MODERN INSTANCE. 646 MODES. graphic piL-lure of ct-rtaiii phases of Xew Eng- land life. MODEBN MACCABEES, Knigiit.s of the. A Irati-rnul Ix'Mclieial orjjanization founded in 18S1, for social and benevolent purposes. The organization had at the close of the year 1902 D73 subordinate tents or branches, with a total membership of 102,808, and an insurance branch in which there were in force certificates repre- scntinj; $12.'>,510,0()0 insurance. Duriiif; the year 1902 the organization disbursed $941, .578, and the pnlirc amount of benefit paid since the date of organization was .$(j.70ti.fifi8. This is the original order bearing this title. AXTTHEXTIO MODES. 1 Mode. Dorian. — >— r ■" f-
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died in .,D. .397. Sumc time later — and tradi- tion mentions Saint Gregory 1. (Pope from 590 to 604) as their originator — four other modes were added. Tliese were called the pluyal modes. During the si.tcenlli century, when the principles of harmony began to be first understood, two more authentic with tlicir corresponding plagal modes were added, so that the total number of Church modes was twelve. 8ome tlieorists claimed the existence of two more, l.ocrian and lly]iohicrian (one authentic and one plagal) ; but neither of tliese was ever used in actual practice. The reason for their rejection will become ap- parent a little further on. The following is a complete table of the fourteen modes: PLAGAL MODES. II Mode. n.vpoilorian. ^=^ i^ ni Mode. S Phrygian. m V Mode. IV Mode. VI Mode. HypophryRlan. Hypolydlan. =*=er 1 U Mode. Mixolydian. vni Mode. Hypomlxolydlan. ^m
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m IX Mode. .^olian. Hvpoieolian. MODES (OF.. Fr. mode, fnmi La't. modus, measure, manner). The octave species in use before the time of the invention of harmony a3 well as during the period of the contrapuntal style up to the time of Uach. The original scale of tlie ancient (Irceks was a disc iidinfl minor scale with semi-steps between the third and fourth and seventh and eighth degrees. Other tones than the fundamental were aiso taken as starting points, but the tones of the ori.ainal scale remained unaltered. This shifted the position of the scini-steps every time the starting tone wa.s shifted. The combinations of tones thus obtained were regarded as separate scales and called oc- tave species. This system the theorists of the parly Middle .ges adopted. But instead of using descending scales they made use of aseriidiiiij ones. At the same time Ihey retained the original Greek names, but applii'd them to scales not corresponding to the original Oreek scales. From among the nine octave species of the (Greeks four were originally selected for the service of the Oinreh. These were known as the nvlhrnlic. modes. Their establishment is commonly at- tributed to Saint .-Xmbro.se, Bishop of Jlilan, who (In this table the final note, corresponding to our modern tonic, of each mode is indicated b.v a half note, the semi-steps by slurs.) It will be seen that the compass of every tnithcntic mode is from the final to its octave aliove; that of everv iiluf/al mode from a fourth below' to a fifth above the final. Every iiiithrntic mode has its corresponding plaf/al distinguished by the lirefix hypo (under), and beginning a fourth below the authentic mode. Furthermore, everv mode must be considered as consisting of two scries of tones forming either a pentachord or a tetrachord in such a maimer that the highest tone r)f the lower series is at the same time the lowest tone of the higher series. In the authentic modes the first five tones constitute the penta- chord, the last four the tetrachord. In the plagal modes the tetrachord comes before the penta- chord. The former arrangement is called by the eminent theorist Zarlino ((j.v.) Imrmmiic di- vision (diri.iione armonicn) ; the latter arrange- ment, arithmetirnl diiision (dirisione aril- nu'tira). In examining the above table it will be noticed that the pentachords and tetrachords ■ if all the modes, except the T>ocrian and Hypo-
