This book is based in principle on the material of the first year of the analytical program of the conservatories and schools of Byzantine music, but goes beyond it, attempting to present in a concise way a more general and as complete as possible picture of the theory and practice of church music music, for those who would like to deal with it. Its aim is to give an informed theoretical view of church music in terms of the terms used, the sounds and their relationships, the correct pronunciation of notes and musical phrases, together with a large number of musical examples, not only from the sounds of ecclesiastical octaves but also by those produced by them. For greater help, the student is offered exercises-exercises with all the signs of Byzantine music, in a way that helps him assimilate them easily and quickly.

Based on the theories that have been written so far about church music, this book is guided and guided by the tradition, oral and written, which is a heritage that weighs on the shoulders of all who deal with it, an infallible judge and critic of those who usurp it. Through its material, an attempt is made to demonstrate the wealth that Byzantine music hides in its notation, sounds and intervals, which the reader is invited to discover, going beyond the surface and delving into the theory as well as its practice.