I recently found a recording and musical score of the Apolytikion of the Nativity «Η Γέννησή Σου Χριστέ» from the Vatopedi Monastery in slow soft chromatic Fourth Mode. I've attached the recording and musical score to this post. I had never heard of this mode before. I would appreciate it if anyone could tell me more about this mode, or if anyone knows of any other examples of hymns in this mode.
Slow soft chromatic Fourth Mode
- Thread starter basil
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domesticus
Lupus non curat numerum ovium
I 'm not a specialist on theory, but, personally, all these extravagant terms about modes make me dizzy. I just chant the musical text according to martyriai and the oral tradition and I 'm OK.
I know that Vatopaidi follows -unfortunately- the ways on theory from Simon Karas' Theoretikon so you can find there more specific information, if you want details.
So, just read it like the second mode you know and you are OK also.
I know that Vatopaidi follows -unfortunately- the ways on theory from Simon Karas' Theoretikon so you can find there more specific information, if you want details.
So, just read it like the second mode you know and you are OK also.
Laosynaktis
Παλαιό Μέλος
Dear Basil
It's simply the fourth soft chromatic mode (using the scale of the 2nd mode) used for Apolytikia, Kathismata, Kontakia (and Hypakoai, if any) for both syllabic and short melismatic chants. The syllabic chants in this mode are more known and familiar, but the short melismatic (2 beats/syllable on average) are not unknown. Examples: the slow versions of "Tachy prokatalave" and "O ypsotheis" in Petros's or Ioannis's Eirmologia, and their prosomoia in the first days of Holy Week (to be found in these Eirmologia or other books). See also the short melismatic "Theos Kyrios" in this mode in Petros or Ioannis.
The old "Phos ilaron" is also ascribed to this mode (but also to 2nd mode, because of the similarity of the scale), which is long melismatic according to the exegesis of Petros, transcribed in the New method by the Three Teachers, or could also be short melismatic, as Karas has transcribed it.
There are also the "Allelouia" of the Great Lent Orthros (long melismatic, and in fact coinciding to the corresponding Alleiouia of the 2nd mode) and the Triadikon, found in the transcriptions of Chourmouzios.
Various Apolytikia of great feasts in short melismatic style (like the one you uploaded) can possibly be found in various books.
Happy New Year!
Dear Mr. Arvanitis,
Thank you for your prompt and comprehensive reply. I was aware that Heirmoi and Kathismata could be sung in the short melismatic style; however, I did not know that Apolytikia and Kontakia could also be sung in the short melismatic style. For the sake of completeness, is there any evidence of Exaposteilaria in the short melismatic style, as well?
Basil
domesticus
Lupus non curat numerum ovium
Check also these from the book of Agathagellos Kyriazides, Dyo Melissai, Constantinople 1906, in the traditional writing style.
Laosynaktis
Παλαιό Μέλος
There are no short melismatic Exaposteilaria, as you already know, in Petros Heirmologion. Exaposteilaria are found in Balasios Heirmologion, too. They have the same style like the ones by Petros, except of the "Sarki ypnosas" (Easter), which is given there in Pl. 1st mode in short melismatic style (resembling more or less the short melismatic style heirmoi). There is also an Exaposteilarion (I don't remember this moment which one) in Nenano in the earlier Karykis' Heirmologion (16th-beginning 17th c), probably in short melismatic style, too (I don't remember now). There are also older versions of the Anastasima Exaposteilaria, written only in a couple of Mss in Middle Byzantine notation (after the 12th c) and a specimen in Palaeobyzantine notation (before the 12th c). The first is in 1st or Pl 1st mode. The Pbyz has no mode indication, I think. According to my way of transcribing chants of these periods they should be syllabic but with many 3-beat feet (in some sense, like the ones sung nowadays) but with a music completely different from the music sung today.
Laosynaktis
Παλαιό Μέλος
Yes, but these musical settings are not completely correct from a compositional point of view, because they mix mainly formulas of the 2nd sticheraric and the Pl. 2nd heirmologic modes. So, they are not representative of the Fourth soft chromatic mode, at least for the period of Petros and later.
haris1963
παλαιότατο μέλος
In Holy Athos Mountain, in every celebrational all-night vigil, they chant Heirmoi (Stixoi and Apostixa Esperinou kai Ainwn) and Apolytikia in short melismatic style. Although many monks, know them (especially the Heirmoi) by heart, it is very common the use of "Mousikon Apanthisma" Andreou Monaxou Theofilopoulou, in the style of Iwannis Prwtopsaltis. From this book I attach two pages with the Apolytikion of Nativity ("H Gennisis Sou..."). You can see also, the beginning of the next Apolytikion of St Stefanos, in the same mode and style.
Charis
Domesticus,
Sometimes I also struggle with the musicological terminology, but I think that these terms are intended to achieve greater theoretical precision and accuracy, and not simply as ends in themselves.
I tend to follow this same practice also, including how to do the isokratima and the attractions.
But in terms of Vatopaidi, I will have to express the view that Vatopaidi is an amazing success story of what the systematic teachings of Simon Karas can achieve. However, that discussion does not need to continue here.
Thanks for listening,
Taso
Only one word can sum up my response to this. . . WOW!
Thank you Mr. Arvanitis.
Basil, you might already know this, but Mr. Iannis Arvanitis is a musicologist and a student of musicologist Mr. Simon Karas of blessed memory.
Are you thinking of composing an English dismissal hymn in this style? It would be great if you would.
Good luck,
Taso
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