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1 and 2 above:  ,  . In addition, the last syllable of a line, in principle tetraseme, is sometimes prolonged into the vacant time before the start of the next line, finally expiring with a dying fall (Ex. 7.4). |
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When a syllable is sung on three notes, whether the rhythm is  ,  or  , it is frequently the case that the second note is higher than the first (most often by a tone), while the third is the same as the first or a little lower. We recognize here something that is recorded in a little list of melodic figures in the Anonymus Bellermanni.31 There is one called ekkrousmos, explained as being 'when the same note is taken twice with a higher note in between, for example g a g or a  a'. The others are: |
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prolepsis, a rising two-note figure ( ) making an interval of up to a fifth; |
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eklepsis, the same falling; |
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prokrousis and ekkrousis, the same where it is a short note divided ( ); |
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kompismos and melismos, (apparently) the figures  and  where the two notes are the same (but it is also called kompismos if the second note is an octave higher than the first); |
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teretismos, a combination of kompismos and melismos,  . |
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The examples which the author appends to each definition are in the instrumental, not the vocal notation, and he presumably has instrumental playing primarily in view.32 But most of the figures he describes have parallels in our vocal texts. |
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31 Anon. Bellerm. 2-10, 84-93. Manuel Bryennius, Harm. 3.3 pp. 308-12 Jonker, gives a slightly longer list, related to that of the Anonymus but conflicting with it in various details, which need not be specified here. |
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32 A symbol for kompismos has in fact been identified in the two Berlin instrumental pieces (41, 43), and Pollux 4.83 mentions teretismoi as part of the aulete's technique, while Agathias, Anth. Pal 7.612. 3, speaks of the teretismata of the lyre. Kompismos signs also seem to appear in two or three of the unpublished vocal frag- |
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(Footnote continued on next page) |
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