GUIDE
On How to Compose & Perform
Appalachian Orthodox Chant
HISTORY
The history of Orthodox Chant and its effect on the world is incredibly fascinating. The earliest Christians used simple antiphonal refrains and improvised melodies to intone psalms, which was familiar to many having worshipped in Jewish synagogues. This notion of simple, improvised melodies based on tones developed into Byzantine Chant - the oldest continually used tradition of sacred Christian music in the world - which is widely used today in Greek Orthodox churches and monasteries. Around AD 1000, the newly-converted Slavic peoples began taking the specific Athonite tradition of Byzantine Chant and adapted it to their own familiar style. This became known as Znammeny Chant. Although Znammeny isn't as widely used as Byzantine Chant, it still forms an important backbone to the Slavic liturgical tradition. After the introduction of Western four-part harmony in the 17th century, Russia began adapting traditional Znammeny, Byzantine, Obikhod, and Kievan chants into a more complex style of sacred music, championed by composers such as Tchaikovsky, Rachmaninoff, and Rimsky-Korsakov. These four-part settings continue to be used in ROCOR, OCA, and Antiochian parishes today.
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The pattern that can be found in the aforementioned examples of Orthodox church music is clear: groups of people took the traditions of sacred music that had been given to them and adapted it to reflect their own culture and identity (it should be noted, of course, the only thing that changes here are the musical settings - the theology and spiritual traditions of the Orthodox church have remained unchanged for over 2000 years, regardless of the country, people, or historical situation). However, us in America today find ourselves in an interesting place: Orthodoxy has existed in America since at least the 1700s, but in the time between then and now, there has not yet been a traditionally "American" form of Orthodox chant to be widely adopted. Nevertheless, as many Americans convert to Orthodoxy, and as America itself has a wonderfully rich musical tradition, there has emerged the Appalachian Orthodox Chant style, based on the traditional Orthodox Byzantine & Znammeny chants, as well as the Scots-Irish, African American, and American Indian musical styles found in the American South.
BASICS OF APPALACHIAN ORTHODOX CHANT
If you are already familiar with Byzantine, Znammeny, or any other kind of Orthodox chant tradition, you will not find Appalachian Orthodox chant to be much different. Like Byzantine chant, Appalachian chant utilizes a main melody and a simple drone or ison. However, opposed to using the tones that developed out of middle-eastern musical scales as found in the former, the Appalachian style uses scales widely known in American folk music - namely the major and minor pentatonic scales, as well as the mixolydian and dorian modes. The ison of Appalachian chant follows how American folk music generally harmonizes these melodies and scales traditionally. Knowing these scales, modes, and tones is vital to knowing how to compose and perform this chant style.
APPALACHIAN ORTHODOX CHANT TONES
Due to the American folk music tradition being very simplistic by nature, there is only a need for four tones to cover the style in its near entirety:
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Tone 1
This tone is based on the major pentatonic scale. It is the most common scale to be associated with Appalachian folk music - songs like Swing Low Sweet Chariot and Oh Susanna are based on this scale, making it instantly recognizable. Tone 1 has a very happy, comforting, and uplifting tone, and is usually utilized in Appalachian chant to portray God's abundant love and mercy.
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The major pentatonic scale - the basis of Appalachian Tone 1
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Ison: The ison of Tone 1 generally falls on the tonic (base note) of the motif, which in the above example would be C. Whenever the melody falls below the tonic, the ison may move with it in unison, or stay put, depending on the director's discretion. In certain instances, like the example below, the ison may break into two parts, representing the tonic and diatonic fourth, which, especially coupled with the sixth and fifth in the melody line, creates a powerfully recognizable "bluegrass" sound.
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Example from "O Gladsome Light - Appalachian Tone 1"
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Some examples of Appalachian Orthodox Chant currently in this tone are:
Some examples of secular American folk music which uses this scale.
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Tone 2
This tone is based on the minor pentatonic scale. The minor pentatonic scale is widely used in African American and American Indian music. Tone 2 has a more solemn tone, and is usually utilized in Appalachian chant to portray God's majesty and judgement.
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​The minor pentatonic scale - the basis of Appalachian Tone 2
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Ison: The ison of Tone 2 is similar to Tone 1 in that it generally falls on the tonic (base note) of the motif, which in the above example would be A. Whenever the melody falls below the tonic, the ison may move with it in unison, or stay put, depending on the director's discretion. Other common ison notes include the third and fourth, and the ison may break into two parts as well. ​​​​
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Some examples of Appalachian Orthodox Chant in this tone are:
Some examples of secular American traditional music which uses this scale.
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TONES 3 & 4
These are lesser-used tones for standalone pieces, however, they may be used to add some contrast or interest to a hymn in one of the aforementioned tones, or to intone psalms, readings, etc.
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Tone 3
Tone 3 is based on the Mixolydian scale (which is a major diatonic scale with a lowered seventh scale degree). It has a happy, 'celtic' feel to it. It goes well with Tone 1.
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​The mixolydian scale - the basis of Appalachian Tone 3
Ison: The ison of Tone 3 works best on the tonic (the above C), lowered 7th scale degree (Bb), 2ndscale degree (D), and sometimes the 5th (G).
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I have not yet composed any hymns in this tone. Here are some examples of American folk music in this scale so you can get a feel for the sound.
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Tone 4
Tone 4 is based on the Dorian scale (which is a minor diatonic scale with a raised 6th scale degree). It has a contemplative but feel to it. It goes well with Tone 2.
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​The dorian scale - the basis of Appalachian Tone 4
Ison: The ison of Tone 4 works best on the tonic (the above D), the 5th (A), and the raised 6th scale degree (B). The ison may split into multiple parts.
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I have not yet composed any hymns in this tone. Here are some examples of American folk music in this scale so you can get a feel for the sound.
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HOW TO PERFORM APPALACHIAN ORTHODOX CHANT
Singing Appalachian Orthodox Chant is the same as singing any other form of Orthodox chant - it should be done prayerfully, solemnly, and joyfully, always remembering what one is singing about. It is not to be done 'operatically', with much vibrato and personal finesse, but humbly and with the remembrance that it is God Himself whom you are extolling. Like Byzantine Chant, however, one can develop their own style of chant interpretation, adding trills and grace notes wherever seems fit, which is in keeping with the Appalachian style as well.
This project is a work in progress, and it will be updated as the style grows and matures. Please feel free to contact me for any questions or input you might have. Thank you, and God bless!