Editing Rhythmic mode (section)

==History==
Though the use of the rhythmic modes is the most characteristic feature of the music of the late [[Notre Dame school]], especially the compositions of [[Pérotin]], they are also predominant in much of the rest of the music of the ''[[ars antiqua]]'' until about the middle of the 13th century. 

Composition types which were permeated by the modal rhythm include [[Notre-Dame school]] [[organum]] (most famously, the organum triplum and organum quadruplum of [[Pérotin]]), [[conductus]], and [[Clausula (music)|discant clausulae]]. Later in the century, the motets by [[Petrus de Cruce]] and the many anonymous composers, which were descended from discant clausulae, also used modal rhythm, often with much greater complexity than was found earlier in the century: for example each voice sometimes sang in a different mode, as well as a different language.{{Citation needed|date=December 2008}}

In most sources there were six rhythmic modes, as first explained in the anonymous treatise of about 1260, ''[[De Mensurabili Musica|De mensurabili musica]]'' (formerly attributed to [[Johannes de Garlandia (music theorist)|Johannes de Garlandia]], who is now believed merely to have edited it in the late 13th century for [[Jerome of Moravia]], who incorporated it into his own compilation).{{r|Grove2001_deGarlandia}} Each mode consisted of a short pattern of long and short note values ("[[Longa (music)|longa]]" and "[[Double whole note|brevis]]") corresponding to a [[metrical foot]], as follows:{{sfn|Reese|1940|pp=207–9}}

# Long-short ([[trochee]])
# Short-long ([[Iamb (foot)|iamb]])
# Long-short-short ([[dactyl (poetry)|dactyl]])
# Short-short-long ([[anapaest]])
# Long-long ([[spondee]])
# Short-short-short ([[Tribrach (poetry)|tribrach]])

Although this system of six modes was recognized by medieval theorists, in practice only the first three and fifth patterns were commonly used, with the first mode being by far the most frequent.{{sfn|Apel|1961|p=223}} The fourth mode is rarely encountered, an exception being the second [[Clausula (music)|clausula]] of ''Lux magna'' in MS Wolfenbüttel 677, fol. 44.{{sfn|Hughes|1954a|p=320}} The fifth mode normally occurs in groups of three and is used only in the lowest voice (or [[tenor]]), whereas the sixth mode is most often found in an upper part.{{sfn|Hughes|1954a|p=320}}

Modern transcriptions of the six modes usually are as follows:

# Quarter ([[crotchet]]), eighth ([[quaver]]) (generally [[meter (music)|barred]], therefore, in {{music|time|3|8}} or, because the patterns usually repeat an even number of times, in {{music|time|6|8}}){{sfn|Apel|1961|p=221}}<br>[[File:Rhythmic mode 1.PNG]] {{audio|Rhythmic mode 1.mid|Play ×4}}
# Eighth, quarter (barred in {{music|time|3|8}} or {{music|time|6|8}})<br>[[File:Rhythmic mode 2.PNG]] {{audio|Rhythmic mode 2.mid|Play ×4}}
# Dotted quarter, eighth, quarter (barred in {{music|time|6|8}})<br>[[File:Rhythmic mode 3.PNG]] {{audio|Rhythmic mode 3.mid|Play ×2}}
# Eighth, quarter, dotted quarter (barred in {{music|time|6|8}})<br>[[File:Rhythmic mode 4.PNG]] {{audio|Rhythmic mode 4.mid|Play ×2}}
# Dotted quarters (barred in either {{music|time|3|8}} or {{music|time|6|8}})<br>[[File:Rhythmic mode 5.PNG]] {{audio|Rhythmic mode 5.mid|Play ×2}}
# Eighths (barred in {{music|time|3|8}} or {{music|time|6|8}})<br>[[File:Rhythmic mode 6.PNG]] {{audio|Rhythmic mode 6.mid|Play ×4}}
*Cooper gives the above but doubled in length, thus 1) is {{music|half}} {{music|quarter}} barred in {{music|time|3|4}}, for example.{{r|Cooper1973_30}}
*Riemann is another modern exception, who also gives the values twice as long, in {{music|time|3|4}} time, but in addition holds that the third and fourth modes were really intended to represent the modern {{music|common-time}}, with duple rhythms ({{music|half}} {{music|quarter}} {{music|quarter}} and {{music|quarter}} {{music|quarter}} {{music|half}}, respectively).{{r|Riemann1962_135}}