Theory of the Byzantine tones

[Logan S.]

I have only recently been exposed to the Eastern Church. My first exposure was mainly through music. When I began attending liturgy at my local Byzantine Catholic Church, I was confused by all of the tones. What is the theory behind them?

[Michael Stickles]

Holy Cross Antiochian Orthodox Church has a nifty little page on Byzantine Chant: History and Theory (http://www.holycrossonline.org/our_ministries/parish_ministries/chant/byzantine_chant/). It has a discussion of the theory behind the tones (starting not quite halfway down the page) and of the character of each tone (at the bottom of the page after the quotes), but I'd encourage you not to skip the first part of the article; it's interesting too.

In Christ,
Mike

[Nina]

Something to keep in mind (I am no expert, but I know this) is that here they call tones from one to eight. However those are from one to four. And the rest (the other four) are Plagal of the first four tones. The page Mike provided also explains this although that page also numbers the tones from one to eight:



Called Hyperdorian by the ancient Greeks, Tone V is the Plagal of the First Tone since it is derived from Tone I. Plagal means to change or alter.

[M.C. Steenberg]

Above, Nina wrote:

Something to keep in mind (I am no expert, but I know this) is that here they call tones from one to eight. However those are from one to four. And the rest (the other four) are Plagal of the first four tones.
This is particularly relevant for Byzantine music, where the plagal tones of 1-4 (e.g. tones 5-8) are directly built on the structures of the base tones, modified on plagal scales.

The connection is less obvious in the Russian-style tones, which is why numbering them tones 1-8 makes a certain sense. However, there is still a connection, and in some of the relationships is more obvious than others. The sticharion melodies for tones 1 and 5 are closely connected, and the same is true of their relationship between tones 2 and 6.

INXC, Dcn Matthew

[Nina]

Above, Nina wrote:

This is particularly relevant for Byzantine music, where the plagal tones of 1-4 (e.g. tones 5-8) are directly built on the structures of the base tones, modified on plagal scales.

INXC, Dcn Matthew

Oops. Yes. I was speaking strictly about Byzantine tones because of the thread's title and Q.

[M.C. Steenberg]

Oops. Yes. I was speaking strictly about Byzantine tones because of the thread's title and Q.
No reason to hesitate! Topics expand and grow; I was just furthering the observations.

INXC, Dcn Matthew

[Nina]

No reason to hesitate! Topics expand and grow;

INXC, Dcn Matthew

:D Yes. Of course. Usually I contribute to that too, but mostly in an unedifying manner, since I am (unwittingly) master of sidetracking threads.

[Fabio Lins]

I read once, but I don't remeber where, that the eight tones were directly based on Pythagorian musical therapy theory. Does anyone know anything about that?