Ionian mode

The Ionian mode is the same as our major scale.

From the modal point of view, this interval sequence is called the Ionian mode.

This facilitates playing melodies in the Ionian mode (the major scale).

The Ionian mode (like our major scale) was the most common in Western Europe.

Glarean went so far as to say that the Ionian mode was the one most frequently used by composers in his day.

Holy Manna is a pentatonic melody in Ionian mode.

Without further clarification, "major mode" or just "major" refers to the Ionian mode.

Moreover, if we draw all seven diatonic modes we can see them all as rotations of the Ionian mode.

The bebop major scale is derived from the Ionian mode and has a chromatic passing tone between the 5th and 6th notes.

Dambatsoko (Ionian mode), played by the Mujuru family.

The Ionian mode is the only mode whose dominant seventh chord type occurs naturally on the fifth scale degree, as V7.

The most used scales/modes - major (Ionian mode), minor (Aeolian mode) and Mixolydian - include these pitches.

For example: within the C ionian mode, the notes of the scale are CDEFGAB, with C being the root note.

This enables one to play in the Ionian mode when tuned to DAD, the traditional tuning for the Mixolydian mode, where the scale starts on the open fret.

Pegasso's arrangements featured organ melodies on the ionian mode scales, played using both hands in parallel and in the 10th interval motion between left and right hand notes.

Volume II in Part One, covers hexachordal (added fa)melodies over Major Drone Bass Triads, and then seven notes: Ionian mode.

It is equivalent to the Western Ionian mode (major scale) and contains the notes S R G m P D N S' (see swara for explanation).

The traditional tune, Holy Manna, is a pentatonic melody in Ionian mode originally published by William Moore in Columbian Harmony, a four-note shape-note tunebook, in 1829.

The basic mode of reference is that which is equivalent to the Western Ionian mode or major scale (called Bilawal thaat in Hindustani music, Dheerasankarabharanam in Carnatic).

C Ionian mode consists of the notes C, D, E, F, G, A, B, C (Do, Re, Mi, Fa, Sol, La, Ti, Do)

In his 'Dimonstrationi harmoniche' of 1571, he revised the numbering of modes to emphasize C and the Ionian mode, thereby drawing closer to the harmonic and melodic system basing itself on tonality and the major and minor scales.

There is a simple tonal plan in the collection: the first and the last works are in G Mixolydian, the second is in the dominant key of D major and the third is in the subdominant key of C major (or the Ionian mode).

The authentic modes were the odd-numbered modes, 1, 3, 5, 7, and this distinction was extended to the Aeolian and Ionian modes when they were added to the original eight Gregorian modes in 1547 by Glareanus in his Dodecachordon (Powers 2001a).

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).