View source for Hypodorian mode

{{Use shortened footnotes|date=April 2021}}
[[File:Aeolian mode A.png|thumb|right|300px|Hypodorian mode on D (only missing the high B{{Music|flat}}) {{audio|Aeolian mode A.mid|Play}}.]]

The '''Hypodorian mode''', a musical term literally meaning 'below [[dorian mode|Dorian]]', derives its name from a ''tonos'' or [[octave species]]  of [[Musical system of ancient greece|ancient Greece]] which, in its [[diatonic]] [[Tetrachord|genus]], is built from a [[tetrachord]] consisting (in rising direction) of a [[semitone]] followed by two [[major second|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 mode|Aeolian]] and [[Hypoaeolian]] [[Mode (music)|modes]].{{r|GroveDict2001_ModeIII_ModalTheories}}

The term Hypodorian came to be used to describe the second mode of Western church music.{{r|GroveDict2001_Hypodorian}} This mode is the [[plagal mode|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 (music)|ambitus]] was G–B{{music|flat}} (that is, with B{{music|natural}} below the final and B{{music|flat}} 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.{{r|GroveDict2001_Hypodorian}}

==References==
{{Reflist|refs=
<ref name=GroveDict2001_ModeIII_ModalTheories>{{harvnb|Grove Dict. M&M|2001|loc="Mode, III: Modal Theories and Polyphonic Music, 4: Systems of 12 Modes, (ii) Glarean’s 12 Modes, (a) The 12 Modal Octave Species and Their Greek names" by Harold S. Powers}}.</ref>

<ref name=GroveDict2001_Hypodorian>{{harvnb|Grove Dict. M&M|2001|loc="Hypodorian" by Harold S. Powers}}.</ref>
}}
* {{cite book |date=2001 |editor1-last=Sadie |editor1-first=Stanley |editor1-link=Stanley Sadie |editor2-last=Tyrrell |editor2-first=John |editor2-link=John Tyrrell (professor of music) |title=[[The New Grove Dictionary of Music and Musicians]] |edition=2nd |location=London |publisher=Macmillan |isbn=9780195170672 |ref=CITEREFGrove Dict. M&M2001 }}

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