Σχόλια του Γ. Μιχαλάκη / G. K. Michalakis' comments
Ne-Ne not large enough (Ni too high). Almost all of his Nis are quite
high. Ga is beutiful. Zo high in "tis
"(and Ni as well). Too many acrobatics, nothing to do with
Iakovos... NO stability. "Oti Para soi
NI, finally.... "epidHHHmeian
Ni = high... (Ni = high = occidental)
Upgoing Bou too high.
Ga unstable. Ni high, yet Zo quite low in the
end... Not a good example to learn Parallagi from...
Basilikos: Ne Ne
occidental. Yet, just
right after, Ni = good ..Zo low... (standard, like Pringos). Second Zo
not as low, but not high . His Ni in the melody is EXCELLENT
vs. his apechema..
Ni not too low,
and Zo high ... yet , in eisakousOOOn mou, ±low Zo... later on, Ni get
, same as in the beginning.. Ni a bit high, Zo not
too low... Cacophony from helper, and unstable intervals throughout...
Ni - Pa beautful. Zo low. Nice DI hyphesis (not too low, NEVER too
low). Stability on Ga, which is NOT occidental . Later on, Zo
of interval STABILITY... Zo is always low. All the rest
of the intervals are beautiful... Listen to the beautiful DI
hyphesis... not too low, not too high, just where is should be.
Initial Ni not low
enough. Zo low (but not too low)
initially, yet a bit higher later, even in the conclusive line.
(= occidental Ni zo) . DI hyphesis not too low either
"(high Zo). DI usually a bit high on the returns from Ni. Ni eventually
fixes up to psaltic standards.
Stable over all.
Ni-Pa == large, good,; Zo low... Nice, serious,
G. K. Michalakis:
Chronos: Of the "kata rhythmon" type,
but exaggeratedly so, and must not serve as an example.
Zo low. Second Zo just a bit high. Third =
good. Fourth = perhaps a bit high...
DI changes on
the coming back down from analyseis (almost always a bit high).
mou"... good, low Zo.
mou", with ending on Zo = high
deiseos mou" == Zo = high
Zo not too high, not too low.
doing it freely:
No Zo on "PrOOOOs
mou".. nice low Zo .
mOUOUOU". not too high, not too low
high Ni with analysis going to high Pa == high Pa a bit flat,
because of vocal limitations (normally, a good psaltis should know the
limits not only of "good" days bas of "bad ones as well..
I over-estimated my vocal potential that
First low Zo
mOUOUOU": Zo not too high, not too low.
deiseos mou": Zo not too high, not too low.
Notice how "proseuchi
mou" becomes almost second mode, whith
high Ni, close to Pa
Takes "tweezers" to
chant this.... first Zo low..second and thrid Zo =
nice and low. Third = Zo = low
He's really VERY careful with "kekragenai
me pros se
".. I don't understand why... Zo stable. Ke not
always psaltic (the usual Pathology).
Ni-Pa... Ni-Pa-Zo then becomes occidental. The second one = Nitoo
high, but zo Low. Ibid for the Zo conclusion.. Nice Ni-Pas in "Kateuthinthito
except in "PrOOOOOseuchi mou"
Then becomes good aGain.
Overall, I wasn't too displeased.
Katsoulis: Notice how
the Di hyphesis (flat) is much lower in
the melody versus the Parallagi, where is EXACTLY where it
be. Overall, this hyphesis is not a
just a frequency change sign, but indicates as well (and more
importantly so) a
WAY of "pronouncing" this musical line. Katsoulis,
of course, has excellent
pronunciation and very good chronos and enGagement into tempo (lipsis
Metr. Elias Qurban: Notice how Ni-Pa isn’t quite large (most
Arabs, however, do a nice, large