page_title: Echos
section_title: Deuteros echos
hierarchical_section_title: Echos / History and reconstruction / Chrysanthos' exegesis of the papadic enechemata / Deuteros echos
caption_attribution_description: English: Parallage (solmization) of the soft chromatic scale according Chrysanthos, the echos devteros (ἦχος δεύτερος) in the current traditions of Orthodox Chant.
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: Chrysanthos' bridges between the diatonic echos devteros of the Byzantine past and the chromatic melos of the present Orthodox traditions. The latter is characterised by the constant use of the mesos form, which is not on the phthongoi of devteros—b natural (ζω', phthongos β') and E (βου, phthongos πλβ'),  but between them on G (δι, phthongos πλδ').
  The usual diatonic kyrios form was this enechema, but only the descending part would lead to the base tone of the mesos devteros.
  As a consequence, Chrysanthos' exegesis starts and ends on this mesos, but it follows the Hagiopolitan convention to pass through the former devteros pentachord, but he even passes through the tetartos pentachord C (νη, phthongos πλδ')—G (δι, phthongos δ'), as it used by the current melos of echos devteros.
  Concerning the chromatic melos of the devteros echoi in the current octoechos, the papadic devteros mele had become "soft chromatic" under the influence of the phthora nenano.
  Nevertheless, according to the very particular interpretation of Chrysanthos the melos and scale of echos devteros is ruled by a diphonic organisation based on just two diatonic intervals: the major and minor tone. As a result, the octave C—c between νη and νη' becomes slightly diminished. Chrysanthos' concept of diphonia was so radical that it found no commonplace in current chant manuals, instead a lot alternative interpretations proposed various divisions of the chromatic tetrachords between νη—γα (C—F) and δι—νη' (G—c).
  At the end of his chapter "on the apechemata" Chrysanthos offers a separate exegesis of phthora nenano as a modern deduction of the plagios devteros enechema, whose medieval form was this. But it had moved now with the phthora nenano to the phthongos of plagios protos.
caption: Chrysanthos' parallage of echos devteros in the soft chromatic genus (1832, pp. 106-108)
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