Is Tsitsanis' song the mirror of the sounds of the emblematic Byzantine butt, the projection of the genetic code of a music that continues Hellenism through the centuries? Or is it an illusion, one of those eye-catching reflections, leaving desert travelers in the deprivation of the vital resources their course needs? The resemblance of Vassilis Tsitsanis' Cloudy Sunday with the hymn Ti Ipermacho of the Orthodox tradition is today a popular object of exchange on the internet, both in the forums of rebetophiles and those of chanters. The first part of the book presents some of the views that have been expressed from time to time about the relationship between the two musical genres in general, but also about the origin of Cloudy Sunday from The War. The second part of the book examines the historical relations between the two musical genres, composing a peculiar musical historiography which often revolves around the issue of Greekness. The third part deals with the teacher's relationship with the student, which is at the core of what is commonly called "style" in the art of chanting. The examination of certain chanting "schools" and the conversation between tradition and innovation in the musical practice are particularly interesting issues. Finally, in the fourth part of the book, the pure musicological analysis, a new comparison of the two works, Cloudy Sunday and The Warrior, takes place.
