Reading Psalmodia (PDF) - St. Anthony's Monastery

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identical. Raidestinos seems to have musical logic on his side - unfortunately the wholecorpus of published <strong>Psalmodia</strong> other than his own is written on the commonassumption that Tone II has Di as its basic note. Sadly, there is little prospect of revivingRaidestinos's argument about the base of Tone II with any great hope of success.RELATION OF NOTES OF THE TONES ASSUMING1] DI REMAINS CONSTANT;2] THAT TONE II IS BASED ON KE NOT DIDiagram C.I |----------|--------|------------|------------|----------|--------|PA VU GA DI KE ZO NIIIR |--------|--------------|--------|------------|--------|--------------|--------|PA VU GA DI KE ZO NIIII |------------|------|------------|------------|------|------------|PA VU GA DI KE ZO NIVI |------|--------------------|----|------------|------|--------------------|PA VU GA DI KE ZOVII |----------|------------|--------|----------------|------|PA VU GA DI KE ZODIAGRAM SHOWING RELATION OF NOTES AS ABOVE, BUT TAKING PA AS CONSTANT ANDFOLLOWING RAIDESTINOU'S INTERPRETATION OF TONE II.DIAGRAM D.I |----------|--------|------------|------------|----------|--------|PA VU GA DI KE ZO NIIIR |--------|--------------|--------|------------|--------|--------------|--------| VPA VU GA DI KE ZO NI PAIII |------------|------|------------|------------|------|------------|PA VU GA DI KE ZO NIVI |------|--------------------|----|------------|------|--------------------|PA VU GA DI KE ZO NIVII |----------|------------|--------|----------------|------|PA VU GA DI KE ZOThe second radical approach to the problem of modulation into and out of Tone II is thatused those teachers of <strong>Psalmodia</strong> who instruct their students to modulate by treating thePa of Tone I as the Vu of Tone II. This practice is remarkably widespread, though itreduces the relation amongst the Tones to utter chaos and violates the most basicmusical logic. Here is the pattern of pitch values it produces:
DIAGRAM EI |----------|--------|------------|------------|----------|--------|PA VU GA DI KE ZO NIII |--------|------------|--------|--------------|--------|VU GA DI KE ZO NIIII |------------|------|------------|------------|------|------------|PA VU GA DI KE ZO NIVI |------|--------------------|----|------------|------|--------------------|PA VU GA DI KE ZOVII |----------|------------|--------|----------------|------|PA VU GA DI KE ZOWhat is to be done? The practice of moving from I to II by turning the Pa of I into theVu of II is musically illogical and should not be followed. Two solutions seem to yieldcoherent musical results:1] To keep the note Di at a constant pitch across all Tones. This yields the relationamongst Tones illustrated in Diagram A above.OR2] To achieve Raidestinos's intended objective by identifying the Ke of Tone I with theDi of Tone II (as the music of the Tone is commonly written.) This latter methodproduces the following result:DIAGRAM FI |----------|--------|------------|------------|----------|--------|PA VU GA DI KE ZO NIII |--------|--------------|--------|------------|--------|--------------|--------NI PA VU GA DI KE ZOIII |------------|------|------------|------------|------|------------|PA VU GA DI KE ZO NIVI |------|--------------------|----|------------|------|--------------------|PA VU GA DI KE ZOVII |----------|------------|--------|----------------|------|PA VU GA DI KE ZOThe second of these methods seems preferable. Indeed, the practice of making the Pa ofI the Vu of II seems rather like a misguided attempt to attain the same end. Whichever ofthese two systems of modulation is used, it is essential that all Psaltai and ison singersare aware of it and use it.
Page 1 and 2: Reading PsalmodiaAn introduction to
Page 3 and 4: ContentsPart IIntroduction1. Notes
Page 5 and 6: Similarly, in the eighteenth and ni
Page 7 and 8: Here each of the steps of the scale
Page 9 and 10: of which in turn becomes the founda
Page 11 and 12: The Cascade [ o ] is the equivalent
Page 13 and 14: The Pause z. indicates a silence of
Page 15 and 16: The distinctions amongst the differ
Page 17 and 18: ContentsPart IIntroduction1. Notes
Page 19 and 20: would make this evident. A cherubik
Page 21 and 22: Pappadic DiDominant Notes: Irmic &
Page 23 and 24: can be sung either on Ni or on Ga d
Page 25 and 26: of sharpness or flatness they indic
Page 27 and 28: the poetic metre is, of course, the
Page 29 and 30: THE VOICE.The Psaltes needs to have
Page 31 and 32: melodies for Saturday evening and S
Page 33 and 34: Reading PsalmodiaPart IIISections 1
Page 35 and 36: 13. PITCH.Modern Psaltai tend to re
Page 37: scales even if we accept Pa rather
Page 41 and 42: on Vu? The same question arises wit
Page 43 and 44: the next step above and then return
Page 45 and 46: music - a use that has at least the
Page 47 and 48: What are we to conclude from this?
Page 49: Konstantinos identifies Maqam Rast

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