brucewayne
Νέο μέλος
Hymns of the third mode often end in Ke Di Ga Vou Ga. The Vou is given a diesis in the classic texts. I often hear the Vou chanted at the same pitch as Ga. What's the history behind this?
Vou chanted at the same pitch as Ga in the third mode
- Thread starter brucewayne
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evangelos
Ευάγγελος Σολδάτος
Firstly this is the oral tradition. Secondly I give this explanation:
Ga is getting low so the ga- di interval is getting bigger, so could be as close as it can, gavou interval is a harmonic diesis . This movement can be explained only in ancient Greek theory of harmonics. Ga for me is the lichanos chord which is getting low by the way I say. I have a paper for all these issues look my blog
Ga is getting low so the ga- di interval is getting bigger, so could be as close as it can, gavou interval is a harmonic diesis . This movement can be explained only in ancient Greek theory of harmonics. Ga for me is the lichanos chord which is getting low by the way I say. I have a paper for all these issues look my blog
In the melodic thesis you described, BOY is getting attracted towards ΓΑ, as ΓΑ is a dominant note. Sometimes this attraction becomes so prominent in oral performance practice where the the BOY is practically the same as ΓΑ. I hope that helps, if I understood your question right.
brucewayne
Νέο μέλος
It helps, thank you. I wanted to make sure my ear was not mishearing. This is what I've always heard and that's how I chant that thesis. I also hear it in the grave mode and plagal fourth from ga, and even plagal fourth from ni in certain melodies such as Ὢ τοῦ παραδόξου θαύματος.
Is this the most widespread interpretation of that thesis?
In the United States, where Byzantine notation is less known and choirs often use staff notation, this piece of oral tradition is lost because the choir follows the sheet music precisely, and the sheet music indicates "mi" = "vou natural".
Any idea why it was written down that way in the old books? Did some chanters chant the Vou more distinctly in those days?
Is this the most widespread interpretation of that thesis?
In the United States, where Byzantine notation is less known and choirs often use staff notation, this piece of oral tradition is lost because the choir follows the sheet music precisely, and the sheet music indicates "mi" = "vou natural".
Any idea why it was written down that way in the old books? Did some chanters chant the Vou more distinctly in those days?
Πρόκειται περί έλξεως την οποία, όπως άλλωστε και όλες, δεν σημείωναν οι παλιοί ως εξυπακουόμενες. Πέραν αυτού ως ἐλξη που εἰναι δεν μπορεί να αριθμοποιηθεί, γιατί εξαρτάται εν πολλοίς από τη φωνή και τη διάθεση του ερμηνευτή. Οπότε άλλοτε γίνετα πιο έντονη,άλλοτε λιγότερο και άλλοτε καθόλου...