plagal


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

pla·gal

 (plā′gəl)
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.]

plagal

(ˈpleɪɡəl)
adj
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]

pla•gal

(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]
Translations

plagal

[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.
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.
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.
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.