Rhythmic Modes
In medieval music, the rhythmic modes were set patterns of long and short rhythms. The value of the note is not determined by the appearance of it like modern day notes. But rather by its’ position within a group of notes.
1. Mode 1 is known as trochee and the rhythm is long short.
2. Mode 2 is known as iamb and the rhythm is short long.
3. Mode 3 is known as dactyl and the rhythm is long short short.
4. Mode 4 is known as anapest and the rhythm is short short long.
5. Mode 5 is known as spondee and the rhythm is long long long.
6. Mode 6 is known as tribrach and the rhythm is short short short.
The way you can figure out which mode is which is determined by where the accent is on the notes. The early notation of the time grouped individual pitches within compound signals known as ligatures, and the intended rhythms were indicated by standardized ligature patterns rather than by individualized note shapes. The modes also tended to change throughout the music whenever it wanted to needed to.
2. Mode 2 is known as iamb and the rhythm is short long.
3. Mode 3 is known as dactyl and the rhythm is long short short.
4. Mode 4 is known as anapest and the rhythm is short short long.
5. Mode 5 is known as spondee and the rhythm is long long long.
6. Mode 6 is known as tribrach and the rhythm is short short short.
The way you can figure out which mode is which is determined by where the accent is on the notes. The early notation of the time grouped individual pitches within compound signals known as ligatures, and the intended rhythms were indicated by standardized ligature patterns rather than by individualized note shapes. The modes also tended to change throughout the music whenever it wanted to needed to.