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But despite its hints at the shift from modes to keys, Miserere mei is still framed within the medieval Phrygian mode, often noted for its air of melancholy.

Thus the key of E minor embraces nine notes - E, F#, G, A, B, C, C#, D, D# - and the key of E major adds a tenth note, G#, in contrast to the ecclesiastical Phrygian mode’s modest seven.

Recurring throughout is an ascending phrase in the Phrygian mode – a scale Vaughan Williams detected repeatedly in English folk music.

Bach's well-known choral, O Sacred Head now wounded also begins in the Phrygian mode, e.g.

Phrygian mode, 23; Brahms's use of, 239. pianoforte, the, account of its characteristics, 189-195. plagal cadence, 55. polka, 75, 321. polonaise, 75. polyphonic, 10. polyphonic music, complete account of, 33-49.