![]() ![]() Or any transposition of its interval pattern, which has the ascending pattern of whole steps and half steps as follows: The modern Dorian mode (also called "Russian minor" by Balakirev, ) by contrast, is a strictly diatonic scale corresponding to the white keys of the piano from D to D (shown below) In the untransposed form on D, in both the authentic and plagal forms the note C is often raised to C ♯ to form a leading tone, and the variable sixth step is in general B ♮ in ascending lines and B ♭ in descent. This was the plagal mode corresponding to the authentic Dorian, and was called the Hypodorian mode. The same scalar pattern, but starting a fourth or fifth below the mode final D, and extending a fifth above (or a sixth, terminating on B ♭), was numbered as mode 2 in the medieval system. In medieval theory, the authentic Dorian mode could include the note B ♭ "by licence", in addition to B ♮. 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 the octave, or scales. #MAD WORLD GARY JULES TRADUZIONE PLUS#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. Four centuries later, Boethius interpreted Ptolemy in Latin, still with the meaning of transposition keys, not scales. Originally used to designate one of the traditional harmoniai of Greek theory (a term with various meanings, including the sense of an octave consisting of eight tones), the name was appropriated (along with six others) by the 2nd-century theorist Ptolemy to designate his seven tonoi, or transposition keys. The success of the Western synthesis of this system with elements from the fourth book of De institutione musica of Boethius, created the false impression that the Byzantine octoechos was inherited directly from ancient Greece. The early Byzantine church developed a system of eight musical modes (the octoechos), which served as a model for medieval European chant theorists when they developed their own modal classification system starting in the 9th century. Placing the two tetrachords together and the single tone at the top of the scale produces the Mixolydian octave species, a note sequence equivalent to modern Locrian mode. Placing the single tone at the bottom of the scale followed by two conjunct tetrachords (that is, the top note of the first tetrachord is also the bottom note of the second), produces the Hypodorian ("below Dorian") octave species: A | B C D E | (E) F G A. In the diatonic genus, the sequence over the octave is the same as that produced by playing all the white notes of a piano ascending from E to E, a sequence equivalent to the modern Phrygian mode. ![]() ![]() Audio playback is not supported in your browser. ![]()
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