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A plagal mode (from Greek πλάγιος 'oblique, sideways, athwart') [7] [8] 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 addition of the prefix "hypo-": Hypodorian, Hypophrygian, Hypolydian, and ...
The concept of "mode" in Western music theory has three successive stages: in Gregorian chant theory, in Renaissance polyphonic theory, and in tonal harmonic music of the common practice period. In all three contexts, "mode" incorporates the idea of the diatonic scale , but differs from it by also involving an element of melody type .
The monks of Santo Domingo de Silos have been singing Gregorian chant since the 11th century (before that, they used Mozarabic chant).There was a break in the tradition in the 1830s when the abbey was closed by the government as part of the so-called Ecclesiastical Confiscations of Mendizábal.
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 ...
Not only are many chants in mode III and VIII in need of melodic restitution, there are errors in all other modes. The Munsterschwarzach-Group (Godehard Joppich, Stefan Klockner et al.)(publishers of the Beiträge zur Gregorianik ) have been issuing their own melodic restitutions, as has Anton Stingl, and Geert Maassen with his Fluxus .notation.
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.
Veni creator spiritus, WAB 50: Scores at the International Music Score Library Project; Veni Creator Spiritus, WAB 50 Critical discography by Hans Roelofs (in German); Live-performances of the harmonisation of the Veni Creator Spiritus:
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.