Vespers As chanted on the Holy Mountain Western Notation September 2006, Version 1.0 This book is available online for free at: http://www.stanthonysmonastery.org/music/Index.html This book is currently available in two versions: Western Notation in color$120 Western Notation in black&white$50 God willing, this book will also be availablein Byzantine Notation in the near future For orders contact us at: St. Anthonys Greek Orthodox Monastery 4784 N. St. Josephs Way Florence, AZ 85232 USA Tel. (520) 868-3188 Fax (520) 868-3088 e-mail: monastery@stanthonysmonastery.org website: www.stanthonysmonastery.org 2006 St. Anthonys Greek Orthodox MonasteryPermission to copy is granted for liturgical use. Contents Concerning Adaptation ..............................................................................................................ix About the Translation............................................................................................................. xxvi Concerning Notation............................................................................................................. xxxvii Rubrics ....................................................................................................................................xxx Acknowledgements................................................................................................................ xxxi PART I OCTOECHOS FIRST MODE Lord I Have Cried .............................................................................................................1 Let My Prayer ...................................................................................................................3 Verses (Psalms 140, 141, and 129) ...................................................................................4 Slow Stichera ....................................................................................................................10 Glory, Both now...............................................................................................................20 Dogmatic Theotokion .......................................................................................................23 Slow Aposticha .................................................................................................................44 ivContents Aposticha Theotokion .......................................................................................................33 Apolytikion (Dismissal Hymn) .........................................................................................35 Heirmologic (brief) Versions: Lord I Have Cried .........................................................................................................39 Stichera.........................................................................................................................41 Aposticha ......................................................................................................................52 SECOND MODE Lord I Have Cried .............................................................................................................59 Let My Prayer ...................................................................................................................61 Verses (Psalms 140, 141, and 129) ...................................................................................62 Slow Stichera ....................................................................................................................68 Glory, Both now...............................................................................................................80 Dogmatic Theotokion .......................................................................................................83 Aposticha ..........................................................................................................................85 Aposticha Theotokion .......................................................................................................92 Apolytikion (Dismissal Hymn) .........................................................................................94 Heirmologic (brief) Versions: Lord I Have Cried .........................................................................................................97 Verses (Psalms 140, 141, and 129)..............................................................................99 Stichera ........................................................................................................................105 Aposticha .....................................................................................................................116 THIRD MODE Lord I Have Cried ............................................................................................................123 Let My Prayer ..................................................................................................................125 Verses (Psalms 140, 141, and 129) ..................................................................................126 Stichera ............................................................................................................................132 Glory, Both now ..............................................................................................................144 Dogmatic Theotokion ......................................................................................................147 Aposticha .........................................................................................................................150 Aposticha Theotokion.....................................................................................................157 Apolytikion (Dismissal Hymn) ........................................................................................159 Heirmologic (brief) Versions: Lord I Have Cried ........................................................................................................162 Stichera ........................................................................................................................164 Aposticha .....................................................................................................................175 FOURTH MODE Lord I Have Cried ............................................................................................................182 Let My Prayer ..................................................................................................................184 Verses (Psalms 140, 141, and 129) ..................................................................................185 Stichera ............................................................................................................................191 Glory, Both now ..............................................................................................................204 Dogmatic Theotokion ......................................................................................................207 Aposticha .........................................................................................................................210 Aposticha Theotokion.....................................................................................................218 Apolytikion (Dismissal Hymn) ........................................................................................221 Contentsv Heirmologic (brief) Versions: Lord I Have Cried ........................................................................................................224 Stichera ........................................................................................................................226 Aposticha .....................................................................................................................239 PLAGAL FIRST MODE Lord I Have Cried...........................................................................................................247 Let My Prayer ..................................................................................................................249 Verses (Psalms 140, 141, and 129) ..................................................................................250 Stichera ............................................................................................................................256 Glory, Both now ..............................................................................................................269 Dogmatic Theotokion ......................................................................................................272 Aposticha .........................................................................................................................275 Aposticha Theotokion ......................................................................................................282 Apolytikion (Dismissal Hymn) ........................................................................................284 Heirmologic (brief) Versions: Lord I Have Cried ........................................................................................................287 Verses (Psalms 140, 141, and 129).............................................................................289 Stichera ........................................................................................................................295 Aposticha .....................................................................................................................307 PLAGAL SECOND MODE Lord I Have Cried ............................................................................................................314 Let My Prayer ..................................................................................................................316 Verses (Psalms 140, 141, and 129) ..................................................................................317 Stichera ............................................................................................................................323 Glory, Both now ..............................................................................................................334 Dogmatic Theotokion ......................................................................................................337 Aposticha .........................................................................................................................340 Aposticha Theotokion.....................................................................................................347 Apolytikion (Dismissal Hymn) ........................................................................................349 Heirmologic (brief) Versions: Lord I Have Cried ........................................................................................................352 Verses (Psalms 140, 141, and 129).............................................................................354 Stichera ........................................................................................................................360 Aposticha .....................................................................................................................372 GRAVE MODE Lord I Have Cried...........................................................................................................379 Let My Prayer ..................................................................................................................381 Verses (Psalms 140, 141, and 129) ..................................................................................382 Stichera ............................................................................................................................388 Glory, Both now ..............................................................................................................402 Dogmatic Theotokion ......................................................................................................405 Dogmatic Theotokion (Diatonic) .....................................................................................408 Aposticha .........................................................................................................................412 Aposticha Theotokion ......................................................................................................418 Aposticha Theotokion (Diatonic) ....................................................................................420 viContents Apolytikion (Dismissal Hymn) ........................................................................................422 Heirmologic (brief) Versions: Lord I Have Cried ........................................................................................................425 Stichera ........................................................................................................................427 Aposticha .....................................................................................................................439 PLAGAL FOURTH MODE Lord I Have Cried ............................................................................................................445 Let My Prayer ..................................................................................................................447 Verses (Psalms 140, 141, and 129) ..................................................................................448 Stichera ............................................................................................................................454 Glory, Both now ..............................................................................................................465 Dogmatic Theotokion ......................................................................................................468 Aposticha .........................................................................................................................471 Aposticha Theotokion.....................................................................................................478 Apolytikion (Dismissal Hymn) ........................................................................................480 Heirmologic (brief) Versions: Lord I Have Cried ........................................................................................................483 Stichera ........................................................................................................................485 Aposticha .....................................................................................................................498 PART II SPECIAL DAYS I Shall Go into Thy House Plagal Fourth Mode, adapted from Hieromonk Gregory .................................................503 Anoixantaria (end of Psalm 103) by Theodore Phokaeus (standard version)......................................................................506 by George Raidestenos (elaborate version) .....................................................................524 by St. John Koukouzeles (very long version) ..................................................................544 Elaborate Finale for Anoixantaria, Ancient Melody .......................................................556 Blessed is the Man (Psalms 1, 2, and 3) by Manuel the Protopsaltis, Plagal Fourth Mode (long version) .....................................564 by Hieromonk Gregory, Plagal First Mode (brief version) .............................................583 Lord I Have Cried (very long versions) First Mode, by Iakovos the Protopsaltis ..........................................................................595 Plagal Second Mode, by Iakovos the Protopsaltis ...........................................................603 Verses (Psalms 140, 141, and 129) in Triple Meter First Mode, Athonite Melody ..........................................................................................611 Plagal Second Mode, Athonite Melody ...........................................................................619 O Joyous Light Second Mode, by John Sakellarides ................................................................................626 Second Mode, Ancient Melody, abbreviated by Socrates Papadopoulos .......................628 Prokeimena For Weekdays Saturday ......................................................................................................................631 Contentsvii Sunday ........................................................................................................................632 Monday .......................................................................................................................633 Tuesday .......................................................................................................................634 Wednesday ..................................................................................................................635 Thursday .....................................................................................................................636 Friday ..........................................................................................................................637 For Lent Turn Not Away, by Petros Peloponnesios ..................................................................638 Thou Hast Given, by Petros Peloponnesios ................................................................641 For Bright Week and Feast Days of the Lord For Holy Saturday, Arise O Lord..............................................................................643 For Holy Pascha, What God is as Great .....................................................................644 For Bright Monday, Our God is in Heaven ................................................................645 For Bright Tuesday, With my Voice ..........................................................................646 For Bright Wednesday, Give Ear O God...................................................................647 For Bright Thursday, I Will Love Thee.....................................................................648 For Bright Friday, Thou Hast Given ..........................................................................649 Rich Men Have Turned Poor Heirmologic (Brief) Melodies Grave Mode, traditional melody .................................................................................650 Plagal First Mode, traditional melody in triple meter ................................................651 Sticheraric (Long) Melodies First Mode, by Hieromonk Hierotheos .......................................................................652 Plagal First Mode, by Hieromonk Daniel..................................................................654 Plagal First Mode, by Hieromonk Hierotheos ............................................................655 Enharmonic Grave Mode, Ancient Melody ...............................................................656 Diatonic Grave Mode, Ancient Melody .....................................................................657 O Theotokos and Virgin Eight-Mode Version, by Theodosios Georgiadis ............................................................658 Plagal First Mode, Ancient Melody "from the City" .......................................................665 Plagal First Mode, by Hieromonk Hierotheos .................................................................667 PART III RESPONSES Lord Have Mercy Plagal Fourth Mode, by John Pallasis ..............................................................................669 " " " by Constantine Pringos ...................................................................670 " " " by Iakovos Nafpliotis ......................................................................670 " " " by Thrasyvoulos Stanitsas ...............................................................671 " " " by Hieromonk Hierotheos ...............................................................671 " " " by Michael Hatziathanasiou ............................................................672 " " " by Kyriazis Nicoleris ......................................................................673 " " " by Hieromonk Hierotheos ...............................................................674 Plagal First Mode, by Lycourgos Petridis .......................................................................675 """ by Athanasios Karamanis ...................................................................676 viiiContents """ by Hieromonk Hierotheos ...................................................................676 """ by Thrasyvoulos Stanitsas ..................................................................677 """ by Constantine Pringos .......................................................................677 """ by Hieromonk Hierotheos ...................................................................678 """ by Thrasyvoulos Stanitsas ..................................................................678 """ by Demetrios Sourlantzis ....................................................................679 """ by Nicolaos Georgiafentis ..................................................................680 Plagal First Mode, Athonite Melody for the Liti .............................................................681 Patheic (Suffering) First Mode, by Constantine Pringos .................................................682 Grant This O Lord Plagal Fourth Mode, by Hieromonk Hierotheos .............................................................683 " " " by Hieromonk Gregory ...................................................................684 Plagal First Mode, by Michael Hatziathanasiou ..............................................................686 """ by Hieromonk Hierotheos ...................................................................687 SOURCES AND APPENDIX Sources...................................................................................................................................689 Appendix: The Intonations of the Eight Modes.....................................................................691 Concerning Adaptation CCURATE liturgical translations rarely have the same meter as the original text.Asaresult,eithertheoriginalmelodymustchangetoaccommodate the new pattern of accented and unaccented syllables, or the words must be forced into a melody that was designed for a different text. When the origi-nalmelodyisnotwellknown,mostpeoplewouldagreethattheoriginal melody should be discarded and a new melody composed. When, however, the original melody is known and loved by many, most people prefer a musical arrangement of the text that resem-bles the original melody to a certain degree. Opinions vary as to what degree this should be. To illustrate different degrees of preserving the original melody, we shall compare various arrangementsfortheinitialwordsoftheVesperspsalmverseLord,Ihavecried( )insticheraricfirstmode.Theversionofthisthatisconsideredbymosttobethe originalmelodyisfoundintheAnastasimatarionofPetrosthePeloponnesian(d.1777)as published by Ioannis the Protopsaltis (d. 1866), which begins as follows: xConcerning Adaptation The first adaptation we shall analyze is taken from the Divine Liturgy Hymnal,1 commonly known in the Greek Orthodox Archdiocese of America as the green book. Thisexamplehastheadvantageofpreservingtheoriginalmelody2sowellthatboththe English and the Greek could be used in the same score. It has the disadvantage, though, of un-necessarily repeating the phrase to You. Another problem with this setting is that the melody for the first instance of the word Lord breaks the formulaic rules of composition for Byzan-tine music that dictate which melodic lines may be used to match a particular syllabic pattern. ThemelodyforthephrasemeOLordisastandardformulainByzantinemusic.However, placingthewordOonthewrongnotebetrayseitheranignoranceofordisrespecttowards thetraditionalapplicationofthisformula.Breakingtheformulaicrulesisaproblemnotonly ideologically (in that such compositions cannot be considered a valid continuation of the tradi-tion of Orthodox chantwhich, as the musicologist Dimitri Conomos has pointed out, is the only music in world history that has a continuous 1500-year unbroken melodic tradition) but 1 The Divine Liturgy Hymnal, Greek Orthodox Archdiocese of N. & S. America, Department of Religious Educa-tion, Brookline, Mass., second edition, 1982, p. 119. 2 This arrangement is actually a transcription of the melody written by John Sakellaridis in his book presented below, which differs only slightly from the melody by Ioannis the Protopsaltis on the previous page. Concerning Adaptationxi alsoaesthetically,becausetoquoteConomosagaintheseage-oldchants,especiallypre-served on Mount Athos, bear a relevance and a beauty that is unmatched by other, later produc-tions.Besides,melodiesthatbreaktheserulesusuallysoundawkwardeventotheuntrained ear, due to an unbalanced match between words and melody. ThesecondexampleistakenfromtheAnastasimatarion:ResurrectionalHymnal,3which contains music composed by Hieromonk Seraphim Dedes. This second example also has advantages and disadvantages similar to the first example.4 Inparticular,thetexthasbeenadjustedtofitthemelodybetter(thephrasehearmeisre-peated a total of six times whereas the original version of the hymn uses this phrase only four times).ThemelodyalsostretchestheformulaicrulesofByzantinemusiccomposition:ame-lodic phrase requiring three syllables was used for the two syllables Lord I and cried un-. This example differs from the first example in that the melody has been slightly changed to fit thetextbetter.Namely,theone-beatrestfollowingthemartyriawasusedinsteadofanison. AnadvantageofthisexampleisthatitiswritteninatraditionalnotationoftheOrthodox Church. We have enumerated the reasons why Byzantine music notation is superior to Western notation in an essay at: http://www.stanthonysmonastery.org/music/NotationB.htm The next example on the following page was written by David Melling of blessed memory, a Byzantine musicologist in England. 3Anastasimatarion:ResurrectionalHymnal,GreatVespersofSaturdayEvening,ByzantineMusicinGreekand English, Holy Cross Greek Orthodox School of Theology, Brookline, 2004, p. 1. 4 It should be pointed out, though, that this publication does not always preserve the original melodies unchanged. Usually the original melodies have been adjusted to a greater degree in order to match the English text better. xiiConcerning Adaptation This adaptation has preserved the original melody essentially unaltered, as did the previous twoexamples.Butthisversiondiffersfromtheminthatitdoesnotrepeatwordsthatarenot repeatedintheoriginal.Since,however,theGreektexthasmoresyllablesthantheEnglish translation, some words in this version have been extended over a dozen notes. Although such a phenomenondoesoccuroccasionallyinthesticheraricgenusofhymns,itonlyhappenswith particular melodic lines. The melodic lines in this adaptation, however, would always be used with more syllables in regular Byzantine music. The fourth example is taken from page one of this book: Concerning Adaptationxiii This fourth example has advantages and disadvantages different than the first three exam-ples. Its primary disadvantage is that the original melody has not been preserved. A further dis-advantage of this example is that it is in Western notation.5 Its advantages, though, are that the text has not been tampered with in order to mimic the syllabic pattern of the original hymn in Greek,andthemelodyhasbeenmolded to match the text in perfect compliance with the for-mulaic rules of Byzantine music. ThefollowingadaptationisbyJohnMichaelBoyer,theProtopsaltisoftheGreekOrtho-doxMetropolisofSanFrancisco,whostudiedByzantinechantinGreeceundertheArchon Protopsaltis Lycourgos Angelopoulos: Thisadaptationisnearlyidenticaltothepreviousexample,eventhoughthetwowere composed independently. The only melodic difference occurs on the first word. This adaptation also complies fully with the formulaic rules of Byzantine music and is flawless in terms of or-thography. Another obvious difference between this and the previous version is that the latter is writteninByzantinenotationandincludestheoxeiathatSimonKarasrecommendedreintro-ducing and the markings for syneptygmenos rhythm. ThenextexampleisfromtheByzantineMusicProjectbyDr.BasilKazanofblessed memory: 5 We decided to publish the music of this book first in Western notation despite its drawbacks, since the vast ma-jorityofchanterstodayknowonlyWesternnotation.Godwilling,inthenearfuturewewillpresentthesame troparia also in Byzantine notation. xivConcerning Adaptation Thisadaptationcombinestheadvantagesanddisadvantagesofthepreviousexamples.In some places (in the first measure, for example), the melody has been altered to match the text better, while in other places (e.g., in the third measure), the original melody has been preserved at the expense of breaking the formulaic rules of Byzantine music. For example, the melody for the two-syllable word unto is never used for two syllables in sticheraric first mode in Byzan-tinemusicinGreekbutalwaysforonlyonesyllable.Itshouldbepointedout,though,that Byzantine music in Arabic very frequently inserts extra syllables into formulae of Greek Byz-antinemusic.Therefore,onecouldjustifiablyarguethatthisstandardpracticeoftheirsisnot wrong but merely represents a different tradition that is well established. Another drawback of this adaptation is that the words that would be accentuated when reading this text aloud are not emphasizedbythemelody:inthefirstindependentclauseOLord,Ihavecriedoutunto Thee,onewouldnormallyaccentuatethewordsLord,cried,andThee.Themelody, however, emphasizes the words I and Thee. The next example is an adaptation in English by Nancy Takis of Michigan. Concerning Adaptationxv The melody of this adaptation has been altered to match the text, without distorting the text to fit the original melody better. This example conforms well to the formulaic rules of Byzan-tinemusicexceptintwoplaceswheretheruleshavebeenstretchedinordertoimitatethe original melody better: 1) the melody for the phrase cried out to thee in the second staff is a hybrid combination of a heirmologic formula of plagal first mode with a sticheraric formula of first mode, and 2) the melodic phrase for the words me, O Lord in the first two measures of thesecondstaffisappropriatefortwosyllablesinsteadofthree.Inordertousethismelodic phrase (known as the in the old Byzantine notation) for three syllables, the embellish-ment of the first note is expressly written out either as a petast with a klsma, or as an ison and kentmatawithagorgnallaboveanoligon.TheramificationsofthisformusicinWestern notation are that the melody for the first of the three syllables should bewritten either as four eighthnotes(onF,G,F,andEinthisinstance)orasadottedeighthnotefollowedbyasix-teenth note and two eighth notes (again on F, G, F, and E). A significant advantage of this ad-aptationincomparisontothepreviousexamplebyKazanisthatthemelodyemphasizesthe words that one would emphasize when reading the text aloud. The following example is an adaptation by Kevin Lawrence of North Carolina. xviConcerning Adaptation This adaptation has successfully followed the original melody quite closely. The only dif-ferenceisthatinthreeplacesaquarternotehaseitherbeeninsertedorremovedsothatthe melody would match the English text better. In particular, a quarter note has been added in the firsttwostavesforbothinstancesofthewordO,andinthesecondmeasureofthesecond staff, a dotted half note is used instead of a half note and a quarter note. An inevitable result of preservingtheoriginalmelodysowellinadifferentlanguageisthattheformulaicrulesof Byzantinemusicmustbebroken,duetothedifferentnumberofsyllablesinthetranslation. Thiscanbeobservedinthefirstmeasureofthesecondstaffwherethemelodyfortheword hearisassociatedwithonlyonesyllable insteadoftwo.Likewise,themelodyfortheword hear in the middle of the third staff would normally have two syllables, but here it has only one. These imperfections may be considered minor since the melody does not cloud the mean-ing of the text by emphasizing unaccentuated syllables. The following polyphonic setting is by Fr. James Meena of blessed memory, who was an archpriestoftheAntiochianArchdioceseofAmerica.Althoughhavingmultiplepartsclouds themodalityofByzantinemusic,we can still critique the arrangement by examining only the sopranos melody. Concerning Adaptationxvii This adaptation is similar to the previous example in that the original melody has been pre-served quite well. This example differs in that the text has been altered to fit the music better: the phrase to Thee have I cried in the first line is changed to I have cried unto Thee in the thirdline.Likewise,thephrasehearmeinthefirstandsecondlinesischangedtoOhear me,hearmeinthethirdline,thusrepeatingthisphrasemoretimesthanitisrepeatedinthe originalGreek.Anotherdrawbackofusingtheoriginalmelodynearlyunalteredisthatitun-avoidably emphasizes unduly the word I in the second line. This arrangement also breaks the formulaic rules by associating the two syllables have I with two consecutive quarter notes in thefirstline,sincetherulesdictatethatasinglesyllablewithahalfnotebelongsinthisme-lodic phrase. ThenextexampleistakenfromthewebsiteoftheHolyTransfigurationMonasteryin Brookline, Massachusetts.6 This is an adaptation of a more contemporary version of this hymn, presented on the fol-lowing page taken from a book published in 1952 by Constantine Pringos, the Archon Protop-saltis of the Patriarchate of Constantinople.7 6 See http://www.homb.org/frameset-sitemap.htm7 , , - , , 1974, . 15. xviiiConcerning Adaptation Comparingthetwo,wecanseethattheEnglishadaptationhassuccessfullycapturedthe flavoroftheoriginalandseveralofitsmelodicphrases.Furthermore,thistranscriptionin Western notation includes many of the implied embellishments of Byzantine chant. It also fol-lows the formulaic rules perfectly, except in the beginning of the second staff where the word me is used with a melodic phrase that is supposed to have two syllables instead of only one. Weshallnowproceedtoexaminevariousadaptionsofthishymninotherforeignlan-guages. The following example is taken from an Anastasimatarion in Rumanian:8 This example is similar to the fourth and fifth examples in that the original Greek melody has not been preserved, but the text has not been distorted, and the music follows the formulaic rules of Byzantine music. It also follows the orthographical rules faithfully, except in one place: 8 Anastasimatarul, Sfintei Monastiri Neamu, Bucureti, 1943, p. 1. Concerning Adaptationxix the elaphrn and the kentmata for the syllable zi in the first line should not be placed above an oligon, since they are not followed by a descending character. The next example is an adaptation in Spanish by Panagiotis Katsoulis from Athens, a son of the great teacher and protopsaltis, Konstantinos Katsoulis (1930-1987): Again,minorchangeshavebeenmadetotheoriginalmelodyinordertomatchthetext, and words have not been unnecessarily duplicated. The only problem with this adaptaion is that itcontainsafeworthographicalerrors.Inparticular,thevareiainthefirstlineshouldbere-moved,vareiasshouldbeaddedbeforethetwo-beatapstrophosesinthesecondandthird lines,andthesynechselaphrnshouldbereplacedbyanyporro.Nevertheless,thisadapta-tion faithfully follows the formulaic rules of Byzantine music composition. The following example is an adaptation in Arabic by Mitri el-Murr (1880-1969), the Proto-psaltis of the Patriarchate of Antioch, who was the first to write troparia in Arabic in Byzantine notation: xxConcerning Adaptation AswiththepreviousexampleinRumanian,weseethattheoriginalmelodyhasbeen changed to match the text, while conforming perfectly to the formulaic rules of Byzantine mu-sic. Note that only subtle changes in the melody were made so as to retain the flavor of the original melody. There are, however, three slight orthographical inaccuracies in this adaptation: the sndesmos in the first line should be a vareia, the antiknoma with an apl in the third line should be replaced by a petast with a klsma, and the sndesmos in the second line should be removed. The next example is an adaptation in English based on the Arabic melody by Sub-Deacon Karim El-Far of California: Comparing this with the Arabic prototype, we see that the melody is identical, except for the notes that have been added to account for the word O in both the first and third lines. A drawbackofpreservingtheoriginalmelodyunchangedisevidentinseveralplaceswherean unaccented word becomes musically accentuated by the melody. In particular, the words unto and Thou in the first line and the word have in the third line are unduly emphasized by the melody. Another drawback of not changing the original melody is that the formulaic rules have been broken in the third line where the word Lord is extended over three notes. In terms of orthography, this example has the same orthographical errors as the Arabic prototype. It has an additional orthographical mistake in the first line, where the second note should be an ison pre-ceded by a vareia, rather than an ison above a petast. ThefollowingexampleisaSerbianadaptationtakenfromabookpublishedinChurch Slavonic in Constantinople in 1859 by Hadji Angel Ioanov Sevlievets: Concerning Adaptationxxi Heretheoriginalmelodyhasbeendiscardedandanewmelodyhasbeencomposedthat conforms perfectly to the formulaic and orthographical rules of Byzantine music. Evidently, the prototype for this adaptation was neither the version of this hymn published by Ioannis the Pro-tospaltis(presentedonthefirstpageofthisessay)northeoriginalcompositionbyPetrosthe Peloponnesian, (shown below in the old notation), but most likely was the version published by Petros Ephesios in 1820 (presented on the following page).9 This can safely be assumed since the first six notes in both versions are identical and since both versions have a medial cadence on . 9 , , , , 1820, . 1. xxiiConcerning Adaptation The version of this hymn by Petros Ephesios begins as follows: 10

Notice that in the manuscript on the previous page, the entire melody of the first line is re-peatedverbatimfromtheendofthesecondlineuntilneartheendofthethirdline.Although thisversionalsobeginswiththesamemusicalphraseastheversionbyEphesios,itdoesnot have a medial cadence on its mesos as do Ephesios and Selvievec. Therefore, it is prob-able that Selvievec based his melody on the version by Ephesios. 10 As an aside regarding orthography, an astute observer will notice that Petros Ephesios (d. 1840) used an oligon for the second to last note in the first line for the syllable , whereas Ioannis the Protopsaltis (d. 1866) in the first example of this essay used a petast in the same situation. A little-known rule of orthography dictates that an oligonmustbeusedinthissituation.(See,, -,1940,.26,55,orrule#2dinourcompilationat:http://www.stanthonys monastery.org/music/ByzOrthography.pdf)Furtherevidencethattheoligonisindeedmorecorrectisfoundby examining manuscripts of the Three Teachers and their immediate disciples. For example, the following facsimilie of a manuscript written in 1839 (MS 23501 , , . 1.) correctly uses the oligon: Concerning Adaptationxxiii Returningtoouranalysisofadaptationsinforeignlanguages,thenextexampleweshall examine is another version in Church Slavonic. This one is taken from a recent publication11 in Bulgaria which is a reprint of a book published in 1872 in Constantinople:12 The melody in this example differs in only a few places from the melody in the other ex-ampleinChurchSlavonic.Inbothofthemtheoriginalmelodyhasbeenalteredinorderto match the syllabic pattern of the translation in accordance with the formulaic rules of Byzantine music. Note that this publication continues the ancient manuscript tradition of including a deco-rative header, inserting an elaborate initial capital letter, and writing Byzantine notation in both red and black (or brown) ink. This example is free of orthographical errors, but a minor typo-graphical defect is that the font used to typeset the music puts the klsma and the gorgn too far above the apstrophos and the yporro.13 11.,,,. 2.,:". ", . , : . . 29. 12 -, . . . -. . 1872. . 17. The melodies in this book are for the most part identical to those found in the first Bulgarian book of Byzantine music printed in 1847 in Bucharest by Nikola Triandafilov. 13 The font used for this example was ED Psaltica, and it is available online at www.cmkon.org/fonts.htm Be-cause of this and its other imperfections, we created our own EZ Psaltica font package, which is available online at: http://www.stanthonysmonastery.org/music/ByzMusicFonts.htmlxxivConcerning Adaptation The following example is an adaptation by Andra Atlanti of France, who studied Byzan-tine chant in Greece under the Protopsaltis Zacharias Paschalides. This adaptation is another example wherein the original melody was discarded so that the melody would match the words in perfect conformity to the formulaic rules. This example also has perfect orthography except for one minor detail: the apstrophos in the second line above the syllable moi should have a petast beneath it. *** In summary, the versions of this hymn written in countries where Byzantine chant has ex-istedforcenturies(Bulgaria,Greece,Rumania,Serbia,andSyria)havetwocharacteristicsin common:themelodyhasbeenmoldedtomatchthetext,andthetexthasnotbeentampered withinordertofitaparticularmelody.Ontheotherhand,mostarrangementsofthishymn from Americawhere Byzantine chant has only recently appearedpreserve characteristics of the original melody at the expense of the text. In particular, three compromises have been ob-served in such adaptations: 1) The text itself has been tampered with in order to mimic the syl-labic pattern of the original hymn, 2) unaccented syllables are unduly emphasized by the mel-ody, and/or 3) the formulaic rules of Byzantine music composition have been stretched or dis-regarded.Onecansurmisethatthesecompromisesarenotfoundinthehymnsincountries whereByzantinechanthasexistedforcenturiesbecausecomposerswithathoroughgraspof Byzantinechantaboundinsuchplaces.InAmerica,however,whereByzantinechantisnew andexpertiseinitisrare,mostattemptstoarrangehymnshavesomeoralloftheaforemen-tioned shortcomings. As regards orthography, we have seen that examples taken from the nine-Concerning Adaptationxxv teenthcenturyhavefewornoerrors,whereasexampleswritteninrecenttimestendtohave more orthographical errors, regardless of where they were written. Thequestionthenarises,whicharrangementisbest?Theanswertothissubjectiveques-tion will depend on what one believes to be the ideal degree of alteration for Byzantine melo-dies when adapting them to texts in a foreign language, and further, if one believes that the text may be changed to mimic the syllabic pattern of the original melody. Since the melodies in this bookbelongtothesyllabicsticheraricandheirmologicgenres,whicharetext-basedand text-emphatic (as opposed to the melismatic papadic genre), we believe that the goal should be to alter or obscure the text as little as possible. Thus, our preference (in this book, at least)14 has been to follow the example set by the adaptations made in countries with a strong tradition of Byzantine chant. In other words, we have made whatever changes necessary to the original melodytomakeitmatchthecorrespondingtextincompleteaccordancewiththeortho-graphicalandformulaicrulesofByzantinemusiccomposition,withoutalteringthetext.This singular achievement in English was made possible only by constantly referring to our compi-lationoftheseformulaicrules.Wehavepostedtheminanewwebpage15withthehopethat other composers and arrangers of Byzantine music in any language will also benefit as much as we have by using them. 14InourDivineLiturgiesbook,forsomehymnswecomposednewmelodiesthatwouldmatchtheEnglishtext withoutbreakinganyformulaicrules,whileforotherhymnswedisregardedtherulesinordertopreservethe original melody with few or no changes. This was intentional, because many people know the melodies of those hymns, and they would prefer an adaptation that sounds familiar, whereas in this Vespers book, most of the tropa-riaoftheoctoechosarenotwellknown.Therefore,wepreservedonlythegeneralmelodicmovementsofeach troparion, while adapting the words to their appropriate melodic formulae. Only in the Apolytikia did we slightly stretch the formulaic rules in order to accommodate more of the original melody. 15 See http://www.stanthonysmonastery.org/music/Formula.html About the Translation URpreviousbookwithmusicfortheDivineLiturgiescontainedbothElizabethanand ModernEnglishversionsofeachhymn.ThisbookforVespers,however,contains hymns only in Elizabethan English. We decided to compose music only for this style of English because several others have already set these hymns to music using a Modern English translation.16 All the texts17 used for the hymns in this publication are copyrighted by the Holy TransfigurationMonasteryinBrookline,Massachusetts,andareusedwiththeirkindpermis-sion.WechosetheirElizabethanEnglishtranslationbecausemanypeoplethroughoutthe worldholdtheirliturgicaltranslationsinhighregardduetotheirprecision,meter,andele-gance. 16 In particular, Hieromonk Seraphim Dedes has set to Byzantine music all troparia of the Octoechos for Saturday Vespers and Sunday Orthros. His works are available at: http://sgpm.goarch.org/Monastery/index.php?p=31OtherswhohavesetthesetropariatoByzantinemusicusingaModernEnglishtranslationinclude:Dr.Jessica Suchy-Pilalis, John Michael Boyer, and Andrew Gorny. 17 The only text in this book that is our own translation is the text for the apolytikia of the Resurrection. O Concerning Notation VER the centuries, Byzantine music notation became increasingly more specific.1 That is tosay,latercomposerschosetowriteparticularmusicalphraseswithmorenotesthan those of earlier composers. In other words, the later composers wrote out ornamental for-mulas in full, whereas in the past, these would have been left to the skill and experience of the chanters. This clarification did not purport to add anything new to a given melody, but rather it spelled out the way in which the tune was intended to be chanted in order to eliminate errone-ousinterpretations.Eventoday,achanterfollowingByzantinenotationisstillexpectedtointerpret a musical phrase based on the oral tradition he has inherited from his mentor. Inter-preting a musical phrase entails chanting a tone with a certain lan or adding notes to a phrase. Forexample,theancientByzantinemusicsymbolapoderma(),assunginthepost-Byzantine era, appears in modern Byzantine notation as: 0' ! ! ! og m)abovethenoteaffected.However,these stressesinByzantinemusicareusuallynotchantedwithasignificantincreaseinvolume. Therefore, when encountering notes with accents in this book, one must be careful not to em-phasize them unduly. The intonations (aj phchv mata) that may be chanted before a hymn have been listed in the Appendix by number. The appropriate number for the intonation is provided only at the begin-ning of those hymns that Athonite chanters might precede with an intonation. 2 Conomos, Dimitri E., Byzantine Trisagia and Cheroubika of the Fourteenth and Fifteenth Centuries, Patriarchal Institute for Patristic Studies, Thessaloniki, 1974, p. 264. Rubrics S in the standard Greek Anastasimatarion, this book has both sticheraric (slow) and heirmologic (brief) versions of Lord, I have cried, the Stichera, and the Aposticha troparia.OnatypicalSaturdayevening ontheHolyMountain,thesticheraricver-sions of Lord, I have cried and the Stichera troparia are chanted, whereas the heir-mologicversionsoftheApostichatropariaarechanted.Insomeparishes,however,thestan-dardpracticeistochantthesticheraricversionsofLord,IhavecriedandtheStichera troparia for first, second, plagal first, and plagal second modes, while the remaining modes are chanted heirmologically. WhenthereisnoDoxasticonappointedfortheSticherabytheMenaion,Triodion,or Pentecostarion, the verses Glory... and Both now... are chanted together in the mode of the week, followed by the sticheraric version of the Dogmatic Theotokion in the mode of the week. When, however, there is an appointed Doxasticon for the Stichera, it is chanted sticherarically, precededbythesticheraricverseGlory.Thereafter,theverseBothnowischantedinthe mode of the week, followed by the sticheraric version of the Dogmatic Theotokion in the mode of the week. WhenthereisnoDoxasticonappointedfortheApostichabytheMenaion,Triodion,or Pentecostarion,theversesGlory...andBothnow...arechantedtogethersticheraricallyin themodeoftheweek,followedbythesticheraricversionoftheApostichaTheotokioninthe modeoftheweek.When,however,thereisanappointedDoxasticonfortheAposticha,itis chanted sticherarically, preceded by the sticheraric verse Glory.Thereafter, the verse Both nowischantedheirmologicallyinthemodeoftheprecedingDoxasticon,followedbythe heirmologic version of the Aposticha Theotokion in the same mode. A Acknowledgements HIS book was only made possible by the assistance of doz-ensofpeople:hieromonks;priests;monastics;Byzantine, Slavic, Russian, and Western musicologists; linguists; trans-lators;Greekteachers;voiceteachers;composers;chanters;choir directors;membersoftheNationalForumofGreekOrthodox ChurchMusicians;iconographers;graphicdesigners;computer programmers;soundengineers;librarians;proofreaders;andpro-fessorsofmusic,theology,andEnglish.Wewouldalsoliketo thank ahead of time all who would like to point out to us the vari-ousmistakeswehavemade.Wearedeeplygratefulforalltheir contributions and pray that our Lord Jesus Christ reward them for their efforts abundantly in this life and in the next. T & bAndante >DLord, I have cried. nj Un.un - to Thee,& b Dheark - en un - ,to me; b> j. heark - en nUn.un - to& b Dme,. j ,O Lord..> Lord, I have> cried& b. un - to Thee,> . nUn.heark - en un - toFirst ModeLord, I Have CriedKuv rie ej kev kraxaIntonation: #1(see Appendix)www.stanthonysmonastery.org/music/Vespers.htm& b n # ,. Dme; at-tend to the> voice n ,Un.of my& b Dsup - pli -. j ,ca - - - tion >Fwhen I cry un -& b. ,Dto Thee: Heark - en ,un - to Cme,& b. j DO. Lord.First Mode-Lord I Have Cried 2& bAndante >DLet my prayer . ,jC Dbe set forth as& b j in - - - cense . j be - fore j Thee, the lift - ing& b up of ,my hands >Fas an eve - . Dning sac - ri -& b fice; heark - en. ,un - to Cme,& b. j . DO Lord.Let My PrayerKateuqunqhv twFirst Modewww.stanthonysmonastery.org/music/Vespers.htm& bPresto 1 > DSet, OLord, a watch be - fore my mouth, and a door of en -& b >>clo - sure round a - boutmy lips.& b2> DGDIn - cline not my heart un - to words of e - vil, to make ex -& b>> cuse with ex - cus - es in sins,& b3 DWith men that work in - iq - ui - ty; and I will not join& b with their cho - sen.www.stanthonysmonastery.org/music/Vespers.htmFirst ModeQou'Kuv rieVerses of Psalms140, 141, and 129& b4 > > ,D GDThe right - eous man will chas - ten me with mer - cy and re - prove me;& b > > >as forthe oil ofthe sin - ner, let it not a - noint my head.& b5> > > ,GDFor yet more is my prayer in the pres - ence of their pleas -ures;& b> >swal - lowed up near by the rock have their judg- es been.& b6> ,They shall hearmy words, for they be sweet - ened; as a clod of& b n>A Un. Dearth is bro - ken up - on the earth, so have their bones been& b >scat - tered nigh un -to Ha - des.& b7 ,DFor un -to Thee, O Lord, O Lord, are mine eyes,First Mode-Verses of Psalms 5www.stanthonysmonastery.org/music/Vespers.htm& b >in Thee have I hoped; take not my soul a - way.& b8 ,DKeep me from the snare which they have laid for me, and from the& b>>>stum - bling- blocks of themthat work in - iq - ui - ty.& bHard Chromatic91 b { #J n n,DThe sin - ners shall fall in - to their own net; I am a -& b> lone un - til I pass by.& b10> ,G DWith my voice un -to the Lord have I cried, with my& b>>voice un - to the Lord have I made my sup - pli - ca - tion.& b11 { ,DI will pour out be - fore Him my sup - pli - ca - tion,First Mode-Verses of Psalms 6www.stanthonysmonastery.org/music/Vespers.htm& b >mine af - flic - tion be - fore Him will I de- clare.& b12> n ,D A DWhen my spir - it wasfaint - ingwith - in me, then Thou& b knew - est my paths.& b13 DIn this way where - in I have walked they hid for me a snare.& b14 > , DI looked up - on my right hand, and be - held, andthere was& b none that did know me.& b15 >DFlight hath failed me, and there is none that watch - eth out& b for my soul.First Mode-Verses of Psalms 7www.stanthonysmonastery.org/music/Vespers.htm& b16> G DI have cried un - to Thee, OLord; I said: Thou& b > art my hope, my por - tion art Thou in the land of the& b liv - ing.& b17 > DAt - tend un - to my sup - pli - ca - tion, for I ambrought ver - y low.& b18> , DDe - liv - er me from them that per - se - cute me, for they are& b> strong - er than I.First Mode-Verses of Psalms 8www.stanthonysmonastery.org/music/Vespers.htmOn Saturdays, continue with Slow Stichera on page 10 or with Brief Stichera on page 41.On other days continue on following page.& b19> >DBring my soul outofpris - on thatI may con - fess Thy Name.& b20 >>DThe right - eous shall wait pa - tient - ly for me un - til Thou shalt re -& b ward me.& b21 > n > ,DAUn. DOut of the depths have I cried un - to Thee, OLord;& b O Lord, hear my voice.& b22 { > DLetThine ears be at - ten - tive to the voice of my sup - pli -& b ca - tion.First Mode-Verses of Psalms 9www.stanthonysmonastery.org/music/Vespers.htm& b Andantejjjjj> ,Un. DBring my soul out of pris - on. that I may con - fess& b. j Thy Name.& b >j .DAc - cept our. n Un. Deve - ning prayers,O. ho - - -& b. j ,ly Lord, > and grant us theHard Chromatic 6 > # AUn.re - mis - - sion& b # A,FDof sins; forj. ,Thou a - lone art He Who hath& b shown forth the Res - ur - ,rec - tion un -. towww.stanthonysmonastery.org/music/Vespers.htmVerse #1'Eco yoyr r x ouoxn cStichera #1Slow SticheraFirst ModeTo c r oaroiyo c& b. j . the world.& bjjjjj>jjj ,Un. DThe right - eous shall wait pa - tient - ly for me un - til Thou shalt re -& b. j ward me.& b DEn- cir - cle ,Si - - - on, nUn.O ye ,Dpeo - - - ples,& b and en- com - ,pass her,>and give glo - ry > there- in to Him that is& bHard Chromatic 6 > # AUn.a - ris - en from a A ,Kthe dead; b nfor He>A GisFirst Mode-Slow Stichera 11www.stanthonysmonastery.org/music/Vespers.htmStichera #2Verse #2'Euru aouryou oiKuxe ootr ooi& b ,our GodH > j>. DWho hath de - liv - ,ered us from& b . our in - iq - - - -. j . ui - - - ties.& bjjjjjj>jjj>j ,Un. DOut of the depths have I cried un- to Thee, O Lord;. O Lord, hear& b. j my voice.& b > ,DCome, O ye peo - ples, . n .jAlet us praise and ,G Dwor - ship Christ,& b glo - ri - fy - ing His Res - ,ur - rec - tion . from. j ,the dead;First Mode-Slow Stichera 12www.stanthonysmonastery.org/music/Vespers.htmStichera #3Verse #3'Ex o0r eyAru tr ooi& b b AC Gfor He is ,Un.our God Who hath de- liv - n> nered& b ,the world ,Dfrom theer - - - ror . ofthe en - - -& b. j . e - - - - my.& bjjj jj>Un. DLet Thine ears be at - ten-tive > to the voice ofmy sup - pli -. >j ca - tion.& b >j .DRe- joice, O ye ,heav - ens; > sound the trum- pets, ye foun -& b. n .j A Gda - tions of ,Dthe earth;> cry out > n ,Un.Dwith glad - ness,First Mode-Slow Stichera 13www.stanthonysmonastery.org/music/Vespers.htmStichera #4Verse #4Iryn0nte to eto oouEu ooo y0ntr ou ooyoi& b O ye. >j ,moun - - tains. For, be - hold, Em - man -& b u - el hath nailed our. j b sins to ,the Cross, > and the Giv- er of& b b Clife hath A n,Un.slain death, n ,Dand, as the Friend of man,& b He hath raised up. j . Ad - - - am.& bjjjjjj>jjjj>jj>jj ,Un. DIfThou should- est mark in - iq - ui - ties, O Lord, O Lord, who shall stand?& b > For with Thee thereis for -. >j give - - - ness.First Mode-Slow Stichera 14www.stanthonysmonastery.org/music/Vespers.htmVerse #5'Eo y o youi oc& b DLet us praise Him Who > will - ing - ly was> cru-ci-fied in the ,C Dflesh for us,& b . Who did suf - fer and ,was bur - ied and > hath a - ris - en& b. ,from the dead, . and let. j ,us say:& b>C DStab - lish Thy Church in Or - > nUn.tho - dox - - - y, ,DO Christ,& b and make our ,life peace - ful, since Thou artgood& b . and the Friend. j . of man.First Mode-Slow Stichera 15www.stanthonysmonastery.org/music/Vespers.htmStichera #5To y oooxir xouoiec& bjjjjjj>jjj>jUn.For Thy Name's sake have I pa -tient-ly wait-ed& b jjj ,jjj>jfor Thee, O Lord; my soul hath wait - ed>jjjj ,Dpa - tient - ly for Thy word,& b my soulhath hoped in the Lord.& b C DAs we un-wor-thy ones>. ,stand be - fore nUn.Thy life - Dgiv - -& b. j ,ing grave, glo- ri - fi - ca- tion do we of-fer to Thine in- ef -& b fa - ble com - ,pas-sion,. O Christ. j ,our God;First Mode-Slow Stichera 16www.stanthonysmonastery.org/music/Vespers.htmStichera #6Verse #6Eyrxry touo yo uoto c oouTe ceooo,e oou to oe& b for the Cross and>death hast Thou ac - cept - - - Ced, O Sin - ,Dless One,& b >that Thou might - est grant the > Res - ur - rec - tion un -. ,to the world,& b since Thou art the. Friend. j . of man.& bjjjjjj ,Un.From the morn - ing watch un - tilnight,jjj Dfrom the morn - ing watch& b >let Is - ra - elhope in the Lord.& b DLet us praise the Word Who,. j C Dwith the ,Fa - ther, C Dis co-be-gin-ning-First Mode-Slow Stichera 17www.stanthonysmonastery.org/music/Vespers.htmVerse #7Stichera #7'Aaoouoxn c aoei ocToy te Hotoi ouyoyoo,oy& b less and co - e - ,ter - nal, and Who in - ef - ,fa - bly& b hath come forth from the > nUn.vir - gin - ,Dal womb, and hath ac-cept-ed the& b. Cross and death C Dfor us will - ing -,C Dly, and hatha - ris -& b en in glo - - , nUn.ry;and let us Dsay ,un - to Him:& b C DO life- giv - ing,. Lord,glo - ry C Dbe toThee, the Sav -& b ,. iour of. j . our souls.First Mode-Slow Stichera 18www.stanthonysmonastery.org/music/Vespers.htm& bjjjjjj>Un.For with the Lord there is mer- cy,jjjj>jjjj> ,and with Him is plen-te- ous re- demp-tion;& bjjjjj> j Dand He shall re - deem Is - ra - el . out of all his in- iq -. j ui - ties.& bjjjjjj> ,Un. DO praise the Lord, all ye na-tions; praise Him, all ye. >j peo - ples.& bjjjjj>j jj>Un.For He hath made His mer-cy to pre-vailjj,jjjjjo - ver us, and the truth of the Lord& b Da - bid - eth for. >j ev - - - er.First Mode-Slow Stichera 19www.stanthonysmonastery.org/music/Vespers.htmVerse #8Verse #9Verse #10Oti aooote Kuoi eAiyritr toy Ku oioyOti r xootoie 0n& bAndanteA1> >DGlo- ry to the Fa - ther, and to ,the Son, n Un. Dand to the& b Ho - ly. j Spir - - - it.& bA2j ,DBoth now and ev - er, C Dand un - to the a - ges of a - -& b. ges. A - men.www.stanthonysmonastery.org/music/Vespers.htmGlory... Both Now...Dov xa Patriv ... Kai;nu' n...First Mode& bB1> DGlo - ry to ,C Dthe Fa - ther, n A Gand to& b ,Dthe Son, and to the Ho -. j ly Spir - - - it.& bB2 ,C DBoth now and ev - er, C Dand un - to the a - > ges of a - - -& b. ges. A - men.First Mode-Glory 21www.stanthonysmonastery.org/music/Vespers.htmAlternate Melodies& bC1j DGlo - ry to the Fa - - - C Dther, and to ,the Son,& b and to the ,CHo - - - ly D CSpir - - - -& b . > D - - - - - - - -> > Cit.Un.& bC2 C DBoth now ,C Dand ev - er, C Dand un - to the ,a - ges& b . of a - - - -. > ges.j>. A - men.First Mode-Glorywww.stanthonysmonastery.org/music/Vespers.htmOld (Slow) Sticheraric Melodies22& bAndante > j DThe u - ni-ver - sal glo -> ,ry born of men,& b who hath giv - en birth un - to the ,Mas - ter,& b the heav - - - - ,en - ly gate,let us praise& b j nUn.Mar - - y the ,DVir - - - gin, the song of the& b bod - - - i - , less hosts, andthe ,a - dorn - ment& b of the faith - - - - - - -> j. ful.C DFor she waswww.stanthonysmonastery.org/music/Vespers.htmDogmatic TheotokionFirst ModeTh; n pagkov smion dov xan& b> shown to be a ,Heav - - - en anda tem - ple& b n Un. Dof the. >j ,God - - - head;>de - stroy- ing the wall of& b Fen - mi - ty,> she ush - ered. ,Din peace& b and o - pened the. >j King - - - dom.Pos - sess - ing,& b ,there - fore, this an - - - - chor of faith,& b we have as cham - ,pi - on the j Lord& b. Who was ,born of her. Take cour - age,& b> ,there - - - fore,>Un.take cour - age, O ye> npeo - - - pleFirst Mode-Dogmatic Theotokionwww.stanthonysmonastery.org/music/Vespers.htm24& b Dof God; >Ffor He shall fight Dthine en -& b ,e - mies, since He is . the Al - might - - -& b. j ,y b. C DOne.First Mode-Dogmatic Theotokion 25& bAndante>DBy Thy pas - sion, O Christ, >we were freed from C Dthe pas -& b ,sions, and by Thy Res - ur - rec - >tion we were de - liv - ered& b from cor - rup -. , tion. Lord, glo - ry& b . Cbe. j Dto. Thee.www.stanthonysmonastery.org/music/Vespers.htmSlow ApostichaFirst ModeTe ao 0ri oou XoiotrAposticha #1& bjjj>jjj>jj>j ,C DThe Lord is king; He is clothed with maj - es - ty.& bjjjj C DThe Lord is clothed with strengthand He hath& b girt Him - self.& b >DLet cre - a - tion re- joice, let the heav - ens. j ,be glad,& b let the na - tions> nCUn.clap their Dhands. j with& b ,joy. For Christ ourSav - iour hath> . n .jAnailed our sinsFirst Mode-Slow Aposticha 27www.stanthonysmonastery.org/music/Vespers.htmO Ku oioc r ooiruory'Ayoio o0e nxti oicAposticha #2Verse #2& b n ,G Dto the Cross; and in slay - ing.> death,& b nUn. DHe hath grant - ed. j us life. And& b j. as the Friend ,of man, He hath raised up the& b ,whole raceCof fall - . >j Den Ad - - -. am.& bjjj>jj ,C DFor He es - tab- lished the worldwhich shall not be& b. >j shak - - - - en.First Mode-Slow Aposticha 28www.stanthonysmonastery.org/music/Vespers.htmKoiyo o r otror eorVerse #3& b C DThough King ofheav - - - n ,Un.en and earth, DOIn- com- pre -& b. j hen - - - si - ble ,One, Thou wast cru - ci -& b. >fied will - ,ing - ly nUn.out of Dlove& b. j for ,man. On meet - C Ding Thee be - low,>. jHa - des was& b b C Dem - bit -, tered; whilst the n souls of the,right-eous,& b on re -> n Un.Dceiv - ing C DThee, were. >j glad - - -& b ,dened. And Ad -am, on see - ing Thee, the Cre - a - ,tor, in theFirst Mode-Slow Aposticha 29www.stanthonysmonastery.org/music/Vespers.htmBooiru c u ao o,eyAposticha #3& b neth - er - most. > nUn.parts, ,Ddid a - rise. ,O won - der!& b How did the j Life. of all taste& b ,of death? were it notthat He willed to en - light - - -& b en the ,world that doth cry out. j and ,say: Thou that& b art ris - en from the. ,dead, Lord, glo - ry& b Cbe. j Dto. Thee.First Mode-Slow Aposticha 30www.stanthonysmonastery.org/music/Vespers.htm& b jjjj>jjj>j ,DHo - li - nessbe - com - eth Thy house, O Lord,. un - to length& b. j of days.& b j DThe myrrh - bear - ing wom- en,> car - ry -ing myrrh - -& b , oils, reached Thy sep - ul - chre with> nUn.Dhaste and& b C Dlam - en -j ta - - - - - ,>tion; andnotfind - ing& b Thine im - mac - u - late Bod - - - , y, they learned fromtheFirst Mode-Slow Aposticha 31www.stanthonysmonastery.org/music/Vespers.htmTe oi xeoou aor ariIuyoi xrc Muoooo ooiAposticha #4Verse #4& b >an - gel ofthe new and strange won - ,.> der,and said& b nUn. Dun - to C Dthe a -. >j pos - - - , tles: Ris -& b . en is . ,jthe Lord Who>grant - eth great mer - ,cy un -& b . Cto. j Dthe. world.First Mode-Slow Aposticha 32& bAndante DBe - hold,ful-> filled> is the proph - e - cycyof nUn.Es -ofa -I -& b Di - - -sa - - - , C Das:iah:For as a vir - gin hast thou giv - en& b ,C Dbirth, and af ->ter giv - ing birth, thou hast ,re - mained& b as thou wast be - . fore. >j child - - - , >birth; for He& b Cthat was born ,Dwas God.Where- fore al - so, He hath re- newedwww.stanthonysmonastery.org/music/Vespers.htmAposticha TheotokionFirst Mode!Idou;peplhv rwtai& b . >j all na - - - , tures. But, O>Moth - er ofGod, dis - dain not the& b >sup - pli - ca - tions of thy ,ser - vants that are of -& b fered un - to> nCUn.thee in Dthy. >j tem - - -& b ,C Dple; but, since thou hold - est the>Com- pas - sion - ate>One& bj. in thine ,j arms, showcom- pas - sion on thy& b. >j ser - - - ,C Dvants, andin - ter - ,cede thou that our& b. souls. j be Csaved. b. DFirst Mode-Slow Aposticha Theotokionwww.stanthonysmonastery.org/music/Vespers.htm34& bAllegro > , DWhen the stone was sealed by the Jews andthe sol - diers were& b > Gguard - ing Thine im - mac - u - late bod - y, Thou didst a -& b > > , Drise on the third day, O Sa - viour, grant - ing life un -& b , n b G Dto the world. Forwhich cause the pow - ers of heav - encried& b >, out toThee, O Life - giv - er: Glo - ry to Thy res - ur-www.stanthonysmonastery.org/music/Vespers.htmApolytikion of theResurrectionFirst ModeTou'livqou sfragisqevnto"& b > , n b ,G Drec - tion,O Christ. Glo - ry to Thy King -dom. Glo - ry toThy& b > >dis - pen - sa - tion, O on - ly Friend of man.& b n b> D G DGlo - ry to the Fa - ther, and to the Son, and to the& b Ho - ly Spir - it.& b , >DBoth now and ev - er, and un - to the ag - es of& b ag - - - es. A - men.First Mode-Apolytikionwww.stanthonysmonastery.org/music/Vespers.htm36Glory...Both now...Dov xa PatrivKai;nu' n& b > ,DWhile Ga - bri - el was say - ing Re - joice to thee,OVir - gin,& b > > at his voice the Mas - ter of all things took flesh with - in thy pure& b >U>womb. He dweltin thee as His ho - ly ark as spake the& b , nGright - eous Da - vidin the psalms. Thou wast seen to be more spa -& b U > Dcious than all the Heav - ens since thou didst bear thy Cre - a -& b , ,tor. Glo - ry to Him that willed todwell in thee. Glo -& b > >,>>ry to Him that came forth from thee. Glo - ry to Him that,First Mode-Apolytikionwww.stanthonysmonastery.org/music/Vespers.htm37Tou'Gabrihv lResurrectional Theotokion& b b. C Dthrough thy giv - ing - birth, hath de - liv - ered us.First Mode-Apolytikion 38ThE AnnuncIatIOn& bAllegro .> ,DLord, I have cried un - to Thee, heark - en un - to me;& b> ,. > n bGheark - en un - to me, OLord. Lord, I have cried un - to& b > ,> DThee, heark - en un - to me; at-tend to the voice of mywww.stanthonysmonastery.org/music/Vespers.htmFirst Mode - BriefLord, I Have CriedKuv rie ej kev kraxaIntonation: #1& b , ,G Dsup - pli - ca - tion when I cry un - toThee: Heark - en& b > . . un - to me, O Lord.& b > > G DLet my prayer be set forth as in - cense be - fore& b , n b G DThee, the lift - ing up of my hands as an eve - ning& b , > . . sac - ri - fice; heark - en un - to me, O Lord.First Mode-Lord I Have Cried - Briefwww.stanthonysmonastery.org/music/Vespers.htmLet My Prayer Kateuqunqhv tw40& b Allegrojjjjj> .DBring my soul outofpris - on that I may con - fess Thy Name.& b > ,> D Un.Ac - cept our eve - ning prayers, O ho - ly Lord, and grant us the re -& bHard Chromatic^ # [F >Dmis - sion ofsins; for Thou a - lone artHe Who hath shown& b > > . . forth the Res - ur - rec - tion un - to the world.& b jjjjj>jjj > .DThe right - eous shall wait pa- tient - ly for me un- til Thou shalt re - ward me.www.stanthonysmonastery.org/music/Vespers.htmVerse #1'Eco yoyr r x ouoxn cStichera #1Brief SticheraFirst ModeTo c r oaroiyo cVerse #2'Euru aouryou oi& b > >,DEn - cir - cle Si - on, O ye peo - ples, and en - com- pass her,& b > G Dand give glo - ry there - in to Him that is a - ris - en from the& b > dead; for He is our God Who hath de - liv - ered us from our in -& b > . . iq - ui - ties.& b jjjjjj>jjjj>DOut ofthe depths have I cried un - to Thee, O Lord; O Lord, hear& b .my voice.www.stanthonysmonastery.org/music/Vespers.htm42 First Mode-Brief SticheraVerse #3Kuxe ootr ooi'Ex o0r eyStichera #2& b> , DCome, O ye peo- ples,let us praise and wor - ship Christ, glo - ri -& b nGfy - ing His Res-ur - rec - tion fromthe dead; for He& b > ,Dis ourGod Who hath de - liv - ered the world from the er - ror& b > . . of the en - e - my.& b jjjjj>jjj .DLet Thine ears be at - ten- tive to the voice ofmy sup - pli - ca - tion.www.stanthonysmonastery.org/music/Vespers.htm43 First Mode-Brief SticheraVerse #4Aru tr ooiIryn0nte to eto oouStichera #3& b > ,>D C DRe - joice, O yeheav - ens; sound the trum- pets, ye foun - da - tions& b , > ,of the earth; cry out with glad- ness, O ye moun - tains.& bHard Chromatic> ^ # [ ,FUn.For,be - hold, Em- man - u - elhath nailed our sins to the Cross,& b > n D C B Dand the Giv - er of life hath slain death, and, as the& b> . Friend of man, He hath raised up Ad - am.& b jjjjjj>jjjjjjjj ,DIf Thou should- est mark in - iq - ui - ties, O Lord, O Lord, who shall stand?www.stanthonysmonastery.org/music/Vespers.htm44 First Mode-Brief SticheraVerse #5Euj frav nqhte ouj ranoiv!Ea; n aj nomiv a"Stichera #4& b > .For with Thee there is for - give - ness.& b > >DLet us praise Him Who will - ing - ly was cru - ci - fied in the& b> ,> flesh for us, Who did suf - fer and wasbur - iedand hath a -& b > ,G Dris-en fromthe dead,and let us say: Stab -lish Thy Church in& b > n b>GOr - tho - dox - y, OChrist, and make our life peace -& b > . . Dful, since Thou art good and the Friend of man.www.stanthonysmonastery.org/music/Vespers.htm45 First Mode-Brief SticheraTo y oooxir xouoiecStichera #5& b jjjjjj>jjj>jjjj ,jDFor Thy Name's sake have I pa- tient - ly wait - ed for Thee, O Lord;my soul& bjjjj>jjjj , >.hath wait - ed pa- tient - ly for Thy word, my soul hath hoped in the Lord.& b >>> DAs we un - wor - thy ones stand be - fore Thy life - giv - ing grave,& b >>glo - ri-fi - ca - tion do we of - fer to Thine in - ef - fa -& b > ,ble com- pas - sion,O Christ our God; for the Cross and death hast& b> >, Thou ac - cept - ed, OSin - less One, thatThou might - estgrantthewww.stanthonysmonastery.org/music/Vespers.htm46 First Mode-Brief SticheraVerse #6Eyrxry touo yo uoto c oouTe ceooo,e oou to oeStichera #6& b ,>>Res - ur - rec - tion un - to the world, since Thou art the Friend& b. . of man.& b jjjjjj ,jjj DFrom the morn - ing watch un - til night, from the morn - ing watch let& b >.Is - ra - el hope in the Lord.& b > >DLet us praise the Word Who, with the Fa - ther,is co - be - gin - ning -& b >lessand co - e - ter - nal, and Who in - ef - fa - bly hathwww.stanthonysmonastery.org/music/Vespers.htm47 First Mode-Brief SticheraVerse #7'Aaoouoxn c aoei ocToy te Hotoi ouyoyoo,oyStichera #7& b , nGcome forth fromthe vir - gin - al womb, andhath ac - cept -& b > Ded the Cross and death for us will - ing -ly, and hath a -& b Gris - en in glo - ry; and let us say un - to Him: O& b > > . Dlife - giv - ing Lord, glo - ry be to Thee, the Sav - iour ofour souls.& b jjjjjjjjjjJ>jjjjDFor with the Lord there is mer - cy, and with Him is plen- te - ous re - demp-& b ,jjjjJ>j tion; and He shall re - deem Is - ra - el out of all his in -& b .iq - ui - ties.www.stanthonysmonastery.org/music/Vespers.htm48 First Mode-Brief SticheraVerse #8Oti aooote Kuoi e& b jjjjjj > .DO praise the Lord, allye na- tions; praise Him, all ye peo - ples.& b jjjjj>jjjj>jj ,jjDFor He hath made His mer - cy to pre - vailo - ver us, and the truth& bjj .of the Lord a - bid - eth for ev - er.& b DGlo - ry to the Fa - ther, and to the Son, and to the Ho - ly& b Spir - it.www.stanthonysmonastery.org/music/Vespers.htm49 First Mode-Brief SticheraVerse #9Verse #10Glory...Aiyritr toy Ku oioyOti r xootoie 0nAo co Hotoi& b , { DBoth now and ev - er, and un - to the ag - esofag- es.A- men.& b > , DThe u - ni - ver - sal glo - ry bornofmen, who hath giv - en birth un -& b > , to the Mas - ter, the heav - en - ly gate, let us praise& b. j n b G DMar - y the Vir - gin, the song of the bod - i - less& b ,> hosts, andthe a - dorn- mentof the faith - ful. Forshe was& b> ,>shown to be a Heav - en and a tem - ple of the God -www.stanthonysmonastery.org/music/Vespers.htm50 First Mode-Brief SticheraBoth now...Dogmatic TheotokionKoiyu yTn y aoyxo ouioy oo coy& b >head; de - stroy - ing the wall of en - mi - ty, she ush -& b eredin peace and o - pened the King - dom. Pos - sess - ing,& b> > there- fore, thisan - chor offaith, we have as cham- pi - on the& b >> >CLord Who was bornof her. Take cour - age, there - fore, take& b , n b> D Gcour - age, O ye peo - ple ofGod; for He shall fight thine en - e -& b > b. D C Dmies, since He is the Al - might - y One.51 First Mode-Brief SticheraIs anyone cheerful?Let him chant.James 5:13& bAllegro > > DBy Thy pas - sion, O Christ, wewere freed fromthe pas -& b > >sions, and by Thy Res - ur - rec - tionwe were de - liv - ered& b ,> . . from cor - rup - tion. Lord, glo -ry be to Thee.& b jjj>jjjjjj ,jjDThe Lord is king;He is clothed with maj - es - ty. The Lord iswww.stanthonysmonastery.org/music/Vespers.htmBrief ApostichaFirst ModeTe ao 0ri oou XoiotrAposticha #1O Ku oioc r ooiruoryVerse #2& bjj .clothed with strength and He hath girt Him - self.& b n b ,D G DLet cre - a - tion re - joice, let the heav - ens be glad, let the& b > na - tions clap their hands with joy. For Christ ourSav - iour hath& bHard Chromatic>Y # [ ,F n nUn.B Dnailed our sins to the Cross; and in slay - ing death, He hath& b> > ,grant - ed us life. And as the Friend of man, He hath& b > . raised up the whole race of fall - en Ad - am.First Mode-Brief Aposticha 53www.stanthonysmonastery.org/music/Vespers.htm'Ayoio o0e nxti oicAposticha #2& b jjj>jj >.DFor He es - tab- lished the world which shallnotbe shak - en.& b n b , G DThough King ofheav - en and earth, OIn - com- pre - hen - si - ble& b , > > One, Thou wastcru - ci - fiedwill - ing - ly out of love for& b> Cman. On meet - ing Thee be - low, Ha - des was em - bit -& b , > Dtered; whilst the souls of the right - eous, on re - ceiv - ing Thee,were& b > glad- dened. And Ad - am, on see - ing Thee, the Cre - a -First Mode-Brief Aposticha 54www.stanthonysmonastery.org/music/Vespers.htmKoiyo o r otror eorBooiru c u ao o,eyAposticha #3Verse #3& b , > n > {A Un. Dtor, in the neth - er - most parts, did a - rise. Owon -& b , der! How did the Life of all taste of death? were it& b > ,>G Dnotthat He willed to en - light-en the world that doth cry& b , > ,>out and say: Thou that art ris - en fromthe dead, Lord,& b . . glo - ry be to Thee.& b jjjj>jjjj .DHo - li - ness be- com- eth Thy house, O Lord, un - to length of days.First Mode-Brief Aposticha 55www.stanthonysmonastery.org/music/Vespers.htmTe oi xeoou aor ariVerse #4& b > ,DThe myrrh - bear - ing wom - en, car - ry - ing myrrh - oils,& b>> ,reached Thy sep - ul - chre with haste and lam - en - ta - tion; andnot& b > ,> C Dfind - ing Thine im- mac - u - late Bod - y, they learned from the an - gel& b > of the new and strange won - der,and said un - to the a - pos -& b , > G Dtles: Ris - en is the Lord Who grant - eth great mer - cy un -& b . to the world.First Mode-Brief Aposticha 56www.stanthonysmonastery.org/music/Vespers.htmIuyoi xrc Muoooo ooiAposticha #4& b > DGlo - ry to the Fa - ther, and to the Son, and to the Ho - ly& b Spir - it.& b , DBoth now and ev - er, and un - to the ag - es of& b ag - es. A - men.& b >> Be - hold, ful - filled is the proph -proph -e - cye - ofcyEs -ofa -I -i -sa -as:iah:& b > For as a vir - ginhast thou giv - en birth, and af - terFirst Mode-Brief Aposticha 57www.stanthonysmonastery.org/music/Vespers.htmAo co HotoiKoiyu y'Ioouaran oetoiAposticha TheotokionGlory... Both now...& b > >giv - ing birth, thou hast re - mained as thou wastbe - fore child -& b n > ,>A Un.Dbirth; for He thatwas born was God. Where- fore al -& b > , n bGso, He hath re - newedall na - tures. But, OMoth - er of& b > ,DGod,dis - dain not the sup - pli - ca - tions of thy ser - vants& b >> that are of - fered un - to thee in thy tem - ple; but,& b> > ,since thou hold - est the Com - pas - sion - ate One inthine arms,& b> , show com - pas - sion on thy ser - vants, and in - ter - cede thou& b b. C Dthat our souls be saved.First Mode-Brief Aposticha 58www.stanthonysmonastery.org/music/Vespers.htm&Andante Un. GLord, I>have cried. ,Un.un - to Thee,&> Eheark - en un - ,>Un. Gto me;heark - Fen un -to. Eme,& .j ,O Lord.>j GLord, I have> cried un -Second ModeLord, I Have CriedKuv rie ej kev kraxaIntonation: #7www.stanthonysmonastery.org/music/Vespers.htm& ,to Thee, heark - Een un - . ,jj b Un. Gto me; at - tend& jq . bto theHard Chromatic> voice.j of my sup - pli -.j ,ca - - tion& > when I cry ,un - to Thee: . J b WHeark- enun - to& # n me,.O Lord.Second Mode-Lord I Have Cried 60Virtually all know the words of this psalm and they continue to sing it at every age, without knowing, however, the sense of what has been said. This is not a small charge, to sing something every day, putting forth words from the mouth, without searching out the meaning of the thoughts residing in the words.-St. John Chrysostom, On Psalm 140&Andante > Un.Letmy prayer be set , Gforth as> j in - - - cense&. Un.be - fore Thee, j . Gthe lift - ingj>. # Un.Gup of& . ,my hands Eas an eve - ning> ,Un.sac - ri-fice;& . J Gheark- en un - to> # me,.O Lord.Let My PrayerKateuqunqhv twSecond Modewww.stanthonysmonastery.org/music/Vespers.htm&Presto 1 > GSet, OLord, a watch be - fore my mouth, and a door of en -& E Gclo - sure round a - bout my lips.&2 >GIn - cline not my heart un - towords of e - vil, to make ex -& D Un.cuse with ex - cus - es in sins,&3 G EWith men that work in - iq - ui - ty; and I will not join& Un.with their cho - sen.www.stanthonysmonastery.org/music/Vespers.htmSecond ModeQou'Kuv rieVerses of Psalms140, 141, and 129&4 > GThe right - eous man willchas - tenme with mer - cy and re - prove& ,> Eme; as for the oil of the sin - ner, let it& Gnot a - noint my head.&5 > GForyet more is my prayer in the pres - ence of their pleas -& ,>> EGures; swal - lowed up nearby the rock have their judg - es been.&6 , GThey shall hear my words, for they be sweet - ened; as a clod of& > earth is bro - kenup - onthe earth,so have their bones been scat - tered& > EUn.nigh un -to Ha - des.Second Mode (Soft Chromatic)-Verses of Psalmswww.stanthonysmonastery.org/music/Vespers.htm63&7 > >Un. GFor un - to Thee,O Lord,O Lord, are mine eyes, in Thee have I& ,> EGhoped; take not my soul a - way.&8 ,GKeep me fromthe snare which they have laid for me, and& E Gfromthe stum - bling - blocks of themthat work in - iq - ui - ty.&9>> , GThe sin - ners shall fall in -to their own net; I& > EUn.am a - lone un - til I pass by.&10 > ,>GWith my voice un - to the Lord have I cried, with my voice un -& E Un.to the Lord have I made my sup - pli - ca - tion.Second Mode (Soft Chromatic)-Verses of Psalmswww.stanthonysmonastery.org/music/Vespers.htm64&11 > ,GI will pour out be - fore Him my sup - pli - ca - tion,& > Un.mine af - flic - tion be - fore Him will I de - clare.&12 > ,GWhen my spir - it wasfaint - ing with - in me, then Thou& D Un.knew - est my paths.&13 >GUn.In this way where - in I have walked they hid for me a snare.&14> > GEI looked up - on my right hand, and be - held, and there was none that did& Un.know me.&15 G DFlight hath failed me, and there is none that watch - eth outSecond Mode (Soft Chromatic)-Verses of Psalmswww.stanthonysmonastery.org/music/Vespers.htm65& Un.for my soul.&16> GI have cried un - to Thee, OLord; I said: Thou art my&> , > Ehope,my por - tion art Thou in the land of the& Un.liv - ing.&17 > G DAt - tend un - to my sup - pli - ca - tion,for I am brought& Un.ver-y low.&18 >GDe - liv - er me from them that per- se - cute me, for they are& D Un.strong - er than I.Second Mode (Soft Chromatic)-Verses of Psalmswww.stanthonysmonastery.org/music/Vespers.htm66On Saturdays, continue with Slow Stichera on page 68 or with Brief Stichera on page 105.On other days continue on following page.&19 G E GBring my soulout of pris - on that I may con - fessThy Name.&20 > >GEThe right - eous shallwait pa - tient - ly for me un - til Thou shalt re -& Un.ward me.&21>> Un. G DOut of the depths have I cried un - to Thee,O Lord; O Lord,& Un.hear my voice.&22 G FLetThine ears be at - ten - tive to the voice of my& Gsup - pli- ca - tion.Second Mode (Soft Chromatic)-Verses of Psalmswww.stanthonysmonastery.org/music/Vespers.htm67& Andantejjjjj> ,F GBring my soulout ofpris - on > EUn.that I may con - fess Thy Name.&> GCome, let us wor - ship God ,Un. Gthe Word, Who was be -& j got - ten of the Fa - F Ether be - fore the ,Un.ag - es,& Gand was in -car - Fnate of the . #EVir - - - gin& JFMar - y; forDiatonic. b {hav - ing en - { b {dured the& b ,YCross,Hard Chromatic bCHe was de - liv - ered> { o - ver to bur - { i - - - al,www.stanthonysmonastery.org/music/Vespers.htmVerse #1'Eco yoyr r x ouoxn cStichera #1Slow SticheraSecond ModeTo y aoooi e yey& as.j b ,He willed;@ > F Gand a - ris - > Eing from& ,Un. Gthe dead,> He saved> ,me, the& > # err - - - - - - -.ing man.&jjjjj>jjj ,F GThe right - eous shall wait pa - tient - ly forme j > Fun - til Thou& Eshalt re - Un.ward me.& GHav - ing nailed to the Cross > the hand - writ - , #ing thatSecond Mode-Slow Stichera 69www.stanthonysmonastery.org/music/Vespers.htmVerse #2Stichera #2'Euru aouryou oiXoioto c oEetn o n ue y& b >was # { b ,a - gainst us, Christ our Sav - iour hath& . blot - - - ,ted it out,Hard ChromaticY b> {Fand hathde - stroyed the do -& min - ion.j b of death.@> G FWe wor - ship& ,GHis a - ris - ing Un.on the Gthird.day.&jjjjjj>jjj>j ,F GOut of the depths have I cried un-to Thee, O Lord;& >EO Lord, hear Un.my voice.Second Mode-Slow Stichera 70www.stanthonysmonastery.org/music/Vespers.htmVerse #3'Ex o0r ey& F GWith the Arch - an - gels>let us praise.j F Ethe Res - ur - rec - - -& Un.tion of Christ; Gfor He is the. j . Re - deem - er& F Eand Sav - iour ,Un.of our souls. b ,GAnd in awe - some& b b glo - - - ry and>might - y.>j { ,pow - - - er,& Un.He com - eth a - gain ,Gto judge the world Un.which He& Gfash - - - -.ioned.Second Mode-Slow Stichera 71www.stanthonysmonastery.org/music/Vespers.htmStichera #3Eu y 'Ao,oyyr oic& jjjjj>jjjF GLet Thine ears be at - ten- tive to the>Fvoice of my Esup - - pli -& Un.ca - - - - - tion.& GThee, the Cru - ci - fied. j ,and Bur - ied, Fdid the An - gel pro -& Eclaim as ,Un.Mas - ter;Hard ChromaticY bFand he said>{ un - to& b ,the wom - en: {CCome, be - hold>where& b BbCthe Lord. ,lay,@ Gfor as the Al-Second Mode-Slow Stichera 72www.stanthonysmonastery.org/music/Vespers.htmVerse #4Stichera #4Iryn0nte to eto oouEr toy otouoe0ryto&. > j>. ,might - - - y, > He is ris - Een as ,Un. GHe said.&>Where - - - . F Efore,we wor - - -.j ,ship Thee,& . GWho a - lone art im - mor - - - ,F Etal. O Life -& ,Un.giv - ing Christ, Ghave mer - - - .cy on us.& jjjj>jj>jjF GIf Thou should- est mark in - iq - ui - ties,jj>jjJj ,O Lord, O Lord, who shall stand?& >For with Thee there Eis for - Un.give - ness.Second Mode-Slow Stichera 73www.stanthonysmonastery.org/music/Vespers.htmVerse #5'Eo y o youi oc& GBy Thy Cross, Thou didst. Fa - bol - ish the> Ecurse of& ,KUn.the tree; by ThyDiatonic b b . ,YFbur - i - al,Hard Chromatic> CThou hast slain the& b ,might of death;@ Un. Gand by Thine a -> ,ris - - - ing,& . > F GThou hast en - light - - - -> FEened the race& .j ,of man. GWhere - fore, wecry& ,out to Thee:>F GO Ben - e - fac - ,tor, Christ our God,& Un.glo - ryGbe.j to.Thee.Second Mode-Slow Stichera 74www.stanthonysmonastery.org/music/Vespers.htmStichera #5'Ey te otouoe oou&jjjjjj>F GForThy Name's sake have I pa -jjjjjj>j ,tient - ly wait - ed for Thee, O Lord;&jjjjj>jjjj ,F Gmysoul hath wait - ed pa - tient - ly for Thy word,>my soul& Ehath hoped in Un.the Lord.& GOut offear, the gates ,of death> Eo - pened un - to&> ,Un.Thee, O Lord;DiatonicK bFand on be - n b b { ,hold - ing Thee,&Hard ChromaticY b> Cthe gate - keep - ers ofj Ha - des.>j b ,trem - - - bled;Second Mode-Slow Stichera 75www.stanthonysmonastery.org/music/Vespers.htmVerse #6Stichera #6Eyrxry touo yo uoto c oou'Hyoi ynoo y ooi Ku oir& @ ,GforThou didst crush the . bra - - -.j ,zen gates,&Hard Chromatic Y>FCand didst break the b ,i - - - ron bars.& @> F G FAnd Thou didst lead us Eout of ,Un.dark - ness& .j Eand the shad - - - ,Un.ow of death,.JGand didst break our& Ebonds a - F Gsun - - - -.der.&jjjjjj ,F GFrom the morn - ing watch un - tilnight,jjj F Gfrom the morn - ing watch& >Flet Is - ra - el j Ehope in Un.the Lord.Second Mode-Slow Stichera 76www.stanthonysmonastery.org/music/Vespers.htmVerse #7'Aaoouoxn c aoei oc&GChant - ing the hymn of sal - va - - - ,Un.tion, with our mouths& ,let us sing:DiatonicK b b . ,YFCome ye all