The Comparative Cycle of Octoechos
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tudorvolcano
Member
Actually, for Legetos, the real base of the pentachord is Di, the upper note in the Ni-Di pentachord (tetraphonia).
Legetos is in fact, Agia, but Agia has a upwards movement towards Di, so you have to go down to go up. So Di-Ga-Vu-Ga-Di.
Above the Di, you can sing anything, either chromatic or diatonic, or enharmonic even, because the border of Echos Tetartos is the Di. The mode's scale isn't on an octave, but only on the pentachord Ni-Di, and from Di upwards, you are no longer in the scale of Echos Tetartos.
That's why some apolytikia have the soft chromatic phthora on Di, and the base on Di, but are still Echos Tetartos, because what truly matters is the scale below the Di.
The most correct isokratima for diatonic Legetos should then be Di, same as in the Chromatic Tetartos.
Radu Seu
New member
I have listened to quite a few interpretations of the Greek Propopsaltes and I have come to a conclusion. The Byzantine modes or voices of ecclesiastical music are generally respected as the characteristic form. But there is something special in this music, namely the hesychast experience of the sung prayer. The sung prayer is deeper than the prayer of the mind or the heart. I say this because music is a more powerful living vibration than any form of mental meditation.
Radu Seu
New member
These beautifully explained things are best learned in two ways: 1. to know perfectly the form of the parallel signs and the second is to listen to a lot of music sung with great singers like Athanasios Paivanas, Ioannou Koukouzelous, Member of Mattheos Vatopaidinos chorus, Byzantine Greek at Limassol chorus, Maidanoglou Doxologia Byzantium, Doctor who dedicated his entire life to Byzantine chant, and a gift for you with me in a concert 23 years ago in Bucharest
Radu Seu