The Hypolocrian mode is an almost entirely theoretical mode, introduced into chant theory in the 19th century by the editors of the Pustet-Ratisbon, Mechlin, and Rheims-Cambrai Office-Books, who designated it mode 12. It is the plagal counterpart to the authentic Locrian mode, mode 11 in that system of numbering, in which the Ionian and Hypoionian become modes 13 and 14.  The ambitus of the mode lies between F and the F an octave higher, divided at the final, B. Its reciting tone (or tenor), is E, and its mediant is D. It has two participants, G and C. Although a few plainchant melodies, as well as polyphonic compositions, have been attributed to this mode by some writers, it will generally be found that they are really derived, by transposition, from some other tonality. 
In music theory, a diatonic scale is any heptatonic scale that includes five whole steps and two half steps (semitones) in each octave, in which the two half steps are separated from each other by either two or three whole steps, depending on their position in the scale. This pattern ensures that, in a diatonic scale spanning more than one octave, all the half steps are maximally separated from each other.
In the theory of Western music, a mode is a type of musical scale coupled with a set of characteristic melodic and harmonic behaviors. Musical modes have been a part of western musical thought since the Middle Ages, and were inspired by the theory of ancient Greek music. The name mode derives from the Latin word modus, "measure, standard, manner, way, size, limit of quantity, method".
In jazz, the altered scale,altered dominant scale, or the Palamidian Scale, is a seven-note scale that is a dominant scale where all non-essential tones have been altered. This means that it comprises the three irreducibly essential tones that define a dominant seventh chord, which are root, major third, and minor seventh and that all other chord tones have been altered. These are:
Dorian mode or Doric mode can refer to three very different but interrelated subjects: one of the Ancient Greek harmoniai, one of the medieval musical modes, or, most commonly, one of the modern modal diatonic scales, corresponding to the piano keyboard's white notes from D to D, or any transposition of this.
The Aeolian mode is a musical mode or, in modern usage, a diatonic scale also called the natural minor scale. On the white piano keys, it is the scale that starts with A. Its ascending interval form consists of a key note, whole step, half step, whole step, whole step, half step, whole step, whole step. That means that, in A aeolian, you would play A, move up a whole step to B, move up a half step to C, then up a whole step to D, a whole step to E, a half step to F, a whole step to G, and a final whole step to a high A.
The modern Lydian mode is a seven-tone musical scale formed from a rising pattern of pitches comprising three whole tones, a semitone, two more whole tones, and a final semitone.
The Locrian mode is either a musical mode or simply a diatonic scale. On the white piano keys, it is the scale that starts with B. Its ascending form consists of the key note, a half step, two whole steps, a further half step, and three more whole steps.
B, also known as Si, Ti, or, in some European countries, H, is the seventh note of the fixed-Do solfège. Its enharmonic equivalents are C♭ and A.
The Smyth Report is the common name of an administrative history written by American physicist Henry DeWolf Smyth about the Manhattan Project, the Allied effort to develop atomic bombs during World War II. The subtitle of the report is A General Account of the Development of Methods of Using Atomic Energy for Military Purposes. It was released to the public on August 12, 1945, just days after the atomic bombings of Hiroshima and Nagasaki on August 6 and 9.
A heptatonic scale is a musical scale that has seven pitches per octave. Examples include the major scale or minor scale; e.g., in C major: C D E F G A B C—and in the relative minor, A minor, natural minor: A B C D E F G A; the melodic minor scale, A B C D E F♯G♯A ascending, A G F E D C B A descending; the harmonic minor scale, A B C D E F G♯A; and a scale variously known as the Byzantine, and Hungarian, scale, C D E♭ F♯ G A♭ B C. Indian classical theory postulates seventy-two seven-tone scale types, collectively called thaat, whereas others postulate twelve or ten seven-tone scale types.
The Hypolydian mode, literally meaning "below Lydian", is the common name for the sixth of the eight church modes of medieval music theory. The name is taken from Ptolemy of Alexandria's term for one of his seven tonoi, or transposition keys. This mode is the plagal counterpart of the authentic fifth mode.
A or La is the sixth note of the fixed-do solfège.
In music, the major Locrian scale, also called the Locrian major scale, is the scale obtained by sharpening the second and third notes of the diatonic Locrian mode. With a tonic of C, it consists of the notes C D E F G♭ A♭ B♭. It can be described as a whole tone scale extending from G♭ to E, with F introduced within the diminished third interval from E to G♭. The scale therefore shares with the Locrian mode the property of having a diminished fifth above the tonic.
Euouae or Evovae is an abbreviation used in Latin psalters and other liturgical books to show the distribution of syllables in the differentia or variable melodic endings of the standard Psalm tones of Gregorian chant. It derives from the vowels in the words "saeculorum Amen" of the lesser doxology or Gloria Patri, which ends with the phrase In saecula saeculorum, Amen.
D is a musical note a whole tone above C, and is known as Re within the fixed-Do solfege system. An enharmonic note is C, which is a diatonic semitone below D♯.
A Gregorian mode is one of the eight systems of pitch organization used in Gregorian chant.
The Hypoaeolian mode, literally meaning "below Aeolian", is the name assigned by Henricus Glareanus in his Dodecachordon (1547) to the musical plagal mode on A, which uses the diatonic octave species from E to the E an octave above, divided by the final into a second-species fourth (semitone–tone–tone) plus a first-species fifth (tone–semitone–tone–tone): E F G A + A B C D E. The tenor or reciting tone is C, mediant B, the participants are the low and high Es, the conceded modulations are G and D, and the absolute initials are E, G, A, B, and C.
In music, the major Neapolitan scale and the minor Neapolitan scale are two musical scales. Both scales are minor, despite their names.
William Smith Rockstro was an English musicologist, teacher, pianist and composer. He is best remembered for his books, including music textbooks, music history and biographies of famous musicians.
The Hungarian major scale is an ancohemitonic, heptatonic scale with the following interval structure in semitones: 3, 1, 2, 1, 2, 1, 2, giving it the notes C D♯ E F♯ G A B♭ in the key of C. As such the scale is a subset of the octatonic scale, alternating semitones and whole tones. It is, "used extensively in Hungarian gypsy music [sic]," as well as in classical music by composers including Franz Liszt and Zoltán Kodály ," as well as in Thea Musgrave's Horn Concerto (1971). As a chord scale, Hungarian Major is both a dominant and a diminished scale, with a fully diminished seventh chord composed of C, D#, F#, and A, and a dominant seventh chord composed of C, E, G, and Bb.