atddta 32:scale degree a semitone above

[robinlandseadel at comcast.net]

WoW ! ! !

Gotta respond, but gotta get to FNB right now:

http://slingshot.tao.ca/displaybi.php?0070004

http://www.reclaimingquarterly.org/81/rq-81-judyfoster.html

BTW, The Reclaiming Quarterly is up and running again:

http://www.reclaimingquarterly.org/

Meanwhile, this will figure in bigtime in Fantasia on Tallis, pt.2,
probably coming up tommorow. 

Listen, and know:

http://www.youtube.com/watch?v=7Cn7ZW8ts3Y
 -------------- Original message ----------------------
From: "grladams at teleport.com" <grladams at teleport.com>
> This concerns the Phrygian mode:
> 
> --the presence of a scale degree a semitone above the final tonic- makes me
> think of those maths again. our third dimension-- plus one. Or makes me
> think of that little off dimension you see with your eyes looking through
> iceland spar..
> 
> You can punch up wikipedia too, which states:
> Some Italian songs, like most of The Godfather soundtrack themes, are 
> promptly recognized as Italian music by the flat second note, which 
> identifies the Phrygian mode.
> 
> GROVE MUSIC ONLINE:
> The expression ‘Phrygian mode’ is often used as a covering term for 
> Renaissance and Baroque polyphonic compositions whose final sonority is an 
> E major triad established by a Phrygian cadence and whose parts range more 
> or less within the Phrygian or Hypophrygian ambitus; their principal 
> cadence degrees, other than the final, are A, C, G and occasionally D. This 
> polyphonic application of the Phrygian mode is sometimes found transposed 
> up a 4th in the cantus mollis (i.e. with a one-flat signature), so that the 
> final becomes a and all other modal functions and relations are also a 4th 
> higher in terms of their notated degrees. 
> 
> ‘Phrygian mode’, or ‘Phrygian scale’, is frequently used with reference to 
> European folksongs and diatonic non-Western melodies whose final or 
> apparent tonic is related to the scale type in a manner similar to that of 
> the Phrygian church mode. The most characteristic feature of such melodies 
> is the presence of a scale degree a semitone above the final or apparent 
> tonic; this is sometimes called an ‘upper leading note’. 
> 
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