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 |
=
ç<=
/span>u 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 » =3D 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 |
|
w One can use the Latin « psalticised » version so as to obtain a Hellenic version of the above Psalmic verse , by applying the sa= me 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 c= hant to obtain a METROPHONIC (skeletal) starting point, which can be « expanded » using Rhythmic Emphasis rules as well a= s a formular dictionary. |
|
y |
y Gregorian chant takes roots in Psaltik= i, 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) hy= mns 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 mel= ody. WHerever they are different, he uses HOMOLOGOUS music (slightly different yet « similar » to the Greek original, which RESPECTS t= he metrophonia (it evolves as much as possible around the original Greek not= es). 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 doesn̵= 7;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).<= span style=3D'mso-spacerun:yes'> 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 Lycour= gos 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 f= or. As for the entire SK et al « methodology », «&nb= sp;philosophy » and « jurisprudence » : THEOS PHYLAXAI !…. |