Διατονικός ή Εναρμόνιος; / Diatonic or Enharmonic?
A confusing topic of theory and practice of Third mode
What is the problem?
There are some classical pieces of Third mode (like "Ton Nymfona Sou") which are interpreted with different intervals by different psaltai. Here we study such differences and try to make some conclusions.
Conclusions
[pending]
Apostoloi Ek Peraton
Scores
The score in Petros Lambadarios' (old) notation (from an unknown Ms)

And as transcribed by Chourmouzios in his Heirmologion (1825). The New Method transcription appears more condensed and synoptic than the older one!
Another score for this by Ioannis Protopsaltis' Heirmologion (1905) has been uploaded by Georgios K. Michalakis in the past. It is almost identical to the above. The file was been removed since then.
Recordings
Iakovos Nafpliotis and Konstantinos Pringos [ mp3] Unusual ending in low GA in the middle of the piece. Pringos can't follow and does that thesis in the upper octave. Notice the Patriarchal style analysis of the classical text.
Thrasyvoulos Stanitsas [rm] (from cmkon.org)
Yiorgos Bilalis [mp3] Yorgo Bilalis (if I have got it right), unlike his brother, does a high KE a la Nafpliotis in the first cadence.
Georgios K. Michalakis [wma]
Ton Nymfona Sou
A similar case as "Apostoloi Ek Peraton" above. Again, soft diatonic fthora of NH is placed when the melody is about to end on DI.
Scores
Score from Chourmouzios' Heirmologion (1825, exegesis of Petros Labadarios and Petros Byzantios' Heirmologion from the old notation) (scanned by S. Gugushvili). Notice the yphesis (flat sign) on KE on the second line (not sure if that was found in the manuscript of Xourmouzios though).
Boudouris' score [pdf] transcribing note for note what the Patriarch and the first domestichos would chant in his time in the Patriarchate.
Simon Karas' score [pdf] (scanned from S. Karas' Theoretikon tes Ellenikes Mousikes, Vol I, p. 354) Karas says that Plagal Fourth Triphonos is another name for Third soft diatonic, therefore distinguishes it from Third mode hard diatonic (aka enharmonic). So, according to Karas, only diatonic intervals in this piece, as in Plagal Fourth, but with KE=BOY slightly lowered at places. He doesn't explain how these places are chosen, probably because there is no rule for it and depends on the meaning of the text and the choice of the psalti. In his score he choses to do a high DI and natural KE at the end of the first phrase ("kekosmimenon") but not at the final cadence where he puts a small flat sign on KE.
The following were scanned by S. Gugushvili.

This one from Fr Dionysios (Machaira Monastery, Cyprus). This one implies a high (enharmonic) KE at the final cadence. Notice how he turns GA to a DI on the second line and does KE as if it was ZW flat and moreover enharmonic. This is quite unusual for this Mode. The second version of the same piece is notated in Plagal Fourth Triphonos (no idea why have the two versions in different mode!) and there are at least a couple of typographical errors there.

And this one, by Georgios Syrkas. Uses the permanent (crossed) diesis of BOY (don't know why, he could have just placed a sharp sign on BOY, anyway). He seems to imply a high KE at all endings.
Recordings
Iakovos Nafpliotis [mp3]. KE is sometimes low, sometimes high.
Konstantinos Pringos - Thrasyvoulos Stanitsas [mp3]. Live from the Patriarchate (late 50s) (from G. K. Michalakis)* high KE at the end, notice the Canonarchema. Stanitsas does a different thesis at "Lambrynon" than Pringos.
Thrasyvoulos Stanitsas [rm] (from cmkon.org). KE is sometimes low, sometimes high. Almost identical melody to Angelos Boudouris' transcription.
Thrasyvoulos Stanitsas [mp3] (Live in the US, from G. K. Michalakis). He does the ending in low GA in the middle of the piece like Nafpliotis. But notice how he does a flat KE there.
Basileios Nikolaidis [htm] (from ec-patr.net). KE is flat in the last cadence.
Ioannis Hariatidis [mp3] (from mpa.gr). KE is flat at the end.
Dimosthenis Paikopoulos [rm] (from cmkon.org) Flat KE always in descending phrases throughout the piece.
Patriarch Bartholomeos and Leonidas Asteris [mp3] (Live)
Patriarch Bartholomeos and Patriarchal choirs [mp3] (Live) (from mpa.gr). KE flat in the last cadence.
Fotis Ketsetzis [asp] (streaming, just click to listen, can't save this, (from goarch.org). Low KE throughout.
Konstantinos Bilalis [asf ] (from ecclesia.gr). KE is kept always flat when descending to GA. The chanters in this recording are familiar with Simon Karas' research.
Georgios K. Michalakis [wma]