Preliminary notes:
a) In this comparison there are included all the melodies that are of one type. So, there can be more melodic differences than the tonal shift (of course, some of them may be caused by the shifting). It is a question, until where we can consider two melodies as two variants of one melody and where we need to talk about two different melodies. The answer is subjective and a correction (narrowing) of this index is possible. (What does this paragraph mean? I'm not clear on what he means by "all the melodies that are of one type".)
b) In general, there are three types of shifting:
Shift 1: the global shifting of the whole melody.
Shift 2: shifting of the main recitative tone, with beginings and endings unchanged
Shift 3: partial shifting of one phrase, while the rest of the melody remains unchanged
(All of these shifts are included in this index - in red text.)
c) For purposes of comparison, it was necessary to transpose some melodies to the same tonality.
Tone 1
Troparion
L1, L5: recitative on B-flat, end on G
Mukachevo tradition and L4, L6: recitative on D, end on G
= shift 2 one third upwards
Tone 2
Troparion/Sedalen - Bulgarian Chant
Ob3, L1, L5: begin on C, recitative around C, end on A
VS: begin on D, recitative around D, end on B-flat
= shift 1 one tone upwards (effect of one
third downwards)
Troparion/Sedalen - Simplified Bulgarian Chant
L1, L4, L5, L6, L7, L8: begin on C, recitative on C/D, end on A
K1: begin D, recitative on D/E-flat, end on B-flat = shift
1 one tone upwards
Obikhod (Znamenny?): end on C = shift 3
(only the final cadence) one third upwards
Mukachevo tradition: begin C/A, recitative on C, end on G = shift
3 (the final cadence) one tone downwards
Tone 3
Podoben "Красоте девьства"
L4, L5, L6, Mukachevo tradition: begin on B-flat, recitative around C, end on
F
KD: begin on A, recitative on B-flat, end on E = shift
1 one tone down
L8: begin on C, recitative around D, end on G = shift
1 one tone upwards
Tone 4
Podoben "Скоро предвари"
L5, K1, M3: begin on B-flat, recitative on C, end on F or A
L4, L6, L8: begin on D, recitative on E-flat, end on C = shift
1 one third upwards
Troparion
L1, L4: recitative on A (phrase 1) / B-flat (phrase 2), end on F
Mukachevo tradition: recitative on C / B-flat, end on F = shift
3 (phrase 1) one third upwards
Tone 5
---
Tone 6
Troparion
L1, L4, L5, L6, VS, N1: phrase 1 - recitative on C, end on A // phrase 2: recitative
on B-flat, end on C
Mukachevo tradition: phrase 1 - recitative on C, end on G // phrase 2 - recitative
on B-flat, end on C
= shift 3 (second part of phrase 1) one
tone down
Tone 7
Troparion
Ob3, VS, L1, L5, N1: phrase 1 - begin on D, recitative on C, end on E-flat //
phrase 2 - recitative on E-flat, end on B-flat
L4: phrase 1 - begin on C, recitative on C/B-flat, end on D // phrase 2 - recitative
on D/C, end on B-flat
= shift 2/3 (everything except the end)
one tone down
L6: phrase 1 - C, B-flat, D // phrase 2: D, A
= shift 1 one tone downwards (comparing
with Ob3, VS, ...)
Mukachevo tradition: D, C, E-flat // E-flat, D
= shift 3 (phrase 2) one third upwards (comparing
with Ob3, VS, ...)
Tone 8
---
SOURCES
Ob1: Обиход нотнаго пения - всенощное бдение, Moscow 1909
Ob2: Обиход нотнаго пения - Божественная литургия, Moscow 1909
Ob3: Бог Господь и седалны воскресны по болгарскому роспеву, Moscow 1772
(Ob1,2,3 reprint - Cureglia/Chevetogne 1966)
Ob6: Ирмологий по напеву Тройце–Сергиево лавры, Moscow 1982
L1: Osmohlasnik, L'vov 1879
L2: Utrenja Paskhi, I. Kiprijan, L'vov 1883
L3: Bozhestvennaja liturgija, P.Bazhanskij, L'vov 1872
L4: Napivnik cerkovnyj hal. rus. cerkvej, I.Polotnjuk, Peremyshl' 1902
L5: Irmologion, L'vov 1816
L6: Hlasopisnec, I. Dol'nickij, L'vov 1894
L7: Napivnik cerkovnyj, Osthaim-Dzerovich, Rome 1959
L8: Cantus ecclesiasticus, Rome 1961
K1: Kievan manuscript, Prophet Elias Skete, Athos 1899
VS: Irmologion, Veliki Skit, 17th-18th century, Sofia 1982(?)
KD: Болгарский наспив з рукописних нотолiнiйних iрмолоїв України кiнця XVI-XVII
ст., Kornij-Dubrovina, Kiev 1998
M1: Cerkovnoje prostopinije, I. Bokshai. Hungary 1906, Preshov 1943
M2: Irmologion, S.Papp and N.Petrashevich, Preshov 1970
M3: Prostopinije, I. Khoma, Mukachevo 1930
N1: Староболгарско церковно пение, Anastas Nikolov, SanktPeterburg 1905-1906
N2: Староболгарско церковно пение, Anastas Nikolov, Sofia 1921
--- In podoben@yahoogroups.com, "sladkopevec" <behemot@c...>
wrote:
Hello, Nikita, and others,
As I was looking into the sedalny_kievan.pdf, it seems to me, that the melody
of the 2nd tone troparion "Egda sniљel esн" is exactly (or with some
minor variants) the same, as one of the galician troparion melodies for the
2nd tone, but 1 step higher (begins not from C, but from D, if we imagine it
written in B-dur scale). Is it correct or a mistake in transcription? If it
is correct (a similar situation as with the podoben "Skoro predvari",
which exists in 2 versions, with melodies observing the same movement, but in
a "second" distance), what can be the reason for such a transformation
of the melody? Or it seems only like higher, but in reality it is one third
lower (the effect is, I think, the same)...
David
From: "stephen_r1937" <stephen_r1937@yahoo.com>
Subject: Re: tone 2, kiev
David, I think you have put your finger on it: it is a third lower. The practice
of singing an accompanying part a third above or below, which is the norm in
Galicia and an option in Carpathian Rus', seems to have led to such variants.
Look at the kontakion melody of Mode VI in a Galician book, and compare it with
the CR version.
Stephen
Hi David,
I have not yet had an opportunity to check out the Podobny melodies you have
mentioned, but I know of another instance where the pitches have been shifted:
The melody for "Noble Joseph" (Blagoobraznyi Iosif) on pages 421-423
of the Sputnik Psalomshchika (Jordanville reprint of 3rd edition, St Petersburg,
1916) is notated a pitch higher than everywhere else I have seen this melody.
The original has a minor tonality, but the Sputnik version has a major tonality.
Nikita
Exactly the same situation have I found in the Veliky Skit irmologion. Tone
2, Boh Hospod+Troparion. It seemed to me as a different melody, but yesterday
I found that it is the same, well
known bolgarian melody, but one step higher.
david
---------
I have found some more examples. In another mail I have mentioned the Veliky
Skit troparion mode 2. And what is really great, is the podoben tne 3 "Krasoti
divstva tvojeho". Normally as I know it and as it is most of the irmologia,
it consists of a phrase begining on B flat and ending on F (or F + linking G
A). But in the file You have posted here, a quote from Kornij Dubrovina, it
is set in G major (I can understand it as the higher third of the original melody).
On the other hand, in the basilian edition (Napivnik cerkovnyj??? 195?) it is
one pitch higher (as if it were the lower third of the original melody).
As you probably know, while the Kievan notation as we usually see it nowadays always employs the Alto clef, in old sources the Soprano, "German Soprano," and Tenor clefs were also possible, and there might be a b-flat in the signature. This increases the number of things that might go wrong in copying, particularly in the transistion from some other clef to the Alto.
OK, this reminds me another problem. In the Veliky Skit irmologion there are different clefs used. It is a thing I can understand. But what is strange for me, is changing of the clefs one, two or more times during one stichira or irmos. Why? What is the meaning of such a change? If it is a melody sang as we use to do it, it seems like a nonsense, something that leads only to mistakes. I believe that there must be another reason for such changing. I have two hypotheses, but without sufficient arguments:
1. It can denote a change of ison (but was there a practice of ison in Galicia?)
2. It can be something like in the contemporary byzantine neumic chants - a
change of tonality (e.g. in the cherubic song mode 1 it switches for a while
to the oriental-sounding tone 2 and after some words it switches back). In the
byzantine music there is a real change of tonality. In the galician - it seems
to me that there is no real change, that it is possible to write the same melody
without changing the clef - or it is not true? Are there tonal changes which
were not preserved in the later galician irmologia? Perhaps You know more about
it.
David
=========
From: "David Pancza" <behemot@centrum.sk>
Subject: other "kiev-sedalny" observations (Re: tone 2, kiev)
Thank You, Stephen, for the answer. It seems to me a more complex problem, but
let's start from the begining. Yesterday I was singing for myself the melodies
of the Kiev-sedalny and comparing the melodies with what I found in other sources.
Here are my observations to some of the melodies:
Tone 1:
"Kresta tvojeho" (pod. Kameni zapechatanu): the melody is simple but
unknown to me. What is important, the ending is the typical end of the stichera
melody in Galician singing. So I think, that this is not a Bulgarian sedalen
melody, but some podoben-sticheraric (Russian/Galician) melody applied to the
sedalen.
"Prestolu strashnomu" (podob. Grob tvoj Spase): the melody is, neglecting some minor differences, the same as the sedalen melody in the Obikhod collection (see the appendix in the Benedictine edition of 2 part Obickhod, Chevetogne and ?)
"Lik angelskij" - this is a Bulgarian melody, BUT it is the melody of stichera (it can be compared with the Litia stichera, CR funeral stichera or the Lvov Bulgarian Aposticha stichera).
Tone 4:
"Vozopij Davide (pod. Udivisja Iosif): with some minor differences the
same as the sedalen in Lvov Osmohlasnik 1879.
"Kheruvimy i serafimy" (pod. Skoro predvari): with some minor differences the same as the sedalen in Lvov Osmohlasnik 1879. The major difference is in the ending.
Tone 5:
"Apostola vsi i uchenika Khristova", Pod. "Sobeznachalnoje slovo":
The podoben is, I think, NOT the resurrectional troparion. There exists a sedalen
"Sobeznachal'noje slovo" from the feast to St. Roman and in the Galician
Irmologia it is among the podobny melodies with a melody different from that
of the troparion (on the other hand, I am sure that originaly it was the same
melody, but that of the sedalen remained complicated and that of troparion was
simplified, so the both diverged to two different melodies). The melody is nearly
the same as the Bulgarian sedalen melody in Lvov 1879 and not far from that
in the Obikhod appendix (mentioned above) and the Veliki Skit Irmologion.
Tone 8:
Pod. "Povelinoje tajno": It is a variation of the melody for "Povelinoje
tajno" found in Galician Irmologia.
Samopodoben "Premudrost i slovo": Here is the place to recall the question about the one tone higher (or third lower) setting. The melody of this samopodoben is a little variation of the podoben "Vozleh na persi Iisusovi", BUT it is again one tone higher! Why? This melody seems to me to be too complicated for acompanying it with a vocal set one third lower, so I have doubt about a possibility of such a process leading to the higher setting. So, I still think about the hypothesis of an uncorrect transcription. It is not a big problem to make such a mistake, some Galician Irmologia very often use different kinds of scales which have to be carefully identified.
"Slovo Bozhije na zemlju ..", pod. "Svirilej pastyrskich" - it is the usual, normal Bulgarian sedalen melody found in the Lvov Osmoglasnik of 1879.