Hypo / Plagel modal configurations

These modal configurations create in one sense a "mode within a mode", two distinct groups from the same group of pitches. By viewing the pitches from a fourth below to a fifth above, using the same letter names, the hypo or plagel group emerges from the original mode. This simple approach to the resource goes a long way in providing variety in the music, especially back when the melodic and harmonic resources were limited to a few modes ( as far as we know ) and the voice was oftentimes the only available instrument of definite tuning. Here is a chart comparing the Dorian mode to its "hypo-Dorian" using the pitch A as the root. Example 1.

So why potentially important? Well, for a number of reasons. Historically, using these Plagel modes provided early composers with two scales from one grouping of pitches, each having a slightly different color and tonal gravity. How? Basically by the intervals between the pitches and the aural phenomena that if a certain pitch gets struck enough times, it potentially becomes the center of whatever group of pitches it is associated with. So composers could conceivably generate ideas in say in the Dorian mode, move to its Plagel form and create a new idea, then perhaps return to the original Dorian configuration and melody as is so common in our recorded literature. It was an initial way to begin to expand the scales and musical forms used to create music prior to the emergence of equal temper and families of instruments. Here is the chart from example 1 comparing the intervals of the Dorian and hypo Dorian configurations. Example 1a.

The change of the location of the half step in the hypo / Dorian redefines the color, allowing for 2 shades from one group. Here is the sounds of these two groups. Example 1b.

Neat color change huh? A bit primitive perhaps? Well it is by today's standards. These hypo / modal pairings are often associated with the Gregorian chants of the early centuries of the last millenium. So no equal temper, no chords, whammy bars, nothin!

Us modernists could use the hypo or Plagel configurations to recreate the ancient music, or create new scales or tone rows from the pitches of equal temper. This hypo / Plagel configuring is a way to move away from the Ionian / major scale / relative minor / Aeolian centered universe while staying within the solar system of the equal temper system. So far, all of the preceding modal ideas have been basically generated from the Dorian group of pitches. The possibility exists of course to create "modes" from within other groups of pitches. The various minor scales discussed in this entire section might be a good starting point for this "hypo / Plagel" venture, i.e., the melodic minor group creates some interesting variations with its minor third, major sixth and major seventh intervals. The harmonic minor with its minor 3rd, minor 6th and major 7th degree also creates some interesting possibilities. Lets create the hypo Mixolydian of C harmonic minor. Example 1a.

Here is a melodic idea using the harmonic minor / hypo Mixolydian over the Two / Five / One in C minor. Example 1b.

Cool huh? Klezmer sounding ...? So, whether in tonic or hypo configurations, lots to potentially 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. 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 "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, then share them with others. Once discovered, we can try to "capture" and recreate the timeless emotion in our artistic creations from these ancient modal colors. Cool with this? The history of the modes is a fascinating and oftentimes very mysterious story.

Where to next?

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