St. Irene Chrysovalantou | Windows to Prayer and Byzantine Chant

Tone 1

Called Dorian by the ancient Greeks, Tone I is used in some of the most familiar hymns of the Church year: O Lord, Save Thy People (Troparion of the Cross), O Christ our God, when thou didst raise Lazarus (Troparion of Palm Sunday), the Troparion for Theophany, the Troparion for the Meeting of the Lord, and the Troparion for the Dormition. Tone I is distinguished by a magnificent, happy, and earthy character.

Tone 2

Called Lydian by the ancient Greeks, Tone II comes from the city of Sardes in Lydia around 670 B.C. This tone plays a significant role in Orthros (the Glory after Psalm 50 and the Exaposteilaria). Tone II is distinguished by a languid, moving, and graceful character. It can inspire either majesty, gentleness and hope, or repentance and sadness.

Tone 3

Called Phrygian by the ancient Greeks, Marcian the Greek brought it from Phrygia in Asia Minor. At Bridegroom Matins, Tone III is used for the Exaposteilarion, I See Thy Bridal Chamber Adorned. Tone III has an almost arrogant, brave, and mature air.

Tone 4

Called Mixolydian by the ancient Greeks, this tone is attributed to the poet-musician Sappho. Tone IV is used in Orthros (the Anabathmoi From my youth for feast days, and the Hiermos of the Canon to the Theotokos, I shall open my mouth…), the well-known canon to the Theotokos used on Fridays in Lent with the Akathist Hymn, and in various troparia for feast and saints’ days (the Troparia of the Nativity, the Ascension, and the Annunciation). Tone IV possesses a festive, dancing flavor, is joyous and capable of expressing deep piety.

Tone 5

Called Hyperdorian by the ancient Greeks, Tone V is the Plagal of the First Tone since it is derived from Tone I. Plagal means to change or alter. The most well known example of Tone V is the Evlogetaria in Orthros. Also in Tone V are Christ is Risen and the Paschal Sticharia. This tone is stimulating, dancing, and rhythmical. It is often the first tone learned by students of Byzantine Music.

Tone 6

Called Hypolydian by the ancient Greeks, Tone VI is the Plagal of the Second Tone. It is one of the favorite tones of Mid-Eastern chanters, and one of the more difficult ones for students to learn. Tone VI is distinguished by its rich texture, funeralic character, and generally sorrowful tone.

Tone 7

Called Vareis, meaning grave in Greek, Tone VII was known as Hypophrygian by the ancient Greeks. The Troparion for the Transfiguration is in Tone VII. It is the Plagal of the Third Tone, and is distinguished by a manly character and strong melody.

Tone 8

Called Hypomixolydian by the ancient Greeks, this is the Plagal of the Fourth Tone. This also favorite tone of the Church is heard in the Canon of the Cross, the Troparion for the Holy Fathers, and the Troparion of Pentecost (Most Blessed Art Thou, O Christ Our God). This tone creates an air of humility, tranquility, and repose, expressing in many cases suffering and pleading.