Also found in: Acronyms, Wikipedia.
Related to plagal: plagal cadence


adj. Music
Of or being a medieval mode having a range from the fourth below to the fifth above its final tone.

[Medieval Latin plagālis, from plaga, plagal mode, from plagius, plagal, from Medieval Greek plagios (ēkhos), plagal (mode), from Greek, oblique, from plagos, side; see plāk- in Indo-European roots.]


1. (Classical Music) (of a cadence) progressing from the subdominant to the tonic chord, as in the Amen of a hymn
2. (Classical Music) (of a mode) commencing upon the dominant of an authentic mode, but sharing the same final as the authentic mode. Plagal modes are designated by the prefix Hypo- before the name of their authentic counterparts: the Hypodorian mode.
[C16: from Medieval Latin plagālis, from plaga, perhaps from Greek plagos side]


(ˈpleɪ gəl)

adj. Music.
1. (of a church mode) having the final in the middle of the compass. Compare authentic (def. 4a).
2. (of a cadence) progressing from the subdominant to the tonic chord. Compare authentic (def. 4b).
[1590–1600; < Medieval Latin plagālis=plag(a) plagal mode (appar. back formation from plagius plagal; see plage) + Latin -ālis -al1]


[ˈpleɪgəl] ADJplagal
References in periodicals archive ?
The plagal cadence on the falling "silver rain" (bar 17) adds yet more emphasis.
PLAGAL has over 800 members throughout the United States and in five foreign countries.
4 and 5 is Satie's use of perfect fourths and fifths, both melodically and as the bass part of plagal and perfect cadence types (to which sevenths and ninths are invariably added).
In addition, the imagined tunings are employed in a consistent pattern: in each modal pair the imagined tuning of an authentic mode is higher than that of the corresponding plagal mode.
201-3), once plagal relationships can be accepted as a viable alternative to conventional tonic-dominant underpinnings, I-TV-I motion can be approached as a "fundamental progression" on multiple levels.
Here, recitation is on the mediant of the mode, accented syllables are usually a tone higher, and there are occasional dips to the Second Plagal Mode final.
264, states that it is 'richly scored in the way of several Marian motets published [earlier] in 1597, has the same kind of cross-rhythms, a similar repeated final section, and Gabrieli's favourite concluding drawn-out plagal cadence'.
His first examples harmonize melodic fragments--1-1 (implying a plagal cadence) and 1-7-1 (implying an authentic cadence)--in an octatonic context that requires the modulation between collections.
the modern plagal and imperfect cadences where the bass drops a fourth) etc.
Valerio Bona, for example, states in 1595: 'For they say that the authentic tones are cheerful, and the plagal, sad', though he contradicts this general view with his opinion that 'the tone is cheerful and sad according to the way the composer writes it, with the affect [aria] invented by him'.
Furthermore, the most influential of the music manuals in circulation was undoubtedly Aurelian of Reome's Musica disciplina (840-59), which, in its nomenclature of the modes (the authentic and plagal protus, deuterus, tritus, and tetrardus), was informed by its Byzantine counterparts, the singers' manuals known as the pa-padikai.
xiv) that Marini's "Sonata XIII a due violini o cornetti senza cadenza" is so named because it ends with a plagal rather than an authentic cadence is mistaken.