154:, 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
138:
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
170:, 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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67:. 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".
328:
Krones, Hartmut. 2007. "Secundus tonus est gravis et flebilis—Tertius tonus severus est: Zur
Semantik der Modi in Trauermotetten der Zeit um 1500". In
220:, 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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114:, 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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158:, who described these seven names as "toni, tropi, vel modi" (tones, tropes or modes) in the fourth book of his
232:, "Mode §II: Medieval Modal Theory, 1: The Elements, (i) The Hellenistic Model: Tonus, Modus, Tropus" by
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336:, 157–88. Wiener Forum für Ältere Musikgeschichte 2. Tutzing: Hans Schneider.
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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.
45:, 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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283:The New Grove Dictionary of Music and Musicians
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102:The name Hypophrygian originates in an
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122:: a series of rising intervals of two
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166:and in a commentary on it called the
43:Hypophrygian (deuterus plagalis) mode
286:(2nd ed.). London: Macmillan.
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248:, "Ptolemy " by Lukas Richter.
1:
332:, edited by Stefan Gasch and
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146:The name was appropriated by
258:New Grove Dict. M&M 2001
246:New Grove Dict. M&M 2001
230:New Grove Dict. M&M 2001
201:New Grove Dict. M&M 2001
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110:music theory. According to
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312:29, no. 1 (June): 191–213.
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630:descending melodic major
577:descending melodic minor
605:ascending melodic minor
543:ascending melodic major
25:Hypophrygian mode on E
616:Lydian augmented (III)
389:Modes in Western music
310:Revista de musicologĂa
218:Greek Musical Writings
216:Barker, Andrew. 1989.
160:De institutione musica
130:, together spanning a
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697:Double harmonic scale
669:Phrygian dominant (V)
664:Ukrainian Dorian (IV)
150:for one of his seven
148:Ptolemy of Alexandria
86:
24:
16:Plagal Gregorian mode
710:Hungarian minor (IV)
636:Half diminished (VI)
626:Aeolian dominant (V)
203:, "Hypophrygian" by
705:Double harmonic (I)
687:Harmonic major (I)
659:Harmonic minor (I)
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342:978-3-7952-1239-1
320:Musica Disciplina
182:Johannes Ockeghem
178:Missa quarti toni
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116:enharmonic genus
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302:Further reading
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601:Jazz minor (I)
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564:Mixolydian (V)
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168:Nova expositio
132:perfect fourth
126:followed by a
104:octave species
74:perfect fourth
51:diatonic scale
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736:Modes (music)
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715:Oriental (V)
569:Aeolian (VI)
452:Hypophrygian
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350:
334:Birgit Lodes
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53:in medieval
47:musical mode
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559:Lydian (IV)
549:Dorian (II)
507:Hypolocrian
497:Hypoaeolian
174:Missa Mi-mi
164:Alia musica
112:Aristoxenus
593:Jazz minor
535:Ionian (I)
512:Pentatonic
487:Hypoionian
457:Hypolydian
447:Hypodorian
429:Mixolydian
188:References
141:Hypolydian
120:tetrachord
406:Authentic
397:Gregorian
353:4:106–22.
730:Category
527:Diatonic
419:Phrygian
323:45:5–94.
156:Boethius
64:Phrygian
502:Locrian
492:Aeolian
351:Theoria
118:of the
69:ambitus
482:Ionian
439:Plagal
424:Lydian
414:Dorian
340:
290:
136:Dorian
134:. The
128:ditone
59:plagal
475:Other
180:) by
152:tonoi
78:fifth
55:chant
575:and
541:and
338:ISBN
288:ISBN
93:Play
41:The
31:Play
106:of
76:or
49:or
732::
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381:e
374:t
367:v
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176:(
37:.
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