page_title: Echos
section_title: Tetartos echos
hierarchical_section_title: Echos / History and reconstruction / Chrysanthos' exegesis of the papadic enechemata / Tetartos echos
caption_attribution_description: English: Iakovos the Protopsaltes' enechema of echos legetos
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: The tetartos echoi have changed between the Byzantine and the Orthodox octoechos today.
  The original tetartos pentachord between plagios and kyrios—C (νη) and G (δι) or likewise G (δι) and d (πα')—does still exist in the papadic melos of echos tetartos, which is known as the "papadic Agia" (Ἅγια παπαδικῆς).
  Chrysanthos made for the papadic melos this exegesis.
  A commonly used form of Ἅγια παπαδικῆς might be the one which Chrysanthos mentions as the one used by Petros Peloponnesios.
  The diatonic plagios of tetartos according to the enechema known from the treatises called Papadikai
  which was interpreted by Chrysanthos, as follows.
  Since the plagios devteros has moved to the phthongos of plagios protos (πλα'), the original phthongos of the diatonic plagios devteros was vacant. In fact, as a diatonic phthora it was represented by a medial signature of the so-called "echos legetos" (ἦχος λέγετος) which had preserved the diatonic intonation of plagios devteros.
  The signature was used within the heirmologion kalophonikon, since heirmoi of devteros echoi were still treated as a diatonic melos unlike the school of Petros Peloponnesios and his follower Petros Byzantios. According to their school the echos legetos was part of the tetartos echoi, as a mesos tetartos it was used for the heirmologic melos, where the base and final degree was a low intoned E (βου), and for the sticheraric melos, which had the base degree of the mode and closing cadences on D (πα), but the concluding finalis E (βου).
  Chrysanthos interpreted also echos legetos as a diatonic mesos tetartos.
  He also mentioned a common enechema as it was used by Iakovos the Protopsaltes.
  In this last paragraph of the chapter about the apechemata Chrysanthos referred to ten echoi within the tradition of Hagiopolites.
  Ἦχοι μὲν εἶναι ὀκτὼ τῆς ψαλμῳδίας· ἀπηχήματα δὲ σῴζονται δέκα. Διότι ὁ Τέταρτος ἦχος, καὶ ὁ Πλάγιος τοῦ δευτέρου, ἔχουσιν ἀνὰ δύο ἀπηχήματα.
  The echoi of the psalmody are eight. The apechemata preserved though are ten, because the echos tetartos, and the plagios of the devteros, have two apechemata each.
  But unlike the Hagiopolites, where the phthora nana was mentioned as a "mesos tetartos" and the nenano phthora as "mesos devteros", echos legetos seemed to have slipped into the mesos tetartos role, but it was a diatonic mesos, not an enharmonic like phthora nana. In fact, Chrysanthos could not longer mention nana and nenano as additional echoi, since their melos had already replaced the diatonic mele of the devteros and tritos echoi.
caption: Iakovos' enechema of echos legetos (Chrysanthos 1832, 141—§317)
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