361:. The mediant is named from its position—in the authentic modes—between the final and cofinal. In the authentic modes it is the third degree of the scale, unless that note should happen to be B, in which case C substitutes for it. In the plagal modes, its position is somewhat irregular. The participant is an auxiliary note, generally adjacent to the mediant in authentic modes and, in the plagal forms, coincident with the cofinal of the corresponding authentic mode (some modes have a second participant).
115:
304:
295:, or modes. Thus plagal first mode (also known as "tone 5" in the Russian naming system) represents a somewhat more developed and widened in range version of the first mode. The plagal second mode ("tone 6" in the Russian system) has a similar relation to the second mode, and the plagal fourth mode—respectively to the fourth mode. Though there is no "plagal third mode", the mode that one would expect ("tone 7") is called the "grave tone".
143:. The final of an authentic mode is the tonic, though the range of modes 1, 2, and 7 may occasionally descend one step further. This added degree is called the "subfinal" which, since it lies a whole tone below the final, is also the "subtonium" of the mode. The range of mode 5 (Lydian) does not employ a subfinal, and so always maintains F as its lower limit. These four modes correspond to the modern modal scales starting on
202:), each consisting of a small family of closely related modes that, if rounded to their diatonic equivalents, would be the eight modes of Gregorian chant. However, they are numbered differently, the authentic modes being 1, 2, 3, 4. Other Eastern Christian rites use similar systems of eight modes; see
218:
A plagal mode (from Greek πλάγιος 'oblique, sideways, athwart') has a range that includes the octave from the fourth below the final to the fifth above. The plagal modes are the even-numbered modes 2, 4, 6 and 8, and each takes its name from the corresponding odd-numbered authentic mode with the
345:). These are the primary degrees (often the 1st and 5th) on which the melody is conceived and on which it most often comes to rest, in graduated stages of finality. The final is the pitch in which the chant usually ends; it may be approximately regarded as analogous (but not identical) to the
22:
84:
The repertory of
Western plainchant acquired its basic forms between the sixth and early ninth centuries, but there are neither theoretical sources nor notated music from this period. By the late eighth century, a system of eight modal categories, for which there was no precedent in
64:
was attached to the variety of chant that was to become the dominant variety in medieval western and central Europe (the diocese of Milan was the sole significant exception) by the
Frankish cantors reworking Roman ecclesiastical song during the
242:(c. 880), who specifies the range as running from the fourth below the final to the fifth above. Later writers extend this general rule to include the sixth above the final and the fifth below, except for the
183:), is a fifth above the final of the scale, with the exception of mode 3 (Phrygian), where it is a sixth above the final. This is because a fifth above the tonic of mode 3 is the "unstable"
364:
Given the confusion between ancient, medieval, and modern terminology, "today it is more consistent and practical to use the traditional designation of the modes with numbers one to eight".
69:
period. The theoretical framework of modes arose later to describe the tonal structure of this chant repertory, and is not necessarily applicable to the other
European chant dialects (
922:
888:
349:
in the
Western classical tradition. Likewise the cofinal is an additional resting point in the chant; it may be regarded as having some analogy to the more recent
353:, but its interval from the tonic is not necessarily a fifth. In addition to the final and cofinal, every mode is distinguished by scale degrees called the
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524:, revised and augmented throughout by Sir Henry Stuart Jones and Roderick McKenzie. Oxford: Clarendon Press; New York: Oxford University Press.
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246:, which would have a diminished fifth below the final and so the fourth below, C, remained the lower limit. In addition to the range, the
103:
In the traditional system of eight modes (in use mainly between the 8th and 16th centuries) there are four pairs, each pair comprising an
89:, came to be associated with the repertory of Gregorian chant. This system likely originated from the early Byzantine
682:
668:
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609:
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307:
Rockstro's fourteen modes, showing the range, final, cofinal (or dominant), mediant(s), and participant(s) of each
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of the corresponding authentic mode, except in mode 8 (Hypomixolydian), where it is raised to a 4th above the
505:
Merriam
Webster's Seventh New Collegiate Dictionary. Based on Webster's Third New International Dictionary
580:
274:, which may be flattened (in the authentic mode 3, the tenor is similarly raised to the sixth above the
207:
508:
95:, as indicated by the non-Hellenistic Greek names used in the earliest Western sources from about 800.
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131:
The authentic modes were the odd-numbered modes 1, 3, 5, 7, and this distinction was extended to the
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A Dictionary of Music and
Musicians (A.D. 1450–1880), by Eminent Writers, English and Foreign
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270:(a second below the tenor of the authentic mode 7) in order to avoid the "unstable" degree
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when they were added to the original eight
Gregorian modes in 1547 by Glareanus in his
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581:"Beginning to Learn the Byzantine Musical System Using Western Notation and Theory"
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The earliest definition of plagal mode is found in
Hucbald's treatise
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567:
The
Mnemonic Verses: A Quick and Easy Guide to the Byzantine Tones
26:
291:), the word "plagal" ("plagios") refers to the four lower-lying
569:". New Byzantium Publications website (Accessed 12 April 2012).
477:"Byzantine Octoechos Chart for Those Trained in Western Music"
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48:) is one of the eight systems of pitch organization used in
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and Los Angeles: University of California Press. p. 256.
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464:The Modes: An Introduction through Relative Solfa
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175:). The tenor, or dominant (corresponding to the "
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674:The New Grove Dictionary of Music and Musicians
520:Liddell, Henry George, and Robert Scott. 1996.
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187:(in modern solfège), which may be flattened to
16:System of pitch organization in Gregorian chant
466:. London: The Kodály Centre of London. p. 3. .
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250:(cofinal, or dominant, corresponding to the "
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634:Knighton, Tess, and David Fallows. 1998.
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405:, "Gregorian Chant" by James W. McKinnon.
194:The older Byzantine system still retains
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113:
20:
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699:works on the modes of Gregorian chant
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258:) differs. In the plagal modes, the
677:(2nd ed.). London: Macmillan.
13:
14:
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604:. New York: Dover Publications.
219:addition of the prefix "hypo-":
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1:
602:Structural Functions in Music
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547:New Grove Dict. M&M 2001
447:New Grove Dict. M&M 2001
431:New Grove Dict. M&M 2001
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403:New Grove Dict. M&M 2001
36:gets its name, is in Mode 6.
7:
511:MA: G. & C. Merriam Co.
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285:In Byzantine modal theory (
208:Armenian usage of Octoechos
118:The eight Gregorian modes:
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262:is a third lower than the
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204:Syriac usage of Octoechos
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484:Stanley J. Takis website
951:ascending melodic minor
889:ascending melodic major
522:A Greek-English Lexicon
417:, "Mode" (§II.1-ii) by
962:Lydian augmented (III)
735:Modes in Western music
600:Berry, Wallace. 1987.
563:Suchy-Pilalis, Jessica
433:, "Authentic mode" by
384:Neobyzantine Octoechos
379:Hagiopolitan Octoechos
308:
123:
37:
1043:Double harmonic scale
1015:Phrygian dominant (V)
1010:Ukrainian Dorian (IV)
462:Vinden, David. 2008.
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117:
24:
1056:Hungarian minor (IV)
982:Half diminished (VI)
972:Aeolian dominant (V)
198:(sing. ἦχος –
87:Ancient Greek theory
1051:Double harmonic (I)
549:, "Plagal mode" by
311:Two characteristic
1033:Harmonic major (I)
1005:Harmonic minor (I)
579:Takis, Stanley J.
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299:Hierarchy of tones
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359:participant
256:psalm tones
214:Plagal mode
196:eight echoi
181:psalm tones
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67:Carolingian
46:church mode
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858:Pentatonic
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793:Hypodorian
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390:References
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221:Hypodorian
173:Mixolydian
752:Authentic
743:Gregorian
565:. 2007. "
288:octoechos
254:" of the
179:" of the
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81:, etc.).
79:Ambrosian
75:Mozarabic
71:Old Roman
873:Diatonic
765:Phrygian
640:Berkeley
489:12 April
368:See also
357:and the
351:dominant
337:dominant
157:Phrygian
99:Tonality
848:Locrian
838:Aeolian
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355:mediant
329:cofinal
317:pitches
280:finalis
276:finalis
268:finalis
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56:History
27:introit
828:Ionian
785:Plagal
770:Lydian
760:Dorian
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503:1963.
231:, and
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149:Dorian
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347:tonic
339:, or
333:tenor
325:final
321:modal
319:in a
313:notes
293:echoi
264:tenor
260:tenor
248:tenor
200:echos
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