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Topic: Hyperphrygian mode

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	Phrygian mode - Wikipedia, the free encyclopedia
		Applied to a whole octave, the Phrygian mode was built upon two Phrygian tetrachords separated by a whole tone.
		Confusingly, the ancient-Greek Phrygian mode is the same as the mediaeval and modern Dorian mode.
		Thus, in mediaeval and modern music, the Phrygian mode is a minor musical mode or diatonic scale and may be constructed from the major scale starting on the third scale degree.
	en.wikipedia.org /wiki/Phrygian_mode (377 words)

	Aspects of Early Major-Minor Tonality: Chapter 5 (Site not responding. Last check: 2007-09-09)
		Unlike the two "modes" of tonality (major and minor), which allow a fair range of chromatic inflection, the traditional modes are generally assumed to require scalar purity, although there are a limited number of well defined exceptions.
		Besides the presentation of this system in theoretical treatises, this view of the modes was also in evidence as the organizing factor in collections whose apparent purpose was to demonstrate composition in each of the church keys or tones.
		Scholars have long noted that the minor second degree of Phrygian mode (F in the examples) prevents the formation of a major harmony on its fifth degree without alteration (an alteration that would significantly affect the character of the mode), and consequently prevents the formation of a true dominant for the mode.
	bama.ua.edu /~danderso/diss/chap5.htm (7725 words)

	Ricercares by Vincenzo Galilei
		Glareanus mentions hypothetical modes (13 and 14) on B, but dismisses them as impractical since their scales cannot, like those of the other modes, be divided into a perfect fifth plus a perfect fourth, or the reverse.
		Moreover, the distinction between an authentic mode and its plagal is, in polyphony, an academic one.
		To bring the pitch of the modes into a different relationship with the "tessitura" (or middle compass) of the voice, modes can be raised or lowered in pitch, most usefully by means of a key signature of one flat.
	www.recorderhomepage.net /galilei.html (2472 words)

	[No title]
		One of his famous masses, Missa Cuiusvis Toni, which means something like 'mass in a mode of choice', is a composition that can be performed in at least three of the four authentic church modes (Dorian, Phrygian, Lydian and Mixolydian).
		They use altered modes as a means of achieving the musical depth and variety for which the West relies on harmony.
		One nice effect is obtaining feedback at a particular harmonic, then bending the string, whereupon the origianal mode of vibration, now at a different frequency, usually dies away and a new one fades into prominence.
	members.tripod.com /~tuning_archive/Mills/html/s___5/msg_4800-4999.html (9749 words)

	Dictionary of Greek and Roman Antiquities, page 777 (Site not responding. Last check: 2007-09-09)
		The difference of species; considered as the characteristic distinction of modes, is evidently spoken of as a thing antiquated and obsolete, not only by Aristides (who «\vas certainly later than Cicero, see p.
		It seems likely that the ancient modes mentioned by Euclid, and described above, consisting of octachords taken, as regards their speeies^ from different parts of the (ruo-T-fyua a/xeragoAoj/, would, as regards pitch, be each so placed as to lie between uttcct?] jueVcoi/ and v^Ti] $ie££vyp.£Vmode of the same name.
		The only important results, however, are, first, that the modes did anciently differ in species; secondly, that in process of time this difference either disappeared entirely, or ceased to be their distinguishing mark ; and, thirdly, that their general pitch was always different.
	www.ancientlibrary.com /smith-dgra/0784.html (821 words)

	notes5.html (Site not responding. Last check: 2007-09-09)
		mode applies only to the tenor (all other lines conceived in terms of tenor).
		It is taught that conterpoint is made as neat and as orderly as possible.
		Declares that mode and octave species are the same so that a mode may be transposed.
	www.depts.ttu.edu /music/theory/secondary/notes5.html (1134 words)

	Composer Kurt Mortensen: Glarean's Dodecachordon Texts
		The numbers refer to the mode which the text is discussing as well as the scale that is employed in the melodic setting.
		But all the examples of this mode are transposed from the proper tonic by a fourth, so that the bass may have a place within the scale and not wander beyond it...
		This final mode which was almost unused by early church musicians at a time when all matters were mature and weighty, is so very common in our time and in such frequent use among men that I would have omitted an example of it if we had not presented examples of all the other modes.
	www.kurtmortensen.org /dodecachordontext.html (1123 words)

	Master Notes (Site not responding. Last check: 2007-09-09)
		The Tonoi, or Greek Modes, consisted of 7 pitches drawn from various positions in the system and transposed to the central, e-e', octave.
		Determined modes according to the placement of tones and semitones
		Mentions 12 Modes and notes that Mode 1 beginning on C (inioan) is the most common mode in use.
	www.depts.ttu.edu /music/theory/Master_Notes.html (2335 words)

	Ancient Greek and Ecclesiastical Names - Discussion- Scales and coding - LucyScaleDevelopments
		The extinct Ionian mode was a G mode and the Aeolian and Locrian were A modes, but it is not known how these differed from the HP and HD modes.
		John Chalmers' answer to the confusion between ancient Greek and medieval ecclesiastical modes is correct, however, so is the original statement that the medieval theorists determined the modal structure from the opposite direction.
		Although the modes may be thought of as sections of the diatonic scale starting on different notes, the Greeks actually transposed all their modes to the same register.
	www.harmonics.com /lucy/lsd/corrections.html (1310 words)

	Phrygian mode - Encyclopedia Glossary Meaning Explanation Phrygian mode (Site not responding. Last check: 2007-09-09)
		Phrygian mode - Encyclopedia Glossary Meaning Explanation Phrygian mode.
		Here you will find more informations about Phrygian mode.
		The orginal Phrygian mode article can be editet
	www.encyclopedia-glossary.com /en/Phrygian-mode.html (408 words)

	Dolmetsch Online - Music Dictionary Ho - Hz
		Applied to a whole octave, the Dorian mode was built upon two Dorian tetrachords separated by a whole tone.
		The ancient Greek Dorian mode is the same as the mediaeval and modern Phrygian mode while the ancient Greek Hypodorian mode is the same as the mediaeval and modern Aeolian mode
		Applied to a whole octave, the Lydian mode was built upon two Lydian tetrachords separated by a whole tone.
	www.dolmetsch.com /defsh2.htm (4511 words)

	Guitar Tricks - Modal Counterpoint
		I have been using the "AUTHENTIC MODES" for a while, but now I wanna get into the use of the "PLAGAL MODES" for counterpoint.
		For my own benefit, if you do manage to find anything about these scales I'd be very interested to know - I've been looking for some new scales and modes to play around with, so anything you find would be an absolute boon.
		But, the rules regarding the use of those modes, are very strict.
	www.guitartricks.com /forum/printthread.php?t=15873 (378 words)

	7+3 scales (Site not responding. Last check: 2007-09-09)
		It happens that all the modes of the diatonic scale can be described like this.
		As anti-Hypophrygian and anti-Hyperionian are the same, that gives 8 distinct modes with identical tetrachords.
		There may be something in this, but the presence of the classical pentatonic, the major and minor triads, and being further from 7-equal all give melodic distinctiveness to this scale.
	www.microtonal.co.uk /7plus3.htm (1710 words)

	Guitar Tricks - Modal Counterpoint
		I never even knew any of them modes existed.
		The higher the note, the less you will be affected by the normal laws of gravity.
		I got down all the Authentic Modes years ago, and I came across an article talking about the Plagal Modes, and I started to do some reading on the subjet, just when I thought I understood everythig...I found other modes; so now, I have to investigate about those Modes and see what the differences are.
	www.guitartricks.com /forum/showthread.php?p=134411 (512 words)

	Paul Erlich -- A gentle introduction to Fokker periodicity blocks: part 2
		This scale is not quite the sixth mode of the major scale; one note needs to be transposed by a syntonic comma to make one scale a mode of the other.
		Or another possibility is to center the parallelogram on 1/1, giving:
		Another famous system defined from the same unison vectors, but only a mode of the other when two notes are transposed by a lesser diesis, is shown here:
	tonalsoft.com /enc/f/fokker-gentle-2.aspx (1503 words)

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