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The reason why a Bb is used instead of a B has to do with the key aspects of the Lydian mode itself which is the #4 and how it acts. The only difference between the Ionian mode and the Lydian is the 4th which is perfect in the Ionian mode and augmented in the Lydian mode. In Fux's counterpoint whatever mode you were in, you would want your cantus firmus and ...


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Yes, the concepts are simple. Each mode keeps the tonality of the diatonic parent scale but starts / ends on different notes. For example: Parent Scale / Ionian - C D E F G A B C Dorian - D E F G A B C D Phrygian - E F G A B C D E etc through all of the other scale degrees. When people discuss "playing in the right mode", they are talking about using ...


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You are right in the way modes can be explained. Using Ionian as a basis - the full major as we know it now, sounds 'right' when we start and finish on the root note/chord. When we use the same set of notes, but use the 6th note/chord as 'home', we think of being in a minor key. This actually often has a sharpened leading note, which makes the change back to ...


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The cycle of fifths and the Phrygian mode are more or less orthogonal concepts. They're not mutually exclusive, but neither will do a good job supporting the other without support from other elements of the music. The Phrygian mode requires careful attention to establish the mode and its final (modal equivalent to a tonic), whereas a cycle of fifths ...


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Modes are just a very old type of scale. It was just the way in which the pre baroque era Medieval music was made. It is in essence the musical system that predates the current classical inspired system. If you want to go in depth about how you can see the different modes for what they are you can always just look where the semi tones in the scale / piece ...



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