page_title: Echos
section_title: Echemata of the dialogue treatise
hierarchical_section_title: Echos / History and reconstruction / Echemata of the dialogue treatise
caption_attribution_description: English: Demonstration at the Koukouzelian Wheel Trochos of a Papadike manuscript
context_page_description: Echos is the name in Byzantine music theory for a mode within the eight-mode system, each of them ruling several melody types, and it is used in the melodic and rhythmic composition of Byzantine chant, differentiated according to the chant genre and according to the performance style. It is akin to a Western medieval tonus, an Andalusian tab', an Arab naġam, or a Persian parde.
context_section_description: Within the dialogue treatise (erotapokriseis) a catalogue of short formulas memorizes each echos of the Hagiopolitan octoechos and its two phthorai (νενανῶ and νανὰ). These formulas are also called "echemata" (ἠχήματα)—or more often "enechemata" (ἐνηχήματα) or "apechemata" (ἀπηχήματα). The use echemata was also imitated by Carolingian cantors who used similar intonation formulas and collected them in a separate book called tonary.
  Περὶ πλαγίων
  Ἀπο τοῦ πλαγίου πρώτου ἤχου πάλιν καταβαίνεις τέσσαρας φωνάς, καὶ εὑρίσκεται πάλιν πλάγιος πρώτου· ὅυτως δὲ /
  ἄνανε ἄνες ἀνὲ ἄνες·
  Ὁμοίως καὶ ὁ β' ἤχος καταβαίνων φωνάς δ', εὑρίσκεις τὸν πλάγιον αὐτοῦ, ἤγουν τὸν πλάγιον τοῦ δευτέρου.
  πλ Β οὕτως δέ.
  Ὁμοίως πάλιν ὁ τρίτος καταβαίνεις φωνὰς τέσσαρας, καὶ εὑρίσκεται ὁ πλάγιος αὐτοῦ, ἤγουν ὁ βαρύς, οὕτως·
  Ὁμοίως καὶ ἀπὸ τὸν τέταρτον καταβαίνων φωνὰς τέσσαρας, εὑρίσκεις τὸν πλάγιον αὐτοῦ, ὡς ἐστὶ ὁ πλ δ'οὕτως·
  The enechemata of the medieval eight diatonic echoi already present a fundamental difference to the Carolingian octoechos: 
  the kyrios and plagios do use the same octave species, but their basis tone with the ison is on the top of the pentachord within the mele of kyrioi echoi, while it is on the bottom within the mele of plagioi echoi;
  the octave species (D—a—d, E—b—e, B flat—F—b flat, and C—G—c) are different as well from the Western octoechos as from the New Method, which had adapted the fret scheme of the tambur fingerboard as the common tonal reference for all Ottoman musicians. Traditional protopsaltes at Athos and Istanbul who belong to local schools of the eighteenth century, do indeed not follow the Chrysanthine intonation, they always intone a pentachord on a pure fifth between the bases of echos varys and kyrios tritos.
  there is no absolute nor fixed position of the octave species. Sticheraric and papadic chant genres exploit not only the possibility to change between the echoi, but also the characteristic that every note (phthongos "sound, voice") has an echos defined by the octoechos. A register change is usually arranged by a transposition about a fifth, which turns a kyrios into a plagios and vice versa. Also other temporary transpositions are possible (see the five rings of the bigger Koukouzelian wheel), but not frequent.
  the ruling tone system is tetraphonic and based on fifth equivalence which allows the fore mentioned register changes. Heptaphonia (similar to the Western use of systema teleion and solfège with seven syllables) exist only on the level of a melos within a certain echos. Changes to the triphonic system are indicated by the phthora nana.
  except of a pure diatonic octoechos the chromatic and enharmonic genus is not excluded, since even the Hagiopolitan octoechos accepted the use of two phthorai (νενανὼ and νανὰ).
caption: "Parallage of John Koukouzeles": The four peripheral wheels for the Octoechos (top left: protos echoi; top right: devteros echoi; bottom left: tritos echoi; bottom right: tetartos echoi) and the tetraphonic tone system and its transpositions in the center—Koukouzelian wheel in an 18th-century manuscript (manuscript of the private collection by Demetrios Kontogiorges)
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