On Barys diatonikos (Ga and Ga diesis)

This mode is interpreted in many ways, and I’ve explained « special intervals » on the analogion.com page.

There is one issue I forgot to mention : TRILLS and BRIEF passages from Pa to GA are done in such manner that GA is ALWAYS BRIEF and CHROMATIC (upraised)

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BRIEF = STIGMI to LEFT of GORGON on Ga (this is usually not explicitly shown). This is obtained by SLOWING the Chreironomia hand during its CYCLICAL movement of chronos counting (dominanat hand)… the rest of the remaining measure is counted by a VERY rapid circle.. in other words, a PARESTIGMENTON is NOT exactly (2/3 and 1/3) and not (3/4 + 1/4) either… the effect of chronos counting gives a much more “subtle” or “complex” division (I’d say between (3/4 + 1/4) and (4/5 and 1/5) that is, between 3/4 and 4/5 for the first part…only COMPUTER analysis will demonstrate this. On other occasions, the first division is between 2/3 and 3/4….

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Back to the pitch of GA:

The other example where GA is raised is when moving towards Di and heptaphonic Zo.

Otherwise, GA is in its psaltic position (diatonic Ga, = LOWER than piano Ga) according to most psaltis. According to SPECIAL intervals, it is even lower… Recall that PA and BOU are lowered as well… Trill from PA to GA with such a scale are too « numb » (lifeless), and psycho-acoustically, LIFTING the GA DURING TRILLS with a BRIEF GA as an upper maximum gives a sound that is aesthetically (acoustically) more convenient and « full of life » =

Here are Lycourgos Angelopoulos’ comments on his understanding of Barys diatonikos as transcribed by Petros Ephessios.

I draw the reader’s attention to the ONE parameter that ONLY a CREDIBLE PSALTIS can teach as STUDENT concerning BARYS diatonikos (recall that according to IAKOVOS NAFPLIOTIS, SIMON KARAS was NOT ACQUAINTED with psaltiki): GA is upraised in the situations mentioned above. In other words, Barys diatonikos does NOT boil down to some STANDARD chromatic mode, or to some legetos, or to anything else… it is SO complex, that even among TRADITIONAL psaltis, who otherwise chant the SAME intervals (Note: NOT those of Simon Karas et) there are SOME VARIANTS as concerns SOME intervals of this mode.

Finally, if one wishes to demonstrate how Ephesios shows developments (analyseis), why not have a look at the Evlogitarions and Douloi Kyrion of Petros Peloponnesios, where he puts PARESTIGMENTONS (UNEQUAL divisions, ANISOCHRONOS diaresis) ALL OVER the place (of course, Simon Karas NEVER managed to sing these or anything even simpler correctly…)

WHO are you going to believe :

Simon Karas who was NOT acquainted with our music (and who, by some “revelation” became a “sophos didaskalos” for his followers),

OR

what TRADITIONAL PSALTIS CHANT,

EVEN if they do not have Petros Ephesios’s score and some Simonokaraitic diploma, or some other university degree concerning “Byzantine music”.