"Hypo" or "Plagel" modal configurations create in one sense a "mode within a mode", by viewing individual groups of pitches from a fourth below to a fifth above using the same letter names as their "regular" counterpart. In times past, this was one of the methods used to create two different groups of pitches from one scale, to provide contrast between two themes in composition. For example, lets create a chart comparing the Ionian mode with it's "Hypo-Ionian" counterpart. Example 1.
| Ionian | C | D | E | F | G | A | B | C |
| Hypo - Ionian | G | A | B | C | D | E | F | G |
So why important are these variations in modal configurations potentially important for the creative artist? Well, if a certain pitch gets struck enough times, it potentially becomes the center of whatever group of pitches it is associated with. Prior to the emergence of equal temperament, using a modes "hypo" configuration was a way to move away from the chosen modes essential color while staying within the pitches of that tonality. Remember that pre-equal tempered instruments were tuned to play in a particular mode. When the mode changed, so did the tuning, potentially a real hassle in uptempo dance tunes! Even with movable frets... So, musicologists figure that these hypo-plagel configurations were an early attempt to emulate modulation from one color to another within the same piece of music. Two distinct themes in one tune is very common yes? Perhaps this compositional technique gradually helped evolve the concepts of equal temper, by showing the possibilities available when one group of pitches is viewed to contain other groups, which could also act as independent tonal center? This is pretty much what happens within equal temper yes? All of the existing modes are combined together, then projected from the 12 equal tempered pitches of the chromatic scale. Is there almost 5000 years of musical evolution in the last sentence?
The possibility exists of course to create modes from within other groups of pitches, not just our diatonic modes. The non-diatonic minor scales discussed in the minor scales section might be a good starting point for this "modal" venture. The melodic minor group creates some interesting variations with its minor third, major sixth and seventh intervals. The harmonic minor group, with its minor 3rd, minor 6th and major 7th degree, creates some interesting possibilities. Lets create the hypo Mixolydian mode of the C harmonic minor scale. Example 2.
| harmonic minor | C | D | Eb | F | G | Ab | B | C |
| Mixolydian mode of harmonic minor | G | Ab | B | C | D | Eb | F | G |
| hypo - Mixolydian of harmonic minor | D | Eb | F | G | Ab | B | C | D |
Using the hypo Mixolydian over Two / Five / One in C minor. Example 2a.
| D min 7b5 | G 7b9 | C min 9 |
Interesting eh? Part of the idea here is that the pitch D becomes a sort of tonic or center of the group of pitches, even though the tonic of the music is C ( minor ). We are superimposing one upon another, both created from the same group of pitches. An elementary form of polytonality? Cool with the theory to reconfigure and create a "mode within a mode?" In the above example 2, we simply chose a group of pitches, found it's Mixolydian mode, then created it's hypo configuration. So, as always, potentially lots to explore. An important aspect to be considered is the harmony and the chord progressions that could be created by reconfiguring musical elements in the above fashion. See harmonizing scales. Finding modes within an established group and creating different "root" pitches within those modes is a potential way to disguise the original group, create new and exciting combinations and perhaps a new "modal sound" yet to be discovered. There is no telling what emotional responses lie in the recombining of the modal elements, we simply must seek and discover them for ourselves. Once discovered, we can try to capture and recreate the emotion in our artistic creations. Cool with this? It's part of what an artist does. The history of the modes is a fascinating and sometimes very mysterious story.
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One is not born a genius, one becomes a genius. Simone de Beauvoir
