View source for Hypophrygian mode

{{Short description|Plagal Gregorian mode}}
{{Use shortened footnotes|date=April 2021}}
[[File:Medieval Hypophrygian mode.png|thumb|350px|Hypophrygian mode on E {{audio|Locrian mode B midi.mid|Play}}.]]

The '''Hypophrygian (deuterus plagalis) mode''', literally meaning "below Phrygian (plagal second)", is a [[Mode (music)|musical mode]] or [[diatonic scale]] in medieval [[Plainsong|chant]] theory, the fourth mode of church music. This mode is the [[plagal mode|plagal]] counterpart of the authentic third mode, which was called ''[[Phrygian mode|Phrygian]]''. In the Middle Ages and Renaissance this mode was described in two ways: the diatonic scale from B to B an octave above, divided at the mode final E (B–C–D–E + E–F–G–A–B); and as a mode with final E and [[Ambitus (music)|ambitus]] from the A below to  the C above. The note A above the final (the tenor of the corresponding fourth psalm tone) had an important melodic function.{{r|Grove2001_Hypophrygian}} The melodic range of the ecclesiastical Hypophrygian mode therefore goes from the [[perfect fourth]] or [[perfect fifth|fifth]] below the tonic to the perfect fifth or minor sixth above.

[[File:Greek Hypophrygian enharmonic genus.png|thumb|350px|Ancient Greek Hypophrygian octave species on E (the barline marks the beginning of the enharmonic tetrachord, conjoined to a second tetrachord) {{audio|Greek Hypophrygian mode on E, enharmonic genus.mid|Play}}]]
The name Hypophrygian originates in an [[octave species]] of [[Ancient Greece|ancient Greek]] music theory. According to [[Aristoxenus]], this octave species was originally described around the year 400 BC by the Harmonicist school of Eratocles in terms of the [[enharmonic genus]] of the [[tetrachord]]: a series of rising intervals of two [[quarter tone]]s followed by a [[ditone]], together spanning a [[perfect fourth]]. The [[Dorian mode|Dorian]] octave species begins with this tetrachord, which is followed by a whole tone and another tetrachord to complete the octave with a pattern of ¼, ¼, 2, 1, ¼, ¼, and 2 tones. This pattern is rotated downward one degree for the [[Hypolydian mode|Hypolydian]], and one more for the Hypophrygian, for an octave species of 2, 1, ¼, ¼, 2, ¼, and ¼ tones.{{r|Barker1989_15}}

The name was appropriated by [[Ptolemy|Ptolemy of Alexandria]] for one of his seven ''tonoi'', or transposition keys. Ptolemy's system differed from the earlier Aristoxenian model, which had thirteen transpositional levels each a semitone from its neighbours. Ptolemy substituted a diatonic sequence of seven transpositions pitched either a whole tone or a semitone apart. The entire double-octave scale system was then transposed onto each of these relative pitch levels, requiring (in modern terms) a different key signature in each case, and therefore a different sequence of whole and half steps in the fixed central octave span. The Hypophrygian 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 by the Dorian, then after another whole tone by the Phrygian, and so on.{{r|Grove2001_ModeParaII|Grove2001_Ptolemy}} Four centuries later, the term was taken from Ptolemy in exactly the same sense by [[Boethius]], who described these seven names as "toni, tropi, vel modi" (tones, tropes or modes) in the fourth book of his ''De institutione musica''. In the late 9th century, in the Carolingian treatises ''Alia musica'' and in a commentary on it called the ''Nova expositio'', this set of seven terms, supplemented by an eighth name, "Hypermixolydian", was given a new sense, designating a set of diatonic octave species, described as the tonal embodiments of the eight modes of Gregorian chant.{{r|Grove2001_Dorian}}

''Missa Mi-mi'' (''Missa quarti toni'') by [[Johannes Ockeghem]] is a well-known example of a work written in the Hypophrygian mode.{{Citation needed|date=September 2016}}
 
==References==
{{reflist|refs=
<ref name=Grove2001_Hypophrygian>{{harvnb|New Grove Dict. M&M|2001|loc="Hypophrygian" by [[Harold Powers|Harold S. Powers]]}}.</ref>

<ref name=Barker1989_15>Barker, Andrew. 1989. ''Greek Musical Writings'', vol. 2 (Harmonic and Acoustical Theories). Cambridge Readings in the Literature of Music. Cambridge and New York: Cambridge University Press. p. 15.</ref>

<ref name=Grove2001_ModeParaII>{{harvnb|New Grove Dict. M&M|2001|loc="Mode §II: Medieval Modal Theory, 1: The Elements, (i) The Hellenistic Model: Tonus, Modus, Tropus" by [[Harold Powers|Harold S. Powers]]}}.</ref>

<ref name=Grove2001_Ptolemy>{{harvnb|New Grove Dict. M&M|2001|loc="Ptolemy [Klaudios Ptolemaios; Claudius Ptolemaeus]" by Lukas Richter}}.</ref>

<ref name=Grove2001_Dorian>{{harvnb|New Grove Dict. M&M|2001|loc="Dorian" by [[Harold Powers|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=CITEREFNew Grove Dict. M&M2001}}

==Further reading==
* {{wikicite|ref={{harvid|Calle Carabias|2006}}|reference=Calle Carabias, Quentín. 2006. "'Dicen que nací en argel...': Fandango charro—Estudio filológico del texto, análisis musicológico y armonización de su melodía". ''Revista de musicología'' 29, no. 1 (June): 191–213.}}
* {{wikicite|ref={{harvid|Gissel|1991}}|reference=Gissel, Siegfried. 1991. "Die Modi Phrygius, Hypophrygius und Phrygius connexus: Ein Beitrag zu den 'in mi' Tonarten um 1600". ''[[American Institute of Musicology#Musica Disciplina|Musica Disciplina]]'' 45:5–94. {{ISSN|0077-2461}}.}}
*{{wikicite|ref={{harvid|Krones|2007}}|reference=Krones, Hartmut. 2007. "Secundus tonus est gravis et flebilis—Tertius tonus severus est: Zur Semantik der Modi in Trauermotetten der Zeit um 1500". In ''Tod in Musik und Kultur: Zum 500. Todestag Philipps des Schönen'', edited by Stefan Gasch and [[Birgit Lodes]], 157–88. Wiener Forum für Ältere Musikgeschichte 2. Tutzing: Hans Schneider. {{ISBN|978-3-7952-1239-1}}.}}
* {{wikicite|ref={{harvid|Tilton|1989}}|reference=Tilton, Mary C. 1989. "The Influence of Psalm Tone and Mode on the Structure of the Phrygian Toccatas of Claudio Merulo". ''Theoria'' 4:106–22. {{ISSN|0040-5817}}. }}

{{Modes}}

[[Category:Modes (music)]]