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Gregorian melodies are more likely to traverse a seventh than a full octave, so that melodies rarely travel from D up to the D an octave higher, but often travel from D to the C a seventh higher, using such patterns as D-F-G-A-C. [45] > Gregorian melodies often explore chains of pitches, such as F-A-C, around which the other notes of the chant ...
A plagal mode (from Greek πλάγιος 'oblique, sideways, athwart') [7] [8] has a range that includes the octave from the fourth below the final to the fifth above. The plagal modes are 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 ...
The chants can be sung by using six-note patterns called hexachords. Gregorian melodies are traditionally written using neumes, an early form of musical notation from which the modern four-line and five-line staff developed. [1] Multi-voice elaborations of Gregorian chant, known as organum, were an early stage in the development of Western ...
The concept of "mode" in Western music theory has three successive stages: in Gregorian chant theory, in Renaissance polyphonic theory, and in tonal harmonic music of the common practice period. In all three contexts, "mode" incorporates the idea of the diatonic scale , but differs from it by also involving an element of melody type .
Medieval modes (also called Gregorian mode or church modes) were numbered, either from 1 to 8, or from 1 to 4 in pairs (authentic/plagal), in which case they were usually named protus (first), deuterus (second), tertius (third), and tetrardus (fourth), but sometimes also named after the ancient Greek tonoi (with which, however, they are not ...
In chant, a reciting tone (also called a recitation tone) can refer to either a repeated musical pitch or to the entire melodic formula for which that pitch is a structural note. In Gregorian chant , the first is also called tenor , dominant or tuba , while the second includes psalm tones (each with its own associated Gregorian mode ) as well ...
Older traditions like Old-Roman, Ambrosian, as well as Old-Beneventan manuscripts follow own modal patterns which are not identical with those of "Gregorian chant", i.e. the Roman-Frankish redaction between the first generation of fully notated manuscripts (since the 1050s), the Cluniac reforms (11th century), and the "Neo-Gregorian reforms" of ...
The early notation of plainchant, particularly Gregorian chant, used a series of shapes called neumes, which served as reminders of music that was taught by rote rather than as an exact record of which notes to sing. Neumes were in use from the 9th through the 11th centuries AD for most plainsong, and differed by region.