Byzantine Music Formulae1 of 3 http://www.stanthonysmonastery.org/music/Formula.html Κάντε κλίκ εδώ για Ελληνικά omposing Byzantine music in a traditional manner is a great challenge, because it requires not only inspiration, but also two technical prerequisites: 1) knowing which musical gestures or ʺformulaeʺ are permitted for a particular syllabic pattern, and 2) knowing how to group these formulae together in a given mode. For, as the musicologists Egon Wellesz and Gregorios Stathis have observed, ʺthe task of a composer of Greek Orthodox church music has always been not to invent as many original melodies as possible, but to ʹcomposeʹ a new melody from old and well‐known formulae and cadences, or to write a variation on a given melody.ʺ[1] These formulae are a priceless treasure of Orthodox liturgical chant, because they were devised by hymnographers who over the centuries perfected the art of clothing liturgical texts with a melody that highlights their meaning in a way that aids prayer. Unfortunately, the rules governing these formulae have never been codified thoroughly. As a result, composers who are only partially familiar with these rules frequently write music that departs from traditional melodic lines. This is a serious defect not only ideologically (in that such compositions can not be considered a valid continuation of the tradition of Orthodox chant—which, as the musicologist Dimitri Conomos has pointed out, is ʺthe only music in world history that has a continuous 1500‐year unbroken melodic traditionʺ) but also aesthetically, because—to quote Conomos again—ʺthese age‐old chants, especially preserved on Mount Athos, bear a relevance and a beauty that is unmatched by other, later productions.ʺ Besides, melodies that break these rules usually sound awkward even to the untrained ear, due to a lack of balance between words and melody. This webpage presents these rules in an organized manner that facilitates traditional composition. St. Anthony's Greek Orthodox Monastery The Divine Liturgies Music Project Byzantine vs. Western Notation Writing Byzantine Music * * * The links in the following chart contain more than 10,000 Byzantine music formulae. Because of the completeness of these lists, one may determine if a new composition breaks the formulaic rules by checking if its melodic phrases exist in these lists. One may also use these lists to compose a Byzantine melody for a liturgical text in any language. The ʺworkshopʺ demonstrates how to use these lists in order to compose a melody for a sample liturgical text in English. By studying these lists, a chanter can quickly develop the invaluable skill of being able to invent on the spot a valid Byzantine melody in any mode for any text in any language. Heirmologic Formulae First Mode (100 Kb, 21 pages) Second Mode - hard (100 Kb, 21 pages) Second Mode - soft (110 Kb, 17 pages) Second Mode - verses (100 Kb, 16 pages) Third Mode (110 Kb, 27 pages) Fourth Mode - legetos (120 Kb, 33 pages) Fourth Mode - soft (110 Kb, 16 pages) Plagal First Mode (190 Kb, 38 pages) Plagal First - verses (100 Kb, 18 pages) Plagal Second Mode (180 Kb, 29 pages) Plagal Second - verses (120 Kb, 22 pages) Grave Mode (300 Kb, 40 pages) Protovarys (120 Kb, 21 pages) Plagal Fourth Mode (200 Kb, 37 pages) Plagal Fourth - apolytikia (100 Kb, 14 pages) Plagal Fourth - canons (110 Kb, 19 pages) NEW! Formulae for Verses NEW! Papadic Formulae Concerning Adaptation Seminar for Composers Links Contact Us Sticheraric Formulae First Mode (140 Kb, 45 pages) Second Mode (190 Kb, 50 pages) Third Mode (170 Kb, 46 pages) Fourth Mode (200 Kb, 58 pages) Plagal First Mode (210 Kb, 78 pages) Plagal Second Mode (220 Kb, 87 pages) Tetraphonos Pl. 2nd (100 Kb, 9 pages) Grave Mode (170 Kb, 48 pages) Protovarys (130 Kb, 21 pages) Plagal Fourth Mode (260 Kb, 96 pages) Formulae for Verses Papadic Formulae Webpage Workshop (400 Kb, 12 pages) Παρουσιαζουμε εδω 10. 000 θεσε ςι Βυζαντ νι ης Μ ουσικ ης ( φορμουλα σε Βυζαντ νι η Μ ουσικη) Παρουσιαζουμε εδω 10. 000 θεσε ςι Βυζαντ νι ης Μ ουσικ ης ( φορμουλα σε Βυζαντ νι η Μ ουσικη) Παρουσιαζουμε εδω 10. 000 θεσε ςι Βυζαντ νι ης Μ ουσικ ης ( φορμουλα σε Βυζαντ νι η Μ ουσικη) Παρουσιαζουμε εδω 10. 000 θεσε ςι Βυζαντ νι ης Μ ουσικ ης ( φορμουλα σε Βυζαντ νι η Μ ουσικη) Παρουσιαζουμε εδω 10. 000 θεσε ςι Βυζαντ νι ης Μ ουσικ ης ( φορμουλα σε Βυζαντ νι η Μ ουσικη) Παρουσιαζουμε εδω 10. 000 θεσε ςι Βυζαντ νι ης Μ ουσικ ης ( φορμουλα σε Βυζαντ νι η Μ ουσικη) Παρουσιαζουμε εδω 10. 000 θεσε ςι Βυζαντ νι ης Μ ουσικ ης ( φορμουλα σε Βυζαντ νι η Μ ουσικη) To download all lists as a single PDF file that has a cover, this introduction, the workshop, a glossary, and the formulae for verses (but excluding the papadic formulae), click here (979 pages, 11 MB) To download all lists as separate PDF files in zip format, click here (5.6 MB) To download all lists as separate Word files in rar format, click here (1.7 MB) Having these lists in Word format is useful for those who want to copy and paste formulae into their own compositions using our Byzantine music font package. A brief article by Nancy Takis explaining the importance of following these formulaic rules of Byzantine music is available at: http://www.newbyz.org/correctness.pdf Γιὰ ὅσους ἀγνοοῦν τὴν ὁρολογία στὰ ἀγγλικὰ ποὺ χρησιμοποιεῖται σὲ αὐτὴν τὴν συλλογή, παραθέτουμε ἕνα ἁπλὸ γλωσσάρι μὲ τὶς σημαντικότερες λέξεις. (90 KB, 2 σελίδες) Each of the eight modes can be subdivided into several categories based on the ratio of notes to syllables and on the tempo of a particular genre. Chrysanthos of Madytos, one of the three teachers, wrote that the ʺforms of psalmody belong to four melodic genera: the old sticheraric, the new sticheraric, papadic, and heirmologic.ʺ [2] Georgios Hatzitheodorou, however,[3] teaches that there are actually eight such subdivisions: 1) the concise, syllabic heirmologic melody (e.g., the brief version of the katavasia Χριστὸς Γεννᾶται) 2) the ʺnewʺ concise sticheraric melody (e.g., the brief versions of Κύριε ἐκέκραξα found in the second half of the Ἀναστασιματάριον) 3) the slow heirmologic melody (e.g., the slow version of the katavasia Χριστὸς Γεννᾶται) the ʺnewʺ slow sticheraric melody (e.g., the slow versions of Κύριε ἐκέκραξα found in the Ἀναστασιματάριον)[4] These melodies are considered ʺnewʺ because they constitute a genre of music that was perfected in the eighteenth century. 5) the ʺoldʺ sticheraric melody (e.g., the very slow version of the doxasticon Ἀναστάσεως ἡμέρα by Chrysaphes the New). This melodies are considered ʺoldʺ because they were composed between the twelfth and sixteenth centuries. 4) 6) the papadic melody (e.g., cherubic and communion hymns) [5] 7) the kalophonic heirmologic melody (e.g., the very slow version of Λίθον ὃν ἀπεδοκίμασαν on p. 336 in volume IV of the series Μουσικὸς Πανδέκτης) 8) the ekphonetic melody (e.g., the melodies used for intoning the gospel, epistle readings, and the petitions of the priest and deacon) The vast majority of troparia chanted today are the heirmologic melodies that comprise subdivisions 1 and 2. The next most frequent kind of troparia in contemporary usage is the sticheraric melodies of subdivision 4. (See footnote [6] for a list of these troparia.) Less frequently used are the papadic melodies in subdivision 6 and the slow herimological melodies in subdivision 3. The very slow melodies of subdivisions 5 and 7 are rarely chanted today. The melodies of section 8 are usually intoned according to oral tradition rather than from written music. Each of these subdivisions has its own rules of composition that determine which melodic gestures are permitted for a particular syllabic pattern. Our lists contain the musical formulae used in the heirmologic melodies of subdivisions 1 and 2, and the sticheraric melodies of subdivision 4. We chose to codify only these formulae since they cover the vast majority of troparia in current usage.[7] One slight drawback of our lists of formulae is that they do not include every single possible melodic formula. Nevertheless, they do include 100% of all commonly used formulae and at least 90% of the less common formulae. In the rare event that no formula or combination of formulae in our lists provides a satisfactory solution, a chanter with moderate experience should be able without difficulty to combine his knowledge with these lists in order to find an acceptable solution. 8/5/2015 5:55 PM one of the main paths toward an understanding of this structure [of Byzantine chant] lies in an examination of the melodic formulae. It is expected that the composer will already have a general notion of these melodic movements and will be able choose formulae accordingly. Τόμος Αʹ καὶ Βʹ. Οἱ Ἀναγραμματισμοὶ καὶ τὰ Μαθήματα τῆς Βυζαντινῆς 8/5/2015 5:55 PM . Ἀναστασιματάριον. back to reference [2] Χρυσάνθου τοῦ ἐκ Μαδυτῶν. as quoted by Gregory Stathis in Studies in Eastern Chant. If you downloaded files before this date and would like to know which pages were corrected. ʺA Computer‐Aided Analysis of Thirty‐five Byzantine Hymns. Ἰωάννου Πρωτοψάλτου. 2008. If you downloaded files before this date and would like to know which pages were corrected. On July 8. added several more formulae in the margins (without changing the original pagination) especially for the ʺold sticheraricʺ formulae. * * * On June 17. Ἀθήνησιν. Romanian. Ἀναστασιματάριον Πέτρου τοῦ Πελοποννησίου. etc. Ἐκδόσεις «Ὁ Μιχ. It is also expected of the composer to know when to select a formula from the section entitled ʺFthorasʺ in order to color a certain word or phrase according to its meaning. Ἐκδοτικὸς Οἶκος Βασ. Ι. Volume II. we corrected a few more typos and added several more formulae in the margins (without changing the original pagination). Πολυχρονάκης». Ἰωάννου Πρωτοψάλτου.html Another limitation of these lists is that they were compiled only from Byzantine music in Greek. and some of them depart considerably from the style of the original. Στάθης Γρηγόριος. Nevertheless. Vladimirʹs Seminary Press. 2010. Ἱερομονάχου Ἱεροθέου. Θεωρητικὸν Βυζαντινῆς Μουσικῆς ‐ Μέρος Δεύτερον ‐ Θεωρητικόν. verses of the Polyeleos. 68‐70.) Vid. There are hundreds of possible bridges allowable for each mode. The purely sticheraric formulae have two or more syllables in them that are held for more than one beat. Ἐκδόσεις «Ὁ Μιχ. One other aspect that is left to the composerʹs discretion is the choice of how many notes to use per syllable on average. These heirmologic formulae are also named ʺbridgesʺ or ʺfillersʺ since they are used to connect two sticheraric formulae. Νέον Ἀναστασιματάριον. we corrected a few more typos. Δοξαστάριον.. etc. Κρήτη. Ἱερομονάχου Ἱεροθέου. If you downloaded files before this date and would like to know which pages were corrected. 1971. back to reference [4] A further subdivision could be made for the more elaborate sticheraric melodies such as those found in the 11 Eothina Doxastica of the Ἀναστασιματάριον and in the Ἀθωνιάδα published by Petros Philanthidis in 1906. Κρήτη (ἀνατύπωσις τῆς πρώτης ἐκδόσεως ἐν Κωνσταντινουπόλει τῷ 1906). We have not included a list of all such bridges in the sticheraric lists of formulae. [1] cf. 2002. since the building blocks to construct such a bridge are found in the heirmologic lists. see our Vespers book at: http://www. Φιλοθέου. Θεσσαλονίκη. Πατριαρχικὴ Μουσικὴ Κιβωτός ‐ Ἑσπερινός. click here for each of those corrected pages as separate PDF files. Ἐκδόσεις Ἱ. Ψαλτικὰ Βλατάδων. p. On the other side of the spectrum . Πέτρου Φιλανθίδου.ʺ in Studies in Eastern Chant. 1821. Ι. The links in this webpage go to the updated versions of the files. click here for each of those corrected pages as separate PDF files. the old Anoixantaria. slow sticheraric melodiesʺ of subdivision 4) consist of two kinds of formulae: formulae that are purely sticheraric and formulae that are heirmologic. 2003. and Spanish. Ἀδελφότης Θεολόγων ἡ «Ζωή». Ἅγιον Ὄρος.stanthonysmonastery. Ἐκδόσεις Κουλτούρα. 1979. because composers made their melodies more elaborate by using some of the lengthy ʺoldʺ sticheraric formulae (which we have included in a separate section in each list of formulae). a sticheraric melody in third mode frequently begins with a phrase ending on KE. we corrected dozens of typos and uploaded corrected versions of the files that had typos. and added an appendix for the formulae for verses. Even though we have relied solely on Greek sources of Byzantine music. Miloš Velimirović. IV. ed. 377. Γεώργιος Ι. 129. French. There is a considerable amount of Byzantine music written in Slavonic. Μουσικὴ Βιβλιοθήκη.g. p. click here for each of those corrected pages as separate PDF files. 2004. Egon and Velimirović. Μουσικὴ Κύψελη. and then two consecutive cadences on KE. Ἀναστασιματάριον Νέον. most of these compositions are merely adaptations of original Greek melodies. our experience has shown that our lists of formulae contain more than enough variety necessary for composing new melodies in English. 179. On August 27. σελ. An astute observer will notice that based on this ratio of notes to syllables. To see many compositions made by relying on our lists of formulae. The links in this webpage go to the updated versions of the files. Ἐκδόσεις Ἱ.. Κρήτη (ἀνατύπωσις τῆς ἐν Κωνσταντινούπολει ἐκδόσεως τῷ 1844). 2009. * * * If you have any suggestions or corrections we would be grateful if you would contact us.. Πέτρου Ἐφεσίου. back to reference [5] Gregorios Stathis clarifies that there are two other forms of papadic melodies: the melody of the Kontakarion (or Oikematarion) and the melody of the Kratematarion (e. 1999 (ἀνατύπωσις τῆς πρώτης ἐκδόσεως ἐν Βουκορεστίῳ τῷ 1820). Ἐκδόσεις «Ὁ Μιχ. the ʺnew.e. 2002. Πατριαρχικὸν Ἵδρυμα Πατερικῶν Μελετῶν. whereas the heirmologic formulae have at most one syllable that lasts for two beats. Some sticheraric compositions can be found with such bridges consisting of as many as eighteen consecutive syllables. Ἀθῆναι. Ι. ιδʹ ἔκδοσις. If you downloaded files before then and would like to know which pages were corrected. Composers accomplished this by inserting heirmologic bridges between the sticheraric formulae more frequently.org/music/Formula.htm Sticheraric melodies (i. Μουσικὸν Ἐγκόλπιον Παρακλητικῆς.org/music/Vespers. Πολυχρονάκης».Byzantine Music Formulae 2 of 3 http://www. Arabic. Vol.Μ. Melodies for idiomela will typically have a smaller ratio of notes to syllables than melodies for doxastica do. Therefore. σελ. §402. ἐν Παρισίοις. For example. Εἰσαγωγὴ εἰς τὸ Θεωρητικόν καὶ Πρακτικὸν τῆς Ἐκκλησιαστικῆς Μουσικῆς. we have included a sampling to serve as a reminder of what bridges are common for that particular mode . Miloš. Τόμος Δεύτερος. the doxastica of special feast days tend to have more notes per syllable than the doxastica of regular days..ʺ —Schiødt. Τόμος Αʹ.ʹ Blackfriars. Nanna. 2) sticheraric melodies for doxastica. However. 1998 (ἀνατύπωσις τῆς ἐν Κωνσταντινούπολει ἐκδόσεως τῷ 1903)..Μ. 2007. The following books were used to collect formulae for our lists: Ἀθωνιάς. St. Κρήτη (ἀνατύπωσις τῆς ἐν Κωνσταντινούπολει ἐκδόσεως τῷ 1883). They also accomplished this by increasing the length of these bridges.stanthonysmonastery. Ἅγιον Ὄρος. one can classify sticheraric melodies into three sub‐categories: 1) sticheraric melodies for idiomela. Βʹ καὶ Γʹ. 192f. Another minor drawback of these lists is that they do not delineate which patterns of formulae are acceptable. Ρηγοπούλου. 1853. we corrected a few more typos and added several more formulae in the margins (without changing the original pagination). click here for each of those corrected pages as separate PDF files. The links in this webpage go to the updated versions of the files. p. and more recently also in Western European languages including English. Ζαφείρου Ζαφειροπούλου. Ἐκδόσεις «Πολυχρονάκης». and 3) sticheraric melodies for doxastica of special feast days. Φιλοθέου. Nanna Schiødt also points out that ʺ. each having a single note. Πολυχρονάκης». Κωνσταντίνου Πρωτοψάλτου. 1999 (ἀνατύπωσις τῆς πρώτης ἐκδόσεως τῷ 1869). Στεφάνου Λαμπαδαρίου. Wellesz. followed by a cadence on PA..back to reference [3] Χατζηθεωδόρου. Εἱρμολόγιον Καταβασιῶν. On June 27. 23 (1942). London. ʹAn Introduction to Byzantine Music. Θεσσαλονίκη. we considered them to be secondary sources and excluded them from our compilation. σελ. the Annunciation. except for the feasts of the Exaltation of the Cross. According to some Athonite rubrics. the second theotokion is almost always chanted heirmologically according to contemporary usage. 1979. 8) The Aposticha troparia of the Twelve Great Feasts. On the contrary. the Entry of the Theotokos. I have criedʺ and the troparia preceding Νῦν ἀπολύεις (the prayer of St. Ἵδρυμα Βυζαντινῆς Μουσικολογίας. In some places on Mt. I have cried) of Vespers chanted every Saturday and every feast day. 9) The Doxasticon of the Esperia. plagal first. 46. Athos. in which the Esperia troparia are prosomoia (which can however be chanted in the slow heirmologic style). 6) The eleven Eothina Doxastica. 3) The Saturday evening Doxasticon of the Esperia (also known as the first Dogmatikon Theotokion) and the Saturday evening Doxasticon of the Aposticha (also known as the second theotokion). Μελέται 3. Communion hymns. except for the feasts of the Entry of the Theotokos. psalm verses. 10) All troparia of the Liti except for the Theotokion of the Liti. Again. and the Meeting of our Lord. It is Truly Right. Aposticha. Symeon). 2) The Ἑσπέρια and Ἀπόστιχα troparia chanted every Saturday—i. which sometimes is heirmologic. the Anastasimatarion provides both sticheraric and heirmologic versions of these troparia. while the heirmologic versions are chanted for the remaining modes. and plagal second modes. the sticheraric version of the second theotokion is chanted when it is not immediately preceded by a doxasticon. Ἀθήνα. although practices vary. whereas the Esperia are usually chanted according to the sticheraric melody. In contemporary usage. Note that the Ἀναστασιματάριον (the book with music for the resurrectional hymns of the Octoechos) has two versions for each of these melodies: a sticheraric version and a heirmologic version.e. the following troparia are chanted with a sticheraric melody: 1) The Κύριε ἐκέκραξα (Lord. and the Dormition. 11) The idiomela of Orthros that are chanted on feast days after the fiftieth psalm. but her work is unpublished. and some versions of the Anaphora. the troparia following ʺLord. back to reference 8/5/2015 5:55 PM . such as the slow Trisagion.stanthonysmonastery. Although the Anastasimatarion has heirmologic versions of the Dogmatikon Theotokion.Byzantine Music Formulae 3 of 3 http://www. Jessica Suchy‐Pilalis has also compiled a list of heirmologic formulae in Western notation. the heirmologic versions are preferred. which is chanted near the end of Orthros every Sunday and every feast day. back to reference [6] In contemporary Greek Orthodox practice. back to reference [7] Dr. the Aposticha are almost always chanted according to the heirmologic melody. but those brief versions are used only in a weekday Orthros in which a major saint is not commemorated. in most places it is rarely used. second. the sticheraric versions are chanted for first.html Μελοποιΐας. 7) The Esperia troparia of the Twelve Great Feasts. and Praises for every saintʹs feast day that has such doxastica. though. the slow Alleluias.. The Anastasimatarion does have heirmologic versions of this troparion as well. etc. 5) The resurrectional troparia for the Praises chanted every Sunday morning. In current practice. 4) The Πᾶσα Πνοὴ (Let every breath) of the Αἶνοι (the Praises).org/music/Formula. however. 12) Various troparia from the Divine Liturgy.