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 toneByzantineWestern
The Small and Great ParaklesisComing soon
Canon of the Akathist, fourth toneByzantine
Katavasiae of the Theotokos, fourth toneByzantine
Communion Hymn of Pentecost, first toneByzantine
Communion Hymn of All Saints, plagal of fourth toneByzantineWestern
Doxastikon of St Nicholas, plagal of second toneByzantineWestern
Psalm 22, plagal of first toneByzantineWestern
Megalynarion of the Cross, plagal of fourth toneByzantineWestern
Kontakion of the Departed, plagal of fourth toneByzantineWestern

Adaptations

Rejoice, Thou Bride Unwedded, plagal of fourth toneByzantine
Christ Is Risen, plagal of first toneByzantine
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 toneByzantineWestern
Doxastikon of the Holy Fathers, plagal of fourth toneByzantineWestern

Older adaptations: Megalynaria

August 15, Dormition of the Theotokos, first toneByzantine
Pascha, first toneByzantine
Palm Sunday, fourth toneByzantineWestern
September 8, Nativity of the Theotokos, plagal of fourth toneWestern
December 25, Nativity (by Cosmas), first toneWestern
January 6, Theophany, second tone (transposed from Vou to D in the transcription)Western
August 6, Transfiguration, plagal of fourth toneWestern

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 toneWestern
Orthros Idiomelon (on “Have mercy,”) plagal of second toneWestern
Exaposteilarion, third tone, the original melodyWestern
Theotokion at the Praises, second toneWestern

Older adaptations: other

Alleluia during Holy Week, plagal of fourth toneWestern
Awed by the Beauty, third tone, the original melodyWestern
Apolytikion of St John of Damascus, third tone, “Thy confession”Western