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Locrian mode
The Locrian mode is either a musical mode or simply a diatonic scale.
==History==
Although the term occurs in several classical authors on music theory, including Cleonides (as an octave species) and Athenaeus (as an obsolete ''harmonia''), there is no warrant for the modern usage of Locrian as equivalent to Glarean's Hyperaeolian mode, in either classical, Renaissance, or later phases of modal theory through the 18th century, or modern scholarship on ancient Greek musical theory and practice.〔Harold S. Powers, "Locrian", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001); David Hiley, "Mode", ''The Oxford Companion to Music'', edited by Alison Latham (Oxford and New York: Oxford University Press, 2002) ISBN 978-0-19-866212-9 OCLC 59376677.〕 The name first came to be applied to modal chant theory after the 18th century,〔Harold S. Powers, "Locrian", ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001)〕 when it was used to describe the mode newly numbered as mode 11, with final on B, ambitus from that note to the octave above, and with semitones therefore between the first and second, and fourth and fifth degrees. Its reciting tone (or tenor) is G, its mediant D, and it has two participants: E and F.〔W() S() Rockstro, "Locrian Mode", ''A Dictionary of Music and Musicians (A.D. 1450–1880), by Eminent Writers, English and Foreign'', vol. 2, edited by George Grove, D. C. L. (London: Macmillan and Co., 1880): 158.〕 The final, as its name implies, is the tone on which the chant eventually settles, and corresponds to the tonic in tonal music. The reciting tone is the tone around which the melody principally centres,〔Charlotte Smith, ''(A Manual of Sixteenth-Century Contrapuntal Style )'' (Newark: University of Delaware Press; London: Associated University Presses, 1989): 14. ISBN 978-0-87413-327-1.〕 the mediant is named from its position between the final and reciting tone, and the participant is an auxiliary note, generally adjacent to the mediant in authentic modes and, in the plagal forms, coincident with the reciting tone of the corresponding authentic mode.〔W() S() Rockstro "Modes, the Ecclesiastical", ''A Dictionary of Music and Musicians (A.D. 1450–1880), by Eminent Writers, English and Foreign'', vol. 2, edited by George Grove, D. C. L., 340–43 (London: Macmillan and Co., 1880): 342.〕
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