Changes

The so-called "church modes" were named after [[ancient Greece|ancient Greek]] scales, or ''topoi,'' with the names "Lydian," "Dorian," "Phrygian," and "Mixolydian." Four more modes were modified versions of these, adding the prefix "hypo" (i.e. "Hypophrygian"). Despite their sharing names with the ''topoi'', their interval content has nothing to do with the ancient Greek scales, the sound of which would have been unknown to the 9th-century theorists who gave the modes these names.

The so-called "church modes" were named after [[ancient Greece|ancient Greek]] scales, or ''topoi,'' with the names "Lydian," "Dorian," "Phrygian," and "Mixolydian." Four more modes were modified versions of these, adding the prefix "hypo" (i.e. "Hypophrygian"). Despite their sharing names with the ''topoi'', their interval content has nothing to do with the ancient Greek scales, the sound of which would have been unknown to the 9th century theorists who gave the modes these names.

There is yet another meaning of mode in music which has nothing to do with a scale. It also describes certain rhythmic practices in 13th and 14th-century music. The difference is usually made clear by referring to this usage as "Rhythmic Mode."

There is yet another meaning of mode in music which has nothing to do with a scale. It also describes certain rhythmic practices in 13th and 14th century music. The difference is usually made clear by referring to this usage as "Rhythmic Mode."