D. Koubaroulis: This piece is indicated with the hard chromatic fthora not to change the intervals into hard chromatic but to denote that the mode moves like a Plagal (although an Authentic mode) that is from low pitches to eventually high pitches. For that reason, the psalti should choose a relatively low pitch as base for this one. Other than that, one could have indicated this piece as normal second mode from DI with the soft chromatic fthora (as with most modern compositions of this style) and ignore all other fthorai inside the piece. The soft chromatic and hard chromatic fthroai in this piece have no effect of the intervals, they are there just to indicate the movement of the melos or to remind the psalti to do certain melodic attractions. The latter is the case on the second page, where the diatonic fthora of NH is placed to signify a melodic attraction (elxis) that reminds of the effect of kliton (ZW sharp, KE sharp). A confusing example of the above case where a soft chromatic fthora is used is on the second last line of the first page. What is the fthora used there for? To take us back from hard chromatic to soft chromatic? But we already know that the hard chromatic fthora that precedes it, has not effect on the intervals (or does it)? Then why the fthora? If it wasn't there, one might be tempted to hit that GA note higher that required (thinking that it corresponds to the hard chromatic GA of Plagal Second mode). The soft chromatic fthora could act as a reminder that this GA should be natural (that is not raised), exactly as if it was a ZW of our familiar Second mode from DI. Is that the whole truth though? The ison of the piece could be a continuous DI throughout, with possibly an exception on the second page where it ends on NH with a martyria to indicate a cadence. There the isokrates can follow melos. Notice how the piece does not do cadences on low ZW at all (what we would now call BOY of Second Mode - with a base of DI) which makes it somehow different than other pieces of Second mode (e.g. the Sticheraric ones). The first part of the composition, up to the first martyria of PA can be thought of as the Prooimion (Prelude) for which Chrysanthos comments it can be chanted without a steady rhythm, a gentle introduction into the mode and its special intervals.

G. K. Michalakis' performance (below) is in agreement with the above observations. Georgios allows himself some rhythmic freedom in many places in the piece, a typical characteristic of chanting Papadic (slow) compositions. In the same performance, notice how Georgios breaks the piece into small phrases with well defined start and finish allowing him to restore his breath and to not bore the listeners with a continuous stream of neverending notes. Sometimes Georgios accentuates the beats often in an exaggerated manner. This, when not overdone, gives emphasis and life to the piece.

Γεώργιος Μιχαλάκης [wma, 660 Kb]