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Phrygian mode
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== Ancient Greek Phrygian<span class="anchor" id="Ancient_Greek_anchor"></span> == The octave species (scale) underlying the ancient-Greek Phrygian ''tonos'' (in its diatonic [[Genus (music)|genus]]) corresponds to the medieval and modern [[Dorian mode]]. The terminology is based on the ''[[Elementa harmonica|Elements]]'' by [[Aristoxenos]] (fl. {{circa|335 {{sc|BCE}} }}), 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 [[major second|whole tone]], followed by a [[semitone]], followed by a whole tone. :<score sound="1"> { \key e \dorian \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 4/4 e4^\markup { Greek Phrygian tonos (diatonic genus) on E } fis g a b cis d e } } </score> In the chromatic genus, this is a [[minor third]] followed by two semitones. :<score sound="1"> { \key e \major \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 4/4 e4^\markup { Greek Phrygian tonos (chromatic genus) on E } fisis gis a c cisis dis e } } </score> In the enharmonic genus, it is a [[major third]] and two [[quarter tone]]s. :<score sound="1"> { \key e \major \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 4/4 e4^\markup { Greek Phrygian tonos (enharmonic genus) on E } gis gisih a b dis disih e } } </score> 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: :<score sound="1"> { \override Score.TimeSignature #'stencil = ##f \relative c' { \clef treble \time 4/4 d4 e f g a b c d } } </score> This scale, combined with a set of characteristic melodic behaviours and associated [[ethos|ethe]], constituted the ''harmonia'' which was given the ethnic name "Phrygian", after the "unbounded, ecstatic peoples of the wild, mountainous regions of the Anatolian highlands".{{sfnp|Solomon|1984|p=249}} This ethnic name was also confusingly applied by theorists such as [[Cleonides]] to one of thirteen chromatic [[transposition (music)|transposition]] levels, regardless of the intervallic makeup of the scale.{{sfnp|Solomon|1984|pp=244β246}} Since the Renaissance, music theorists have called this same sequence (on a diatonic scale) the "[[Dorian mode#Renaissance|Dorian]]" mode, due to a mistake interpreting Greek (it is different from the [[Dorian mode#Greek_Dorian_anchor|Greek mode called "Dorian"]]).
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