March for organ (see Supplement, Example No. 7). The mysterious
opening measures of Debussy's opera _Pelleas et Melisande_ also owe
their atmosphere to this mode, _e.g._

[Music]

The Phrygian mode is one of the most individual to our modern ears
with its first step a _semitone_ and with the _whole_ tone between the
7th and 8th degrees. Under the influence of harmonic development there
was worked out a cadence, known as Phrygian, which is often found in
modern music, _e.g._

[Music]

The opening measures of the slow movement of Brahms's _Fourth
Symphony_ are an excellent example of a melody in the Phrygian mode,
_e.g._

[Music]

The contrast between these measures, with their archaic flavor, and
the sudden change in measure four to the modern tonality of E major,
is very striking. Bach's well-known choral, _O Sacred Head now
wounded_ also begins in the Phrygian mode, _e.g._

[Music]

For a beautiful modern example of this Phrygian mode see the
introduction to F.S. Converse's _Dramatic Poem Job_, for voices and
orchestra.

The Lydian mode is identical with our major scale except for the
semitone between the 4th and 5th degrees. That this change, however,
gives a very characteristic effect may be seen in the passage by
Beethoven from his String-Quartet op. 132--_Song of Thanksgiving_ in
the Lydian mode (see Supplement Ex. No. 8). The Mixolydian mode is
also identical with our modern major scale except for the _whole_ tone
between the 7th and 8th degrees. This mode has had very slight usage
in modern music; because, with the development of harmony,[26] the
instinct became so strong for a leading tone (the 7th degree)--only a
semitone distant from the upper tonic--that the original whole tone
has gradually disappeared. The Aeolian Mode, mainly identical with our
customary minor scale, has the characteristic whole tone between the
7th and 8th degrees. Examples of this mode abound in modern
literature; two excellent instances being the first theme of the
Finale of Dvo[vr]ak's _New World Symphony_, _e.g._,

[Music]

and the following passage from the _Legend_ for a capella voices of
Tchaikowsky, _e.g._

[Music]

The Ionian mode corresponds exactly with our modern major scale, and
the common people among all nations early showed a strong predilection
for its use. The Church, in fact, because of this popularity with the
people, named it the "modus lascivus" and prohibited its use in the
ecclesiastical liturg