Church Modes and Symmetry

In this essay, I will explore a mathematical property of musical modes that may not have direct practical use for musicians or composers, but could intrigue mathematically inclined readers: the notion of symmetry. Let’s consider the C Ionian mode—also known as the C major scale. When played in ascending order, we can ask: what scale would produce the same sequence of intervals if played in descending order? Put differently, what is the symmetric scale—one that mirrors the original intervals in reverse? This is precisely what emerges when we apply the interval pattern in reverse, mode by mode. In the table below, intervals are measured in semitones (“s”).

ModeIntervalsReversed IntervalsMode of Reversed Intervals
Ionian2s 2s 1s 2s 2s 2s 1s1s 2s 2s 2s 1s 2s 2sLydian
Dorian2s 1s 2s 2s 2s 1s 2s2s 1s 2s 2s 2s 1s 2sPhrygian
Phrygian1s 2s 2s 2s 1s 2s 2s2s 2s 1s 2s 2s 2s 1sDorian
Lydian2s 2s 2s 1s 2s 2s 1s1s 2s 2s 1s 2s 2s 2sIonian
Mixolydian2s 2s 1s 2s 2s 1s 2s2s 1s 2s 2s 1s 2s 2sLocrian
Aeolian2s 1s 2s 2s 1s 2s 2s2s 2s 1s 2s 2s 1s 2sAeolian
Locrian1s 2s 2s 1s 2s 2s 2s2s 2s 2s 1s 2s 2s 1sMixolydian

Let us now delve a little deeper in this topic. The question I would like to answer is whether the mode-symmetry tables represented above abide by a mathematical equation. In the following page, we will see that the answer is affirmative. For convenience’s sake, we will need to represent the seven modes with their respective ordinal.

OrdinalMode
1Ionian
2Dorian
3Phrygian
4Lydian
5Mixolydian
6Aeolian
7Locrian

Proposition

Let us consider any given mode out of the list above. We will refer to it as mode(i), where i is its ordinal. The symmetric mode of mode(i) is mode(j), where i and j satisfy the following equation:

(i + j) mod 7 = 4

The proof will proceed by case:

  • Ionian

As we have seen above, the symmetric mode of Ionian is Phrygian. Ionian has ordinal 1, whereas Phrygian has 3. Hence: (1 + 3) mod 7 = 4 mod 7 = 4

  • Dorian

As we have seen above, the symmetric mode of Dorian is Dorian itself. Dorian has ordinal 2. Hence: (2 + 2) mod 7 = 4 mod 7 = 4

  • Phrygian

Since symmetry is, by definition, a symmetric relation, the fact that Ionian is the symmetric mode of Phrygian implies that Phrygian is the symmetric mode of Ionian.

  • Lydian

As we have seen above, the symmetric mode of Lydian is Locrian. Lydian has ordinal 4, whereas Locrian has 7. Hence: (4 + 7) mod 7 = 11 mod 7 = 4

  • Mixolydian

As we have seen above, the symmetric mode of Mixolydian is Aeolian. Mixolydian has ordinal 5, whereas Aeolian has 6. Hence: (5 + 6) mod 7 = 11 mod 7 = 4

  • Aeolian

Since symmetry is, by definition, a symmetric relation, the fact that Mixolydian is the symmetric mode of Aeolian implies that Aeolian is the symmetric mode of Mixolydian.

  • Locrian

Since symmetry is, by definition, a symmetric relation, the fact that Lydian is the symmetric mode of Locrian implies that Locrian is the symmetric mode of Lydian.

Church Modes

Modes, or church modes, are scales that originated in the medieval period. This article offers a general introduction; in a future post, we’ll explore their properties in more depth. For simplicity, all examples will use the key of C.

ModeRelation to the Major Scale
Ionian
Dorianb3, b7
Phrygianb2, b3, b6, b7
Lydian#4
Mixolydianb7
Aeolianb3, b6, b7
Locrianb2, b3, b5, b6, b7

Now that we’ve explored the modes, a natural question arises: where do they come from? Why do they contain these specific intervals—and not others? One intuitive way to understand their construction is by examining the familiar major scale, represented over two octaves. We’ll build a new scale starting from each of the seven notes in the major scale.

Starting noteIntervalsMode
C2s 2s 1s 2s 2s 2s 1sIonian
D2s 1s 2s 2s 2s 1s 2sDorian
E1s 2s 2s 2s 1s 2s 2sPhrygian
F2s 2s 2s 1s 2s 2s 1sLydian
G2s 2s 1s 2s 2s 1s 2sMixolydian
A2s 1s 2s 2s 1s 2s 2sAeolian
B1s 2s 2s 1s 2s 2s 2sLocrian

We can see that, by starting at each of the seven notes, the resulting scale has different intervals. Each of these resulting scales is given a special name and it is called a “mode”. If we now apply these intervals by starting always with C, we obtain the following scales.

ModeNotes
C IonianC D E F G A B
C DorianC D Eb F G A Bb
C PhrygianC Db Eb F G Ab Bb
C LydianC D E F# G A B
C MixolydianC D E F G A Bb
C AeolianC D Eb F G Ab Bb
C LocrianC Db Eb F Gb Ab Bb

The same can of course be done in any key.

Let us now learn more about the origins of the modes. According to Copilot[1],

The church modes, also known as the medieval modes or Gregorian modes, are a system of musical scales that originated in the Medieval period. These modes formed the basis of Western music theory and practice during the Middle Ages and the Renaissance.

Origins

The church modes have their roots in ancient Greek music theory, which was adopted and adapted by medieval church musicians. They were used to classify and organize chants used in the liturgy of the Roman Catholic Church. The modes were named after regions and tribes of ancient Greece, although the names had little to do with the actual musical practices of those regions.

These modes were fundamental in shaping the melodic and harmonic language of Western music. Over time, the major and minor scales (Ionian and Aeolian modes) became the dominant scales in Western music, but the church modes are still used today for their unique tonal qualities and historical significance.


[1] Copilot version: 23 November 2024, prompt: “what are the church modes in music and where do they come from?”