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Church-Modes - reciting tone of the corresponding authentic...

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Church Modes Modes are categorized by their range and final. Each mode has two versions: an “authentic” version (odd-numbered: 1, 3, 5, 7) and a ‘plagal” or hypo (“below”) version (even-numbered: 2, 4, 6, 8). Only one chromatic alteration is generally allowed, that of inflecting B-natural to B-flat in some chants in Modes 5 and 6. Modes are also characterized by their “reciting tone.” In the authentic modes, the reciting tone is a fifth above the final. In the plagal modes, the reciting tone is a third below the
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Unformatted text preview: reciting tone of the corresponding authentic mode—unless it is B, when it is moved up to C. The “names” of these modes are their numbers, i.e. “Mode 1.” In the ninth century, some medieval theorists started using the Greek mode names. However, these Medieval theorists misunderstood the Greek theorist Cleonides’ categorization of modes transmitted in Boethius’ treatise on music, giving them the names that we are familiar with today, i.e. Mode 1 = Dorian....
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