dominant, E, which, strange to say, was the only one of these newer modes which corresponded to its Greek namesake. Naturally these two newly admitted modes were also accompanied by their lower pitched attendant modes, the Hypoionic,
dominant, E, and the Hypoæolian,
dominant, C.
SUMMARY
Mode. Key. Dominant. Dorian. D A Hypodorian. D F Phrygian. E C Hypophrygian. E A Lydian. F C Hypolydian. F A Mixolydian. G D Hypo-mixolydian. G C Æolian. A E Hypoæolian. A C Ionian. C G Hypoionian. C E
| Mode. | Key. | Dominant. |
|---|---|---|
| Dorian. | D | A |
| Hypodorian. | D | F |
| Phrygian. | E | C |
| Hypophrygian. | E | A |
| Lydian. | F | C |
| Hypolydian. | F | A |
| Mixolydian. | G | D |
| Hypo-mixolydian. | G | C |
| Æolian. | A | E |
| Hypoæolian. | A | C |
| Ionian. | C | G |
| Hypoionian. | C | E |
Now all these lower, or derived modes, Hypodorian, Hypophrygian, Hypolydian, etc., received the name Plagal modes, because there was but one tonic or keynote in the scale; consequently a melody starting on any degree of the scale would invariably return to the same tonic or keynote. They differed from the authentic modes, inasmuch as in the latter a melody might end either on the upper or lower tonic or keynote. Thus the melody itself was said to be either authentic or plagal, according to whether it had one or two tonics. The theme of Schumann's “Etudes symphoniques” is authentic, and the first variation is plagal.
Between the sixth and tenth centuries there was much confusion as to the placing of these modes, but they finally stood as given above. The Greek names were definitely accepted in the eleventh century, or thereabouts; previously, they were known also as the first, second, third, etc., up to the twelfth, church tones or Gregorian modes.