The Fifth International Symposium on Traditional Polyphony ...

476
Nino Naneishvili
In the first heirmos – the interval octave in the plain mode, in the ornamented – fourteenth.
In the third heirmos – in the plain mode the seventh interval, in the ornamented – thirteenth.
In the fourth heirmos – in the plain mode the seventh interval, in the ornamented – fourteenth.
In the fifth heirmos – in the plain mode the seventh interval, in the ornamented – thirteenth.
In the sixth heirmos – in the plain mode the interval – an octave, in the ornamented – thirteenth.
In the seventh heirmos – in the plain mode the interval – an octave, in the ornamented – thirteenth.
In the eighth heirmos – in the plain mode – the sixth, in the ornamented – fourteenth.
In the ninth heirmos – in the plain mode – the sixth interval, in the ornamented – thirteenth.
For the present I shall dwell on the analysis of the formulas of the heirmos melody. <strong>The</strong> ornamented
tune moves quite freely.
<strong>The</strong> method of ornamentation reveals a stereotypical formulaic character. <strong>The</strong>se formulas occur in
different hymns of the matin canon. For instance, the conditionally first stereotype formula is present in several
variants: 1. In the first and fifth stanzas, on the words: […]det ats erno and kveqanit tsad [not sure of meaning]
are similar to the last movement of the sixth stanza of the fourth heirmos […]sa rametu (ex. 1).
<strong>The</strong> second stereotype formula of the ornamentation (with its variants) was attested in the following
sections of the heirmoses:
1. <strong>The</strong> first movement of the sixth stanza of the first heirmos […]aghmi[…], 2. the last movement of the
third stanza of the third heirmos: […]bias dsqaro, 3. the third stanza of the fourth heirmos […]zi natlisa, 4.
the fifth stanza of the fourth heirmos – […]tskovre[…]. the third stanza of the fifth heirmos – simartlisa, 6. the
seventh stanza of the sixth heirmos – veshpit. 7. the second stanza of the seventh heirmos gankatsna ivno. 8. the
fourth stanza of the seventh heirmos mkholoman kurtkheulman. 9. the seventh stanza of the seventh heirmos
[…]man da. 10. the second stanza of the ninth heirmos – […]ba uplisa (the second, third, fifth, seventh and
tenth specimens are variants of one another, which occur in one and the same ending tone, but the first and
fourth specimens resemble each other only in their initial figure. <strong>The</strong> eighth example may be considered a
variant of the first one (ex. 2).
<strong>The</strong> third stereotypical formula of ornamentation occur in the terminating stanzas of the hymns: the
seventh stanza of the first heirmos – […]sa mgalobel[…], the fifth stanza of the fifth hermos: […]ghmo
brdsqinvebuli, the seventh stanza of the eighth heirmos: […]sa saukunod (ex. 3).
<strong>The</strong> fourth stereotypical formula of ornamentation is attested in the following sections of the heirmoses:
the fourth stanza of the third heirmos: kmnili kristes saplavit…, the seventh stanza of the fourth heirmos.
Aghsdga kriste vitar…, the seventh stanza of the sixth heirmos (ending): Aghsdgeg saplavit (ex. 4).
<strong>The</strong> fifth stereotype formula occurs in the fourth stanza of the eighth heirmos: dghesasdsaulta and on the
words […]tkhevt kriste in the sixth stanza of the same heirmos (ex. 5).
<strong>The</strong> sixth stereotype formula can be observed in the sixth stanza of the seventh heirmos: […]
maghlebulman and in the seventh stanza (ending) of the ninth heirmos: shenisasa (ex. 6).
I have also singled out the so-called “minor ornamentations” occurring in every movement and twist
of every chant (ex. 7).
In the stanza-models and movement formulas that M. Sukhiashvili has discussed in her work, like the
heirmoses I have presented, certain “structural stereotypes” are distinguished (Sukhiashvili, 2006: 83).
It is noteworthy that a scholar singles out three kinds of ornamentation:
1. Minor ornamentation; 2. Ornamentation with a broad melodic pattern, which creates extended
structural inserts among the so–unds of the basic melody; 3. Ornamentation characterized by only casual
deviations from the mode.