fbpx
Wikipedia

Phrygian mode

January 26, 2023

The Phrygian mode (pronounced /ˈfrɪdʒiən/) can refer to three different musical modes: the ancient Greek tonos or harmonia, sometimes called Phrygian, formed on a particular set of octave species or scales; the Medieval Phrygian mode, and the modern conception of the Phrygian mode as a diatonic scale, based on the latter.

Ancient Greek Phrygian

The octave species (scale) underlying the ancient-Greek Phrygian tonos (in its diatonic genus) corresponds to the medieval and modern Dorian mode. The terminology is based on the Elements by Aristoxenos (fl. c. 335 BC), a disciple of Aristotle. The Phrygian tonos or harmonia is named after the ancient kingdom of Phrygia in Anatolia.

In Greek music theory, the harmonia given this name was based on a tonos, in turn based on a scale or octave species built from a tetrachord which, in its diatonic genus, consisted of a series of rising intervals of a whole tone, followed by a semitone, followed by a whole tone.

 

In the chromatic genus, this is a minor third followed by two semitones.

 

In the enharmonic genus, it is a major third and two quarter tones.

 

A diatonic-genus octave species built upon D is roughly equivalent to playing all the white notes on a piano keyboard from D to D:

 

This scale, combined with a set of characteristic melodic behaviours and associated ethoi, constituted the harmonia which was given the ethnic name "Phrygian", after the "unbounded, ecstatic peoples of the wild, mountainous regions of the Anatolian highlands".[1] This ethnic name was also confusingly applied by theorists such as Cleonides to one of thirteen chromatic transposition levels, regardless of the intervallic makeup of the scale.[2]

Medieval Phrygian mode

The early Catholic Church developed a system of eight musical modes that medieval music scholars gave names drawn from the ones used to describe the ancient Greek harmoniai. The name "Phrygian" was applied to the third of these eight church modes, the authentic mode on E, described as the diatonic octave extending from E to the E an octave higher and divided at B, therefore beginning with a semitone-tone-tone-tone pentachord, followed by a semitone-tone-tone tetrachord:[3]

 

The ambitus of this mode extended one tone lower, to D. The sixth degree, C, which is the tenor of the corresponding third psalm tone, was regarded by most theorists as the most important note after the final, though the fifteenth-century theorist Johannes Tinctoris implied that the fourth degree, A, could be so regarded instead.[3]

Placing the two tetrachords together, and the single tone at bottom of the scale produces the Hypophrygian mode (below Phrygian):

 

Modern Phrygian mode

In modern western music (from the 18th century onward), the Phrygian mode is related to the modern natural minor scale, also known as the Aeolian mode, but with the second scale degree lowered by a semitone, making it a minor second above the tonic, rather than a major second.

 

The following is the Phrygian mode starting on E, or E Phrygian, with corresponding tonal scale degrees illustrating how the modern major mode and natural minor mode can be altered to produce the Phrygian mode:

E Phrygian
Mode: E F G A B C D E
Major: 1 ♭2 ♭3 4 5 ♭6 ♭7 1
Minor: 1 ♭2 3 4 5 6 7 1

Therefore, the Phrygian mode consists of: root, minor second, minor third, perfect fourth, perfect fifth, minor sixth, minor seventh, and octave. Alternatively, it can be written as the pattern

half, whole, whole, whole, half, whole, whole

In contemporary jazz, the Phrygian mode is used over chords and sonorities built on the mode, such as the sus4(♭9) chord (see Suspended chord), which is sometimes called a Phrygian suspended chord. For example, a soloist might play an E Phrygian over an Esus4(♭9) chord (E–A–B–D–F).

Phrygian dominant scale

A Phrygian dominant scale is produced by raising the third scale degree of the mode:

E Phrygian dominant
Mode: E F G♯ A B C D E
Major: 1 ♭2 3 4 5 ♭6 ♭7 1
Minor: 1 ♭2 ♯3 4 5 6 7 1

The Phrygian dominant is also known as the Spanish gypsy scale, because it resembles the scales found in flamenco and also the Berber rhythms;[4] it is the fifth mode of the harmonic minor scale. Flamenco music uses the Phrygian scale together with a modified scale from the Arab maqām Ḥijāzī[5][6] (like the Phrygian dominant but with a major sixth scale degree),[citation needed] and a bimodal configuration using both major and minor second and third scale degrees.[6]

Examples

 
Use of the Phrygian mode on A in Respighi's Trittico Botticelliano (Botticelli Triptych, 1927)[7]  Play (help·info)

Ancient Greek

  • The First Delphic Hymn, written in 128 BC by the Athenian composer Limenius, is in the Phrygian and Hyperphrygian tonoi, with much variation.[8]
  • The Seikilos epitaph (1st century AD) is in the Phrygian species (diatonic genus), in the Iastian (or low Phrygian) transposition.[9]

Medieval and Renaissance

Baroque

Romantic

Contemporary classical music

Film music

Jazz

Rock

In practical terms it should be said that few rock songs that use modes such as the phrygian, Lydian, or locrian actually maintain a harmony rigorously fixed on them. What usually happens is that the scale is harmonized in [chords with perfect] fifths and the riffs are then played [over] those [chords].[36]

See also

References

Footnotes

  1. ^ Solomon 1984, p. 249.
  2. ^ Solomon 1984, pp. 244–246.
  3. ^ a b Sadie & Tyrrell 2001, "Phrygian" by Harold S. Powers.
  4. ^ Thomas, Samuel. "Correlates between Berber and Flamenco Rhythms". Academia.
  5. ^ Vargas, Enrique. "Modal Improvisation And Melodic Construction In The Flamenco Environment". Guitarras De Luthier.
  6. ^ a b Sadie & Tyrrell 2001, "Flamenco [cante flamenco]" by Israel J. Katz.
  7. ^ Benward, Bruce, and Marilyn Nadine Saker. 2009. Music in Theory and Practice: Volume II, eighth edition. Boston: McGraw-Hill. p. 244. ISBN 978-0-07-310188-0.
  8. ^ Pöhlmann, Egert, and Martin L. West. 2001. Documents of Ancient Greek Music: The Extant Melodies and Fragments, edited and transcribed with commentary by Egert Pöhlmann and Martin L. West. Oxford: Clarendon Press. p. 73. ISBN 0-19-815223-X.
  9. ^ Solomon 1986, pp. 459, 461n14, 470.
  10. ^ Otten, Joseph (1907). "Aurora Lucis Rutilat". The Catholic Encyclopedia. Vol. 2. New York City: Robert Appleton Company.
  11. ^ Sadie & Tyrrell 2001, "Requiem Mass" (§1) by Theodore Karp, Fabrice Fitch and Basil Smallman.
  12. ^ Pesic 2005, passim.
  13. ^ Carver 2005, p. 77.
  14. ^ Braatz, Thomas, and Aryeh Oron. April 2006. "Chorale Melodies used in Bach's Vocal Works Es woll (or wolle/wollt) uns Gott genädig sein". (accessed 24 October 2009)
  15. ^ Sadie & Tyrrell 2001, "Schütz, Heinrich [Henrich] [Sagittarius, Henricus]" (§10) by Joshua Rifkin, Eva Linfield, Derek McCulloch and Stephen Baron.
  16. ^ Sadie & Tyrrell 2001, "Buxtehude, Dieterich" by Kerala J. Snyder.
  17. ^ Karstädt, G. (ed.). 1985. Thematisch-systematisches Verzeichnis der musikalischen Werke von Dietrich Buxtehude: Buxtehude-Werke-Verzeichnis, second edition. Wiesbaden. French online adaptation, "Dietrich Buxtehude, (c.1637–1707) Catalogue des oeuvres BuxWV: Oeuvres instrumentales: Musique pour orgue, BuxWV 136–225". Université du Québec website (Accessed 17 May 2011).
  18. ^ Carver 2005, pp. 76–77.
  19. ^ Carver 2005, p. 79.
  20. ^ Partsch 2007, p. 227.
  21. ^ Carver 2005, pp. 89–90.
  22. ^ Carver 2005, pp. 90–92.
  23. ^ Carver 2005, pp. 91–98.
  24. ^ Carver 2005, pp. 96–97.
  25. ^ Carver 2005, p. 98.
  26. ^ Carver 2005, pp. 79, 81–88.
  27. ^ Carver 2005, pp. 79–80.
  28. ^ Sadie & Tyrrell 2001, "Vaughan Williams, Ralph" by Hugh Ottaway and Alain Frogley.
  29. ^ Adams, John. 2010. "Phrygian Gates and China Gates". John Adams official web site. Accessed 7 August 2019.
  30. ^ Pollack 2000, p. 191.
  31. ^ Pollack 2000, p. 192.
  32. ^ Sadie & Tyrrell 2001, "Glass, Philip" by Edward Strickland.
  33. ^ Adams, Doug. 2010. The Music of the Lord of the Rings Films: A Comprehensive Account of Howard Shore's Scores. Van Nuys, California: Carpentier/Alfred Music Publishing. p. 54. ISBN 0-7390-7157-2.
  34. ^ Pelletier-Bacquaert, Bruno. n.d. "Various Thoughts: Sus Chords", accessed December 10, 2009.
  35. ^ a b Baerman, Noah (1996). Complete Jazz Keyboard Method: Intermediate Jazz Keyboard, 21. Alfred Music. ISBN 9781457412905.
  36. ^ Rooksby, Rikky (2010). Riffs: How to Create and Play Great Guitar Riffs. Backbeat. ISBN 9781476855486.
  37. ^ a b c d Serna, Desi (2008). Fretboard Theory, v. 1, p. 113. Guitar-Music-Theory.com. ISBN 9780615226224.
  38. ^ a b c d Serna, Desi (2021). Guitar Theory For Dummies with Online Practice, p.266. Wiley. ISBN 9781119842972.

Sources

  • Carver, Anthony F. (February 2005). "Bruckner and the Phrygian Mode". Music & Letters. 86 (1): 74–99. doi:10.1093/ml/gci004.
  • Partsch, Erich Wolfgang (2007). "Anton Bruckners phrygisches Pange lingua (WAB 33)". Singende Kirche. 54 (4): 227–229. ISSN 0037-5721.
  • Pesic, Peter (2005). "Earthly Music and Cosmic Harmony: Johannes Kepler's Interest in Practical Music, Especially Orlando di Lasso". Journal of Seventeenth-Century Music. 11 (1).
  • Pollack, Howard (Summer 2000). "Samuel Barber, Jean Sibelius, and the Making of an American Romantic". The Musical Quarterly. 84 (2): 175–205. doi:10.1093/musqtl/84.2.175.
  • Sadie, Stanley; Tyrrell, John, eds. (2001). The New Grove Dictionary of Music and Musicians (2nd ed.). London: Macmillan. ISBN 9780195170672.
  • Solomon, Jon (Summer 1984). "Towards a History of Tonoi". The Journal of Musicology. 3 (3): 242–251. doi:10.2307/763814. JSTOR 763814.
  • Solomon, Jon (Winter 1986). "The Seikilos Inscription: A Theoretical Analysis". American Journal of Philology. 107 (4): 455–479. doi:10.2307/295097. JSTOR 295097.

Further reading

  • Franklin, Don O. 1996. "Vom alten zum neuen Adam: Phrygischer Kirchenton und moderne Tonalität in J. S. Bachs Kantate 38". In Von Luther zu Bach: Bericht über die Tagung 22.–25. September 1996 in Eisenach, edited by Renate Steiger, 129–144. Internationalen Arbeitsgemeinschaft für theologische Bachforschung (1996): Eisenach. Sinzig: Studio-Verlag. ISBN 3-89564-056-5.
  • Gombosi, Otto. 1951. "Key, Mode, Species". Journal of the American Musicological Society 4, no. 1:20–26. JSTOR 830117 (Subscription access) doi:10.1525/jams.1951.4.1.03a00020
  • Hewitt, Michael. 2013. Musical Scales of the World. [s.l.]: The Note Tree. ISBN 978-0-9575470-0-1.
  • Novack, Saul. 1977. "The Significance of the Phrygian Mode in the History of Tonality". Miscellanea Musicologica 9:82–177. ISSN 0076-9355 OCLC 1758333
  • Tilton, Mary C. 1989. "The Influence of Psalm Tone and Mode on the Structure of the Phrygian Toccatas of Claudio Merulo". Theoria 4:106–122. ISSN 0040-5817

January 26, 2023
phrygian, mode, pronounced, refer, three, different, musical, modes, ancient, greek, tonos, harmonia, sometimes, called, phrygian, formed, particular, octave, species, scales, medieval, modern, conception, diatonic, scale, based, latter, source, audio, playbac. The Phrygian mode pronounced ˈ f r ɪ dʒ i e n can refer to three different musical modes the ancient Greek tonos or harmonia sometimes called Phrygian formed on a particular set of octave species or scales the Medieval Phrygian mode and the modern conception of the Phrygian mode as a diatonic scale based on the latter source Audio playback is not supported in your browser You can download the audio file Contents 1 Ancient Greek Phrygian 2 Medieval Phrygian mode 3 Modern Phrygian mode 3 1 Phrygian dominant scale 4 Examples 4 1 Ancient Greek 4 2 Medieval and Renaissance 4 3 Baroque 4 4 Romantic 4 5 Contemporary classical music 4 6 Film music 4 7 Jazz 4 8 Rock 5 See also 6 References 7 Further readingAncient Greek Phrygian EditThe octave species scale underlying the ancient Greek Phrygian tonos in its diatonic genus corresponds to the medieval and modern Dorian mode The terminology is based on the Elements by Aristoxenos fl c 335 BC a disciple of Aristotle The Phrygian tonos or harmonia is named after the ancient kingdom of Phrygia in Anatolia In Greek music theory the harmonia given this name was based on a tonos in turn based on a scale or octave species built from a tetrachord which in its diatonic genus consisted of a series of rising intervals of a whole tone followed by a semitone followed by a whole tone source Audio playback is not supported in your browser You can download the audio file In the chromatic genus this is a minor third followed by two semitones source Audio playback is not supported in your browser You can download the audio file In the enharmonic genus it is a major third and two quarter tones source Audio playback is not supported in your browser You can download the audio file A diatonic genus octave species built upon D is roughly equivalent to playing all the white notes on a piano keyboard from D to D source Audio playback is not supported in your browser You can download the audio file This scale combined with a set of characteristic melodic behaviours and associated ethoi constituted the harmonia which was given the ethnic name Phrygian after the unbounded ecstatic peoples of the wild mountainous regions of the Anatolian highlands 1 This ethnic name was also confusingly applied by theorists such as Cleonides to one of thirteen chromatic transposition levels regardless of the intervallic makeup of the scale 2 Medieval Phrygian mode EditThe early Catholic Church developed a system of eight musical modes that medieval music scholars gave names drawn from the ones used to describe the ancient Greek harmoniai The name Phrygian was applied to the third of these eight church modes the authentic mode on E described as the diatonic octave extending from E to the E an octave higher and divided at B therefore beginning with a semitone tone tone tone pentachord followed by a semitone tone tone tetrachord 3 source Audio playback is not supported in your browser You can download the audio file The ambitus of this mode extended one tone lower to D The sixth degree C which is the tenor of the corresponding third psalm tone was regarded by most theorists as the most important note after the final though the fifteenth century theorist Johannes Tinctoris implied that the fourth degree A could be so regarded instead 3 Placing the two tetrachords together and the single tone at bottom of the scale produces the Hypophrygian mode below Phrygian source Audio playback is not supported in your browser You can download the audio file Modern Phrygian mode EditIn modern western music from the 18th century onward the Phrygian mode is related to the modern natural minor scale also known as the Aeolian mode but with the second scale degree lowered by a semitone making it a minor second above the tonic rather than a major second source Audio playback is not supported in your browser You can download the audio file The following is the Phrygian mode starting on E or E Phrygian with corresponding tonal scale degrees illustrating how the modern major mode and natural minor mode can be altered to produce the Phrygian mode E Phrygian Mode E F G A B C D EMajor 1 2 3 4 5 6 7 1Minor 1 2 3 4 5 6 7 1Therefore the Phrygian mode consists of root minor second minor third perfect fourth perfect fifth minor sixth minor seventh and octave Alternatively it can be written as the pattern half whole whole whole half whole wholeIn contemporary jazz the Phrygian mode is used over chords and sonorities built on the mode such as the sus4 9 chord see Suspended chord which is sometimes called a Phrygian suspended chord For example a soloist might play an E Phrygian over an Esus4 9 chord E A B D F Phrygian dominant scale Edit A Phrygian dominant scale is produced by raising the third scale degree of the mode E Phrygian dominant Mode E F G A B C D EMajor 1 2 3 4 5 6 7 1Minor 1 2 3 4 5 6 7 1The Phrygian dominant is also known as the Spanish gypsy scale because it resembles the scales found in flamenco and also the Berber rhythms 4 it is the fifth mode of the harmonic minor scale Flamenco music uses the Phrygian scale together with a modified scale from the Arab maqam Ḥijazi 5 6 like the Phrygian dominant but with a major sixth scale degree citation needed and a bimodal configuration using both major and minor second and third scale degrees 6 Examples Edit Use of the Phrygian mode on A in Respighi s Trittico Botticelliano Botticelli Triptych 1927 7 Play help info Ancient Greek Edit The First Delphic Hymn written in 128 BC by the Athenian composer Limenius is in the Phrygian and Hyperphrygian tonoi with much variation 8 The Seikilos epitaph 1st century AD is in the Phrygian species diatonic genus in the Iastian or low Phrygian transposition 9 Medieval and Renaissance Edit Gregorian chant Tristes erant apostoli version in the Vesperale Romanum originally Ambrosian chant 10 The Roman chant variant of the Requiem introit Rogamus te is in the authentic Phrygian mode or 3rd tone 11 Orlando di Lasso s d 1594 motet In me transierunt 12 Giovanni Pierluigi da Palestrina s d 1594 motet Congratulamini mihi 13 Baroque Edit Johann Sebastian Bach keeps in his cantatas the Phrygian mode of some original chorale melodies such as Luther s Es woll uns Gott genadig sein on a melody by Matthias Greitter used twice in Die Himmel erzahlen die Ehre Gottes BWV 76 1723 14 self published source Heinrich Schutz s Johannes Passion 1666 is in the Phrygian mode 15 Dieterich Buxtehude s d 1707 Prelude in A minor BuxWV 152 16 labeled Phrygisch in the BuxWV catalog 17 page needed Romantic Edit Anton Bruckner Ave Regina caelorum WAB 8 1885 88 18 Pange lingua WAB 33 second setting 1868 19 20 Symphony no 3 passages in the third scherzo and fourth movements 21 Symphony no 4 third version 1880 Finale 22 Symphony no 6 first third scherzo and fourth movements 23 Symphony no 7 first movement 24 Symphony no 8 first and fourth movements 25 Tota pulchra es WAB 46 1878 26 Vexilla regis WAB 51 1892 27 Isaac Albeniz Rumores de la Caleta Op 71 No 6 Ralph Vaughan Williams Fantasia on a Theme by Thomas Tallis 28 based on Thomas Tallis s 1567 setting of Psalm 2 Why fum th in sight Contemporary classical music Edit John Coolidge Adams Phrygian Gates 29 Samuel Barber Adagio for Strings op 11 30 I Hear an Army from Three Songs op 10 31 Philip Glass the final aria from Satyagraha 32 Film music Edit Howard Shore Prologue accompanying the opening sequence of the film though the second half of the melody contains an A natural which in the key of the piece makes it Phrygian Dominant The Lord of the Rings The Fellowship of the Ring 33 Jazz Edit Solea by Gil Evans from Sketches of Spain 1960 34 Infant Eyes by Wayne Shorter from Speak No Evil 1966 35 After the Rain by John Coltrane from Impressions 1963 35 Rock Edit This section needs additional citations for verification Please help improve this article by adding citations to reliable sources Unsourced material may be challenged and removed September 2021 Learn how and when to remove this template message In practical terms it should be said that few rock songs that use modes such as the phrygian Lydian or locrian actually maintain a harmony rigorously fixed on them What usually happens is that the scale is harmonized in chords with perfect fifths and the riffs are then played over those chords 36 Symphony of Destruction by Megadeath 37 Remember Tomorrow by Iron Maiden 37 38 Careful with That Axe Eugene and Set the Controls for the Heart of the Sun by Pink Floyd Wherever I May Roam by Metallica 38 War by Joe Satriani 37 38 Sails of Charon by Scorpions 37 38 Unholy Confessions by Avenged Sevenfold Things We Said Today by The BeatlesSee also EditBhairavi the equivalent scale thaat in Hindustani music Shoor the main dastgah scale in Iranian music Hanumatodi the equivalent scale melakarta in Carnatic music Neapolitan chord Phrygian cadence Phrygian dominant scaleReferences EditFootnotes Solomon 1984 p 249 Solomon 1984 pp 244 246 a b Sadie amp Tyrrell 2001 Phrygian by Harold S Powers Thomas Samuel Correlates between Berber and Flamenco Rhythms Academia Vargas Enrique Modal Improvisation And Melodic Construction In The Flamenco Environment Guitarras De Luthier a b Sadie amp Tyrrell 2001 Flamenco cante flamenco by Israel J Katz Benward Bruce and Marilyn Nadine Saker 2009 Music in Theory and Practice Volume II eighth edition Boston McGraw Hill p 244 ISBN 978 0 07 310188 0 Pohlmann Egert and Martin L West 2001 Documents of Ancient Greek Music The Extant Melodies and Fragments edited and transcribed with commentary by Egert Pohlmann and Martin L West Oxford Clarendon Press p 73 ISBN 0 19 815223 X Solomon 1986 pp 459 461n14 470 Otten Joseph 1907 Aurora Lucis Rutilat The Catholic Encyclopedia Vol 2 New York City Robert Appleton Company Sadie amp Tyrrell 2001 Requiem Mass 1 by Theodore Karp Fabrice Fitch and Basil Smallman Pesic 2005 passim Carver 2005 p 77 Braatz Thomas and Aryeh Oron April 2006 Chorale Melodies used in Bach s Vocal Works Es woll or wolle wollt uns Gott genadig sein accessed 24 October 2009 Sadie amp Tyrrell 2001 Schutz Heinrich Henrich Sagittarius Henricus 10 by Joshua Rifkin Eva Linfield Derek McCulloch and Stephen Baron Sadie amp Tyrrell 2001 Buxtehude Dieterich by Kerala J Snyder Karstadt G ed 1985 Thematisch systematisches Verzeichnis der musikalischen Werke von Dietrich Buxtehude Buxtehude Werke Verzeichnis second edition Wiesbaden French online adaptation Dietrich Buxtehude c 1637 1707 Catalogue des oeuvres BuxWV Oeuvres instrumentales Musique pour orgue BuxWV 136 225 Universite du Quebec website Accessed 17 May 2011 Carver 2005 pp 76 77 Carver 2005 p 79 Partsch 2007 p 227 Carver 2005 pp 89 90 Carver 2005 pp 90 92 Carver 2005 pp 91 98 Carver 2005 pp 96 97 Carver 2005 p 98 Carver 2005 pp 79 81 88 Carver 2005 pp 79 80 Sadie amp Tyrrell 2001 Vaughan Williams Ralph by Hugh Ottaway and Alain Frogley Adams John 2010 Phrygian Gates and China Gates John Adams official web site Accessed 7 August 2019 Pollack 2000 p 191 Pollack 2000 p 192 Sadie amp Tyrrell 2001 Glass Philip by Edward Strickland Adams Doug 2010 The Music of the Lord of the Rings Films A Comprehensive Account of Howard Shore s Scores Van Nuys California Carpentier Alfred Music Publishing p 54 ISBN 0 7390 7157 2 Pelletier Bacquaert Bruno n d Various Thoughts Sus Chords accessed December 10 2009 a b Baerman Noah 1996 Complete Jazz Keyboard Method Intermediate Jazz Keyboard 21 Alfred Music ISBN 9781457412905 Rooksby Rikky 2010 Riffs How to Create and Play Great Guitar Riffs Backbeat ISBN 9781476855486 a b c d Serna Desi 2008 Fretboard Theory v 1 p 113 Guitar Music Theory com ISBN 9780615226224 a b c d Serna Desi 2021 Guitar Theory For Dummies with Online Practice p 266 Wiley ISBN 9781119842972 Sources Carver Anthony F February 2005 Bruckner and the Phrygian Mode Music amp Letters 86 1 74 99 doi 10 1093 ml gci004 Partsch Erich Wolfgang 2007 Anton Bruckners phrygisches Pange lingua WAB 33 Singende Kirche 54 4 227 229 ISSN 0037 5721 Pesic Peter 2005 Earthly Music and Cosmic Harmony Johannes Kepler s Interest in Practical Music Especially Orlando di Lasso Journal of Seventeenth Century Music 11 1 Pollack Howard Summer 2000 Samuel Barber Jean Sibelius and the Making of an American Romantic The Musical Quarterly 84 2 175 205 doi 10 1093 musqtl 84 2 175 Sadie Stanley Tyrrell John eds 2001 The New Grove Dictionary of Music and Musicians 2nd ed London Macmillan ISBN 9780195170672 Solomon Jon Summer 1984 Towards a History of Tonoi The Journal of Musicology 3 3 242 251 doi 10 2307 763814 JSTOR 763814 Solomon Jon Winter 1986 The Seikilos Inscription A Theoretical Analysis American Journal of Philology 107 4 455 479 doi 10 2307 295097 JSTOR 295097 Further reading EditFranklin Don O 1996 Vom alten zum neuen Adam Phrygischer Kirchenton und moderne Tonalitat in J S Bachs Kantate 38 In Von Luther zu Bach Bericht uber die Tagung 22 25 September 1996 in Eisenach edited by Renate Steiger 129 144 Internationalen Arbeitsgemeinschaft fur theologische Bachforschung 1996 Eisenach Sinzig Studio Verlag ISBN 3 89564 056 5 Gombosi Otto 1951 Key Mode Species Journal of the American Musicological Society 4 no 1 20 26 JSTOR 830117 Subscription access doi 10 1525 jams 1951 4 1 03a00020 Hewitt Michael 2013 Musical Scales of the World s l The Note Tree ISBN 978 0 9575470 0 1 Novack Saul 1977 The Significance of the Phrygian Mode in the History of Tonality Miscellanea Musicologica 9 82 177 ISSN 0076 9355 OCLC 1758333 Tilton Mary C 1989 The Influence of Psalm Tone and Mode on the Structure of the Phrygian Toccatas of Claudio Merulo Theoria 4 106 122 ISSN 0040 5817 Retrieved from https en wikipedia org w index php title Phrygian mode amp oldid 1133071056, wikipedia, wiki, book, books, library,

article

, read, download, free, free download, mp3, video, mp4, 3gp, jpg, jpeg, gif, png, picture, music, song, movie, book, game, games.