The Divine Liturgies

As chanted on the Holy Mountain

Elizabethan English - Byzantine Notation
December 2006, Version 4.0



The music in this book is also available in Western
notation on an interactive CD-ROM for $18 that has the hymns
in Elizabethan English, Modern English, and Greek.

All versions of this book are available online for free at:
http://www.stanthonysmonastery.org/music/Index.html

This book in Byzantine notation is available in four versions:
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2006 St. Anthonys Greek Orthodox Monastery
Permission to copy is granted for liturgical use.

God willing, many hymns in this book
will also be available on audio CDs
chanted by the monks of our monastery.
















Contents


Prefatory Note............................................................................................................................ xi
Prologue by Gregorios Stathis................................................................................................... xiii
Introduction............................................................................................................................. xxiv
Byzantine vs. Western Notation............................................................................................ xxxiv
Concerning Notation............................................................................................................. xxxix
About the Translation................................................................................................................. xli
A Brief History of Byzantine Chant by Dimitri Conomos....................................................... xliii
Acknowledgements..................................................................................................................... lvi


PART I Doxologies

Slow Doxologies
First Mode, by Iakovos the Protopsaltis ............................................................................ 1
Plagal Second Mode, by George Violakis ......................................................................... 8
Plagal Fourth Mode, by Iakovos the Protopsaltis ............................................................. 16
iv Contents

Brief Doxologies
First Mode, by Manuel the Protopsaltis ............................................................................ 23
Second Mode, by John Kavadas ....................................................................................... 29
Third Mode, by Manuel the Protopsaltis ........................................................................... 34
Fourth Mode, by Manuel the Protopsaltis ......................................................................... 39
Plagal First Mode, by Manuel the Protopsaltis ................................................................. 44
Plagal Second Mode, by Manuel the Protopsaltis ............................................................. 49
Grave Mode, by Manuel the Protopsaltis .......................................................................... 54
Plagal Fourth Mode, by Manuel the Protopsaltis .............................................................. 59
Today is Salvation
In all eight modes, by Peter the Peloponnesian ................................................................ 64
After Rising from the Tomb
In all plagal modes, by Hieromonk Gregory ..................................................................... 69


PART II The Divine Liturgy of St. John Chrysostom

Christ is Risen
Traditional melody, by Athanasios Karamanis ................................................................. 77
Alternate melodies, by Chrysanthos Theodosopoulos ...................................................... 79
Slower melody, by Hieromonk Panteleimon Kartsonas ................................................... 80
Long melody, by Athanasios Karamanis .......................................................................... 81
Lord Have Mercy
Plagal Fourth Mode, by Constantine Pringos ................................................................... 83
" " " by John Pallasis ................................................................................ 84
" " " by Iakovos Nafpliotis ....................................................................... 85
" " " by Thrasyvoulos Stanitsas ................................................................ 86
" " " by Hieromonk Hierotheos ................................................................ 87
" " " by Michael Hatziathanasiou ............................................................. 88
" " " by Kyriazis Nicoleris ........................................................................ 90
" " " by Hieromonk Hierotheos ................................................................ 91
Plagal First Mode, by Athanasios Karamanis ................................................................... 92
" " " by Lycourgos Petridis .......................................................................... 93
" " " by Hieromonk Hierotheos .................................................................... 94
" " " by Thrasyvoulos Stanitsas .................................................................... 95
" " " by Constantine Pringos ......................................................................... 96
" " " by Hieromonk Hierotheos .................................................................... 97
" " " by Thrasyvoulos Stanitsas .................................................................... 98
" " " by Demetrios Sourlantzis ..................................................................... 99
" " " by Nicolaos Georgiafentis .................................................................... 100
First Mode, by Basil Nikolaidis ........................................................................................ 101
" " by Hieromonk Hierotheos .............................................................................. 102
Plagal Second Mode, by Hieromonk Hierotheos .............................................................. 103
Five Modes, by Nileos Kamaradou ................................................................................... 107
Antiphons
Through the Intercessions ................................................................................................ 110
Save us, O Son of God .................................................................................................... 111
Contents v
Only-begotten Son ........................................................................................................... 113
Come Let Us Worship ..................................................................................................... 115
Typica
First Stasis: Psalm 102
Plagal Fourth Mode, Athonite Melody ........................................................................ 117
Plagal First Mode, by Hieromonk Hierotheos ............................................................ 123
Second Stasis: Psalm 145 and Only-begotten Son
Grave Mode, Athonite Melody ................................................................................... 129
Plagal First Mode, by Hieromonk Hierotheos ............................................................ 133
Second Antiphon and Entrance Hymns for Feast Days ......................................................... 137
Apolytikia of the Resurrection
In all eight modes, by Hieromonk Ephraim .................................................................... 144
Thrice-holy Hymn
Second Mode, brief version for weekdays ...................................................................... 152
First Mode, by Kyriakos Ioannidis .................................................................................. 154
Second Mode, by Simon Avagianou ............................................................................... 158
Plagal Fourth Mode, by George Karakasis ...................................................................... 163
As Many of You as Were Baptized
First Mode, Traditional Melody ...................................................................................... 167
First Mode, Slower Version ............................................................................................ 168
Dynamis by Constantine Pringos .................................................................................... 170
Thy Cross Do We Worship
Second Mode, by Peter the Peloponnesian ..................................................................... 172
Dynamis by Constantine Pringos .................................................................................... 173
For Hierarchal Liturgies
Lord Save the Faithful, by Constantine Pringos .............................................................. 175
Alleluia
Brief Versions:
Second Mode, by Athanasios Karamanis ................................................................. 176
" " by Constantine Pringos ..................................................................... 177
Plagal First Mode, by Nectarios Thanos .................................................................. 177
Longer Versions:
First Mode, by Hieromonk Gregory ......................................................................... 178
" " by Simon Karas ..................................................................................... 179
Second Mode, by Simon Karas ................................................................................ 180
" " by Nectarios Thanos ......................................................................... 181
Third Mode, by Gregory Stathes .............................................................................. 182
" " by Simon Karas .................................................................................... 183
Fourth Mode (agia), by Simon Karas ....................................................................... 184
" " (legetos), by Nectarios Thanos ........................................................... 185
Plagal First Mode, by Gregory Stathes..................................................................... 186
" " " by Hieromonk Hierotheos .......................................................... 187
Plagal Second Mode, by Hieromonk Gregory ......................................................... 188
" " " by Simon Karas ...................................................................... 189
Grave Mode (diatonic), by Hieromonk Gregory ...................................................... 190
" " (enharmonic), by Nectarios Thanos .................................................... 191
Plagal Fourth Mode, by Hieromonk Gregory .......................................................... 192
" " " by Nectarios Thanos ............................................................... 193
vi Contents

Arise, O God (instead of Alleluia on Holy Saturday)
Grave Mode, Athonite Melody ........................................................................................ 194
Glory to Thee, O Lord
Plagal Fourth Mode, by Athanasios Karamanis .............................................................. 195
" " " by Hieromonk Hierotheos .............................................................. 195
Third Mode, by Hieromonk Gabriel ............................................................................... 196
Eis Polla Eti Despota (in Greek and English)
Fourth Mode, by Constantine Pringos ............................................................................. 197
Second Mode, by Hieromonk Hierotheos ....................................................................... 198
Cherubic Hymns
First Mode, by Athansios Karamanis .............................................................................. 200
" " by Theodore Papaparaschou Phokaeus ..................................................... 204
Second Mode, by Athanasios Karamanis ........................................................................ 208
" " by Theodore Phokaeus ................................................................................. 211
Third Mode, by Hieromonk Hierotheos .......................................................................... 215
" " by Gregory Levitis the Protopsaltis ............................................................ 218
Fourth Mode (agia), by Thrasyvoulos Stanitsas .............................................................. 222
" " (legetos), by Hieromonk Gregory .............................................................. 225
Plagal First Mode, by Hieromonk Gregory .................................................................... 228
" " " by Theodore Phokaeus ...................................................................... 231
Plagal Second Mode, by Athansios Karamanis .............................................................. 235
" " " by Theodore Phokaeus ..................................................................... 238
Grave Mode, by Hieromonk Gregory .............................................................................. 242
" " by Theodore Phokaeus .............................................................................. 245
Plagal Fourth Mode, by Hieromonk Hierotheos ............................................................. 249
" " " by Theodore Phokaeus .................................................................. 252
Cherubic Hymns for Holy Week
Holy Thursday, Receive Me Today, by Athansios Karamanis ....................................... 256
Holy Saturday, Let All Mortal Flesh Keep Silent, by Athansios Karamanis .................. 260
For Ordinations
Lord have mercy, second mode, traditional melody ....................................................... 264
Axios, Third mode, by Athanasios Karamanis ................................................................ 265
Anaphora
First Mode, by Basil Nikolaidis ....................................................................................... 266
" " (heptaphonic), by Michael Hatziathanasiou .................................................. 270
Second Mode, by Hieromonk Gregory ............................................................................ 274
" " (deuteroprotos) by Hieromonk Hierotheos .............................................. 278
Third Mode, by Basil Nikolaidis ..................................................................................... 283
" " by Athanasios Karamanis ........................................................................... 287
Fourth Mode (legetos), by Hieromonk Hierotheos ......................................................... 291
" " (agia), by Lycourgos Petridis .................................................................... 295
Plagal First Mode, by Hieromonk Hierotheos ................................................................. 299
" " " (Phrygian) by Michael Hatziathanasiou .......................................... 303
Plagal Second Mode, by Thrasyvoulos Stanitsas ............................................................ 307
" " " by Michael Hatziathanasiou .......................................................... 311
Grave Mode, by Hieromonk Hierotheos ......................................................................... 315
" " by Hieromonk Gregory .............................................................................. 319
Plagal Fourth Mode, by Hieromonk Hierotheos ............................................................. 323
Contents vii
" " " by Hieromonk Gregory .................................................................. 328
I Will Love Thee - Longer Versions
First Mode, by Agathangelos Kyriazidis ......................................................................... 332
Plagal First Mode, by Hieromonk Gregory ..................................................................... 333
Plagal Second Mode, by Hieromonk Gregory ................................................................ 334
Plagal Fourth Mode, by Hieromonk Gregory .................................................................. 335
It is Truly Right
First Mode, by Gregory the Protopsaltis .......................................................................... 336
" " (heptaphonic), by Michael Hatziathanasiou .................................................. 338
Second Mode, Ancient Melody ....................................................................................... 340
" " (deuteroprotos), by Peter Philanthidis .......................................................... 342
Third Mode (enharmonic), by Theodore Phokaeus ......................................................... 344
" " by Gregory the Protopsaltis .......................................................................... 346
Fourth Mode (legetos), by Gregory the Protopsaltis ....................................................... 348
" " (agia), by Gregory the Protopsaltis ............................................................. 350
Plagal First Mode, Patriarchal by Constantine Pringos ................................................ 352
" " " (Phrygian), by Michael Hatziathanasiou ............................................. 354
Plagal Second Mode, by Theodore Phokaeus .................................................................. 356
" " " Anonymous .................................................................................... 358
Grave Mode (diatonic), by Theodore Phokaeus .............................................................. 360
" " (enharmonic), by Theodore Phokaeus ......................................................... 362
Plagal Fourth Mode, by Anastasios from Parla ............................................................... 364
" " " by Haralambos Papanikolaou ......................................................... 366
Heirmoi (Katavasias) of the Ninth Ode
(chanted instead of It is Truly Right on feast days)
September 8, Birth of the Theotokos, by George Hourmouzios Hartophylax ............. 368
September 14, Exaltation of the Cross, by Hourmouzios Hartophylax ........................... 370
November 21, Entrance of the Theotokos, by Hourmouzios Hartophylax ..................... 372
December 25, Nativity, by Athansios Karamanis ........................................................... 374
December 26, Nativity (Iambic Canon), by Athansios Karamanis ................................. 376
January 6, Theophany, by Hourmouzios Hartophylax .................................................... 378
January 7, Theophany (Iambic Canon), by Hourmouzios Hartophylax .......................... 380
February 2, Meeting in the Temple, by Athanasios Karamanis ...................................... 382
March 25, Annunciation, by Hourmouzios Hartophylax ................................................ 384
Lazarus Saturday, by Hourmouzios Hartophylax ............................................................ 386
Palm Sunday, by Thrasyvoulos Stanitsas ........................................................................ 387
Pascha, by Peter of Ephesus ............................................................................................ 389
" by Athansios Karamanis ..................................................................................... 391
Thomas Sunday, by Athanasios Karamanis .................................................................... 393
Sunday of the Paralytic, by Thrasyvoulos Stanitsas ........................................................ 394
Sunday of the Samaritan Woman, by Chrysanthos Theodosopoulos .............................. 396
Ascension, by Athanasios Karamanis .............................................................................. 398
Pentecost, diatonic grave mode, by Athanasios Karamanis ............................................ 399
" enharmonic grave mode, by Athanasios Karamanis ....................................... 401
Monday of the Holy Spirit, by Athanasios Karamanis .................................................... 403
August 6, Transfiguration, by Hourmouzios Hartophylax .............................................. 405
" alternate hymn, by Athansios Karamanis ........................................................ 406

viii Contents

August 15, Dormition, by Athansios Karamanis ............................................................. 408
One is Holy
In all eight modes ............................................................................................................ 410
Communion Hymn for Sunday
Long Versions
Plagal First Mode, by St. John Koukouzelis............................................................. 415
Plagal Second Mode, by John the Protopsaltis ........................................................ 419
Plagal Fourth Mode, by Constantine Pringos .......................................................... 421
Brief Versions
In all eight modes, by Hieromonk Gregory .............................................................. 423
Communion Hymns for Weekdays
Monday: He Who Maketh His Angels
Long version, First Mode, by Anthony the Nomophylax ........................................ 431
Brief version, First Mode, by Hieromonk Gregory .................................................. 434
Briefer version, First Mode, " " ....................................................... 435
" " Fourth Mode, " " ...................................................... 436
Tuesday: In Everlasting Remembrance
Long version, Grave Mode, by Anthony the Nomophylax ..................................... 437
Brief version, First Mode, by Hieromonk Gregory ................................................. 441
Briefer version, Plagal First Mode, by Hieromonk Ephraim ................................... 442
Wednesday: I Will Take the Cup
Long version, Fourth Mode, by Anthony the Nomophylax ..................................... 443
Brief version, First Mode, by Hieromonk Gregory .................................................. 446
" " Third Mode, by Hieromonk Ephraim ............................................... 447
" " Fourth Mode, " " " .................................................... 449
" " Plagal First Mode, by Hieromonk Gregory ...................................... 449
Thursday: Their Sound Hath Gone Forth
Long version, Plagal Fourth Mode, by Athanasios Karamanis ............................... 450
Brief version, First Mode, by Hieromonk Gregory ................................................. 453
" " Plagal Fourth Mode, by Hieromonk Ephraim .................................. 454
Friday: Thou Hast Wrought Salvation
Long version, Plagal First Mode, by Anthony the Nomophylax ............................. 455
Brief version, Plagal First Mode, by Hieromonk Gregory ....................................... 458
Saturday: Blessed Are They
Long version, Plagal First Mode, by Anthony the Nomophylax ............................. 459
Brief version, Plagal First Mode, by Hieromonk Gregory ....................................... 463
Briefer version, " " " " " " ............................................. 465
Communion Hymns for Feast Days
Explanatory Note ............................................................................................................ 466
September 14, Exaltation of the Cross, Third Mode, by Hieromonk Ephraim ............... 468
December 25, Nativity, First Mode, by Hieromonk Gregory .......................................... 470
" " " Third Mode, " " " .............................................. 471
January 6, Theophany, Plagal First Mode, by Hieromonk Gregory ................................ 472
" " " Plagal Fourth Mode, " " " ..................................... 473
March 25, Annunciation, Plagal Fourth Mode, by Hieromonk Gregory ......................... 474
Lazarus Saturday, Plagal First Mode, by Hieromonk Ephraim ....................................... 475
Palm Sunday, Plagal First Mode, by Hieromonk Gregory .............................................. 476

Contents ix
Holy Saturday, Plagal First Mode, by Hieromonk Gregory ............................................ 477
Pascha, Plagal First Mode, by Hieromonk Gregory ........................................................ 478
" " " " briefer melody, by Hieromonk Gregory ................................. 480
Thomas Sunday, Third Mode, by Hieromonk Ephraim .................................................. 481
Wednesday of Mid-Pentecost, First Mode, by Hieromonk Ephraim .............................. 482
Ascension, Second Mode, by Hieromonk Gregory ......................................................... 483
Pentecost, First Mode, by Hieromonk Gregory ............................................................... 484
" Plagal Second Mode, by Hieromonk Gregory ............................................... 485
Monday of the Holy Spirit, Plagal Second Mode, by Hieromonk Gregory .................... 486
Sunday of All Saints, Plagal First Mode, by Hieromonk Gregory .................................. 487
August 6, Transfiguration, Plagal Fourth Mode, by Hieromonk Gregory ....................... 488
Slow Alleluias
First Mode, by Peter Bereketis ........................................................................................ 489
Fourth Mode, by Peter Bereketis ..................................................................................... 491
Plagal Fourth Mode, by St. Mark of Ephesus .................................................................. 492
Receive Me Today
Plagal Second Mode, traditional Athonite melody .......................................................... 494
Plagal Second Mode, by Lycourgos Petridis ................................................................... 496
First Mode, by Lycourgos Petridis .................................................................................. 498
Plagal Fourth Mode, by Lycourgos Petridis .................................................................... 500
Concluding Hymns
We Have Seen the True Light ......................................................................................... 502
Remember Us Also (for Holy Saturday) ......................................................................... 503
Let our Mouths be Filled ................................................................................................. 504
Blessed be the Name of the Lord .................................................................................... 507
Christ is Risen, Brief Version for Bright Week ............................................................... 509
Ton Despotin (in Greek and English)
Second Mode, by Constantine Pringos ............................................................................ 511
Ton Evlogounta (in Greek and English)
Second Mode, by Lycourgos Petridis .............................................................................. 513
Through the Prayers
First Mode, ancient melody ............................................................................................. 514


PART III The Divine Liturgy of St. Basil the Great

Lord have mercy
Second Mode, Traditional Melody .................................................................................. 521
Slow Anaphora
Plagal First Mode, abbreviated by Hieromonk Gregory .................................................. 522
Second Mode, by John the Sweet .................................................................................... 525
Second Mode, abbreviated by Chrysanthos Theodosopoulos ......................................... 530
In Thee Who Art Full of Grace
Plagal Fourth Mode, brief version, by Archdeacon Anthimos ....................................... 533
Plagal Fourth Mode, by Chrysanthos Theodosopoulos .................................................. 535


x Contents

PART IV The Divine Liturgy of the Presanctified Gifts

Let my Prayer
Plagal First Mode, Athonite melody ................................................................................ 541
Plagal First Mode, traditional melody ............................................................................. 543
Fourth Mode, by Nileos Kamaradou ............................................................................... 544
Plagal Second Mode, traditional melody ......................................................................... 545
Grave Mode, traditional melody ...................................................................................... 546
Plagal Second Mode, ancient melody (long version) ...................................................... 547
Now the Hosts of the Heavens
First Mode, by Theodore Phokaeus ................................................................................ 549
" " abbreviated by Hieromonk Gregory .............................................................. 553
Fourth Mode, by Chrysanthos Theodosopoulos .............................................................. 556
Plagal Second Mode, by Peter the Peloponnesian ........................................................... 559
Plagal Fourth Mode, by Theodore Phokaeus .................................................................. 563
O Taste and See
First Mode, by John Kladas ............................................................................................. 566
" " brief version by Hieromonk Gregory ............................................................ 569
Fourth Mode, brief version by Hieromonk Gregory ....................................................... 570
I Will Bless the Lord
Plagal Fourth Mode, Athonite melody ............................................................................ 571
Second Mode, traditional melody .................................................................................... 572


PART V The Divine Liturgy of St. James

Rubrics .................................................................................................................................... 575
O Magnify the Lord with Me, Grave Mode ........................................................................... 577
The Holy Spirit Shall Come Upon Thee, Grave Mode ................................................... 578
We Proclaim Thy Death, Plagal First Mode ........................................................................... 579
For Thy People, First Mode ............................................................................................ 579
Have Mercy on Us, Plagal First Mode ............................................................................ 580
Remember them O Lord our God, Plagal First Mode ............................................................ 581
Pardon, Remit, and Forgive
Plagal First Mode, by Hieromonk Ephraim .................................................................... 584
Second Mode by Abraham Efthymiadis .......................................................................... 585
Fill My Mouth with Thy Praise .............................................................................................. 586


Epilogue, Sources, and Appendices

Epilogue by Photios Kontoglou .............................................................................................. 589
Sources ................................................................................................................................... 592
Appendices
Appendix I: 103 Rules of Byzantine Music Orthography ............................................... 595
Appendix II: The Intonations of the Eight Modes ......................................................... 621






Prefatory Note


his book, The Divine Liturgies as Chanted on the Holy Mountain, is identical to the
interactive book on CD we published in 2005 with the same title, with the only major
difference being that this version of the book contains all the hymns in Byzantine nota-
tion instead of Western staff notation. There are also a few other minor differences be-
tween the two books:

1) Hymns in Greek were omitted from this version of the book in Byzantine notation since
they can readily be found in many books that have already been published. (See our list
of sources on page 592.) For information how to order these and other books, please
consult our thorough list of Byzantine music books, which is available online at:
http://stanthonysmonastery.org/music/ByzBooks.pdf
2) The melodies of a few hymns have been slightly altered, because in the course of tran-
scribing them back into Byzantine notation, we occasionally found minor improvements
that could be made. The online version of the book in Western notation at:
http://stanthonysmonastery.org/music/Index.html has already been updated with most of
these improvements. To see a list of what these improvements were, please view the
webpage: http://stanthonysmonastery.org/music/Updates.htm
3) The electronic version of this book in Byzantine notation (which can be accessed online
at: http://stanthonysmonastery.org/music/IndexB.html or can be dowloaded for free
from: http://stanthonysmonastery.org/music/ByzantineMusicBook.pdf as a single 130
megabyte PDF file) contains embedded MIDI sound files. These files are helpful for
T
xii Prefatory Note

those who are still inexperienced at reading Byzantine music notation. It goes without
saying, though, that these computer-generated sound files are insufficient to convey the
tradtional style of Byzantine chant. Another drawback of these sound files is that they
play pitches of the equal-tempered scale, which are not always a good approximation of
the pitches as they should be in the Byzantine scales.
4) A brief essay comparing Byzantine and Western music notation has been included fol-
lowing the introduction. Furthermore, our "103 Rules of Byzantine Music Orthography"
has replaced the appendices that dealt with issues relevant only to Western music nota-
tion.

In order to write the music in this book as elegantly and efficiently as possible, we designed
our own Byzantine music fonts and created macros to automate the writing process. To read
about this new font package and to download it for free, please go to:
http://www.stanthonysmonastery.org/music/ByzMusicFonts.html























Prologue


by Gregorios Stathis
Professor of Byzantine Musicology and the Art of Chant
of the University of Athens



Preamble

The historical event of the preparation and publication of the first liturgical book of psalm-
ody in the English language in Byzantine notation by the Holy Monastery of St. Anthony in
Americathe book entitled The Divine Liturgies as Chanted on the Holy Mountainbrings to
mind the salvific event of the day of Pentecost, there in the upper chamber of Zion in Jerusa-
lem. The Acts of the Apostles presents this birthday of the Church to us as follows:
And when the day of Pentecost was fully come, they were all with one accord in
one place. And suddenly there came a sound from heaven as of a rushing mighty wind,
and it filled all the house where they were sitting. And there appeared unto them cloven
tongues like as of fire, and it sat upon each of them. And they were all filled with the
Holy Ghost, and began to speak with other tongues, as the Spirit gave them utterance
every man heard them speak in his own language "And how hear we every man in
xiv Prologue

our own tongue, wherein we were born?" We do hear them speak in our tongues the
wonderful works of God.
1

In this excerpt from the epistles, besides the fact that "all were filled with the Holy Ghost"
and the Apostles became God-bearers, there is great significance in the repeated usage of the
verbs "speak" and "hear" and the nouns "languages" and "tongues." For there is a dialogue: the
Apostles speak and every man hears and understands, because they were speaking to him in his
own language in which he was born. And if we ascend a little higher, more theologically, we
realize that He who was speaking through the Apostles was the Holy Ghost, and what was said
was "the wonderful works of God."
Two verses from the amazing Doxasticon of the Vespers from the service of Pentecost are
the best theological and hymnological bridges between then and now:
but now tongues have been made wise through the glory of the knowledge of
God now the concord of tongues hath been inaugurated for the salvation of our souls.
All tongues and languages and dialects "are made wise through the glory of the knowledge
of God," but also "for the salvation of our souls"; not only then on Pentecost, but now and al-
ways. Praising the glory of God presupposes understanding the wonderful works of God. The
purpose of praising God is our own perfection, and therefore our salvation. St. Basil the Great
taught this very clearly: "Let the tongue sing, and let the mind search out the meaning of what
is being said, so that you 'sing with the spirit and sing with the understanding also.'
2
Do not
think that God needs this; rather, He wants to make you worthy to be glorified."
3
This conver-
sation of the faithful with God, which entails glorifying and being glorified in return, has been
organized by the tradition of the Church to the highest degree in the holy Eucharist, during
which Christians allude to the entire divine dispensation for the salvation of the human race and
pray "O our God," that is, "You are our God, may You always be with us." This anaphora, this
offering is accomplished by words, and it must happen everywhere by people in their own
tongue, in their own language "wherein they were born."
The word "now" in the verse of the hymn: "now the concord of tongues hath been inaugu-
rated" is always contemporary and timely; it is the eternal "today." And the use of the word
"concord" by the hymnographer is not at all haphazard. It is a musical term that meansin ad-
dition to the many voices that participatethe understanding and mutual understanding, and
therefore the offering up of a doxology to God and our offering in general together "as if from
one mouth."
4
So even "now" in America, the "tongue has been made wise and a concord has
been inaugurated" for a more appropriate liturgical offering to God with two wings: the words
and the melody. On the one hand, the words, the Greek texts of Orthodox worship, have been
translated into English with a new wisdom and have been artfully adapted with great care in
this book. On the other hand, the melody, again the Greek melody, the Byzantine and post-
Byzantine melody as the garment of the Greek wordssince words and melody are consub-

1
Acts 2:1-11, KJV
2
I Cor. 14:15
3
Homily on Psalm 28, PG 29, 304.
4
Migne, Patrologia Graeca, Vol. 61, col. 315
Prologue xv
stantial elements of a soul praising Godhas remained the same and has clothed the same con-
cepts and has given them the same acoustic form. It is as if all heaven and earth, with hymns
that are constant, known, and beloved are borne by a "gentle breeze"
5
and sweeten the ears of
the faithful of the entire world, in the east and west, in the south and north, and from the Holy
Mountain Athos to America.

To make the troparia contained in this book understood in their correct expression, this
prologue will expand into prolegomena in order to include two larger subsections: one regard-
ing the essence of setting words to music in the style of Greek Byzantine chant,
6
and one re-
garding its translation and dissemination to the English-speaking Orthodox Christians and to
every person with good intentions.


* * *


1) Setting Words to Music in Greek Byzantine Chant

Greek musical expression and tradition is qualified by the terms "Byzantine" and "post-
Byzantine." It has passed through the many centuries of Byzantine civilization with an unbro-
ken and uniform continuity. As a form of art, Byzantine music constitutes a manifestation of
the Byzantine-Hellenic spirit and civilization, and this music was organized ever since the mid-
dle of the tenth century (or perhaps a little earlier) in a complete, independent, whole, and uni-
form notational system for the most perfect expression possible of the worship of the Eastern
Orthodox Church. By taking care to prepare a pious, appropriate music, the Orthodox Chris-
tians who were Greek and Greek-speakingByzantine and post-Byzantineas well as those
who spoke other languages, have created one of the greatest musical cultures in the world:
Greek Orthodox musicByzantine and post-Byzantinewhich is also the music which has
lasted longer than any other known musical culture in the world, as regards its uniform written
tradition. The Greek notational system, in the form in which it first appeared (in the middle of
the tenth century), is a product of the Greek alphabet and is also an ingenious alphabet of
sounds. The consubstantial two forms of writing (the alphabet of letters and the alphabet of no-
tation) are tremendous cultural accomplishments by which we Greeks of the entire world are
led to self-knowledge and communion with God, and strive for knowledge of God, since it is
with the words clothed with the garment of melody that we offer prayers to God and speak to
Him. Or, to put it differently, writing in parallel the Greek letters of the alphabet and the Greek
musical signs is the most perfect melodic alphabet in the world, which God deigned to be in-
vented and developed by the Greek spirit.

5
III Kings 19:12
6
Taken from the CD: - , ,
, 2002)
xvi Prologue

This written, artistic, musical, Greek culture that has lasted a millennium (from the tenth to
the twenty-first century) is the art of setting words to music in the Byzantine and post-
Byzantine psalmodic style. The Greeks of this millennium, until the middle of the nineteenth
century, were not familiar with any other musical culture except for only Arabic-Persian music,
which they were able to keep separate as "foreign" or "ethnic" musicas the music of a foreign
race with a foreign religionwithout letting it influence their own ethnic and religious musical
expression. Thus this music reached us as it was developed and interpreted by the post-
Byzantine Greek teachers, musicological protopsaltes, lamparadioi, domestikoi, monks, hiero-
monks, eloquent clergy, hierarchs, and patriarchs, with an unbroken succession within the unal-
tered liturgical practice of the Church, and constitutes a patrimonial heritage and monument of
art, just like all the other monuments of Byzantine art. And it requires on behalf of all of us a
careful and pious approach, because it belongs to all of us.
This autonomous Greek musical culture in the domain of Orthodox worship, which has
proven to be a garment that shapes people's liturgical offering, is the wondrous art of Byzantine
chant and its delightful melodic works. Byzantine chant is a vocal art, i.e., an art which is ren-
dered only with the voice of man and not with musical instruments, and it is a monophonic art
that not only does not strive after a polyphonic harmonization, but it even precludes it due to
the nature and operation of the tetrachords and pentachords within which the melody is devel-
oped. Consequently, it does not permit polyphonic harmonization.
From these three introductory fundamental attributesi.e., that this music is 1) vocal, 2)
monophonic, and 3) modal (it is developed within the tetrachords and pentachords)do the
following three unequalled, unique virtues of Byzantine chant blossom:

First: Accentuation of words.
Byzantine chant, as something vocal, inherently always presupposes words, and as their
most perfect expression it is executed with the acoustical garment of melody , which shapes
and reveals the "meaning hidden in the words," according to the wise expression of St. Gregory
of Nyssa: "The musical poet attempts to explain with the melody the meaning of what is being
said by entwining an unaffected [i.e., simple] melody and the divine words [i.e., the text of the
hymns] with a certain intonation of the voice in order to reveal as much as possible the mean-
ing hidden in the words."
7
Furthermore, words clothed with melody become pleasant, sweet,
and delectable. Words and melody are twin brothers and together are an accomplishment of the
human intellect. Which of the two is first and which second? Both came simultaneously! And
we know that as humans we gladly accept whatever words are instilled into our heart with
pleasure and delighteven more so when the words of hymnography are wondrous Greek po-
etry written by the saints of the Church, as an outcome of their experiential relationship with
God and the Theotokos.
As something vocal, psalmody precludes the use of any musical instruments whatsoever,
even though instruments, as the work of the hands of men, were invented in other times and by
people of other religions to express suitably their feelings, to communicate with one another,
and to offer their prayers to God. Nevertheless, the more spiritual way to lift one's prayers to

7
PG 44,444.
Prologue xvii
God requires unaffected manners; it requires that one opens one's heart and that it be raised to
the lips to express itself with the natural instrumentthe compunctious voice.

Second: The immediacy of personal offerings to God
Speaking with God is a personal matter and is accomplished with words, because God the
Word became flesh for us. Nothing fits in between a person who worships or wants to speak
with God; nothing except love. No intermediary is necessary. The relationship is personal. It is
the highest honor for man when he is lifted up and finds himself "face to face"
8
with God. In
this relationship, the individual completeness of each man and his self-sufficiency are para-
mount: when man wants to speak with God with a disposition for confession or for a personal
matter of his, it is unnecessary to call someone else or many others together to speak with an
affected polyphonic melody in accordance with the rules of harmonization. His own voice is
sufficient.
For this reason, one never feels musical satisfaction with a polyphonic melody, nor can
one sing it by himself. Byzantine chant, of course, does not prohibit chanting together with oth-
ersin fact it almost requires itbut it is executed as a concordant expression of one faith and
of the same common feelings of praise, doxology, supplication, or compunction that flood the
heart of those who are worshipping. St. John Chrysostom expressed this when he said, "Even
though all respond, the sound issues as if from one mouth."
9
Byzantine chant in worship, as an
expression of both words and melody, assumes a timeless quality and can be accepted by all. It
was created by great melodists over the centuries, and it is relevant to all people from genera-
tion to generation.

Third: The clarity and rhythm of words and melody.
Monophonic music achieves the greatest possible clarity, since the melody is accentuated
according to the accents and twists and turns of the notation for the most perfect expression of
the words. Instruments, especially many altogether, usually create confusion and destroy the
clarity of the words they accompany. Rarely do we understand what is said when the sound of
many musical instruments is combined simultaneously with lyrics being sung. The same thing
happens with polyphonic choral music, especially when the various voices do acrobatics on
lengthy melismas and are interwoven according to the rules of counterpoint. In such cases, the
music does not emphasize or highlight the words, but its primary function is to exalt itself, us-
ing the words merely as a starting point. Aristotle declared with the wisdom of Ancient Greece
that "an ode is to be sung with the accompaniment of one or at most two instruments," primar-
ily by the flute or the lyre. Liturgical music has made this rule absolute by completely abolish-
ing the use of musical instruments.
Nevertheless, words sweetened by a monophonic melody preserve their rhythmic variety,
since Byzantine chant is a fine art based on various rhythmic meters. Chanting various rhyth-
mical meters in brief troparia or developing musical "formulae"which is what musical
phrases are calledcreates melodic "arches," so to speak, that form an amazing architectural

8
Ex. 33:11.
9
Migne, Patrologia Graeca, Vol. 61, col. 315 (Commentary on I Cor. 14:33 by St. John Chrysostom, Homily 36)
xviii Prologue

masterpiece that is raised by successive culminations that match the vaults of Byzantine
churches and even the heavens themselves. The clarity and rhythmicality of Byzantine music
i.e., of the more recent and contemporary forms of Hellenic musicare the magical bridges by
which pass from earth to Heaven.


* * *


2) The composition and dissemination of Byzantine chant in "other tongues": in
English

Using "another tongue" and speaking in it is a complex and lofty intellectual process. The
matter is by no means easy when dealing with literary texts, with fine art, since phrasing clear
concepts is pitted against writing elegant poetry. A further difficulty in the domain of hymno-
graphywhich by definition is a fine art, whether it be psalms or troparia of any formis the
need for theological precision. Understanding hymnography and successfully remolding it in
"another tongue"in English in this instancewhile taking care that the concepts not only be
preserved intact but also be clothed with the same beauty, is a fruit of divine grace, which in-
spires the mind and hands of those whose meditate day and night on the wonderful works of
God. This is the case with the composition and publication of this book The Divine Liturgies in
English, in terms of the words, the Greek poetic text. And herein there coexistsince the
melodist also translateda remolding of the text while preserving the shape of the melody,
which preserves the concepts of the words in its own acoustical garment unaltered.
This two-fold spiritual featthat is, the use of another language in which the same con-
cepts and same melody are preservedleads me to speak about three basic aspects of setting
texts to music:

First: Composing music in the style of Byzantine chant: the "formulae."
With the term melopoiia (composing music), what is understood is the "art of modes" and
the poetic creation of a soundthe melody. Melody, according to the definition of Plato,
10
con-
sists of three elements: words, melody, and rhythm. As an art, melopoiia creates a melody in
accordance with the rules of the three fine arts: poetry, music, and rhythmics. The words are the
basic element, while the music and the rhythm (as a movement and life-giving impetus) strive
to express the "pathos" or feeling of the words in the best way.
In order to write down hymnography as music, a notation was invented (in the middle of
the tenth century or a little earlier) that was the product of the Hellenic-Byzantine spirit and
civilization. It was an ingenious system andas I have already mentionedliterally an acous-
tical alphabet, which was an offspring of the Greek alphabet, since most of the musical signs
are either the initial letter of their name or an abbreviation thereof. The musical signs, as a
complete musical development of the accents of Greek writing, indicate even the most subtle

10
, 398d
Prologue xix
and intimate expression of the words, the "pathos" of the words, when they are pronounced to-
gether with a melody. It is for this reason that the Greek text beneath the Byzantine notation is
written without accents.
The musical signs, ever since their first appearance, have been separated into four groups:
into two primary categories, the neumatic signs that show us the intervallic distance in ascend-
ing or descending, and the soundless neumes that show us the embellishments, the formation of
the melody; and into two other categories, the modulation signs and intonation formulae.
As a poetic act, composing music melopoiia, that iscarefully selects the signs that will
notate and shape the musical ideas like successive musical arches, either small or large, that
raise an architectural construction of music. Each choice of the necessary signs and their ap-
propriate combination is called a "formula." This is what Manuel Chrysaphes the Lampadarios
taught and wisely explained in 1458: "A formula is called the combination of signs that consti-
tutes the melody. Just as the combination of the twenty-four letters of the alphabet creates
words when arranged in syllables, in the same way the musical signs create the melody when
artfully combined, and such a combination is then called a formula."
11
What is meant by the
signs that are combined to create a "formula" is all the kinds of signs: that is, the phonetic
signsascending and descendingthe soundless or hypostases or cheironomic signs, the
synagma signs, signs of duration, intonation signs (or martyrias of the modes), and the modular
signs.
The formulae are known by various names: either by the name of the soundless neume
(e.g., thematismos formula, ouranisma formula, kylisma formula) or by the name of the melody
formed (anastama formula, strangismata formula, kolaphismos formula, etc.). The soundless
neumes or hypostases are used as guides for the formation of the melody. They operate pre-
cisely as their original (i.e., tenth century) name "melodemata" implies.
So every formula of Byzantine chant, when written orthographically correctly in music, is
the particular melodic garment of a particular word or concept while also abiding by the rules
of grammatical orthography. In fact, it emphasizes and expresses this orthography quite appro-
priately. Above all, it observes the basic musical rule of enunciating the pathos of the Greek
language, in that every accentuated syllable (of a word or phrase) of the poetic text has a higher
pitch than the other unaccented syllables. This means that an accentuated syllable (both gram-
matically and musically) is followed by a descent in the melody or by a repetition of the same
pitch followed by a descent. If it were not, it would be improperly accentuated. This musical
accentuation appears clearly when chanting brief melodies.
From this rule proceed all the good virtues of setting text to music according to its mean-
ing. The words or concepts that indicate height, ascension, a high mountain, heaven, are set to a
melody with high pitches, while observing the aforementioned orthographical rule. The words
or concepts that signify a fall, depth, death, Hades, and in general everything base and mun-
dane, are accordingly set to a melody with low pitches. The melody also changes genera of tet-
rachordsfrom diatonic to chromatic or enharmonicaccording to the inflection that the
melodist wants to attach to the various poetical concepts. Thus it is easy to discern the most be-

11
The Treatise of Manuel Chrysaphes, the Lampadarios, edited by Dimitri Conomos, (Monumenta Musicae
Byzantinae - Corpus Scriptorium de Re Musica, vol. II, Wien, 1985).
xx Prologue

loved concepts and names, such as God, Theotokos, Son, Savior, Holy Spirit, and the joyful
states, such as paradise, rejoicing, joy, salvation, as well as the hideous words, such as Hades,
death, sin, darkness, and so on, that are set to a melody in each of the eight modes and in each
genus of chant: the sticheraric, the heirmologic, and the papadic, as well as in each tempo of
chanting, i.e., slow (kalophonic-melismatic), brief, medium, etc. By using melodic formulae,
they instill the concepts in the souls of the listeners, and they become understood and remain
more permanently.
Perhaps now the two-fold work of translation is better understood: the concepts must be
preserved and must be in the same place in the flow of the melody that they are in the original
Greek, so that all this power of expression is kept without resorting to mangling the text or
shifting the melodic emphasis to other words or parts of the melody. This is accomplished to a
great degree in this publication of the Byzantine words and melody in the English language.

Second: melody and metrophonia
The melody that must be chanted based on the optical representation of a "formula" is not
the result of merely executing the ascending and descending signs of pitch, but much more: it
entails an entire musical period with a beginning, middle, and endan autonomous melodic
arch, which is simply sketched by the combination of signs (the "formula") and is connoted by
the soundless neumes.
The "formulae" of Byzantine chant (and the notation in general) constitutes an optical rep-
resentation of the melody and a reminder of the expressive dynamics they contain. What is
heard is the result of interpreting all those expressive elements of the notation. This interpreta-
tion in the art of Byzantine chant is called exeges i s , which in notation ends up being an
analysis written with more phonetic signs. The need for these exegeses triggered the exegetic-
transitional period (1670-1814) and led to the final notational reformation in 1814, when the
analytical notation, known as the New Method, ensued.
The issue of interpreting notation is immense, and it requires the greater part of a master
musician's life. But it is an issue that would not fit here now. However, what must definitely be
said about it is that merely executing the ascending and descending signs of pitch is called
metrophonia in the theory of Byzantine chantthat is, simply counting (metro) the change in
pitch that each sign indicates. These pitches in each formula indicate the framework within
which the melody will be elaborated, in accordance with what the other signs of the notation
indicate. It is precisely here that Byzantine music is grossly misunderstood by those musicolo-
gists who believe that the "melody" is equivalent to the "metrophonia"the mere execution of
the ascending and descending signs of pitch. It is here that Greek Byzantine chant is wronged:
instead of being the wondrous art of Byzantine majesty that it is, out of ignorance it is mistaken
for an inelegant, artless affectation and ends up as a very cheap, tasteless, arrhythmic sounding
music. The meaning of the words is lost. And Byzantine chant is still suffering from this erro-
neous interpretation of it as dry "metrophonia," as mere changes in pitch; it suffers from being
forcefully placed on the Procrustean bed
12
of staff notation, where there are only whole tones

12
Procrustes was a villainous son of Poseidon in Greek myth who forced travelers to fit into his bed by stretching
their bodies or cutting off their legs.
Prologue xxi
and half tones and only the diatonic genus, which are unable to communicate the subtle inter-
vals and the refined sensitivities of Byzantine and post-Byzantine Greek expression. The so-
called Byzantine Music that is transcribed into staff notation in this manner and sung, has no
relation to the real melody that the formulae of Byzantine chant indicate.
And here, once again, is the great accomplishment of this book "The Divine Liturgies in
English in Byzantine notation": the genuine "melody" is transmitted and disseminated in the
analytical notation of the New Method of 1814not the dry "metrophonia" of the formulae.
Greek Orthodox churches never heard the dry metrophonia as liturgical music. Dry metropho-
nia is just an exercise for teaching and learning music that is used in the first stage of approach-
ing and recognizing the notation, and nothing else. And this is what it must remain.
But even the analytical notation of the New Methodnot only the Byzantine and post-
Byzantine compositions before it, but also the newer compositions that were originally written
with the analytical notationis a prescriptive notation. That is, it suggests the way in which
chanters should interpret the various quantitative signs and the expressive effect that the quali-
tative signs indicate. A steadfast guide in interpreting Byzantine chant is the living, unbroken,
1000-year tradition of Athonite psalmody. This tradition is preserved and recorded in this fine
book with Byzantine notation. And this same music has been transcribed also into staff notation
in a very useful companion volume, which has also been published by the pastoral care of the
Holy Monastery of St. Anthony.

Third: substance and expression of monophonic Byzantine music and its superiority and thus
its suitability for worship.
The Orthodox worship of the "Living God" is rational worship, in the sense that our offer-
ing to and conversation with God, the Theotokos, and the saints is direct, personal, and is ac-
complished with words, since God "the Word was made flesh and dwelt among us."
13
The mel-
ody, as a kindred product of the words, in all its aspects, constitutes the acoustical garment of
the text. The texts in worship are clearly differentiated into three large categories: Biblical texts
(the readings), prayerful texts (the prayers and petitions), and hymnological texts (the psalms
and the many kinds of troparia). With these three categories of textsall three of which are
superb literary worksthe dialogue of God and man is performed during worship. "Thus saith
the Lord," or "The Lord saith" is intoned in the ekphonetic style, and we the faithful hear the
divine words. The priests pray, "We offer unto Thee," "We thank Thee," "And we entreat Thee
and beg of Thee," and the chanters respond by chanting "We hymn Thee, we bless Thee"
to mention a timely moment of man's offering and of the divine liturgical dialogue.
It is especially the hymnological textswhich are the par excellence poetic texts of both
Byzantine and contemporary Greek hymnographyalong with the psalmic hymns of Hebrew
poetry that constitute the hymnographical texts upon which the wondrous Greek Psalmodic Art
known as Byzantine chant was developed. Almost all the troparia and psalms have a dual char-
acter: they praise, glorify, eulogize, etc. This is because the troparia are a fruit of compunction,
which is what the holy hymnographers had and what they used to rise above the mundane in
order to praise God and His saints worthily. And we must realize that it is this compunction of

13
Jn. 1:14
xxii Prologue

the incensive aspect of our soul that moves our entire being to piety. Compunction starts out as
fear, and then later becomes a constant desire, as St. Gregory Dialogos teaches: "When the soul
thirsts for God, first it is made compunctious by fear, and then by desire." We feel fear due to
our sinfulness and unworthiness, and we feel desire to be cleansed and counted worthy by
God's grace to hear "Come, ye blessed of my Father."
14
Let us reflect here that most troparia
end with the phrase: "and great mercy."
Common worship takes place in the holy churches, and is done with this holy disposition
of compunction. This means that ecclesiastical placeswith their appointed ministers (the
priests and the chanters) and with their hymnography and its kindred musicare one thing, and
an entirely different thing are all the non-ecclesiastical places (theaters, entertainment centers,
etc.) which use different words and different music. Mixing or interchanging them is destruc-
tive. As St. John Chrysostom says, "Let us go to church with the appropriate piety, lest we re-
turn to our homes with more sins instead of their remission." And he continues: "What is re-
quired from us? To send up the divine hymns with great fear and dread and to be adorned with
piety while doing so."
15
The monophonic melody of the Byzantine chant is a liturgical melody
that springs from the essence of Orthodox worship and expresses in the best way the mys-
tagogical character of worship and its basic element: compunction.
"Two things that gush forth together from the essence of worship and water our souls are
the monophonic Byzantine melody (as the garment of the words) and compunction. These two
elements know their consubstantiality and express each other perfectly. Thus, the art of Byzan-
tine chant with its three genera, its modulations, its accidentalsfor the subtle alterations in its
intervalsexpresses perfectly the various moods of soul in its monologues and dialogues with
the saints, the angels, the Theotokos, and God. When the souls sighs and weeps and laments:
"Alas, alas, what shall I do!" "Oh, how shall I lament" "Oh, what a difficult hour then" and the
like, the melody becomes a compassionate dirge and oftentimes in church opens to the faithful
the fountains of tears that bathe them with the waters of sacred emotion. The soul expresses
itself with aversion when it mentions the words death, Hades, grave, sin, hell, and corruption,
and Byzantine music colors these ghastly words with the same aversion. The soul leaps at the
mention of the words paradise, eternal life, delight, divine eros, redemption, salvation. Like-
wise, Byzantine music uses primarily the diatonic tetrachords of first and plagal first modes to
instill a celestial, ineffable sweetness, sprinkling in this manner our souls that are uplifted and
aroused by a divine desire. When our soul shrinks back in fear without daring to gaze at the
height of heaven, it stammers its supplication: "Do not overlook me," "Destroy me not," "Have
mercy on me, and save me," "Be gracious unto me, O Savior," "Pardon and save me," or "De-
liver me, O God." Then Byzantine Music, with its endless capacity of expression, incarnates the
voice of supplication with the appropriate use and alteration of its intervals in accordance with
the intensity and depth of the entreaty, and presents it as an immaculate child to God who
reaches out his hand to be escorted to the meadows of virtues."
16


14
Mt. 25:34
15
First Homily on Isaiah, PG 56, 99.
16
. . , , , 1980, . 58-60.
Prologue xxiii
If this is what Byzantine Music is able to accomplish in our worship, blessed are they who
hear it and delight in it and are instructed by it into divine mysteriesin Greek and English and
in every language and tongue "wherein they were born"and thrice-blessed are those who
know it and chant it with the gift they have been granted from above.
And if with what I have written hereat the opportunity given to me by God's providence
through the Holy Monastery of St. Anthony in America, with the blessing of the holy Elder
Ephraim, and with the care of Hieromonk Ephraim, who artistically created this entire workI
have managed to demonstrate the expressiveness of monophonic Byzantine chant and therefore
its superiority and appropriateness for Orthodox worship. Then the only thing left for me to do
is to thank God Who provides for the edification of His faithful people.

Gregorios Stathis
Athens, February 19-21, 2006











Introduction



YZANTINE chant, the traditional music of the Eastern Orthodox Church,
boasts an uninterrupted history that stems from the chant dialects of the
ancient eucharistic communities throughout the Christian world. Over the
centuries, it evolved naturally and within specific traditional parameters,
and was continuously refined by the Church.
1
It is the music that the
saints found most appropriate for communal prayer and for expressing
Orthodox theology; the music that the emissaries of Prince Vladimir
heard in Constantinople in the service that made them exclaim ecstati-
cally, We knew not whether we were in heaven or on earth! We can-
not forget that beauty,
2
and thus led to the conversion of Russia to
Orthodoxy. This book is a humble attempt to make a part of this sacred
music available to the Western world in its most authentic form.
In order for Orthodox Christians in the West to sing Byzantine chant in the traditional
manner, it is necessary for them to realize how it differs from the kind of secular Western
music to which everyone today is so accustomed. These differences can be divided into three
categories: quantitative, qualitative, and spiritual.
The quantitative differences lie in the intervals used in Western and Byzantine music.
Byzantine chants contain certain intervals, accidentals, and tonal attractions (e[lxei") which
result in pitches that do not exist on the equally tempered keyboard, the standard for pitch rela-
tionships in contemporary Western compositions. These subtle differences add a unique beauty
to Byzantine melodies. Nevertheless, these differences are usually of sufficiently minor signifi-
cance that most pitches in Byzantine music may be agreeably approximated by corresponding
pitches in the equally tempered scales.
3
Exceptionally, however, the modal genre known as the

1
Byzantine music was systematized primarily by St. John Damascene in the eighth century, and St. John Koukou-
zelis, who lived (according to contemporary musicologists including Gregory Stathes and Edward Williams) in
the fourteenth century.
2
, , - , .1112, 2-.
.., , . , ., 1980. (See also
Ware, Timothy, The Orthodox Church, Penguin Classics, London, revised edition, 1993, p. 264.)
3
To be precise, the pitches in all Byzantine modes (except for the soft chromatic) may be approximated by pitches
of the equally tempered keyboard such that the intervallic discrepancies never exceed 33 cents (2 mov ria), which
is equivalent to one-third of a half step.
Introduction xxv
soft chromatic presents a serious dilemma, because the pitch (i.e., La) is neither flat nor
natural but falls in between in such a manner that any approximation using equally tempered
pitches is unsatisfactory. This problem and its solution are discussed at greater length in
Appendix I.
The qualitative differences between Western and Byzantine music are many. The primary
difference is that Western music is for the most part polyphonic (i.e., harmonized), whereas
Byzantine music is monophonic, constructed of melody alone. This melody is accompanied
only by a bass drone, or ison, which enriches the chant by adding solemnity and power to it.
4

Thus, even when many people chant together, the resulting sound seems to be coming from
one mouth, as St. John Chrysostom described the music of the fourth century.
5
This simple
combination of melody and ison is a practice that has been in use for centuries.
6
Adding har-
monies to the melody is foreign to traditional liturgical music, even if in recent centuries some
Orthodox churches have chosen to adopt elements either of Western-style polyphony or of in-
digenous folk music.
Western-style harmonizations became the norm for the first time in Orthodox liturgical
music in Lviv and then Kiev,
7
where, due to Roman Catholic influences from Poland, this
polyphony suddenly burst into Russian liturgical singing from the West in the middle of the
seventeenth century,
8
putting an abrupt end to a seven-century epoch of monophonic liturgical
music.
9
Henceforth, this polyphonic music continued to develop under Italian and German

4
As a British philologist observed, The effect [achieved through the ison] is much fuller and more satisfying than
might be imagined. (Tillyard, H.J.W., Byzantine Music and Hymnography. London, 1923, p. 64.)
5
Migne, Patrologia Graeca, Vol. 61, col. 315 (Commentary on I Cor. 14:33 by St. John Chrysostom, Homily 36):
For indeed there must always be but one voice in the church, as there is but one body. Thus the reader alone
speaks, and the bishop himself is content to sit in silence; and the chanter chants alone. Even though all respond
[uJphcw'sin], the sound issues as if from one mouth.
6
Some music historians (such as George Papadopoulos, Demetrios Panagiotopoulou, and George Constantinou)
argue that the word uJphcw'sin in the quote in the previous footnote means to sing the under-sound. They
conjecture that this under-sound was the predecessor of the ison. However, other music historians (including
James McKinnon, Dimitri Conomos, and the patristic scholar G.W.H. Lampe) believe that the uJphvchsi" is
not an under-sound but a response. Their theory is more plausible, since the use of the words uJphchvsew" and
uJphcei'n by St. John Chrysostom in his homily on Psalm 117 (PG 55:328) leaves little room to doubt that it
can only refer to a response. Other patristic texts also support the latter theory, since they frequently mention
responsorial singing, whereas there is no clear testimony to the use of the ison until after the fifteenth century.
(Vid. Fellerer, K.G., Die Gesnge der bysantinischgriechischen Liturgie in Geschichte der katholischen
Kirchenmusik, Kassel, 1972, p. 130. See also Strunk, William Oliver, Essays on Music in the Byzantine World,
W. W. Norton & Company, Inc., New York, 1977, p. 300.)
7
Kochmarchuk, Franko, Dukhovni vyplyvy Kieva na moskovshchynu v dobu hetmans'koi Ukrainy (New York:
Shevchenko Scientific Society, 1964), p. 120f.
8
Gardner, Johann von, Russian Church Singing, Vol. 1: Orthodox Worship and Hymnography, St. Vladimirs
Seminary Press, New York, 1980, p. 143. To be precise, this music was not polyphonic but homophonic, since
homophony is defined as music in which melodic interest is concentrated in one voice or part that is provided
wth a subordinate accompaniment, as distinct from polyphony, in which melodic interest is distributed among
all parts of the musical texture. Randel, Don Michael, The New Harvard Dictionary of Music, Harvard Uni-
versity Press, Cambridge, Massachusetts, 1986, p. 380.
9
Ibid., p. 139. This statement by Gardner is actually a simplification of a more complicated development. Dr.
Nicolas Schidlovsky explains: Concerning polyphony in Russian church singing we should note the following:
it is certain that it existed before the seventeenth century; but its history is obscure, and we cannot be sure of the
time or the place of its origin. Based on manuscript evidence, the native polyphonic technique is generally re-
garded as an outgrowth of folk heterophony cultivated in a few centers with privileged status. There is no writ-
xxvi Introduction

influences.
10
Today many Orthodox parishes have adopted this polyphony for their services
without regard for its origins or its guiding aesthetic principles.
Of more significance than the historical differences between polyphony and monophony
are their spiritual ramifications. As Dr. Constantine Cavarnos aptly notes:

A single line of melody makes it easy for the congregation to follow the meaning of the
text of the hymns chanted. When the melody is in several parts, it tends to suppress the
meaning. In addition, it introduces a secular quality into the chant, an element of ostentation
and lightness. Traditional, one-part chant is, by contrast, characterized by humility and
solemnity, qualities which are of the very essence of Orthodox spirituality.
11


One of the foremost contemporary Byzantine musicologists,
Dr. Dimitri Conomos, has made the following observations re-
garding the practical drawbacks of polyphony in ecclesiastical
music:
[Monophonic music] is usually easy to sing, easy to
learn, and easy to remember. The chanters can readily
match their note to the celebrants This style of music is
ideal for congregational singing Polyphonic music, on
the other hand, is by its very nature more complex, denser,
and more difficult. In order for it to be done wellboth
musically and liturgicallyone has to concentrate. The
music demands a lot of attentionattention that could bet-
ter be given elsewhere during a divine service Unlike
polyphonythe music of fashion in the Baroque, Classical
and Romantic periodssimple chant melodies can be tai-
lored to follow the text, to amplify its meaning and rheto-
ric, to give it an appropriate musical dress.
12


For these and many other reasons, the use of Western-
style polyphony in church has been opposed in recent centu-

ten theory preserved on the practice, and the surprising dissonance of the music shows a complete independence
from Western counterpoint. (Schidlovsky, Nicolas, Sources of Russian Chant Theory. In Gordon D. McQuere
(Ed.), Russian Theoretical Thought in Music, UMI Research Press, Michigan, 1983, pp. 103-104.)
Although there is a sixteenth century document (
) which mentions that tripartite sweet-singing was introduced in Russia by Greeks in
the eleventh century, Stasov convincingly proves (vid. , .., " -
", V, 1865, . 225-254.) that this does
not refer to harmonization and must be treated as a later interpolation. (See also Velimirovi, Milo M., Byzan-
tine Elements in Early Slavic Chant: The Hirmologium. Main Volume and Appendices. Monumenta Musicae
Byzantinae Subsidia, Vol. IV, Copenhagen, 1960, p. 10. For other possible explanations of this curious phrase,
see Gardner, Johann von, Russian Church Singing, Vol. 2: History from the Origins to the Mid-Seventeenth Cen-
tury, St. Vladimirs Seminary Press, 2000, pp. 30-36 and 313-314.)
10
Vid. Gardner, Johann von, Russian Church Singing, Vol. 1, p. 145.
11
Cavarnos, Constantine, Byzantine Chant. Institute for Byzantine and Modern Greek Studies, Belmont, Massa-
chusetts, 1998, pp. 25-26.
12
Conomos, Dimitri. Excerpt from a lecture given at the St. Sergius Orthodox Institute, Paris, in 1997. Published
on http://www.monachos.net/liturgics/chant_history.shtml February 2003.
.
St. Barsanuphius
of Optina
Introduction xxvii
ries by several saints (including St. Seraphim of Sarov;
13
St. Philaret Drozdov, Metropolitan
of Moscow;
14
St. Ignatius Brianchaninov;
15
St. Barsanuphius, Elder of Optina;
16
and the New
Martyr St. Andronik Archbishop of Perm
17
) as well as by the Holy Synod of Constantinople,
18

the Holy Synod of the Church of Greece,
19
and by many venerable hierarchs (such as Patriarch
Germogen of Russia
20
in the seventeenth century, Metropolitan Evgeny of Kiev
21
in the eight-
eenth century, and Archbishop Averky of Syracuse and Holy Trinity Monastery [Jordanville]
in the twentieth century). Nevertheless, other saints (primarily some of the New Martyrs of
twentieth-century Russia) and other hierarchs used and loved Western-style polyphonic eccle-
siastical music because they appreciated its beauty and were inspired by it. Their acceptance is
perfectly understandable, since musical preferences are not dogmatic issues but are dependent
upon cultural circumstances and personal taste. Besides, if, according to St. John of the Ladder,
lovers of God are moved to spiritual joy, to divine love, and to tears even by worldly songs,
22

incomparably more so will they be inspired by hymns, even if their melodies are of a worldly
character or bear some of the aforementioned shortcomings.

13
Vid. Zander, Constantine, St. Seraphim of Sarov, translated by Sister Gabriel Anne S.S.C., St. Vladimirs Semi-
nary Press, New York, 1975, p. 64.
14
Vid. 3. 1850-1856. ., 1883. . 17-18.
15
Vid. (), , -
, 1995, . 130, 131.
16
Vid. Afanasiev, Victor, Elder Barsanuphius of Optina, St. Herman of Alaska Brotherhood, Platina, California,
2000, pp. 452-3. Despite his disapproval of Western-style polyphony in a liturgical context, St. Barsanuphius
had a great appreciation for serious opera music and played the harmonium while still a layman.
17
See article published (in Russian) on http://www.oko.mrezha.ru/article.php?id=gallery December 2004.
18
In an encyclical dated November 5, 1846, the synod proclaimed that the use of polyphony in church is a sin
against the canons and the holy Church of Christ due to its unspiritual melody, unbecoming to ecclesiastical
propriety. (See also Papadhmhtrivou !Alexavndrou, Eatojao Ko:ootxj :j Tt:oooovto, Kibwtov" !Aqhvna,
!Iouv lio" 1952, sel. 301-303.)
19
When four-part harmonies were introduced in churches in Athens, the Holy Synod of the Church of Greece
issued many encyclicals vehemently opposing their use. See encyclicals dated: July 31, 1870; June 13, 1874;
February 1, 1886; March 10, 1886; May 25, 1886; March 23, 1888; and March 29, 1888. See also Papadovpou-
lo", Gewvrgio", Io:ootxj Eatoxoajot :j B:ov:tvj Exx!jotoo:txj Mo:otxj, !Aqh' nai, 1904, sel. 298-
314.
20
Metallov, Archpriest Vasilii, An Essay on the History of Orthodox Church Singing in Russia [in Russian], p.
101, n. 2, cites Metropolitan Makarii, The History of the Russian Church [in Russian], vol. X, p. 154.
21
Metropolitan Evgeny (1767-1837) opposed European music in church for the following reasons: The works of
many foreign kapellmeisters have in our time been adopted as compositions of the Greek-Russian Church The
truth must be stated that either because of their unawareness of the power and expressiveness of many moments
in our church poetry, or because of a prejudice only for the laws of their music, they have often disregarded the
sanctity of the place and the subject of their compositions, so that generally speaking, it is not the music which is
adapted to the sacred words, but instead, the words are merely added to the music and often in a contrived man-
ner. Apparently, they wanted more to impress their audience with concert-like euphony than to touch their hearts
with pious melody, and often during such compositions the church resembles more an Italian opera than the
house of worthy prayer to the Almighty. (translation taken from Schidlovsky, Nicolas, Sources of Russian
Chant Theory, pp. 84-5.)
22
cf. K!tao Ioo vvo: :o: ltvot :o:, Ekdov sei" @I.M. Paraklhv tou, @Wrwpo; " !Attikh' ", EV e[ kdosi", 1992, sel. 207
(IEV, nqV). See also The Ladder of Divine Ascent, Holy Transfiguration Monastery, Brookline, 1979, p. 113 (Step
15:61).
xxviii Introduction

There are several other noteworthy qualitative differences between Western and Byzantine
music. The latter was always entirely vocal.
23
The use of musical instruments is condemned in
the Rudder,
24
because the Holy Fathers viewed instrumental music as something secular that
tends to evoke a kind of emotionalism
25
and is foreign to the Orthodox spiritual life.
26
As Dr.
Cavarnos explains:

The Greek Church Fathers ruled out the execution of
church music by means of instruments as well as the
accompaniment of the chant by instruments, as incompati-
ble with the sublime, spiritual character of the religion of
Christ. Those who seek to justify the use of instrumental
music in our churches call attention to the fact that in the
Old Testament period musical instruments were used in
public worship. However, St. Gregory the Theologian (Na-
zianzen), St. John Chrysostom [PG 55:494-495], and other
holy Church Fathers [St. Isidore of Pelusium, PG 78:628
and St. Theodoret of Cyrus, PG 80:1996] note that this
practice was due to a concession of God by reason of the
grossness of mind of the Old Testament people which ren-
dered them incapable of appreciating a more refined kind of
music, the purely vocal.
27
Supporting the Patristic basis
for excluding all man-made musical instruments in church
is the consensus of great philosophers, such as Aristotle and
Emerson, that the human voice is the best, most refined of
all musical instruments.
28



23
Wellesz, Egon, A History of Byzantine Music and Hymnography, Oxford, 1949. Revised edition, 1961, p. 32,
108, 366. For convincing evidence of the absence of musical instruments in the early Church, see McKinnon,
James, The Temple, the Church Fathers and Early Western Chant, Variorum Collected Studies Series, Ashgate
Publishing Ltd., Great Britain, 1998, sections IV, V, and VII.
24
Explanation of Canon LXXV of the Sixth cumenical Synod. Vid. Agapios, Hieromonk and [Saint] Nicode-
mus, Monk, The Rudder, translated by D. Cummings, The Orthodox Christian Educational Society, Chicago,
1957, p. 381. In a footnote on the same page, St. Nicodemus quotes the following explanation by Meletios
Pegas (1549-1601) regarding this condemnation of instruments: Excessive music, pursuing what is sweet
beyond moderation fails to excite pleasure, but, on the contrary, tends to enervate for it is on this account that
only the human voice finds acceptance in the Church, on the ground that it is inherent in nature and unartificial,
whereas percussions and efflations produced by instruments are sent packing by the divine Fathers on the
ground that they are too artificial.
25
Staretz Sampson (1898-1979) made the following distinction between feeling and emotionality in regards to
music: [In church] Never lose the feeling that you are standing before the Lord. This feeling can be only
noetic, prayerful, without the participation of emotionality. Emotionality in worship is something foreign to
Orthodoxy. This is why our polyphonic music often hinders our prayer, because it brings into our life the ele-
ment of emotionality. ( . , , . .,
. 1999, , . 195.)
26
cf. Byzantine Chant, p. 21.
27
Likewise, in more recent times St. Nicodemus of the Holy Mountain (1749-1809) confirmed St. John Chrysos-
toms interpretation of Amos 5:23 [vid. PG 48:853] by writing: Since God rejected their [the Hebrews]
instrumentsas He said through Amos: Remove from me the sound of thy songs, and I will not hear the music
of thine instrumentsthenceforth we Christians execute our hymns only with the voice. Eoo:ooooatov, Ni-
kodhvmou tou' @Agioreivtou, Benetiva, 1836, sel. ihV.)
28
Cavarnos, Constantine, Victories of Orthodoxy, IBMGS, Belmont, Massachusetts, 1997, pp. 70-71.

St. Nicodemus of
the Holy Mountain
Introduction xxix
Even the great Western composer Beethoven felt that pure ecclesiastical music should be
executed only with the voice.
29

Byzantine chants typically have meters that are steady but free in the sense that the rhythm
may frequently change within a given piece.
30
These irregularities make the use of time
signature and measures awkward.
31
The vibrato in Byzantine chant is more subtle than its
counterpart in, for example, operatic singing. A Byzantine chanter shifts between notes in a
manner that is more liquescent (smoother) than that of a Western singer. Moreover, the embel-
lishments used in Byzantine chant are for the most part so foreign to the Western ear that it is
impossible for staff notation to express them. Indeed, most Western singers find it difficult to
execute them at all, since they are not accustomed to the physical manner in which they are
performed.
The most important difference between Byzantine and Western secular music lies in the
spirituality they convey. Byzantine music is an art that expresses the Orthodox spiritual life,
which differs greatly from Western spirituality. Photios Kontoglou of blessed memory made
many keen observations about these spiritual differences:
32


Music is of two kinds (as are the other arts also)secular
and ecclesiastical. Each of these has been developed by different
feelings and different states of the soul. Secular music expresses
worldly (i.e., carnal) feelings and desires. Although these feel-
ings may be very refined (romantic, sentimental, idealistic, etc.),
they do not cease being carnal. Nevertheless, many people be-
lieve that these feelings are spiritual. However, spiritual feelings
are expressed only by ecclesiastical music. Only ecclesiastical
music can truly express the secret movements of the heart,
which are entirely different from those inspired and developed
by secular music.
33


He further illustrated that Byzantine music, a highly stylized
art (as is Byzantine iconography),
34
has as its objective to raise
the thoughts and emotions of man from the realm of the mundane

29
Otooto xot Hoot :j B:ov:tvj Exx!jotoo:txj Mo:otxj , sel. 27.
30
cf. Tillyard, H. J. W., Handbook of the Middle Byzantine Musical Notation, Vol. I, Copenhagen, 1935, p. 13.
31
The great Russian composer Aleksei Fedorovich Lvov (1798-1870) (who with the support of Tsar Nicholas I
did much to resurrect chant-based ecclesiastical music in Russia and also won the respect of several Western
composers including Mendelssohn and Meyerbeer for his talent as a secular composer and violinist) also
concluded that chant must be written in a free, non-restrictive rhythmic setting without bar lines and time signa-
ture. (vid. .., , ., 1858, . 10. See also Dolskaya,
Olga, Aesthetics and National Identity in Russian Sacred Choral Music: A Past in Tradition and Present in
Ruins, chaper four [unpublished].)
32
Selections of his writings constitute the Epilogue of this book.
33
Cavarnos, Constantine, Byzantine Sacred Art. Institute for Byzantine and Modern Greek Studies, Belmont, Mas-
sachusetts, second edition, 1992, p. 148.
34
In the words of Professor Alexander Lingas, Byzantine chant is, from a technical point of view, an immensely
sophisticated art tradition that is also, from a religious perspective, a spiritually profound aural analogue of
iconography in its ability to offer humankind a taste of the perpetual heavenly liturgy of the angels.

Photios Kontoglou
xxx Introduction

to that of the spiritual.
35
For this reason Byzantine music must be executed in a state of devout-
ness, contrition, humility, and great inner and outer attention.
36
In the words of Dr. Cavarnos,
traditional Byzantine music is characterized by simplicity or freedom from undue complexity,
purity or freedom from everything sensual, ostentatious, insincere, and by unsurpassed power
and spirituality.
37
According to Dr. Conomos, Byzantine music is unequalled in its scope and
its ability to move people in a genuine and not an emotional way. It emphasizes the words and
tries to eschew all theatricality
38
so that it does not draw attention to itself. The great Byzan-
tine musicologist Egon Wellesz wrote: Byzantine hymnography is the poetical expression of
Orthodox theology, translated, through music, to the sphere of religious emotion.
39
A contem-
porary historian, awed by the splendor of Byzantine art (which was inspired by the same guid-
ing principles as Byzantine music), observed that never in the history of Christianityor, one
is tempted to add, of any other of the worlds religionshas any school of artists contrived to
infuse so deep a degree of spirituality into its work [as did the Byzantines].
40
In particular,
Metropolitan Emilianos of Selyvria affirms:

[Byzantine music] is a means of worship, of inner purification, of ascent from earth to
heaven. It expresses supplication, hope, adoration, gratitude and contrition. From the be-
ginning it has borrowed whatever beauty there has been in secular music [i.e., the ancient
Greek modal system], and has assimilated and spiritualized it, imparting to it the holy,
ecstatic note of mystical theology, so that the music in no way detracts from the words.
This music has its own harmony, which avails for spiritual resurrection.
41


35
Likewise, in 1880 the Patriarchate of Constantinople explained in an encyclical opposing liturgical innovations
that the Church chose and developed a music which suits the purpose of the people coming to church: to raise
the mind from the mundane to the heavenly and to pray to our God and Father with a music that corresponds to
the Churchs divine hymns and has grandeur in simplicity, delight in rhythm, and modesty in clear, articulate,
unaffected, melodious psalmody executed with humility, peace, and compunction. (Vid. Papadopouvlou, Ge-
wrgivou, l:ao!ot tt :jv Io:ootov :j aoo jatv Exx!jotoo:txj Mo:otxj, !Aqh' nai, 1890, sel. 421.)
36
The importance of having a proper inward state while singing in church cannot be overemphasized, since even
the most inspiring ecclesiastical music loses its ability to inspire when executed irreverently. This is why the
Holy Fathers of the Sixth cumenical Synod wrote the following canon: We wish those who attend church for
the purpose of chanting neither to employ disorderly cries and to force their nature to cry aloud, nor to foist in
anything that is not becoming and proper to a church; but, on the contrary, to offer such psalmodies with much
attentiveness and contriteness to God, Who sees directly into everything that is hidden from our sight. For the
sons of Israel shall be reverent (Lev. 15:30) the sacred word has taught us [Canon LXXV of the Sixth cu-
menical Synod, The Rudder, pp. 379-380]. But in order for a church singer to be reverent, he must have a certain
degree of sanctity which, as Dr. Conomos comments, requires a determination of character, a strong faith, great
modesty, and a high sense of integrity. To be a Church singer in an Orthodox Church is to respond to a calling,
to a vocationit demands purity, sureness of faith and conviction. [Excerpt from a lecture published on Mona-
chos.net, February 2003.]
37
Byzantine Chant, p. 20.
38
As early as the fourth century, the Holy Fathers preached against theatricality in church singing. St. Niceta of
Remesiana (d. after 414) said in a sermon on psalmody, One must sing with a manner and melody befitting
holy religion; it must not proclaim theatrical distress but rather exhibit Christian simplicity in its very musical
movement; it must not remind one of anything theatrical, but rather create compunction in the listeners. (De
utilitate hymnorum, PL 68:365-76. See also McKinnon, James, Music in early Christian Literature, Cambridge
University Press, Cambridge, 1987, p. 138.)
39
Wellesz, Egon, A History of Byzantine Music and Hymnography, p. 157.
40
Norwich, John Julius, Byzantium: The Early Centuries, Viking Penguin, London, 1988, p. 28.
41
Timiadis, Bishop Emilianos of Meloa, Orthodox Ethos, Vol. 1: Studies in Orthodoxy, edited by A.J. Philippou,
Oxford, 1964, p. 206.
Introduction xxxi
None of the aforementioned quantitative, qualitative, and spiritual differences can be fully
appreciated simply by reading a description of them; it is necessary to hear a proper execution
of Byzantine chant in the context of a worship service in order to appreciate its ethos and to
understand how it differs from Western secular music. Furthermore, any attempt to perform
Byzantine chant solely from music written in Western staff notation will inevitably be
inadequate,
42
since the latter is determinative while Byzantine notation is descriptive.
43

Nevertheless, such an attempt is necessitated by current trends in Orthodox churches of the
West, the majority of which do not use the traditional Byzantine chant developed by the saints.
On the contrary, they prefer music written in Western notation that is either completely
heterodox in origin, or if it is of Orthodox origin, it has been seriously altered by secular or
heterodox influences (such as harmonization, polyphony, the accompaniment of an organ,
44

etc.). As a consequence of this departure from tradition, Dr. Conomos writes:

[Church music must regain its holiness.] Today this means freeing Church music from
the heavy burden of centuries of decadence and secularism. Holiness means otherness, sa-
credness, apartnessnot the common or the ordinary but the unique, the particular, the un-
contaminated
45
The real concern of those responsible for musical performance in the Or-
thodox Church today should be to draw upon the richness of the Churchs centuries-old,
accumulated practices and traditions in order to discover the cardinal contribution that
[Byzantine] music has made to its liturgical life.
46



42
As Tillyard observed, to appreciate and enjoy a Byzantine hymn, it must not merely be played over on the
piano, but thoroughly mastered and sung with the words and with due regard to rhythm and expression.
(Tillyard, H. J. W., Handbook of the Middle Byzantine Musical Notation, p. 13.)
43
As Professor Demetrios Giannelos explains: A descriptive notation, such as that of Byzantine music, describes
the essentials of the piece, leaving to oral tradition the task of completing with precision whatever is not
described. On the contrary, a determinative form of writing, such as Western notation with staves, determines
with great precision the manner of execution, to the point that the interpretation of the person executing it is de-
lineated by factors that depend directly on the definitive indications of the music symbols. These indications can
be so absolutely restricting that they preclude all room for interpretation. (Otooto xot Hooj :j To!:txj
Ttvj Hoox:txo A Hovt!!jvto: l:vototo: To!:txj Ttvj, sel. 173.) Moreover, a piece written in de-
scriptive notation has the flexibility to be chanted simply by a beginning chanter and elaborately by an experi-
enced chanter. Nevertheless, this super-prescriptive aspect of staff notation is not an inherent but an assumed at-
tribute. As Dr. Lingas explicates: [A] Byzantine melody written in Western score, in contrast to a transmission
in Byzantine neumes of any period, is assumed to be a relatively complete representation of its realisation in
sound. Yetsuch assumptions are a relatively recent development, for staff notation, like its Byzantine counter-
part, has only gradually progressed toward greater precision. (Lingas, Alexander, Performance Practice and
the Politics of Transcribing Byzantine Chant, Acta Musicae Byzantinae, Vol. VI, Iai, 2003, p. 56. Available
online at: http://www.csbi.ro/gb/revista.html)
44
Despite the popular notion that the organ is an ecclesiastical instrument and despite the erroneous statements
propagated by the Greek Orthodox Hymnal of George Anastassiou regarding its supposed liturgical use by the
Byzantines, the fact remains that the organ was a secular instrument for one thousand years before it was intro-
duced in the Western church in the ninth century, while in the Eastern Orthodox Church it was never used until
only very recently and only in some places, contrary to the traditional practice. (Vid. Papadovpoulo", Gewvrgio",
Io:ootxj Eatoxoajot :j B:ov:tvj Exx!jotoo:txj Mo:otxj, !Aqh' nai, 1904, sel. 72-74.)
45
Excerpt from a lecture published on Monachos.net, February 2003.
46
Conomos, Dimitri E., Byzantine Hymnography and Byzantine Chant, Hellenic College Press, Brookline, Mass.,
1984, p. 29.
xxxii Introduction

Similarly, in 1882 the great composer Tchaikovsky
wrote, The rebirth of our church singing lies in the char-
acteristic spirit of its ancient melodies with their stately,
simple, sober beauty.
47
Likewise, Alexander Kastalsky,
who was a disciple of Tchaikovsky and another distin-
guished composer of polyphonic music, became disen-
chanted with modern compositions in his later years and said
in 1913:

If we fall into the present-day tendency to create music
that is too complex, for the sake of sound effects that are
fashionable, then it will lead only to the fact that church
music will become the same as secular musiconly with sa-
cred text Our indigenous church melodies when set chor-
ally lose all their individuality: how distinctive they are when
sung in unison by the Old Believers,
48
and how insipid they
are in the conventional four-part arrangements of our classic
composers, on which we have prided ourselves for nearly a hundred years; it is touching,
but spurious The future of our creative work for the church should be to get away from
continual four-part writing I should like to have a music that could be heard nowhere
except in a church, and which would be as distinct from secular music as church vestments
are from the dress of the laity.
49


The ideal way for Orthodox parishes to return to traditional roots would be for their choris-
ters to learn and use Byzantine notation and thus reap the many benefits of knowing this nota-
tion.
50
Unfortunately, until now very little music has been written in English using Byzantine
notation.
51
It is our hope that this publication written in both Byzantine and Western notation
will be the first of many of its kind that will help bring about a revival of traditional Byzantine
chant in its purest form.
The troparia in this book have been selected from masterpieces of Byzantine composition
written down by the greatest chanters of the preceding three centuries. Even though they have
been taken from books written in recent times, the actual melodies are for the most part several
centuries older. These melodies are those most commonly used today on the Holy Mountain,
which for over a millennium has been a bastion of traditional Orthodoxy. Likewise, the style of
embellishment is that which is used by contemporary monks of the Holy Mountain.

47
. , .. " "
: . . , (:
1990), . 273.
48
The Old Believers are a conservative faction that in the mid-seventeenth century refused to accept the liturgi-
cal reforms of Patriarch Nikon and the introduction of polyphonic, Western-style choral singing into Orthodox
worship. (cf. Gardner, Johann von, Russian Church Singing, Vol. 2, p. 280.)
49
English translation taken from S.W. Pring: Kastal'sky, A. My Musical Career and my Thoughts on Church Mu-
sic, The Musical Quarterly, XI, no. 2 (1925), pp. 238-245 and http://liturgica.com/html/litEOLitMusDev3.jsp
?hostname=null#nationalism
50
The following section of this book Byzantine versus Western Notation elaborates on these many advantages.
51
Various troparia have been translated into English and set to Byzantine notation by Archimandrite Seraphim
Dedes. Some of his works may be ordered from: http://sgpm.goarch.org/ematins/music.htm

Pyotr Tchaikovsky
Introduction xxxiii
Our humble prayer is that this book and the accompanying recordings will help all who
wish to embrace the divine music of the Orthodox Church in its traditional form as preserved
on the Holy Mountain, to the glory of God.







































The Holy Mountain
the Garden of the Panagia

B




Byzantine versus
Western Notation



yzantine music notation has been the traditional medium for writing liturgical
melodies of the Greek Orthodox Church for more than a millennium. Over the
centuries, this notation was refined as it went through various stages of
development and reformation. Its contemporary form (the New Method
devised in 1814 by the Three Teachers: Bishop Chrysanthos of Madytos,
Gregory the Protopsaltis, and George Hourmouzios Hartophylax) has proved to be the most
practical and effective way to write melodies of Byzantine chant.
1


1
The New Method proved to be more practical than the older notation for the reasons mentioned in the preface
by Dimitri Conomos (although the new method did have a few imperfections, explained in an online article in
Greek, located at: http://www.stanthonysmonastery.org/music/Nerantzis/index.html). The new method also pre-
vailed over several other attempts in the nineteenth century to create a new notation for Byzantine music. In par-
ticular, the following six attempts to write Byzantine melodies in a different notation failed:
1) Agapios Paliermos wrote Byzantine melodies in a staff and an alphabetical notation (ca. 1797-1815).
2) In the early nineteenth century, an anonymous hand wrote Byzantine music in staff notation, known today as
Sinai manuscript 1477.
3) In 1835, an unsuccessful alphabetical system was invented, known as Bucharestios.
4) In about 1842, another alphabetical system, devised by Monk Paisios of Xeropotamou, met with failure.
5) In the 1840s, George Lesvios published books of Byzantine music in a notation he concocted, which used
Byzantine neumes to express absolute pitches instead of relative pitches. Although his notation met with tem-
porary success in Athens (due to the support of the Greek government), it was harshly criticized by great
chanters of his time (including Theodore Phokaeus and Constantine Byzantios the Protopsaltis), who persuaded
the Ecumenical Patriarch Anthimos to condemn it with an encyclical. Thereafter, this notation was quickly
abandoned.
6) In 1844, John Haviaras in Vienna began publishing liturgical hymns in Western staff notation. His music not
only altered the notation but also the character of the Byzantine melodies by introducing four-part harmonies
accompanied by a piano. Realizing the spiritual dangers entailed in this break from tradition, the Patriarchate of
Constantinople officially condemned the liturgical use of such music. (Its encyclical is available online at:
http://www.stanthonysmonastery.org/music/encyclical.pdf). A few decades later, John Sakellaridis would also
publish many harmonized liturgical hymns in Western staff notation.
For more details, see: , , -
, , 1904, . 228-230, 351-354. See also: , .,
. - 7, , 1975, . 218-
219.
Byzantine vs. Western Notation xxxv
In recent times however (primarily since the late nineteenth century), many Byzantine
melodies have been transcribed into Western staff notation. Although this has made Byzantine
melodies more accessible to the Western world, such transcriptions have the following draw-
backs:

1) Byzantine notation
2
contains several qualitative symbols that describe how a particular
note or group of notes should be chanted. Western notation also possesses many qualitative
symbols, but most of them are inapplicable to Byzantine chant.

2) Byzantine melodies are, for the most part, an amalgamation of specific melodic formu-
lae. These melodic formulae can be easily recognized by a chanter when they are written as a
particular combination of neumes. When they are written in Western notation, however, they
cannot be so readily recognized. As a result, they will tend to be executed in a dry manner,
note-by-note, rather than as a flowing musical phrase. Furthermore, these melodic formulae
consist of nuances that are not expressly written even in Byzantine notation. Nevertheless,
when an experienced chanter recognizes the melodic formula, he will add these nuances in ac-
cordance with the tradition. On the other hand, in Western notation this is less likely to occur,
since the chanter will not recognize the melodic formula.

3) Because Byzantine notation is descriptive, it grants an experienced chanter the freedom
to add to a melody the embellishments he has learned through oral tradition. The same score
may also be executed slightly differently by another experienced chanter who hails from a dif-
ferent school of Byzantine music. Furthermore, the same score may also be used by a begin-
ner to chant in a simple manner. On the other hand, Western notation is usually assumed to be
determinative, and as such it eliminates all such freedom of interpretation.
3
A more serious
drawback resulting from this determinative aspect is that Byzantine melodies written in West-
ern notation are necessarily either too analytical or too simplified.

4) Western notation describes a melody in terms of absolute pitches, whereas Byzantine
notation describes a melody as relative pitches within a particular predefined scale. This kind
of notation makes vocal music easier and more intuitive to execute, especially if the melody
consists predominantly of small jumps, as does Byzantine music. A small advantage of this
relativity of Byzantine notation is that it grants chanters the flexibility to transpose easily a mu-
sic text to an appropriate key, depending on their vocal range or on the pitch of the priests peti-
tions. This is only a small advantage, since music in Western notation can also be transposed
without too much difficulty, especially if it is based on a solfa (Do-Re-Mi) system. However, a
greater advantage of this relativity becomes evident when modulations come into play, espe-
cially when they are introduced on notes that are not their natural tonics. The score in Byzan-

2
For the sake of brevity, the remainder of this essay will use the term Byzantine notation to denote the afore-
mentioned post-Byzantine notation of the three teachers. Likewise, the term Western notation will be used here-
after to refer to the contemporary Western staff notation that has been used as the standard for compositions in the
West since the seventeenth century.
3
See also footnote #43 of the introduction.
xxxvi Byzantine vs. Western Notation

tine notation remains the same notationally, and is thus easily recognizable as a phrase, whereas
the same music written in Western staff notation may result in nonstandard key signatures or
numerous accidentals, and as such will not be easily recognized as a phrase. As a result, such
music becomes extremely difficult to sight-read. To see an example of this difficulty, compare
the following transcriptions in English of the end of the five-mode Kyrie Eleison by Nileus
Kamarados, and notice how burdened with accidentals the version in Western notation is:

Grave Mode

ord,_______have_______ mer - -cy. Lord,___have_______ mer- cy. Lord,_
____ have________ mer - - - - - cy. Lord,_______have_____ mer - cy.
Lord,___have____ mer - - cy. Lord,___have mer - - - - - - - cy.
L
Byzantine vs. Western Notation xxxvii
5) Standard Western notation is incapable of accurately expressing the proper intervals of
Byzantine music. Although it can approximate most Byzantine scales such that the error is
never greater than 2 (33 cents), it cannot approximate the scale of the soft chromatic mo-
dal genre without producing an error of less than 4 (67 cents). This large error considera-
bly alters the (the hue) of troparia in this modal genre. (This problem is discussed at
greater length online at: http://www.stanthonysmonastery.org/music/Chromatic.htm)

6) Many people familiar with Western music have learned to associate music written in
Western notation with a certain style of singing that is foreign to the traditional style of Byzan-
tine chant. For example, some of them might tend to sing music in Western notation with ex-
cessive vibrato, with a subtle crescendo on every note, or in a disjunctive manner (i.e., by si-
lencing their voice for a fraction of a second before beginning the next note). Although Byzan-
tine notation in and of itself will not hinder such people from applying this same Western style
of singing to it, it will nevertheless serve as a visual reminder that Byzantine chant is quite dif-
ferent from Western singing.
Although the words sing and chant in English can both be used in reference to execut-
ing liturgical music, we prefer to use the word chant instead of sing in order to preserve the
same distinction that exists between the corresponding words in Greek. Photios Kontoglou of
blessed memory (1895-1965) explained that the distinction between these two terms in Greek
lies in the spiritual differences between secular and ecclesiastical music. In particular, he wrote:
Spiritual feelings are expressed only by ecclesiastical music. Only ecclesiastical music can
express the secret movements of the heart, which are completely different than what worldly
music expresses. For this reason, the two kinds of music [European and Byzantine] are totally
different, just as shown by the words sing () and chant ().
4


7) The rules of standard Western notation dictate that a new time signature be inserted
within a melody every time the rhythm changes. But since Byzantine melodies are character-
ized by syllabic rhythm (i.e., the rhythm is derived from the pattern of accentuated syllables),
such melodies transcribed into Western notation would be burdened by dozens of time signa-
tures, thus rendering the score awkward. Moreover, melodies written in Byzantine notation can
easily be annotated with abridged rhythm ( ), which, in the words of
Demetrios Sourlantzis, lends the melodies grandeur, solemnity, modesty, sacredness, and no-
bility.
5


8) Standard Western notation has key signatures for music only in the major and minor
keys. Byzantine music, however, consists of many modes that are neither major nor minor (e.g.,
the hard chromatic modal genre, the diatonic grave mode, etc.). Therefore, in order to write
such melodies in Western notation, one must either devise a non-standard key signature or bur-
den the score with repeated accidentals.

4
Translated from a radio broadcast available online at: www.analogion.com See also: Cavarnos, Constantine,
Byzantine Sacred Art. Institute of Byzantine and Modern Greek Studies, Belmont, Massachusetts, second editon,
1992, p. 148.
5
, ., , , 1992, . .
xxxviii Byzantine vs. Western Notation

9) There are more than 100 orthographical rules for Byzantine music notation (which we
have compiled and included in Appendix I, and have posted at our website in English and
Greek at: http://www.stanthonysmonastery.org/music/ByzOrthography.pdf) that determine
when, for example, a petast must be used instead of a psfistn. There are also hundreds of
unwritten formulaic rules for Byzantine music that dictate which melodies are permissible for a
given syllabic pattern.
6
Combined, these rules help to ensure that new compositions (in any
language) remain within the bounds of traditional Byzantine music, while still allowing for
creativity. New compositions, however, can stray from these traditional bounds more easily
when written in Western notation, since composers can write an untraditional musical line
without readily realizing that they have deviated from the traditional musical formulae.

10) A person who knows Byzantine music notation has access to the vast repertoire of the
traditional music of the Greek Orthodox Church in its purest form, whereas one who knows
only Western notation must either rely on the few existing transcriptions of Byzantine music
(with all their aforementioned drawbacks) or, even worse, resort to singing modernistic compo-
sitions, most of which have strayed far from the style of traditional Byzantine music.

* * *

The only significant drawback to Byzantine notation is that it is harder to learn than West-
ern notation. There are only about twenty symbols in Western notation that one needs to know
in order to read simple vocal music (such as the transcriptions in our website). Since a large
number of people in contemporary Western society have been introduced to this notation early
in their lives, many can become proficient at sight-reading such music with relatively little ef-
fort. Byzantine notation, on the other hand, has about one hundred symbols and combinations
of symbols that need to be learned, and few people in the West have ever even seen this nota-
tion before in their lives. Nevertheless, the task of learning it is by no means insurmountable.
Proof of this is the many people throughout the Western world who have managed to learn it
merely through books and recordings of traditional chanters, with little or no help of a teacher.
Experience has shown that one can learn Byzantine notation in less than a week.
7

If one is interested in learning Byzantine notation well (i.e., not just figuring out the me-
chanics of Byzantine chant, but achieving a certain degree of proficiency in this sacred art
form), the best way to do so is to find a teacher who can give private lessons. But since teachers
can be difficult to find, the next best way to begin learning is with the audio-visual resources
available online. These resources are listed in our Byzantine Music Links page, located at:
http://www.stanthonysmonastery.org/music/Links.htm. We suggest beginning with the link
Teach Yourself Byzantine Notation: exercises with recordings, by Margaziotis.

6
In order to facilitate the composition of Byzantine melodies in a traditional manner, we have attempted to codify
the formulae of sticheraric melodies at: http://www.stanthonysmonastery.org/music/Formula.html
7
Gregorios Stathis, a professor of music in Athens, once visited the Republic of Georgia and attempted to teach
Byzantine notation to forty men and women who had never seen it before in their lives. After spending six hours
with him every day for six days, they were able to chant not only simple troparia but even difficult compositions
written in Byzantine notation.














Concerning Notation


empo marks are provided merely as guidelines; they may be altered to accommo-
date local requirements. The tempo of the cherubic hymn may need to be altered
significantly, depending on how much time the priest spends reading the prayers
before the great entrance. Following current practice, the words that we may re-
ceive the King of all (the concluding words of the first part of the cherubic hymn) are usually
chanted in a rapid monotone. But if the choristers reach this phrase before the priest is ready for
the great entrance, they may bide time by chanting this phrase according to the music. To facili-
tate this synchronization, the approximate duration of each cherubic hymn is provided so that
the choir may alter its tempo accordingly. The duration is given in three parts. For example, if
the duration is: 4:30 + 1:00 + :45, this means that the first part of the cherubic hymn lasts
four and a half minutes, the phrase that we may receive the King of all lasts one minute, and
the final part, which is chanted after the great entrance, lasts 45 seconds.
In most subsections, there are several alternative melodies provided for each hymn. For
example, on pages 195-196 there are five different melodies for Glory to Thee, O Lord fol-
lowing the gospel. In such instances, the first melody provided is always the simplest. This
format is used throughout the book so that one may begin with something simple, and then per-
haps later learn a more elaborate melody. The only exceptions to this rule are the doxologies
and the communion hymns; the first melody provided for a given communion hymn is the long,
elaborate version, whereas the following melodies are briefer and simpler. When a particular


T
xl Concerning Notation

hymn (e.g., the cherubic hymn) is set in several modes, one would typically choose a version
that is either in the mode of the week or in a mode that matches another hymn chanted that day.
For example, on the Annunciation when the katavasia of the ninth ode is chanted in the Divine
Liturgy in fourth mode, usually the cherubic hymn and the anaphora would also be chanted in
the same mode.
In some very long and melismatic pieces (primarily the cherubic hymns and some com-
munion hymns), entire sections of the melody are enclosed within large brackets. (For example,
see page 228.) These sections may be omitted for brevity.
The standard way to pronounce the word "the" in musical texts in English is to pronounce
its "e" as the schwa sound [] when followed by a consonant and as a long "ee" sound when
followed by a vowel. To help people avoid making mistakes when chanting this word, it has
been written as "th" when followed by a vowel.










About the Translation


ANY holy hymnographers of the Orthodox Church were inspired to write not only the
text of the hymns but also their melodies. As Photios Kontoglou explains in the Epi-
logue, this is why liturgical texts and their melodies have an absolute correspondence. In
order to preserve this correspondence, an effort has been made in this book to keep the original
melodies with minimal alteration. To this end, the translation offered is one that preserves the
original meter wherever possible and when no violence is done to the meaning. This method of
translating was also employed by the missionary Saints Cyril and Methodius when they trans-
lated hymns into Slavonic.
1

Another technique used in these settings (primarily in the cherubic hymns, the long com-
munion hymns, and the dynamis of the Trisagion) to help preserve the original melodies is
word repetition. The ancient practice of repeating words or parts of words in a hymn is em-
ployed when a word or syllable is held for many notes. It is a technique employed primarily in
compositions containing lengthy, melismatic phrases, although it can also be found in shorter
pieces as well. Its purpose is to help those listening to the hymn not to lose track of the words
being chanted (something that can happen when a certain syllable is extended at length). Occa-

1
The theory that Sts. Cyril and Methodios translated hymns to meter is supported by the philologist Roman Jakob-
son, the musicologist Milo M. Velimirovi, and the historian Dimitri Obolensky.
M
xlii About the Translation

sionally hymnographers use it merely to emphasize a certain word. It can be found in composi-
tions written by St. John Koukouzelis
2
in the fourteenth century, St. Mark of Ephesus
3
in the
fifteenth, Manuel Chrysaphes the New
4
in the seventeenth, and Theodore Phokaeus
5
in the
nineteenth. All contemporary composers of Byzantine-style music in Greece continue this tra-
dition.
The hymn texts have been translated into Elizabethan English and Modern English. Both
translations are available since the purpose of this book is to bring Byzantine music to people in
a form they will use in their churches, irrespective of their linguistic preferences.
The hymns in this book have been translated, typeset, and arranged by an Athonite hiero-
monk of our monastery, who learned the sacred art of Byzantine music on the Holy Mountain
in Greece. His secular education included music studies at the Massachusetts Institute of Tech-
nology, Arizona State University, and Holy Cross Greek Orthodox School of Theology, and
Greek and Byzantine studies at Harvard University.

2
See page 415 in this book. (adapted from A0ovtxj Mo:otxj Av0oot oaj, 1o To ao, sel. 316.)
3
See page 492 in this book. (adapted from Ev Av0o :j xo0 jao Exx!jotoo:txj Mo:otxj, sel. 300.)
4
Vid. Mo:otxo Hovotx:j, Tovmo" hV, !Adelfovth" Qeolovgwn hJ ZWH, dV e[ kdosi", 1996, sel. 11.
5
See page 204 in this book. (adapted from Mo:otxo Ojoo:oo :j Att:o:o,t o, AV Tovmo", sel. 141.)
HOLY MELODISTS








Preface: A Brief Survey
of the History of Byzantine
and Post-Byzantine Chant

by Dimitri E. Conomos
Oxford University


1. Overview
Byzantine music is the medieval sacred chant of all Christian churches following the East-
ern Orthodox rite. This tradition, principally encompassing the Greek-speaking world, devel-
oped in Byzantium from the establishment of its capital, Constantinople, in 330 until its con-
quest in 1453. It is undeniably of composite origin, drawing on the artistic and technical pro-
ductions of the classical age and on Jewish music, and inspired by the plainsong that evolved in
the early Christian cities of Alexandria, Antioch, and Ephesus. In common with other dialects
in the East and West, Byzantine music is purely vocal and exclusively monodic. Apart from the
acclamations (polychronia), the texts are solely designed for the several Eastern liturgies and
offices. The most ancient evidence suggests that hymns and Psalms were originally syllabic or
near-syllabic in style, stemming, as they did, from pre-oktoch congregational recitatives.
Later, with the development of monasticism, at first in Palestine and then in Constantinople,
and with the augmentation of rites and ceremonies in new and magnificent edifices (such as
Hagia Sophia), trained choirs, each with its own leader (the protopsltes for the right choir; the
xliv History of Byzantine Chant

lampadrios for the left) and soloist (the domestikos or kanonarch), assumed full musical re-
sponsibilities. Consequently after ca. 850 there began a tendency to elaborate and to ornament,
and this produced a radically new melismatic and ultimately kalophonic style.

2. The Pre-Byzantium Era
In the centuries before Constantine, there are no musical manuscriptsall the musical evi-
dence is late; we have no music which is datable with the appearance of the liturgical hymn
texts. But if our later musical sources have preserved for us even the essential features of the
melodies with which these liturgical texts were first associated, they will enable us to form an
idea, however partial, of what the earliest stratum of Christian music must have been like. The
insoluble problem of Early Christian music is: how can one make deductions from the evidence
in our earliest surviving musical manuscripts? To what degree does the music they contain re-
flect that of an earlier period? Throughout the early Christian world, writes Oliver Strunk, in
impenetrable barrier of oral tradition lies between all but the latest melodies and the earliest
attempts to reduce them to writing.
1
While it may be possible to date an early musical manu-
script, it is virtually impossible to say how old the melodies in it are. The entire question may
be seen not so much in terms of a faithful melodic preservation but rather as the degree to
which traces of an ancient model may be gleaned from our earliest notated sources.
A marked feature of liturgical ceremony was the active part taken by the people in its per-
formance, particularly in the saying aloud or chanting of hymns, responses, and psalms. The
terms chors, koinona, and ecclesa were used synonymously in the early Church. In Psalms
149 and 150, the Septuagint translated the Hebrew word machol (dance or festival group) with
the word chors. As a result, the early Church borrowed this word from classical antiquity as a
designation for the worshipping, singing congregation both in heaven and on earth. Before
long, however, a clericalizing tendency soon began to manifest itself in linguistic usage, par-
ticularly after the Synod of Laodicea, whose fifteenth Canon permitted only the canonical psl-
tai to sing at the services. The word chors came to refer to the special priestly function in the
liturgyjust as, architecturally speaking, the choir became a reserved area near the sanctuary
and the chors eventually became the equivalent of the word klros.
For the earliest period, however, authorities are fairly well agreed that the background of
the worship service is to be found in Jewish ceremonies of that day, and a large degree of con-
tinuity between the worship of the Jewish and Christian communities cannot be doubted. What
holds for primitive Christian worship in general is no less true for the earliest Christian music
in particular. A strong case can be made to support the belief that the background for the earli-
est Christian music is to be sought in the music of the Hellenistic Orient, and more specifically
in the musical theory and practice of Hellenized Judaism of that day. The Old Testament had a
conspicuous place in the thought and worship of the New Testament Church. Old Testament
quotations and allusions, especially from the Book of Psalms, abound in the literature of the
New Testament, and a comparison of the oldest Jewish liturgical poems with those of Eastern
Christians points to a relationship between Syriac and Hebrew poetry, thus establishing the
possibility of Jewish influence upon Christian liturgical poetry. We know that cantors of Jewish

1
Strunk, Oliver, Essays on Music in the Byzantine World (New York, 1977), p. 61.
History of Byzantine Chant xlv
origin were often appointed, even attracted to teach Christian communities the cantillation of
scriptural lessons and psalmody. In this, the ancient manner of oral tradition did not fail to
show its inescapable vigour.
There were, however, other issues at stake. Throughout antiquity, Christian literature wres-
tles with many questions: Was music in the liturgy to be tolerated at all? If so, what kind of
music? Was singing to be executed by the parish? Then there was the matter of the singing of
women which appeared to be a point of utter vigilance. The Bible rapidly became the Book of
books for Christianity. Jewish domestic psalmody was bound to become the model fundamen-
tal to Christian ecclesiastical chanting in which ethnic forces shaped local modifications over a
rather wide range.
One major difficulty is involved in identifying that which was musically performedin
ascertaining just what was performed in a more or less musical manner. A reason for this dif-
ficulty lies in the fact that worship is often described in only a summary fashion, and rather
general terms are used. There is, moreover, as is only to be expected, a lack of any precise mu-
sical terminology in New Testament writings.
There are some popular misconceptions about early Christian praise which, perhaps, ought
to be clarified. Many believe that music played a dominant role in Christian gatherings of Ap-
ostolic and post-Apostolic times. But, in fact, the New Testament itself offers very little evi-
dence of this, and in the earliest Church ordos of the second and third centuries, the part played
by hymn singing conspicuously lacks mention. Saint Paul certainly exhorts the Ephesians to
admonish one another in psalms, hymns, and spiritual songs
2
but this does not refer to the
context of communal worship. In the second century, Saint Justin Martyr talks about a united
Amen at the ends of prayers, but not about music. Some modern writers assume that the ear-
liest Christian churches were based on Jewish synagogue nuclei and consequently adopted Jew-
ish practices. But a reading a rabbinical sources of that time discloses a very minimal use of
music in the services. We soon learn that the synagogues rejected the cultic sacrificial rites of
the Temple and concentrated almost exclusively on Scripture and homilies. Even the Book of
Psalms, which one would expect to be the natural song book of both Jews and Christians,
played a less significant role than is generally imagined.

3. The Origins of Byzantine Music
Byzantine liturgical music did not come about in a cultural vacuum. It has its origins in the
desert and in the city: in the primitive psalmody of the early Egyptian and Palestinian desert
communities that arose in the 4th to 6th centuries, and in urban centres with their cathedral lit-
urgies full of music and ceremonial. It is this mixed musical tradition that we have inherited
todaya mixture of the desert and the city. In both traditionsthat of the desert and that of the
citythe Old Testament Book of Psalms (the Psalter) first regulated the musical flow of the
services. It was the manner in which this book was used that identified whether a service fol-
lowed the monastic or the secular urban pattern.
In the desert monasteries psalms were sung by a soloist who intoned the verses slowly and
in a loud voice. The monks were seated on the ground or on small stools because they were

2
Eph. 5:19; cf. Col. 3:16
xlvi History of Byzantine Chant

weakened by fasts and other austerities. They listened and meditated in their hearts on the
words which they heard. The monks gave little thought to precisely which psalms were being
usedthey were little concerned, for example, with choosing texts that made specific reference
to the time of the day; that is, psalms appropriate to the morning or ones appropriate to the eve-
ning. Since the primary purpose of the monastic services was meditation, the psalms were sung
in a meditative way and in numerical order. The desert monastic office as a whole was marked
by its lack of ceremony.
But in the secular cathedrals the psalms were not rendered in numerical order; rather, they
consisted of appropriate psalms that were selected for their specific reference to the hour of the
day or for their subject matter which suited the spirit of the occasion for the service. The urban
services also included meaningful ceremonies such as the lighting of the lamps and the offering
of incense. Moreover, a great deal of emphasis was placed on active congregational participa-
tion. The psalms were not sung by a soloist totally alone but in a responsorial or antiphonal
manner in which congregational groups sang a refrain after the psalm verses. The idea was to
have everyone involved in an effort of common celebration: there was no place here for indi-
vidual contemplation.
Thus, it is not until the fourth century, when Christianity and paganism collide as a result
of Constantines mass conversions, and when imperial ceremony entered liturgical solemnity in
new and vast cathedrals, that music rears its formidable voice. And even then it did so under
very special circumstances, and not without considerable monastic opposition. The monks of
the desert likened tunes to demonic theatre, to false praise and to idle pleasure, satisfying the
weak-minded and those of little faith and determination. But this does not mean that the monks
did not chant. Their rejection was of worldly music, musical exhibitionism and the singing of
non-scriptural refrains and chants. It was, in fact, the monastic population that later produced
the first and finest hymnographers and musiciansRomanos the Melodist, John Damascene,
Andrew of Crete, and Theodore the Studite. And it was the monastic population that also pro-
duced the inventors of a sophisticated musical notation which enabled scribes to preserve, in
hand-written codices, the elegant musical practices of the medieval East.
But the emergent heretical movements of the fourth and fifth centuries exploited the charm
of music and enticed many away from Orthodoxy with newly-composed hymns. They were so
successful that the Orthodox were forced to retaliate by using the same weapon. At first, only
hymns found in Scripture itself were permitted: the Magnificat, the Song of Symeon, the
Psalms, the Old Testament canticles, etc., but later the Orthodox wrote troparia and kontakia
based directly on the metrical and musical patterns of the heretics hymns. These early compo-
sitions were specifically designed as processional pieces, for use in the streets and squares, not
in churches, and they involved full congregational or crowd participation.
Thus from the fourth century onward, music became an indispensable element of worship.
It underscored that fundamental concept of koinonia or communio which was so vital and so
real in the early Church. It was the task of all present to sing, to participate in song, to respond
with one heart and one voice to the celebrant. Note that music was never understood as a pri-
vate, personal, devotional exercise (though this is not entirely excluded); its function was
communal; it identified the popular element of liturgical celebration. For this reason, any music
used in church which focuses attention onto a particular person or group, which forces another
History of Byzantine Chant xlvii
group into becoming passive listeners and observers, is alien to the age-old tradition of the
Church and to the accepted perception of liturgy as an act involving all the faithful. This is not
to say that there were no soloiststhere were indeed, but primarily it was their duty to lead and
to cue responses from the assembled body of the faithful, and not to extemporize or to innovate.
How was this accomplished? There were two kinds of singing in the early Church: an an-
cient Responsorial form and a later Antiphonal form. The former began with the soloists sing-
ing of the response, usually a selected verse from a psalm. This served to give the pitches to the
choir (made up of the entire congregation) which then repeated the response. The soloist fol-
lowed by singing the verses of the psalm in such a fashion that the melody used for each verse
or half-verse ended with the same notes that began the response. Receiving their cues in this
manner, the members of the choir repeated the response after each verse. This subtle method of
achieving musical unity, peculiar to the Eastern service, obviously had its origin in the practical
concerns of the performance. With the advent of trained choirs, however, the need for these
cues would undoubtedly have disappeared, and they were probably maintained primarily for
the sake of their contribution to the overall musical structure. The Antiphonal procedure re-
quired that the congregation be divided into two, each with its own leader and each with its
own refrain: this time the refrain did not need to be from the Psalter. In this form the Small
Doxology was always added to the psalm as a final verse.

4. Notation
There were no notes to record music until after the 9th century. St Isidore of Seville in the
7th century lamented the fact that the sounds of music vanished and there was no way of writ-
ing them down. Only towards the end of the first millennium was it felt that the singers fragile
memories were not adequately conserving the sacred melodies that something was done to fix
the plainchants in writing.
Byzantine chant manuscripts date from the 9th century, while lectionaries of Biblical read-
ings with ecphonetic notation begin about a century earlier. Fully diastematic Byzantine nota-
tion, which can be readily converted into the modern system, surfaces in the last quarter of the
12th century. Currently known as round or middle Byzantine notation, it differs decisively from
earlier forms (paleobyzantine notation) in that it represents an explicit technique of writing, ac-
counting even for minor details of performance. When reading the earlier, simple notation, the
singer was expected to interpret or realize the stenography by applying certain established rules
(generally unknown now but absolutely familiar to him) in order to provide an accurate and
acceptable rendition of the music. The change to greater precision came about initially in re-
sponse to an urgent need: to capture the vestiges of an old and dying melodic tradition then los-
ing its supremacy in the face of more progressive and complex musical styles. But the actual
process of substitution from the implicit to the explicit system is not easily explained, since
mixed traditions characterize notational procedures used in the Byzantine world, each new
manuscript revealing a variance, an inconsistency, or a deviation. Broadly speaking, scholars
have discerned two principal paleobyzantine notations, of common origin yet distinct and con-
temporaneous in their development: Coislin and Chartres (the names are taken from two exem-
plars, MS Coislin and a fragment of MS Lavra . 67, which was formerly at Chartres). Their
xlviii History of Byzantine Chant

origins are believed to lie in the ancient grammatical accents, and they are comparable to the
Latin staffless neumes.
Specifically, Coislin is a notation that chiefly employs a limited number of rudimentary di-
astematic neumes (oxeia, bareia, apostrophos, petast, and klasma) independently and in com-
bination, with the addition of a small number of simple auxiliaries and incidental signs. Char-
tres notation, on the other hand, is mainly characterized by its use of elaborate signs that stand
for melodic groups. Around 1050 these two primitive systems terminated their coexistence, the
former superseding the latter and continuing its development until ca. 1106. Toward the end of
the century it succumbed to the totally explicit round method. The new system embodied a uni-
formity that is inherent in any written tradition, but, more than this, it established a number of
influential precedents both in manuscript transmission and in musical theory. It suppressed the
instability of oral tradition, and it countered the inconsistencies of diverse musical practices.
Melodies written in round notation developed an aura of sanctity and became models for sub-
sequent generations of composers. One immediate result of this was the appearance of new mu-
sic books for soloists (the Psaltikon), for choristers (the Asmatikon), and for both (the
Akolouthia). But much more was involved in the substitution of notations than a mere evolution
to greater clarity. Other changes were taking place in liturgical ordos and in performance prac-
tices, and the advent of the round system satisfied the demands placed on music by a new class
of professional musicians (the maistores), who naturally favored an exact method of writing
that could capture the nuances and elaborations of their highly specialized art. Marked devel-
opments in the liturgical tradition, which had reached a culminating stage by the end of the
12th century, gave the scribes an additional incentive to provide appropriate musical material in
newly edited choir books.
Following an independent development and surviving until the 14th century in a relatively
unchanged state is the notation that was devised to accommodate Biblical lessons: ecphonetic
or lectionary notation. It comprises a small set of signs that occur as couples, one at the begin-
ning and one at the end of every phrase in the text, presumably requiring the application of dif-
ferent kinds of cantillation formulas. Like the Coislin and Chartres systems, ecphonetic nota-
tion was of value for the singer, who used it only as a memory aid; but complete reconstruction
of the melody line is impossible today.
Byzantine chant notation in its fully developed and unambiguous form represents a highly
ingenious system of interrelationships among a handful of symbols that enabled scribes to con-
vey a great variety of rhythmic, melodic, and dynamic nuances. Certain signs called somata
(bodies) refer to single steps up or down; others called pneumata (spirits) denote leaps. Five of
the former group also carry dynamic value, and when combined with the pneumata, they lose
their step value but indicate the appropriate stress or nuance. For example, the oxeia (acute)
marks an ascending second with emphasis (usually denoted by >). When placed with the hyp-
sl (high), the ascending fifth , the oxeia loses its intervallic value but has its dynamic qual-
ity applied to the new note. Standing apart from these is the ison (equal) , which asks for a
repetition of the note sung before. Another group of signs refers to the rhythmic duration (note
lengthenings), and another (the hypostases) to ornaments. At the beginning of the chant, a spe-
cial signature (martyria) indicates the mode and the starting pitch. Therefore, in order to sing

History of Byzantine Chant xlix
from a medieval Greek chant book, the trained cantor (psaltes) would work his way through the
piece by steps and leaps, applying the necessary nuances and durations as required by the
neumes. To avoid confusion, scribes frequently drew the somata and pneumata in black or
brown ink and the hypostases in red.
The introduction of neume notation in the 9th century had both positive and negative ef-
fects for plainchant. On the positive side, it meant that an authoritative version of a plainchant
melody could be transmitted, without alteration or deterioration, to other singers in distant
places that were unfamiliar with the tradition. On the negative side, it meant that plainchant
melodies had in effect become fixed once and for all. What do I mean by this?
During the first nine centuries of Christianity, the Byzantine musical tradition of plain-
chant managed to keep alive a certain improvisatory fervour that was also manifest in the spon-
taneity of prayers and rituals in the early Christian liturgy. Now, with some strokes of a 9th-
century pen, the plainchant melodies were caught in a rigid stylisation. They became as if em-
balmed and their stylistic profiles conformed to 9th-century and eventually, later, tastes. The
old chants that originated as sung prayers were henceforth crystallised art-objects. Yet
once the neume notation was available to Byzantine Church musicians, it was impossible to
ignore its capabilities. And soon the notation became a force for artistic experiment, since it
gave composers a way to try out new musical ideas, letting them ponder their novelties and cir-
culate them for others to examine and compare.
Thus, with a supply of graphic devices both to enshrine the ancient melodies and to record
new compositions, the Byzantine musician embraces the art of composing. To begin with, this
art meant something a little different from what it does today. It was not just a matter of think-
ing up fresh and novel sound combinations and putting personal inspiration on display. Cer-
tainly the sacred texts were given a musical dress that was designed to enhance their expres-
sion. But this was accomplished largely without injecting the human creative personality.
Most early Byzantine composers were content to practise their craft anonymously in the
service of the Church. Their names are unknown, and in their musical techniques a similar im-
personality prevails. The early chants tend to be built out of little twists and turns of melody
that everyone had heard and used for generations. The word composing actually means putting
things together, and that was essentially what the Byzantine composers did. They arranged, ad-
justed and stylised from a fund of age-old melodic bits and phrases that were active in the
communal memory. Therefore, when a new melody was created, it was often not entirely
fresh and original. More frequently it was a refinement of some existing strains. It is for this
reason I said earlier that impersonality prevails not only in anonymity but also in musical tech-
niques.

5. Psalmody and Hymnody
Unlike the acclamations and lectionary recitatives, Byzantine psalmody and hymnody
were systematically assigned to the eight ecclesiastical modes that, from about the 8th century,
provided the compositional framework for Eastern and Western musical practices. Research
has demonstrated that, for all practical purposes, the oktchos, as the system is called, was the
same for Latins, Greeks, and Slavs in the Middle Ages. Each mode is characterized by the de-
ployment of a restricted set of melodic formulas that is peculiar to the mode and that constitutes
l History of Byzantine Chant

the substance of the hymn. Although these formulas may be arranged in many different combi-
nations and variations, most of the phrases of any given chant are nevertheless reducible to one
or another of this small number of melodic fragments.
Both psalmody and hymnody are represented by florid and syllabic settings in the manu-
script tradition. Byzantine syllabic psalm tones display extremely archaic features such as the
rigidly organized four-element cadence that is mechanically applied to the last four syllables of
the verse, regardless of accent or quantity. The florid Psalm verses such as those for commun-
ion, which first appear in 12th- and 13th-century choir books, demonstrate a simple motivic
uniformity that transcends modal ordering and undoubtedly reflects a pre-oktoch congrega-
tional recitative.
All forms and styles of Byzantine chant, as exhibited in the early sources, are strongly
formulaic in design. Only in the final period of the chants development did new composers
abandon this procedure in favor of the highly ornate kalophonic style. The most celebrated of
these composers, and one entirely representative of the new school, was the maistor St. John
Koukouzeles (fl. ca. 1300), who organized the new chants into large anthologies. This final
phase of Byzantine musical activity provided the main thrust that was to survive throughout the
Ottoman period and that continues to dominate the current tradition.

6. Later Byzantine Era
Turning now to the later Byzantine period itself and on to our own times, we enter the era
in which music is something taken entirely for granted in Christian worship: a feature auto-
matically expected. To celebrate a service without music would seem highly irregular. In a
large measure it is the event which many most look forward to because music has come to
identify the festive nature of a liturgical occasionthe aural embodiment of that which has
brought the faithful together.
How is it that music has taken over in this way? Why has it become the measure of liturgi-
cal prayer and worship? It is precisely because it is an art of great subtlety and power which,
when used correctly, can greatly distort or even caricature sacred poetry, but when understood
properly, it can heighten the significance of the celebration, contribute to prayer, and emphasize
the corporate nature of worship.
Music functions as a dramatic elementit has a unique and central place in the general
structure of liturgy; it has acquired liturgical significance. Almost every word pronounced in
church is sung in one form or another. And the manner in which it is sung greatly affects the
nature of the service. Week by week, season by season, the Churchs song draws out the inner
meaning of liturgical poetry.

7. Post-Byzantine Era
The year 1453 has been considered terminal by most writers, and while none would flatly
deny that traditional musical elements, both practical and theoretical, were preserved at least
until the middle of the sixteenth century, most would uphold the view that the hymnodic pro-
ductions of the Ottoman era represent a disintegration of the authentic, Byzantine forms of ar-
tistic expression and were the results of a growth of new and innovative impulses that were
alien to the spirit and evolutionary pattern of the medieval past. As we look closer into the his-
History of Byzantine Chant li
tory of Christian art in Ottoman times, we may detect in the literature a curious duality: a mix-
ture of conservatism and elasticity, of traditional compositional methods and personal self-
aggrandizement, of laconic control and specious exoticisms. This duality is particularly appar-
ent in the musical repertory where both old and new are seen to exist side by side. A policy of
artistic liberalism and reverence for the past was the hallmark of the epoch. For while resem-
blances to past practices stand out as both familiar and apparent, it is also the differences mani-
fested within the familiar procedures that grant the absorbing attention and appeal experienced
in the music, and this becomes increasingly obvious the more we discover the historical and
technical processes and the origins and transmissions of the compositions. Ultimately, each
chant is unique is some particular way and even a passing familiarity with the musical conven-
tions of the time, makes it possible for us to appreciate many of the individual features. Collec-
tively, these elements create a new musical vocabulary, one which characterizes and eventually
epitomizes an emerging neo-Hellenic style. From an accumulated experience of these individ-
ual traits, our knowledge of this style is more certain and we can begin to move with more as-
surance to its proper interpretation and evaluation. Otherwise, we shall forever be unable to
fathom fully the sophisticated craft that those diligent scribes from Constantinople, Mount
Athos, Cyprus, Crete, Serbia and Moldavia enshrined in collections which until today have
been undeservedly ignored.
A strong case can surely be made to classify the period of musical composition from
around 1500 to 1820 (when musical print replaced the handwritten codex) neither as post-
Byzantine nor neo-Byzantine, nor even as Byzantine, but rather as neo-Hellenic, since the
musical aspect of artistic creation, particularly after the seventeenth century, participated with
other art forms in establishing a widely-acknowledged modern Greek renaissance. Understood
in this manner, it is less likely that one will view the artistic and technical productions of the
Ottoman years merely as an extension of Byzantium or as its decadent and aesthetically inade-
quate offspring.
At the forefront of this renaissance is sacred chant, the recorded history of which is pre-
served in an imposing bulk of musical manuscripts (most of them dated) that are located in
widely dispersed and often inaccessible collections: public, private and monastic. Despite the
fact that it may take a great many years to acquire a thorough familiarity with all of the sources
that are known today, it is yet possible for us to divide the history of the evolution of church
music from the fall of Constantinople until the Greek revolution into five periods:
(a) 1453-1580 a time of renewed interest in traditional forms, the growth of important
scribal workshops beyond the capital, and a new interest in theoretical discussions;
(b) 1580-1650 a period of innovation and experimentation, the influence of foreign mu-
sical traditions, the emergence of the kalophonic (or embellished) chants as a dominant genre,
and the conception of sacred chants as independently composed art-objects;
(c) 1650-1720 when extensive musical training was available in many centres and when
elegantly written music books appear as artistic monuments in their own right. Musicians of
this age were subjecting older chants to highly sophisticated embellishments and their perform-
ance demanded virtuosic skills on the part of the singers. In addition, the first attempts at sim-
plifying the increasingly complex neumatic notation were being made;
lii History of Byzantine Chant

(d) 1720-1770 a period of further experimentation in notational forms, a renewed inter-
est in older, Byzantine hymn settings, the systematic production of music manuscripts and of
voluminous Anthologies that incorporated several centuries of musical settings;
(e) 1770-1820 a time of great flowering in church music composition and the suprem-
acy of Constantinople as a centre where professional musicians controlled initiatives in the
spheres of composition, theory and performance. Among these initiatives were: further nota-
tional reforms, new genres of chant, the reordering of the old music books, the more prominent
intrusion of external or foreign musical elements, and, finally, by 1820, the termination of the
hand-copied manuscript tradition.

8. The Reforms of Chrysanthos
The decade 1810-1820 was, for the history of Greek chant, both turbulent and decisive.
Two major goals were finally achieved: first, the implementation and universal acceptance of
an entirely new notational system (1814) which had evolved from the interpretative experi-
ments of Balasios the priest (flourished around 1670 to 1700) through the formulations of the
protopsaltes, Ioannes Trapezoundios (1756), of Petros Peloponnesios (ca. 1730-1777), of Petros
Byzantios (d. 1808) and of Georgios of Crete (d. 1816); and second, as a consequence to the
former, the invention of musical print and the simultaneous publication of the first music book
(1820).
Chrysanthos of Madytos (ca. 1770- ca. 1840), an uncommonly well-educated and highly
cultured hierarch, was primarily responsible for the reform, and his system survives until this
day. He had an excellent knowledge of Latin and French, and was familiar with European as
well as with Arabic music, being proficient in playing the western flute and the eastern nay.
Chrysanthos had learned the art of chanting from Petros Byzantios and himself taught singing.
As a composer and educator, he became acutely aware of the need for more clarity in the proc-
ess of studying and understanding of Greek church music. The medieval neumatic notation had
now become so complex and technical that only highly skilled chanters were able to interpret
the symbols accurately. To facilitate that end and to simplify the teaching of this difficult art, he
invented a set of monosyllabic sounds for the musical scale based on the European sol-fa sys-
tem but using the first seven letters of the Greek alphabet. Each degree corresponded to one
note in the scale:
------ = R-M-F-SL-L-S-D
In addition, he systematized the ordering of the eight modes into three species: diatonic,
chromatic and enharmonic. Within each of these three categories, the intervallic progression of
the degrees was fixed according to elaborate mathematical calculations. Chrysanthos also in-
troduced new processes of modulation and chromatic alteration and abolished some of the nota-
tional symbols. As a result of these efforts, a large repertory of hymnody was made available to
chanters who were ignorant of the melodic and dynamic content of the old signs.
Owing to this breach with the traditional methods of teaching, Chrysanthos is said to have
been exiled to Madytos by order of the Constantinopolitan patriarch. Yet, apparently this did
not stop him from pursuing his highly original approach to the teaching of ecclesiastical music.

History of Byzantine Chant liii
In Madytos, he found that his pupils were able to learn in ten months what had formerly taken
ten years. The crucial device speeding up the process of learning appears to have been his use
of the aforementioned newly invented solmization syllables. Finally exonerated by the Holy
Synod, Chrysanthos was then given a free hand to teach music as he saw fit. It was at this point
that he joined forces with the protopsaltes, Grigorios and the archivist, Chourmouzios, both of
whom seem to have had less formal education than Chrysanthos, yet according to their biogra-
phies possessed a great natural ability for music. All three taught at the Third Patriarchal
School of Music (opened 1815) and this ensured the success and propagation of the new sys-
tem. The results of Chrysanthoss research and teaching methods appeared for the first time in a
treatise entitled Introduction to the theory and practice of ecclesiastical music written for the
use of those studying according to the new method published in Paris in 1821. Eleven years
later there appeared in Trieste the more exhaustive and highly influential Great Theory of Mu-
sic which, in its first part, expounded the new theories and notational principles of the three re-
formers.
The second part of the Great Theory is purely historical. Chrysanthos made an ambitious
but unsuccessful attempt to present, in the form of a chronicle, a general history of music from
the time before the Great Flood to his own day. It is recorded that he wrote many other works,
including transcriptions of Greek church music to European staff notation and European music
to the notation of the new method, but none survives. Despite its numerous shortcomings, the
oeuvre of Chrysanthos is a landmark in the history of Greek church music since it introduced
the system upon which are based the present-day chants of the Greek Orthodox Church.
The invention of musical type marked the end of the long and fascinating tradition of the
music manuscript. In 1820, Peter Ephesios, a student of the three teachers, published in Bucar-
est the editions of the Anastasimatarion and Syntomon Doxastarion by Petros Peloponnesios.
And, of the older pieces, those that entered the printed repertory were randomly selected by
subsequent editors. After 1830, the official musical tradition of the Greek Orthodox Church
was represented by the following books: the Anastasimatarion, the Heirmologion and the Syn-
tomon Doxastarion of Petros Peloponnesios, the Syntomon Heirmologion of Petros Byzantios,
the Doxastarion of Iakovos the protopsaltes, and the New Anthology of the Papadikeall re-
written according to the interpretations of Grigorios protopsaltes and Chourmouzios in the new,
simplified notation of Chrysanthos.

9. From the 19th Century to the Present
The emergence of the printed music book after 1820 led to a standardization of the chant
repertory both on mainland Greece and on Athos. Selected popular works of the great Constan-
tinopolitan masters of the 18th and early 19th centuries were type set and included in antholo-
gies of chant. But alongside these, simplified Western-style melodies were also making inroads
in popular editions of sacred music published, for example, by the influential Zoe movement.
For a short time Athos could not resist the increasingly fashionable Italianate style that was
being introduced by Western trained musicians and by the great influx of Russian monks on the
Mountain before 1917. But this was soon to be counterbalanced by the new sounds of the Asia
Minor refugees who flooded into Greece and eventually onto Athos after the 1920s and
1930sprecisely when the Russian population on the Mountain was entering a decline.
liv History of Byzantine Chant

To begin with, the Church music of these Anatolians, though very much a continuation of
the earlier tradition of Ottoman times, was rejected by the Greek urban middle classes as vulgar
and Turkish. They had become enamoured of the sweet polyphonic choirs, some of them
with organ accompaniment. But, in time, radio, the gramophone and television also proliferated
sophisticated European stylesand these styles, though in a neo-Byzantine dress, have affected
certain repertories of Athonite music even to this day.
Even as early as the 18th century there is evidence of a sharp negative reaction by the
Athonites to city church music. An anonymous hand writes in a Vatopedi manuscript the fol-
lowing stinging remarks in verse:
The psalmodies of Byzantium
like the nightingales are heard;
While those of the Holy Mountain
resemble the tunes of guileless swallows;
But the ones in Athens
warble like the falcons;
And the psalmodies of Crete
are the arid squawking of the crows.
There has indeed been a revival of traditional Eastern-style chant on the Holy Mountain,
just as there has been a revival of traditional icon painting. But wittingly or unwittingly ele-
ments of Western diatonic music have blended with the chanta phenomenon reminiscent of
what we had observed in earlier centuries with the infiltration of Ottoman sounds into Byzan-
tine melody.
Another feature of Athonite musical life in the post-war years has been what I term the cult
of the virtuoso. Until its very recent return, choral music fell into a decline on the peninsula and
instead one heard master soloists improvising and elaborating chant with extraordinary vocal
skills and deft Oriental turns. The most famous of these soloists was the deacon Dionysios Fir-
firis (d. 1991), whose evocative voice and improvisational skills created a sensation both on
and off the Mountain.
Since the mid-1970s, with the revival of monastic life by young, educated monks, the mu-
sical emphasis has begun to shift from performance by an individual to that by the group. For
many years Simonopetra alone has employed full double choirs for every service, each day of
the year. Its example has recently been followed by Vatopedi. This more traditional perform-
ance practice is gaining popularity in convents and monasteries on the mainland and abroad.
Moreover, use of the Book of Psalmsthe ancient song book of the early monasterieshas
been revived, and new melodious settings for them have been composed.
Approximately fifteen years ago, a suave, lyrical melody set to a religious poem by St.
Nektarios of Aegina was composed by a monk at Simonopetra and subsequently recorded on
cassette tape and CD. Within two years this melody circled the globe. It has captured the hearts
of Orthodox choir masters worldwide. The hymn, entitled, O Pure Virgin, can today be heard
sung in Japanese, French, Tinglit, Italian, Russian, Swahili, Arabic, Romanian, English, and
many other languages. Its popularity is entirely due to the fact that it combines familiar ele-
ments of two different musical cultures: the harmonic and metrical features of European lyrical
ballads with the vocal production and exoticism that evokes a flavour of the East.
History of Byzantine Chant lv
What of the future? I believe that we shall observe a greater degree of choral singing as
opposed to soloistic virtuositythough the latter will not disappear entirely for some time.
Athonite music will also be greatly commercialised in the near future with the proliferation of
CDs and chant anthologies in countries beyond Greece. Such tendencies have are already visi-
ble in Romania, Bulgaria, Serbia, the Middle East and the United States of America. On the
other hand, there has also been a recent tendency to examine the old manuscripts in order to re-
discover earlier traditions and vocal practices. Western musical tendencies, though perhaps
never acknowledged as such, may continue to blend with the chant.
The Athonite musical tradition has adapted over the centuries to changing cultural tastes
and conditions. This identifies it as an art that is living and flexible. At all events, because of its
prestige, Athos will be a pace-setter for trends well beyond its own territory.


THE HOLY MOUNTAIN























Acknowledgements

HIS book was only made possible by the assistance of doz-
ens of people: hieromonks; priests; monastics; Byzantine,
Slavic, Russian, and Western musicologists; linguists; trans-
lators; Greek teachers; voice teachers; composers; chanters; choir
directors; members of the National Forum of Greek Orthodox
Church Musicians; iconographers; graphic designers; computer
programmers; sound engineers; librarians; proofreaders; and pro-
fessors of music, theology, English, and mathematics. We owe
special thanks to Dr. Dimitri E. Conomos for writing the preface
and correcting the inaccuracies in our introduction and appendi-
ces. We would also like to thank ahead of time all who would like
to point out to us the various mistakes we have made in this first
music book of ours. We are deeply grateful for all their contribu-
tions and pray that our Lord Jesus Christ reward them for their
efforts abundantly in this life and in the next.
T













The Great Doxology

First Mode "Tetraphonic"
adapted from Iakovos the Protopsaltis (d. 1800)
as interpreted by Athanasios Karamanis (1911- )

lo - ry____ be to Thee___ Who hast shown the light.______________

Glo-ry___ in the___ high - - - - est to______ God,_____ and__
on__earth____________ peace, good___ will___ a - - mong_______men._
Duration: 12:00

100
Great Doxology - Elaborate Version - First Mode

2

2


3

We praise_______Thee; we bless____________________Thee; we wor - ship_
Thee;_________ we glo - ri - fy____________ Thee;___ we give___
thanks_______ to______ Thee for_____ Thy___ great_______ glo - - ry._
O Lord, King,_heav - - - en - ly God, the Fa- ther Al - -
might - - - y, O Lord______ the___ on - - ly - be - got - ten
Son, Je - - sus___ Christ, and the Ho - - - - - ly_______ Spir - -
it.__
O Lord, God,___________ Lamb of God, Son___ of the Fa - - ther,
Who___ tak - - est a - way___ the sin______ of the__ world:__
have mer - - - cy___ on us,________________ Thou Who tak- est a-
4
Great Doxology - Elaborate Version - First Mode 3

way__ the sins______ of___ the___ world.
Re - ceive___ our_prayer,Thou Who sit - test__ at_______ the right___hand_
____________________ of the___ Fa - - - - - - - ther; and have
mer - - - cy_______ on_________ us.__
For____ Thou________ a - - lone____________ art_________ ho - - -
- - - ly; Thou___ a - - - lone____ art_________Lord, Je - sus_Christ,
to the glo - - - - - ry_ of God the_ Fa - - ther. A - -
men._
Ev - 'ry day___ will I___ bless_____ Thee, and____ I____________ will
praise____ Thy____________ name__ for - ev - - - er and un -
6



7
5

Great Doxology - Elaborate Version - First Mode

4

'

to the a - - - - ges__ of___ a - - ges.

Vouch - - safe,_______ O____ Lord,_________ to__ keep us__ this___
____ day___ with - - out_______ sin.___
Bles - sed art______ Thou,_______ O___________ Lord,__ the God
_____ of___ our Fa - - - - - - - - thers,__ and_____ praised and glo -
- - ri - - fied___ is Thy___ name___ un - to the a - - -
ges._ A - - men._
Let___________Thy_______ mer - - cy, O___Lord,____ be______ up -
- on us e - - - - - - - ven as we have_ hoped_ in____
Thee._



10
8

9

Great Doxology - Elaborate Version - First Mode 5

Bles - sed art Thou, O__________ Lord,________ O______________ Lord,
teach____ me________ Thy stat - - - utes.
(thrice)

Lord,______ Thou hast___ been our ref - - - - uge from gen-
er - a - tion to gen- er - - a - - - tion.__ I said:___ O_________
Lord, have___ mer - - cy on_____________ me; heal my_soul,
for____ I___ have_____sinned_ a - - gainst Thee.
O_____ Lord, to Thee have______ I fled___ for__ ref - - - -
uge;_ teach__ me to do Thy_ will,__ for Thou_______ art____
_ my__ God._
For___ in__ Thee is the foun - -tain of life;__ in Thy___ light__


15


16
11,12,13

14

Great Doxology - Elaborate Version - First Mode

6

______ we_______ shall_____see___ light._
Con - tin - - - - - - - - -ue_______ con - tin - - - - -
ue Thy_ mer - - cy un - to those______________ who_ know______
__ Thee.
Ho - - ly__________ God,_______________________ ho - - -ly______
______ Might - - - y, ho - - ly_______ Im - mor - - - - - -
- tal, have mer - - - cy___ on___ us.__
(thrice)

Glo- ry to the Fa - - - ther and to____ the Son and to
the Ho - - - - ly________ Spir - - - - it;
Both now__________ and__ ev - er, and un - to the a - - -
18,19,20


21

22
17
Great Doxology - Elaborate Version - First Mode 7

ges______ of a - - - ges._____ A - - men._
Ho - - - - ly_______ Im - mor - - - - - - - -tal, have
mer - - -cy___ on___ us.__
Asmatikon:

o - - - - ly_________ God,____________
Ho - - - - - ly_______________ Might - - - - y,________
Ho - - - - - - - - - - - - ly______________ ho - - -
- - - ly Im - mor - - - - - im - mor - - - - - tal, have
mer - - - cy______on___________ us.____________
H
23


24
25
26














The Great Doxology

Plagal Second Mode

Elaborate Version
adapted from George Violakis (d. 1911)
the Presiding Protopsaltis of the Patriarchate of Constantinople (1875-1905)
as interpreted by Chrysanthos Theodosopoulos (1920-1988)

lo - - ry___ be to Thee___Who hast shown____ the light.
Glo - - ry_______ in____________ the high - - - - - est____ to____
G
Duration: 9:30
'

100
Great Doxology - Elaborate Version - Plagal Second Mode 9

God,__
and
____________ on earth______________ peace,___ good
will a - - - - - - mong________ men.
We praise___ Thee; we___ bless___________ Thee;__ we___ wor -
- - - ship___ Thee;_____ we glo - ri - - -fy___________________
Thee________ we____ give thanks__ to__ Thee_________________ for_
__ Thy____ great_________________________ glo - - - - - - ry.
O______Lord, King, heav - en - ly God, the Fa - ther___ Al -
- might - - y, O____Lord_ th__ on - - ly-be - got - - - ten Son,
Je - - - sus___ Christ,__ and___ the__ Ho - - - - ly____ Spir -
- - - - it._______
2



3
Great Doxology - Elaborate Version - Plagal Second Mode

10

O_______Lord, God,______ Lamb_____ of God, Son_____ of the
Fa - - - - ther, Who tak - - - - - -est___ a - - - -way
the______ sin________ of___ the___________ world: have mer - - cy
on___ us,___ Thou Who tak - - - - est a -way the sins_
____________ of___ the____________ world.
Re - ceive___our__prayer, Thou Who sit - - - - -test at the
right___ hand of____ the Fa - - - - ther; and have______mer - -
- cy____________ on____________ us.
For Thou_____ a - - lone___ art__ ho - - - - - - ly; Thou_
__ a - - lone___ art_________ Lord, Je - - - sus___ Christ,____
4




5


6

Great Doxology - Elaborate Version - Plagal Second Mode 11

to the glo - - - - - - - - ry of God_____the___ Fa - -
- - - - ther.______ A - - - - men.
Ev - 'ry day______ will I______ bless______________ Thee,_and___ I_
____ will___ praise_____ Thy name_____ for - ev - - - - er and
un - to th a - - - - - ges of___ a - - - - - - - ges.
Vouch - -safe,_____ O_______________ Lord, to_______ keep_____
_____ us this__ day______ with - - out____________ sin.
Bless - - - ed art Thou,_____ O_________ Lord,_____________ the___
God of__________ our____ Fa - - - - - thers, and praised and
glo - - ri - - - -fied is____ Thy__ name_____ un - to th
7


8

9

Great Doxology - Elaborate Version - Plagal Second Mode

12

a - - - - ges.______ A - - - - men.
Let____ Thy__mer - - -cy, O____ Lord,_______________ be up -
- - on___ us,___ e - - - - ven as we___________ have hoped_
_____ in_____________________ Thee.__
Bless - ed art__________________ Thou,__ O__________ Lord, teach___
_________ me Thy___ stat - - - - -utes._____
(thrice)

Lord,___ Thou______hast___ been__ our ref - - - -uge______
from gen - - er - - a - - - tion to____ gen - er - a - - -
- - - - -tion. I said:________ O___ Lord, have mer - - cy on
me;_____ heal___ my soul,_______ for I_____have__ sinned_
10


11,12,13

14

Great Doxology - Elaborate Version - Plagal Second Mode 13

_____ a - - gainst__________ Thee._____
O Lord,__ to______Thee__ have I____ fled___ for ref - - -
- uge; teach_____me_______ to____ do______________Thy___ will,_____
for___ Thou_________ art_______ my___________ God.__
For___ in____ Thee is the foun - - tain__ of life;___ in____
Thy______ light__ we__________ shall______ see___________ light.__
Con - tin - - - - - ue_________ con - tin - - - - - ue
Thy mer - - - - - -cy un - to______those_who__ know________
Thee.
Ho - - - - -ly_____________ God,_____ ho - - - - -ly___
15


16

17


18,19,20
Great Doxology - Elaborate Version - Plagal Second Mode

14

'

H
________ Might - - y, ho - - - ly_______ Im - - mor - - - -
- - tal, have mer - - - - cy_______ on____________ us.
Glo - ry to the Fa - - - - ther and__ to the Son and
to the Ho - - ly___ Spir - - - - it;______
Both now__________________ and_____ ev - - er, and un - to th
a - - - - - ges of___ a - - - - ges._____ A - - - - men.
Ho -ly___ Im - - mor - - - - tal,______ have mer - - - - cy_
____ on____________ us.
Asmatikon:

o - - - - - ly______________
God
_________________________
21

22

23


24
Great Doxology - Elaborate Version - Plagal Second Mode 15

__________________________________________ ho - - ly___ God,_____
Ho - - - - - ly______________ Might - - - - y_______________
_____________________________________ ho - - ly___ Might - - y,
Ho - - - - - ly_______ Im - - - mor - - - - - - - - -
- - - - - - Im - mor - - - tal,___ have__ mer - - - - -cy_
___ on us._________________________
25

26
Nothing so arouses the soul, gives it wing, sets it free from the earth,
releases it from the prison of the body, teaches it to love wisdom
and to despise all the things of this life, as concordant melody
and sacred song composed in rhythm.

St. John Chrysostom









The Great Doxology

Plagal Fourth Mode

Elaborate Version
adapted from Iakovos the Protopsaltis (d. 1800)
the Presiding Protopsaltis of the Patriarchate of Constantinople (1875-1905)
as interpreted by Athanasios Karamanis the Protopsaltis of Thessaloniki

'

lo - - ry__ be to Thee Who hast shown the___ light.___________
Glo - - ry____ in the high - - - - est to God,_______ and__
on___ earth___________peace, good will_____ a - - mong________ men.
Duration: 14:30
'

100
G
Great Doxology - Elaborate Version - Plagal Fourth Mode 17

We praise______ Thee;____ we____ bless___________ Thee; we___
wor - - - ship__ Thee;__we glo - - ri - - fy________________ Thee;
we give thanks________________ to_______Thee for______________ Thy__
great__ glo - - - -ry.
O____Lord, King, heav - en - ly God, the___ Fa -ther__ Al-might - y,
O______Lord__ th_____ on - - ly - be - - got - ten Son, Je - sus
Christ,__ and the Ho - - - - -ly___________ Spir - - - - it.
O Lord, God,______Lamb of God, Son_________ of____ the Fa - -
- - - ther, Who tak - - - - est___ a - way the sin______
__ of the__ world:__ have mer - - - cy on us, Thou Who_____
2



3


4

Great Doxology - Elaborate Version - Plagal Fourth Mode

18

tak - - - - - est___ a - way_________________ the___ sins__ of_
__ the world.
Re - - ceive our__________ prayer, Thou Who sit - - test at____the
right___________hand of the Fa - - - ther; and___ have________mer - -
cy_______ on_________ us.
For Thou a - lone art ho - - - - ly; Thou___ a - lone_
__ art___ Lord,___ Je - - sus__ Christ, to the glo - - ry of__ God
the___ Fa - - - ther. A - - - - men.
Ev - 'ry day__________________ will I____ bless_____Thee, and
I will________________praise Thy name__ for - ev - - - - er and


5


6


7

Great Doxology - Elaborate Version - Plagal Fourth Mode 19

'

un - to th a - - - - ges of___________ a - - - - ges.
Vouch - - safe,___ O___ Lord,____ to keep______ us____ this
day____________ with - out___ sin._________
Bless - - - ed art Thou,______ O__________ Lord the God_
_________ of our Fa - - - thers,________ and_______ praised_
and glo - - ri - - fied is Thy__ name__ un - to th a - - - -
- - ges.______ A - - - -men.
Let________ Thy mer - - - - cy,___ O Lord,_____ be___up - -
on____ us,_________ e - - - ven as we have_ hoped_ in____
Thee.________

8

9



10

Great Doxology - Elaborate Version - Plagal Fourth Mode

20

'

'

Bless - - ed____________ art_________ Thou, O__________Lord,____
_____ teach________ me____ Thy______ stat - - - - utes.
Lord,______________Thou_____ hast been_____ our ref - - - uge__
____ from___ gen - - er - a - - tion to gen - - - er - - a - -
tion. I said:___ O Lord,_ have___ mer - - cy on____________
me; heal________my___ soul,___ for____ I____ have sinned a -
- gainst_________ Thee.
O_________________ Lord, to Thee have___ I________ fled
for__ ref - - - - - - uge;___ teach________ me to do
Thy______ will,__ for__Thou_____________ art_______my________ God.
11,12,13

14




15

Great Doxology - Elaborate Version - Plagal Fourth Mode 21

'

For in________ Thee is the foun - - - - tain of life;___
____ in Thy___ light_________ we______ shall_____________ see___
_______ light.
Con - tin - - - - - - ue______ con - tin - - ue Thy mer -
- - - - cy un - to those__who__ know______ Thee.__
Ho - ly___ God,_____ ho - ly___ Might - - y, ho - - ly___
Im - - mor - - - -tal, have_ mer - - cy on___________ us.
Glo -ry to the Fa - - ther and to the Son and to the Ho - - -
ly Spir - - - - it;
Both now___________ and___ ev - - - er, and un - to th
16


17

18,19,20

21

22
Great Doxology - Elaborate Version - Plagal Fourth Mode

22

'

'

a - - ges of__ a - - - - - - ges.______ A - - - -men.
Ho - - ly___ Im - - mor - - - -tal, have_ mer - - cy on_
__________ us.
Asmatikon:

o - - ly___ God,__________________
Ho - - ly___Might - - y,_________
Ho - - - - - - - - ho - - - - - ly Im - mor - -
- - - - - - - - - Im-mor - - - - - tal,___ have mer - -
- - - - cy__________________________ on__ us.__________________
H
23


24
25
26










The Great Doxology

First Mode

Brief Version

adapted from Manuel of Byzantium (d. 1819)
the Presiding Protopsaltis of the Patriarchate of Constantinople (1805-1819)

lo - ry be to Thee Who hast shown the light. Glo-ry in

the high - - est to God, and on earth peace, good will___ a-mong men.
Duration: 5:00

140
Brief Doxology - First Mode

24

We praise_____Thee; we bless Thee; we wor - ship Thee; we___ glo -

ri - fy____Thee; we give thanks to Thee for Thy great_ glo - ry.
O Lord, King,_ heav - - en - ly God, the Fa - - ther Al - might - -
y, O Lord th on - - ly - be - got - ten Son, Je - sus Christ,__and
the Ho-ly Spir - - it.
O Lord,God,_Lamb of God, Son___ of the Fa - - ther,Who tak -
- est a - way the sin__ of the world: have mer - - cy___on us,
Thou Who tak - - est a - way the sins___ of the world.
Re - ceive our prayer, Thou Who sit - test at the right hand of the Fa -
- ther; and have mer - - cy on us.
2

3


4


5

Brief Doxology - First Mode 25

(twice)

For Thou a -lone art ho - - ly; Thou a - lone art Lord, Je - sus Christ,
to the glo - - ry of God the Fa - - ther. A - men.
Ev - 'ry day___ will I bless___Thee,_and I will praise Thy name for -
ev - - er and un - to th a - - ges__ of a - ges.
Vouch - - safe, O Lord, to keep___ us this day with-out_______sin.
Bless - - ed art Thou, O Lord, the God of our Fa - - thers, and
praised and glo - ri - fied is Thy name un - to th a - - ges. A- men.
Let Thy mer - - cy, O Lord,__ be up - on____ us, e - - ven
as we have hoped__ in_______ Thee.
Bless - - ed art Thou, O Lord, teach__ me Thy stat - utes.
6

7

8
9

10

11,12
Brief Doxology - First Mode

26

Bless - - ed___art Thou, O Lord,______________ teach__ me__Thy stat -
- utes.
Lord, Thou hast been our ref - - uge from gen - er - a - tion to gen -
er - a - - tion. I said: O Lord, have mer - - cy on me;
heal my soul, for I have sinned a - gainst Thee.
O Lord, to Thee___have__ I fled___ for ref - uge; teach_____
me to do Thy will, for Thou___ art my God.
For in Thee___ is the foun - tain of life; in Thy light___ we_
_shall see light.
Con - tin - - ue Thy mer - - cy___un - to those who know__ Thee.
13

14


15

16

17
Brief Doxology - First Mode 27
Ho - ly__ God,_____ ho - ly__ Might - - -y, ho - - ly Im -
mor - - tal,__have mer-cy on us.
Glo - ry to the Fa-ther and to the Son and to the Ho - ly Spir - -
it;
Both now and ev - - er, and un - to th a - - ges of a - -
ges. A - men.
Ho - - ly Im - mor - - tal,__have mer-cy on us.
Asmatikon:

o - - - ly_______ God,______________________
Ho - - - - ly__________Might - - - - y,

H
18,19,20

21

22

23

24
25
Brief Doxology - First Mode

28

Ho - - - ly Im - - - - mor - - - - - tal, have_ mer-
- - - cy_______ on_________ us.____________
26
On Sundays, continue on page 64
with "Today is Salvation"




The Great Doxology

Second Mode

Brief Version

adapted from John Kavadas (d. 1889)
the Protopsaltis of Chios

lo - ry be to Thee Who hast shown the light. Glo - ry in
the high-est to God, and on earth__peace, good will___ a-mong men.
We praise Thee; we bless__Thee; we wor-shipThee; we glo- ri - fy______
Thee; we give thanks to Thee for Thy great__ glo - - - ry.
O Lord,King,_ heav - - en-ly God, the Fa - - ther Al - might -
Duration: 5:00

140
G
2

3
Brief Doxology - Second Mode

30

- - y, O Lord th on - ly-be - got- ten Son, Je - sus Christ,__ and
the Ho - ly Spir - - - it.
O Lord, God,__ Lamb of God, Son_______ of the Fa - - - ther,
Who tak - est a - way the sin of the world: have mer - - cy on us,
Thou Who tak - - est a - way the sins___ of the world.
Re - ceive our prayer, Thou Who sit - test at the right hand of the Fa - -
ther; and have mer - - cy on us.
For Thou a - lone art ho - - ly; Thou a-lone art Lord, Je - sus
Christ, to the glo - - ry of God the Fa - - ther. A - men.
Ev - 'ry day will I bless______ Thee, and I will praise Thy name


4


5

6

7
Brief Doxology - Second Mode 31

for - ev - - er and un - to th a - - ges of a - - - ges.
Vouch - - safe, O Lord, to keep_____ us this day_ with - out sin.
Bless - ed art Thou, O Lord, the God of our Fa-thers, and praised and glo -
ri-fied is Thy name un - to th a - - ges. A - men.
Let Thy mer-cy, O Lord,__ be up - on______ us, e - ven as we
have hoped in Thee.
Bless-ed art Thou, O Lord, teach______me Thy stat - - utes.
(thrice)

Lord, Thou hast been our ref - uge from gen - er - a - tion to gen - er - a -
- - tion. I said: O Lord, have mer - - cy___ on me; heal my soul,
for I have sinned a - gainst_____ Thee.
8
9

10

11,12,13
14
Brief Doxology - Second Mode

32

(thrice)

O Lord, to Thee have I fled for ref - - uge; teach__ me___to
do Thy will, for Thou______ art my God.
For in Thee______ is the foun-tain of life; in Thy light___ we
shall see______ light.
Con - tin - ue Thy mer - - cy un - to those who know_____ Thee.
Ho - ly___ God,_ ho - - ly___Might - - y, ho - ly Im -mor - -
tal, have mer - - cy on us.
Glo - ry to the Fa - ther and to the Son and to the Ho - ly Spir -
- - it;
Both now and ev - - er, and un - to th a - - ges of a - -
15

16

17
18,19,20

21

22
Brief Doxology - Second Mode 33

ges. A - men.
Ho - ly Im -mor - - tal, have mer - - cy on us.
Asmatikon:

o - - - - - ly___God,___________
Ho - - - - - - ly___Might - - - y,
Ho - - - - - - ly Im - mor - - - tal,___ have mer - -
- - cy____________ on__________ us.____________
23

24
25
26

H
We should offer up doxologies to God with fear
and a contrite heart, in order that they may
be accepted like fragrant incense.
St. John Chrysostom
On Sundays, continue on page 65
with "Today is Salvation"




The Great Doxology

Third Mode

Brief Version

adapted from Manuel of Byzantium (d. 1819)
the Presiding Protopsaltis of the Patriarchate of Constantinople (1805-1819)

lo - ry be to Thee Who hast shown the light. Glo - ry in the high -
- est to God, and on earth__ peace, good will___ a-mong men.
We praise Thee; we bless___Thee; we wor-ship Thee; we glo - ri - fy
Thee; we give thanks to___Thee for___ Thy great glo - ry.
O Lord,__ King, heav - - en - ly God, the Fa - - ther
Duration: 5:00

140
G
2

3
Brief Doxology - Third Mode 35

Al - might - - y, O Lord th on - - ly - be - got - ten Son, Je - sus Christ,
and the Ho - - ly Spir - it.
O Lord, God,__ Lamb of God, Son___ of the Fa - - - ther,
Who tak - - est a-way the sin of the world: have mer - - cy on us, Thou
Who tak - est a - way the sins___ of the world.
Re - ceive our prayer, Thou Who sit - test at the right hand of the Fa -
ther; and have mer - - cy on us.
For Thou a - lone art ho - - - ly; Thou a - lone art Lord,
Je - sus Christ, to the glo - - - ry of God the Fa - - ther. A - men.
Ev - 'ry day_______will I bless Thee, and I will praise Thy


4


5

6

7
Brief Doxology - Third Mode

36

(thrice)

name for - ev - er and un - to th a - - ges of a - ges.
Vouch-safe,______ O____ Lord, to keep_________ us this day___ with-out
sin.
Bless - - ed art Thou, O Lord, the God of___our Fa - - - -
thers, and praised and glo - ri-fied is Thy name un - to th a - - ges. A -
men.
Let Thy mer - - cy, O Lord,___ be up - on____ us, e - -
ven as we have hoped__ in___ Thee.
Bless-ed art Thou, O Lord, teach_ me Thy stat - - utes.
Lord,__Thou hast been our ref - - uge from gen -er - a - tion to gen -
8

9


10

11,12,13
14
Brief Doxology - Third Mode 37

(thrice)

er - a - - tion. I said: O Lord, have mer - cy on me;
heal my soul,______ for I have sinned_ a - gainst Thee.
O Lord, to Thee have I fled for ref - uge; teach me___to do
Thy will, for Thou___ art my God.
For in Thee___ is the foun - tain of life; in Thy light_
__ we shall see light.
Con - tin - - ue Thy mer - cy un - to those who know__Thee.
Ho - ly___ God, ho - - -ly___ Might - - - y, ho - ly Im -mor -
tal, have mer - - cy on us.
Glo - ry to the Fa - - ther and to the Son and to the Ho - ly Spir -
15

16

17
18,19,20

21
Brief Doxology - Third Mode

38

- it;
Both now_______and___ ev - er, and un - to th a - - ges
of a - - ges. A-men.
Ho - ly Im - mor - - tal, have mer - - cy on us.
Asmatikon:

o - - ly__ God,________
Ho - - - ly______________ Might - - - - - - - - y,____
Ho - - ly Im - - mor - - - - - - - tal,___ have mer - -
- - - cy on_____ us._____________________________________
22

23

24
25
26

H
On Sundays, continue on page 65
with "Today is Salvation"




The Great Doxology

Fourth Mode

Brief Version

adapted from Manuel the Protopsaltis of Byzantium (d. 1819)

lo - - ry___ be to Thee Who hast shown__the light. Glo- ry
in the high- est to God, and on earth___ peace, good will a-mong men.
We praise____Thee; we bless___ Thee; we wor-ship Thee; we glo -
ri - fy_____Thee; we give thanks to Thee for Thy great__ glo - - ry.
O Lord,_____King,_ heav - - en-ly God, the Fa - - ther Al -
Duration: 5:30

140
G
2

3
Brief Doxology - Fourth Mode

40

might - y, O Lord th on - ly - - be - got - ten Son, Je - sus Christ,_
and the Ho - - ly Spir - - it.
O Lord, God,_ Lamb of God, Son___ of the Fa - - ther, Who
tak - - est a - way the sin of the world: have mer - - cy on us,
Thou Who tak - - est a - way the sins of the world.
Re - ceive our prayer, Thou Who sit - test at the right hand of the
Fa - - ther; and have mer-cy on us.
For Thou a - lone art ho - ly; Thou a - lone art Lord, Je - sus Christ,
to the glo - - ry of God the Fa - ther. A-men.
Ev - 'ry day will__ I bless Thee, and I will praise Thy name


4


5

6

7
Brief Doxology - Fourth Mode 41

(thrice)

for - ev - - er and un - to th a - - ges of a - - ges.
Vouch - - safe, O Lord, to keep__ us this day with-out sin.
Bless - - ed art Thou, O Lord, the God_ of our Fa - thers,
and praised and glo - - ri - fied is Thy name un - to th a - ges. A-men.
Let Thy mer - - cy, O Lord,_ be up - on us, e - - -
ven as we have hoped in___Thee.
Bless-ed___art Thou, O Lord, teach_ me___Thy stat - - utes.
Lord, Thou hast been our ref - - uge from gen - er - a - - tion to gen -
er - a - - - tion. I said: O Lord, have mer-cy on me; heal my soul,
for I have sinned__ a - gainst__Thee.
8
9

10

11,12,13
14

Brief Doxology - Fourth Mode

42

(thrice)

O Lord, to Thee___have I fled for ref - uge; teach___ me to
do Thy will, for Thou art my God.
For in Thee is the foun - tain of life; in Thy light we__shall
see___light.
Con - tin - - ue Thy mer - - cy un - to those who know__Thee.
Ho - ly___God,___ ho - ly___Might - - y, ho - - ly Im-mor - -
tal, have mer-cy on us.___
Glo - ry to the Fa - ther and to the Son and to the Ho - - ly
Spir - it;
Both now and ev - - er, and un - to th a - - ges of a -
15

16

17
18,19,20

21

22
Brief Doxology - Fourth Mode 43
ges. A - men.__
Ho - - ly Im - mor - - tal, have mer-cy on us.___
Asmatikon:

o - - - - ly__ God,_____
Ho - - - - ly__ Might - - - - -y,
Ho - - - - - ly Im - - mor - - - - - tal,___ have mer - -
- - cy___ on____ us.______________

H
23

24
25
26

What state can be more blessed
than to imitate on earth the choirs of angels?
to begin the day with prayer, and honor our Maker with hymns and songs?
As the day brightens, to betake ourselves, with prayer attending on it
throughout, to our labors, and to season our work with hymns,
as food with salt? The consolation from hymns
produces a state of soul that is cheerful
and free of sorrow.

St. Basil the Great
On Sundays, continue on page 66
with "Today is Salvation"




The Great Doxology

Plagal First Mode

Brief Version

adapted from Manuel the Protopsaltis of Byzantium (d. 1819)

lo - ry be to Thee Who hast shown the light. Glo - ry in the
high - - est to God, and on earth peace, good will a-mong men.
We praise__ Thee; we bless___ Thee; we wor-ship Thee; we glo - ri -
fy____ Thee; we give thanks to Thee for Thy great__ glo - - ry.
O Lord,__ King, heav - - en - ly God, the Fa - - ther Al-might - -
Duration: 5:00

140
G
2

3
Brief Doxology - Plagal First Mode 45

y, O Lord th on - - ly-be - got - ten Son, Je - sus Christ, and
the Ho - ly Spir-it.
O Lord,__ God,__ Lamb of God,___ Son___ of the Fa - - ther,
Who tak - - est a - way the sin of the world: have mer - - cy on
us, Thou Who tak - - est a - way the sins of the world.
Re - ceive our prayer,Thou Who sit - test at the right hand of the Fa -
- ther; and have mer-cy on us.
For Thou a - lone art ho - ly; Thou a-lone art Lord,______ Je -
sus Christ, to the glo - - ry of God the Fa - ther. A -men.
Ev - 'ry day will I bless___ Thee, and I will praise Thy name


4


5

6

7
Brief Doxology - Plagal First Mode

46

(thrice)

for - ev - - er and un - to th a - - ges___ of a - - ges.

Vouch - - safe, O Lord, to keep___ us this day with - out sin.
Bless-ed art Thou, O Lord, the God______ of our Fa - - thers,
and praised and glo - ri - fied___ is Thy name un - to th a - ges. A - men.
Let Thy mer - - cy, O Lord,______ be up - on____ us, e -
- ven as we have hoped in__ Thee.
Bless - - ed art Thou, O Lord, teach__ me Thy stat-utes.
Lord,__Thou hast been our ref - - uge from gen - er - a - tion to gen-er -
a - - tion. I said: O Lord, have mer - - cy on me; heal
my soul, for I have sinned__ a - gainst__Thee.
8
9

10

11,12,13
14

Brief Doxology - Plagal First Mode 47

(thrice)

O Lord, to Thee have I fled for ref - - uge; teach______ me
to do Thy will, for Thou art my God.
For in Thee is the foun - - tain of life; in Thy light____ we___shall
see___ light.
Con - tin - - ue Thy mer - - cy un - to those who know Thee.
Ho - - ly____ God,__ ho - ly Might - - y, ho - ly Im-mor - -
tal, have mer-cy on us.
Glo -ry to the Fa - ther and to the Son and to the Ho - ly
Spir -it;
Both now and ev - - er, and un - to th a - - ges of a -
15

16

17
18,19,20

21

22
Brief Doxology - Plagal First Mode

48

H
ges. A - men.
Ho - ly Im- mor - tal, have mer-cy___ on us.
Asmatikon:

o - - - - - ly_________________ God,________________
Ho - - - - - ly_________________Might - - - - - y,
Ho - - ly____Im - - mor - - tal, have mer- - - cy___________ on_
__________ us.____________
23

24
25
26

On Sundays, continue on page 66 with
"Today is Salvation" or on page 69
with "After Rising from the Tomb"




The Great Doxology

Plagal Second Mode

Brief Version

adapted from Manuel the Protopsaltis of Byzantium (d. 1819)

lo - ry be to Thee Who hast shown the light. Glo-ry in the
high - - est to God, and on earth___ peace__good will a-mong men.
We praise_____Thee; we bless___ Thee; we wor - ship Thee; we glo - ri -
fy____Thee; we give thanks to Thee for___ Thy great glo-ry.
O Lord,_____King,__ heav - - en-ly God, the Fa - - ther Al - migh -
Duration: 5:30

140
G
2

3
Brief Doxology - Plagal Second Mode

50

- ty, O Lord th on - - ly-be - got - ten Son, Je - sus Christ,_
and the Ho - ly Spir-it.
O Lord,God,_ Lamb of God, Son______ of the Fa - - ther, Who
tak - - est a - way the sin of the world: have mer - - cy on us, Thou
Who tak - - est a - way___the sins of the world.
Re - ceive our prayer, Thou Who sit - test at the right hand of the Fa - -
ther; and have mer - cy on us.
For Thou a-lone art ho - ly; Thou a - lone art Lord, Je - sus
Christ, to the glo - - ry of God___the Fa - ther. A-men.
Ev - 'ry day___ will I bless___ Thee, and I will praise Thy name


4


5

6

7
Brief Doxology - Plagal Second Mode 51

for - ev - - er and un - to th a - - ges of a - ges.
Vouch - - safe, O Lord, to keep__ us__this day with-out sin.
Bless - - ed art Thou, O Lord, the God__ of our Fa - - thers,
and praised and glo - ri - fied___ is Thy name un-to th a - ges. A-men.
Let Thy mer - - cy, O Lord,______be up - on___ us, e - -
ven__ as we have hoped in Thee.
Bless - - ed art Thou, O Lord,_teach_ me Thy stat - utes.
Lord, Thou hast been our ref - - uge from gen - er - a - - tion to gen -
- er - a - tion. I said: O Lord, have mer - - cy on me; heal my
soul,_for I have sinned a-gainst Thee.
8
9

10

11,12,13
14

Brief Doxology - Plagal Second Mode

52

O Lord, to Thee___ have I fled for ref - - uge; teach_____
me to do Thy will,_for Thou art my God.
For in Thee___ is the foun - - tain of life; in Thy light__
we shall see light.
Con - tin - - ue Thy mer - - cy__ un - to those who know Thee.
Ho - ly___ God,___ ho - ly Might - - y, ho - ly Im - mor - - tal,_
_have mer-cy on us.
Glo -ry to the Fa - - - ther and to the Son___and to the
Ho - ly Spir - it;
Both now and ev - - er, and un - to th a - - ges__of a -
15

16

17
18,19,20

21

22
Brief Doxology - Plagal Second Mode 53

H
ges. A - men.___
Ho - ly Im -mor - - tal,__have mer-cy on us.___
Asmatikon:

o - - - - ly__ God,_____________
Ho - - - - - ly___________________ Might - - - - y,______
Ho - - - ly______ Im - - - - - - mor - - - - - tal,
have_ mer - - - cy_________ on________________ us.________________
23

24
25
26

At all times, but most of all while chanting,
let us be still and undistracted.
For through distractions,
the demons aim to
ruin our prayer.

St. John of the Ladder
On Sundays, continue on page 67 with
"Today is Salvation" or on page 71
with "After Rising from the Tomb"




The Great Doxology

Grave Mode

Brief Version

adapted from Manuel the Protopsaltis of Byzantium (d. 1819)

lo - ry be to Thee Who hast shown the light. Glo-ry in the high -
- est to God, and on earth___ peace, good will____ a-mong men.
We praise____Thee; we bless___Thee; we wor-ship Thee; we glo-ri - fy_
____ Thee; we give thanks to Thee for Thy great__ glo - - - ry.
O Lord, King,_ heav - - en - ly God, the Fa - - ther Al-might - -
Duration: 5:00

140
G
2

3
Brief Doxology - Grave Mode 55

y, O Lord th on-ly - - be - got - ten Son, Je - sus Christ,__ and the
Ho-ly Spir - - - it.
O Lord, God,_ Lamb of God, Son__ of the Fa - - - ther, Who
tak-est a - way the sin____ of the world: have mer - cy on us,
Thou Who tak - - est a - way the sins___ of the world.
Re - ceive our prayer,Thou Who sit - test at the right hand of the Fa -
- - ther; and have mer - - cy on us.
For Thou a - lone art ho - - ly;___ Thou a - lone art Lord, Je -
sus Christ, to the glo - - ry of God the Fa - - ther. A - men.
Ev - 'ry day______ will I bless___Thee, and I will praise


4


5

6

7
Brief Doxology - Grave Mode

56

Thy name for - ev - - er and un - to th a - - ges of a - - - ges.

Vouch-safe, O Lord, to keep______us this day with - out______ sin.
Bless-ed art Thou, O Lord, the God_ of our Fa - - thers, and
praised and glo - ri-fied is____Thy name un - to th a - - ges. A - men.
Let Thy mer-cy, O Lord,______ be up - on______ us, e - -
ven as we have hoped in Thee.
Bless - - ed art Thou, O Lord, teach__ me Thy stat - - -utes.
Lord,__Thou hast been our ref - - uge from gen-er - a - - tion to gen -
er - a - - - tion. I said: O Lord, have mer - -cy on me; heal
my soul, for I have sinned__ a - gainst_____ Thee.
8
9

10

11,12,13
14

Brief Doxology - Grave Mode 57

O Lord, to Thee have I fled for ref - - uge; teach_____ me
to do Thy will, for Thou__ art my God.
For in Thee______ is the foun - - tain of life; in Thy light___
we shall see______ light.
Con - tin - ue Thy mer - - cy___ un - to those who know_____ Thee.
Ho - ly___ God,__ ho - - ly___ Might - - y, ho - ly Im-mor - -
tal, have mer - - cy on us.
Glo - ry to the Fa - ther and to the Son and to the Ho - ly Spir -
- - it;
Both now and ev - - er, and un - to th a - - ges of a - ges. A -
15

16

17
18,19,20

21

22
Brief Doxology - Grave Mode

58
men.
Ho - - ly Im - mor - - tal, have mer-cy on us.
Asmatikon:

o - - ly___________God,____________
Ho - - - - - ly_________Might - - y,____
Ho - - ly Im - - mor - - -tal, have__ mer - - - cy on______
____ us.__________

23

24
25
26

H
On Sundays, continue on page 67 with
"Today is Salvation" or on page 72
with "After Rising from the Tomb"




The Great Doxology

Plagal Fourth Mode

Brief Version

adapted from Manuel the Protopsaltis of Byzantium (d. 1819)

lo - ry be to Thee Who hast shown the light. Glo -ry in the
high - - est to God, and on earth___ peace, good will a-mong men.
We praise_____Thee; we bless__ Thee; we wor-ship Thee; we glo -
ri - fy Thee; we give thanks to Thee for Thy great__ glo - ry.
O Lord, King,_ heav - - en - - ly God, the Fa - - ther Al - might -
Duration: 6:00

140
G
2

3
Brief Doxology - Plagal Fourth Mode

60

y, O Lord th on - ly -be-got - ten Son, Je - sus Christ, and the Ho -
- ly Spir - it.
O Lord,__God,_Lamb of God, Son of the Fa - - ther, Who tak - -
est a-way the sin of____ the world: have mer - - cy on us, Thou Who
tak - - est a - way the sins of the world.
Re - ceive our prayer, Thou Who sit-test at the right hand of the Fa - -
ther; and have mer - - cy on us.
For Thou a - lone art ho-ly; Thou a - lone art Lord, Je - sus
Christ, to the glo - - ry of God the Fa-ther. A-men.
Ev - 'ry day___ will__ I bless Thee, and I will praise Thy name


4


5

6

7
Brief Doxology - Plagal Fourth Mode 61

(thrice)

for - ev - - er and un - to th a - - ges of a - ges.
Vouch-safe, O Lord, to keep___ us this day with-out sin.
Bless - - - ed art Thou, O Lord, the God__ of our Fa - -
thers, and praised and glo - ri -fied is Thy name un - to th a - ges. A-men.
Let Thy mer - - cy, O Lord,_ be up - on___ us, e - - - ven
as we have hoped in___ Thee.
Bless - ed art Thou, O___ Lord, teach__ me Thy stat - utes.
Lord,__Thou hast been our ref - - uge from gen - er - a - - tion to gen -
er - a - - tion. I said: O Lord, have mer-cy on me; heal my soul, for_
__ I have sinned a- gainst Thee.
8
9

10

11,12,13
14

Brief Doxology - Plagal Fourth Mode

62

O Lord, to Thee have_ I fled for ref - - - uge; teach me__ to
do Thy will, for Thou art my God.
For in Thee_____ is the foun - - tain of life; in Thy light_
__ we shall see light.
Con - tin - ue__Thy mer - - cy un - to those who know Thee.
Ho - - ly___God,____ ho - - ly___Might - - y, ho - - ly Im-mor -
- tal, have mer - cy on us.
Glo-ry to the Fa -ther and to the Son and to the Ho - ly Spir -
it;
Both now and ev - - er, and un - to th a - - ges of a - ges. A-men.
15

16

17
18,19,20

21

22
Brief Doxology - Plagal Fourth Mode 63
Ho - - ly Im-mor - - tal, have mer-cy on us.___
Asmatikon:

o - - - - ly__________ God,_____________________
Ho - - - ly__________Might - - - - y,______
Ho - - - ly Im - - mor - - - - - - - - - tal,__________
__ Im - mor - - - - tal, have mer - - - - - - cy_____________
_________ on___ us._____________________________

'

H
23

24
25
26

And even if you do not understand the meaning of the words,
for the time being teach your mouth to say them,
for the tongue is sanctified by the words alone
whenever it says them with good will.
St. John Chrysostom
On Sundays, continue on page 68 with
"Today is Salvation" or on page 73
with "After Rising from the Tomb"











Today is Salvation

adapted from Peter the Peloponnesian (ca. 1730-1777)

First Mode

o - day_____ is sal - va-tioncomeun-to the world. Let us sing

un - to the Au - thor of our life Who a -rose from the tomb; for, de - stroy-
ing death by death He grant-ed us the vic - to - ry and great mer - cy________

140
Today is Salvation 65
o - day is sal - va - tion come un - to__ the world. Let us sing
un - to the Au - thor of our life Who a - rose from the tomb; for, de -
stroy - ing death by death He grant- ed us the vic - to-ry and great mer - cy_
______
Second Mode

Third Mode

T
o - day is sal-va-tion come un - to the world. Let us sing un- to
the Au - thor of__ our life___Who a- rose from the tomb; for, de - stroy-ing
death by death He grant - ed us the vic - - to-ryand_great mer - - cy_________
T

Today is Salvation

66
Fouth Mode

Plagal First Mode

o - day___ is sal - va - tion come un-to the world. Let us

sing un-to the Au-thor of our life Who a - rose from the tomb; for, de - stroy -
ing death by death He grant -ed us the vic - - - to- ry and great mer - - cy__
_________
T

o - day is sal -va - tion come un-to the world. Let us sing un- to
the Au -thor of our life________ Who a - rose from_ the tomb; for, de- stroy-
ing death by death He grant- ed us the vic - - - to- ry and great mer - -
cy___________
T

Today is Salvation 67
Plagal Second Mode

Grave Mode

o - day_____ is sal - va - tion come un- to the world. Let us

sing un-to the Au-thor of our life Who a -rose from the tomb; for, de - stroy-
ing death by death He grant - ed us the vic - to-ry and great mer - - cy_______
_______
T

o - day is sal - va - tion come un - to the world. Let us sing un - to
the Au - thor of__ our life Who a - rose__from the tomb; for, de - stroy - ing
death by death He grant- ed us the vic - - - to - ry and great mer - - cy__
______
T

Today is Salvation

68
o - day is sal - va-tion come un-to the world. Let us sing un-to the
Au - thor of____our life Who a - rose from the tomb; for, de - stroy - ing
death by death He grant-ed us the vic - - - to - ry and great mer - - cy_________
Plagal Fourth Mode

T
Recite the words of psalmody as your very own,
that you may utter the words of your supplication
with insight and with discriminating compunction,
like a man who truly understands his work.

St. Isaac the Syrian












After Rising
From the Tomb
*


adapted from Hieromonk Gregory of Simonos Petras Monastery

Plagal First Mode

*
According to the Great Horologion and Athonite typicons, this hymn is chanted on Sunday after the
doxology instead of "Today Is Salvation" when the mode of the week is plagal first, plagal second, grave,
or plagal fouth.

ft - er ris -ing from the tomb and break-ing the bonds of
Ha - - des a - sun - - der, Thou didst re-peal the sen - - - tence

140
After Rising from the Tomb 70

of death, O Lord, there - - by de - liv - er - ing all men_____from
the snares_ of th en - e-my. Aft - er man - i - fest-ing Thy - self
to Thine A - pos - - tles, Thou didst send them forth to preach, and through them
Thou didst grant peace__ to the whole__world, O Thou_____Who a -
lone art rich in mer - - cy._______
After Rising from the Tomb 71

Plagal Second Mode

A
ft - er ris - ing from the tomb and break - - ing the bonds of
Ha - - des a - sun - der, Thou didst re - peal the sen - tence of death, O
Lord, there-by de - liv -er - ing all men from the snares_ of th en - e-my.
Aft - er man - i - fest - - ing Thy - self to Thine A - pos - - tles, Thou didst
send them forth to preach, and through them Thou didst grant peace__ to the whole
world, O Thou___Who a - lone art rich in mer - - cy.____________
A HOLY HYMN GIVES BIRTH TO PIETY OF SOUL,
CREATES A GOOD CONSCIENCE,
AND IS ACCEPTED BY GOD IN THE TREASURIES OF THE HEAVENS.

ST. JOHN CHRYSOSTOM
After Rising from the Tomb 72

Grave Mode

A
ft - er ris - ing from the tomb and break - - ing the bonds of
Ha - - des a - sun - - -der, Thou didst re - peal the sen-tence of death, O
Lord, there-by de - liv - er-ing all men from the snares_ of____ th en - e-my.
Aft - er man - i - fest-ing Thy - self to Thine A - pos - - tles,Thou didst send___
them forth to preach, and through them Thou didst grant peace__ to the whole__
world, O Thou_____Who a - lone art rich in mer - - cy.__________
After Rising from the Tomb 73
ft - er ris - ing from the tomb and break - - ing the bonds
of Ha - - des a - sun - der, Thou___didst re-peal the sen -tence of death,
O Lord, there - - - by de - liv - er-ing all men from the snares__ of th
en - e-my. Aft - er man - i - fest - - ing Thy - self to Thine A -
pos - tles,Thou didst send them forth to preach, and through them Thou didst grant
peace_ to the whole world, O Thou Who a - lone art rich in mer - -
cy.__________

Plagal Fourth Mode

A

















Christ is Risen

Plagal First Mode
adapted from traditional melody
as chanted by Athanasios Karamanis (1909- )

'

96
s
hrist___ is ris - - en__ from______ the___ dead,___ by death_____
Christ is Risen 78

* Whenever Christ is Risen is chanted for the last time, it may be begun as follows:

** Finale:
hath___ He___ tram-pled down___________ death,__________ and______ up - - on
those_ in the__tombs He___ hath be - stowed_______________ life.






Christ___ is ris - en___

be - - stowed______________ life.________________________________
O death, where is thy sting?
O Hades, where is thy victory?
I Cor. 15:55

Christ is Risen 79
Alternate Melodies
adapted from Chrysanthos Theodosopoulos

C
hrist___ is ris - - - - en__________ from the dead,_______
__ by death_________ hath_____ He___ tram - - pled down_______ death,_
_______ and_________up - - on______those__ in______ the_____ tombs He___
hath be - stowed_________ life.

hrist___ is ris - - - en__ from____ the___ dead,_________ by__
death_________ hath______ He tram - - pled____________ down_________death,
and up - on___________those_____ in______________ the________ tombs
He___ hath be - stowed______________ life.__________________
C
'

96
Christ is Risen 80
Slower Melody
by Hieromonk Panteleimon (1936-1992)
of St. Anne's Skete, Mt. Athos

hrist___ is ris - - - - en_______________ from the____ dead,___ by

death__________ hath___ He__ tram - - pled down_________ death,__________
__ and__________ up - - - - - - on________ those________ in the
tombs He___ hath be - stowed_____________ life.


be - stowed_____________ life._____________________________
'

84
* Finale:
C


Christ is Risen
Long Melody - Ancient Version
as interpreted by Athanasios Karamanis
Plagal First Mode

hrist________ is____ ris - - - - - - - en______ from_
________________________ the________________________ dead,__________________
_______________________________________________ by________ death_____________
______________ hath_____ He_________________________________________ hath___
________ He___ tram - - - - -pled_______________________________
down________________ death_______ and______ up - - on_______________________
_ those____ in__________________________ the___________________ tombs____
'

84
Duration: 2:00
Christ is Risen - Long Melody 82
He_____________ hath___________ grant - - ted _______ He hath grant - ed__
life.__________________

grant - ed__ life.________________________________

* Finale:






Lord Have Mercy

88
Plagal Fourth Mode
adapted from Constantine Pringos (1892-1964)
the Protopsaltis of the Patriarchate of Constantinople (1939-1960)

2
3
4
5

ord,___ have__ mer - - - cy.
Lord, have__ mer - - cy.
Lord, have_____ mer - - cy.
Lord,___ have_ mer - - cy.
Lord,___ have_ mer - - cy.
Lord Have Mercy - Plagal Fourth Mode

84

Plagal Fourth Mode
adapted from John Pallasis (d. 1942)

2
3
4
5
6
7


L
ord,______ have_ mer - - - -cy.
Lord,____ have___ mer - - - cy.
Lord,____ have___ mer - - - cy.
Lord,_have__ mer - - - cy.
Lord,_have__ mer - - - cy.
Lord,__have__ mer - - - cy.
Lord,_have__ mer - - - - - cy.
Lord Have Mercy - Plagal Fourth Mode 85

Plagal Fourth Mode
adapted from Iakovos Nafpliotis (1864-1942)
the Protopsaltis of the Patriarchate of Constantinople (1911-1939)

2
3
4
5
6
7
8

L
ord,_______have__ mer - - - cy.
Lord, have___ mer - - cy.
Lord,have mer - - - cy.
Lord, have_________ mer - - -cy.
Lord,__ have__ mer - - - cy.
Lord,_have__ mer - - - cy.
To Thee, O Lord.
A - men.
Lord Have Mercy - Plagal Fourth Mode

86

Plagal Fourth Mode

adapted from Thrasyvoulos Stanitsas (1910-1987)
the Protopsaltis of the Patriarchate of Constantinople (1960-1964)

2
3
4
5
6
7
8

L
ord,__ have_ mer - - cy.
Lord,__ have_ mer - - cy.
Lord,__ have_ mer - - cy.
Lord,have_ mer - - cy.
Lord,have_mer - - cy.
Lord,__ have___ mer - - - - - cy.
To___________ Thee, O Lord.
A - - - - -men.
Lord Have Mercy - Plagal Fourth Mode 87

Plagal Fourth Mode
adapted from Hieromonk Hierotheos
of Philotheou Monastery

2
3
4
5
6
7
8

L
ord, have_ mer - - - cy.
Lord,_____have_ mer - - - cy.
Lord,______have_ mer - - cy.
Lord,__have___ mer - - cy.
Lord,____have__ mer - - cy.
Most ho - ly The - o - to - kos, save____ us.
To______ Thee, O Lord.
A - men.
Lord Have Mercy - Plagal Fourth Mode

88

Plagal Fourth Mode
adapted from Michael Hatziathanasiou (d. 1948)

2
3
4
5
6
7
8

L
ord,__ have___ mer - - cy.
Lord,__ have___ mer - - cy.
Lord,__ have___ mer - - cy.
Lord,__ have___ mer - - cy.
Lord,__ have___ mer - - cy.
Lord,__ have___ mer - - cy.
Lord,__ have___ mer - - cy.
Lord,__ have___ mer - - cy.
Lord Have Mercy - Plagal Fourth Mode 89

9
10
11
12


Lord,__have_ mer - - cy.
Lord,__ have_ mer - - cy.
Lord,have_ mer - - - cy.
To Thee, O Lord.
The chanting that is done in churches is an entreaty towards God to be
appeased for our sins. Whoever begs and prayerfully supplicates
must have a humble and contrite manner; but to cry out
manifests a manner that is audacious and irreverent.

Canon LXXV of the Sixth cumenical Synod
Lord Have Mercy - Plagal Fourth Mode

90
ord,have_ mer - - cy.
Lord, have__ mer - - - - cy.
Lord, have___ mer - - cy.
Lord,have_ mer - - - - cy.
Lord,_have__ mer - - - - cy.
Lord,have_ mer - - - - cy.
Lord,_have_mer - - - -cy.
To Thee, O Lord. A - men.

Plagal Fourth Mode
adapted from Kyriazis Nicoleris

2
3
4
5
6
7
8

9
L
Lord Have Mercy - Plagal Fourth Mode 91

Plagal Fourth Mode
adapted from Hieromonk Hierotheos

2
3
4
5
6
7
8

L
ord,have_ mer - - - cy.
Lord,_____ have_ mer - - cy.
Lord,_______have__ mer - - - - cy.
Lord,___ have_ mer - - - cy.
Lord,____have__ mer - - - - cy.
Most ho - ly The - o - to - - - - kos, save_____ us.
To_________ Thee, O Lord.
A - men.






Lord Have Mercy

88
Plagal First Mode
adapted from Athanasios Karamanis (1911- )
the Presiding Protopsaltis of Thessaloniki

2
3
4
5

ord,____have__ mer - - cy.
Lord, have__ mer - - - cy.
Lord, have_ mer - - cy.
Lord,__ have_ mer - - - cy.
Lord, have_______mer - -cy.
Lord Have Mercy - Plagal First Mode 93

Plagal First Mode

adapted from Lycourgos Petridis

2
3
4
5
6
7
8

L
ord,___have___ mer - - cy.
Lord,______ have___ mer - - - cy.
Lord,____have_ mer - - - - cy.
Lord,____have__ mer - - - cy.
Lord,_____have__ mer - - cy.
Lord,__________have__mer - - - -cy.
To Thee, O Lord.
A - men
Lord Have Mercy - Plagal First Mode

94

Plagal First Mode
adapted from Hieromonk Hierotheos
of Philotheou Monastery

2
3
4
5
6
7
8

L ord,________ have_ mer - - - - cy.__
Lord,__have__ mer - - - cy.
Lord,____have mer - - - - cy.
Lord, have_ mer - - -cy.
Lord,_ have___ mer - - cy.__
Most ho - ly The - o - to - - - - kos, save_____ us.__
To______ Thee, O__Lord.
A - men.
Lord Have Mercy - Plagal First Mode 95

'

Plagal First Mode
adapted from Thrasyvoulos Stanitsas (1910-1987)
the Protopsaltis of the Patriarchate of Constantinople (1960-1964)

2
3
4
5
6



L
ord,have_mer - - - cy.
Lord,__ have___ mer - - - cy.
Lord,__________have_______ mer - - cy.
Lord,___have_____ mer - - cy.
Lord,______have_ mer - - - - cy.
To Thee, O___ Lord.
Lord Have Mercy - Plagal First Mode

96

"Pentaphonos" Plagal First Mode
adapted from Constantine Pringos

2
3
4
5
L
ord, have_ mer - - cy.
Lord,__have_ mer - - - cy.
Lord, have mer - - cy.
Lord,____have__ mer - - cy.
Lord,__ have_ mer - - - cy.
Lord Have Mercy - Plagal First Mode 97

"Spathi" Plagal First Mode

adapted from Hieromonk Hierotheos

2
3
4
5
6
7
8

L ord,__ have_ mer - - cy.
Lord,__have_ mer - - cy.
Lord,have_ mer - - - - cy.
Lord,____ have_mer - - - cy.
Lord,__ have___ mer - - cy.
Most ho - ly The - o - to - - - - kos,__ save_____ us.______
To Thee, O Lord.
A - men.
Lord Have Mercy - Plagal First Mode

98

Plagal First Mode
adapted from Thrasyvoulos Stanitsas (d. 1987)
and John Pallasis (d. 1942)

2
3
4
5
6
7


L
ord,have_mer - - cy.
Lord, have_ mer - - cy.
Lord,_have__ mer - - - - cy.
Lord,_have__ mer - - - - cy.
Lord,_have__ mer - - - - cy.
To Thee, O Lord.
A - men.
Lord Have Mercy - Plagal First Mode 99

Plagal First Mode
adapted from Demetrios Sourlantzis

2
3
4
5
6
7


L
ord,____have_______ mer - cy.
Lord, have_ mer - - cy.
Lord,____have__ mer - - - cy.
Lord,__ have_ mer - - - cy.
Lord,__have____ mer - - cy.
To Thee, O Lord.
A - - men.
Lord Have Mercy - Plagal First Mode

100

Plagal First Mode
adapted from Nicolaos Georgiafentis (1935- )
the Protopsaltis of Chicago

2
3
4
5



L
ord,have_ mer - - - cy.
Lord,__ have_mer - - -cy.
Lord,__have_ mer - - -cy.
To Thee, O Lord.
A - men.
The value of prayer can be inferred
from the way the demons attack us
during services in church.

St. John of the Ladder (28:61)





Lord Have Mercy

88
First Mode
adapted from Basil Nikolaidis (1915-1985)
the Protopsaltis of the Patriarchate of Constantinople (1965-1985)

2
3
4
5

ord,__ have__ mer - - - cy.
Lord,__have_ mer - - - cy.
Lord,___ have_ mer - - - cy.
Lord,__ have_ mer - - cy.
Lord,_____ have_ mer - - cy.
Lord Have Mercy - First Mode 102

First Mode
adapted from Hieromonk Hierotheos

2
3
4
5
6
7
8

L
ord, have_ mer - - cy.
Lord,_____have_ mer - - cy.
Lord,__ have_ mer - - cy.
Lord,__have_ mer - - cy.
Lord,__ have_____ mer - - cy.
Most Ho - ly The - o - to - kos, save____ us.
To Thee, O Lord.
A - men




Lord Have Mercy

88
Plagal Second Mode
adapted from Hieromonk Hierotheos

2
3
4
5

ord, have_ mer - - - cy.
Lord,_____have_ mer - - cy.
Lord,__ have___ mer - - cy.
Lord,__ have_ mer - - cy.
Lord,____have_ mer - - - cy.
Lord Have Mercy - Plagal Second Mode 104

6
7
8


Most ho - ly The - o - to - kos,save__ us.
To___Thee, O Lord.
A - men.
The Panagia of Arizona
Lord Have Mercy - Plagal Second Mode 105

Plagal Second Mode
adapted from Hieromonk Hierotheos

2
3
4
5
6
7
8

L ord,___ have_ mer - - - cy.
Lord,__ have___ mer - - - - cy.
Lord,__ have mer - - - - cy.
Lord,__ have_ mer - - - cy.
Lord,__ have mer - - - cy.
Most ho - ly The -o - to - - - kos, save_ us.
To____Thee, O Lord.
A - men.
Lord Have Mercy - Plagal Second Mode 106

Hard Chromatic Plagal Fourth Mode
adapted from Hieromonk Hierotheos

2
3
4
5
6
7
8

L
ord, have_ mer - - - cy.
Lord,____have_ mer - - - - cy.
Lord,__ have___ mer - - - - cy.
Lord,____have__ mer - - cy.
Lord,____have_ mer - - cy.
Most ho - ly The - o - to - - kos,__ save____ us.
To______ Thee, O__Lord.
A - men.
ord, have__ mer - cy. Lord,___have_______ mer- cy. Lord, have___
mer - - - - - cy. Lord,___ have___ mer -cy. Lord,____have_______ mer -
cy. Lord,_have__ mer - - - - - cy.

ord, have__ mer- cy. Lord,___have_______ mer - - cy. Lord, have___ mer-
- - - - - cy. Lord,_have_____ mer - cy. Lord,_______have_____ mer - cy.
Lord,_________have__mer - - - - -cy.



Lord Have Mercy

In Five Modes
adapted from Nileos Kamaradou (d. 1922)
Plagal Fourth Mode

Plagal First Mode

'

80
L
2

Lord Have Mercy - Five Modes

108

ord,__have_______ mer-cy.Lord,____ have___ mer - -cy. Lord,_____ have_
__ mer - - - - - - - - cy._______ Lord,_have_______ mer-cy. Lord,_
_have__ mer - - cy. Lord,_____ have__ mer - - - - - - - - - cy.


ord,____have_______ mer- -cy. Lord,____have____ mer - - cy. Lord,_____
have___ mer- - - - - - - - cy._______ Lord,____have________
mer - - cy. Lord,_______have__ mer - - cy. Lord,_____ have___ mer - - - -
- - - - - - cy.
Pathetic [i.e., suffering] First Mode

Plagal Second Mode

L
L
3




4

Lord Have Mercy - Five Modes

109

ord,_______have_______ mer - - cy. Lord,___have_______ mer- cy. Lord,_
____ have________ mer - - - - - cy. Lord,_______have____ mer - cy.
Lord,___have____ mer - - cy. Lord,___have mer - - - - - - - -cy.

To______________Thee__O________ Lord
A - men
Grave Mode

'

'

L
5



6
7






Through the
Intercessions
of the Theotokos

Second Mode
adapted from traditional melody

(repeated twice)

hrough th in - ter - ces - sions of the The - o - to - kos, Sav - iour
save_____ us.
hrough th in - ter - ces - sions of the The - o - to - - kos, Sav -
iour save_____ us.________

160
T




Save us,
O Son of God

Second Mode
adapted from traditional melodies

(thrice)

Alternate Version

(thrice)

ave us, O Son______ of God, Who art ris - en__from the
dead, as we chant to Thee:__ Al - le - lu - - - i - a.

ave us, O Son____ of God, Who art ris - en__from the dead,
as we chant to Thee: Al-le - lu - - i - a.

160
S
Save Us, O Son of God 112
Another Version

(thrice)

S
ave us, O Son of God, Who art ris - en__ from___ the dead,
as we chant_____ to Thee:__ Al - le - lu - i - a.

Only-Begotten Son

Second Mode
adapted from traditional melody

lo - ry to the Fa - - ther, and to the Son, and to
the Ho - - ly Spir - - - it.
oth now and ev - - er, and un - to th a - - ges of a - -
ges. A - men.
n - ly - be - got - ten Son and Word of__ God, Thou Who art im -
mor - - - - tal, and didst con - de - scend for our sal - va - - - tion

160
B
O
Only-begotten Son 114

to be-come in - car - - nate of the ho - ly The-o - to - - kos and
ev - er - Vir-gin Mar - - y, with-out change be-com-ing man, Who wast cru -
ci - fied, O Christ our God, by___death tram-pling down up - on______death,
Thou___ Who art__ one of the Ho - ly Trin - - i - ty, glo - ri-fied_with the
Fa - - ther and with the Ho - ly Spir - - - - it, save_____ us._
_______




Come Let Us Worship

Second Mode
adapted from traditional melodies

Alternate Version

ome,__ let us wor - - ship and fall___down be-fore__ Christ.
Save___ us, O Son______ of God, Who art ris - en__from the dead,
as we chant to Thee:__ Al - le - lu - - - i - a.


ome,____ let us wor-ship and___ fall___down_ be-fore Christ.__
___________ Save___ us,___ O Son______ of God, Who art ris - en__from

130
C
W
won-drous_ in the saints,
won-drous_ in
Come Let Us Worship 116

Festal Version
adapted from Fr. Apostolos Georgiafentis

ome__________ let___ us_________ wor - - ship and_________
fall___ down_____ be - fore___ Christ._ Save______ us________ O Son___
____________ of___________________ God, Who art ris - en__ from_____
the_____ dead,___________________________________
as______ we chant___
__ to Thee: Al - le - - - lu - - i - a.____
won-drous_ in______
the_____ saints,___________________________________

76
the dead, as we chant to Thee:__ Al - le - lu - - i - a.
the saints,




The Typica
*


First Stasis - Psalm 102

Plagal Fourth Mode
adapted from traditional Athonite melody
as written by Hieromonk Hierotheos of Philotheou Monastery

*
On the Holy Mountain (and in Slavic countries) the Typica are chanted every Sunday, except on Sundays
that fall between a feast day of the Lord and its leave-taking. The first stasis (Psalm 102, LXX) is chanted
instead of the First Antiphon: "Through the intercessions of the Theotokos. . . ." The second stasis (Psalm 145)
is chanted instead of the Second Antiphon: "Save us, O Son of God. . . ." The third stasis of the Typica is the
Beatitudes, which are chanted as verses for the appropriate hymns of the day.
Duration: 4:15

200
B
less the Lord, O my soul; bless - - ed art Thou,O Lord. Bless
the Lord,_ O mysoul,and all___that is with - in me bless His ho-ly name.
Bless the Lord,_ O my soul, and for - get___ not all that He hath done
for thee,
2
Typica - First Stasis - Plagal Fourth Mode 118

Who is gra - cious un - to all thine in - iq - ui - ties, Who
heal - eth all thine in - fir - mi - ties,
Who re - deem - - eth thy life from cor - rup - - tion, Whocrown-eth
thee with mer - - cy and com - pas - sion,
Who ful - fill - eth thy de - sire_____ with good___things; thy
youth__shall be re - newed__ as th ea - - - gle's.
The Lord per - form - eth deeds of mer - - - cy, and ex - e -
cu-teth judg-ment for all them that are wronged.
He hath made His ways known un-to Mo - - - ses, un - to the
sons of Is - ra - el the things that He hath willed.
3

4

5

6

7
Typica - First Stasis - Plagal Fourth Mode 119

Com - pas - sion - ate and mer - ci-ful is the Lord, long-suf - fer - ing
and plen - te -ous in mer - - cy; not un - to th end___will He be an -
gered, nei-ther un - to e - ter - ni-ty will He be wroth.
Not ac - cord - ing to our in - iq - ui - ties hath He dealt___with
us, nei-ther ac - cord -ing to our sins hath He re-ward-ed us.
For ac - cord - ing to the height____ of heav - en from th earth,
the Lord hath made His mer - cy to pre-vail o - - ver them that fear Him.
As far______ as the east is from___ the west, so far______
_________hath He re-moved our in - iq - ui-ties from us.
Like as a fa - ther hath com - pas-sion up - on his sons,
8


9

10

11

12
Typica - First Stasis - Plagal Fourth Mode 120

so hath the Lord had com - pas - sion up - on them that fear______ Him;
for He___ know - eth where-of we are made, He hath re - mem- -bered that_
__ we are dust.
As for man, his days___ are as the grass; as a flow - - er
of the field, so shall he blos-som forth.
For when the wind is passed o - ver it, then it shall___ be
gone, and no lon - ger will it know the place there-of.
But the mer-cy of the Lord is from e - ter-ni - ty, e - ven un -
to e - ter - ni - ty, up - on them that fear______ Him.
And His right-eous - ness is up - on sons of sons, up - on
13

14

15

16
Typica - First Stasis - Plagal Fourth Mode 121

them__ that keep His tes - - ta-ment and re - mem - ber His com-mand-ments
to do______ them.
The Lord in heav-en hath pre-pared__ His throne,____ and His
king -dom rul-eth o - - ver all.
Bless the Lord, all ye His an-gels, might-y in strength, that per - form_
__ His word, to hear the voice of His words.
Bless the Lord, all ye His hosts, His min - - is - ters that do His
will.
Bless the Lord, all ye His works, in ev - 'ry place of His do -
min - - - ion. Bless the__ Lord,_____ O my soul.
17

18

19

20
Typica - First Stasis - Plagal Fourth Mode 122

Glo-ry to the Fa - - ther, and to the Son, and to the Ho - ly
Spir - it;
Both now and ev - er, and un - to th a - - ges of a -
ges. A-men.
Bless the Lord, O my soul, and all that is with - in___
__me, bless His ho - ly Name; bless-ed art Thou, O Lord.__________
_________________
21

22

23
A psalm consoles the sad, restrains the joyful, tempers the angry,
refreshes the poor and chides the rich man to know himself.
To absolutely all who take it, the psalm offers an appropriate
medicine; nor does it despise the sinner, but presses upon
him the wholesome remedy of penitential tears.
St. Niceta of Remesiana



The Typica

First Stasis - Psalm 102

Plagal First Mode
adapted from Hieromonk Hierotheos
of Philotheou Monastery

less the Lord, O my soul;bless-ed art Thou,__ O Lord. Bless the

Lord,___ O___ my soul,and all that is with - in___ me_bless His ho-ly name.
Bless the Lord, O my soul, and_____ for - get________ not__ all___ that He
hath done___ for thee,
Who is gra- cious un - to all thine in - iq - ui - ties, Who heal - eth
all thine in - fir- mi-ties,

190
2

3
Duration: 4:15
Typica - First Stasis - Plagal First Mode 124

Who re - deem - - - eth thy life from cor- rup - - tion, Who crown - - -
eth thee____ with mer-cy and com-pas - sion,
Who ful - fill - - - eth thy de - sire________ with good_____ things;
thy youth shall be re-newed as the ea - - gle's.
The Lord per-form - eth deeds__ of mer - - cy, and ex - e - cu - teth
judg- ment for all them that are wronged.
He hath made His ways known un-to Mo - - ses, un - to the sons of
Is - - ra- el the things that He hath willed.
Com - pas - sion - ate and mer -ci-ful is the Lord, long - suf - fer - ing
and plen - te - ous in mer - - cy; not un - to the end will He be an - gered,
4

5

6

7

8
Typica - First Stasis - Plagal First Mode 125

nei-ther un - to e - ter - ni - ty___ will He____ be wroth.

Not_____ ac-cord-ing to our in - iq - ui - ties hath He dealt__ with us,
nei-ther ac-cord-ing to our sins hath He re - ward - - ed us.
For ac - cord - ing to the height of heav - en from the earth, the Lord
hath made His mer - cy to pre-vail o - ver them that fear__ Him.
As far__________ as the east is from the west, so far hath He re-moved
our in - iq - ui- ties from us.
Like as a fa - ther hath com - pas - sion up- on_____ his sons, so
hath the Lord had com - pas - sion up - on___them that fear__ Him; for He
know - eth where - of we are made, He hath re- mem-bered that we are dust.
9

10

11

12
Typica - First Stasis - Plagal First Mode 126

As______ for man, his days are as___the grass; as a flow - er of the field,
so shall he blos - - som forth.
For when the wind is passed o - ver it, then it shall___ be gone,
and no lon - ger will it know__ the place___ there-of.
But the mer - cy of the Lord is from e - ter - - ni-ty, e - ven
un- to e - ter - - ni- ty, up- on them that fear__ Him.
And His right - eous-ness is up - on sons___ of sons, up - on them that
keep His tes - - ta-ment and re - mem-ber His com-mand-ments to do__ them.
The Lord______ in heav-en hath pre- pared His throne, and His king-dom rul-eth
o - - ver all.
13

14

15

16

17

Typica - First Stasis - Plagal First Mode 127

Bless the Lord, all ye His an - - gels, might - y in strength,that per - form__
His word, to hear the voice of His words.
Bless the Lord,___ all___ye His hosts, His min - - is-ters_that do___ His will.
Bless the Lord,___ all ye His works, in ev - 'ry place of His do - min -
ion. Bless the_ Lord,______ O my soul.
Glo - ry to the Fa - - - - ther, and to the Son, and to the Ho -
ly Spir - - it;
Both now______ and_____ ev - er, and un - to the a - - - ges_ of
a - - - -ges. A-men.
Bless the Lord,_____ O my soul,and all that is with-in______ me,__ bless
18

19
20

21

22

23
Typica - First Stasis - Plagal First Mode 128

__His__ ho - ly Name; bless - - ed___ art___ Thou,__ O______ Lord._______




The Typica

Second Stasis
Psalm 145

Grave Mode
adapted from Athonite Melody

Duration: 3:30

200
lo - - ry to the Fa-ther,and to the Son, and to the Ho - ly
Spir - -it; Praise the Lord,__ O my soul. I will praise the Lord in___
my life, I will chant un - to my God for as long as I have my be - -ing.
Trust ye not in prin - - - ces, in the sons___ of men, in whom there
is no sal - va - - tion.
2
Typica - Second Stasis - Grave Mode 130

3
4
5

6

7

8
His spir- it shall go forth, and he__shall re - turn un - to his earth.
In that day all____ his thoughts shall per - - ish.
Bless-ed is he of whom the God of Ja - cob is his help, whose hope
__ is in the Lord___ his God,
Who hath made__ heav - en and the earth, the sea___and all that is____
there-in,
Who keep - eth truth__ un-to e - ter - ni - ty, Who ex - ec - u - teth
judg-ment for____ the wronged,Who giv - - ethfood un - to the hun - - - gry.
The Lord loos - -eth the fet - - - tered; the Lord__mak-eth wise__ the
blind; the Lord set - teth a - right the fall - -en; the Lord lov-eth the
Typica - Second Stasis - Grave Mode 131

9

10

11
O
right - - eous; the Lord__ pre-serv-eth the pros - - e - lytes.
He shall a - dopt for His own the or - - phan and wid - - - ow,
and the way of sin - - ners shall He de-stroy.
The Lord shall be king___ un-to e - ter - ni - ty; thy God, O
Si - - on, un - to gen - er - a - tion and gen - - er - a - tion.
Both now and ev - - er, and un - tothe a - - ges of a - - ges.A-men.
n - - ly - be - got - ten Son and Word of God, ThouWho art im-
mor - tal, and didst con - de - scend for our sal - va - tion to be-come
in - car - nate of the ho - ly The - o - to - - kos and ev - er vir-gin
Mar-y, with - out___change be-com-ing man, Who wast cru - ci - fied, O Christ
Typica - Second Stasis - Grave Mode 132

our God, by death__ tram-pling down up - on death: Thou Who art___
one_____ of the Ho - ly Trin - - i - ty, glo - ri - fied___ with the Fa - ther
and with the Ho - ly Spir - it, save_____ us.____________
No one in chanting with a ready and eager mind will be blamed if he be
weakened by old age, or young, or have a rough voice, or is altogether
ignorant of rhthym. What is here sought for is a sober soul, an alert
mind, a contrite heart, sound reason, and a clear conscience.
If having these you have entered into God's sacred choir,
you may stand beside David himself. There is no need
of zithers, nor of taut strings, nor of a plectrum, nor skill,
nor any instruments. But if you will, you can make
yourself into a zither, mortifying the limbs of the
flesh, and forming full harmony between body
and soul. For when the flesh does not lust
against the spirit, but yields to its commands,
and perseveres along the path
that is noble and admirable,
you thus produce
a spiritual melody.

St. John Chrysostom, Commentary on Psalm 41




The Typica

Second Stasis - Psalm 145

Plagal First Mode
adapted from traditional Athonite melody
as written by Hieromonk Hierotheos of Philotheou Monastery

lo - - - ry to the Fa - ther, and to the Son, and to
the Ho-ly Spir - - it; Praise the Lord,__ O my soul. I will praise the
Lord__ in____ my life, I will chant un - to____ my God for as long as I
have my be - - ing.
Trust ye not in prin - -ces, in the sons of men, in whom there is no_
Duration: 3:00

200
2
Typica - Second Stasis - Plagal First Mode 134

_ sal - va - - tion.
His spir - it shall go______ forth,and he shall___ re - turn un - to
his earth.
In that day all his thoughts shall per - - ish.
Bless - - ed is he of whom__ the God of Ja - cob is his help,
whose hope___ is in___ the Lord___ his God,
Who hath made__ heav - - en and th earth, the sea___ and all___
that is____there-in,
Who keep - eth truth___ un - to e - ter - ni - ty, Who ex -
ec - u - teth judg-ment for___ the wronged, Who giv - - eth food un - to the
3

4
5

6

7
Typica - Second Stasis - Plagal First Mode 135

hun - - gry.
The___ Lord______ loos - - eth the fet - - - tered; the Lord__
mak - - eth wise___ the blind; the Lord set - teth a - right the fall - -
en; the Lord lov - - eth the right - eous; the Lord__ pre-serv-eth the
pros - - e - lytes.
He shall a - dopt for His own th or - - phan and wid - - - ow,
and the way of sin - ners shall He de - stroy.
The Lord___ shall be king un-to e - ter - ni - ty; thy God,
O Si - - on, un-to gen - er - a - - tion and gen-er - a - - tion.
Both now______and___________ ev - - - er, and un - to th__
8



9

10

11
Typica - Second Stasis - Plagal First Mode 136
a - - ges of a - - - - ges.__ A - - men.
n - - ly - be - got - ten Son and Word of___ God, Thou Who art
im -mor - - tal, and didst con - de - scend for our sal - va - tion to be -
come in - car - - nate of the ho - ly The - o - to - - kos and ev-er -
vir - gin Mar - - y, with-out__________change be-com-ing man, Who wast
cru - ci - fied, O Christ our__God, by death__tram-pling down up - on_____
death: Thou___ Who art one of the Ho - ly Trin - - i - ty,
glo - ri - fied___ with the Fa - ther and with the Ho - ly Spir - - it,
save______ us.____________________________

O
x - alt___________ ye the Lord our__God, and wor-ship at
the foot-stool of__His feet; for He is ho - - ly.
ave___ us, O Son____ of God, Who wast cru-ci-fied in the flesh,
as we chant to Thee:__ Al - le - lu - - i - a.




Entrance Hymns and
Second Antiphons
for Feast Days

Second Mode
adapted from traditional melodies

September 14
The Exaltation of the Cross

130
S
Entrance Hymns for Feast Days 138
rom the womb___ be - fore the morn - ing star have I be - got -
- ten Thee. The Lord hath sworn and will not re-pent: Thou art a priest
for - ev - - - er, aft - er th or-der of Mel-chiz-e - dek.
ave___ us, O Son____ of God, Who wast born of the Vir - - gin,
as we chant to Thee:__ Al - le - lu - - i - a.
ave___ us, O Son____ of God, Who wast cir-cum-cised in the flesh,
as we chant to Thee:__ Al - le - lu - - i - a.
December 25
The Nativity of the Lord

January 1
The Circumcision of the Lord
*

*
Note that this feast day has the regular entrance hymn: "Come let us worship" (see previous pages), but it
concludes with the words: "Save us, O Son of God, Who wast circumcised in the flesh. . ." as written here.
S
S
Entrance Hymns for Feast Days 139
January 6
Theophany

February 2
The Meeting of the Lord in the Temple

S
S
less - ed is He______ that com-eth in the Name of the Lord.
God is___ the Lord, and hath ap-peared un-to us.
ave___ us, O Son____ of God, Who wast bap - -tized by John in the
Jor - - dan, as we chant to Thee:__ Al - le - lu - - i - a.
he Lord_____ hath made known His sal - va - - tion, in the sight
of the na - tions hath He re - vealed His right-eous-ness.
ave___ us, O Son____ of God, Who wast car-ried in th arms of right -
eous_Sim -e - on, as we chant to Thee:__ Al - le - lu - - i - a.
Entrance Hymns for Feast Days 140
ro - claim____ from day to day the good ti - - dings of the
sal - va -tion of our God.
ave___ us, O Son____ of God, Who wast in - car - - nate for
us, as we chant to Thee:__ Al - le - lu - - i - a.
less - ed is He_____ that com-eth in the Name of the Lord.
God is the Lord, and hath ap-peared un-to us.
ave___ us, O Son____ of God, Who didst sit____ up - - on the
foal, as we chant to Thee:__ Al - le - lu - - i - a.
March 25
The Annunciation

Palm Sunday

S
S
Entrance Hymns for Feast Days 141
n con - gre - ga - - tions bless ye__ God, the Lord___from
the springs of Is - ra - el.
ave___ us, O Son____ of God, Who art ris - en__from the dead,
as we chant to Thee:__ Al - le - lu - - i - a.

Holy Pascha

Ascension

S
S
od is gone up______ in ju - bi - la - - tion, the Lord
with the voice of the trump - - - - et.
ave___ us, O Son____ of God, Who didst as - cend in glo - - ry
Entrance Hymns for Feast Days 142
e Thou ex - alt - - - ed, O Lord, in___Thy strength; we
will sing and chant of Thy might-y acts.
ave___ us, O good_Com - - fort - er, as we chant to
Thee:__ Al - le - lu - - i - a.

Pentecost

S
from us in - to the Heav - - ens, as we chant to Thee:__ Al -
le - lu - - i - a.
Entrance Hymns for Feast Days 143
a - - - bor and Her - mon shall re - joice___ in Thy name.
ave___ us, O Son____ of God, Who wast trans - fig - ured on Mount Ta -
- - bor, as we chant to Thee:__ Al - le - lu - - i - a.

August 6
The Transfiguration

S




Apolytikia of the
Resurrection

Adapted from Traditional Melodies

First Mode

130
hen the stone was sealed__ by the Jews and the sol - - diers
were guard - - ing Thine im- mac - u - late bod - y, Thou didst a - rise___
on the third__day, O Sa - viour, grant-ing life un - to the world. For which
cause the pow - - ers of heav - -en cried out to Thee, O Life- giv - er: Glo -
ry to Thy res - ur - rec - - tion, O Christ. Glo-ry to____ Thy King - -dom.
Glo-ry to Thy dis - pen - sa - - tion, O on - ly Friend_ of man.
Resurrectional Apolytikia 145

Second Mode

v
hen Thou didst de - scend____ un - to death, O Life Im-mor - - tal,
then didst Thou slay Ha-des with the light-ning of Thy Di- vin - i - ty. And
when Thou_didst al - so raise the dead out of the neth - - er world, all
the pow-ers of the___ heav-ens were cry-ing out: O Giv - er of life,
Christ our God, glo - ry be___________ to Thee.
Resurrectional Apolytikia 146

Third Mode

L
et the heav - - ens re - joice, and let things on earth be___ glad,
for the Lord___ hath wrought might_with His arm; He hath tram - - pled
up-on_____ death__ by__death; He hath be-come the first-born of the dead.
From the bowels of Ha-des hath He de - liv - ered us, and hath grant -
- ed great mer-cy to the world.
There is nothing upon earth holier, higher, grander, more solemn, more life-giving
than the Liturgy. The temple, at this particular time, becomes an earthly heaven;
those who officiate represent Christ Himself, the angels,
the cherubim, seraphim and apostles.

St. John of Kronstadt
Resurrectional Apolytikia 147

Fourth Mode

H
av - ing learned the joy - ful proc -la - ma - - tion of the Res - ur -
rec-tion from the an - - gel, and hav - ing cast off the an - ces - tral
con-dem-na - - tion, the wom - en dis - ci-ples spake to the A - pos -
tles tri - um-phant-ly: Death is de - spoiled_and Christ God is ris - - en, grant -
ing great mer - cy un - to____ the world.
Resurrectional Apolytikia 148

Plagal First Mode

L et us wor-ship the Word,Who is un - or - ig - i-nate with the
Fa - ther and the Spir - it, and from a vir - - - gin was born for our
sal - va - tion, O be-liev-ers, and let us sing His praise. For in His good-ness
He was pleased to as - cend the Cross_ in the flesh, and to un - der - go
death, and to raise up those___who had died, by His glo - ri-ous Res-ur -
rec - - - - tion.
Resurrectional Apolytikia 149

Plagal Second Mode

W
hen the an - gel - ic pow - - - ers were at Thy tomb, then they
that guard-ed Thee be-came as dead. And Ma - ry stood be-side the grave___
seek-ing Thine im - mac - u- - late bod- y. Thou hast de - spoiled_ Ha - des
and wast not tried there-by. Thou didst meet theVir-gin and didst grant life to us.
O Thou Who art ris - en from_ the dead, Lord,_ glo - ry be
to Thee.__
Resurrectional Apolytikia 150

Grave Mode

B
y Thy Cross Thou didst a - bol - ish death; to the thief Thou didst
o - - pen Par - a-dise; Thou didst trans-form the myrrh - - bear-ers'
lam-en - ta - - tion,and didst or - der Thine A - pos - - tles to preach that
Thou art ris - - - en, O Christ our__ God, be-stow-ing great mer - - cy
up - on___ the__ world.
Wherever there are spiritual melodies,
there does the grace of the Spirit come,
sanctifying the mouth and the soul.

St. Nicodemus
of the Holy Mountain
Resurrectional Apolytikia 151

Plagal Fourth Mode

rom the heights didst Thou come down, O Com - pas-sion-ate One. And
Thou didst sub-mit to three - day bur - i - - al____ that from the pas -
sions___ Thou might de - liv - - er us. O our Life___and Res - ur - rec -
- tion, O Lord, glo - ry____ be to___ Thee.












Thrice-Holy Hymn

Brief Melody for Weekdays

Second Mode
adapted from traditional Athonite melody

o - ly___God,___ ho - ly___ Might - - y, ho - - ly
Im - mor - - tal, have mer - cy___on us.

100
Thrice-holy Hymn - Second Mode - Brief Melody 153
o - ly___God,___ ho -ly__ Might - - y, ho - - ly Im - mor -
- - - tal, have mer - - cy__ on us.________
lo - ry to the Fa - - ther,and to the Son, and to the Ho -
- ly Spir - - - it.
oth now and ev - - er, and un - to th a - - ges of a - - ges.
A - men.
o - - ly Im - mor - - tal, have mer - - cy on us.
eh.___ Dy - - - na - - mis. Ho-ly___God,____ ho - ly___ Might-
- - y, ho - - ly Im - mor - - tal, have mer - cy on us._______

Alternate Melody:
H
G
B
H
N










Thrice-Holy Hymn

First Mode
adapted from Kyriakos Ioannidou "Kalogerou" ("the monk") (1844-1914)

Duration: 6:00
'

88
o - ly___God,___ ho - - - - ly__ Might - - y,
ho - ly__ Im - - mor - - - - tal,_____________have mer - - - cy_________
on_______________ us.
(repeated twice)

Thrice-holy Hymn - First Mode 155
o - - - ly___ God,________________ ho - - - - ly__ Might -
- - - - y, ho - - - ly___ Im - - - mor - - - tal,_______
____have mer - - - cy_________ on______________ us.
lo - ry to the Fa-ther,and to___ the________ Son, and to the Ho -
- - - ly__________ Spir - - - - - it.
oth now and ev - - er, and un - - to th____ a - - ges
of a - - - ges.__ A - - - men.
o - - - ly___ Im - - mor - - - - tal,____________have mer - -
cy_________ on______________ us.

H
G
B
H
for the third time:
Thrice-holy Hymn - First Mode 156

eh.___________ Dy - - - - - - - - na - - - - mis.
o - - - - - - - - - - - - -ly_______________________
________________________________________ God,_______________________________
_______________ ho - - - - - - - - - ly God._________________
___________________________
o - - - - - - - - - - - - -ly_______________________
__________________________________________ Might - - - - - - - - -
- - - - - y,___ ho - ly Might - - - - - - - - - y________
_____________________________________________

N
H
H
Dynamis
Thrice-holy Hymn - First Mode 157
o - - - - - - - - - - - - - - - - - - ly_______
__________________________________ ho - - - - - - - ly Im -
mor - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - Im -
mor - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - tal,_____________________
ave mer - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - have mer - - - - cy___ on________
__ us._______________________________________________________________________
___________________________________________

H
H






Thrice-Holy Hymn

Second Mode
adapted from traditional Athonite melody

(repeated twice)

o - - - ly______ God,____ ho - - - ly______ Might - - y,
ho - - - ly______ Im - - mor - - - - - tal, have______ mer - -
- cy___ on us.________
Ho- ly God,____________________________________________________________
__ ho - - - ly___ Might - - - - y, ho - - ly______ Im - - mor - -
Duration: 7:30
'

88
H
3
Thrice-holy Hymn - Second Mode 159
- - tal,______ have mer - - - - - cy_________ on__ us._________
Glo-ry to the Fa-ther,and to the Son, and to the Ho - ly Spir - -
it.
Both now and ev - - er, and un - to the a - - - ges of a - - ges.
A - men.
Ho - - ly______ Im - - mor - - - - tal,______________ have mer -
- - - - - cy_________ on__ us.___

eh._____ Dy - - na - - mis_____________________________________
_____ Dy - - na - - mis.___
'

'

Dynamis by Simon Avagianos (d. 1917)

4

5

6
7
N
Thrice-holy Hymn - Second Mode 160
o - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - - ly____ ho - - - - - ly____ God_______________________
______________________________________________________________________________
________ho - - ly God_____________________________________________________
__________________________________________________________________ ho - - ly___
God,________
o - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - ly____ ho - - - - - ly____
Might - - - - - - y____

H
H
8
Thrice-holy Hymn - Second Mode 161
______________________________________________________________________________
___________ ho - - ly Might - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - (t)y________________ ho - - ly_
__ Might - - y,
o - - - - - - - - - - - - - - - ly_______________
______________________________________________________ ho - - - - - -
ly____ Im - mor - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - Im - mor - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -

'

'

'

'

H
9
Thrice-holy Hymn - Second Mode 162
- - Im - - - - - mor - - - - - - - - tal,_______________
__________________________
ave_____ mer - - - - - - - - - - - - have mer - -
- - - - - - cy____________________ on__________ us.______________
___________________________

H
10
Pray gently and calmly, sing with understanding and rhythm;
then you will soar like a young eagle high in the heavens.
Psalmody calms the passions and curbs the
uncontrolled impulses in the body.

Evagrios the Solitary
(from the Philokalia)
o - - ly__ God,_____ ho - - - ly______ Might - - y,
ho - - - - ly Im - - mor - - - tal, have mer - - cy________ on__
_______ us.
(twice)

Ho - ly God,_______________________________________________ ho -
- - ly_Might - - y, ho - ly______ Im - - mor - - tal, have_____
mer - - - cy________ on_________ us.





Thrice-Holy Hymn

Plagal Fourth Mode
adapted from George Karakasis (1916-1990)
the Protopsaltis of Beirut (1964-1973)

'

'

Duration: 6:00
'

88
H
3

Thrice-holy Hymn - Plagal Fourth Mode 164
Glo-ry to the Fa - - ther,and to the___ Son, and___ to_____ the
Ho - - ly____ Spir - - - - it.
Both now________ and_____ ev - - - er, and un - to_______
the___ a - - - ges of a - - - - ges.__ A - - - men.
Ho - ly______ Im - - mor - - tal, have_________ mer - - cy___
____ on______________ us.
Dynamis

eh.______________________________________________ Dy - - - - -
- - - - - - - - na - - - - - dy - - na - - mis.___
o - - - - - - - - - - - - - - - - - - - - -

4

5

6


7


H
N
Thrice-holy Hymn - Plagal Fourth Mode 165

- - - - - - - ly______________________________________________
________________________________ God,___________________________________
_________________________________________________________________
o - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - ly______________________________________________
________________________________ Might - - - - - - - - - - -
- - y_________________________________________________________
o - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - -
ly______ Im - mor - - - - - - - - - - - - -

'

H
H


8



9


Thrice-holy Hymn - Plagal Fourth Mode 166
- - - - - - - - - - - - - - - - - - - - - - -
- Im - mor - - - tal,___
ave mer - - - - cy______________________________________________
__ have mer - - cy__ on____ us.___________________________________________

'

H


10

s man - y of you as were bap-tized in - to Christ have
put___ on__ Christ. Al - le - lu - - i - - - - a.
(twice)

As man - - - y___ of____ you as were bap - - tized in - - to___
Christ have put______________________ on______Christ. Al - - -
le - - - - lu - - - i - - - - a.





As Many of You
as Were Baptized

First Mode
Brief version adapted from
Constantine Pringos (1892-1964)

'

80
3

As Many of You as Were Baptized 168

Slower Version
adapted from traditional melody
A
Glo - ry to the Fa - - ther, and to the Son, and to the Ho-ly Spir - -
it.
Both now and e - - ver, and un - to the a - - ges of a - ges.
A - men.
Have put___ on__ Christ. Al - le - lu - - i - - - - a.


s man - - y of you as were bap - - tized in - - to______ Christ
____ have put____ on__ Christ._____ Al - le - lu - - - - - - - i - -
- - - a.

(twice)

4

5

6
As Many of You as Were Baptized 169

As__ man - - - y____ of______ you as______were bap - - - tized

in - - to______ Christ have put___________ on_________ Christ._______
_ Al - - - le - - lu - - - - - - i - - - - a.
Glo - ry to the Fa - - ther,_and to the Son,_______ and to the
Ho - - - ly________ Spir - - - - - it.
Both now and__ e - ver, and un - to the a - - - ges of__ a - -
ges.______ A - - - - men.
Have put____________ on__________ Christ.__________ Al - - - le - -
lu - - - - - - i - - - - a.
3


4

5

6
5

6
As Many of You as Were Baptized 170
Dynamis

by Constantine Pringos

'

eh__________ Dy - - - - - - - - - na - - - - - - -
- - - - mis. As_________________________________________ ma - -
- - - - - - - - - - - - - - ny of____ you as_______
__________________________________________________________ were bap - -
ti - - - - - - - - - - - - - - were__________ bap - -
- - - - - - - - - - tized in - - - - - to____________
_______________________________________________ in - to Christ________
______________ have__________ put_____________________________________
______________________ on___have________ put________________________________
N
Duration: 2:45
As Many of You as Were Baptized 171

'

'

________________________________________________ on_______ have______ put_
____ on____________________________ Christ_________________________________
_________________ Al - - - - - - - - le - - - -
- - - - - - - lu - - Al - - le - lu - - i - - - - a__________
_____________________________________________________________________________
_______

Just as swine run to a place where there is mire
and bees dwell where there are fragrances and incense,
likewise demons gather where there are carnal songs
and the grace of the Holy Spirit settles
where there are spiritual melodies,
sanctifying both mouth and soul.
St. John Chrysostom
hy Cross______ do___ we__________ wor - ship, O_____________
____ Mas - - - - ter, and we glo - - ri - - - fy Thy ho - -
- ly Res - - ur - -rec - - - - - tion.
Thy Cross________________________________________________ do____
we___________ wor - ship, O_________________ Mas - - - - ter, and
we glo - - - - - - ri - - - - fy Thy ho - - - ly__




Thy Cross do we Worship

Second Mode
adapted from Peter the Peloponnesian (d. 1777)

(twice)

Duration: 4:00
'

88
3
Thy Cross Do We Worship 173
Res - - ur - - rec - - - - - - - - - - - tion.
Glo - ry to the Fa - - ther, and to the Son, and to the
Ho - - ly Spir - - - it.
Both now and ev - - er, and un - to the a - - ges of a -
ges. A - men.
And we____ glo - - ri - - fy Thy ho - ly Res - - - ur - -
rec - - - - - - tion.

Neh.__ Dy - - na - - - - mis.
hy Cross___________________________________________________ do___

'

Dynamis

Dynamis adapted from
Constantine Pringos
T
4

5

6


7
Thy Cross Do We Worship 174
we___ wor - - - - - - - - - - -ship, O_____ Mas - - - -
- - - - ter,___ and______ we___ glo - - - - - - ri - - - -
- - - - - - - fy Thy ho - - - - - - - - - - - -
- - - - - - Thy__________ ho - - - - - - ly re - -
sur - - rec - - - - - - tion.________________________________________
_____________________________

'

'

'

Lord Save the Faithful

For Hierarchal Liturgies after the Thrice-holy Hymn
Third Mode
adapted from Constantine Pringos (1892-1964)

'

ord,_________________ save the faith - - - - ful.____________

____________________
(repeated thrice)


nd______________ heark - - - - - - - - - en___________ and_
_heark - - en_________________________ un - to_____ us.__________
A










Alleluia

(After the Epistle)

Brief Versions

Second Mode
adpated from Athanasios Karamanis (1911- )

l - le - lu - - i - a. Al - le - lu - - - - i - - - a.
Al - - le - - lu - - i - a.___________

108
Alleluia - Brief Versions 177

Second Mode
by Constantine Pringos (1892-1964)

'

Plagal First Mode
by Nectarios Thanos the Lampadarios

* Finale:

A
A
l - le - lu - i - a. Al - le - lu - - - i - - a. Al - le - -
lu - - i - a._________
l - le - lu - - i - a. Al - le - - lu - - - - - i - - -
- - a. Al - - - le - lu - - i - a.
lu - - -i - a.____________________________________________
l - - - le - - - -lu - - - - - - i - - - - a.
Al - le - lu - - - - i - - - - - a. Al - le - lu - - - -
- i - - - - - a.________________

a.___________________________________________________








Alleluia

First Mode
by Hieromonk Gregory of Simonos Petras Monastery

'

96
* Finale:
Alleluia 179
l - le - lu - - - - i - a. Al - le - - lu - - - - -
i - - - - a. Al - - - - - le - - lu - - - - - - - i -
- - - - a.

i - - - - - a.____________

First Mode
Alternate Melody
by Simon Karas (d. 2000) the Byzantine Musicologist

'

'
*

'

'

* Finale:
A
Alleluia 180
l - le - lu - i - - a. Al - - le - - lu - - - - - - i -
- - - - - a. Al - - - - - le - - lu - - - - - - - -
i - - a.___________________

i - - a._____________

Second Mode
by Simon Karas

* Finale:
A
Oh, that blessed alleluia of heaven that the angels chant
where God dwells! There, the harmony of those who
hymn God with words and deeds is perfect! So
let us take care to chant the alleluia with
perseverance now, so that we will be
counted worthy of chanting it
with stillness then.
Blessed Augustine
Alleluia 181
l - le - lu - - - i - - a. Al - le - lu - - - - i -
- - - a. Al - - le - - lu - - - - - al - le - lu - - - i - -
a.______

i - - a.________________

Second Mode
"Deuteroprotos"
by Nectarios Thanos the Lampadarios

* Finale:
A
Alleluia 182
l - - - - - le - - - lu - - - - - - - - i - - - -
a. Al - le - lu - - - - - - - i - - - - - - - - a._
____(+a)________________ Al - - - le - - - - - - - - - -
- - - al - le - lu - - i - - - a.________(+a)_______________

a.________(+a)____________________________

Third Mode
by Gregory Stathes
Professor of Psalmody at the University of Athens

* Finale:
A
Is anyone cheerful? Let him chant.

James 5:13
Alleluia 183
l - le - lu - - -i - - a. Al - - le - - lu- - - -
i - - - - a. Al - - - - - - - - le - - - - lu - - -
- - - i - - - - a.___

i - - - - a.____________

Third Mode
Briefer Melody
by Simon Karas

'

* Finale:
A
Alleluia 184

Fourth Mode
"Agia"
by Simon Karas

'

* Finale:
A
l - le - - lu - i - - a. Al - le - - lu - - - - - i -
- - - - - a. Al - - - - - - - le - - -lu - - - - -
i - - - - - - a.

i - - - - - - a.____________________
Psalmody is the weapon of a monk,
by which he chases away grief.

St. John of the Ladder
Alleluia 185
l - le - lu - i - - a. Al - le - lu - i - - -a.__________
Al - - - le - - lu - i - - -a.____

i - - a.__________________

Fourth Mode
"Legetos"
by Nectarios Thanos

* Finale:
A
Alleluia 186
l - le - lu - i - - a._______________ Al - - - le - lu -
- - - - -i - - - - - a.____ Al - - - - - - le - - -
lu - - - i - - - - a.

Al - - - - - le - - - - lu - - - - - - i - - a._________
_____________________________

Plagal First Mode
by Gregory Stathes

* Finale:
A
When pleasure predominates during psalmody,
then through this pleasure we are brought
down to passions of the flesh.
St. Basil the Great
Alleluia 187
l - - le - - lu - - i - - - a. Al - - - le - - lu -
- - - - - i - - - - -a. Al - - le - - - - lu - - - -
- - i - - - -a.________________

Plagal First Mode
Alternate Melody
by Hieromonk Hierotheos

A
ThE BurnIng BuSh
Alleluia 188
l - - - - - - - le - lu - - - i - - - - - - a.
Al - le - lu - - - i - - - - - a.___________________________ Al -
le - lu - - - - - - - - - - i - - - - - - a.

i - - - - - - a.______________

Plagal Second Mode
by Hieromonk Gregory

* Finale:
A
I will sing unto the Lord,
Who is my benefactor, and I will
chant unto the name of the Lord Most High.

Psalm 12:6
Alleluia 189
l - le - - lu - i - - a._____________ Al - - le - lu - - - -
- - - i - - - - a. Al - - - - - - le - - - lu - - -
- - - - - -i - - - - - - a.

i - - - - - - a.___________________________________________

Plagal Second Mode
Alternate Melody
by Simon Karas

'

* Finale:
A
Alleluia 190
l - le - lu - - - - - i - - - - - - a.____________
Al - le - lu - - - i - - - - - - a._____ Al - - - - - -
- le - - lu - - - - - i - - - - - - a.

- i - - - - - a.__________________________

Grave Mode
(Diatonic)
by Hieromonk Gregory

* Finale:
A
Those who chant in the churches
should refrain from forcing their nature to yell,
but also from saying anything else that is unsuitable for the church.
Canon LXXV of the Sixth Ecumenical Synod

Alleluia 191
l - le - lu - i - a. Al - le - - lu - i - - a.____ Al -
- le - lu - - -i - - a.

lu - - i - - - - a.____________

Grave Mode
(Enharmonic)
by Nectarios Thanos

* Finale:
A
Alleluia 192
l - le - lu - - - - - i - - - - - - a. Al - le -
lu - - - - i - - - - - -a.______________________________________
Al - - - - - - - - le - lu - - - - - - - i - - - -
- a.

i - - - - - - a.__________________________________________

Plagal Fourth Mode
by Hieromonk Gregory

* Finale:
A
Alleluia 193
l - le - lu - i - - a. Al - le - lu - - - - - - -i - -
- - - a. Al - - - - le - lu - - - - - i - - - - - a.

i - - - - - - - a.___________

Plagal Fourth Mode
Alternate Melody
by Nectarios Thanos

* Finale:
A
j{x | {tx x {t {x z x x x {t
{x {|z {|v{ | z? \ vyx {t \ {tx |xw
utxy tw {x xyx {xt {x |zxA
Uxxw Tz|x




Arise, O God
Judge the Earth

Chanted instead of "Alleluia"
after the Epistle on Holy Saturday

Grave Mode

* Finale:

84
- rise, O____ God,judge_________ th__________ earth;_____
for____ Thou shalt___have an_____ in - her - it - - - - ance a -
mong____ all____________ the___ na - - - - - - tions.__


the___ na - - - - - - - - tions.__________________________


lo - ry to Thee, O__Lord, glo- ry to Thee._________


lo - ry to Thee,_______ O_______ Lord, glo - - - ry____ to
Thee._______




Glory to Thee, O Lord

(After the Gospel)

Plagal Fourth Mode
adapted from Athanasios Karamanis

108

88
Alternate Version
adapted from Hieromonk Hierotheos
G
Glory to Thee, O Lord

196
lo - - - ry______ to____ Thee,_______ O____ Lord,____________
________________ glo - - ry____ to Thee._______


lo - ry to Thee, O Lord, glo - ry__ to Thee._______


lo - ry to Thee, O______ Lord,_____________ glo - - - ry____
to Thee._________________

Another Version
adapted from Hieromonk Hierotheos
Modified Fourth Mode
adapted from Hieromonk Hierotheos
Third Mode
adapted from Hieromonk Gabriel Kountiadis

88

108

108
G

G

G

Man - y__years_______ to______ Thee, O_______________ Mas - ter.


Man - y years________________________ to_______________ Thee, O_
_______________________________________________________________________ Mas-
- - ter._________
Ei" pol la e th De spo ta


Ei" pol la e th De
spo
ta


E
j

;
e
[

v

Many Years to Thee, O Master

Second Mode
traditional melody

'

'

'

80
Modified Fourth Mode
by Constantine Pringos
1


2


Eis Polla Eti Despota 198
Ei" pol la e
th De spo ta


Ei" pol la e th De
spo ta
Man - - - y years___________________________________ to__________________
Thee, O_____________ Mas - - - ter.________


Man - y years__________________ to______________Thee, O_________
______________ Mas - - - -ter._______________

Fourth Mode
by Hieromonk Hierotheos
Alternate Melody
by Hieromonk Hierotheos
3



4

Eis Polla Eti Despota 199
Ei" pol la e th De spo
ta


Ei" pol la e th De
~e De spo ta
Man - y years______________ to__________Thee, O___________________ Mas-
- - - -ter.


Man - - - y years_____________________ to___________________Thee, O_
__________________ Mas - - - - - ter.__________________________________
______________________

Second Mode
by Hieromonk Hierotheos
Fourth Mode
by Hieromonk Hierotheos
5



6














Cherubic Hymn

First Mode
adapted from Athanasios Karamanis (1911- )

Duration: 4:45 +
1:15 + 1:00
'
54
et us__________________ who___________________________________
______________________________________________________________________________
Cherubic Hymn - First Mode - Karamanis 201

________________________________________ let________________ us_______

who______________________ my - - - - - - - - - - -
- - - - - - - - - - mys - - - - ti - - c'ly_____ rep - -
- - - re - - - sent______________ the___________ Che - ru - - -
bim________ the Che - - - - -ru - bim__________________________________
and_____________________ chant_________________________________________
_______________________________________________________________ and chant_
_________________________________________________________________________
the thrice - ho - - - - ly__________________ hymn_______________ to
the__ life - - - - - - - the_____________________ life - - - - - -
Cherubic Hymn - First Mode - Karamanis 202

giv - - - - - ing_______________________ Trin - i - - - ty now
__ lay a - - - side______________ ev - 'ry____ earth - - - -
- - - - ly care__________________ ev - - 'ry___________ earth - - ly_
_______ care,

hat____ we______ may____________ re - ceive__ that______ we___
may______ re - - - ceive__________________________________________________
_________________ the____ King__________________________________________
__________________________________________________________________________
the___ King________ of_______________ all
T
Cherubic Hymn - First Mode - Karamanis 203
After the Great Entrance:

n - - - - - vis - - i - bly________ es - cor - - - - -
- - ted___________________ by th an - ge - - lic___ or - - -
ders. Al - le - lu - - - i - - - a.________________________________
________________
I
Continue with anaphora
on page 266 or 270

Cherubic Hymn


First Mode
adapted from Theodore Papaparaschou
"Phokaeus" (1790-1851)

'

[

Duration: 5:00 +
1:00 + :45
'
76
L
et us____________________________________________________ who_
_____________________________________________________________________________
_________ let____ us________ who______________________________ mys - -
- - - - - - - -sti - - c'ly___________ rep - re - sent___________
_____________________________________________________________________________
Cherubic Hymn - First Mode - Phokaeus 205

_____________________________________________________________________________
______________________________________________________________________________
________ rep - - re - - - sent___________________________________________
the_______________________ Che - - - - - ru - - - - - - - -
- - - - - the Che - - ru - bim_________________________ and________
____ chant___________________________________________________________________
________________________________________________________ and chant_____
____________________________ the thrice - ho - - - - ly____ hymn__ to____
________________ the life - gi - - - - - - - - - - - - - - -
- - - - - - - - the life - - giv - - - - ing___________________
Cherubic Hymn - First Mode - Phokaeus 206

T
Trin - - - - - - - i - - - - ty__ now_______________ lay______
_now lay____ a - - - side_______________________________ ev - 'ry
earth - - - - ly__________ care_________________________________________
__________________________________________________________ ev - - 'ry__ earth -
- ly______ care,_______________________________
hat___________________ we may___________ re - ceive__________________
_____________________________________________________________________________
_____________________________________________________________________________
______________________________ re - ceive________________ the________ King_
__________________ of__________ all
Cherubic Hymn - First Mode - Phokaeus 207
After the Great Entrance:

I
n - - - vis - - i - - bly es - cor - - - - ted____________
____ by th an - ge - - - - - - lic___ or - - - - - - -
- - - - -ders. Al - - - - le - lu - - - - - i - a.____
_________________________
To recite the psalms with melody
is not done from a desire for pleasing sound,
but it is a manifestation of harmony among the thoughts of the soul.
And melodious reading is a sign of the well-ordered
and tranquil condition of the mind.

St. Athansius the Great
Continue with anaphora
on page 266 or 270

Cherubic Hymn

Second Mode
adapted from Athanasios Karamanis (1911- )

Duration: 4:15 +
:45 + :45
'
60
L et________________ us______________________________________________
___________________________________________________________ who_____________
__________________________________________________________________________
Cherubic Hymn - Second Mode - Karamanis 209

'

'

_______________________ let___ us___ who_____ mys - ti - - c'ly______
rep - - - - - - re - - - - - sent__________________________________
_________ the______ Che - ru - - - - - bim___________________________
the Che - -ru - - bim______ and chant__________________________________
_____________________________________________________________________________
_____________________________________________________________________________
________________ and chant______________________________________________
__________________________ the___thrice - - ho - - ly____ hymn________
________ to the life - - - - -giv - - ing____ Trin - - - i -
- -ty________ now lay______ a - side_______________ ev - 'ry______
Cherubic Hymn - Second Mode - Karamanis 210

earth - - - - ly______ care ev - - - - - - - - - - - -
- - - - - - 'ry________________________________________________earth - -ly
__ care,________
hat_________we___ may re - ceive________________________________
the King_________________ of___ all____ the King_____________ of_
____________________ all_____________________________________________
After the Great Entrance:

n - - - vis - i - - bly es - - - cor - - - - - ted___
by th an - ge - - - - - lic___ or - - - - - ders. Al - le -
lu - - - - i - - - - - a.______________
T
I
Continue with anaphora
on page 274 or 278





Cherubic Hymn

Second Mode
adapted from Theodore Papaparaschou "Phokaeus" (1790-1851)

et________________ us_____________________________________________
_____________(s) who_________________________________________________________
_____________________________________________________________________________
_____ let___ us___ who___ my - - - - - - - - - - - - - -
- - - - - - mys - - ti - - - - c'ly_____________________________
_______ rep - re - sent_____________________________________________________
Duration: 5:15 +
:45 + :45

76
L
Cherubic Hymn - Second Mode - Phokaeus 212

'

___________ rep - - re - - sent_______________________________________
rep - - - re - - - - sent_____________________________________ the_
_______________________________________________________________________ Che -
ru - bim___________________________________________the Che - - ru - bim____
__________________________ and chant__________________________________
____________________________________________________________________ and
chant______________________________________________________ and chant________
___________________________ the thrice - ho - ly___ hymn__ to_______ the
life - gi - - - - - - - - - - - - - - - -the life - giv - - -
- - - - - - ing_____________________________________ Trin - - - -
Cherubic Hymn - Second Mode - Phokaeus 213

[

]

[

]

I
T
- - - - - - - (n)i - - - - - - - ty____ now___ lay_________
a - side_______________________now__ lay___ a - - side___ ev - 'ry
earth - - - - - - - - - - - - - - - - ly___ earth - - ly_
_________ care,_____________________________________
hat we may re - - ceive________________________________________
_________________ may re - ceive__________________________________________
____________________ the King____________________________ the___ King___
__ of___ all____
After the Great Entrance:
n - - - - vis - - i - - bly___ es - - cor - - - ted___
Cherubic Hymn - Second Mode - Phokaeus 214

by th an - ge - - - - - - lic or - - - - - ders.__ Al - le -
lu - i - a.__________________________________
A religious hymn is a great blessing
for everyone. It constitutes praise to the Most
High, honor for His holy people, worldwide harmony, an
eloquent proof of the Church's unity. It expresses the voice of the
Church, its confession. It brings about a complete spiritual uplifting
and absolute peace and joy in redeemed hearts, with the triumphal
hymn and song of happiness. It drives away hardness of heart.
It chases away disturbance. It dissolves and dissipates
despondency. . . The voice sings the soul's joy,
while the spirit delves into the
mysteries of the faith.

St. Ambrose of Milan

Continue with anaphora
on page 274 or 278




Cherubic Hymn

Third Mode
adapted from Hieromonk Hierotheos
of Philotheou Monastery

Duration: 3:15 +
:15 + 1:00

76
L
et us_________ who_________________________________________
_____________________ let____ us____who_________________________ mys -
- - - - - ti - - - - c'ly________________ rep - re - sent_____________
_________ the___________ Che - - ru - - bim______________________
and_________________________________________________________chant__________
__________________ the thrice - - - - - - - - - - - - -
Cherubic Hymn - Third Mode - Hierotheos 216

T
- - - - - - - - - - - - - - - - - - - - - - -
ho - - - - - - ly_______________ hymn_____________ the thrice-
ho - - - - - - ly_________ hymn to________ the______ life - - -
- - - - - giv - - ing Trin - - - -i - ty________________________
__________ now___________ lay a - - - - side_______________________
__________ ev - 'ry earth - - - - - - ly__________ care ev -
- - - 'ry earth - - - ly___ ev - 'ry earth-ly care

hat we may re - ceive________ the___ King______ of________ all_
___________________
Cherubic Hymn - Third Mode - Hierotheos 217

After the Great Entrance:

n - vis - - - i - - bly___________________________________ es -
cor - - - - ted by th an - ge - - lic__ or - - - ders._______
Al - le - lu - - i - - - a.________________________________________
________________
I
O chant unto our God, chant ye;
chant unto our King, chant ye. . .
O chant ye with understanding.

Psalm 46:6-7
Continue with anaphora
on page 283 or 287













Cherubic Hymn


Third Mode
adapted from Gregory Levitis (1777-1822)
the Presiding Protopsaltis of the Patriarchate of Constantinople (1819-1822)

et us_________________________________________________________
____________________________(s) who___________________________________________
Duration: 6:30 +
1:30 + 1:00
'
70
Cherubic Hymn - Third Mode - Gregory 219

'

__________________________________________________ let us_____ who___________
__________ mys - - - - - - - - - - - - - - - - ti - -
- c'ly__________ rep - re - sent__________________________________________
____________________________________________________________________ rep - re -
sent________________________________________ the_________________________
_____________________________________________________________________________
Che - - - - - - - - - - - - - - - - the___Che - - - -
- - - - - ru - - bim____________ and chant_______________________
__________________________ and chant________________________________________
_______________________and_______ chant____________________ the thrice -
Cherubic Hymn - Third Mode - Gregory 220

T
ho - - - - - - - - - - ly____ the thrice - ho - ly hymn_______
to____________________________________________________________________ to
the life - - gi - - - - - - - - ing____________ Trin - - i - - -
ty__________________________ now_________________ lay__________________
a - - - - - - - side_______________________________________________ now
lay a - - side____________________ ev - 'ry earth - - - - - - - -
ly______________ care____________________________________________________
_____________________________________________________________________________
__________ ev - 'ry earth - - ly care,__________________________
hat we may re - ceive_____________________________________________
Cherubic Hymn - Third Mode - Gregory 221

I
_____________________________________________________________________________
____________________________________________ that___ we_____________
may_____________________________________ re - - - ceive___________________
____ the King____________ of all__________________________
After the Great Entrance:

n - - - - - vis - - i - - bly es - cor - - ted by th
an - ge - - - lic or - - - - - - ders._________ Al - le - lu - -
i - a._____________________________________________________________________
_____________
Continue with anaphora
on page 283 or 287













Cherubic Hymn

Fourth Mode (Agia)
adapted from Thrasyvoulos Stanitsas (1910-1987)
the Protopsaltis of the Patriarchate of Constantinople (1960-1964)

Duration: 3:45 +
:30 + :45
'

70
L
et___ us______________ who_____________________________________
________________________ let____ us who___________________________
Cherubic Hymn - Fourth Mode (Agia) - Stanitsas 223

'

mys - - - - - - - - - - - - - - - - - mys - - ti - -
- c'ly___________ rep - re - sent__________________________ the
Che - - ru - - - bim the_ Che - ru - - - bim__________________________
and chant_______________________________________________________________
_______________________________ and chant_____________________
the___thrice - - ho - - ly________ hymn____ to the life - - - -
- - - - - giv - - ing____ Trin - - - - - - - i - - ty
now__________ lay_______________ a - - - now lay____ a - side___________
_____________ ev -'ry earth - ly care___________________________________
________________________________________________________________ earth - -
Cherubic Hymn - Fourth Mode (Agia) - Stanitsas 224
-ly care_________________________
hat___ we____ may re - ceive the_____ King________ of all_______
__________________
After the Great Entrance:

n - vis - - - i - - bly es - - - cor - - - - - - - -
- ted by th an - ge - - lic or - - - - - ders.__________
______________________ Al - le - lu - - -i - - - - a._______________
________________

I
T
Continue with anaphora
on page 295










Cherubic Hymn

Fourth Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

Duration: 3:30 +
:20 + 1:00
'
72
L
et us_______________________________________________ who___
____________________________________________ let______________________
__ us____ who___ mys - ti - c'ly____________________ rep - - - re -
Cherubic Hymn - Fourth Mode (Legetos) - Gregory 226

'

T
- sent______________________________ the__________________________________
_________________ Che - - -the Che - - - - - ru - - - the Che - - ru -
bim__________________________ and chant___________________________
_____________________________________________________________________________
_____________________________________________________________________________
________________and__ chant____________________ the thrice - ho - - - -
- ly______ hymn____________ to the life - - giv - - - - - - ing
Trin - - - - - - - i - ty now lay a - - - side_____ ev - 'ry
earth - - - - - - ly________care ev - - 'ry earth-ly care,__
hat we__ may___ re - ceive the King_____________ of____ all____
Cherubic Hymn - Fourth Mode (Legetos) - Gregory 227
After the Great Entrance:

I
n - - - vis - - - i - - - in - vis - - i - bly_______________
__________ es - cor - - - - - - - ted by th an - ge - -
lic______ or - - - - ders.___ Al - le - lu - - -i - - - - a._
________________________
When you approach a king, you stand before him bodily, entreat him orally, and fix
your eyes upon him, thus drawing to yourself his royal favour. Act in the same
manner, whether in church or in the solitude of your cell. When in God's
name you gather together with the brethren, present yourself bodily to
God and offer Him psalms chanted orally; and likewise keep your
intellect attentive to the words and to God Himself, aware of
whom it is that your intellect addresses and entreats. For
when the mind devotes itself to prayer actively and
with purity, the heart is granted inexpressible
peace and a joy which cannot be taken away.

Theoliptos, Metropolitan of Philadelphia
(from the Philokalia)

Continue with anaphora

on page 291










Cherubic Hymn


Plagal First Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery
`

)V

et us_________________________________________________ who_____
_____________________________________________________________________________
_________________________________ let___ us who____________________________
Duration: 3:45 +
:30 + 1:00
-

72
L
Cherubic Hymn - Plagal First Mode - Gregory 229

)_
#%

&

)+

)+ )_

4 6 )+ )+)

_______________ my - - - - - - - - - - - - - - - -
- - - mys - - - - ti - - c'ly___ rep - re - sent___________________
_____________________ the________________________________________ Che -
- - - - - - - - - - - - - - - - - - -the Che - - ru -
bim____________________________________________ and chant_________
_____________________________________________________________________________
____ and chant______________________________________________________
the thrice - ho - - - - - - ly___________hymn____________ to____ the
life - giv - - - ing______ Trin - - - - i - - - - - ty____________
____ now - - - - - - - - lay___ a - - side ev - 'ry___
Cherubic Hymn - Plagal First Mode - Gregory 230
earth - - - - - ly______________ care,
hat we may re - - ceive the__ King_____________ of_________ all
n - - vis - i - - bly es - - cor - - - ted______ by th___ an -
ge - - - - lic______ or - - - - - - - ders._______________
Al - le - lu - - i - - a.____________________________________________

&

&

&
\

T
I

O THE WISE INVENTION OF THE TEACHER
WHO CONTRIVES THAT IN OUR SINGING WE LEARN
WHAT IS PROFITABLE, AND THAT THEREBY DOCTRINE
IS SOMEHOW MORE DEEPLY IMPRESSED UPON OUR SOULS
WHAT IS LEARNED UNDER DURESS TENDS NOT TO BE RETAINED,
BUT WHAT SUAVELY INGRATIATES ITSELF SOMEHOW ABIDES
WITHIN OUR SOULS MORE STEADFASTLY.

ST. BASIL THE GREAT
Continue with anaphora
on page 299 or 303




Cherubic Hymn

Plagal First Mode
adapted from Theodore Papaparaschou "Phoakaeus" (1790-1851)

Duration: 5:15 +
1:15 + 1:00
'
76
et us____________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_______________________________ let_____________________ us___who_____
___________ my - - - - - - - - - - - - - - - - - -
Cherubic Hymn - Plagal First Mode - Phokaeus 232

'

- - - - - - - - mys - - - - ti - - 'cly_________ rep - re -
sent___________________________________________________________________ rep -
re - sent_____________________________________________________________________
_____________________________________ rep - - re - sent______________________
___________ the_________________________ Che - - - - - - ru - - -
the Che - - -ru - bim______________________ and______________ chant___
_____________________________________________________________________________
_______________________________________ and chant_______________________
__________________________________________________ the thrice-ho - - -
- ly____ hymn________________________________________________ to the
Cherubic Hymn - Plagal First Mode - Phokaeus 233
life - - - - - - - giv - - - - - - - - ing Trin - - - - -
- - i - - - ty_____________ now_____________ lay___ a - side__________
___________________________________ ev - 'ry_______ earth - - - - -
- - - - - - - - - - - - - - - ly___________________________
care_________________________________________________________________ ev -
- 'ry__ earth - - ly____ care,______________________________________________
____
hat______________________________ we may___________ re - ceive____
_____________________________________________________________________________
_____________________________________________________________________________

]

T
Cherubic Hymn - Plagal First Mode - Phokaeus 234

____________________________________________________________________ the
King__________________ of___re - ceive_____the___ King___________________ of_
_________ all
After the Great Entrance:

n - - - vis - - i - - bly es - cor - - - - ted_____________
____ by th an - ge - - - - lic_________ or - - - - - - -
- - - - - ders. Al - le - lu - - - - i - - - - a._____________
__________
I
Continue with anaphora
on page 299 or 303









Cherubic Hymn

Plagal Second Mode
adapted from Athanasios Karamanis (1911- )

'

'

]

Duration: 4:00 +
:45 + :45
'
70
et us_____________________________ who__________________________
_____________________________________________________________________________
_____________________________________________________________________________
__________________________________________ let us____________________
Cherubic Hymn - Plagal Second Mode - Karamanis 236

________ who___ my - - - - - - - - - - - - - - - - -
- mys - - - ti - - c'ly___ rep - re - sent__________________ rep -
re - sent____________________________ the____________ Che - - - - -
ru - - - - - - - - - - - - the Che - - ru - bim______________
_________________ and chant____________________________________________
_____________________________________________________________________________
__________________________________________ and_______chant_____________
________________ the thrice - ho - - - - ly______________hymn to____
____________ the life - - - - - - - giv - - - - ing______ Trin - -
- - - - i - - ty______ now___________ lay________ a - - - -
Cherubic Hymn - Plagal Second Mode - Karamanis 237
t

'

-side ev - 'ry earth - - - - ly____________care ev - - 'ry___earth -
- - - -ly___ care,_____
hat_________________________ we______ may re - - ceive____________
____ the___King_____________ of_____ all____ the King_________
__ of___ all___

After the Great Entrance:
n - vis - - - i - - bly es - - - cor - - - - - ted_________
by th an - ge - - - lic________ or - - - - - - -ders.__
Al - le - lu - - - i - - - - a.___________________________
I
T
Continue with anaphora
on page 307 or 311




Cherubic Hymn

Plagal Second Mode
adapted from Theodore Papaparaschou "Phokaeus" (1790-1851)

et us_______________________________________________ who_________
_____________________________________________________________________________
_____________________________________________________________________________
____ let______________ us_____ who___ my - - - - - - - - -
- - - - - - mys - - - ti - - c'ly___ rep - re - sent_____________
_________________________________________________________ rep - re - sent_
Duration: 5:30 +
1:30 + 1:00
'
76
L
Cherubic Hymn - Plagal Second Mode - Phokaeus 239

'

__________________________ rep - re - - - sent____________________________
the____________________________________________________ Che - ru - bim______
_________________________________________________the Che - - ru - bim______
___________________ and______________ chant__________________________
_____________________________________________________________________________
_________________ and_______ chant______________________________ the
thrice - ho - - - - ly________ hymn__________________ to the life - -
- - - - - giv - - - ing Trin - - - - - - - - i - - ty____
now lay________ a - - side_________________________________ now___________
_____ lay__ a - - side___ ev - 'ry earth - - - - - ly______ care___
Cherubic Hymn - Plagal Second Mode - Phokaeus 240
_________________________________ ____________________________________ ev - -
'ry___________ earth - - ly_____ care___
hat___________________ we____ may__________ re - ceive____________
_____________________________________________________________________________
__________________________ that we_______ may____________________
_____________________________________________________________ re - ceive_____
______________________ the King_________________________ the King______
of___ all____
After the Great Entrance:

n - - - vis - - i - - bly___ es - - cor - - - - ted________

T
I
Cherubic Hymn - Plagal Second Mode - Phokaeus 241

_________ by th an - ge - - - - lic______ or - - - - - ders_
__ Al - le - lu - i - - a._______________
Continue with anaphora
on page 266 or 270










Cherubic Hymn

Grave Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

et us_______________________________________________ who_
_____________________________________________________________________________
___________________________________________________ let______________________
Duration: 3:30 +
:20 + 1:00
'
72
L
Cherubic Hymn - Grave Mode - Gregory 243

us_____ who___ mys - - - - - - - - - - - - - - -
(s)ti - - c'ly rep - re - - sent___________________________________ the___
__Che - ru - bim________________the Che - - -ru - - - bim_______________
_____________ and_______________________ chant_________________________
_____________________________________________________________________________
and___________________ chant_______________ and________ chant_
________________________ the thrice - - ho - ly________ hymn_______________
to_________ the life - - - - giv - - - - ing___________Trin - - -
- i - - - ty____ now__________ lay_____ now lay______ a - -
side___________ ev - - 'ry__________earth - - - - ly care__
Cherubic Hymn - Grave Mode - Gregory 244

I
T
_________________________________________________________________________ ev -
'ry earth - ly_____ care,___
hat we__may re-ceive the King____________ of_____ all___
n - - - - - vis - - i - - - bly es - cor - - - - - -
ted__________________ by th an - ge - - - - - - lic or - -
- - - ders. Al - le - lu - - - i - - - - a.____________
QUALITY IN PSALMODY AND PRAYER CONSISTS IN
PRAYING WITH THE SPIRIT AND THE NOUS.
ONE PRAYS WITH THE SPIRIT ONLY WHEN,
AS HE PRAYS AND CHANTS, HE IS
ATTENTIVE TO THE CONTENT
OF THE HOLY WRITINGS,
AND THUS RAISES HIS
HEART TO DIVINE
THOUGHTS.

NIKITAS STITHATOS
Continue with anaphora
on page 315 or 319






Cherubic Hymn

Grave Mode
adapted from Theodore Papaparaschou "Phokaeus" (1790-1851)

'

Duration: 5:30 +
1:00 + 1:00
'
72
L

et us______________________________________________________________
who__________________________________________________________________________
_______ let______________ us_____ who___ my - - - - - - - - -
- - - - - - - - mys - - - - - - - - -ti - - - c'ly________
____ rep - re - sent_____________________________________________________
Cherubic Hymn - Grave Mode - Phokaeus 246

__________________ rep - re - sent________________________________________

_______________________________________________________________rep - - -re -
sent__________________________________________________________________________
_______ the___________________________________________________________
________________________ Che - - - - - - - - - - - the Che - -
- - - - - ru - - - - - - - - - - - the Che - - -ru - bim_
_____________________ and___________________________ chant_____________
_____________________________________________________________________________
__________________________________________________________________________ and
chant______________ the thrice - ho - - ly hymn_______ to______ the
Cherubic Hymn - Grave Mode - Phokaeus 247

'

'

T
life - giv - - - - - - ing____________ Trin - - i - - ty____ now
lay__________ a - - -side________________________________now lay___ a - -
side________ ev - 'ry earth - - - - - - - - - - - - - - -
ly___________________________________ care,______________________________
____________ earth - - ly_____ care___
hat we may re - - ceive____________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
______________that we may_____ re - - ceive________ the King___________
_______________ the___ King__ of_____ all____
Cherubic Hymn - Grave Mode - Phokaeus 248

g{xwx cttttv{ c{~tx

After the Great Entrance:

n - vis - - - i - - - in - vis - - i - bly_____________________
____ es - cor - - - - - - - ted________ by th an - ge -
- - lic______ or - - - ders._______ Al - le - lu - - - - i -
a._____________________________
I
Continue with anaphora
on page 266 or 270





Cherubic Hymn

Plagal Fourth Mode
adapted from Hieromonk Hierotheos
of Philotheou Monastery

72
et_________ us___________________________________________________
____ who____________________________________ let______ us______ who_________
________________ mys - - ti - - - c'ly___ rep - - - - re - -
- - - - - - - - sent____________ rep - - re - - sent the Che -
- - - - - - - ru - - - - - bim________________ the Che - - ru -
- bim___________________________ and chant_____________________________
Duration: 3:30
+ :20 + :40
Cherubic Hymn - Plagal Fourth Mode - Hierotheos 250

_______________ and_______ chant_____________________________________ and_
_____ and_____ chant__ the thrice - ho - - - - - - ly___ hymn_
to___________ the_________ life - giv - - - - - ing_______________________
__________ Trin - -i - - - ty________ now lay_______ a - - side__
_____________________ ev - 'ry earth - - - ly______care__ ev - - -
'ry_____ earth - - ly care.____________

hat___ we___ may_____ re - - ceive____ the_____ King_____ of_____
__all__________
After the Great Entrance:
T
Cherubic Hymn - Plagal Fourth Mode - Hierotheos 251

n - vis - - - - i - - bly es - - cor - - - - - - ted__
____ by th an - ge - - lic___ or - - - ders. Al - le - lu -
i - a.__________
I
Continue with anaphora
on page 323 or 328




Cherubic Hymn

Plagal Fourth Mode
adapted from Theodore Papaparaschou "Phokaeus" (1790-1851)

[

]

et_______________________________________________________________
____________________________________ us____________________________________
________________ who________________________________________________________
______________ let____ us____ who______________________ my - - - -
- - mys - - - ti - - c'ly___ rep - re - sent____________________________
_____________________________________________________________________________
Duration: 5:15 +
1:00 + :45
'
76
L
Cherubic Hymn - Plagal Fourth Mode - Phokaeus 253

'

'

rep - - re - - sent___ the________________ Che - - - - - - - -
- - - - - - - - - - - - - - - ru - - - - - - bim____
________________________________________ the Che - - - ru - bim______________
_______ and chant________________________________________________________
_____________________________________________________________________________
_____________________________________________________________ and chant_
__________________________ the thrice - ho - - - - - - ly____hymn_____
_____________________________________________ to________________ the_______
life - giv - - - - - ing________________________ Trin - - - - - -
- - - - (n)i - - - - - - - - - ty now___ lay_________ a -
Cherubic Hymn - Plagal Fourth Mode - Phokaeus 254
side__________________________________ now lay______ a - side____________
_____________ ev - 'ry______ earth - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - ly_________ ev-'ry earth -
- - - ly care,_________________________
hat_____________________________________________________ we may___
____ re - ceive____________________________________________________________
_____________________________________________________________________________
____________________ that______ we may___ re-ceive___________________
the King____________________ the King_____ of_______ all_____________

'

'

T
Cherubic Hymn - Plagal Fourth Mode - Phokaeus 255
After the Great Entrance:

'

I
n - - - vis - - i - - bly________ es - - cor - - - -
- - - ted by th an - ge - - lic__ or - - - - - ders._______
____ Al - le- lu - - -i - - - - - a.____________________________
When, indeed,
the Holy Spirit saw that
the human race was guided only
with difficulty toward virtue, and that,
because of our inclination toward pleasure,
we were neglectful of an upright life, what did He do?
The delight of melody He mingled with the doctrines so that
by the pleasantness and softness of the sound heard we might receive
without perceiving it the benefit of the words, just as wise physicians who,
when giving the fastidious rather bitter drugs to drink, frequently smear the cup
with honey. Therefore, He devised for us these harmonious melodies of
the psalms, that they who are children in age, or even those who
are youthful in disposition, might to all appearances
chant, but in reality, become trained in soul.

St. Basil the Great

Continue with anaphora

on page 323 or 328










Receive Me Today

Cherubic Hymn for Holy Thursday
Plagal Second Mode
adapted from Peter the Peloponnesian (d. 1777)
as interpreted by Athanasios Karamanis (1911- )

'

76
e - - - ceive________________________________________________
_____________________ re - - - ceive___________________ me___ to-
- - - - - - - - - - - - -day________________________________
Duration: 5:30 + 2:00
Cherubic Hymn for Holy Thursday 257

'

___________________________________ to - - - - - -day, O____
_______________ Son_____________ of__ God,__ as______________________
__________ a____ com - mu - - ni - cant____________________________ of
Thy____ mys - - - - - ti - - - - - cal______ sup - - - -
- - - - - - - - - - - - - - - - - - - - - - -
of Thy mys - ti - - - cal sup - - - per; for I___________
_________will not________________________________________ speak_________________
_________________________________________________________ I___ will____ not___
_______________ speak__ of the___ my - - - - - - - - -
- - - - - - of the___ mys - - - - - - ter - - -y the mys -
Cherubic Hymn for Holy Thursday 258

'

ter - - y to________________ Thine________________________________ en -
- - - - - - - e - - mies;__ nor will______ I give__________
Thee_______________ a kiss______________________________________________
______________ as___ did___ Ju - - - - - das;___ but___________
as_____________________________ the________________ thief__________________
_____________________________________ as__ the thief______________________
do I____________ con - fess_____________ do I con - fess___
___________________ do I con-fess___________ Thee:_________________________
________________
After the Great Entrance:
Cherubic Hymn for Holy Thursday 259

'

Re - mem - - - - - - - - - - - - - - - - - - - - -
- - ber_____ re - - mem - ber me,___________________________ O_______
_________________________________________________ Lord, re - - mem - ber_____
me,___________________ O______________________________ Lord,_______ O___
_____________ Lord, in________________________________ Thy______________
King - - - - - - - - - dom__ in Thy King - - - dom.__________
_________________________________________________________________












Let All Mortal Flesh
Keep Silence

Cherubic Hymn for Holy Saturday
Plagal First Mode
by Iakovos the Protopsaltis (d. 1800)
adapted from the interpretation by Athanasios Karamanis (1911- )

'

66
et all mor - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - tal let all mor -

Duration: 7:00 + 1:30
Cherubic Hymn for Holy Saturday 261

'

'

'

- - tal___ flesh keep____________ si - - - lence______________ and
stand_______________________________________ with________________ fear_
________________________ with_________ fear and____ trem - - - - and_ trem-
- - - - - - bling,__ and___ take____________________________ no____
________________________thought for____ an - - - - y___ earth - - -
- - - - - ly________ thing,_______________________________ for the
King________ of______ kings, and______ the Lord_____ of___________________
lords ap- proach - - - - - - - - eth_________ to be______
slaugh- - - - - - - - - tered_ and___ giv- - - - en as food_
__________________ for_____________________ the____ faith - - - - - - -
Cherubic Hymn for Holy Saturday 262

After the Great Entrance:

'

'

ful._____________ Be - fore_________________ Him____________________
_______________ go the___ choirs____________________________________
of_______ the an - - - - - - - - - - - - gels______________
with___ all__________________ au - - thor - - i - - - ty_______ and
pow- - - - - - - - - -er:_____________________________________


he man - y - eyed____Che-ru - bim________ and the six - -
- - - winged_____ Ser - - - a - - phim,_________
which

cov - - -
- er____ their________ fa - - - - - - ces
*
and cry______
T
Cherubic Hymn for Holy Saturday 263

'

'

'

'

____________out________ the________ hymn:____________ Al - le - lu -
i - - a.__________________________

* Alternate melody:
and cry___________ out___ the______
ord,___________ have_____ mer - - - - - cy._____ Lord,_
__________ have_____ mer - - - - - - - - - - cy._______________
Lord,____________ have_________________ mer - - - - cy.__











Lord Have Mercy

For Ordinations*
Second Mode
adapted from traditional melody

* These melodies of "Lord, have mercy" are repeated quietly after the Bishop's petition "The divine grace that always
healeth. . ."
L

66
or - - - - thy;_____ wor - - - thy;_____ wor - - -
thy.

or - - - thy;____ wor - - - thy;____ wor - - thy.





Axios

Third Mode
Traditional Melody

80
Alternate Melody
by Athanasios Karamanis (1911- )
Y
- - - ______ - - - ______ - - -


- - - _____ - - - _____ - -
ord,__ have___ mer - - cy.
Lord,_____ have___ mer - - - cy.
Lord,__ have___ mer - - - cy.
Lord,____ have___ mer - - cy.
Lord,____have__ mer - - cy.






Anaphora

First Mode
adapted from Basil Nikolaidis (1915-1985)
the Presiding Protopsaltis of the Patriarchate of Constantinople (1965-1985)
and Hieromonk Gregory of Simonos Petras Monastery

88
B
C
D
E
Anaphora - First Mode - Nikolaidis 267
Grant__ this,__ O_________ Lord.
Grant__ this,_ O_________Lord.
Grant__ this,_____ O__Lord.
Grant__ this,_ O_________Lord.
Grant_____ this,_ O___________ Lord.
Grant___ this,__ O_______ Lord.
Most ho - ly The - o - to - kos, save_____ us.
To Thee, O Lord.
A - men.
And___ to thy spir - - - it.

1
2
3
4
5
6
7
8
9
A
Anaphora - First Mode - Nikolaidis 268
I will love_____Thee, O Lord,_my___strength; the Lord is
my____ foun - da - - tion, and my ref - - uge, and my de - liv - - er -
- - er.
Fa-ther,Son,andHo-ly Spir - it: the Trin - - i - ty one in
es-sence and_in - - sep - - 'ra - - - ble.
A mer - - cy of peace, a sac - - ri - fice of__praise.
And___with thy spir - - it.
We____ lift them up un - to___ the Lord.
It is prop - er and___ right.
Ho - ly, ho - ly, ho - ly, Lord_ of Sa - ba - oth, heav - -

B1


B2

C
D
E
F
G
Anaphora - First Mode - Nikolaidis 269
en__and earth are full___ of__Thy glo - ry. Ho - san - na__ in the high -
- - est. Bless - - ed is he that com - - eth in the name__ of the
Lord. Hos-san- na in___the high - - - est.
A - - - men.
A - - - - - - - men.
We______ hymn___________ Thee, we___ bless_________ Thee,
we___ give__ thanks____ un - to Thee,______________________ O__ Lord,
and we___ pray____un - to___Thee, O______our________ God.

H
I
J

Continue with "It is Truly Right"
on page 336
ord,__have____ mer - - cy.
Lord,__have_ mer - - - - cy.
Lord,__have_ mer - - - cy.
Lord,_______have__ mer -- - -cy.
Lord,________have__ mer - - - - cy.
Lord,____have__ mer - - - cy.




Anaphora

First Mode "Heptaphonos"
adapted from Michael Hatziathanasiou (d. 1948)
the Professor of Music at the Theological School in Chalki

'

88
B
C
D
E
*

F
* This melody of "Lord have mercy" may be skipped, since only five are needed at this point in the Liturgy.
L
Anaphora - First Mode - Hatziathanasiou 271

Grant__ this, O_______ Lord.
Grant__ this,__ O__ Lord.
Grant____this,_____ O Lord.
Grant________this,_ O_________________Lord.
Grant________this,__ O_____________ Lord.
Grant____this,__ O_________ Lord.
Most ho - ly The - o - to - - kos, save_____ us.
To______ Thee,_ O________ Lord.
A - men.
And to____thy spir - - - - it.
1
2
3
4
5
6
7
8
9
A
Anaphora - First Mode - Hatziathanasiou 272
I will love Thee,____ O_____Lord,_my_____strength; the Lord
is myfoun - da - tion, and_____ my___ ref - - uge, and___ my de - liv -
- er - - er.
Fa- ther,____ Son, and Ho - - - ly______ Spir - it: the Trin -
i - ty one in es - - - - sence and___ in - - sep - - 'ra - - ble.
A mer - - cyof peace, a sac - - ri - - fice_______ of_______
praise.
And with thy spir - - - it.
We______ lift themup un - to________ the Lord.
It is prop - er and________ right.

'

B1


B2

C

D
E
F
Anaphora - First Mode - Hatziathanasiou 273
Ho - ly,____ ho - ly,_____ ho - ly,__Lord______ of___ Sa-ba-oth,
heav - en and earth are full___ of Thy glo - - -ry. Ho - san - na in
the__ high - est. Bless-ed is he___ that__com - - - eth in the
name_ of the__ Lord. Hos- san- na in the___ high - - - - - est.
A - - - - - - - - - men.
A - - - - - - - - - men.
We_____ hymn_____Thee,we_____ bless____________________ Thee,
we give thanks un - to Thee,__________ O__Lord, and we pray________
(we pray) un - to Thee, O_____ our_____________God._________________

G



H
I
J
Continue with "It is Truly Right"
on page 338




Anaphora

Second Mode
adapted from Hieromonk Gregory of Simonos Petras Monastery
and Thrasyvoulos Stanitsas (1910-1987)

88
B
C
D
E
1
ord,__ have________ mer - - cy.
Lord,____have________ mer - - cy.
Lord, have________ mer - - cy.
Lord,___ have__ mer - - -cy.
Lord, have___ mer - - - cy.
Grant this,_____ O______Lord.
L
Anaphora - Second Mode - Gregory 275
Grant this,_________ O____Lord.
Grant__this,_ O_________Lord.
Grant this,_________ O______Lord.
Grant___ this,______ O_____Lord.
Grant________ this,_____ O_______ Lord.
Most ho - ly The - o - to - - kos, save_____ us.
To Thee, O Lord.
A - men.
And___ to thy spir - - it.
I will love Thee, O Lord,____my________strength; the Lord

2
3
4
5
6
7
8
9
A
B1
Anaphora - Second Mode - Gregory 276

is__my foun - da - - - - tion, and my ref - - uge, and my
de - liv - - er - - - - er.
Fa - ther,___ Son, and Ho - ly__ Spir - - - it: the Trin - i - ty
one in es - - sence_ and in - sep - - - 'ra - - ble.
A mer - - cy of peace, a sac - - - ri - - - -fice______
of_______praise.
And_____with_ thy spir - - - - it.
We lift__ them_ up un - to______ the_______ Lord.
It is prop - er and______ right.
Ho - ly,__ ho - ly,__ ho - - ly,__ Lord__ of__Sa - ba - - oth,
B2

C

D
E
F
G
Anaphora - Second Mode - Gregory 277

heav - - en and earth are full_____ of___Thy glo - - - ry. Ho - san -
- na in the high - - - est.Bless - - ed is he that com - - - - eth
in the name of the Lord. Hos - - san - na in the___ high - - -
est.
A - - - - - men.__
A - - - - - - men.______
We_____ hymn_______ Thee, we___________ bless_____________
_____________________________ Thee, we______ give__ thanks__ un - - -
to__________ Thee,__ O Lord,________________ and we pray__ un - -
- - to Thee,________ O_________ our_____________ God.
H
I
J

Continue with "It is Truly Right"
on page 340




Anaphora

Second Mode "Deuteroprotos"
adapted from Hieromonk Hierotheos of Philotheou Monastery

'

88
B
C
D
E
1
ord,__ have_ mer - - - - cy.
Lord, have__ mer - - - cy.
Lord,_____have_ mer - - - - cy.
Lord,___have____ mer - - -cy.
Lord,____have__ mer - - - - cy.
Grant________ this, O______ Lord.
L
Anaphora - Second Mode - Deuteroprotos 279

Grant___ this, O______Lord.
Grant___ this,___ O______ Lord.
Grant__this,_ O______ Lord.
Grant_____ this,___ O___ Lord.
Grant__ this,___________ O____________ Lord.
Most ho - ly The - o - to - - - kos, save_____us.
To____ Thee, O Lord.
A - men.
And___ to thy spir - - - it.
I will love__ Thee,_________ O____ Lord,_______my________ strength;
2
3
4
5
6
7
8
9
A
B1
Anaphora - Second Mode - Deuteroprotos 280

the Lord____ is___ myfoun-da - - - - tion, and my ref - - uge,
and my de - liv - - - er - - er.______
Fa - - ther,_ Son, and Ho - - ly__ Spir - - - - it: the
Trin - - i - ty one in es - - sence and in - sep - - - -'ra - - - -
ble.
A mer - - cy of peace,_ a sac - - ri - - fice of praise._
And___ with thy spir - - - - -it.
We______ lift them up un - to_________ the________ Lord.
It is___prop - - er and__right.
Ho - - ly,__ ho - - ly,__ ho - - ly,__ Lord of__Sa - -ba -
B2


C
D
E
F
G
Anaphora - Second Mode - Deuteroprotos 281

oth, heav - - en and earth______ are full_____ of Thy glo - - - - ry.
Ho - san - na in the high - - - est. Bless - ed is he that com -
- eth in the name__ of the Lord. Hos - san - - na in___
_the___ high - - - - est.
A - men._______________
A - - me - - - - - - - A - - - men.___________________
____
We_____ hymn____________________ Thee,_ we___________ bless_
_____________________ Thee, we give thanks un - - - to____ Thee,__ O____
___________ Lord, and we pray___ un - - - to________ Thee,_____
H
I

J

Anaphora - Second Mode - Deuteroprotos 282

O____________ our_____________ God.
St. Anthony the Great
Continue with "It is Truly Right"
on page 342




Anaphora

Third Mode
adapted from Basil Nikolaidis (1915-1985)
the Presiding Protopsaltis of the Patriarchate of Constantinople (1965-1985)

88
B
C
D
E
1
ord,___ have_ mer - - - cy.
Lord,__have mer - - - cy.
Lord,__ have_ mer - - - - cy.
Lord,___ have_____ mer - - cy.
Lord,__have_ mer - - - cy.
Grant__ this,_ O_________Lord.
L
Anaphora - Third Mode - Nikolaidis 284

Grant__this, O_________Lord.
Grant__this,_ O__________ Lord.
Grant__ this,_____ O______Lord.
Grant__this,__ O__________Lord.
Grant__ this, O_______ Lord.
Most ho - ly The - o - to - - - - kos,__ save___ us.
To Thee, O Lord.
A - men.
And to thy spir - - - it.
I will love_____Thee, O Lord, my______strength; the Lord is
2
3
4
5
6
7
8
9
A
B1
Anaphora - Third Mode - Nikolaidis 285

my foun-da - - - tion, and my___ ref - - uge, and__________ my de - liv -
er - er.
Fa - ther,Son,and Ho - - ly Spir - - - -it: the Trin - -
i - ty one in es - - - - sence and in - sep - - 'ra - ble.
A mer - - cy of peace,_ a sac - ri-fice of____praise.
And____ with thy spir - - it.
We_______ lift them up un - to________the___ Lord.___
It is___ prop - - er____ and_________right.
Ho - ly,____ ho - ly,____ ho - ly,______ Lord___ of__Sa-ba-oth,
heav - - - en andearth_ are full___ of Thy glo - - ry. Ho - san - na
B2

C
D
E
F
G

Anaphora - Third Mode - Nikolaidis 286

in the high - - - est. Bless - ed is he that com - - eth in

the name__ of the Lord.__ Hos - - san - - na__ in the high - - est.
A - - - men.
A - - - - men.
We_____ hymn___Thee, we_____bless____Thee, we give thanks un -
- - to______ Thee,__O_________Lord, and we pray__ un - to___ Thee,
O_____ our______ God.
H
I
J

I will pray with the spirit,
and I will pray with the understanding also:
I will sing with the spirit, and I will sing with the understanding also.
I Cor. 14:15
Continue with "It is Truly Right"
on page 344 or 346




Anaphora

Third Mode
adapted from Athanasios Karamanis (1911- )
and Hieromonk Gregory of Simonos Petras Monastery

88
B
C
D
E
1
ord, have__ mer - - - - cy.
Lord,______have_ mer - - - - cy.
Lord,____have mer - - - cy.
Lord,_____have__ mer - - - - cy.
Lord,____have__ mer - - - - cy.
Grant this,__ O___________Lord.
L
Anaphora - Third Mode - Karamanis 288

Grant_____ this,_ O___________ Lord.

Grant____this, O_________Lord.
Grant_ this,___ O_________Lord.
Grant_____this,__ O___________Lord.
Grant____this,__ O______Lord.
Most ho - ly The - o - to - kos, save_____ us.
To Thee,______ O___Lord.
A - - - men.
And___ to__ thy spir - - - - it.
I will love___________ Thee, O Lord,________my________strength;
2
3
4
5
6
7
8
9
A
B1
Anaphora - Third Mode - Karamanis 289
the Lord is my foun - da - - - - tion, and my__ ref - - uge,and my
de - liv - - - er - - - er.
Fa - - ther,_ Son, and Ho - - ly____ Spir - it: the Trin - -
i - ty one in es - - sence and in - sep - - - - 'ra - - -ble.
A mer - - cy of peace, a sac - - ri - - fice_____ of_______praise.
And___ with thy spir - - it.
We lift them up un - to______ the_______Lord.
It____ is___prop - - - er____ and__ right.
Ho - ly,___ ho - - ly, ho - ly,___ Lord_____ of__ Sa - ba - oth,
heav - - en__and earth are full___ of Thy glo - - ry. Ho - san - na in

B2

C
D
E
F
G

Anaphora - Third Mode - Karamanis 290

'

the high - est. Bless - ed is he that com - -eth in the name__
of the Lord. Hos-san - - - na in the high - - - - est.
A - - - men.
A - - - men.
We___ hymn____________Thee, we____ bless_____ Thee, we
give thanks_ un - to______Thee,O___ Lord, and we pray___ un - - to
Thee, O__________ our______________ God.
H
I
J

Continue with "It is Truly Right"
on page 344 or 346




Anaphora

Fourth Mode
(Legetos)
adapted from Hieromonk Hierotheos of Philotheou Monastery

'

88
B
C
D
E
1
ord,___ have_ mer - cy.
Lord,__have_ mer - - cy.
Lord,___ have__mer - - cy.
Lord,_____ have_ mer - - cy.
Lord,__ have_ mer - - -cy.
Grant__ this, O Lord.
L
Anaphora - Fourth Mode - Hierotheos 292

Grant___ this, O Lord.
Grant__ this,__ O Lord.
Grant__ this, O___ Lord.
Grant__ this, O Lord.
Grant_____ this, O Lord.
Most ho - - ly The - o - to - - - - kos, save_____ us.
To Thee, O Lord.
A - men.
And___ to thy spir - - - it.
I will love Thee, O Lord,_____my___strength; the Lord is my
2
3
4
5
6
7
8
9
A
B1
Anaphora - Fourth Mode - Hierotheos 293

foun - - da - - tion, and my ref - - - - - uge,and my de - liv -
- - - - er - - - - er.
Fa - - ther,___ Son, and Ho - - ly__Spir - - - it: the
Trin - i - ty one in es - - sence and in - sep - - 'ra - - ble.
A mer - - cy of peace, a sac - ri - fice of praise.
And______with_ thy spir - - - - it.
We lift them up un - to the__ Lord.
It is__prop - - er____ and______right.
Ho - - ly,__ ho - - -ly,__ ho - - -ly,__ Lord___ of___
Sa - ba - oth, heav - - en and earth are full_____ of___Thy glo - - ry.
B2

C
D
E
F
G

Anaphora - Fourth Mode - Hierotheos 294

Ho - san - na in the high - - - -est. Bless - - ed is he
that com - - - eth in thename of the Lord. Hos - - -san - - na in the
high - - - est.
A - men.____________________
A - men.___________________
We______ hymn________ Thee, we__bless__________ Thee, we
give thanks___ un - to Thee,______ O___________Lord, and we pray un - to____
Thee,____________ O________our_____ God._____
H
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Continue with "It is Truly Right"
on page 348




Anaphora

Fourth Mode (Agia)
adapted from Lycourgos Petridis

'

88
B
C
D
E
1
ord,______have_ mer - - cy.
Lord,_____have__ mer - - - cy.
Lord,__have____ mer - - cy.
Lord,__ have__ mer - - - - cy.
Lord,____________have_ mer - - - cy.
Grant_____ this, O__Lord.
L
Anaphora - Fourth Mode - Agia 296

Grant_____ this, O Lord.
Grant__ this,_ O_________Lord.
Grant__ this,____ O______Lord.
Grant__ this,__ O___________ Lord.
Grant____________this,__ O____________Lord.
Most ho - ly The - o - to - kos, save_____ us.
To Thee, O Lord.
A - men.
And_______ to thy spir - - - it.
I will love Thee, O Lord,____my_____strength; the Lord is
2
3
4
5
6
7
8
9
A
B1
Anaphora - Fourth Mode - Agia 297

'

'

'

'

my foun - da - - tion, and my ref -uge, and_____my_____ de - liv - - -

- - - - - - er - er.
Fa - - ther,____ Son, and Ho - - ly____ Spir - - - - it:
the Trin - i - ty one in es - - sence_and in - sep - - 'ra - - -
- - ble.______________________
A mer - - cy of peace,_ a sac - ri - fice of praise.
And______ with thy spir - - - it.
We_______ lift__them up un - to_________ the Lord.
It____ is__prop - er___and_______________ right.____________________
Ho - ly,_ ho - ly, ho - ly,__ Lord________ of____ Sa - ba - oth,
B2


C
D
E
F
G
Anaphora - Fourth Mode - Agia 298

'

'

'

heav - - en and earth are full___ of Thy glo - - - - ry.

Ho - san - - na__ in the high - - - est. Bless - ed is he that
com - - eth in the name of the Lord. Hos - - san - - na__ in__
____ the___ high - - - - - est.____________________
A - men.__________
A - - - - - - - - - - - men.___________________
We__________ hymn___________Thee, we_________________ bless___
_______________ Thee, we_____ give__thanks____ un - to Thee,__________
O_____________ Lord, and we pray_______ un - - to________ Thee,______
O______ our___________ God._______________________
H
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Continue with "It is Truly Right"
on page 350






Anaphora

Plagal First Mode (Diatonic)
adapted from Hieromonk Hierotheos of Philotheou Monastery

'

88
B
C
D
E
1
ord,___ have_ mer - - - - cy.
Lord,_____ have_ mer - - - cy.
Lord,_____have_ mer - - - - cy.
Lord,____have__mer - - - - cy.
Lord,_________have_mer - - - - cy.
Grant_____ this, O Lord.
L
Anaphora - Plagal First Mode - Diatonic

300

Grant_____ this, O_________Lord.
Grant____this, O Lord.
Grant______ this, O Lord.
Grant____this,__ O___________ Lord.
Grant___________this, O Lord.
Most ho - ly The - o - to - - - - kos, save_____ us.
To______Thee,_ O_____ Lord.
A - men.
And to thy spir - - it.
I will love_____Thee,_ O__________Lord,__ my____strength; the
2
3
4
5
6
7
8
9
A
B1
Anaphora - Plagal First Mode - Diatonic

301
Lord is my foun - da - - - - tion, and______ my____ ref - - uge,
and________my_____ de - - liv - - er - - - - - er.
Fa - - ther,__ Son, and Ho - - ly___ Spir - - - - it:
the Trin - i - ty one in es - - - sence_______ and___ in - - - sep - -
- 'ra - - ble.
A mer - - cy of__peace, a sac - - ri - - fice___________ of_
____ praise.
And______ with thy spir - - - - -it.
We__________ lift them up un - to______ the_______Lord.
It is__prop - - er and__________ right.

B2


C

D
E
F
Anaphora - Plagal First Mode - Diatonic

302

Ho - ly,____ ho - - ly,__ ho - - ly,__ Lord of__ Sa - ba - oth,
heav - - en and______ earth are full_____ of___Thy glo - - - -ry.
Ho - san - na in the___ high - - - est. Bless - ed is he that com -
- eth_ in the name____ of the Lord. Hos - - san - - na in__
____ the__high - - - est.
A - - -men.__________
A - - - - - - - - men.__________________
We_____hymn__________________Thee, we_____ bless_________________
__ Thee, we give thanks un - - - to________Thee,_O____ Lord, and_____
____ we pray___ un - to______________Thee, O___________our_____ God.
G




H
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Continue with "It is Truly Right"
on page 352






Anaphora

Plagal First Mode (Phrygian)
adapted from Michael Hatziathanasiou (d. 1948)
the Professor of Music at the Theological School in Chalki

88
B
C
D
E
1
ord, have_ mer - - cy.
Lord,__have_ mer - - - cy.
Lord,__ have_ mer - - -cy.
Lord, have_ mer - - - - cy.
Lord,_ have_ mer - - cy.
Grant_____ this,___ O_______ Lord.
L
Anaphora - Plagal First Mode - Phrygian

304

Grant_____ this,____ O____Lord.
Grant_________ this, O________ Lord.______
Grant_________ this, O_____________Lord.
Grant_________ this, O_____ Lord.__
Grant____________this, O___________________ Lord.
Most ho - ly The - o - to - - kos, save___ us.____
To Thee,O________ Lord.
A - men.
And to thy spir - - - it.
I will love___Thee, O Lord, my____strength; the Lord is my
2
3
4
5
6
7
8
9
A
B1
Anaphora - Plagal First Mode - Phrygian

305

'

foun - da - - - tion,______ and my ref - - - uge, and_____ my_
_de - - -liv - - - er - - er.__________________
Fa - ther,______ Son, and Ho-ly__Spir - - it: the Trin - i -
ty__one in es - sence and in-sep-'ra - - ble.
A mer - - cy of peace, a sac - ri - - fice of_____ praise.
And___ with thy spir - - - it.
We lift them up un - to______ the______Lord.
It____ is___ prop - - - er and______right.
Ho - ly, ho - ly, ho - ly,___ Lord___ of__ Sa-ba-oth,
heav - - en and___ earth__ are full___ of Thy glo - - - ry. Ho - -
B2

C
D
E
F
G

Anaphora - Plagal First Mode - Phrygian

306

san - na in the high - - est. Bless - ed is he that com - - eth

in the___ name__ of the____ Lord.__ Hos - - san - - - na
in the__ high - - - est.
A - - - - - - - - - - - men.
A - - - - - - - - - - - men._
We______ hymn____________ Thee, we_____bless____ Thee,
we give thanks un - to Thee, O_________ Lord, and we pray we pray_____
un - - to____________ Thee, O______ our_____ O______ our___
________ God.
H
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Continue with "It is Truly Right"
on page 354






Anaphora

Plagal Second Mode
adapted from Thrasyvoulos Stanitsas (1910-1987)
the Presiding Protopsaltis of the Patriarchate of Constantinople (1960-1964)

'

88
B
C
D
E
1
ord,___ have_ mer - - - cy.
Lord, have___ mer - - - - cy.
Lord,_____ have________ mer - - - - - cy.
Lord, have__ mer - - cy.
Lord,__ have_ mer - - - - cy.
Grant___this, O Lord.
L
Anaphora - Plagal Second Mode - Stanitsas

308

Grant_____ this, O________ Lord.
Grant_____ this, O Lord.
Grant this,__ O__________ Lord.
Grant__ this,_____ O______________ Lord.
Grant__this,__ O_________ Lord.
Most ho - ly The - o - to - - - - kos, save_____ us.
To____ Thee, O Lord.
A - men.
And___ to thy spir - - - - - it.
I will love_____Thee, O Lord,____ my___ strength; the Lord
2
3
4
5
6
7
8
9
A
B1
Anaphora - Plagal Second Mode - Stanitsas

309

is my foun-da - - - -tion, and my__ ref - - uge, and my de - liv - -
- - er - - - - - er.
Fa - - ther,___ Son, and Ho - - - - ly___ Spir - - it:
the Trin - i - ty one in es - - - - sence_and___________ in - sep - - 'ra -
- - - - - -ble.
A mer - - cy of peace, a sac - ri - -fice of praise.
And___ with__thy spir - - - - - it.
We lift__them up un - - to____ the___________ Lord.
It is____________ prop - - er__ and______right.
Ho - - -ly,___ ho - - ly, ho - - - ly,____Lord________
B2


C
D
E
F
G
Anaphora - Plagal Second Mode - Stanitsas

310

__ of___ Sa - ba - - - oth, heav - - en and earth are full___
of Thy glo - - ry. Ho - san - na___ in the high - - - - est.
Bless-ed__ is he that___com - - eth in the name of the Lord.
Hos - san - na in the high - - - - est.__
A - - - - men.__
A - - - - men.
We____ hymn_____ Thee,____________ we______ bless____________
Thee, we give thanks___ un - to___Thee,___ O___________ Lord,
and we pray_______ un - - to_____________ Thee, O___________ our______
______ God.
H
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Continue with "It is Truly Right"
on page 356 or 358






Anaphora

Plagal Second Mode
"The Palace Melody"
adapted from Michael Hatziathanasiou (d. 1948)
and Hieromonk Gregory of Simonos Petras Monastery

B
C
D
E
1
ord, have_ mer - - cy.
Lord,__ have_ mer - - -cy.
Lord,have_ mer - - - cy.
Lord,__have_mer - - cy.
Lord,_____ have________mer - - cy.
Grant__ this,_____ O__Lord.
Anaphora - Plagal Second Mode - Hatziathanasiou

312

Grant this,___ O______ Lord.
Grant___ this,___ O___ Lord.
Grant this,_____ O___Lord.
Grant this, O____Lord.
Grant this,________ O______ Lord.
Most ho - ly The - o - to - kos, save_____ us.
To Thee, O Lord.
A - - - men.
And to thy spir - - - - it.
I will love_____Thee, O Lord,____ my_____ strength; the Lord
2
3
4
5
6
7
8
9
A
B1
Anaphora - Plagal Second Mode - Hatziathanasiou

313

is my______ foun - - da - - - tion, and___ my___ ref - - - uge, and
my__ de - liv - - er - - - - - er.
Fa - - ther,_ Son, and Ho - - ly____Spir - - it:
the Trin - i - ty__ one in es - - sence and in-sep - 'ra - - - ble.
A mer - - cy of peace, a sac - ri - - fice of_______
praise.
And with thy spir - - - it.
We lift them up un - to the Lord.
It is___ prop - - - er and____ right.
Ho - ly, ho - ly, ho - - ly,__ Lord of__ Sa - - -ba - -
B2

C

D
E
F
G
Anaphora - Plagal Second Mode - Hatziathanasiou

314

oth heav - en and earth are full___ of Thy glo - - ry.
Ho - san - na in the high - - - - est. Bless-ed is he that com -
- - eth in the name__ of______ the_______Lord. Hos - - san - na in__
____the high - - - est.
A - - - - - - - - - - men.
A - - - - - - - - - - - - - - men.
We______ hymn___________ Thee, we_____bless___________ Thee,
we give thanks un - to Thee, O_______ Lord, and we______ pray we
pray un-to_________ Thee, O___________ our_______ God.___________
H
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Continue with "It is Truly Right"
on page 356 or 358






Anaphora

Grave Mode (Diatonic)
adapted from Hieromonk Hierotheos of Philotheou Monastery

'

88
B
C
D
E
1
ord,___have_ mer - - cy.
Lord,_____have_ mer - - cy.
Lord,__ have___ mer - - -cy.
Lord,____have__ mer - - cy.
Lord,____have__ mer - - cy.
Grant_____ this, O Lord.
L
Anaphora - Grave Mode - Hierotheos

316

Grant_____ this, O Lord.
Grant_____ this, O Lord.
Grant___ this, O______Lord.
Grant__this,__O____ Lord.
Grant____this, O___ Lord.
Most ho - ly The - o - to - - - - kos, save_____ us.
To Thee, O Lord.
A - men.
And______ to thy spir - - - it.
I will love Thee,_____ O______Lord,_____ my_________strength;
2
3
4
5
6
7
8
9
A
B1
Anaphora - Grave Mode - Hierotheos

317

the Lord is my foun - da - - - - tion, and my___ ref - - uge,_
____and___ my de - liv - - er - - - - er.
Fa - - -ther,___ Son, and Ho - - ly____ Spir - - - - it:
the Trin - - i - ty one in es - - sence_and in - sep - - 'ra - - -
ble.
A mer - - cy of peace, a sac - ri - fice of praise._
And with thy spir - - it.
We lift them up un - to the______Lord.
It______ is________prop - - - er___and________ right.
Ho - ly,__ ho - - - ly,___ ho - - - ly,___ Lord of________ Sa -
B2


C
D
E
F
G
Anaphora - Grave Mode - Hierotheos

318

H
I
J

ba - - oth, heav - en and earth are full___ of Thy glo - - -
ry. Ho - san - na in the high - - - -est. Bless - - ed is
he that com - - eth in the name__ of the Lord. Hos - san -
na in____ the______ high - - - - - - est.
in___ the_____ high - - - - - - est.
A - men.____________________
A - - - - - - - - - - men._______
We_____hymn__________ Thee, we_____bless____ Thee, we___
give___thanks________ un - to Thee, O_______Lord, and we pray_____ un -
to Thee,_______ O___our________ God.
* Alternate ending:
Continue with "It is Truly Right"
on page 360






Anaphora

Grave Mode (Diatonic)
adapted from Constantine Pringos (1892-1964)
and Hieromonk Gregory of Simonos Petras Monastery

88
B
C
D
E
1
ord, have_ mer - - cy.
Lord,_______have__mer - - - cy.
Lord,_______have__ mer - - - cy.
Lord,_____ have__ mer - - cy.
Lord,_____have__ mer - - cy.
Grant this,_ O_______Lord.
L
Anaphora - Grave Mode - Pringos

320

Grant_______this,___ O______ Lord.
Grant________this,___ O_________ Lord.
Grant_____ this,_____ O______ Lord.
Grant_____this,__ O___Lord.
Grant_____this,__ O_______Lord.
Most ho - ly The - o - to - - kos, save_____ us.
To_______ Thee,_____ O________Lord.
A - - - men.
And______ to thy spir - - - it.
I will love_____Thee, O Lord,__________ my______strength;
2
3
4
5
6
7
8
9
A
B1
Anaphora - Grave Mode - Pringos

321

the Lord_______ is___________ my foun-da - - - - - tion, and my_
____ ref - - - - uge, and___ my de - liv - - er - - er.___
Fa - - ther,___ Son, and Ho - - ly___ Spir - - it: the
Trin - - - i - ty one in es - - - sence___and____ in - - - sep -
- - - - - -'ra - - - - ble.
A mer - - cy of peace, a sac - - - ri - - fice___ of praise.
And__ with thy spir - - - it.
We______ lift them up un - to the__Lord.
It____ is___ prop - - er_________ and______________ right.
Ho - ly, ho - ly, ho - - -ly,_______ Lord________ of___
B2


C
D
E
F
G
Anaphora - Grave Mode - Pringos

322

Sa - ba - oth, heav - en and_____earth are full___ of__Thy glo - -
- - ry. Ho - san - na in the high - - - est. Bless - - ed is
he that com - - eth in the name__ of the____Lord. Hos - - san - na
in the high - - - - -est.
A - - - - - - men.
A - - - - - - - - - - - - - men.
We__________hymn________ Thee, we bless______________ Thee,
we give thanks un - to______ Thee, O__________ Lord, and we pray
we pray_______ un - - - to______Thee,______ O______________ our________
_____ God.
H
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Continue with "It is Truly Right"
on page 360






Anaphora

Plagal Fourth Mode
adapted from Hieromonk Hierotheos of Philotheou Monastery

'

88
B
C
D
E
1
ord,_____ have_ mer - - - - cy.
Lord,_____ have_ mer - - - cy.
Lord, have___ mer - - - cy.
Lord,__have__ mer - - - cy.
Lord,_____have__ mer - - - - cy.
Grant________ this, O___Lord.
L
Anaphora - Plagal Fourth Mode - Hierotheos

324

Grant_____ this,______ O___________Lord.
Grant_____ this, O___Lord.
Grant_____ this, O______Lord.
Grant__this,_____ O___________Lord.
Grant_____this,__ O____________Lord.
Most ho - ly The - o - to - - kos,save____ us.
To______ Thee,__ O_________ Lord.
A - men.
And______ to thy spir - - - it.
I will love__Thee,____ O Lord,_______my_____ strength;___
2
3
4
5
6
7
8
9
A
B1
Anaphora - Plagal Fourth Mode - Hierotheos

325

the Lord is my foun - - - da - - - - tion, and my__ ref - - uge,
and_________ my______ de - - liv - - - - - er - - - er.
Fa - ther,__ Son, and Ho - - ly____ Spir - - -it: the
Trin - i - ty one in es - - sence and______ in - - - sep - - - - -'ra -
- - ble.
A mer - - cy of peace,_ a sac - - ri - fice of praise._
And_____ with thy spir - - - it.
We_________ lift them_ up un - to the____ Lord._______
It_______ is______prop - - -er_________ and__________ right.
Ho-ly,__ ho-ly,__ ho - ly,___ Lord________ of___ Sa - ba - - oth,
B2


C
D
E
F
G
Anaphora - Plagal Fourth Mode - Hierotheos

326

heav - - en and earth are full_____ of Thy glo - - -ry. Ho - san -
na in the high - - - est. Bless - - ed___ is he that____com - -
- eth in the name__ of___the Lord. Hos - - - -san - na in
the______ high - - - - - est.__________
in the___ high - - - - - est.
A - - -men.__________
A - - - - - - - - - - men.______
We_________ hymn______ Thee,__ we__ bless______________Thee,
we give thanks_ un - - - to________ Thee,____ O________ Lord,________
and we pray_____ un - - to______Thee, O______our_____ God.______
H
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* Alternate ending:
Anaphora - Plagal Fourth Mode - Hierotheos

327

__

O_______ our__________ God.
O_____ our_________ God.
* Alternate endings:
2
3
Continue with "It is Truly Right"
on page 364 or 366






Anaphora

Plagal Fourth Mode
adapted from Hieromonk Gregory of Simonos Petras Monastery
and Constantine Pringos (1892-1964)

88
B
C
D
E
1
ord,_______have_ mer - - - - cy.
Lord,_____have__ mer - - - - cy.
Lord,_______ have_ mer - - - - cy.
Lord,_____ have_ mer - - - - cy.
Lord,____have________ mer - - - - - cy.
Grant_______ this,_ O___________Lord.
L
Anaphora - Plagal Fourth Mode - Gregory

329

Grant_____this,__ O___________ Lord.
Grant_______ this,_ O___________ Lord.
Grant_____ this,_ O___________Lord.
Grant______ this,_ O______________ Lord.
Grant_____this,__ O_____ Lord.
Most ho - ly The - o - to - - kos, save___________ us.___
To____ Thee,_____ O____ Lord.___
A - - -men.
And___ to__ thy spir - - - - it.
I will love______ Thee, O Lord,________ my________ strength;
2
3
4
5
6
7
8
9
A
B1
Anaphora - Plagal Fourth Mode - Gregory

330

the Lord is my foun - da - - - - tion, and my ref - - - uge, and
my______ de - - liv - er - - - - - er.___
Fa - - ther,___ Son, and Ho - - - ly____ Spir - - it: the
Trin- i - ty one in____ es - - - - sence and______ in - - sep - - -
- 'ra - - ble.
A mer - - - cy of peace,______ a sac - - ri - -
fice of praise.
And___ with thy spir - - - - it.
We lift__them up un - to____ the Lord.
It is____ prop - - er______ and______ right.
B2


C

D
E
F
Anaphora - Plagal Fourth Mode - Gregory

331

Ho - - - ly,____ ho - - - ly,____ ho - - ly,__ Lord______ of__
Sa - ba - oth, heav - - en and earth are full___ of Thy glo - -
- ry. Ho - san - na in the______ high-est. Bless - ed is he that
com - - - eth in the name__ of__ the Lord. Hos - - san - na in
the___ high - - est.
A - - - - men.
A - - - - - - - - men.
We_____hymn_________________Thee, we______bless_________________
Thee, we___________ give thanks un-to Thee, O___________Lord, and we pray_
__ un-to_____Thee, O__________ our O_________ our__________ God.
G




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Continue with "It is Truly Right"
on page 364 or 366




I Will Love Thee

Longer Versions
*


First Mode
adapted from Agathangelos Kyriazidis (1905)

'

*
These longer melodies are useful when there is a concelebration with many priests, because the choir
should not finish chanting this hymn until all the priests have greeted one other with the kiss of peace.


_______ will___ love___________________ Thee,____________________
_______________ O______________________Lord,________________________
my___________strength;__________________________________________ the
Lord_______________________ is___ my foun - - - da - - - - - tion,_
_________ and my ref - - uge,and my____ de - - liv - - - - er -
Duration: 1:15
'

88
I
I Will Love Thee - Longer Versions 333

Plagal First Mode
adapted from Hieromonk Gregory of Simonos Petras Monastery

'

Duration: 1:15
I
er.________________________________________________________________
______ will___ love____________ Thee,___________________________________
O________________________ Lord,______________ my________strength;__
______________________________ the______________Lord_______ is_______
_______ my foun - - - da - - - - - - tion,_ and__ my___ ref -
- - - uge, and my______ de - - - liv - - - - er - - er._____________
____
I Will Love Thee - Longer Versions 334

Plagal Second Mode
adapted from Hieromonk Gregory

Duration: 1:15
I
_____________ will________________________________love_________ Thee,__
O____________ Lord,________________________________ my____________
__ strength;______________________ the_________________________ Lord_
_______________________________ is my foun - da - - - - - - tion,___
and my___ ref - - - - - uge, and_________ my_________________
____________________ de - liv - - - - er - - er._________________
I Will Love Thee - Longer Versions 335

Plagal Fourth Mode
adapted from Hieromonk Gregory

Duration: 1:30
I
will love____________________________________________ Thee,
O____________Lord_______________ O_____ Lord,__________________________
my_____ strength;________________________________________ the____ Lord_
________________ is my foun - da - - - - - -tion,___________________
______________ and my______ ref - - - - - - - - - uge, and
my__________________________ de - liv - - - - - er - - er.___________
____________




It is Truly Right








First Mode
adapted from Gregory the Protopsaltis (d. 1822)

t is tru - ly right_____ to call thee_____ blest,____ O
The - o - to - - - - - kos th e - ver__ bless - - - - - ed,___
thou who___ art______most_____ pure and all im - mac - u - - - late
and the Moth - - - er____ of_________ our___________________ God._
__ More hon - 'ra - ble than the_ Che - ru - - -bim,_____ and be-yond

80
It is Truly Right - First Mode - Gregory

337

com - pare more____ glo - ri - ous____________ than_____ the________ Se -

- - ra - - - phim, who with - out cor - - rup - - - tion_______
didst give________ birth_____ to God_____ the___________ Word,_ the ver - -
y The-o- to - - kos__ thee do we___ mag - - - - - - - ni - - -
fy.___________
Be not drunk with wine, wherein is debauchery,
but be filled with the Spirit, speaking to one
another in psalms and hymns and spiritual
songs, singing and making melody
in your heart to the Lord.

Eph: 5:18-19






It is Truly Right

First Mode (Heptaphonic)
adapted from Michael Hatziathanasiou (d. 1948)
the Professor of Music at the Theological School in Chalki

'

76
I
t is tru - ly right to_____ call thee_____ blest, O The - o -
to - - - - -kos,_________ th__ ev - - er___________bless - - - -
ed,__ thou_____who__ art____most_____ pure_______and all im -
mac - - u - - - late__ and___________the___Moth - - - - -
er____ of___________our_____________ God._ Morehon-'ra-ble____________
____than the Che - ru - - - bim, and be - - - yond_____________
It is Truly Right - First Mode - Hatziathanasiou

339

__com - - - pare__________________________ more glo - - - - - ri -
- - - - ous_ than___ the___________ Se - - ra - - - phim,_ who with -
out cor - rup - - - - - tion__ didst give birth___________ to______
__ God_________ the_______ Word,_ the ver - - - y_______ The -
o - - - - - to - - - - - - - kos, thee_____________ do_
_______ we________ mag - ni - - - - fy._______________________________
______________________________
When you worship God with hymns, you should
be worshipping Him with your entire being:
your voice should sing; your heart should also sing;
and your life should also sing. Everything should sing!
Blessed Augustine




It is Truly Right

Second Mode
adapted from the ancient melody
according to the oral tradition of the Holy Mountain

t is tru - - ly____right to call_______ thee_______ blest,_
__ O The - - - - o - - to - - - kos, th ev - - - - er bless -
- - - ed, thou___ who___ art_________most____ pure______ and__ all
im - mac - - - u - - - - late___________ and______ the______ Moth - -
- - - er of our____________________ God.___________More_____ hon -
our - - - a - ble___________ than the Che - - - ru - - - - bim,__

84
i
It is Truly Right - Second Mode - Ancient Melody 341
____ and___________ be - - yond________ com-pare__________ more_____
glo - ri - ous_____ than the Se - - - ra - - - - phim, who with -
out___cor - - - rup - - - tion___ didst give birth to God__________
the________________Word, the ver - - - - y_________ The - - -
o - to - - kos, thee do we mag - - - ni - - - - fy.____________

It is Truly Right

Second Mode "Deuteroprotos"
adapted from Peter Philanthidis,
Protopsaltis of Mt. Athos (1885-1915) and Kyzikos

'

68
t_______ is_____tru - ly_____right to call___ thee_____ blest,_______
____ O The - o - to - - - - - kos, th ev - - - - er_
___ bless - - - - - - - - ed, thou who art___________most______
__pure and all im - mac - - - u - - - - - late______________
and the Moth - - - - - er______ of___________our____________ God.
More_____ hon- 'ra - ble_______________________ than the Che - - ru - - -
i
It is Truly Right - Second Mode "Deuteroprotos" - Philanthidis

343

bim,______________ and be - yond com - pare_______________ more

glo - - rious_____ than the Se - - - - - - - - - - ra - -
phim,____________________ who with - out cor - rup - - - - - - -
- - tion didst___ give________________ birth to____God______________
the____ Word, the ver - y____ The - - o - - to - - - - - kos,
thee_______ do___ we_____ mag - - - - - - - - ni - fy._________
________________________________________________________________________
My lips shall rejoice when I chant unto Thee,
yea, even my soul which Thou hast redeemed.

Psalm 70: 23







It is Truly Right

Third Mode
adapted from Theodore Phokaeus (1790-1851)

80
t is tru - ly right to___call thee___ blest, O The - o - to - -
- - - - kos, th ev - er____ bless - - - - - ed, thou who___
art most pure____ and all im - mac - u - - late___ and the Moth - -
er of___ our_____________ God. More_____________hon-our - - a - ble_
__________ than the______ Che - - ru - - - bim, and_______ be - -
yond com -pare_____more__ glo - -rious than the Se - - - ra - - phim, who_
I
It is Truly Right - Third Mode (Enharmonic) - Phokaeus

345
______________with-out___ cor - rup - - - - - - - - tion didst give_
____birth____ to___________God the___________ Word,_____ the ver - y The-
o - - to - - - - - - - - kos,_______ thee do we___ mag-ni - - - -
fy.___________

It is Truly Right

Third Mode
adapted from Gregory Levitis the Protopsaltis (1777-1822)

'

'

80
t is tru-ly right to__call thee___ blest, O The - o - to - - -
kos, th ev - er bless - - - - - - - ed,___ thou who___ art most pure
____ and all____ im - - mac - u - - late___ and the Moth-er___ of
our____________ God.__ More hon - our - - a - ble____________ than
the______ Che - - - ru - - - bim,__ and be - yond com - pare_____
more glo - - ri - -ous__ than the Se - - - ra - - - - - phim,__
I
It is Truly Right - Third Mode - Gregory

347

who with - out cor - - rup - - - -tion_______ didst give birth to God_
____ the___Word, the ver - - y__ The - o - to - - kos,thee do____
_we___ mag - - - ni - - - fy.________________________________
At all times, but most of all while chanting,
let us be still and undistracted.
For through distractions,
the demons aim to
ruin our prayer.
St. John of the Ladder





It is Truly Right

Fourth Mode "Legetos"
adapted from Gregory Levitis the Protopsaltis (1777-1822)

80
t is tru-ly right to___ call__ thee___ blest, O The - o -
to - - - - - kos,_______ th ev - er bless - - - ed, thou___
who___ art most__ pure_______ and all im - - mac - u - - late___
and the Moth - - er of____ our__________ God. More__ hon-'ra - - ble_
____thanthe_ Che - ru - - bim, and be-yond com - - pare____________more__
glo-rious_than__ the____ Se - ra - - phim,____ who_____ with - out___ cor -
rup - - - - - - - - tion didst give birth_________ to___ God
I
It is Truly Right - Fourth Mode "Legetos" - Gregory

349

the_____ Word,_________________ the____ ver - - - - y The - o - to -
- - - - kos,_______ thee___________ do___ we___ mag - - - - - -
ni - - - - fy.____________________________





It is Truly Right

Fourth Mode
adapted from Gregory Levitis the Protopsaltis (1777-1822)

80
t is tru - ly right to___ call______thee__ blest, O The - o -
to - - kos,th ev - er bless - - - ed, thou___ who___ art most__pure
and all im - mac - u - - late and the Moth-er of___________ our_
_________ God. More hon - 'ra - ble than______the Che - ru - - - bim,_
____ and_______ be - - yond com - - pare_____ more glo - - rious than___
the________ Se - - ra - - - phim, whowith-out cor - - rup - - -
- - tion_______ didst give________ birth__________ to___ God the_________
I
It is Truly Right - Fourth Mode "Agia" - Gregory

351

Word, the ver - - - y___ The - o - - to - - - kos, thee do____
__we___ mag - - - - - - ni - - - - fy._______________________
H
"

"

THE PANAGIA
"
XION ESTIN
"
The "Axion Estin" was chanted for the first
time in 980 A.D. by the Archangel Gabriel
in front of this icon.





It is Truly Right

Plagal First Mode
The Patriarchal Melody

adapted from Constantine Pringos (1892-1964)
the Presiding Protopsaltis of the Patriarchate of Constantinople (1939-1960)

'

88
t is tru - ly right_____ to______ call thee___ blest,_ O
The - o - - to - - - - kos____________________th___ ev - - er bless - -
- - - ed,______ thou___ who___ art_____most_____ pure and all
im - - mac - - u - - - - late and the______Moth - - - - er
of_____________ our___________________________________ God.________
More___ hon - 'ra - ble_________________ than_______ the Che - ru - - -
It is Truly Right - Plagal First Mode "Patriarchal" - Pringos

353
bim,_____ and be - yond com - pare________________ more glo - - rious_
____ than__ the__ Se - - - - - - ra - - - - - phim,_______ who
with - out cor - - rup - - - - tion didst give birth______________
____ to____ God_______ the_____________ Word,_______ the____ ver - -
y___ The - - o - - to - - - - kos,__ thee________ do___we__________
mag - - - - - ni - - - - - - fy.________________________________
__________________________________________________________________________


_______________________________________________
*Alternate Ending:

It is Truly Right

Plagal First Mode (Phrygian)
by Michael Hatziathanasiou (d. 1948)

t is tru-ly right__________ to______ call thee_______ blest__

O The - o - to - - - - kos_______ th e - ver bless - - ed,___
thou who__ art________ most____pure and all im - mac - - u - - -
late and the Moth - - - - er__________ of______________our___________
God. More__hon-'ra- ble_______ than the Che - ru - - - bim,__
and be - yond____ com - - - pare more__ glo - - rious_ than_____the
I

'

76
It is Truly Right - Plagal First Mode (Phrygian)

355

Se - - - - ra - - - phim, who with - out________ cor - rup -
- - - tion__ didst give birth___________ to__________ God
the_________ Word, the ve - ry The - - - o - to - - -
- - - - - - - - - kos, thee_____________________ do_________
thee do_______we mag - - - ni - - - fy____________________
______________________________________________________
Sing to God in love and humility of spirit,
for the Lord rejoiceth therein.
St. Silouan the Athonite






It is Truly Right

Plagal Second Mode
adapted from Theodore Papaparaschou "Phokaeus" (1790-1851)

80
t is tru - ly right to___ call_______ thee___ blest, O The - o -
to - - - - kos,___ th ev - - er bless - - - - - ed, thou__
who___ art most__ pure and all im - mac - - - - u - - late and
the Moth - - - er of_________ our______________ God. More__
hon - 'ra - ble than the Che - - - ru - - bim, and be-yond com - - pare
more_ glo - - - rious than________ the Se - - ra - - - - phim,
I
It is Truly Right - Plagal Second Mode - Phokaeus

357

who___ with - - - out______ cor - - rup - - - - tion didst give___
birth___ to____________God_ the_________ Word, the ver - - - y___
The - o - to - - - kos,___ thee do__ we mag - - ni - - - fy._____
_________________________________





It is Truly Right

Plagal Second Mode
adapted from an anonymous composition

'

66
t____ is___________ tru - ly right________ to call______ thee_
_____ blest,_______ O The - o - to - - - - - - - kos,_____
_______ th______________________ ev - - - er___ bless - - - - - - -
- - - ed, thou who art_________ most________ pure and all im -
mac - - u - - - late________ and the Moth - - - - - - -
- er________ of___ our____________________________________God. More hon -
I
It is Truly Right - Plagal Second Mode - Anonymous

359

* Alternate Ending:
'ra - ble_________________________than the Che - - - ru - bim,__
and_____ be - yond com - pare________________________________________ more
glo - - ri - - ous__ than___ the___ Se - - - - - - - ra - - -phim,
who with - out cor - rup - - - - - - - - - - - - - tion_____
____ didst___ give__________________ birth__ to God__ the_________
Word,______ the ver - - - - - - - - - - - y_________
The - o - to - - - - - - - kos,_ thee do___ we____ mag - - - -
- - - - - ni - - - fy.______________________________

____________






It is Truly Right

Grave Mode (Diatonic)
adapted from Theodore Papaparaschou "Phokaeus" (1790-1851)

80
t is tru - ly right to___ call_______ thee___ blest,_______
O The - o - to - - - - - kos,___ th ev - er bless - - - ed,________
thou who art____most_pure_____ and__ all im - mac - - u - - -
- - -late________ and the Moth - - - - er____ of_____ our________
__ God._______ More__ hon - - 'ra - - - ble__ than the Che - ru - -
bim,_______ and be-yond com-pare________________ more_ glo - - - ri -
I
It is Truly Right - Grave Mode (Diatonic)

361

'

- - ous___ than__ the________ Se - - - ra - - phim,__ who_______ with -
out cor - - rup - - - - - tion_______ didst give birth____ to______
God__ the_________ Word,_____ the ver - y The - o - - to - - -
- kos,__thee__ do we mag - - - ni - - - fy.____________________________
_______________________________________
Our psalmody should be angelic,
not unspiritual and secular.
For to psalmodize with clamour
and a loud voice is a sign of inner turbulence.

St. Gregory of Sinai






It is Truly Right

Grave Mode (Enharmonic)
adapted from Theodore Papaparaschou "Phokaeus" (1790-1851)

76
t is tru - ly right________ to______ call thee________ blest,__
____ O The - o - to - - - - -kos,___ th___ev - er bless - - -
ed,__ thou__ who___ art________most__pure___ and__ all im - mac - -
- u - - - - late________ and the Moth - - - - -er____ of__________
our___________ God._ More hon - 'ra - ble________than the___Che - - -
ru - - - - bim,________ and be-yond com -pare__more__ glo - - ri - -
I
It is Truly Right - Grave Mode (Enharmonic) - Phokaeus

363
ous___ than__ the________ Se - - ra - - phim,_ who_____with - out
cor - - rup - - - - - - tion______ didst give birth_________ to___
__ God___ the_________ Word,_____ the ver - yThe-o - - to - - -
kos,___ thee______ do_______ we mag - - ni - - - - fy._______
________________________

It is Truly Right

Plagal Fourth Mode
adapted from Anastasios from Parla of Pisidia

80
t is tru - ly right to___ call___ thee___ blest,_______ O
The - o - to - - - - - kos,___ th ev - - er bless - - - ed,_
__ thou who art____ most_____ pure______ and all im - mac - - - u - -
late_______ and the Moth - - - - - er____ of our___________
God._ More hon - - 'ra - - ble___________ than______ the Che - -
ru - - bim,_______ and____ be - -yond_____com - - pare______
I
It is Truly Right - Plagal Fourth Mode - Anastasios

365

more glo - - - ri - - -ous___ than the Se - - -ra - - - phim,_
who with - out cor - rup - - - - - - tion_______ didst__ give___
birth_______ to God___ the_________ Word,_____ the ver - - -
y The - o - to - - - - - - kos,______ thee____________________
do__________ we mag - - - - ni - - - - fy.__________

"
>
"
the panagia
"portaitissa"
This miracle-working icon
of the Panagia on the Holy
Mountain bled when it was
stabbed in the neck.






It is Truly Right

Plagal Fourth Mode
adapted from Haralambos Papanikolaou (d. 1929)
the Protopsaltis of Kavala

'

68
t is tru-ly right_________ to call___ thee________blest,_________
O The - o - to - - - kos,_____________ th__________________
ev - - - - - - er th ev - - er bless - - - - ed, thou_____
who___ art_________most____ pure___________and all____ im - - - mac - -
- u - - - - late and the Moth - - - er________ of__ our______
It is Truly Right - Plagal Fourth Mode - Papanikolaou 367
______God. More hon - 'ra - ble__________ than______ the_____ Che - -
ru - - bim,______ and be - yond com - pare________more__ glo - - -
- rious than_____ the__ Se - - - - ra - - - - phim, who with -
out cor - rup - - - - tion didst give__________ birth_______________ to
God___________ the________Word, the___________ ver - - - - y_________
______The- o - - to - - - - - - kos, thee________ do_____ we______
____ ma - thee do__ we mag - - - - ni - - - - fy.___________________
__________________________________

____________________________________________________
* Alternate ending:

Katavasia of the
Birth of the Theotokos

Chanted instead of "It is Truly Right"
on September 8
th
and on the Wednesday of Mid-Pentecost

Plagal Fourth Mode
adapted from Hourmouzios Hartophylax (1780-1840)
the Music Teacher and Composer

80
ir - gin - - - i - - - - - - - - ty____ is a state___
_________ al - - - i - en____ to______ moth - - - - ers, and child-
Katavasia of the Birth of the Theotokos

369

- - - - - birth___ is for - - eign_to those__ who are____________
vir - - - - - gins. Yet in thee,_____ O___ The - o - - to - -
kos,___ have both beenwrought__ through dis - - pen - - sa - - - -
- tion. And there-fore we of ev - - - 'ry race__________ on___
____ earth__ un - ceas - - ing - ly__________ pro-nounce________ thee__
_______ blest._________




Katavasia of the
Exaltation of the Precious Cross

Chanted instead of "It is Truly Right"
on September 14
th


Plagal Fourth Mode
adapted from Hourmouzios Hartophylax (1780-1840)

The - o - to - - - kos,__ thou art____ a_______ mys -
- tic - al____ par - - - - - - - a - - - - - dise, for with -
out hus-band - - ry thou_________hast blos - - - - - somed__________
__Christ, by____Whom____ the__ ver - y____ life - bear - ing tree_______
_________ of________the________ Cross in th earth hath_____________ been_
__ plant - - - ed.___ In wor - - - ship - ping Him___ now________

80
Katavasia of the Elevation of the Cross

371

through its ex - - - al - - - - - ta - - - - - tion thee______
do___________ we mag - - - - -ni - - - - -fy.___________
Q: Many times, when I chant, I feel myself being puffed up.
When this happens, how should I confront the thoughts?

A: When the heart becomes puffed up during psalmody, remember that it
is written: Let not them who embitter Him be exalted in themselves.
(Ps. 65:7) Embittering Him is when we sing without understanding
(Ps. 47.7) and without the fear of God. If you examine yourself to see
if your thoughts are wandering during psalmody, you will definitely find
that they have been wandering and you are angering God.

Sts. Barsanuphius and John





Katavasia of the
Entrance of the Theotokos

Chanted instead of "It is Truly Right"
on November 21
st


Fourth Mode
adapted from Hourmouzios Hartophylax (1780-1840)

ee - ing___ how the Vir - gin__ en - - - tered the_________Ho -
- - - - ly___ of Ho - lies___th An - - gels_______________ were
struck with a - maze-ment be - hold - - - - - ing th___ en - - try
of_______ th all - - - pure__________ one__
et____ no un-in - - i - - - - ti - a - - - -ted____ hand_
__ ap - proach_ the liv - ing Ark___ of______God and_____touch_________

80
L
Katavasia of the Entrance of the Theotokos

373

Just as the angels stand with great fear
and chant their hymns to the Creator,
likewise should we stand in psalmody.

St. Ephraim the Syrian

it.___ Rath - - - er let be - - - liev - ers' lips un - - ceas -
- ing - - - ly in_______great__________ joy___ sing out_________
____ th An - - - -gel's sal - - - u - - ta - - - - tion___
to the The - o - to - kos______ and cry_______________ out: tru -
- - - - ly dost___ thou___ sur - - pass______ all cre - - a - - -
tion, O spot - - less__ Vir - - gin.______________






Katavasia of the
Nativity

Chanted instead of "It is Truly Right"
on December 25
th


First Mode
adapted from Athanasios Karamanis (1911- )

_______ my soul,______ mag - - - ni - - - - fy______

__ her___ who is_______ great - - - er___________________ in________
hon - - our_______ and__ in___ glo - - - - - - - - ry__than th
ar - - - - - - - - - mies__ of________ heav - - - - en.
see______ here______________ a_________ strange____ and

80
I
Katavasia of the Nativity

375

mar - - - vel - - lous mys - - - - - ter - - y.______ For, be -
- hold,____ the________ cave_________ is heav - - - - - - - en;
the Vir - - - - gin___ is______ a__che - - ru - - bic;__ throne____
the man - - ger_____________ a___ grand__________ space in which_____
_________Christ our___ God,_____Whom noth - - ing______ can__ con - - tain,_
___ is___ laid_________________ as_______ a babe;________ Him__ do_
_we praise_________and___ great - - ly___ mag - - - - - ni - - - -
fy._____________






Katavasia of the Nativity
from the Iambic Canon

Chanted instead of "It is Truly Right"
on December 26
th


First Mode
adapted from Athanasios Karamanis (1911- )

'

a - - gi and__________________ Shep - - - herds_ came_
to______ wor-ship________the___________Mes - - si - - - ah________
Who was born___ in__ Beth - - le - - - hem,______ the cit - - -
- - y_______ of__________ Da - - - -vid.
e - - ing well______ con - - - tent,_____________ out___ of_

80
B
Katavasia of the Nativity (Iambic Canon)

377

'

__ fear,__________________ to____ be_____ si - - - - - -lent would be
eas - i - - er,________ since___ si - - - - - lence_____ hath__ no_
_______ dan - - - ger; O Vir - - - - - - - - gin,_______
_____ it____ is___ hard to com - - -pose________hymns_ with________
_love_______ framed_____ in_______ har - - mo - - - ny, but_
we______ pray______________ thee,____ O_________ Moth - - - - -er:
do_____________________ thou____________ grant___________ us_______strength_
_____________________________________________ as____ great_ as____
_______ is_____________our___ vo - - - - li - - - - - - tion._____
_______






Katavasia of
Theophany

Chanted instead of "It is Truly Right"
on January 6
th


Second Mode
adapted from Hourmouzios Hartophylax (1780-1840)

80
et my soul mag - ni - fy her___________________ who_
__ is________ great - er in___ hon - - our than_ th___ ar - -
mies______ of__________ heav - - - - - en.
v - 'ry tongue____ is__________________ con - - found - - - - ed
to laud______ thee as______ is__________ wor - - - - - thy;
E
Katavasia of Theophany

379

a su - per - mun - - dane__ mind___ is ev - en____ diz-zied__ prais-
- - - - ing__ thee,_______ O____ The - - - o - to - - - - -
kos. None-the- less ac - cept our________ faith,___ since__________ thou
art full____________ of good - - - - ness, for thou_____ dost__
know our long - - - - - ing___ in - spir - - - ed_________ by__
____________ God. Since thou art the pro - tec - tress___ of____ Chris - -
- tians, thee______ do we mag - - ni - - - - fy._____________________
_________________________________
Bis orat qui cantat.
He who chants prays twice.




Katavasia of Theophany
from the Iambic Canon

Chanted instead of "It is Truly Right"
on January 7
th


Plagal Second Mode
adapted from Hourmouzios Hartophylax (1780-1840)

'

my soul___ mag - ni - - - fy_______ th ev - - -
- er - vir - gin Maid,who__from the curse________ hath_____ re - deemed_
_________ us.
______ all__________ spot - - less___ Bride,__the won - - ders of_
_______ thy______ child - - - - - - birth___ sur - - pass___ com - -

80
O
Katavasia of Theophany (Iambic Canon) 381

'

'

pre - - - - - hen - - - - - - sion,______ O bless - - - ed_
_____ Moth - - - - - - -er! Through thee have we___________found_____
_________________ full and per - fect_______ sal - va - - - - - - tion,_
__ and fram - - - ing__ thee a fit - - ting__ hymn_______ of____
__thanks - giv - - - - ing we______ bring_____ it__ as_______ a_________
gift___ as____ to___ a___ ben - - - - - e - - fac - - tor._
__________






Katavasia of the
Meeting in the Temple

Chanted instead of "It is Truly Right"
on February 2
nd


Third Mode
adapted from Athanasios Karamanis (1911- )

he - o - to - - - - - kos, thou________________ art____
the____________ hope_____ of all______________ us Chris - - - tians.
Guard and shel - - - - - ter and________________ pro - - tect_______
____ those_____ who put_____________their hope________ in_____ thee.
n the shad - - ow and_ let - - ter of_________ the Law,_________

80
I
Katavasia of the Meeting in the Temple

383

'

let__________ us the faith - - - - - ful per - - ceive________ a__

___________________ type.___ Ev - 'ry male____child that o - - pen - -
eth the______________ womb______shall be_____ ho - - - - ly____________
to____ God.__ So th un - - o - rig - - - - - i - - nate
Fa - - - - - ther's__ first-born Log - - - - - os_________and___
____Son_______Who is the first - - born___ of___ the_________ Moth -
- - - - - er__ who________ knew____________ not_______ man do__
___ we___________ mag - - ni - - fy.___________



n - nun - ci - ate,_____________________ O earth, ti - -
- dings of_________ great________ joy; O heav - - ens,______ praise the_
__ glo - - - - - ry of___________ God.__
et____ no un-in - - i - - - - ti - a - - - -ted____ hand_
__ ap - proach_ the liv -ing Ark___ of______God and_____touch_________




Katavasia of the
Annunciation

Chanted instead of "It is Truly Right"
on March 25
th


Fourth Mode
adapted from Hourmouzios Hartophylax (1780-1840)

80
L
Katavasia of the Annunciation

385
it.___ Rath - - - er let be - - - liev - ers' lips un - - ceas -
- ing - - - ly in_______great__________ joy___ sing out_________
____ th An - - - -gel's sal - - - u - - ta - - - - tion___
to the The - o - to - kos______ and cry______________ out: Hail, O
La - - - dy___ who art full of___grace; the__ Lord________ is___ with_
__ thee.______________

Katavasia of
Lazarus Saturday

Chanted instead of "It is Truly Right"
on Lazarus Saturday

Plagal Fourth Mode
adapted from Hourmouzios Hartophylax (1780-1840)

he pure_____ The - o - to - - - kos__ who did___con -ceive_
__ in her womb_________ the di - - vine_____________ fire___
and was not___con-sumed,_______ let____ us______ hon - our glo -
- rious - ly,___ O______ peo - - - - - ples, mag - - ni - fy - - -
ing her with nev - - er - - si - - lent_____hymns.________

80







Katavasia of
Palm Sunday

Chanted instead of "It is Truly Right"
on Palm Sunday

Fourth Mode
adapted from Thrasyvoulos Stanitsas (1910-1987)

'

he____ Lord________ is God___________ and___ He_____ hath___
ap - peared to us.________ Es - tab - - lish__ a cel - e - bra - -
- - - tion,_____ and with___ great de - - light_____ come_____ and_____
____ let____ us__ mag - - ni - - fy and praise Christ__________with our palm -
- - - leaves and__branch - - es,__ cry - - ing___________ a - loud______

80
Katavasia of Palm Sunday

388

__ in____________ hymns: "Bless - - ed______ is___ he___ who__ com -
- - - - eth in the name__ of___ the___ Lord_____our_________ Sa -
- - - viour."_________




Katavasia
of Pascha

Chanted instead of "It is Truly Right"
on Holy Pascha

First Mode
adapted from Peter Manuel of Ephesus (d. 1840)
the first typographer of Byzantine music

he An - - gel___cried___________ un - - to___________________ her_

__ that_________ is__________ full_____ of___________ grace: Re - joice, O_
____ pure________ Vir - - - - gin; and a - gain__ I shall say,____________
re - - - joice; for Thy__ Son hath a - ris - - - - - - - en_
____________ from the grave________ on___ the third________ day.

80
Katavasia of Pascha - Peter of Ephesus 390

O
shine_________________ O___ shine_______________ O new_
___________ Jer - - - - u - - - - - sa - - lem;___ for the
glo - - - - ry____________ of___ the___________ Lord hath a - ris - -
- en up - - on_________ thee. Dance_____________ now for____
joy,___ O Si - - - - on,_______ and_______ ex - - - - ult.
And___________ be_____________ and be_______________ glad,____________
____ O____pure_The - o - to - - - - - - - kos,__ at th
a - ris - - - - - ing_____________ of____________ Him___________
Whom Thou_____didst_______ bear.________________________________________






Katavasia
of Pascha

Chanted instead of "It is Truly Right"
on Holy Pascha

First Mode
adapted from Athanasios Karamanis (1911- )
the Presiding Protopsaltis of Thessaloniki

he An - - gel cried_______ un - - - to___________ her__
that__ is____ full_____ of_________ grace:___________________________
Re - joice,_____ O____ pure________ Vir - - - - - - - - - gin;__
and__ a - - gain I____ say_____ Re - - - - - - joice,_______ for
Thy____________ Son_____ hath______ a - ri - - - - - - - - -
T

80
Katavasia of Pascha - Karamanis

392

sen__ from_ the_________grave__________ on__ the________ third________

day.
shine____________ O shine_____________________ O____________
new___ Jer - u - - - sa - - lem;_ for the glo - - ry of_________ the__
Lord_________________ hath___ a - - ris - - en up - - - - - on___ thee._
___ Dance________________now__ for_________ joy,_______ O___ Si - on,_
___________ and___ex - - - ult.
And________ be_______________ glad,__
____ O_________ pure The - - - o - - - -to - - - - - - - kos,___
____ at th____ a - - - ris - - ing of____ Him___ Whom______thou
_didst_______ bear._____________
O



Katavasia of
Thomas Sunday

Chanted instead of "It is Truly Right"
on Thomas Sunday
First Mode
adapted from Athanasios Karamanis (1911- )

__________ thou bright - - - ly____ shin- ing_____ lan - - - - - tern_

_________________ and__________ Moth - - er of____________ our____ God,___
thou__________________ most man - - - i - - fest__ glo - - ry,__ who
art su - pe - - - - - - - - ri - or_________ to____ all cre - -
a - - - - - - - - - - - tion._______ We hymn____ thee____
__and___ mag - - - - - - ni - - - - - fy.______________

80
O






Katavasia of the
Sunday of the Paralytic

First Mode
adapted from Thrasyvoulos Stanitsas

'

80
he An - - gel cried____________ un - - to________ her___ that_____
is________________________ full___________________ of____________________
grace: Re - joice,____ O__ pure___ Vir - - - - gin;__ and
a - - - - - - - - -gain I shall______ say,___________ re - -
joice; for Thy Son___ hath a - ris - - - - - - - en__ from
the grave______________ on__ the_______ third________ day.
T
Katavasia of the Paralytic

395

ith one_____________________ voice, O Vir - - - - gin,__ we

the____________ be - - liev - - ers call___ thee_ blest._____ Re - -
joice,_______________ thou gate______ of___ the________ Lord; liv - -
ing__ cit - - - - y_________ re - - - - joice._____ La - -
- - - dy,_ re - - joice,_______ for___ to - day________________ the__
______ light__ of_______ the res - ur - - - rec - - - tion________
from the___ dead_____ of__________ the_____________Son__ Whom thou___
hast__ borne,_______ hath shone__ on____ us______through___________ thee.___
_______________
W







Katavasia of the Sunday
of the Samaritan Woman

Chanted instead of "It is Truly Right"
on the Sunday of the Samaritan Woman
First Mode
verse adapted from Athanasios Karamanis (1911- )
katavasia adapted from Chrysanthos Theodosopoulos (1920-1988)

'

'

'

'

'

'

'

80
he An - - gel cried_______ un - - - to___________ her__
that__ is____ full_____ of_________ grace:___________________________
Re - joice,_____ O____ pure________ Vir - - - - - - - - - gin;__
and__ a - - gain I____ say_____ Re - - - - - - joice,_______ for
Thy____________ Son_____ hath______ a - ri - - - - - - - - -
T
Katavasia of the Sunday of the Samaritan Woman

397
sen__ from__ the__________grave__________ on__ the________ third________
day.
e glad________ and ex - ult - - - ant,___ O di - vine___
______ por - - tal________ of____________ the___ light.__ For thy
Son___ Je - - - - - - sus,__________________hav - - ing__ set___with-
- - in____ the__ tomb,__ hath__________________ dawned forth___ shin-
- - - ing more ra - - - - diant - - - - ly than_______ the______
sun,_____and________ hath_________ il - lu - - mined______all__________the_
__ faith - - - ful,_______ O La - - dy_____ full_________ of_______
the________grace_____________ of___________ God__________

B




Katavasia of
Ascension

Chanted instead of "It is Truly Right"
on the Sunday of Pentecost
Plagal First Mode
adapted from Athanasios Karamanis (1911- )

hee, who_ dost___ tran-scend mind and___ rea - - - - - son_

__ the Moth - - - - - er of_____God,______ who in - ef - - - fa -
- - bly didst___ give_______ birth________ in__time________ un - - to_
_________the Time - - - less One, we the faith - - - - - ful___ mag -
- - ni - - fy_____ with one______________________ ac - - - - -cord._
____________

80



ith
- - - - - - out__________with - - out sus - - tain-
- - ing___ cor - - rup - - - tion___ thou didst_____ con - ceive___
__ a_________child, and didst lend flesh________ to_________ the____
Log - - - - - - os____Who did______ de - - vise______________________
all_________things. Moth - - - - er________ who didst not know_ man,_
__ O Vir - - gin__ The - - o - to - - - - kos, re - cep -




Katavasia of Pentecost

Chanted instead of "It is Truly Right"
on the Sunday of Pentecost
Diatonic Grave Mode
adapted from Athanasios Karamanis (1911- )

'

70
Katavasia of Pentecost - Diatonic Grave Mode

400
- - ta - - cle and___space____ of____ thy un - - - con - tained
and in - fi - -nite Cre - - a - - - tor,___ thee___ do__ we__ mag -
- - - - - - ni - - - - fy.______________________________________
__________________


fy._____________

*
'

'

'

* Alternate Ending:





Katavasia of Pentecost

Alternate Melody
Chanted instead of "It is Truly Right"
on the Sunday of Pentecost
Enharmonic Grave Mode
adapted from Athanasios Karamanis (1911- )

80
v
ith - out sus-tain - - ing cor - rup - - - - - -tion_______ thou
didst________ con - ceive__ a child,__ and didst lend flesh to____ the
Log - - - - - - - - os Who_____ did___ de - - vise_____
________ all___________ things.____ Moth - er___who didst not______
_know__ man,_______ O____ Vir-gin__The - - - o - to - - - - -kos,_
___ re - cep - - ta - cle and space__________________ of thine
Katavasia of Pentecost - Enharmonic Grave Mode

402

un -con-tained and___ in - - - - - - fi - - - - - nite Cre - a -
- - - - - - tor, thee_____________ do____ we_____ mag - - - -
- - ni - - - - - fy.____________
ueen_____ of all,______ re - - joice! boast of vir - gins______
_________and___ moth - - - ers; for all mouths with______ el - - o - -
quence_ that___ are_____________ ex - - press - - - ive do____ not______
____ have the_______ pow - - er___ to___praise__ thee___ as__ is__________
meet;_ and__ ev - 'ry mind____ is______ dazed when______ it thinks_____
how_____ thou____________didst__give_______ birth; hence_ we__ glo - ri - -




Katavasia of Pentecost
from the Iambic Canon

Chanted instead of "It is Truly Right"
on the Monday of the Holy Spirit
Fourth Mode
adapted from Athanasios Karamanis (1911- )

'

'

80
Katavasia of Pentecost - Iambic Canon 404

fy_____________ thee with___ one________
ac

- -

-

cord._____________

COmpOSErS Of ByzantInE MuSIc



Katavasia of the
Transfiguration

Chanted on August 6
th
instead of "It is Truly Right"

Plagal Fourth Mode
adapted from Hourmouzios Hartophylax (1780-1840)

ow____________things un - heard__ of___ have_____________ been_
_______ heard. For the Fa-ther's_voice in___ glo-ry____ bear - eth_________
__ wit - - - - - ness to the Son_____________ Who was___ born
with-out a fa - - - ther from___ the______ Vir - - - - gin that
He in - deed_____ is God__________ and_________ man___ and the__same un -
- to the___________ a - - - - ges.___________

80



Katavasia of the
Transfiguration

Alternate hymn
*
chanted instead of
"It is Truly Right" on August 6
th


Fourth Mode
adapted from Athanasios Karamanis (1911- )

*
According to the older rubrics, this is the hymn that should be chanted in the Liturgy on the day of the
Transfiguration. However, the prevailing practice today on the Holy Mountain and in Greece is to chant
the previous hymn on page 405 instead.
hy child - - - - - birth oc - - curred__ with - - out cor - -
rup - - - - - tion. For it____ was God__ Who________did______ come
__forth____from__ thy loins__ and__ did ap-pear_ on___ earth_ wear - ing___
flesh and did make_____________ His dwell - - ing a - - - mong_____
____ men._ There-fore we all mag - - ni - - fy_________ thee,__

80
Katavasia of the Transfiguration 407

ThE TranSfIguratIOn
O The-o - - to - - kos,______________





Katavasia of the
Dormition of the Theotokos

Chanted on August 15
th
instead of "It is Truly Right"

First Mode
adapted from Athanasios Karamanis (1911- )

80
n ev - 'ry gen - - er - - - - - - a - - - tion___ we
pro - - nounce______thee__________________blest,_________ O_______on - -
- - - - ly______ The - - o - - - to - - - -kos.
n__ thee___________ the_________bounds of na - - - ture are____
_ o - - ver - - - come,_ O Vir - - gin__ pure___ and un - - -
I
Katavasia of the Dormition

409

- - de - - filed.__ For__________________ thy____ child - birth___ is___
vir - -gin - - al____ and______ thy death is___ th_________ es - - pous -
al____________ of____ life.___ Thou, af - - - - - ter____ bear - -
- ing__art vir - - - - - - gin and af - - - - - - - ter
dy - - - ing___ art___ liv - - ing._ Moth - - - er_______of_________
God, ev-er___ save______thine in - - her - - - - it - - - - ance._
_________














One is Holy

First Mode
adapted from Nicolaos Georgiafentis (1935- )
the Protopsaltis of Chicago

ne is ho - - ly, one______ is___Lord, Je - sus Christ, to the
glo - - ry of___God the__ Fa - ther. A - - - men.__

88
One is Holy

411
Second Mode (Deuteroprotos)
adapted from Spyridon Maidanoglou (1929-1975)
the Protopsaltis of Serres

ne is ho - ly,___ one_____ is_____________Lord, Je - -
sus____Christ, to the glo - - ry of God the__ Fa - - ther. A - - -
-men.

O
O
Third Mode
by Hieromonk Ephraim

ne is___ ho - - - - ly, one is_____________Lord,Je-sus__Christ,
to the glo - - - ry of God the______ Fa - - ther. A - - men.__
One is Holy

412

O

O
Plagal First Mode
adapted from Hieromonk Hierotheos

ne____ is ho - - ly, one is___Lord, Je - - sus___Christ, to
the glo - - ry of God the__ Fa - - ther. A - - men.
Fourth Mode (Legetos)
adapted from Hieromonk Hierotheos

ne____________ is___ ho - - - - - ly, one___ is Lord,_
Je - sus_____ Christ, to the___ glo - - ry of God the Fa-ther. A - -
- - men.________
One is Holy

413

O
O
Grave Mode
adapted from Spyridon Maidanoglou
the Protopsaltis of Serres

ne_______ is___ ho - - ly, one______ is____ Lord,___
Je - sus____ Christ, to the glo - ry of God the Fa - - ther. A -
- - - men.__
Plagal Second Mode
adapted from Spyridon Maidanoglou
the Protopsaltis of Serres

ne______ is___ ho - - - ly, one___ is______ Lord, Je -
- sus____Christ, to the glo - - ry of God the Fa - - - ther.
A - - - - - men.
One is Holy

414
Plagal Fourth Mode
adapted from Spyridon Maidanoglou
the Protopsaltis of Serres

ne is ho - - - ly, one______ is___________ Lord, Je-
sus___Christ, to the glo - - - - ry of____ God the Fa - - ther.
A - - men.

O
Let us examine during psalmody what kind of sweetness
comes to us from the demon of fornication and,
on the other hand, what kind of sweetness
comes to us from the words of the Spirit
and from the grace and power
contained in them.

-St. John of the Ladder












Praise the Lord

Communion Hymn for Sundays

Plagal First Mode
by St. John Koukouzelis the Maestro (14th century)

Duration: 8:00
(or 3:30 if abbreviated)

68
raise____________________________________________________________
_______________ the___________ Lord_____________________________________
Communion Hymn - Praise the Lord - Plagal First Mode

416

[
*

*
For brevity, the melody may jump from this left bracket to the right bracket on the final page of this hymn.
_____________(rd) from the heav - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - (v)ens______
______________________________________________________________________________
______________ from_______________the heav - - - - - - - - - - -
(v)ens. Al - - - - - - - - - - - - - - - - - - -
- - - - le - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - al - -
- - - - - - - - - - - - - - - - - le - - - - - -
- - - - - - lu - - - - - - i - - - al - le - - lu - -
Communion Hymn - Praise the Lord - Plagal First Mode

417

- - i - - a______________________________________________________________
___________________________________________________ al - le - - - - -
- - - - - - - - al - le - - - - - - - - lu - - - - -
- - - - - i - - - - a______________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
__________________ al - le - - - - - - - - - - lu - - -
- - - - - - - - - - - - - - - - - - - - - -
al - le - - - - - - - - lu - - - - - - - - - - - -
- - - - - - - - - - - - - - - - al - - - - - - -
Communion Hymn - Praise the Lord - Plagal First Mode

418

St. John Koukouzelis

Copy of a miniture found in
Codex 178 of the Monastery of Lavra
le - - - - - - lu - - - - - - - i - - al - le - - lu -
- - - - - i - a._________________________________________________________
____________________________________________________________________







Praise the Lord

Communion Hymn for Sundays

Plagal Second Mode
adapted from John the Protopsaltis from Trebizond (d. 1770)
as abbreviated by Constantine Psachos the Musicologist (1866-1949)

'

raise________________________________________________________________
______________________________________________________________________________
____________________________ praise____________________________ the Lord_
______________________________________________________________________________
____________________________________________________________ the_______
Duration: 3:45

68
R
Communion Hymn - Praise the Lord - Plagal Second Mode

420

____________________________________________________ Lo(rd)___________________
_______________________________________ the_______ Lord______________________
_____(rd) fro(m)___________________________________________________________
__________________________________________________________________________
from the______ hea - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - from___ the heav - -
- - - - - (v)ens.__ Al - le - lu - - - - - - i - - - - a.___
_____________







Praise the Lord

Communion Hymn for Sundays

Plagal Fourth Mode
adapted from Constantine Pringos (1892-1964)
the Presing Protopsaltis of the Patriarchate of Constantinople (1939-1960)

raise__________________________________________________________________
______________________________________________________________________________
______________________________________________________________ praise________
__________________________________ the Lord_____________________________
______________________________________________________________________________
Duration: 3:00

68
P
Communion Hymn - Praise the Lord - Plagal Fourth Mode

422

the______ Lord_______________________________________________ praise________
the Lord____________________________ from the heav - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - (v)ens_____________________________
praise the Lord___ from___ the heav - - - ens._____________________________
_____________ Al - le - lu - - i - a.___________________________
Sing to God, not with the voice,
but with the heart; not, after the fashion of tragedians,
in smearing the throat with a sweet drug, so that theatrical melodies and songs
are heard in the church, but in fear, in work, and in knowledge of the Scriptures.
And although a man be cacophonous, if he have good works,
he is a sweet singer before God.

St. Jerome







Praise the Lord

Communion Hymn for Sunday
Brief Versions in All Eight Modes

adapted from Hieromonk Gregory
of Simonos Petras Monastery

First Mode

raise_______________________ the__________ Lord________________
______________ praise the Lord___________________________________________
____________ from the heav - - - ens.________________________ Al -
le - lu - - - - - - i - - - - - a._________________
P
Duration: 3:00
'

68
Communion Hymn - Sunday - Praise the Lord

424

Second Mode

P
raise_______________________________________________praise______________
______ the__________________ Lord__________________________________
_________________________ praise____________ the__ Lord___ from the___
heav - - - - - ens._______________________________________________________
_______________________________________ Al - le - lu - - - i - - - -
a._______________________________________________
The book of psalms uproots the passions with a certain melodic enjoyment
and a delight that instills pure thoughts.
St. Basil the Great
Communion Hymn - Sunday - Praise the Lord

425

Third Mode

P
raise___________________ the___________________________________ Lord_
__________________________ from the heav - - - - - - - - - -
- - - -ens._______________________________________________________________
____ Al - le - lu - - - - i - - - - - a.___
SIMONOS PETRAS MONASTERY
Communion Hymn - Sunday - Praise the Lord

426

Fourth Mode "Agia"

P
raise___________________________________________________________________
_________ the____________ Lord_________________________ from the____
heav - - - - - - - - - - - - - - - - - - - - ens.____
_________________________________ Al - le - lu - - - - - - i - -
- - - - a.___________________
The virtue of silence, especially in church, is very great. . .
Is anything more unbecoming than the divine words should
be so drowned by talking, as not to be heard, believed, or made known,
that the sacraments should be indistinctly heard through the sound of voices,
that prayer should be hindered when offered for the salvation of all?

St. Ambrose of Milan

Communion Hymn - Sunday - Praise the Lord

427

Plagal First Mode

P
raise_____________________________ the___________ Lord___________
_________________________________ from the heav - - - - - - ens
from________the heav - - - - - - - - ens.____________________________
____ Al - le - lu - - i - - - - - a._________________
Communion Hymn - Sunday - Praise the Lord

428

Plagal Second Mode

P
raise____________________________________ the Lord____________
__________________the__ Lord______________________ from___ the____ heav -
- - - - - - - - ens__________________ from the heav - - -
- - - - - - - - ens.__________________________________ Al - le -
lu - - - - - - - - i - - a.____
Let the servant of God
sing in such a manner that
the words of the text rather than
the voice of the singer cause delight.

St. Jerome
Communion Hymn - Sunday - Praise the Lord

429

Grave Mode (Diatonic)

r
raise________________ praise______________________ the Lord______
_______________________________ from the______ heav - - - - - - -
- - - - - - - ens, from_________________ the heav - - - - -
- - - - - - ens. Al - le - lu - - - - - -i - - - - a._
_________________
Communion Hymn - Sunday - Praise the Lord

430

Plagal Fourth Mode

P
raise______________ the Lord____________________________________
__________________ from the heav - - - - ens.________________________
_____________________________________________________________________________
____ Al - le - lu - - - - - - i - - - - - - - - - - a._
_________________
When we are weighed down by deep despondency,
we should for a while sing psalms out loud,
raising our voice with joyful expectation
until the thick mist is dissolved
by the warmth of song.

St. Diadochos of Photiki












He Who Maketh
His Angels Spirits

Communion Hymn for Mondays
and Feast Days of the Archangels

First Mode
adapted from Anthony "Nomophylax" the Priest (15
th
century)

Duration: 6:30
(or 5:00 if abbreviated)

60
e Who____________ mak - - - - - - - - eth_
______________________ His an - - - - - - - - gels_______________
Communion Hymn - Monday - He Who Maketh His Angels Spirits

432

His an - - - - - - - - gels_______________________________ spi -
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - ri(ts)_______________________________
_______________________________ spi - - - rits_______________________
and______His mi - - - - - - - nis - ters__________________________
__________________________________ His mi - - - - - - - - - - -
- - - - nis - - - - ters_____________________________ a______flame_
______________________________________________________________________________
____________________________________________ a______flame of____ fi - - -
- - - - - - - - - - - - - re._______________________________
Communion Hymn - Monday - He Who Maketh His Angels Spirits

433

_________________ Al - - - - - - - - - - - - - - - -
le - - - lu - - - - - - - - - - - - - - - - - - - -
- - Al - le - - - lu - - - - i - - - a.______________ Al - -
- - le - lu - - - - - - - i - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - a._____________________
__________________
LOVERS OF GOD
ARE MOVED TO SPIRITUAL JOY,
TO DIVINE LOVE, AND TO TEARS
BOTH BY WORLDLY AND BY RELIGIOUS SONGS;
BUT LOVERS OF PLEASURE ARE MOVED TO THE OPPOSITE.

ST. JOHN OF THE LADDER





He Who Maketh
His Angels Spirits

Communion Hymn for Mondays
and Feast Days of the Archangels

Briefer Melodies
adapted from Hieromonk Gregory
of Simonos Petras Monastery

First Mode

e Who mak - - - - - - - - - - - - eth His___
an - - - - - - - - - - - - gels_______________________________
spi - - - - - - - - - - - - - - - - - - - - -
rits________________________ and_______ His min - - - - - - -
- - is - ters____________________________________________ a flame_____
Duration: 1:30

76
H
Communion Hymn - Monday - He Who Maketh His Angels

435

Duration: 1:30

76
Alternate Melody

First Mode

H
____ of__________________ fire.__________________________ Al - le -
lu - - - - - - i - - - - - a.
e Who mak - - - - eth His an - - - - gels spi - - -
rits and_______ His min - - - is - - - - ters___ a flame_
__ of fi - - - - - - - re.____ Al - le - lu - - - i - -
- - - - a.
Communion Hymn - Monday - He Who Maketh His Angels

436

Another Melody

Fourth Mode

H
e Who mak-eth His an - - - - gels spi - - - - - rits
and____ His min - - is - - - -ters a flame of fi - - - - re.
Al - le - lu - - - - - - i - - - - a.
Duration: :30

76










In Everlasting
Remembrance

Communion Hymn for Tuesdays
and Feast Days of Saints

Grave Mode (Diatonic)
adapted from Anthony "Nomophylax" the Priest (15
th
century)

Duration: 9:00
(or 5:30 if abbreviated)

60
n ev - er - last - - - - - - - - - - - - - - -
- - - -ing______________________________________________________ ev - er -
last - - - - - - - - - ing______________________________________
Communion Hymn - Tuesday - In Everlasting Remembrance

438

re - - - - - - -mem - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - bra(nce)_________________
_______________________________________________________________________ re -
mem - - -brance___________________________ shall________________________
the_________________________________________________________________________
____ shall the ri(ght) - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - -
Communion Hymn - Tuesday - In Everlasting Remembrance

439

- - - - - - - - - - - - - - - - - - - right - -
- eous_______________shall the right - - - - - - eous___ be._________
____________________________ Al - - - - - - - - - - -
- - - - - - le - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - al - - le - lu - - - - - - - - - i - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - al -
le - - - lu - - - - - i - - a.___ Al - le - lu - - - - - -
i - - - - - - - - - - - - - - a.___________________________
Communion Hymn - Tuesday - In Everlasting Remembrance

440

________________________________





In Everlasting
Remembrance

Communion Hymn for Tuesdays
and Feast Days of Saints

Briefer Melodies
adapted from Hieromonk Gregory
of Simonos Petras Monastery

First Mode

n ev - er - last - - - - - - - - - - - - -
ing_____ re - mem - - - - - - - - - - - - - - - -
- - - - - - - brance______________________________________________
shall____________________ the right - - - - eous____ be._______________
_________________ Al - le - lu - - - - - - i - - - - - a.
Duration: 1:00

76
I
Communion Hymn - Tuesday - In Everlasting Remembrance

442

Plagal First Mode

I
Duration: :30
n ev - er - last - ing re - - mem - - - - - - - brance
shall_____ the_________ right - - eous_______ be.___________________
Al - - - -le - - - - lu - - - i - - - - a.
A psalm is a city of refuge from the demons; a means of inducing help
from the angels, a weapon in fears by night, a rest from the toils
of the day, a safeguard for infants, an adornment for those
at the height of their vigor, a consolation for the elders,
a most fitting ornament for women. It peoples the
solitudes; it rids the market places of excesses; it
is the elementary exposition of beginners, the
improvement of those advancing, the solid
support of the perfect, the voice of the
Church. It brightens feast day; it creates
a sorrow which is in accordance with
God. For, a psalm calls forth a
tear even from a heart of stone.
A psalm is the work of angels,
a heavenly institution,
the spiritual incense.

St. Basil the Great












I Will Take the
Cup of Salvation

Communion Hymn for Wednesdays
and Feast Days of the Mother of God

Fourth Mode
adapted from Anthony "Nomophylax" the Priest (15
th
century)

___________________ will___________________ take___________ I___ will

take_______________________ the cup of sal - va - - - - - - -
Duration: 6:30
(or 4:00 if
abbreviated)

60
Communion Hymn - Wednesday - I Will Take the Cup

444

[
*

*
For the sake of brevity, the melody may skip from this left bracket to the right bracket on the following page.
- - - - - - - - - - - tion_______the cup of____ sal - va - - tion,_
___________________________________________________________________ and
I_________________ will____________________________ call_______ up - on_
___________________________________ I will call up - - on__________________
____ the name_______________________________ of the____ Lord___
______________________________________________________________________________
____ of____ the Lord.________________________________________________________
__________ Al - - - - - - - - - - - - - - - - - -
- le - - - - - - lu - - - - - - - - - - - - - - -
- - - - - - - - - - - - Al - - le - lu - - - - - - - -
Communion Hymn - Wednesday - I Will Take the Cup

445

- - i - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - Al - le - - - lu - - - - - i - - a.____ Al -
le - lu - - - - - - - - - - - - - - - - - - i - - - -
- - - - - - - - - - - - - - - - - a._____________________
_______________________________________________



I Will Take the
Cup of Salvation

Communion Hymn for Wednesdays
and Feast Days of the Mother of God

Briefer Melodies
adapted from Hieromonk Gregory
of Simonos Petras Monastery

First Mode

_________________ will___ take_____ the cup___ of___
sal - - - - va - - - tion, and___ I will___ call up - on______
the name________________________ of_______ the____________ Lord.__
____________ Al - le - lu - - - - i - - - - - - - a.____
Duration: 1:00

76
I
Communion Hymn - Wednesday - I Will Take the Cup 447

Third Mode

'

I
_______________will__________ take_____ the___ cup_____________
of sal - - va - - - tion,___ and___ I__________will___ call up -
- - on the_____name_______ of___ the Lord.___ Al - le - lu - - -
- - i - - - - a._______
Sometimes
singing in moderation
successfully relieves the temper.
But sometimes, if untimely and immoderate,
it lends itself to the lure of pleasure. Let us then
appoint definite times for this, and so make good use of it.

St. John of the Ladder
Communion Hymn - Wednesday - I Will Take the Cup 448

Fourth Mode "Agia"

I
______ will_____ take the___ cup of____ sal - - va - - - tion,_
__ and___ I_______ will_ call up - - on the__ name___ of_______
_____ the__________ Lord.________________________ Al - le - lu - - -
- - - i - - - - - - a.
Communion Hymn - Wednesday - I Will Take the Cup 449

Plagal First Mode

I
____________________________ will__________ take______________________
____ the____ cup______________________________ of sal - - va - - -
- - - tion,______________ and_______ I_____ will______ call______ up -
- on the________ name_____________ of_______the_________ Lord.________
____________________ Al - le - lu - - - - - i - - - a.__
We should offer our prayers to God with fear and trembling,
tears and sighs, and our voices when we chant
should be sober, contrite, measured,
and humble.
St. Palladios (in the Evergetinos)












Their Sound Hath
Gone Forth

Communion Hymn for Thursdays
and Feast Days of the Apostles

Plagal Fourth Mode
adapted from Athanasios Karamanis (1911- )
the Presiding Protopsaltis of Thessaloniki

heir sound_________________________________________________________
__ hath______________________________________________________________________
Duration: 5:30
'

60
Communion Hymn - Thursday - Their Sound Hath Gone Forth

451

___________________________________________________(th) gone___________________
__ fo(rth)_____________ hath__gone____ forth____________________________________
____ in - to________________________________________________________
___________________________ in - - - - - - to___________________________
____________ all______________________________________________________
__________________________________ th earth____________________________
_________________________________________________________ all____________ th_
__________ earth,_________________________ and their___ words_______
______________________________________________________________________________
________________________________________________ and______ their___________
Communion Hymn - Thursday - Their Sound Hath Gone Forth

452

words_______________________________________ un - to th ends___
_____________________________________________________________________________
____ un - - to th ends_________________________________ of_______
__ the
wo(rld)
______________________________________________________________
______________________________________________ of the world____________
________________________________________________________________ of____ the
world.___________________________________ Al - le - lu - - - i -
- - - - a.___________________________________________





Their Sound Hath
Gone Forth

Communion Hymn for Thursdays
and Feast Days of the Apostles

Briefer Melodies
adapted from Hieromonk Gregory
of Simonos Petras Monastery

First Mode

heir sound___________hathgone___ forth___ in - to all________
th________ earth,__ and their words un - to__ th ends________ of_______ the_
___________ world._ Al - le - lu - - - - i - - - - - a.
Duration: 1:00

76
T
Communion Hymn - Thursday - Their Sound Hath Gone Forth

454

Plagal Fourth Mode

Duration: 1:00
T
heir sound___________ hath gone______ forth________ in - to all_
__________ th__________ earth, and their__ words un - to_______ th__
ends_____________ of_________________ the__________ world._________
Al - le - lu - - - - i - - - - a.
" When you have children,
teach them music. But, of course,
real musicangelic, not dances and songs.
Music assists the development of the perception
of spiritual life. The soul becomes refined. It begins to
understand spiritual music as well."
St. Barsanuphius of Optina










Thou Hast
Wrought Salvation

Communion Hymn for Fridays

Plagal First Mode
adapted from Anthony "Nomophylax" the Priest (15
th
century)

hou_______________________________________________________________
__ Thou hast___wrought___________________________________________________
__________________________________________________________________(t) sal -
Duration: 8:30
(or 5:00 if
abbreviated)

60
Communion Hymn - Friday - Thou Hast Wrought Salvation

456

[

va - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - tion_______________________
___________________________________________ sal - va - - - - - tion______
__________________________ in____________________________ the___________
____ midst of____ th____________________earth,____________ O Christ_
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
__________________________ O________________ Christ our______________________
_God.____________ Al - - - - - - - - - - le - - - - -
Communion Hymn - Friday - Thou Hast Wrought Salvation

457

- - - al - le - - - - lu - - - - - - - - - - - - - -
- - - - - - i - - - al - le - - - lu - - - - - - - i - a._
____________ Al - - - - - - - - - - - - - - - - -
le - - - - - - - - - - - - - - - lu - - - - - - - -
- - - - - - - - - - - - - - - - - - - al - - le - lu -
- - - - - i - - - - - - - - - - - - - - - - - a.___
__________________ Al - - le - - lu - - - - - - - - - - - -
i - - - - - - al - le - - - lu - - - - - i - - a.____ Al -
le - lu - - - - - - - i - - - - - - - - - - - - - - -
a.______________________________________________________________



Thou Hast
Wrought Salvation

Communion Hymn for Fridays

Briefer Melody
adapted from Hieromonk Gregory
of Simonos Petras Monastery

Plagal First Mode

'

hou___ hast wrought sal - - va - - - - -tion in the midst______
of___ th_________ earth, O Christ________ our__________ God.________
__________ Al - - - - - le - - lu - - - i - a.
Duration: 0:30

76
T












Blessed are they whom
Thou hast Chosen

Communion Hymn for Saturdays

Plagal First Mode
adapted from Anthony "Nomophylax" the Priest (15
th
century)

less - - - - - - - - - - - - - ed__________________
__________ are___________________________they______whom Thou hast cho -
Duration: 9:00
(or 6:15 if
abbreviated)

60
Communion Hymn - Saturday - Blessed are They

460

- - - - - - - - - sen____________ and______________ hast tak -
- - - - - - en to_________________ Thy - - - - - - - -
- - - - - - - self,________________ O______________________Lord,______
____ and______________________ their______________ re - - - - - -
me(m) - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - their re - - - - mem - - - - - - - - -
- - - - - - - - brance their re-mem - - - - - - - - -
- - - brance___________ is____________________________________________
________________ from_________________________________________ gen - - - -
- - er - - - - - - a - - - - - - - - - - - - tion______
Communion Hymn - Saturday - Blessed are They

461

____ to_____________________________________ gen - - - - - - - - -
- - - - er - - - a - - - - - - - tion.____________ Al -
le - - - - - - - - - - - - - - - - - - - - - -
lu - - - i - - - a.______________
Al
- - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
le - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - lu - - - - - - - -
- - - - - - - - - - - i - - - al - le - - - lu - - - -
- - - i - a.______________ Al - - - - le - lu - - - - - -
Communion Hymn - Saturday - Blessed are They

462
'

i - - al-le - lu - i - - a._________________________________________________
_____________________________________________________________________________
_______________________
An illustration from a 14th-century manuscript depicting
John Glykes teaching cheironomy to St. John Koukouzelis and Xenos Koronis





Blessed are they whom
Thou hast Chosen

Communion Hymn for Saturdays

Briefer Melodies
adapted from Hieromonk Gregory
of Simonos Petras Monastery

Plagal First Mode

less - - - - - - - - - - - - ed______________ are____
________________________________________________ they_____________________
whom Thou hast_____________cho - - - - sen________________ and___
_____ hast___________________________ tak - - - en_________ to_________
______________ Thy - - self,___________ O_________ Lord,_______________
Duration: 2:00

76
B
Communion Hymn - Saturday - Blessed are They

464

and their re - mem - - - - brance______________________________ is____

______________ from_____ gen - er - a - - tion to gen-er - - - - a - -
- - - tion.__________________ Al - le - lu - - - - - i - - -
- - - - a.___________________________________
Psalmody in a crowded congregation is accompanied by captivity and
wandering of the thoughts; but in solitude, this does
not happen. However, those in solitude are liable
to be assailed by despondency, whereas in
congregation the brethren help
each other by their zeal.
St. John of the Ladder
Communion Hymn - Saturday - Blessed are They

465

Plagal First Mode

B
less - - - - ed___ are they_________________________________
whom__________ Thou hast cho - - - - - - - - - -sen___________
____ and hast tak - - - en___ to____ Thy - - self,_____ O__________
Lord,_______________ and their re - mem-brance is from gen - er - - a -
- - - tion___ to_____ gen - - - er - - - - a - - - - tion.
Al - le - lu - - - - - - - i - - - - a._____________
Duration: 1:30







Explanatory Note
for Communion Hymns
of Feast Days


he following section contains the communion hymns chanted on major feast days. To
avoid repetition, the communion hymns that are found elsewhere in this book are not
included in this section. The chart below shows where these hymns are to be found:


T


pages
Feast days of the Mother of God See communion hymns for Wednesday 443-449
Feast days of the Archangels See communion hymns for Monday 431-436
Feast days of the Honourable
Forerunner and of other Saints
See communion hymns for Tuesday 437-442
Feast days of the Apostles, the
Evangelists, the Three Hierarchs,
and Sts. Constantine and Helen
See communion hymns for Thursday 450-454
Feast days of the Cross (August 1
and Third Sunday of Lent)
See communion hymn for September 14 468
Holy Thursday
See communion hymns Receive Me
Today in next section
494-500
Feast day of Sts. Joachim and Anna
See communion hymn for the Sunday of
All Saints
487
Explanatory Note for Communion Hymns

467

Since some melodies of the communion hymns are brief, it may be necessary to chant
something else in addition until the priest is ready to give communion to the faithful. Instead of
repeating the same hymn to bide time, the choir may chant other psalmic verses or a slow
alleluia.
1
The following chart shows where the music for slow alleluias may be found in this
book in various modes.

Slow Alleluias




1
Appending a long, elaborate alleluia to the brief psalmic verse of the communion hymn was a practice prevalent in
the pre-Koukouzelian era. However, the more ancient practice (which encouraged congregational participation)
was to chant a complete psalm with brief, pendant alleluias after each verse. (Vid. Conomos, Dimitri, The Late Byz-
antine and Slavonic Communion Cycle: Liturgy and Music, Dumbarton Oaks, Washington, D.C., 1985, pp. 59-61.)


pages
First Mode
See end of slow communion hymns for Sunday and
Monday or slow alleluia at the end of this section.
416, 433, 489
Third Mode
See slow alleluia in plagal fourth mode at the end
of this section.
492
Fourth Mode
See end of slow communion hymn for Wednesday
or slow alleluia at the end of this section.
444, 491
Plagal First Mode
See end of slow communion hymns for Friday and
Saturday.
456, 461
Grave Mode See end of slow communion hymn for Tuesday.
439
Plagal Fourth Mode See slow alleluia at the end of this section.
461











The Light of Thy
Countenance

Communion Hymn for September 14
th

The Exaltation of the Precious Cross

Third Mode
by Hieromonk Ephraim

he____ light________________________________ of____ Thy___
coun-te - - nance,__ O____ Lord,________ hath________ been signed_
_________________ up-on_____ us._________________________ Al - le - lu -
Duration: 1:00

76
Communion Hymn - Exaltation of the Cross

469

- - - - i - - - - - a._______
THE EXALTATION OF THE CROSS






He Hath Sent
Redemption

Communion Hymn for December 25
th

The Nativity of Christ

First Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

et e______________ hath__________ sent re - - demp - - - -
- - - - tion_________________________ un - to______ His peo - -
- - - - - - - ple.______________________________ Al - le - lu -
- - - - - i - - - - a.___________________________________
Duration: 1:00

76
Communion Hymn - Nativity

471

Alternate Melody

Third Mode

Duration: 1:00

76
H
e__________________________________________hath______sent re - -
dem - - - - re - demp - - - - - tion un - to____ His__
peo - - - - - - - - - - ple._____ Al - le - lu - - - -
i - - - - - a._______
He who is not alone but is with others,
cannot derive so much benefit from psalmody
as from internal prayer; for the confusion of voices
renders the psalms indistinct.

St. John of the Ladder






The Grace of God
That Bringeth Salvation

Communion Hymn for January 6
th

Theophany

Plagal First Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

he grace___________________________ of___________ God that

bring - - - - - - - - - - eth____________ sal - - - va - -
- - tion____________________________ to all men_______ hath___
ap - - - - - - - - - - - - -peared.________________ Al -
- - le - lu - - i - - a.____________________
Duration: 1:00

76
Communion Hymn - Theophany

473

Alternate Melody

Plagal Fourth Mode

Duration: 1:15

76
T
he____ grace_____________ of____________ God________ that___ bring -
- - - - - - - - - - - - - - - - - eth__________________
____ sal - - va - - - tion________ to______ all____________________
_____________ men_________________________________________________________
____ hath_______________________________________________________ ap - -
- - - - - - - - - - - - - peared.______________ Al - le -
lu - - - - - i - - - - - - a.____________________________





The Lord Hath
Elected Sion

Communion Hymn for March 25
th

The Annunciation

Plagal Fourth Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

he Lord______________________ hath e - - lect - - - - - ed___
Si - - - - - on,___ He hath cho-sen__ her__ to____ be______
__________________ a hab - i - ta - - tion for_________ Him - - -
- self.___________ Al - le - lu - - - - i - - - a.___
Duration: 1:00

76
T




Out of the Mouths
of Babes

Communion Hymn for Lazarus Saturday

Plagal First Mode
by Hieromonk Ephraim

ut of the mouths_ of babes__ and suck - - - - lings
hast___ Thou__ per - - fect - ed___ praise.__ Al - le - lu - - -
i - - - - a.
Duration: :30

76
IT IS A GREAT ACCOMPLISHMENT TO PRAY WITHOUT DISTRACTION,
BUT IT IS EVEN GREATER TO CHANT WITHOUT DISTRACTION.
EVAGRIOS THE SOLITARY





Blessed is He
That Cometh

Communion Hymn for Palm Sunday

Plagal First Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

les - - - - -sed_____ is he________ that com - - - -
- - - - - - - - - - - - - - - - - eth________________
in______ the___________name_____________ of_______the_________ Lord._____
____ Al - le - lu - - - - - i - - - - - a._________
Duration: 0:45

76



The Lord Awoke
As One That Sleepeth

Communion Hymn for Holy Saturday

First Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

he___ Lord___ a - - - woke____ as one___ that__ sleep - - -
eth, and is ris - - - - en,________ sav - - - - - ing______
_______ us.___________ Al - - - le - lu - - - - i - - - a._______
T
Duration: 0:45

76







Partake Ye of the
Body of Christ

Communion Hymn for Pascha

Plagal First Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

ar - - - - - - - - - - - take_______________________
_______ ye_________________________ of___ the____________ Bod -
- - - - y____________________ the Bod - - - - - - - - -
y the Bod - - - y of_____________ Christ,______________ taste_
__________ the foun - - tain_______________ of im - mor - - - - tal -
Duration: 1:30

76
Communion Hymn - Pascha

479

- - - i - - - - - - ty._____________________________________________
_________________
Communion Hymn - Pascha

480

Briefer Melody

Plagal First Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

Duration: 0:45

76
P
ar - - - - - take___ ye____ of the Bod - - - - y___
_______ of_______________ Christ,_______ taste______________ the___
foun - - tain of im - mor - - tal - - - i - - - - - - ty.________
_______
When you stand in church,
be careful not to look here and there
or curiously examine how each one of the
brethren stands or sings. Rather, pay attention
only to yourself and to the chanting and to your sins.

St. Symeon the New Theologian




Praise the Lord,
O Jerusalem

Communion Hymn for Thomas Sunday
Third Mode

'

raise__________ the__ Lord, O Jer - u - - - - sa - - lem; praise__

_________ Thy God,___ O_________ Si - - - - - on.___ Al - le - lu -
- - - -i - - - - a.__
P
Virtually all know the words of this psalm and they continue to sing it at every age,
without knowing, however, the sense of what has been said. This is not a small charge,
to sing something every day, putting forth words from the mouth, without searching
out the meaning of the thoughts residing in the words.
St. John Chrysostom, On Psalm 140

Duration: 0:45

76





He That Eateth
My Flesh

Communion Hymn for the
Wednesday of Mid-Pentecost

First Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

e that eat - - eth My________ flesh__ and drink - -

- - - - - eth_______My________ blood dwell - - eth in____ Me__
and I____ in___ him,_ said___________ the__________ Lord. Al - le -
lu - - - - i - - - - - - - - a.____
Duration: 1:00

76





God is Gone Up
in Jubilation

Communion Hymn for Ascension

Second Mode
"Deuteroprotos"
adapted from Hieromonk Gregory
of Simonos Petras Monastery

et od________________________________________________ is gone_
__________ up___ in ju - bi - - - la - - - - - - -tion,_____
_________________ the______________ Lord_________ with the voice________
of the_____ trump - - - - - - et._____________ Al - le - lu - - - -
i - - a.
Duration: 1:00

76






Thy Good Spirit
Shall Lead Me

Communion Hymn for Pentecost

First Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

hy good Spir - - - - - - - - - - - - it shall_____

_______lead_______________ me_______________________________ in_______
____the_______ land_____ of up - - - - right - - - - - - ness.__
_________________________________________________________ Al - le - lu -
- - - - i - - - - - - - - a.____
Duration: 1:00

76
Communion Hymn - Pentecost

485

Alternate Melody

Plagal Second Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

Duration: 1:00

76
T
hy___ good____________________________Spir - - - it shall_____
______ lead___________ me________________________________ in____ the
land_________________________________ of up - right - - - - - - -
ness.______________________ Al - le - lu - - - - - - - i - -
a.




Take Not Thy
Holy Spirit From Us

Communion Hymn for
Monday of the Holy Spirit

Plagal Second Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

ake___ not_______________________________________ Thy________ Ho -
ly____ Spir - - - - it_______from__________ us.________________________
Al - le - lu - - - - - - - -i - - a.
Duration: 0:45

76
Now [in 1911] theatrical tunes and melodies have even
penetrated into the Church, forcing out ancient chant.
Meanwhile, the latter is more highly artistic, but people
don't understand this."
St. Barsanuphius of Optina
e - joice___ in the___ Lord,__ O ye___ right - - eous, praise
is meet_____ for___ the__ up - - - - - - - - - - right.___________
_____________________________ Al - - - le - - - - lu - - - i - - -
- a.




Rejoice in the Lord
O Ye Righteous

Communion Hymn for the
Sunday of All Saints

Plagal First Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

Duration: 0:45

76




In the Light
of Thy Face

Communion Hymn for August 6
th

The Transfiguration

Plagal Fourth Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

n the light______________ of Thy___ face,________ O_________
__ Lord, shall___________we________ walk,__ and_______ we_______
shall______________ re - - joice__ in Thy name___________ for - -
- - ev - - - - - - er._____________________________ Al - le - lu -
- - - - i - - - - a.___
Duration: 1:00

76









Alleluia

Slow Melody*

First Mode
by Peter Bereketis "the Sweet" (d. 1715)
taken from his magnum opus "O Theotokos and Virgin"
as interpreted by Photios Ketsetzis the Protopsaltis of America
Lyrical Adaptation by Lycourgos Petridis

- - - - - - - - - - - - - - - - - - - -
- - - - - - - le - - - - - - - - - - - - - - - -
Duration: 2:30

84
______________________
* The slow melodies of "Alleluia" on the following pages are useful for biding time at the end of the
communion hymn (or even at the end of the Cherubic Hymn) in the event that the priest is not ready
to continue.
Alleluia - First Mode (Slow Melody)

490

- lu - - - - - - - - - - - - - - - - - - - - i-
- - - - - - - - - - - - - - - - - - - - - - a____
__________________________________________________________________________
al - - - - - - - - - - le - - - - - - lu - - - - -
- - - - - - - - - - - - - - - - - - - - i - a_
_____________________________________________________________________________
_____________________________________________________________________________
_____________________ al - - - - - - le - - - - al - le - - -
lu - - - - - - - - - -i - - - - a._____________________



Alleluia

Slow Melody
by Peter Bereketis "the Sweet" (d. 1715)
from his magnum opus "O Theotokos and Virgin"
Lyrical adaptation by Lycourgos Petridis

Fourth Mode

l - - - - - - - - - - - - - - - - - - - -
- - - - - le - - - - - - - lu - - - i - - - - - - -
- - - - - - - - - - - - - - - - - - - a.______________
______________________________________________________________________________
_____________________________________________ al - le - lu - - i - a.________
_____________________________________________________
Duration: 1:15

84
A





Alleluia

Slow Melody
by St. Mark of Ephesus (d. 1443)
(taken from his slow cherubic hymn)

Plagal Fourth Mode

Duration: 3:00

76
A
l - - - - - - - - - - - - - - - - -le - - -
- - - - - - - Al - le - lu - - - - - - - - Al - le - -
- lu - - - - - - - - - - - - - - i - - Al - - - le -
lu - - i - a.__________________________ Al - - - - - - -
le - - - - - lu - - - - - - - - - - - - - - - - i -
- - - - - - - - - - - - - - - - a.__________________
Slow Alleluia - Plagal Fourth Mode

493

St. MARK OF EPHESUS



Al - - - - le-lu- i - - - a.___________________ Al - le - lu - -
- - - - - - i - - - - - - - - - - - - - a._____________
_____________________________________________________________________________
_______________________________________________________________________
The CHAMPION OF ORTHODOXY











Receive Me Today

Communion Hymn
*


Plagal Second Mode
adapted from Athonite melody

*
On the Holy Mountain, this hymn is repeated while the faithful receive communion.

e - - ceive me to-day, O Son of____ God, as____ a
com - mu - - - - ni - - - - cant of Thy Mys - - ti - cal Sup -
Duration: 2:45

72
Receive Me Today - Plagal Second Mode - Athonite Melody

495

- - - - - per; for I____________ will________ not speak of
the mys - ter - - y____ to___ Thine en - e - - - - mies,
nor will___ I__________ give Thee_ a____ kiss___ as_________________
did__ Ju - - - - das; but as the thief___________ do________
I______________ con - - fess___________Thee: Re - mem-ber me,__ O_______
Lord,___ in___Thy King - - - - - - dom; re - mem-ber me,
O____ Mas - - - - - ter, in___Thy King - - - - - - dom;
re - mem-ber me, O____ Ho - - - ly___ One,__ when Thou com - est
in___Thy King - - dom.______________________




Receive Me Today
Plagal Second Mode
adapted from Lycourgos Petridis

'

Duration: 5:00
'

72
R
e - - ceive_____ me to - - day, O_______________________
____ Son___________ O Son__ of___ God,___ as________ a______
_________________ as__________ a com - mu - - - - ni - - cant
of Thy mys - - - - - ti - - cal_____ sup - - - - - - - - -
- - per; for___ I___________________ will not_______speak________
______________ of the__ mys - - ter - - y____ to___ Thine__ en -
- - - e - - mies,__ nor will__ I_________ give Thee_ a_________
Receive Me Today - Plagal Second Mode - Petridis

497

'


kiss__ as________________did___________ Ju - - - - - - - - - - -
das; but___ as____ the___ thief__ do I con - fess_____________
Thee:_______ Re -mem - - - ber me,___ O___________________ Lord,
in__ Thy King - - - - - dom; re - mem - ber me, O Ma - -
- - - - - - - - O Mas - - - - - ter, in____Thy_____
King - - - - - - - - - - - dom; re - mem - - ber_________
me,_____________ O____ Ho - - - - - - - - - - ly__________ O
Ho - - ly___ One,__ when Thou com - - - - - - - - - - - -
- - - est in_____Thy___________ King - - dom.____________________
Lycourgos Petridis




Receive Me Today

First Mode
adapted from Lycourgos Petridis

e - - ceive________ me to - day,___ O___ Son of____ God,__
as a com - mu - - - ni - - cant__________ of Thy___ mys - -
- - ti - - cal___ sup - - - - - per; for I____ will______ not__
____ speak_____________ of the mys - - - - ter - - - y________
to Thine en - - - e - - - mies,________ nor will___ I_______ give__
____ Thee_____ a___ kiss___ as_________________did___ Ju - - -
- - - - - - - - das; but____ as___ the___ thief__ do
Duration: 3:30
'

72
R
Receive Me Today - First Mode - Petridis

499

'

I con - fess______________________________ Thee: Re - mem - ber me,_

__ O___ Lord,___ in___Thy___ King - - - - - dom;___ re -
mem - - ber__ me,_________________________________ O_________ Ma - -
- - - - - - - - - - - - - - - - ster in________ Thy
King - - - - - - - - - - - - - - - - - - - - - -
dom; re - mem - - - - -ber________ me,___ O_______
_________ Ho - - O Ho - - - - ly___ One, when Thou com - - - -
- - - est__ in___Thy___ King - - - - - - - - - -dom.
Chanting is the work of the Bodiless Powers,
who stand beside God and praise Him unceasingly.
Antiochos




Receive Me Today

Plagal Fourth Mode
adapted from Lycourgos Petridis

'

'

'

e - ceive me to - - day, O__________________________ Son_______
__ O Son__ of___ God,__ as a______ com - mu - - - - ni - - -
- cant of Thy mys - - - - - ti - - - - cal sup - - - - -
per;___ for I_______will__ not___speak of the mys - - - - ter -
- - y____ to____________Thine_________________ en - - e - - -
mies, nor_____will I___ give_____Thee____ a___kiss_________ as_______
did Ju - - - - - - - - - - - - - - das; but as_______
Duration: 4:00
'

72
R
Receive Me Today - Plagal Fourth Mode - Petridis

501
the___ thief__________________________________ do I con - fess_______
____Thee:_______ Re - mem - - ber_____ me, O________________________
___________ Lord,__ in___________ Thy______________ King - - - - -
dom;__ re - mem-ber_____ me, O____ Ma - - - - - - ster___
in____________ Thy_______________ King - - - - - dom;__ re -
- mem-ber___ me, O____ Ho - - - - - - - - - - ly__ O
Ho - - ly_________ One, when_____Thou_________ com - - - est in_
__ Thy_____ King - - - dom.

We Have Seen the True Light

Second Mode
adapted from traditional melody

P
-

e have seen___ the true light. We have re - ceived the heav-en-
ly Spir - it. We have found the true faith, wor-ship-ping th un - di - vi-ded
Trin - i - ty, Who hath saved_____ us._________
,

160











Remember Us Also,
O Compassionate One

Plagal Second Mode
Chanted instead of "We Have Seen the True Light"
on Holy Saturday

e - mem - ber us al - - - so, O Com - pas - - sion - ate
One, e - ven as Thou didst re - mem - - ber the thief in the king-
dom of__ the Heav - - ens._________________

160












Let Our Mouths be Filled

Plagal First Mode
adapted from Athonite melody

180
et our mouths be filled with Thy praise, O Lord, that we
may sing_ of Thy glo-ry. For Thou hast made us wor-thy to par - take
of Thy ho - ly, di-vine, im-mor-tal, and life - - - giv - ing mys-ter-ies.
Let Our Mouths be Filled

505

Alternate Version

Second Mode
adapted from Hieromonk Gregory of Simonos Petras Monastery

180
L
Keep us in Thy ho - li-ness that all the day___ we may med - i-tate up -
on Thy righ-teous-ness. Al - le - lu - i - a. Al - le - lu - i - a.
Al - le - lu - i - a.________
et our mouths be filled with Thy praise, O Lord, that we may sing
of Thy glo - - -ry. For Thou hast made us wor-thy to par - take
of Thy ho - ly, di-vine, im - mor - - tal, and life - - giv - ing mys-ter-ies.
Keep us in Thy ho - li - ness that all the day we may med - i-tate
Let Our Mouths be Filled

506

up - on Thy righ- - teous-ness. Al - le - lu - i - a. Al - le - lu - i -
a. Al - le - lu - - i - a._________
PanagIA
"
KOUKOUZELISSA
"
(painted by St. John Koukouzelis)



less-ed be the name of__ the Lord hence-forth and for - ev- er-more.
Bless-ed be the name of the Lord
hence-forth and for - ev - - er -more.________











Blessed be the Name of the Lord

Second Mode
adapted from traditional melody

170
First
Choir:
Second
Choir:
(twice)
Blessed Be the Name of the Lord

508

Plagal First Mode
adapted from Hieromonk Gregory of Simonos Petras Monastery

less - - ed be the name_____ of the Lord hence-forth and
for - ev - er-more.
Bless-ed be the name of the Lord
hence - - - - forth and for - ev - - er - - more.____________

160
(twice)
B
First
Choir:
Second
Choir:
When the day is over, the vendor sits down and counts his profits;
but the worker of virtue does so when the psalmody is over.
St. John of the Ladder















Christ is Risen

Plagal First Mode
Chanted on Pascha and during Bright Week
instead of "Blessed be the Name"
Adapted from Athonite melody

hrist is ris - - en from the dead, by death hath He tram - pled

down death, and up - on those in the tombs He hath be-stowed______ life.

130
C
Christ is Risen - Brief Melody

510

Second
Choir:
Second
Choir:
First
Choir:
Christ is ris - - en from the dead,__ by__ death hath He tram- pled down__
death, and up- on those in the tombs He hath be-stowed_________ life.
Christ is ris - en from the dead, by death_______ hath He tram- pled down__
death, and up - on those in the__ tombs
He hath be - stowed______ life.____________
If one were to put all of the world's
most precious things on one side of a scale,
and the Divine Liturgy on the other,
the scales would tip completely in favor of the Liturgy.

St. John of Kronstadt

;

v

Ton Despotin

Chanted during the dismissal of a Hierarchal Liturgy

Traditional melodies by Constantine Pringos (1892-1964)

Second Mode

84
Ton Despotin

512

Briefer Version

English Version

T







Lord pro-tect___our mas - - ter and hi - - er - arch
for man - y years,_ O Mas - ter; for man - y years,_O Mas - - ter;
for man - y years, O___ Mas - - ter.________





Protect Him
( )

Chanted during the dismissal of Liturgy
*


Second Mode

*
This hymn is not typically sung on Mt. Athos. According to other traditions, however, it may be sung while
the priest says the dismissal of the Divine Liturgy.

ro - tect__________ him who___bless - - eth___ and___________
sanc-ti - fi - - - - eth______________ us for___ man - - - y____
years,_ O___________________Lord._

84












Through the Prayers
of our Holy Fathers
*


Ancient Melody - Method of the Old Sticheraric Melody
Anonymous composition transcribed by Hieromonk Hierotheos of Philotheou Monastery

First Mode "Tetraphonic"

*
This hymn may be chanted while the priest distributes the antidoron to the faithful.

Duration: 6:00
'

84
hrough the prayers_____________________________________________________
__________________________________________through the prayers_______________
of__________________ our___________________________________________________
Through the Prayers

515

__________(our) ho - - - - - - - - - - ly______________________
Fa - - - - - - - - - - - - - - - - - - - - - Fa
- - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - thers,______________________________
_____________________________________________________________________________
__________________(ers) Lord_____________________________________________
_____________________________________________________________________________
_________ Lord___________________________________________ Je - - - -
- - - sus Christ__________ Je - sus Christ______________________________
_____________________________________________________________________________
Through the Prayers

516
_____________________________________________________________________________
_____________________________________________________________________________
_________________________________________________________________(st) our_
___________________________________________________________ God___________
____________________ our____________ God__________________________________
_____________________________________________________________________ our___
_____ God___________________________________________________________________
____________ our____________ God,__________________________________________
________________ have_______ mer - - - - - - - - - - - - -
cy______________________ have_____mer - - - - cy________________________

solo:
tutti:
Through the Prayers

517

_________________________________________________ on_______________________
__________ have mer - - cy on us.
St. ROMANOS THE MELODIST


ord,___________ have_____ mer - - - - - cy._____ Lord,_
__________ have_____ mer - - - - - - - - - - cy._______________
Lord,____________ have_________________ mer - - - - cy.__











Lord Have Mercy

For the Liturgy of St. Basil*
Second Mode
adapted from traditional melody

* In some places on Mt. Athos, immediately after the response "It is proper and right" in the Liturgy of St. Basil, this
melody of "Lord, have mercy" is chanted repeatedly until the priest completes the silent prayer "O Existing One, Master,
Lord God..." However, it may be unnecessary when more than one priest is serving, since the presiding priest can
complete this prayer while another priest says the next petition.
L

66







Slow Anaphora
(brief version)

For the Liturgy of St. Basil

Plagal First Mode
adapted from Hieromonk Gregory of Simonos Petras Monastery

H
o - ly, ho - - - ly,______________ ho - - - ly,________________
__________ Lord_________________ of Sa - ba - oth,________________
____________________________________________________________________ heav -
- - - - - - en and______________ earth___________________________
________________________ are_____ full__ of___________ Thy__ glo - -
Duration: 2:15 +
:10 + :25 + 1:45

90
Liturgy of St. Basil - Slow Anaphora - Plagal First Mode (Brief Version)

523
- - - ry___________________ Ho - san - - - na in the high - - -
- - - est. Bless - ed is he_______ that_______________ com - - - -
- - eth in the name____of___ the___________ of the
Lord.___________
Hos - san - na__________________ in the high - - - - -
- - - - - - est.

- men._________________________________________________

- - me - - - - - - - - - - - - - - - - - -
- - - - - - - - - - A - - - - - - men._______

A
A
Liturgy of St. Basil - Slow Anaphora - Plagal First Mode (Brief Version)

524

e__________hymn____Thee, we________bless_____Thee, we______
______ give_____________ thanks_____________________________________________
un - - to________________ Thee,________________ O______ Lord,_______
______________ and_____________________________ we and we pray_______
_________ un - - we pray___ un-to Thee O_____________________________
our___________________God._______________________________________________
_____________________________________________________________________________
____ O_____ our_______________ God._________________

W








Slow Anaphora

Second Mode
by John the Sweet (late 13th century)
abbreviated by John the Protopsaltis from Trebizond (d. 1770)
as interpreted by Athanasios Karamanis (1911- )

o - ly, ho - ly,__ ho - - - - - - - - - - - ly,________
____ Lord_____________________________________________ of______ Sa - -
- ba - - - - oth,____________ heav - - - - - - - - - en__
_______________ and__________________________________________________________
earth_________________________________________ are___________________ full______
Liturgy of St. Basil - Slow Anaphora - Second Mode

526

______________ of_____________________________________________ Thy__

_____________________________________________________ are full_____________
____________________________ of Thy___ glo - - - - - - - - - -
- ry._______________________________________ Ho - san - - na___________
_____________________________________________ in___________________ the___
________________________________________ in_______ the high - - - - -
- - est.___ Bless - - - - - - - - - - - ed____________ is__
____ he________________ that_____ com - - - - - - - - - - eth_
___ in the name__________________________________________ of the______
Lord.______________________________________________________ Hos - san - na
Liturgy of St. Basil - Slow Anaphora - Second Mode

527

'

'

'

'

in___________________________________________________________ the___________
________________ high - - in_______ the high - - - - - - -
est_______________________________________________ in_________ the high -
- - - - - - - - est.________________________________

- - - - me - - - - - - - A - - - - - men.__________
__________________

- - - me - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - A - - -
A
A
Liturgy of St. Basil - Slow Anaphora - Second Mode

528

'

'

- - - men.________________________________________

e_________________________________________________________________
hymn__ we________ hymn_________________________________________________
________________________________________________________ Thee, we______
___________________________________ bless________________________________
we____ bless_______________________________________________________________
____________________________________________________________ Thee, we_
_________________ give__________________thanks_____________________________
____________ un - - - to________________________ Thee,__ O__________
W
Liturgy of St. Basil - Slow Anaphora - Second Mode

529

'

_______________ Lord,__________________________ and_______________________
_________ we_________ and we pray_______________________________ we pray
un - - - to________________________ Thee,__________________________________
___________________ O________________________ our______ O___________
our_________________ God____________________________________________________
O______________ our___________________________ God.____________________
___________
Psalmodybringing about choral singing, a bond, as it were,
toward unity, and joining people into a hamonious union of one choir
produces also the greatest of blessings: love.

St. Basil the Great






Slow Anaphora
(brief version)

For the Liturgy of St. Basil

Second Mode
adapted from abbreviated version by Chrysanthos Theodosopoulos (1920-1988)
the Presiding Protopsaltis of the Cathedral of St. Demetrios in Thessaloniki

Duration: 2:30 +
:15 + :20 + 1:20

108
H
o - ly, ho - ly, ho - - - ly,___________________________________
____ Lord__________________________________________ of______ Sa - ba - -
oth,____________________________ heav - - - - - - en____________
_______ and_____ earth__________________________ are__________________
full_

___________ of Thy___ glo - - - - - - - - - - - - ry.________
Liturgy of St. Basil - Slow Anaphora - Second Mode (Brief Version)

531

___________________________ Ho - san - - na_________________ in the
high - - - - - - - est.___ Bless - - - - - - - - ed is____
he________________ that com - eth in the name_____ of___ the Lord.________
__________________________________________ Hos - san - na in____________
_____________________________________ the_________________ high - - in
the high - - - - - - est.________________________________

- - - - me - - - - - - - A - - - - men._____________
___________________
A
Liturgy of St. Basil - Slow Anaphora - Second Mode (Brief Version)

532

- - - - me - - - - - - - - - - - - - - - A -
- - - - - men.________________________________________

e____hymn____ Thee, we_____ bless_____ Thee, we____________
____ give____________________thanks______________________________ we give__
thanks_____ un - to_______________________ Thee,__ O___________________
Lord,__________________ and______ we______ pray un - - - to______________
________________ Thee,___________________________________________________ O___
______________ our___ O____________our God.________________________
________
A
W







In Thee Who Art
Full of Grace

Plagal Fourth Mode
Chanted in the Liturgy of St. Basil
instead of "It is Truly Right"
adapted from Anthimos the Archdeacon (d. 1879)

n thee who___ art____ full of___grace all cre - a - tion re -

- - - joic - - - -eth: both the con - gre - - ga - - tions of an -
gels_ and_ the hu - - - - man race.__ O con - se - crat - -
- ed tem - - ple and spir - i - - tu - al____ par - a - - - dise,
the boast___ of vir - - - gins, from thee was God____________ in -
I

88
Duration: 2:45
In Thee Who Art Full of Grace - Plagal Fourth Mode - Anthimos (Brief Version)

534
car - - - nate___ and________ be - came__________ a_________child,
He, our God__Who ex - ist - ed be - - fore___ the__ a - - - - ges;
for He made thy___ womb a__ throne and__ He___________ made____
__ thee more_ spa - - - - cious than______ the heav - - ens._____
In thee___ who_____ art ___ full of___ grace__ all cre - a - - tion
re - joic - - - - - - - - -eth. Glo - - - - ry_____________ be
to__ thee_________

In Thee Who Art
Full of Grace

Plagal Fourth Mode
Chanted in the Liturgy of St. Basil
instead of "It is Truly Right"
adapted from Chrysanthos Theodosopoulos

n______ thee who__________ art________________________________ full_
_____________________ of grace____________________________________________
______ all___ cre - - - a - - - tion re - - - - - joic - - - -
- - - - eth: both___ the con - - gre - - - ga - - - - tions
of an - gels_____ and____ the_____ hu - - - man_ race.__ O___
I
'

84
Duration: 4:30
In Thee Who Art Full of Grace - Plagal Fourth Mode - Theodosopoulos

536

con - se - crat - - - - - - ed__ tem - - - - - - ple and___
spir - - - - - i - - - - tu - - - al__ par - - - a - dise, the___
boast____ of______ vir - - - gins,_____ from_ thee_____ was___ God___
________________ in - - car - - - - - nate and____ be - - - - -
came__________________________ a______ child,__ He, our____ God________
____________ Who___ ex - - - ist - - - - - ed be - - fore___
_______ the______ a - - - - ges; for____ He___ made____________
thy___________________________ womb_____________________ a_______________
_________ throne___________ and He___ made_______________________ thee_
________________________________ more_____ spa - - - - - - - -
In Thee Who Art Full of Grace - Plagal Fourth Mode - Theodosopoulos

537

'

'

cious_____________________ than_________the heav - - - - ens_____than
the heav - - ens. In thee__________ who____________ art _____
full_____________________________ of grace____________________________________
______ full_______ of grace________________ all cre - - - a - - - -
- - - - - - -tion re - - joic - - - - - - - - - - - -
- - - - eth. Glo - - - - ry________________________________________
__ be___ to___ thee._________
While your tongue sings,
let your mind search out the meaning of the words,
so that you might sing in spirit and sing also in understanding.

St. Basil the Great, On Psalm 27
















Let My Prayer

Plagal First Mode
adapted from Athonite melody

et my prayer______ be______ set______ forth__ as____
_______ in - - - - - - cense__ be - fore________________ Thee_
____ the lift - - ing__ up____ of_______ my______ hands__ as

76
Let My Prayer - Plagal First Mode - Athonite Melody

542
* Finale:
an eve - - - - - -ning__ sac - - - - ri - - - - - - -
- - - - - fice_______

sac - - - - ri - - - - - - - - - - - - - fice__________
_____________________



*

Let My Prayer

Plagal First Mode
Traditional Melody

et my prayer_______ be__ set______ forth___ as in - -
- cense be - fore_______________Thee the lift - - ing__ up____
of_______ my_____ hands__ as an eve - - ning sac - -
ri - - - - - - - - - - fice__________________

fice______
L

84
* Finale:
et my prayer__ be______ set________ forth__ as in - -
- - cense be - fore____________ Thee the______ lift - ing___
up___ of____ my______ hands__ as___________ an____
eve - ning sac - - ri - - - - - fice______________

eve - - ning sac - - - - - - - - - ri - - fice___________
___________________



Let My Prayer

Fourth Mode (Agia)
adapted from Nileus Kamarados (d. 1922)

L

* Finale:

84
et_______ my______ prayer_____ be______ set______ forth__ as
in - - cense be - fore___________ Thee_______ the lift - ing up___
_ of______ my______ hands as_____ an eve - - - - ning___ sac -
- - - - - - ri - - fice______

ri - - fice_________





Let My Prayer

Plagal Second Mode
Traditional Melody

L
* Finale:

80
et my prayer___ be______ set______ forth__ as in - - -
- cense__ be - fore_____________Thee_______ the lift - ing___
up___ of_______ my_____ hands__ as___ an__ eve - - ning__
sac - - - - - ri - - fice___

ri - - fice_________________________________





Let My Prayer

Grave Mode

adpated from traditional melody

L
* Finale:

80





Let My Prayer

Plagal Second Mode
Ancient Melody
adapted from interpretation by Thrasyvoulos Stanitsas

'

et___________________________ my prayer_________________________
be_____________________ set________________________________________
_____________________________ forth as______________ in - - - - -
- - - - - - - - cense__________ be - - - fore___________________
Thee_____________________ the__ lift - - - - - ing up___
of__ my_________ hands_ as_____________ an___ eve - - - -
L

84
Let My Prayer - Plagal Second Mode - Slow Version 548
- - ning sac - - - - - - - - - - - - ri - - - - - -
- - - - - - fice______

- - fice_______

Finale:
We must think of what
we sing rather than allow our
mind, seized by extraneous thoughts
as is often the case, to lose the fruit of our
labor. One must sing with a manner and melody
befitting holy religion; it must not proclaim theatrical
distress but rather exhibit Christian simplicity in
its very musical movement; it must not remind
one of anything theatrical, but rather
create compunction in the listeners.
St. Niceta of Remesiana









Now the Hosts
of the Heavens

First Mode (Tetraphonic)
adapted from Theodore Papaparaschou
Phokaeus (1790-1851)

ow______________________________________________________________
_____________________________________________________ the__________________
_____________________________________________________________________________

76
Duration: 3:30 + 2:15
Now the Hosts - First Mode

550

______________________ now______________________ the hosts_________________
________________________________________ of__________________ the Heav -
- - - ens_______________________________ in - - - - - - vis -
- - in - vis - - i - - bly_____________________________________________
wor - - ship__________with______us;____________ for___________ be -
- - - - - hold_____________________________________________ the_________
King__________________________________________________________________ of
glo - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - ry_____________ doth en - - - - - - -
Now the Hosts - First Mode

551

- - - - - - - - - -ter._____________________________

After the Great Entrance:
e - hold__th ac- com - - plished mys - - tic - - - - al________


B
sac - ri - fice is be - - - - - - - - ing____________ es -
cort - - - - - - - - - ed._____________ With faith and long - -
- - - - - ing let____ us_____________________________________________
_______________________________ let__________ us draw__________ nigh___
_______________________ that___ we______ may___ be - - come__ par -
tak - - ers_________ of - - - ter - - nal_______ life._____________
Now the Hosts - First Mode

552

Al - le - lu - - i - a._____________________________________






Now the Hosts
of the Heavens

First Mode
Abbreviated Version

adapted from Theodore Phokaeus
first part abbreviated by Hieromonk Gregory
of Simonos Petras Monastery

ow__________________________________________________________________
____________________________________ the___ now_______________________
the hosts___________________________________ of__________________ the
Heav - - - - ens______________ in - - - - - - - vi - - - in -
vis - - i - - - bly_________________________________________________ wor -
Duration: 2:15 + 2:15

76
N
Now the Hosts - First Mode - Abbreviated

554

- - - - - - ship with______us;_____________ for____________ be -
- hold_________ the_________ King____________________________________
___________________________ of glo - - - - - - ry_____ doth
en - - - - - - - - ter.______________

After the Great Entrance:
e - hold__th ac-com - - plished mys - - tic - - - - al________
B
sac - ri - fice is be - - - - - - - - ing____________ es -
cort - - - - - - - - - ed._____________ With faith and long - -
- - - - - ing let____ us_____________________________________________
Now the Hosts - First Mode - Abbreviated

555

_______________________________ let__________ us draw__________ nigh___
_______________________ that___ we______ may___ be - - come__ par -
tak - - ers_________ of e - - - ter - - nal_______ life._____________
Al - le - lu - - i - a._____________________________________
The Apostle admonishes women to be silent
in church, yet they do well to join in a psalm; this is
gratifying for all ages and fitting for both sexes. Old men
ignore the stiffness of age to sing a psalm, and melancholy veterans
echo it in the joy of their hearts; young men sing one without the bane of
lust, as do adolescents without threat from their insecure age or the temptation
of sensual pleasure; even young women sing psalms with no loss of wifely
decency, and girls sing a hymn to God with sweet and supple voice
while maintaining decorum and suffering no lapse of modesty.
Youth is eager to understand a psalm, and the child who
refuses to learn other things takes pleasure in
contemplating it; it is a kind of play,
productive of more learning than
that which is dispensed with
stern discipline.

St. Ambrose of Milan






Now the Hosts
of the Heavens

Fourth Mode "Agia"
adapted from Chrysanthos Theodosopoulos (1920-1988)

ow___________________________________________ the_______ hosts_
_____________________________________________________________________________
____ now the____ hosts______________________________________ of the
Hea - - - - - - - - - - - - of______ the Heav - - - -
- - - - - - - - - ens__________________ in - - - - - - -
- - - - - vi - - - in-vis - - i - bly_______________________________
Duration: 3:00 + 2:00
'

76
N
Now the Hosts - Fourth Mode

557

After the Great Entrance:

B
________ wor - - ship with___ us;________ for_____________________
_____ be - - - hold_____ the_____________________ King_____________
_________________________________ of glo - - - - - ry__________
_________________________________________________________________________ doth
en - - - - - -ter._____________________________________________________
______________________________________

e - hold____________________ th ac - com - - plished___ mys -
tic - - al_________ sac - - ri - - fice____________________________
__ is______ be - - ing es - - - cort - - - ed. With faith and___
Now the Hosts - Fourth Mode

558

long - - - ing let____ us_______________________________________________
____________________________________________ let____ us________________
draw___________ nigh____________________________________ that___ we___
may________ be - - come par - - tak - - ers_____ of e - ter - - nal life._
______________________________ Al - le - lu - - - i - - - - -a.______
________________________________________________________________________
For prayer and psalmody,
as for many other things, every time is suitable;
so that we praise Goid with psalms and hymns and spiritual songs,
while we move our hands in work, chanting with our
tongue if this is possible and conducive to
the edification of the faith, but
if not, then in the heart.

St. Basil the Great






Now the Hosts
Of the Heavens

Plagal Second Mode
adapted from Peter the Peloponnesian (d. 1777)

'

ow________________________________ the____________________________
hosts____________________________________________ of the_______________
Heav - - - - - - - - - - - -ens_________________________ in -
- - - - - - - - vis - - - - - - - - - - - - - - -
- - - - - - - - - - i - - bly wor - - - ship______________

76
N
Duration: 3:00 + 2:45
Now the Hosts - Plagal Second Mode

560

_________ with us_________________ with__________ us_________________
for_________________________________ be - - - - - - - - - -
- - - - - - - - hold____________________________ the______ King___
________________________ of glo - - - - - - - - ry______________
__________________________________________________________________ doth en -
- - - - ter_________________________


e - hold______________ the ac - com - - plished mys - - tic - al______
________________ sac - - - - - - - - -ri - - - - - - fice___
After the Great Entrance:
B
Now the Hosts - Plagal Second Mode

561

is be - ing es - cort - - - ed.________________________ With faith
and__long - - - - - - - ing let____ us______________________________
_______________________________________ let___________ us draw___________
nigh_______________________ that___ we____ may__________________
be - - come that___ we______ may__ be - -come par - tak - - ers______
__ of e - - ter - - - nal__ life.___ A - - - - -le - lu - - i -
- - - - - - - - - - - - - - a.____________________________
_______________________________________________
Now the Hosts - Plagal Second Mode

562

Alternate Beginning
by Thrasyvoulos Stanitsas (1910-1987)
Now_____________________________________ the________________________________
____ hosts______________________________________________________
In all places and at all seasons you may sing with the mind. For whether you walk in the market
place, or begin a journey, or sit down with your friends you may rouse up your mind or call
out silently. So also Moses called out, and God heard him. If you are an artisan, you may
sing sitting and working in your shop. If you are a soldier, or if you sit in judgment,
you may do the very same. One may also sing without voice,
the mind resounding inwardly. For we sing, not to men,
but to God, who can hear our hearts and enter
into the silences of our minds.

St. John Chrysostom







Now the Hosts
Of the Heavens

Plagal Fourth Mode
adapted from Theodore Phokaeus (1790-1851)

ow_____________________________________________ the hosts___________
______________________________ now____________ the hosts____________________
______________________________________________ of the Heav - - - -
- ens______ of the Heav - - ens_________________________________________
________________ in - - - - - - vis - - - in-vis - - i - - bly_
N
Duration: 3:00 + 2:00

76
Now the Hosts - Plagal Fourth Mode

564

'

_________________________ wor - - - - - - - ship____ with________
_______ us_____________ for______________________________ be - - -
- - - - - hold the___ King_______________ the__ King__________________
_________ of glo - - - - - - - - - - - - of glo - - - -
- - - - - - - - - ry________________________________ doth________
__ en - - - ter.____________________

After the Great Entrance:

e - hold__________________________ the ac com-plished mys - -
tic - - - - - - al______ sac - ri - fice is be - - - - - - - -
B
Now the Hosts - Plagal Fourth Mode

565

ing_________________ es - - - cort - - - - - - - - - - ed.
with faith and__ long - - - ing___ let___ us_____________________________
_______ let us_____draw__ nigh__ that__________ we________ may be - - come_
_____________ par - tak - - - - ers_______ of e - ter - - nal____
__ life____________ Al - le - lu - - i - - - - a____________________
____________________________________________________________











O Taste and See

Communion Hymn

First Mode "Tetraphonic"
adapted from John Kladas the Lampadarios (second half of 14th century)
abbreviated by John the Protopsaltis from Trebizond (d. 1770)

[

Duration: 4:30
(or 3:00 if
abbreviated)

70
taste_______________________________________________________
______________________________________________________________________________
________________________ and________________________________________ O
O Taste and See - First Mode

567
taste______________________________________________________ and_______________
____________________________________ see___________________________________
__________________________________________________________________________
O_______ taste___________________________________________________ and_
__ see____________________________________________________ that__________
the_____________________ Lord_______________________________________________
_____________________________________________________________________________
________________________________________________________________ is _________
________________________________________________________ good________________
_______________________________________________ that_____ the Lord______ is_

]

'

'

O Taste and See - First Mode

568

_______ good. Al - le - lu - - - - - - - i - - - - - - - -
- a._______________________________________________________
_____________________________ taste______________________________
and______________ see that the Lord__________________________________
that the Lord__________________________ is___good. Al - le - lu - -
- - - i - - - - - - a.________________________________




O Taste and See

First Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

76
Duration: 1:00





O Taste and See

Fourth Mode
adapted from Hieromonk Gregory
of Simonos Petras Monastery

_________________ taste___________ and____________ see that______
____ the________________ Lord________________________ that the Lord_
__ is_______________ good._______________________________ Al - le - lu -
- - - - - i - - - - - - - a.____________________________________
________
Duration: 1:00

76
O






I Will Bless the Lord
At All Times


Chanted in the Liturgy of the Presanctified Gifts
instead of "We Have Seen the True Light"

Plagal Fourth Mode

100
will bless the Lord__ at all times; His praise_____ shall con-tin-
ual - ly be in my mouth. O taste of the Heav - en - ly Bread and
of the Cup of__Life,and see that the Lord is good. Al - le - lu - i - a.
Al - le - lu - i - a. Al - le - lu - i - a._________
I Will Bless the Lord - Plagal Second Mode


572
will bless the Lord at___ all times; His praise shall con - tin-ual-
ly be in my mouth. O taste_____ of the Heav-en-ly Bread and of__ the
Cup of Life, and see that the Lord is good. Al - le - lu - i - a. Al -
le - lu - i - a. Al - le - lu - i - a._________

Alternate Melody

Plagal Second Mode

100
I






Rubrics for the
Divine Liturgy of St. James

he Divine Liturgy of St. James the Brother of God is the first apostolic liturgy. The liturgies of St.
John Chrysostom and St. Basil the Great were based on it and replaced it, according to St. Nico-
demus the Hagiorite.
1
Today, it is celebrated only on October 23
rd
, the feast day of St. James.
The music for the hymn Only-begotten Son (page 113), the responses of the petitions (Lord, have
mercy) (pages 83-107), the Thrice-holy Hymn (pages 152-163), and the Alleluia (pages 176-193) fol-
lowing the epistle reading are identical to those used in the Divine Liturgy of St. John Chrysostom.
Between the epistle and gospel readings, there is a set of petitions intoned by the deacon. The re-
sponse for each petition is Lord, have mercy, except for the final petition, which has the response
Lord, have mercy. Lord, have mercy. Lord, have mercy. After the gospel reading, the deacon intones
another set of petitions. The response to the first five petitions is a single Lord, have mercy, the re-
sponse to the next six is Grant this, O Lord, and the response to the final petition of the deacon is To
Thee, O Lord. The cherubic hymn for the Divine Liturgy of St. James is the cherubic hymn of Holy Sat-
urday: Let All Mortal Flesh (see page 260).
After the creed and the deacons petitions: Let us love one another with a holy kiss Let us bow our
heads unto the Lord, the priest chants the hymn: O magnify the Lord with me (see page 577) Imme-
diately thereafter, the choir responds with the hymn: The Holy Spirit shall come upon thee (see page
578).
The responses for the anaphora are identical to the anaphora in the liturgy of St. John Chrysostom
(see pages 266-328), with the difference that there are eighteen petitions with the response, Lord, have

1
Vid. The Rudder, p. xxvii. St. Nicodemus the Hagiorite probably relied on the validity of a treatise (PG 45:849-
852) attributed to St. Proclus (d. 446). Later scholars, however, (e.g., Swainson, C.A., The Greek Liturgies, Cam-
bridge 1884, and Brightman, F.E., Liturgies Eastern and Western I, Eastern Liturgies, Oxford, 1896) question the
validity of these statements and ascribe that treatise to a much later writer. Moreover, they believe that the Liturgy
of St. James developed independently of and simultaneously with the other liturgies. (See also Fountouv-
lh, !Iwavnnou M., !Apanthvsei" eij" Leitourgika;" !Aporiva", Tovmo" DV, !Apostolikh; Diakoniva, !Aqhvna, 1994, sel.
49-50, and Conomos, Dimitri E., Byzantine Trisagia and Cheroubika of the Fourteenth and Fifteenth Centuries,
pp. 13-18.)

T
Liturgy of St. James - Rubrics


576

mercy and then one petition with the response, Lord, have mercy. Lord, have mercy. Lord, have
mercy. preceding the petitions Through the compassions, Peace be unto all, Let us stand well,
etc.
At the consecration of the Holy Gifts, the deacon intones the petition We believe and confess.
Then, instead of chanting We hymn Thee, the choir chants the hymn: We proclaim Thy death
(see page 579). The priest then chants the hymn: For Thy people (see page 579), and the choir re-
sponds by repeating three times the hymn: Have mercy on us (see page 580).
While the priest reads the long prayer We offer unto Thee, O Master, the choir quietly repeats
many times the hymn: Remember them, O Lord our God (see pages 581-582). When the priest com-
pletes that prayer, he intones the petition: Especially our all-holy, immaculate, most blessed, and the
choir chants the hymn Remember them for the last time with a different melody (see pages 582-583).
After the petition Grant unto us and them, the choir chants the hymn: Pardon, remit, and for-
give (see pages 584-585).
Following the deacons petition: In the peace of Christ let us chant unto the Lord, the clergy receive
communion. According to Athonite rubrics, at this point in the liturgy (whether it be the Liturgy of St.
John Chrysostom, St. Basil the Great, St. James, or the Liturgy of the Presanctified Gifts), the reader
reads the pre-communon prayers: I believe, O Lord, and I confess, Behold, I approach, Receive
me today, Tremble, O man, Thou hast smitten me, Into the splendour, O man-
befriending Master, and again Receive me today. The reader then reads Psalms 33 (I will bless
the Lord) and 144 (I will exalt Thee). After the reader has completed these two psalms, the choir
chants the communion hymn from the Liturgy of the Presanctified Gifts: O Taste and See (see pages
566-570).
While the faithful receive communion, the choir repeats the hymn: Receive me today (see pages
494-500).
After the faithful have received communion, the choir chants the hymn: Fill my mouth with Thy
praise (see page 586).
According to Athonite rubrics, at the end of every liturgy in which the faithful received communion,
the reader reads the thanskgiving prayers for holy communion while the priest distributes the antidoron.




















O Magnify the Lord

Chanted by the priest soon after the Creed

Grave Mode
adapted from Abraham Efthymiadis (1911- )

'

80
mag-ni - - fy the Lord__________ with____________ me,_____
and let us ex-alt_______ His name_____ to - geth - - - - er.______
Liturgy of St. James - O Magnify the Lord 578
The choir immediately responds:

he Ho - - ly Spir - - - - - it______shall__ come____ up - -
on___________ thee,_____ and the pow - er of the___ Most________
_____High shall___ o - - ver - - shad - - - - - ow___________
thee._____
T
Let the word of Christ
dwell in you richly in all wisdom;
teaching and admonishing one another
in psalms and hymns and spiritual songs,
singing with grace in your hearts to the Lord.

Col. 3:16


e pro-claim Thy death,____ O____ Lord, and___ we______
____________ con - - - - fess____Thy__ res - - -ur -rec - - - - tion._
_______________




We Proclaim Thy Death

Chanted instead of "We hymn Thee"
at the consecration of the Holy Gifts

Plagal First Mode (Sticheraric)
adapted from Abraham Efthymiadis

Then the priest chants:

72

130
or Thy peo - - - ple and______Thy_Church_________ sup - pli -
cate_________ Thee.
Liturgy of St. James - We Proclaim Thy Death

580
et ave mer - - cy on us, O Lord our__ God, O_
__ Fa - - ther Al - might - - - - y.


O____ Fa - - ther Al - might - - - y._____________

And the choir responds thrice:

Plagal First Mode (Heirmologic)

* Finale:

100







Remember Them,
O Lord our God

Repeated quietly while the priest reads
the long prayer: "We offer unto Thee, O Master"

Plagal First Mode
adapted from traditional melodies

e - mem - ber them,__ O__________Lord_________ O___

Lord__________________________ our__ God.

e - mem-ber them,_ O________________ Lord O___ Lord________ our_
____ God.________________________

72
Alternate Melody
R
Liturgy of St. James - Remember Them, O Lord our God

582
Another Melody
adapted from Abraham Efthymiadis (1911- )

After the priest intones the petition:
"Especially our all-holy, immaculate, most blessed. . .,"
the choir chants either of the following two melodies once:

R
R
e - mem - - -ber___ them,________ O_______ Lord______ our__
God, O___ Lord_____________ our___ God.__________________
e - mem - ber__ them,_ O__________Lord____ our________ God,___
____ O________ Lord____________ our_________ God.________________________
_________________
Liturgy of St. James - Remember Them, O Lord our God

583

Alternate Melody
adapted from Abraham Efthymiadis (1911- )

R
e - mem - - ber them,__ O Lord___________________ O_
______________ Lord______our________ God, O____ Lord_____our_____ God._
_____________________________________________________________________________
__
Those who chant should offer their psalmodies
with great care to God, Who looks into the hidden recesses
of the heart, i.e., into the psalmody and prayer that are done
mentally in the heart rather than uttered in external cries.

Canon LXXV of the Sixth Ecumenical Synod







Pardon, Remit, and Forgive

Chanted after the petition:
"Grant unto both us and them"

Plagal First Mode

ar - don, re - mit,__________ and for-give,___ O___ God, our
of - fen - - - ces, both vol - un - - tar - - - -y____ and
in - vol - - un - tar - - - - y, in knowl-edge____ and ig - - no -
rance._______________________

80
Liturgy of St. James - Pardon, Remit, and Forgive

585

Alternate Version
adapted from Abraham Efthymiadis (1911- )

Second Mode

P
ar - - - - don,__ re - - mit,_______________________ and for -
- give,___ O___ God,_____ our__ of - - fen - - - - - - ces,___
both vol - un - - tar - - - - - - y and___ in - - - - vol - - - un -
tar - - - y, in___ knowl - - edge___ and___________ ig - - -
- - no - - - - rance.__________







Fill My Mouth
with Thy Praise

Chanted by the choir after
the faithful have received communion

Plagal First Mode

ill my mouth__ with Thy praise, O Lord, and im - bue my lips
with joy, so that I may hymn Thy glo-ry.

170
Liturgy of St. James - Fill My Mouth

587

Alternate Melody
Second Mode

Immediately after completing either of the previous two melodies,
the choir chants the following words in a monotone:


We thank Thee, O Christ our God, for Thou hast counted us worthy
to partake of Thy body and blood unto remission of sins and eternal life.
Since Thou art good and lovest mankind, keep us without condemnation, we pray.


ill my mouth with Thy praise,__ O Lord, and im - bue my lips with
joy, so that I may hymn Thy glo - - ry.
F




Epilogue
by Photios Kontoglou
1




usic is of two kinds (as are the other arts also)secular and ecclesiastical. Each of
these has been developed by different feelings and different states of the soul. Secu-
lar music expresses worldly (i.e., carnal) feelings and desires. Although these feel-
ings may be very refined (romantic, sentimental, idealistic, etc.), they do not cease
being carnal. Nevertheless, many people believe that these feelings
are spiritual. However, spiritual feelings are expressed only by ec-
clesiastical music. Only ecclesiastical music can truly express the
secret movements of the heart, which are entirely different from
those inspired and developed by secular music. That is, it expresses
contrition, humility, suffering and godly grief, which, as Paul says,
worketh repentance to salvation.
2
Ecclesiastical music can also
evoke feelings of praise, thanksgiving, and holy enthusiasm. Secu-
lar music, on the other handeven the purestexpresses carnal
emotions, even when it is inspired by suffering and affliction. This
type of suffering, Paul calls worldly grief, which worketh
death.
3

Thus two kinds of music were formed, the secular, which arouses emotionany kind of
emotionand ecclesiastical music, which evokes contrition. St. John Chrysostom strongly con-
demns the attempts that were made by some of his contemporaries to introduce into the Church
secular music, the music of the theatre and the mimes.


1
Photios Kontoglou of blessed memory (1895-1965) played a major role in the glorious return of traditional Byzan-
tine iconography to the Greek Orthodox world in the twentieth century. He was also an accomplished chanter and a
spiritual writer who inspired countless souls to embrace the unadultered traditions of the Orthodox faith. This epi-
logue consists of selections from his writings translated in the book Byzantine Sacred Art by Dr. Constantine Cavar-
nos, who was one of his disciples.
2
II Cor. 7:10
3
Ibid.
M

590 Epilogue


Only the arts which were developed by devout motives since the early years of Christianity
have given expression to the spiritual essence of the religion. These alone can be called liturgi-
cal, that is, spiritual, in the sense that religion gives to the term spiritual. The spiritual odes of
which Paul speaks
4
were works of such art. All the liturgical arts express the same thing: archi-
tecture, hymnody, iconography, embroidery, and even writing, the manner of walking, and in
general the movements and gestures of the priests, the chiming of the bells, and so forth.
That these arts are truly of unique spirituality has been realized by many non-Orthodox, es-
pecially clergymen, whose sense-organs have been exposed, from youth on, to formative influ-
ences different from those in which Orthodox Christians have been brought up. Nevertheless,
they confess that our icons and psalmody evoke in them contritionof course, when executed by
inspired and pious artists.
Thus, the value of the liturgical arts is not merely conventional, but real, extending beyond
the limited conceptions that are due to nurture, habit, and taste, since even persons who are not of
the Orthodox faith recognize that the arts of the Orthodox Church reflect the spirit of the Gospels
and for this reason lift the soul above the earthly realm. And how could it be otherwise, inas-
much as these arts have been developed by sanctified hearts, which felt deeply the liturgical ele-
ment in speech and music? Liturgical music is the natural musical garb of liturgical speech. Both
sprang up together; they are one and the same thing. Essence and expression here have an abso-
lute correspondence, even more exact than that of an object and its reflection in a mirror, for the
objects of which we speak here belong to the spiritual realm. The profound and apocalyptic spirit
of Christian religion and its mysteries could not be expressed faithfully and worthily except by
these arts, which are called liturgical and spiritual, and which were developed by that same pro-
found spirit. Only this music, and none other, uniquely expresses the spirit of our religion, be-
cause only this music has an absolute and most exact correspondence with it. This is testified to,
I repeat, by certain men whose spiritual upbringing, religious training, phyletic and other heritage
have no relation to that of the Orthodox. The Spirit bloweth where it listeth,
5
and is transmitted
to souls by means of sounds which the same Spirit formed, by illuminating the souls of the holy
writers of hymns.
The Fathers of the Church ordained that Christians use the voice alone in execution of
hymns, chanting as did our Lord Himself and His disciples. St. John Chrysostom says: Our Sav-
ior chanted hymns just as we do. The Apostolic Constitutions forbid the use of musical instru-
ments in the church. From the time of the Apostles, psalmody was monophonic, or homophonic,
as it is to this day in our churches [in Greece].
The Western Church, in order to gratify people and flatter their tastes, put instruments inside
the churches, disobeying what was ordained by the Fathers. They did this because they had no
idea what liturgical music was and what secular music was, just as they did not know the differ-
ence between liturgical painting and secular painting. But the Byzantines distinguished the one
from the other, and this shows how much more spiritual they were in comparison with the West-
erners and how much more truly they experienced the spirit of Christianity. Byzantine music is,

4
Vid. Eph. 5:19 and Col. 3:16
5
Jn. 3:8
Epilogue

591


in comparison with the music of the West, exactly as Orthodox iconography is in comparison
with the religious painting of the West.
How divine, indeed, is the psalmody of the Orthodox Church! It seems sweeter and sweeter
each year to the Christiana new wine that fills the heart with joy and makes it soar to the ethe-
real region of immortal life.
Byzantine music is peaceful, sad but consoling, enthusiastic but reserved, humble but heroic,
simple but profound. It has the same spiritual essence as the Gospels, the hymns, the psalms, the
books of the lives of the saints, and the iconography of Byzantium. That is why Byzantine music
is monotonous for one to whom the Gospels are monotonous, naive for one to whom the Gospels
are naive, circumscribed for one to whom the Gospels are circumscribed, mournful for one to
whom the Gospels are mournful, antiquated for one to whom the Gospels are antiquated. But it is
joyful for one to whom the Gospels are joyful, filled with compunction for one to whom the
Gospels are filled with compunction, enthusiastic but humble for one to whom the Gospels, are
enthusiastic but humble, and peaceful for one who experiences the peace of Christ.
Byzantine art is spiritual, and it is necessary that a man have spiritual depth in order to under-
stand its mystical treasures. Byzantine music expresses gladdening sorrow,
6
that is, that spiri-
tual fragrance which only the spiritual senses are capable of experiencing. Its melody is not un-
holy, ostentatious, despondent, shallow, tasteless, or aimless; it is meek, humble, sweet with a
certain bittersweetness, and full of contrition and mercy. It bestows an unwaning spiritual glory
upon souls that have become worthy of the eternal mysteries and the compassion of God. It ex-
presses thanksgiving; it causes the flow of tears of gratitude and spiritual joy. This music is the
warmest, the most direct, and the most concise expression of the religious feeling of faithful Or-
thodox people.


















6
Vid. The Ladder, Step 7:9 (Migne, Patrologia Graeca, vol. 88, col. 804B)







Sources





he melodies for the hymns in this book were selected from the following books of
Byzantine music. Even though the majority of pieces in this book are chanted on the
Holy Mountain today, there are also several other non-Athonite pieces included herein
for the sake of greater variety.

!Aggeliko;" Corov", AV Tovmo", @Esperinov", #Ekdosi" @I.M. Sivmwno" Pevtra", $Agion #Oro",
2001.
!Aggeliko;" Corov", BV Tovmo", #Orqro", #Ekdosi" @I.M. Sivmwno" Pevtra", $Agion #Oro", 2001.
!Aggeliko;" Corov", DV Tovmo", Qeiva Leitourgiva, #Ekdosi" @I.M. Sivmwno" Pevtra", $Agion
#Oro", 2003.
!Aqwnikh; Mousikh; !Anqodevsmh, 1o" Tovmo", Qeiva" Leitourgiva", @Ieromonavcou @Ieroqevou,
#Ekdosi" I.M. Filoqevou, $Agion #Oro", gV e[kdosi", 1994.
T
Sources


593

!Aqwnikh; Mousikh; !Anqodevsmh, 2o" Tovmo", @Esperinou' , @Ieromonavcou @Ieroqevou, #Ekdosi"
@I.M. Filoqevou, $Agion #Oro", aV e[kdosi", 1991.
!Aqwnikh; Mousikh; !Anqodevsmh, 3o" Tovmo", #Orqro", @Ieromonavcou @Ieroqevou, #Ekdosi"
@I.M. Filoqevou, $Agion #Oro", aV e[kdosi", 1993.
AiJ Duvo Mevlissai, !Agaqaggevlou Kuriazivdou, Kwnstantinouvpoli", 1906.
!Akolouqiva th'" Qeiva" Leitourgiva", Panagiwvtou Pavppa, !Aqh'nai, 1990.
!Anastasimatavrion, !Iwavnnou Prwtoyavltou, #Ekdosi" !Adelfovthto" Qeolovgwn hJ ZWH,
idV e[kdosi", !Aqh'nai, 2002 (aV e[kdosi" 1858).
!Anqodevsmh !Ekklhsiastikh'" Mousikh'", Caralavmpou" Papa-Nikolavou, Kabavla, 1905.
Buzantinh; Qeiva Leitourgiva, Dhmhtrivou Sourlantzh', Qessalonivkh, 1992.
!Eklogh; #Ergwn, !Iwavnnou Koukouzevlh tou' Mai?storo", @Ellhnikh; Buzantinh; Corwdiva,
!Aqh'nai, 1995.
^En #Anqo" th'" kaq! hJma'" !Ekklhsiastikh'" Mousikh'", !Agaqaggevlou Kuriazivdou,
Kwnstantinouvpoli", 1896.
!Epivtomo" Leitourgiva, Carilavou A. Taliadwvrou, Qessalonivkh, dV e[kdosi", 1990.
@Eptavtomo" Mousikh; Kuyevlh, Tovmo" AV, Triw/vdion, Crusavnqou Qeodosopouvlou,
Qessalonivkh, aV e[kdosi", 1972.
@Eptavtomo" Mousikh; Kuyevlh, Tovmo" GV, Penthkostavrion, Crusavnqou Qeodosopouvlou,
Qessalonivkh, eV e[kdosi", 2001.
@Eptavtomo" Mousikh; Kuyevlh, Tovmo" STV, #Orqro", Crusavnqou Qeodosopouvlou,
Qessalonivkh, 1989.
@Eptavtomo" Mousikh; Kuyevlh, Tovmo" ZV, Qeiva Leitourgiva, Crusavnqou Qeodosopouvlou,
Qessalonivkh, gV e[kdosi", 1991.
@H Patriarcikh; Fovrmigx, BV Tovmo", Kwnstantivnou Privggou, !Aqh'nai, 1974.
Qeiva Leitourgiva, Lukouvrgou Petrivdh, Qessalonivkh, 1993.
Qewriva kai; Pravxh th'" !Ekklhsiastikh'" Mousikh'", tovmo" AV, Gewvrgio" N. Kwnstantivnou,
!Aqhvna, gV e[kdosi", 2001.
Kallivfwno" !Ahdwvn, Nektarivou Monacou', $Agion #Oro", 1933.
Mousikh; !Anqodevsmh, Spurivdwno" !Ant. Mai>danovglou, !Ekdovsei" TERTIOS, Katerivnh,
1996.
Mousikh; Pandevkth, Tovmo" BV - #Orqro", !Iwavnnou Lampadarivou kai; Stefavnou AV Domestiv-
kou, Kwnstantinouvpoli", 1851.
Sources


594
Mousikh; Pandevkth, Tovmo" DV - Qeiva Leitourgiva, !Iwavnnou Lampadarivou kai; Stefavnou AV
Domestivkou, Kwnstantinouvpoli", 1851.
Mousikh; Zwodovco" Phghv, Micah;l Catzhaqanasivou, !Ekdovsei" Micah;l Polucronavkh,
Neavpoli" Krhvth", 1975.
Mousiko;n Triwv/dion, Qrasubouvlou Stanivtsa, !Aqh'nai, 1969.
Mousiko;n Penthkostavrion, Gabrih;l Kountiavdou @Ieromonavcou, Sevrrai, 1931.
Mousiko;" Qhsauro;" th'" Leitourgiva", AV kai; BV Tovmo", Nektarivou Monacou', $Agion #Oro",
1931.
Mousiko;" Pandevkth", AV Tovmo", @Esperino;" - !Apovdeipnon, #Ekdosi" !Adelfovthto" Qeolov-
gwn hJ ZWH, V e[kdosi", !Aqh'nai, 1994.
Mousiko;" Pandevkth", BV Tovmo", #Orqro", #Ekdosi" !Adelfovthto" Qeolovgwn hJ ZWH,
zV e[kdosi", !Aqh'nai, 1994.
Mousiko;" Pandevkth", DV Tovmo", Qeiva Leitourgiva, #Ekdosi" !Adelfovthto" Qeolovgwn hJ
ZWH, hV e[kdosi", !Aqh'nai, 1995.
Neva Mousikh; Sulloghv, Tovmo" AV, !Aqanasivou Karamavnh, Qessalonivkh, stV e[kdosi", 2000.
Neva Mousikh; Sulloghv, Tovmo" BV, !Aqanasivou Karamavnh, Qessalonivkh, stV e[kdosi", 1990
(aV e[kdosi" 1955).
Patriarcikh; Mousikh; Kibwtov", AV Tovmo", @Ieromonavcou @Ieroqevou, #Ekdosi" @I.M.
Filoqevou, $Agion #Oro", bV e[kdosi", 2000.
Tamei'on !Anqologiva", Tovmo" Trivto", Qeodwvrou Fwkaevw", Kwnstantinouvpoli", 1869.
@Umnolovgion Fwnai'" Aijsivai", GV Tovmo", !Akolouqivai th'" Leitourgiva", !Abraa;m Eujqumiavdh,
Qessalonivkh, 1978.
Yalthvrion Terpnovn, #Ekdosi" @I.M. Sivmwno" Pevtra", $Agion #Oro", gV e[kdosi", 2001.







Appendix I: 105 Rules of
Byzantine Music Orthography




1. The vareia, petast, or psfistn is placed on most accented syllables, but they
can only be used when the next character is a descending character.
1
Which of these
three characters is used depends on if the following character has a different syllable
and how many descending characters follow. In general, when the next character
continues the same syllable, the vareia is used. When the next character begins a new
syllable, the petast is used. And when the accented syllable is followed by more than
one descending character, the psfistn is used, regardless of syllables:


2. Exceptions to rule #1:

a) A petast is used instead of a psfistn if the descending character that follows has a
different duration than the accented character:

'

In the following correct examples, a psfistn is used because the descending character
that follows has the same duration as the accented character:

b) A petast is also used when followed by one or more pairs of apstrophoses
preceded by a vareia:

and





1
See rule #69 for exceptions to this rule regarding the use of the vareia without a descending character.
ta___ ta ta ta ta ta ta_____
ta ta__ ta ta__
Rules for Accented Syllables
596 Rules of Byzantine Music Orthography


Hourmouzios Hartophylax, though, consistently wrote the latter of the previous two
examples with an oligon instead of a petast:

c) Likewise, the petast is used when followed by an apstrophos with a klsma that is
followed by another apstrophos:


and
'

d) However, a petast may not be used when an accented character held for two beats
is followed by only one descending character:

or

or

or


or

but not:

(Wrong)
*


The following common combination, though, is an exception to this rule:

e) An ascending character followed by a single apstrophos that continues the same

syllable cannot take a vareia if the apstrophos does not have a gorgn (or a digorgon
or a trigorgon). In order to emphasize that ascending character, it is written with a
petast instead of with a vareia. But to emphasize an ison or a descending character
under the same circumstances, a vareia is used.

*
This rule was followed by most great music writers of the 19th century, including Gregorios the Protopsaltis,
Hourmouzios Hartophylax, Petros Ephesios, and Theodoros "Phokaeus." Stephanos the Lampadarios, however,
consistently made an exception to this rule when writing the following line:

ta ta__
ta_____ ta___ ta ta__ ta ta__ ta______
ta ta__
ta___ ta ta___ ta ta___ ta



ta________


ta___ ta
(Correct)


(Wrong)

(Correct)
ta_____
Rules of Byzantine Music Orthography 597


- 597 -



3. Before a synechs elaphrn, an accented character will usually take either a petast or a
psfistn, depending on the syllables and the duration of the accented character:
*




4. A petast cannot have a klsma when followed by two apstrophoses if the second of
the two apstrophoses has a gorgon, unless they are preceded by a vareia.

5. The only instance of a psfistn not followed by at least two consecutive descending
characters is the following common line:







6. A psfistn cannot be placed on a character followed by an elaphrn. However, a
petast can.




*
Gregory the Protopsaltis, Petros Ephesios, Theodoros "Phokeaus," and Ioannis the Lampadarios followed this
rule, but Hourmouzios Hartophylax and his student Stephanos the Lampadarios consistently wrote the second
example in this rule with a petast instead of a psfistn. However, this example is also found to be written
occasionally with neither a petast nor a psfistn but simply as an oligon.
Correct

Wrong

Correct
Wrong. It must be written instead as:

or as:

Wrong. It must be written instead as:
or:
ta_____ ta ta ta__ ta ta ta__ ta


(Correct)


(Wrong)


or:
ta___ ta ta ta


ta___ ta
598 Rules of Byzantine Music Orthography






7. The antiknoma is placed beneath an oligon (with or without a gorgn) on the upbeat
and must be followed by a descending character. But an antiknoma is found on the
downbeat when it is beneath a character that also has an apl, in which case only one
descending character must immediately follow.


'

'


'

8. Two consecutive characters may not have an antiknoma.

'

'

9. A one-beat petast may also be placed on the upbeat, as in the following examples:

Although some cite the last of the previous examples as an instance of a one-beat
petast placed on the upbeat, Georgios Hatzitheodoros believes that in such cases it


Correct Wrong
Wrong
Correct
Rules for Characters on the Upbeat
te a sa a a te e
all_________ th in - - His mer - - cy__
h +h h th" pa a nh
w +w w w tou ou Sw w th h h
Rules of Byzantine Music Orthography 599


- 599 -
would be more correct to place the first petast on the downbeat by rearranging the
measures as follows:

10. When several ascending characters are followed by a descending character that begins
a new syllable, the last ascending character is frequently written as an oligon with an
antiknoma or as an oligon followed by an ison with a gorgn and an omaln.



11. The psfistn may also be found on the upbeat, as in the following example:


However, according to Konstantinos Panas,
*
this example would be more correctly
written as follows:


12. a) When the oligon is combined with a kntma to denote a jump of two, the kntma
is placed beside the oligon unless it is followed by a descending character, in which
case it is placed beneath the oligon.

b) However, when a jump of two is on the upbeat, the kntma is placed below the
oligon, even if it is not followed by a descending character.

c) But when a jump of two is held for two beats, the kntma is placed beside the
oligon (and the klsma is placed above the oligon) regardless of what character
follows.


*
, ., , ,
, , 1970, . 162.
Bend_ down thine ear__ and at - tend
Bend_ down thine ear____ and at - tend
ta___________ ta______
ta_____________ ta__
te a sa a a te e
600 Rules of Byzantine Music Orthography


d) However, when a jump of two is held for two beats and is modified by a psfistn,
the the kntma is always placed beneath the oligon.

e) When a jump of two has a dipl or a tripl, the kntma must be placed beside the
oligon, even if it is followed by a descending character.

13. When a jump of two is joined to an ison with an omaln, rule #12 does not apply, and
thus the kntma may be written either beside or beneath the oligon.

or:

or:

etc.



14. When an oligon is followed by an elaphrn that shares the same syllable, an
antiknoma is placed beneath the oligon.























ta_________________________________________________________
Rules of Byzantine Music Orthography 601


- 601 -




15. If the last of several ascending characters is held for two beats, it will be an oligon
when followed by only one descending character, but it will be a petast when
followed by more than one descending character.

16. When an oligon has an ypsel and kentmata above it, the fthora is written beneath
them when it applies to the oligon (

) or above them when it applies to the

kentmata (

). But when this combination has a psfistn, the fthora must be written
above it, in which case it could apply to either (

).

17. When an apstrophos with a gorgn is between two oligons preceded by a vareia, the
apstrophos will take a sndesmos only if the second oligon is followed by a
descending character.

However, the following common combination is an exception to this rule:



18. In order to add intensity to an apstrophos or an ison that is not combined with another
symbol and followed by an ison, it is placed above an oligon (without a psfistn).
(This occurs rarely.)

Correct

Correct

Correct


Correct
ta ta___ ta ta__ ta
ta______ ta ta ta_____________
Rules for the Oligon
602 Rules of Byzantine Music Orthography


19. The following combinations of characters must also be written with a sndesmos when
they share the same syllable:

etc.

20. When adding a psfistn to a descending character, an oligon must be inserted between
them for "support":

21. The following character combination is usually written with a psfistn:

Hourmouzios Hartophylax, though, consistently wrote this combination with an
antiknoma:


And in general, Hourmouzios preferred to use an oligon with an antiknoma, where
Gregorios the Protopsaltis and others would use kentmata above an oligon. He used:

instead of:


instead of:


instead of:

instead of:

instead of:


instead of:

etc.

Rules of Byzantine Music Orthography 603


- 603 -




22. The kentmata never begin a new syllable (except in a krtma, i.e., terirem) and are
never placed on the downbeat.

23. When the kentmata are placed below the oligon, this character combination cannot
begin a new syllable (since the kentmata are executed first in this combination and
since the kentmata never begin a new syllable).


24. The kentmata cannot be followed by a synechs elaphrn or by an yporro with a
gorgn. For the same reason, kentmata above an oligon also cannot be followed by a
synechs elaphrn or by an yporro with a gorgn. In such a case, the kentmata must
be replaced by an oligon with a psfistn.

25. Kentmata with a gorgn must be changed into an oligon with a gorgn when followed
by a petast.



26. To avoid having three kentmata in a row, the kentmata that would have been placed
after a kntma are replaced by an oligon:

Wrong Correct
Wrong

Wrong

Correct

Correct
ta________
Wrong

Correct

Correct
Rules for the Kentmata
604 Rules of Byzantine Music Orthography


27. Kentmata are used between two isons or between an ison and an oligon, unless a
gorgn is used, in which case the oligon is used:





28. Note that in the previous examples, the kentmata are not written together with the ison
above an oligon. The kentmata are usually placed above an oligon only when
followed by a descending character, an ison with a klsma, or an ison with a psfistn,
but not when followed by an oligon with a psfistn:


29. Likewise, when a jump of two, four, or five is followed by kentmata and a descending
character, the kentmata are written above the oligon.

However, jumps of three, six, seven, etc. may not have the kentmata above the oligon,
since the kentmata woud be too close to the kntma and thus confusing.

For this reason, when a jump of three is followed by kentmata and a descending
character, the kentmata are replaced by an oligon.

30. But when a jump of three is followed by kentmata and an ison that is stressed, the
kentmata are not changed into an oligon.

31. The kentmata must be placed on an oligon when they are modified by a gorgn and
preceded by an ison.

32. An apl (a dot) must be placed to the right of the gorgn in the following combinations:

ta___ ta ta___ ta ta_____ ta
ta_______ ta
Wrong
Rules of Byzantine Music Orthography 605


- 605 -
33. The kentmata are not placed above an oligon when they are on the upbeat of a
digorgon or a trigorgon, even if they are followed by a descending character.


34. The kentmata can be neither preceded nor followed by a character that has a gorgn.



35. According to some contemporary melodists, when kentmata need to be held for more
than one beat, they are followed by an ison and joined to it by an yphn.


36. When kentmata are placed above an oligon with a psfistn underneath, the effect of
psfistn applies to the kentmata. For this reason, this combination cannot have a
psfistn when followed by a single descending character or by a descending character
modified by a timeless character (e.g., vareia, antiknoma, etc.), since a psfistn
cannot be followed by only one descending character or by a timeless character.

'


37. When a single syllable ascends several notes in succession, oligons and kentmata
alternate, and the kentmata are placed below the oligons rather than above them.


glo - - - - - ry
glo - - - ry
Wrong


Correct
ta ta___ ta ta ta ta ta ta ta

ta ta ta__ ta_________ ta__
Correct


Wrong
ta_______________ ta



ta_____________ ta
ta______
ta ta________ ta ta_______ ta
Wrong


Correct
Wrong
606 Rules of Byzantine Music Orthography


38. However, when the first descending character after a series of ascending characters has
the same duration as that of the ascending characters, the first kentmatas are not
written above oligons, but the last kentmata are written above an oligon with a
psfistn.

The following example is also correct:

39. Yet when there are two pairs of ascending characters with one syllable per pair, the
kentmata are not written together with the oligon.
*



40. The kentmata are never used after an apstrophos that has a gorgon (because of rule
#34).

41. When the kentmata are placed beneath an oligon, any timeless character placed on this
combination modifies the oligon instead of the kentmata.

*
Although Hourmouzios Hartophylax followed this rule, Gregorios the Protopsaltis and Theodore "Phoakaeus"
did not. Instead they would put both kentmata above the oligons in this example.
ta___ ta___ ta_____
Wrong

Correct
ta_____________________
ta_________________________________________
Rules of Byzantine Music Orthography 607


- 607 -





42. The klsma must be positioned as follows in these character combinations:

(or

43. The klsma may be found either above or below the oligon for jumps of three and five,
but when an omaln is written beneath the oligon, the klsma must be written above the
oligon. Thus, all the following examples are correct:





44. When a klsma is added to a petast or to any combination containing a petast, the
klsma must be placed beneath the petast.

etc.

45. The apl is used instead of the klsma in the following circumstances:

46. An apstrophos takes an apl instead of a klsma when followed by a vareia.

but

47. When a two-beat ison (or oligon or apstrophos) is followed by an apstrophos with a
gorgn, the ison will be written with a klsma if the apstrophos has its own syllable.
Otherwise, the ison will be written with an apl and an antiknoma.

'

48. The klsma is written above the elaphrn only when the elaphrn is not modified by a
timeless character (such as the petast or psfistn).

49. The klsma is always written above an apstrophos. But when an apstrophos is
modified by a psfistn, the klsma may be written either above or below.

Correct Correct
or:
Rules for the Klsma
ta ta ta ta ta ta ta___ ta__ ta__
608 Rules of Byzantine Music Orthography







50. The gorgn is always placed above compound symbols:

etc.

but it is usually placed below single symbols:

etc.
*

However, it is always placed above the yporro, above the second of two
apstrophoses, and above an apstrophos preceded by a synechs elaphrn,
but not above an apstrophos preceded by an yporro:

The gorgon is also placed above single symbols when the preceding character is
modified by a timeless symbol (e.g., the vareia, antiknoma, or petast).

51. A gorgn cannot be put on a petast or on an oligon that has a psfistn. Thus, none of
the following characters can have a gorgn:

52. An exception to the previous rule is the gorgn that is placed above an oligon that is
above kentmata and a psfistn:

53. A gorgn may be placed together with a dipl only on an apstrophosnot on an
elaphrn or a hamel.

*
The example of an oligon with a gorgn above it in rule #8 is an exception to this rule. This exception can easily
be justified on the grounds that the oligon was really a compound character until its antiknoma was removed.
Correct

Wrong. It must be written instead as:

Wrong. It must be written instead as:
Rules for the Gorgn
Rules of Byzantine Music Orthography 609


- 609 -




54. Two apstrophoses in a row usually take a vareia if they share the same syllable, even
if the syllable is not accentuated.

55. Likewise, an ison followed by a single apstrophos that shares the same syllable is also
preceded by a vareia, even if the syllable is not accentuated. The apstrophos may also
have an apl and a gorgn

56. However, when successive apstrophoses do not have one syllable for each pair, the
vareias are not used:


57. Likewise, when two or more pairs of apstrophoses have one syllable per pair, a vareia
is placed before each pair.


58. Pairs of an ison followed by an apstrophos are also preceded by vareias if the pairs
share the same syllable.
'

or

59. A vareia is also placed before a pair of apstrophoses that continue the syllable of a
petast with a klsma.


60. But if in the previous example the second apstrophos has its own syllable, a vareia
may not be used.

ta__
ta ta ta__ ta
ta___ ta___ ta___
ta______ ta______
ta___ ta ta___ ta
Rules for the Vareia
ta___ ta___ ta___ ta__ ta___
ta ta__ ta__ ta__ ta___ ta
610 Rules of Byzantine Music Orthography


61. Furthermore, vareias are not used before pairs of apstrophoses if there is a single
apstrophos after those pairs of apstrophoses.


62. Vareias are also not used when successive apstrophoses do not have one syllable for
every two apostophoses.


63. A vareia must precede the last of two apstrophoses when there are many of them in a
row, if they share the same syllable.

64. Also, the vareia cannot be used after a character that has a psfistn. Therefore, the
following combinations:

may be accentuated with a psfistn beneath the oligon when all four characters share
one syllable or when the first two characters are associated with an accented syllable:



This combination is written with a vareia when the first two characters are not associ-
ated with an accented syllable and the apstrophoses have a different syllable:

But these characters are never written with both a vareia and a psfistn:

ta ta__ ta ta___ ta ta ta__ ta ta______
Correct



Correct


Correct
ta ta__ ta__ ta__ ta ta___
Correct



Wrong
ta_____ ta______ ta______
di - vine_ di - vine_ di - vine_
god - ly__ god - ly__ god - ly__
ta ta______ ta
Rules of Byzantine Music Orthography 611


- 611 -
65. Similarly, the vareia cannot be used after a character that has an antiknoma.

66. A petast with a klsma is followed by a vareia when followed by two apstrophoses
sharing the same syllable. But when three apstrophoses follow the petast, the vareia
is omitted.



67. In the following common phrase, the vareia is used, even when the character following
it is not associated with an accented syllable:


68. However, when the characters in the previous example are associated with three
syllables, the vareia is changed to a petast (and the yporro changes to a synechs
elaphrn).


69. In the following examples with an omaln, a vareia must precede the first character.
Notice that when a character preceded by a vareia is followed by an omaln, it is not
required that a descending characters follows.


etc.

The previous examples may also have gorgns on them:



etc.

ta ta__ ta ta__ ta ta ta__ ta ta__ ta
Correct

Wrong. It is written instead as:
di - - vine
heav - en - - - ly heav - - en - - - ly
or:
612 Rules of Byzantine Music Orthography


70. The vareia is used when writing analytically the following klsmas:

71. The vareia is also used before with characters having a dipl or a tripl and a
sndesmos.






72. Similarly, when an ison (or an oligon) with an antiknoma and an apl (

)
needs to be held for a longer time, the ison is written instead with a vareia and a

sndesmos:




or:

73. However, neither a vareia nor a sndesmos is used in the previous combinations of
characters if the descending character has its own syllable.

74. A vareia is not placed before an ison followed by a synechs elaphrn or before an ison
followed by a character that begins a new syllable.

ta__________ ta__ ta________ ta__
ta_________ ta ta_________ ta
ta______ ta_ ta ta_______ ta_ ta
ta_______ ta ta ta________ ta ta
Correct. Wrong:


Correct. Wrong:


Correct. Wrong:


Correct. Wrong:
ta___ ta____ ta___ ta____
ta ta

ta___ ta___
Rules of Byzantine Music Orthography 613


- 613 -
75. When a character has an apl and an antiknoma, a vareia and a petast must be added
to it when the half-beat apstrophos following it is followed by two ascending
characters (or by an ison and an ascending character) if the character after the half-beat
apstrophos is for one beat:

Because of this rule, the following examples cannot be written with a vareia and a
petast, since the half-beat apstrophos is not followed by two ascending characters,
the first of which being for one beat:
'

'

'

The same rule applies also for ascending characters:

etc.

The following combination is an exception to this rule:

614 Rules of Byzantine Music Orthography





76. An oligon with a klsma can take an omaln if followed by an apstrophos with a
klsma or by an apstrophos and kentmata.

77. When an oligon (or an ison) with a klsma is followed by a single apstrophos with a
klsma, the oligon will take an omaln, unless the melody does not call for emphasis or
roughness.

78. But if the apstrophos is not for two beats, the klsma may be removed from the oligon
and instead an ison is joined to it with an omaln. A vareia may precede the oligon.

or:


79. An oligon with an omaln may also be followed by a single one-beat apstrophos.

80. When a two-beat oligon is followed by a single apstrophos with a klsma or a dipl
before a martyria (i.e., at a medial or final cadence), the oligon will have an omaln
beneath it, even if that syllable is not accented.

81. Likewise, an omaln will be used in the above example when there is a descending
character after the martyria. But if there is no martyria, the omaln becomes a
psfistn.

ta_____ ta__ ta_____ ta__
ta___ ta ta ta_______________________
ta___________________________
Rules for the Omaln
Rules of Byzantine Music Orthography 615


- 615 -
82. A two-beat petast cannot be followed by only one descending character. In such
instances, the petast is rewritten as an oligon with a vareia followed by an ison with an
omaln.






































Or- tho- dox
Or - tho- dox
Wrong. It must be written instead as:


or as:
Or- tho- dox
616 Rules of Byzantine Music Orthography






83. The use of an yporro with a gorgn, a synechs elaphrn, or two apstrophoses
depends on the syllables:

84. The yporro is placed on an oligon when followed by an ison (this occurs rarely) unless
it is joined to the ison with a sndesmos.

85. An yporro followed by kentmata will not have an oligon beneath them when an
ascending character follows the kentmata.

86. When an ascending character without a klsma is followed by an yporro with a
gorgn or a synechs elaphrn, the ascending character must be an oligon with a
psfistn beneath it or a petast, regardless if that syllable is accentuated and regardless
if it is on the downbeat or the upbeat.

87. However, a psfistn may not be placed beneath the oligon in the following line:

88. Also, a petast is used instead of an oligon for a character with a klsma before an
yporro. But if the yporro is followed by a descending character, the petast must
become an oligon with a psfistn.




Correct

Wrong

Correct

Correct
ta___ ta ta__ ta ta ta
Rules for the Yporro and the Synechs Elaphrn
Rules of Byzantine Music Orthography 617


- 617 -
89. Similarly, an yporro with a digorgon followed by an apstrophos cannot be preceded
by a petast. Instead, an oligon with a psfistn is used.


90. A character with a klsma followed by a synechs elaphrn must have a petast:

91. An ascending character preceded by an yporro with a digorgon is written as an oligon
unless it is followed by a note held for two beats, in which case it is written as
kentmata.

92. A fthora goes above the yporro if it applies to the first apstrophos (

), but it goes
beneath the yporro if it applies to the second apstrophos (

).

93. An yporro with a gorgn is usually followed by kentmata, not by an oligon.

94. However, the oligon is used after an yporro with a gorgn instead of the kentmata
when the character after the yporro is for more than one beat or is modified by a
timeless symbol (such as the antiknoma) or when the character after the yporro is
followed by an ison.



95. The psfistn is not placed under the ison when followed by an yporro or a synechs
elaphrn unless the ison is associated with an accentuated syllable:


ta_______ ta ta_____ ta
Wrong

Correct
618 Rules of Byzantine Music Orthography


96. However, the psfistn and the petast may be used as follows with the yporro:


97. When an yporro with a digorgon is preceded either by an ascending character, it is
written as a petast or as an oligon with a vareia, unless the yporro is followed by an
apstrophos, in which case a psfistn is used. (see rule #89).

also

and

etc.

98. When an yporro or a synechs elaphrn is preceded by a character with a klsma and
followed by a descending character, the character with the klsma cannot take a
petast, but it may take a psfistn.

99. The yporro never has its own syllable, except in krtmas (terirems).


100. An apstrophos followed by an yporro may not be preceded by a petast, unless the
petast has a klsma.

Correct


Correct


Wrong
*


101. If an yporro with an apl is followed by an apstrophos with a gorgon that continues
the same syllable, an antiknoma must be placed beneath the yporro. However, if
there is a dipl or tripl instead of the apl, then a sndesmos is used instead of an
antiknoma.
'

*
Hourmouzios Hartophylax, however, frequently wrote this combination of characters.
Correct

Correct
e rre rem
Rules of Byzantine Music Orthography 619


- 619 -
102. An ison or apstrophos with a klsma that is followed by an yporro with a gorgn
will be preceded by a vareia in the following cadences:

103. A vareia is not placed before an apstrophos (that does not have a klsma) followed
by an yporro. An exception to this rule is the following phrase encountered in
papadik (slow) melodies:


Yet the following similar phrases do not have a vareia before the initial apstrophos:

104. Two descending characters in rapid succession (either due to a digorgon or because of
the quick tempo) that share the same syllable are not written with apstrophoses but
with an yporro.

105. The duration of an yporro is extended by adding an apl, dipl, or a tripl. An
yporro can only have a klsma when it is combined with a petast or a psfistn.

Correct

Wrong

Correct

Wrong

Correct






These orthography rules (except for rules #2e, #6, #12, #13, #19, #43, #44, #50, #52, #64,
#68, #75, #103, and #104, which were surmised from personal observations) were compiled
from the following books:

, ,
1814, , 2003.
, , ,
, 1881.
, , , , , 1906.
, , - ,
-, 1940.
, ., ,
, , , 1970.
, ,
, , , , 1986.
, ,
, , 1842.
, , - ,
, , 2004.
, ., , , ,
2002.




Appendix II

The Intonations of the Eight Modes
1


ROM earliest times, composers of Byzantine chant have identified each musical mode by a
characteristic intonation formula (ajphvchma), a phrase normally sung in its entirety by the
protopsaltis (the lead chanter of the right choir) alone, without the ison. Its function is to
help the chanters recall the ethos of a given mode before beginning the chant. Moreover, it also
provides the choir with the pitch required for the first note of the piece.
In Byzantine music, there are eight modes and three modal genres: the diatonic, the enhar-
monic, and the chromatic.
2
Furthermore, each of the eight modes is broken down into three spe-
cies, characterized by the number of notes typically attached to a syllable. A melody with one or
two notes above a syllable is called heirmologikon; one carrying approximately three or four is
called sticherarikon; and that having a dozen or more notes is called papadikon. In the first
and third modes, the musical patterns are identical for each of these three species. For the others,
however, the musical gestures differ significantly; hence the need for more than one intonation
formula for each mode.
The following pages contain the typical intonation formulas of all eight modes. Since the
vocal rendition of a given intonation varies greatly from chanter to chanter, those offered here
are primarily based on the investigations of the musicologist, George Constantinou.
3

Some
4
believe that the syllables of the intonations derive from the following penitential
prayer (though in a slightly altered form): a[nax, a[fe", nai; a[fe", a[nax a{gie: O King, forgive,
yea forgive, O holy King.
According to current practice on the Holy Mountain, intonations, when used, are chanted
during the Divine Liturgy only before papadika melodies (such as the cherubic hymn and the
communion hymn). In some Athonite monasteries, however, intonations are never heard, while
in others they appear almost every time a modal alteration takes place.



1
While most Orthodox liturgical books in English translate the word h\ co" as tone, it is more accurate to use the
term mode. (Vid. Harvard Dictionary of Music, Revised Edition, Cambridge, Massachusetts, 1970, pp. 535,
856.)
2
Note that the term chromatic scale in Western music denotes the scale embracing twelve successive half tones to
the octave, whereas in Byzantine music, it is a modal genre with a tonic on D, flats on E and B, and sharps on F
and C. The term enharmonic in Byzantine music is synonymous with B Flat Major, whereas diatonic in Byzan-
tine music is approximately the scale of C Major.
3
Kwnstantivnou, Gewvrgio" N., Qewriva kai; Pravxh th'" !Ekklsiastikh'" Mousikh'", !Aqhvna, gV e[kdosi", 2001.
4
Panagiwtopouvlou, Dhmhtrivou G., Qewriva kai; Pra'xi" th'" Buzantinh'" !Ekklhsiastikh'" Mousikh'". #Ekdosi"
!Adelfovthto" Qeolovgwn O SWTHR, !Aqh'nai, dV e[kdosi", sel. 45.
F










The Intonations
of the Eight Modes
*



First Mode
Heirmologikon, Sticherarikon, and Papadikon

Papadikon from KE "tetraphonic"

A +a ~e"
Ah-nah - nes
1

2
A +a ~e e e e" A +a~e a ~e e"
Ah - nah - nes___________________ Ah-nah-nehah-nes____
or:
_____________________________

* To hear a recording of these intonations chanted, please download the following 6.4 MB file:
http://www.stanthonysmonastery.org/music/Intonations.mp3
The Intonations of the Eight Modes 623
Papadikon from KE "tetraphonic"

(elaborate version)

Second Mode

Heirmologikon, Soft Chromatic Scale

Heirmologikon, "Mesos" (with endings on VOU)

Heirmologikon, Hard Chromatic Scale

3



4

5

6
A a +a ~e e e e e e a a ~e e e e e
Ah - - nah - ne________________________ ah - - nes_____________
e e e e e e e e e e e"
_____________________________________________________
~e a ~e"
Neh ah - nes
~e a a ~e e"
Neh ah - - nes____
~e a a ~e"
Neh ah - - nes
The Intonations of the Eight Modes 624
Sticherarikon and Papadikon, Soft Chromatic Scale

Third Mode

Heirmologikon, Sticherarikon, and Papadikon

Fourth Mode

Heirmologikon from VOU

Heirmologikon from DI

~e a a ~e e" ~e e e e a a ~e e"
Neh ah - - nes___ Neh____________ ah - - nes___
7


8


9

10
+a a +a
Nah - - nah
Le ge to"
Leh-yeh-tos
Le ge e to o"
Leh - yeh - - tos____
or:
~e e +a +w
Neh - - nah - no
Heirmologikon, Hard Chromatic Scale

The Intonations of the Eight Modes 625
Sticherarikon

Papadikon

Plagal First Mode

Heirmologikon

Sticherarikon and Papadikon

'

11

12



13

14
A gi a A a a gi a
Ah - yee - ah Ah - - - - yee - ah
A gi a a a a a a a a a a a
Ah - yee - ah____________________________________________________
a a a a a a a
_________________________________
A ~e a ~e"
Ah - neh - ah-nes
A ~e a ~e"
Ah-neh-ah - - nes
or:
The Intonations of the Eight Modes 626
Sticherarikon and Papadikon (elaborate version)

'

Sticherarikon "tetraphonic" (with endings on KE)

Plagal Second Mode

Heirmologikon, Soft Chromatic Scale

Heirmologikon, Soft Chromatic Scale (elaborate version)

15


16


17

18
A a ~e e e e e e e a a a a a +a a a
Ah - - neh - - - - - - - ah - - - - - - nah - - -
a ~e"
- nes
A ~e a ~e e e e"
Ah - neh- ah-nes__________________
~e ce a a ~e e"
Neh-heh- ah - - nes____
~e e ce a a ~e e e e"
Neh - - heh- ah - - nes___________
The Intonations of the Eight Modes 627
Heirmologikon, Hard Chromatic Scale
*

Sticherarikon and Papadikon (Hard Chromatic Scale)

Grave Mode

Heirmologikon and Sticherarikon (from GA)

Papadikon (from ZO)

*
This heirmologikon version of the hard chromatic scale actually belongs to fourth mode according to most
musicologists.
19

20


21

22
~e e +a +w
Neh - - nah - no
~e e ce a a ~e"
Neh - - heh- ah - - nes
A a ~e"
A - - nes
~e e e e e e e e e e e e e
Neh_______________________________________________
The Intonations of the Eight Modes 628
Papadikon (Enharmonic from ZO)

Plagal Fourth Mode

Heirmologikon (from NEE)

Heirmologikon (from GA)

Sticherarikon and Papadikon

'

'

23


24

25

26
A a ~e"
A - - nes
~e a gi e
Neh ah - yee eh
~e e a gi i e
Neh____ ah-yee - - eh
~e a a a a gi i i i e
Neh ah- - - - -yee - - - - eh
+a a +a
Nah - - nah
or:
~e a a a a gi ~e a a gi i e
Neh ah- - - - - yee neh ah - - yee - eh
or: