Jean-Philippe Rameau · section 38 of 109

Chapter twenty-four

On the character of modes and keys

We have already said that there are only two modes, major and minor. Since each can be taken on every note of the chromatic system, we may say that there are twenty-four keys, for the name key is given to the note that serves as the principal note of a mode.

The major mode follows the nature of the major third, and the minor mode that of the minor third. But the different positions of the semitones distributed within the octave of each note that can be taken as principal or tonic cause a certain difference in the melodic and harmonic movement of these octaves. It is appropriate to explain their character.

The major mode, taken within the octave of C, D, or A, suits songs of gladness and rejoicing; within the octave of F or B♭, it suits storms, furies, and other subjects of that kind. Within the octave of G or E, it suits tender and cheerful songs equally. Grandeur and magnificence also find their place within the octave of D, A, or E.

The minor mode, taken within the octave of D, G, B, or E, suits gentleness and tenderness; within the octave of C or F, it suits tenderness and lamentation; within the octave of F or B♭, it suits mournful songs. The other keys are not much used, and experience is the surest means of learning their character.