- Dear friends,

I am delighted to announce the completion of my project to codify

the formulas for Byzantine melodies in all sticheraric and

heirmologic modes. It is available online now at the following

webpage:

http://www.stanthonysmonastery.org/music/Formula.html

or as a single PDF file at:

http://www.stanthonysmonastery.org/music/Formula.pdf (975 pages,

9.2 MB)

These lists contain more than 10,000 formulas and should prove to be

an invaluable aid for anyone composing Byzantine music in any

language. I have also improved the workshop that demonstrates how to

use the lists, and in it I have formulated several guidelines for

composing Byzantine music.

To test the versatility of these lists, I tried setting the

verses "Glory...Both now..." in all eight modes in English. I was

pleased to see that relying on these lists of formulas not only

saved me a lot of time and mental strain, but they also enabled me

to find the most appropriate melodic line for each phrase. And

because of the great variety of formulas in these lists, I could

effortlessly compose three different melodies for these verses in

each mode: a brief sticheraric version, a slightly more elaborate

sticheraric version, and an old (slow) sticheraric version. This

music is posted in Western notation at:

http://www.stanthonysmonastery.org/music/GloryBothNow.pdf (24

pages, 1.7 MB)

Although the primary use of these lists of formulas is to aid

composition, I foresee several other ways they could be used: They

could be used as a data bank for research and study of "melopoiia"

(the art of composition). Studying melopoiia is especially helpful

for developing the invaluable skill of being able to invent on the

spot a decent Byzantine melody in any mode for any text (in any

language) when that text has not already been set to music. These

lists could also be used to define the underlying building blocks of

Byzantine melodies (in terms of where accented syllables may be

placed in a melodic phrase). They could also be used as ample

evidence to prove the rules of Byzantine music orthography that have

already been published in several books, and also to disprove some

erroneous rules that have been published. (They also provided the

necessary data for me to discover "new" rules of orthography that no

one had expressly formulated yet, even though the Three Teachers and

their disciples abided by these unwritten rules.) Perhaps they could

also be helpful for understanding the "theseis" of pre-Chrysanthine

Byzantine notation.

Moreover, Karas surely would have loved these lists, because the

colored notes (which represent alternate versions of the same

formula) clearly show the reasoning for reintroducing some old

symbols. To cite a few examples, if we look in the formulas of

sticheraric third mode, the last notes on page 210 justify the

tsakisma, the first green notes on p. 208 justify the isaki, and the

red omalon on p. 203 justifies the tromikon. And in the formulas of

sticheraric plagal first, the lygisma is evident in the red notes on

p. 450, the oxeia in the second red notes on p. 398, the piesma in

the blue notes on p. 401, and we can see the strepton by comparing

the two 00100 formulas on p. 424.

I hope those of you who are arranging texts to Byzantine melodies

will find these lists as useful as I have.

in Christ,

+Fr. Ephraim - Dear Papa Ephraim:

I am assuming these are in Byzantine notation. I hate to ask you do do

another thousand pages, but I believe these would be very valuable in

Western notation as well, and would go far in opening up Byzantine

music to the world and relieving the mystery and frustration of

Americans composing in that genre for other languages.

Congratulations on your achievement.

Stan

--- In greekorthodoxmusic@yahoogroups.com, "byzmusic" <frephraim@...>

wrote:>

> Dear friends,

>

> I am delighted to announce the completion of my project to codify

> the formulas for Byzantine melodies in all sticheraric and

> heirmologic modes. It is available online now at the following

> webpage:

> http://www.stanthonysmonastery.org/music/Formula.html

> or as a single PDF file at:

> http://www.stanthonysmonastery.org/music/Formula.pdf (975 pages,

> 9.2 MB)

>

> These lists contain more than 10,000 formulas and should prove to be

> an invaluable aid for anyone composing Byzantine music in any

> language. I have also improved the workshop that demonstrates how to

> use the lists, and in it I have formulated several guidelines for

> composing Byzantine music.

>

> To test the versatility of these lists, I tried setting the

> verses "Glory...Both now..." in all eight modes in English. I was

> pleased to see that relying on these lists of formulas not only

> saved me a lot of time and mental strain, but they also enabled me

> to find the most appropriate melodic line for each phrase. And

> because of the great variety of formulas in these lists, I could

> effortlessly compose three different melodies for these verses in

> each mode: a brief sticheraric version, a slightly more elaborate

> sticheraric version, and an old (slow) sticheraric version. This

> music is posted in Western notation at:

> http://www.stanthonysmonastery.org/music/GloryBothNow.pdf (24

> pages, 1.7 MB)

>

> Although the primary use of these lists of formulas is to aid

> composition, I foresee several other ways they could be used: They

> could be used as a data bank for research and study of "melopoiia"

> (the art of composition). Studying melopoiia is especially helpful

> for developing the invaluable skill of being able to invent on the

> spot a decent Byzantine melody in any mode for any text (in any

> language) when that text has not already been set to music. These

> lists could also be used to define the underlying building blocks of

> Byzantine melodies (in terms of where accented syllables may be

> placed in a melodic phrase). They could also be used as ample

> evidence to prove the rules of Byzantine music orthography that have

> already been published in several books, and also to disprove some

> erroneous rules that have been published. (They also provided the

> necessary data for me to discover "new" rules of orthography that no

> one had expressly formulated yet, even though the Three Teachers and

> their disciples abided by these unwritten rules.) Perhaps they could

> also be helpful for understanding the "theseis" of pre-Chrysanthine

> Byzantine notation.

>

> Moreover, Karas surely would have loved these lists, because the

> colored notes (which represent alternate versions of the same

> formula) clearly show the reasoning for reintroducing some old

> symbols. To cite a few examples, if we look in the formulas of

> sticheraric third mode, the last notes on page 210 justify the

> tsakisma, the first green notes on p. 208 justify the isaki, and the

> red omalon on p. 203 justifies the tromikon. And in the formulas of

> sticheraric plagal first, the lygisma is evident in the red notes on

> p. 450, the oxeia in the second red notes on p. 398, the piesma in

> the blue notes on p. 401, and we can see the strepton by comparing

> the two 00100 formulas on p. 424.

>

> I hope those of you who are arranging texts to Byzantine melodies

> will find these lists as useful as I have.

>

> in Christ,

> +Fr. Ephraim

> - Dear Stan,I agree that it would be wonderful to have all these formulas were also in Western notation. Unfortunately, my spare time is rather limited and so I need to focus on the most useful projects first. In particular, right now I am trying to finish up my next book, which will have all the music for Vespers.Incidentally, I already asked a friend of mine if he would be interested in transcribing all these formulas into Western notation so that they would be more accessible to composers who don't know Byzantine notation. To my surprise, he was firmly opposed to the idea, with the reasoning that if someone knows so little about Byzantine music that they don't even know how to read the simple post-Byzantine neumatic notational system, they shouldn't even be trying to compose Byzantine music in the first place.I suppose he has a point, but I still think there is much to be gained by having these formulas in Western notation. If you know anyone who has the time to transcribe some or all of these formulas into Western notation either by hand or by computer, I would be delighted to include those transcriptions in my webpage, and I would give them full credit for their labors.in Christ,+Fr. Ephraim

On 7/3/06,**Stan Takis**<takistan@...> wrote:Dear Papa Ephraim:

I am assuming these are in Byzantine notation. I hate to ask you do do

another thousand pages, but I believe these would be very valuable in

Western notation as well, and would go far in opening up Byzantine

music to the world and relieving the mystery and frustration of

Americans composing in that genre for other languages.

Congratulations on your achievement.

Stan

--- In greekorthodoxmusic@yahoogroups.com, "byzmusic" <frephraim@...>

wrote:

>

> Dear friends,

>

> I am delighted to announce the completion of my project to codify

> the formulas for Byzantine melodies in all sticheraric and

> heirmologic modes. It is available online now at the following

> webpage:

> http://www.stanthonysmonastery.org/music/Formula.html

> or as a single PDF file at:

> http://www.stanthonysmonastery.org/music/Formula.pdf (975 pages,

> 9.2 MB)

>

> These lists contain more than 10,000 formulas and should prove to be

> an invaluable aid for anyone composing Byzantine music in any

> language. I have also improved the workshop that demonstrates how to

> use the lists, and in it I have formulated several guidelines for

> composing Byzantine music.

>

> To test the versatility of these lists, I tried setting the

> verses "Glory...Both now..." in all eight modes in English. I was

> pleased to see that relying on these lists of formulas not only

> saved me a lot of time and mental strain, but they also enabled me

> to find the most appropriate melodic line for each phrase. And

> because of the great variety of formulas in these lists, I could

> effortlessly compose three different melodies for these verses in

> each mode: a brief sticheraric version, a slightly more elaborate

> sticheraric version, and an old (slow) sticheraric version. This

> music is posted in Western notation at:

> http://www.stanthonysmonastery.org/music/GloryBothNow.pdf (24

> pages, 1.7 MB)

>

> Although the primary use of these lists of formulas is to aid

> composition, I foresee several other ways they could be used: They

> could be used as a data bank for research and study of "melopoiia"

> (the art of composition). Studying melopoiia is especially helpful

> for developing the invaluable skill of being able to invent on the

> spot a decent Byzantine melody in any mode for any text (in any

> language) when that text has not already been set to music. These

> lists could also be used to define the underlying building blocks of

> Byzantine melodies (in terms of where accented syllables may be

> placed in a melodic phrase). They could also be used as ample

> evidence to prove the rules of Byzantine music orthography that have

> already been published in several books, and also to disprove some

> erroneous rules that have been published. (They also provided the

> necessary data for me to discover "new" rules of orthography that no

> one had expressly formulated yet, even though the Three Teachers and

> their disciples abided by these unwritten rules.) Perhaps they could

> also be helpful for understanding the "theseis" of pre-Chrysanthine

> Byzantine notation.

>

> Moreover, Karas surely would have loved these lists, because the

> colored notes (which represent alternate versions of the same

> formula) clearly show the reasoning for reintroducing some old

> symbols. To cite a few examples, if we look in the formulas of

> sticheraric third mode, the last notes on page 210 justify the

> tsakisma, the first green notes on p. 208 justify the isaki, and the

> red omalon on p. 203 justifies the tromikon. And in the formulas of

> sticheraric plagal first, the lygisma is evident in the red notes on

> p. 450, the oxeia in the second red notes on p. 398, the piesma in

> the blue notes on p. 401, and we can see the strepton by comparing

> the two 00100 formulas on p. 424.

>

> I hope those of you who are arranging texts to Byzantine melodies

> will find these lists as useful as I have.

>

> in Christ,

> +Fr. Ephraim

>