Vespers As chanted on the Holy Mountain Byzantine Notation November 2006, Version 1.0 This book is available online for free at: http://www.stanthonysmonastery.org/music/Index.html This book is also available for sale in four versions: Western Notation in color$150 Western Notation in black&white$50 Byzantine Notation in color$150 Byzantine Notation in black&white$50 For orders contact us at: St. Anthonys Greek Orthodox Monastery 4784 N. St. Josephs Way Florence, AZ 85232 USA Tel. (520) 868-3188 Fax (520) 868-3088 e-mail: monastery@stanthonysmonastery.org website: www.stanthonysmonastery.org 2006 St. Anthonys Greek Orthodox MonasteryPermission to copy is granted for liturgical use. Contents Concerning Adaptation ..............................................................................................................ix About the Translation............................................................................................................. xxvi Concerning Notation............................................................................................................. xxxvii Rubrics .................................................................................................................................... xxix Acknowledgements................................................................................................................xxx PART I OCTOECHOS FIRST MODE Lord I Have Cried .............................................................................................................1 Let My Prayer ...................................................................................................................2 Verses (Psalms 140, 141, and 129) ...................................................................................3 Slow Stichera ....................................................................................................................8 Glory, Both now...............................................................................................................17 Dogmatic Theotokion .......................................................................................................20 Slow Aposticha .................................................................................................................22 ivContents Aposticha Theotokion .......................................................................................................27 Apolytikion (Dismissal Hymn) .........................................................................................29 Heirmologic (brief) Versions: Lord I Have Cried .........................................................................................................32 Stichera.........................................................................................................................34 Aposticha ......................................................................................................................44 SECOND MODE Lord I Have Cried .............................................................................................................50 Let My Prayer ...................................................................................................................51 Verses (Psalms 140, 141, and 129) ...................................................................................52 Slow Stichera ....................................................................................................................57 Glory, Both now...............................................................................................................67 Dogmatic Theotokion .......................................................................................................70 Aposticha ..........................................................................................................................72 Aposticha Theotokion .......................................................................................................77 Apolytikion (Dismissal Hymn) .........................................................................................79 Heirmologic (brief) Versions: Lord I Have Cried .........................................................................................................82 Verses (Psalms 140, 141, and 129)..............................................................................84 Stichera.........................................................................................................................89 Aposticha ......................................................................................................................99 THIRD MODE Lord I Have Cried ............................................................................................................105 Let My Prayer ..................................................................................................................106 Verses (Psalms 140, 141, and 129) ..................................................................................107 Stichera ............................................................................................................................112 Glory, Both now ..............................................................................................................121 Dogmatic Theotokion ......................................................................................................124 Aposticha .........................................................................................................................126 Aposticha Theotokion.....................................................................................................131 Apolytikion (Dismissal Hymn) ........................................................................................133 Heirmologic (brief) Versions: Lord I Have Cried ........................................................................................................136 Stichera ........................................................................................................................138 Aposticha .....................................................................................................................148 FOURTH MODE Lord I Have Cried ............................................................................................................154 Let My Prayer ..................................................................................................................155 Verses (Psalms 140, 141, and 129) ..................................................................................156 Stichera ............................................................................................................................161 Glory, Both now ..............................................................................................................171 Dogmatic Theotokion ......................................................................................................174 Aposticha .........................................................................................................................177 Aposticha Theotokion.....................................................................................................183 Apolytikion (Dismissal Hymn) ........................................................................................185 Contentsv Heirmologic (brief) Versions: Lord I Have Cried ........................................................................................................188 Stichera ........................................................................................................................190 Aposticha .....................................................................................................................200 PLAGAL FIRST MODE Lord I Have Cried...........................................................................................................206 Let My Prayer ..................................................................................................................207 Verses (Psalms 140, 141, and 129) ..................................................................................208 Stichera ............................................................................................................................213 Glory, Both now ..............................................................................................................223 Dogmatic Theotokion ......................................................................................................226 Aposticha .........................................................................................................................228 Aposticha Theotokion ......................................................................................................234 Apolytikion (Dismissal Hymn) ........................................................................................236 Heirmologic (brief) Versions: Lord I Have Cried ........................................................................................................239 Verses (Psalms 140, 141, and 129).............................................................................241 Stichera ........................................................................................................................246 Aposticha .....................................................................................................................256 PLAGAL SECOND MODE Lord I Have Cried ............................................................................................................262 Let My Prayer ..................................................................................................................263 Verses (Psalms 140, 141, and 129) ..................................................................................264 Stichera ............................................................................................................................269 Glory, Both now ..............................................................................................................278 Dogmatic Theotokion ......................................................................................................281 Aposticha .........................................................................................................................283 Aposticha Theotokion.....................................................................................................288 Apolytikion (Dismissal Hymn) ........................................................................................290 Heirmologic (brief) Versions: Lord I Have Cried ........................................................................................................293 Verses (Psalms 140, 141, and 129).............................................................................295 Stichera ........................................................................................................................300 Aposticha .....................................................................................................................310 GRAVE MODE Lord I Have Cried...........................................................................................................316 Let My Prayer ..................................................................................................................317 Verses (Psalms 140, 141, and 129) ..................................................................................318 Stichera ............................................................................................................................323 Glory, Both now ..............................................................................................................333 Dogmatic Theotokion ......................................................................................................336 Dogmatic Theotokion (Diatonic) .....................................................................................338 Aposticha .........................................................................................................................341 Aposticha Theotokion ......................................................................................................345 Aposticha Theotokion (Diatonic) ....................................................................................346 viContents Apolytikion (Dismissal Hymn) ........................................................................................347 Heirmologic (brief) Versions: Lord I Have Cried ........................................................................................................350 Stichera ........................................................................................................................352 Aposticha .....................................................................................................................362 PLAGAL FOURTH MODE Lord I Have Cried ............................................................................................................367 Let My Prayer ..................................................................................................................368 Verses (Psalms 140, 141, and 129) ..................................................................................369 Stichera ............................................................................................................................374 Glory, Both now ..............................................................................................................382 Dogmatic Theotokion ......................................................................................................385 Aposticha .........................................................................................................................387 Aposticha Theotokion.....................................................................................................393 Apolytikion (Dismissal Hymn) ........................................................................................395 Heirmologic (brief) Versions: Lord I Have Cried ........................................................................................................398 Stichera ........................................................................................................................400 Aposticha .....................................................................................................................410 PART II SPECIAL DAYS I Shall Go into Thy House Plagal Fourth Mode, adapted from Hieromonk Gregory .................................................417 Anoixantaria (end of Psalm 103) by Theodore Phokaeus (standard version)......................................................................419 by George Raidestenos (elaborate version) .....................................................................432 by St. John Koukouzeles (very long version) ..................................................................446 Elaborate Finale for Anoixantaria, Ancient Melody .......................................................453 Blessed is the Man (Psalms 1, 2, and 3) by Manuel the Protopsaltis, Plagal Fourth Mode (long version) .....................................458 by Hieromonk Gregory, Plagal First Mode (brief version) .............................................471 Lord I Have Cried (very long versions) First Mode, by Iakovos the Protopsaltis ..........................................................................480 Plagal Second Mode, by Iakovos the Protopsaltis ...........................................................485 Verses (Psalms 140, 141, and 129) in Triple Meter First Mode, Athonite Melody ..........................................................................................489 Plagal Second Mode, Athonite Melody ...........................................................................495 O Joyous Light Second Mode, by John Sakellarides ................................................................................501 Second Mode, Ancient Melody, abbreviated by Socrates Papadopoulos .......................503 Prokeimena For Weekdays Saturday ......................................................................................................................505 Contentsvii Sunday ........................................................................................................................506 Monday .......................................................................................................................507 Tuesday .......................................................................................................................508 Wednesday ..................................................................................................................509 Thursday .....................................................................................................................510 Friday ..........................................................................................................................511 For Lent Turn Not Away, by Petros Peloponnesios ..................................................................512 Thou Hast Given, by Petros Peloponnesios ................................................................515 For Bright Week and Feast Days of the Lord For Holy Saturday, Arise O Lord..............................................................................517 For Holy Pascha, What God is as Great .....................................................................518 For Bright Monday, Our God is in Heaven ................................................................519 For Bright Tuesday, With my Voice ..........................................................................520 For Bright Wednesday, Give Ear O God...................................................................521 For Bright Thursday, I Will Love Thee.....................................................................522 For Bright Friday, Thou Hast Given ..........................................................................523 Rich Men Have Turned Poor Heirmologic (Brief) Melodies Grave Mode, traditional melody .................................................................................524 Plagal First Mode, traditional melody in triple meter ................................................525 Sticheraric (Long) Melodies First Mode, by Hieromonk Hierotheos .......................................................................526 Plagal First Mode, by Hieromonk Daniel..................................................................528 Plagal First Mode, by Hieromonk Hierotheos ............................................................529 Enharmonic Grave Mode, Ancient Melody ...............................................................530 Diatonic Grave Mode, Ancient Melody .....................................................................531 O Theotokos and Virgin Eight-Mode Version, by Theodosios Georgiadis ............................................................532 Plagal First Mode, Ancient Melody "from the City" .......................................................537 Plagal First Mode, by Hieromonk Hierotheos .................................................................539 PART III RESPONSES Lord Have Mercy Plagal Fourth Mode, by Constantine Pringos...................................................................541 " " " by John Pallasis..............................................................................542 " " " by Iakovos Nafpliotis ......................................................................543 " " " by Thrasyvoulos Stanitsas ...............................................................544 " " " by Hieromonk Hierotheos ...............................................................545 " " " by Michael Hatziathanasiou ............................................................546 " " " by Kyriazis Nicoleris ......................................................................548 " " " by Hieromonk Hierotheos ...............................................................549 Plagal First Mode, by Athanasios Karamanis .................................................................550 """ by Lycourgos Petridis .........................................................................551 viiiContents """ by Hieromonk Hierotheos ...................................................................552 """ by Thrasyvoulos Stanitsas ..................................................................553 """ by Constantine Pringos .......................................................................554 """ by Hieromonk Hierotheos ...................................................................555 """ by Thrasyvoulos Stanitsas ..................................................................556 """ by Demetrios Sourlantzis ....................................................................557 """ by Nicolaos Georgiafentis ..................................................................558 Plagal First Mode, Athonite Melody for the Liti .............................................................559 Patheic (Suffering) First Mode, by Constantine Pringos .................................................560 Grant This O Lord Plagal Fourth Mode, by Hieromonk Hierotheos .............................................................561 " " " by Hieromonk Gregory ...................................................................563 Plagal First Mode, by Michael Hatziathanasiou ..............................................................565 """ by Hieromonk Hierotheos ...................................................................567 SOURCES AND APPENDIX Sources...................................................................................................................................569 Appendix: The Intonations of the Eight Modes.....................................................................571 Concerning Adaptation CCURATE liturgical translations rarely have the same meter as the original text.Asaresult,eithertheoriginalmelodymustchangetoaccommodate the new pattern of accented and unaccented syllables, or the words must be forced into a melody that was designed for a different text. When the origi-nalmelodyisnotwellknown,mostpeoplewouldagreethattheoriginal melody should be discarded and a new melody composed. When, however, the original melody is known and loved by many, most people prefer a musical arrangement of the text that resem-bles the original melody to a certain degree. Opinions vary as to what degree this should be. To illustrate different degrees of preserving the original melody, we shall compare various arrangementsfortheinitialwordsoftheVesperspsalmverseLord,Ihavecried( )insticheraricfirstmode.Theversionofthisthatisconsideredbymosttobethe originalmelodyisfoundintheAnastasimatarionofPetrosthePeloponnesian(d.1777)as published by Ioannis the Protopsaltis (d. 1866), which begins as follows: xConcerning Adaptation The first adaptation we shall analyze is taken from the Divine Liturgy Hymnal,1 commonly known in the Greek Orthodox Archdiocese of America as the green book. Thisexamplehastheadvantageofpreservingtheoriginalmelody2sowellthatboththe English and the Greek could be used in the same score. It has the disadvantage, though, of un-necessarily repeating the phrase to You. Another problem with this setting is that the melody for the first instance of the word Lord breaks the formulaic rules of composition for Byzan-tine music that dictate which melodic lines may be used to match a particular syllabic pattern. ThemelodyforthephrasemeOLordisastandardformulainByzantinemusic.However, placingthewordOonthewrongnotebetrayseitheranignoranceofordisrespecttowards thetraditionalapplicationofthisformula.Breakingtheformulaicrulesisaproblemnotonly ideologically (in that such compositions cannot be considered a valid continuation of the tradi-tion of Orthodox chantwhich, as the musicologist Dimitri Conomos has pointed out, is the only music in world history that has a continuous 1500-year unbroken melodic tradition) but 1 The Divine Liturgy Hymnal, Greek Orthodox Archdiocese of N. & S. America, Department of Religious Educa-tion, Brookline, Mass., second edition, 1982, p. 119. 2 This arrangement is actually a transcription of the melody written by John Sakellaridis in his book presented below, which differs only slightly from the melody by Ioannis the Protopsaltis on the previous page. Concerning Adaptationxi alsoaesthetically,becausetoquoteConomosagaintheseage-oldchants,especiallypre-served on Mount Athos, bear a relevance and a beauty that is unmatched by other, later produc-tions.Besides,melodiesthatbreaktheserulesusuallysoundawkwardeventotheuntrained ear, due to an unbalanced match between words and melody. ThesecondexampleistakenfromtheAnastasimatarion:ResurrectionalHymnal,3which contains music composed by Hieromonk Seraphim Dedes. This second example also has advantages and disadvantages similar to the first example.4 Inparticular,thetexthasbeenadjustedtofitthemelodybetter(thephrasehearmeisre-peated a total of six times whereas the original version of the hymn uses this phrase only four times).ThemelodyalsostretchestheformulaicrulesofByzantinemusiccomposition:ame-lodic phrase requiring three syllables was used for the two syllables Lord I and cried un-. This example differs from the first example in that the melody has been slightly changed to fit thetextbetter.Namely,theone-beatrestfollowingthemartyriawasusedinsteadofanison. AnadvantageofthisexampleisthatitiswritteninatraditionalnotationoftheOrthodox Church. We have enumerated the reasons why Byzantine music notation is superior to Western notation in an essay at: http://www.stanthonysmonastery.org/music/NotationB.htm The next example on the following page was written by David Melling of blessed memory, a Byzantine musicologist in England. 3Anastasimatarion:ResurrectionalHymnal,GreatVespersofSaturdayEvening,ByzantineMusicinGreekand English, Holy Cross Greek Orthodox School of Theology, Brookline, 2004, p. 1. 4 It should be pointed out, though, that this publication does not always preserve the original melodies unchanged. Usually the original melodies have been adjusted to a greater degree in order to match the English text better. xiiConcerning Adaptation This adaptation has preserved the original melody essentially unaltered, as did the previous twoexamples.Butthisversiondiffersfromtheminthatitdoesnotrepeatwordsthatarenot repeatedintheoriginal.Since,however,theGreektexthasmoresyllablesthantheEnglish translation, some words in this version have been extended over a dozen notes. Although such a phenomenondoesoccuroccasionallyinthesticheraricgenusofhymns,itonlyhappenswith particular melodic lines. The melodic lines in this adaptation, however, would always be used with more syllables in regular Byzantine music. The fourth example is taken from page one of this book: Concerning Adaptationxiii This fourth example has advantages and disadvantages different than the first three exam-ples. Its primary disadvantage is that the original melody has not been preserved. A further dis-advantage of this example is that it is in Western notation.5 Its advantages, though, are that the text has not been tampered with in order to mimic the syllabic pattern of the original hymn in Greek,andthemelodyhasbeenmolded to match the text in perfect compliance with the for-mulaic rules of Byzantine music. ThefollowingadaptationisbyJohnMichaelBoyer,theProtopsaltisoftheGreekOrtho-doxMetropolisofSanFrancisco,whostudiedByzantinechantinGreeceundertheArchon Protopsaltis Lycourgos Angelopoulos: Thisadaptationisnearlyidenticaltothepreviousexample,eventhoughthetwowere composed independently. The only melodic difference occurs on the first word. This adaptation also complies fully with the formulaic rules of Byzantine music and is flawless in terms of or-thography. Another obvious difference between this and the previous version is that the latter is writteninByzantinenotationandincludestheoxeiathatSimonKarasrecommendedreintro-ducing and the markings for syneptygmenos rhythm. ThenextexampleisfromtheByzantineMusicProjectbyDr.BasilKazanofblessed memory: 5 We decided to publish the music of this book first in Western notation despite its drawbacks, since the vast ma-jority of chanters today know only Western notation. Since then, we have now presented the same troparia also in Byzantine notation. xivConcerning Adaptation Thisadaptationcombinestheadvantagesanddisadvantagesofthepreviousexamples.In some places (in the first measure, for example), the melody has been altered to match the text better, while in other places (e.g., in the third measure), the original melody has been preserved at the expense of breaking the formulaic rules of Byzantine music. For example, the melody for the two-syllable word unto is never used for two syllables in sticheraric first mode in Byzan-tinemusicinGreekbutalwaysforonlyonesyllable.Itshouldbepointedout,though,that Byzantine music in Arabic very frequently inserts extra syllables into formulae of Greek Byz-antinemusic.Therefore,onecouldjustifiablyarguethatthisstandardpracticeoftheirsisnot wrong but merely represents a different tradition that is well established. Another drawback of this adaptation is that the words that would be accentuated when reading this text aloud are not emphasizedbythemelody:inthefirstindependentclauseOLord,Ihavecriedoutunto Thee,onewouldnormallyaccentuatethewordsLord,cried,andThee.Themelody, however, emphasizes the words I and Thee. The next example is an adaptation in English by Nancy Takis of Michigan. Concerning Adaptationxv The melody of this adaptation has been altered to match the text, without distorting the text to fit the original melody better. This example conforms well to the formulaic rules of Byzan-tinemusicexceptintwoplaceswheretheruleshavebeenstretchedinordertoimitatethe original melody better: 1) the melody for the phrase cried out to thee in the second staff is a hybrid combination of a heirmologic formula of plagal first mode with a sticheraric formula of first mode, and 2) the melodic phrase for the words me, O Lord in the first two measures of thesecondstaffisappropriatefortwosyllablesinsteadofthree.Inordertousethismelodic phrase (known as the in the old Byzantine notation) for three syllables, the embellish-ment of the first note is expressly written out either as a petast with a klsma, or as an ison and kentmatawithagorgnallaboveanoligon.TheramificationsofthisformusicinWestern notation are that the melody for the first of the three syllables should bewritten either as four eighthnotes(onF,G,F,andEinthisinstance)orasadottedeighthnotefollowedbyasix-teenth note and two eighth notes (again on F, G, F, and E). A significant advantage of this ad-aptationincomparisontothepreviousexamplebyKazanisthatthemelodyemphasizesthe words that one would emphasize when reading the text aloud. The following example is an adaptation by Kevin Lawrence of North Carolina. xviConcerning Adaptation This adaptation has successfully followed the original melody quite closely. The only dif-ferenceisthatinthreeplacesaquarternotehaseitherbeeninsertedorremovedsothatthe melody would match the English text better. In particular, a quarter note has been added in the firsttwostavesforbothinstancesofthewordO,andinthesecondmeasureofthesecond staff, a dotted half note is used instead of a half note and a quarter note. An inevitable result of preservingtheoriginalmelodysowellinadifferentlanguageisthattheformulaicrulesof Byzantinemusicmustbebroken,duetothedifferentnumberofsyllablesinthetranslation. Thiscanbeobservedinthefirstmeasureofthesecondstaffwherethemelodyfortheword hearisassociatedwithonlyonesyllable insteadoftwo.Likewise,themelodyfortheword hear in the middle of the third staff would normally have two syllables, but here it has only one. These imperfections may be considered minor since the melody does not cloud the mean-ing of the text by emphasizing unaccentuated syllables. The following polyphonic setting is by Fr. James Meena of blessed memory, who was an archpriestoftheAntiochianArchdioceseofAmerica.Althoughhavingmultiplepartsclouds themodalityofByzantinemusic,we can still critique the arrangement by examining only the sopranos melody. Concerning Adaptationxvii This adaptation is similar to the previous example in that the original melody has been pre-served quite well. This example differs in that the text has been altered to fit the music better: the phrase to Thee have I cried in the first line is changed to I have cried unto Thee in the thirdline.Likewise,thephrasehearmeinthefirstandsecondlinesischangedtoOhear me,hearmeinthethirdline,thusrepeatingthisphrasemoretimesthanitisrepeatedinthe originalGreek.Anotherdrawbackofusingtheoriginalmelodynearlyunalteredisthatitun-avoidably emphasizes unduly the word I in the second line. This arrangement also breaks the formulaic rules by associating the two syllables have I with two consecutive quarter notes in thefirstline,sincetherulesdictatethatasinglesyllablewithahalfnotebelongsinthisme-lodic phrase. ThenextexampleistakenfromthewebsiteoftheHolyTransfigurationMonasteryin Brookline, Massachusetts.6 This is an adaptation of a more contemporary version of this hymn, presented on the fol-lowing page taken from a book published in 1952 by Constantine Pringos, the Archon Protop-saltis of the Patriarchate of Constantinople.7 6 See http://www.homb.org/frameset-sitemap.htm7 , , - , , 1974, . 15. xviiiConcerning Adaptation Comparingthetwo,wecanseethattheEnglishadaptationhassuccessfullycapturedthe flavoroftheoriginalandseveralofitsmelodicphrases.Furthermore,thistranscriptionin Western notation includes many of the implied embellishments of Byzantine chant. It also fol-lows the formulaic rules perfectly, except in the beginning of the second staff where the word me is used with a melodic phrase that is supposed to have two syllables instead of only one. Weshallnowproceedtoexaminevariousadaptionsofthishymninotherforeignlan-guages. The following example is taken from an Anastasimatarion in Rumanian:8 This example is similar to the fourth and fifth examples in that the original Greek melody has not been preserved, but the text has not been distorted, and the music follows the formulaic rules of Byzantine music. It also follows the orthographical rules faithfully, except in one place: 8 Anastasimatarul, Sfintei Monastiri Neamu, Bucureti, 1943, p. 1. Concerning Adaptationxix the elaphrn and the kentmata for the syllable zi in the first line should not be placed above an oligon, since they are not followed by a descending character. The next example is an adaptation in Spanish by Panagiotis Katsoulis from Athens, a son of the great teacher and protopsaltis, Konstantinos Katsoulis (1930-1987): Again,minorchangeshavebeenmadetotheoriginalmelodyinordertomatchthetext, and words have not been unnecessarily duplicated. The only problem with this adaptaion is that itcontainsafeworthographicalerrors.Inparticular,thevareiainthefirstlineshouldbere-moved,vareiasshouldbeaddedbeforethetwo-beatapstrophosesinthesecondandthird lines,andthesynechselaphrnshouldbereplacedbyanyporro.Nevertheless,thisadapta-tion faithfully follows the formulaic rules of Byzantine music composition. The following example is an adaptation in Arabic by Mitri el-Murr (1880-1969), the Proto-psaltis of the Patriarchate of Antioch, who was the first to write troparia in Arabic in Byzantine notation: xxConcerning Adaptation AswiththepreviousexampleinRumanian,weseethattheoriginalmelodyhasbeen changed to match the text, while conforming perfectly to the formulaic rules of Byzantine mu-sic. Note that only subtle changes in the melody were made so as to retain the flavor of the original melody. There are, however, three slight orthographical inaccuracies in this adaptation: the sndesmos in the first line should be a vareia, the antiknoma with an apl in the third line should be replaced by a petast with a klsma, and the sndesmos in the second line should be removed. The next example is an adaptation in English based on the Arabic melody by Sub-Deacon Karim El-Far of California: Comparing this with the Arabic prototype, we see that the melody is identical, except for the notes that have been added to account for the word O in both the first and third lines. A drawbackofpreservingtheoriginalmelodyunchangedisevidentinseveralplaceswherean unaccented word becomes musically accentuated by the melody. In particular, the words unto and Thou in the first line and the word have in the third line are unduly emphasized by the melody. Another drawback of not changing the original melody is that the formulaic rules have been broken in the third line where the word Lord is extended over three notes. In terms of orthography, this example has the same orthographical errors as the Arabic prototype. It has an additional orthographical mistake in the first line, where the second note should be an ison pre-ceded by a vareia, rather than an ison above a petast. ThefollowingexampleisaSerbianadaptationtakenfromabookpublishedinChurch Slavonic in Constantinople in 1859 by Hadji Angel Ioanov Sevlievets: Concerning Adaptationxxi Heretheoriginalmelodyhasbeendiscardedandanewmelodyhasbeencomposedthat conforms perfectly to the formulaic and orthographical rules of Byzantine music. Evidently, the prototype for this adaptation was neither the version of this hymn published by Ioannis the Pro-tospaltis(presentedonthefirstpageofthisessay)northeoriginalcompositionbyPetrosthe Peloponnesian, (shown below in the old notation), but most likely was the version published by Petros Ephesios in 1820 (presented on the following page).9 This can safely be assumed since the first six notes in both versions are identical and since both versions have a medial cadence on . 9 , , , , 1820, . 1. xxiiConcerning Adaptation The version of this hymn by Petros Ephesios begins as follows: 10

Notice that in the manuscript on the previous page, the entire melody of the first line is re-peatedverbatimfromtheendofthesecondlineuntilneartheendofthethirdline.Although thisversionalsobeginswiththesamemusicalphraseastheversionbyEphesios,itdoesnot have a medial cadence on its mesos as do Ephesios and Selvievec. Therefore, it is prob-able that Selvievec based his melody on the version by Ephesios. 10 As an aside regarding orthography, an astute observer will notice that Petros Ephesios (d. 1840) used an oligon for the second to last note in the first line for the syllable , whereas Ioannis the Protopsaltis (d. 1866) in the first example of this essay used a petast in the same situation. A little-known rule of orthography dictates that an oligonmustbeusedinthissituation.(See,, -,1940,.26,55,orrule#2dinourcompilationat:http://www.stanthonys monastery.org/music/ByzOrthography.pdf)Furtherevidencethattheoligonisindeedmorecorrectisfoundby examining manuscripts of the Three Teachers and their immediate disciples. For example, the following facsimilie of a manuscript written in 1839 (MS 23501 , , . 1.) correctly uses the oligon: Concerning Adaptationxxiii Returningtoouranalysisofadaptationsinforeignlanguages,thenextexampleweshall examine is another version in Church Slavonic. This one is taken from a recent publication11 in Bulgaria which is a reprint of a book published in 1872 in Constantinople:12 The melody in this example differs in only a few places from the melody in the other ex-ampleinChurchSlavonic.Inbothofthemtheoriginalmelodyhasbeenalteredinorderto match the syllabic pattern of the translation in accordance with the formulaic rules of Byzantine music. Note that this publication continues the ancient manuscript tradition of including a deco-rative header, inserting an elaborate initial capital letter, and writing Byzantine notation in both red and black (or brown) ink. This example is free of orthographical errors, but a minor typo-graphical defect is that the font used to typeset the music puts the klsma and the gorgn too far above the apstrophos and the yporro.13 11.,,,. 2.,:". ", . , : . . 29. 12 -, . . . -. . 1872. . 17. The melodies in this book are for the most part identical to those found in the first Bulgarian book of Byzantine music printed in 1847 in Bucharest by Nikola Triandafilov. 13 The font used for this example was ED Psaltica, and it is available online at www.cmkon.org/fonts.htm Be-cause of this and its other imperfections, we created our own EZ Psaltica font package, which is available online at: http://www.stanthonysmonastery.org/music/ByzMusicFonts.htmlxxivConcerning Adaptation The following example is an adaptation by Andra Atlanti of France, who studied Byzan-tine chant in Greece under the Protopsaltis Zacharias Paschalides. This adaptation is another example wherein the original melody was discarded so that the melody would match the words in perfect conformity to the formulaic rules. This example also has perfect orthography except for one minor detail: the apstrophos in the second line above the syllable moi should have a petast beneath it. *** In summary, the versions of this hymn written in countries where Byzantine chant has ex-istedforcenturies(Bulgaria,Greece,Rumania,Serbia,andSyria)havetwocharacteristicsin common:themelodyhasbeenmoldedtomatchthetext,andthetexthasnotbeentampered withinordertofitaparticularmelody.Ontheotherhand,mostarrangementsofthishymn from Americawhere Byzantine chant has only recently appearedpreserve characteristics of the original melody at the expense of the text. In particular, three compromises have been ob-served in such adaptations: 1) The text itself has been tampered with in order to mimic the syl-labic pattern of the original hymn, 2) unaccented syllables are unduly emphasized by the mel-ody, and/or 3) the formulaic rules of Byzantine music composition have been stretched or dis-regarded.Onecansurmisethatthesecompromisesarenotfoundinthehymnsincountries whereByzantinechanthasexistedforcenturiesbecausecomposerswithathoroughgraspof Byzantinechantaboundinsuchplaces.InAmerica,however,whereByzantinechantisnew andexpertiseinitisrare,mostattemptstoarrangehymnshavesomeoralloftheaforemen-tioned shortcomings. As regards orthography, we have seen that examples taken from the nine-Concerning Adaptationxxv teenthcenturyhavefewornoerrors,whereasexampleswritteninrecenttimestendtohave more orthographical errors, regardless of where they were written. Thequestionthenarises,whicharrangementisbest?Theanswertothissubjectiveques-tion will depend on what one believes to be the ideal degree of alteration for Byzantine melo-dies when adapting them to texts in a foreign language, and further, if one believes that the text may be changed to mimic the syllabic pattern of the original melody. Since the melodies in this bookbelongtothesyllabicsticheraricandheirmologicgenres,whicharetext-basedand text-emphatic (as opposed to the melismatic papadic genre), we believe that the goal should be to alter or obscure the text as little as possible. Thus, our preference (in this book, at least)14 has been to follow the example set by the adaptations made in countries with a strong tradition of Byzantine chant. In other words, we have made whatever changes necessary to the original melodytomakeitmatchthecorrespondingtextincompleteaccordancewiththeortho-graphicalandformulaicrulesofByzantinemusiccomposition,withoutalteringthetext.This singular achievement in English was made possible only by constantly referring to our compi-lationoftheseformulaicrules.Wehavepostedtheminanewwebpage15withthehopethat other composers and arrangers of Byzantine music in any language will also benefit as much as we have by using them. 14InourDivineLiturgiesbook,forsomehymnswecomposednewmelodiesthatwouldmatchtheEnglishtext withoutbreakinganyformulaicrules,whileforotherhymnswedisregardedtherulesinordertopreservethe original melody with few or no changes. This was intentional, because many people know the melodies of those hymns, and they would prefer an adaptation that sounds familiar, whereas in this Vespers book, most of the tropa-riaoftheoctoechosarenotwellknown.Therefore,wepreservedonlythegeneralmelodicmovementsofeach troparion, while adapting the words to their appropriate melodic formulae. Only in the Apolytikia did we slightly stretch the formulaic rules in order to accommodate more of the original melody. 15 See http://www.stanthonysmonastery.org/music/Formula.html About the Translation URpreviousbookwithmusicfortheDivineLiturgiescontainedbothElizabethanand ModernEnglishversionsofeachhymn.ThisbookforVespers,however,contains hymns only in Elizabethan English. We decided to compose music only for this style of English because several others have already set these hymns to music using a Modern English translation.16 All the texts17 used for the hymns in this publication are copyrighted by the Holy TransfigurationMonasteryinBrookline,Massachusetts,andareusedwiththeirkindpermis-sion.WechosetheirElizabethanEnglishtranslationbecausemanypeoplethroughoutthe worldholdtheirliturgicaltranslationsinhighregardduetotheirprecision,meter,andele-gance. 16 In particular, Hieromonk Seraphim Dedes has set to Byzantine music all troparia of the Octoechos for Saturday Vespers and Sunday Orthros. His works are available at: http://sgpm.goarch.org/Monastery/index.php?p=31OtherswhohavesetthesetropariatoByzantinemusicusingaModernEnglishtranslationinclude:Dr.Jessica Suchy-Pilalis, John Michael Boyer, and Andrew Gorny. 17 The only text in this book that is our own translation is the text for the apolytikia of the Resurrection. O Concerning Notation hestandardwaytopronouncetheword"the"inmusicaltextsinEnglishistopro-nounce its "e" as the schwa sound [] when followed by a consonant and as a long "ee" sound when followed by a vowel. To help people avoid making mistakes when chanting this word, it has been written as "th" when followed by a vowel. PartIIofthisbook(whichcontainsmusicforSpecialDays),providesmorethanone melody for most hymns. One is free to choose whichever version one feels would be most ap-propriate, taking into consideration their duration and level of difficulty. Tempo marks are provided merely as guidelines; they may be altered to accommodate lo-cal requirements. Fromaroundthefourteenthcentury,composersofByzantinemusichaveinsertedmean-inglessconsonants(suchas+[n],~ [n],andc [h])intolong,melismaticmelodies.AsDr. Conomos explains: T xxviiiConcerning Notation Twoproblemsweresolvedwiththeintroductionoftheseforeignsoundsintothe text.First,apracticalone:theyhadtheeffectofabbreviatinganextendedmelodic phrase into groups of a few notes, thereby making it easier for the soloist or the choir to sing.Secondly,itsolvedanaestheticproblem;theconsonantserasedtheunpleasant-nessofasustainedvowelandofferedanincentivetothechantertoaddemphasisat certain points where the composer, scribe or psalte [i.e., chanter] thought fit.2 Inthisbooktheseconsonantswereusuallypreservedinthemelodicphrasesthatcallfor them. They are written in parentheses so that it is clear that they are not a part of the words and so that those who prefer not to use them in English may omit them. The intonations (aj phchv mata) that may be chanted before a hymn have been listed in the Appendix by number. The appropriate number for the intonation is provided only at the begin-ning of those hymns that Athonite chanters might precede with an intonation. 2 Conomos, Dimitri E., Byzantine Trisagia and Cheroubika of the Fourteenth and Fifteenth Centuries, Patriarchal Institute for Patristic Studies, Thessaloniki, 1974, p. 264. Rubrics S in the standard Greek Anastasimatarion, this book has both sticheraric (slow) and heirmologic (brief) versions of Lord, I have cried, the Stichera, and the Aposticha troparia.OnatypicalSaturdayevening ontheHolyMountain,thesticheraricver-sions of Lord, I have cried and the Stichera troparia are chanted, whereas the heir-mologic versions of the Aposticha troparia are chanted. In some parishes, however, the standard practice is to chant the sticheraric versions of Lord, I have cried and the Stichera troparia for first, second, plagal first, and plagal second modes, while the remaining modes are chanted heirmologically. WhenthereisnoDoxasticonappointedfortheSticherabytheMenaion,Triodion,or Pentecostarion, the verses Glory... and Both now... are chanted together in the mode of the week, followed by the sticheraric version of the Dogmatic Theotokion in the mode of the week. When, however, there is an appointed Doxasticon for the Stichera, it is chanted sticherarically, precededbythesticheraricverseGlory.Thereafter,theverseBothnowischantedinthe mode of the week, followed by the sticheraric version of the Dogmatic Theotokion in the mode of the week. WhenthereisnoDoxasticonappointedfortheApostichabytheMenaion,Triodion,or Pentecostarion,theversesGlory...andBothnow...arechantedtogethersticheraricallyin themodeoftheweek,followedbythesticheraricversionoftheApostichaTheotokioninthe modeoftheweek.When,however,thereisanappointedDoxasticonfortheAposticha,itis chanted sticherarically, preceded by the sticheraric verse Glory.Thereafter, the verse Both nowischantedheirmologicallyinthemodeoftheprecedingDoxasticon,followedbythe heirmologic version of the Aposticha Theotokion in the same mode. For more details of the rubrics for Vespers, see the typicon of Violakis and Konstantinos, available in English at: http://users.forthnet.gr/ath/frc/psprotheoria1.html#9thhourA Acknowledgements HIS book was only made possible by the assistance of doz-ensofpeople:hieromonks;priests;monastics;Byzantine, Slavic, Russian, and Western musicologists; linguists; trans-lators;Greekteachers;voiceteachers;composers;chanters;choir directors;membersoftheNationalForumofGreekOrthodox ChurchMusicians;iconographers;graphicdesigners;computer programmers;soundengineers;librarians;proofreaders;andpro-fessorsofmusic,theology,andEnglish.Wewouldalsoliketo thank ahead of time all who would like to point out to us the vari-ousmistakeswehavemade.Wearedeeplygratefulforalltheir contributions and pray that our Lord Jesus Christ reward them for their efforts abundantly in this life and in the next. T www.stanthonysmonastery.org/music/Vespers.htm first mode Lord, I Have Cried

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84 ord,___Ihavecried___ un - - to__________Thee,__ heark - enun --- to_________me;heark - - - en___ un --to__ me,___________O__________Lord.Lord,_____I havecried______un - -to____ Thee,__ heark - en__un - to___ me;________at - tendto Kuvrie ejkevkraxaFirst Mode-Lord I Have Cried www.stanthonysmonastery.org/music/Vespers.htm 2

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Let My Prayer

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the voice_________of________ mysup - - pli - ca - - -tion when Icry___ un - to___ Thee:_____________Heark - - enun - -tome__________ O___________ Lord. et my__ prayer___________ be___set___________ forth asin -- - - cense____ be - fore_________Thee, the lift - ing up______ _of___my___handsas aneve-ning sac - ri - - fice;__ heark -- en un --tome,__________ O___________ Lord. L Kateuqunqhv twwww.stanthonysmonastery.org/music/Vespers.htm Verses of Psalms 140, 141, and 129 First Mode

180Qou' KuvrieS 2 3 4 et, OLord,a watch be-foremymouth, and adoor ofen - clo-sure round a - bout my lips. In - cline___ not__my heartun -to wordsof e - -vil,tomake ex -cuse___ with ex-cus - - esin sins, Withmen that workin -iq - ui -ty; and I_______ will not join with_ _theircho - sen. Theright-eousman will chas-ten me with mer-cy andre - prove__me; First Mode-Verses of Psalms www.stanthonysmonastery.org/music/Vespers.htm 4

5 6 7 8 asfor th oilofthesin - -ner,letit nota-nointmy head. Foryet more__is my prayer_in the pres-ence of theirpleas -- ures;swal-lowedupnear bythe rock have their judg - es been. Theyshall hearmy words, forthey be sweet-ened;as a clodofearthis bro-ken__up -onth earth, so havetheir bones been scat-tered nigh__ un-to Ha - des. For un - toThee,OLord,OLord,__ are mineeyes,in Thee have__I hoped; take______ not my soul a-way. Keep me fromthe snare which they havelaidfor me,and fromthestum-bling-blocks of them that work in - iq - ui- ty. First Mode-Verses of Psalms www.stanthonysmonastery.org/music/Vespers.htm 5

9 10 11 12 13 14 Thesin -- ners shall fall in --totheir ownnet;Iama - loneun-til I pass___by. With myvoice un-to the Lord_ haveI cried, with my voiceun-to theLord have Imade my sup-pli- ca -tion. Iwillpour___ out be-fore Him mysup-pli - ca -tion, mine af - flic - - tion be-fore______Him willI de-clare. Whenmyspir -- it wasfaint - ing with - in____me,then Thou knew- estmy paths. In this way where-inIhavewalked theyhid for mea snare. I looked up - onmy righthand, and be -held,andthere was none that_ First Mode-Verses of Psalms www.stanthonysmonastery.org/music/Vespers.htm 6

15 16 17 18 _didknow__ me. Flight hathfailed__ me, and thereisnone that watch-ethout___formysoul. I have cried___un-to Thee,OLord; Isaid:___ Thou__ art myhope, mypor-tion__artThou_____in theland of___theliv -ing. At -tend un -to my sup - pli -ca --tion,for Iam brought_ver - ylow. De -liv -er me from them__thatper - se - cuteme,fortheyare strong- - er than I. On Saturdays, continue with Slow Stichera on page 9 or with Brief Stichera on page 32. On other days continue on following page. First Mode-Verses of Psalms www.stanthonysmonastery.org/music/Vespers.htm 7

19 20 21 22 Bring mysoul___ out of pris - - onthatI______may con-fess Thy Name. The right-eous shall waitpa -tient-ly for me un -til Thou shalt re-ward___ me. Out ofthedepths__ have__I cried______un -to Thee,O Lord; O Lord,____hear my voice. LetThineears___ beat -ten-tive tothevoiceof mysup-pli - ca - tion. www.stanthonysmonastery.org/music/Vespers.htm Slow Stichera First Mode

Verse #1'Ecoyoyr rx ouoxnc

Stichera #1Toc roaroiyoc '

Bring my soulout of pris -onthat Imay con -fess___ Thy__ _______ Name. c -ceptour eve - - ning_________ prayers,Oho - - - - ly___________Lord,and___ grant us__the re - mis - -sionof_______ sins;_____ forThou_____ a -loneartHeWho_____hath__ shown__ forth theRes - ur - rec -tion un - to__________the___________ world. First Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 9Verse #2'Eur uaouryouoi

Stichera #2Kuxe ootr ooi

heright - eousshall waitpa -tient - lyfor meun - til Thou shalt re - ward________ me. n -cir -- cle__Si --- on,O_____ye__ peo ----- - -ples, anden - com-passher,andgiveglo - ry there-in to Him that isa - - ris - en__ from the______dead; for____He is______ our______ God___ Who hathde - - liv - -ered___ us___ from our in -iq - - - - - ui - - - ties.T

First Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 10 Verse #3'Ex o0rey

Stichera #3Arutr ooi

utofthedepths have I criedun -toThee,OLord;OLord,__hear___ my__________voice. ome, O yepeo - -ples, let uspraise_andwor - ship___Christ, glo -ri -fy-ingHis Res - ur - rec - tionfrom__________ the__________dead;for____ He_____ is__our__God___ Who hathde - liv - - eredthe___ world fromth er - - - - rorof th en - - - - - e --- - -my.O

First Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 11Verse #4Iryn0nte to eto oou

Stichera #4Euoooy0ntr ouooyoi

etThineears beat -ten - tiveto the voiceofmysup - pli -ca - - - -tion. e - joice, O yeheav - - - - ens; sound thetrum-pets, ye foun- da - -tions ofth___ earth;cry______ out with__glad -- ness, O____ ye moun - - - tains. For, be -hold, Em-man - -u - -elhathnailed oursins___________ tothe___ Cross, and theGiv - eroflifehath slain__ __ death,__ and, as the Friend ofman, He hath raised upAd --- -am.L

First Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 12 Verse #5'Eoy oyouioc

Stichera #5Toy oooxi r xouoiec

fThou should - est mark in -iq - ui - ties, OLord,O Lord,who shallstand?ForwithThee__there isfor - give - - - ness.etuspraise Him Who will-ing - - ly wascru - ci-fiedin the fleshfor___us,Who did suf -fer and__was__bur --iedand hath a - ris -en__from__ the___ dead,__and let_________ us____________ say: Stab- lishThy Church in Or - tho - dox - - -y, O____ Christ, andmake our________ life____ peace --ful, since Thou artgood andtheFriend________ of___________man.I

First Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 13Verse #6Eyrxry tou oyouotoc oou

Stichera #6Te ceooo,e oou tooe '

orThy Name's sakehave I pa -tient - lywait -ed for Thee,O Lord; my soul hathwait - ed pa -tient - lyfor Thy word, my soul hathhoped in_______ the________Lord. swe un -wor -thy ones stand be --fore Thy____life - - giv -- - - - ing_________grave, glo - ri - fi - ca-tiondo____ we___ of - - ferto Thinein -ef - fa --ble com-pas - sion, O Christ________our__ _______ God;for the Cross anddeath hast Thouac -cept - - ed,O Sin - less___One,that Thou might-estgrant theRes-ur - rec-tion un-to___ the___world, since Thou art______ theFriend________ of___________ man. F

First Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 14 Verse #7 'Aaoouoxn c aoei oc

Stichera #7Toy te Hotoi ouyoyoo,oy

romthemorn - ingwatch un - til night, from the morn - ingwatch let Is -ra - elhopein______ the________ Lord. etus praise the Word Who,withthe__ Fa - - - -ther, is co -be - gin-ning-less and co - - -e - - ter --nal,andWhoin - ef - fa --bly hath come forthfrom the vir - - - gin - al____ womb,andhath ac - cept-ed the Cross and__deathfor us will -ing - -ly,andhatha -ris -en in glo - --ry;andlet____ us___ say___________ un - - -to________Him:O life -giv - ing__ Lord, glo - ry___ be__ to_ F

First Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 15

Verse #8Oti aooo te Kuoie

Verse #9Aiyritr toy Kuoioy

__Thee, theSav-iourof_________ our___________souls. or with the Lord thereismer -cy, and with Him isplen -te -ous re - demp-tion; and He shallre - deemIs -ra -eloutof allhis in - iq - - - ui - - - -ties.praisethe Lord, allye na - tions;praise Him, all yepeo - - - ples. F OFirst Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 16 Verse #10Oti rxootoie0n

or Hehath made His mer - cyto pre -vailo -ver us,andthe truthof the Lord a - bid -ethforev - - - - er. F

www.stanthonysmonastery.org/music/Vespers.htm Glory Both Now First Mode Dovxa Patriv...

Kai;nu' n ...

lo - ryto theFa - ther, and to the___Son, and__to________theHo - - lySpir - - - - it. othnow and ev - - -er and un -totha - - ges of a - - -ges.______A - - - -men. G B 84First Mode-Glory www.stanthonysmonastery.org/music/Vespers.htm 18 Alternate MelodiesDovxa Patriv...

Kai;nu' n ...

lo -ryto the__ Fa - - - -ther, and_ to the___ Son,and to theHo - lySpir - - - - it. othnow andev - -erand un -to tha - -gesofa -- - - - - ges.__A - - -men. G B

First Mode-Glory www.stanthonysmonastery.org/music/Vespers.htm 19Old (Slow) Sticheraric Melodies Dovxa Patriv...

Kai;nu' n ...

lo - - -ryto the Fa - -ther, and to____ the___Son,and_ __to______theHo - - - ly Spir - - - - - - - - - - - - -- - - - - - - - it.________________ othnow ______________ and___ev - - - - -er and un -to tha --ges of____a - - -ges.______________________A -men. B G

www.stanthonysmonastery.org/music/Vespers.htm Dogmatic Theotokion First Mode

84 heu - ni - ver- salglo - ry bornof__men, whohath giv - en birthun -to_________the___Mas - ter, theheav - - - - - - -en - - - ly________gate, let us praise_Mar - - -y the__ Vir - - - - - - gin,the song ofthe bod - -- i - less___hosts,andtha - dorn-ment of thefaith - - - - - - - - - - - - - - -Th; n pagkov smion dov xanFirst Mode-Dogmatic Theotokion 21

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ful.For shewas shown to___be aHeav - - - -en and atem - -ple of__ the___________ God - - -head;de -stroy-ing the wallof en-mi - ty,she ush -- ered in__ peace_ando - penedtheKing -- - - dom. Pos -sess-ing,there- fore, thisan - - -chor of____faith,wehaveascham - - pi - - on theLord_____________Who_ was________ born______of_________her.Take cour - -age,there - - fore, take cour-age, Oyepeo - - pleof___God; forHe shallfight___ thine_ en -e - - mies,___sinceHeisth Al - might - - - -y__________One.__________ www.stanthonysmonastery.org/music/Vespers.htm Slow Aposticha First Mode Aposticha #1Te ao0ri oou Xoiotr

y ThyPas-sion O Christ wewerefreed__from the__pas - - - - sionsand byThyRes -ur-rec -tionwewere de - liv-ered from_____ cor - -rup___tion.__Lord,glo - - rybe___________to___________ Thee. 88First Mode-Slow Aposticha www.stanthonysmonastery.org/music/Vespers.htm 23Verse #2O Ku oioc r ooi ruory

Aposticha #2'Ayoioo0e n xtioic

heLordisking; He isclothed withmaj - es -ty. The Lord isclothed with strengthandHehathgirt______Him - - -self. et cre -a - tion re-joice, lettheheav - ensbe_________ glad, letthena-tions clap___their_hands__________ with_________ joy. For Christ our Sav -- iourhath nailed our sins__to the___ Cross;andinslay - ing__ death,_________ He________hathgrant - -edus__________life.And as theFriend____of__man, He________hath__ raised__ upthe whole race of fall - -en___________Ad - - - - am. T First Mode-Slow Aposticha www.stanthonysmonastery.org/music/Vespers.htm 24 Verse #3Koiyo o r otrore or

Aposticha #3Booiru u ao o,ey

or He es - tab-lishedthe world which shall notbe shak - - -en. F hough Kingofheav - - en and_______ earth,OIn-com - pre -hen - - - -si - ble___One, Thouwast cru - - ci -fied___ will-ing - lyout____ of___ love__________for_________man. Onmeet - ing Thee_ be - low,___Ha-deswas em --bit - - - -tered whilstthesouls of__ ____ the___right - eous, on re - -ceiv - - -ing Thee,__wereglad - --dened. And Ad -am, on see-ing Thee, the Cre - a --tor,in the

First Mode-Slow Aposticha www.stanthonysmonastery.org/music/Vespers.htm 25

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Verse #4Te oixe oou aorari

neth -er - most parts,______ did a - -rise.O won - - der! How did the Life________________ of___all_________ taste______of_________ death?Were itnot thatHewilled to en -light - - enthe___ worldthat doth cryout and_________ say:Thou thatart ris --en from_____ the___ dead,__Lord,glo - - ry be____________________ to___________Thee. o - li - nessbe - com -ethThyhouse,OLord, un -to length__of___________days. H First Mode-Slow Aposticha www.stanthonysmonastery.org/music/Vespers.htm 26 Aposticha #4Iuyoixrc uuooooooi

hemyrrh-bear-ing wom-en,car - ry-ing myrrh - - - - oilsreached Thyse - pul -- chre with__ haste_______ andlam - - en - ta - - - - - - - tion;andnotfind-ingThine im -mac - u -late Bod - -y, they learned from th an - gel of the new and__ strange_won - -derand said__________un - - - to th___ a - pos - - -tles:Ris - -enis___ the___ Lord whogrant-eth greatmer - cy un -to___________the___ ______world.

The psalms ought not to be sung one after the other in the assemblies, but a reading should be interpolated after each psalm. Canon XVII of the Council of Laodicea www.stanthonysmonastery.org/music/Vespers.htm First Mode *

*Alternate text:

cyof____ I --sa - - - - - - -iah: 84e -hold, ful-filled_____ isthe proph-e - cyofEs - - - a - - i - - - -- - -as:Foras a vir - gin hastthou giv-en__ birth, andaf -tergiv-ing birth, thou_ hastre - -mainedasthou wastbe - fore___ ______child - - -birth; forHethat was bornwas__ God.Where-fore al - so Hehathre-newedall na - - - -tures.But,OMoth-er ofGoddis - dain not the sup - pli - ca-tions of_________thy___ ser -vants,!Idou; peplhv rwtaiAposticha TheotokionFirst Mode-Aposticha Theotokion 28

thatareof - fered_un -to Thee___in___ thy____________tem - - - - ple;but, sincethouhold -est the Com - pas-sion-ateOne______in____ thine__arms,show com-pas - sion onthy____________________ser - - - -vants, andin -ter - cede__________thou that__ our souls________ be___ _______ saved._________ www.stanthonysmonastery.org/music/Vespers.htm Apolytikion of the Resurrection First Mode

160henthestone was sealed__by the Jews andthe sol --dierswere guard --ing Thine im-mac -u -latebod -- y,Thou didst a - rise___on the third___ day,OSa - - viour, grant-ing lifeun - to the world.For which cause the pow - - ers of heav -- en cried out to Thee, O Life-giv -er:Glo- rytoThy res - ur - rec - -tion, O Christ. Glo-ryto____Thy King- dom. Tou' livqou sfragisqevnto"First Mode-Apolytikion www.stanthonysmonastery.org/music/Vespers.htm 30

Glory...Dovxa Patriv

Both now...Kai; nu'n

G B Glo-ry toThydis - pen - sa -- tion, O on - ly Friend__of man. lo -rytothe Fa --- ther, andtothe Son,__and to the Ho - lySpir - - it. othnow and ev ---er,and un -toth ag - esofag -- - es. A - men. First Mode-Apolytikion www.stanthonysmonastery.org/music/Vespers.htm 31

hileGa -bri - el wassay-ingRe-joice to thee, OVir -- gin, at his voicetheMas -terof all___things took flesh with-in thy purewomb.He dwelt in thee as His ho - ly ark as spake the right-eous Da - vid in the psalms. Thouwastseen tobe more spa -- cious than all__theHeav-ens since thou didst bear___ thy Cre - a - tor.Glo-rytoHim that willed to dwell inthee.Glo - -ry toHim___ that cameforth from thee.Glo - -ryto Himthat, through thygiv - ingbirth, hathde - liv - ered us.________ Tou'Gabrihv l Resurrectional Theotokion www.stanthonysmonastery.org/music/Vespers.htm First Mode - Brief Lord, I Have Cried

160Kuvrie ejkevkraxa ord,_____ Ihavecried__ un-to Thee, heark-enun -to me;heark-en un -to me, O Lord. Lord,_____ Ihavecried_____ un-to Thee, heark -en un -to me;at - tend___to the voiceofmysup - pli - ca -tion First Mode-Lord I Have Cried 33 '

Let My Prayer

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when Icryun- to Thee: Heark-en un -tome___O___Lord. et my prayer__be set forth___ as in - - - censebe - fore___ Thee, the lift - ing up______of my handsasaneve-ning sac -ri - fice; heark-en un -to me,___ O___Lord. Kateuqunqhv twL I think it is useful to have diversity andvariety in the prayer and psalmody at these appointed times, because somehow the soul is frequently bored and distracted by routine, while by change and variety of the psalmody and prayer at each hour its desire is renewed and its concentration restored. St. Basil the Great www.stanthonysmonastery.org/music/Vespers.htm Brief Stichera First Mode Verse #1'Ecoyoyr rx ouoxnc

Stichera #1Toc roaroiyoc

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Bringmy soulout ofpris -onthatImay con-fess Thy Name. c -cept our eve -ningprayers, Oho -ly Lord, andgrantusthe re - mis - - sionof sins; forThoua - lone art HeWho hath shown forth theRes - ur -rec -tion_ un -to____the__ world. First Mode-Brief Stichera www.stanthonysmonastery.org/music/Vespers.htm 35 heright -eousshallwaitpa -tient - lyfor meun -til Thou shalt re -ward___ me. Verse #2'Eur uaouryouoi

Stichera #2Kuxe ootr ooi

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Tn -cir - cle Si - on, Oyepeo - - ples, anden-com-pass her,and give glo - ry there-intoHim thatis a - ris - enfrom the dead; for He is our God Who hathde - liv-ered us from our in - iq -- ui - -ties.

First Mode-Brief Stichera www.stanthonysmonastery.org/music/Vespers.htm 36 Verse #3'Ex o0rey

Stichera #3Arutr ooi

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Out ofthedepths haveI criedun -toThee,O Lord;O Lord,__ hearmy voice. ome,_____ O ye peo - ples,let uspraise_andwor -ship Christ,glo - ri - fy --ing HisRes - - ur - rec - tionfrom the dead; for He______ isour God Whohathde-liv -ered the world from th er - ror of th en - -e - - my.

First Mode-Brief Stichera www.stanthonysmonastery.org/music/Vespers.htm 37 etThineearsbeat -ten - tivetothe voiceofmysup - pli -ca -- tion. Verse #4Iryn0nte to eto oou

Stichera #4Euoooy0ntr ouooyoi

L e - joice,O yeheav-ens; sound the trum-pets, ye foun-da- tions of th earth; cry out__with glad-ness, Oye moun-tains.For, be -hold, Em-man - u - elhath nailedoursins___ to the Cross,andtheGiv - erof life hath slain_____death,and,asthe Friend of man, He hath raisedupAd - am.

First Mode-Brief Stichera www.stanthonysmonastery.org/music/Vespers.htm 38 Verse #5'Eoy oyouioc

Stichera #5Toy oooxi r xouoiec

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I f Thou should -estmarkin -iq - ui - ties, OLord, OLord, who shallstand?For withThee there isfor -give --ness.etuspraise___ Him Who will - ing-ly was cru --ci-fied in theflesh forus, Whodid suf - fer andwasbur - -iedand hath a-ris -- en from thedead, and let us say: Stab-lish Thy Church inOr - tho - dox - - y,O Christ, and make_____ our life peace - -ful, since Thou art good and the Friend__of__man.

First Mode-Brief Stichera www.stanthonysmonastery.org/music/Vespers.htm 39Verse #6Eyrxry tou oyouotoc oou

Stichera #6Te ceooo,e oou tooe

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F or ThyName's sake have I pa -tient - ly wait - edfor Thee, OLord;my soulhath wait -edpa-tient-ly forThyword, mysoul hath hoped__ in the Lord. s weun - wor - thy ones standbe-fore Thy life -- giv-inggrave,glo - ri -fi -ca - tion doweof --fertoThinein - ef - fa -ble com - pas --sion,OChrist our God;for theCross and death hast Thou ac -cept-ed, O Sin-less One, that Thou might - est grant theRes -ur - rec - tionun -to the world,since Thou art the Friend__of___man.

First Mode-Brief Stichera www.stanthonysmonastery.org/music/Vespers.htm 40 rom the morn -ing watch un -tilnight, from the morn -ing watch let Is -ra - elhope_in the Lord. Verse #7 'Aaoouoxn c aoei oc

Stichera #7Toy te Hotoi ouyoyoo,oy

F et us praise the Word Who, with the Fa --ther, isco -be -gin- ning-less and co -e -ter -nal, and Who in - ef - fa- bly hath comeforth from the vir - -gin - al womb,and hath ac-cept - -ed the Cross and death__ for us will-ing -ly, and hatha -ris -eninglo --ry;and let______ussay un -to Him:O life-giv-ing Lord, glo -ry beto Thee, theSav-iour of our souls.

First Mode-Brief Stichera www.stanthonysmonastery.org/music/Vespers.htm 41 orHehath made Hismer - cy topre - vailo - ver us, and the truth of the Lorda - bid - ethforev - - er. Verse #8Oti aooo te Kuoie

Verse #9Aiyritr toy Kuoioy

Verse #10Oti rxootoie0n

F F Oor withtheLord there ismer-cy, and withHim is plen - te-ous re - demp-tion;andHe shall re -deemIs -ra - eloutofallhisin - iq - ui - ties.praisethe Lord, all yena-tions; praise Him, allyepeo --ples.

First Mode-Brief Stichera www.stanthonysmonastery.org/music/Vespers.htm 42 Glory...Aoco Hotoi

Both now...Koi yuy

Dogmatic TheotokionTn y aoyxo ouioy oo coy

G B lo - ry to theFa-ther, andtotheSon, and to theHo - ly Spir - it. oth nowand ev --er and un - toth a --- ges of a - ges.A - men. he u - ni -ver- sal glo -ryborn of men,who hath giv - en birthun-to theMas - - ter, theheav-en-ly gate, letus praise_Mar - - - y the Vir - -gin,the song_____ofthe bod - - i - less hosts, and

First Mode-Brief Stichera www.stanthonysmonastery.org/music/Vespers.htm 43

tha-dorn-ment of the faith -- ful. Forshe was shown tobeaHeav-en and atem - pleoftheGod-head;de -stroy - - - ing thewall ofen- mi - ty, she ush --ered inpeace ando-pened_theKing-dom.Pos -sess -ing,there-fore, this an -- chorof faith,we have ascham-pi-ontheLord Who was bornof her. Take cour - age, there-fore,takecour-age, Oye peo-ple ofGod; for He shall fight___ thineen - e-mies, since Heis th Al - might - - y___ One.___________ To recite the psalms with melody is not done from a desire for pleasing sound, but it is a manifestation of harmony among the thoughts of the soul. And melodious reading is a sign of the well-ordered and tranquil condition of the mind.St. Athansius the Greatwww.stanthonysmonastery.org/music/Vespers.htm Brief Aposticha First Mode Aposticha #1Te ao0ri oou Xoiotr

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160y Thy pas - -sion, OChrist, we were freed__from thepas - - sions,and by ThyRes - ur - rec -- tion we were de - liv-ered from cor -rup - tion. Lord,glo -- rybe___ to__Thee. First Mode-Brief Aposticha www.stanthonysmonastery.org/music/Vespers.htm 45Verse #2O Kuoioc rooiruory

Aposticha #2'Ayoioo0e n xtioic

Tet cre -a -tionre -joice, letthe heav - -ens be glad, let the na-tions clap their hands with joy.For Christ ourSav-iour hath nailed our sins_ to the Cross;and in slay-ing_death,Hehath grant --edus life. And as theFriend of man, He hath raised____ up the whole_____raceof fall-en Ad - -am. heLord isking; Heis clothed withmaj-es -ty.The Lord is clothed with strength andHe hath girtHim - self. First Mode-Brief Aposticha www.stanthonysmonastery.org/music/Vespers.htm 46 Verse #3Koiyo o r otroreor

Aposticha #3Booiruc uaoo,ey

F hough King ofheav - -enand earth, OIn-com-pre-hen - - si -ble One,Thou wastcru - -ci - fied will-ing-ly outof lovefor__man. Onmeet-ing Theebe -low, Ha-deswasem - bit-tered; whilst the souls___of the right-eous, onre - ceiv -ing Thee,_wereglad-dened.And Ad - am, on see - - - ing Thee, theCre -a -tor,in theneth - er-most parts, dida -rise.Owon - - der!How didtheLifeofall___tasteofdeath? were it notthat He willed toen - light-en the world that doth cry___ orHees -tab-lished the world which shall notbeshak -en. First Mode-Brief Aposticha www.stanthonysmonastery.org/music/Vespers.htm 47

Verse #4Te oixe oou aorari

Stichera #4Iuyoi xrc Muoooo ooi

H he myrrh - -bear - ing wom-en,car - -ry - ing myrrh -- oils, reached Thy sep - ul-chre with haste and lam-en -ta -tion;andnotfind-ing Thine im -mac -u - late Bod - y, they learned from th an -gelofthenew_ __ and strange won --der, and said un -to th__a -pos - tles: Ris - en isthe LordWhogrant -- eth greatmer - cy un -to____the__ world. out and say:Thou______ thatartris -en from the dead, Lord, glo -- rybe_ __to Thee. o -li - nessbe - com -ethThy house, O Lord, un - to length of days. First Mode-Brief Aposticha www.stanthonysmonastery.org/music/Vespers.htm 48 Glory...Aoco Hotoi

Both now...Koi yuy

Aposticha Theotokion 'Ioouaran oetoi

e - hold,ful -filled___ isthe proph-e - cyofEs - a -i - - as: Foras avir - gin hast thou giv - en birth,andaf -tergiv-ing birth, thouhast re - mained_as thou wastbe - fore__child-birth; forHe__thatBG

oth nowand ev -- er, andun -toth ag -- esofag -- es. A - men. lo - ryto the Fa-ther, and to theSon,and to the Ho -lySpir - - it.proph -- e - cyofI -sa - -ah: First Mode-Brief Aposticha www.stanthonysmonastery.org/music/Vespers.htm 49

was born was God.Where-foreal - - so,Hehath re - newed_ all na - tures. But,O Moth - -er of God, dis -dain___ not the sup - pli -ca-tions ofthy ser -- vantsthatareof -feredun - tothee in___thytem - -ple; but,since thou hold-est theCom -pas-sion-ate One___inthinearms,show com -pas - -sionon thy ser - vants,andin -ter-cede thouthatour souls be___saved._____ www.stanthonysmonastery.org/music/Vespers.htm Second Mode Lord, I Have Cried

ord,__________Ihavecried_____ un - - to___ Thee,heark-en__un - to____ me; heark - - en__un - tome,_________O__________Lord.Lord,____ I havecried___________ un - - - to____ Thee, heark - en_ 84Kuvrie ejkevkraxaSecond Mode-Lord I Have Cried www.stanthonysmonastery.org/music/Vespers.htm 51

Let My Prayer

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____ un - to____ me; at -tend______to_______the voice________of_ ____ mysup - pli - ca - - - - tion whenIcry______ un - - - to___ Thee: Heark - en un - tome,_________________________________O Lord. etmy prayer____be set______forthas___ in - - - - - - - cense be - - fore__________Thee,the lift - -ing_______ up__of____ my____________hands as aneve - - ning sac - - - - ri - fice; heark - en un -- tome,_________________________________OLord. Kateuqunqhv twL www.stanthonysmonastery.org/music/Vespers.htm Verses of Psalms 140, 141, and 129 Second Mode

180Qou' KuvrieS et, O Lord,awatchbe-fore my mouth,andadoor ofen - clo - sure round a -bout my lips. In -cline notmy heart un-towords ofe -vil, tomakeex -cuse___ _with ex -cus - -es in sins, With menthat work in -iq -ui - ty; and I____ will notjoin___ with their cho --- sen. The right - eous man will chas-ten mewith mer - cy and re - prove_______ 2 3 4 Second Mode-Verses of Psalms www.stanthonysmonastery.org/music/Vespers.htm 53

__ me; asfor th oil ofthe sin - -ner,let itnota-noint my head.Foryetmore ismy prayer inthepres-ence oftheirpleas - - - - ures; swal-lowed upnear bythe rock___have their judg - esbeen. They shall hearmy words, for they___ be sweet - - - - ened; as aclodofearthisbro-ken up-on th earth, sohavetheirbones been scat - tered nighun -- to Ha ---des. For un - toThee,OLord, OLord, are__mine eyes,in Thee haveI hoped; take___ notmysoula - way. Keep_____ me fromthesnare which they have laidfor me, and fromthe 5 6 7 8 Second Mode-Verses of Psalms www.stanthonysmonastery.org/music/Vespers.htm 54

stum-bling-blocks ofthem that workin -iq - ui -ty. The sin - ners shall fallin - to their own_____ net; I am a -loneun - tilI pass_____by. With my voice un -to the Lord have_Icried,with my voice un - tothe Lord haveI made mysup- pli -ca --- tion. I willpour out be - fore Him mysup-pli -ca - tion, mineaf -flic - tion__ be -fore Him will I de - clare. When myspir - it was faint-ing__with -in me, then Thou knew -est my paths. In this way where-inIhave walked they hid forme asnare. 9 10 11 12 13 Second Mode-Verses of Psalms www.stanthonysmonastery.org/music/Vespers.htm 55

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I looked up -on myright hand, and be -held, andtherewas none that _ _ did know_____ me. Flighthathfailed me, and there isnone that watch - ethout___ formy soul. I havecried un -to Thee, OLord;I said: Thou art__my hope, mypor -tion art Thouin theland___of the liv - - - ing. At -tend un -to mysup - pli-ca - -tion,for I am broughtver -y low. De -liv - er me from them that per - - se -cute__________ me, for theyare strong - er thanI. 14 15 16 17 18 On Saturdays, continue with Slow Stichera on page 57or with Brief Stichera on page 89. On other days continue on following page. Second Mode-Verses of Psalms www.stanthonysmonastery.org/music/Vespers.htm 56

Bring mysoulout of pris --onthatI may con -fessThy Name. The right-eous shall wait pa - tient-lyfor me un -tilThou shalt re - ward_ ____ me. Out ofthe depths have I criedun- to Thee,OLord; OLord,__hearmy voice. Let Thine earsbe____at -ten - tive tothevoiceof my sup - pli - ca - - - tion. 19 20 21 22 www.stanthonysmonastery.org/music/Vespers.htm ringmy souloutof pris - on thatI may con -fess________ Thy Name.Slow Stichera Second Mode

Verse #1'Ecoyoyr rx ouoxnc

Stichera #1Toy aoo oi e yey

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B ome, let us wor-ship God__the_Word, Who wasbe - got - ten of the Fa -ther be - fore______th a - - -ges, and was in -car - -nate_ of theVir - - gin__ Ma - - - - ry;forhav-ingen - - duredthe__Cross,__ He wasde - liv -ered o -vertobur -- i - - - al,Second Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 58

Verse #2'Eur uaouryouoi

Stichera #2XoiotocoEetno nuey

Tas_______He______________willed;and a - ris - -ing______from the___ deadHe___saved_____________me,__________ th err - - - - -- - - - - - - ing man. he right-eousshall waitpa - tient - ly for me un - til______Thou_ _______shalt______re - ward_____ me. av -ingnailed to theCrossthe_______hand-wri - -ting___ that was______________ a -- gainst__________us, Christour Sav-iourhathSecond Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 59

Verse #3'Ex o0rey

Stichera #3Euy 'Ao,oyyroic

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Oblot - - -ted_______ it_________ out, andhath de-stroyed the do - min --ionof ______________ death. We wor --ship_ Hisa - ris -- ingon__the__third_________________ day. ut of the depths have Icried un - to Thee, OLord;O Lord,_ ____hear my___ voice. ith th Arch - an-gelslet us__ praise the Res-ur - rec - - - - tion________ of_________ Christ;for Heis theRe -- deem - - er____ and_________ Sav-iour_ofour___souls. And inawe - - someglo -Second Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 60

Verse #4Iryn0n tetoeto oou

Stichera #4Er toy otouoe0ryto '

L - - - - ryandmight -- ypow - - - - er, He____com-eth__a - gain tojudge the worldwhich_ he__ fash - - - - - - ioned. et Thineears beat- ten -tiveto thevoice__ofmy sup -- pli -ca - - - - - -tion. hee, the Cru-ci -fied and__Bur - - ied,didth An - gel_pro -claim_____ as Mas - - ter;andhesaid un - to___ the__wom - - -en:Come be -holdwhere_______the Lord_____________ lay,___ for asth Al - might - - - y,__ Heisris - - en______asHe___said.Second Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 61

Verse #5'Eoy oyouioc

Stichera #5'Ey te otouoeoou '

I Where - - -fore, we wor -- - - ship______________Thee, Whoa - loneart___ im - - -mor - - -tal.___ OLife - giv -ing___ Christ, have_mer - - - - cy_______ on_________us. fThou should-est markin -iq- ui - ties,OLord, OLord, who shall stand?ForwithThee thereis_______for-give - -ness. ythyCross Thou didsta -- bol - - - - ishthe curse_____of the___tree;byThybur - - -i - -al Thou hast slain___the might_ Second Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 62

Verse #6Eyrxry tou oyouotoc oou

F or ThyName's sakehave I pa -tient -lywait -ed forThee,O Lord; mysoul hath wait -ed pa -tient - lyforThyword,mysoul hath hoped_in the___Lord.___(t) of________ death;and by Thinea -ris - - - ing,_Thou hasten - light ---- ened the race_______ of_______________man.Where --fore wecry______ out______to________ Thee: O Ben - e - fac - tor ChristourGod,glo --ry__be____________ to__________Thee. Second Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 63Stichera #6'Hyoi ynoo y ooi Ku oir

ut of fear,the________gatesof___________death o-penedun -toThee,________O Lord; and on be --hold-ing__Thee,__the gate-keep-ers of Ha - - -des trem - - -bled;forThou didst crush_____ the braz - - - - en__________gates,and didstbreak__th i - - -ron________bars. AndThoudidstlead___ us__ out______of dark - -ness andthe shad - - - - ow________ of_________death,anddidst break ourbonds__a - - sun - - - - - -der.

Second Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 64 Verse #7 'Aaoouoxn c aoei oc

Stichera #7Toy oetnoioy uuyoy

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romthe morn - ingwatch un -til night from themorn - ingwatchletIs -- ra -elhope_____in the___Lord. F hant-ing thehymn of sal - - -va - -tion, with our mouths let us____sing: Come_______ye___all,let__________ us___fallpros -- - -tratein the House______of the Lord,_________say - - - -ing: Thou Who wastcru - ci --fiedup -- on the___Tree,and didst a -rise______from______the________dead, and art in thebos - - om_ _ of_______ the Fa - - ther,be____gra - cious un - - to____________ Second Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 65

Verse #8Oti aooo te Kuoie

Verse #9Aiyritr toy Kuoioy

OF orwiththe Lordthere is mer - cy,and withHim isplen - te - ousre - demp-tion; andHeshallre -deemIs -ra -el outofall______ hisin - -iq - - - -ui - ties. praisethe Lord, allyena - tions;praise Him,_ allyepeo - -ples. our_________ sins. Second Mode-Slow Stichera www.stanthonysmonastery.org/music/Vespers.htm 66 Verse #10Oti rxootoie0n

F or HehathmadeHis mer -cyto pre -vailo- ver us,and the truthof the Lorda -bid - -eth for ev - - - - - - er. In the churches there are vigils, and David is first and middle and last. In the singing of early morning hymns David is first and middle and last. In the tents at funeral processions David is first and middle and last. In the houses of virgins there is weaving, and David is first and middle and last. What a thing of wonder! Many who have not even made their first attempt at reading know all of David by heart and recite him in order. Yet it is not only in the cities and the churches that he is so prominent on every occasion and with people of all ages; even in thefields and deserts and stretching into uninhabited wasteland, he rouses sacredchoirs to God with greater zeal. In the monasteries there is a holy chorus ofangelic hosts, and David is first and middle and last. In the convents there are bands of virgins who imitate Mary, and David is first and middle and last. In the deserts men crucified to this world hold converse with God, and David is first and middle and last. And at night all men are dominated by physical sleep and drawn into the depths, and David alone stands by, arousing all the servants of God to angelic vigils, turning earth into heaven and making angels of men. St. Chrysostom www.stanthonysmonastery.org/music/Vespers.htm Glory Both Now Second Mode

lo - - - -ryto the Fa --ther, and__ to the___Son, and to theHo - - lySpir - - - -it. oth now___________ andev - - - er andun -to tha --ges of a - - - ges.A - -men. G B Dovxa Patriv...Kai;nu' n ... 84Second Mode-Glory www.stanthonysmonastery.org/music/Vespers.htm 68 Alternate MelodiesDovxa Patriv...

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Kai;nu' n ...

G B lo - - - ryto the Fa - - ther, and_to__the_________Son,andto theHo - ly________Spir - - -it.____ oth now_____________and ev - - - - er andun -to tha - - -gesof_________ a --- ges.A -men.________ Second Mode-Glory www.stanthonysmonastery.org/music/Vespers.htm 69Old (Slow) Sticheraric MelodiesDovxa Patriv...

Kai;nu' n ... '

G B lo - - - - -ryto theFa - - - -ther, and_ to the___Son,___________ and to theHo - - - - - - - - - - - -ly Spir - - - - - - - - - - - -it. othnow and___ ev - - - - -er_________and un -toth__ a - - -gesof________a - - ges. A - -men.__________________ ___________________ www.stanthonysmonastery.org/music/Vespers.htm Dogmatic Theotokion Second Mode

84 he shad - - - -ow of____the_________ Law is___ passeda - - way with the com - - - - ing________of_________ grace; for as thebush_______was___not___con - - - - sumedwhen__it____ _____________was________burn - - ing,thusasa vir - - gindidstthou__________ give___________birth,andavir - - - -gin didstParh'lqen hJ skiavSecond Mode-Dogmatic Theotokion 71

thou_________ re - - -main. In the stead of apil - - - -larof____ fire,_______________ there hath a -ris - - - - -en________theSun of__ Right - - - - - eous - - -ness; inthe stead__of__Mos-es,___Christ theSal - va - tion__of____________our__________ souls.__ _______ www.stanthonysmonastery.org/music/Vespers.htm Slow Aposticha Second Mode

Aposticha #1H 'Ayo otooi c oou

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hy Res - ur -rec-tion,O____Christ Sav - - iour,hathen -light - -ened_____ the__ whole________ world; and Thou hastre - stored____Thine_ ____own crea - -ture.O Al - might -- y___Lord,glo - ry___ be______ ____to_________ Thee. 88Second Mode-Slow Aposticha www.stanthonysmonastery.org/music/Vespers.htm 73Verse #2O Ku oioc r ooi ruory

Aposticha #2Aio cuou Eetro

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T heLord is king; Heis clothed with maj - es -ty. The Lord is clothed withstrength and__Hehath girt__________Him -self. y the Tree,O Sav-iour, Thou_______ didsta - - bol --- ishthe curse_____ ofthe___tree; byThybur - - - i - -al, Thou hast slain_ __the might_____of_________ death;and Thou hast en - -light - - - - ened our raceby__Thinea -ris - - - - - -ing. Where --fore,we cry_________out______to_________ Thee:O____Life-giv -ing Christour God,glo - ry___ be___________ to_________ Thee. Second Mode-Slow Aposticha www.stanthonysmonastery.org/music/Vespers.htm 74 Verse #3Koiyo o r otrore or

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Aposticha #3'Ey te Etouoe Xoiotr

F orHe es - tab-lishedthe world__ which_shall________ not______ beshak - - - - - - en. hen Thouwast seen___ nailed up -on the__Cross,O____ Christ, Thoudidst change the beau - - ty___of cre -at - - - - - -ed_____ _________ things.Andthesol - - diers,_show - - ingtheirin -hu -man - -i - - - - - typierced Thy side___________witha____spear.And the Jews_________sought toseal_______ Thy______________ tomb,be - ing ig - - -no - -rant________of______ Thy pow - -er.But,Second Mode-Slow Aposticha www.stanthonysmonastery.org/music/Vespers.htm 75

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Verse #4Te oixe oou aorari

Aposticha #4Zeooo to Xoiotr

H Thou Who by themer - cyof Thy com --pas - - - -sions didst ac - cept___bur - -i - - - -alanddidst a - rise___________on_ __the third_________ day,___ Lord,glo -ry___be____________ to________ __ Thee. o -li - nessbe -com -ethThyhouse, O Lord, un-to lengthof_ _