Orthodox Gregorian Octoechos скачать в хорошем качестве

Orthodox Gregorian Octoechos

This series of videos is for ear training. Learning to distinguish the individual fine tunings of the 8 modes is fundamental. Before we can sing the fine tuning, we must be able to hear it. Inspired by ‪@raymondvincentthm1642‬, here we have triple alleluias in all 8 modes.The ison is constant throughout to facilitate hearing the different second, thirds, and fourths. As we continue our work of "creating" and fleshing out the Gregorian Octoechos for Orthodox usage, the fine tuning must be learned and diligently kept. We find ourselves needing tools for the fine tuning that are not a computer sine wave. Eventually there will be much more material like this. The ison is continuous to really hear the difference as much as possible between the modes. The key to natural toned singing is being able to tune up from a fundamental pitch. In practice, that is in church services, we usually sing a Byzantine apichima, a short melodic phrase or intonation to get the mode in our ear. Some we borrow from the Received Byzantine Tradition while others are unique to the Gregorian song. Like the Received Tradition we number the Modes according to the Byzantine Octoechos. This is done for practical reasons, all our Orthodox Church books use this numbering. Unlike the Received Byzantine Tradition, the **Gregorian modes do not share the same diatonic scale**. Each modal scale is unique, with a few exceptions. High tuned modes share the high tuned Fourth and the perfect fifth in common. High tuned meaning the Fourth is the overtone 8/11, not the undertone 3/4 that we are used to in the West. This excludes the Phrygian Plagal mode which has a diminished Fifth (granted he makes a very short appearance...). Also of note, the Dorian mode in theory can only have a B natural. That being said, in the ancient world the practice of alternating the B flat and B natural depending on melodic context was widespread before the crystallization of the Byzantine Octoechos. I have taken to calling the Dorian with a B flat, Solemn. Inspiration for this comes from the hymn Gaudeamus. The classical opening of this introit can not go unnoticed, and it is very helpful to learn it. All the modes shown here are high tuned. With the high tuned mode being the standard, it is *essential* to be able to sing the overtone Fourth and Perfect Fifth. By no means is the undertone Fourth neglected, he makes his appearance as the B flat in the Lydian modes, having command of both Fourths is necessary. Bits and pieces of these compositions are taken from some famous Gregorian hymns. Also in these little compositions the nifty quilisma makes himself known. While there are a few variations for singing the quilisma, here it is only shown in its most common form. We are continuing to perfect the notation, we are able to show very delicate vocal movements. Note: *the ornamental passages are taken faithfully from the Saint Gall manuscript family.* Our goal has been to produce these neumes without referencing the adiastematic neumes from which they come. By the grace and help from the Lord, we have succeeded in this. We are the only ones I know of to have achieved this, right behind our beloved Abbot Johannes. Truly groundbreaking for the project. May the Lord have mercy on us as we continue our work, for the glory of His church and the health of our souls. Amen. #gregorianchant #byzantinechant #orthodoxgregorianchant