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32-491: The Hypolydian mode , literally meaning "below Lydian", is the common name for the sixth of the eight church modes of medieval music theory. The name is taken from Ptolemy of Alexandria's term for one of his seven tonoi , or transposition keys. This mode is the plagal counterpart of the authentic fifth mode . In medieval theory the Hypolydian mode was described either as (1) the diatonic octave species from C to

64-504: A leading-tone . The flattened seventh of the scale is a tritone away from the mediant ( major-third degree) of the key . The order of whole tones and semitones in a Mixolydian scale is In the Mixolydian mode, the tonic , subdominant , and subtonic triads are all major , the mediant is diminished , and the remaining triads are minor . A classic Mixolydian chord progression is I- ♭ VII-IV-V. The Mixolydian mode

96-461: A plagal mode . The authentic modes were the odd-numbered modes 1, 3, 5, 7, and this distinction was extended to the Aeolian and Ionian modes when they were added to the original eight Gregorian modes in 1547 by Glareanus in his Dodecachordon . The final of an authentic mode is the tonic, though the range of modes 1, 2, and 7 may occasionally descend one step further. This added degree is called

128-409: Is a scale descending from paramese to hypate hypaton : in the diatonic genus, a whole tone ( paramese to mese ) followed by two conjunct inverted Lydian tetrachords (each being two whole tones followed by a semitone descending). This diatonic genus of the scale is roughly the equivalent of playing all the white notes of a piano from B to B, which is also known as modern Locrian mode . In

160-560: Is common in non-classical harmony, such as folk , jazz , funk , blues , and rock music. It is often prominently heard in music played on the Great Highland bagpipes . [In the blues progression, for] example [often] uses D Mixolydian triads...over the D7 [tonic] chord, then uses G Mixolydian triads...over the G7 [subdominant] chord, and so on. As with natural and harmonic minor, Mixolydian

192-517: Is often used with a major seventh degree as a part of the dominant and perfect cadences . " Wild Thing " by The Troggs is a, "perfect example," while others include " Tangled Up in Blue " by Bob Dylan , " Shooting Star " by Bad Company , and " Bold as Love " by Jimi Hendrix . Klezmer musicians refer to the Mixolydian scale as the Adonai malakh mode . In Klezmer, it is usually transposed to C, where

224-426: Is raised to a 4th above the finalis (a second below the tenor of the authentic mode 7) in order to avoid the "unstable" degree ti , which may be flattened (in the authentic mode 3, the tenor is similarly raised to the sixth above the finalis , and the tenor of plagal mode 4—Hypophrygian—is therefore also a fourth above the finalis ). In Byzantine modal theory ( octoechos ), the word "plagal" ("plagios") refers to

256-418: Is the fifth mode of the major scale ( Ionian mode ). That is, it can be constructed by starting on the fifth scale degree (the dominant ) of the major scale. Because of this, the Mixolydian mode is sometimes called the dominant scale . This scale has the same series of tones and semitones as the major scale, but with a minor seventh . As a result, the seventh scale degree is a subtonic , rather than

288-545: The chromatic and enharmonic genera, each tetrachord consists of a minor third plus two semitones, and a major third plus two quarter tones , respectively. The term Mixolydian was originally used to designate one of the traditional harmoniai of Greek theory. It was appropriated later (along with six other names) by 2nd-century theorist Ptolemy to designate his seven tonoi or transposition keys . Four centuries later, Boethius interpreted Ptolemy in Latin, still with

320-421: The mediant and the participant . The mediant is named from its position—in the authentic modes—between the final and cofinal. In the authentic modes it is the third degree of the scale, unless that note should happen to be B, in which case C substitutes for it. In the plagal modes, its position is somewhat irregular. The participant is an auxiliary note, generally adjacent to the mediant in authentic modes and, in

352-468: The psalm tones ), is a fifth above the final of the scale, with the exception of mode 3 (Phrygian), where it is a sixth above the final. This is because a fifth above the tonic of mode 3 is the "unstable" ti (in modern solfège), which may be flattened to ta . The older Byzantine system still retains eight echoi (sing. ἦχος – echos ), each consisting of a small family of closely related modes that, if rounded to their diatonic equivalents, would be

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384-419: The "subfinal" which, since it lies a whole tone below the final, is also the "subtonium" of the mode. The range of mode 5 (Lydian) does not employ a subfinal, and so always maintains F as its lower limit. These four modes correspond to the modern modal scales starting on re ( Dorian ), mi ( Phrygian ), fa ( Lydian ), and sol ( Mixolydian ). The tenor, or dominant (corresponding to the " reciting tone " of

416-521: The C an octave higher, divided at the final F (C–D–E–F + F–G–A–B–C) or (2) a mode with F as final and an ambitus from the C below the final to the D above it. The third above the final, A—corresponding to the reciting tone or "tenor" of the sixth psalm tone —was regarded as having an important melodic function in this mode. The sequence of intervals was therefore divided by the final into a lower tetrachord of tone-tone-semitone, and an upper pentachord of tone-tone-tone-semitone. However, from as early as

448-526: The ancient Greeks thought of as Mixolydian is very different from the modern interpretation of the mode. The prefix mixo - ( μιξο -) means "mixed", referring to its resemblance to the Lydian mode . In Greek theory, the Mixolydian tonos (the term "mode" is a later Latin term) employs a scale (or " octave species ") corresponding to the Greek Hypolydian mode inverted. In its diatonic genus , this

480-484: The chant usually ends; it may be approximately regarded as analogous (but not identical) to the tonic in the Western classical tradition. Likewise the cofinal is an additional resting point in the chant; it may be regarded as having some analogy to the more recent dominant , but its interval from the tonic is not necessarily a fifth. In addition to the final and cofinal, every mode is distinguished by scale degrees called

512-425: The eight modes of Gregorian chant. However, they are numbered differently, the authentic modes being 1, 2, 3, 4. Other Eastern Christian rites use similar systems of eight modes; see Syriac usage of Octoechos and Armenian usage of Octoechos . A plagal mode (from Greek πλάγιος 'oblique, sideways, athwart') has a range that includes the octave from the fourth below the final to the fifth above. The plagal modes are

544-595: The eight systems of pitch organization used in Gregorian chant . The name of Pope Gregory I was attached to the variety of chant that was to become the dominant variety in medieval western and central Europe (the diocese of Milan was the sole significant exception) by the Frankish cantors reworking Roman ecclesiastical song during the Carolingian period. The theoretical framework of modes arose later to describe

576-510: 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 Hypomixolydian . The earliest definition of plagal mode is found in Hucbald's treatise De harmonica (c. 880), who specifies the range as running from the fourth below the final to the fifth above. Later writers extend this general rule to include

608-457: The four lower-lying echoi , or modes. Thus plagal first mode (also known as "tone 5" in the Russian naming system ) represents a somewhat more developed and widened in range version of the first mode. The plagal second mode ("tone 6" in the Russian system) has a similar relation to the second mode, and the plagal fourth mode—respectively to the fourth mode. Though there is no "plagal third mode",

640-731: The main chords used are C, F, and G7 (sometimes Gm). To hear a modern Mixolydian scale, one can play a G-major scale on the piano, but change the F# to F natural. Hit songs in Mixolydian include " Paperback Writer "..., " Manic Depression "..., "Fire"..., " Reelin' in the Years "..., " Only You Know and I Know "..., "Tears of a Clown"..., " Don't Stop 'til You Get Enough "..., " Norwegian Wood "..., " Saturday Night's Alright ..., " My Generation "..., " Centerfold "..., " Boogie Fever "..., " Hollywood Nights "..., and many others. Some song examples that are either entirely based in Mixolydian mode or at least have

672-453: The meaning of transposition keys, not scales. When chant theory was first being formulated in the 9th century, these seven names plus an eighth, Hypermixolydian (later changed to Hypomixolydian), were again re-appropriated in the anonymous treatise Alia Musica . A commentary on that treatise, called the Nova expositio , first gave it a new sense as one of a set of eight diatonic species of

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704-403: The mode that one would expect ("tone 7") is called the "grave tone". Two characteristic notes or pitches in a modal melody are the final and cofinal ( tenor , dominant , or reciting tone ). These are the primary degrees (often the 1st and 5th) on which the melody is conceived and on which it most often comes to rest, in graduated stages of finality. The final is the pitch in which

736-452: The note D (the tenor of the corresponding seventh psalm tone) had an important melodic function. This medieval theoretical construction led to the modern use of the term for the natural scale from G to G. The seventh mode of western church music is an authentic mode based on and encompassing the natural scale from G to G, with the perfect fifth (the D in a G to G scale) as the dominant, reciting note or tenor . The plagal eighth mode

768-544: The octave , or scales. The name Mixolydian came to be applied to one of the eight modes of medieval church music: the seventh mode. This mode does not run from B to B on white notes, as the Greek mode, but was defined in two ways: as the diatonic octave species from G up one octave to the G above, or as a mode whose final was G and whose ambitus runs from the F below the final to the G above, with possible extensions "by licence" up to A above and even down to E below, and in which

800-401: The plagal forms, coincident with the cofinal of the corresponding authentic mode (some modes have a second participant). Given the confusion between ancient, medieval, and modern terminology, "today it is more consistent and practical to use the traditional designation of the modes with numbers one to eight". Mixolydian The modern diatonic mode is the scale forming the basis of both

832-520: The rising and falling forms of Harikambhoji in Carnatic music , the classical music form of southern India, or Khamaj in Hindustani music , the classical music form of northern India. The idea of a Mixolydian mode comes from the music theory of ancient Greece . The invention of the ancient Greek Mixolydian mode was attributed to Sappho , the 7th-century-B.C. poet and musician. However, what

864-404: The scale degree are sometimes made, with the D below the final called the "mediant", the lowest note, C, the "participant" (a tone functioning as an auxiliary to the mediant), the G, B, and B ♭ the "conceded modulations" (subsidiary degrees), and the lowest C, the final, F, and (rarely) the D the "absolute initials". Gregorian mode A Gregorian mode (or church mode ) is one of

896-524: The sixth above the final and the fifth below, except for the Hypolydian mode , which would have a diminished fifth below the final and so the fourth below, C, remained the lower limit. In addition to the range, the tenor (cofinal, or dominant, corresponding to the " reciting tone " of the psalm tones ) differs. In the plagal modes, the tenor is a third lower than the tenor of the corresponding authentic mode, except in mode 8 (Hypomixolydian), where it

928-495: The time of Hucbald the Hypolydian mode—even more than the corresponding authentic mode, the Lydian —was characterized by the predominance of B ♭ instead of B ♮ as the fourth degree above the final. The melodic centering on F and A, as well as the use of B ♭ instead of B ♮ , is illustrated in the accompanying example from the Requiem Mass introit, "Requiem aeternam". Finer distinctions among

960-428: The tonal structure of this chant repertory, and is not necessarily applicable to the other European chant dialects ( Old Roman , Mozarabic , Ambrosian , etc.). The repertory of Western plainchant acquired its basic forms between the sixth and early ninth centuries, but there are neither theoretical sources nor notated music from this period. By the late eighth century, a system of eight modal categories, for which there

992-499: Was no precedent in Ancient Greek theory , came to be associated with the repertory of Gregorian chant. This system likely originated from the early Byzantine oktōēchos , as indicated by the non-Hellenistic Greek names used in the earliest Western sources from about 800. In the traditional system of eight modes (in use mainly between the 8th and 16th centuries) there are four pairs, each pair comprising an authentic mode and

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1024-445: Was termed Hypomixolydian (or "lower Mixolydian") and, like the Mixolydian, was defined in two ways: as the diatonic octave species from D to the D an octave higher, divided at the mode final, G (thus D–E–F–G + G–A–B–C–D); or as a mode with a final of G and an ambitus from C below the final to E above it, in which the note C (the tenor of the corresponding eighth psalm tone) had an important melodic function. The modern Mixolydian scale

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