Hypodorian mode on D (only missing the high B♭) Playⓘ.
The Hypodorian mode, a musical term literally meaning 'below Dorian', derives its name from a tonos or octave species of ancient Greece which, in its diatonic genus, is built from a tetrachord consisting (in rising direction) of a semitone followed by two whole tones. The rising scale for the octave is a single tone followed by two conjoint tetrachords of this type. This is roughly the same as playing all the white notes of a piano from A to A: A | B C D E | (E) F G A. Although this scale in medieval theory was employed in Dorian and Hypodorian, from the mid-sixteenth century and in modern music theory they came to be known as the Aeolian and Hypoaeolian modes.[1]
The term Hypodorian came to be used to describe the second mode of Western church music.[2] This mode is the plagal counterpart of the authentic first mode, which was also called Dorian. The ecclesiastical Hypodorian mode was defined in two ways: (1) as the diatonic octave species from A to A, divided at the mode final D and composed of a lower tetrachord of tone–semitone–tone, ending on D, plus a pentachord tone–semitone–tone–tone continuing from D, and (2) as a mode whose final was D and whose ambitus was G–B♭ (that is, with B♮ below the final and B♭ above it). In addition, the note F, corresponding to the reciting note or tenor of the second psalm tone, was regarded as an important secondary center.[2]
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^ abCite error: The named reference GroveDict2001_Hypodorian was invoked but never defined (see the help page).
The Hypodorianmode, a musical term literally meaning 'below Dorian', derives its name from a tonos or octave species of ancient Greece which, in its...
numbered as mode 2 in the medieval system. This was the plagal mode corresponding to the authentic Dorian, and was called the Hypodorianmode. In the untransposed...
closely related to the old transposed modes 1 and 2 (Dorian and Hypodorian) with finals on A—as well as to mode 3 (Phrygian)—as it is to Glarean's Aeolian...
addition of the prefix "hypo-": Hypodorian, Hypophrygian, Hypolydian, and Hypomixolydian. The earliest definition of plagal mode is found in Hucbald's treatise...
Locrian mode was what the Greeks called the Diatonic Mixolydian tonos. The Greeks used the term "Locrian" as an alternative name for their "Hypodorian", or...
The modern Lydian mode is a seven-tone musical scale formed from a rising pattern of pitches comprising three whole tones, a semitone, two more whole tones...
transposition was the second-lowest of these, a whole tone above the Hypodorian. A whole tone higher was the Hypolydian, followed a semitone higher still...
the Mixolydian ♯4 scale is a seven-note synthetic scale. It is the fourth mode of the ascending melodic minor scale. This differs from the major scale in...
the 13th century, probably also composed the melody, which is in the hypodorianmode. His name appears in acrostic form in the poem. The melody has points...
In music, the Lydian augmented scale (Lydian ♯5 scale) is the third mode of the ascending melodic minor scale. Starting on C, the notes would be as follows:...
palma (traditionally designated as transposed Hypodorian). A polyphonic example of the Hypoaeolian mode is motet 19 from Palestrina's Liber quartus of...
authentic and plagal modes ending on D, sometimes called Dorian and Hypodorian. Modes 3 and 4 are the authentic and plagal modes ending on E, sometimes...
to tonoi and akin to musical scale and mode, and was invoked in Medieval and Renaissance theory of Gregorian mode and Byzantine Octoechos. Greek theorists...
"sound, mode" called echos; Slavonic: Осмогласие, Osmoglasie from о́смь "eight" and гласъ, Glagolitic: ⰳⰾⰰⱄⱏ, "voice, sound") is the eight-mode system...
should also recite them with their old imposing names, such as Dorian, Hypodorian, etc. Such scribbling is impossible for me. I break out in a cold sweat...
the rules and material for melodic writing. The eight church modes are: Dorian, Hypodorian, Phrygian, Hypophrygian, Lydian, Hypolydian, Mixolydian, and...
in a minor key (Dorian, Hypodorian, Aeolian, Hypoaeolian), but not in Phrygian or Hypophrygian mode. Thus, in the Dorian mode on D, a C♯ is necessary...
ambitus: not the tetrachord above the pentachord, but below it. Hence, the hypodorian octave referred the tonus secundus and was constructed A—D—a, and the...
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