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same one with one or two notes slightly sharpened or flattened. Yet they do not seem to be mode-specific. The tuning called Hypertropa is compatible with three extant pieces of music, two of which are in the E mode (tonic on the second string) and one in the G mode (tonic on the fourth string). And Ptolemy calls the tunings not harmoniai, which would potentially have had modal overtones, but harmogai, which lacks them and simply refers to the physical process of tuning. |
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It seems that the absorption of the old modal names in a unified system of keys that was supposed to account for the modes, but did so only partially, left a conceptual and onomastic void. The modes must have continued in practice to exist, to evolve, and to give way to newcomers. But musicians' awareness of them no longer had the means of articulation. |
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