IEGOR REZNIKOFF's Page

"Yes, it makes sense. We settle this soon (I call)."

"(partial answer) 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…"

"Sorry, I missed the word 'descend'."

"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.…"

"Dear Geert, 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…"

"It is a pity - regardless of the authenticity of the deciphering - that it is so badly sung: a pitiful Solesmes manner for an Iberic chant of High Medieval times; impossible!"

"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…"

"First, I have to read carefully your paper. I don't have the book and don't plan to buy it; is it possible to ask you to send me the paper?"

"Concerning suggestions, I have to return to the matter; it's a long while I havn't worked on. But I shall try."

"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…"

"Dear Oliver, 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…"