The Phrygian mode (pronounced /frdin/) can refer to three different musical modes: t he ancient Greek tonos or harmonia

sometimes called Phrygian, formed on a partic ular 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. Contents [hide] 1 Ancient Greek Phrygian mode 2 Medieval Phrygian mode 3 Modern Phrygian mode 4 Modern uses of the Phrygian mode 4.1 Phrygian dominant 4.2 The Phrygian Mode in Jazz 5 Examples 5.1 Ancient Greek 5.2 Medieval and Renaissance 5.3 Baroque 5.4 Romantic 5.5 Modern 5.6 Popular 5.7 Jazz 6 See also 7 References 8 External links 9 Further reading Ancient Greek Phrygian mode [edit]

Diatonic genus of the Phrygian tonos on D Play (helpinfo). Enharmonic genus of the Phrygian tonos on E (barlines mark the enharmonic tetrac hord) Play (helpinfo) The Phrygian tonos or harmonia is named after the ancient kingdom of Phrygia in Anatolia. The octave species (scale) underlying the ancient-Greek Phrygian tonos (in its diatonic genus) corresponds to the medieval and modern Dorian mode. In Greek music theory, the harmonia given this name was based on a tonos, in tur n based on a scale or octave species built from a tetrachord which, in its diato nic genus, consisted of a series of rising intervals of a whole tone, followed b y a semitone, followed by a whole tone (in the chromatic genus, this was a minor third followed by two semitones, and in the enharmonic, a major third and two q uarter tones). An octave species was then built upon two of these tetrachords se parated by a whole tone. This is equivalent to playing all the white notes on a piano keyboard from D to D: D E F G | A B C D This scale, combined with a set of characteristic melodic behaviours and associa ted ethoi, constituted the harmonia which was given the ethnic name "Phrygian", after the "unbounded, ecstatic peoples of the wild, mountainous regions of the A natolian highlands" (Solomon 1984, 249). This ethnic name was also confusingly a pplied by theorists such as Cleonides to one of thirteen chromatic transposition levels, regardless of the intervallic makup of the scale (Solomon 1984, 24446). Medieval Phrygian mode [edit] The early Catholic church developed a system of eight musical modes that medieva l music scholars gave names drawn from the ones used to describe the ancient Gre ek 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 semito ne-tone-tone-tone pentachord, followed by a semitone-tone-tone tetrachord (Power s 2001): E F G A B + B C D E The ambitus of this mode extended one tone lower, to D. The sixth degree, C, whi

ch is the tenor of the corresponding third psalm tone, was regarded by most theo rists as the most important note after the final, though the fifteenth-century t heorist Johannes Tinctoris implied that the fourth degree, A, could be so regard ed instead (Powers 2001). Placing the two tetrachords together, and the single tone at bottom of the scale produces the Hypophrygian mode (below Phrygian): G | A B C D | (D) E F G Modern Phrygian mode [edit]

Modern Phrygian modal scale on E Play (helpinfo). In modern western music (from the 18th century onward), the Phrygian mode is rel ated to the modern natural minor musical mode, also known as the Aeolian mode: t he Phrygian scale differs in its second scale degree, which is a semitone lower than that of the Aeolian. The following is the Phrygian mode starting on E, or E Phrygian, with correspond ing 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, perfe ct fourth, perfect fifth, minor sixth, minor seventh, and octave. Alternatively written as a pattern of: Semitone, Tone, Tone, Tone, Semitone, Tone, Tone. Modern uses of the Phrygian mode [edit] Phrygian dominant [edit] A Phrygian dominant scale is produced by raising the third scale degree of the m ode: 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 resem bles the scales found in flamenco music (see Flamenco mode). Flamenco music uses the Phrygian scale, together with a modified scale resembling the Arab maqm ijz (li ke the Phrygian dominant but with a major sixth scale degree), and a bimodal con figuration using both major and minor second and third scale degrees (Katz 2001) . The Phrygian Mode in Jazz [edit] 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 Phrygi an over an Esus4(9) chord (E-A-B-D-F). Examples [edit] 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 (Phlmann and West 20 01, 73). The Seikilos epitaph (1st century AD) is in the Phrygian species (diatonic genus ), in the Iastian (or low Phrygian) transposition (Solomon 1985, 459, 461n14, 47 0). Medieval and Renaissance [edit] The Roman chant variant of the Requiem introit "Rogamus te" is in the (authentic ) Phrygian mode, or 3rd tone (Karp, Fitch, and Smallman 2001, 1). The following compositions of Josquin are written in the Phrygian mode[citation needed]:

4-part setting of Mille Regretz Missa Pange lingua 6-part motet Praeter Rerum Seriem Orlando di Lasso's motet In me transierunt (Pesic 2005, passim). Giovanni Pierluigi da Palestrina's motet Congratulamini mihi (Carver 2005, 77). Cipriano de Rore's 7-part Missa Praeter Rerum Seriem[citation needed] Baroque [edit] Johann Sebastian Bach's keeps in his cantatas the Phrygian mode of some original chorale melodies, such as Luther's Aus tiefer Not schrei ich zu dir in Aus tief er Not schrei ich zu dir, BWV 38, and Es woll uns Gott gendig sein on a melody by Matthaeus Greiter (c. 1490-1552), twice in Die Himmel erzhlen die Ehre Gottes, B WV 76 (Braatz 2006).[not in citation given] Heinrich Schtz's St John Passion (1666) is in the Phrygian mode (Rifkin, Linfield , McCulloch, and Baron 2001, 10) Dieterich Buxtehude's Prelude in A minor, BuxWV 152 (Snyder 2001), (labeled Phry gisch in the BuxWV catalog) (Karstdt 1985,[page needed]) Romantic [edit] Anton Bruckner: Ave Regina coelorum (188588) (Carver 2005, 7677). Pange lingua (second setting, 1868), WAB 33 (Carver 2005, 79; Partsch 2007, 227) . Symphony no. 3, passages in the third (scherzo) and fourth movements (Carver 200 5, 8990). Symphony no. 4 (third version, 1880), Finale (Carver 2005, 9092). Symphony no. 6, first, third (scherzo), and fourth movements (Carver 2005, 9198). Symphony no. 7, first movement (Carver 2005, 9697). Symphony no. 8, first and fourth movements (Carver 2005, 98). Tota pulchra es Maria (1878) (Carver 2005, 79, 8188). Vexilla regis (1892) (Carver 2005, 7980). Ralph Vaughan Williams' Fantasia on a Theme of Thomas Tallis (Ottaway and Frogle y 2001), based on Thomas Tallis's 1567 setting of Psalm 2, "Why fum'th in fight" . Modern [edit] John Coolidge Adams, Phrygian Gates (J. Adams 2010) Samuel Barber: Adagio for Strings, op. 11 (Pollock 2000, 191) "I Hear an Army", from Three Songs, op. 10 (Pollock 2000, 191) Philip Glass, the final aria from Satyagraha (Strickland 2001). Popular [edit] Howard Shore, "Prologue" accompanying the opening sequence of LOTR: The Fellowsh ip of the Ring film (D. Adams 2010, 54). Jazz [edit] "Solea" by Gil Evans (Pelletier-Bacquaert [n.d.]).