165:, or transposition keys. Ptolemy's system differed from the earlier Aristoxenian model, which had thirteen transpositional levels each a semitone from its neighbours. Ptolemy substituted a diatonic sequence of seven transpositions pitched either a whole tone or a semitone apart. The entire double-octave scale system was then transposed onto each of these relative pitch levels, requiring (in modern terms) a different key signature in each case, and therefore a different sequence of whole and half steps in the fixed central octave span. The Hypophrygian transposition was the second-lowest of these, a whole tone above the Hypodorian. A whole tone higher was the Hypolydian, followed a semitone higher still by the Dorian, then after another whole tone by the Phrygian, and so on. Four centuries later, the term was taken from Ptolemy in exactly the same sense by
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from the A below to the C above. The note A above the final (the tenor of the corresponding fourth psalm tone) had an important melodic function. The melodic range of the ecclesiastical
Hypophrygian mode therefore goes from the
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octave species begins with this tetrachord, which is followed by a whole tone and another tetrachord to complete the octave with a pattern of ÂĽ, ÂĽ, 2, 1, ÂĽ, ÂĽ, and 2 tones. This pattern is rotated downward one degree for the
181:, this set of seven terms, supplemented by an eighth name, "Hypermixolydian", was given a new sense, designating a set of diatonic octave species, described as the tonal embodiments of the eight modes of Gregorian chant.
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78:. In the Middle Ages and Renaissance this mode was described in two ways: the diatonic scale from B to B an octave above, divided at the mode final E (B–C–D–E + E–F–G–A–B); and as a mode with final E and
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Calle
Carabias, QuentĂn. 2006. "'Dicen que nacĂ en argel...': Fandango charro—Estudio filolĂłgico del texto, análisis musicolĂłgico y armonizaciĂłn de su melodĂa".
339:
Krones, Hartmut. 2007. "Secundus tonus est gravis et flebilis—Tertius tonus severus est: Zur
Semantik der Modi in Trauermotetten der Zeit um 1500". In
231:, vol. 2 (Harmonic and Acoustical Theories). Cambridge Readings in the Literature of Music. Cambridge and New York: Cambridge University Press. p. 15.
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Ancient Greek
Hypophrygian octave species on E (the barline marks the beginning of the enharmonic tetrachord, conjoined to a second tetrachord)
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Gissel, Siegfried. 1991. "Die Modi
Phrygius, Hypophrygius und Phrygius connexus: Ein Beitrag zu den 'in mi' Tonarten um 1600".
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125:, this octave species was originally described around the year 400 BC by the Harmonicist school of Eratocles in terms of the
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Tilton, Mary C. 1989. "The
Influence of Psalm Tone and Mode on the Structure of the Phrygian Toccatas of Claudio Merulo".
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169:, who described these seven names as "toni, tropi, vel modi" (tones, tropes or modes) in the fourth book of his
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is a well-known example of a work written in the
Hypophrygian mode.
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Tod in Musik und Kultur: Zum 500. Todestag
Philipps des Schönen
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below the tonic to the perfect fifth or minor sixth above.
56:, literally meaning "below Phrygian (plagal second)", is a
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counterpart of the authentic third mode, which was called
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theory, the fourth mode of church music. This mode is the
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113:The name Hypophrygian originates in an
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133:: a series of rising intervals of two
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177:and in a commentary on it called the
54:Hypophrygian (deuterus plagalis) mode
297:(2nd ed.). London: Macmillan.
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259:, "Ptolemy " by Lukas Richter.
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1:
343:, edited by Stefan Gasch and
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157:The name was appropriated by
269:New Grove Dict. M&M 2001
257:New Grove Dict. M&M 2001
241:New Grove Dict. M&M 2001
212:New Grove Dict. M&M 2001
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121:music theory. According to
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323:29, no. 1 (June): 191–213.
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641:descending melodic major
588:descending melodic minor
616:ascending melodic minor
554:ascending melodic major
36:Hypophrygian mode on E
627:Lydian augmented (III)
400:Modes in Western music
321:Revista de musicologĂa
229:Greek Musical Writings
227:Barker, Andrew. 1989.
171:De institutione musica
141:, together spanning a
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49:
708:Double harmonic scale
680:Phrygian dominant (V)
675:Ukrainian Dorian (IV)
161:for one of his seven
159:Ptolemy of Alexandria
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27:Plagal Gregorian mode
721:Hungarian minor (IV)
647:Half diminished (VI)
637:Aeolian dominant (V)
214:, "Hypophrygian" by
716:Double harmonic (I)
698:Harmonic major (I)
670:Harmonic minor (I)
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353:978-3-7952-1239-1
331:Musica Disciplina
193:Johannes Ockeghem
189:Missa quarti toni
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127:enharmonic genus
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612:Jazz minor (I)
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179:Nova expositio
143:perfect fourth
137:followed by a
115:octave species
85:perfect fourth
62:diatonic scale
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747:Modes (music)
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726:Oriental (V)
580:Aeolian (VI)
463:Hypophrygian
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345:Birgit Lodes
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64:in medieval
58:musical mode
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18:Hypophrygian
570:Lydian (IV)
560:Dorian (II)
518:Hypolocrian
508:Hypoaeolian
185:Missa Mi-mi
175:Alia musica
123:Aristoxenus
604:Jazz minor
546:Ionian (I)
523:Pentatonic
498:Hypoionian
468:Hypolydian
458:Hypodorian
440:Mixolydian
199:References
152:Hypolydian
131:tetrachord
417:Authentic
408:Gregorian
364:4:106–22.
741:Category
538:Diatonic
430:Phrygian
334:45:5–94.
167:Boethius
75:Phrygian
513:Locrian
503:Aeolian
362:Theoria
129:of the
80:ambitus
493:Ionian
450:Plagal
435:Lydian
425:Dorian
351:
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147:Dorian
145:. The
139:ditone
70:plagal
486:Other
191:) by
163:tonoi
89:fifth
66:chant
586:and
552:and
349:ISBN
299:ISBN
104:Play
52:The
42:Play
117:of
87:or
60:or
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392:e
385:t
378:v
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187:(
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