
Saint Cecilia—Patron Saint of Music.
(Holding a portative organ.)
After a painting by Maxence, in Paris.
Book of Peace.
| Authentic Scales or Modes (St. Ambrose’s Scales) | Plagal Scales or Modes (St. Gregory’s Scales) | ||
|---|---|---|---|
| I. | Dorian: d ef͡ g a bc͡ d | II. | Hypo-Dorian: a bc͡ d ef͡ g a |
| III. | Phrygian: ef͡ g a bc͡ d e | IV. | Hypo-Phrygian: bc͡ d ef͡ g a b |
| V. | Lydian: f g a bc͡ d ef͡ | VI. | Hypo-Lydian: c d ef͡ g a bc͡ |
| VII. | Mixo-Lydian: g a bc͡ d ef͡ g | VIII. | Hypo-Mixo-Lydian: d ef͡ g a bc͡ d |
We have marked the half-steps bc͡ and ef͡, and in every mode they fall on different degrees of the scale. This shifting of the half-steps tells us the name of the mode.
In order to try to give you a definite idea of how the church modes worked, we have written the familiar national hymn America in each mode (see page [74]). Play them, and you will see how one differs from the other.
Katherine Ruth Heyman has used a similar idea in her little book The Relation of Ultramodern to Archaic Music in explaining Greek Modes.
It took many years to establish this music and it was not until the time of Charlemagne (742–814) that it became a real system called Plain Chant or Plain-song (from the Latin, cantus planus).