Archdiocesan School of Byzantine Music
Byzantine Music: Theory and Practice Guide
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Archdiocesan School of Byzantine Music
Byzantine Music:Theory and Practice Guide
First Edition Copyright © 2011 by Greek Orthodox Archdiocese of America 8 East 79th Street, New York, NY 10075 www.goarch.org
All Rights Reserved
Printed in the United States of America Byzantine Music: Theory and Practice Guide
This book is made possible with the blessing and spiritual guidance of His Eminence Archbishop Demetrios of America
Publication Overseer Reverend Archdeacon Panteleimon Papadopoulos
Authors Reverend Deacon Aristidis Garinis Dr. Demetrios Kehagias
Transcription & Audio Antonios Kehagias Georgios Giavris
Academic Oversight Grammenos Karanos, Ph.D.
Greek Orthodox Archdiocese of America New York, NY commend the Archdiocesan School of Byzantine Music for the publication of the Byzantine Music: Theory and Practice Guide, and for their continuous effort to promote Orthodox ecclesiastical chant throughout the Archdiocese. The rising desire to uphold this ageless and superb musical tradition is indicative of its effectiveness to inspire the faithful in prayer through the intelligible and proper rendering of our Orthodox hymnology. Through this publication, a new generation of stewards will be educated who will strive to uphold our rich liturgical inheritance known as Byzantine music. A music that helps in applying in the best way, the instructions of Saint Paul to the Ephesians when he tells them to address one another in psalms and hymns and spiritual songs, singing and making melody to the Lord with all their heart (Ephesians 5:19). Thus this book will prove to be a vital educational tool for the teaching of such a music following the tradition of our Ecumenical Patriarchate. It is my prayer that the Lord bless this book, and the school which produced it, and secure the future of Byzantine music as an integral part of the Orthodox identity and expression of faith.
With paternal love,
+DEMETRIOS Archbishop of America
This book is dedicated to the countless teachers who have preserved the art of byzantine music in the tradition of the ecumenical patriarchate. We continue, through their efforts, to offer up prayer with one voice and one heart, glorifying our Almighty God. Table of Contents
Acknowledgments i Archdeacon Panteleimon Papadopoulos, ASBM Director
Foreword ii Dr. Demetrios Kehagias, ASBM Instructor
Introduction: A Brief Overview of the Psaltic Art iii Grammenos Karanos, Ph.D. in Byzantine Musicology Assistant Professor of Byzantine Music, Holy Cross Greek Orthodox School of Theology
Byzantine Music: Theory and Practice 1
Chanting with Melos 35
Definition of Terms 40
A Synoptic Theory Chart & Reference 41
Index of Byzantine Music Characters 50 Sing praise with all your heart and voice, and bless the name of the Lord. Sirach 39:35 Acknowledgments
n this spirit of praise and with thanks to the Lord, I enthusiastically welcome the publica- tion of the ASBM Byzantine Music:Theory and Practice Guide. It is my sincere hope that this book will prove to be the first step in decisively assisting students of Byzantine music throughout the Archdiocese and will help share the beauty of our Byzantine liturgical heritage by training a new generation of church musicians. It was apparent to the administration and faculty of the Archdiocesan School of Byzantine Music (ASBM) that the need to produce an English textbook for the students of our school was paramount. From the beginning of ASBM in October of 2010, the textbook that we used was ineffective in fully communicating the intricacies of Byzantine music in a clear manner and in a language that was under- standable to a majority of the students. The first year of the school’s operation afforded us the opportu- nity to re-evaluate the teaching methodology being used and whether the resources given to the students were indeed helpful. The results of our study showed that a theory book in English was needed to keep the students engaged both theoretically and practically. Thus a committee was formed to oversee the publication of such a book, produced and written specifically for students enrolled in ASBM. While the scope of this book is focused on serving the needs of the students enrolled in ASBM, it is by no means considered limited to them and could be used as a resource by anyone interested in learning Byzantine music. I offer my sincerest thanks to Rev. Dn. Aristidis Garinis and Dr. Demetrios Kehagias for the co-authoring, layout, and publication of this book. Their tireless commitment to produce this book was a true labor of love. Additionally, I offer my gratitude to Mr. Georgios Giavris for typing out all the ex- ercises and to Mr. Antonios Kehagias for recording them onto audio CDs. I also thank Dr. Grammenos Karanos for his contribution and academic oversight of this book. Finally, I would like to express my heartfelt thanks to His Eminence Archbishop Demetrios of America for his continuous encouragement and support not only for ASBM but for our efforts to expand this musical ministry of our Archdiocese for the edification of God’s people and the glory of His Name.
With my warmest prayers for a fruitful study of Byzantine music, I remain
Sincerely yours,
Archdeacon Panteleimon Papadopoulos Director, Archdiocesan School of Byzantine Music
i Foreword
s we are now preparing to begin our second academic year of ASBM this book, the Byzantine Music: Theory and Practice Guide, should prove to be a most useful educational tool. The study of Byzantine music, as with any language or art, is filled with many practical complexities. For one, the student must be equipped with the sort of natural tools, what we call ‘God-given’ in colloquial language. In addition, the secondary factor, and even more important, is the ability of the teacher to communicate with the students in a way that will convey not only music as an art, but a tradition deeply rooted in the faith of Orthodox Christianity known as Byzantine chant. This book is an effort to preserve and pass on the beauty of proper liturgical music in the tradition of the Ecumenical Patriarchate, with the overall aim to inspire people into prayer. ASBM has the good fortune of having an increased participation of individuals wanting to learn Byzantine music. These individuals become students of music for reasons of personal enrichment of faith as well as communal. Our faculty is increasingly encouraging these students to serve the local parish as educated chanters and faithful Orthodox Christians. In this way, students of Byzantine music should be informed by the content of their study and able to inspire others through the proper rendering of our hymnology. I am personally thankful to God for allowing me this great opportunity and responsibility to train future chanters of our Greek Orthodox Church in the Direct Archdiocesan District. I am also thankful to be involved in the creative process of this book. It is my desire that prospective students of Byzantine music will emerge and acquire this book as a useful learning resource. Regretfully, many individuals have expressed their desire to learn how to chant but are unable to, due to a lack of resources in their area. I pray that the Archdiocesan School of Byzantine Music: Theory Book and Practice Guide will find its place in each local metropolis and religious education department across the Archdiocese. This ambitious project would not be possible without the diligent spiritual guidance of His Eminence Archbishop Demetrios of America. On behalf of, the entire ASBM faculty I would like to express to him our deep sense of gratitude and reverence.
Sincerely,
Dr. Demetrios Kehagias Instructor, Archdiocesan School of Byzantine Music
ii A Brief Overview of the Psaltic Art
“Is any among you afflicted? Let him pray. Is any merry? Let him sing psalms.” (James 5:13 KJV) As is evident from St. James the Brother of the Lord’s exhortation, the history of the Christian Church has always been not only a history of prayer, but also a history of song. If in some contemporary Christian denominations music plays a secondary role, it would be no exaggeration to state that in the Greek Orthodox Church almost all of worship is musical. And how could it be otherwise if “chanting is an angelic ministry for [it] gives joy, but it is also prayer?1” Following the ancient Greek philosophers Plato and Aristotle, the Fathers of the Church recognized the beneficial impact music can have on souls and adopted it as an important pedagogical tool to lead humans to eternal salvation. St. Basil the Great expresses the Church’s attitude in very clear terms:
“For when the Holy Spirit saw that mankind was ill-inclined toward virtue and that we were heedless of the righteous life because of our inclination to pleasure, what did he do? He blended the delight of melody with doctrine in order that through the pleasantness and softness of the sound we might unawares receive what was useful in the words, according to the practice of the physicians, who, when they give the more bitter draughts to the sick, often smear the rip of the cup with honey.”2
Music then is the “sweet honey” with which the Church mixes the doctrines of the faith, in order to heal the sick souls of the faithful. It is through these lenses that the Psaltic Art of the Greek Orthodox Church ought to be viewed. In the present article, whose aim is to highlight the significance of the present publication, I will give a brief overview of this fine art, focusing on its essential characteristics, its composers and practitioners, its notational system, and the didactic methodology used by its teachers throughout history.
I. Definition - Characteristics
An American reader will naturally ask what exactly is the Psaltic Art. A very simple albeit limited definition is that it is the art of chanting3. More broadly, it can be defined as the strictly vocal, strictly monophonic music used in the worship of the Greek Orthodox Church4. Before looking at this definition more closely, let’s consider an alternative term, namely “Byzantine music.” Despite its common usage since the 19th century, it should not be the preferred term for three reasons. First, the inhabitants of the
1 «Όμως είναι και η ψαλμωδία διακονία αγγελική, διότι χαρίζεις χαράν εις τους άλλους, αλλά είναι επίσης και προσευχή.» Αρχιμανδρίτου Αιμιλιανού Σιμωνοπετρίτου, «Περί λατρείας και ευχής», Κατηχήσεις και Λόγοι 4, Θεία Λατρεία, Προσδοκία και Όρασις Θεού, Εκδόσεις Ορμύλια, Ορμύλια 2001, p. 160. 2 Basil of Caesarea, “Homily on the First Psalm,” ch. 1, in Strunk, Olliver, Source Readings in Music History, W. W. Norton & Company, Inc., New York 1998, p. 121. 3 The word “psaltic” is derived from the Greek verb “ψάλλω,” which originally meant “to pluck the strings of an instrument,” but eventually came to signify chanting, i.e. singing ecclesiastical hymns. 4 It should be noted, however, that the same musical art is also used in non-Greek-speaking Orthodox Churches (Patriarchate of Antioch, Patriarchate of Romania, et al.). iii Eastern Roman Empire never referred to themselves as Byzantines, but as Romans (Ρωμαίοι-Ρωμηοί). The term “Byzantine Empire” itself was invented in the 16th century by the German historian Hieronymus Wolf and later took on derogatory connotations5. Second, “Byzantine music” can be interpreted in an overly restrictive fashion if it is considered in topological or chronological terms. In other words, it may be taken to mean the music produced only in Byzantium or the music produced strictly from the foundation of the Byzantine Empire in 330 AD until its fall in 1453 AD. On the other hand, the term “Byzantine music” might more appropriately be applied to the entire musical output of the Eastern Roman Empire, both religious and secular. Nevertheless, secular music is generally excluded from the contemporary usage of the term. Third, the musicians of this once glorious Greek-Roman-Christian empire did not call their art “Byzantine music,” but rather Psaltic Art (Ψαλτική Τέχνη), Musical Art (Μουσική Τέχνη), Musical Science (Μουσική Επιστήμη) or Papadic Art (Παπαδική Τέχνη)6. Let’s move on to dissect the definition given above. The Psaltic Art is strictly vocal. This means that it is a form of music always performed a capella. Instruments were excluded from worship since early Christian times because they were associated with pagan rites, but also because the voice was regarded as the most pure and perfect instrument. Additionally, instrumental music was believed to excite the senses and was consequently considered unsuitable for worship. The Psaltic Art is also strictly monophonic. In other words, it is performed by a single cantor or a choir singing one melody in unison. A few qualifying remarks should be made here. Polyphony was introduced in Greek Orthodox worship as early as the 15th century, but its usage remained very limited except in the Ionian Islands. In the mid-19th century polyphonic settings of ecclesiastical melodies appeared in Greek diaspora communities in Western Europe, despite an official promulgation by the Ecumenical Patriarchate in 1848 of an encyclical banning four-part harmony7. In the 20th century harmonized settings of hymns were adopted in the Divine Liturgy in the Greek Orthodox Archdiocese of America. Nonetheless, the original monophonic version of the Psaltic Art, which is almost exclusively used in other Greek-speaking Orthodox Churches (Patriarchate of Jerusalem, Church of Cyprus, Church of Greece, et al.), has remained the norm in the rest of the liturgical services. It should also be noted that psaltic melodies are frequently accompanied by the ison (drone), which is a constant humming of a single note (the root of the main tetrachord in which the melody is moving). This century-old practice8 is sometimes considered a form of proto-polyphony. However, its primary function seems to be tonal stability rather than “harmonic” enrichment of the melody. Thus, even though it may enhance the aesthetic satisfaction of a performance, ison accompaniment is not an indispensable element of a psaltic composition. In addition to vocal performance and monophony, the Psaltic Art has the following fundamental characteristics:
5 See Μεταλληνού Γεωργίου, Ελληνισμός μετέωρος, Η Ρωμαίικη Ιδέα και το όραμα της Ευρώπης, εκδ. Αποστολικής Διακονίας της Εκκλησίας της Ελλάδος, Αθήναι 1992, pp. 18-19. 6 See Στάθη Γρηγορίου, Τα χειρόγραφα βυζαντινής μουσικής, Άγιον Όρος, Κατάλογος περιγραφικός των χειρογράφων κωδίκων βυζαντινής μουσικής των αποκειμένων εν ταις βιβλιοθήκαις των Ιερών Μονών και Σκητών του Αγίου Όρους, Ίδρυμα Βυζαντινής Μουσικολογίας, τόμος Α΄, Αθήναι 1975, p. 21 (κα΄) of the Introduction. The term “Papadic Art” should be interpreted as the art of the priests, where among the “priests” are included the lower-ranking members of the clergy, such as readers and cantors. Cantors (ψάλται) are ordained by bishops, they have the right to wear a rasson (black robe) during the performance of their ministry, and they are expected to live an exemplary Christian life. 7 See the text of the encyclical at http://www.stanthonysmonastery.org/music/encyclical.pdf. 8 Evidence of ison accompaniment can be found as early as the 14th century. For instance, see MS. Koutloumousion 457 (2nd half of the 14th c.), fol. 6r: “Ενταύθα άρχεται ο δεξιός χορός, ί σ α και αργά, οι όλοι ομού· πλ. δ΄ Πάντα εν σοφία.” iv · Primacy of the word versus the music. Music is used as a means to express and illuminate the meaning of the text. Even though it is certainly meant to provide a degree of aesthetic pleasure to the listener, its primary role is to contribute to a prayerful atmosphere in worship. Therefore, excessive musical embellishment is seen as detrimental and distractive. · Microtonal intervals. Intervals that are smaller than the western semitone are frequently used. In fact, it is primarily this microtonal quality that makes the Psaltic Art sound foreign and exotic, hence strangely attractive to the modern American ear. The existence of microtones is closely related to the tendency of the structural notes of a scale (generally, the root and upper note of a tetrachord) to attract the non-structural ones, which consequently display a tonal instability. · Modality. Psaltic compositions do not conform to the western major and minor scales, but rather to the eight Byzantine authentic and plagal modes and their numerous variants. A mode is defined by the tonic, the scale, the genus (i.e. the intervallic internal structure of the tetrachords and pentachords), and the melodic formulae and cadences, and can easily be identified by the intonation formula that precedes any hymn. · Formulaic composition. All psaltic compositions are built from pre-existing melodic formulae, called theseis, which are combined with short transitional bridges. Theseis can be short, long and even very elaborate and melismatic, depending on the particular compositional genre to which a hymn belongs. One might wonder how there can be any originality in the Psaltic Art if a hymn cannot be composed out of entirely new material. The answer lies in the very large number (thousands) of theseis, the difference in their particular musical content depending on the mode and the starting note on which they are placed, and the infinite number of ways in which they can be combined to produce a new acoustic experience. Additionally, throughout the history of the Psaltic Art composers kept composing new theseis, thereby renewing and enriching the material that later composers would have at their disposal9.
II. Composers – Cantors
A quick glance into the manuscript tradition of the Psaltic Art immediately reveals that its history is full of eponymous and anonymous personalities from all walks of life: saints and sinners (or self-proclaimed sinners out of humility), hymnographers, composers and scribes, teachers and disciples, patriarchs and bishops, priests and deacons, cantors and readers, monks and nuns, jewellers and merchants, fishermen, painters, schoolmasters, tailors. Among them all the most prominent position belongs to the over 1,000 composers who almost always were also cantors and to the tens of thousands of cantors who often were also composers. Let’s look at some of them.
St. Romanos the Melodist (6th c.)
Romanos was born in Syria and flourished in theth 6 century. He served as a deacon in Beirut and Constantinople. He is considered the greatest Orthodox hymnographer of all time and has often been called
9 See Καράνου Γραμμένου, Το Καλοφωνικόν Ειρμολόγιον, Διδακτορική διατριβή κατατεθείσα στο Τμήμα Μουσικών Σπουδών του Εθνικού και Καποδιστριακού Πανεπιστημίου Αθηνών, Αθήνα 2011, p. 431. v “the Christian Pindar.” Some 85 surviving kontakia10 are attributed to him. The title “melodist” indicates that he not only wrote the hymns, but also composed their music. The Orthodox Church celebrates his memory on October 1.
St. John of Damascus (ca. 676 – 749)
A Syrian hieromonk and a brilliant theologian and defender of the veneration of icons, John is also regarded as the “Father of Byzantine Music” and patron saint of cantors. He was a prolific composer and was largely responsible for the codification and standardization of the system of eight modes (Octoechos), according to which the yearly cycle of liturgical services of the Orthodox Church is arranged. The Orthodox Church celebrates his memory on December 4.
St. Ioannis Papadopoulos Koukouzelis (ca. 1270 – ca. 1340)
Once an imperial musician and later an Athonite monk, Ioannis is perhaps the greatest figure of the Psaltic Art. He was the disciple of Ioannis Protopsaltis the Sweet and a fellow student of Xenos of Koroni. These three composers along with Nikeforos Ethikos constitute the “tetrandria” that solidified the newkalophonic style of ecclesiastical music11. The defining characteristics of this highly ornate style, which had its beginnings in the late 13th century, are (i) long, melismatic melodies, (ii) restructuring of the poetic text, and (iii) insertion of kratimata, i.e. free compositions using meaningless syllables (e.g. terirem, tenena, tototo, etc.) as “text.” Koukouzelis’ name first makes its appearance in MS. Leningrad 121 written in 1302. The admiration of contemporary and later musicians for the great composer is shown by the title “Maistor” (i.e. Master) that almost unfailingly follows his name. It was probably under his guidance that one of the most significant manuscripts in the history of the Psaltic Art, namely MS. Athens 2458, was composed in 1336. The Orthodox Church celebrates his memory on October 1.
Manuel Doukas Chrysaphes (15th c.)
Manuel Chrysaphes was the last Lampadarios12 of the imperial palace prior to the Fall of Constantinople in 1453. His autograph, MS. Iviron 1120, written in 1458, is a monumental anthology of works marking the transition from the Byzantine to the post-Byzantine period of the Psaltic Art. His theoretical treatise “On the theory of the art of chanting and on certain erroneous views that some hold about it” is a primary source for the modern study of the Byzantine repertory.
Petros Bereketis (17th – 18th c.)
Petros Kouspazoglou the Sweet, more widely known as Bereketis, was a member of the second “tetrandria” of composers (the other three were Panagiotis Protopsaltis the new Chrysaphes, Germanos Bishop of New Patras, and Balasios the Priest) who contributed greatly to the flourishing of the Psaltic Art in the 17th and
10 A kontakion is a long, poetic sermon that consists of 18-30 stanzas, which are metrically and structurally alike. 11 See������������������ Στάθη Γρηγορίου, Οι αναγραμματισμοί και τα μαθήματα της βυζαντινής μελοποιίας, Ίδρυμα Βυζαντινής Μουσικολογίας, Αθήνα 1998, pp. 126-127. 12 Leader of the left choir of cantors. vi 18th centuries. He was the greatest composer of the newly developed para-liturgical genre of kalophonic heirmos, which was not intended for official worship ceremonies, but rather for soloistic performance after the end of the Divine Liturgy as well as at banquets, visits of eminent secular or religious figures, and other festive occasions. Many regard his famous eight-mode setting of Θεοτόκε Παρθένε (O Theotokos and Virgin), a work that lasts about 40 minutes, as the greatest psaltic composition ever written.
Petros the Peloponnesian (ca. 1735 – 1778)
Petros was the greatest Greek Orthodox ecclesiastical musician of post-Byzantine times. He served as Lampadarios at the patriarchal church of St. George in the Phanar district of Constantinople. He transcribed the oral tradition of hymns, which formed the core of the repertoire chanted in Greek churches to this day. Among his numerous compositions special mention must be made to his settings of the Anastasimatarion13 and Doxastarion14. Petros was also a teacher and composer of Ottoman classical music.
Thrasyvoulos Stanisas (1910 - 1987)
While his activity as a composer was limited, Stanitsas is widely regarded as the greatest performer of chant of the 20th century. His unparalleled virtuosity in all psaltic genres earned him the title of “greatest cantor of the Balkans15.” He served as Protopsaltis16 of the patriarchal church of St. George between 1960 and 1964. Other great cantors of the 20th century include Stanitsas’ predecessors Iakovos Nafpliotis and Konstantinos Pringos, Leonidas Asteris (the current Archon Protopsaltis of the Ecumenical Patriarchate), Chrysanthos Theodosopoulos, Athanasios Karamanis, Athanasios Panagiotidis, Harilaos Taliadoros, Spyridon Peristeris, Photios Ketsetzis, Theodoros Vasilikos, Emmanuel Hatzimarkos, Deacon Dionysios Firfiris, et al.
III. Byzantine neume notation
While Christian hymns were in all probability notated in the first millennium AD, surviving samples of music from this period are extremely scarce. The destruction by Iconoclasts of manuscripts that were adorned with miniature images of Christ and saints may have been a contributing factor. Byzantine musical manuscripts have survived from around 950 AD. The number of extant manuscripts is approximately 7,500. The majority of them are held at monastic libraries on Mount Athos and elsewhere. In these manuscripts we can study the history and development of the various compositional genres and the psaltic notational system. Unlike western staff notation, Byzantine neume notation does not indicate absolute pitches on a scale, but rather the movement of the melodic line in relation to the preceding notes. The origins of this notation can be traced back to the alphabetic notations of the ancient Greeks. Most of the symbols are derived from the Greek letters and prosodic signs (vareia, oxeia, etc.), while some are stylistic representations of the melodic movement they signify or the hand gesture (χειρονομία or νεύμα, hence the term “neume notation”) which a 13 A collection of resurrectional hymns chanted in the services of Saturday evening Vespers and Sunday morning Orthros. 14 An anthology of moderately embellished settings of hymns chanted throughout the ecclesiastical year. Most are preceded by the Small Doxology (Glory to the Father and to the Son and to the Holy Spirit), while some are inserted between psalmic verses. 15 See ���������Τσιούνη Χ�ρήστου,�������� Θρασύβουλος Στανίτσας, Άρχων Πρωτοψάλτης της Μ.Χ.Ε. (1910-1987), Αναμνήσεις και αφηγήσεις, Εκδόσεις Φανάριον, Αθήνα 2003, p. 54. 16 Chief cantor and leader of the right choir of cantors. vii choir director used to indicate the melodic motion. Furthermore, Byzantine notation is more stenographic and descriptive rather than prescriptive, as it outlines the overall shape of the melody, but often omits more nuanced details, which are executed according to rules transmitted by the oral tradition17. From its earliest appearance in the mid-10th century until today Byzantine neume notation has undergone a number of gradual developments, which were generally an outgrowth of organic developments in the compositional process itself. The basic “rule” can be summed up as follows: as the notation was improved, composers could use it to express new musical ideas more effectively and to create new, more elaborate styles and genres. And vice versa, as composers developed new musical styles, they needed a more refined notation to write down their more elaborate melodies, which led to improvements in the notation18. The history of the notational system can be divided into four distinct periods, based on (i) the number of symbols and the appearance of new ones, (ii) the function of each symbol, (iii) the obsolescence or disappearance of certain symbols, and (iv) the conversion of the older repertory into newer versions of the notation19.
First Period: Early Byzantine Notation (ca. 950 – 1177)
In this period there are still few signs and their function is unstable and ambiguous. There are two main subdivisions of the notation, namely Chartres or Athonite notation, and Coislin or Hagiopolite notation.
Second Period: Middle Byzantine (Round) Notation (1177 – ca. 1670)
There are over 40 signs whose function is quite clearly defined. Most signs indicate specific diastematic movements, while some indicate time. A special category of signs, the Great Hypostases of Cheironomia (Μεγάλαι Υποστάσεις Χειρονομίας), has been interpreted as signifying vocal expression or, alternatively, as mnemonic devices that denote entire melodic formulae (theseis). Some very elaborate theseis are notated with very few signs, which necessitates a great deal of memorization by the cantor. A vast repertory of Byzantine and post-Byzantine chants is written in this notation. Despite our relatively extensive knowledge about this period, the correct and accurate transcription of this repertory into the New Method or western staff notation is a hotly debated subject among contemporary musicologists20.
Third Period: Transitional Exegetical Notation (ca. 1670 – 1814)
This period commences with the exegesis (conversion) of the Athenian Trisagion (a melismatic setting of the text “Holy God, Holy Mighty, Holy Immortal, have mercy on us” in plagal second nenano mode, which 17 If we were to utilize Ter Ellingson’s terminology, we would characterize Byzantine notation as an analog (rather than digital) encoding of musical information. See Ellingson, Ter, “Notation,” Ethnomusicology, An Introduction, Norton/Grove Handbooks in Music, ed. Helen Myers, London 1992, p. 159. 18 According����������������������������������������������� ����������������������������������������������to ���������������������������������������������������������������������������������������Gregorios �������������������������������������������������������������������Stathis,�������������������������� “η αναζήτησις τελείας εκ�φ��������������������������������������������������������������ράσεως της μελοποιίας βοηθεί εις την εξέλιξιν και τελειοτέραν συμπλοκήν και ενέργειαν των στοιχείων της σημειογραφίας. Και τανάπαλιν· όταν η σημειογραφία έχη φθάσει εις τέλειον σύστημα με απείρους δυνατότητας εκφράσεως, η μελοποιία κινείται ανετώτερον εις αυτόν τον ωκεανόν και ανοίγεται προς κατάκτησιν θαυμαστών επιτηδεύσεων, στοιχείων αφοριστικών μιας υψηλής τέχνης, της Ψαλτικής Τέχνης”. See Στάθη Γρηγορίου, Οι αναγραμματισμοί και τα μαθήματα της βυζαντινής μελοποιίας, Ίδρυμα Βυζαντινής Μουσικολογίας, Αθήνα 1998, p. 47. 19 Ibid., pp. 47-59.� 20 For a good overview of this subject see Αλεξάνδρου Μαρίας, Εξηγήσεις και μεταγραφές της βυζαντινής μουσικής, Σύντομη εισαγωγή στον προβληματισμό τους, University Studio Press, Θεσσαλονίκη 2010. viii is chanted during funeral processions) by Balasios the Priest21. Several scribes rewrite the older repertory, using more signs and in different combinations. Less memorization is now needed to perform a piece, as the content of its melodic formulae is more analytically written.
Fourth Period: New Method of Analytical Notation (1814 – present)
In 1814 Archimandrite Chrysanthos of Madytos (who was later ordained a bishop), Gregory Levitides (then Lampadarios and later Protopsaltis of the Ecumenical Patriarchate) and Chourmouzios the Archivist, collectively known as the Three Teachers, invented the New Method, which is the current official notation of the Psaltic Art. In this system, which is essentially the last stage of development of the previous Exegetical Notation, only 15 signs remain and they are assigned very clearly defined functions. Students no longer have to memorize entire melodic phrases. Rather they can read the notation “note by note,” much like in western staff notation. The Three Teachers also developed a system of solfeggio based on the first seven letters of the Greek alphabet. Additionally, in 1832 Chrysanthos’ Great Theory of Music (Θεωρητικόν μέγα της μουσικής), which is the first systematic exposition of the revised notational system as well as the overall theoretical framework of ecclesiastical chant, was published in Trieste. The New Method was rapidly disseminated and was used to transcribe almost 75% of the Byzantine and post-Byzantine repertory, but also new compositions and secular Greek and Ottoman works. Moreover, in 1820 the first printed books of Psaltic Art appeared. Very soon the composition of manuscripts would become a thing of the past, as press publications began to abound.
IV. The teaching and transmission of the Psaltic Art; the present publication
For hundreds of years the transmission of the Psaltic Art has been achieved primarily through three media: live liturgical performance, study of musical scores, theoretical treatises and didactic pieces22, and systematic training involving a teacher-disciple relationship. The latter has historically received the greatest emphasis by church musicians, as can be deduced from the thousands of references to teacher-disciple relationships in the manuscript tradition23 as well as the establishment and operation of seven – most of them unfortunately short-lived – “Patriarchal Musical Schools” in Constantinople from 1727 to 1882. Even though the importance of training under the guidance of a master as well as frequent attendance of church ceremonies cannot be underestimated, these two media of transmission of ecclesiastical chant may become secondary in the near future, due to modern technological advances and especially the all-pervasive and life-changing influence of the Internet. A student can nowadays find hundreds of excellent recordings24 and even attend online classes of Byzantine chant25. Yet the role of musical scores and teaching manuals remains
21 See Balasios’ autograph, MS. Iviron 1250, fols. 211v-212v. 22 E.g. Nikolaos Kampanis’ Method of Metrophonia (late 13th or early 14th c.), Ioannis Koukouzelis’ Mega Ison (14th c.), Gregory Bounis Alyatis’ Method of Metrophonia (15th c.), etc. 23 For instance, see MS. Xiropotamou 324, fol. 267v: “Το παρόν εγράφη παρ’ εμού Σταυράκη, και μαθητού κυρ Δανιήλ λαμπαδαρίου.” 24 Websites devoted exclusively to the Psaltic art include www.psaltologion.com, www.ieropsaltis.com, www.cmkon.org, and many others. 25 The American Society of Byzantine Music and Hymnology recently established an online program of chant instruction called “Multimodal School of Byzantine Chant, Practice and Theory” (http://www.asbmh.pitt.edu/Educational/Videos/Live/Live.html). ix primary. Since the invention of the New Method several manuals providing instruction in the Psaltic Art26 have been published and used in conservatories as well as church, state and private schools of Byzantine music in Greece. Besides a book by the late Savas Savas27, these same manuals or poorly made translations of selections from them have generally been used in the United States as well. At the same time, interest in the Psaltic Art has been increasing in the western hemisphere at a very fast pace during the past two decades. Scholarly works are being published, concerts given, studio recordings made, schools of Byzantine music founded, websites created, etc. Hence the need for a teaching manual that can help bridge the gap between American-born, English-speaking church musicians and the sacred art of chanting is paramount. It is this need that the present publication is coming to fulfill. Byzantine Music Theory and Practice Guide is the first manual in English produced for use in the recently established Archdiocesan School of Byzantine Music in New York City. It is a clearly written introduction with multiple exercises and a concise explanation of the notational and modal system of the Psaltic Art. As such, it will serve the purpose of providing solid training to the future generations of American church musicians and preserving the tradition of patriarchal chanting in posterity. I enthusiastically embrace it and recommend it to all teachers and students of Byzantine music throughout the Greek Orthodox Archdiocese of America, but also to the entire academic community. The introduction of the Greek Psaltic Art in the curriculum of American conservatories and institutions of higher learning is long overdue. This manual can be a first step in this direction. In conclusion, I wish to thank His Eminence Archbishop Demetrios for his godly zeal and unceasing efforts to preserve the liturgical and musical riches of our Church. I also commend the book editors, the Reverend Archdeacon Panteleimon Papadopoulos, the Reverend Deacon Aristidis Garinis, Demetrios Kehagias, Antonios Kehagias, and Georgios Giavris, for their enviable vision and their outstanding accomplishment. Through their work it is now easier for Greek Americans to “sing unto the Lord a new song, and his praise from the end of the earth” (Isaiah 42:10 KJV)!
Grammenos Karanos, Ph.D. Assistant Professor of Byzantine Liturgical Music Holy Cross Greek Orthodox School of Theology
26 E����.���g.�� �Χ���������������������������������ρυσάνθου Μητροπολίτου Δυρραχίου, Εισαγωγή εις το θεωρητικόν και πρακτικόν της εκκλησιαστικής μουσικής, Παρίσι 1821; Αγαθοκλέους Παναγιώτου, Θεωρητικόν της εκκλησιαστικής μουσικής, Αθήναι 1855; Στοιχειώδης διδασκαλία της εκκλησιαστικής μουσικής, Κωνσταντινούπολις 1888; Ευθυμιάδου Αβραάμ, Μαθήματα βυζαντινής εκκλησιαστικής μουσικής, Θεσσαλονίκη 1972; Μαργαζιώτου Ιωάννου, Θεωρητικό βυζαντινής εκκλησιαστικής μουσικής, Αθήνα 1974; Καρά Σίμωνος, Μέθοδος της ελληνικής μουσικής, Αθήνα 1982, et al. 27 Savas Savas, Byzantine Music: Theory and Practice, Holy Cross Orthodox Press, Boston 1975. x Works Cited
Ellingson, Ter, “Notation,” Ethnomusicology, An Introduction, Norton/Grove Handbooks in Music, ed. Helen Myers, London 1992. Savas Savas, Byzantine Music: Theory and Practice, Holy Cross Orthodox Press, Boston 1975. Strunk, Olliver, Source Readings in Music History, W. W. Norton & Company, Inc., New York 1998. Αγαθοκλέους Παναγιώτου, Θεωρητικόν της εκκλησιαστικής μουσικής, Αθήναι 1855. Αιμιλιανού Σιμωνοπετρίτου, «Περί λατρείας και ευχής», Κατηχήσεις και Λόγοι 4, Θεία Λατρεία, Προσδοκία και Όρασις Θεού, Εκδόσεις Ορμύλια, Ορμύλια 2001. Αλεξάνδρου Μαρίας, Εξηγήσεις και μεταγραφές της βυζαντινής μουσικής, Σύντομη εισαγωγή στον προβληματισμό τους, University Studio Press, Θεσσαλονίκη 2010. Ευθυμιάδου Αβραάμ, Μαθήματα βυζαντινής εκκλησιαστικής μουσικής, Θεσσαλονίκη 1972. Καρά Σίμωνος, Μέθοδος της ελληνικής μουσικής, Σύλλογος προς Διάδοσιν της Εθνικής Μουσικής, Αθήναι 1982. Καράνου Γραμμένου, Το Καλοφωνικόν Ειρμολόγιον, Διδακτορική διατριβή κατατεθείσα στο Τμήμα Μουσικών Σπουδών του Εθνικού και Καποδιστριακού Πανεπιστημίου Αθηνών, Αθήνα 2011. Μαργαζιώτου Ιωάννου, Θεωρητικό βυζαντινής εκκλησιαστικής μουσικής, Αθήνα 1974. Μεταλληνού Γεωργίου, Ελληνισμός μετέωρος, Η Ρωμαίικη Ιδέα και το όραμα της Ευρώπης, εκδ. Αποστολικής Διακονίας της Εκκλησίας της Ελλάδος, Αθήναι 1992. Στάθη Γρηγορίου, Οι αναγραμματισμοί και τα μαθήματα της βυζαντινής μελοποιίας, Ίδρυμα Βυζαντινής Μουσικολογίας, Αθήνα 1998. ---, Τα χειρόγραφα βυζαντινής μουσικής, Άγιον Όρος, Κατάλογος περιγραφικός των χειρογράφων κωδίκων βυζαντινής μουσικής των αποκειμένων εν ταις βιβλιοθήκαις των Ιερών Μονών και Σκητών του Αγίου Όρους, τόμος Α΄, Ίδρυμα Βυζαντινής Μουσικολογίας, Αθήναι 1975. Στοιχειώδης διδασκαλία της εκκλησιαστικής μουσικής εκπονηθείσα επί τη βάσει του ψαλτηρίου υπό της Μουσικής Επιτροπής του Οικουμενικού Πατριαρχείου εν έτει 1883, Κωνσταντινούπολις 1888. Τσιούνη Χρήστου, Θρασύβουλος Στανίτσας, Άρχων Πρωτοψάλτης της Μ.Χ.Ε. (1910-1987), Αναμνήσεις και αφηγήσεις, Εκδόσεις Φανάριον, Αθήνα 2003. Χρυσάνθου Μητροπολίτου Δυρραχίου, Εισαγωγή εις το θεωρητικόν και πρακτικόν της εκκλησιαστικής μουσικής, Παρίσι 1821.
xi Theory and Practice
What is Music? The art or science of combining sounds to produce beauty of form, harmony, and expression of emotion.
What is a Musical Note? A musical note is a specific sound or pitch identified by a symbol used in musical notation.
The Names of the Notes
Ne- Pa Vou Ga De- Ke Zo Ne- p[]\’P{}|p’ The Eight Modes
The names of the eight modes are as follows:
(Πρώτος) First Mode (Δεύτερος) Second Mode (Τρίτος) Third Mode (Τέταρτος) Fourth Mode (Πλάγιος του Πρώτου) Plagal of the First Mode (Πλάγιος του Δευτέρου) Plagal of the Second Mode (Βαρύς) Grave Mode (Πλάγιος του Τετάρτου) Plagal of the Fourth Mode
1 Theory and Practice
Νη´
Ζω´ Ζω´
Κε Nη´ Κε Δι 8 Δι Ζω´ Γα 10 Γα Κε Βου Upper 12 Βου Tetrachord Δι Πα 12 (Separating/Disjunctive) Πα Γα Tone Νη Νη 8 Βου 10 Lower Πα Tetrachord 12 Νη (Base Note)
Instructions: - Practice memorizing the scale by ascending and descending the pyramid in parallage. The numbers in the center scale (Μόρια - Moria/Microtones) indicate the distances between any two notes.
WHAT IS A TETRACHORD? The Tetrachord (Το Τετράχορδο) translated from Greek means four-chords or notes. Each scale is comprised of eight notes with two equal parts adding up to 72 total moria. A tetrachord is one part of the scale and has an identical internal intervallic structure as its opposite tetrachord.
WHAT IS A Disjunctive Tone? The Disjunctive Tone (Ο Διαζευκτικός Τόνος), separates the lower tetrachord from the upper tetra- chord. This note is actually a distance/interval (sum of moria between two notes).
2 Theory and Practice
Diatonic Marterees- - (Διατονικές Μαρτυρίες) ς ς ςσδη7΄ & 1! 2@™™ 3# 4 5 6´@ςσδη7΄ ´# 67
How to Count time in Byzantine Music
This process is called Χρόνος meaning ‘time’. One counts time with simple hand ges- tures, down/up and left/right. Δίσημος (Desemos)- - Θέση Άρση Downbeat Upbeat
Time is counted in this case with two motions (down and up), each motion equal to one full beat.
Η Διαστολή (Deastole)- -
Groups notes together creating a measure of time for 2, 3 or 4 beats. What is ParallageO O - and Melos?
Parallage- (Η Παραλλαγή) is what we call in Western music Solfege. It is a sort of musical exercise, chanting a hymn note by note before applying the Μέλος (melos-words in melody). There is a saying among chanting teachers: “Practice Parallage- 100 times and melos once.” Practicing this technique is the secret to learning Byzantine music. - Το ίσον (Eson)
Keep same pitcha as previous note.
Example 1 ΄ ςσδη7& ςσδη7΄ & O a aO a aO a a aa a aaa O 3 O O O Theory and Practice
Quantitative Characters Characters Ascending and Descending
Το ολίγονs (Olegon)- Η κορώνα (Korona) Ascend one note straight Note held discretionallyM Example 2 7&asoasoasos4&`M Η απόστροφοςj (Apostrophos) Descend one note straight Example 3 7&asossossossO7#~ajojjo Νη Πα Βου Γα Δι Κε Ζω Νη M Νη Ζω Κε Δι jjo Γα Βου jΠα j7Νη M& Example 4
7&aaoaaosaoaaosaoa Νη Πα Βου aos aoaaosaoaaojaoaaojaoa Γα Δι Γα Βου aojaoaaojaoaa Πα Νη oa7&M Example 5
7&aaosaosaosaosaosao Νη Νη Πα Πα Βου Βου Γα Γα Δι Δι Κε Κε s Ζω aosaO7#~aaojaojaojaojao Ζω Νη Νη M Νη Νη Ζω Ζω Κε Κε Δι Δι Γα Γα jaojΒου Βου Πα aoja7& Πα Νη Νη M 4 Theory and Practice
Example 6 7&asossosjojjoasossosjoj joasossosjojjoasossosao aO7#~ajojjojsosaosjojjojsosaM osjojjojsosaosjojjojsosaos jojjojsosaoj7&M
Τα κεντήματαx (Kentemata)- Ascend one note by dragging up
Example 7
7&aaoaxoaaoaxoaaoaxoa Νη Νη Νη Πα Πα Πα Πα Βου Γα ao
axoaaoaxoaaoaxoaaoaxo Δι Κε Ζω aO7#~aaoajoaaoajoaaoajoa Νη M Ζω Κε Δι
aoajoaaoajoaaoajoaaoaj Γα Βου Πα oa7& Νη M Example 8
7& axoasoaxoasoaxoasoaxo Νη Βου Γα Κε aoajoajoajoajoajoajoaj7& Νη M Ζω Κε Δι Γα Βου Πα Νη M
4 5 Theory and Practice
- Η υπορροή (Eporroe)- ' Η πεταστήS (Petaste)- Descend two notes consecutively: Each descending Ascend one note with note is one full beat. a slight vocal flutter ' or = = j + j Example 9
7&axosaojxosaojxosaojxos Πα Βου Πα Γα Δι Κε ao Ζω oΚε jxosaojxosaoaO7#~a'aoSjojaoS Ζω Νη Κε Δ ι Κ ε Γα Βου M
o oΒου oΠα o 'aos'aos'aoS'josaa Γα Βου Ζω ααααα 7&M Example 10 7&axosaoajojaO7&sxosaoajoj aO1!sxosaoa’'o aosxosaoa'o ’aO3# o sxosaoa'aosxoSjosaoaO7#~aM 'o’josaoaaoS’'josaoaaoso ’'joso aoaaoS'o’josaoaaos’'josaoao o aoS'’josaoa7&M Example 11 7&asoSsoj'o’aoSxoSxoj'o’aO1!sxos soj'o’aO2@Ssosxoj'o’aO3#S'o’aos'o’ao o S'’josaoa7&M 6 Theory and Practice
Characters that Add Duration
= + 1 Beat Το κλάσμα (Klasma) These symbols add duration i 8 = + 1 Beat Η απλή (Aple)- to the note on which they are = + 2 Beats Η διπλή(Deple)- - placed and on the last note of 9 - - 0 = + 3 Beats Η τριπλή (Treple)- - the Eporoe ( ' ) 8 Example 12
Νη Νη Νη - η Πα Πα Πα - α Βου Βου Βου - ου Γα 7&aaoauosaoauO1!saoauos
aoauosaoauoaaoj*oaaoj*O2@ Γα Γα - α Δι Δι Δι - ι Δι Δι Γα
aaoj*oaaoj*oaaoau7& example 13
7&auosuoSjoj*O7&suosuoSjoj*O1!suosuoSjoj** 2@suosuoSjoj*O3#suosuoSjoj*O4`&suosuosao auO7~#ajoajoauoauO5`!SjoajoauoauO4`&Sj oajoauoauO3#SjoajoauoauO2@Sjoajoauo auO1!Sjoajoauoj*osaoau7& Example 14
7&asosuoajoj*osxoSuoajoj*osxosuo o o a’'*O2@ssosuoa’'*’**oS’'*oS'*oS'*oaaoau7&o o o
7 Theory and Practice
Example 15 7&axos9josuO2@jxos9josuO3#jsos9josuO4&`
S'’(josuO3#S'’(josuO2@S'’(josuO1!S'’(josuO7&S'(jo suosaoajosu7&
Example 16
7&a9jos9xos9joj*oauO7&s9jos9xos9joj*oauO1! s9jos9xos9jojioauO2@s9jos9xos9jojioauO3# s9jojioauO2@s9jojioauO1!s9jojiojiosuoau7&
Example 17 7&aaoaaos0oaaoaaos0oaao
aaos0oj)oj)oj)7&
Example 18
7&asossojiojioj)O7&suosuO2@ asosso
jiojioj)O2@ajojjosuosuoj)7&
8 Theory and Practice
\ 8e = Rest for 1/2 beat Οι παύσεις (Rests) 8 = Rest for 1 beat Rests are symbols which tell \ us where to be silent while still 9 = Rest for 2 beats \ counting time. \ 0 = Rest for 3 beats Example 19 7&aaa\|saa\|saa\|saa\| saa\| aaj\| aaj\|aaj\|aa | j\ 7& Example 20 7&a\|s\|s\|s\|3#a\|j\|j\|j\|7&
Example 21
7&\|as\|s\| s \|3#ajj\|sjj\|7&
Example 22 7&\|a\|a\|s\|a\|s\|a\|j\|a\|j\|
a\|7& Example 23
7&auojxos \oauojxos\oauojxos\oauojxo s\oauojjos\auojjos\oauojjos\ auojjos\aaoau7&
8 9 Theory and Practice
Example 24 7&aao\|osao\|osao\|O2@sao\|osao \|O4`&ajo\|oajo\|oajo\|oajo\|oaao\|7&
Example 25 7&a\|jos\|sos\|joji\|os\|jos\|so s\|joji\|os\|jos\|sos\|joji\|os\|joji \|os\|joji\|oa\|josu\|7&
Example 26 7&a\||os\||os\||oj\||oj\||oj\||os\||7&
These symbols are placed between mu- Ο σταυρός' (Stavros) Το κόμμα (Comma) sical phrases for a brief breath. They ’ hold no quantitative value.
Example 27 7&axsa'’ jxsa’ ’ jxsa ’ jxsa’'j ’ xsa'’jssaa7~#ajjiM ’'jxau’'S’’'* jx au’ Sjji’'jxau'’S’’'*’ jxau'’ S'*’’ ’jxa'u’Sjji’ ’ jxau7&
10 Theory and Practice
What is Meter?
Until now we have practiced examples using 2-beat meter
Δίσημος (Desemos)- - Θέση Άρση Downbeat Upbeat
There is also a 3-beat meter called: Τρίσημος (Tresemos)- -
(3) (1) (2)
3 oaaao
There is also a 4-beat meter called: Τετράσημος (Tetrasemos)- (4)
(2) (3) (1)
4 oaaaao
* There is also απλός χρόνος (simple time) which holds the beat steadily like a metronome. This method does not distinguish between 2-beat, 3-beat or 4-beat meter.
11 Theory and Practice
Τρίσημος (Tresemos)- -
(3) (1) (2)
Example 28 3 3 3 3 7&oaaaosaaosaaojaaoja a7& Example 29 7&aaaosaaosaaosaaos aaojaaojaaojaaojaaoa97& Example 30 7&o\|aosuaosuaosuaosuaoj*aoj*ao j*aoj(o7& Example 31 7&assojssojssojssojsso jssoa9O7& ajjosjjosjjosjjosjjo sjjoa9o7& Example 32
7&asuosjiosjiojauossuosj*osj*ojau o ssuosj*osj*ojauossuosj*osj*ojauo sj*ojauosj*ojauosj*ojauoaj*osauo7&
12 Theory and Practice
Τετράσημος (Tetrasemos)- (4)
(2) (3) (1)
Example 33 4 4 7&aaaaosaaaosaaaos 4 4 4 4 aaaojaaaojaaaojaaao4 auauO7& Example 34
7&ausuosujiojijiosuauosusuosujiojijiosuauo susuosujiojijiosuauosujiojijiosujiosuauosu jiojijiiosujiosuauo7&
Example 35 7&a\||os\||os\||s\||os\||O4`&\|a\o\|j\ o\|j\o\|j\o\|j\oa0o7&
Example 36 7&auaaosuaaosuaaosuaaos auaojauaojauaojauaojauaoau auo7&
13 Theory and Practice
Synthesis of Characters
These characters are read from bottom to top, left to right and one note at a time. In other words, in the first example, the Olegon- is chanted before the Kentemata.- In the second example, the Ken- - temata- are chanted before the Olegon.- In the third example, the Eporroe- is chanted before the Kentemata- and the Olegon- acts as a neutral support (or stirigma)adding no quantitative value, and so on. In examples 3-8 the bottom character adds no quantitative value. Its purpose and placement is to add a slight qualitative emphasis to the character written above it.
1) Ολίγον + Κεντήματα - - v (Olegon) (Kentemata) = s + x 2) v
Κεντήματα + Ολίγον c = x + s (Kentemata)- (Olegon)- c 3)
Ολίγον, Απόστροφος + Κεντήματα = - - - s j + x (Olegon) (Apostrophos) (Kentemata) - (No value) 4)
Ολίγον, Υπορροή + Κεντήματα = + t (Nos value) x (Olegon)- (Eporoe)- (Kentemata)- t ' 5)
Ολίγον, Ίσον + Κεντήματα = + - - s a x _ (Olegon) (Eson) (Kentemata)- (No value) 6) _
Ολίγον με Ίσον = s 0 - - (No value) a 7) (Olegon) (Eson) 0
Πεταστή με Ίσον - - = S A (Petaste) (Eson) (No value) a 8) A
Πεταστή με Απόστροφο = J - (Petaste) (Apostropho) J (NoS value) j
14 Theory and Practice
Example 37 (2) (1) 7&auovojiovojiovojiovojioS'o’*oS'o’*oS'o’*oS'o’*7&
Example 38 (1) (3) (4)
7&acjoSjjaoscjoS'(2) ’aoscjoS'’ aoscjoS’'aoscaojcaoa (1) (3) Example 39 3 7&acojcojcojcojcojcojcoj(O7#~(2) aj joS’'oS'’oS'’oS'’oS'’oS'’os9O7& Example 40 7&_jiosusjosu-o-sjosu3#-ojisuo sjsuo--osjsuojjoAjsuo_ jjoAjsuo_jjoAjsuo_jjoAjsuO7& 15 Theory and Practice Example 41 4 4 4 7&aa0aosa0aosa0aos a0aosa0aO4`&aj)aoSjjaO1! sj)aoajsuO7& Example 42 7&acjoacjoacjoacjoacjoa caO7~#atoa'*O4`&stoa’'*O2@stoa’'*7&o s'*osjsuO7& Example 43 7&acuoAjjioO7&scuoAjjioscuoAjjiO2@ scuoAjjioscuoAjjiO4`&scuoajsuO7~# ajAjoAjsaO5`!SjAjoAjsaO4`&S jAjoAjsaO3#SjAjoAjsaO2@ \ SjAjoAjsuoj( 7& Example 44 7&acOcaauoJjJjosaauoacOc aauO5`!JjJjosaauO2@acOcaauO6~@ JjJjosaauO3#acOcaauO7~#A''M o’’jsu oS’'josjsuO2@S'’josjsuoS’'josjsu7& 16 Theory and Practice or k sC or d Το ελαφρόν (Elafron) Olegon- with Kentema- or PetasteD- Down two notes straight Up two notes straight Example 45 7&aψψψ d kuO7&s d kuO1!sdkuO2sdkuO3# SjsuO4`&akskoj(\O7& asCsCsos Example 46 7&axoSIokuoduojxoSuokuoduO3#jxoSuokuoduO4`& jxoSuokoduO5`!jxoSuokuoduO6~@jxoSIokuosCUO7~# ajojioduokuO5`!sjojioduokuO4`&sjojioduo kuO3#sjojioduokuO2@sjojioduokuO1!sjojio duokuO7&sjojioduokuO6^sjojioduokuosC aoau7& Example 47 7&\aoDjodjosCjoDjodjosCUO7~#ako skoskoskoskoskoskosu7& 17 Theory and Practice Example 48 7&asosuoajojioDkoDkoDjojiO7&sso suoajojioDkoDkoDjojiO1!ssosuoa8 ’'oo DkoDkoDjoj*O2@ssosuoajojioDkoD koDjojiO3#ssosuoajojiO4`&DkoDkos sosuO7~#akovokuoauO5`!skovokuoauO4`& skovokuoauO3#skovokuauO2@ skovokuoauO1!sjojjosuoau7& Example 49 7&aOckosOckosOckosOckosOc kosOcuO7~#ajojdojjojdoj'o’doj’'dojo ’'o doj’'dojo ’'doji7&o Example 50 7&adojjosdojjosdojjosdojjo sdojjosdojjosdojjosuO7~#akovM oj kovoj kovoj kovoj kovoj kovo j kovoji7& 18 Theory and Practice Example 51 7&auoDIojioduojioduojioDIojioduojiosCUO7~#auoku osuokuosuokuO3#suokuosuokuosuoku7& Elafron with Kentemata- = + p k x s = (No value) Example 52 7&auosCaojiosCaojiosCaojiosCaojio sCaojiosCaoauO7~#ajojioduopoajojiO4`& o o duopoa’'*oduopoa'*’O2@duopoajojiodu o opoajojioduopoa'*’osu7& Example 53 7&asosuovopoposuovopopo suovopoposuovopoposuovopo posuO7~# ajojio_oajojio_oajojio_o ajojio_oajojio_oajojioajosu7& 19 Theory and Practice Characters Ascending and Descending Ascending three notes Descending three notes l descent of 3 can also take the form of: for F = or L 7& afΝη Γα = aF 7~#alΝη´ Δι 1!afΠα Δι = aF 6~@alΖω´ Γα Βου Κε = 2@ af aF 5`!alΚε Βου Γα Ζω = 3# af´ aF 4`& alΔι Πα 4`& afΔι Νη´ = aF 3# alΓα Νη Four notes upwards Four notes downwards ; g or G 4`&a;Δι Νη = 7&agΝη Δι aG 7~# a;Νη´ Δι = 1! agΠα Κε aG 5`! a;Κε Πα = Βου Ζω´ 2@ ag aG 6~@ a;Ζω´ Βου = 3# agΓα Νη´ aG 3# aΓα ;Νη 20 Theory and Practice Example 54 7&aaossosuoluofaoauO3#aaoaj ojjofIoluO7&saossosuoluofaoauO4`& aaojjojiofIoluO1!saossosuoluof aoauO5`!aaojjojioFIoluO2@saossosuo luofaoauO6~@aaojjojiofIoluO3#saos sosuoluofaoauO7&ajojjofIoluO4`&djoj jofIolu3#DjojjofIoluO2@djojjofIoluO1!D jojjofIoluoaaoau7& Example 55 7&aaovoaxoauO3#lfoauoluofIokuo vo_oauolfoauoluofIO4`&kuovo_oauo lfoauoluofIO5`!kuovo_oauolfoauoluo fIO6~@kuovo_oauolfoauoluofIoaao auO7~#ajojjofIoluoajoFIoluO3#a’jofIoluo sjojaofIoluΟΟO1!DjojjoFIoluoa9\7& 21 Theory and Practice Example 56 7&auofIoluofIokuofIoluofIokuofIoluofoI koufoIloufIokuofIoluofaoau\||O7~#auoluo duoluoduoluoduoluoduolouduoluosu\||7& Example 57 7&\aofkofkofkofkofIO7~#\aol doldoldoldolaoau7& s d f x c v Up 5 notes Up 6 notes Up 7 notes Down 5 notes Down 6 notes Down 7 notes Example 58 7&\aosjodkoflog;osxodcof voauO7&\fo-okdolfo;goxsoc dovfoau7~# 22 Theory and Practice Characters that divide duration Γοργόν (Gorgon) Divide beat 1/2 e Δίγοργον (Degorgon)- Divide beat 1/3 - t Τρίγοργον (Tregorgon) Divide beat 1/4 y aae = a = aa2a a = aaSee top6aa of page 53 for more detaila Example 59 (1/2) (1/2) (1/2) (1/2) 7&aaeaaeosaeaaeosaeaaeos aeaaeosaeaaeojaeaaeojaeaao jaeaaeojaeaaeoau7& Example 60 (1/2) (1/2) (1/2) (1/2) 7&aaesaeosaesaeosaesaeos aesaeoauO7~#jaejaeojaejaeojaejaeoj aeaaeoau7& Example 61 (1/2) (1/2) (1/2) (1/2) 7&asesseossesseoaaejaeojaej aeojaejaeojaejaeoau7& 23 Theory and Practice Example 62 (1/2) (1 beat) (1/2) 7&asaeojiO7&ssaeojiO1!ssaeojiO2@ ssaeojiO3#ssaeojiO4`&sjaeojiO3#jsaeo jiO2@sjaeojiO1!jsaeoji7& example 63 (1/2) (1/2) (1 beat) 7&saejosuO1!saejosuO2@saejosuO3# s aejosuO4`&sjrjoauO3#sjrjoauO2@sjrjoauO1! sjrjoau7& Example 64 (1/2) (1 beat) (1/2) (1/2) 7&acejioscejioscejioscejOi7~#_rjjio(1/2) (1 beat )(1/2) _rjjio_rjjioa:jios:au7&(1/2) (1/2) Example 65 (1 beat ) (1 beat )(1/2) (1/2) (1/2) 7&aVjiosVjiosVjiosVjiO7~#a:ce(1/2) (1/2) aoj:cejoa:ceaoj:ceaO4`&a::a7& Example 66 (1 -1/2) (1/2) 7&auaeosuaeosuaeosuaeosuaeojiaeoji aeojiaeojiaeoau7& 24 Theory and Practice Example 67 (1/2) (1 -1/2) 7&auseosuseosuseosudeojiO7~#aujrojijrojijroji seoku7& (1/2) (1 -1/2) (1/2) Example 68 (1/2) 7&du:*osu:*ossossosuO4`&jjr*oVjosuoS(2 beats) (1 beat) jr*oajr*oajr*oau:*osu:*os9\7& (1) (3) (3) (2) Example 69 (2 -1/2) (1/2) 3 7&a9seos9seos9aeoj(jroj(aeoj(7& (1) (4) (4) (2) (3) Example 70 (3 -1/2) (1/2) 4 7&a0seos0seos0jroj)jroj)7& ΣΥΝΕΧΕΣ ΕΛΑΦΡΟΝ (CONTINUOUS ELAFRON) ah = ajj or TheContinuous Elafron descends two notes with Gorgon. a = a The Gorgon is invisibly placed above the Elafron cutting the time of H ojJr the preceding Apostrophos in half. The Continuous Elafron often -ap pears like an Apostrophos glued to an Elafron. P o= j j r x Example 71 (1 beat) (1/2) (1/2) 7&asCoshO1!ssoshO2@ssosh 3&ssoshoauO4`&shO3#shO2@shO1!o shoau7& 25 Theory and Practice Example 72 7&shShoscesejaO1!sxRssho shShofjjrjjraoahcea7& Example 73 7&asosuoAjojiO7&ssosuoAjojiO1!sso suoAjojiO2@ssosuoAjojiO3#sjosuO4`&Aj housjojioAjosu7& Example 74 (1/3) (1/3) (1/3) (1/3) (1/3) (1/3) 7&aa2 aaa2 aosa2 aaa2 a o sa2 aaa2 aosa2 aaa2 a o sa2 aaa2 aoja2 aaa2 a o ja2a aa2ao ja2a aa2ao ja2a aa2a7& Example 75 (1/3) (1/3) (1/3) (1 beat ) 7&aa2 asosa2 asosa2 aso sa2asO7~# aa2ajo ja2ajo ja2ajo ja2aj7& Example 76 (1 beat) (1/3) (1/3) (1/3) 7&aaa2sosaa2sosaa2joa aa2joa aa2joa aa2joau7& 26 Theory and Practice Example 77 (1/4) (1/4) (1/4) (1/4) (1/4) (1/4) (1/4) (1/4) 7&aa6 aasa6 aaosa6 a a sa6aaosa6aaaa6aaO4`&j a6 aaja6aaoja6aaj a6aaoau7& Example 78 (1/4) (1/4) (1/4) (1/4) (1 beat ) 7&aa6aasosa6aasosa6a (1 beat ) asosa6aasO7~#aM rjsosrjso srjso srjso srjso srjsoau7& Example 79 (1 beat) (1/4) (1/4) (1/4) (1/4) 7&aaa6asosaa6asosaa6 asosaa6asoauO7~#aaa6ajoj aa6ajojaa6ajojaa6ajoau7& Characters that add and divide duration Αργόν (Argon) These characters work like a Gorgon, but they also add duration on the final w Δίαργον (Deargon)- note affected. The Argon adds one - W - beat, the Deargon adds two beats and Τρίαργον (Treargon) the Treargon- adds three beats. q = These examples show how the Argon or Deargon- will be a c w ax se i used in a musical text. The phrases are read from a c W = ax se 9 left to right and bottom to top. 27 Theory and Practice (3) (1) Example 80 (2) 3 (2 beats) (1) 7&acwojcwojcwojcwojcwojcwO7~#(1/2) (1/2) (1) (4) (3) (2 beats) 4 Example 81 (1 beat) (1/2) 7&ααααjξjcwoajcwojscwokscwokscwoj(2) (1/2) (2) jhuoSjjrau7& Example 82 4 7&acwjoscwwaof:*joD:*;og:*jofl jfojjjjoajcw(4) 7& (2) (3) Example 83 (3 beats) 4 (1/2) 7&acWojcWojcWoj:*kojcW7&(1/2) (1) (4) (2) (3) Example 84 (4 beats) 4 (1/2) 7&assaOc(1/2) qO4`&jjjaOcqO3#jjjjOcqO1!a jjjOcO7&q Qualitative Characters x ? \ / , m Η βαρεία Το ψηφιστόν Το υφέν Το ομαλόν Το αντικένωμα Ο σύνδεσμος ------(Varea) (Psefeston) (Efen) (Omalon) (Antekenoma) (Sendesmos) These characters are subject to interpretation and are best learned through hearing them chanted and imitation. (See character chart for more detail) 28 Theory and Practice Example 85 7&ajsao\sjsao\sjsao\sj sao\sjsaO4`&\aj\ajo\sjjao \sjjso\jjsa7& Example 86 7&assaos/jjaosssaod/jjiO4`& s/jjos/jjos/jjos/jjos/jhsos9\7& Example 87 7&aa,os Example 88 7&gsmojiojsmojiojsmojiojjosuO1!gsmojios sosuO1!~jjojioasmojjojios ?ojjojjos smojjojiO1!sjo\jjosu7& 29 Theory and Practice Example 89 7&asmojsCosCUO4`&ssmejojjoDjojsmejoj ae9\O2@suossmojjhuO1!f;ossmejoja,o au7& Example 90 4 7&am8jroVjosm8jroVjosudeojM*jroVCkojae9\ O2@Zjrojiosm8jrojiojsmoji7& Example 91 7&aa?ofa?ojFojiO4`&;Soja?ossosuO7#~ kdo;a?osloaa?oja?osjrs?oja?o au7& This character retains a slightly longer . n duration on the side of the Gorgon it is Το παρεστιγμένονe Sharp & Flat placed, thereby subtracting a bit from Parestegmenon- A flat lowers the tone by halft a step and the opposite side. a sharp raises the tone by half a step. Example 92 7&ajnossosuoDjosuO4`&sbsosuO7#~a jyojioastokuO4`&d/tjojiostjojniosjnosuO4`&j jojiO1!asosstosjotjjojiO1!jsbosuO2@ jsokuO7&Vn -rb okuO7&sOzjroaub ' ’rsmejoau7& 30 Theory and Practice Example 93 (1/3) (2/3) 4 oooo~ooo 4 o `o oO& Example 94 ø 4 ø\oooooooos0O4`& ooooooooom8ooo Example 96 3 3 CossoooO7#~wowo 4 o 4 wowowooo ooo 31 Theory and Practice Example 97 3 ooooosO7#~o o\oooo7& Example 98 3 4 oos<oO7#~ooo 3 3 ooooo7& 4 Example 99 ceoos<oO#~oo 3 3 ooooovooo 3 4 oooo7& Example 100 (1/3) (2/3) (2/3) co(1/3) ``o`oO7#~wowowo 3 wowojo7& Example 101 (1/3) (1/3) (2/3) (2/3) o`~VosuO4`&11o1 o~o7& 32 Theory and Practice Example 102 oooO3#oO6@~o sCoosCUO7#~ooouoo oo Example 103 4 ~~o~~o~^ooo ooooon Example 104 sCosCooooouo oooosCosIoo\no Example 105 o3 oooo oouO7#~oo -o o\ o Example 106 oooRo\oO4`&o 3 3 Io4 os<ossO7#~oEoro o\=\=oji7& 33 Theory and Practice Example 107 3o3o3o su Fthores Diatonic Fthores f h k νη d πα φ βου g γα δι jκε ζω΄ l νη΄; Chromatic Fthores w πα 1δι δι4 νη´ 3 Enharmonic Fthores o o o ζω΄ βου γα 34 Chanting with Melos Απηχήματα (Apehemata)- - The Apehema- - is an introductory musical phrase that provides the chanter a brief opportunity to grasp the sound of a particular mode before beginning to chant. First Mode Second Mode Third Mode ` ! ` @ ` # 4`%auνε 3#lf93# 1!jisα να Eau1!νες να να 2`%assu4`%νε α νες 3#lfau3#να α να 2`%asVj(4`%νε α νε ες Plagal of the First Mode Plagal of the Second Mode Grave Mode ` ~ ! ` ~ @ ` 5 1!adu/jiji1! 1%auνε 3#auνα α νε α νες o 1%axss94$νε ε να νω 3#am8jrs93#α α νες 5`!jixrau5`!νε ε ε 1%axv/ jjji1% 1!ax\jjji6^νε ε α α νες νε ε χε α α νες Fourth Mode Plagal of the Fourth Mode ` $ ` ~ $ 4`&ajji2@λε γε τος 7&afνε ε 3&D 1!aνε u 7&avkau7νε α γι ε & 4`&auaα γι Eau4α `& 7&asxSIjr\au:smejau7&νε α α α α γι ι ι ι ε 35 Chanting with Melos Doxology Verses in Each Mode ` !&[ 1!Gjajos/jjsosuoSjaaoj: Δο ξα σοι τω δει ξαν τι το φως δο ξα εν υ ψι sso στοις Θε 3 4 su4`&loaaoFjVjojijsos/jojjvok91!ω και ε πι γης ει ρη η νη εν αν θρω ποις ευ δο κι α 1!fo\sa,jjoajossauO4`&jsoSj Υ μνου ου μεν σε ευ λο γου μεν σε προ σκυ νου μενaj σε δο 3 oajsCaoaulossosajiO3#aajs ξο λο γου μεν σε ευ χα ρι στου μεν σοι δι α την με oSIjhovku1! α λην σου δο ξαν `@+ 4`%vC/jjojjsuoasod/jjjo\ Κυ ρι ε Βα σι λευ ε που ρα νι ε Θε sa,oJjj ε ε Πα τερ παν aoaceauO4`%Fjajos/jjjosuasoS το κρα α τορ Κυ ρι ε Υι ε μο νο γε νες Ι η σου jAjoa/jjaoaceau4`%Χρι στε και α α γι ον Πνε ευ μα 3 4`%vC/jjojjosuoasosajos Κυ ρι ε ο Θε ος ο αμ νος του Θε ου jjoAIOhο Υι ος του 3 sssovjaojsos/jjo-r\ajraao Πα τρος ο αι ρων την α μαρ τι αν του κο ο ο σμου ε 3 JhossssoVjhaoaaoa/jjo λε η σον η μας ο αι αι ρων τας α μαρ τι ας του aceau4`% κο ο σμου 36 Chanting with Melos Doxology Verses in Each Mode `#9\ t n 8 3#f/jjaoa/jj Προ σδεξαι την δε η σινsovasos/jjjosso η μων ο κα θη με νος εκ δε ξι n SIjhosu5`!jaos/jjj ων του Πα τρος και ε λε η σον ηsu3# μας 3 3#DjaoAIoksossa Ο τι συ ει μο νος Α γι ος 8sov/ συ ει ojhoS μο νος Κυ ksuoasoSkoSjo\sjrs?jjos/ ρι ος Ι η σους Χρι στος εις δο ο ο ξαν Θε ου n jojjΠα τρος αosu3# μην `$ ^h 3@% 2@asovjaoAjssos/t Καθ ε κα στην η με ραν ευ λο γη jjioasod/jσω σε και αι νε ε t t jjodt/j\ja,ojjssovkuO4`&aajsos/σω το ο νο μα α σου εις τον αι ω να και εις τον αι ω jjjoVjji2@να του α ω ω νος t 2@sCsod/jjtjod/tjjaoahssoVjj Κα τα ξι ι ω σον Κυ ρι ε εν τη η με ρα τα αυ τη aojsoSjoajov/jjoaji2@ α να μαρ τη τους φυ λα χθη ναι η μα ας 37 Chanting with Melos Doxology Verses in Each Mode `~13 [g{ 3 f 5`!jos Ευ λο ssaoSjaoaaos/jjoVjh γη τος ει Κυ ρι ε ο Θε ος των Πα τε ε ρων 3 sosu7#~lossos_r?jjojsoaxaao η μων και αι νε το ον και δε δο ξα σμε ε νον το F Skaxoaajjov/jjoau5`! ο νο μα α σου εις τους αι ω νας Α μην 3 GIjjoSkssos/jjjojsosu7#~aos/ Γε νοι το Κυ ρι ε το ε λε ος σου εφ η μας καθ α jho\sjrsasmojjoau5`!, περ ηλ πι ι ι σα μεν ε πι σε `~21% f$ 1%Fojsov\ajos/jjxoSkVjojjjso Ευ λο γη τος ει ει Κυ ρι ε ε δι δα ξο ον με τα δι και s/jjioji1% ω μα τα σου 3 k R 1%Gjajojsosas Κυ ρι ε κα τα φυ γη ε γε od/jjtj νη η θης η od/jjjoj μιν εν γε νε α j και ssosujsovjios/jjsoSkVjojio γε νε α ε γω ει πα Κυ ρι ε ε λε η σο ον με 3 d/jjojsoVjj:osCaoa/j-oku1% ι α σαι την ψυ χη η μου ο τι η μαρ τον σοι 38 Chanting with Melos Doxology Verses in Each Mode `5(\ 3#f/)jjaoSjoVjjaojjo_!ahuO1!s Κυ ρι ε προς σε κα τε ε φυ γον δι δα ξο ον με του sossoSkVjojiO4`&jjjosakosce ποι ειν το θε λη μα α σου ο τι συ ει ο θε ο ο au3 μου # 3 3 f/)jjaoa/jjsosu4`&lossosajod/ Ο τι πα ρα σοι πη γη ζω ης εν τω φω τι σου ο ψο jjjosu3# ο με θα φως `~46pc 7&goFIjjtjroasoSkVjojit t kaos/j- Πα ρα τει ει νον το ε λε ο ος σου τοις γι νω σκου σι oku7& σε 7&a/jjojsosO4`&_jjojsosO4&`aaa Α γι ος ο Θε ος Α γι ος Ι σχυ ρος Α γι ος jod/hοοοj jodajjoji7& α θα α να τος ε λε η σον η μας 39 A Synoptic Theory Chart & Reference Tones in the diatonic scale Definition of Terms WHAT IS A Mode? A Mode (Ο Ήχος) is the sound created by a melody in a particular scale. Each mode is defined by me- lodic phrases developed around a group of notes. This melodic configuration gives each mode its own acoustic character, making it unique among the other modes. In Byzantine music there are eight modes: four authentic and four plagal modes. Example: First Mode (authentic)Plagal of the First Mode (plagal). WHAT IS A SCALE? A Scale (Η Κλίμακα) consists of eight notes (Νη, Πα, Βου, Γα, Δι, Κε, Ζω´, Νη´) completing one octave (meaning eight in Latin). The sound of the scale is determined by the number of microtones in between notes, called μόρια (moria). Thus in Byzantine music there are three groups of scales: the Diatonic, the Chro- matic and the Enharmonic. These three groups have their own symbols which identify them, called φθορές (fthores). WHAT IS A BASE NOTE? The Base Note (Η Βάση) is the first note of a scale and the note to which the melody generally returns. The base note gives the overall quality of sound and support to the mode. For this reason, the Ίσον (drone) is commonly chanted on the base note, since it is the base of the mode. WHAT ARE STRUCTURAL NOTES? The Structural Notes (Οι Δεσπόζοντες Φθόγγοι) function as the backbone of the scale in a mode. These notes are what determine the melody of a mode, providing musical phrases and unique characteristics to each mode. WHAT ARE ENDING PHRASES? (unfinished, paused, complete and final) There are four types of Ending Phrases: (ατελείς, εντελείς, τελικές και οριστικές). Looking at a hymn, one will notice commas, heightened commas (a breath mark), and periods. Ending phrases represent these punctuation marks in a musical format. - WHAT IS (PARALLAGE)? Parallage- (Η Παραλλαγή) is what we call in western music Solfege. It is a sort of musical exercise, chanting a hymn note by note before applying the Μέλος (melos - words in melody). There is a saying among chanting teachers: “Practice Parallage- 100 times and melos once.” Practicing this technique is the secret to learning Byzantine music. WHAT IS A TETRACHORD? The Tetrachord (Το Τετράχορδο) translated from Greek means four-chords or notes. Each mode is comprised of eight notes with two equal parts adding up to 72 total moria. A tetrachord is one part of the mode and is equivalent to its opposite tetrachord. (see pyramid diagram on pg. 2) WHAT IS A Disjunctive Tone? The Disjunctive Tone (Ο Διαζευκτικός Τόνος), separates the lower tetrachord from the upper tetra- chord. This note is actually a distance/interval (sum of 12 moria between two notes). 40 A Synoptic Theory Chart & Reference Tones in the diatonic scale \ g``]1 Ζω is commonly Flat First Mode when ascending up to it or descending from it. This action is indicated 1´!῎ with the Flat symbol. 12 φf Ζω is otherwise natural. ΄ & y Upper 8 ςσδη7;´ Tetrachord ´ Three Melodic Styles of Chanting 10 6l @ 5k Heirmologic Melody 12 (Disjunctive Tone) This is the fastest melody of the three. One 7 to two beats per each syllable. 4j ς 12 6 Sticheraric Melody # This is the medium paced melody. These Lower 8 3h hymns are preceded by verses. Syllables are Tetrachord 2@™™ drawn out and the unfinished endings vary. 10 g 1φf ! (Base Note) Papadic Melody 12 This is the slowest of the three melodies. ΄ The Cherubic hymn belongs to this group. \ ςσδη7d & ! f g``]-ς[φ First Mode Base Note: First mode has (Πα) as its base note and belongs to the diatonic scale. If the melody enters the upper tetra- chord the base note becomes (Κε). Thus the base note is always the first note of the tetrachord and is deter- mined by the direction of the melody. Structural Notes: The structural notes in first mode heirmologic melody (fast melody) are (Πα) and (Δι); sticheraric melody (Πα) and (Γα); papadic melody (Πα) and (Γα). Ending Notes: Paused endings or unfinished endings in the heirmologic melody are chanted on the note (Δι) and complete endings are chanted on the note (Πα) the base note. In the sticheraric melody unfinished endings are chanted on the note (Γα) and complete endings on (Πα). In the papadic melody unfinished endings are on (Πα) (Γα) (Δι) and (Κε) and complete endings on (Πα). 41 A Synoptic Theory Chart & Reference Tones in the diatonic scale \ g``]~ 1 Plagal of the First Mode ´! 12 1φf ῎ ςσδη1!΄ Upper 8 ςσδη7΄ ;´& Tetrachord ´ Η Μαρτυρία (Marterea)- - 10 6l @ This symbol indicates a particular note and scale. This marterea- - tells us that the note is 5k Πα (lower tetrachord) of the diatonic scale. 12 7 (Disjunctive Tone) 4 12 j ς Η Φθορά (Fthora)φf 6 This symbol belongs to a particular note and 3h # scale. At times it can be placed on another Lower 8 note yet it retains its name and identity. This Tetrachord ™™ fthora belongs to Πα (lower tetrachord) of the 10 2g @ diatonic scale. See page (34) for other fthores (Base Note) φf ! and their corresponding notes. 12 1 \ ςσδη7΄ d & g``]~7 [ Plagal of the First Mode Base Note: Plagal of the first mode sticheraric melody has (Πα) as its base note and belongs to the diatonic scale. Heirmo- logic melody has (Κε) as its base note. This melody assumes the diatonic symbol πα even though it is chanted from (Κε). φf Structural Notes: The structural notes in the sticheraric melody are (Πα) (Δι) and (Κε); heirmologic melody (Κε) and (Nη´); papadic melody (Πα) (Δι) and (Κε). Ending Notes: Unfinished endings in the heirmologic melody are chanted on (Nη´) and complete endings are chanted on the note (Κε) the base note. In the sticheraric melody unfinished endings are chanted on the notes (Δι) and (Κε); rested endings on (Πα) and complete endings on (Δι). Unfinished endings in the papadic melody are (Πα) (Δι) and (Κε) and complete endings are chanted on (Πα). 42 A Synoptic Theory Chart & Reference Tones in the diatonic scale \ Άγια (Agia) g``]4 Ζω is flat when ascending up to it or descending from Fourth Mode it. In Agia when the melody stays around Ζω, the note Κε takes a sharp symbol while Ζω remains natural until the melodic line descends. Πα also takes a sharp 1f´!῎ symbol when it is ascending up to Βου. Πα is chanted 12 φ in its natural place otherwise. ΄ ´& Upper 8 ςσδη7; Tetrachord 6´@ Heirmologic Melody k βουg 10 l k This melody is characteristic of its complete 12 5 endings on (Βου) and is named (λέγετος). 7 (Disjunctive Tone) legetos 4 Sticheraric Melody πα f 12 j ς 6-ς φ 6 The base note alternates between Πα and 3h # Βου. The drone follows this same pattern. Lower 8 Tetrachord 2@™™ g Papadic Melody δι j 10 (Base Note) ς φf ! - 1 In Agia the note Γα is often attracted6 to Δι 12 while ascending. In many cases this is indi- \ ςσδη7΄ d & cated by a sharp symbol placed on (Γα). g``6]-ς P Fourth Mode Base Note: Fourth mode sticheraric melody has (Πα) as its base note; heirmologic melody has (Βου) as its base note and papadic melody has (Δι) as its base note. Structural Notes: The structural notes in the sticheraric melody are (Πα) (Βου) and (Δι); heirmologic melody (Βου) and (Δι); papadic melody (Δι) (Βου) and (Ζω´). Ending Notes: Unfinished endings in the heirmologic melody are chanted on (Δι) and (Πα); complete endings are always chanted on (Βου) the base note. In the sticheraric melody unfinished endings are chanted on (Δι) (Πα) and complete endings on (Βου). In the papadic melody unfinished endings are chanted on (Βου) (Ζω´) and com- plete endings are on (Δι) the base note. 43 A Synoptic Theory Chart & Reference Tones in the diatonic scale \ g``]~ 4 Plagal of the Fourth Mode Triphone System 3& d 8 ςσδη7΄ ;´& This melody sounds very much like the ´ enharmonic grave mode except the melodic Upper 10 6l @ lines are different. The Supplication service, Tetrachord katavasies for the Holy Cross, and the apoli- 5k tika are chanted in the triphone system. 12 7 ΄ 4 ςσδη7j´ς j ς (Disjunctive Tone) 12 6 12 6 6´# 3# h 8 h 8 5@™™ 2@™™ g Lower 10 g 10 Tetrachord Δ 1φf ! φf ! 12 12 ΄ (Base Note) \ ςσδη7d & 3d & g``]~6p Plagal of the Fourth Mode Base Note: Plagal of the fourth mode has (Νη) as its base note. If the triphone system is applied the base note becomes (Γα) and the diatonic fthora of (Νη) is placed on (Γα) 3 . d d& Structural Notes: The structural notes in the sticheraric, heirmologic and papadic melodies are (Νη) (Βου) and (Δι).The struc- tural notes in the triphone system are (Γα) (Νη) and (Πα). Ending Notes: Unfinished endings in the heirmologic, sticheraric and papadic melodies are chanted on (Βου) and (Δι); com- plete endings for these melodies are chanted on (Νη) the base note. In the triphone system unfinished endings are chanted on the note (Δι) and complete endings on (Γα) the base note. f d 44 A Synoptic Theory Chart & Reference Tones in the diatonic scale \ g`(Διατονικός)`5] Grave Mode Diatonic 6´@ 10 l The Forms of Grave Mode 5k Tetraphonic, Pentaphonic and Heptaphonic Upper 12 7 Tetrachord j The attractions between structural notes and 4ς non-structural notes depend on the movement 8 6 and form of the melody. For example, in the up- 3h # per tetrachord when the melody moves around 12 (Disjunctive Tone) (Ζω’), the note (Κε) receives a sharp symbol. @™™ Most forms of grave mode chant the distance 2 between (Βου) and (Γα) with 12 moria. How- 10 g ever, if the melody enters the pentaphonic grave 1! mode the microtonal intervals of first mode are Lower φf 12 applied throughout (i.e the protovarys penta- Tetrachord ςσδη7΄ d & phonic Doxology of Manuel the Protopsaltis, 8 Anastasimatarion of Petros the Peloponnesian). 6l ^ (Base Note) \ ^ g``]` } l Grave Mode Diatonic Base Note: Grave mode in the diatonic scale has (Ζω) as its base note. Structural Notes: The structural notes are (Ζω) (Δι)(Γα) and (Πα). Ending Notes: Unfinished endings are chanted on (Δι) and (Γα); paused endings are chanted on (Πα) and (Ζω); complete endings are chanted on (Ζω). 45 A Synoptic Theory Chart & Reference Tones in the Chromatic scale \ g``]2 Second Mode ςσδη7΄ ´ 8 3 Upper 6x´` Heirmologic Melody Tetrachord 14 5 βου 1 8 3 This melody is chanted with the fthora 4x` of (πα) in the hard chromatic scale. Vice versa this system is also used in the heir- 12 (Disjunctive Tone) 3 mologic plagal of the second melody with 8 3 the use of the soft chromatic scale. Lower 2x` βου c Tetrachord 14 2 8 1 ΄ x 3 (Base Note) \ ςσδη7` g``]cx` P 2 Second Mode Base Note: Second mode sticheraric melody has (Δι) as its base note and belongs to the soft chromatic scale; heirmologic melody has (Βου) as its base note. Βου assumes the hard chromatic fthora of . πα 1 Structural Notes: The structural notes in the sticheraric melody are (Δι) (Βου) and (Ζω´); heirmologic melody (Δι) and (Πα) when using the fthora of on Βου; papadic melody (Βου) (Δι) and (Ζω´). πα 1 Ending Notes: In the sticheraric melody unfinished endings are chanted on the notes (Ζω´) and (Βου) and complete endings on (Δι). Unfinished endings in the heirmologic melody are chanted on (Πα) and (Δι) and complete endings are chanted on (Πα) the base note when using the fthora of on Βου. πα 1 46 A Synoptic Theory Chart & Reference Tones in the Chromatic scale \ g``]~ 2 Plagal of the Second Mode r Οι Χρόες 4 1´῎ (Chroes) ςσδη7΄ ´x Upper - Tetrachord 20 Ο ζυγός (Zegos) is commonly placed on (Δι) and wants (Γα) sharp,9 (Βου) in its 6´r place and (Πα) sharp. 6 5x 12 (Disjunctive Tone) Tο κλιτόν (Kleton)- is - placed on (Δι) r and wants (Γα) and (Βου) sharp. 4 4 3x Lower Η σπάθη (Spathe)- is commonly placed 20 ` Tetrachord on (Κε) or (Γα). It wants the above note 2 r flat and the below note sharp. 6 \ 1x (Base Note) x g``~][` 1 Plagal of the Second Mode Base Note: Plagal of the second mode sticheraric melody has (Πα) as its base note and belongs to the hard chromatic scale. The heirmologic melody uses the soft chromatic scale and has (Πα) as its base note. When this system is ap- plied, the soft chromatic fthora of is placed on Πα making Βου the base note. βου 2 Structural Notes: The structural notes in the sticheraric melody are (Πα) (Δι) and (Κε); heirmologic melody (Βου) and (Δι) as described above; papadic melody (Πα) (Δι) and (Κε). Ending Notes: In the sticheraric and papadic melody unfinished endings are chanted on (Δι) and (Κε), paused endings on (Πα) and complete endings are chanted on (Πα). Unfinished endings in the heirmologic melody are chanted on (Δι), paused endings on (Βου) and complete endings are chanted on (Βου) βου .2 47 A Synoptic Theory Chart & Reference Tones in the Enharmonic scale \ g``]3 Third Mode ς 3#´ 6 Fthores Found in Third Tone 2´@ u Upper 12 Tetrachord 5 1´!῎ This Fthora is placed on (Κε) and it wants 12 ς (Ζω) continuously flat. ςσδη7΄ ´# y ς [ 12 o (Disjunctive Tone) 6´# 3 ῀ς 6 This Fthora is placed on (Γα) wants (Βου)῏ρb 5 continuously sharp. 12 7 Lower 4 o Tetrachord ς 12 6 6 This Fthora is placed on (Ζω) and wants it (Base Note) y \ 3# continuously flat. g``9]\ Third Mode Base Note: Third mode has (Γα) as its base note for the sticheraric, heirmologic and papadic melodies. The papadic melo- dy places the diatonic fthora of (Νη) Con (Γα) the base note. Structural Notes: The structural notes for the sticheraric, heirmologic and papadic melodies are (Γα) (Κε) and (Πα). Ending Notes: Unfinished endings for the sticheraric, heirmologic and papadic melodies are chanted on (Κε) and (Πα); com- plete endings are chanted on the base note (Γα). 48 A Synoptic Theory Chart & Reference Tones in the Enharmonic scale \ g``]5 Grave Mode ς o 6#´ 6 o 5 6´# Upper 12 7 Tetrachord 4 Ζω is the note that gives the most character to this tone.With its continuous flat and 12 6ς o melodic phrases, Grave Tone enharmonic 3# provides a very festive and joyous sound. Paradoxically, the name of the tone gives 12 o (Disjunctive Tone) the connotation of death and the tomb. 2@™™ However, the content of the tone, its 6 hymnography, more than often highlight 1!῎ Christ’s ‘triumph’ over death and the 12 ‘emptying’ of the tomb, professing the truth Lower of the Resurrection in Orthodox faith and Tetrachord ςσδη7΄ & worship. 12 ς 6# (Base Note) \ ^ g``]` \ Grave Mode Base Note: Grave mode has (Γα) as its base note. Structural Notes: o The structural notes for both the sticheraric and heirmologic melodies are (Γα)(Δι) and (Ζω). Ending Notes: Unfinished endings for both the sticheraric and heirmologic melodies are chanted on (Δι); complete endings are chanted on the base note (Γα). * Some musical compositions use the heptaphonic enharmonic grave mode system, such as the famous Doxol- ogy of Chourmouzios. 49 Character Chart Character Name Description - a Ίσον (Eson) Keep same pitch as previous A note Characters Ascending One Note - s Ολίγον (Olegon) Ascend one note straight - S Πεταστή (Petaste) Ascend with vocal flutter Κεντήματα (Kentemata)- Ascend by dragging note up x Characters Ascending Two Notes Κέντημα (Kentema)- C Ascend two notes straight d Ascend two notes straight Ascend two notes straight and with a vocal flutter D sC Ascend two notes straight Characters Ascending Three Notes Ascend three notes straight or ascend three notes straight or f F with a vocal flutter Characters Ascending Four Notes Υψηλή (Ipsele)- - Ascend four notes straight or or g G ascend four notes straight with a vocal flutter Characters Ascending Five Notes Ascend five notes straight or ascend five notes straight with or s S a vocal flutter 50 Character Chart Character Name Description - Same value; the Olegon- works as Το ίσον (Εson) 0 a table (no quantitative value) Characters Ascending Six Notes Ascend six notes straight or ascend six notes straight with a d or D vocal flutter Characters Ascending Seven & Eight Notes Ascend seven notes straight or ascend seven notes straight with a vocal flutter f or F Ascend eight notes straight or ascend eight notes straight g or G with a vocal flutter Characters Descending One Note Η aπόστροφος (Apostrophos) Descend straight or with flutter j or J Characters Descending Two Notes or Το ελαφρόν (Elafron) Descend straight or with flutter k K Characters Descending Three Notes or Descend straight or with flutter l L Characters Descending Four or More Notes - - or Η χαμηλή (Hamele) Descend straight or with flutter ; ;S // // x c v Descend 5 notes // Descend 6 notes // Descend 7 notes 51 Character Chart Character Name Description - Η απόστροφος (Apostrophos) Same value; the Olegon works as ) - = Το ελαφρόν (Elafron) a table (no quantitative value) Combined Characters ' or = = j + j Combined characters are read either left to right, or bot- + = a + tom to top, depending on their construction. In these three j cases we read the characters left to right. = + - j x These characters are read bottom to top, one note at a time. = + c x s In other words, in the first example, the Kentemata- are read - before the Olegon.- In the second example, we read the Ep- = + a g x sele- - before the Kentemata- and so on. As stated above, the Olegon- acts as a table adding no quantitative value. = + A s x Characters Adding Duration (Time) = + 1 Beat Το κλάσμα (Klasma) These characters add duration i 8 = + 1 Beat Η απλή (Aple)- to the note on which they are 9 = + 2 Beats Η διπλή (Deple)- - placed in addition to the beat 0 = + 3 Beats Η τριπλή (Treple)- - of the note. = + z x si This example reads bottom to top. The Aple- is Qualitative symbol; adds no added to the Olegon- duration Characters Dividing Duration Γοργόν (Gorgon) Divide beat 1/2 e Δίγοργον (Degorgon)- Divide beat 1/3 t Τρίγοργον (Tregorgon)- Divide beat 1/4 y 52 Character Chart Character Name Description TheGorgon affects two notes: the note it is on and the one preceding = a1/2oa1/2r a it. 1/2 - 1/2 = TheDegorgon affects three notes: the note it is on and both notes on V os xr either side of it. = TheTregorgon - affects four notes: the note it is on, the one preceding a a eae a it and the following two notes after it. ΣΥΝΕΧΕΣ ΕΛΑΦΡΟΝ (CONTINUOUS ELAFRON) ah = ajj oror TheContinuous Elafron descends two notes with Gorgon. The Gorgon is invisibly placed above the Elafron cutting the time of a = H oaj Jr the preceding Apostrophos in half. The Continuous Elafron often -ap pears like an Apostrophos glued to an Elafron. P o= j j r x Characters Dividing and Adding Duration Αργόν (Argon) These characters work like a Gorgon, but they also add duration on the final w Δίαργον (Deargon)- note affected. The Argon adds one - beat, the Deargon- adds two beats and W Τρίαργον (Treargon) - q the Treargon adds three beats. = These examples show how the Argon or Deargon- will be a c w ax se i used in a musical text. The phrases are read from a c W = ax se 9 left to right and bottom to top. Timing Gestures Δίσημος (Desemos)- - Τρίσημος (Tresemos)- - Τετράσημος (Tetrasemos)- (4) Θέση Άρση (3) Downbeat Upbeat (1) (2) (3) (2) (1) 53 Character Chart Character Name Description - - Groups notes together creating a Η διαστολή (Deastole) measure of time for 2, 3 or 4 beats Qualitative Characters O / Το ψηφιστόν (Psefeston)- - Strong emphasis on syllable , Το ομαλόν (Omalon) Vocal stress at the end of a syllable m Το αντικένωμα (Antekenoma)- Slight vocal flutter for emphasis _ Ο σύνδεσμος (Sendesmos)- Connect syllable with vocal waver + Το ενδόφωνον (Endofonon) Hold note with closed mouth Η βαρεία (Varea- ) Strong emphasis on following note \ - x Το υφέν (Efen) Unite two notes without break + Ο σταυρός (Stavros) A brief pause to take a breath This timing symbol allows for a note Η κορώνα (Korona) to be held discretionally M This timing symbol sets the tempo for any set of hymns (discretionally) j Η χρονική αγωγή (Hroneke- - agoge)- s d fg Tempo Change These three slow the tempo down k l ; These three speed up the tempo 54 Glory be to God in All Things! 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