8 Tones Presentation

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    Now playing: Meet it is 17th Century Valaam Chant

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    The Cycle of theEight Tones

    Performance Practice in the Eastern

    Orthodox Church

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    Brief History of Orthodoxy

    Founded at Pentecost (Acts Ch. 2)

    Church of the Seven Ecumenical Councils

    1st in Nicea (325 AD) Nicene Creed

    7th in Nicea (787 AD) Confirmation of Icons

    Originally governed by five patriarchs

    Rome, Constantinople, Jerusalem, Antioch,

    Alexandria 1054 marks the Great Schism Rome

    separates from Eastern Church

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    Brief History of Orthodoxy

    988 Baptism of Russia

    Moscow becomes 5th Patriarchate in 16th century

    Orthodoxy is official religion of the Byzantine andRussian Empires

    There are now 15 autocephalous Orthodox Churches

    world-wide 2nd Largest Christian Denomination in the World

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    Role of Music

    Singing is an integral part of every service

    Every part of the service is chanted or

    sung, with the exception of the sermon

    When texts are read, they are chanted

    All music is a cappella

    Text is most important aspect of music All participate in singing

    Clergy chanter choir congregation

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    Services

    Orthodox Church is Liturgical

    Three types of services

    Daily Services Liturgies (Eucharist services)

    Other offices

    Wedding, Baptism, Unction, Akathist, Molieben, etc.

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    Liturgies

    Divine Liturgy of St. James (c. 60 AD)

    Divine Liturgy of St. Basil (4th century)

    Divine Liturgy of St. John Chrysostom Typica (read in place of liturgy)

    Liturgy of the Presanctified Gifts By St. Gregory Dialogus

    Used only during Great Lent

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    Daily Services

    Nocturnes (Midnight Office)

    Matins (Morning Service)

    1st Hour (6am)

    3rd Hour (9am)

    6th Hour (Noon)

    9th Hour (3pm)

    Vespers (Evening Service)

    Compline

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    Cycle of Services

    Books that prescribe hymns

    Horologion (Book of the Hours)

    Octoechos (Book of Eight Tones)

    Menaion (Daily services)

    Triodion (Lenten services)

    Pentecostarion (Easter and Pentecost)

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    Types of Hymns

    Troparion

    Kontakion

    Sticheron Prokeimenon

    Irmos

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    The Octoechos

    Book of the Eight Tones

    Contains Hymns for each day of the week

    Sunday Resurrection

    Monday Angels

    Tuesday John the Baptist and other Prophets

    WednesdayThe Cross and Christs Betrayal

    Thursday Apostles

    Friday Crucifixion

    Saturday Saints and Martyrs/Commemoration of the

    Dead

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    The Octoechos

    Byzantine Chant

    Each tone is a

    different mode (scale)

    Troparia & Sticheratones are similar

    In contemporary

    Greek practice, there

    are no tones forprokeimena, as they

    are read

    Russian Chant

    Now, several tones

    are in the same mode

    Troparia & Sticheratones are different

    There are several

    melodies for

    prokeimena

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    Octoechos

    Byzantine Chant

    There is only one set

    of Tones in all

    Byzantine traditions Tones 1-4 are related

    to tones 5-8

    Tone 5 = Plagal 1st

    Tone 6 = Plagal 2nd

    Tone 7 = Grave Tone

    Tone 8 = Plagal 4th

    Russian Chant

    There are several sets

    of Tones from Russia;

    Kievan, Znameny, etc. There is no correlation

    between the eight

    tones

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    How does the Octoechos Work?

    The Eight Tones rotate on an eight week cycle,beginning with the 2nd Sunday of Pentecost

    The Tone of the Week is used for all daily hymns ineach service

    Hymns from other books, such as the Menaion, are alsoadded into the daily services, depending on the time ofyear

    These hymns are also assigned a specific tone, but notnecessarily the tone of the week

    Set hymns for each service, from the Horologion, canalso be assigned a different tone

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    Daily Vespers: an outline

    Usual Beginning set of prayers for openingmost services

    Psalm 103 Read by chanter

    Great Litany Priest/Deacon & Choir Kathisma Reading from Psalter

    Little Litany Priest/Deacon & Choir

    Lord, I have cried Psalms 140, 141, 129, 116;

    sung in tone of the week Contains hymns from the octoechos and possibly the

    Menaion or other book, depending on the time of year

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    Daily Vespers (cont.)

    Gladsome Light Choir

    Prokeimenon Priest/Deacon & Choir

    Prayer read by chanter

    Litany of Supplication Priest/Deacon & Choir Aposticha Sung in tone of the week

    Prayer of St. Simeon read or sung in Tone 6

    Trisagion prayers read by chanter

    Troparia of the day Sung in different tones Augmented Litany Priest/Deacon & Choir

    Dismissal Priest & Choir

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    Byzantine Chant

    Basis for all forms of Orthodox music

    Stems from chant of the synagogue

    Until 16th century, Byzantine Chant wasmonophonic

    The ison, or drone, was added in the mid-sixteenth century

    There are two ways to chant and twocenters for Byzantine Chant throughouthistory

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    Constantinople

    Seat of Orthodoxy during Byzantine Empire

    There was a distinct Grand Cathedral style of worship

    Chant was performed by professional chanters that also composed many

    of the hymns that have been passed down.

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    Mount Athos

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    Athonite Tradition

    There are Twenty monasteries on Mount Athos

    Monastic life includes all daily services

    Each monastery has its own style of chanting

    Monastic style of worship was different from the

    Constantinopolitan worship

    Today, the Greek Church still follows

    Constantinopolitan practice to some degree,while the Russian Church has mostly adopted

    the Athonite style of worship

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    Two styles of Byzantine Chant

    1) One chanter sings the melody, while

    the others all chant the ison

    2) Half of the chanters sing the melody,

    and the others all chant the ison

    Style 1 allows for more ornamentation

    Both styles involve two choirs singingantiphonally

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    Style 1

    Monks of St. Anthonys Monastery

    Rich men have become poor

    Grave Tone (Tone 7)

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    Style 2

    Monks of Simonopetra Monastery

    Rich men have become poor

    Grave Tone (Tone 7)

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    Byzantine Notation

    Uses signs to indicate intervals, dynamics,

    accents, pace, ornamentation, voice inflections

    Cannot be accurately transferred to Western

    notation At first, symbols were just added to texts to show

    the tones, and chanters would have them

    memorized

    To conserve lost melodies, Byzantine notation

    was created to be as specific as possible

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    Two Samples

    Sticheron to St. Anthony at Lord, I have

    cried Tone 1

    Troparion to St. Anthony Plagal 1st Tone

    (Tone 8)

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    Russian Chant

    Inherited from Constantinople in 10thCentury

    Was mostly monophonic until 17th Century

    Early chant Znameny (neumes or signs)

    Simple melodies

    Evolved in 17th Century to include parts Demestveny Chant used for feasts

    More complicated melodies

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    Russian Chant

    Reforms by Patriarch Nikon in 17th

    Century caused split in the church

    Western harmony was introduced

    Old Belivers split off and use only single part

    Znameny melodies

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    Znameny Notation

    Similar to Byzantine notation

    Signs are mostly vertical, as opposed toByzantine notation

    Square note notation was introduced aswell, and manuscripts represent both

    styles

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    Znameny Samples

    Troparion of the Cross Tone 1

    15th Century Znameny Chant

    Troparion of the Cross Tone 1

    17th Century Znameny Chant

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    Other forms of Russian Chant

    Monastic communities in Russia compose

    their own chant melodies

    Valaam Chant island monastery on Lake

    Ladoga

    Trinity-Sergius Chant Patriarchal Monastery

    near Moscow

    Kievan Chant Monastery of the Kiev Caves From Kievan Chant comes Obikhod (Common)

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    Obikhod Chant

    Developed by Bakhmetev and Lvov court composers

    against classical composers writing church music inWestern style

    4 part harmony

    Sticheron tones in Obikhod chant are based onKievan chant melodies

    Troparion tones are based on Greek Chant Prokeimena tones are based on Znameny chant

    Irmos Tones are combination of all three styles

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    Troparion Obikhod Tone 1

    Based on Greek chant

    Best known Russian melody

    Used by Tchaikovsky for 1812 Overture

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    Two Listening Examples

    Kievan Chant Tone 6

    Having Beheld the Resurrection of Christ

    St. Vladimirs Seminary Male Chorus

    Obikhod Chant Tone 6

    Thy Resurrection, O Christ our Savior

    St. Vladimirs Seminary Clergy

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    Other Russian Traditions

    Many feasts for saints or events are written to specialmelodies, orpodoben

    Peter the Great and the Westernization of Russia

    Brought in Italian architects and musicians Italian opera was performed in the Russian court

    Giuseppe Sarti become the official court music director DmitriBortniansky takes over and adds Italian techniques to Russiantraditions

    Becomes one of the most prolific composers of Russian churchmusic

    Develops the Sacred Concerto non-liturgical piece sung duringclergy communion

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    Other Russian Traditions

    Composers of art music begin to writesacred music

    Imperial Chapel censors much of it

    Settings of the Divine Liturgy and All-NightVigil start appearing from Tchaikovsky andothers

    Many of these are not used in Liturgicalworship

    Condemned as too Western

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    Golden Age of

    Russian Choral Music

    From late 19th Century until 1917

    Between 15-20 composers write settingsof the Divine Liturgy and All-Night Vigil

    Pavel Chesnokov composes almost 200pieces of Sacred music

    Others are Kastalsky, Archangelsky,

    Gretchaninoff, Rachmaninoff, Kalinnikov Ends with Bolshevik Revolution

    Sacred music is practically banned

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    In America

    Due to multiple ethnic groups in the U.S.,

    Orthodox churches now combine musical

    aspects of both traditions into their

    services

    A typical service might feature hymns in

    Byzantine, Kievan, Obikhod, Znameny,and other chant systems

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    Listening Examples

    Paschal Canon Ode 1

    Byzantine Chant

    Performed by Eikona

    Paschal Canon Ode 1

    Russian Greek Chant

    Performed by St. Vladimirs Male Chorus

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    Exit Music

    Psalm 103Russian Greek Chant

    Arr. by Kedrov