Psaltica-Michael Tsiappoutas

PSALTIC METHOD A GREEK BYZANTINE LITURGY CHANT PRIMER

MICHAEL TSIAPPOUTAS PSALTIC METHOD A GREEK BYZANTINE LITURGY CHANT PRIMER FIRST EDITION 2021 Copyright © 2021 Michael Tsiappoutas. Psaltic Method—A Greek Byzantine Liturgy Chant Primer, by Michael Tsiappoutas (First Edition, 2021, United States). This book as well as the Patriarchal Psaltophiles project are licensed under the Attribution- NonCommercial-ShareAlike 4.0 International license (CC BY-NC-SA 4.0). CC-BY-NC-SA 4.0 This license requires that reusers give credit to the creator. It allows reusers to distribute, remix, adapt, and build upon the material in any medium or format, for noncommercial purposes only. If others modify or adapt the material, they must license the modified material under identical terms. The license can be found at: www.creativecommons.org/licenses/by-nc-sa/4.0/ Music fonts: EZ Byzantine Music by Fr. Ephraim of St. Anthony's Greek Orthodox Monastery, based on ED Psaltica by Elie Daoun. No permission is granted to use an electronic copy of this book inside a church. Not affiliated. Hard copy available on Amazon. Zero-profit project. Free video lessons at: www.PatriarchalPsaltophiles.org ISBN-13: 978—1091091856 Printed in the United States of America.

ΕΙΣ ΜΝΗΜΟΣΥΝΟΝ ΤΩΝ ΑΠ’ ΑΙΩΝΟΣ ΚΕΚΟΙΜΗΜΕΝΩΝ ΠΑΤΡΙΑΡΧΙΚΩΝ ΨΑΛΤΩΝ ΚΑΙ ΔΙΔΑΣΚΑΛΩΝ ΗΜΩΝ ΠΡΩΤΟΨΑΛΤΩΝ, ΛΑΜΠΑΔΑΡΙΩΝ, ΔΟΜΕΣΤΙΚΩΝ, ΚΑΙ ΚΑΝΟΝΑΡΧΩΝ ΤΩΝ ΜΕΤ’ ΕΥΛΑΒΕΙΑΣ ΥΠΗΡΕΤΗΣΑΝΤΩΝ ΤΟΝ ΠΑΝΣΕΠΤΟΝ ΠΑΤΡΙΑΡΧΙΚΟΝ ΝΑΟΝ ΤΗΣ ΠΡΩΤΟΘΡΟΝΟΥ ΕΚΚΛΗΣΙΑΣ ΤΗΣ ΟΡΘΟΔΟΞΙΑΣ ΗΤΟΙ ΤΗΣ ΤΟΥ ΧΡΙΣΤΟΥ ΜΕΓΑΛΗΣ ΕΚΚΛΗΣΙΑΣ Ο ΠΟΝΗΣΑΣ IN MEMORIAM ALL PATRIARCHAL CHANTERS, OUR TEACHERS, WHO HAD FALLEN ASLEEP THROUGHOUT THE AGES PROTOPSALTS, LAMBADARIOSES, DOMESTICOS, AND KANONARCHONS WHO SERVED PIOUSLY THE ALL-VENERABLE PATRIARCHAL CHURCH OF THE FIRST-THRONE CHURCH OF ORTHODOXY THAT IS THE GREAT CHURCH OF CHRIST THE AUTHOR

ΠΑΤΡΙΑΡΧΙΚΗ ΕΥΛΟΓΙΑ PATRIARCHAL BLESSING To the musically-educated Mr. Kyriakos Michael Tsiappoutas, in Farmington, CT. His Most Divine All-Holiness, our venerable Leader and Bishop, the Ecumenical Patriarch Bartholomew, received the Teaching Method of Chanting Art, submitted through letter by your beloved musicallyeducated person, dated June 14th of this year, and in response, I was directed to express His gratitude for sending your study so gladly and willingly, as well as His congratulations for your conscientious effort, and to inform you that your work has been placed in the Department of Musical Works of the Ecumenical Library, for the greater benefit of its visitors. Upon these then, transmitting to you His fatherly and Patriarchal blessings, as equipment in the struggles of life, I remain with the love of God and heartfelt wishes for this upcoming Twelvetide [the Twelve Days of Christmas] and the new year 2021. In the Patriarchates, the 17th day of December 2020 Archimandrite Joachim Billis Chief Secretariat THE ECUMENICAL PATRIARCHATE HOLY AND SACRED SYNOD THE CHIEF SECRETARIAT ΟΙΚΟΥΜΕΝΙΚΟΝ ΠΑΤΡΙΑΡΧΕΙΟΝ ΑΓΙΑ ΚΑΙ ΙΕΡΑ ΣΥΝΟΔΟΣ ΑΡΧΙΓΡΑΜΜΑΤΕΙΑ ΑΝΤΑΠΑΝΤΗΣΙΣ ΟΙΚΟΥΜΕΝΙΚΟΝ ΠΑΤΡΙΑΡΧΕΙΟΝ ΑΓΙΑ ΚΑΙ ΙΕΡΑ ΣΥΝΟΔΟΣ ΑΡΧΙΓΡΑΜΜΑΤΕΙΑ Τῇ κ΄ Δεκεμβρίου σ.ἔ. ͵βκ΄. Τῷ Πανοσιολογιωτάτῳ Ἁγίῳ Ἀρχιμανδρίτῃ κυρίῳ Ἰωακείμ Μπίλλῃ, Ἀρχιγραμματεῖ τῆς Ἁγίας καὶ Ἱερᾶς Συνόδου. Ἐν πρώτοις τὰ ἀπεριόριστα σεβάσματά μου πρὸς τὸ σεπτὸν μας Πατριαρχεῖον καὶ πρὸς τὸν αὐθέντην καὶ δεσπότην ἡμῶν, τὸν Οἰκουμενικὸν μας Πατριάρχην κ. κ. Βαρθολομαῖον. Ἔλαβον τὴν ὑμετέραν Πατριαρχικὴν εὐλογητικὴν ἐπιστολὴν τὴν ἀπὸ τῆς ιζ΄ τοῦ μηνὸς Δεκεμβρίου ἐ.ἔ. Ἀποτελεῖ τιμή μεγίστη δι’ ἐμὲ τὸν ἐν ψάλταις ἐλάχιστον καὶ διὰ τοὺς «Πατριαρχικοὺς Ψαλτόφιλους». Σᾶς εὐχαριστῶ ἐκ βάθους καρδίας ποὺ σὲ καιροὺς χαλεποὺς, ἀπαντήσατε εἰς τὴν αἴτησίν μου νὰ εὐλογήσετε τὸ ἐμὸν πονημάτιον. Ἡ Πατριαρχικὴ τούτη ἐπιστολὴ θὰ συνδράμει τὰ μέγιστα πρὸς τὸν σκοπὸν τῶν Ψαλτοφίλων. Οἱ Πατριαρχικοὶ Ψαλτόφιλοι, ἕνας ἀφιλοκερδὴς ὀργανισμὸς, ἀποσκοπεῖ στὴ διάδοση τῆς Πατριαρχικῆς ψαλτικῆς τέχνης εἰς ἀγγλοφώνους. Ἀπεφάσισα νὰ περατώσω πρῶτον τὰ διαδικτυακὰ μαθήματα καὶ κατόπιν νὰ ἐκδώσω τὸ βιβλίον. Τὰ μαθήματα ἀναρτῶνται στὴν ἱστοσελίδα μας δωρεάν ὡς καὶ ἅπασαι αἱ προσφερόμεναι ὑπηρεσίαι ἡμῶν. Ἡ εὐλογητικὴ ἐπιστολὴ θὰ συναριθμεῖται ἀσφαλῶς ὡς ἡ πρώτη, κόσμημα ὁμοῦ καὶ βεβαίωσις ὅτι ἐγὼ μὲν ἔκαμα τὸ καθῆκον μοὺ καὶ αἰτήθηκα Πατριαρχικὴν ευλογίαν ὡς ὄφειλα, ἀλλ’ εἶδεν καὶ τὸ Πατριαρχεῖον ὅτι ὠφέλιμος ἡ προσπάθεια, και ἔδοξεν εὐλογῆσαι αυτήν. Διατελῶ μετὰ τιμῆς καὶ σεβασμοῦ μεγάλου πρὸς τὸ σεπτὸν κέντρον τοῦ γένους τῶν ῥωμηῶν καὶ τῶν ἁπανταχοῦ Ὀρθοδόξων, τὸ Οἰκουμενικὸ Πατριαρχεῖον, ὅν καὶ ὑμεῖς ὑπηρετῆτε καὶ ἡμεῖς τὸ κατὰ δύναμιν ἀξιούμεθα. Εἴθε ἕκαστον ἐπερχόμενον ἔτος ἔσται τοῦ προτέρου κρεῖττον διὰ τὸ πολύπαθον Πατριαρχεῖον. Καλὰ Χριστούγεννα, καλὸν Δωδεκαήμερον, καλὸν νέον ἔτος! Κυριάκος Μιχαήλ Τσιαππούτας Πατριαρχικοὶ Ψαλτόφιλοι

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www.PatriarchalPsaltophiles.org

REPLY https://www.patriarchalpsaltophiles.org/lessons

THE ECUMENICAL PATRIARCHATE HOLY AND SACRED SYNOD THE CHIEF SECRETARIAT The Very Reverend Holy Archimandrite Joachim Billis, Chief Secretariat of the Holy and Sacred Synod. Firstly, my unlimited respect towards our holy Patriarchate and towards our leader and bishop, our Ecumenical Patriarch Bartholomew. I received your Patriarchal blessing letter dated December 17 2020. It constitutes the highest honor for me, the least among chanters, and for “Patriarchal Psaltophiles”. I thank you from the bottom of my heart that in difficult times, you responded to my request to bless my little project. This Patriarchal letter will contribute to the goal of Psaltophiles immensely. Patriarchal Psaltophiles, a pro bono organization, aims to disseminate the Patriarchal chanting art to English speakers. I have decided to finish the online lessons first and then publish the book. Like all our services, the lessons are uploaded on our website free of charge. The blessing letter will, of course, be listed as the first one, a jewel as well as an assurance, that I’ve done my duty to request Patriarchal blessing, as should I, and that the Patriarchate saw that the effort is beneficial and decided to bless it. I remain with honor and great respect towards the holy center of the race of the Rum and all Orthodox, the Ecumenical Patriarchate, which you serve and we hope to serve, according to our strength. I wish you each coming year to be better than the last one for the long-suffering Patriarchate. Merry Christmas, Good Twelvetide, and a Good New Year! Kyriakos Michael Tsiappoutas Patriarchal Psaltophiles

BOOK REVIEW OF MR. MICHAEL TSIAPPOUTAS’ WORK “PSALTIC METHOD” Honorable Mr. Tsiappoutas, I received your book ‘Psaltic Method’ and I studied it carefully. I also took into account our conversations, where you described the particular circumstances of the performance practices of church services, particularly that of Holy Liturgy, in New York, USA, where you are. Some elements, toward which your effort is geared, I consider very commendable and pivotal. First, the issue of using a musical instrument in Divine Worship and at the church where you serve, something which the ceremonial protocol (teleturgy) of our Orthodoxy never allowed nor accepted. On the contrary, it [teleturgy] regards exclusively and solely the human voice as instrument and, by extension, the human body. Second, your intense interest for the children, the youth that comes to church who desire to more actively participate in glorifying God. This motivation alone is enough for this fruit to come about, that is, the book you sent me. Third, the book itself as a musical work, which I studied both carefully and thoroughly. It is an ingenious didactic method that focuses on the learning of all three types of melodic genera (sticheraric, heirmologic, and papadic), through simple, traditional musical lines, free from all analysis, so that they are read and performed easily. Through it, you revive the now forgotten practice of psalmody from the entire congregation of melodies that facilitate the memorization of the words and their melodic structure, and you are casting us into the Early Christian era, when everything was simpler, and Christians were chanting together the ‘ephymnia’, the ‘prokeimena’, and the ‘akroteleutia’ following the ‘gesturing of the reader’. I congratulate you, therefore, all-heartedly for your work. You offer a testimony of faith overseas, and moreover, vitalize our church music in the form it was handed down to us: monophonic and choral. With respect, Demosthenes Paikopoulos Archon Mousikodidaskalos (Teacher of Music) and fmr Second Domesticos of the Great Church of Christ.

LETTER BY FR. SERAPHIM FARASOGLOU To the readers (To Whom it May Concern). In this book of Kyriakos Michael Tsiappoutas “Psaltic Method”, which he has sent to me, I ascertained his love for Byzantine Music and his loyalty to the Center of Orthodoxy, the Ecumenical Patriarchate, which, just as it guarded the Dogmas of Faith, it also guarded throughout the centuries the authentic performance of this Music, which it inherited from one generation to the next. He is commendable for his passion to transmit all his experience and research to the youth of the diaspora of the New World and to teach it. I believe that this innovative piece of work will bear fruit, since this is the first time that such a manual will circulate in America, something that was lacking, and which it is offered by Kyriakos Michael Tsiappoutas without him making any monetary profit. I wish every success to this music-loving effort. Athens, 16 February, 2020. Protopresbyter of the Ecumenical Throne, Fr. Serapfeim Farasoglou. ΕΠΙΣΤΟΛΗ ΒΑΣΙΛΕΙΟΥ ΕΜΜΑΝΟΥΗΛΙΔΟΥ Αγαπητέ κύριε Τσιαππούτα, Με αυτή την επιστολή σπεύδω να απαντήσω στο αίτημά σας να γράψω κάποιες σκέψεις για το υπό έκδοση πόνημά σας με τίτλο Psaltic Method—A Greek Byzantine Liturgy Chant Primer. Ασφαλώς οποιαδήποτε προσπάθεια γίνεται για την διάδοση της βυζαντινής μουσικής είναι αξιέπαινη. Πολύ περισσοτέρων επαίνων όμως είναι άξιες οι προσπάθειες που γίνονται για τη διάδοσή της σε χώρες όπου η βυζαντινή μουσική δεν είχε ισχυρή παρουσία κατά το παρελθόν. Εκεί, συχνά, οι συνθήκες δεν είναι ευνοϊκές και απαραίτητη προϋπόθεση για την ανάπτυξή της είναι η ύπαρξη ανθρώπων με αγάπη για αυτήν. Έναν τέτοιον άνθρωπο διέκρινα στο πρόσωπό σας κατά την τηλεφωνική επικοινωνία που είχαμε το τελευταίο διάστημα. Τα ερωτήματά σας για τη θεωρία, την πράξη και την πατριαρχική τάξη πολλά και ειλικρινή ενώ ο σεβασμός και η αγάπη σας για το πατριαρχικό ύφος απεριόριστα. Σας συγχαίρω θερμά για την πρωτοβουλία σας να εκδώσετε εγχειρίδιο εκκλησιαστικής μουσικής στην αγγλική γλώσσα και μάλιστα προσαρμοσμένο στις ανάγκες των Ελλήνων της ομογένειας. Εύχομαι το βιβλίο σας να εκπληρώσει το στόχο του και να αποτελέσει ένα χρήσιμο οδηγό για όσους επιθυμούν να σπουδάσουν την εκκλησιαστική μουσική. Σε εσάς προσωπικά, εύχομαι να χαρίζει ο Θεός υγεία και δύναμη για να χαρείτε τα αποτελέσματα των κόπων σας. Με εκτίμηση, ΒΑΣΙΛΕΙΟΣ ΕΜΜΑΝΟΥΗΛΙΔΗΣ 'Aρχων Λαμπαδάριος της Aγίας τ. X.M.E. LETTER BY BASIL EMMANOYELIDES Dear Mr. Tsiappoutas, With this letter I am responding to your request to write down some thoughts about your book under publication with title Psaltic Method—A Greek Byzantine Liturgy Chant Primer. Any attempt to disseminate byzantine music is, of course, commendable. Much more commendable, however, are the attempts for its dissemination in countries where byzantine music did not have a strong presence in the past. There, oftentimes, conditions are not favorable and a necessary condition for its development are the people who love it. I have seen such a person in you during our recent telephone conversations. Your questions about theory, practice, and the patriarchal taxis were many and honest, while your respect and love for the patriarchal hyphos were unlimited. I warmly congratulate you for your initiative to publish a church music manual in English, especially so because it is adapted to the Hellenes of the diaspora. I wish your book fulfills its purpose of constituting a useful guide for whomever wishes to study the church music. To you personally, my wishes that God will grace you with health and strength so you enjoy the fruit of your labor. With respect, BASIL EMMANOUELIDES Archon Lambadarios of the Holy and Great Church of Christ ΣΧΟΛΙΟ ΓΕΩΡΓΙΟΥ ΑΓΓΕΛΙΝΑΡΑ Ἡ Ψαλτικὴ Μέθοδος τοῦ μουσικοδιδασκάλου κ. Κυριάκου Μιχαήλ Τσιαππούτα ἀποτελεῖ χρήσιμο καὶ χρηστικὸ ἐγχειρίδιο γιὰ τὴν ἐκμάθηση τῆς Βυζαντινῆς Μουσικῆς ἀπὸ ἀγγλόφωνους μαθητές. Ἡ διάταξη τῆς διδακτέας ὕλης καὶ ὁ ὅλος σχεδιασμὸς τῆς ἐκδόσεως έξυπηρετοῦν τὴν μεθοδικὴ διδασκαλεία ἀλλὰ καὶ τὴν εὐχερέστερη μάθηση τῶν διδασκομένων. Πιστεύω ὅτι ἡ Ψαλτικὴ Μέθοδος θὰ βοηθήσει ἀποτελεσματικὰ τούς ἀγγλόφωνους νέους τοῦ ἀποδήμου Ἑλληνισμοῦ καὶ θὰ συντελέσει στὴν εὐχερέστερη ἐκμάθηση τῆς πάντιμης Βυζαντινῆς Μουσικῆς, ἡ ὁποία εἶναι ἡ μόνη ποὺ προσιδιάζει στὴν ὑμνολογία τῆς Ὀρθοδόξου Ἐκκλησίας. Γεώργιος Ἀγγελινάρας Ἄρχων Μαΐστωρ τῆς Ἁγίας τΧΜΕ COMMENT BY GEORGE AGGELINARAS The Psaltic Method by the music teacher Mr. Kyriakos Michael Tsiappoutas constitutes a useful and functional manual for English-speaking students to learn Byzantine Music. The layout of the teaching materials [curriculum] and the whole design of the publication facilitate the methodic teaching and also the easier learning of the material. I believe that the Psaltic Method will aid the English-speaking youth of the Hellenic diaspora effectively and that it will contribute to the easier learning of the venerable [allhonored] Byzantine Music, the only music fitting the hymnology of the Orthodox Church. George Aggelinaras Archon Maistor of the Holy and Great Church of Christ ΣΧΟΛΙΟ ΚΩΝΣΤΑΝΤΙΝΟΥ ΛΑΓΟΥΡΟΥ Ἀγαπητέ κ. Τσιαππούτα, Σᾶς εύχαριστῶ γιὰ τὸ βιβλίο ποὺ μοῦ στείλατε. Εἶναι μία έκλεκτὴ έργασία, ἡ ὁποῖα ἐμπλουτίζει τὴν Ἀγγλόφωνη βιβλιογραφία τῆς βυζαντινῆς μουσικῆς. Σημασία ἔχει ὅτι αὐτὴ γίνεται ἀπὸ κάποιο φιλόμουσο τῆς Ἀμερικῆς. Παρουσιάζει πρωτοτυπία ἀπὸ ὅλες τὶς ἀπόψεις, βασισμένη ὃμως στὴν παράδοση. Σᾶς δίνω τὰ συγχαρητήριὰ μου καὶ εἶμαι βέβαιος ὃτι θὰ ἐκτιμηθεῖ δεόντος ἡ ἐργασία σας αυτὴ. Μὲ ἐκτίμηση, Κωνσταντῖνος Λαγοῦρος Ἂρχων Πρωτονοτάριος τῆς Ἁγίας τ. X.M.E. COMMENT BY CONSTANTIN LAGOUROS Dear Mr. Tsiappoutas, Thank you for sending me your book. It is a fine piece of work, which enriches English bibliography on byzantine music. It is important that this work is done by a musicophile in America. It exhibits innovation in all respects, based, however, on tradition. I congratulate you, and I am certain that your work will be valued properly. With respect, Constantin Lagouros Archon Protonotarios of the Holy and Great Church of Christ Professor C. Lagouros (b. 1930—) is Archon Protonotarios of the Holy and Great Church of Christ, i.e., the Ecumenical Patriarchate of Constantinople (2012) and Archon Protopsaltis of Canada (1999). A physics professor by profession, taught byzantine music and hymnology at the Université de Sherbrooke in Quebec, taught chanting to Greek— and French—speaking students, directed byzantine choirs, and authored many articles and books. Student of Antonios Syrkas and Peter Maneas. ΕΠΙΣΤΟΛΗ ΦΩΤΙΟΥ ΓΙΑΝΝΑΚΑΚΗ ΦΩΤΙΟΣ ΓΙΑΝΝΑΚΑΚΗΣ Άρχων Πρωτοψάλτης Αγιωτάτης Αρχιεπισκοπής Κωνσταντινουπόλεως Μελετώντας το υπό έκδοση εγχειρίδιο με τίτλο «Ψαλτική Μέθοδος » και έχοντας την ευλογία του Θεού να διδαχθώ και να εντρυφήσω επί μακρόν δίπλα στους αείμνηστους Άρχοντες Πρωτοψάλτες της Κωνσταντινουπόλεως, θέλω να συγχαρώ εκ βάθους καρδίας τον συγγραφέα του πονήματος τούτου, κ. ΚΥΡΙΑΚΟ ΜΙΧΑΗΛ ΤΣΙΑΠΠΟΥΤΑ, για την άρτια, αρίστη και πλήρως εμπεριστατωμένη έκδοση του εγχειριδίου του. Ο συγγραφέας, ως γνώστης, μελετητής αλλά και εκφραστής της Πατριαρχικής παράδοσης, κατόρθωσε πολύ έντεχνα μέσα από τις γνώσεις του και από τις προσωπικές του εμπειρίες να μας παρουσιάσει ένα εγχειρίδιο πλήρως εναρμονισμένο με την Πατριαρχική παράδοση. Προσωπικά πιστεύω ότι η έκδοση αυτή αποτελεί ένα άριστο βοήθημα και μια καταξιωμένη μέθοδο εκμάθησης της Βυζαντινής Μουσικής για αρχαρίους και ιδιαίτερα για τα παιδιά και τους νέους της Ομογένειας. Εύχομαι ο Θεός να του χαρίζει υγεία και παν αγαθόν, δια να συνεχίσει το αξιόλογο μουσικό, Ιεροψαλτικό και συγγραφικό του έργον. Μετά τιμής, ΦΩΤΙΟΣ ΓΙΑΝΝΑΚΑΚΗΣ Άρχων Πρωτοψάλτης Α Α Κωνσταντινουπόλεως LETTER BY FOTIOS GIANNAKAKIS FOTIOS GIANNAKAKIS Archon Protopsalt Of the All-holly Archdiocese of Constantinople By studying the under-publication primer entitled “Psaltic Method” and being blessed by God to be taught and study deeply and for a long time next to the late Archon Protopsalts of Constantinople, I want to congratulate from the bottom of my heart the author of this book, Mr. Kyriakos Michael Tsiappoutas, for his complete, perfect, and thoroughly comprehensive publication of his manual. The author, as a knowledgeable person, as a scholar, but also as one who expresses the Patriarchal tradition, managed very artfully through his knowledge and personal experience to present us with a manual that is in complete harmony with the Patriarchal tradition. Personally, I believe that this publication constitutes a perfect aid and an accomplished learning method for Byzantine Music for beginners and especially for children and the youth of the Diaspora. May God grace him with good health and every good, so he can continue his notable musical, chanting, and authoring pursuits. With honor, FOTIOS GIANNAKAKIS Archon Protopsalt Of the All-holly Archdiocese of Constantinople

Contents Preface .................................................................................... Acknowledgements ......................................................... Psaltic Method .................................................................... Echos ................................................................................ Advanced Notation .......................................................... Tempo, Rhythm, and Ison ................................................ Doxologies in all Modes ………………………………………………… Special Topics—Liturgy .................................................... Liturgy …..…………………………………………………………………….. Appendix Fame of Patriarch ................................................ List of Patriarchs .................................................. List of Protopsalts and First Domesticos ............. List of Lambadarios and Second Domesticos ..... Apolytikia ............................................................ Kontakia .............................................................. Another Cherubic Hymn ...................................... Another Communion Hymn ................................ St John the Chrysostom on Organs in Church ..... Patriarchal Encyclical on Electronics ................... Declensions for Memorial ................................... Beyond This Book ................................................ Be a Patriarchal Psaltophile ................................ Hyphos ................................................................ Map of Constantinople Churches ........................ References ........................................................... i iii 1 53 85 90 93 137 141 203 205 206 207 209 215 229 231 235 239 239 241 243 245 249 251

― i ― Preface To become a chanter, one needs to be apprenticed to a chanter. In the Greek Orthodox churches in the United States, however, Liturgy, the most well-attended service, is sung by a polyphonic choir with organ accompaniment. Because of this, chanting became foreign to children. Because children were less inclined to learn how to chant within their communities, the population of trained chanters declined. Because of less trained chanters, Orthros suffered. Badly chanted Orthros and Esperinos (Vespers) is attended even less. Most churches abandoned Esperinos altogether, since there were no chanters and little congregation. Orthros is still read before Liturgy, but chanted rarely—and chanted well even more rarely. In the Greek Orthodox churches in the United States, byzantine (plain)chant, a vital component of byzantine liturgy, was replaced by accompanied polyphony. Some attribute this substitution to the need of Greek-speaking immigrants to assimilate into the American culture, others to the fact that late 19th to mid-20th century Greek immigrants brought polyphony to the new shores with them. In Greece, polyphony has since been abandoned and assimilation is not a concern anymore. This unnatural substitution created a vicious cycle which spiraled chanting down to near extinction. Apprenticeship, the vehicle of oral transmission, collapsed, and with it, chanting. The experiment to substitute chanting for polyphonic organ choirs failed. An alternative is needed. After a century of ostracism, the ancient and sacred art of byzantine music is organically re-emerging. And how could it not? These ancient melodies are the garment with which the words of worship are clothed. The Word ancient, and the garment tailored. Newer, shinier clothes were tried on, but ― ii ― none fit like the old. The time-honored model, i.e., byzantine chant for byzantine liturgy, is the proposed alternative to the current, non-sustainable model. This manual is a tool aimed to help break the vicious cycle. The first part teaches the essentials of chanting as it has been preserved and cultivated for over one and a half millennia by our Ecumenical Patriarchate in Constantinople. The second part is the Liturgy of St John the Chrysostom in the original Greek language set in byzantine music notation. As time permits, I will be adding video lessons and other materials on the book’s companion google site. No profit is being made on this title. Price covers only the printing cost. To the memory of my teacher, Hatzisavvas Psaltis from the once Greek-speaking town of St Ambrose of Keryneia in the island of Cyprus. Christmas Day, 2020. ‘Kyriakos’ Michael Tsiappoutas1 1 Born Kyriakos Michael Tsiappoutas. Legally changed his name to Michael Tsiappoutas. Even though his official first name is Michael, some Greek speaking friends still call him Kyriakos. ― iii ― Acknowledgements My deepest respect and gratitude to Demosthenes Paikopoulos2. His guidance on both the method (first part of this book) and liturgy (second part) exceeded my expectations. It’s been an honor to have met a chanter who actually co-chanted with Iakovos Nafpliotis and sat in Angelos Boudouris’ classroom. I also would like to acknowledge the help of Basil Emmanouelides3. A music teacher himself for many years in Constantinople, his comments on pedagogy were illuminating. His help on both the method and liturgy parts of this book was needed and much appreciated. Fr. Serapheim Pharasoglu4 who embraced me and this work from the first conversation. His expertise on issues of taxis and typicon was much needed and appreciated. I thank him for giving his time and advice so generously. Georgios Aggelinaras5, who’ve read the manuscript and made suggestions and corrections on language, music, and taxis. Fotios Giannakakis6, who read the manuscript and made invaluable suggestions. His enthusiasm to help the younger generation is truly inspiring. Stamatios Nicholaos Kissas7, a humble yet deep curator of patriarchal chanting tradition, for his comments on both 2 Second Domesticus at the Patriarchal church from 1954 to 1960 under Lambadarios Stanitsas and Protopsalt Priggos. 3 Lambadarios at the Patriarchal church from 1978 to 1997. 4 Protopresbyter of the Ecumenical Throne. 5 Traditional chanter and philologist. Born at Samos in 1934. 6 Archon Protopsalt, Archdiocese of Constantinople. Born at Constantinople in 1949. 7 Archon Protomaistor of the Great Church of Christ; president of the Association of Constantinopolitan Friends of Music in Athens. ― iv ― method and liturgy parts of the book. His encouragement and support were much appreciated. Archimandrite Athanasius Siamakis8 for having read the manuscript and making numerus editing and text corrections, even on the classic scores. Andreas Ioannou Koraes9, for his suggestions on pedagogy. He has been my sounding board for this and for the Greek Bible project10. Demetrious Nerantzes11, for his valuable comments on the manuscript as well as helping me understand the chosen cherubic hymn deeper. A personal note: getting to know these people, was my greatest reward for putting together this book. My sincere gratitude and thanks to any and all who helped shaped this book, according to the standards and teachings of our Ecumenical Patriarchate of Constantinople. 8 Theologian, secretary of Metropolitan Augustine of Florina and editor of about 40 of Metropolitan Augustine’s books. Published books on ancient Greek music and its relation to Byzantine music. 9 Cypriot traditional chanter (b. 1938—) who respects and upholds the Patriarchal tradition. 10 www.sites.google.com/site/septuagintbible/ 11 Archon Teacher of the Apostle of the Great Church of Christ. Born in 1937 in the island of Chios. A traditional chanter and researcher, who loves and promotes the Patriarchal chanting tradition. ― i ― To my wife and son. ― ii ― ― 1 ― METHOD Κλίμακα—Scale Ψάλλε (Chant) 1) Δι Δι Δι Δι 2) Δι Γα Βου Γα Δι Δι Δι 3) Δι Γα Βου Γα Δι Δι Δι Κε Ζω Κε Δι Δι Place your hand on the table. This is thesis (η θέσις, της θέσεως). Raise it into the air. This is arsis (η άρσις, της άρσεως). From one thesis to the next, there is one complete beat. Every knock is a beat. Keeping steady χρόνος is so important, that the old chanters used to say Χρόνος (Tempo) Θέσις και άρσις, χρόνος ένας. Down-beat and up-beat, one beat. Χρόνος και πάλιν χρόνος. Tempo and tempo again. φθόγγοι (notes) μαρτυρίες (martyrias) ― 2 ― METHOD Characters of Quantity—Χαρακτήρες Ποσότητος A character is a symbol. We have quantitative and qualitative characters. Characters of quantity tell us by how many notes (φθόγγοι) to go up or down from where we are in the melody. Characters of quality (χαρακτήρες ποιότητος) tells us how to perform a piece of melody. The following three quantity characters are common.      If you are to stay on a particular note, someone has to tell you the note you are at. This is what a martyria (η μαρτυρία, της μαρτυρίας) does. They look like the symbols on the left side of the scale on page 1. For example, instead of telling you that we are on note Δι, from now on I will tell you we are on  This martyria gives us two pieces of information: the top part tells us that the note we are currently at is Δι; the bottom part that the intervals we ought to follow above and below Δι are those shown in the scale of page 1. If, for example, the melody wanted you to start from Βου instead of Δι, the martyria would be this     ίσον (ison). Stay on the same note ολίγον (oligon). Go one note up απόστροφος (apostrophos ). Go one note down ― 3 ― METHOD Remember we chanted Δι Δι Δι Δι ? This is the same as if I told you ‘our starting point is Δι and we need to say it four times’. In byzantine music notation, we would write   We could even repeat the martyria at the end of the melody line, just to make sure we know we should be ending on Δι. Similarly, instead of writing Δι Γα Βου Γα Δι Δι Δι, we could write down this   And instead of writing down Δι Γα Βου Γα Δι Δι Δι Κε Ζω Κε Δι Δι, we could say    Music goes from left to right and down to the next line, just like English. Practice Tips ✓ Keep a steady beat—χρόνος και πάλιν χρόνος! ✓ Hand moves up and down. Each character or note goes on the thesis, on the beat. ✓ Practice first slow tempo (χρόνος αργός), then a bit faster (χρόνος γοργός). ✓ Keep an eye on your intervals. Δι—Κε is not as big as Γα—Δι (whole tone). ✓ Don’t be afraid to make mistakes! Practice makes perfect! ✓ Practice as many times as you need to say it perfectly. ― 4 ― METHOD The following melody has Βου as its basis.    Let’s change the martyria from Βου to Δι, and use elaphron to start two notes lower than Δι, that is, from Βου.   The two melodies are exactly the same. Different characters, same melody! I could as well right it down with letters instead of music notation, and it would still be the same. Βου Γα Δι Δι Δι Γα Δι Κε Κε Δι Δι Δι Δι Γα Γα Δι Κε Δι Γα Βου Βου Βου Βάσις (Basis or Base) The basis (η βάσις, της βάσεως) of a melody is the note (ο φθόγγος, του φθόγγου) the melody usually starts and finishes on. It also ends on Βου, so we say that there is a cadence on Βου. Κατάληξις (Cadence) A cadence (η κατάληξις, της καταλήξεως) is an ending of a musical phrase. Cadences usually happen on the basis of the melody. ελαφρόν (elaphron). Two notes down. ― 5 ― METHOD  Ταις πρεσ βει αις της Θε ο το ο κου ου  Σω ω τε ερ σω ω σον η μα α ας Congratulations! You just chanted the first real hymn of the Sunday Liturgy. You should be proud of yourself! If you are able to chant the above hymn, you’ve learned several fundamental things about byzantine music. There is a scale, that tells you how much we raise or lower our voice pitch from one note to the next (scale intervals). There are notes, that tell you where in the scale you are at, up high or down low. There is tempo, that tells you how fast to keep beat. There are quantitative characters, symbols that tell you which one is the next note you should be going to, by how many notes to go up or down. You can chant only the notes (parallage) for practice at home, but in church we chant the words (melos). Παραλλαγή και Μέλος – Parallage and Melos Parallage (η παραλλαγή, της παραλλαγής) means we chant the notes. Melos (το μέλος, του μέλους) means we chant the words under the notes. Tip Practice every piece three times parallage, and one time melos. If your melos is not perfect, practice parallage another three times. At any martyria, take a quick breath. ― 6 ― METHOD Some Scale Theory Διάστημα or τόνος means interval or tone. Two φθόγγοι (notes) enclose one τόνος. For example, from Βου to Γα there is one τόνος and from Γα to Δι there is another τόνος. Not all tones are the same, some are smaller and some are bigger. The numbers inside the boxes tell us how big or small the tone is, based on how many moria (το μόριον, τα μόρια) it has. Most music instruments (recorder, piano, quitar) play only whole and half tones. In byzantine music, a whole tone has 12 moria and a half tone has 6 moria, but these are not the only tones we use. Μείζων Τόνος Whole Tone 12 Moria Ελάσσων Τόνος Minor Tone 9 Moria Ελάχιστος Τόνος Least Tone 7 Moria The scale we just learned contains only whole and least tones. Notice how the scale goes from low to high: least-whole— least-whole. This is called διφωνία ομοία (similar third). τόνος Βου—Γα ελάχιστος τόνος τόνος Κε—Ζω μείζων τόνος ― 7 ― METHOD Time Characters—Χρονικοί Χαρακτήρες Ordinarily, quantity characters take one beat each. Time characters modify the duration (beats) of quantity characters.             Our previous example  Ταις πρεσ βει αις της Θε ο το ο κου ου  Σω ω τε ερ σω ω σον η μα α ας now becomes this (ἰσον is being replaced by κλάσμα)  Ταις πρεσ βει αις της Θε ο το κου  Σω τερ σω ω σον η μας κλάσμα (klasma). Adds one beat. γοργόν (gorgon). Note goes on up-beat (arsis) διπλή (double). Adds two beats. απλή (single). Adds one beat, like klasma. ― 8 ― METHOD Let’s see how the gorgon works out. From this  Ταις πρεσ βει αις της Θε ο το κου Σω τερ  Σω ω σον η μας to this  Ταις πρεσ βει αις της Θε ο το κου Σω τε ε  ερ Σω ω σον η μας Let’s learn one more quantity character   Ταις πρεσ βει αις της Θε ο το κου Σω τε ε  ερ Σω σον η μας Kentimata is different from oligon in that they don’t take a new syllable and they are performed smoother than oligon. κεντήματα (kentimata). Go one note up, like oligon. ― 9 ― METHOD Characters of Quality—Χαρακτήρες Ποιότητος So far, we’ve seen Quantity Characters, that tell us how much, and Time Characters that tell us when. We now learn about Quality characters, which tell us how to chant a particular note or a note and its immediate neighbors (group of notes).       Characters of Quality, unlike those of Time and Quantity, are hard to learn, because the same quality character can be performed differently in different situations. Quality characters are always found in combination of quantity characters, never alone. The only way to learn quality characters is to hear them performed by chanters that served in the Ecumenical Patriarchate, or other traditional chanters. ομαλόν (omalon). Gives a quick wave or jerk. ― 10 ― METHOD  Ταις πρεσ βει αις της Θε ο το κου Σω τε ε  ερ Σω σον η μας        Ταις πρεσ βει αις της Θε ο το κου Σω τε ε  ερ Σω σον η μας βαρεία (grave). Gives a heavier accent or stress. Sometimes a downward bow. ― 11 ― METHOD Reading Ancient Greek Greek is hard to write, but easy to read. This is because there are many ways to write the same sound, but only one way to read it. For example, all these make the sound /ee/ : η, ι, οι, ει, υ. Greek is a ‘tonic’ language (τονική γλώσσα), because certain syllables are accented more than others. What tells you which syllable to accent are the τόνοι (accents) on top of the letters. The old chanters didn’t use the verb ‘compose’, but the verb τονίζω. This tells us that the melody followed the tonicity of the text. In Byzantine chant, the music is the clothing of the text. Music help us remember and understand the words better. Music and words go handin- hand. We don’t ‘compose’ music just for the sake of music itself, but we use music to serve the logos (word). Πνεύματα και Τόνοι (Breathing and Accent Marks) Breathing marks have no effect on how you stress a syllable, but accents do. Breathing marks always go at the beginning of a word, if the word begins with a vowel. We have two breathing marks (no effect) ἀ alpha with high mark, or ‘high’ – ψιλή ἁ alpha with rough mark, or ‘rough’ – δασεία We have three accents ᾶ alpha with circumflex – περισπωμένη ά alpha with acute accent -- οξεία ὰ alpha with grave accent – βαρεία ― 12 ― METHOD    Examples: Ταῖς πρεσβείαις τῆς Θεοτόκου, Σῶτερ, σῶσον ἡμᾶς. Δόξα Πατρὶ καὶ Υἱῷ καὶ Ἁγίῳ Πνεύματι. Καὶ νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Ἀμήν. Ὁ μονογενὴς Υἱὸς καὶ Λόγος τοῦ Θεοῦ, ἀθάνατος ὑπάρχων καὶ καταδεξάμενος διὰ τὴν ἡμετέραν σωτηρίαν, σαρκωθῆναι ἐκ τῆς ἁγίας Θεοτόκου καὶ ἀειπαρθένου Μαρίας, ἀτρέπτως ἐνανθρωπήσας σταυρωθείς τε, Χριστὲ ὁ Θεός, θανάτῳ θάνατον πατήσας, εἷς ὢν τῆς ἁγίας Τριάδος, συνδοξαζόμενος τῷ Πατρὶ καὶ τῷ Ἁγίῳ Πνεύματι, σῶσον ἡμᾶς. The bold syllables are accented more. Even though Ταῖς and τῆς have an accent (circumflex) we do not stress them more because they are monosyllabic articles. The word ἡμᾶς is stressed on the second syllable, because δασεία has no effect, but περισπωμένη does have an effect because it’s an accent and the word is not an article. Πεταστή with ολίγον goes 2 notes up, preserving the ‘energy’ (flutter) of the πεταστή. Petaste (πεταστή) goes 1 note up with a flutter. │ ― 13 ― METHOD Συνεχές ελαφρόν (continuous elaphron) goes two voices down, not immediately like the elaphron, but ‘continuously’, that is, one at a time.    Ταῖς πρεσβείαις is chanted three times. The third time you chant it, you will stop for the priest to say his part, so you need to make a ‘final’ cadence (τελική κατάληξις).     Αντιφωνία (Antiphony) During Liturgy, the priest says something, then the two chanters (α’ and β’, or first and second, or right and left) respond to the priest and to each other. It’s like a conversation, a dialogue. 1+1 down. Is the same as ψηφιστόν (psiphiston). The most versatile of quality characters. Its effect, or ‘energy’ (ενέργεια) as the old books say, varies according to how it is combined with other quantity and time characters. The only way to learn how it is performed in each combination is to hear a traditional chanter perform it. ― 14 ― METHOD Αντίφωνον Α’ Priest: Ὅτι πρέπει σοι πᾶσα δόξα, τιμὴ καὶ προσκύνησις τῷ Πατρὶ καὶ τῷ Υἱῷ καὶ τῷ Ἁγίῳ Πνεύματι, νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. You:  Α μην α’ ψάλτης (first chanter or right chanter):  Ταις πρεσ βει αις της Θε ο το κου Σω τε ε  ερ Σω σον η μας β’ ψάλτης (second chanter or left chanter):  Ταις πρεσ βει αις της Θε ο το κου Σω τε ε  ερ Σω σον η μας α’ ψάλτης (third and last one):  Ταις πρεσ βει αιςτης Θε ο το ο κου Σω  τερ Σω σον η μα α ας ― 15 ― METHOD Αντίφωνον Β’ β’ ψάλτης:  Σω σον η μα αςΥι ε Θε ου ο α ναστας  εκ νε κρων ψαλ λον τας σοι Αλ λη λου ι α α’ ψάλτης:  Σω σον η μα αςΥι ε Θε ου ο α ναστας  εκ νε κρων ψαλ λον τας σοι Αλ λη λου ι α β’ ψάλτης:  Σω σον η μα αςΥι ε Θε ου ο α ναστας  εκ νε κρων ψαλ λον τας σοι Αλ λη λου ι α Αντίφωνα (Antiphons) Soon after Liturgy starts, we chant the three antiphons: Antiphon A: Ταῖς πρεσβείαις (3 times). Antiphon B: Σῶσον ἡμᾶς (3). Ὁ μονογενὴς Υἱὸς. Antiphon C: Ἀπολυτίκιον. ― 16 ― METHOD Scale Revisited The scale below shows a complete scale, from Νη to Νη. This is a complete octave or διαπασών (from διὰ πασῶν τῶν φθόγγων, or through every note). Add the same note names above or below to expand it even more. The ‘μονογενὴς’ below is from a century-old recording (called ‘Kyrie Eleison’) of Iakovos Nafpliotis who chants with children. α’ ψάλτης:  Δο ξα Πα τρι και Υι ω και Α γι ― 17 ― METHOD  ω Πνευ μα τι β’ ψάλτης:  Και νυν και α ει και εις τους αι ω νας των αι   ω νων α μην  Ο μο νο γε νης Υι ος και Λο γος του Θε  ου α θα να τος υ πα αρ χων και κα τα δε  ξα με νος δι α την η με τε ραν σω τη ρι  αν σαρ κω θη ναι εκ της α γι ας Θε  ο το ο κου και α ει παρ θε νου Μα  ρι ας α τρε πτως εν αν θρω πη σας σταυ ρω ― 18 ― METHOD  θεις τε Χρι στε ο Θε ος θα να τω θα να τον  πα τη η σας εις ων της α γι ας Τρι α δος  συν δο ξα ζο με νος τω Πα τρι και τω Α  γι ω Πνευ μα τι σω σον η μα α ας Note the final cadence, which notifies the priest to say his part next. Αντίφωνον Γ’ (Antiphon C) The third antiphon is the apolytikion, a small hymn. Each of the eight echos have their own apolytikion. Each Sunday we will chant the apolytikion of that Sunday’s echos. We will learn the apolytikia of all eight echos later on. Now, some theory! ― 19 ― METHOD Qualitative Characters—Complete Table These are all the seven qualitative characters, or as Chrysanth calls them, the άχρονες υποστάσεις. Learning how to perform quality characters take practice, because their ‘energy’ (effect) changes according to the combination of characters around them. However, the basic effect of each is described by Chrysanth as follows. Βαρεία (grave) gives the φθόγγος (note) a weight, a heaviness so that the note is distinguished from the previous and the next note. Ομαλόν (the omalon) causes a high-pitch waving of the voice in the throat. Αντικένωμα (antikenoma) is placed under the oligon and gives a jump or a jerk of the voice. Ψηφιστόν (psiphiston) gives a power and a liveliness to the note. Έτερον (eteron), sometimes called σύνδεσμος (syndesmos), causes the notes under which it is inscribed to be smoothly connected. Σταυρός (cross) makes us pause momentarily to take a breath. Ενδόφωνον (endophonon) means we close our mouth and let the voice through the nose, when we say letters like μ or ν. ― 20 ― METHOD How do I learn qualitative characters? Τhe word ‘tie’, could refer to a tie you wear or to tying your shoelaces. The word ‘tie’ has two meanings. Its specific meaning is understood within context. Same with qualitative characters—they cannot be understood outside of context. Only within their melodic context. Do not try to understand each qualitative character on your own. There is no way you can imagine how it should be performed reading about it. You need to hear it. Old teachers used to say ‘if you want to become a chanter, you need to do three things—hear, hear, hear!’. Psaltic art is an acoustic art. Music notation (the symbols we teach here) provides a skeletal melody. The way your voice carries these melodies, cannot be written down on paper, it has to be heard. Hearing old chanters is more important than learning these symbols. Other books have many exercises about learning qualitative characters. We won’t do that. We will learn them as they come up by listening to traditional chanters chant them. If you are serious about becoming a correct chanter, you need to seek out recordings of the list of chanters provided in the next page and listen to them for many hours. Listening to these chanters an hour a day for three years will do you more good than knowing how to read the symbols we teach here. Hearing them chant will give you a kind of intuition so that you will be able to perform the music naturally and with ease. Many melodic phrases, called ‘theses’ in chanting art, are repeated. If you hear chanters enough times perform these theses, you will be able to perform them yourself ‘prima vista’, that is, the first time you perform from a music score. ― 21 ― METHOD Chanters to hear As a rule of thumb, recordings of chanters who served at St George Patriarchal Church of Constantinople are the best. In our Ecumenical Patriarchate great care has been taken to preserve the ancient melodies through time, without embellishments. The following is a list of the latest Πρωτοψάλτες and Λαμπαδάριοι. Πρωτοψάλτες Ἰάκωβος Ναυπλιώτης ..................... Κωνσταντῖνος Πρίγγος .................... Θρασύβουλος Στανίτσας ................ Βασίλειος Νικολαΐδης ..................... Λεωνίδας Ἀστέρης .......................... Παναγιώτης Νεοχωρίτης ................ Λαμπαδάριοι Ἰάκωβος Ναυπλιώτης ..................... Κωνσταντῖνος Κλάββας .................. Εὐστάθιος Βιγγόπουλος ................. Κωνσταντῖνος Πρίγγος .................... Θρασύβουλος Στανίτσας ................ Νικόλαος Δανιηλίδης ..................... Ἐλευθέριος Γεωργιάδης ................. Βασίλειος Ἐμμανουηλίδης ............. Ἰωάννης Χαριατίδης ....................... Στυλιανὸς Φλοῖκος ......................... Except for Κλάββας and Βιγγόπουλος, you should be able to find audio recordings of all the rest online. 1911—1939 1939—1959 1960—1964 1965—1985 1985—2016 2016— 1905—1911 1911—1916 1917—1938 1938—1939 1939—1960 1960—1965 1968—1978 1978—1997 1997—2016 2016— ― 22 ― METHOD In Greek Orthodox tradition, there are two chanters, or two choirs (χοροί) of chanters, one to the right and one to the left. Looking towards the altar, you see the icons. The empty area in front of the altar and icons is called soleas (σολέας). The bookstands for chanters (το αναλόγιον, του αναλογίου), are to the right and left of the soleas. In the Patriarchal Church of St George, the head chanter of the right choir is called Πρωτοψάλτης (ο Πρωτοψάλτης, του Πρωτοψάλτου) and the head chanter of the left choir is called Λαμπαδάριος (ο Λαμπαδάριος, του Λαμπαδαρίου). For the rest of us outside the Patriarchate, we have right chanters and left chanters, not Πρωτοψάλτες and Λαμπαδάριοι. You may hear me call any Patriarchal chanter a teacher (ο διδάσκαλος or ο δάσκαλος). This is because the Patriarchate is the prototype of how we do our Liturgy, the school clergy and chanters learn from. So, its chanters are teachers. So far, we’ve used only one scale and chanted only in one Echos (ο Ήχος, του Ήχου, literally sound), specifically the History Before 1814, the music notation was stenographic—one music symbol meant a whole melodic line (called thesis). In 1814, our Ecumenical Patriarchate approved the simplification of the old music notation so that a symbol doesn’t mean a whole melodic line, but a note. Bishop Chrysanth of Madytos, Gregorios the Protopsalt and Chourmouzios the Hartophylax (paper keeper) are the teachers typically credited with the revision from the old to the current music notation (used in this book). The old-looking scale copies in this book are from Chrysanthos’ 1821 book called Introduction to the Theory and Practice of Ecclesiastical Music. ― 23 ― METHOD Second Echos. We now learn a little bit about what Echos is, how many Echos are there, and what their characteristics are. There are eight Echos (or Modes) in Byzantine chant: Ήχος Πρώτος First Mode Ήχος Δεύτερος Second Mode Ήχος Τρίτος Third Mode Ήχος Τέταρτος Fourth Mode Ήχος Πλάγιος του Πρώτου Plagal of First Mode Ήχος Πλάγιος του Δευτέρου Plagal of Second Mode Ήχος Βαρύς Grave Mode Ήχος Πλάγιος του Τετάρτου Plagal of Fourth Mode Ταῖς πρεσβείαις is set in Second Mode. But how do we know that? We know it because the βάσις of this melody is the φθόγγος (note) Δι. The scale contains least and whole tones (the numbers 7 and 12) and it has a specific name–μαλακή χρωματική (soft chromatic scale). Δι and Βου are the main notes (δεσπόζοντες φθόγγοι). Τhe melody starts at and finishes on Δι (final cadence), but we also see intermediary cadences on Βου. Ήχος Πλάγιος του Τετάρτου (Plagal of Fourth Echos) has different characteristics. Its basis is the note Νη and its main notes are Νη, Βου, and Δι. Its scale is not chromatic, but diatonic. We know it’s diatonic because it has these specific intervals. The numbers show you the intervals. The martyria is the one that has the letter of the note in it, like the lowest note here (βάσις) is Νη or νη (same thing, only lower-case first letter), so its martyria has the letter ν in it. Next to the martyria you see the phthora or fthora (η φθορά, της φθοράς). The φθορά has to do more with the sequence of the ― 24 ― METHOD tones (whole, minor, least—μείζων, ελλάσσων, ελάχιστος) from Νη to Γα, rather than with the specific name of the note. Fthoras are symbols that can be placed on quantitative characters (like an ison) in order to switch between scales like chromatic and diatonic. For now, you should memorize the names of the notes, their martyria, and their fthora. Quantitative Characters—Complete Table Ascend Descend Ανιόντες means ascending and κατιόντες means descending. The letters indicate how many tones up or down each characters goes, for example, α means 1, β means 2, δ means 4, and 0 means 0. Note how υπορροή (hyporroe) has the number 2 instead of a letter. That’s because υπορροή is the only character that descends two notes one at a time, not two at once. Take a look at Chrysanth’s explanation below. The left and right are the same. An hyporroe is the same as two apostrophe. If a gorgon is placed on the yporroe, it is meant for the first apostrophe. For the top row above, the ison and the two beats for the yporroe go on the thesis (three theses, so three beats total). For the bottom row, the ison goes on the thesis, the first = = ― 25 ― METHOD apostrophe on the arsis, and the second apostrophe on the next thesis (two theses, so two beats total). Examples with hyporroe.       Gorgon (γοργόν) does the same job no matter if it’s above or below a character. If oligon, petaste, and kentimata all do the same thing (go one note up) why do we have three and not only one of them? Because each ascents one note in a different way. Oligon just goes up one note. Petaste goes up one note, but with a flutter, with a little jump or jerk of the voice. Kentimata goes up one note as if it connects the previous and the next note in an easy flow.    You know that elaphron goes two notes down at once. What if you want to go two notes up at once? In this case you can use a combination of oligon and kentima like this: ― 26 ― METHOD     By the way, any of the quality characters we talked about so far, like psiphiston and grave also apply on the above twotone combinations.  Same as  What if we wanted to go two tones up at once, but still give the flutter, jump, jerk of the petaste?    Same melody in George Progakis (music professor at Halki Theological School in Constantinople) Liturgy book (1911). The book carries the Patriarchal Seal (ΠΑΤΡΙΑΡΧΙΚΗ ΣΦΡΑΓΙΣ). Both ascent 2 notes at once Ascents 2 notes at once, but with the quality of petaste ― 27 ― METHOD Τhe γοργόν below is always meant for the κεντήματα, so the oligon is always on the thesis and the kentimata always on the arsis.            Note the δίεσις (sharp), ύφεσις (flat), and ψηφιστόν. = = ― 28 ― METHOD Elements of Echos—Συστατικά των Ήχων Each echos is identified by four elements: 1. Βάσις Basis 2. Κλίμακα Scale 3. Δεσπόζοντες Φθόγγοι Main Notes 4. Καταλήξεις Cadences Second Echos Plagal Fourth Echos Ἦχος Β’ Ἦχος πλ. Δ’ Βάσις: Δι Βάσις: Νη Κλίμακα: Χρωματική Κλίμακα: Διατονική Δεσπ. Φθ: Βου, Δι, Ζω Δεσπ. Φθ: Νη, Βου, Δι Καταλήξεις: Βου, Δι, Ζω Καταλήξεις: Νη, Βου, Δι Pay attention to the gray intervals when chanting. ― 29 ― METHOD Remember, a martyria shows you which scale to chant.    Ψάλλε (Chant).     But what if you want to change the scale (say from chromatic to diatonic) in the middle of the melody? The initial martyria tells you to chant chromatic intervals.  But imagine that you wanted a melody that descends chromatically (as it is now), but when you go down to Νη start ascend diatonically. You could change the ascending part with a diatonic fthora on Νη. Φθορά (Fthora) Fthora (η φθορά, της φθοράς) is a symbol that switches the melody from one scale to another. μαρτυρία διατονικού Δι martyria of diatonic Di μαρτυρία χρωματικού Δι martyria of chromatic Di small interval big interval ― 30 ― METHOD Every time you see this fthora on Νη, no matter the martyria, you know that you are in the diatonic scale of the Plagal of Fourth Echos.  This melody descents chromatically and ascents diatonically.  ΜΑΡΤΥΡΙΕΣ ΚΑΙ ΦΘΟΡΕΣ Ἦχος Β’ Ἦχος πλ. Δ’ φθορά διατονικού Νη fthora of diatonic Ni ― 31 ― METHOD Question: What’s on top of δι right above the music and what does it mean? Answer: It is the fthora of Second Echos (mode) for δι. It means that the scale we are using (the intervals) are of the second mode. Apolytikion of Second Echos Μουσικές Ἐκδόσεις (Music Publications) Always prefer music books published in Constantinople and approved by our Ecumenical Patriarchate. The apolytikia below are from two books: the 1832 Anastasimatarion and the 1831 Collection of Apolytikia, both by Hourmouzios Hartophylax and published by Theodore Fokaeas. ― 32 ― METHOD     Apolytikion of Fourth Echos From δι we go down 4 notes to νη, one more νη for the ίσον and then up to δι, 4 notes up. Note the fthora of Second Mode on δι, which makes the melody to go by the scale of the Second Mode (the interval δι—κε is small).     Χαμηλή, 4 notes down. Υψηλή, 4 notes up. Never alone, “served” with oligon or petaste. When υψηλή is not at the right side, but middle or left, it goes up 5 notes. 3 notes up. ― 33 ― METHOD Apοlytikion of Plagal of Second Mode Apolytikion of St George ― 34 ― METHOD Kontakion Κοντάκιον is the last hymn after Small Entrance. The one below is the most common. ται τω ― 35 ― METHOD Εισοδικόν Eisodikon is what we chant after the Small Entrance.  Δευ τε προσ κυ νη σω μεν και προ σπε σω  ωμεν Χρι στω Σω σον η μα αςΥι ε Θε ου  ο α ναστας εκ νε κρων ψαλ λον τας σοι Αλ λη  λου ι α Listening to chanters Find something of our teacher Konstantinos Priggos online and hear it carefully. Keep the beat with your hand. Do this once a week for as long as you like. Τυπικόν (Typikon) Typikon is a book outlining what and when priest and chanters say during liturgy. The τυπικόν in effect today is the ‘typikon of Biolakis’. George Biolakis was a Protopsalt of the Patriarchate right before Nafpliotes’ time. The Patriarchate asked him to put together the typikon which was published in 1888. Since then, all Greek-speaking Orthodox churches have been following that book. ― 36 ― METHOD Τρισάγιον Τrisagion is another antiphonal hymn, in the sense that the two chanters chant in sequence. It’s called Trisagion, because it says άγιος (holy) three times (τρείς φορές). It was made part of liturgy in the 5th century. The first melody is chanted twice (it’s the same both times). The third time we sing it a bit differently. The music is from our teacher Progakis’s book of 1911. α’ ψάλτης then β’ ψάλτης α’ ψάλτης What are the symbols on Άγιος and Ισχυρός? How would you chant it if they were not there? Think about the word συνδοξαζόμενος in Ὁ Μονογενὴς. Δὶς (Τwice) ― 37 ― METHOD β’ ψάλτης α’ ψάλτης β’ ψάλτης Ιερέας (Priest): Δύναμις. (on tone Δι). α’ ψάλτης ― 38 ― METHOD          If no tempo is specified, assume normal tempo (not fast nor slow, somewhere comfortably in between). Chant Ταῖς πρεσβείαις slow, then fast. Epistle—Απόστολος The very fast tempo is special. It’s used when we want to chant something so fast, it basically sounds like reading it on a note, like the note Δι. An example of such a fast reading is the Epistle (ο Απόστολος, του Αποστόλου), which we chantread every Sunday. The Epistle (and the Gospel) are chantedread always the same way: in melodic declamation or recitation (εμμελής απαγγελία). The designated child student chant-reads the Epistle on Δι, but on the scale shown. The Χρονική Αγωγή (Tempo) The following symbols (characters) tell us how fast or how slow we should be keeping beat. Remember θέσις και άρσις, χρόνος ένας. Every θέσις goes on the beat (άρσις is when the hand goes up). How fast we hit θέσις is regulated by χρονική αγωγή. Very slow Slow Normal Fast Very Fast (reading on a tone) ― 39 ― METHOD symbol next to Δι on our scale is called κλιτόν (kliton) and basically means that Γα and Βου will be higher, as the two διέσεις (sharps) indicate. Below is the Epistle for Christmas mass, taken from an 1861 book published in Venice, Italy, but approved by our Ecumenical Patriarchate. The student first says the Προκείμενον, and the Priest responds with Πρόσχωμεν, which simply means “Let’s pay attention”. The student then says the Στίχος (verse). The priest responds by Σοφία, which means “wisdom”. Then the student says the Πρὸς ... and the priest again responds with Πρόσχωμεν. And the student then reads the Epistle. The assigned student should always take the Apostle book home for study. First read the text aloud, noting accents and punctuation. Then try to read-chant it based on the example below and by listening to patriarchal or traditional chanters online. ― 40 ― METHOD  Πα σα η γη προ σκη νη σα τω σαν  σοι και ψα λατω σαν σοι  Προ σχω μεν  A λα λα ξα τε τω Κυ ρι ω πα α  σα η γη  Σο φι α  Προς Γα λα τας Επι στο λης ΠαυλουτοΑ  να γνω σμα  Προ σχω μεν You say: The priest: The priest: Continue with Epistle The priest: You say: ― 41 ― METHOD The word Ἀδελφοὶ and the final cadence are always read like below. The in between cadences are based on punctuation— a period is on δι, commas on Γα or Πα.  A δελ φοι οι ο τε η λθε το  πλη ρω ματουχρο νου ε ξα πε στη λεν ο  Θε ος τον Υι ον αυ του γε νο με νον εκ  γυναι κος γε νο με νον υ πο νο ο μον ι  να τους υ πο νο μον ε ξα γο ρα α σει  ι να την υι ο θε σι αν α πο λα βο   μεν ει δε υι ο ο ο ος και  κλη ρο νο μος Θε ου δι α Ι η  σου ου Χρι στου ου ου … ― 42 ― METHOD Another example: the Δύναμις the priest says during the Trisagion is declaimed simply on the note Δι.  Δυ να μις     Ψάλλω versus Εκφωνώ The verbs ψάλλω and εκφωνώ both imply singing, but not in the same way. The chanter chants (ο ψάλτης ψάλλει), and the priest declaims (ο ιερέας εκφωνεί). Ψάλλω means that you chant a melody much like any melody we learned so far. Εκφωνώ means you say the text fast on a tone, much like the examples above. Απόστολος και Ευαγγέλιο According to typikon, after the Trisagion follows the readings of the Apostle and Evangelion (the Epistle and Gospel). Both have a special way of melodic recitation (εμμελής απαγγελία). Search ‘liturgy patriarchate’ online to listen how Απόστολος is recited in the patriarchal church. Δίεσις. Sharp. Raises the pitch of the tone. Ύφεσις. Flat. Lowers the pitch of the tone. ― 43 ― METHOD Great Entrance Μεγάλη Είσοδος is when the priest with the altar boys goes around the church. Right before the actual entrance, the right chanter (α΄ ψάλτης) chants the cherubic hymn, or χερουβικόν. Musically, this is the hardest piece to learn. Hard Chromatic Scale This is another chromatic scale, the scale of Plagal of Second Mode. Some call it the hard chromatic to distinguish it from the soft chromatic scale of the Second Mode. The martyrias on the right is what you’d ordinarily see in music scores to remind you which note you are on (top part) and which scale (lower part). On the left side you have the φθορές which tell you that from now on we chant these particular intervals. Note the fthora for hard chromatic δι. It looks like the fthora of the diatonic δι only the spokes go the other way! Πα—βου is small and γα—δι tiny. Try to chant γα very close to δι. Βου—γα is a really big interval. The tetrachord (τετράχορδο) πα—δι is identical to the tetrachord κε—πα’. The diatonic and chromatic scales are comprised of two identical tetrachords (thirds) connected together by a whole tone. In the χερουβικόν that follows, we see a ζω sharp (ζω δίεσις) that makes ζω—νη very close, and also the fthora of hard chromatic δι (which can also be placed on πα’ and νη). No matter which note carries this fthora (νη, δι, or πα΄), it just tells you to chant the intervals above. ― 44 ― METHOD Two new character combination. First, the antikenoma with single-beat (απλή) below it.  The antikenoma with απλή lasts two beats, that of ison and that of the single-beat. The apostrophe goes on the άρσις (upbeat) due to the γοργόν. Second, the argon (ἀργόν)—α combination of gorgon (for kentimata) and klasma (for oligon).    Χερουβικόν. Ήχος Πλ. Δ’. Πέτρου Λαμπαδαρίου (†1777) = ― 45 ― METHOD ο ο ο χι ι ― 46 ― METHOD β’ ψάλτης [Αλεξάνδρου Βυζαντίου (†1908)] If the priest is ready for the Great Entrance, we simply say  Ως τον βα σι λε α των ο λων υ ποδε  ξο με νοι Here we pause for the priest with the altar boys to come out.    Priest Πάντων ἡμῶν μνησθείη Κύριος ὁ Θεὸς ἐν τῇ βασιλείᾳ αὐτοῦ, πάντοτε· νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. α’ ψάλτης  Α μην And continue These symbols are pronounced as ‘n’ or ‘ν’ in Greek. ― 47 ― METHOD  Θεοδώρου Φωκαέως (†1851) Congratulations! You should be very proud of yourself! You just chanted the most difficult part of liturgy. Άξιον εστίν We will learn it in two echos, Second and Plagal Fourth. Το συνηθισμένον, meaning ‘the usual’, is the most ancient melody for Άξιον εστίν we know of. Below is an adaptation from the book Pandekte of the year 1851, drawing from more modern Patriarchal renditions (like D. Paikopoulos and B. Nikolaides). In Constantinopolitan tradition, it is also chanted in weddings as the bride enters the church. 3 notes down. ― 48 ― METHOD Τὸ συνηθισμένον (Τοῦ Γάμου)  Α ξι ον ε στιν ως α α λη η η θω ω  ως μα κα ρι ζεινσε την Θε ε ε ο το ο  ο κον την α ει μα κα α ρι στο ο ονκαι πα  να μω ω μη η η το ο ον και μη τε ε ε  ρα του Θε ου ου η η η μω ω ων την τι  μι ι ι ω τε ε ε ραν των Χε ε  ρου ου βι ι ιμ και εν δο ο ο ξο τε ε  ε ρααν α συγ κρι τως των Σε ε ρα α α ― 49 ― METHOD  φει ει ειμ την α δι ι ι α φθο ο ο ρω ω  ωςΘε ον Λο γο ον τε κου ου ου σαν την ον  τω ω ως Θε ε ο το κον Σε με γα λυ υ  νο ο ο με ε ε εν A newer, but still serious and simple, melody.   A ξι ον ε στιν ως α λη θως μα  κα ρι ζειν σε τη ηνΘε ο το κον την α ει  μα κα ρι ι στον και πα να μω μη η τον και  μη τε ρα του ου Θε ου ημων την τι μι ω ― 50 ― METHOD  τε ραντωνΧε ρου βιμ και εν δο ξο τε ραν  α συγ κρι τως των Σε ρα φειμ την α δι α  φθο ρως Θε ον λο ο γον τε κου σαν την ον  τως Θε ο το ο κον σε με γα λυ νο με ε ε ε  εν Rest (Pause)—Παύσις   Παύσις. Pause. A vareia (βαρεία) with a single-beat (απλή) is a one-beat pause. You just keep beat in silence, without saying anything. A vareia with a double-beat is a two-beat pause, and with a triple, a three-beat pause. ― 51 ― METHOD Κοινωνικόν Κοινωνώ means I receive holy communion. Κοινωνικόν, the communion hymn, is long on purpose, so that the priest has enough time to prepare the holy communion in the altar. It’s usually chanted slow for this purpose.  Ἱερεὺς (Priest): Πρόσχωμεν. Τὰ Ἅγια τοῖς ἁγίοις. α’ ψάλτης   Εις Α γι ος Εις Κυ ρι ος Ι η  σους Χρι στος εις δο ξαν Θε ου Πατρος Α  μην Typikon says that only the left chanter (or β’ ψάλτης) chants the κοινωνικόν. Some priests tap the holy chalice with the spoon. The chime let’s the chanter know the priest doesn’t need more time and it’s time to wrap up the κοινωνικόν. Placing the ίσον on top of the ολίγον gives emphasis to the ίσον, as if the syllable below it was accented. ― 52 ― METHOD Δοσιθέου Κατουνακιώτου (†1991) β’ ψάλτης If the priest needs more time, we repeat the above. The letters in parentheses denote the ison (ἴσον). You can ignore it for now, but we will teach it on page 85. We are actually done with the bulk of the music for liturgy! The rest of it is small pieces like Ἀμήν and Κύριε, ἐλέησον. We will learn those at the second part, the liturgy itself. We now learn about the eight echos and their apolytikia used by rotation during the Great Entrance. ― 53 ― ECHOS Οι Οχτώ Ήχοι – The Eight Modes In Byzantine chant, any melody belongs in one of eight modes. One melody cannot belong to two modes at the same time, only one. Every Sunday, the echos rotates. For example, imagine today was Sunday and the echos was the First Echos. Next Sunday would be Second Echos, the Sunday after that Third Echos, and so on. The words Ήχος, Mode, and Tone all mean the same thing. The eight echos are categorized into 4 main and 4 plagal. For now, don’t worry about making a distinction between what the difference between main and plagals is. Note that there is not Plagal of Third Echos, but rather it’s called Grave or Βαρύς. Again, these are naming convensions, they don’t really have any practical meaning. Ήχος Πρώτος First Mode Ήχος Δεύτερος Second Mode Ήχος Τρίτος Third Mode Ήχος Τέταρτος Fourth Mode Ήχος Πλάγιος του Πρώτου Plagal of First Mode Ήχος Πλάγιος του Δευτέρου Plagal of Second Mode Ήχος Βαρύς Grave Mode Ήχος Πλάγιος του Τετάρτου Plagal of Fourth Mode To say in which echos a melody belongs to, you need to know the elements that make up that melody. Elements of Echos—Συστατικά των Ήχων 1. Βάσις Basis 2. Κλίμακα Scale 3. Δεσπόζοντες Φθόγγοι Main Notes 4. Καταλήξεις Cadences ― 54 ― ECHOS Echos belong into broader categories called γένη (το γένος, του γένους) or genus (singular is genus, plural is genera or genuses). There are three genera: διατονικόν, χρωματικόν, and εναρμόνιον. The main characteristic of each genus is its scale. For example, the scale we learned for the Echos πλ. Δ’ (plagal fourth mode) is the diatonic scale. This same diatonic scale is used for all the echos that belong in the diatonic genus. The same goes for the chromatic scale we learned for Echos Β’ (second mode). The genera and their echos are: Διατονικόν Γένος Diatonic Genus Ήχος Πρώτος First Mode Ήχος Τέταρτος Fourth Mode Ήχος Πλάγιος του Πρώτου Plagal of First Mode Ήχος Πλάγιος του Τετάρτου Plagal of Fourth Mode Χρωματικόν Γένος Chromatic Genus Ήχος Δεύτερος Second Mode Ήχος Πλάγιος του Δευτέρου Plagal of Second Mode Εναρμόνιον Γένος Enharmonic Genus Ήχος Τρίτος Third Mode Ήχος Βαρύς Grave Mode Melodies can be slow, so that the priest has time to perform his duties in the altar. Two examples are the χερουβικόν or the κοινωνικόν. These slow melodies are called παπαδικά μέλη or papadic melodies. As a neumonic device, think slow melodies to give the priest (παπάς) time, so παπάς and παπαδικά. Other melodies are kind of in between slow and fast, like for example the συνείθησμένον Άξιον Εστίν in Second Echos. These are called στιχηραρικά μέλη or sticheraric melodies. ― 55 ― ECHOS And there are melodies that go fast, like Ταῖς πρεσβείαις. Those are called ειρμολογικά μέλη or heirmologic melodies. In this book we will concentrate on the fast melodies. When we say fast or slow, we don’t mean the tempo (χρονική αγωγή). We mean how many beats a syllable gets. If at every beat we say a syllable, the melody is fast. If every syllable stretches over many beats, the melody’s slow. Other than the χερουβικόν and κοινωνικόν, we won’t learn any more papadic melodies for now. Next we concentrate on each of the eight echos. Γένος Διατονικόν Χρωματικόν and εναρμόνιο Εναρμόνιον Ήχος Α΄ Ήχος πλ. Α’ Ήχος Δ΄ Ήχος πλ. Δ΄ Ήχος Β΄ Ήχος πλ. Β’ Ήχος Γ΄ Ήχος Βαρύς ― 56 ― ECHOS ΗΧΟΣ ΠΡΩΤΟΣ The genus for this echos is the diatonic. The heirmologic (fast) and sticheraric (medium fast) have the same base and scale, but the main notes differ. The main notes are where cadences happen. So if the main notes are Πα and Δι, the cadences will happen on these notes (heirmologic). For the sticheraric melody, the cadences happen on Πα and Γα, because those are its main notes. On the diatonic scale to the right, find the base, the main notes, and the cadences for each of the two types of melodies, heirmologic and sticheraric. Γένος Διατονικόν Μέλος Ειρμολογικόν Στιχηραρικόν Βάσις Πα Πα Κλίμακα Διατονική Διατονική Δεσπόζοντες Φθόγγοι Πα, Δι Πα, Γα Καταλήξεις Ατελείς Δι Πα, Γα Εντελείς Πα Πα Τελικές Πα Πα ― 57 ― ECHOS The following example is from the 1851 edition of Πανδέκτη. Priest: Δύναμις ― 58 ― ECHOS The above is chanted instead of Άγιος ο Θεός a few times a year. Here’s how you should think about cadences: ατελείς (incomplete) The meaning of the sentence is incomplete, like when you use a comma εντελείς (semi-final) The meaning of a sentence is complete, like when you use a period, but it’s not the end of the group of hymns. τελικές (final) The whole hymn or group of hymns is complete. The following apolytikion is chanted at the Small Entrance (when the priest comes out with the gospel book), when the echos of that Sunday is the First. This is usually every eight Sundays, since the eight modes rotate each Sunday. ― 59 ― ECHOS In all the melodic examples above, identify the genus, basis, scale, main notes, and cadences (inclomplete, semi-final, and final). Below is an example of First Mode sticheraric melody. It is taken from the 1832 Anastastimatarion of Hourmouzios Hartophylax and Theodore Phokaus. Note that instead of Δι, melody revolves around Γα. Note also how some syllables last for more than one beat. Both, main notes and slower melody, are characteristic of sticheraric melody. ― 60 ― ECHOS ΗΧΟΣ ΔΕΥΤΕΡΟΣ Χρωματική Σκληρή Χρωματική Μαλακή Γένος Χρωματικόν Μέλος Ειρμολογικόν Στιχηραρικόν Βάσις Πα Δι Κλίμακα Χρωματική Σκληρή Χρωματική Μαλακή Δεσπόζοντες Φθόγγοι Πα, Δι Δι,Βου, Ζω Καταλήξεις Ατελείς Δι Δι Εντελείς Πα Βου Τελικές Πα Δι ― 61 ― ECHOS We’ve seen a lot of examples of Second Sticheraric mode. They sound like this. Second Heirmologic mode is sounds like Plagal Second Mode. Here’s an important fact to remember. Sticherarics don’t flips like that, only Heirmologic. This is an example of Heirmologic Second mode. It’s from the 1850 Πανδέκτη. The scale is the same as that of Sticheraric Plagal of second mode. Heirmologic Second Mode, sounds like Plagal Second; Heirmologic Plagal Second, sounds like Second Mode. ― 62 ― ECHOS In general, when chanters say Second Mode, the first thing that comes to their mind is Second Sticheraric, from Δι. Even though the Second Heirmologic tone is not the ‘landmark’ Second Echos, it is an important version of Second Echos that you should learn and be aware of it. ― 63 ― ECHOS ΗΧΟΣ ΤΡΙΤΟΣ Unlike the Second Mode, whose heirmologic and sticheraric are really different, the Third Mode heirmologic and sticheraric are almost identical. The difference is that sticheraric is slower than heirmologic, in the sense that in sticheraric there are more beats for the same amount of lyrics than in heirmologic. This distinction between sticheraric and heirmologic, with heirmologic having less beats per syllable, is true for all echos. The following apolytikion and doxology are examples of heirmologic Third mode. Γένος Εναρμόνιον Μέλος Ειρμολογικόν & Στιχηραρικόν Βάσις Γα Κλίμακα Εναρμόνιος Δεσπόζοντες Φθόγγοι Γα, Κε, Πα Καταλήξεις Ατελείς Κε Εντελείς Πα Τελικές Γα ― 64 ― ECHOS The following two fthoras are used often in the Third and Grave Modes.      Συνεχής Ύφεσις. Continuous Flat. Placed on Κε and makes Ζω flat. Persists until reversed by another fthora. Συνεχής Δίεσις. Continuous Sharp. Placed on Γα and makes Βου sharp. Persists until reversed by another fthora. ― 65 ― ECHOS Note how Βου is almost always sharp, that is, really close to Γα, the basis. This is called έλξις or attraction. Γα, a main note, pulls Βου, a non-main or secondary note, closer to it. This is indicated with a flat symbol on Βου.   The word φθορά literally mean corruption. In byzantine music, a fthora is a symbol that ‘corrupts’ the intervals of a scale to something other than their natural state. Εναρμόνιος Φθορά. Enharmonic Fthora. Placed on Ζω and Γα. Causes a switch to the enharmonic scale above. ― 66 ― ECHOS The following is an example of Third mode Sticheraric. Έλξις (literally ‘attraction’) is central to byzantine music chant. It is found in all modes, not just Third Echos. The main idea is this. Due to the melodic (rather than harmonized) nature of chanting, main notes remain firmly at their natural place. As melody unfolds around main notes, secondary notes are attracted by the main notes. Above, γα, a main note, attracts βου, a secondary note, sharpening it. Similarly, κε flattens ζω. The attraction effect12 makes chanting sound more ‘human’ (warm, natural) than a musical instrument that can only play the rigid, inflexible welltempered scale. 12 The attraction effect was experimentally quantified by the author using recordings of Thrasivoulos Stanitsas in his master’s thesis and presented at the Journal of Acoustical Society of America (116, 2581 and 119, 3440, in 2004 and 2006, respectively). ― 67 ― ECHOS ΗΧΟΣ ΤΕΤΑΡΤΟΣ When chanting the scale, start from Δι and down to Βου. Some old chanters use this melody to help them get in the ‘spirit’ of Fourth heirmologic mode:  Λε γε τος and they use the initial martyria above. Note how the symbol contains the letter λ and Γ, from the word λέγετος. Can you find them? Note that the intervals for Δι—Γα—Βου are the same in this diatonic scale with the Second mode soft chromatic scale. The difference is the interval Δι—Κε. Γένος Διατονικόν Μέλος Ειρμολογικόν Στιχηραρικόν Βάσις Βου Βου Κλίμακα Διατονική Διατονική Δεσπόζοντες Φθόγγοι Βου, Δι, Πα Βου, Δι, Πα Καταλήξεις Ατελείς Δι, Βου, Πα Δι Εντελείς Βου Πα Τελικές Βου Βου ― 68 ― ECHOS Μνημόσυνα – Memorial Services In the Greek Orthodox tradition, μνημόσυνον is a short service typically done closer to the end of Liturgy that mentions the names of our beloved deceased people. The following short hymns are part of memorial services. ― 69 ― ECHOS The following example of the Sticheraric Fourth Tone comes from the first chanting book ever to be printed, the 1820 Anastasimatarion of Peter from Ephesus. The symbols might look slighly different, but they mean the same thing. ― 70 ― ECHOS ΗΧΟΣ ΠΛΑΓΙΟΣ ΤΟΥ ΠΡΩΤΟΥ Γένος Διατονικόν Μέλος Ειρμολογικόν Στιχηραρικόν Βάσις Κε Πα Κλίμακα Διατονική Διατονική και Εναρμόνιος Μικτή Δεσπόζοντες Φθόγγοι Κε, Νη Πα, Δι, Κε Καταλήξεις Ατελείς Νη Κε, Δι Εντελείς Κε Πα Τελικές Κε Πα Ειρμολογικό Στιχηραρικό ― 71 ― ECHOS Samples of heirimologic melos include the apolytikion In ειρμολογικό μέλος are also the following ευλογητάρια, chanted during μνημόσυνα. They are called like that because they all start with the verse εὐλογητός or ‘blessed’. The following are from the Hourmouzios Hartophylax 1825 edition of Eirmologion (a book that contains eirmos, or short hymns). ― 72 ― ECHOS ― 73 ― ECHOS ― 74 ― ECHOS ― 75 ― ECHOS  Αλ λη λου ι α αλ λη λου ι α α λη λου ι α δο  ξα σοι ο Θε ος και α ναπαυσον τον δου λον σου ου  ου ου ου An example of sticheraric mode is Χριστός Ἀνέστη, which we chant on Easter.   Χρι στο ος α νε ε στη η ε εκ νε κρων θα  να α τω θα α να α τον πα τη η σα α ας και  τοι οιςε εν τοις μνη μασι ζω ην χα ρη σα α  α με νος ― 76 ― ECHOS ΗΧΟΣ ΠΛΑΓΙΟΣ ΤΟΥ ΔΕΥΤΕΡΟΥ Χρωματική Μαλακή Χρωματική Σκληρή Γένος Χρωματικόν Μέλος Ειρμολογικόν Στιχηραρικόν Βάσις Δι Πα Κλίμακα Χρωματική Μαλακή Χρωματική Σκληρή Δεσπόζοντες Φθόγγοι Δι, Βου Πα, Δι Καταλήξεις Ατελείς Δι Δι Εντελείς Βου Πα Τελικές Δι, Βου Πα ― 77 ― ECHOS Compare the totally chromatic scale to the left with the mixed chromatic-diatonic to the right. From πα to κε they are identical. Above κε, one continues to be chromatic, the other mixes diatonic into it. ― 78 ― ECHOS Sticheraric doesn’t flip like that: Second Mode Sticheraric sounds like Second Mode, and the Plagal Second Sticheraric sounds like Plagal Second. This little inconsistency is only for the Heirmologic (fast paced) melodies. Here’s an example of sticheraric plagal second (στιχηραρικός πλάγιος δεύτερος). Heormologic plagal second (ειρμολογικός πλάγιος δεύτερος) sounds like the second mode (δεύτερος ήχος). We’ve seen many examples of that. Heirmologic Second Mode, sounds like Plagal Second; Heirmologic Plagal Second, sounds like Second Mode. ― 79 ― ECHOS ΗΧΟΣ ΒΑΡΥΣ Third and Grave modes are similar. They use the same scale and basis, but differ in their cadences. This echos is called Grave and not Plagal Third, because another version of it, called Grave Diatonic from ζω (to distinguish it from grave enharmonic from γα) starts from ζω, which is the lowest base among all echoi. Here is Πάσα πνοή in sticheraric (Hourmouzios 1832) and herimologic (Ephesios 1820). Γένος Εναρμόνιον Μέλος Ειρμολογικόν & Στιχηραρικόν Βάσις Γα Εναρμόνιος Γα, Δι Δι Γα Γα Κλίμακα Δεσπόζοντες Φθόγγοι Καταλήξεις Ατελείς Εντελείς Τελικές ― 80 ― ECHOS Ειρμολογικόν Μέλος Note how must faster it goes than sticheraric above, even though it’s the same text (less beats per syllable). ― 81 ― ECHOS ΗΧΟΣ ΠΛΑΓΙΟΣ ΤΟΥ ΤΕΤΑΡΤΟΥ With the help of your teacher, identify the similarities and differences between the two scales. Γένος Διατονικόν Μέλος Ειρμολογικόν & Στιχηραρικόν Κατά Τριφωνίαν Διατονικήν Βάσις Νη Γα Κλίμακα Διατονικήν Διατονικήν Δεσπόζοντες Φθόγγοι Νη, Βου, Δι Γα, Δι Καταλήξεις Ατελείς Δι, Βου Δι Εντελείς Νη Γα Τελικές Νη Γα ― 82 ― ECHOS Example of sticheraric plagal fourth tone: Third line down on αι we see the phthora of second mode on δι. This means that from that point on, we use intervals of the soft chromatic scale. On the next line on σοι we see the diatonic phthora for κε. At this point we are done with the soft chromatic and we resume diatonic again. In second mode (soft chromatic scale), δι—κε is small, but in plagal fourth (diatonic scale) δι—κε is big. Make sure when you say σοι to give it a solid whole tone up. Other than heirmologic being faster paced than stechiraric, they are pretty similar in plagal fourth echos. All hymns we’ve seen so far are heirmologic. There is another version of this echos that has phthogos γα as its base. We say that the melody progresses κατά τριφωνἰαν διατονικήν, or according to diatonic triphony. Triphony because we shifted three tones up, from νη to γα, and diadonic because we are still in the same diatonic genus (the melody didn’t become chromatic or enharmonic). In that case, we imagine γα is νη, by placing the phthora of diatonic νη on γα. ― 83 ― ECHOS Here’s an example of plagal fourth on diatonic triphony (Χουρμούζιος 1825): The martyria of echos at the top means that even though the typical base for plagal of fourth is νη, we will go three tones up and make it a triphony. Another example, from Penticost (George Raidestinos, 1886): We are actually done with all eight echoi. Congratulations! ― 84 ― ECHOS ― 85 ― ADVANCED NOTATION ADVANCED NOTATION This book aimed to introduce byzantine music notation to a younger audience with an emphasis on hands-on, practical learning of the liturgy. Even though all the essentials are taught, some sophisticated notation was outside the scope of the main material presented. We include some of the omitted material here, for completeness. Παρεστιγμένον Γοργόν—Dotted Gorgon Each quantity character goes on the beat (thesis, or nock). Between one beat and the next we have arsis. A gorgon causes the quantity character on which it is placed to be performed in the arsis, right in the middle of the two beats. A left dotted gorgon causes the quantity character on which it is placed to be performed later in the arsis rather than exactly in the middle of the two beats. A right dotted gorgon causes its character to be said earlier in the arsis. The following examples, separated by vertical bars, all take two beats, or two theses (knocks), shown below as down arrows.   A doubly dotted gorgon, left and right just heightens the effect of the dot. ↓ ↓ ↓ ↓ │ ↓ ↓ ↓ ↓ ↓ ↓ │ │ ― 86 ― ADVANCED NOTATION Hyphen—Υφέν (connects) Fermata—Κορόνα (extends)   Φθορές—Fthoras Out of the 15 total fthoras, eight (8) belong to the diatonic genus, and are placed from νη to high Νη, sequencially: νη πα βου γα δι κε ζω Νη Five (5) are chromatic: πα δι δι (second echos) Two (2) are enharmonic: ζω & γα δι Δίγοργον—Double Gorgon Gorgon causes a quantity character, like the ison, to be performed on the arsis. Double gorgon makes two quantity characters go on the arsis.    Δίγοργον enables you to fit in two quantity characters in between two beats instead of one. You can think about is as ↓ ↓ ↓ ↓ ↓ ↓ = │ │ ― 87 ― ADVANCED NOTATION two consecutive gorgons. Ιnstead of using two gorgons like this (which we never do, for illustration here only)  you can combine them into one symbol, the double gorgon. Τρίγοργον—Triple Gorgon Gorgon causes a quantity character to be performed on the arsis; double gorgon causes two quantity characters to be performed on the arsis; τρίγοργον or triple gorgon, you guessed it, causes three quantity characters to be perfromed on the arsis!     Αργόν, Δίαργον, Τρίαργον—Argon, Double Argon, Triple Argon Argon is a combination of gorgon and a klasma or an απλή (single-beat); double argon is a combinatino of gorgon and a διπλή (double-beat); triple argon is a combination of a gorgon and a τριπλή (triple-beat).  ↓ ↓ ↓ ↓ ↓ ↓ ↓ ↓ │ │ ― 88 ― ADVANCED NOTATION Character Combination So far we’ve seen the most common characters combinations that ascend (ανάβασις) or descend (κατάβασις), either at once (υπερβατώς, denoted by letters) or one at a time (συνεχώς, denoted by numbers). Here, a table from Chrysanth’s 1821 Introduction to Music is provided for reference. The Greek numerals are: 𝛼΄ = 1 ϛ΄ (𝜎𝜏΄) = 6 𝜄𝛼΄ = 11 𝛽΄ = 2 𝜁΄ = 7 𝜄𝛽΄ = 12 𝛾΄ = 3 𝜂΄ = 8 𝜄𝛾΄ = 13 𝛿΄ = 4 𝜃΄ = 9 𝜄𝛿΄ = 14 𝜀΄ = 5 𝜄΄ = 10 𝜄𝜀΄ = 15 Character combination is not straight forward—it’s not like a combination sums up to the overal ascending or descending value. For example, sometimes oligon and petaste count toward the overal sum and sometimes don’t. However, petaste always gives its flutter quality to the combination. Equality and Ascend Combinations ― 89 ― ADVANCED NOTATION Equality and Descend Combinations ― 90 ― TEMPO AND RHYTHM χρόνος απλούς χρόνος διπλούς 2 1 3 4 1 1 2 TEMPO AND RHYTHM Tempo (χρονική αγωγή) is how fast or slow you keep beat, that is, the time between consecutive theses. Rhythm (ρυθμός) is the arrangement of beats into a pattern, no matter how fast or slow those beats are. The tempo (χρόνος) used so far (θέσις και άρσις, χρόνος ένας) is sometimes called simple tempo (χρόνος απλούς). Double tempo (χρόνος διπλούς), or double-counting of tempo, is when we arrange the beats onto a pattern of two. Thesis and arsis are not one beat anymore, but two beats.   When you use simple tempo, you don’t need to worry how beats arrange into rhythmic pattern. But when you use double tempo, then inevitably some beats don’t fit into its double pattern. This is because the music follows the accentuated syllables of the text (τονική μουσική, tonal music), so rhythm follows the text. Bar lines, borrowed from staff notation, sometimes denote where the rhythm turns to triple tempo (τρίσημος χρόνος). In church we typically use double tempo, but in home practice and learning, we use simple tempo. ↓ ↓ ↓ ↓ ↓ ↓ | | | 3 2 ↑ ↑ ― 91 ― ISON ΙΣΟΝ – DRONE Ἴσον has three meanings. First, the quantity character we’ve learned, that repeats the previous note. Second, the βάσις (base) of an echos. Chrysanth says ‘we distinguish three kinds of the fourth echos: papadic, sticheraric, and heirmologic. Papadic has ison the note δι; sticheraric the note πα; and heirmologic then note βου’. Third, it means the drone. The teacher chanter chants the main melody. The student chanter hums on the base note of the echos along with the teacher. Because ison sounds softer than the actual melody, kind of like how bees buzz, it is sometimes called a drone. For example, the base (ison) of the first echos is the fthogos πα. Ask your teacher to chant something we’ve learned so far (or the doxology that follows) and try to hum on πα. That’s holding the ison! If the echos was second, like Ταῖς πρεσβείαις, you’d hold the ison on δι. Ison is an important element of chant. One single ισοκράτης (ison-holder) can make a world of difference. But be careful: ισοκράτα με μέτρο (hold ison in moderaton). Do not hold ison louder than your teacher. Holding ison on notes other than the base of the echos is possible, but should be done rarely. Advanced ισοκράτες sometimes mouth the melody syllables along with the main the chanter, instead of just humming. Ison is often denoted with the first letter of the fthoggos in a parenthesis, e.g., (Ν) means hold ison on Nη. Older books didn’t denote ison. In this book, all ison marks are my own. Κανονάρχης (lit. the one who leads the canon), is a student chanter who reads the phrase of a hymn fast before the chanter chants it. Κανονάρχημα is on the ison of each echos. Any drone-producing device is strictly prohibited by the Ecumenical Patriarchate and should not be used under any circumstances. ― 92 ― ISON Technical Notes on Ison (drone) For any echos that their base is below (lower than) the main notes (δεσπόζοντες φθόγγοι), the ison is held on the base— ‘ison’ and ‘base’ are sometimes used interchangeably. Example 1: the basis of the first echos is the note πα, and the main notes are γα and δι, both above πα. Therefore, the ison for first Echos is the note πα. Example 2: the basis of the plagal of forth echos is νη, and the main notes are βου and δι, both above νη. So, the ison for the plagal of forth mode is νη. Ison Changes—Εναλλαγές Ίσου For any echos that their base is in between its main notes, the ison note might change for musical phrases that have an incomplete (ατελής) or semi-final (εντελής) cadence. For example, the basis of the second echos is δι, which is above βου but below ζω, its main notes. The gray color is a musical phrase with a cadence on δι, so the ison is on δι. The dark musical phrase has a cadence on βου, that’s why the ison is denoted in parenthesis as βου, or (B).  Ταις πρες βει αις μας Θε ο το κου Σω τε ε  ερ Σω σον η μας In plagal of forth echos, when the musical phrase remains above δι, ison could change from νη to δι. In second mode, if there is a baritone ison-holder that can sustain the drone on the lower δι, there is no need to change to βου. ― 93 ― DOXOLOGY ΔΟΞΟΛΟΓΙΑ – DOXOLOGY Sunday services consist of two parts, Όρθρος or Matins, and Λειτουργία or Litourgy. Δοξολογία is the last Orthros hymn we chant right before Liturgy starts. Just like most of Orthros hymns, it comes in all eight modes. Doxologies in the different modes are a great way to get to know each echos in the heirmologic melody. We will study a ‘set’ of Doxologies, that is, tonalized in all eight modes. This set of doxologies was tonalized by Peter the Pelloponesian († 1777), Lambadarios of the Patriarchate. Before we learn the music, memorize where the accent goes in a phrase. Refer back to our accentuation rules. For every doxology you study the music for, think how the melody accents the syllables (tonalization). The first verse is chanted by the right chanter (α΄ ψάλτης), the second verse by the left chanter (β΄ ψάλτης), etc. During the entire Doxology, chanters step down from their στασίδια (chanter seats), and only step up after the priest starts the Liturgy with Εὐλογημένη ἡ Βασιλεία τοῦ Πατρὸς. ΜΕΓΑΛΗ ΔΟΞΟΛΟΓΙΑ Δόξα σοι τῷ δείξαντι τὸ φῶς, Δόξα ἐν ὑψίστοις Θεῷ, καὶ ἐπὶ γῆς εἰρήνη, ἐν ἀνθρώποις εὐδοκία. Ὑμνοῦμέν σε, εὐλογοῦμέν σε, προσκυνοῦμέν σε, δοξολογοῦμέν σε, εὐχαριστοῦμέν σοι, διὰ τὴν μεγάλην σου δόξαν. Κύριε βασιλεῦ, ἐπουράνιε Θεέ, Πάτερ παντοκράτορ, Κύριε Υἱὲ μονογενές, Ἰησοῦ Χριστέ, καὶ Ἅγιον Πνεῦμα, Κύριε ὁ Θεός, ὁ ἀμνὸς τοῦ Θεοῦ, ὁ Υἱὸς τοῦ Πατρός, ὁ αἴρων τὴν ἁμαρτίαν τοῦ κόσμου, ἐλέησον ἡμᾶς, ὁ αἴρων τὰς ἁμαρτίας τοῦ κόσμου. Πρόσδεξαι τὴν δέησιν ἡμῶν, ὁ καθήμενος ἐν δεξιᾷ τοῦ Πατρός, καὶ ἐλέησον ἡμᾶς. ― 94 ― DOXOLOGY Ὅτι σὺ εἶ μόνος Ἅγιος, σὺ εἶ μόνος Κύριος, Ἰησοῦς Χριστός, εἰς δόξαν Θεοῦ Πατρός. Ἀμήν. Καθ' ἑκάστην ἡμέραν εὐλογήσω σε, καὶ αἰνέσω τὸ ὄνομά σου εἰς τὸν αἰῶνα, καὶ εἰς τὸν αἰῶνα τοῦ αἰῶνος. Καταξίωσον, Κύριε, ἐν τῇ ἡμέρᾳ ταύτῃ, ἀναμαρτήτους φυλαχθῆναι ἡμᾶς. Εὐλογητὸς εἶ, Κύριε, ὁ Θεὸς τῶν Πατέρων ἡμῶν, καὶ αἰνετὸν καὶ δεδοξασμένον τὸ ὄνομά σου εἰς τοὺς αἰῶνας. Ἀμήν. Γένοιτο, Κύριε, τὸ ἔλεός σου ἐφ' ἡμᾶς, καθάπερ ἠλπίσαμεν ἐπὶ σέ. Εὐλογητὸς εἶ, Κύριε, δίδαξόν με τὰ δικαιώματά σου (γ' or three times). Κύριε, καταφυγὴ ἐγενήθης ἡμῖν, ἐν γενεᾷ καὶ γενεᾷ. Ἐγὼ εἶπα· Κύριε, ἐλέησόν με· ἴασαι τὴν ψυχήν μου, ὅτι ἥμαρτόν σοι. Κύριε, πρὸς σὲ κατέφυγον· δίδαξόν με τοῦ ποιεῖν τὸ θέλημά σου, ὅτι σὺ εἶ ὁ Θεός μου. Ὅτι παρὰ σοὶ πηγὴ ζωῆς, ἐν τῷ φωτί σου ὀψόμεθα φῶς. Παράτεινον τὸ ἔλεός σου τοῖς γινώσκουσί σε. Ἅγιος ὁ Θεός, Ἅγιος Ἰσχυρός, Ἅγιος Ἀθάνατος, ἐλέησον ἡμᾶς (ἐκ γ' or three times). Δόξα Πατρὶ καὶ Υἱῷ καὶ Ἁγίῳ Πνεύματι. Καὶ νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Ἀμήν. Ἅγιος Ἀθάνατος, ἐλέησον ἡμᾶς. [The last trisagion is chanted slower, first phrase by right chanter] Ἅγιος ὁ Θεός, Ἅγιος Ἰσχυρός, Ἅγιος Ἀθάνατος, ἐλέησον ἡμᾶς. Σήμερον σωτηρία τῷ κόσμῳ γέγονεν, ᾄσωμεν τῷ ἀναστάντι ἐκ τάφου καὶ ἀρχηγῷ τῆς ζωῆς ἡμῶν, καθελὼν γὰρ τῷ θανάτῳ τὸν θάνατον, τὸ νῖκος ἔδωκεν ἡμῖν, καὶ τὸ μέγα ἔλεος. ― 95 ― DOXOLOGY DOXOLOGIES IN ALL EIGHT MODES By Peter the Lambadarios († 1777) ΔΟΞΟΛΟΓΙΕΣ ΚΑΤ’ ΗΧΟΝ Πέτρου τοῦ Λαμπαδαρίου († 1777) τορ ― 96 ― DOXOLOGY ω φυ ― 97 ― DOXOLOGY ω ― 98 ― DOXOLOGY ― 99 ― DOXOLOGY τορ ― 100 ― DOXOLOGY ― 101 ― DOXOLOGY τον νον ― 102 ― DOXOLOGY ψο ― 103 ― DOXOLOGY Peter Peloponesian doesn’t have a doxology in Second Mode Sticheraric. We provide the one below for completeness. It is from Progakis’ Music Collection (Orthros—Vol. II, 1909). John Kavvadas (†1899) was born in Constantinople. He was a student of Hourmouzios Hartophylax and teacher of Progakis. The Σήμερον σωτηρία is by me, because there was not one in the book. ― 104 ― DOXOLOGY ― 105 ― DOXOLOGY ― 106 ― DOXOLOGY ― 107 ― DOXOLOGY ― 108 ― DOXOLOGY ― 109 ― DOXOLOGY      Ση με ρον σω τη ρι α τω κo σμωγε γoνεν α σω μεν τω α να στα ντι εκ τα φου και αρ χη γω της ζω ης η μων κα θε λων γαρ τω θα να τω τον θα α να τον το νι κος ε δωκεν η μιν και τo με γα ε ε ε λε ο ο ος  According to (Κατ’ἀπαγγελίαν): Demosthenes Paikopolos ― 110 ― DOXOLOGY τορ ― 111 ― DOXOLOGY σων τον ― 112 ― DOXOLOGY ψο ο ― 113 ― DOXOLOGY ― 114 ― DOXOLOGY τορ ― 115 ― DOXOLOGY σων ― 116 ― DOXOLOGY τον ― 117 ― DOXOLOGY ψο ― 118 ― DOXOLOGY τορ ― 119 ― DOXOLOGY ― 120 ― DOXOLOGY ― 121 ― DOXOLOGY ψο ― 122 ― DOXOLOGY ― 123 ― DOXOLOGY τον ― 124 ― DOXOLOGY ― 125 ― DOXOLOGY ψω ― 126 ― DOXOLOGY ― 127 ― DOXOLOGY τορ ― 128 ― DOXOLOGY ― 129 ― DOXOLOGY ― 130 ― DOXOLOGY ― 131 ― DOXOLOGY τορ ― 132 ― DOXOLOGY ― 133 ― DOXOLOGY ― 134 ― DOXOLOGY  ― 135 ― DOXOLOGY ― 136 ― DOXOLOGY ― 137 ― SPECIAL TOPICS ΘΕΙΑ ΛΕΙΤΟΥΡΓΙΑ – ΕΙΔΙΚΑ ΘΕΜΑΤΑ DEVINE LITOURGY – SPECIAL TOPICS The liturgy of John the Chrysostom (taught in this book) is chanted every Sunday of the year. Another liturgy, that of St Basil the Great, is celebrated only 10 times a year. Τυπικόν και Τάξις Typikon is a book outlining when, who, and what is chanted throughout the year. Taxis is the softer, oral tradition. As example, typikon sets doxology as the last chanted portion of orthros right before liturgy starts. Taxis suggests that chanters step down from their analogion during the entire doxology. Both chanter and priest should adhere to the typikon and taxis of the Ecumenical Patriarchate. You are Not a Church Musician, you are a Psaltes A psaltes belongs to lower clergy. He uses music to clothe the Word, which he understands and lives by. He is a community pillar and teacher, the voice of the congregation, the carrier of the ethos and hyphos of an ancient and sacred art, crafted by saints. Music is a tool, not the purpose. The term ‘church musician’ carries with it the connotation of being a musician first and foremost, only ‘doing music’ for the church―as there are chamber musicians, classical musicians, orchestra musicians, there are also church musicians. Maybe this term is suitable for church choirs with organ accompaniment, but not for you. My approach is to provide a more wholistic education and make you a chanter, not a church musician. Μusical Instruments Musical instruments are not allowed during any orthodox church service. St John the Chrysostom himself banned instruments in church (see Appendix). To play his liturgy on an instrument like the organ is incompatible and inconsistent. If you choose to count yourself among the chanters, not the ― 138 ― SPECIAL TOPICS You are not entertainers, you are PSALTES. Respect Patriarchal taxis. Be a Patriarchal Psaltophile! church musicians, you can never, ever chant with instrumental accompaniment. Our Presence on Analogion During liturgy, the priest represents God and the chanter represents the people. You are the voice of the congregation. Take the priest’s blessing before chanting; be clean and groomed; if provided, wear a ράσο (frock), which should be black with no other colors; pay attention to your teacher’s chanting; hold ison. Epistle and Gospel Readings The Epistle and the Gospel are chanted always in melodic declamation/recitation (εμμελής απαγγελία). The Epistle (and Gospel) cannot be chanted in different modes. You may choose to recite the Epistle from νη, or δι (see diagram below). Either way, the intervals should follow the κλιτόν (see notes and Epistle example in the Psaltic Method). For an example of Epistle reading, search Ἀποστολικὸ Ἀνάγνωσμα, Ἰάκωβος Ναυπλιώτης. Listen to it many times. Priest’s Declamations Ο ιερέας εκφωνεί και ο ψάλτης ψάλλει. The priest/deacon declaims and the chanter chants. Priests should not chant the supplications in different modes or in a long, elaborate manner, but in melodic recitation. Who chants which liturgy hymn has been regulated by typikon. Both the priest and chanter should adhere to it. Αncient Patriarchal tradition (πατριαρχική τάξις) requires the priest to declaim on Δι and and the chanter to respond on Νη. This fifth (pentachord or tertaphonia) sounds serious, imposing, majestic (see diagram on next page). ― 139 ― SPECIAL TOPICS Example: Ιερεύς (Priest)  Ε τι και ε τι εν ει ρη νη του Κυ  ρι ου δε η θω μεν Λαός (Chanter)  Κυ ρι ε Ε λε η σον Don’t forget to hear patriarchal and other traditional chanters chant the liturgy. Epistle Gospel Priest Declamations Epistle (δι κλιτόν) Gospel (δι κλιτόν) Chanter ― 140 ― SPECIAL TOPICS A Chanter’s Liturgy Outline This essential guide to liturgy should be memorized, if at all possible. ▪ Δοξολογία ▪ Liturgy Starts ▪ Ἀντίφωνα Ταῖς πρεσβεῖαις Σῶσον ἡμᾶς Ὁ μονογενὴς ▪ Μικρή Εἴσοδος Σοφία. Ὀρθοὶ. Δεῦτε προσκυνήσωμεν Άπολυτίκια ▪ Τρισάγιον ▪ Ἀπόστολος και Εὐαγγέλιον ▪ Μεγάλη Εἴσοδος Χερουβικὸν (Priest with altar boys exit) ▪ Λειτουργικὰ Πατέρα, Υἱὸν Πιστεύω εἰς ἕνα Θεὸν Ἔλεον εἰρήνης Ἅγιος, ἅγιος, ἅγιος, Κύριος Σαβαώθ Σὲ ὑμνοῦμεν ▪ Ἄξιόν ἐστιν ▪ Πάτερ ἡμῶν ▪ Κοινωνικὸν (usually Αἰνεῖτε) ▪ Θεία Κοινωνία ▪ Εἴδομεν τὸ φῶς ▪ [Μνημόσυνον] ▪ Ἀπόλυσις (Δι’ εὐχῶν) ― 141 ― LITURGY Η ΘΕΙΑ ΛΕΙΤΟΥΡΓΙΑ ΤΟΥ ΕΝ ΑΓΙΟΙΣ ΠΑΤΡΟΣ ΗΜΩΝ ΙΩΑΝΝΟΥ ΤΟΥ ΧΡΥΣΟΣΤΟΜΟΥ THE DIVINE LITURGY OF OUR FATHER AMONG THE SAINTS JOHN THE CHRYSOSTOM ― 142 ― LITURGY ― 143 ― LITURGY THE DIVINE LITURGY Ἱερεύς· Εὐλογημένη ἡ Βασιλεία τοῦ Πατρὸς καὶ τοῦ Υἱοῦ καὶ τοῦ Ἁγίου Πνεύματος, νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. α΄ψάλτης·  A μην Ἱερεύς· Ἐν εἰρήνῃ τοῦ Κυρίου δεηθῶμεν. α΄ψάλτης·  Κυ ρι ε ε λε ε η σον Ἱερεύς· Ὑπὲρ τῆς ἄνωθεν εἰρήνης καὶ τῆς σωτηρίας τῶν ψυχῶν ἡμῶν τοῦ Κυρίου δεηθῶμεν. α΄ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεύς· Ὑπὲρ τῆς εἰρήνης τοῦ σύμπαντος κόσμου, εὐσταθείας τῶν ἁγίων τοῦ Θεοῦ Ἐκκλησιῶν καὶ τῆς τῶν πάντων ἑνώσεως τοῦ Κυρίου δεηθῶμεν. α΄ψάλτης·  Κυ ρι ε ε λε ησον Step up to ἀναλόγιον (we stepped down during Doxology) ― 144 ― LITURGY Ἱερεύς· Ὑπὲρ τοῦ ἁγίου οἴκου τούτου καὶ τῶν μετὰ πίστεως, εὐλαβείας καὶ φόβου Θεοῦ εἰσιόντων ἐν αὐτῷ τοῦ Κυρίου δεηθῶμεν. α΄ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεύς· Ὑπὲρ τῶν εὐσεβῶν καὶ ὀρθοδόξων Χριστιανῶν τοῦ Κυρίου δεηθῶμεν. α΄ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεύς· Ὑπὲρ τοῦ Ἀρχιεπισκόπου ἡμῶν [Archbishop], τοῦ τιμίου πρεσβυτερίου, τῆς ἐν Χριστῷ διακονίας, παντὸς τοῦ κλήρου καὶ τοῦ Λαοῦ τοῦ Κυρίου δεηθῶμεν. α΄ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεύς· Ὑπὲρ τοῦ εὐσεβοῦς ἡμῶν ἔθνους, πάσης ἀρχῆς καὶ ἐξουσίας ἐν αὐτῷ τοῦ Κυρίου δεηθῶμεν. β΄ψάλτης·  Κυ ρι ε ε λε ε η σον ― 145 ― LITURGY Ἱερεύς· Ὑπὲρ τῆς πόλεως ταύτης, πάσης πόλεως καὶ χώρας, καὶ τῶν πίστει οἰκούντων ἐν αὐταῖς τοῦ Κυρίου δεηθῶμεν. β΄ψάλτης·  Κυ ρι ε ε λε ησον Ἱερεύς· Ὑπὲρ εὐκρασίας ἀέρων, εὐφορίας τῶν καρπῶν τῆς γῆς καὶ καιρῶν εἰρηνικῶν τοῦ Κυρίου δεηθῶμεν. β΄ψάλτης·  Κυ ρι ε ε λε ησον Ἱερεύς· Ὑπὲρ πλεόντων, ὁδοιπορούντων, νοσούντων, καμνόντων, αἰχμαλώτων καὶ τῆς σωτηρίας αὐτῶν τοῦ Κυρίου δεηθῶμεν. β΄ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεύς· Ὑπὲρ τοῦ ρυσθῆναι ἡμᾶς ἀπὸ πάσης θλίψεως, ὀργῆς, κινδύνου καὶ ἀνάγκης τοῦ Κυρίου δεηθῶμεν. β΄ψάλτης·  Κυ ρι ε ε λε η σον ― 146 ― LITURGY Ἱερεύς· Ἀντιλαβοῦ, σῶσον, ἐλέησον καὶ διαφύλαξον ἡμᾶς, ὁ Θεός, τῇ σῇ χάριτι. β΄ψάλτης·  Κυ ρι ε ε λε ησον Ἱερεύς· Τῆς παναγίας, ἀχράντου, ὑπερευλογημένης, ἐνδόξου, δεσποίνης ἡμῶν, Θεοτόκου καὶ ἀειπαρθένου Μαρίας, μετὰ πάντων τῶν ἁγίων μνημονεύσαντες, ἑαυτοὺς καὶ ἀλλήλους καὶ πᾶσαν τὴν ζωὴν ἡμῶν Χριστῷ τῷ Θεῷ παραθώμεθα. β΄ψάλτης·  Σοι Κυ ρι ε Ἱερεύς· Ὅτι πρέπει σοι πᾶσα δόξα, τιμὴ καὶ προσκύνησις, τῷ Πατρὶ καὶ τῷ Υἱῷ καὶ τῷ Ἁγίῳ Πνεύματι, νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. α΄ψάλτης·  Α μην FIRST ANTIPHON Ταῖς πρεσβείαις is chanted three (3) times, starting with the α΄ψάλτης then the β΄ψάλτης and the last one by the α΄ψάλτης. ― 147 ― LITURGY  Ταις πρεσ βει αις της Θε ο το κου Σω τε ε  ερ Σω σον η μας α΄ψάλτης, the last one·  Ταις πρεσ βει αιςτης Θε ο το ο κου Σω  τερ Σω σον η μα α ας Ἱερεύς· Ἔτι καὶ ἔτι ἐν εἰρήνῃ τοῦ Κυρίου δεηθῶμεν. α΄ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεύς· Ἀντιλαβοῦ, σῶσον, ἐλέησον καὶ διαφύλαξον ἡμᾶς, ὁ Θεός, τῇ σῇ χάριτι. α΄ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεύς· Τῆς παναγίας, ἀχράντου, ὑπερευλογημένης, ἐνδόξου, δεσποίνης ἡμῶν, Θεοτόκου καὶ ἀειπαρθένου Μαρίας, μετὰ Twice (δὶς) ― 148 ― LITURGY πάντων τῶν ἁγίων μνημονεύσαντες, ἑαυτοὺς καὶ ἀλλήλους καὶ πᾶσαν τὴν ζωὴν ἡμῶν Χριστῷ τῷ Θεῷ παραθώμεθα. α΄ψάλτης·  Σοι Κυ ρι ε Ἱερεύς· Ὅτι σὸν τὸ κράτος καὶ σοῦ ἐστιν ἡ βασιλεία καὶ ἡ δύναμις καὶ ἡ δόξα, τοῦ Πατρὸς καὶ τοῦ Υἱοῦ καὶ τοῦ Ἁγίου Πνεύματος, νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. β΄ψάλτης·  Α μην  Σω σον η μα αςΥι ε Θε ου ο α ναστας  εκ νε κρων ψαλ λον τας σοι Αλ λη λου ι α α΄ψάλτης·  Δο ξα Πα τρι και Υι ω και SECOND ANTIPHON Σῶσον ἡμᾶς is chanted three (3) times, by the β΄ψάλτης, the α΄ψάλτης, and the β΄ψάλτης again. ― 149 ― LITURGY  Α γι ω Πνευ μα τι β΄ψάλτης·  Και νυν και α ει και εις τους αι   ω νας των αι ω νων α μην  Ο μο νο γε νης Υι ος και Λο γος του Θε  ου α θα να τος υ πα αρ χων και κα τα δε  ξα με νος δι α την η με τε ραν σω τη ρι  αν σαρ κω θη ναι εκ της α γι ας Θε  ο το ο κου και α ει παρ θε νου Μα  ρι ας α τρε πτως εν αν θρω πη σας σταυ ρω  θεις τε Χρι στε ο Θε ος θα να τω θα να τον ― 150 ― LITURGY  πα τη η σας εις ων της α γι ας Τρι α δος  συν δο ξα ζο με νος τω Πα τρι και τω Α  γι ω Πνευ μα τι σω σον η μα α ας Ἱερεύς· Ἔτι καὶ ἔτι ἐν εἰρήνῃ τοῦ Κυρίου δεηθῶμεν. α΄ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεύς· Ἀντιλαβοῦ, σῶσον, ἐλέησον καὶ διαφύλαξον ἡμᾶς, ὁ Θεός, τῇ σῇ χάριτι. α΄ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεύς· Τῆς παναγίας, ἀχράντου, ὑπερευλογημένης, ἐνδόξου, δεσποίνης ἡμῶν, Θεοτόκου καὶ ἀειπαρθένου Μαρίας, μετὰ πάντων τῶν ἁγίων μνημονεύσαντες, ἑαυτοὺς καὶ ἀλλήλους καὶ πᾶσαν τὴν ζωὴν ἡμῶν Χριστῷ τῷ Θεῷ παραθώμεθα. α΄ψάλτης·  Σοι Κυ ρι ε ― 151 ― LITURGY Ἱερεύς· Ὅτι ἀγαθὸς καὶ φιλάνθρωπος Θεὸς ὑπάρχεις καὶ σοὶ τὴν δόξαν ἀναπέμπομεν, τῷ Πατρὶ καὶ τῷ Υἱῷ καὶ τῷ Ἁγίῳ Πνεύματι, νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. ΕΙΣΟΔΟΣ (ΜΙΚΡΗ) Ἱερεύς· Σοφία. Ὀρθοί.  Δευ τε προσ κυ νη σω μεν και προ σπε σω  ωμεν Χρι στω Σω σον η μα αςΥι ε Θε ου  ο α ναστας εκ νε κρων  ψαλ λον τας σοι Αλ λη λου ι α THIRD ANTIPHON Right chanter chants Ἀμήν and the apolytikion of the echos of that Sunday. Use a χρόνος (tempo) that gives the priest and the altar boys enough time to exit the altar. Apolytikia of all eight echos are in the Appendix. Δεῦτε προσκυνήσωμεν is chanted by the right chanter (α΄ψάλτης), unless there is more than one priest, in which case it is chanted by the priests. The β’ ψάλτης chants the end of it. The end is chanted by the β’ ψάλτης ― 152 ― LITURGY Γα           Μνη σθη τι Κυ ρι ε ως α γα θο ος τω ων  δου λω ωνσου και ο σα εν βι ω η μαρτον The same apolytikon chanted before είσοδος is also chanted after, only faster. Then the apolytikion of any feasts or saints, if any, the apolytikion of the Church, and the kontakion. Exactly which hymn is chanted and in which order, can be found in the annual edition of the Typikon of the Ecumenical Patriarchate. The general template for ΜΙΚΡΗ ΕΙΣΟΔΟΣ is: α΄ ψάλτης· Apolytikion of Echos (chanted slow) Ἱερεύς· Σοφία. Ὀρθοί. α΄ ψάλτης· Δεῦτε προσκυνήσωμεν α΄ ψάλτης· Apolytikion of Echos again (chanted fast) β΄ ψάλτης· Apolytikion of seasonal Saint or feast day Ἱερεύς· Μνήσθητι Κύριε (if memorial service) α΄ ψάλτης· Apolytikion of Church β΄ ψάλτης· Kontakion See Appendix for all kontakia and apolytikia of echos. Προστασία τῶν Χριστιανῶν, the most frequent kontakion, along with Μνήσθητι Κύριε, are provided below. Δεῦτε προσκυνήσωμεν and the kontakion are always chanted by the α΄and β΄chanters, respectively, unless there is a συλλείτουργον (sylliturgy, i.e., more than one priest), in which case they are chanted by the priests. ― 153 ― LITURGY  συ υγ χω ρη η σον ου δεις γαρ αν α  μαρ τη τος ει μη Συ ο δυ υ να με ε νος  καιτοις με τα στα σι δυο ναιτην α α να πα αυ  σιν ται τω ― 154 ― LITURGY Ἱερεύς· Tοῦ Κυρίου δεηθῶμεν. β΄ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεύς· Ὅτι ἅγιος εἶ, ὁ Θεὸς ἡμῶν, καὶ σοὶ τὴν δόξαν ἀναπέμπομεν, τῷ Πατρὶ καὶ τῷ Υἱῷ καὶ τῷ Ἁγίῳ Πνεύματι, νῦν καὶ ἀεί, καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. α΄ψάλτης·  Α μην If kontakion is chanted by the priests, the β΄ψάλτης chants the last sentence, i.e., Θεοτόκε, τῶν τιμώντων σε. ― 155 ― LITURGY ΤΡΙΣΑΓΙΟΝ α’ ψάλτης then β’ ψάλτης (twice)· α’ ψάλτης (third time)· β’ ψάλτης· Δὶς (Τwice) ― 156 ― LITURGY α’ ψάλτης· β’ ψάλτης· Ἱερεύς· Δύναμις. α’ ψάλτης· ΑΠΟΣΤΟΛΟΣ—EPISTLE [Προκείμενον] Ἱερεύς· Πρόσχωμεν. [Ὁ στίχος] Ἱερεύς· Σοφία. [Πρὸς …] Ἱερεύς· Πρόσχωμεν. A student appointed by c h anter reads the Epistle ― 157 ― LITURGY ΕΥΑΓΓΕΛΙΟN—GOSPEL Ἱερεύς· Εἰρήνη σοί τῷ ἀναγινώσκοντι. β΄ψάλτης·  Αλ λη λου ι α αλ λη λου ι α  αλ λη λου ου ι α α α Ἱερεύς· Σοφία. Ὀρθοί. Ἀκούσωμεν τοῦ ἁγίου Εὐαγγελίου. Εἰρήνη πᾶσι. α΄ψάλτης·  Και τω πνευ μα τι σου Ἱερεύς· Ἐκ τοῦ κατὰ (Ματθαῖον ἢ Μάρκον ἢ Λουκᾶν ἢ Ἰωάννην) ἁγίου Εὐαγγελίου τὸ ἀνάγνωσμα. Πρόσχωμεν. α΄ψάλτης· Δο ξα σοι Κυ ρι ε δο ξα σοι Step down your στασίδιον Αfter the gospel, we step up the στασίδιον. Τhe α΄ψάλτης chants the following on the same tone the priest finishes the gospel ― 158 ― LITURGY  Δο ξα σοι Κυ υ υ ρι ι ι ι ι ι ι  ε δο ξα α σοι οι οι Ἱερεύς· Ὅπως ὑπὸ τοῦ κράτους σου πάντοτε φυλαττόμενοι σοὶ δόξαν ἀναπέμπωμεν, τῷ Πατρὶ καὶ τῷ Υἱῷ καὶ τῷ Ἁγίῳ Πνεύματι, νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων.  A μην ΧΕΡΟΥΒΙΚΟΝ Ήχος Πλ. Δ’. (N) (K) (Δ) (N) This is the right place for a sermon, though not mandatory. The supplications Εἴπωμεν πάντες are omitted in the Patriarchate and also omitted here. Πέτρου Λαμπαδαρίου (†1777) Chant slowly and solemnly. ― 159 ― LITURGY (Δ) (N) (Π) (Ν) (Π) χι ι ― 160 ― LITURGY  Ως τον Βα σι λε α των ο λων υ  υ ποδε ξο με νοι (Ν) (Π) (Ν) (Δ) (Ν) Step down from the στασίδιον. If the priest is ready, then the β΄ψάλτης chants Ὡς τὸν Βασιλέα fast like this The following version is a bit slower in case the priest needs more time. Ἀλεξάνδρου Βυζαντίου (†1908) ο ο ο (N) ― 161 ― LITURGY Ἱερεύς· Πάντων ἡμῶν μνησθείη Κύριος ὁ Θεὸς ἐν τῇ βασιλείᾳ αὐτοῦ, πάντοτε· νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων.  A μην Ταις αγ γε λι καις α  ο ρα α τω ως δο ρυ φο ρου ου  με νον τα α α ξε ε σι ι ι ιν Αλ λη  λου ι α α α α Step up το your στασίδιον. The β΄ψάλτης continues The slower version below is in case the priest needs more time. The composition is from Θεόδωρος Φωκαέας (†1851). (Δ) (Ν) ― 162 ― LITURGY Ἱερεύς· Πληρώσωμεν τὴν δέησιν ἡμῶν τῷ Κυρίῳ. α΄ψάλτης· Κυ ρι ε ε λε ε η σον Ἱερεύς· Ὑπὲρ τῶν προτεθέντων τιμίων δώρων τοῦ Κυρίου δεηθῶμεν. α΄ψάλτης·  Κυ ρι ε ε λε ησον Ἱερεύς· Ὑπὲρ τοῦ ἁγίου οἴκου τούτου καὶ τῶν μετὰ πίστεως, εὐλαβείας καὶ φόβου Θεοῦ εἰσιόντων ἐν αὐτῷ τοῦ Κυρίου δεηθῶμεν. α΄ψάλτης·  Κυ ρι ε ε λε ησον (Ν) (Π) ― 163 ― LITURGY Ἱερεύς· Ὑπὲρ τοῦ ρυσθῆναι ἡμᾶς ἀπὸ πάσης θλίψεως, ὀργῆς, κινδύνου καὶ ἀνάγκης τοῦ Κυρίου δεηθῶμεν. α΄ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεύς· Ἀντιλαβοῦ, σῶσον, ἐλέησον καὶ διαφύλαξον ἡμᾶς, ὁ Θεός, τῇ σῇ χάριτι. α΄ψάλτης·  Κυ ρι ε ε λε ησον Ἱερεύς· Τὴν ἡμέραν πᾶσαν, τελείαν, ἁγίαν, εἰρηνικὴν καὶ ἀναμάρτητον παρὰ τοῦ Κυρίου αἰτησώμεθα. β΄ψάλτης·  Πα ρα σχου Κυ υ ρι ε Ἱερεύς· Ἄγγελον εἰρήνης, πιστὸν ὁδηγόν, φύλακα τῶν ψυχῶν καὶ τῶν σωμάτων ἡμῶν παρὰ τοῦ Κυρίου αἰτησώμεθα. β΄ψάλτης·  Πα ρα σχου Κυ ρι ε Ἱερεύς· Συγγνώμην καὶ ἄφεσιν τῶν ἁμαρτιῶν καὶ τῶν πλημμελημάτων ἡμῶν παρὰ τοῦ Κυρίου αἰτησώμεθα. β΄ψάλτης·  Πα ρα σχου Κυ ρι ε ― 164 ― LITURGY Ἱερεύς· Τὰ καλὰ καὶ συμφέροντα ταῖς ψυχαῖς ἡμῶν, καὶ εἰρήνην τῷ κόσμῳ παρὰ τοῦ Κυρίου αἰτησώμεθα. β΄ψάλτης· Πα ρα α σχουου Κυ υ ρι ι ε Ἱερεύς· Τὸν ὑπόλοιπον χρόνον τῆς ζωῆς ἡμῶν ἐν εἰρήνῃ καὶ μετανοίᾳ ἐκτελέσαι παρὰ τοῦ Κυρίου αἰτησώμεθα. β΄ψάλτης·  Πα ρα σχου Κυ ρι ε Ἱερεύς· Χριστιανὰ τὰ τέλη τῆς ζωῆς ἡμῶν, ἀνώδυνα, ἀνεπαίσχυντα, εἰρηνικά, καὶ καλὴν ἀπολογίαν τὴν ἐπὶ τοῦ φοβεροῦ βήματος τοῦ Χριστοῦ, αἰτησώμεθα. β΄ψάλτης·  Πα ρα σχου Κυ υ ρι ε Ἱερεύς· Τῆς παναγίας, ἀχράντου, ὑπερευλογημένης, ἐνδόξου δεσποίνης ἡμῶν, Θεοτόκου καὶ ἀειπαρθένου Μαρίας, μετὰ πάντων τῶν ἁγίων μνημονεύσαντες, ἑαυτοὺς καὶ ἀλλήλους καὶ πᾶσαν τὴν ζωὴν ἡμῶν Χριστῷ τῷ Θεῷ παραθώμεθα. α΄ψάλτης·  Σοι Κυ ρι ε ― 165 ― LITURGY Ἱερεύς· Διὰ τῶν οἰκτιρμῶν τοῦ μονογενοῦς σου Υἱοῦ, μεθ’ οὗ εὐλογητὸς εἶ, σὺν τῷ παναγίῳ καὶ ἀγαθῷ καὶ ζωοποιῷ σου Πνεύματι, νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. α΄ψάλτης·  A μην Ἱερεὺς· Εἰρήνη πᾶσι. α΄ψάλτης·  Και τω πνευ μα τι σου Ἱερεὺς· Ἀγαπήσωμεν ἀλλήλους, ἵνα ἐν ὁμονοίᾳ ὁμολογήσωμεν. α΄ψάλτης· Ἱερεὺς· Τὰς θύρας, τὰς θύρας· ἐν σοφίᾳ πρόσχωμεν. Recite Πιστεύω on the base pitch (νη). ― 166 ― LITURGY Πιστεύω εἰς ἕνα Θεόν, Πατέρα παντοκράτορα, ποιητὴν οὐρανοῦ καὶ γῆς, ὁρατῶν τε πάντων καὶ ἀοράτων. Καὶ εἰς ἕνα Κύριον Ἰησοῦν Χριστόν, τὸν Υἱὸν τοῦ Θεοῦ τὸν μονογενῆ, τὸν ἐκ τοῦ Πατρὸς γεννηθέντα πρὸ πάντων τῶν αἰώνων· φῶς ἐκ φωτός, Θεὸν ἀληθινὸν ἐκ Θεοῦ ἀληθινοῦ, γεννηθέντα οὐ ποιηθέντα, ὁμοούσιον τῷ Πατρί, δι’ οὗ τὰ πάντα ἐγένετο. Τὸν δι’ ἡμᾶς τοὺς ἀνθρώπους καὶ διὰ τὴν ἡμετέραν σωτηρίαν κατελθόντα ἐκ τῶν οὐρανῶν καὶ σαρκωθέντα ἐκ Πνεύματος Ἁγίου καὶ Μαρίας τῆς παρθένου καὶ ἐνανθρωπήσαντα. Σταυρωθέντα τε ὑπὲρ ἡμῶν ἐπὶ Ποντίου Πιλάτου καὶ παθόντα καὶ ταφέντα. Καὶ ἀναστάντα τῇ τρίτῃ ἡμέρᾳ, κατὰ τὰς Γραφάς. Καὶ ἀνελθόντα εἰς τοὺς οὐρανοὺς καὶ καθεζόμενον ἐκ δεξιῶν τοῦ Πατρός. Καὶ πάλιν ἐρχόμενον μετὰ δόξης κρίναι ζῶντας καὶ νεκρούς, οὗ τῆς βασιλείας οὐκ ἔσται τέλος. Καὶ εἰς τὸ Πνεῦμα τὸ Ἅγιον, τὸ κύριον, τὸ ζωοποιόν, τὸ ἐκ τοῦ Πατρὸς ἐκπορευόμενον, τὸ σὺν Πατρὶ καὶ Υἱῷ συμπροσκυνούμενον καὶ συνδοξαζόμενον, τὸ λαλῆσαν διὰ τῶν προφητῶν. Εἰς μίαν [start the sign of cross with hand up], ἁγίαν [hand down], καθολικὴν [hand right] καὶ ἀποστολικὴν [hand left] Ἐκκλησίαν. Ὁμολογῶ ἓν βάπτισμα εἰς ἄφεσιν ἁμαρτιῶν. Προσδοκῶ ἀνάστασιν νεκρῶν, καὶ ζωὴν τοῦ μέλλοντος αἰῶνος. Ἀμήν. ― 167 ― LITURGY Ἱερεὺς· Στῶμεν καλῶς· στῶμεν μετὰ φόβου· πρόσχωμεν τὴν ἁγίαν ἀναφορὰν ἐν εἰρήνῃ προσφέρειν. α΄ψάλτης· Ἱερεὺς· Ἡ χάρις τοῦ Κυρίου ἡμῶν Ἰησοῦ Χριστοῦ καὶ ἡ ἀγάπη τοῦ Θεοῦ καὶ Πατρὸς καὶ ἡ κοινωνία τοῦ Ἁγίου Πνεύματος, εἴη μετὰ πάντων ὑμῶν. β΄ψάλτης· Ἱερεύς· Ἄνω σχῶμεν τὰς καρδίας. α΄ψάλτης· Ἱερεὺς· Εὐχαριστήσωμεν τῷ Κυρίῳ. β΄ψάλτης· (Π) (Ν) ― 168 ― LITURGY Ἱερεύς· Τὸν ἐπινίκιον ὕμνον ᾄδοντα, βοῶντα, κεκραγότα καὶ λέγοντα. α΄ψάλτης· Ἱερεύς· Λάβετε, φάγετε, τοῦτό μού ἐστι τὸ σῶμα, τὸ ὑπὲρ ὑμῶν κλώμενον εἰς ἄφεσιν ἁμαρτιῶν. β΄ψάλτης· ― 169 ― LITURGY Ἱερεύς· Πίετε ἐξ αὐτοῦ πάντες· τοῦτό ἐστι τὸ αἷμά μου, τὸ τῆς καινῆς διαθήκης, τὸ ὑπὲρ ὑμῶν καὶ πολλῶν ἐκχυνόμενον εἰς ἄφεσιν ἁμαρτιῶν. α΄ψάλτης· Ἱερεύς· Τὰ σὰ ἐκ τῶν σῶν σοὶ προσφέρομεν κατὰ πάντα καὶ διὰ πάντα. β΄ψάλτης· Ἱερεύς· Ἐξαιρέτως τῆς παναγίας, ἀχράντου, ὑπερευλογημένης, ἐνδόξου, δεσποίνης ἡμῶν Θεοτόκου καὶ ἀειπαρθένου Μαρίας. Step down from στασίδιον and bow your head Do not step up to στασίδιον yet (Π) (Ν) ― 170 ― LITURGY α΄ψάλτης·   A ξι ον ε στιν ως α λη θως μα  κα ρι ζειν σε τη ηνΘε ο το κον την α ει  μα κα ρι ι στον και πα να μω μη η τον και  μη τε ρα του ου Θε ου ημων την τι μι ω  τε ραντωνΧε ρου βιμ και εν δο ξο τε ραν  α συγ κρι τως των Σε ρα φιμ την α δι α  φθο ρως Θε ον λο ο γον τε κου σαν την ον  τως Θε ο το ο κον σε με γα λυ νο με ε ε ε  εν ― 171 ― LITURGY Τὸ συνηθισμένον  Α ξι ον ε στιν ως α α λη η η θω ω  ως μα κα ρι ζεινσε την Θε ε ε ο το ο  ο κον την α ει μα κα α ρι στο ο ονκαι πα  να μω ω μη η η το ο ον και μη τε ε ε  ρα του Θε ου ου η η η μω ω ων την τι  μι ι ι ω τε ε ε ραν των Χε ε  ρου ου βι ι ιμ και εν δο ο ο ξο τε ε Alternatively, you can chant ‘the usual’ of the Patriarchal tradition ― 172 ― LITURGY  ε ρααν α συγ κρι τως των Σε ε ρα α α  φει ει ειμ την α δι ι ι α φθο ο ο ρω ω  ωςΘε ον Λο γο ον τε κου ου ου σαν την ον  τω ω ως Θε ε ο το κον Σε με γα λυ υ  νο ο ο με ε ε εν Ἱερεύς· Ἐν πρώτοις μνήσθητι, Κύριε, τοῦ Ἀρχιεπισκόπου ἡμῶν [Archbishop], ὃν χάρισαι ταῖς ἁγίαις σου Ἐκκλησίαις ἐν εἰρήνῃ, σῷον, ἔντιμον, ὑγιᾶ, μακροημερεύοντα καὶ ὀρθοτομοῦντα τὸν λόγον τῆς σῆς ἀληθείας. β΄ψάλτης·  Κυ ρι ε ε λε η σον Step up to the στασίδιον ― 173 ― LITURGY Ἱερεύς· Καὶ ὧν ἕκαστος κατὰ διάνοιαν ἔχει καὶ πάντων καὶ πασῶν. α΄ψάλτης·  Και παν των και πα σων Ἱερεύς· Καὶ δὸς ἡμῖν ἐν ἑνὶ στόματι καὶ μιᾷ καρδίᾳ δοξάζειν καὶ ἀνυμνεῖν τὸ πάντιμον καὶ μεγαλοπρεπὲς ὄνομά σου, τοῦ Πατρὸς καὶ τοῦ Υἱοῦ καὶ τοῦ Ἁγίου Πνεύματος, νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. β΄ψάλτης·  A μην Ἱερεύς· Καὶ ἔσται τὰ ἐλέη τοῦ μεγάλου Θεοῦ καὶ Σωτῆρος ἡμῶν Ἰησοῦ Χριστοῦ μετὰ πάντων ὑμῶν. α΄ψάλτης·  Και με τα του πνευ μα τος σου Ἱερεύς· Πάντων τῶν ἁγίων μνημονεύσαντες, ἔτι καὶ ἔτι ἐν εἰρήνῃ τοῦ Κυρίου δεηθῶμεν. β΄ψάλτης·  Κυ ρι ε ε λε ε η σον ― 174 ― LITURGY Ἱερεύς· Ὑπὲρ τῶν προσκομισθέντων καὶ ἁγιασθέντων τιμίων Δώρων τοῦ Κυρίου δεηθῶμεν. β΄ψάλτης·  Κυ ρι ε ε λε ησον Ἱερεύς· Ὅπως ὁ φιλάνθρωπος Θεὸς ἡμῶν, ὁ προσδεξάμενος αὐτὰ εἰς τὸ ἅγιον καὶ ὑπερουράνιον καὶ νοερὸν αὐτοῦ θυσιαστήριον, εἰς ὀσμὴν εὐωδίας πνευματικῆς, ἀντικαταπέμψῃ ἡμῖν τὴν θείαν χάριν καὶ τὴν δωρεὰν τοῦ Ἁγίου Πνεύματος δεηθῶμεν. β΄ψάλτης·  Κυ ρι ε ε λε ησον Ἱερεύς· Ὑπὲρ τοῦ ρυσθῆναι ἡμᾶς ἀπὸ πάσης θλίψεως, ὀργῆς, κινδύνου καὶ ἀνάγκης τοῦ Κυρίου δεηθῶμεν. β΄ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεύς· Ἀντιλαβοῦ, σῶσον, ἐλέησον καὶ διαφύλαξον ἡμᾶς, ὁ Θεός, τῇ σῇ χάριτι. β΄ψάλτης·  Κυ ρι ε ε λε ησον ― 175 ― LITURGY Ἱερεύς· Τὴν ἡμέραν πᾶσαν τελείαν, ἁγίαν, εἰρηνικὴν καὶ ἀναμάρτητον παρὰ τοῦ Κυρίου αἰτησώμεθα. α΄ψάλτης·  Πα ρα σχου Κυ υ ρι ε Ἱερεύς· Ἄγγελον εἰρήνης, πιστὸν ὁδηγόν, φύλακα τῶν ψυχῶν καὶ τῶν σωμάτων ἡμῶν παρὰ τοῦ Κυρίου αἰτησώμεθα. α΄ψάλτης·  Πα ρα σχου Κυ ρι ε Ἱερεύς· Συγγνώμην καὶ ἄφεσιν τῶν ἁμαρτιῶν καὶ τῶν πλημμελημάτων ἡμῶν παρὰ τοῦ Κυρίου αἰτησώμεθα. α΄ψάλτης·  Πα ρα σχου Κυ ρι ε Ἱερεύς· Τὰ καλὰ καὶ συμφέροντα ταῖς ψυχαῖς ἡμῶν καὶ εἰρήνην τῷ κόσμῳ παρὰ τοῦ Κυρίου αἰτησώμεθα. α΄ψάλτης·  Πα ρα α σχουου Κυ υ ρι ι ε ― 176 ― LITURGY Ἱερεύς· Τὸν ὑπόλοιπον χρόνον τῆς ζωῆς ἡμῶν ἐν εἰρήνῃ καὶ μετανοίᾳ ἐκτελέσαι παρὰ τοῦ Κυρίου αἰτησώμεθα. α΄ψάλτης·  Πα ρα σχου Κυ ρι ε Ἱερεύς· Χριστιανὰ τὰ τέλη τῆς ζωῆς ἡμῶν, ἀνώδυνα, ἀνεπαίσχυντα, εἰρηνικά καὶ καλὴν ἀπολογίαν τὴν ἐπὶ τοῦ φοβεροῦ βήματος τοῦ Χριστοῦ αἰτησώμεθα. α΄ψάλτης·  Πα ρα σχου Κυ υ ρι ε Ἱερεύς· Τὴν ἑνότητα τῆς πίστεως καὶ τὴν κοινωνίαν τοῦ Ἁγίου Πνεύματος αἰτησάμενοι, ἑαυτοὺς καὶ ἀλλήλους καὶ πᾶσαν τὴν ζωὴν ἡμῶν Χριστῷ τῷ Θεῷ παραθώμεθα. α΄ψάλτης·  Σοι Κυρι ε Ἱερεύς· Καὶ καταξίωσον ἡμᾶς, Δέσποτα, μετὰ παρρησίας, ἀκατακρίτως, τολμᾶν ἐπικαλεῖσθαι σὲ τὸν ἐπουράνιον Θεὸν Πατέρα καὶ λέγειν· Recite Πάτερ ἡμῶν on the base pitch (νη), like Πιστεύω. ― 177 ― LITURGY Πάτερ ἡμῶν, ὁ ἐν τοῖς οὐρανοῖς, ἁγιασθήτω τὸ ὄνομά σου, ἐλθέτω ἡ βασιλεία σου, γενηθήτω τὸ θέλημά σου ὡς ἐν οὐρανῷ καὶ ἐπὶ τῆς γῆς. Τὸν ἄρτον ἡμῶν τὸν ἐπιούσιον δὸς ἡμῖν σήμερον καὶ ἄφες ἡμῖν τὰ ὀφειλήματα ἡμῶν, ὡς καὶ ἡμεῖς ἀφίεμεν τοῖς ὀφειλέταις ἡμῶν, καὶ μὴ εἰσενέγκῃς ἡμᾶς εἰς πειρασμόν, ἀλλὰ ρῦσαι ἡμᾶς ἀπὸ τοῦ πονηροῦ. Ἱερεὺς· Ὅτι σοῦ ἐστιν ἡ βασιλεία καὶ ἡ δύναμις καὶ ἡ δόξα, τοῦ Πατρὸς καὶ τοῦ Υἱοῦ καὶ τοῦ Ἁγίου Πνεύματος, νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. α΄ψάλτης·  A μην Ἱερεὺς· Εἰρήνη πᾶσι. α΄ψάλτης·  Και τω πνευ μα τι σου Ἱερεὺς· Τὰς κεφαλὰς ἡμῶν τῷ Κυρίῳ κλίνωμεν. α΄ψάλτης·  Σοι Κυ ρι ε Ἱερεὺς· Χάριτι καὶ οἰκτιρμοῖς καὶ φιλανθρωπίᾳ τοῦ μονογενοῦς σου Υἱοῦ, μεθ’ οὗ εὐλογητὸς εἶ, σὺν τῷ παναγίῳ ― 178 ― LITURGY καὶ ἀγαθῷ καὶ ζωοποιῷ σου Πνεύματι, νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. α΄ψάλτης·  A μην Ἱερεὺς· Πρόσχωμεν. Τὰ Ἅγια τοῖς ἁγίοις.   Εις Α γι ος Εις Κυ ρι ος Ι η  σους Χρι στος εις δο ξαν Θε ου Πατρος Α  μην Step down from στασίδιον while the α΄ ψάλτης chants Step up to στασίδιον. Κοινωνικόν, the communion hymn, is not always the same. Consult with the Typikon of the Ecumenical Patriarchate for which communion hymn should be chanted that Sunday. However, Αἰνεῖτε is the one chanted most often. ― 179 ― LITURGY β’ ψάλτης· [Δοσιθέου Κατουνακιώτου (†1991)] In the Constantinopolitan tradition, if there happens to be a memorial service, first we chant the 3 stanzas of ἄμωμος and the εὐλογητάρια as follows. If the priest needs more time, we also chant Αἰνεῖτε. ― 180 ― LITURGY ― 181 ― LITURGY ― 182 ― LITURGY ― 183 ― LITURGY ― 184 ― LITURGY If there is enough time, continue with εὐλογητάρια. If not, you can chant them during memorial service. ― 185 ― LITURGY β΄ ψάλτης· ― 186 ― LITURGY ― 187 ― LITURGY ― 188 ― LITURGY  Αλ λη λου ι α αλ λη λου ι α α λη λου ι α δο  ξα σοι ο Θε ος και α ναπαυσον τον δου λον13 σου ου  ου ου ου   Αι νει τε τον Κυ ρι ον εκ των  ου ρα νων αλ λη λου ου ι α 13 See Appendix for declensions of bold word endings. Αἰνεῖτε τόν Κύριον is now chanted fast (χύμα) on νη. If the priest needs more time, chant it slow as above. ― 189 ― LITURGY Ἱερεὺς· Μετὰ φόβου Θεοῦ, πίστεως καὶ ἀγάπης προσέλθετε.  Του δει πνου σου του μυ στι κου ση με ρον  Υι ε Θε ου κοι νω νον με πα ρα λα  βε ου μη γαρ τοις εχ θροις σου το μυ στη  ρι ον ειπω ου φι λη μα σοι δω σω κα θα  περ ο Ι ου δας αλλ ως ο λη στης ο  μο λο γω σοι μνησθη τι μου Κυ ρι ε εν  τη βα σι λει α σου Step down from the στασίδι. For as long as the priest transmits the Holy Communion, the β΄ψάλτης repeats Τοῦ δείπνου σου. Chant reverently and solemnly. ― 190 ― LITURGY Ἱερεὺς· Σῶσον, ὁ Θεός, τὸν λαόν σου καὶ εὐλόγησον τὴν κληρονομίαν σου. [α΄ ψάλτης]  Ει δο μεν το φως το α λη θι νον  ε λα βο μενΠνευ μα ε που ρα νι ον ευ ρο  μεν πι στιν α λη θη α δι αι ρετοντρι α  δα προ σκυ νουντες αυ τη γαρ η μας εσω σε  ε εν Ἱερεὺς· Πάντοτε· νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. β’ ψάλτης·  A μην Step up to the στασίδιον. ― 191 ― LITURGY Ἱερεὺς· Ὀρθοί· μεταλαβόντες τῶν θείων, ἁγίων, ἀχράντων, ἀθανάτων, ἐπουρανίων καὶ ζωοποιῶν, φρικτῶν τοῦ Χριστοῦ μυστηρίων, ἀξίως εὐχαριστήσωμεν τῷ Κυρίῳ. α’ ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεὺς· Ἀντιλαβοῦ, σῶσον, ἐλέησον καὶ διαφύλαξον ἡμᾶς, ὁ Θεός, τῇ σῇ χάριτι. β’ ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεὺς· Τὴν ἡμέραν πᾶσαν, τελείαν, ἁγίαν, εἰρηνικὴν καὶ ἀναμάρτητον αἰτησάμενοι, ἑαυτοὺς καὶ ἀλλήλους καὶ πᾶσαν τὴν ζωὴν ἡμῶν Χριστῷ τῷ Θεῷ παραθώμεθα. α’ ψάλτης·  Σοι Κυ ρι ε Ἱερεὺς· Ὅτι σὺ εἶ ὁ ἁγιασμὸς ἡμῶν καὶ σοὶ τὴν δόξαν ἀναπέμπομεν, τῷ Πατρὶ καὶ τῷ Υἱῷ καὶ τῷ Ἁγίῳ Πνεύματι, νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. α’ ψάλτης·  A μην ― 192 ― LITURGY Ἱερεὺς· Ἐν εἰρήνῃ προέλθωμεν. Τοῦ Κυρίου δεηθῶμεν. α’ ψάλτης· Κυ ρι ε ε λε η σον Κυ  ρι ε ε λε η σον Κυ ρι ε ε  λε η σον Ἱερεὺς· Ὁ εὐλογῶν τοὺς εὐλογοῦντάς σε, Κύριε, καὶ ἁγιάζων τοὺς ἐπὶ σοὶ πεποιθότας, σῶσον τὸν λαόν σου καὶ εὐλόγησον τὴν κληρονομίαν σου. Τὸ πλήρωμα τῆς Ἐκκλησίας σου φύλαξον· ἁγίασον τοὺς ἀγαπῶντας τὴν εὐπρέπειαν τοῦ οἴκου σου· σὺ αὐτοὺς ἀντιδόξασον τῇ θεϊκῇ σου δυνάμει καὶ μὴ ἐγκαταλίπῃς ἡμᾶς τοὺς ἐλπίζοντας ἐπὶ σέ. Εἰρήνην τῷ κόσμῳ σου δώρησαι, ταῖς Ἐκκλησίαις σου, τοῖς ἱερεῦσι, τοῖς ἄρχουσιν ἡμῶν, τῷ στρατῷ καὶ παντὶ τῷ λαῷ σου· ὅτι πᾶσα δόσις ἀγαθὴ καὶ πᾶν δώρημα τέλειον ἄνωθέν ἐστι, καταβαῖνον ἐκ σοῦ τοῦ Πατρὸς τῶν φώτων· καὶ σοὶ τὴν δόξαν καὶ εὐχαριστίαν καὶ προσκύνησιν ἀναπέμπομεν, τῷ Πατρὶ καὶ τῷ Υἱῷ καὶ τῷ Ἁγίῳ Πνεύματι, νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. α΄ψάλτης·  Α μην ― 193 ― LITURGY α΄ ψάλτης and then β΄ ψάλτης· (twice)  Ειη το ον ο μα Κυ ρι ου ευ λο γη  με νον α πο του νυν και ε ως του αι ωνος α΄ ψάλτης·  Το ον ο μα Κυ ρι ου ειη ευ λο γη  με ε νον  α πο του νυν και ε ως τουαι ω νο ο ος The end is chanted by the β’ ψάλτης ― 194 ― LITURGY ΜΝΗΜΟΣΥΝΟΝ – MEMORIAL14 Ἱερεὺς· β΄ ψάλτης· 14 In the Patriarchal church memorial services happen only when prescribed by Violakis’ Typikon. In Constantinople parishes they occur often, but after Εἴη τὸ ὄνομα Κυρίου (see Violakis’ Typikon, Triodion §9). The ἄμωμος and εὐλογητάρια are chanted during communion hymn time. Μετὰ τῶν ἁγίων is typically omitted. ― 195 ― LITURGY Ἱερεὺς· β΄ ψάλτης· α΄ ψάλτης·  Με τα των α γι ων α να πααυσονΧριστε  τας ψυ χας των δου ου ου λω ω ων σου ― 196 ― LITURGY  ε εν θα ουκ ε στι ι πο ο νος ου λυ υ υ πη ου  στε να γμος αλ λα ζω η η α τε λε ε ε ευ  τη η η η τος Ἱερεὺς· Ἐλέησον ἡμᾶς ὁ Θεός, κατὰ τὸ μέγα ἔλεός σου, δεόμεθά σου, ἐπάκουσον καὶ ἐλέησον.  Κυ ρι ε ε λε η σον Ἱερεὺς· Ἔτι δεόμεθα ὑπὲρ ἀναπαύσεως τῆς ψυχῆς τοῦ κεκοιμημένου δούλου τοῦ Θεοῦ [priest says the names of the deceased we commemorate] καὶ ὑπὲρ τοῦ συγχωρηθῆναι αὐτῷ πᾶν πλημμέλημα ἑκούσιόν τε καὶ ἀκούσιον. Ὅπως Κύριος ὁ Θεὸς τάξῃ τὴν ψυχὴν αὐτοῦ ἔνθα οἱ Δίκαιοι ἀναπαύονται, τὰ ἐλέη τοῦ Θεοῦ, τὴν βασιλείαν τῶν οὐρανῶν, καὶ ἄφεσιν τῶν αὐτοῦ ἁμαρτιῶν, παρὰ Χριστῷ τῷ ἀθανάτῳ Βασιλεῖ καὶ Θεῷ ἡμῶν αἰτησώμεθα.  Πα ρα σχου Κυ ρι ε ― 197 ― LITURGY Ἱερεὺς· Τοῦ Κυρίου δεηθῶμεν.  Κυ ρι ε ε λε η η σον Ἱερεὺς· Ὁ Θεὸς τῶν πνευμάτων καὶ πάσης σαρκός, ὁ τὸν θάνατον καταπατήσας, τὸν δὲ διάβολον καταργήσας, καὶ ζωὴν τῷ κόσμῳ σου δωρησάμενος, αυτός, Κύριε, ἀνάπαυσον τὴν ψυχὴν τοῦ κεκοιμημένου δούλου σου [names of deceased], ἐν τόπῳ φωτεινῷ, ἐν τόπῳ χλοερῷ, ἐν τόπῳ ἀναψύξεως, ἔνθα ἀπέδρα ὀδύνη, λύπη καὶ στεναγμός. Πᾶν ἁμάρτημα τὸ παρ’ αὐτοῦ πραχθὲν ἐν λόγῳ ἢ ἔργῳ ἢ διανοίᾳ, ὡς ἀγαθὸς καὶ φιλάνθρωπος Θεός, συγχώρησον· ὅτι οὐκ ἔστιν ἄνθρωπος, ὃς ζήσεται καὶ οὐχ ἁμαρτήσει· σὺ γὰρ μόνος ἐκτὸς ἁμαρτίας ὑπάρχεις, ἡ δικαιοσύνη σου δικαιοσύνη εἰς τὸν αἰῶνα, καὶ ὁ νόμος σου ἀλήθεια. Ὅτι σὺ εἶ ἡ ἀνάστασις, ἡ ζωή, καὶ ἡ ἀνάπαυσις τοῦ κεκοιμημένου δούλου σου [names of deceased], Χριστέ ὁ Θεός ἡμῶν, καὶ σοὶ τὴν δόξαν ἀναπέμπομεν, σὺν τῷ ἀνάρχῳ σου Πατρί, καὶ τῷ παναγίῳ καὶ ἀγαθῷ καὶ ζωοποιῷ σου Πνεύματι, νῦν καὶ ἀεί καὶ εἰς τοὺς αἰῶνας τῶν αιώνων. Ἀμήν. Ἱερεὺς· Αἰωνία σου/σας ἡ μνήμη, ἀξιομακάριστε καὶ ἀείμνηστε ἀδελφέ ἡμῶν. (three times – τρὶς) Ἱερεὺς and then α΄ ψάλτης (twice)·   Αι ω νι α η μνη η η μη αι ω νι α ― 198 ― LITURGY  η μνη η η μη αι ω νι α αυ τω ων η μνη  μη β΄ ψάλτης (third and final time)·  Αι ω νι α η μνη η η μη αι ω νι α  η μνη η η μη αι ω νι α αυ τω ων η  μνη μη η η ― 199 ― LITURGY Ἱερεὺς· Τοῦ Κυρίου δεηθῶμεν. α΄ ψάλτης·  Κυ ρι ε ε λε η σον Ἱερεὺς· Εὐλογία Κυρίου καὶ ἔλεος αὐτοῦ ἔλθοι ἐφ’ ὑμᾶς, τῇ αὐτοῦ θείᾳ χάριτι καὶ φιλανθρωπίᾳ, πάντοτε, νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. α΄ ψάλτης·  A μην Ἱερεὺς· Δόξα σοι, ὁ Θεὸς ἡμῶν, δόξα σοι. Ὁ ἀναστὰς ἐκ νεκρῶν Χριστὸς ὁ ἀληθινὸς Θεὸς ἡμῶν, ταῖς πρεσβείαις τῆς παναχράντου καὶ παναμώμου ἁγίας αὐτοῦ Μητρός· δυνάμει τοῦ τιμίου καὶ ζωοποιοῦ Σταυροῦ· προστασίαις τῶν τιμίων, ἐπουρανίων Δυνάμεων Ἀσωμάτων· ἱκεσίαις τοῦ τιμίου, ἐνδόξου, προφήτου, Προδρόμου καὶ Βαπτιστοῦ Ἰωάννου·15 τῶν ἁγίων ἐνδόξων καὶ πανευφήμων Ἀποστόλων· τῶν ἁγίων ἐνδόξων καὶ καλλινίκων Μαρτύρων· τῶν ὁσίων καὶ θεοφόρων πατέρων ἡμῶν (τοῦ ἁγίου τοῦ ναοῦ)· τοῦ ἐν ἁγίοις πατρὸς ἡμῶν Ἰωάννου ἀρχιεπισκόπου Κωνσταντινουπόλεως, τοῦ Χρυσοστόμου· τῶν ἁγίων καὶ δικαίων Θεοπατόρων Ἰωακεὶμ καὶ Ἄννης, (τοῦ ἁγίου τῆς ἡμέρας) οὗ καὶ τὴν μνήμην ἐπιτελοῦμεν, καὶ πάντων τῶν Ἁγίων, ἐλεήσαι καὶ σώσαι ἡμᾶς, ὡς ἀγαθὸς καὶ φιλάνθρωπος. 15 Somewhere here start chanting Τὸν εύλογοῦντα καὶ ἁγιάζοντα ἡμᾶς. Chant soft enough so that you don’t overpower the priest’s voice. ― 200 ― LITURGY α΄ ψάλτης·  Τον ευ λο γου ουν τα και α γι α  ζον τα η μας Κυ ρι ε φυ λατ τε εις πολ λα α  ε ε ε τη Ἱερεύς· Δι’ εὐχῶν τῶν ἁγίων πατέρων ἡμῶν, Κύριε Ἰησοῦ Χριστέ, ὁ Θεός, ἐλέησον ἡμᾶς. α΄ ψάλτης·  A μην THE END OF THE DIVINE LITURGY ΤΕΛΟΣ ΤΗΣ ΘΕΙΑΣ ΛΕΙΤΟΥΡΓΙΑΣ ― 201 ― APPENDIX APPENDIX ΠΑΡΑΡΤΗΜΑ ― 202 ― APPENDIX ― 203 ― APPENDIX FAME OF PATRIARCH—ΦΗΜΗ ΠΑΤΡΙΑΡΧΟΥ Φήμη or fame of our Ecumenical Patriarch is a short phrase wishing him many years. Our current Patriarch is Bartholomew. His name day (ονομαστήρια) happens to be June 11, the day our church commemorates Holy Apostles Bartholomew and Barnabas. The fame read like this: Βαρθολομαίου τοῦ Παναγιωτάτου καί Οἰκουμενικοῦ Πατριάρχου πολλὰ τά ἔτη. And chanted like this:  Βα ρθο λο μαι αι ου του Πα να γι  ω τα του και Oι κου με νι κουΠα τρι α  α αρ χου πολ λα τα ε ε ε τη It’s appropriate to chant the fame of the Patriarch at the end of the Sunday liturgy of the week he celebrates his name day. ― 204 ― APPENDIX ― 205 ― APPENDIX LIST OF PATRIARCHS—ΚΑΤΑΛΟΓΟΣ ΠΑΤΡΙΑΡΧΩΝ 1748-1751 Κύριλλος Ε΄ 1841-1842 Άνθιμος Ε΄ 1751-1752 Παΐσιος Β΄ (IV16) 1842-1845 Γερμανός Δ΄ 1752-1757 Κύριλλος Ε΄ (II) 1845 Μελέτιος Γ΄ 1757 Καλλίνικος Δ΄ 1845-1848 Άνθιμος ΣΤ΄ 1757-1761 Σεραφείμ Β΄ 1848-1852 Άνθιμος Δ΄ (II) 1761-1763 Ιωαννίκιος Γ΄ 1852-1853 Γερμανός Δ΄ (II) 1763-1768 Σαμουήλ Χαντζερής 1853-1855 Άνθιμος ΣΤ΄ (II) 1768-1769 Μελέτιος Β΄ 1855-1860 Κύριλλος Ζ΄ 1769-1773 Θεοδόσιος Β΄ 1860-1863 Ιωακείμ Β΄ 1773-1774 Σαμουήλ Χαντζερής (II) 1863-1866 Σωφρόνιος Γ΄ 1774-1780 Σωφρόνιος Β΄ 1867-1871 Γρηγόριος ΣΤ΄ (II) 1780-1785 Γαβριήλ Δ΄ 1871-1873 Άνθιμος ΣΤ΄ (III) 1785-1789 Προκόπιος 1873-1878 Ιωακείμ Β΄ (II) 1789-1794 Νεόφυτος Ζ΄ 1878-1884 Ιωακείμ Γ΄ 1794-1797 Γεράσιμος Γ΄ 1884-1886 Ιωακείμ Δ΄ 1797-1798 Γρηγόριος Ε΄ 1887-1891 Διονύσιος Ε΄ 1798-1801 Νεόφυτος Ζ΄ (II) 1891-1894 Νεόφυτος Η΄ 1801-1806 Καλλίνικος Ε΄ 1895-1897 Άνθιμος Ζ΄ 1806-1808 Γρηγόριος Ε΄ (II) 1897-1901 Κωνσταντίνος Ε΄ 1808-1809 Καλλίνικος Ε΄ (II) 1901-1912 Ιωακείμ Γ΄ (II) 1809-1813 Ιερεμίας Δ΄ 1913-1918 Γερμανός Ε΄ 1813-1818 Κύριλλος ΣΤ΄ 1921-1923 Μελέτιος Δ΄ 1818-1821 Γρηγόριος Ε΄ (III) 1923-1924 Γρηγόριος Ζ΄ 1821-1822 Ευγένιος Β΄ 1924-1925 Κωνσταντίνος ΣΤ΄ 1822-1824 Άνθιμος Γ΄ 1925-1929 Βασίλειος Γ΄ 1824-1826 Χρύσανθος 1929-1935 Φώτιος Β΄ 1826-1830 Αγαθάγγελος 1936-1946 Βενιαμίν 1830-1834 Κωνστάντιος Α΄ 1946-1948 Μάξιμος Ε΄ 1834-1835 Κωνστάντιος Β΄ 1948-1972 Αθηναγόρας 1835-1840 Γρηγόριος ΣΤ΄ 1972-1991 Δημήτριος 1840-1841 Άνθιμος Δ΄ 1991- Βαρθολομαίος 16 Some Patriarchs were dethroned and enthroned back one or more times; this is denoted with Latin numerals. Greek numerals are name suffixes. For example, Νεόφυτος Ζ΄ (II) means Neophytos the Seventh during his second patriarchal service. ― 206 ― APPENDIX LIST OF PATRIARCHAL CHANTERS ΚΑΤΑΛΟΓΟΣ ΠΑΤΡΙΑΡΧΙΚΩΝ ΨΑΛΤΩΝ ΠΡΩΤΟΨΑΛΤΑΙ c 1453 Γρηγόριος Μπούνης ὁ Ἁλυάτης 1648-1661 Μανουὴλ Χρυσάφης ὁ Β´ 1670-1685 Γεώργιος Ῥαιδεστηνός ὁ Α´ 1727-1748 Παναγιώτης Χαλάτζογλους 1748-1765 Ἰωάννης ὁ Τραπεζούντιος 1766-1789 Δανιὴλ ὁ ἀπὸ Τυρνάβου 1789-1801 Ἰάκωβος ὁ Πελοποννήσιος 1802-1804 Πέτρος ὁ Βυζάντιος 1805-1819 Μανουὴλ ὁ Βυζάντιος 1819-1822 Γρηγόριος ὁ Λευΐτης 1822-1855 Κωνσταντῖνος ὁ Βυζάντιος 1856-1866 Ἰωάννης ὁ Βυζάντιος 1866-1871 Σταυράκης Γρηγοριάδης 1871-1875 Γεώργιος Ῥαιδεστηνὸς ὁ Β´ 1875-1905 Γεώργιος Βιολάκης 1905-1911 Ἀριστείδης Νικολαΐδης 1911-1939 Ἰάκωβος Ναυπλιώτης 1939-1959 Κωνσταντῖνος Πρίγγος 1960-1964 Θρασύβουλος Στανίτσας 1965-1985 Βασίλειος Νικολαΐδης 1985-2016 Λεωνίδας Ἀστέρης 2016- Παναγιώτης Νεοχωρίτης Α’ ΔΟΜΕΣΤΙΚΟΙ 1911-1915 Δημήτριος Φωκαεύς 1916-1917 Νικόλαος Μαυρόπουλος 1917-1919 Δημήτριος Καραγιαννόπουλος 1919-1923 Χαρίλαος Φιλανθίδης 1924-1927 Ἄγγελος Βουδούρης 1928-1947 Ἀναστάσιος Μιχαηλίδης 1964 -1997 Ἰωάννης Χαριατίδης 1997- Μιλτιάδης Παππάς 2020- Γεώργιος Μπακόπουλος 2020- Γεώργιος Κιοσέογλου ― 207 ― APPENDIX ΛΑΜΠΑΔΑΡΙΟΙ c 1453 Μανουὴλ Χρυσάφης ὁ Α´ 1727-1748 Ἰωάννης ὁ Τραπεζούντιος 1748-1765 Δανιὴλ ὁ ἀπὸ Τυρνάβου 1766-1777 Πέτρος ὁ Πελοποννήσιος 1778-1801 Πέτρος ὁ Βυζάντιος 1802-1804 Μανουὴλ ὁ Βυζάντιος 1805-1819 Γρηγόριος ὁ Λευΐτης 1819-1822 Κωνσταντῖνος ὁ Βυζάντιος 1822-1827 Ἀντώνιος ὁ Ἀνδριανουπολίτης 1831-1855 Ἰωάννης ὁ Βυζάντιος 1856-1862 Στέφανος Μιχαὴλ ὁ Βυζ. 1863-1871 Γεώργιος Ραιδεστηνὸς ὁ Β´ 1871-1888 Νικόλαος Στογιάννης ὁ Βυζ. 1888-1905 Ἀριστείδης Νικολαΐδης 1905-1911 Ἰάκωβος Ναυπλιώτης 1911-1916 Κωνσταντῖνος Κλάββας 1917-1938 Εὐστάθιος Βιγγόπουλος 1938-1939 Κωνσταντῖνος Πρίγγος 1939-1960 Θρασύβουλος Στανίτσας 1960-1965 Νικόλαος Δανιηλίδης 1968-1978 Ἐλευθέριος Γεωργιάδης 1978-1997 Βασίλειος Ἐμμανουηλίδης 1997-2016 Ἰωάννης Χαριατίδης 2016- Στυλιανός Φλοῖκος Β’ ΔΟΜΕΣΤΙΚΟΙ 1931-1938 Πρόδρομος Τοπάλογλου 1938-1938 Δημήτριος Μαγούρης 1939-1946 Νικόλαος Συμεωνίδης 1947-1948 Γεώργιος Μαυράκης 1949-1950 Νικόλαος Τόλλαρος 1951-1954 Ἀνδρέας Πετρόχειλος 1954-1960 Δημοσθένης Παϊκόπουλος 1964-1982 Νικόλαος Δικαστόπουλος 1991-1992 Χρήστος Αγγελής 2001-2016 Στυλιανός Φλοῖκος 2016-2020 Γεώργιος Μπακόπουλος ― 208 ― APPENDIX ― 209 ― APOLYTIKIA ΑΠΟΛΥΤΙΚΙΑ—APOLYTIKIA Ἦχος Πρῶτος (First Mode) Ἦχος Δεύτερος (Second Mode) δο ― 210 ― APOLYTIKIA Ἦχος Τρίτος (Third Mode) Ἦχος Τέταρτος (Fourth Mode) το ― 211 ― APOLYTIKIA Ἦχος Πλάγιος του Πρώτου (Plagal of First Mode) ― 212 ― APOLYTIKIA Ἦχος Πλάγιος του Δευτέρου (Plagal of Second Mode) Ἦχος Βαρύς (Plagal of Third Mode) ― 213 ― APOLYTIKIA Ἦχος Πλάγιος του Τετάρτου (Plagal of Fourth Mode) ― 214 ― APOLYTIKIA ― 215 ― KONTAKIA KONTAKIA ― 216 ― KONTAKIA ― 217 ― KONTAKIA ― 218 ― KONTAKIA ― 219 ― KONTAKIA ― 220 ― KONTAKIA ― 221 ― KONTAKIA ― 222 ― KONTAKIA ― 223 ― KONTAKIA ― 224 ― KONTAKIA ― 225 ― KONTAKIA ― 226 ― KONTAKIA ται τω ― 227 ― KONTAKIA ― 228 ― KONTAKIA ― 229 ― CHERUBIC HYMN ANOTHER CHERUBIC HYMN—ΧΕΡΟΥΒΙΚΟΝ ΕΤΕΡΟΝ Αλεξάνδρου Βυζαντίου17 (†1908) 17 Alexander Byzantine, music professor at Halki Theological School, Constantinople (most acclaimed theological school in Orthodoxy). The closing of the school in 1971 violates the human rights of the Ecumenical Patriarchate, which tries to reopen it to this day. (Δ) (Ν) ― 230 ― CHERUBIC HYMN ο ο ο ο ο (Π)  (Δ) (Γ) (Ν) (Κ) (Δ) (Ν) (Β) (Ν) ― 231 ― COMMUNION HYMN ANOTHER COMMUNION HYMN—ΚΟΙΝΩΝΙΚΟΝ ΕΤΕΡΟΝ An author’s abridged and simplified version Συντμηθὲν ἐπὶ τὸ ἀπλούστερον παρὰ τοῦ ἐκδότου Ἰωάννου Πρωτοψάλτου (†1866)          Νη Αι αι αι νει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει χει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει ει τε ε ε ε ε ― 232 ― COMMUNION HYMN           ε ε ε ε τον Κυ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ το ο ον Κυ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ υ τον Κυ υ υ ρι ο ο ο ο ο ο ο ον ε εκ τω ω ων ου ου ου ου ου ου ου ου ου ου ου ου ου ου ου ου ου ου ου ου ε εκ των ου ου ου ρα α νω ω ω ω ω ω ω ω ω ω ω ω ω ω ω ω ω ε εκ τω ω ω ― 233 ― COMMUNION HYMN     ων ου ου ου ου ου ρα α α α εκ των ου ου ρα νω ω ων εκ τωνου ρα νων αλ λη λου ου ι α α α α α α α α α α α ― 234 ― COMMUNION HYMN ― 235 ― ORGANS St JOHN THE CHRYSOSTOM ON ORGANS IN CHURCH The organ is outside the canons and expressly prohibited by the Tradition of the Greek Orthodox Church. Canon (κανών) means a rule or a standard and it is the result of a Council (Ecumenical or Local) [1]. The organ [2] has never been canonized in the Greek Orthodox Church, i.e., no canon permits its liturgical use [3]. Chanters and by extension choirs, however, have been canonized early on [4]. Orthodoxy, unlike Protestantism, is not sola scriptura; it is based upon both Scripture and Tradition [5]. Early Church Fathers are an important part of Tradition [6]. The early Church Fathers vehemently and uniformly opposed the use of musical instruments in the church [7]. St John the Chrysostom (347—407 AD), the author of the Liturgy we celebrate for 16 centuries, is representative of the Patristic thought on the issue of accompanied music in liturgical practice. God allowed musical instruments in worship prior, but not during, the Christian era, St John says, due to the ‘thickness of their intellect and that they have just been separated from the idols. Just like God forgave animal sacrifices, He also allowed these [ὄργανα, i.e., musical instruments], being understanding to their own sickness’ [8]. Psalm 150 [9] contains the well-known verses ‘praise Him with cymbal and choir, praise Him with strings and organ …’. St John advises us to take these verses allegorically, not literally: “just as the Jews praise the Lord with all kinds of musical instruments, that’s how we [Christians] praise the Lord using all body parts (διὰ πάντων τῶν μελῶν), with our eye, tongue, hearing, and hand. … Your eye praises when it sees without sin; your tongue when it chants (ψάλλει); your hearing when it doesn’t accept sinful songs (πονηρὰ ἄσματα), nor ― 236 ― ORGANS accusations about your brothers…and hands when they don’t grab in greed …” [10]. Elsewhere he says “Here [in the holy choir of God] there is no need of the cithara, nor taut strings, nor the plectrum and the technique, nor any sort of instrument; but if you wish, make yourself a cithara, by mortifying the limbs of the flesh and creating full harmony between body and soul.” [11] If we were to take the verses of Psalm 150 literally, then we would be obligated to use not only the organ, but all the other musical instruments referenced, something never supported by our Tradition. John the Chrysostom was not simply proposing a cappella. He vehemently and consistently denounced instrumental playing in church throughout his lifetime. He called aulos and cymbal playing "the devil's heap of garbage" [12]. He went as far as to say Ἔνθα αὐληταί, οὐδαμοῦ ὁ Χριστός, i.e., where aulosplayers, Christ nowhere. And continues ‘but even if He [Christ] enters, first He will drive them [aulos-players] out, and then He will work miracles.’ [13]. Here are some questions you can take to your local church assembly, if they use an organ: ▪ The organ accompanies the Liturgy whose author strictly prohibits instruments in worship. What is your opinion about this conflict? ▪ The organ is non-canonical and anti-Traditional. Some parish councils in the United States, upon assuming office, vow publically to uphold the Canon and Tradition. What is your opinion about this conflict? ▪ Οὐκ ἔστι θέατρον ἡ ἐκκλησία, ἵνα πρὸς τέρψιν ἀκούωμεν [14], i.e., the church is not a theater, so that we hear for pleasure (entertainment), St John the Chrysostom said. Does the organ make Liturgy feel more like a church or a theater? ― 237 ― ORGANS ENDNOTES [1] The Orthodox Church—An Introduction to Eastern Christianity. 2015. Timothy Ware. Ch. 10: Holy Tradition: The Source of Orthodox Faith. Pg. 199. [2] By organ we mean a musical instrument used in church. [3] The Orthodox Church never canonized the organ, but, in contrast, the Catholic Church did. Vatican II (1967), under Instruction on Music in the Liturgy (4b): “The following come under the title of sacred music here: Gregorian chant, sacred polyphony in its various forms both ancient and modern, sacred music for the organ and other approved instruments, and sacred popular music, be it liturgical or simply religious.” [4] The (local) Council of Laodicea (363–364), canon 15 says “Περὶ τοῦ μὴ δεῖν πλὴν τῶν κανονικῶν ψαλτῶν, τῶν ἐπὶ τὸν ἄμβωνα ἀναβαινόντων καὶ ἀπὸ διφθέρας ψαλλόντων, ἑτέρους τινὰς ψάλλειν ἐν ἐκκλησίᾳ.” Translation: “No one is to chant in the church except for the canonized chanters, those who get up on the ambo and chant from parchment”. The sixth Ecumenical Council (680-681), canon 75 reminds the chanters to restrain from forcing their voice high and stick to tradition. The word ψάλτης appears 14 times in the first seven Ecumenical Councils and Apostolic Canons. [5] Holy Tradition is typically referred to as ‘Tradition’ to be distinguished from ‘traditions’, which may be local customs, rituals, or beliefs. [6] The Orthodox Church—An Introduction to Eastern Christianity. 2015. Timothy Ware. Ch. 10: Holy Tradition: The Source of Orthodox Faith. Pg. 190. “It [Tradition] means the books of the Bible; it means the Creed; it means the decrees of the Ecumenical Councils and the writings of the Fathers; it means the Canons, the Service Books, the Holy Icons—in fact, ― 238 ― ORGANS the whole system of doctrine, Church Government, worship, spirituality and art which Orthodoxy has articulated over the ages”. [7] The Meaning of the Patristic Polemic Against Musical Instruments. 1965. The Temple, the Church Fathers and Early Western Chant, Current Musicology. James McKinnon. [8] PG 55, 494. All Patrologia Greaca can be found at http://patristica.net/graeca/ [9] Psalm 150 according to the Septuagint is Psalm 149 according to the Masoretic. [10] PG 55 497. Note how St John uses chanting for the tongue and not offending songs for hearing. [11] PG 55 158. English translation taken from Music in Early Christian Literature, Cambridge University Press, James McKinnon (1993), pg. 81. [12] PG 61 103. [13] PG 62 389. [14] PG 49 38. [15] For a comparison between byzantine chant and western music, refer to Fr. Ephraim’s Introduction, found on St. Anthony’s Monastery in Arizona web site. ― 239 ― APPENDIX PATRIARCHAL ENCYCLICAL ON ELECTRONICS In an Encyclical (Protocol No. 615) to the Metropolis of Imbros and Tenedos, an Eparchy of the Ecumenical Throne, dated June 20, 2018, his All-Holiness Ecumenical Patriarch Bartholomew, expressly prohibits any and all use of electronic devices (naming specifically phones, tablets, and computers) on the analogion. The encyclical urges Metropolitan Cyril to inform his clergy of the Holy and Sacred Synod’s decision that from now on, the substitution of the liturgical books of our church by electronic devices during services on the analogion, is judged, because it is entirely contradictory to the taxis, deplorable and scandalizing to the faithful. It concludes by saying that the use of such technical media should be completely avoided in the churches and services, because they ultimately lead to the secularization of the liturgical life. DECLENSIONS FOR MEMORIAL During memorial services, the priest has to change the last syllable of certain words (bold font in liturgical text), depending on the gender (male or female) and number (singular or plural). Here are all the possible declensions of these words. MALE FEMALE MALE & FEMALE FEMALE ONLY SINGULAR SINGULAR PLURAL PLURAL ψυχῆς ψυχῆς ψυχῶν ψυχῶν κεκοιμημένου κεκοιμημένης κεκοιμημένων κεκοιμημένων αὐτῷ αὐτῇ αὐτοῖς αὐταῖς δούλου δούλης δούλων δούλων ἀξιομακάριστε ἀξιομακάριστη ἀξιομακάριστοι ἀξιομακάρισται ἀείμνηστε ἀείμνηστη ἀείμνηστοι ἀείμνησται ἀδελφέ ἀδελφή ἀδελφοί ἀδελφαί ― 240 ― APPENDIX ― 241 ― APPENDIX BEYOND THIS BOOK This book covers only the basics of byzantine music chant. If you continue beyond the material in this book, the best piece of advice I could ever possibly give you is this: The Patriarchal chanting tradition should be your compass on all matters chanting. For centuries, Patriarchal chanters (or ‘the teachers’) handed down the ancient art of chanting to their apprentices within the Patriarchal church18. Melodies chanted today in the Patriarchal church of St George in Constantinople, sound like they did centuries ago. Other congregations were more interested in adjusting the melody to fit the everchanging tastes of local parishioners; the Patriarchal church was more interested in preserving the ancient melodies. This highfidelity melodic preservation is a unique characteristic of the Patriarchal church. The Ecumenical Patriarchate is the διδασκαλεῖον (school). Recordings of Patriarchal chanters, books approved by the Patriarchate, chanters that uphold the Patriarchal tradition and the priests that support them, all are good examples of what you should keep an eye out for. The importance of listening to traditional chanters cannot be overemphasized. You need to seek and try to imitate recorded liturgies from the Ecumenical Patriarchate. Listening is the most important part of being a chanter, much more so than reading music. 18 Due to political reasons, the Patriarchal church moved around. It was once located at the great church of Hagia Sophia, hence the title of the Ecumenical Patriarchate as The Great Church of Christ. Since 1601, the church of St George in the Fener (Φανάριον) district of Istanbul (Constantinople), Turkey, is the Patriarchal church. ― 242 ― APPENDIX ― 243 ― APPENDIX BE A PATRIARCHAL PSALTOPHILE Patriarchal chanting tradition is not an exclusive club. Our Patriarchate is Ecumenical, above barriers like nationality, language, race, East or West. People of different ethnicities and languages (Africans, Arabs, Bulgarians, Romanians, Romans, Russians, Serbians, to name a few) have embraced Byzantine chant at one time or another. Its ‘majestic simplicity’ is sacred music’s best kept secret. It’s a timeless classic—as fresh in Constantinople today, as it was in Jerusalem five centuries ago, as it could be in the United States a hundred years from today. Being a Patriarchal Psaltophile is not about color, language, or nationality. There is no organized group to subscribe to and no dues to pay. It’s an inner commitment to uphold a higher standard—the Patriarchal chanting tradition. It’s easy to musically ‘let yourself go’, bounded only by the contemporary tastes of your geographical region. What’s hard, is to hold yourself up to a higher musical standard. By respecting the ancient and sacred institution of the Patriarchal chanting tradition, you automatically already are a Patriarchal Psaltophile. In practical terms, being a Patriarchal Psaltophile, means that you accept the Patriarchal chanting tradition as the final arbiter for all and any chanting-related disputes. For example, suppose a chanter friend opts to use a drone generator (ὀργανικός ἰσοκράτης), or an organ, or a tablet instead of books, or use polyphonic instead of monodic music. A Patriarchal Psaltophile cannot participate in these activities, because none of them are acceptable in the Patriarchal chanting tradition. It’s not a dispute anymore, it’s a matter of a conscious choice to abide by the highest known chanting standards. ― 244 ― APPENDIX ― 245 ― YPHOS ΥΦΟΣ—HYPHOS Hyphos is how and what you chant. How you chant includes things like appropriate tempo for different hymns, how you perform the quality characters, understanding the ‘ethos’ of different hymns like majestic or mystic, analysis of musical phrases, emphasizing accented syllables or words, pronunciation and annunciation, how voice is carried (vibrato, round vs nasal vowels), how Eastern or Western you sound, how you ascent or descent your seconds, thirds, forths, how you attack the melodic line, etc. Hyphos is an elusive term, not easy to define; it’s your chanting style. Two chanters may be reading the same music and sound very different from each other. This is due to their hyphos difference. On paper, they chant the same music (the ‘what’), but they perform it differently (the ‘how’). Seasoned chanters say that hyphos is ‘air’ and cannot be written down19. To aqcuire a specific hyphos, one needs to be apprenticed to a teacher of that hyphos from a young age and for several years. 19 “Hyphos is indescribable, since it is air” says Theodore Phokaeus in his famous mid-nineteenth century teaching manual [Krepis, 1872, page 6, footnote (a)], the method I was actually taught from. Patriarchal hyphos Constantinopolitan hyphos Asia Minor hyphos Mount Athos hyphos Thessalonian hyphos Jerusalem/Antiochian hyphos Smyrna hyphos Athenian hyphos ― 246 ― YPHOS What you chant, on the other hand, refers to the (written or oral) music you use. Some refer to what as ‘tradition’, as in the Patriarchal church tradition. The Patriarchal hyphos has a regulatory authority, the Ecumenical Patriarchate, which restricts what music can and cannot be used20 in the Patriarchal church. In general, only music composed by former Patriarchal chanters can be used in the Patriarchal church. For all hyphos other than Patriarchal, what you chant is not regulated—it’s up to the local church to choose what music to chant. For example, the so-called Constantinopolitan yphos (all parishes belonging to the Ecumemenical Patriarchate, but the Patriarchal Church) boasts an identical how, but more relaxed what, compared to the Patriarchal hyphos. The restrictions by the Patriarchate on hyphos are not arbitrary. They are geared towards preserving a music majestic enough for Byzantine emperors, yet simple enough for prayer. Majestic simplicity is the hallmark of the Patriarchal hyphos. This emphasis on preservation rather than easthetics, carried over the ancient melodies up to our days with the highest fidelity possible, almost exclusively in the Patriarchal church. With no musical limits, or a framework of allowable limits, music composition is bound only by aesthetics (what people of that particular time and place find enjoyable) and the composer’s imagination. This led to a wide spectrum of diffenrences in hyphos, some of which you can see in the diagram above. Note how the Patriarchal hyphos is at the core, with Constantinopolitan including parts of the Patriarchal, like the how, but also including other elements of what. Between 20 For example, the Patriarchal Encyclical of 1880 lists acceptable music. ― 247 ― YPHOS these two kinds of hyphos, the ‘how’ of chanting is the same, but the ‘what’ is different. To oversimplify, if you give the same piece of written music to a Patriarchal chanter and a chanter of another church in Constantinople, they will sound similar. But, on a regular Sunday, the chanter outside the Patriarchate has the freedom to chant music outsite the strict limitations of the Patriarchal church. All other examples of hyphos in the diagram share the Patriarchal hyphos at their core, with different degrees of separation as to the how and the what. Again, to oversimplify, take a hymn like Σῶσον ἡμᾶς. If you hear it in the Patriarchal church, or any other church in Constantinople, or any region of Asia Minor, all the way down to the Greek-and-Arabic speaking Middle Eastern provinces of the Patriarchate (of the traditions of Jerusalem or Antioch), to Cyprus, Crete, or Alexandria (Egypt), you will hear the same sceletal, underlying melodic line. The core of this melodic line, its purest, simplest, most plain, chaste, austere, immaculate form, is the one taught in this book, which comes from the Patriarchal tradition. If, for example, you went in or around Smyrna (when that area had Christian populations, before 1922), you would still hear the same melodic line, but maybe embelished differently, to suit the ‘ears’ of the people of that place and time. You could hear Σῶσον ἡμᾶς in different languages and still hear the same melodic line in Arabic or Romanian, as it is possible and desirable to hear it in English21 as well, in environments where Greek is not understood and there is no desire to learn it. Hyphos, even Patriarchal hyphos, changed over time as well. Imagine we had a time machine that took us back a thousand years, at the time of the Great Schism, and entered Hagia 21 The work of Fr. Ephraim of St. Anthony's Greek Orthodox Monastery in Arizona is very encouraging in this regard. ― 248 ― YPHOS Sophia, the Patriarchal church at the time. Would chanting sound the same as it does today? Of course, not! For anyone to claim that chanting in the Patriarchal church didn’t change across the ages would be naïve. The point is, (1) it changed much less over time compared to the other churches, and (2) the ‘little’ that it changed (relative to other churches) was within tradition (as tradition was understood at the time of the change), not uncheked. This book’s recommendation is to try to approach Patriarchal or Constantinopolitan hyphos as much as possible. It’s easier than you think. It’s the simplest, most fundamental form of chanting. ― 249 ― MAP MAP OF CONSTANTINOPLE CHURCHES These are some of the churches in Constantinople still owned by the Ecumenical Patriarchate. For a more comprehensive map, please visit the book site at www.PatriarchalPsaltophiles.org. ― 250 ― REFERENCES ― 251 ― REFERENCES REFERENCES—ΠΗΓΑΙ ΚΑΙ ΒΟΗΘΗΜΑΤΑ [NOTE: All references were originally in Greek. Translation by the author.] Anastasimatarion of Petros Ephesios. Bucharest, Romania 1821. Apostolos, that is, the Act and the Epistles of the Holy Apostles. With the Approval of the Great Church of Christ. 8th Ed. Venice, 1861. Cherubikarion (Cherubum Hymn Collection), by Alexander Byzantius. Constantinople, 1900. Co-liturgical, that is the Taxis of the Reader and Chanter, by Holy Monastery of Simon Petra, Athos Holy Mountains, 2017. Collection of Idiomela and Apolytikia of the Entire Year. Written by Manuel the Protopsalt of the Great Church of Christ, translated into the New Notation by Hourmouzios Hartophylax, and published by Theodore Phokaeus. Constantinople, 1832. From the Taxis and Chanting in the Patriarchal Church of Constantinople. Fr. Serapheim Farasoglu, Protobresbyter of the Ecumenical Patriarchate. Athens, 1988. Heirmologion of Peter Protopsalt, by Hourmouzios Hartophylax. Constantinople, 1825. Introduction to the Theory and Practice of Ecclesiastical Music, Put Together for the Use of its Students, by Chysanth of Madytos. Paris, 1821. Krepis by Theodore Phokaeus. Athens 1872. Music Collection of Progagis, Volume II, The Orthros (Matins). Constantinople, 1909. Music Collection of Progagis, Volume III, The Liturgy. Constantinople, 1911. ― 252 ― REFERENCES Music Collection—Sunday Communion Hymns, Lucas Luca and Gerasimo Monk in Holy Mountain of Athos, 2019. New Anastasimatarion by Hourmouzios Hartophylax, published by Theodore Phokaeus. Constantinople, 1832. Pandekte (All-Encompassing), Volume IV, The Liturgy, by John Lambadarios and Stephan First Domesticos of the Great Church of Christ. Constantinople, 1851. Pentecostarion of Raidestinos George. Constantinople, 1886. Typikon of the Great Church of Christ by Protopsalt George Violakis based on the Typikon of Konstantin the Protopsalt. Constantinople, 1888.