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The Phrygian mode (pronounced / ˈ f r ɪ dʒ i ə n /) can refer to three different musical modes: the ancient Greek tonos or harmonia, sometimes called Phrygian, formed on a particular set of octave species or scales; the medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter.
While the term "mode" is still most commonly understood to refer to Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, or Locrian modes in the diatonic scale; in modern music theory the word "mode" is also often used differently, to mean scales other than the diatonic.
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
The Hypophrygian (deuterus plagalis) mode, literally meaning "below Phrygian (plagal second)", is a musical mode or diatonic scale in medieval chant theory, the fourth mode of church music. This mode is the plagal counterpart of the authentic third mode, which was called Phrygian. In the Middle Ages and Renaissance this mode was described in ...
Marsyas, a Phrygian follower of Cybele, was a satyr who is regarded as the inventor of the aulos, which he created using the hollowed antler of a stag. He unwisely competed in music with the Olympian Apollo and inevitably lost, whereupon Apollo flayed Marsyas alive and provocatively hung his skin on Cybele's own sacred tree, a pine.
A three-note ligature followed by a succession of duple ligatures indicated mode 1; the reverse—a succession of duple ligatures ending with a ternary on—indicated mode 2; a single note followed by a series of ternary ligatures mean mode 3 and the reverse mode 4; uniform ternary ligatures signified mode 5, and a four-note ligature followed ...
The mascot of the Paris Olympic Games may not seem all that mighty to those outside the host country, but that little red hat, known as a Phrygian cap (or a liberty cap), is a symbol of the French ...
The singing develops on a major mode (tonic, subdominant, dominant), resolving in the corresponding Phrygian mode of the same scale. The Phrygian mode is used for the short interludes after of before verses. The usual progression is the typical of all fandangos: First line of singing: G7, C Major; Second line: C Major, C7, F Major