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Topic: Plagal mode

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	Mode Plagal / An Interview
		Mode Plagal, an inspired, pioneering Greek jazz-folk fusion group, is unique in Greece and beyond, for its ability to cover over-familiar (and thus, potentially boring) material in a way that sounds fresh and new, carrying the Greek vernacular into the 21st century better than almost anyone else in the country today.
		Part of that process was their emphasis on using non-traditional instruments: the drums, the bass, the guitars, the saxophone and the piano, instead of bagpipes and tambourines.
		Mode Plagal is a group that has a firm grip on the technical details of their music and they play some of the most improvisational music in Greece today.
	www.rootsworld.com /interview/modeplagal060311.html (2028 words)

	AllRefer.com - mode, in music (Music: Theory, Forms, And Instruments) - Encyclopedia (Site not responding. Last check: 2007-10-17)
		In the Middle Ages eight modes were developed as a theoretical foundation for plainsong performance, notation, and composition.
		These modes, derived from church practice, and explained either in their own terms, or using terms drawn from ancient Greek music theory, were grouped in pairs, each pair containing an authentic mode and a plagal mode, which are distinguished by the difference in the position of their ranges with respect to the final.
		The use of medieval modes by later composers is called modality in contrast to tonality.
	reference.allrefer.com /encyclopedia/M/mode2.html (581 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.
		Mode first began as a method for classifying existing melodies, perhaps as an aid to memorization.
	www.vanderbilt.edu /~cyrus/ORB/orbmode.htm (483 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 - 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)

	Byzantine Chant - OrthodoxWiki (Site not responding. Last check: 2007-10-17)
		The grave mode (7) was chosen as the mode to be left out due to its heavier sound, considered least appropriate for the festal period among the eight modes.
		Since Pentecost falls on the Sunday when the grave mode would have been used in the normal sequence, the mode is once again skipped and the hymns of Pentecost are used.
		The grave mode often uses the same scale as mode 3, but there are several variations proper to the mode.
	orthodoxwiki.org /Byzantine_Chant (2437 words)

	The Divine Liturgies Music Project
		Also in the Liturgy of Presanctified Gifts, in the plagal fourth mode version of the hymn "I Will Bless the Lord at all Times," the first half note in the second staff was changed to a dotted half note.
		In particular, there was an F in the last staff of the second page and in the second staff of the third page that were not being played properly by the computer.
		* In the Cherubic hymns in plagal second mode by Phokaeus and in third and plagal first modes by Gregory, the placement of the words "to the life-giving Trinity" was shifted.
	www.stanthonysmonastery.org /music/Updates.html (1806 words)

	VIOLIN BEGINNER MUSIC - FOLK MUSIC FOR THE VIOLIN LEARNER
		The difference between an Authentic Mode and its Plagal Mode is merely in the compass of the melody.
		These Modes already existed from as early as the 11th Century in the secular music of the Troubadours, though the Church had used only the eight Modes of the Gregorian System.
		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 /Article_The_Modes_in_Folk_Music.html (569 words)

	Church Modes in theory
		In the plagal modes, the confinalis was placed a third below the confinalis of the corresponding authentic mode - unless it fell on a B, in which case it was moved up to C (compare Mixolydian and Hypomyxolydian mode for example).
		Notice that in the authentic modes, all the other notes lie above above the finalis note, but in the plagal modes the finalis is more or less in the middle of the range of the notes.
		The difference between any of the modes is, as you may already have discovered, the interval pattern between the different notes of a mode.
	www.guitarpress.com /hsp3a.html (575 words)

	Modes (Site not responding. Last check: 2007-10-17)
		The modes used during the Medival and Renaissance time periods are referred to a the "church modes" and are each assigned a number and a Greek name.
		In each pair the odd-numbered mode is referred to as the authentic or original mode, with the even-numbered mode being the plagal or derived mode.
		The mode used in a given piece was determined by which mode would allow the piece to be written without accidentals.
	gpss.wrdsb.edu.on.ca /academics/music/medieval/modes.htm (782 words)

	mode - HighBeam Encyclopedia
		The row, an arbitrary arrangement of the 12 chromatic tones of Western music, can be used in four different forms: the original row, the original row reversed (from the last note back to the first note), the original row inverted (upside down), and the inversion reversed.
		Entry mode and performance of Japanese FDI in Western Europe.
		The nature of knowledge and the entry mode decision.
	www.encyclopedia.com /doc/1E1-mode2.html (657 words)

	Gregorian Modes (Site not responding. Last check: 2007-10-17)
		Gregorian modes had a final, a note with which the melody ended and on which it was based.
		The related plagal mode of the authentic mode I is II, that of III is IV, etc.
		As for plagal modes, the prefix hypo is added to the name of its authentic relative: mode II becomes the Hypodoric mode, mode IV the Hypophrygian one, etc.
	www.teoria.com /reference/scales/10.htm (281 words)

	Church modes (Site not responding. Last check: 2007-10-17)
		In its complete form, achieved by the 11th century, the system recognized eight modes, differentiated according to the the position of the tones and semitones in a diatonic octave.
		All the modes are organized around a dominant or reciting tone, and a final or ending pitch.
		The original reason was that if the modes on d, e, and f were sung with the flatted b, they became equivalent to the modes on a, b, and c, and consequently, these three modes were superfluous.
	lcsproductions.net /MusHistRev/Terms/Churchmodes.html (469 words)

	Guitar Lessons: Modes - history and ...
		The MODES are sectors or excerpts (with the span of an octave) from a diatonic 2-octave scale starting with A (a).
		the modes are not scales in the strict sense of the word.
		Modes are - because of their simplicity - very good to accompany vocal music melodically.
	www.guitartricks.com /trick.php?trick_id=6869 (669 words)

	Modes Taken from the Medieval Epoch I (Site not responding. Last check: 2007-10-17)
		We should not take the modes as a modern invention, but as an adaptation of the medieval modes that were used on the Medieval and Renaissance Period.
		Plagal modes contains the same pitches, except that this mode started an interval 4th lower than its correspondent authentic mode.
		As for plagal modes, the prefix hypo is added to the name of its authentic relative: mode II becomes the Hypo-Doric mode, mode IV the Hypo-Phrygian one, etc.
	www.teoria.com /articulos/aramirez/10.htm (183 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)

	Jazzdimensions - Mode Plagal - "Little Moon perhaps"
		Thomas: The name of the group, "Mode Plagal", refers to one mode of the medieval liturgy.
		It is very true that we members of Mode Plagal share the same sense of humour, and also that we can't see our music without it.
		While making "Mode Plagal I", multi-instrumentalist Antonis Maratos entered the band (also appearing on some tracks) as a percussionist, and moved to bass after two years, with the addition of Angelos Polychronou in percussion.
	www.jazzdimensions.de /interviews/more_views/2004/mode_plagal.html (1078 words)

	[No title]
		One needs to distinguish the Church modes from the rhythmic modes) were defined through a combination of range and final (the final is the note on which a melody ends).
		Finally, mode was thought to have the power to change people--to encourage morality or licentiousness, a Greek concept still in place.
		This system, called the Rhythmic Modes, divided the beat into groups of three (symbolic of the Trinity) that were referred as "Tempus Perfectum", or in groups of two beats ("Tempus Imperfectum").
	www.aug.edu /~cshotwel/2001.Medieval.htm (5478 words)

	Analogion - Byzantine Music Resources
		The mode that -as a rule- its basis is four notes below the basis of the related authentic mode.
		The mode that has the same basis as the related plagal but its range is mainly within five notes above the basis of the related plagal mode.
		The mode that its basis or its range is seven notes above the basis of the related authentic mode.
	www.analogion.com /Glossary.html (542 words)

	Medieval Musical Tuning Theory
		In plagal modes the final note is the fourth of the scale.
		The Lydian mode with Bb is equivalent to the modern major mode, as is the Mixolydian mode with F#.
		Like Pythagorean tuning of the ancient Greek Phrygian mode all possible five note steps in the scale are true harmonic fifths (3 / 2), except that between B and the F, which is a semitone smaller.
	www.midicode.com /tunings/medieval.shtml (1851 words)

	Analogion - Byzantine Music Resources
		mode production basis), we find Πα, which is the most common basis note of First mode.
		When the basis is Πα, the mode is more accurately called low (έσω/eso) First mode.
		When the basis is Ke, the mode is more accurately called high (έξω/ekso) First mode.
	www.analogion.com /FirstMode.html (556 words)

	Dolmetsch Online - Music Theory Online - Notes, Harmonies & Scales
		For example, the mode on the second degree of the minor harmonic scale, the Dorian b2 b5, is similar to the Dorian mode in the major scale that carries the same root, where the second (2b) and the fifth degrees (5b) are lowered by a semitone (half-step).
		Modes can start on any note of the major scale starting on any key-note so long as the intervals between the succeeding notes preserves that which is the source of each mode's 'colour'.
		One particularly interesting example is the seventh mode of the melodic minor scale, one that starts and ends on the seventh note of the scale (for example, with C melodic minor, we play from B to B, the superlocrian mode).
	www.dolmetsch.com /musictheory25.htm (7452 words)

	ekathimerini.com \| Music constructing bridges (Site not responding. Last check: 2007-10-17)
		Mode Plagal have spent time in Istanbul — days and sometimes months,” he added, while acknowledging the city’s chaotic nature.
		Mode Plagal have performed their own shows to a keen and growing Turkish audience in recent years, while two years ago, they joined Bosphorus in Izmir for a joint performance to celebrate the 100th anniversary of the birth of the Greek Nobel Prize-winning poet George Seferis, who was born in the city.
		Mode Plagal’s Rellos and Kleon Antoniou, the group’s guitarist, provided three songs apiece, and fellow group member Takis Kanellos, the Greek group’s drummer, contributed two compositions.
	www.ekathimerini.com /4dcgi/_w_articles_civ_6508119_28/01/2003_25779 (1104 words)

	[No title]
		For a plagal mode it was placed a third below the dominant of the corresponding authenthic mode.
		If the confinalis fell on a B, it would instead be placed on the C. The modes were denoted as authentic and plagal, where the former ones were raising from notes D, E, F and G respectively, and the plagal corresponding modes were starting from a fourth below the authentic counterpart, i.e.
		Note that the modes were not referenced to the absolute pitch, as in the Ancient Greece, but were chosen for the above starting notes because of the absence of accidentals.
	www.guitarpress.com /hsp3.html (810 words)

	The Eight Modes
		In medieval usage of the Modes, the focus is the Dominant (at step V) for Authentic Modes, and degree VI for Plagal Modes.
		Modes I and II correspond to the Element Water and the Phlegmatic Humor.
		Modes III and IV correspond to the Element Fire and the Choleric Humor.
	www.cs.utk.edu /~mclennan/BA/GEM/GEM-EM.html (399 words)

	Modes
		Four pairs of modes were used in the setting of chant, probably borrowed from early Byzantine Christianity.
		There was much discussion of the relationship between each mode and particular emotions or affective situations, acknowledged since the time of Plato and, later, Boethius.
		Since the modes were originally applied to monophonic music (chant, for example), theorists of the Renaissance were hard pressed to claim classical or medieval authority for applying the modes to the polyphonic music of their time.
	www.listeningarts.com /music/general_theory/species/modes.htm (320 words)

	Music: Melody: Modes: Mixolydian (Site not responding. Last check: 2007-10-17)
		Mixolydian is one of the three major modes, with one less sharp (or one more flat) in its key signature than the "standard" major mode, Ionian.
		Its raised 3rd gives it the expansive, extroverted quality common to all the major modes, but the lowered 7th adds a bittersweet tang -- a blue note, hinting at the minor modes that begin just beyond its boundary.
		shows itself with stentorean voice and great shouts, so as to be a terror to all"; whereas its plagal form "is not unlike an honest matron, who tries to soften and calm the wrath and turmoil of [her authentic-mode] husband with agreeable discourse...
	members.aol.com /liberal7arts/mus/melody/modes/mix.html (1334 words)

	Mode Plagal and Bosphorus / Beyond the Bosphorus / cdRoots
		Greek jazz ensemble Mode Plagal collaborate with Bosphorus, a group with Turkish musicians and traditional instruments who bring forth the sound and experience of the Eastern and Anatolian musical tradition.
		Beyond The Bosphorus is a collaboration between Greek band Mode Plagal and the most recent incarnation of the Turkish group Bosphorus, which now includes such leading performers of Turkish art music as Hasan Esen (kemençe) and Murat Aydemir (tanbur).
		Bosphorus and Mode Plagal have been collaborating for some time now, Mode Plagla have been visiting Turkey quite often and both groups have given joint concerts the last couple of years in Greece, Turkey -in Istanbul and Smyrni for the 100 years of G. Seferis- in Belgium, Holland etc.
	www.cdroots.com /res-plagal-bos.html (691 words)

	February Tidbits
		All of these modes were built from the notes in the C major scale (white keys on the piano).
		The plagal mode was related to the authentic mode in that it used the same notes and ended on the same "finalis" (final note), but the range of the melody was different.
		The second mode would use the same series of notes, but instead of going from D to D, you would have a range of A to A -- with one big, huge "BUT" -- but, you have to end on D (the finalis).
	www.bandnotes.info /tidbits/tidbits-feb.htm (1719 words)

	VIOLIN BEGINNER MUSIC - NEWSLETTER ARCHIVED ARTICLES #23, February, 2004 - "Amazing Grace"
		Hypoionic-pentatonic, and should thus be harmonized using the notes contained in the pentatone based on the Hypoionic Mode.
		It is, however, allowable to use the occasional passing note from outside the pentatone, in a lower part, in order to preserve the rhythmic structure of the descending triplets.
		A Mixed Mode extends over the range of both the Authentic and Plagal Modes having the same Final.
	halamuspublishing.com.au /Archived_Articles23.html (1358 words)

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