I understand that in the church modes there are four modes and four twin "hypo" modes.

I also understand (I think) that modes are not pitch specific as such.

I understand there are no locrian modes

In Fux we find he states (pg 33) "Now continue the same exercise " go through all the modes in this octave - you started with D, thus EFGA - this is six modes"

Four six or eight - how do the pieces fit together?

thaks all

Zero

Zero

Again, although Fux's presentation is modal to a certain extent, he is not attempting to teach the Eccesiastical modes. Fux is presenting a set of rules, based on his understanding of Palestrina's music, which he uses as his model. In Palestrina's time (c.1525-1594), tonality was taking shape but there were still modal components being used. It was not the tonality of common practice, nor the modality of Gregorian chant.

Notice that Fux isn't saying things like, "The finalis of Mode II is D" or "This exercise is in Mode VI; be sure to mind the ambitus!" Fux's cantus firmi are merely the medium on which his rules and concepts are presented.

OK it seems to me that the key to what you are saying is the words "to a certain extent". Something of the modern modal concept less the locrian mode, is what Fux is usng.

thanks for your thoughts, they are helping, I hope I hsve enough clarification now to focus again on the actual countepoint exercises

Zero

It's probably fair to say that. But also keep in mind that the leading tone is required in each "mode" but Phrygian. Later in the book, you'll see accidentals like Bb introduced, making these somewhat modal exercises even more tonal. I would say, think of it as more tonal than modal, but not quite the functional harmony we'd expect in common practice.

Err... ok sorry... just to this clear up...

How do you pronounce "Fux"?

"fooks"