11. Beethoven, Concerto in G.
Written.
![{ \key g \major \time 4/4 \partial 4. \relative b' { <b g d>8-.[ q-. q-.] | << { <b g>^([ <a fis>) q-. q-.] q^([ <g b>) q-. q-.] | <b g d>4 <c e, c>2 s4 } \\ { d,4 d8 d d4 d8 d } >> } }](http://upload.wikimedia.org/score/d/s/dsm8ey4r16idcyatsc0fnq1t297ghwj/dsm8ey4r.png)
Played.
![{ \key g \major \time 4/4 \relative b' << { <b g>8^^_( <a fis>32) r r16 q16[^> r q^>] r q8^^_( <g b>32) r r16 q[^> r q]^> r } \\ { d4 d16[ r d] r d4 d16[ r d] r } >> }](http://upload.wikimedia.org/score/9/j/9j70ukwsl3f8jaofs4ptcwaeh7we57p/9j70ukws.png)
When the curved line is drawn over two notes of considerable length, or in slow tempo, it is not a slur, but merely a sign of legato (Ex. 12), and the same if it covers a group of three or more notes (Ex. 13). In these cases there is no curtailment of the last note.
12. Beethoven, Horn Sonata, Op. 17.
13. Mozart, Rondo in F.
![{ \key f \major \time 2/4 \relative g'' { g32[( c e g,)] fis[( c' ees fis,]) g[( c e g,]) fis[( c ees fis,]) } }](http://upload.wikimedia.org/score/6/s/6sqswe29sp7vmhi0vguabw17zlipwt6/6sqswe29.png)
But if the curved line is so extended as to include and end upon an accented note, then an effect analogous to the slur is intended, and the last of the notes so covered must be shortened (Ex. 14). A similar effect is also sometimes indicated by varying the grouping of the notes, so that the groups do not agree with the rhythmic divisions of the bar (Ex. 15).
14. Schumann, Humoresken.
![{ \key bes \major \relative f'' { f16[ f( c g'] a) a[ f bes] c) bes[( f c'] des) a([ f bes] | c) \bar "||" } }](http://upload.wikimedia.org/score/a/n/an68qz4xclzdjodwn1e1vpphmtgv8lb/an68qz4x.png)
15. Schumann, Toccata.
![{ \key c \major \time 2/4 \relative e'' { <e c' e>8 << { e,16[ e' dis e] a,[ a' gis a] d,,[ d' cis d] g,[ g' fis g] } \\ { e,4 a8 ~ a d,4 g8 ~ g } \\ { \stemDown s16 c8[ c16] s e8[ e16] s a,8[ a16] s d8[ d16] } >> } }](http://upload.wikimedia.org/score/9/b/9bwgl4z3eu0da8rxk5w9z8vohy0zntn/9bwgl4z3.png)
The great value of definite and characteristic phrasing is perhaps nowhere so strikingly manifested as in the performance of music containing imitation. In all such music the leading part must contain some marked and easily recognisable effect, either of variety of force, as in Ex. 16, or of connection and disconnection, as in Ex. 17, and it is by means of the repetition of such characteristic effects in the answering part or parts that the imitation is rendered intelligible, or even perceptible, to the ordinary listener.
16. Haydn, Sonata.
![{ \key ees \major \time 4/4 \relative d'' << { d16[ d' cis e] d[ bes a c] bes[ g fis aes] g[ ees'^\sf d c] | bes[ g fis a] g[ ees'^\sf d c] bes[ g f aes] s } \\ { s4 r16 g,[ f a] g[ bes aes c] bes[ g f aes] | g[ ees'_\sf d c] bes[ g fis a] g[ ees'_\sf d c] s } >> }](http://upload.wikimedia.org/score/s/2/s2kkkytdqwyzmgpjnehqijn887ojz2k/s2kkkytd.png)
17. Mozart, Gigue.
![{ \override Score.Rest #'style = #'classical \key g \major \time 6/8 \partial 8 \relative d'' << { d8-! b-! g-! g'( fis) cis-! d-! | f( e) gis,-! a( c) b | a[ r fis'] e[ d' cis] | e, dis a' g cis, d } \\ { r8 R2. r4 r8 r4 g,8-! fis-! d-! d'( cis) gis-! a-! c( b) dis,-! e-! g fis } >> }](http://upload.wikimedia.org/score/o/r/or5h2eel7o4e9iwk8jyzb5j8qpogixq/or5h2eel.png)
[ F. T. ]
PHRYGIAN MODE (Lat. Modus Phrygius; Modus mysticus). The Third of the Ecclesiastical Modes. [See Modes, the Ecclesiastical.]
The Final of the Phrygian Mode is E. Its range extends upwards, in the Authentic form, from that note to the Octave above; and Semitones occur between its first and second and fifth and sixth Degrees. Its Dominant is (B, the fifth Degree of the Scale, being inadmissible, on account of its false relation with F). Its Mediant is G; and its Participant A, for which note B is sometimes substituted. Its Conceded Modulations are D (the note below the Final), and F; and its Absolute Initials, E, F, C, and, more rarely, G. Its principal features are shewn in the subjoined example.
In its Plagal, or Hypophrygian form (Mode IV, Modus Hypophrygius or Harmonicus), its range lies a Fourth lower, extending from B to the F Octave above. In this form, the Semitones lie between the first and second, and the fourth and fifth Degrees. The Dominant of the Hypophrygian Mode is A. Its Mediant is G, and its Participant C, for which note F is sometimes substituted. Its Conceded Modulations are D and (the lowest note of the Mode). Its Final, like that of the Authentic form, is E. The genera conformation of the Mode is shown in the subjoined example.
It will be observed that the compass and intervals of this Mode correspond exactly with those of the rejected Locrian; yet Hypophrygian Melodies have always been considered perfectly lawful. The reason is, that the Locrian Mode, being Authentic, is subject to the Harmonic Division, which produces a Quinta falsa between B and F, and a Tritonus between F and B: whereas, the Hypophrygian Mode, being Plagal is subject to the Arithmetical Division, and exhibits a Perfect Fourth, between B and E,
