Finalis
The principal closing note of a mode.
What it means
The finalis is the note on which a modal melody closes and at the same time the note after which the mode is named and determined. In the modal system it has a position similar to that of the root in major–minor tonality, but its mode of action is different: the finalis is goal and reference point without a cadential gradient as in functional harmony having to lead to it.
Musical use
For the determination of a mode two indications belong: the finalis and the ambitus, that is, the tonal space in which the melody moves. If this space lies predominantly above the finalis, it is an authentic mode; if it extends substantially below it, a plagal one. Both share the same finalis and differ only in range — thus the Dorian and the Hypodorian modes belong together. As a third characteristic there is the repercussa or tenor: the note around which the melody circles and on which recitation takes place; it lies differently in authentic and plagal forms.
In the polyphonic writing of the Renaissance the finalis remains the reference point but is increasingly supported by cadential formulas that come close to the later dominant–tonic relationship. With the establishment of major–minor tonality, the tonic took its place.
The finalis is to be distinguished from the tonic: the latter is the centre of a system of functional relations, the former at first only the closing note and reference note of a melody.
Besides the finalis, the repercussa, the recitation note, is the second principal note of a mode. Authentic and plagal modes share the finalis and differ only in ambitus and recitation note. In the analysis of Gregorian chants the finalis determines the mode.
Performance practice
With modal music, first determine finalis and ambitus — both together tell you which mode is present and where the melody has its points of emphasis. Sing the melody toward its finalis and avoid phrasing it like a major or minor melody; especially the leading tone, which the ear habitually expects, is often not present here. In an ensemble, settle which cadential notes are raised and which are not.