Tones and Modes

Course

The Modal System of Renaissance Counterpoint

Learn to recognize the 8 Ecclesiastical Tones and the 12 Modes in Cantus Figuratus, learn which notes to cadence on according to the tone, and learn to identify the Tone or Mode in which each piece is written.

Introitus, Graduale de Sanctis, Editio Medicea, 1614-15.

Most likely, everything you know about Modality in the Renaissance is not true!

The 5th Tone or Mode can have many different nuances and colors.

The 5th Ecclesiastical Tone has its final cadence on Csolfaut for Cantus Figuratus, while it cadences on Alamire or Elami in the case of the 5th Psalm tone, depending on whether it is in the Natural Keys or transposed for Bmolle.

The 5th Mode, on the other hand, cadences on Ffaut in Natural Keys, or on BfaBmi when transposed for Bmolle.

As you can see, the 5th Tone or Mode can have its final cadence on Elami, Ffaut, Alamire, BfaBmi, or Csolfaut depending on the circumstances.

This course is dedicated to the study of Tones and Modes.
Just like in the Renaissance, you will learn everything about Tones and Modes, becoming familiar with the 8 Ecclesiastical Tones, the 8 Psalm Tones, and the 12 Modes of Zarlino and Glareanus.

You will analyze numerous compositions from 2 to multiple voices, learning to analyze and recognize the Tone or Mode of motets and compositions from Renaissance polyphony.

By the end of the Cantus Firmus Course you will be able to:

🎵 How the 8 Ecclesiastical Tones Work

🎵 Knowing Which Cadences to Use to Stay Consistent with the Tone

🎵 Composing Fugues Correctly in the Tone

🎵 The Differences Between the 8 Ecclesiastical Tones, the 8 Psalm Tones, and the 12 Modes of Glareanus

🎵 Understanding How the 12 Modes Work and How to Create Cadences

🎵 Using the 8 Ecclesiastical Tones and the 12 Modes in Natural Keys and Accidental Keys

🎵 Composing Fugues in the 12 Modes

🎵 Transposing Modes into the Accidental Keys of Musica Ficta

🎵 Correctly Identifying the Tone of Renaissance Polyphony Motets

🎵 Understanding Which Keys Each Tone or Mode Transitioned into During the 17th and 18th Centuries

Course Contents

Chapter 1: Tones and Modes Introduction

Learn the difference between Tonus and Modus.

Learn to recognize a piece written in Chiavi Choriste, Acute, and Contrabassi.

Learn the mathematical construction of the Diapason of the 8 Tones and the 12 Modes.

Stages

🎼 1.1 – Tonus or Modus
🎼 1.2 – Camillo Angleria the 8 Tones
🎼 1.3 – A. Banchieri Chiavi Chorsite and Chiavette
🎼 1.4 – Clef Combinations, Choriste, Acute, Contrabassi
🎼 1.5 – The 12 Modes, Glareanus and Zarlino

Learn how to transpose the Tones of Cantus Firmus to the Voci Choriste of Cantus Figuratus.

Discover how the 8 Tones of the Cantus Figuratus are formed and their Principal and Tone-Related Cadences.

Learn how to correctly move the voices and make cadences in the 8 Tones of the Psalms.

Stages

🎼 2.1 – How trasposition works
🎼 2.2 – Which voice brings the Tonus
🎼 2.3 – Cadences in the 8 Tones, Banchieri
🎼 2.4 – I Tonus for Motets, Pontio and Banchieri
🎼 2.5 – I Tonus for Psalms, Pontio and Palestrina
🎼 2.6 – II Tonus for Motets, Pontio and Banchieri
🎼 2.7 – II Tonus for Psalms, Pontio and Palestrina
🎼 2.8 – III Tonus for Motets, Pontio and Banchieri
🎼 2.9 – III Tonus for Psalms, Pontio and Palestrina
🎼 2.10 – IV Tonus for Motets, Banchieri
🎼 2.11 – IV Tonus for Psalms, Pontio and Palestrina
🎼 2.12 – V Tonus for Motets, Pontio and Banchieri
🎼 2.13 – V Tonus for Psalms, Pontio and Palestrina
🎼 2.14 – VI Tonus for Motets, Pontio and Banchieri
🎼 2.15 – VI Tonus for Psalms, Pontio and Palestrina
🎼 2.16 – VII Tonus for Motets, Pontio and Banchieri
🎼 2.17 – VII Tonus for Psalms, Pontio and Palestrina
🎼 2.18 – VIII Tonus for Motets, Pontio and Banchieri
🎼 2.19 – VIII Tonus for Psalms, Pontio and Palestrina
🎼 2.20 – Summary of the Cadences in the 8th Tones

Learn how the 12 Modes of Glareanus are formed.

Learn which Modes correspond to the 8 Ecclesiastical Tones.

Learn how to create Fugues and imitations in the 12 Modes.

Stages

🎼 3.1 – The 12 Modes, Introduction
🎼 3.2 – I Modus, Diruta and Zarlino
🎼 3.3 – I Modus, Banchieri and Transposition
🎼 3.4 – II Modus, Diruta and Zarlino
🎼 3.5 – II Modus, Banchieri and Transposition
🎼 3.6 – III Modus, Diruta and Zarlino
🎼 3.7 – III Modus, Banchieri and Transposition
🎼 3.8 – VI Modus, Diruta and Zarlino
🎼 3.9 – VI Modus, Banchieri and Transposition
🎼 3.10 – V Modus, Diruta and Zarlino
🎼 3.11 – V Modus, Banchieri and Transposition
🎼 3.12 – VI Modus, Diruta and Zarlino
🎼 3.13 – VI Modus, Banchieri and Transposition
🎼 3.14 – VII Modus, Diruta and Zarlino
🎼 3.15 – VII Modus, Banchieri and Transposition
🎼 3.16 – VIII Modus, Diruta and Zarlino
🎼 3.17 – VIII Modus, Banchieri and Transposition
🎼 3.18 – IX Modus, Diruta and Zarlino
🎼 3.19 – IX Modus, Banchieri and Transposition
🎼 3.20 – X Modus, Diruta and Zarlino
🎼 3.21 – X Modus, Banchieri and Transposition
🎼 3.22 – XI Modus, Diruta and Zarlino
🎼 3.23 – XI Modus, Banchieri and Transposition
🎼 3.24 – XII Modus, Diruta and Zarlino
🎼 3.25 – XII Modus, Banchieri and Transposition
🎼 3.26 – The 8 Tones withing the 12 Modes

Learn to recognize the 12 Modes with examples from Zarlino.

Discover how to move the voices in a way consistent with the Tonus or Modus.

Learn the specific characteristics of each Mode and particularities such as Mixed Modes.

Stages

🎼 4.1 – G. Zarlino I Modus
🎼 4.2 – G. Zarlino II Modus
🎼 4.3 – G. Zarlino III Modus
🎼 4.4 – G. Zarlino IV Modus
🎼 4.5 – G. Zarlino V Modus
🎼 4.6 – G. Zarlino VI Modus
🎼 4.7 – G. Zarlino VII Modus
🎼 4.8 – G. Zarlino VIII Modus
🎼 4.9 – G. Zarlino IX Modus
🎼 4.10 – G. Zarlino I Modus
🎼 4.11 – G. Zarlino XI Modus
🎼 4.12 – G. Zarlino XII Modus
🎼 4.13 – Modes in Compositions
🎼 4.14 – How to Arrange the Parts

Learn the principles for composing fugues in the 12 Modes.

Analyze fugues and learn to move the voices consistently with the Mode.

Discover how the Diapente or Diatessaron can give an Authentic or Plagal character to the Fugue.

Stages

🎼 5.1 – A. Berardi – How to Classify the 12 Modes
🎼 5.2 – A. Berardi – Fugues on the 12 Modes
🎼 5.3 – A. Berardi – Fugues of the I and II Modus
🎼 5.4 – Fugues of the III and IV Modus
🎼 5.5 – A. Berardi – Fugues of the V and VI Modus
🎼 5.6 – A. Berardi – Fugues of the VII and VIII Modes
🎼 5.7 – A. Berardi – Fugues of the IX and X Modes
🎼 5.8 – A. Berardi – Fugues of the XI and XII Modes
🎼 5.9 – A. Berardi – Tablature of the 12 Fugues

Discover how the 12 Modes can be transposed outside the natural chorde according to the Voce Chorista.

Practice all 12 Modes in the Chorde Naturali.

And learn how to correctly transpose all 12 Modes while maintaining the Diapente and Diatessaron species.

Stages

🎼 6.1 – Acute and Grave Further Transpositions
🎼 6.2 – G. Diruta – Bicinium I Modus
🎼 6.3 – G. Diruta – Bicinium II Modus
🎼 6.4 – G. Diruta – Bicinium III Modus
🎼 6.5 – G. Diruta – Bicinium IV Modus
🎼 6.6 – G. Diruta – Bicinium V Modus
🎼 6.7 – G. Diruta – Bicinium VI Modus
🎼 6.8 – G. Diruta – Bicinium VII Modus
🎼 6.9 – G. Diruta – Bicinium VIII Modus
🎼 6.10 – G. Diruta – Bicinium IX Modus
🎼 6.11 – G. Diruta – Bicinium X Modus
🎼 6.12 – G. Diruta – Bicinium XI Modus
🎼 6.13 – G. Diruta – Bicinium XII Modus
🎼 6.14 – Modulations of the Tones

Learn to recognize the Mode or Tone of a Motet based on the Cadence of the Tenor and Bassus.

Learn to recognize the Tone of a 4 voice Motet based on the Cadences and other elements.

Learn how to recognize the ambitus and the Tenor in authentic Motets and distinguish them from Plagal ones.

Stages

🎼 7.1 – Tenor and Bassus Cadences in the Modes
🎼 7.2 – Motets in the I and II Tonus
🎼 7.3 – Motets in the III and IV Tonus
🎼 7.4 – Motets in the V and VI Tonus
🎼 7.5 – Motets in the VII and VIII Tonus

Discover how each of the 8 Ecclesiastical Tones turned into one or more specific and particular keys.

Learn how to correctly match different compositions written in the 8 Tones to Cantus Firmus and Figuratus within the tonal system.

Learn the most curious peculiarities of each Tone, for example, why the IV Tonus can start in A and end in E.

Stages

🎼 8.1 – Modality to Tonality
🎼 8.2 – Lebègue I and II Tonus
🎼 8.3 – Lebègue III and IV Tonus
🎼 8.4 – Lebègue V and VI Tonus
🎼 8.5 – Lebègue VII Tonus
🎼 8.6 – Lebègue VIII Tonus
🎼 8.7 – Nôtre I and II Tonus
🎼 8.8 – Nôtre III and IV Tonus
🎼 8.9 – Nôtre V and VI Tonus
🎼 8.10 – Nôtre VII and VIII Tonus

103 Lessons

103 Stages and Video Lessons that you can watch and study anytime you want, from the online platform.

450 Pages

450 PDF pages of examples
exercises, and resources to follow the lessons, take notes, and do plenty of practice.

Questions

Comment under each stage to ask your questions and satisfy your curiosity as a Musicus Practicus.

Learn More about Tones and Modes!

Discover everything you will learn and preview some images we’ll use to learn together!

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