Deuteroprotos of 2nd mode/ Ηχοσ δευτεροπροτοσ

#1
Can someone describe to me the peculiarities of this mode variant/scale called deuteroprotos which seems to be a type of 2nd mode? I've heard it chanted but there are no sources about the neumes for it or how to interpret it.
 
#2
Deuteroprotos is simply second mode modulating into first mode (think of the melodic line αναστάντα εκ νεκρών in the second eothinon doxastikon in the Anastasimatarion of Ioannes Protopsaltes). The soft chromatic scale with basis Δι (i.e., the argosyntomos sticheraric second mode) predominates, but with frequent modulation into the diatonic scale with basis Πα (i.e., first mode) indicated by a phthora. The Δι of the soft chromatic matches the Δι of the diatonic, so the modulation is fairly easy to accomplish correctly.

I hope someone more knowledgeable than myself will give you a better, clearer answer than I've given (and will correct any mistakes I've made), but I hope this at least points you in the right direction. May God bless your efforts!
 
#3
Deuteroprotos is simply second mode modulating into first mode (think of the melodic line αναστάντα εκ νεκρών in the second eothinon doxastikon in the Anastasimatarion of Ioannes Protopsaltes). The soft chromatic scale with basis Δι (i.e., the argosyntomos sticheraric second mode) predominates, but with frequent modulation into the diatonic scale with basis Πα (i.e., first mode) indicated by a phthora. The Δι of the soft chromatic matches the Δι of the diatonic, so the modulation is fairly easy to accomplish correctly.

I hope someone more knowledgeable than myself will give you a better, clearer answer than I've given (and will correct any mistakes I've made), but I hope this at least points you in the right direction. May God bless your efforts!
Thank you! That makes sense. Do you know about the other mode variations like pentaphonic plagal 1st, phyrgian, 1st mode tetraphonic on ke, neneno, etc? I'm having trouble finding any English byzantine music theory book that discusses any of them.
 
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