Re: Lern Steiger and my mode article

[I. Oppenheim <i.oppenheim...>]

> I suggest a set of criteriae which include:
>
> 1) scalar form of the tone group 2) typical incipts (beginnings) and
> cadences 3) common Motivic Scheme or patterns (typical contours) 4)
> ³Assigned² tones (tones which are typically relegated to specific
> motives within the piece) 5) The mood, ethos, or gusto of the mode 6)
> Sub-mode modulation groups
>
> Of the above, I think that number 6 is the one most often overlooked and
> very specific to each shtayger or mode, kind of a telltale sign as to
> what the mode is.

Dear Josh,

Thank you for your thorough and illuminating reply!

Regarding criterion 5: Hanoch Avenary doubted if this concept,
adopted from the theory of maqamat, is at all applicable
to the steigers of Jewish music.

Irwin Oppenheim

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