In the modal category of Matzore, compositions are classified that establish the intervallic structure of the matzore (derived from the major scale) 5-chord (Tone-Tone-Semitone-Tone) in the Tonic.

It is necessary to clarify that one of the most important conclusions drawn from the comparative analysis of Tsitsanis' recordings is that, in many cases, patterns cannot easily be summarized in the structure of a scale. Therefore, in the description of the Matzore modal entity that follows, we start from some typical structures that correspond to a reasonable number of recordings, but their applicability should be seen as limited for reasons that will be explained later.

One of the main structural forms that appears in recordings of this category consists of the combination of the matzore or major (major scale's) subunit (4-chord or 5-chord) in the Tonic and the matzore 4-chord in the V degree:

Typical Matzore main structure

This arrangement is completed in the lower region by a matzore 4-chord (with the Tonic as the 4-chord's top degree), forming attached matzore structural units on either side of the Tonic.

Matzore structure at the tonic's area

However, it is necessary to note that only few of the compositions included in the Matzore modal category are characterized by a relatively static use of the intervalic structure of a major scale, as seen, for example, in the following excerpt:

Ta dialekhtá paidiá [Sections A and B]

On the contrary, in many of his recordings, Tsitsanis handles his melodic material as if he does not perceive it within the narrow confines of a static scale. This phenomenon can be observed through various case studies, such as the appearance of temporary alterations of degrees, the temporary changes of micro structural units, and the "modulations" into different modal contexts.

Temporary Alteration of Degrees

a) Melodic Attraction

These are alterations that appear temporarily on a degree and usually serve the purpose of supporting a neighboring degree. The note where the alteration is placed simply emphasizes a neighboring degree that is in a strong part of the measure or in some cases tends to act as a leading tone for another degree which becomes a temporary tonal center.

In the first measure of the following example, we observe another function, as the sharpening of the II degree occurs as a result of attraction by the III degree, as a way of reinforcing the upward movement that the melody shows at this point, thus being affected by (and also serving) the direction of the melodic phrase.

Xeloyiástra / Perdikopoulos, Dimitris [Section A]

b) Chromatic Motion

Refers to stepwise melodic movements by successive semitones.

A chromatic motion is observed in the 4th measure of the following excerpt, when the melody moves from the III (F#) to the V (A) degree.

Atelíoto [Section B]

Temporary Changes of Structural Units

These are short-term transitions into a new structural context, usually occupying a limited structural area, e.g., a 3-chord, 4-chord, or 5-chord unit. These transformations add variety to the melodic material, making temporary references to different modes, and are later abandoned as the initial intervallic structure is restored. For example, in Section A of Xeloyiástra presented previously, we observe in the third measure the alteration of the VI degree (Bb), which, combined with the vi chord, gives a hint of the sound of the Houzam mode.

Extensive Melodic Transformation - Modulation

These refer to structural changes in the melodic material that occupy a longer duration, often extending across entire melodic sections. In some cases, they involve the simultaneous change of more than one local unit (see, as a musical example, Atelíoto [Section C] below).

The modulations into different modal structures can be distinguished into two subcases:

a) Those that refer to strict diatonic intervallic structures,

i.e., when an entire section is stated to the relative minor scale

Example 1 (interwar repertoire):

Xeloyiástra / Perdikopoulos, Dimitris [Section B]

Example 2 (postwar repertoire):

Geia sou kaïki mou Ai Nikóla (transc. in A Major) [Section A, transition to the relative minor]

b) It is a fact that Tsitsanis composes for instruments consisting of equal-tempered scales with intervals that are integer multiples of the semitone, with the latter being the smallest possible intervallic unit. However, in some melodic phrases we can detect similarities with the microtonal diatonic or chromatic (using the augmented second interval) genera.

Such an example is the modulation into the Hetzaz environment in the Tonic or at the VIII degree, a modulation that also appears in the mode Rast. It should also be noted that the connection between Matzore and Hetzaz is also detected in older recordings, even in equal-tempered folk repertoire, such as the recordings of the Matzore Mané, which are not performed in a major scale context but in a strictly chromatic (Hetzaz) structure.

Example:

Atelíoto [Section C]: combined Hetzaz structures on either side of the VIII degree, a modulation that spans into the entire section

Spilios Kounas, Musicologist