Creating Moods in Celtic Traditional Music
There is a bit of theory behind the modes. If you just want to go the music. Visit these four links.
BUT.......... Come back for the theory. It's essential to understand why and how the modes work!
BUT.......... Come back for the theory. It's essential to understand why and how the modes work!
The modes of the diatonic scale produce mood in music. To create successful Celtic sets, you must have a basic understanding of the choices the modes of the scale provide.
Traditional music is most often played in the key signatures of of G, D or A. Occasionally a tune can be found in key signatures of C , F. or Bb.
“Key signature” tells only part of the psychoacoustic story of music. That’s because each tone on the diatonic scale (DO RE ME FA SO LA TI) has it’s own scale and harmonic character. Those individual scales of the diatonic scale are called “modes”. When you hear the term “mode” immediately think “mood”. The modes of the diatonic scale are:
When the starting point of the scale is changed, the relationships among the tones also changes. Changing the starting point of the scale changes the order of the half and whole steps in the scale. That change alters both the character of the mode (major or minor sounding) and the expected harmonic relationships within the music (which chords work and in what order).
The important thing about the modes is that one key signature defines seven modes. A key signature of “G” – one sharp, F# - defines seven modes. Each of those modes has a unique sound character and will be supported by a different selection of chords. Here's how the scales of the modes built the key signature of G (one sharp - F#) play out:
The relationship between mode and key can be confusing at first. See below for link that shows a chart with some guidelines.
A few additional examples.
Key signature of C [no accidentals]
C-Ionian mode
Scale: DO RE ME FA SO LA TI
The tonic chord is C
D- Dorian mode
Scale: RE ME FA SO LA TI of D E F G A B C
The tonic chord is D minor
Key signature of D [two sharps – F#, C#]
D-Ionian mode
Scale: DO RE ME FA SO LA TI or D E F# G A B C#
Tonic chord is D
A-Mixolydian mode
Scale: SO LA TI DO RE ME or A B C# D E F# G
Tonic chord is A
The convention is to state the tone on which the scale begins and then to state its mode. A-Dorian means the starting tone is “A”. Dorian makes clear that the scale begins on the second tone of the diatonic scale. The ONLY key signature in which the tone of A is the second tone of the diatonic scale is “G”.
Thus A-Dorian has a key signature of G Major (or G-Ionian). One sharp.
E-Dorian has a key signature of two sharps – key signature of D Major. E is the second tone (RE) of a diatonic scale that start on D.
A- Mixolydian has a key signature of two sharps – key of D Major A is the fifth tone (SO) of a diatonic scale that starts on D.
The vast majority of Celtic tunes make use of only four modes:
The major-sounding modes are Ionian and Mixolydian
Ionian mode is the usual major sounding form of Celtic music. It’s what we expect to hear. An example of Ionian mode in traditional Celtic Music is the tune The Wind That Shakes the Barley [Listen at this link: https://thesession.org/tunes/116]
Mixolydian is also major but has a darker quality to it. Sometimes Mixolydian mode is thought of as having a “drone” character. Words aren’t terribly accurate in describing the character of modes. Trust your ear. Mixolydian mode will always have a regressive feeling to it. An example of Mixolydian mode in traditional Celtic music is the song Little Beggarman. [Listen at this link: https://thesession.org/tunes/566]
The power of the Mixolydian mode comes from it’s “flatted seventh”. Little Beggarman seems like it should be in the key of A Major. After all, it begins and ends on Major chords. One way to think about A-Mixolydian is that the tune will feel like it’s in the key of A Major. However, the seventh tone of the A Major scale has been lowered by a half step – flattened. The seventh tone of the A Major scale is “G#”. But in A-Mixolydian mode that G#-tone is lower to G-natural. The easiest way to notate this change is to write the tune with a key signature of D Major (two sharps instead of three).
The minor-sounding modes are Dorian and Aeolian
Dorian mode is often described as sad but hopeful. If a Celtic tune seems sad, it’s likely to be in Dorian mode. An example of Dorian mode in traditional Celtic Music is the tune Swallow Tail Jig. [listen at this link: https://thesession.org/tunes/106]
Aeolian mode is just sad all the way through a tune. Aeolian mode is sometimes called the “natural minor”. It’s found less frequently than Dorian mode in Celtic traditional music. An example of Aeolian mode in traditional Celtic Music is the tune The Butterfly. [listen at this link:
https://thesession.org/tunes/10]
Some tricks
When you hear a traditional Celtic tune that sounds sad, it’s very likely in Dorian mode. Aeolian mode is used less frequently in Celtic tunes. Ballads may be in Dorian or Aeolian. If the music is really dark, it’s probably in Aeolian mode.
When you hear a traditional Celtic tune that sounds happy – a “major” sound – it’s likely in Ionian mode. But if you hear a major sounding tune that just seems a bit off in it’s melody and chords, it’s probably in Mixolydian mode.
Many tunes employ different modes in their parts. The A-part may be in a dark mode. The B-part may be in a happy mode. An example of a mix-mode tune is Drowsy Maggie. Part-A is in E-Dorian Part-B is in D-Ionian. [Listen at this link: https://thesession.org/tunes/27]
Here’s a chart that may be helpful in identifying which modes belong to which key signatures.
The Outliers
The Locrian mode is never found in Celtic music. It’s simply too weird. There is no resolution in Locrian mode - no feeling of home. The tonic chord is a diminished chord. The Locrian mode is considered "unstable" Locrian mode is found in modern jazz, progressive rock, and art music.
Lydian mode appears occasionally in Celtic music. An example is The Chicago Reel. (https://thesession.org/tunes/840) The key signature is G Major (one sharp). But the melody begins on the tone C and the opening measure is mostly an arpeggio of a C chord. Lydian mode is the brightest sounding, happiest of all the modes. Most often the Lydian mode appears in a mix-mode tune. Lydian in one part and Dorian in another.
A few Phrygian mode tunes can be found in the music of Cornwall and Spain.
Ancient Irish Scales
If you want to dig deep into the ancient Irish music, read this article about Ancient Irish Scales. This is as traditional as it gets! https://www.libraryireland.com/IrishMusic/IV.php
Traditional music is most often played in the key signatures of of G, D or A. Occasionally a tune can be found in key signatures of C , F. or Bb.
“Key signature” tells only part of the psychoacoustic story of music. That’s because each tone on the diatonic scale (DO RE ME FA SO LA TI) has it’s own scale and harmonic character. Those individual scales of the diatonic scale are called “modes”. When you hear the term “mode” immediately think “mood”. The modes of the diatonic scale are:
- Ionian: DO – re me fa so la ti
- Dorian: RE-me fa so la ti do
- Phrygian: ME – fa so la ti do re
- Lydian: FA – so la ti do re me
- Mixolydian: SO – la ti do re me fa
- Aeolian: LA – ti do re me fa so
- Locrian: TI- do re me fa so la
When the starting point of the scale is changed, the relationships among the tones also changes. Changing the starting point of the scale changes the order of the half and whole steps in the scale. That change alters both the character of the mode (major or minor sounding) and the expected harmonic relationships within the music (which chords work and in what order).
The important thing about the modes is that one key signature defines seven modes. A key signature of “G” – one sharp, F# - defines seven modes. Each of those modes has a unique sound character and will be supported by a different selection of chords. Here's how the scales of the modes built the key signature of G (one sharp - F#) play out:
- G-Ionian : G A B C D E F#
- A-Dorian A B C D E F# G
- B-Phrygian B C D E F# G A
- C-Lydian: C D E F# G A B
- D-Mixolydian; D E F# G A B C
- E-Aeolian: E F# G A B C D
- F#-Locrian: F# G A B C D E
The relationship between mode and key can be confusing at first. See below for link that shows a chart with some guidelines.
A few additional examples.
Key signature of C [no accidentals]
C-Ionian mode
Scale: DO RE ME FA SO LA TI
The tonic chord is C
D- Dorian mode
Scale: RE ME FA SO LA TI of D E F G A B C
The tonic chord is D minor
Key signature of D [two sharps – F#, C#]
D-Ionian mode
Scale: DO RE ME FA SO LA TI or D E F# G A B C#
Tonic chord is D
A-Mixolydian mode
Scale: SO LA TI DO RE ME or A B C# D E F# G
Tonic chord is A
The convention is to state the tone on which the scale begins and then to state its mode. A-Dorian means the starting tone is “A”. Dorian makes clear that the scale begins on the second tone of the diatonic scale. The ONLY key signature in which the tone of A is the second tone of the diatonic scale is “G”.
Thus A-Dorian has a key signature of G Major (or G-Ionian). One sharp.
E-Dorian has a key signature of two sharps – key signature of D Major. E is the second tone (RE) of a diatonic scale that start on D.
A- Mixolydian has a key signature of two sharps – key of D Major A is the fifth tone (SO) of a diatonic scale that starts on D.
The vast majority of Celtic tunes make use of only four modes:
- Ionian - sounds like a major key - happy (what most people mean when they ask "what key is it in?")
- Dorian - sounds like a minor key – sad but hopeful (everyone's favorite!)
- Mixolydian – sounds like a major key – but a little “off”
- Aeolian – sounds like a minor key – in fact, it’s often called “the natural minor”
The major-sounding modes are Ionian and Mixolydian
Ionian mode is the usual major sounding form of Celtic music. It’s what we expect to hear. An example of Ionian mode in traditional Celtic Music is the tune The Wind That Shakes the Barley [Listen at this link: https://thesession.org/tunes/116]
Mixolydian is also major but has a darker quality to it. Sometimes Mixolydian mode is thought of as having a “drone” character. Words aren’t terribly accurate in describing the character of modes. Trust your ear. Mixolydian mode will always have a regressive feeling to it. An example of Mixolydian mode in traditional Celtic music is the song Little Beggarman. [Listen at this link: https://thesession.org/tunes/566]
The power of the Mixolydian mode comes from it’s “flatted seventh”. Little Beggarman seems like it should be in the key of A Major. After all, it begins and ends on Major chords. One way to think about A-Mixolydian is that the tune will feel like it’s in the key of A Major. However, the seventh tone of the A Major scale has been lowered by a half step – flattened. The seventh tone of the A Major scale is “G#”. But in A-Mixolydian mode that G#-tone is lower to G-natural. The easiest way to notate this change is to write the tune with a key signature of D Major (two sharps instead of three).
The minor-sounding modes are Dorian and Aeolian
Dorian mode is often described as sad but hopeful. If a Celtic tune seems sad, it’s likely to be in Dorian mode. An example of Dorian mode in traditional Celtic Music is the tune Swallow Tail Jig. [listen at this link: https://thesession.org/tunes/106]
Aeolian mode is just sad all the way through a tune. Aeolian mode is sometimes called the “natural minor”. It’s found less frequently than Dorian mode in Celtic traditional music. An example of Aeolian mode in traditional Celtic Music is the tune The Butterfly. [listen at this link:
https://thesession.org/tunes/10]
Some tricks
When you hear a traditional Celtic tune that sounds sad, it’s very likely in Dorian mode. Aeolian mode is used less frequently in Celtic tunes. Ballads may be in Dorian or Aeolian. If the music is really dark, it’s probably in Aeolian mode.
When you hear a traditional Celtic tune that sounds happy – a “major” sound – it’s likely in Ionian mode. But if you hear a major sounding tune that just seems a bit off in it’s melody and chords, it’s probably in Mixolydian mode.
Many tunes employ different modes in their parts. The A-part may be in a dark mode. The B-part may be in a happy mode. An example of a mix-mode tune is Drowsy Maggie. Part-A is in E-Dorian Part-B is in D-Ionian. [Listen at this link: https://thesession.org/tunes/27]
Here’s a chart that may be helpful in identifying which modes belong to which key signatures.
The Outliers
The Locrian mode is never found in Celtic music. It’s simply too weird. There is no resolution in Locrian mode - no feeling of home. The tonic chord is a diminished chord. The Locrian mode is considered "unstable" Locrian mode is found in modern jazz, progressive rock, and art music.
Lydian mode appears occasionally in Celtic music. An example is The Chicago Reel. (https://thesession.org/tunes/840) The key signature is G Major (one sharp). But the melody begins on the tone C and the opening measure is mostly an arpeggio of a C chord. Lydian mode is the brightest sounding, happiest of all the modes. Most often the Lydian mode appears in a mix-mode tune. Lydian in one part and Dorian in another.
A few Phrygian mode tunes can be found in the music of Cornwall and Spain.
Ancient Irish Scales
If you want to dig deep into the ancient Irish music, read this article about Ancient Irish Scales. This is as traditional as it gets! https://www.libraryireland.com/IrishMusic/IV.php
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