The Fifth International Symposium on Traditional Polyphony ...

Outline of a Syntax of Chords in Some Songs from Samegrelo
<strong>The</strong> songs in the mode of G have no accidentals.
Based on the transcriptions, it seems that the third is neutral in the mode of G.
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Movement of the bass part
<strong>The</strong> bass part shows a clear tendency to drone-type homorhythmic movement, i.e., with the same
articulation as the upper parts.
<strong>The</strong> III degree only appears in two songs.
Types of chords and harmonic syntax
<strong>The</strong> types of chords that appear in the mode of G are more numerous than in the mode of E. On the
degrees:
(III degree do not appear in the harmonic syntax)
I 1 3 5/3 6/3 4 5/4 6/4 5 7/5 8/6
II 1 2 4/2 5/2 3 4/3 5/3 4 5/4 5
IV 4/2 3 5/3 5 7/5 8/5 8/6 8/7 9/7 9/8
V 5/3 6/4 5 6/5 8/5 9/5 6 8/6 9/6 7 9/7
VI 4/2 3 5/3 6/3 7/3 5/4 6/4 7/4 5 6/5 7/5
8/5 9/5 7/6 8/6 7 9/7
VII 4/2 5/2 3 5/3 7/3 4 5/4 6/4 5 6/5 7/5
7/6 8/6
Inventory of all of the chords that appear in the mode of G, independently of the degrees on which they
are constituted:
1 2 4/2 5/2 3 4/3 5/3 6/3 7/3 4 5/4 6/4 7/4 5 6/5 7/5 8/5 9/5 6 7/6 8/6 7 8/7 9/7 9/8.
We see that in the mode of G the diversity of chords is greater than in the mode of E. While in the latter we
find 16 types of chords in 19 songs, in the mode of G we find 25 types of chords in only 14 songs. This seems
to prove that the mode of G allows for greater diversity than the mode of E.
We do not find chords with the intervals:
3/2 6/2 7/2 8/2 9/2 8/3 8/4 9/4 6 9/6.
Here is the relationship that exists between each type of chord and the degrees on which they appear:
1 (unison) I
2 II
4/2 II IV VI VII
5/2 II VII
3 I II IV VI VII
4/3 II
5/3 I II IV V VI VII
6/3 I VI
7/3 VI VII
4 I II VII
5/4 I II VI VII
6/4 I V VI VII
7/4 VI