While I think the analysis stands, a couple of things.
We don’t use the Greek names generally when discussing chant. You do find them sometimes today, but if not using numbers it’s more authentically protus, deuterus, tritus, or tetrardus, and then authentic or plagal so, the odd numbers and then the even — 1 & 2, 3 & 4, 5 & 6, 7 & 8 respectively have the same fifth from the final but either an upper or lower fourth. In some modes, like 2, the scale is more accurately constructed from the lower fourth up to the final through the fifth above the final, whereas mode 8 hangs around the final and the dominant Do without dramatic drops to the lower fourth.
Anyway because the relationships are the same, you can transfer mode V (and VI, the ancestor of F major since it so often has the flat) down the staff a fourth to begin and end on Do.
When that happens, it is almost certainly a late medieval or Renaissance composition. I can think of maybe one Sunday proper that is transposed to Do. In this case, this is apparently a nineteenth century melody with the proportional rhythm removed and written on a Gregorian staff like any other hymn of the repertoire, now paired with an authentic text, albeit one from the Mozarabic rite.
I write every year near the beginning of Lent that I bid people a Happy Lent. Yes, a happy one! Enjoyed your article and the song 🙏
While I think the analysis stands, a couple of things.
We don’t use the Greek names generally when discussing chant. You do find them sometimes today, but if not using numbers it’s more authentically protus, deuterus, tritus, or tetrardus, and then authentic or plagal so, the odd numbers and then the even — 1 & 2, 3 & 4, 5 & 6, 7 & 8 respectively have the same fifth from the final but either an upper or lower fourth. In some modes, like 2, the scale is more accurately constructed from the lower fourth up to the final through the fifth above the final, whereas mode 8 hangs around the final and the dominant Do without dramatic drops to the lower fourth.
Anyway because the relationships are the same, you can transfer mode V (and VI, the ancestor of F major since it so often has the flat) down the staff a fourth to begin and end on Do.
When that happens, it is almost certainly a late medieval or Renaissance composition. I can think of maybe one Sunday proper that is transposed to Do. In this case, this is apparently a nineteenth century melody with the proportional rhythm removed and written on a Gregorian staff like any other hymn of the repertoire, now paired with an authentic text, albeit one from the Mozarabic rite.