higher), in that case the has not the octave species of (a tetrachord up and a pentachord down), but the one of plagios protos. The comparison also shows very much likeness between the use of asmatic syllables such as "оу" written as one character such as "ꙋ". Tatiana Shvets in her description of the notational style also mentions the kola (frequent interpunction within the text line) and medial intonations can appear within a word which was sometimes due to the different numbers of syllables within the translated Slavonic text. A comparison of the neumes also show many similarities to Old Byzantine (Coislin, Chartres) signs such as ison (stopica), apostrophos (zapĕtaya), oxeia (strela), vareia (palka), dyo kentemata (točki), diple (statĕya), klasma (čaška), the krusma (κροῦσμα) was actually an abbreviation for a sequence of signs (palka, čaška with statĕya, and točki) and omega "ω" meant a parakalesma, a great sign related to a descending step (see the echema for plagios protos: it is combined with a dyo apostrophoi called "zapĕtaya"). A melismatic polyeleos passing through 8 echoi Another very modern part of the Blagoveščensky kondakar' was a Polyeleos composition (a post-Stoudites custom, since they imported the Great Vesper from Jerusalem) about the psalm 135 which was divided into eight sections, each one in another glas: Glas 1: Ps. 135:1–4 (RUS-SPsc Ms. Q.п.I.32, f.107r). Glas 2: Ps. 135:5–8 (RUS-SPsc Ms. Q.п.I.32, f.107v). Glas 3: Ps. 135:9–12 (RUS-SPsc Ms. Q.п.I.32, f.108v). Glas 4: Ps. 135:13–16 (RUS-SPsc Ms. Q.п.I.32, f.109v). Glas 5: Ps. 135:17–20 (RUS-SPsc Ms. Q.п.I.32, f.110r). Glas 6: Ps. 135:21–22 (RUS-SPsc Ms. Q.п.I.32, f.110v). Glas 7: Ps. 135:23–24 (RUS-SPsc Ms. Q.п.I.32, f.112r). Glas 8: Ps. 135:25–26 (RUS-SPsc Ms. Q.п.I.32, f.113r). The refrain алелɤгιа · алелɤгιа · ананҍанҍс · ꙗко въ вҍкы милость ѥго · алелɤгιа ("Alleluia, alleluia. medial intonation For His love endureth forever. Alleluia.") was only written after a medial intonation for the conclusion of the first section. "Ananeanes" was the medial intonation of echos protos (glas 1). This part was obviously composed without modulating to the glas of the following section. The refrain was likely sung by the right choir after the intonation of its leader: the domestikos, the preceding psalm text probably by a soloist (monophonaris) from the ambo. Interesting is that only the choir sections are entirely provided with cheironomiai. Slavic cantors had been obviously trained in Constantinople to learn the hand signs which corresponded to the great signs