{"id":2977,"date":"2009-09-23T12:54:27","date_gmt":"2009-09-23T16:54:27","guid":{"rendered":"http:\/\/fryeblog.blog.lib.mcmaster.ca\/?p=2977"},"modified":"2009-09-23T12:54:27","modified_gmt":"2009-09-23T16:54:27","slug":"the-greek-modes-and-the-circle-of-fifths","status":"publish","type":"post","link":"https:\/\/macblog.mcmaster.ca\/fryeblog\/2009\/09\/23\/the-greek-modes-and-the-circle-of-fifths\/","title":{"rendered":"The Greek Modes and the Circle of Fifths"},"content":{"rendered":"

\"Modal-Glyph\"<\/em><\/strong><\/p>\n

Responding to Peter Yan<\/a> and Adam Bradley<\/a>:<\/em><\/strong><\/p>\n

Yes, Frye certainly did know about the Greek modes.\u00a0 In \u201cModal Harmony in Music\u201d he writes:<\/p>\n

In the sixteenth century much greater freedom of tonality was available.\u00a0 The major and minor modes were then celled Ionian and Aeolian respectively, but four others were used.\u00a0 Arranged in order of sharpness, they are:\u00a0 Lydian (F to F on white notes: present major with raised fourth); Ionian (C to C: present major); Mixolydian (G to G: present major with lowered seventh); Dorian (D to D: present natural minor with raised sixth); Aeolian (A to A: present minor); Phrygian (E to E:\u00a0 present natural minor with lowered seventh).\u00a0 A seventh mode, the Locrian, B to B or Phrygian with lowered fifth, had probably only a theoretical existence.\u00a0 These four additional modes, like the two we now have, ended on the tonic chord.\u00a0 Thus, if all modes were impartially used today, a piece ending on G would have a key signature of two sharps in the Lydian modes, one in the major, none in Mixolydian, one flat in Dorian, two in minor, three in Phrygian.\u00a0 Or a piece with a key signature of one sharp could be C Lydian, G major, D Mixolydian, A Dorian, E minor, or B Phrygian. (Northrop Frye\u2019s Fiction and Miscellaneous Writings<\/em>, 185)<\/p><\/blockquote>\n

And in \u201cBaroque and Classical Composers\u201d Frye writes:<\/p>\n

When rhythm changes from 4\/4 to 3\/2 the minim of the latter = crochet of former.\u00a0 Key signatures only either none or one flat, & occasionally two flats: no sharps.\u00a0 Fellowes finally, bless his heart, coughs up some dope on the modes.\u00a0 If the piece has no flat in the signature, look at the last bass note and that will give you the mode.\u00a0 A = Aeolian (minor scale), B = Locrian (theoretically: it\u2019s never used), C = Ionian (major scale), D = Dorian, E = Phrygian, F = Lydian, G = Mixolydian.\u00a0 That\u2019s if the melody is authentic: if it\u2019s plagal then prefix hypo to the mode.\u00a0 If there is a flat, transpose a fourth down or fifth up (G with a flat = D without one); if two, tr. [transpose] a tone up.\u00a0 Hence many key signatures until the 18th<\/sup> c. were a flat or a sharp short.\u00a0 Modulation & equal temperament go together. (ibid., 175)<\/p><\/blockquote>\n

As for the circle of fifths, sometime in the late 1950s or early 1960s Frye provided a schematic for the circle as a way of outlining the twenty\u2011four parts in the first three units of his ogdoad: Liberal, Tragicomedy, and Anticlimax.\u00a0 The twenty\u2011four letters of the Greek alphabet provided Frye a convenient name for each of the twelve major and the twelve minor keys.\u00a0 C = alpha, A = beta, G = gamma, etc.\u00a0 Frye didn\u2019t actually draw a diagram, but in his Notebooks for \u201cAnatomy of Criticism\u201d <\/em>(paragraphs 57, 58, 63, and 73 of Notebook 18), he set down the constituents of a diagram and gave a brief description of the thematic contents of each of the twenty\u2011four parts, illustrating what he means by saying that the circle of fifths provides a \u201csymmetrical grammar\u201d (Spiritus Mundi<\/em>, 118).<\/p>\n

<\/p>\n

\"\"<\/p>\n

CIRCLE OF FIFTHS.\u00a0 MAJOR KEYS. <\/strong><\/p>\n

Alpha: Key of C<\/strong><\/p>\n

Mythical narrative. Undisplaced quest from Creation to Apocalypse. (1) Bible (2) Druid analogy<\/p>\n

Gamma: Key of G<\/strong><\/p>\n

Mimetic & romantic encyclopaedic forms: Homer, Virgil, Milton, Dante, Spenser<\/p>\n

Epsilon: Key of D<\/strong><\/p>\n

Mimetic fiction: displacement<\/p>\n

Eta: Key of A<\/strong><\/p>\n

Great Wheel of Epiphanies: Cycle of episodes of \u201cLiberal\u201d<\/p>\n

Iota: Key of E<\/strong><\/p>\n

Structure of comedy<\/p>\n

Lambda: Key of B<\/strong><\/p>\n

Structure of tragedy<\/p>\n

\u00a0<\/strong>Nu: Key of F#<\/strong><\/p>\n

Relation of myth & metaphor to conceptual language; verbal patterns; models of thought<\/p>\n

Omicron: Key of Db<\/em><\/strong><\/p>\n

Metaphysics and verbal constructs; diagrammatic thought<\/p>\n

Rho<\/strong>: Key of Ab<\/em><\/strong><\/p>\n

Oratory & dialogue; aloofness in discontinuous forms<\/p>\n

Xi: Key of Eb<\/em><\/strong><\/p>\n

Approximation of myth to metahistory; existential writing<\/p>\n

Phi: Key of Bb<\/em><\/strong><\/p>\n

North & south limits of literature; koans; teachers who don\u2019t write<\/p>\n

Psi: Key of F<\/strong><\/p>\n

Circumference of verbal expression; hypothetical & existential modes; possession of the Word<\/p>\n

CIRCLE OF FIFTHS. MINOR KEYS<\/strong><\/p>\n

Beta: Key of A<\/strong><\/p>\n

Na\u00efve romance; Orc cycle and quest myths<\/p>\n

Delta: Key of E<\/strong><\/p>\n

Sentimental romance: Goethe, Hugo, Scott, Hawthorne, Melville, Morris, Tolkien<\/p>\n

Zeta: Key of B<\/strong><\/p>\n

Ironic myth: Joyce, Proust<\/p>\n

Theta: Key of F#<\/strong><\/p>\n

Generic cycle of drama, epos, lyric<\/p>\n

Kappa: Key of C#<\/strong><\/p>\n

Phases of comedy<\/p>\n

Mu: Key of G#<\/strong><\/p>\n

Phases of tragedy<\/p>\n

Tau: Key of Eb<\/em><\/strong><\/p>\n

Conspectus of verbal rhythms<\/p>\n

Pi: Key of Bb<\/em><\/strong><\/p>\n

Confession and its relation to \u201cpropaedeutic\u201d treatise<\/p>\n

Sigma: Key of F<\/strong><\/p>\n

Commentary on scripture; total conceptual myth; gospel as discontinuous epiphanies<\/p>\n

Upsilon: Key of C<\/strong><\/p>\n

East & west limits of literature: action & thought<\/p>\n

Chi: Key of G<\/strong><\/p>\n

Circle of arts; pure & applied literature; conspectus of verbal technology<\/p>\n

Omega: Key of D<\/strong><\/p>\n

Comminution of Word<\/p>\n

If we begin with the first of the major and minor keys (C and A), placing them at the top of a circle and proceeding clockwise, the following diagram results:<\/p>\n

\u00a0\"AC.circle<\/p>\n

\u00a0<\/strong><\/p>\n

To the left of the first five entries (Alpha through Epsilon) in paragraph 57 of Notebook 18, Frye inserted in very small script, respectively, the abbreviations \u201cr.,\u201d \u201cpr.,\u201d \u201cgr,\u201d \u201cy,\u201d and \u201cor.\u201d\u00a0 These stand for red, purple, green, yellow, and orange, and are associated with the musical keys in parentheses at the end of each numbered section.\u00a0 The color associated with each musical key was for Frye purely arbitrary, deriving, as he writes in Notebook 21, from the \u201ccolor scheme imposed by the wooden blocks of my childhood.\u00a0 Thus E is always green, B blue, A violet, F black, D orange, C red in music but not verbally, G red verbally but colorless in music\u201d (Northrop Frye Notebooks and Lectures on the Bible and Other Religious Texts<\/em>, 176).<\/p>\n

My best guess about the circle of fifths is that for Frye it was a purely mnemonic device.\u00a0 About one of his seven\u2011part schemes Frye wrote, \u201cI think these associative fantasies may help to give at least a mnemonic structure to my material, as long as I don\u2019t let them take me over.\u201d\u00a0 The circle of fifths is perhaps just another of the scores of \u201czones\u201d in Frye\u2019s \u201cmemory theater<\/a>,\u201d which he developed over the years by way of Frances Yates<\/a> and others as a way of cultivating the art of memory.\u00a0 See Imre Salusinszky, \u201cFrye and the Art of Memory<\/a>,\u201d in Rereading Frye: The Published and Unpublished Words<\/em> (Toronto: University of Toronto Press, 1999), 39\u201354.<\/p>\n","protected":false},"excerpt":{"rendered":"

Responding to Peter Yan and Adam Bradley: Yes, Frye certainly did know about the Greek modes.\u00a0 In \u201cModal Harmony in Music\u201d he writes: In the sixteenth century much greater freedom of tonality was available.\u00a0 The major and minor modes were then celled Ionian and Aeolian respectively, but four others were used.\u00a0 Arranged in order of […]<\/p>\n","protected":false},"author":24,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[4,16,80,92,102,137],"tags":[],"class_list":["post-2977","post","type-post","status-publish","format-standard","hentry","category-anatomy-of-criticism","category-bob-denham","category-imagination","category-literary-criticism","category-music","category-romance"],"yoast_head":"\nThe Greek Modes and the Circle of Fifths - 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