O Theotokos and Virgin

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1 uration: 5:45 Intonation: #1 Adagio Ú. > b O The o - to O Theotokos and Virgin Eight-Mode Version adapted from Theodosios eorgiadis First Mode >. - kos and Vir Qeotovke Parqevne gin O The - o - to -

2 O Theotokos and Virgin - eorgiadis 659. n A > kos and Vir > > n > b A.. - gin re - oice n n. oice J b. re - Second Mode (iatonic) E full of grace > #

3 660 O Theotokos and Virgin - eorgiadis >. Third Mode Un. F. re - oice O F. Mar y; the Lord is F > with thee re - oice O Mar - y Un.. full of grace. Fourth Mode. > # Bless ed art > n n > Un. > b thou a - mong wom

4 O Theotokos and Virgin - eorgiadis 661 > #. en Plagal First Mode >. and bless > > ed and bless n > b b b ed Plagal Second Mode b Q. # { [ [. is the Fruit of thy womb

5 662 O Theotokos and Virgin - eorgiadis b. > # { [ is the b # { [.. F n n Fruit of thy womb; rave Mode (iatonic) B & > >. > for thou hast borne the Sav & Un. # [ iour b Plagal Fourth Mode. of our souls #. n of our of

6 O Theotokos and Virgin - eorgiadis 663. our souls. > n. Kratema* > >... >.. Toh toh - teh - ree - reh - ree-reen - ree - rem n. #. > J J teh ree - reh ree-rem teh - n U U > - ree - reh - ree - rem teh ree - rem > # U teh ree - rem teh ree - rem (continued on next page) * The Byzantine musicologist imitri onomos defines a kratema as "a melodic unit of teretismata which is woven into the normal sequence of a hymn at a point usually a cadence where amplification is possible." According to regorios Stathis the primary purpose of the kratema is to extend (kratw') the duration of a service. Early hurch Fathers make reference to wordless or meaningless chants basing their commentaries on Is. 6:3 and Ez. 3:12. The sixth-century mystic known as Pseudo-ionysios the Areopagite refers to litugical music as echos of divine beauty which humans receive after its transmission descends the heavenly hierarchy. [P IV ]. St. Augustine refers to the ecstatic nature of wordless ubilation and both he and St. Ieronymos identify the same with the early hristian concept of glossolalia [PL XXXVII 1272 and PL XXVI 970]. ommentators agree that such praise was a human imitation of the ceaseless chants of angels. Music manuscripts show that the kratema has been in use since at least the fourteenth century. The fact that St. John Koukouzeles wrote numerous kratemata indicates that he was a staunch supporter of their use. St. Nicodemus of the Holy Mountain however in his commentary of anon LXXV of the Sixth cumenical Synod criticized the kratema and recommended that chanters avoid them so that more time will remain for the readings. In 1649 erasimos Monachos of rete argued that the meaningless sounds designate the Holy Trinity and refer to the Incarnate ondescension (based on the numerical value of the letters of terirem). In contemporary times the kratema is still used throughout reece and on the Holy Mountain as well as in some places of the reek iaspora where services are conducted in reek. For a thorough discussion in English of the kratema see: onomos imitri E. Byzantine Trisagia and heroubika of the Fourteenth and Fifteenth enturies Patriarchal Institute for Patristic Studies Thessaloniki 1974 pp

7 664 O Theotokos and Virgin - eorgiadis First Mode >. > of our souls of our souls. Un. rit.. b.

A Selection of verses from Psalm 44 for Feasts of the All-holy Theotokos. A Good Word. œ œ œ œ. good. lu - œ œ œ œ œ œ. God: An-gels, world:

A Selection of verses from Psalm 44 for Feasts of the All-holy Theotokos. A Good Word. œ œ œ œ. good. lu - œ œ œ œ œ œ. God: An-gels, world: A Selection verses from Psalm 44 for Feasts All-holy Theotokos A Good Word Byzantine Chant Tone 1 4 4 Ison = D A good. word: n Bishop BASIL. Al - le - lu - i - a! Ó My heart hath poured forth a good word.