Since Chrysanthos of Madytos there are seven standard note names used for "solfège" ("parallagē") "pá, vú, ghá, dhē, ké, zō, nē", while the older practice still used the four enechemata or intonation formulas of the four echoi given by the modal signatures, the authentic or "kyrioi" in ascending direction, and the plagal or "plagioi" in descending direction (Papadic Octoechos). With exception of "vú and zō" they do roughly correspond to Western solmization syllables as "re, mi, fa, sol, la, si, do". Byzantine music uses the eight natural, non-tempered scales whose elements were identified by "Ēkhoi", "sounds", exclusively, and therefore the absolute pitch of each note may slightly vary each time, depending on the particular "Ēkhos" used. Byzantine notation is still used in many Orthodox Churches. Sometimes cantors also use transcriptions into Western or Kievan staff notation while adding non-notatable embellishment material from memory and "sliding" into the natural scales from experience, but even concerning modern neume editions since the reform of Chrysanthos a lot of details are only known from an oral tradition related to traditional masters and their experience.