“This verse is in the Third Mode. You can see the Third Mode modal signature with the Ga Diatonic fthora at the end. This indicates we should chant Diatonic Intervals with an unstable Zo, whose tuning depends on the melody.”
If Third Mode uses the Enharmonic scale, why are we using Diatonic intervals? I realize there is some overlap, but both the Vou and the Zo’ are different between Diatonic and Enharmonic scales.
Oh…Or is the Vou not raised toward Ga unless there is an Ajem on the Ga? So, for example, there could be an Ajem on the Zo at the beginning of the hymn, and it only affects the Zo (but continuously, throughout the hymn)?
In brief, the Enharmonic scale is very connected to the Diatonic scale. It uses Diatonic martyries and intervals and the Enharmonic intervals are generally indicated with the Ajem on Ga or Zo, the general Zo flat, and/or sharps on Vou. In that example I was imagining how we would execute that section without the symbols indicating Enharmonic intervals.
This is because this does happen. In fact the Sticheraric genre of 3rd Mode moves back and forth between Diatonic intervals and Enharmonic intervals. While we say 3rd Mode characteristically uses the Enharmonic scale, the way it is written is more like it is an aberration of the Diatonic Scale.