RHYTHMIC EMPHASIS
the bridge between Gregorian chant and Psaltiki

by Georgios K. MICHALAKIS

v Triplex version (contemporary « square » notation in between two paleographical notations. ê	çu Original « Dominus dixit », Gradual of Benevant (XIs.) The « pitch » is WELL indicated relative a a line of Fa (visible) and a line of Re (visible only on original). 1) METROPHONIA : compare the above neumes to the INFLECTIONSof Iakovos’s voice, and note how notes of different pitch are LINKED, and how « othisis » = impulse is well indicated. 2) RHYTHM : note that there is NOT indication concerning RHYTHM (ie. DURATION of each neume). 3) By applying SIMPLE rhythmiki emphasis rules on the melodic SKELETON (metrophonia) using a TONIC-MUSICAL formula dictionary, one can compose a « psaltic » version of the above psalm (psaltic means as chanted by the psaltis, which is NOT the ecphonetic style of the clergy whicha has barely ever been transcribed, but which remains another possibility).
w One can use the Latin « psalticised » version so as to obtain a Hellenic version of the above Psalmic verse , by applying the same principle as above (figure 2, No 3). è	x Hellenic version of one of the Christmas Prokeimenons in mode 1 for which there is NO melody at our disposal. Instead of composing « fantasies », one can use Gregorian chant to obtain a METROPHONIC (skeletal) starting point, which can be « expanded » using Rhythmic Emphasis rules as well as a formular dictionary.
y	y Gregorian chant takes roots in Psaltiki, as shown in the transcription of a Benevenatn score (XII century). 1) Note that there are just about as many « O »s in Hellenic as well as in Latin (non-accentuated syllables). This allowed Gregrian (Latin) hymns to be easily adapted according to Hellenic prototypes, of which the above is an example. Wherever the TONIC sequences are the same, the ADAPTION composer uses the SAME melody. WHerever they are different, he uses HOMOLOGOUS music (slightly different yet « similar » to the Greek original, which RESPECTS the metrophonia (it evolves as much as possible around the original Greek notes). 2) Note also that the Hellenic language of that time was pronounced JUST as it is today, as can be seen on the the TRANSLITERATION of the Greek text. 3) Using the COMPOSITON provide in psaltic neumes, and chanting « simply kata chrons », the above melody doesn’t sound correct (occidental rendering, using a CONSTANT unit of time). One solution would be to chant according to « synthetos » COMPLEX CHRONOS, that is, using a VARIABLE unit of time (metabliti monada chronou). It then sounds beautiful. 4) Anything having to do with the Holy cross in plagal foruth usually has cadences of BOU (adjacent) and Pa (O quando in Cruce, O tou paradoxou thaumatos) 5) The adjacent copy was given to me by Marcel Peres, who worked with Lycourgos Angelopoulos on these manuscripts which were recopied by Bothwell. Lycourgos Angelopoulos made this meeting possible, and it’s one of the things I am grateful to him for. As for the entire SK et al « methodology », « philosophy » and « jurisprudence » : THEOS PHYLAXAI !….