One of the mysteries of the English language finally explained.
The mode represented by the natural diatonic scale D–D (containing a minor 3rd and minor 7th).
- ‘D minor was traditionally regarded as a key both ‘obscure’ and a shade perilous, as was the Dorian mode it derived from; the piece falls, with the impetuosity of youth, into more contrarious sections than does any of the later toccatas.’
- ‘His choral setting, initially in octaves, with its transposed Dorian mode on G, evolves into a kind of fantasia on the original responsory.’
- ‘A chorale tune in Dorian mode is fragmented and turned in on itself.’
- ‘Similarly, the Dorian mode runs from ray, and the Aeolian from lah.’
- ‘The piece, in the untransposed Dorian mode, begins and ends with d-final.’
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