Here we examine some recordings in terms of the rhythmic emphasis that characterises them. Often we can hear the psaltai counting. The categorisation sometimes is subjective as there is no clear theoretical foundation to describe the issues discussed here.

Try counting this piece, hitting your hand on your knee or on the desk at every beat. On an unrelated note, D. Nerantzis seems to not do any analyseis (interpretations of classical theseis) back then.

Compare the above with the same piece chanted by Athonite Fathers (including the Danielaioi Brotherhood) at the Millenium Celebration of Xenophontos Monastery (Mt Athos, 1998)

Now compare the above Athonite version with this one by the Danielaioi Brotherhood alone (Mt Athos). Note how much different it is in terms of the rhythm (not by-beat this one) and the analyseis (much more than the one above). You can actually count this in Tetrasemos (see below).

This heirmos is performed slower than normal and they seem to be emphasising every beat. However not to the degree of other performances above where every beat is over-emphasised.

Recorded live from the vigil of St Athanasios (Great Lavra, Mt Athos) around year 2000. Notice how rhythmic this performance is, still nothing to do with external infuences. The poetic metre of the text beautifully transformed into music. Nothing to do with by-beat emphasis above.

A slower version without significant volume-wise emphasis of the accented syllables. Analysis-wise, the psephiston is interpreted at accented syllables but the volume remains relatively the same throughout. Compare this style with the Patriarchal one as expressed by L. Asteris (the current Protopsaltis) here:

Tetrasemos is also used by two of the most well known choirs for melismatic pieces like those of I. Koukouzelis. Compare the following performances of the same piece (counting every four should be straightforward):

Notice how Maistores chant the piece faster than EBX (2 whole minutes shorter) and how they immitate (or not) EBX. They do the solos exactly at the same places as EBX but their analyseis are much more reserved. Also note that chronos counting by Maistores seems much more mechanical than EBX (no volume variations, no emphasis in musical phrasing).

Most ancient traditional pieces are chanted in Tetrasemos. E.g. listen to the well known Trisagion in Second Soft Chromatic Mode.

Stanitsas did not accept the existence of syneptygmenos but he used to say that he did perform in syneptygmenos by experience ("if you have it inside you, that's what you measure, syneptygmenos", as he used to say, translating from memory).

Another composition that we know is meant to be chanted in syneptygmenos is the Kratema sections of Theotoke Parthene by P. Bereketis. Listen to

There is some confusion out there as to what syneptygmenos is, if anything. G. K. Michalakis gave an explanation (see his answer in question 1) and listen to the following

This type of counting is equivalent to Haplos (Tonikos) rhythm where each syllable lasts for two beats instead of one. So instead of

Ignoring the speed of execution, every syllable is extended to two beats and the emphasis seems to be every four beats (2+2) although someone might argue that it is every two.

Note: Tonikos (by-accent) rhythm as done by Asteris above, is different than by-beat chanting as done e.g. by Pettas above.