Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison,...

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Byzantine Prosomia The Chanter’s Companion A Booklet Containing The Music and Text For All the Hymns Chanted on the CD’s © 2005, Holy Transfiguration Monastery, Brookline, MA

Transcript of Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison,...

Page 1: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

Byzantine Prosomia The Chanter’s Companion

A Booklet Containing The Music and Text For All the Hymns Chanted on the CD’s

© 2005, Holy Transfiguration Monastery, Brookline, MA

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Contents of this Booklet and the CD

First Tone

1 O all-lauded Martyrs • PaneÊfhmoi�Mãrturew�

2 O strange wonder • ÖV�toË�paradÒjou�yãumatow�

3 Thou art the joy • T«n�oÈran¤vn�tagmãtvn�

4 The three most great luminaries • ToÁw�tre›w�meg¤stouw�fvstÆraw�

5 While Gabriel was saying • ToË�l¤you�sfragisy°ntow�

6 The soldiers standing guard • TÒn�Tãfon�Sou�SvtÆr�

Second Tone 7 Thou soughtest the heights • Tå�ênv�zht«n�

8 With what fair crowns • Po¤oiw�eÈfhmi«n

9 When he took Thee • ÜOte�§k�toË�jÊlou�Se�nekrÒn�

10 O house of Ephratha • O‰kow�toË�ÉEfrayç�

11 Hearken, ye women • Guna›kew�ékout¤syhte�

12 Upon that mount in Galilee • To›w�mayhta›w�sun°lyvmen�

13 While Thy disciples looked on Thee • T«n�mayht«n�ır≈ntvn�Se�

Third Tone 14 Awed by the beauty • TØn�…raiÒthta�

15 On this day the Virgin • ÑH�Pary°now�sÆmeron�

16 The power of Thy Cross • Megãlh�toË�StauroË�SoË�

17 That which came to pass in thee • ÉAkatãlhptÒn�§sti�

18 Thy confession • Ye¤aw�p¤stevw�

19 From the heights our Saviour, Christ #1• ÉEpesk°cato�≤mçw�

20 From the heights our Saviour, Christ #2 • ÉEpesk°cato�≤mçw�

21 O Changeless Light • F«w�énallo¤vton�LÒge�

22 O ye Apostles from afar • ÉApÒstoloi�§k�perãtvn�

23 Thou Who as God adornest • ÑO�oÈranÚn�to›w�êstroiw�

24 While standing in the Temple’s courts • ÉEn�PneÊmati�t“�ÑIer“�

Fourth Tone 25 As one valiant • ÑVw�genna›on�§n�Mãrtusin

26 Lord, when Thou didst ascend • KÊrie�énely∆n�§n�t“�Staur“

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27 O Lord, although I desired to blot out • ÖHyelon�dãkrusin�§jale›cai

28 On this day Thou hast appeared • ÉEpefãnhw�sÆmeron

29 Thou who wast called from on high • ÑO�§j�Íc¤stou�klhye¤w

30 Unto them that fear Thee • ÖEdvkaw�shme¤vsin

31 Be quick to anticipate • TaxÁ�prokatãlabe

32 Joseph was amazed (Dismissal Hymn) • Kateplãgh�ÉIvsÆf

33 Thou Who wast raised up • ÑO�Ícvye‹w�§n�t“�Staur“

34 Thou Who wast raised up (Kontakion) • ÑO�Ícvye‹w�§n�t“�Staur“�

35 Joseph was amazed (Sessional Hymn) • Kateplãgh�ÉIvsÆf

Plagal of First Tone 36 Let us worship the Word • TÚn�sunãnarxon�LÒgon

37 We the faithful bless thee • Makar¤zom°n�se

38 O righteous Father • ÜOsie�Pãter

39 Rejoice • Xa¤roiw�éskhtik«n�élhy«w

Plagal of Second Tone 40 Angels in the Heavens • TØn�ÉAnãstas¤n�Sou

41 As it is written • TriÆmerow�én°sthw�Xrist°

42 Ere the morning star • ÑEk�gastrÚw�§t°xyhw�/�ÑH�épegnvsm°nh

43 Having laid up all their hope • ÜOlhn�époy°menoi

44 Ye angelic hosts • Afl�ÉAggelika¤

Plagal of Fourth Tone 45 By conceiving the Wisdom • TØn�Sof¤an�ka‹�LÒgon

46 O Lord, though Thou didst stand • KÊrie,�efi�ka‹�krithr¤ƒ

47 O Lord, Thy holy Martyrs • Ofl�Mãrtur°w�sou�KÊrie

48 O strange wonder • ÖV�toË�paradÒjou�yãumatow

49 The Paradise of Eden • ÑO�§n�ÉEd¢m�Parãdeisow

50 What shall we now call you • T¤�Ímçw�kal°svmen�ëgioi

51 To thee, the Champion Leader • Tª�Ípermãxƒ

52 When the bodiless one • TÚ�prostaxy°n

53 As first-fruits of our nature • ÑVw�éparxåw�t∞w�fÊsevw

54 Thou, as the Life of all • ÉAn°sthw�§k�nekr«n�

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INTRODUCTION

Through the prayers and contributions of the many involved in this project, we are happy to finally present this recording of fifty-four prosomia. We beg the indulgence of all that have been patiently waiting for us to complete this project, which has often seemed too large and outside the realm of possibility for the choir of our monastery. Glory to God for all things!

Prosómia are a large, specific group of hymns of the Eastern Orthodox Church, which are used as models and paradigms for the composition of other hymns. In laymen’s terms, a prosómion (singular) is a “hymn-tune”. When its title, which is the first words of the hymn appears above other hymn-texts, it signifies that they are to be sung to the tune of that particular prosomion. A hymn is called a prosomion – meaning in Greek “similar to” – when hymns modeled after the Original Melody match it note for note, syllable for syllable, and accent for ac-cent. A prosomion is called Podóben in Slavonic.

By learning the prosomia one will be able to chant thousands of hymns in the Menaion, Triodion, Pentecostarion, Octoëchos, and all the service books of the Church. In order to provide the Faithful with a learning tool, the fifty-four prosomia presented here are meant to be a companion to the Menaion, recently published in English by our monastery. Prosomia appear in almost every service of the Orthodox Church, as hymns for “Lord, I have cried”, the Aposticha and the Praises, and as Dismissal Hymns, Kontakia, Exapostilaria and Sessional Hymns. (Although the heirmoí of the Canons also function as hymn-tune paradigms, they are a category unto themselves and are not considered prosomia.)

As an additional tool for learning the prosomia, the sheet music for all the hymns has been included in this PDF file, followed by an additional PDF file of all these hymns as “music without text” for those who wish to write in the text of other hymns as a teaching aid, or for use in Church.

In character, prosomia vary from festive to mournful to joyous. The Fathers of the Church deemed them worthy and edifying vehicles of grace that can bring us to compunction and the contemplation of God’s ineffable love for mankind. Many of these melodies as we know them are based on hymns composed in the Monas-tery of Saint Sabbas in the Holy Land.

The prosomia on this CD have been grouped first according to Tone, and then the branch of the Tone, and within that, in alphabetical order. Further, the Exapostilaria, in Second and Third Tones, have been grouped together to assist comparison in learning to distinguish them.

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The original text and melody of a prosomion are called the “Original Mel-ody”. In our selection the Original Melody of each hymn will be chanted first, followed by one or two examples of hymns modeled after it. If the hymns do not follow exactly the paradigm of the Original Melody, they are called “irregular.” Where appropriate, the last example demonstrates how a final cadence can be in-serted in place of the simple ending. In some cases minor variants occur, which will be mentioned specifically later on.

The Notation and Execution of the Music

Regarding the notation on the music page itself, two things in particular need

to be mentioned: First, the bold-print capital letters which appear above certain notes in the staff are the notes for the “ison”. (In short, the ison is the “base note” upon which the Tone is based and is chanted by a lesser number of chanters as a foundation and support for the melody.) For example, if D appears above the first note of a hymn the “isocrats”, i.e., the ison-holders, are to chant the text on the note ‘D’ until another letter appears, changing to that note. The abbreviation “Un.” signifying “unison”, guides the isocrats to chant in unison with the melody until the next letter appears. An ison note that appears with an arrow pointing down, as in G , indicates that a low ‘G’ is to be chanted.

Second, in (all but one of) the hymns of Second Tone and Plagal of Second Tone, and one hymn in Fourth Tone, a special accidental, ‘ j,’ has been placed in the staff to indicate the flatting of a note by 1/3 of a step, which does not occur in general Western music practice. This is placed on ‘A’ and sometimes on low ‘D’. It sounds just a nuance lower than ‘An’, but definitely not as low as ‘Ab’. The Soft Chromatic scale used in the above mentioned Tones simply cannot be rendered on the well-tempered piano keyboard. Through much listening and practice one can learn to produce this new note. In light of the above, we have indicated a “soft flat” in the notation.

We do not intend to present a comprehensive theory of Neo-Byzantine Eccle-siastical chant here, but we wish to mention a few things to help the chanter in execution. One distinctive part of the special flavor of Byzantine chant comes from the tuning of its four scales. Each branch of each of the eight Tones, while using one of the four, has its own conventions: melodic formulae, dominant notes, at-tracted notes, endings and others. Certain notes in each Tone are considered dominant notes, which have a permanently fixed pitch, and certain other notes which can be attracted to those dominant notes, (and thus do not have a perma-nently fixed pitch). For example, in Third Tone, when an ‘E’ is between two neighboring ‘F’s’, the pitch of the ‘E’ may be pulled higher, i.e., attracted to the dominant ‘F’s’. Notice that in many of the hymns certain notes are not chanted ex-actly as they appear on the music page – they might be flatted or sharped in vary-

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ing degrees. Those could be attracted notes, part of the (regular) tuning of the scale being used, or a convention of the Tone. In the Soft Chromatic scale, the force of the dominant note ‘G’ is so strong that the note ‘A’ is permanently at-tracted down towards it and, therefore, ‘Aj ’ is part of the regular tuning of the scale. We have included it in the key signature.

A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above the note. This doubling is particularly effective in the hymns that use the Soft Chromatic scale as it gives a fullness and richness to the sound. Very beauti-ful examples of ison doubling can be heard in recordings from the Vatopaidi and Simonopetra Monasteries of Mount Athos available from our monastery.

The words “irregular” and “variant” were mentioned earlier. We use these terms to show that there is some difference between the paradigm of the Original Melody and a hymn that has a slightly different number of syllables (and the added or subtracted notes, which accompany them). Those changes have been in-dicated by using small notes for the additional notes. In almost all cases, the hymns of the new English language Menaion follow the paradigm exactly. Vari-ants, however, are not indicated in the text. Therefore, it is best to study the hymns before chanting them, in order to properly accommodate any irregularities.

Notes on the Hymns

First Tone

In While Gabriel was saying, the Original Melody is used only as a concluding Theotokion, and so we have included it here as the last example. This hymn also presents a variant in the notes of the concluding phrases with the triple “Glory…”

The soldiers standing guard is chanted from ‘A’ with the ison note ‘D’. Another tra-dition, more common among Greek chanters, is to chant this hymn from ‘A’ but with the Soft Chromatic scale, treating the note ‘A’ as if it were ‘G’, the base note. In that case the final ending and “Glory; both now” of Second Tone should be used.

Second Tone

Since With what fair crowns never appears as a Theotokion, “Glory; both now” and a final ending have not been provided. Different than the other hymns of Second Tone on this recording, O house of Ephratha uses the Hard Chromatic scale, as indicated in the key signature, rather than the Soft Chromatic.

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Third Tone

The Original Melody of Awed by the beauty is irregular and is not included as an example. The music for it can be found in the hymnal Selected Byzantine Hymns.

That which came to pass is really not a prosomion but the heirmos to the Ninth Ode of the Matins Canon from the Feast of the Meeting of the Lord in the Temple. We have included it in our selection because of its importance in that Feast and its beauty - a high point of the Feast.

Third Tone Exapostilaria

From the Heights our Saviour, Christ – Versions 1 and 2, are two settings of the same hymn from two different chanting traditions. The first is from the Heirmologion from the Polychronachis Publishers of Crete, and the second from the Pandektis’ Heirmologion from Greece, both claiming Ioannis Protopsaltis of Constantinople as hymnographer. We use both versions - the first version for Great Feasts like the Nativity of our Saviour and Theophany, and the second for other days of the year. O ye Apostles from afar is also from the Polychronachis Heirmologion.

Fourth Tone with B n (If desired, all of the hymns in this branch of Fourth Tone may be chanted in the Soft Chromatic scale as we do in our example Thou, Who Wast raised up – Kon-takion, with G as ison and base note.) Joseph was amazed – Dismissal Hymn, shows another important variant in the mel-ody due to a different number of syllables in the last lines. Thou, Who Wast raised up – Dismissal Hymn, is also used as a Sessional Hymn and Kontakion, whereas Thou Who Wast raised up – Kontakion, is used only as a Kon-takion. In our practice, we use the one labeled “ – Kontakion” for Great Feasts only. Thou, Who Wast raised up – Kontakion, shows a variant melody in the last line.

Fourth Tone – Palatine Mode

Joseph was amazed – Sessional Hymn, is from yet another branch of Fourth Tone known either by its musical introduction, the apékhema “Nenanó,” or Palatine Mode. It uses the Hard Chromatic scale.

Plagal of First Tone

Rejoice shows a variation in the melody on the first note. The first syllable “Re-“ requires an extra note to be added in order to accommodate the unaccented addi-tional syllable at the beginning.

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Plagal of Second Tone

Angels in the Heavens does not have a metered Original Melody in English. Ere the morning star shows again a variant in the last line, which requires the chanters to adapt the syllables to the music.

Plagal of Fourth Tone

By conceiving the Wisdom has a variant in the melody near the end.

O strange wonder has a variant in the first line. To thee, the champion leader, one of the best-known and loved hymns of the Church, has an Original Melody in English, which is irregular. It can be found in Selected Byzantine Hymns.

When the Bodiless one also has an irregular Original Melody; it is also to be found in Selected Byzantine Hymns.

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Other Resources

The hymnal Selected Byzantine Hymns contains some of the irregular Original Melodies of the prosomia presented here. In the introduction to the Menaion you will find more extensive information on prosomia and the services of the Church. The Menaion contains all of the hymns for the Saints of the day and fixed Feasts. Both are available from Holy Transfiguration Monastery.

Online: The website stanthonysmonastery.org/music/Index.html has helpful articles and music in English in both western and Byzantine notation. Another very large resource is the website analogion.com, which has many recordings, sheet music and facsimiles of originals, articles and discussions pertaining to Byz-antine music and performance, as well as links to other useful sites. Many won-derful recordings of Byzantine chant performed by various choirs and chanters are available from our monastery catalog or website: thehtm.org.

May these hymns be for the adornment of the Church’s holy services And to the glory of God!

Holy Transfiguration Monastery, Brookline, Massachusetts December, 2005

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& b œD ˘ œ œ œ œ œ œ ˘ œ œ œC œ œO

Theall -

Ewe -laud -lamb

edand

Mar -La -

tyrsdy

offree

theof

Lord,blame

lo,saw

theher

earthLamb

con -as

cealedHe

& b œ œD

œC

œD

œ œ œ œ œ œ œ œ œ œC œ œ œyouwas

not;hang -

buting

rath -on

erthe

Heav -Cross,

enhav -

re -ing

ceivednei -

youther

andform

thenor

gatesbeau -

ofty;

Par -and

& b œ ˘D œ œ œ œ œ œ ˘ œ œ œC œ œ

a -she

disecried,

wel -mourn -

comeding

youHim

andwith

o -dir -

pened.ges:

AndWoe

asto

yeme,

nowmy

dwellsweet -

& b œ .˘D

œ œ œ œ œ œ œ œ œ œ œ œthere -est

in,Child!

yeMy

joy -most

ful -be -

lylov -

par -ed

takeSon,

oftell

theme,

Treewhith -

ofer

Life.hath

& b œ œC œ œ œ œ ˘D

œ œ œ œF ˘ œ œ œThus,Thy

in -beau -

ter -ty

cede,fled

wea -

pray,way?

withWhith -

theer

Mas -went

ter,Thy

ev -maj -

enes -

Christty

& b œ ˘D œ œ œ œ œ œ ˘ œC œ œ œtheof

Lord,form

thatand

Hethe

grantshin -

peaceing

andgrace

greatof

mer -Thy

cyfair

& b œ œ .œ jœ .˘D

tocoun -

ourte -

souls.nance?

O All-lauded Martyrs

� first tone

�Hymns Chanted from ‘D’

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& b rit.œ œ .œ jœ œ œ ˘C

œ ˘b .˘D

coun - te - nance?

& b œD œ œ œ œ œ œ œ ˘ œ œ œ œ œ œ ˘O

Westrange

havewon -seen

der,an -

greatoth -

ander

mar -An -

vel -tho -

lous!ny

Forin

thethy

fountfights

ofwith

lifede -

ismons;

& b œ œ œC œ œ œ ˘D

œ œ œ œ œ œ œ œ œ œlaidan

with -Ar -

insen -

ai -

sep -us

ul -the

chre;Great

ain

lad -still -

derness

toand

Hea -deep -

ven’sest

heightssi -

dothlence

& b œ œ œC œ .œ jœD

˘ œ œC œ œ œ œ œ œ ˘Dtheof

smallthe

gravemind

be -and

come.lips;

Bea

glad,Sym -

Oe -

Geth -on

se -who

ma -hath

ne,stood

& b œ œ œ œ œ œ œC œ œ œ œ œ ˘D

œ œ œ œthou

asanc -thou -

tu -sand

a -nights

ryon

ofa

herpil -

thatlar

gaveof

birthflin -

toty

God.stone.

YeO

faith -Ser -

& b œ œ œ œ ˘ œ œ œ œ œ œ œC œ œ œ œ œful,a -

letphim,

usthou

crydidst

out,strive

pos -for

sess -the

ingdis -

astin -

ourguish -

com -ing

man -vir -

dertue

greatof

Ga -ev’ -

& b œ ˘D œF œ œ œn œ œn œ œb œ ˘D œ œ œ œ

bri -ry

el:Saint.

Maid -Proph -

enets,

fullMar -

oftyrs,

grace,and

re -A -

joicepos -

thou,tles,

withAn -

theegels,

isright -

theeous

-2-

First Tone

O strange Wonder

Final Ending:

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& b œ œ ˘ œ œ œ œ œ œ œ ˘ œ œ œLordand

ourthe

God,just,

Whomar -

a -velled

bun -at

dant -thee

lyfrom

grant -Heav -

ethen,

Hissee -

greating

mer -how

& b œ œ œ œC œ .œ jœD

.˘cy

theirtogra -

theces

worldshone

throughin

thee.thee.

& b rit.œD œ œ œ œ œ ˘C

œ .˘D˘b

how their gra - ces shone in thee.

& b œD œ œ œ œ œ œ œ œ œ œ œ œ œC œ ˘ThouUn -

Since

artder

thou

thethedost

joyshel -

shine

ofterall

theofa -

heav -thy

bout

en -god -with

lylyce -

or -wings,

les -

derswetial

foundflee

beams

onforof

& b .˘D

œC œD œ œ œ œ œ ˘ œ œ œC œ œ

high,help,light

andthouand

ofGod -with

uslike

Christ’s

menmind,might -

up -Oy

onMi -pow -

earth,chael,

er

ahav -ev -

stronginger

helpfaithgrant -

andinest

pro -thythy

& b œ ˘D

œ œ œ œ œ œ œ œ œ œ œtec -

good -heal -

tion.ness:ings of

SaveShel -both

us,terthe

Oandsoul

purepre -and

Vir -servebo -

ginusdy,

andthrough -

O

Moth -out

bless -

eralled

ofourof

-3-

First Tone

Final Ending:

Thou Art the Joy

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& b ˘ œ œ œC œ œ œ œ œ .˘D

œ œ œGod,life;

God,

asandnev -

wedraw

er

fleenighcease

un -in

thou

totheto

theehourpray

inoffor

faith;death,them

forO

who

af -greatnow

terArch -ob -

& b œ œ œ œ œ œ œ œ œ ˘ œ œGod,

an -serve

wegel,thy

havebeme -

setpres -mo -

allentri -

ourwith

al

hopeeachfaith -

onofful -

thee,us,ly,

seek -as

won -

inga

der -

& b œC œ œ œ œ œ ˘ .˘D

re -gra -

work -

fugeciousing

inhelpFa -

thyin

ther

might -timeSpyr -

yofi -

strength.need.don.

& b rit.

œ œ œC œ œ œ œ œ ˘ œD œ ˘

C

œ ˘b .˘D

won - der - work - ing Fa - ther Spyr - i - don.

-4-

First Tone

Final Ending:

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& b œD œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˘

The three most great lu - mi - na - ries of the Three - Sun Di - vin - i - ty

& b œ œ œ œ œF œ œ œ œ œ œD œ œ œ œC œ œ œ œ œ œhave il - lu-mined all of the world with the rays of doc - trines di - vine

& b œ ˘D

œ œ œ œ œ œ œ œ œ œ œ œ œ ˘ œ œ œFand true; they are the sweet - ly flow - ing ri - vers of wis - dom who with god -

& b œ œ œ ˘D œ œ œ œ œ œC œ œ œ œ œ œ œ œ ˘D

ly know - ledge have wa- tered all cre - a - tion in clear and might - y streams:

& b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˘The great and sa - cred Ba - sil, and the The - o - lo - gian wise Gre - go - ry,

& b œ œ œ œF œ œ œ œ œ œ ˘D œ œ œC œ œ œ œ œ œto - geth - er with the re - nowned John the famed Chrys - o - stom of gold - en

& b ˘D œ œ œ œ œ œ œ œ œ œ ˘ œ œ œF œ

speech. Let us all who love their di - vine - ly wise words come to - geth - er,

& b œ œn œ œb œ œ œ ˘D œ œ œ œ œ œ œ œ œ œhon - our - ing them with hymns; for cease - less - ly they of - fer

& b œ œ œ œ œ œ œ œ œ œC œ .œ jœ .˘D

en - treat - y for us to the Trin - i - ty.-5-

First Tone

The Three Most Great Luminaries

Page 15: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œD œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˘

TheWhile

lad -Ga -

derbri -

ofel

di -was

vinesay -

vir -ing

tue,Re -

thoujoice

didstto

scalethee,

withO

ar -Vir -

dour,gin,

& b œ œ œ œ œ œ œ œ œ œ œ œC œ œ œandat

thouhis

didstvoice

at -the

tainMas -

toter

theof

heightall

ofthings

di -took

vineflesh

no -with -

e -in

ticthy

& b œ œ ˘D

œ œ œ œ œ œ œ œ ˘ œ œ œ œvi -

puresion,

womb.re -He

ceiv -dwelt

ingin

re -thee

flec -as

tionsHis

pureho -

andly

clearark

re -as

veal -spake

ingthe

theright -

& bœ œC œ œ œ ˘D œ œ œ œ œ œ œ œ œ œ œ

di -eous

vineDa -

mys’ -vid

triesin

ofthe

Christ.psalms.

HenceAnd

wein

hon -bear -

ouring

theethy

withCre -

pi -a -

e -tor,

ty,thou

& b œ œ œ œ ˘C œ œ œ œ œ œ ˘D ˘ œ œ œ

aswast

weshown

cry,forth

Ge -more

ra -spa -

si -cious

mus,than

thouall

God -the

bear -Heav -

er:ens.

Glo -Glo -

ryry

toto

Christ,Him

& b œ œ œ œ œ œ ˘ œ œF œ œ œ œ œ œWhothat

hath giv -willed to

endwell

theein

strength.thee.

Glo -Glo -

ryry

toto

HimHim

Whothat

hathcame

-6-

First Tone

while gabriel was saying

Page 16: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œ œ ˘G œ œ œ œD œ œ œ œ œ œcrowned

forth fromthee.thee.

Glo -Glo -

ryry

toto

HimHim

Whothat,

work -through

eththy

heal -bring - ing*

& b œ œ œC œ .œ jœD

.˘ings for all through thee.

& b ˘ œrit.

œ œ œ ˘C

œ ˘b .˘D

forth, hath de - liv - ered us.

& b œD

œ œ œ œ œ œ œ œ œ œ œGlo - ry to the Fa - ther, and to the Son, and

& b œC œ œ œ œ œ .˘D

to the Ho - ly Spir - it.

& b œD œ œ œ œ ˘ œ œ œ œ œ œ œ

Both now and ev - er, and un - to the a - ges

& b œ œC œ œ œ .˘D

of a - ges. A - men.

-7-

First Tone

Glory; both now. From ‘D’

* This particular hymn is always chantedas a final hymn. Therefore, only the finalending is given with it.

Final Ending:

Page 17: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œD ˘ œ œ œ œ ˘ ˘ œ œ œ œ œ œ œThe

Whensol -

ChristdiersGod

stand -had

ingbeen

guardborn

atfor

Thyour

tomb,sakes

Ofrom

mythe

Sav -Vir -

& b ˘ œ ˘ œ œ œ œ ˘ ˘ œ œ œ œ œ œiour,gin,

be -thou

camefaith -

asful -

deadly

ondidst

see -fol -

inglow

theHim,

light -keep -

ning -ing

likeHis

& b œ ˘ œA œ œ œ œ œ œ œ œ œ œ œ œAn -sta -

geltutes

whoand

preachedheed -

toing

theHis

wom -sa -

encred

oflaws,

ThineO

a -au -

ris -gust

& b œ œ œ œ œ œ ˘ ˘ œn œ œ œb ˘D œMa -ing,

ryO

Mag -Ho -

da -ly

lene.Lord:

Hence,Thee

aswe

weglo -

to -ri -

dayfy,

ob -Who

& b œ œ œ œ œ œ œ œ ˘ ˘A œn œ œn œ œhastserve

a -thy

bol -ho -

ishedly

cor -re -

rup -mem -

tion;brance,

Theewe

dore -

weceive

a -the

& b ˘D œ œ œ œ œ œ œ œ œ ˘ œ œ œdore,loos -

Whoing

fromof

theour

gravesins

hastand

a -trans -

ris -gress -

enions

andthrough

Whothy

a -ho -

& b œ œ œ œ .˘lonely

artprayers

ourfor

God.us.

-8-

First Tone. A

the soldiers standing guardChanted from ‘A’

Page 18: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œD ˘ œ œ œ ˘rit.

œC

œ ˘b .˘D

for us.

& b œD œ œ œ W œ .˘Glo - ry to the Father, and to the Son, and to the Holy Spir - it.

& b œD W œ œ œ .˘Both now and ever, and unto the ages of a - ges. A - men.

-9-

First Tone. A

Glory; both now. From ‘A’

Final Ending:

Page 19: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& j œF œG œ œ ˘ œ œ œ œ œ œ œ œ ˘ThouThou

sought -left -

estest

thebe -

heights,hind

thoughall

part -earth -

edly

notcares

fromand

thingstur -

be -bu -

low;lence,

& j œ œ œ œ ˘ œ œE œ œ œ œ œ œ ˘thyand

pil -led -

lardest

be -a

camelife

aof

char -still -

i -ness

otand

oftran -

firequil -

forli -

thee.ty,

& j œUn. œ œG œ œ œ œ œ œ œ œ œ œThouem -

be -u -

cam -la -

estting

there -John

bythe

aBap -

truetist

com -in

pan -ev -

ion’ry

ofway,

theO

& j œ œ œ œ ˘ œ œ œE œ œ ˘ œ ˘ œan -

mostgel -

right -ic

eoushost;one.

andWhere -

to -fore,

geth -we

erac -

withclaim

them,thee

Owith

Saint,him,

thouO

& j œG œ œ œ œ œ œ œ œ œ œ œ .˘cease -

Fa -less -ther

lyof

pray -Fa -

estthers,

Christright -

Godeous

forAn -

ustho -

all.ny.

& rit.

j œE œG œ œ œ œ œ œ œUn. œ œ ˘F œ ˘b .˘GO Fa - ther of Fa - thers, right - eous An - tho - ny.

-10-

� second tone

Final Ending:

Thou Soughtest the Heights

Hymns Chanted from ‘G’

Page 20: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& j ˘G ˘ œ œ œ œ œ œ œ# ˘ œ œn œ œWhenSmit -

heten

tookwith

Theede -

deadsire

fromand

offlove

thefor

Tree,Christ,

theea -

Ar -ger -

i -ly

ma -did

& j œ œ œ œ œ œ œ œ œ œ œ œ œ ˘the -Hel -

anen,

pre -the

paredmoth -

Theeer

withwhence

fin -sprang

estthe

lin -sci -

enon

andmost

myrrhsweet,

& j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#thathaste

heto

mightHo -

gively

bur -Si -

i -on

altill

toshe

Thee,found

thethe

Lifeho -

ofly

& j ˘ œ œ œF œ œ œ œ ˘ œ œG œ œ œ œall.

placeThen,where

com -our

pelledSav -

byiour

hiswas

fer -cru -

ventci -

love,fied,

hede -

longedsir -

toing

em -to

bracesave

& j ˘ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ#Theeus.

andAnd

towhen

pressthrough

Thyher

spot -dil -

lessi -

Bo -gence,

dyshe

tothere

hishad

heartfound

andthe

& j ˘ œF œ ˘ œ œ œG œ œ œ œ ˘ œlips.

CrossButand

hishad

fearraised

andit

rev’ -up

rencewith

re -great

strainedlong -

him,ing,

whilstshe

& j œ œ œ œ œ œ œ œb œ ˘ œ œ œ œre -

withjoiced

joyandhe

criedcried

a -to

loud:Thee:

Glo -Glo -

ryry

beto

toThy

Himcon -

Whode -

-11-

Second Tone

When He Took Thee

Page 21: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& j œF œ œ œ œ œ œ .˘Gscen -grant -

sion,ed

Ome

Thoumine

Friendar -

ofdent

man.hope.

& rit.

j œF œ œ œ œ œ œ ˘G œF œ ˘b .˘Ggrant - ed me mine ar - dent hope.

& j œG œ œ œ œ œ œ œ œ œ œ œ œ œGlo - ry to the Fa - ther, and to the Son, and to the

& j œ œ œ œ œ .˘Ho - ly Spir - it.

& j œG œ œ œ œ œ œ œ œ œ œ œ

Both now and ev - er, and un - to the a - ges

& j œ œ œ œ œ .˘of a - ges. A - men.

-12-

Second Tone

Final Ending:

Glory; both now. Chanted from ‘G’

Page 22: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& j œG œ œ œ œ œ# œ œ œ œ œ œ .œ jœ ˘ œWithThou

whatwast

faira

crownsmorn

ofwhose

praiselight

shallnev -

weer

crownceased,

bless -right -

& j œ œ œ œ œ œ œ œ ˘ œ œ œ ˘ œ œ# œed

eousPe -Fa -

terther,

anddi -

Paulvine

theA -

A -tha -

pos -na -

tles?sius;

Who,and

af -them

terthat

& j œ œ œ œ œ œ œ œ ˘ œ œ œ œ œ œ œ œthe

werebo -

blinddy

withwerethe

farpas -

a -sions’

part,gloom,

yetthou

indrew -

theest

Spir -un -

& j œ œF œE œ œ œ œ .œ jœ œ œ œ ˘ œG œ œ œ œitto

wereun -

boundwan -

asing

one;light

thewith

fore -thy

mostshin -

a -ing

mongbea -

& j œ œ œ ˘ œ œ œ ˘ œ œ œ ˘ œ œ œ œ œthecon

God -fire

pro -of

claim -grac -

ers:es;

theand

oneso

aswhen

thethou

lead -hadst

erin -

ofcreased

& j œ œ œ œF œE œ œ œ œ .œ jœ œ œ œ ˘ œG œ œthethe

a -ta -

pos -lent

to -giv -

licen

choir;thee,

theChrist

oth -showed

& j ˘ œ œ œ œ œ œ œ œ œF œœE œ œ œ .œ jœer

theeasto

hav -be

inga

la -heal -

boureder

moreof

thanaf -

allflict -

-13-

Second Tone

With What Fair Crowns

Page 23: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& j œ œ œ ˘ œG œ œ œ œ œ œ ˘ œ œ œ ˘ œFtheed

rest.souls,

Forwho

theywith

arethe

crownedsword

withof

thethy

lau -coun -

relssels

ofcut -

& j œn ˘ œ œb .œ jœn œ œ œG ˘ œ œj œn œ œ œ ˘im -test

mor -out

talthe

glo -fes -

ry,ter

asof

isin -

tru -cur -

lya -

rightble

andsores

& j œ œ œ ˘ œ ˘nF œ œ ˘n œ œ œn œ œ ˘fit -

andting,

wounds,in

whileHeav -giv -

ening

bya

Christsav -

ouring

God,health

& j œG œ œj œ œ œ œ œ œ œ œ œ œ œ œWho

togrant -

alleth

themgreatthat

mer -draw

cynigh

& j .œ jœ œ œ œ .˘toun -

theto

world.thee.

-14-

Second Tone

Page 24: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& #bb ˘D œ œ œ œ œC

˘D

œ œ œ œ œ œ œ ˘O

ChantO

housethouland

ofinof

Eph -pro -Za -

ra -phe -bu -

tha,cy

lon,

au -andand

guststrike

ye

andthybe -

ho -harp,yond

lyOthe

cit -Da -Jor -

y,vid;dan,

& #bb œ œC œ œ œ œ œ ˘D

œ œ œ œ œthoube -

give

glo -hold,ear,

rythefor

ofThe -

Christ

theo -

now

Proph -to -

com -

ets,kos,eth,

pre -thethe

parefruitLight

theof

and

housethinethe

where -ownSal -

& #bb œ œ œ œ œC œ œ œ œ œ œ .˘D

inloins,

va -

thegiv -

tion,

Di -eththe

vinebirthRan -

Oneto

som

shallChrist

and

beourDe -

bornGodliv -

forto -er -

us.day.ance.

& #bb œD œC œ œ œ œ œrit.

œ ˘D

œC

œ ˘ .˘D

the Ran - som and De - liv - er - ance.

& #bb œD

œ œ œ œ œ œ œ œ œ œ œGlo - ry to the Fath - er, and to the Son, and

œC œ œ œ ˘ .˘

D

to the Ho - ly Spir - it.

& #bb œD œ œ œ œ ˘ œ œ œ œ œ œ œ œ

Both now and ev - er, and un - to the a - ges of

œC œ œ œ .˘D

a - ges. A - men.

-15-

Second Tone

Final Ending:

O House of EphrathaChanted from ‘D’

Glory; both now. Chanted from ‘D’

Page 25: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& j œG œ œ œ œ œ œ œ œ œ# ˘ œF œn œE œ œHeark -

Broughten,in -

yeto

wom -bond -

en,age

andin

givethy

earyouth,

un -thou

todidst

thees -

voicecape

& j œ œ œ œ œ ˘ œ œG œ œ œ œ œ œ ˘ œF œof

cap -joyti -

forvi -

Ity;

havebut

tram -as

pleda

downpris’ -

ty -ner

rantof

Ha -Je -

dessus,

andthou

raiseddidst

& j œE œ œ œ œ œ œ œ ˘ œG œ œ œ œ œ œ œ œthere -

worldturn

fromto

cor -thy

rup -cap -

tion.tors.

Hast -And

enwith

yea

quick -heart

lythat

andburned

& j œ# ˘ œF œn œE œ œ œ œ œ œ œ ˘ œ œG œpro -with

claimlove

thethou

glad -didst

somere -

ti -pay

dingsthem

toby

Mya

friends;life

forof

Ijour -

haveneys,

& j œ œ œ œ œ œ œ ˘ œ œ œ œ œ œ œ œ œ œwilled

pe -thatrils,

joypains,

shineand

forthcares

thenceto

up -save

onthe

allwhole

Myland

cre -of

a -Ire -

& j ˘ œ œ œ œE œ œ œ œ œ œ .˘tionland.

fromGreat

whenceis

therethy

firstglo -

camery,

forthO

sor -Pat -

row.rick.

& rit.

j œG œ œ œ œ œ œUn. œ œ ˘F œ ˘b .˘GGreat is thy glo - ry, O Pat - rick.

-16-

Second Tone

Final Ending:

exapostilaria Hearken, Ye Women

Page 26: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& j œG œ œ œ œ œ œ œ œ œ# ˘ œF œn œE œ œ œOO

Vir -thou

gin,Great

thouMar -

intyr

songThe -

wasto -

calleddore,

aour

cur -Christ’s

dledre -

but -nowned

tercom -

& j œ œ œ ˘ œ œG œ œ œ œ œ œ œ œ ˘ œF œ œE œ œmoun -mand -

tainer,

bythou

Da -god -

vid,ly

thygem

pro -and

ge -or -

ni -na -

tor;ment

aof

rod,hon -

byoured

greattro -

& j œ œ œ œ ˘ œG œ œ œ œ œ œ œ œ œ ˘ œF œ œEE -

phy -sai -

bear -as;ers,

andO

god -great

lyin

Sol -wis -

o -dom

monand

clear -cour -

lyage,

calledcease

theenot

ato

& j œ œ œ œ œ œ ˘ œ œG œ œ œ œ œ œ œ œ ˘ œ# œcouch,

askO

thatLa -vic -

dy,t’ry

inmay

hisbe

pro -con -

phe -ferred

ticup -

Songon

ofthe

Songs;Church,

inlast -

aing

& j œE œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˘ œ œ œ œlad -

peacederon

didthe

Ja -whole

cobworld,

seeand

theefor

por -us

trayed,all,

Owho

pureob -

The -serve

o -thy

& j œ œ œ œ œ œ œ œ œ ˘ œ œG œ œ œ œ œ œ œ œto -me -

kos;mo -

whilery

yet

brightan -

withoth -splen -

erdour,

calledcom -

theeplete

afor -

gategive -

byness

whichof

ourour

& j ˘ œF œ œE œ œ œ œ œ œ .˘Godsins,

re -and

newedthat

man’swe

fall -find

ensal -

na -va -

ture.tion.

-17-

Second ToneUpon That Mount In GalileeThe Original Melody is irregular

Page 27: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& j œ œ œ œ œ œUn. œ œrit. ˘F œ ˘b .˘G

re - newed man’s fall - en na - ture.

& j œE œ œ ˘ œ œ œ œ œ œ œ œ œ œ ˘ œ ˘WhileThe

Thyranks

di -on

sci -high

plesstand

lookedtrem -

onbling

Thee,in

Thoufear

as -be -

cen -fore

dedst,Christ,

Oun -

Christ,a -

& j œ œ œ œ œ œ œ œ œ œ œ œ ˘ œG œ œ œun -ble

toto

thebe -

Fa -hold

therthe

totran -

sitscen -

be -dent

sidebright -

Him.ness

An -of

gelsHis

hast -in -

ened,ex -

& j œ œ œ œ œ œ œ œ œ ˘ œF œ œE œ œ œ œ œ œrun -

press -ning

i -onble

be -Di -

forevin -

andi -

cried:ty;

Liftyet

yethou

thedidst

gateshold

up,Him

liftin

& j œ ˘ œ œUn. œ œG œ œ œ œ œ œ ˘ œE œ œthemthy

up,womb

forwhen

theHe

Lordtook

Kingflesh

hathfrom

as -thine

cen -hon -

dedoured

un -and

toho -

Hisly

& j œ œ œ œ œ œ œ .˘brightblood,

pri -O

malpure

glo -Vir -

ry.gin.

& j œG œ œ œ œ œ œUn. œ œrit. ˘F œ ˘b .˘Gand ho - ly blood, O pure Vir - gin.

-18-

Second ToneFinal Ending:

While Thy Disciples Looked on Thee

Final Ending:

Page 28: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œF œ œ ˘ œ œ œ œ œG œ œ œ œ œ œ ˘ œF œIn -

Come,com -let

pre -us

hen -all

si -bless

bleJob,

andthat

in -pure

ex -and

pli -blame -

ca -less

bleman,

iswho

thein

& b œ ˘ œ œ œ œ œG œ œ œ œ œ œ ˘ œ œ œ œFdreadthe

mys -Spir -

te -it’s

rystrength

thatwas

hathan

beenim -

wroughtmov -

ina -

thee,ble

Oand

all -might -

purey

La -pil -

& b œ œ œ œ œ œ œD œ œ œ œ œ œ œ ˘ œUn. œdy,lar

Queenthat

ofstood

all,firm

thoube -

Maid -fore

enall

fullthe

offoe’s

di -de -

vinevi -

grace.ces.

ForLet

thouus

& b œF œ ˘ œ œ œ ˘ œG œ œ œ œ œ œ œ œ ˘ œF œdidstsing

con -his

ceivepraise

thein

Onefaith;

Whohe

isis

un -tru -

cir -ly

cum -a ve -

scrib - a -ry

blegreat

andser -

didstvant

& b œ œ ˘ ˘ ˘ œC œ œ œ œ œ œ œ œ œ ˘ œbearof

Himour

wrappedSav -

iniour

fleshChrist,

fromand

thyhe

whol -plead -

lyeth

un -in

taint -our

edbe -

blood.half,

Sinceim -

& b œF œ œ œ œ œ œ œ œ œ ˘ œ œ œ œ œ œHeplor -

ising

thineChrist

ownwith

Son,ear -

donest

thouen -

al -trea -

waysty

im -to

ploreres -

Himcue our

tosoulsgrant

fromour

& b œ œ ˘ .˘ev’ -

soulsrysal -

per -va -

il.tion.

-19-

Awed by the Beauty

* The Original Melody is irregular.The music for it can be found on p. 39 of Selected Byzantine Hymns

� third tone

�*

Hymns Chanted from ‘F’

Page 29: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b rit.œ œ œ œ œ œ ˘C œ ˘ œUn. œ .˘

our souls from ev’ - ry per - il.

& b œF œ œ œ œ œ œ œ œ œ œ œG œ œ œ œOnIn

thisas -

dayce -

thetic

Vir -dis -

ginci -

bear -pline,

eththou

thewast

Tran -made

scen -fair

dentas

ina

& b œ œ œ œ œ ˘ œF œ œ œ œ œ œ œ œ œes -vir -

sence;gin;

tothen,

theO

Un -famed

ap -Fe -

proach -bro -

a -ni -

blea,

& b œ œG œ œ œ œ œ œ œ œ œ ˘ ˘F œn ˘the

thouearthshon -

dothest

of -forth

feras

aa

smallmar -

cave;tyr;

An -with

gelsthy

joinlamp

& b œ œ œ œ œ œ œ œ œG œ œ œ œ œ œ œ ˘inin

choirhand,

withthou

shep -ran -

herdsnest

inun -

giv -to

ingthy

glo -Bride -

ry;groom,

& b œF œ œ œ œ œG œ œ œ œ œ œ œ œ œ œ œwithhav -

aing

starwatched

thethrough -

Ma -out

githe

trav -night

elof

up -mar -

ontyr -

theiric

jour -suff ’ -

& b ˘ œF œ œ œ œ œ œ œ œ œ œ œ œ œ œ œney;

rings.for

Andour

sincesakesthou

isart

borncrowned

ain

youngglo -

Child,ry,

Hethou

thatin -

ex -ter -

ist -ced -

-20-

Third ToneFinal Ending:

On This Day the Virgin

Page 30: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œ œ œ œ œ œ œ œ œ .˘edest

be -for

forethem

thethat

a -praise

gesthee

aswith

God.faith.

& b rit.œF œ œ œ œ œ ˘C œ ˘ œUn.

œ .˘for them that praise thee with faith.

& b œD œC œ œ œ œ œ œ œ œ œ œ œF ˘ œ œ œ

TheWhen

pow -thou

erdidst

ofsee

Thythy

Cross,Son

Osus -

Lord,pend -

ined

truthlife -

isless

ver -on

ythe

great:Tree,

forO

itblame -

wasless

& b œ œ œ œ ˘ œ œ œ œ œ œ ˘D œ œ ˘ œC œ œfixedVir -

ingin

oneMoth -

place,er,

yetthou

dothbit -

a -ter -

vailly

through -didst

outcry

thea -

world;loud:

andO

ofmy

fish -most

& b œ œ œ œ œ œ œ œ œF ˘ œ œ œ .œ jœ œ œerbe -

menlov -

ited

madeChild

di -whith -

vineer

A -de -

pos -part -

tles,ed

andthe

ofbeau -

thety

na -of

tions,Thy

Mar -vi -

& b ˘ œ œ œ œ œ œ œ œ œ œ œ œ jœ œ .˘tyrs,sage,

thatwhich

theyThou

mighthast

ev -will -

ering -

in -ly

ter -now

cedehid

forin

ourdeath’s

sal -dark

va -shad -

tion.ow?

& b rit.œF œ œ œ œ œ œ œ œ œ ˘C œ ˘ œUn.œ .˘

will - ing - ly now hid in death’s dark shad - ow?-21-

Third Tone

Final Ending:

the Power of thy cross

Final Ending:

Page 31: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œF œ œ œ œ œ œ œC œ œ œ œ .œ jœ ˘F ˘ œ œ œ œ œThatHim

In

whichWhom

Thy

camemin -na -

toi -

ture,

passstersThou

ina -

art

theeboveOne,

weserveyet

inwithin

notrem -Per -

& b œ œD œ œ œE ˘F œ œ œ œ œ œ œ œC œ œ œwise

sons,bling

com -and

Thou

pre -withart

hend,awe,

Three:

nothereKeep

thebe -

Thy

An -lowser -

gels,dothvants

norSym -from

& b œ .œ jœ ˘F œ œ œ œ œ œ œ œ œD œ œ œUn. .˘allme -we

harm,on

men,

whonowO thou

takebe -

Vir -in

lieve

ginhisand

Moth -arms’trust

erem -in

pure.brace.Thee.

& b rit.œF œ œ œ œ œ œD œ œ œ œ ˘C œ ˘ œUn. œ .˘

be - lieve and trust in Thee.

-22-

Third Tone

That Which Came to Pass in thee

Final Ending:

Page 32: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œC œ œ œ œ ˘D œ œ œ œ ˘F œC œThyLet

con -the

fes -moun -

siontain -

oftops

theand

onevales

di -of

vineGeor -

Faithgia

showedsound

theewith

& b œ œ œ ˘D œ œ œ œ ˘F œ œ œ œ œto

songstheof

Churchpraise

toto

belaud

aTa -

newma -

Paulra

andas

athe

zeal -ves -

otsel

a -of

& b œ œ œ œ ˘D œ œ ˘ œC œ œ œ œ œmongwis -

priests,dom,

Othe

ho -smil -

lying

one.sun,

Thethe

right -sword

eousof

bloodtruth,

boththe

ofcon -

& b œ œ œ œ œ œF ˘ œ œ œ œ œ œ œ œA -ver -

belsion

andof

Za -in -

cha -fi -

rydels,

withthe

theemost

dothhar -

crymo -

outni -

to -ous

geth -reed -

& b œ œ ˘D œ œ ˘ œC œ œ œ œ œ œ œer

pipeun -of

toJe -

thesus

Lord.Christ,

Right -and

eousour

Fa -fer -

ther,vent

in -in -

ter -ter -

cedeces -

& b œ œ œ œ œ œF ˘ œ œ œ œ œ œ œ œwithsor

Christbe -

Godfore

inthe

ourKing

be -of

halfKings,

thaten -

Histreat -

greating

mer -Him

cyto

maygrant

begreat

grant -mer -

& b œ œ œ œUn. œ .˘edcy

un -un -

toto

us.us.

-23-

Third ToneThy Confession

Page 33: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b rit.œ œ œ œ œ œ ˘C œ ˘ œUn.

œ .˘grant great mer - cy un - to us.

& b œC œ œ œ œ œ œ œ œ œF œ œ œD œGlo - ry to the Fa - ther, and to the Son, and to the

& b œ œ œ œ .˘Ho - ly Spir - it.

& b œC œ œ œ œF ˘ œ œ œ œ œ œ œ œ ˘DBoth now, and ev - er, and un - to the a - ges of a -

& b œ œ .˘ges. A - men.

-24-

Third Tone

Glory; both now. Chanted from 'F'

Final Ending:

Page 34: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œF œC œ œb œ œ œ ˘ œ œ œ œ œ œ œ œ ˘ œ œnFFrom

Inthethe

heightsJor -

ourdan

Sav -Riv -

iour,er’s

Christ,streams,

thethe

Day -Sav -

& b œ 3œ œ œ œ œ œ œ œ œ œ œ .œ jœ œ œC œ œb œ œspringiour,

ofWho

theis

East,grace

isand

cometruth,

tohath

vi -o -

sitpen -

us;ly

andap -

we,peared

& b œ œ# œ ˘ œ œ œ œ œ œ œ œ ˘n œ œ œ œ œ œ œ œ œ œ# œ œ#whoto

onceall

wereand

inhath

theen -

shad -light -

owened

andthem

& b œ œ ˘F œC œ œ œ œn œ œ œ œb œ œ œ œ œ œ ˘ œthethat

dark,once

be -slept

hold,in

nowthe

weshad -

haveow

foundand

thethe

truth;dark;

forfor

& b œ œ œ œ œ œ œ œ œF œ œ œ œ œ œ œ œ œ œ œ .˘fromHe

ahath

ho -come

lyand

Vir -shone

gin,forth,

thethe

LordLight

hathun -

beenap -

bornproach -

to -a -

day.ble.

& b rit.œC œF œ œ œ œ œ œ œ œ œ œ œ ˘C œ ˘ œUn. œ .˘

thethe

LordLight

hathun -

beenap -

bornproach -

to -a -

day.ble.

-25-

Third Tone

exapostilaria From the Heights our Saviour, Christ

Version # 1

Final Ending:

Page 35: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œF œ œbD œ œ œ œ œ ˘ œC œF œ ˘D œ œ œ œ œ

FromIn

thethe

heightsJor -

ourdan

Sav -Riv -

iour,er’s

Christ,streams,

thethe

Day -Sav -

springiour,

ofWho

theis

East,grace

& b œUn. ˘ œ œF œ œbD œ œ œ œ œ ˘ œ

C œF œ ˘D œ œis

andcometruth,

tohath

vi -o -

sitpen -

us;ly

andap-

we,peared

whoto

onceall

wereand

inhath

theen -

shad -light -

owened

& b œ œ œ œE ˘F œ œ œ œG œ œ œ œ œ ˘ œ œD œand

themthethat

dark,once

be -slept

hold,in

nowthe

weshad -

haveow

foundand

thethe

truth;dark;

forfor

fromHe

ahath

& b œ œ œ œ œ ˘ œC œF œ œ œ œ œb œ œ œ .˘

ho -come

lyand

Vir -shone

gin,forth,

thethe

LordLight

hathun -

beenap -

bornproach -

to -a -

day.ble.

& b rit.

œC œF œ œ œ œ œb œ œ œn ˘C œ ˘ œ

Un.

œ .˘thethe

LordLight

hathun -

beenap -

bornproach -

to -a -

day.ble.

-26-

Third Tone

From the Heights our Saviour, christ

Final Ending:

Version # 2

Page 36: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œE œF œ œbD œ œ œ œ œ œ ˘ œ

C œF œ œONa -

Change -ture

lessand

Lighttime

ofhave

thebeen

Lightmade

ofnew

Thineby

un -thee

be -a -

got -lone,

& b œ œ œ œ œ œ œb œ œ ˘ œE œF œ œbD œ œ œ œ œ œ

tenas

Be -God’s

get -Moth -

ter,er;

to -for

day,in -

Ocor -

Word,rupt

haveis

wethy

nowchild -

& b ˘ œC œF œ œ œ œ œ œ œb œ œ œ ˘ œ œn œ

seen,birth,

inand

Thyin -

Light’scor -

man -rupt

i -is

fes -thy

ta -rai -

tionment,

thewhere

Fa -with

therthou

& b œG œ œ œ œ œ œ œ ˘ œD œ œ œ œ œ œ œ ˘and

shelt’ -Ho -rest

lythe

Spir -faith -

itful

asand

Lightmak -

onest

Ta -might -

bor,y

& b œC œF œ œ œ œ œ œ œ œ œb œ œ .˘

guid -the

ingscep -

withtres

lightof

alltrue

cre -re -

a -li -

tion.gion.

& b rit.

œC œF œ œ œ œ œ œ œ œ ˘C œ ˘ œ

Un.

œ .˘the scep - tres of true re - li - gion.

-27-

Third Tone

O Changeless Light

Final Ending:

Page 37: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œF œ œD œb œ œ œ œ œ œ œ œ .˘ œ> jœ œ œ jœ œ ˘With

Ashymns

shelet

thatall

seed -of

less -usly

hon -bare

ourThee

& b œ œC œ œ œ œ œ œ œ ˘F œ œ œ œJohnstood

theat

Fore -Thy

run -Cross

nerin

andgreat

Bap -mourn -

tisting,

ofshe

Christcried:

theA -

& b œD œ œ œ œ œ œ œb .˘ œ> jœ œ œ jœ œ ˘ œ œC

Sav -las!

iourO

andbe -

Mast -lov’d

er,Son,

themy

Proph -sweet -

& b œ œ œ œ œ œ œ ˘F œ œ œ œG œ œ œ œetest

sprungChild,

fromhow

ahast

Proph -Thou

et,now

theset

de -from

sert’sthe

ven’ -eyes

ra -of

& b œ œ œ œ œ ˘ œD œC œ œ œ œ œ œ œb .˘F

bleThy

nurs -Moth -

ling,er?

andHow

chasteart

E -Thou

liz -reck -

a -oned

beth’swith

off -dead

spring.men?

& b rit.

œD œC œ œ œ œ œ œ ˘ œ ˘ œ

Un.œ .˘How art Thou reck - oned with dead men?

-28-

Third Tone

Final Ending:

O ye apostles from afar

Page 38: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œF œ œ œbD œ œ œ œ œ ˘ œC œF œ ˘D œ œ œ œ œ

Un.œThouThou

Whowho

aswast

Godonce

a -a

dorn -plough -

estman

andwast

dostmade

be -a

deckProph -

theet

skyof

withthe

& b ˘ œ œF œ œbD œ œ œ œ œ œ ˘ œC œF œ ˘D œ œ

stars,Lord;

andand

Whowith

dostE -

sendli -

forthas’ -

Thines

An -man -

gels,tle,

throughhis

them,spir -

en -it

light’ -two -

ningfold

& b œ œ œUn.œ ˘ œF œ œ œG œ œ œ œ œ œ œ ˘ œ

C

alldidst

thethou

earth,gain.

OWhere -

Thoufore,

Cre -O

a -great

torE -

oflis -

allse -

things,us,

savewith

& b œF œ œ œ œ œ œ œ œ œb œ œ œ .˘themhim

thatwe

hymnhon -

Theeour

withand

prais -praise

es.thee.

& b rit.

œF œ ˘C œ ˘ œUn. œ .˘

and praise thee.

-29-

Third Tone

Final Ending:

Thou Who As God Adornest

Page 39: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œD œb œ œ œ œ œ œ œ ˘ œC

œ œF œn œ œWhileThe

stand -Pro -

ingphet

innamed

theHim

Tem -O -

ple’sri -

Courts,ent

hav -Who

ingdawned

comeforth

infrom

thea

& b œ œb œ œ ˘ œ œbD œ œ œ œ œ œ œ ˘ œC

œSpir -Vir -

it,gin

theas

El -from

dera

tookcloud -

in -less

tofir -

hisma -

armsment

theand

Law’sbrought

& b œF œ œ œ œ œb œ œ ˘ œ œn œ œG œ œ œ œ œMas -light

ter,to

andthe

criedwhole

out:world

Lord,and

letshined

meHis

nowtruth

de -on

partEast

& b œF ˘G œC

œ œF œ œ œ œb œ œ ˘ œE œF œ œb Din

andpeaceWest,

fromto

thethe

shack -earth’s

lesre -

ofmot -

theest

fleshends.

asNow

Thouwith

hastthe

said;Moth -

& b œ œ œ œ œ œ ˘ œC

œ œF œ œ œ œ œb œ œforer

minethat

eyesbare

haveHim,

seenlike

theto

fullo -

rev -ri -

e -ent

la -gem -

& b ˘ œ œ œG œ œ œ œ œ œ œ ˘ œC

tionstones

thatcut

shalland

light -pol -

enished

thein

na -tor -

tions,ments,

andthe

& b œF œ œ œ œ œ œ œb œ œ .˘Is -

Mar -ra -

tyrsel’s

blazeownwith

sal -His

va -glo -

tion.ry.

-30-

Third ToneWhile Standing in the Temple’s Courts

Page 40: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œC œF œ œ œ œ œ

rit. œ ˘C œ ˘ œUn. œ .˘

the Mar - tyrs blaze with His glo - ry.

-31-

Third Tone

Final Ending:

Page 41: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œE

œ œb œ œ œ œ ˘ œ œ ˘ œ œ œAs

Withone

aval -daz -

iantzling

inbright

mar -ra -

tyr -di -

dom,ance,

tro -thou,

phy -O

bear -Mi -

er,chael,

Greatdost

Mar -stand

& œ ˘ œ œ œb œ œ œ œ œ œD œ œ œ ˘Etyrbe -

George,fore

onthe

thisThree -

daySun

weDi -

gath -vin -

eri -

toty

chantwith

theethe

hymnsHosts

ofon

praise;high,

& œ œ œ œD œ œ œ œ œ œ œ œ ˘E œ œ œbforO

thouChief

hastCom -

fin -man -

ishedder,

thein

coursejoy

andex -

hastclaim -

in -ing:

vin -Ho -

ci -ly

blyart

keptThou,

& œ ˘ œ œ œ œ œ œ ˘ œ œb œ œ œtheO

Faith,Lord,

andGod

fromthe

GodFa -

thouther

hastin

re -the

ceivedheights;

thyHo -

greatly

vic -art

to -Thou,

& œ œ œ ˘ œD œ œ œ ˘E œ œ ˘ œ œry’sthe

crownWord

ofof

light;God

henceco -

en -be -

treatgin -

thening -

Lordless;

toHo -

de -ly

liv -art

erThou,

fromDi -

& œ œ œ œ œ œ œG œ œ œ œ œ œ œb ˘per -vine

ilsand

andHo -

cor -ly

rup -Spir -

tionit:

themone

thatDi -

faith -vin -

ful -i -

lyty,

doone

hon -Pow -

ourer,

& œD œ œ œb œ œ œ œ œ .˘Ethineone

ev -Glo -

er -ry,

ven’ -Na -

ra -ture,

bleand

mem -Sov’ -

o -reign -

ry.ty.

-32-

� fourth tone

�As One Valiant

Hymns Chanted from ‘E’

Page 42: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œ œ œ œbD œ œ œ œ œrit

˘E œD œ ˘ .˘E

one Glo - ry, Na - ture, and Sov’ - reign - ty.

& ˘E ˘ ˘ œUn. œ œ œ œ œ ˘ œE œ œ œ œLord,There

whenis

Thoucome

didstnow

as -the

cendmid -

up -dle

onof

thethose

Cross,days

Thouwhich

didstcom-

ut -mence

ter -with

lyChrist

& œ œ œ œD œ œ œ œ œ ˘E œC

œD

œ œ œo -

God’sblit -sav -

er -ing

ateris -

ouring

an -and

ces -which

tralare

curse.sealed

Andby

go -Pen -

ingte -

downcost,

in -that

& œ œ ˘ œ œE œ œ œ œ œ œ œ œ œ œtodi -

Ha -vine

des,day.

ThouIl -

didstlu -

setmi -

freenat -

thoseed

inby

fet -both

tersthe

fromfeasts

alland

a -join -

gesing

& ˘ œ œ œ œ# œ œ œb œ ˘ œn D œ œ œ œpast,both,

grant -it

ingis

un -ra -

todi -

theant

raceand

ofin

mantruth

in -is

cor -now

rup -ren -

tiondered

forma -

& œ ˘ œ œE œ œ œ œ œ œ ˘ œb œ ˘ œ#ev -jes -

er;tic,

hence,show -

foring

thisand

causeman -

withi -

hymnsfest -

doing

wethe

glo -pres -

ri -ence

fyof

Thy

& œ œ œb œ œ œ# œ œD œ œn œ œ œ .˘Elife -the

cre -great

a -glo -

tingry

andof the As -

sav -cen -

ingsion

Ris -of

ingour

fromMas -

theter,

dead.Christ.

Fourth Tone

-33-

Final Ending:

Lord, When Thou didst Ascend

Page 43: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& ritœD œ œ œ ˘E œD œ ˘ .˘E

of our Mas - ter, Christ.

& œC

œD œ œ œ œ œ œ œ ˘ œE œ œ œ œD œ œ

OWhat

Lord,man

al -who,

thoughbe -

Iing

de -tossed

siredin

tothe

blottem -

outpest,

withflee -

myeth

tearsto

thethis

hand -ha -

writ -ven

& œ œ œ œ œ ˘E œC

œD œ œ œ œ œ œ œ ˘

ingand

ofis

mynot

man -saved

yfrom

sins,harm?

andOr

forwho

thein

restsor -

ofrow

myand

lifepain

todoth

pleasefall

Theedown

& œE œ œ œ œ œ œ œ œD œ œ œ ˘E œC

œD œ

throughbe -

sin -fore

cerethis

re -Phy -

pen -si -

tance,cian

yetand

dothis

thenot

en -ful -

e -ly

myhealed?

leadO

meThou

a -Cre -

& œ œ œ œ ˘ œ œE œ œ œ# œ œ œb ˘G œ œstray,

a -astor

heof

war -all

reththings,

a -O

gainstThou

myWho

soulheal -

withest

histhe

cun -ail -

ning.ing:

OO

Lord,Lord,

& œb œ œ œbE œ œ œD œ œ œ œ œ .˘Ebe -be -

forefore

II

ut -ut -

ter -ter -

lyly

per -per -

ish,ish,

dodo

ThouThou

savesave

me.me.

& ritœD œ œ œ œ œ ˘E œD œ ˘ .˘E

per - ish, do Thou save me.

Fourth Tone

-34-

Final Ending:

O Lord, although I desired to blot out

Final Ending:

Page 44: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œE œ œ œD œ œ œ œ œ œE œ œ œ œ œ œOnO

thisdi -

dayvine

ThouE -

hastze -

ap -ki -

pearedel,

un -as

toGod’s

thetrue

wholeProph -

& ˘ œ œ œ œD œ œ œ œ œ œ œE œ œ œworld,

et,andthou

Thyfore -

light,told -

Oest

Sov’ -un -

reignto

Lord,all

isthe

signedIn -

oncar -

usna -

whotion

& œ œ ˘ œC

œ œ œ œ œ œ œ œ œ œsingof

Thythe

praiseLord,

andthe

chantLamb

withof

know -God,

ledge:the

ThouAr -

hasttif -

nowi -

come,cer,

Thouthe

& œ# œ œ œb œ œ œ œ œn œ œ œ œ œ .œ jœ .˘hastSon

ap -of

peared,God,

Othe

ThouE -

Lightter -

un -nal

ap -made

proach -man -

ai -

ble.fest.

& ritœC œ œ œ œ œ œ œ œ ˘G

œ ˘ œUn.

œ .˘the E - ter - nal made man - i - fest.

Fourth Tone

-35-

Final Ending:

On This Day Thou Hast Appeared

Page 45: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œE œ œ œ œ œ# œ œD œ œn œ ˘ ˘E œ œ œ œThou

Owhoseer

wastof

calledmys -

fromt’ries

onin -

highef -

andfa -

notble

byand

man-ho -

kind,ly,

whenthou

thedidst

earth -cleave

lyin

& œ œ œ œ œ œ œ œ ˘ œ œ œ ˘ œ œ œbdark -twain

nessthe

hadRiv -

be -er

dimmedJor -

thydan’s

flesh -run -

lyning

eyes,streams;

andand

bythe

thisde -

blind -lu -

ing,sion

hadof

broughti -

& œ ˘ œ œ œ œD œ œ œ ˘ œUn. œ œ ˘E œ œ œto

dols,lightthou

anddidst

shownburn

forthto

clear -ash -

lyes

thewith

dis -the

malfierce

gloom -light -

i -ning -

nessbolt

ofof

& œ œ œ ˘ œ œ œ œ œ œ œ œ œ œ œ œ ˘im -thy

pi -god -

e -ly

ty,words.

thenWhen

thethe

lightking

fromtrans -

Heav -gressed,

enthou

shineddidst

itsre -

light -buke

ninghim

ra -o -

di -pen -

ancely;

& œ œ œ ˘ œ œ œb œ ˘ œ œ œ œD œ œ œ ˘up -the

onshame -

theful

eyespriests

ofof

thyin -

mind,iq -

Oui -

Paul,ty,

there -thou

bybold -

re -ly

veal -slew -

ingest;

& œUn. œ œ ˘E œ œ œ œ œ œ ˘ œ œ œ œD œto

andtheewith

thethy

beau -prayer,

tythou

ofdidst

god -burn

lythy

pi -sac -

e -ri -

ty.fice.

Hence,Now

thouwith

didstthe

comefire

& œ œ œ œ œ œ ˘ œE œ œ œ œ ˘ œ œ œtoof

knowthy

themost

Onefer -

thatvent

dothprayer,

bringquench

forththe

lightflam -

outing -

ofhot

dark -coals

ness,of

yea,the

Christsuf -

Fourth Tone

-36-

Thou Who Wast Called from on high

Page 46: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œ ˘G œ œ œ œ œ# œ œ œb œn ˘ œE œ œbD œ œourfer -

God.ings

Doand

thoudis -

there -tress

foreof

en -thy

treatpeo -

Himple,

toO

en -E -

light -li -

enas,

andProph -

& œ œ œ .˘Etoet

saveof

ourthe

souls.Lord.

& ritœE œ œbD œ œ œ œ œ ˘E œD œ ˘ .˘E

O E - li - as, Proph - et of the Lord.

& œE œ œ œ œ œ œUn.

œ œD œ œ œ œ œ œ

Un -Come,

toall

themye

thatthat

fearlove

Thee,mar -

Thou,tyr -

Oic

Lord,con -

hasttests,

giv -let

enus

Thybe -

pre -take

ciousour -

& ˘E œ œ ˘ œ# œ œD œn ˘E œ œ œ œ œ œCrossselves

asnot

anto

en -Per -

signsia

ofor

vic -an -

to -cient

ry,Rome,

where -but

byun -

Thouto

hastthe

o -Rus -

ver -sian

& ˘ œD œ œ œ ˘ ˘E œ œ œ# œ ˘ œ œcomeland,

allthat

thedi -

pow’rsvine

ofa -

dark -re -

nessna,

within

theirthe

prin -which

ci -an

pal -ar -

i -my

ties,of

& œ œ œ œ œ œ ˘ œ œ œ ˘D œ œ œ œ œand

Chris -hasttians,

broughtstripped

usof

backearth -

a -ly

gainstrength,

tocon -

thetend -

firsted

bless -might -

ed -i -

nessly

oftill

ourthey

an -won

Fourth Tone

-37-

Final Ending:

Unto Them That Fear Thee

Page 47: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œ ˘E œ œ œ œ# œ œ œ œ œ œ œn ˘cientthe

state;crown.

andTheir

forblood

thishath

cause,made

wethe

glo -earth

ri -a

fyHeav -

Thyen,

man -while

be -in

friend -Heav -

& œD œ œ œ ˘E œ œ œG œ œ œ œ ˘E œ œingen

e -their

co -spir -

no -its

my,stand

Oat

mythe

Je -throne

sus,of

Al -the

might -Trin -

yi -

Lord,ty,

Thouin -

di -ter -

& œbD œ œ œ œ œ .˘Evineced -

Sav -ing

iourin

ofour

ourbe -

souls.half.

& œE œ œbD œ œ œ œ œ ˘E œD œ ˘ .˘E

in - ter - ced - ing in our be - half.

& œE œ œ œ œ œ œ œ œb œ œ œ œD œGlo - ry to the Fa - ther, and to the Son, and to the

& œ œ ˘ .˘EHo - ly Spi - rit.

& œE œ œ œ œ ˘ œ œ œ œ œb œ œ œBoth now and ev - er, and un - to the a - ges of

& œD œ œ œ .˘Ea - ges. A - men.

Fourth Tone

-38-

Glory; both now. Chanted from 'E'

Final Ending:

Page 48: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œE œ œ œ œ œ œ œ œ œ œ

nD œ œ ˘E œ

BeBy

quickthy

todi -

an -vine

tic -child -

i -birth,

patethou,

ourO

foesspot -

ereless

weMaid,

behast

en -re -

slavednewed

bythe

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œDthemwhole

thatmor -

blas -tal

phemena -

Theeture

andof

thatthe

men -earth -

aceborn,

uswhich

withwas

theircor -

threats,rupt

Owith

mer -pas -

& œ œ ˘ œ ˘E œ œ œ œ œ œ œ œ œ œci -

sionsfuland

Christdead

ourin

God;sins.

byThou

Thyhast

Crossraised

de -all

featmen

themfrom

thatdeath

op -to

poselife

& œ œ# œ ˘ œ œ œ œ œ œ œ œn œD œ œus

purethatand

theyend -

mayless.

knowWhere -

howfore,

might -as

yis

isdue,

theO

faiththou

ofmost

Or -glo -

tho -ri -

& œ œ ˘E

œ œ œ œ œ œ œ œ œdoxous

Chris -Vir -

tians,gin,

throughwe

Thyall

purenow

Moth -call

er’sthee

prayersbless -

fored,

usas

all,thou

& œD œ œ ˘ œ .˘E

Otru -

on -ly

lydidst

Friendproph -

ofe -

man.sy.

& rit˘ œ ˘ œD œ ˘ .˘

E

proph - e - sy.

-39-

Be Quick to Anticipate

Final Ending:

fourth tone with B

Page 49: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œE œ œ œ œ œ œ œ œ œ

n

œD œ œ œ ˘E

OBe

Lordthou

Je -rea -

sus,dy,

un -Beth -

tole -

Theehem,

ThyE -

lambden

dothhath

cryo -

withpened

aun -

greatto

voice:all.

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ# ˘O

Eph -myra -

Bride -tha,

groom,pre -

Theepare

Ithy -

love;self,

andfor

seek -now,

ingbe -

Thee,hold,

Ithe

nowTree

con -of

test,life

& œ œ œ œ œ œ œD œ œ œ œ œ œ ˘E œandhath

withblos -

Thysomed

bap -forth

ti -in

smthe

amcave

cru -from

ci -the

fiedho -

andly

bur -Vir -

ied.gin.

IHer

& œ œ œ œ œ œ# œ œ œ œ œ ˘ œ œ œ œ#suf -

wombfer

hathfor

provedThy

asake,true

thatspir -

Ii -

maytual

reignPar -

witha -

Thee;dise,

forwhere -

Thyin

sakethe

IDi -

& œ œ œ œ œD œ œ ˘E œ œ œ œ œ œ œ œdie,vine

thatand

Isav -

maying

liveTree

inis

Thee:found,

ac -and

ceptas

mewe

of -eat

feredthere - of

outwe

ofshall

& œ œ œ ˘ œ œ œ œ œD œ ˘ œ ˘E œ œ œ œlong -all

inglive,

toand

Theeshall

asnot

a*

spot - less sac - ri - fice. Lord, save our souls

& œ œ œ œ œ œ œ ˘ œ œ œ œD œ œ œ .˘Ethrough her in - ter - ces - sions, since Thou art great in mer - cy.

-40-

Fourth Tone with B

Joseph Was AmazedDismissal Hymn

* For the remainder of the hymn, see the first two lines of the following page. The Dismissal Hymns for the Eve of the Nativity, the Forefeast of Theophany, and the Eve of Theophany all follow the same sequence of notes.

Page 50: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œD œ œ œ œ ˘E œ œ œ œ œ œ ˘ œ œn

œdie as did A - dam. For Christ is born now to raise the

& œD œ œ œ œ œ œ œ œ .˘Eim - age that had fall - en a - fore - time.

& œ œD œ œ œ œ œ œ œ œ ˘E œ œ ˘ .˘the i - mage that had fall - en a - fore - time.

& œE œ# œ œ œ œ œn œD œ œ œ ˘E œ œ# œ œ œ

SinceWhen

thouHe

wastthat

greatbowed

inthe

zealHeav -

forens

god -came

lyto

re -save

li -sin -

gion,ners,

thouZac -

didstchae -

as -us,

sem -great

blein

& œ œn œD œ œ œ ˘E

œD

œE œ œ œ œ œ œ œan

zeal,al -

butli -lit -

ancetle

ofof

Mar -sta -

tyrs,ture,

andbe -

inheld

theirthe

midst,Tree

thouof

shon -Life

estfrom

likein

athe

& œ œ œ ˘ œ œ œ œ œ œ ˘ ˘ œ œ œ œflash -syc -

inga -

star.more;

Withlift -

theed

ar -up

rowsa -

thatbove

didthe

pierceearth,

thyhe

much -saw

suf -Je -

fer -sus,

& œ# œ ˘ œ œ œ œ œ œ ˘ ˘ œn œD œ œing

Whobo -

calleddy,

him:thoucom -

didsting

slaydown

thein

en -low -

e -li -

my,ness,

Ohe

Greatre -

Mar -pent -

tyring,

-41-

Fourth Tone with B

Final Ending:

Thou Who Wast Raised UpMelody used when Chanted as a Dismissal Hymn

The following two lines complete the Dismissal Hymn for the Forefeast of the Nativity. The hymns for the feasts mentioned in the footnote below follow this pattern also.

Page 51: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œ œ ˘E

œD

œE œ œ œ œ œ œ œ ˘ œ œ# œ

n

Se -re -

bas -ceived

tian;Him;

andand

thouso

thy -sal -

selfva -

didsttion

flycame

asin -

fromto

ahis

bowhouse,

in -and

tohe

thewas

& œ œ œn œD œ œ œ œE .˘

Heav -shown

ensforth

wherea

Christtrue

hathson

re -of

ceivedA -

thybra -

soul.ham.

& ritœE œ# œ œ œ œn œD œ œ œ œE

˘ œD

œ ˘ .˘E

and he was shown forth a true son of A - bra - ham.

& œE œ œ œ œ œ œ œ œ œ œ#n

œ œ œnD œGlo - ry to the Fa - ther, and to the Son, and to the

& œ œ œ ˘ .˘E

Ho - ly Spi - rit.

& œE

œ œ œ œ œ œ œ# œ œ œ œ# œD œBoth now and ev - er, and un - to the a - ges of a -

& œ œn .˘Eges. A - men.

-42-

Fourth Tone with B

Final Ending:

Glory; both now. Fourth Tone with B

Page 52: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& j œG œ œ œ œ œ œ ˘ œ œ

n

œ œ œ# œ ˘ThouThe

Whosac -

wastred

raisedtrea -

upsu -

onry

theof

CrossGod’s

ofho -

Thinely

ownglo -

will,ry,

& j œ# œ œ œ œ œ œn ˘ œ œ œ œ œ# œ ˘Othe

Christgreat -

ourly

God,pre -

docious

Thoubrid -

be -al

stowcham -

Thyber

com -and

pas -Vir -

sionsgin,

& j œ œ œn œ œ œ œ œ œ œ œ œ œ œ ˘ œup -the

onSav -

this,iour’s

Thymost

newpure

com -tem -

mon -ple,

wealthfree

namedof

af -stain and

terun - de -

Thee.filed,

Glad -in -

& j œ œ œ œ œ ˘ ˘ œ œ œ œ œ# œ œ œdento

withthe

ThyHouse

sov’ -of

reignthe

mightLord

ouron

mostthis

Or -day

tho -is

doxbrought

hier -for -

archs,ward and

& j œ œ œ œ œ œ œ ˘ œ# œ œ œE œ œ œ œn œ œœand

bring -vouch -

ethsafewith

themher -

vic -self

to -the

rygrace

o -of

verthe

ev’ -Most

ryDi -

falsevine

teach -Spir -

& j œ œ œ œF œG œ œ œ œ œ œ ˘ œ œ œ œing;it;

andher

asdo

ThyGod’s

helpAn -

ingels

warhymn

maywith

theysongs

pos -of

sesspraise,

the wea -for

ponshe

& j œ œ œ ˘ œ œE œ œ œ œ ˘ œ .˘ofis tru -

peace,ly

thethe

tro -heav -

phyen -

in -ly ta - ber -

vin -na -

ci - ble.cle.

-43-

Fourth Tone with B

Thou Who Wast Raised UpKontakion

Page 53: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& j œG œ œ œ œ œ œ œ œ ˘F œ ˘b .˘Gthe heav - en - ly ta - ber - na - cle.

& j WG œ ˘Glory to the Father, and to the Son, and to the Holy Spir - it.

& j œG W œ œ œ# œ œ œ# .˘

Both now and ever, and unto the a - ges of a - ges. A - men.

& #bb œD

œ ˘ œ œ œ œ œ ˘ œG œ œ œ œJo -To

sephthe

wasVir -

a -gin

mazedun -

tode -

seefiled,

thatArch -

whichan -

tran -gel

scend -Ga -

edbri -

& #bb œ œUn. ˘ œG œ ˘ œ œ œD œ œ ˘ œna -el

ture’swas

bounds,sent

forand

with -de -

outclared

seed,to

thou,her

Othe

Maid,joy

didstthat

& #bb œ œ œ œ œ œ ˘ œ œ œ œ œ œbothdoth

con -tran -

ceivescend

andall

bearthought

aand

Child.speech:

AndThou

heshalt

re -con -

mem -ceive

beredwith -

theout

-44-

Fourth Tone, PalatineFinal Ending:

Glory; both now. Chanted from ‘G’

Joseph Was AmazedPalatine Mode–Sessional Hymn

Page 54: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& #bb œ œ œ œ œ œ œC œ œ œ .˘D

œ ˘ œ œblos -seed

som -and

ingwith -

rodout

ofcor -

Aar -rup -

on,tion.

theFor

dewthou

up -shalt

& #bb œ œ œ ˘ œG œ œ œ œ œUn. œ .˘G ˘on

bearthea

fleece,Son,

andGod

theere

un -e -

burn -ter -

ingni -

bushty,

whichand

& #bb œ œ œD œ œ ˘ œ œ œ œ œ œ œ ˘wasHe

notshall

con -re -

sumed,deem

thoughHis

itpeo -

wasple

allfrom

a -their

flame.sins.

& #bb œ œ œ œ œ œ œ œ œ œ ˘ œ œ œ œThus,

Hethybear -

pro -eth

tec -wit -

torness

andWho

be -hath

trothedsent

cried,me

asto

hesay:

bareRe -

wit -joice,

& #bb œ œ œ œC œ œ œ .˘D œnG ˘ œ# œn œ œb œn œD

nessO

be -most

forebless -

theed

priests:Maid.

AThe

Vir -birth

ginis

bear -vir -

ethgin,

& #bb œ œ œ œ œ ˘ œ œ œ œ œ œ œ œ œ .˘Gandand

af -af -

terter

child -bear -

birth,ing,

stillthou

re -re -

main -main -

ethest

aa

Vir -Vir -

gin.gin.

& #bb œD œ œ ˘ œ œ œ œ ˘ œ ˘ œUn. œ .˘thou re - main - est a Vir - gin.

-45-

Fourth Tone, Palatine

Final Ending:

Page 55: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& #bb WD œ ˘ ˘Glory to the Father, and to the Son, and to the Holy Spir - it.

& #bb œD W œ œ œ œC œ œ œ .˘

D

Both now and ever, and unto the a - ges of a - ges. A - men.

-46-

Fourth Tone, Palatine

Glory; both now. Palatine Mode

Page 56: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œA œ œ œ œ ˘ œ œ œG œ œ œ œA œG œA œLetLet

usus

wor -praise

shipthe

theall -

Word,laud -

Oed

yeand

faith -no -

ful,ble

prais -bride

ingof

HimChrist,

thatthe

withgod -

thely

& œ œ œ ˘ œ œ œG œ œ œ œ œ œ ˘A œ œ œFa -

Cath’ -therrine,

andthe

Spir -guar -

itdian

isof

co -Si -

be -nai

gin -and

ning -its

lessde -

God,fence,

Whowho

wasis

bornal -

& œG œA œ œ œ œ œ œ œ ˘ œ œ œ œ œ œ œofso

aour

puresup -

Vir -port

ginand

thatsuc -

wecour

alland

beour

saved;help;

forfor

Hewith

wasthe

pleasedHo -

toly

mountSpir -

theit’s

& ˘ œ œ œG œ œ œ œA œ œ œ œG œ œ œ ˘ ˘ACrosssword

inshe

thehath

fleshsi -

thatlenced

Hebril -

as -liant -

sumed,ly

ac -the

cept -clev -

inger

thusa -

tomong

en -the

duregod -

death.less;

& œG œA œ œ œ œ œ œ œ œ œ œ œ œUn. œ œ#FAndand

bybe -

Hising

glo -crowned

ri -as

ousa

ris -Mar -

ing,tyr, she

Henowal -

dothso

askwilled

greatto

mer -re -

& œG œ œ œ œA .˘cysur -

forrect

usthe

all.dead.

&rit.œA œ œ œ œUn. œ# œG œ œ œ œA œ œ ˘G œ ˘b .˘A

she now doth ask great mer - cy for us all.

-47-

Let us Worship the Word

� plagal of first tone

�Hymns Chanted from ‘A’

Final Ending:

Page 57: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œUn. œ œA œ œ œ œ œ œ œ œ œ œGGlo - ry to the Fa - ther, and to the Son, and to

& œ œ œ ˘ .˘Athe Ho - ly Spir - it.

& œG œA œ œ œ ˘ œ œ œ œ œ œ œBoth now and ev - er, and un - to the a - ges

& œ œG œ œ œ .˘Aof a - ges. A - men.

-48-

Plagal of First Tone. A

Glory; both now. Chanted from ‘A’

Page 58: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œG WA œ œ œ œG œ œ œ œ ˘ABoth now and ever, and unto the a - ges of a - ges. A - men.

& œG œA œ œ œG œA œ œ œ œD œ œ œ œ œ ˘ œG œAWe

Whenthethe

faith -Ewe

fuland

blessVir -

thee,gin

Obe -

Vir -held

ginThee

The -be -

o -ing

to -tak -

kos,en

andlike

wea

& œ œ œG œA œ ˘ œD œ œ œ œ œ œ œA œ œ œ œglo -

lambri -to

fyslaugh -

thee,ter,

asthen,

isO

meetWord,

andshe

prop -cried

er:out:

OO

un -most

shak -strange

enau -

& œ œ œ œ ˘G œ œ œb œ œ œ œn œ œ œ œ œ ˘ ˘Acit -dac - i -

y,ty!

im -how

preg -is

na -it

blethese

bat -law -

tle -less

ment,men

in -slay

vin -Thee,

ci -the

bleLife -

pro -be -

tec -stow -

tion,er?

& œG œA œ œ œUn. œ œ# œ œA œ ˘ œG œ ˘b .˘Aand shel - ter - ing ref - uge of our souls.

& œG œA œ œ œUn. œ# œG œ œ ˘A œG œ ˘b .˘AGreat, in truth, is Thy mer - cy, O my Son!

-49-

Plagal of First Tone. A

We the Faithful Bless Thee

Last Line of First Verse:

Last Line of Second Verse:

Page 59: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œD

œ œ œ œ œ œn œ œb œ œ œ œ œ œ ˘OO

right -right -

eouseous

Fa -Fa -

ther,ther,

The -sa -

o -cred

do -Am -

sius,brose,

thoutru -

God -ly

bear -graced

ingof

Saint,God,

& b œ œG œ œ œ œ œ œD œ œ ˘ œ œ ˘ œ œwiththou

fer -lyre

vourof

thousev -

didsten

strug -strings

gleev -

iner

thissound -

briefing

tem -forth

por -to

alus

lifeall

ina

hym -sav -

& b œ œ œ œ œ œ œ œ œ œ œ œC œ œ œ œD

˘ œ œ œno -ing

dysong

andof

vig -Or -

ilstho -

anddox

con -truth

stantand

fast -doc -

ing.trines;

Tothou

thytune -

dis -ful

& b œ œ œ œ œ œ œ œ œ œ ˘ œG œ œ œ œn œ œb œci -

luteplesof

thouthe

be -Di -

cam -vine

estCom -

afor -

rule;ter

thouthat

dostmost

joinsweet -

inly

cho -sooth -

& b œD œ œ œ œ œ œC œ œ œ œD

˘ œ œ œ œ œ œruseth

nowthe

withsouls

theof

flesh -all

lessthe

An -faith -

gels,ful;

cease -thou

less -art

lya

sing -great

ingin -

& b œ œ œ œ œ ˘ œG œ œ œ œ œ œ œ œD œthestru -

praisement

ofof

Christ,God,

theand

Wordthe

ofmost

Godpraise -

comewor -

fromthy

God,trum -

ourpet

De -of

& b œ œ œ œ œC œ œ œ œD

˘ œA œ œn œ œ œ œb œ œliv -all

er -the

er,Church,

Whothe

bowedmost

Hisex -

headceed -

be -ing

foreclear

theand

-50-

Plagal of First Tone. D

O Righteous FatherChanted from ‘D’

Page 60: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œ œ ˘ œ œ œ œn œ œb œ ˘ œG œ œ œn œ œb œ œBap -lim -

tistpid

andfount

Fore -of

run -grac -

ner,es,

andthat

whol -wash -

lyeth

sanc -clean

ti -a -

fiedway

& b œD œ œ œ œ œ œ œC œ œ œ œD

˘ œ œ œ œ œ œthethe

na -fil -

turethi -

ofness

theof

wa -pas -

ters.sions:

DoDo

thouthou

en -en -

treattreat

Him,Christ,

dodo

& b œn œ œb œ œ œ œ œ œ ˘ œG œ œ œ œthouthou

pleadplead

withwith

Him,Christ,

OO

right -right -

eouseous

one,one,

thatthat

thethe

ChurchChurch

maymay

bebe

& b œ œ œn œ œb œ ˘D œ œ œ œ œ œ œ œ œgrant -grant -

eded

con -con -

cord,cord,

tran -tran -

quil -quil -

li -li -

ty,ty,

greatgreat

mer -mer -

cy,cy,

andand

& b œ œ .œG jœ œ œ#Un. .˘last -last -

inging

u -u -

ni -ni -

ty.ty. -

& b rit.œA œ œ .œG jœ œ œ#D œ œ œn œ œ œ œn œ ˘ œC

œ ˘b .˘D

and last - ing u - ni - ty.

-51-

Plagal of First Tone. D

Final Ending:

Page 61: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œ œD œ ˘ œ œ œ œ œ œ œ ˘ œ œ œ œ œ œRe - joice,

Wrest - edthoufrom

treas -coun -

uretry,

frag -kin -

rantdred,

in -and

deedhome,

ofto

greatbe

as -a

cet -stran-

i -ger

caland

& b œ œ œ œ œ œ œ ˘A œn ˘ œG œ œb œ œ œ œ œcon -a

ten -pil -

tionsgrim

andup -

vic -on

to -the

ries;earth,

forO

thouPa -

took -trick,

estthou

onwast

thyof

shoul -Heav -

dersen

thee -

& b œ œ œ œ œ œ ˘D œ œ œ œ œ œ œ œ œC œ œ œCross,

lect -de -ed

vot -e -

ingven

thy -from

selfyouth

un -to

toes -

Christtrange

thethe

Mas -I -

ter,rish

Ofrom

all -i -

bless -dol -

eda -

& b ˘D

œ ˘ œ œ œ œ ˘ œ œ ˘ œ œ œ œ ˘Aman;try.

thouThy

ut -kins -

ter -men

lyand

trod -dear -

destest

downfriends,

thecoun -

ig -try,

no -com -

blefort,

mindand

ofmoth -

theer

flesh;tongue,

& b œ œ œn ˘ ˘G œD œ ˘ œ œ œb œ ˘ œ œ œ

withe -

allven

thethe

vir -fa -

tuesces

didstof

thouthe

makelonged -

thyaf -

soulter

ra -Saints

di -of

ant,Gaul,

anddidst

thouthou

took -see

& b œ ˘ œ œ œC œ œ œ œ œ ˘D œA œn œ œ œ œ œ

estno

wingmore,

toin

soarthy

upcare

un -for

tothy

lovefaith -

offul

God.flock.

Where -While

fore,there

aswas

wean -

en -y

com -strength

& b œn œ œ ˘G œ œ œb œ ˘ œD œ œ œ œ œ œ œ œ œpassin

thinethee,

au -thou

gusttook -

andest

all -no

ho -rest

lyat

shrine,all,

wetill

askthou

byhadst

thinewrest -

in -ed

ter -a

ces -peo -

sionsple

-52-

Plagal of First Tone. DRejoice

Page 62: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œ œ œ œC œ œ œ œ œ ˘D

œ ˘ œ œ œ œ œ ˘thatout

weof

maythe

findsnares

God’sof

greatthe

loveen -

fore -

man,my,

Opre -

all -sent -

laud -ing

edthe

Sab -Bride -

bas,groom

& b œ œn œ œ œb œ œ œ œ œ œ œ œ œ .˘andwith

thata

peacefair

andand

Hisspot -

greatless

mer -bride

cynew -

bees -

grant -poused

edthrough

tothy

thetra -

world.vails.

& b rit.œ œ œ œ œ œ ˘ œ œ œ ˘ œC

œ ˘b .˘D

new es - poused through thy tra - vails.

& b œD

œ œ œ œ œ œ œ œ œ œ œ œ œGlo - ry to the Fa - ther, and to the Son, and to the

& b œ œ œ œ .˘Ho - ly Spir - it.

& b œD œ œ œ œ ˘ œ œ œ œ œ œ œ œ

Both now and ev - er, and un - to the a - ges of

& b œ œ œ œ .˘a - ges. A - men.

-53-

Final Ending:

Glory; both now. Chanted from ‘D’

Page 63: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œj G œ œ œ# œE œ œ œ œ œ œn ˘ œG œ œClear -

Com -

Made

ly

a

ing

shin -

babe

and

ing

with -

ful -

forth

out

fill -

from

change,

ing

a

Christ

the

Vir -

hath

writ -

gin

ap -

ten

Maid

peared

Law,

in

from

now

a

a

the

strange,

Vir -

Giv -

& œ#j œE œ œ œ œ œ œn ˘ œ œ œUn. œ œG œ

er

gin,

new

and

and

fash - ion,

He

the

the

doth

Lord

Three -

set

of

Sun

a -

the

Light

right

Law

hath

our

in

made

fore -

the

bright

fa -

Tem -

the

ther

ple

& œj œ œ# ˘ œG œ œ œ œ œ œ œ œu -

A -

of

ni -

dam’s

the

verse

fall,

Law

past

which,

is

all

once

brought

tell -

brought

forth

ing,

in

asas

with

through

a

the

trans -

di -

shin -

gres -

vine

ings

sion,

Babe

of

passed

by

& œj œE œ œ œ œ œ œ œ .˘the

to

a

light -

all

pure

tran -

the

and

scend -

race

Vir -

ing

of

gin

God -

mor -

Moth -

head.

tals.

er.

-54-

Angels in the Heavens(The Original Melody is not metered)

� Plagal of second tone

�Hymns Chanted from ‘G’

Page 64: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œj E œ œ œ œ# œ œ œ œn ˘ œ œ œ œ œ# œ œAs

Of

it

old,

is

when

writ -

Christ

ten,

was

Thou

cru -

didst

ci -

rise

fied,

the

the

third

Vir -

day

gin

from

stood

the

be -

tomb,

side

& œj œ ˘ œ œ œUn. œ œG œ ˘ œ œ œ œ œ œ ˘

O

the

Christ,

Cross

rais -

with

ing

the

al -

vir -

so

gin

the

and

fore -

be -

fa -

lov’d

ther

dis -

of

ci -

our

ple

race;

John.

& œj œ œ œ œ œ œ ˘ œ œE œ œ œ œ œfor

She

this

cried:

cause

A -

doth

las,

all

how

man -

is

kind

it

ex -

Thou

tol

suf -

Thee,

fer -

whilst

est

ac -

this

claim -

Pas -

& ˘j œG œ œ œ œ œ œ œ œE œ ˘ ˘ .˘ing

sion,

Thy

O

Re -

Thou

sur -

dis -

rec -

pas -

tion,

sion

chant -

of

ing

all

hymns

men,

of

my

praise.

Christ?

& rit.œj G œ œ œ œ œ œ œUn. œ œ ˘F œ ˘b .˘GO Thou dis - pas - sion of all men, my Christ?

Plagal of Second Tone

-55-

As It Is Written

Final Ending:

Page 65: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œjC œ œ œ ˘ œ œ œ œ ˘j ˘ œ œ œ œ ˘Ere

Pa -

the

tri -

morn -

arch

ing

Ger -

star

ma -

from

nus

the

the

womb

New

wast

as -

Thou

sem -

born

bled

from

the

the

ac -

Fa -

counts

ther

of

moth -

all

& œj œ œ œ ˘j ˘ œ œG œ œ œ œ œ œ œ œ œer -

of

less

the

ere

Sev -

the

en

a -

Coun -

ges,

cils

though

con -

A -

vened

ri -

by

us

the

reck -

Fa -

oned

thers

Thee

at

not

di -

God,

verse

but

times

a

and

& œj ˘ ˘ œ œ œ œ œ œ œ œ œ œ œ œ œ œcre -

com -

a -

piled

tion,

them

rash -

in -

ly

to

and

a

sense -

sin -

less -

gle

ly

rule

i -

and

den -

can -

ti -

on,

fy -

set -

ing

ting

Thee,

them

the

all

& œj œ ˘ œ œ œ œ œ œ œ œ œE œ œ œCre -

in

a -

or -

tor,

der.

with

He

things

thus

cre -

con -

a -

firmed

ted,

their

stor -

doc -

ing

trines,

up

gath’ -

fu -

ring

el

them

for

in

the

one

& œj œ œ œ ˘ œ œ œUn. œ œG œ œ œ œ œ ˘ ˘fire

writ -

e -

ten

ter -

re -

nal.

cord.

But

He

the

es -

Coun -

tab -

cil

lished

gath -

them

ered

as

in

fel -

Ni -

low

cae -

shep -

a

herds

& œ#j œ œ œ œ œ œ œ œ œ œ œ œ œ# ˘ œE œpro -

o’er

claimed

us

that

the

Thou,

flock

O

and

Lord,

as

art

most

tru -

vig -

ly

i -

the

lant

Son

sup -

of

pli -

God,

ants

one

be -

with

fore

& œj œ œ œ œ œ œ œ œ œ ˘F .˘E

the

the

Lord,

Fa - ther

that

and

we

the

may

Spir -

be

it in

saved.

rank.

Plagal of Second Tone

-56-

Ere the Morning Star

Page 66: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& rit.œj G œ œ œ œ œ œUn. œ œ ˘F œ ˘b .˘Gbe - fore the Lord, that we may be saved.

& œj G œ œ œ œ œ ˘ œ# œ œ œ œ œ œ# œ ˘ œCom -

Hav -

ing

ing

to

laid

re -

up

veal

all

to

their

thee

hope

that

and

coun -

ex -

sel

pec -

which

ta -

was

tion

de -

in

ter -

Heav -

mined

en,

from

these

& œj œ œ œ œ ˘ œ œ œ œ œ œ ˘ œE œ œbe -

two

fore

Saints

e -

have

ter -

treas -

ni -

ured

ty,

up

Ga -

for

bri -

them -

el

selves

sa -

a

lut -

kind

ed

of

thee,

wealth

cry -

not

ing

to

out:

be

& œj ˘ œG œ œ œ œ œ œ ˘ œ œ œ œ œ œ œ œRe -

de -

joice,

spoiled.

ho -

Free -

ly

ly

earth

did

nev -

they

er

re -

sown;

ceive;

bush

free -

un -

ly

burnt,

do

re -

they

joice

give

& ˘j œ œ# œ œ œ œ œF œ œ œ ˘n ˘G œ œ œthou;

out

O

heal -

re -

ings

joice,

un -

thou

to

lad -

those

der

with

raised

mal -

on

a -

high,

dies.

which

True

Ja -

to

cob

the

saw

Gos -

& œj ˘ œ œE œ œ œ ˘ œ œ œ œ ˘ œG œof

pel’s

old;

hest,

re - joice,

neith -

thou

er

depth

gold

un -

nor

fath -

sil -

omed

ver

and

did

un -

they

ex -

ac -

plored;

quire;

re -

and

joice,

un -

& œj œ œ œ œ ˘ œC œ œ œ ˘ œ œ œto

thou

men

bridge

and

which lead -

un -

est

to

up

beasts

to

they

the

showed

high -

ben -

est

e -

Heav -

fac -

en;

tions

re -

and

joice,

kind-

Plagal of Second Tone

-57-

Final Ending:

Having Laid Up All Their Hope

Page 67: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œj j ˘ œG œ œE œ œ œ œ œ ˘ œ œG œ œ œdi -

ness -

vine

es;

ves -

that

sel

they

of

might

the

be

Man -

tru -

na;

ly

re -

o -

joice,

be -

com -

de -

plete

ient

de -

to

& œj œ œ œ œ ˘ œ# œ œ œ œ œ œ œ œChrist

struc -

through

tion

ev’ -

of

ry

the

means,

curse; re -

and

call

so

of

with

A -

bold -

dam

ness

to

might

God,

in -

re -

ter -

& ˘j œF œE œ œ œ œ œ ˘ ˘ .˘joice:

cede

With

with

thee

Him

is

in

the

our

Lord

souls’

Most

be -

High.

half.

& rit.œj G œ œ œ œUn. œ œ ˘F œ ˘b .˘GWith thee is the Lord Most High.

& œj C œ œ œ ˘ œ œ œj œ œ œ ˘ ˘ œ œYe

Now

an -

the

gel -

hills

ic

and

hosts,

moun -

go

tains,

ye

the

on

plains

the

and

way

all

be -

the

fore

val -

us,

leys,

ye

of -

that

fer

& œj œ ˘ œ œ œ œ œ œ ˘j ˘ œ œG œ œbe

praise

in

to

Beth -

Christ,

le -

Who

hem,

is

make

come

the

forth

man -

of

ger

the

rea -

Vir -

dy.

gin.

The

A

Word

shin -

of

ing

God

star

& œj œ œ œ œ œ œ œ œ œ œ ˘ œ œ œis

from

born;

Heav -

the

en

Ho -

guid -

ly

ed

Wis -

Ma -

dom

gi

now

to

com -

look

eth

on

forth.

Him,

Church,

ly -

re -

ing

ceive

as

Plagal of Second Tone

-58-

Final Ending:

Ye Angelic Hosts

Page 68: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œj œ œ œ œ œ œ œ œ œ œ œ œ œ œthe

an

greet -

in -

ing;

fant

and

in

up -

a

on

cave

this

and

re -

clad

joi -

with

cing

the

of

flesh

the

of

The -

us,

o -

His

& œj ˘ œE œ œ# œ œ œ œn ˘ œ œ œ œUn. œ œGto -

ser -

kos,

vants.

let

To

us

Him

peo -

we

ple

all

cry:

shout:

Bless -

Bless -

ed

ed

art

art

Thou

Thou

& œj œ œ œ œ œ œ œ œ œ œE œ ˘ ˘ .˘Who

Who

art

hast

now

been

come;

born,

our

our

God,

God,

glo -

glo -

ry

ry

be

be

to

to

Thee.

Thee.

& rit.œj G œ œ œ œUn. œ œ ˘F œ ˘b .˘Gour God, glo - ry be to Thee.

& œjG œ œ œ œ œ œ œ œ œ œ œ œ œGlo - ry to the Fa - ther, and to the Son, and to the

& œj E œ œ œ .˘Ho - ly Spir - it.

& œj G œ œ œ œ ˘ œ œ œ œ œ œ œBoth now and ev - er, and un - to the a - ges

& œ#j œE œ œ œn .˘of a - ges. A - men.

Plagal of Second Tone

-59-

Glory; both now. Chanted from 'G'

Page 69: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œC

œ œ œ œ ˘ œ œ œ œ ˘ œ œ œ œ œ#Tak -

By

ing

con -

up

ceiv -

a

ing

di -

the

vine

Wis -

set

dom

of

and

weap -

Word

on -

of

ry,

God

thou

in

didst

thy

dash

womb,

down

with -

the

out

& ˘ œ œn œ œ ˘ œ œ œ œ œ œ œ œb œ ˘i -

be -

dols’

ing

de -

con -

ceit

sumed

there -

there -

with,

by,

a -

thou

rous -

bar -

ing

est

the

for

An -

all

gels’

the

hosts

world

& œ œ œ œ œ œ œ œ ˘ œ œ œ œ œ œ œ œ#to

Him

ex -

Who

tol

fill -

thy

eth

he -

the

ro -

u -

ic

ni -

fight;

verse;

for

thou

thy

hast

mind

held

was

in

a -

thine

fire

arms

with

Him

di -

that

& œ œ œ œ œ œ ˘ œ œ œ œ œ œ œ œ# ˘vine

hold -

long -

eth

ing

to -

for

geth -

thy

er

God,

all,

and

Who

thou

hath

nob -

fa -

ly

shioned

with -

cre -

stood -

a -

est

tion

in

and

brav -

giv -

& œ œn œ œ ˘ ˘F ˘ œ œ œ œ ˘ œ œing

eth

a

their

death

food

by

to

fire.

all.

Where -

Where -

fore,

fore,

in

I

ac -

be -

cord -

seech

ance

thee,

with

O

thy

thou

& œ œ œ œ œ œ œ ˘ œ ˘ œ œ œb œ ˘C œ œname,

all -

thou

ho -

be -

ly

stow -

Vir -

est

gin

di -

and

vine

Mo -

gifts

ther

on

of

them

God,

that

that

ask,

I

O

be

great

re -

-60-

� Plagal of fourth tone

�Hymns Chanted from ‘C’

By Conceiving the Wisdom

Page 70: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œ œ œ œ œ œ ˘ œ œ œ ˘D œ œ œF œprize -

deemed

win -

from

ner

my

The -

ma -

o -

ny

dore;

sins

for

when

this

I

cause

shall

we

have

cry

to

un -

stand

& œ œ ˘ œ œ œ œ œ ˘bG œ œ ˘ œ œb ˘C ˘to

be -

thee:

fore the

In -

Face

ter -

of

cede

my

with

Cre -

Christ

a -

our

tor and

God

God;

that

O pure

for -

La -

give - ness

dy

& œ œ œ œ œ œ œ œ œ œ œD œ# œ œ œb ˘of

Vir -

all

gin,

their

help

trans -

me

gres -

in

sions

that

be

hour,

grant -

for

ed

thou

to

canst

them

do

that

what -

with

so -

long -

ev -

ing

er

& œC œ œ œ œ œ .œ jœ .˘keep

thou

thy

dost

ho -

will,

ly

O

mem -

all -

o -

hymned

ry.

Maid.

& œC œ œ œ œ œrit.

˘G

œ ˘ œUn.

œ .˘thou dost will, O all - hymned Maid.

-61-

Plagal of Fourth Tone. C

Final Ending:

Page 71: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& ˘C œ œ œ œ œ œ œ œ œ œ ˘ ˘ œO

Lord,

Lord,

Thou

though

fore -

Thou

knew -

didst

est

stand

the

be -

re -

fore

nowned

the

Je -

tri -

re -

bu -

mi -

nal,

as

en -

e -

& œ œ œ œ œ œ œ œ ˘ œ œ œ œ œdur -

ven

ing

be -

judg -

fore

ment

Thou

at

didst

Pi -

fash -

late’s

ion

hands,

him

Thou

and

didst

didst

not

hal -

de -

low

part

him

& œ# œ ˘ ˘ œ œ œ œ œ œ œ œ œn ˘from

as

Thy

a

Fa -

Proph -

ther,

et

seat -

be -

ed

fore

with

his

Him

birth

on

from

Thy

his

throne

moth -

a -

er’s

bove.

womb.

& œ œ œ œ œ œ œ ˘ œ œ œ œ œAnd

For

Thou

Thou

didst

in

rise

truth

from

didst

the

fore -

dead,

see

O

the

Friend

no -

of

ble

man

sta -

most

ture

& œ œ ˘ œ œ œ œ œ œ œ œ œ ˘ ˘mer -

of

ci -

his

ful,

mind.

free -

By

ing

his

the

en -

world

trea -

from

ties,

the

O

bit -

Sav -

ter

iour,

bond -

save

age

us,

& œ œ œ œ œ œ œD œ ˘ .˘C

of

in

the

Thy

a -

good -

li -

ness

en

and

and

Thy

en -

love

e -

for

my.

man.

& œ œ œ œ œ œ œ œrit.

˘G

œ ˘ œUn.

œ .˘in Thy good - ness and Thy love for man.

-62-

Plagal of Fourth Tone. C

O Lord, Though Thou Didst Stand

Final Ending:

Page 72: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œC œ œ œ œ œ œ œ œ œ œ œ œ œ

O

When

Lord,

Mo -

Thy

ses

ho -

the

ly

no -

Mar -

to -

tyrs,

ri -

since

ous

they

wise -

had

ly

for -

a -

got -

ban -

ten

doned

all

ev’ -

& œ œ œ œ œb ˘ œ# œ œ œ œ œ œ œ œnthat

ry

is

world -

but

ly

earth -

plea -

ly,

sure,

com -

with

plete -

most

ly

se -

set

vere

at

as -

nought

ce -

most

tic

bit -

pains

ter

and

& œ œ ˘ œ œ œ œ œ œ œ ˘ œ œ ˘ œ œ œtor -

la -

ments

bours,

for

he

the

quelled

e -

the

ter -

pas -

nal

sions

life

of

to

the

come.

flesh;

Now

and

they

on

have

hurl -

in -

ing

her -

down

& œ œ œ œ œ ˘ œ œ ˘ œ œ œ œ œ œ œi -

the

ted

ev -

that

er -

life

schem -

a -

ing

bove;

foe,

where -

he

fore,

hath

they

car -

re -

ried

joice

off

with

the

the

crowns

an -

of

gel -

vic -

& œ ˘ œ œ œ œ œ œ œ œ œ œ œ œ œic

to -

hosts.

ry.

In -

O

cline

Lord,

to

by

their

his

en -

en -

treat -

treat -

ies,

ies,

grant -

grant

ing

us

un -

all

to

Thy

Thy

great

& œ œb œ œ œ œ œD œ .œ jœC

.˘peo -

mer -

ple

cy

great

and

mer -

ev -

cy

er -

through

last -

their

ing

prayers.

life.

& rit.

œC

œ œ œ ˘G

œ ˘ œUn.

œ .˘ev - er - last - ing life.

-63-

Plagal of Fourth Tone. CO Lord, Thy Holy Martyrs

Final Ending:

Page 73: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& ˘C ˘ œ œ œ œ œ œ ˘ œ œ œ œ œ œO

O

strange

strange

won -

won -

der!

der!

O

He

dread

that

mys -

her -

ter -

ald -

y!

ed

He

Christ’s

that

self -

by

a -

na -

base -

ture

ment

& œ ˘ œ œ œ œ œ œ œ œ ˘ œ œ œ œas

to

God

men

is

is

im -

de -

mor -

clared

tal

high -

and

er

can -

than

not

all

die,

men

how

by

is

the

He

voice

hanged

of

& œ œ ˘ œ œ œ œ œ œ œ ˘ œ œ œ ˘on

Christ

a

Him -

tree;

self;

can

and

it

with

be

pow -

He

er

doth

be -

taste

stowed

of

by

death?

God,

Is

to -

He

day

con -

he

demned,

end -

& œ œ œ œ œ œ ˘ œ œ œ ˘ œ œ œ œWho

eth

of

his

all

moth -

is

er’s

in -

bar -

no -

ren -

cent?

ness

Be -

and

hold,

set -

O

teth

Sun,

loose

hide

Zach -

thy

a -

light

ri -

and

as’

& œ œ .˘ œ œ œ œ œ œ œ œ ˘ œ œ œ œquake

boun -

with

den

fear

voice.

at

O

this

Thy

au -

great

dac -

works,

i -

O

ty!

Christ,

Thus

and

the

Thy

Vir -

might -

gin

y

& œ œ œ œ œ œ ˘ œ œ œ œ œ œspake

won -

with

ders,

groans

O

as

our

she

Sov’ -

be -

reign

held

Lord!

hang -

Where -

ing

by

on

save

the

those

Cross

ho -

the

nour -

& œ œ œ œ œ œ ˘ .˘Sav -

ing

iour

Thy

Christ,

great

Whom

Fore -

she

run -

had

ner

borne.

John.

-64-

Plagal of Fourth Tone. C

O Strange Wonder

Page 74: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& ˘C œ œ ˘ œ œ œ œ ˘ œ œ œ œ œ œO most de - light - ful mar - tyr - ic blooms, sac - red en - camp - ment

& œ ˘ œ œ œ œ œ œ œ œ ˘ œ œ œ œof war, O ye God - chos - en com - pa - ny and most no - ble

& œ œ ˘ œ œ œ œ œ œ œ ˘ œ œ œ ˘gath - er - ing and di - vine - ly se - lect - ed band; O bless - ed peo -

& œ œ œ œ œ œ ˘ œ œ œ ˘ œ œ œ œple and hal - lowed choir of Saints, who strove in con - test for God the

& œ œ .˘ œ œ œ œ œ œ œ œ ˘ œ œ œ œTrin - i - ty, pray Him in our be - half, that He grant us

& œ œ œ œ œ œ ˘ œ œ œ œ œ œpar - don of our ma - ny sins, and un - to all men, great

& œ œ œ œ œ œ ˘ .˘mer - cy and en - dur - ing peace.

& œC

œ œ œ œ œ rit.

œ ˘G

œ ˘ œUn.

œ .˘great mer - cy and en - dur - ing peace.

-65-

Plagal of Fourth Tone. C

A variant, which differs from the foregoing only in the beginning of the first line:

Final Ending:

Page 75: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œC œ œ œ œ œ œ œ œ ˘ œ œ œ œ œ œ œ ˘

When

The

in

Pa -

the

ra -

fur -

dise

nace

of

of

E -

the

den

blaz -

long

ing

a -

flame,

go

Thy

once

ho -

brought

ly

forth

and

the

faith -

beau -

ful

ti -

Youths

ful

& œ œ œ œ œ œ œ œ œ œ ˘ œUn.

œ œ œ œ œproved

Tree

to

of

be

Know -

as

ledge

in

in

a

the

cool,

midst

re -

of

fresh -

all

ing

the

dew,

plants.

then

Thy

did

Church,

they

O

mys -

Christ,

tic’ -

hath

ly

blos -

& œ ˘ œC œ ˘ œ œ œ œ ˘ œ œ œ œpor -

somed

tray

forth

from

with

be -

Thy

fore

ho -

that

ly

Thou

and

wast

pre -

to

cious

come

Cross,

from

which

a

hath

Vir -

rich -

gin

ly

& œ œ œ œ œ œ ˘ œ œ œ œ œ# œ œ œb œwhom

welled

Thy

forth

bright -

life

ness

un -

would

to

not

the

burn.

world.

As

But

for

while

Thy

the

com -

for -

ing

mer

the

caused

sec -

A -

ond

dam’s

& ˘ œ œ œ œ œn œ œ ˘ œ œ œ œ œ#time

death,

in

when

Thy

he

dread

did

glo -

eat

ry

the

as

food

our

there -

God,

of,

the

the

won -

oth -

drous

er

Proph -

brought

& œ œ œb œ ˘ œ œ œ œ œn œ œ ˘ ˘ œb œet

back

and

to

right -

life

eous

a -

man,

gain

great

the

Dan -

thief,

iel,

when

clear -

he

ly

was

hath

saved

fore -

by

told,

faith.

when

Make

he

us

cried

par -

& œ œ ˘ œ œ œ œ œ œ œ œ œ œ ˘ œD œout

tak -

and

ers

said:

of

I

the

be -

for -

held

give -

un -

ness

til

grant -

the

ed

thrones

un -

were

to

set

him,

in

O

place

Christ,

and

Who

the

hast

-66-

Plagal of Fourth Tone. C

The Paradise of Eden

Page 76: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œ œ œ œ œC œ œb œ ˘ œ œn œ œ œ œ œJudge

quelled

sat

by

for

Thy

judg -

Pas -

ment;

sion

and

the

then

fren -

rushed

zy

forth

of

the

the

riv -

foe

er

a -

& œ œ ˘ œG œ œ œ œ œ ˘ œC œ œ œ œ œ œof

gainst

that

us

fire,

all.

from

And

the

ac -

which

count

may

us

we

wor -

be

thy

saved

of

by

Thy

their

Heav’n -

en -

ly

treat -

King -

ies,

dom,

O

O

our

Al -

& œD œ .œ jœ .˘C

Mas -

might -

ter

y

Christ.

God.

& rit.œC œ œ œ œ œ œ œ œ ˘G

œ ˘ œUn.

œ .˘by their en - treat - ies, O our Mas - ter Christ.

-67-

Plagal of Fourth Tone. C

Final Ending:

Page 77: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œC œ œ œ ˘ œ œ œ œ ˘ œ œ œ œWhat

How

shall

shall

we

we

now

ad -

call

dress

you,

thee,

O

O

Saints

right -

of

eous

God?

John?

Ho -

Might -

ly

y

Cher -

proph -

u -

et

& œ œ œ œ œ œ œ œ œ œ ˘ œ œ œ œbim,

who

for

fore -

Christ

saw

doth

the

rest

hor -

up -

rors

on

com -

you

ing

at

on

all

the

times.

land;

Six -

a

wing’d

true

Ser -

spir -

a -

i -

& œ œ œ œ œ œ œ œ œ œ .˘ œ œD œ ˘phim,

tu -

in

al

that

man

ye

that

glo -

judged

ri -

all

fied

things

Him

while

with -

judged

out

of

cease.

none;

Pure

a

An -

priest

gels,

that,

& œ œ œC œ œ œ œ œ ˘ œ œD œ ˘ œ œfor

like

ye

Mel -

showed

chi -

your

se -

bo -

dek,

dies

was

nought

as

but

none

scorn;

else,

and

but

Pow -

sprang

ers,

forth

for

per -

ye

fect,

& œC œ œ œ œ œ ˘ œ œ œ œ œ# œ œwork

won -

through

drous,

won -

and

drous

with -

mir -

out

a -

de -

cles.

scent;

Your

a

names

bold

are

re -

di -

prov -

vers

er

and

of

& œb œ ˘ œ œ œn œ œœ# œ œb œ œ œ œnG œman -

sin -

i -

ful

fold,

men;

but

a

great -

skilled

er

con -

still

strain -

are

er

your

of

gifts

Heav -

of

en’s

grace.

love.

O

Do

in -

thou

& œb œ ˘ œC œ œ œ œ œ œD œ .œ jœC

.˘en -

ter -

treat

cede with

Christ

the

the

Sav -

Sav -

iour

iour

that

that

our

we

souls

all

be

be

saved.

saved.

-68-

Plagal of Fourth Tone. C

What Shall We Now Call You

Page 78: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& rit.œC œ œ œ œ œ œ œ ˘G

œ ˘ œUn.

œ .˘Christ the Sav - iour that we all be saved.

& œC

œ œ œ œ œ œ œ œb œ œ œ œ œGlo - ry to the Fa - ther, and to the Son, and to the

& œ œ ˘ .˘Ho - ly Spir - it.

& œC

œ œ œ œ ˘ œb œ œ œ œ œb œ œ œBoth now and ev - er, and un - to the a - ges of

& œ œ œ œ .˘a - ges. A - men.

-69-

Plagal of Fourth Tone. CFinal Ending:

Glory; both now. Chanted from ‘C’

Page 79: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œC

œ œ ˘G

˘ œ œ œC

œ œ œ œ œ œAs

To

we

thee,

the

the

faith -

pas -

ful

tor,

flee

and

for

pro -

ref -

tec -

uge

tor

un -

of

to

a

thee,

count -

& œ œ œ# .œ jœ œ œ ˘nG

˘ œ œ œC

œ œ œO

less

George,

host

and

of

thy

home -

pro -

less

tec -

or -

tion

phans,

and

wid -

thy

ows,

speed -

pau -

y

pers,

help,

and

& œ œ œ œ œ œ# ˘ œ œ œ œ œ œ# œ œ# œwe

af -

now

flict -

en -

ed

treat,

souls,

O

do

prize -

we

win -

of -

ner

fer

of

an -

Christ

thems

Sav -

born

& œ œ œ œ œ œ œ œb œ ˘ œ œ ˘G

˘ œ œniour,

of

that

love

we

and

who

thanks -

hymn

giv -

thee

ing.

be

As

de -

a

liv -

hier -

ered

arch

from

filled

& œ œC

œ œ œ œ œ œ œ œ œ# ˘ œ œ œthe

with

snares

grace

laid

and

by

zeal

the

for

en -

pi -

e -

e -

my

ty,

and

do

from

thou

ev’ -

save

& œ œ œ# œ œn œ œ œ œ .œ jœ ˘ œG œ ˘ry

us

kind

from

of

the

per -

foes

il

of

and

ap -

ad -

os -

ver -

tol -

si -

ic

ty,

truth,

that

for

we

we

all

cry

& œb œ .œ jœC œ œ œ œ œ œ œ œ .œ jœ .˘may

to

cry:

thee:

Re -

Re -

joice,

joice,

O

O

ho -

great

ly

won -

Great

der -

Mar -

work -

tyr

er

George.

John.

-70-

Plagal of Fourth Tone. C

To Thee, the Champion LeaderThe Original Melody is irregular.

Page 80: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& jœC œ œ œ œ œ œ œ rit.

œ ˘G

œ ˘ œUn.

œ .˘Re - joice, O great won - der - work - er John.

& œC

œ œ ˘G

œ œ œC œ œ œ œ .œ œ œ .œ jœThe

O

sa -

Maid

cred

most

head

pure,

of

graced

the

of

Bap -

God,

tist,

and

which

ev -

was

er

bu -

bless -

ried

ed,

be -

with

& œ œ ˘G

˘ œ œ œC œ œ œ œ .œ œ œ ˘neath

the

the

an -

earth,

gel -

hid

ic

like

hosts

a

on

pearl

high,

with -

with

in

the

the

Arch -

ves -

an -

sel,

gels

& œ œ œ œ# œ œ œb œ ˘ œ œn œ œ œ œ œb œas

and

a

all

lamp

bod -

now

i -

ap -

less

pear -

pow -

eth,

ers,

splen -

pray

did

with

with

cease -

di -

less

vine

plead -

& œ œ œ œ œG

œ œ œ œC œ œ œ œ œ œ œ ˘light;

ings

it

to

shin -

Him

eth

Who

on

in

all

His

the

com -

world,

pas -

work -

sion

ing

was

mir -

born

a -

of

cles,

thee,

& œ œ œ œG

œ œ œ œC œ œ œ œ œ œ œ ˘a -

to

ris -

grant

ing

un -

like

to

a

us

ma -

for -

jes -

give -

ti -

ness

cal

be -

break

fore

of

the

day;

end

-71-

Plagal of Fourth Tone. C

When the Bodiless OneThe Original Melody is irregular.

Final Ending:

Page 81: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& œ œ œ œ# œ œ œ œn œ œ œ œF œ œ œ œJohn

and

the

the

Fore -

par -

run -

don

ner

of

of

all

the

our

Sun,

sins

in

and

light

the

that

cor -

nev -

rec -

& œ œ œ œ œG œ# œ œ œ œ œb œ ˘er

tion

doth

of

set,

life,

doth

that

cry

we

out

may

to

all

us

find

once

clem -

a -

en -

gain:

cy

& œC œ œ œ œ œ œ œ œ .œ jœ .˘Lo,

and

be -

great

hold

mer -

ye,

cy,

the

O

Lamb

Full

of

of

God.

& œC œ œ œ œ œ œ œ œrit.

˘G

œ ˘ œUn.

œ .˘and great mer - cy, O Full of Grace.

& W œ .˘Glory to the Father, and to the Son, and to the Holy Spir - it.

& W œ œ œ .˘Both now, and ever, and unto the ages of a - ges. A - men.

-72-

Plagal of Fourth Tone. C

Final Ending:

Another Glory; both now. Chanted from ‘C’

Page 82: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œC œ œ œ œ œ œ œ œ œ œ œ œ œ œ œAs

Cre -

first -

a -

fruits

tion

of

found

our

de -

na -

light

ture

and

to

joy

the

in

Plant -

thine

er

au -

of

gust

cre -

na -

a -

tiv -

ted

i -

& b ˘ œD œ œ œ œ œ œ œ œ œ œ œ œ œthings,

ty

the

and

world

the

pre -

good

sent -

cheer

eth

of

the

thy

God -

num -

bear -

ber -

ing

less

mar -

mir -

tyred

a -

Saints

cles

in

on

& b œ œ œ œ œ œ œ œF œ œ œ ˘ œC œ œ œ

off ’ -

thy

ring

di -

un -

vine

to

me -

Thee,

mo -

O

ri -

Lord.

al.

Through

Now

their

be -

ear -

stow

nest

there -

& b œ œ œ ˘ œD œ œ œ œ œ œ œ œ œ œ œen -

of

treat -

rich -

ies,

ly

keep

on

Thy

our

Church

souls

in

and

deep

wash

peace

clean

and

the

di -

stains

vine

of

tran -

our

quil -

ev’ -

& b œ ˘ œ œ œ œ œ œ œ œ œ œ œ œ œli -

ry

ty,

sin,

through

Eu -

the

thy -

pure

mi -

The -

us

o -

most

to -

right -

kos,

eous,

O

that

Thou

we

Who

may

art

chant:

& b œ œ œ œ œ œF œ œ œ .˘great -

Al -

ly

le -

mer -

lu -

ci -

i -

ful.

a.

& b rit.œD œ œ œ œ œ œ œ œ œF œ œ œ ˘C œ ˘ œUn. œ .˘

that we may chant: Al - le - lu - i - a.

-73-

Plagal of Fourth Tone. F

As First-Fruits of our Nature

Final Ending:

Page 83: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œC œ œ œ œ ˘ œ œ œD œ œ œ œ œF œ œ œ ˘Thou,

Ye

as

faith -

the

ful,

Life

what

of

a

all,

strange

from

mys -

the

t’ry

dead

here

art

is

a -

be -

ris -

fore

en.

us!

& b œC œ œ œ œ ˘ œD œ œ œ œ œ œ œF œ œ œ ˘An

As

An -

He

gel

a -

bright

lone

with

doth

light

know,

called

God

out

is

un -

born

to

of

the

a

wom -

wom -

en:

an;

& b œD œ œ œ œ œ œ œ ˘ œ œ œ œ œ œ œ œ œCease

all

ye

the

from

ar -

tears

rays

and

of

weep -

An -

ing;

gels,

tell

be -

the

ing

A -

a -

pos -

ston -

tles

ished

the

at

tid -

His

& b œ œ œF œ œ œ ˘ ˘ œ œG œ œ œ œ ˘ œF œG œings

de -

full

scent

of

to

joy.

us,

Cry

cry

a -

a -

loud

loud

sing -

sing -

ing

ing

prais -

prais -

es,

es,

that

that

Christ

Christ

the

the

& b œ œ œ œD œ œ œ œ œF œ œ œ ˘ œC œ œ œ œ

Lord

Lord

is

hath

a -

been

ris -

born

en

in

from

Beth -

the

le -

dead,

hem,

He

He

that

that

in

in

truth

truth

hath

hath

& b œ œ œ œ œ œ œD œ œ œ œ œ œ œF œ œ œ .˘been

been

well -

well -

pleased,

pleased,

as

as

God,

God,

to

to

save

save

the

the

race

race

of

of

man -

man -

kind.

kind.

& b rit.

œD œ œF œ œ œ ˘C œ ˘ œ œ .˘of man - kind.

-74-

Plagal of Fourth Tone. F

Final Ending:

Thou, as the Life of All

Page 84: Byzantine Prosomia...A common practice in Byzantine chant is to double the octave of the ison, meaning, for example, to sing both a high and a low ‘G’ even though only a G is above

& b œC œ œ œ œ œ œ œ œ œ œ œ œ œGlo - ry to the Fa - ther, and to the Son, and to the

& b œD œ œ œ œ œF œ œ œ .˘Ho - ly Spir - it.

& b œC œ œ œ œ ˘ œD œ œ œ œ œ œ œBoth now and ev - er, and un - to the a - ges

& b œ œF œ œ œ .˘of a - ges. A - men.

-75-

Plagal of Fourth Tone. F

Glory; both now. Chanted from ‘F’