plagal mode造句

• In the plagal modes, its position is somewhat irregular.
• The plagal modes have the final in the middle of the ambitus, while the authentic modes generally go no more than one note below the final.
• The authentic modes have a range that is about an octave ( one tone above or below is allowed ) and start on the final, whereas the plagal modes, while still covering about an octave, start a perfect fourth below the authentic.
• The existent pseudo-Greek names of the modes, rarely used in medieval times, derive from a misunderstanding of the Ancient Greek modes; the prefix " Hypo-" ( under, Gr . ) indicates a plagal mode, where the melody moves below the final.
• Later use of the enechema ( initial incantation formula ) of nenano as well as the phthora ( alteration and transposition sign ) of nenano in manuscripts makes it clear that it is associated with the main form of the second plagal mode as it survives in the current practice of Byzantine ( Greek Orthodox ) chant.
• The intonation formulas, called " enechema " ( gr . ?????? ), for the authentic modes or " kyrioi echoi ", usually descend within the pentachord and turn back to the finalis at the end, while the plagal modes or " plagioi echoi " just move to the upper third.
• Zarlino's system reassigned the six pairs of authentic plagal mode numbers to finals in the order of the natural hexachord, C D E F G A, and transferred the Greek names as well, so that modes 1 through 8 now became C-authentic to F-plagal, and were now called by the names Dorian to Hypomixolydian.
• Although the earlier ( Greek ) model for the Carolingian system was probably ordered like the Byzantine " oktM
  
  chos ", with the four authentic modes first, followed by the four plagals, the earliest extant sources for the Latin system are organized in four pairs of authentic and plagal modes sharing the same final : protus authentic / plagal, deuterus authentic / plagal, tritus authentic / plagal, and tetrardus authentic / plagal.
• The intonation of the " plagi protus " ( on folio 105 verso ) is rather exposing the melos used in Old Roman chant of this tone ( ranging between C and G ), but the sequentiary ( folio 114 recto ) is opened by an " improvised " alleluia of the same tone simply made by a similar intonation which is also using the plagal fourth A-D under the final note D according to the Carolingian concept of the plagal mode.