Byzantine Chant and the Great Doxology

Byzantine Chant uses the Octoechos (Greek for eight sounds), which is a strictly a cappella modal system composed of eight different tones/modes. These tones use the Pythagorean Diatonic (Tones 1, 4, 5, 8), Enharmonic (Tones 3, 7), and Chromatic (Tones 2, 6). These are not the same as their Western counterparts due to their intervals, which are split into 72 microtones instead of 12 half steps. The Western major scale would thus have an interval pattern 12-12-6-12-12-12-6, whereas the diatonic scale, which this version of the Great Doxology is sung in, has intervals (beginning at C) of 12-10-8-12-12-10-8.

Within these scales and tones is the ability to manipulate them to fit the prayer that is sung. The form of each of the verses of the Great Doxology adheres to the scale of Tone 1 and its properties. What distinguishes the diatonic scale as that of Tone 1 rather than the others is the use of the equivalent of D as the tonic so that the interval pattern becomes 10-8-12-12-10-8-12. Each verse ends on the tonic D with the exception of the 21^st, 22^nd, 24^th, and 25^th verses which end on the subdominant G. Ending on the tonic note gives a conclusion to the phrase, whereas ending on the subdominant flows one verse into the next. The harmony (also known as the ison, a single, low, held note that supports the melody but does not render the piece polyphonic as it is not a chord), denoted by the red letters above the staff, also starts and ends on the tonic or subdominant. The ison of the 13^th verse begins on the dominant low A as a variation to the previous two verses. These basic structural guidelines do not apply to the middle sections of the verses as the chanter displays his improvisation throughout the prayer. His improvisation follows the scale and the correct intervals while not deviating from the tone or overall theme of the Doxology. The melody flows smoothly up and down and very few large steps are made; most move one note above or below the note before.

 

 

In order to augment the simple rhythmic structure of the music, chanters utilize ornamentations to enhance the prayer’s beauty. In the original Byzantine notation, a set of specific symbols is used to denote short vocal flourishes (some can be likened to Western trills, turns, and grace notes). When music is transcribed into Western notation, they are written as standard eighth or sixteenth notes. The addition of ornamentation is purely dependent on the words sung in the phrase. For example, in the 15^th verse, two embellishments occur on the words “have” and “fled”. Both contain the same interval and act as a technical bridge between their respective preceding and following notes. These and other ornamentations in the Doxology also add a stressed, powerful mood into the chant by the added emphasis required of the voice.