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Gregorian melodies are more likely to traverse a seventh than a full octave, so that melodies rarely travel from D up to the D an octave higher, but often travel from D to the C a seventh higher, using such patterns as D-F-G-A-C. [45] > Gregorian melodies often explore chains of pitches, such as F-A-C, around which the other notes of the chant ...
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. [12] [page needed] The final is the pitch in which the chant usually ends; it may be approximately regarded as analogous (but not identical) to the tonic in
Luther also adopted several Gregorian chants and gave them new German texts. With new melodies the singularity always stood in the foreground; often the melodies move in familiar formulas – artistic originality of the melody was of little importance. New melodies were mostly written in collaboration with Johann Walter. Luther also asked other ...
Medieval modes (also called Gregorian mode or church modes) were numbered, either from 1 to 8, or from 1 to 4 in pairs (authentic/plagal), in which case they were usually named protus (first), deuterus (second), tertius (third), and tetrardus (fourth), but sometimes also named after the ancient Greek tonoi (with which, however, they are not ...
Gregorian melodies are traditionally written using neumes, an early form of musical notation from which the modern four-line and five-line staff developed. [1] Multi-voice elaborations of Gregorian chant, known as organum , were an early stage in the development of Western polyphony .
In this process of chant transmission, which followed Charlemagne's reform, the so-called "Gregorian chant" or Franco-Roman chant, as it was written down about 150 years after the reform, was born. The function of the tonary within chant transmission explains why local schools of Latin chant can be studied by their tonary.
All mainstream editions of chant books (Vatican, Solesmes, etc.) are known to contain a large number of errors.Comparative studies have been undertaken in which related groups of the earlier rhythmic unheightened neumatic manuscripts are set in large tables of comparison which is juxtaposed with a similar table of later melodic linear notations.
The musical modes used in Gregorian chant are supposed to reflect this use; according to the theory, the modes were more collections of appropriate melodic formulas than a set of pitches. Similar ideas appear in the music theory of other cultures; for example, the maqam of Arab music, the raga of Indian music, or the pathet of Indonesian music.