Hear Byzantine liturgical scales

This link is interesting regarding Byzantine liturgical scales.

http://members.lycos.co.uk/ivanmoody/orthodoxliturgylinks.htm

The text is all Greek to me, but the numbers show the structure of
each scale in steps of 72-ET.

-- Dave Keenan

Here are some pages in English on the Byzantine system.

http://geocities.com/takistan/namethattone.pdf
http://www.stanthonysmonastery.org/music/Chromatic.htm

It seems I shouldn't have called them "scales", but rather "modes".

Here are all the Byzantine modes from Scala's modenam.par.

Note that 12-ET, 24-ET and 36-ET modes are also 72-ET modes.

12-ET
1 2 1 2 2 2 1 4th plagal Byzantine
1 3 1 2 1 3 1 Byzantine Liturgical Chromatic

24-ET
3 4 3 4 3 4 3 Misaelides 2nd Byzantine mode
3 5 2 4 3 5 2 Athanasopoulos' Byzantine Liturgical Chromatic
2 7 1 4 2 7 1 Second plagal Byzantine Liturgical mode

36-ET
4 7 4 6 4 7 4 Savas Soft Chromatic 2nd Byzantine mode
4 6 5 6 4 6 5 Savas Diatonic Byzantine Liturgical mode
4 8 3 6 4 8 3 Savas Enharmonic Byzantine Liturgical mode
3 10 2 6 3 10 2 Hard Chromatic 2nd plagal Byzantine mode
5 4 6 6 5 4 6 First plagal Byzantine Liturgical mode
6 5 4 6 6 5 4 Fourth plagal Byzantine Liturgical mode

68-ET
9 7 12 12 9 7 12 Chrysanthos 1st Byzantine Liturgical mode
12 13 3 12 12 5 11 Chrysanthos 3rd Byzantine Liturgical mode
12 9 7 12 9 7 12 Chrysanthos 4th plagal Byzantine Liturgical mode
7 18 3 12 7 18 3 Chrysanthos Hard Chromatic 2nd plagal Byzantine mode
7 18 3 12 9 7 12 Chrysanthos Hard Chromatic/Diatonic Byzantine mode
9 7 12 7 18 3 12 Fokaeas 2nd plagal Byzantine Liturgical mode
12 9 7 12 12 3 13 Konstantinos 3rd Byzantine Liturgical mode
12 4 12 9 7 12 12 Konstantinos 4th plagal Byzantine Liturgical mode
12 13 3 12 12 13 3 Tiby 1st Byzantine Liturgical mode
12 5 11 12 12 5 11 Tiby 2nd Byzantine Liturgical mode
9 12 7 12 9 12 7 Tiby 4th Byzantine Liturgical mode
7 14 7 12 7 14 7 Tsiknopoulos 2nd Byzantine Liturgical mode
7 12 12 9 7 12 9 Tsiknopoulos 4th Byzantine Liturgical mode
12 9 7 12 12 9 7 Tsiknopoulos 4th plagal Byzantine Liturgical mode,
Tiby 3rd Byzantine mode

72-ET
11 7 12 12 11 7 12 Misaelides 1st Byzantine Liturgical mode
12 12 11 7 12 11 7 Misaelides 3rd Byzantine Liturgical mode
7 12 12 11 7 12 11 Misaelides 4th Byzantine Liturgical mode
11 7 12 15 3 12 12 Misaelides 1st plagal Byzantine Liturgical mode
7 20 3 12 7 20 3 Misaelides 2nd plagal Byzantine Liturgical mode
5 19 6 12 5 19 6 Xenakis Byzantine Liturgical Chromatic
7 16 7 12 7 16 7 Xenakis Byzantine Liturgical Soft Chromatic
12 11 7 12 12 11 7 Xenakis Byzantine Liturgical Diatonic, Misaelides
4th plagal Byzantine
6 20 4 12 9 10 11 Byzantine Palace mode

-- Dave Keenan

Due to HTML frames I posted the wrong URL for you to get to hear, and
see the 72-ET structure of, Byzantine modes. Here's the correct one.

http://www.travelling-crete.com/elkriti/byzant.htm

I've been reading more about these scales and listening to them, and
the more I do, the more respect I have for all those who have
preserved this wonderful tradition, and the more I want to cry when I
find web sites that purport to tell us how to shoe-horn these scales
into 12-equal.

The modes that suffer most in this shoe-horning are the Byzantine
"soft chromatic" modes. In my opinion, these modes clearly have a
7-limit raison d'etre. They correspond to the 7-note scales in
"Marvel" temperament that both Gene and I have described recently.

But I can't help wondering why, even in descriptions that don't try to
shoe-horn into 12-equal, the Byzantine modes called "enharmonic" bear
no resemblance to the ancient Greek enharmonic genus, but are instead
a variety of diatonic genus - ones which are almost indistinguishable
from those other Byzantine modes which are actually _called_ "diatonic".

Can anyone explain this? Could the original enharmonic Byzantine modes
have been lost or corrupted, even by those with the best of intentions?

See the definitions of enharmonic, chromatic and diatonic genus at
http://tonalsoft.com/enc

-- Dave Keenan

Dave Keenan wrote:

> Due to HTML frames I posted the wrong URL for you to get to hear, and
> see the 72-ET structure of, Byzantine modes. Here's the correct one.
>
> http://www.travelling-crete.com/elkriti/byzant.htm
>
> I've been reading more about these scales and listening to them, and
> the more I do, the more respect I have for all those who have
> preserved this wonderful tradition, and the more I want to cry when I
> find web sites that purport to tell us how to shoe-horn these scales
> into 12-equal.
>
> The modes that suffer most in this shoe-horning are the Byzantine
> "soft chromatic" modes. In my opinion, these modes clearly have a
> 7-limit raison d'etre. They correspond to the 7-note scales in
> "Marvel" temperament that both Gene and I have described recently.
>
> But I can't help wondering why, even in descriptions that don't try to
> shoe-horn into 12-equal, the Byzantine modes called "enharmonic" bear
> no resemblance to the ancient Greek enharmonic genus, but are instead
> a variety of diatonic genus - ones which are almost indistinguishable
> from those other Byzantine modes which are actually _called_ "diatonic".
>
> Can anyone explain this? Could the original enharmonic Byzantine modes
> have been lost or corrupted, even by those with the best of intentions?
>
> See the definitions of enharmonic, chromatic and diatonic genus at
> http://tonalsoft.com/enc
>
> -- Dave Keenan

For those interested, I append a "machine translation" of the text on the
page at www.travelling-crete.com - I make no apologies for the English,
since I know almost no Greek. Still, rough tho it is, it may yet be a
little
informative ...

I read J as I and W as O.

Regards,
Yahya
_______________________________________________________________________
Byzantine Scales
Ecclesiastical High school-lyceum Crete

The "Byzantine Music" is the continuity and the development of
Arhaj'as of Greek Music. She is musical vjwmatjki' and no cerebral.
First tragoydje'taj or ba'lletaj and if it becomes acceptable from the
body (population, church) it is recorded as expression of common
acceptance, common vjwma'twn, common searches. The abundance of
sentiments, unsatisfied and the continuous search of Greek soul and
thought more than from 30 centuries, has natural consequence to create
continuously new "ways of" musical expression. Those who from this
young persons "ways" survive, with tryed old, they create a
inhexaustible variety of "streets of" - scales - "ways" suitable they
invest and they musically attribute each sentiment, each search. As
perhaps you know, "Byzantine" scales use moreover musical intervals
from those that uses the said "European" music. This happens because,
while in "European" musical each tone is separated in two (2) parts,
in the "Byzantine" music the himself tone is separated in twelve (12)
parts. Thus, as it is natural, they can be created innumerable certain
combinations of musical intervals by which they were established with
certain names in duration of centuries that passed from the antiquity
up to today. Such are also the scales where can see and hear now,
making "kljk" in their name.

In order to you hear this scales should your computer have possibility
of reproduction of multimedias (that is to say card of sound, ihej'a,
program). For the intervals that you will see in your screen when you
make "kljk" in some sound, we have been consulted enough books of big
djdaska'lwn our music, which we report also below. For the ihogra'fisi
of scales was used Yamaha Clavinova CVP92, that has the possibility of
separating each tone in 200 parts. We had therefore the occasion
koyrdj'zoyme each key in the height that we wanted. For this and the
intervals that are heard when you make "kljk" in some sound are indeed
what you see written.

Can epjkojnwnej'te [= communicate? YA ]
with us with electronic post or in the school
elkriti@otenet.gr, or personally in tompan@mailbox.gr Also in
telephones 0821-44475, Tel. k' fax 0821-43984, and in the postal
address: Ecclesiastical High school - Lyceum Crete Saint Matcaj'os,
73100 Chania

AIDS - SOURCES

For those who they would want they deepen in the study of intervals of
our Byzantine Music we propose the following books, which were also
consulted for this work.

1. Alygjza'ki Antonios: Ecclesiastical ' Sounds and Aravopersjka '
Maka'mja. Perjod. "Grig�rios Palama's", March-April 1990.

2.Alygjza'ki Antonios: The Oktaihj'a in the Greek Functional
Ymnografj'a. Ekd. "Poyrna'ra", CES/victory 1985.

3. Andre'oy of Alone Mount Athon's monk: Concise Theory of Ecclesiastical
Byzantine Music. Vjvl. "Rigo'poylos", CES/victory 1979.

4. Gjamaj'oy Jakw'voy: Elements of Byzantine Music. Chania, 1986.

5. Eycymja'di Avraa'm: Courses of Byzantine Ecclesiastical Music.
Thessalonica 1972.

6. Eystacj'oy Cerejanoy': Perj' the Music of Greeks. Trieste, 1875.

7. Kara' Sj'mwnos: Method of Greek Music, Theorist Volumes A'kaj B.
Athens 1982

8. Kiltzanj'doy P.: Methodical Teaching Ell. of Music. Mrs/city 1881.
Epane'kdosjs "V.Rigo'poylos" CES/victory 1978.

9. Margazjw'ti Ioannis: Theoretical Byzantine Ecclesiastical Music. Ekd.
"Har. Stasjnoy' ", Athens of 1968.

10. Musical Committee of Oecumenical Patriarchate en e'tej 1883:
Elementary teaching of Ecclesiastical Music. Epane'kdosjs: "Culture" 1978.

11. Nerantzi' Dimitrios: Contribution in the Interpretation of
Ecclesiastical Member. Heraklion Crete 1997.

12. Pagkratj'oy of Archimandrite Vatopedjnoy': The Musical Klj'max, i.e.
Scientific Division of Musical Scale... Istamboul, 1917. Epane'kdosjs
"Te'rtjos" 1991.

13. Stefanj'doy of Kingdom of Byzantium: Shedj'asma perj' Music
Particular Ecclesiastical.

14. Fwkae'ws Theodoros: Kripj's the Theoretical and Practical
Ecclesiastical Music. "G.Kampa'si", Athens 1902.

15. Hrysa'ncoy from Mady'twn: Import to Theoretical and Practical the
Ecclesiastical Music. Paris, 1821.

16. Hrysa'ncoy from Mady'twn: Big Theorist of Byzantine Music. Ekd.
"Spano's".

BYZANTINE SCALES

Climax (KLJMAX) of Wheel

SOUND (ECHOS) A

SOUND A Passive

SOUND Deuteroprotos [= "second first"? YA ]

SOUND B

SOUND G

SOUND D' (Le'getos)

SOUND Pla'gjos [= plagal YA ] of A'

SOUND Pla'gjos of A (enarmo'njos) [= enharmonic YA]

SOUND Pla'gjos of B'

SOUND Heavy his Enarmo'njos from I LIVE recession

SOUND Heavy diatonic and Protovarys [= "first variant"? YA ]

SOUND Pla'gjos of D'

Sponsor (Choregos)

www.travelling-crete.com
_______________________________________________________________________

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