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Mobile (It.) (mo'-bee-leh)

With motion; mobile.

Mode [Lat., modus, manner, way]. (1) A scale in Greek and ecclesiastical music. (2) In modern music used only in conjunction with the terms major and minor, as Major Mode, Minor Mode. Greek Modes; the scale system of the Greeks is not yet quite satisfactorily made out. According to Chappel, who is considered the best authority, the succession of whole and half tones was the same in all the modes, their only difference being in pitch. He gives Meyerbeer, G. Composer; Germany. B. 1791; d. 1864.

Mills, S. B. Composer, pianist; England.

B. 1839; d. 1898.

Mohr, Hermann. Composer, conductor; Germany. B. 1830; d. 1896. MODERATAMENTE the following as the initial notes of the principal modes: Dorian (the standard mode) D, Phrygian E, Lydian F#, Mixolydian G. Those modes the initial notes of which are below the Dorian were distinguished by the prefix hypo, beneath, as Hypolydian C#, Hypophrygian B, Hypodorian A. The succession of sounds was like that of the natural scale of A minor.

Church (or ecclesiastical), or Gregorian, or Ambrosian modes were derived from the Greek modes, but discarded the chromatic sounds. Thus the Dorian and Phrygian were the same, that is, had the same initial sounds, but the Lydian began on F instead of F#. There are other differences between the Greek and the Church modes, viz.: The first four are called authentic; those the initial notes of which are below the Dorian are called plagal; each plagal mode is considered as the relative of the authentic mode, beginning a 4th above it. The final of a plagal is always made on the initial note of its related authentic mode. If the interpretation of the Greek modes is to be trusted, the church modes seem to have arisen from a misunderstanding of the Greek modes.

Moderatamente (mod-e-rah - tah - men'-teh).

Moderately.