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dorian mode
Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek ''harmoniai'' (characteristic melodic behaviour, or the scale structure associated with it), one of the medieval musical modes, or, most commonly, one of the modern modal diatonic scales, corresponding to the white notes from D to D, or any transposition of this, for example the scale from C to C with both E and B flatted.
==Greek Dorian mode==
The Dorian mode (properly ''harmonia'' or ''tonos'') is named after the Dorian Greeks. Applied to a whole octave, the Dorian octave species was built upon two tetrachords (four-note segments) separated by a whole tone, running from the ''hypate meson'' to the ''nete diezeugmenon''. In the enharmonic genus, the intervals in each tetrachord are quarter-tone–quarter-tone–major third; in the chromatic genus, semitone-semitone-minor third; in the diatonic genus, semitone-tone-tone. In the diatonic genus, the sequence over the octave is the same as that produced by playing all the white notes of a piano ascending from E to E: E F G A | B C D E,〔Thomas J. Mathiesen, "Greece, §I: Ancient: 6. Music Theory: (iii) Aristoxenian Tradition: (d) Scales". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).〕 a sequence equivalent to the modern Phrygian mode. Placing the single tone at the bottom of the scale followed by two conjunct tetrachords (that is, the top note of the first tetrachord is also the bottom note of the second), produces the Hypodorian ("below Dorian") octave species: A | B C D E | (E) F G A. Placing the two tetrachords together and the single tone at the top of the scale produces the Mixolydian octave species, a note sequence equivalent to modern Locrian mode.〔Thomas J. Mathiesen, "Greece, §I: Ancient: 6. Music Theory: (iii) Aristoxenian Tradition: (e) Tonoi and Harmoniai". ''The New Grove Dictionary of Music and Musicians'', second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).〕
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