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Topic: Hypolydian mode

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	Using Ancient Greek Mode for Care of the Soul
		Modes (5) Lydian and (6) Hypolydian correspond to the element
		Modes (7) Mixolydian and (8) Hypomixolydian correspond to the element
		The effect of a mode may be enhanced by performing the music on the corresponding weekday and/or in the corresponding planetary hour, which may be determined as follows: Divide the hours of daylight into 12 "solar hours" and do likewise for the hours of darkness.
	www.cs.utk.edu /~mclennan/BA/MT.html (2805 words)

	Musical mode - Biocrawler (Site not responding. Last check: 2007-10-14)
		A mode indicated a primary pitch or final and the organization of pitches in relation to the final, and suggested range, melodic formulas associated with different modes, location and importance of cadences, and affect (ie, emotional affect).
		However, the reciting tones of modes 3, 4, and 8 rose one step during the tenth and eleventh centuries with 3 and 8 moving from b to c' (half step) and that of 4 moving from g to a (whole step).
		Locrian, the theoretical mode, is identical to Aeolian, except its 2nd and 5th scale degrees are flattened.
	www.biocrawler.com /encyclopedia/Modes (2498 words)

	Hypolydian mode - Wikipedia, the free encyclopedia
		The Hypolydian mode, literally meaning 'below Lydian', is a musical mode or diatonic scale of ancient Greece that was based upon the Lydian tetrachord: a series of rising intervals of two whole tones followed by a semitone.
		This mode is the plagal counterpart of the authentic fifth mode, which Boethius dubbed Lydian.
		The ecclesiastical Hypolydian mode is based on the relative scale of 'white notes' from F to F, with the musical dominant, the reciting note, or tenor at the major third on the scale (or A, in the F to F scale).
	en.wikipedia.org /wiki/Hypolydian_mode (231 words)

	Mode (music) - MSN Encarta
		Mode (music), term that varies in meaning from a scale to a scale-based formula for constructing melodies.
		All modes therefore used the same notes; only the sequence of tones and semitones changed, so that a plainsong melody starting on a given degree of the scale would unfold a different sequence of intervals according to the mode in which it was sung.
		In the tonal system that emerged during the late 16th century, it was the Ionian and Aeolian modes (the additional ones advocated by Glareanus) that came to the fore, and survived as the major and minor scales respectively.
	uk.encarta.msn.com /encyclopedia_761573184/Mode_(music).html (392 words)

	Mode (music) - Search View - MSN Encarta
		The eight modes of medieval and Renaissance music (often now called church or ecclesiastical modes, although they were also used in secular music at the time) were scale patterns that formed the foundations of Gregorian chant.
		In addition, each mode had a dominant note (usually the fifth degree but sometimes the sixth or seventh) in which, when chanting plainsong, most of the text was sung.
		The rhythmic modes fell out of use in the 14th century, when less rigid means of notating rhythms were devised.
	uk.encarta.msn.com /text_761573184__1/Mode_(music).html (468 words)

	ORB -- Introduction to Church Modes
		The eight modes (sometimes called church modes or ecclesiastical modes to distinguish them from the rhythmic modes) were defined through a combination of range and final (the final is the note on which a melody ends).
		For instance, the placement of the half-step within the mode (and its distance from the final) was a defining characteristic for the sound of that mode, especially since the actual pitch of the melody was determined by the singer rather than being standardized.
		In particular, mode was useful for determining which psalm tone to use with a given antiphon.
	www.vanderbilt.edu /~cyrus/ORB/orbmode.htm (483 words)

	Mixolydian mode - Wikipedia, the free encyclopedia
		In Greek theory, the Mixolydian is the Hypolydian mode inverted: a descending scale of a whole tone followed by two inverted Lydian tetrachords (each being two whole tones followed by a semitone descending).
		The ancient Greek Mixolydian mode was invented by Sappho, the 7th century B.C. poet and musician, according to Anne Carson.
		This mode was based on the same scale, but used the perfect fourth (the C in a G to G scale) as the reciting note, and had a melodic range from the perfect fourth below the tonic to the perfect fifth above it.
	en.wikipedia.org /wiki/Mixolydian_mode (572 words)

	The Classical Musical mode Dictonary Page on Classic Cat
		However, the reciting tones of modes 3, 4, and 8 rose one step during the tenth and eleventh centuries with 3 and 8 moving from b to c' (half step) and that of 4 moving from g to a (whole step).
		A mode indicated a primary pitch (a final); the organization of pitches in relation to the final; suggested range; melodic formulas associated with different modes; location and importance of cadences; and affect (ie, emotional effect).
		Dorian mode is also found in folk music, particularly Latin and Laotian music, while Phrygian is found in some Central European or stylized Arabic music, whether as natural Phrygian or harmonic Phrygian, which has a raised third (the so-called "gypsy" scale).
	www.classiccat.net /dictionary/musical_mode.htm (2099 words)

	Mode Glossary - Dictionary definition [define: Mode] of Mode
		Use of the word `mode' rather than `state' implies that the state is extended over time, and probably also that some activity characteristic of that state is being carried out.
		In a usage much closer to techspeak, a mode is a special state that certain user interfaces must pass into in order to perform certain functions.
		The effect of this command is to put vi into "insert mode", in which typing the "i" key has a quite different effect (to wit, it inserts an "i" into the document).
	www.blogdict.com /glossary/Mode.html (891 words)

	Musical mode (Site not responding. Last check: 2007-10-14)
		However, the reciting tones of modes 3, 4, and 8 rose one step during the tenth and eleventh centuries with 3 and 8 moving from b to c' (half step) and that of 4 moving from g to a (whole step) (Hoppin 1978, p.67).
		A mode is deemed major or minor by the intervallic relationship between the 1st and 3rd scale degrees.
		Most of these chords and modes are commonly used in jazz; the min/maj chord, 7â¯11 and alt were in common use in the bebop era (indeed, the Lydian dominant scale and 7â¯11 chord practically defined the bebop sound), while Coltrane-era and later jazz made extensive use of susâ9 chords.
	www.cheguevara.co.za /wiki/Musical_mode (2560 words)

	Musical mode
		A mode indicated a primary pitch or final and the organization of pitches in relation to the final, and suggested range, melodic formulas associated with different modes, location and importance of cadences, and affect (ie, emotional affect).
		The pairs are organized so that the modes sharing a final note are numbered together, with the odd numbers used for the authentic modes and the even numbers for the plagal modes.
		Though the term "mode" is still used in this case (and is useful in recognizing that these scales all have a common root, that is the melodic minor scale); it is more common for musicians to understand the term "mode" to refer to Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, or Locrian scales.
	www.mp3.fm /Musical_mode.htm (1870 words)

	Modes
		However, the modes were later organized due to their relationship to the interval pattern of the major scale.
		This mode is quite common in flamenco music and is often referred to as the "Spanish" mode.
		Locrian, the theoretical mode, is identical to Aeolian, except its 2nd and 5th scale degrees are flattened.
	www.mp3.fm /Modes.htm (1867 words)

	Mixolydian mode at AllExperts
		In Greek theory, the Mixolydian is the Hypolydian mode inverted: a descending scale of a whole tone followed by two inverted Lydian tetrachords (each being two whole tones followed by a semitone descending).
		The ancient Greek Mixolydian mode was invented by Sappho, the 7th century B.C. poet and musician, according to Anne Carson.
		This mode was based on the same scale, but used the perfect fourth (the C in a G to G scale) as the reciting note, and had a melodic range from the perfect fourth below the tonic to the perfect fifth above it.
	en.allexperts.com /e/m/mi/mixolydian_mode.htm (597 words)

	Television Point \| Dictionary \| Meaning of mode
		Modes I call such complex ideas, which, however compounded, contain not in them the supposition of subsisting by themselves, but are considered as dependencies on, or affections of, substances.
		The effect of this command is to put vi into "insert mode", in which typing the "i" key has a quite different effect (to wit, it inserts an "i" into the document).
		Nowadays, modeful interfaces are generally considered losing but survive in quite a few widely used tools built in less enlightened times.
	www.televisionpoint.com /dictionary/default.asp?define=mode (530 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)

	Medieval Church Modes
		In chants sung in a given mode, the cofinalis was often used as a secondary tonal center.
		Among the authentic modes, the Phrygian is the transgressor to this convention.
		A liturgical mode shouls rather be understood as specified by a sequence of intervals (not well tempered), a range, and by its finalis and cofinalis.
	graham.main.nc.us /~bhammel/MUSIC/Cmodes.html (446 words)

	Modes in Traditional and Early Music
		The Ionian, in fact, was termed the "lascivious mode." One of the composers who was particularly fond of using the flatted B in this manner was Abbess Hildegard of Bingen.
		In plagal modes (which are the modes a fourth below the authentic modes), the tenor is a third below the tenor of the corresponding authentic mode.
		The first basic scale given is with the B omitted, the second with the F. The Hexatonic mode which would be ambiguous between the Locrian and Lydian is impossible due to the omission of the keynote.
	clem.mscd.edu /~yarrowp/MODEXh.html (907 words)

	Hypolydian mode at AllExperts
		The Hypolydian mode, literally meaning 'below Lydian', is a musical mode or diatonic scale of ancient Greece that was based upon the Lydian tetrachord: a series of rising intervals of two whole tones followed by a semitone.
		This mode is the plagal counterpart of the authentic fifth mode, which Boethius dubbed Lydian.
		The ecclesiastical Hypolydian mode is based on the relative scale of 'white notes' from F to F, with the musical dominant, the reciting note, or tenor at the major third on the scale (or A, in the F to F scale).
	en.allexperts.com /e/h/hy/hypolydian_mode.htm (273 words)

	[No title]
		Further, since "mode" was not part of the composer's mind (which was more occupied with the principles of counterpoint and consonance treatment), modern editions can remain consistent with it, no matter how their horizontal and vertical euphonies are "logically" realized, (i.e.
		We may not quite know what that view amounted to in practical terms, but since the mixing of modes outlined in his statement was concerned with consonance treatment (as a "necessity") it may not be inappropriate to infer also that further "voluntary" uses of mixed modal types were for a similar purpose.
		Judd does, however, claim that the composition is written in the hypolydian mode, and even goes on to state that some have described it (on Glarean's authority) as being hypoionian.
	www.societymusictheory.org /mto/issues/mto.96.2.7/mto.96.2.7.wibbrly.tlk (6169 words)

	mode definition from the Dictionary of Words Online (Site not responding. Last check: 2007-10-14)
		1913 webster modes i call such complex ideas, which, however compounded, contain not in them the supposition of subsisting by themselves, but are considered as dependencies on, or affections of, substances.
		"no time to hack; i'm in thesis mode." in its jargon sense, `mode' is most often attributed to people, though it is sometimes applied to programs and inanimate objects.
		in a usage much closer to techspeak, a mode is a special state that certain user interfaces must pass into in order to perform certain functions.
	www.dictionaryofwords.com /mode_pag1.html (1104 words)

	Scales and Modes
		Lydian and Hypolydian modes correspond to the element air (warm, moist) and influence the Sanguine humor, leading to good cheer, optimism, friendliness, laughter, love, and song.
		It is often possible to harmonize a melody in Dorian mode by a drone of the minor I chord (for example in D Dorian by using a D minor chord), with an occasional major VII chord (for example in D Dorian by using a C major chord).
		The Myxolydian mode sounds mostly like a major scale except at the upper portion where the 7th or leading note (leads into the final 8th note) is the same (lowered) as in the minor scale.
	www.stolaf.edu /people/hend/VictoryMusic/Sept-MusicalTrad_OfScalesAndModes.html (1292 words)

	Composer Kurt Mortensen: Glarean's Dodecachordon
		Before the Dodecachordon, it was accepted that there were 4 authentic modes (dorian, phrygian, lydian and mixolydian) and their plagal versions (hypodorian, hypophrygian, hypolydian and hypomixolydian).
		In the Dodecachordon Glarean explained that there were actually two more authentic modes (aeolian and ionian) and two more plagals (hypoaeolian and hypoionian), which center around the notes A and C respectively (our modern day minor and major scales).
		Each melodic line is based around a different mode, which is set to text about that mode, and ends on its corresponding final pitch.
	www.kurtmortensen.org /pn-dodecachordon.html (484 words)

	Music Theory for Computer Applications
		The ancient Greeks wrote extensively about music theory and particularly about modes. The “modes” on which they wrote were typically of four-notes (tetrachords). One tetrachord could be strung together with another. If the last note of one was also the first note of the next, the tetrachords were said to be conjunct.
		Modes used in ancient, medieval, early modern, and non-Western music typically have seven tones. The vocabulary of medieval and early modern modes is quite large.
		The principal modes can be thought of (for the purpose of deducing their whole- and half-step patterns) as those without altered tones beginning on one of the notes of the C-major scale (or one of the white notes of the keyboard).
	www.ccarh.org /courses/254/MusicTheory_ComputerApps2004.htm (3271 words)

	Modes
		The melody of the antiphon, its range and final, determine its assignment to a mode, and the mode of the antiphon in turn determines the tone to which the accompanying psalm is recited.
		The Locrian mode would have been problematic in the Middle Ages, in that it would imply the existence of a mode with a final on "B" and a reciting-note on "F", the two notes being a diminished 5th apart, the "diabolus" in music.
		Gélineau suggests that the mode reciting and ending on "b" has counterparts in the traditional chant of both Eastern and Western rites of the Christian church, and that it may therefore be descended from a responsorial psalm form in the early church.
	www.beaufort.demon.co.uk /modes.htm (1692 words)

	VIOLIN BEGINNER MUSIC - NEWSLETTER ARCHIVED ARTICLES #23, February, 2004 - "Amazing Grace"
		In Modes, what we would call the Keynote, is called the Final, being the note on which the melody ends.
		The difference between an Authentic Mode and its Plagal Mode is merely in the compass of the melody.
		The Modes dominated European Music for eleven hundred years, from about the 5th Century to the 16th Century, and were still important, to a diminishing extent, for a considerable time after that.
	halamuspublishing.com.au /Archived_Articles23.html (1358 words)

	[No title] (Site not responding. Last check: 2007-10-14)
		The Major Mode ==== ============== The commonest mode in all the traditional musics of the British Isles is the MAJOR mode ("ionian" to the mediaeval theorists, "chargah" in Turkish music theory, "bilaval" in the music of North India, "sankarabharana" in Carnatic music).
		Locrian mode would be the C-final mode, but the C on the chanter is the most strangely tuned of all, with no other note having any detectable harmonic relationship to it, so even if the Locrian mode had any musical reality, the pipes couldn't play it.
		The six-note modes of Scottish music can all be seen as different modes of the white-note pitch set with B (ti) left out, or alternatively as its transposition down a fourth, the set with F (fa) left out, which also fits the white notes.
	www.purr.demon.co.uk /jack/Music/Modes.abc (15703 words)

	What were the twelve modes? (Site not responding. Last check: 2007-10-14)
		The first eight modes were designated in the medieval era, as a way to classify pre-existing Gregorian chants.
		In the authentic modes, the final is the lowest note of the mode's scale, whereas in the plagal modes, the final is the fourth note.
		Convenviently, the scales for these modes are easily represented (aside from issues of tuning) by the white keys on the modern piano, simply by starting from different notes.
	www.medieval.org /emfaq/misc/modes.html (546 words)

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