For us, modern musicians, the constant in practice and in solfeggio is gamma. Each of the existing ones is repelled from a specific note, has its own pitch and scale. But for the ancient Greeks, such a concept simply did not exist, if only because their instruments did not have a single system. They invented frets - sets of tones and midtones. Today we see them as an alternative to scales that are acceptable for some folk instruments. In this article, we learn what the Lokrian mode was like, how it sounded and why it lost its relevance.
Features and Sound
As you know, the ancient Greeks invented seven natural modes, each of which was diatonic. Among them were major and minor: the first were characterized by a high third stage, the second - lowered. The rest of the sounds could be increased - melodic and double melodic scales were obtained, which could be lowered, which was the reason for the formation of harmonic patterns. But at the same time, each scale began without fail with a tone - that is, the distance between the first and second steps was equal to the tone.
In the case of the Lokrian mode, everything is completely different. He is the only one in which the first place is a semitone. And one could say that a lowered second stage is also a sign of a double harmonic major, but not in this case. The V step was also reduced, which, from the point of view of the modern gamut, is stable. Consequently, in the Lokrian fret there is neither major nor minor sounding, it is impossible to build a triad on its basis, it is very specific and unlike anything else. This was noticed not only by us modern people, but also by the ancient Greeks themselves, who are accustomed to more “stable” musical combinations.
Building a gamut
The Lokrian mode, as we have already found out, has no major or minor tendency. You can compare it with a triton - an interval that is between consonances and dissonances. Its sound is a little sharp, but at the same time very pitiful and painted in a dark tone. So, the construction of the Lokrian fret for us modern musicians begins with the note si and ends with it in the next octave.
That is, the key small seconds is the very first combination of sounds - "si-do" and located between the IV and V steps - "mi-fa". Further, we have the following structure: halftone-tone-tone-halftone-tone-tone and at the end again the tone ("la-si").
Triad
This is the main point in the structure of the Lokri fret, which literally flies out of the framework of modern solfeggio. The fact is that in order to build a major triad the first and third steps must form a large third with each other, and the third and fifth - a small one. In the case of a minor, on the contrary, first comes a small third, then a large one.
But within the framework of this fret, we are dealing with two minor thirds, because the third step is by definition low, as in the minor, and the fifth is lowered. It turns out a reduced triad, the sound of which is extremely unstable and even a little sharp. Some call it extremely sad and pitiable, but in general this chord is very rare in classical, and in any other music.
Perception by modern man
Of course, a triad based on two small thirds is a dissonance of pure water for a person brought up on melodic classical works. However, the sound of the Lokrian fret itself is not as tragic as it might seem from the description. The fact is that from the very beginning we have been studying the gamut called C Major. This is the basics of solfeggio, in this gamut there are no signs, its structure and sound from the point of view of the piano is ideal.
The scale, which also includes only white keys, but does not start from “to”, but from “si” - that is, from a note that is literally in the previous position, can be perceived as “slightly changed major”. To rethink the sound of this fret, it will take time and practice on other musical instruments.
Ancient Greeks perception
But this people was not burdened with solfeggio standards and an ideal piano system. Therefore, they “heard profit” and proceeded from what was presented to them here and now, without comparing the sound with anything else. For the ancient Greeks, the Lokrian way was extremely melancholy, gloomy, dreary and pitiable.
It was used only in tragic productions, on its basis they wrote sad, sad music, which narrated about grief, loss and misfortune. Often this unstable mood was compared with female nature. It was believed that in plays and theatrical productions precisely at those moments when a girl is grieving (by no means a man) a melody written in Lokri fret will be appropriate.
Several millennia of burial
Almost all ancient Greek modes in the Middle Ages were taken as the basis for writing chorales, masses and small plays. They were a little confused (inaccurate interpretation of Boethius's recordings), but in general the sound of the scales remained the same. In most cases, the then composers working for the church took into account such systems as Dorian, Ionian, Aeolian - they were the most melodious.
But the Lokri cat generally fell out of the general picture, and remained in oblivion for many centuries. Only at the end of the XIX century they remembered him and began to introduce them into new music. Lokrisky later began to be found in the works of Prokofiev, Rachmaninov and Stravinsky.
For guitarists
This folk Spanish instrument is almost the only link today between the music of Ancient Greece and modern. It is on the guitar that the Lokrian fret, like everyone else, is studied a priori, since otherwise, further understanding of the notes for this instrument and its features will in principle be very foggy. There is a certain sequence of constructing seven frets on the neck, and in it the Lokrian takes the last place. In order to play it, it is enough to lower the fifth step in the Phrygian fret.