Editing Phrygian mode (section)

== Medieval Phrygian mode ==
The early [[Catholic Church]] developed a system of eight [[Mode (music)|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]]:{{r|Grove2001_Phrygian}}

:<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c' {
  \clef treble \time 5/4
  e4 f g a b
  \time 4/4
  \parenthesize b c d e
} }
</score>
The [[Ambitus (music)|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.{{r|Grove2001_Phrygian}}

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

:<score sound="1"> {
\override Score.TimeSignature #'stencil = ##f
\relative c'' {
  \clef treble \time 1/4
  g4
  \time 4/4
  a b c d \parenthesize d e f g
} }
</score>