Lesson 1 (Pg 1). Learn byzantine music chant series.

Learn byzantine music chant online for free! These short 100+ videos teach our free book page by page. You can download our free book at www.PatriarchalPsaltophiles.org or purchase it from amazon. No profit is being made from selling the book or from anything else. This is a totally free service to whomever wishes to learn how to chant the liturgy of St John Chrysostom in its original Greek using melodies and music notation approved by the Ecumenical Patriarchate of Constantinople. We are not affiliated with anyone and we do not accept donations either. Relax, there's no catch here! Yes, really!

[@Sergio.GonzalezPrats]

This video is fantastic, oh god just realized you have a lot more, AMAZING

[@patriarchalpsaltophiles4505]

Thank you! Yes, we have 120+ videos on our channel teaching the whole book cover to cover. A free PDF of the book is also on our website. All our work is totally free (we don't even accept donations).

[@hwasoosyn7107]

God bless you for your devotion.

[@luddemanfred5910]

Am I deaf? i hear two whole steps from Di to Ke to Zo

[@joachim847]

You're not deaf, Ke is infuriating. It's something like a 2/3s step above Dhi but it also changes situationally and nobody does it the same as anyone else. Good luck! :D

[@nicholast6150]

Very informative. Just curious why you use the term “whole/half tone”, this concept is taught as “whole/half step” in Western music. Thanks!

[@patriarchalpsaltophiles4505]

Thank you for your question, Nicholas. The equivalent of the Western whole and half-tone in Byzantine music is denoted with the numbers 12 and 6, respectively. There is really no other reason for calling them with their Western equivalent names, other than making the vocabulary friendlier to a student coming from a Western music background. A Byzantine music teacher would refer to these tones as major tone or whole tone or just tone (12) and least tone (7), as explained on page 6.

[@user-em8hr5tq5d]

Γεια σας.εχω μια απορια που δεν εχει απαντησει κανενας.μεταξυ των φθογγοσημων εχουμε την διεση και την υφεση.που σημαίνει οτι αλλαζω το φθογγοσημο και αν εχω υφεση το βαραινω και αν εχω διεση το κανω πιο ψηλα να ακουστει.πως ομως πρεπει να ακουστει;πρεπει π.χ αν εχω υφεση στο ζω να μοιαζει σαν κε;η αν ειχα διεση στον ζω να μοιασει σαν νι;η πρεπει απλα να το βαρυνω η να το κανω πιο ψηλα απλα για να ακουστεο κατι διαφορετικο ωστε απλα να ακουστει οτι υφεση ή διεση.δηλαδη πως να εκτελεσω σωστα το φθογγοσημο που πλεον εχει δεχτει υφεση η διεση.ευχαριστω πολυ.ελπιζω να μου απαντήσετε διοτι θελω να μαθω να ψαλω.

[@byzantine.chantes]

Is this the soft chromatic scale?

[@corex72]

So it’s a pentatonic scale. Why only these notes?

[@Andrew_Schaefer]

Soft-chromatic is actually a identical repeating tri-chord scale with no "gap-notes" (forgive me - I've forgotten the technical term) between the chords. So, Thi-Ga-Vou is a trichord, and Zo-Ke-Thi is an identical trichord, and below and above these notes, these intervals 12 & 7 repeat (in some schools, the intervals 14-8, and 12-8 alternate to form a perfect octave - 72 moria). This being said, you can operate on this scale in tetra and penta chords. Thi-Ke-Zo-Ni(-Pa), and (usually followed by a deliberate fthora to Hard chromatic) (Thi-)Ga-Vou-Pa-Ni.
Hope that helps.