Ionian mode is the name assigned by Heinrich Glarean in 1547 to his new authentic mode on C (mode 11 in his numbering scheme), which uses the diatonic octave species from C to the C an octave higher, divided at G (as its dominant, reciting note or tenor) into a fourth species of perfect fifth (tone–tone–semitone–tone) plus a third species of perfect fourth (tone–tone–semitone): C D E F G + G A B C (Powers 2001a). This octave species is essentially the same as the major mode of tonal music (Jones 1974, 42).
Church music was previously explained by theorists as being organised in eight musical modes: the scales on D, E, F, and G in the "greater perfect system" of "musica recta" (Powers 2001b, §II: "Medieval Modal Theory"), each with their authentic and plagal counterparts.
Glarean's twelfth mode was the plagal version of the Ionian mode, called Hypoionian (under Ionian), based on the same relative scale, but with the major third as its tenor, and having a melodic range from a perfect fourth below the tonic, to a perfect fifth above it (Powers 2001c).
Other articles related to "modes, ionian mode, ionian":
... Perhaps the simplest way to understand the seven modern modes and the relationship between them is to view them as successive rotations of a single set of seven notes ... This is the C Ionian mode because C is the referential note, and the pattern of intervals above that note corresponds to Ionian ... The major scale and Ionian modal scale in any key are identical.) Retaining the notes of the C-major scale as the frame of reference C Ionian mode consists of the ...
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