Byzantine music
One of the foundations of authentic chanting (along with proper chronos, intervals, and vocalizations) is the use of good compositions. Genuine Byzantine music is based on textual accentuation and governed by a series of formulaic rules that dictate which melodic lines may be used to match a particular syllabic pattern. In addition, a series of orthographic rules ensures consistency and readability.
Byzantine music compositions in English which rigorously adhere to these formulaic and orthographic rules have only appeared in the past few years. The most prominent of these is the Divine Music Project by St. Anthony’s Monastery, whose material I prefer. Thanks to St Anthony’s Seminar on Composing Byzantine Music in English, I have myself begun to study the art of composing authentic Byzantine melodies. Below you can find several scores of Byzantine music in English, which I have prepared in adherence to the formulaic and orthographic rules of composition. The translation used for these hymns that of the Holy Transfiguration Monastery in Brookline, chosen since many people throughout the world hold their liturgical translations in high regard due to their precision, meter, and elegance.
Original compositions | |||
| Troparion of Kassiane, plagal of fourth tone | Byzantine | Western | |
| The Small and Great Paraklesis | Coming soon | ||
| Canon of the Akathist, fourth tone | Byzantine | ||
| Katavasiae of the Theotokos, fourth tone | Byzantine | ||
| Communion Hymn of Pentecost, first tone | Byzantine | ||
| Communion Hymn of All Saints, plagal of fourth tone | Byzantine | Western | |
| Doxastikon of St Nicholas, plagal of second tone | Byzantine | Western | |
| Psalm 22, plagal of first tone | Byzantine | Western | |
| Megalynarion of the Cross, plagal of fourth tone | Byzantine | Western | |
| Kontakion of the Departed, plagal of fourth tone | Byzantine | Western | |
Adaptations | |||
| Rejoice, Thou Bride Unwedded, plagal of fourth tone | Byzantine | ||
| Christ Is Risen, plagal of first tone | Byzantine | ||
| Stichera of Sts. Peter and Paul, second tone, “With what fair crowns” | Byzantine | ||
The following adaptations are older works of mine and do not adhere to the formulaic and orthographic rules of Byzantine music. I still provide them here for those who would find them useful, but I plan to eventually redo the work below. | |||
Older adaptations: Doxastika | |||
| Doxastikon of Pascha, plagal of first tone | Byzantine | Western | |
| Doxastikon of the Holy Fathers, plagal of fourth tone | Byzantine | Western | |
Older adaptations: Megalynaria | |||
| August 15, Dormition of the Theotokos, first tone | Byzantine | ||
| Pascha, first tone | Byzantine | ||
| Palm Sunday, fourth tone | Byzantine | Western | |
| September 8, Nativity of the Theotokos, plagal of fourth tone | Western | ||
| December 25, Nativity (by Cosmas), first tone | Western | ||
| January 6, Theophany, second tone (transposed from Vou to D in the transcription) | Western | ||
| August 6, Transfiguration, plagal of fourth tone | Western | ||
Older adaptations: Nativity | |||
| First Kathisma, fourth tone, “Joseph was amazed” | Western | ||
| Second Kathisma, fourth tone, “Joseph was amazed” | Western | ||
| Third Kathisma, fourth tone, “Joseph was amazed” | Western | ||
| Orthros Pentecostaria (troparia after Psalm 50), second tone | Western | ||
| Orthros Idiomelon (on “Have mercy,”) plagal of second tone | Western | ||
| Exaposteilarion, third tone, the original melody | Western | ||
| Theotokion at the Praises, second tone | Western | ||
Older adaptations: other | |||
| Alleluia during Holy Week, plagal of fourth tone | Western | ||
| Awed by the Beauty, third tone, the original melody | Western | ||
| Apolytikion of St John of Damascus, third tone, “Thy confession” | Western | ||