I didn't mean that in the manuscript the salicus is on E F F+; it was simply a remark and this prooves that E-F is a larg interval, actually E-F+. Following the manuscript, it could be on D E F+ and then G A G (toculus); or E F…"
"Starting from D, D-E (10/9), E-F+ (11/10), F+-G+ (9/8) flexible, D-G+= C-F+ (11/8). Now, what do you mean by "fourth species of the fifth"? In which scale D or E?
For the main question, what notes or what echema do you choose? I can't…"
"I'm very happy to discover and impressed by this latin version of the Cherubikon. By the way, I remember discussing about it with M. Huglo, that he said that it was sometimes, at least in the Western tradition, sung as a trecanon, that is in…"
"I certainly would choose the high fourth, given if starting from C, by the interval C - F+ (11/8) or starting from D, D - G+ (99/64). But it doesn't make a tritone, it is, starting from C, between F and F#. To return to the (pure) E mode, E - F…"
"When speaking of ancient intervals, based on the sequence of harmonics (overtones), the fundamental tone is supposed, theoretically, to be C (the pitch is irrelevant). Then, the fifth G, is the third harmonic and 3/2 of the height of C; E, the…"
"The point is that if we want to be really serious concerning interpretation, we have to return to ancient scales and not as it is always done, sing in the tempered scale. It is what I have done for more than 40 years. Among other performers, only M.…"
It would be good to meet and give examples (for intervals, neums, etc.), orally, otherwise, it's just words. Maybe sometime next year in Holland (in the past and last year, I had workshops and concerts in Holland) or at some…"
"In the great Western repertory which - because of the high mastering of modal intervals, melodic formulae, words, vowels, etc. - belongs to the Gallo-Roman antiquity (IV-VI c.), I understand the modes more in the Indo-European harmonic way. Namely…"
"I see that you master this questions of intonations and modes quite well. As to the natural third (5/4), it can be shown that it was the main third in the G mode (while in F mode, it is clearly the Pythagorean which moreover was the theoretical…"
To understand how to possibly sing the intonations like AIANEOEANE, we need first to know a little about the pronounciation in singing in these Byzantine times; following Christian Hannick, with whom I discussed the matter many years…"
Présentation: travaux et (ou) intérêts (Presentation: works and (or) interests)
- Le Chant des Gaules sous les Carolingiens, in Haut Moyen-Age, culture, éducation et société, Etudes offertes à Pierre Riché, Paris (éd. Erasme) 1990, p.323-341.
- Le Chant des Gaules avant les Carolingiens, Rerum gestarum scriptor. Histoire et historiographie au Moyen Âge, Mélanges Michel Sot, PUPS (Presses Universitaires Paris Sorbonne), Paris 2012, p.611-618.
- Transmission orale, transmission écrite : le chant chrétien antique, in , in Vivre et transmettre la tradition dans Connaissance des Religions, n °69-70, p.191-210, Paris, juillet – décembre 2003.
CD - Alleluias et Offertoires des Gaules, Harmonia Mundi 1980 (CD 1989).
CD - Le Chant du Mont Saint-Michel (avec une étude sur la résonance romano-gothique de l’église abbatiale), Studio SM, Paris, 2001.