The second tone has two forms: the intense chromatic form based on πα, and the soft chromatic based on δι. The intense chromatic is relatively rarely used in the second tone, being mostly reserved for certain canons such as the second canon of Theophany and the canons of Bridegroom Orthros during Great Week. The intense chromatic mode of the second tone is also used for the Anavathmoi and Prokeimenon of Sunday Orthros. In hymns of the soft chromatic we also sometimes modulate to the intense chromatic to accentuate certain phrases.
The soft chromatic mode of the second tone is based on δι. The proper isokratima (drone) note for this tone is also (generally) centered on δι. When the melody descends to ν, the lower tetrachord (from γα down) usually modulates to the intense chromatic mode.
The intense chromatic mode of the second tone is based on πα. The proper isokratima note for this tone is also centered on πα. This is the exact same scale as is used in the plagal of the second tone intense chromatic mode. The difference between the intense chromatic modes of the second and its plagal is that in the second tone the melody rarely rises above κε, which lends to different cadences.
When applying the soft chromatic second tone to a text, a comma or semicolon in a phrase should end on βου or δι, or occasionally on ζω. In addition, when the soft chromatic modulates to the intense chromatic to emphasize a phrase, the phrase will end on low νη. A full stop (i.e. period) should end on δι, although in certain hymns this will fall on βου. (This distinguishes the soft chromatic of the second tone with that of its plagal: in the plagal of the second, the final cadence generally lands on βου, only occasionally ending on δι.)
In the intense chromatic tone, the cadences are similar to those of the intense chromatic mode of the plagal of the second tone.
A note-name apikhima for the soft chromatic mode of this tone is as follows:
The traditional nonsense-word used in Greek apikhimata for this tone is “neanes”:
(The apikhima is a mnemonic device which the chanter chants before a hymn written in that tone in order to “get into” the prescribed mode.)
