B flat aeolian natural minor ascending3/17/2024 ![]() ![]() Glarean added Aeolian as the name of the new ninth mode: the relative natural mode in A with the perfect fifth as its dominant, reciting tone, reciting note, or tenor. As late as 1581, Illuminato Aiguino da Brescia published the most elaborate theory defending the eightfold system for polyphonic music against Glarean's innovations, in which he regarded the traditional plainchant modes 1 and 2 ( Dorian and Hypodorian) at the affinal position (that is, with their finals on A instead of D) as a composite of species from two modes, which he described as "mixed modes". In 1525, Pietro Aaron was the first theorist to explain polyphonic modal usage in terms of the eightfold system, including these transpositions. ![]() In the eleventh century, Guido d'Arezzo, in chapter 8 of his Micrologus, designated these transposed finals A, B ♮, and C as "affinals", and later still the term "confinal" was used in the same way. Finals on these notes, as well as on B ♮, had been recognized in chant theory at least since Hucbald in the early tenth century, but they were regarded as merely transpositions from the regular finals a fifth lower. His premise had as its central idea the existence of twelve diatonic modes rather than eight, including a separate pair of modes each on the finals A and C. In 1547, Heinrich Petri published Heinrich Glarean's Dodecachordon in Basel. Up until this time, chant theory recognized eight musical modes: the relative natural scales in D, E, F and G, each with their authentic and plagal counterparts, and with the option of B ♭ instead of B ♮ in several modes. In the mid-16th century, this name was given by Heinrich Glarean to his newly defined ninth mode, with the diatonic octave species of the natural notes extending one octave from A to A-corresponding to the modern natural minor scale. In the music theory of ancient Greece, it was an alternative name (used by some later writers, such as Cleonides) for what Aristoxenus called the Low Lydian tonos (in the sense of a particular overall pitching of the musical system-not a scale), nine semitones higher than the lowest "position of the voice", which was called Hypodorian. The word Aeolian, like the names for the other ancient Greek tonoi and harmoniai, is an ethnic designation: in this case, for the inhabitants of Aeolis (Αἰολίς)-the Aeolian Islands and adjacent coastal district of Asia Minor. Audio playback is not supported in your browser. ![]()
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