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  4. Melody patterns in Gregorian chant and makam music
  5. Historical development of Western music after the Ancient times

Historical development of Western music after the Ancient times


  • The first song is a simple psalmody as it could be heard in the early times of Christianity.
  • In these times the Church modes were not used as theoratical basis.
  • In this song the tune is Phrygian. The last tone of the song defines the mode.

Phrygian Tonus Tertius

  • The second chant is from a later period. The melody is more artistical and ornamented.
  • The mode of the first part (when the chorus is singing) is Lydian. The basic tone is fa.
Lydian Tonus Quintus
  • In Lydian we have the si natural. The interval fa-si creates an augmented fourth. It was called devil’s interval and avoided.
  • Beginning of the first part: fa major chord fa-la-do. Si naturel at the end of the picture. In the melody it creates a typical sharpness.
Augmented fourth
  • The melody is often resting on la. The intervall do-la (small third) gives the melody a minor taste.
  • At the end of the first chorus part, (“jubilate do omnis terra”) before the solist starts, there is a si bemol that avoids the augmented interval and leads to the fundamental tone fa. With the introduction of the si bemol the melody loses its sharpness, it becomes a clear major scale (similar to Acemasiran).