Chanting with Ison. 32nd Annual Sacred Music Institute Antiochian Village July 12-16, Charlie Marge

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1 Chanting with son 32nd Annua Sacred Music nstitute Antiochian Viage Juy 1216, 2017 Charie Marge Head Chanter St. Mary Antiochian rthodox Church Cambridge, MA Richard Barrett Head Chanter Dormition Greek rthodox Church Somervie, MA Definition son ("ίσον") of a musica Mode is by definition the pitch of its basis (tonic). For instance, the ison of Second Soft Chromatic Mode (Tone 2) is the note DH (G). To hod ("κρατώ") the ison means to continuousy sing the pitch of the basis whie the meody of a hymn is being chanted by the psatis. The person "hoding the ison" is caed the isokratis ("ισοκράτης") [pura isokrates ("ισοκράτες") or isokratai ("ισοκράται")]. D. Koubarouis son in Writing First mentioned in writing in the 14 th century, but we think it goes way back stemming from d Testament practice of using bagpipe and other drone instruments First notated in music in the 19 th century. Not commony seen in iturgica books unti the 20 th century. Very itte written down and pubished on this topic! Lycourgos Angeopouos pubished a threepage artice on the topic ( sokratema Technique in Modern Performance Practice ) in November 2000 expressing his opinions.

2 son in Theory An opportunity to enhance the meody and form a Trinity of Words, Meody, and son Meody is the Unified Voice of the Church with son as the Uncreated Light of God With the essence of Byzantine Chant being mystica prayer, ison is a compimentary, prayerfu ine son shoud never overpower the Meody son provides a steady foundation for the Meodic ine. Most generay the bass note of the tone or the dominant note of the meodic tetrachord son in Practice Tremendous variation in stye and technique from one choir to another! Concept of traditiona/usua patterns versus innovations son is optiona. Better to have no ison than bad ison son is not Easy! To do it propery it requires musicaity, knowedge of the music and the text being chanted, psatic experience, and good aesthetic criterion. t requires voca and breathing stamina and very good pitch. Untrained psatai (chanters) can do isokratema as ong as there is someone to guide them as to when and where to they shoud change. D. Koubarouis Types of son: Basic ison (=ony the basis of the mode) Conservative ison (=tetrachords/pentachord and mode changes ony) Moving ison (=conservative ison + some vertica harmonization simiar to Stanitsas's scores) Westernized ison (=verticay harmonized ison) D. Koubarouis Methods of Vocaization: Singe Vowe Sound [e.g., a, o, ee, ǝ ( schwa ) or Hum ( hmm )] ny Vowe Sounds of Text (no consonants) Compete Text a choir form requiring practice

3 Phrasing/Breaths: Stop ison with end of phrase. Group breath. Carryover ison how does this work when saying compete text? Unison notes and Unison phrases When meody rejoins the ison note, an opportunity to check pitch Unison phrases in composition can enhance text and add variety Doube son ctaves Traditiona Second ison a fourth or fifth above the Bass note introduced by Constantine Psachos, Professor of Byzantine Music in Athens in Not considered traditiona ny seen in the Paga modes: Tone 5, Tone 6, Tone 8 Methods for indicating ison in Western notation Singe Note Name above staff when ison changes (parae with Byzantine notation) son note physicay written into the meodic staff Separate staff from meody staff (in trebe or bass cef) Breathing Directing the son

4 Key son notes for each Tone Tone 1: D (Pa), G (Dhi), C (Ni) Exampe: Poyeeos, 3 pages from end of Section 2 Tone 2 [Soft Chromatic on G (Dhi)]: G (Dhi)/G (Dhi ), E (Vou), C (Ni) Exampe: Hierarchica Trisagion 11A, Section 2, 15 pages in Tone 3: F (Ga), D (Pa), C (Ni) Exampe: The Hoy Aposte Aquia, Section 4, 1 st page Tone 4: E (Vou), G (Dhi), D (Pa) Exampe: Psam 140 Kazan 45, Section 3, 23 pages in Tone 5 [Based on A (Ke)]: A (Ke)/A (Ke ), G (Dhi) )/G (Dhi ), D (Pa) Exampe: Resurrectiona Apoytikion, Section 4, 2 nd page Tone 5 [Based on D (Pa)]: D (Pa), G (Dhi), A (Ke) Exampe 1: Psam 140 Kazan 58, Section 3, 30 pages in Exampe 2: Come Receive Ye Light (beow) Tone 6 [Hard Chromatic on D (Pa)]: D (Pa), G (Dhi), C (Ni) Exampe: Psam 140 (beow) Tone 7 [Based on F (Ga)]: F (Ga), G (Dhi), C (Ni), D (Pa) Exampe: Arise God (beow) Tone 7 [Diatonic on B (Zo)]: B (Zo), D (Pa) Exampe: Poyeeos Psam 135, (beow) Tone 7 [Enharmonic on Bb (Zo)]: Bb (Zo)/Bb (Zo ) Exampe: Poyeeos, Psam 134 (beow) Tone 8 [on F (Ga)]: F (Ga), C (Ni), D (Pa) Exampe: Theotokion 176, Section 3, ast page Tone 8 [on C (Ni)]: C (Ni), G (Dhi)/ G (Dhi ), F (Ga )/F(Ga ), D (Pa) Exampe1: The Great Doxoogy, Section 4, 3 pages from the end Exampe2: Psam 140 Kazan (beow) Specia Thanks to the foowing teachers of Byzantine Chant who were interviewed in the preparation for this cass: Deacon John EMassih, Protopsatis of the Antiochian Archdiocese of North America (6/15/17) Grammenos Karanos, Professor of Byzantine Chant, Hoy Cross Schoo of Theoogy, Brookine MA (6/20/17) Rev. Nichoas Kastanas, Professor of Byzantine Chant, Hoy Cross Schoo of Theoogy, Brookine MA (6/29/17)

7 &. & b o &. &. b. j F A j s po Trisagion Hymn 11A Second Section Long Version Unison, SN = G. The b os. b a e ti ghi b. b. os b Dhes po j ta. b The Bishop, standing in the hoy doors, facing west, intones: " Lord, Lord: Look down from heaven and behod, and visit this vine, and perfect that which thy right hand hath panted." A ghi & b b os s &. chi ros. b b. The Bishop again intones: " Lord, Lord: Look down from heaven and behod, and visit this vine, and perfect that which thy right hand hath panted." &. j b b s po a e ti Dhes po ta. &. f b. A ghi... j b b A ghi j os Antiochian rthodox Christian Archdiocese 1/25/15, Rev. 2, MK, CAH 3

8 son God is the God is the Lord Third Mode Lord and hath ap peared un to Rassem E Massih Apri, 2015 us. Bess ed is He that com eth in the Name of the Lord. (The chanter begins first with "God is the Lord..." and repeats it after each of the verses.) CHANTER: God is the Lord and hath appeared unto us. Bessed is he that cometh in the name of the Lord. Verse 1: give thanks unto the Lord, and ca upon his hoy name. Verse 2: A nations compassed me about: but in the name of the Lord wi destroy them. Verse 3: This is the Lord's doing; it is marveous in our eyes. Antiochian rthodox Christian Archdiocese of North America, Rev. 1, 5/5/15, CAH

9 »» j» Byzantine Tone 4 Sow & w ˆ son Lord, have cried out un to Basi Kazan ( ) thee; 45 & ˆ ˆ.»»» _»ˆ_ hear & ŵ. j ˆ ˆ w bˆ me, me. Lord. Lord, & ˆ ˆ n. j ˆ have cried out un to thee; & b. j me. Give ear to the & ˆ ˆ ŵ. j ˆ ˆ w ˆ bˆ sup pi ca & ˆ». J» _»ˆ_ w ˆ ˆbˆ ˆ out un to thee. hear voice tion, me, when of Lord. Sow & w ˆ ˆ ˆ ˆ ˆ b j ˆ ˆ. j Let my pray'r be & ŵ. j ˆ ˆ w.. j n thee as the in cense, and the ift ing Antichian rthodox Christian Archdiocese 10/07/02 Rev. 0 MK Psam 140 set forth be fore cry my

10 God is the Lord: Tone 5 Rassem E Massih Verses: give thanks unto the Lord and ca upon His hoy name. A nations compassed me about, but in the name of the Lord wi destroy them. This is the Lord's doing; it is marveous in our eyes. Resurrectiona Apoytikion: Tone 5 Basi Kazan & Œ Let us be & iev ers praise and wor ship the Word, co e ter na with the Fa & ther. and the Spi & He took rit: & born of the pea sure in a Vir gin for our sa va scend ing the Cross in the tion!. fesh, suf fer death, and to raise the dead by His go ri ous & w For to re sur rec tion.

11 Byzantine Tone 5 Sow & b ˆ son ŵ ˆ ˆ ˆ ˆ ˆ ˆ Lord, have cried out un Basi Kazan ( ) to 58 & b ˆ ˆ ˆ ˆ. ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ me. & b ˆ ˆ ˆ ˆ ˆ ˆ ˆ w Lord. Lord, have cried out un to thee. & b. j ˆ ˆ ˆ ˆ. j ˆ ˆ. ˆ me. & b ˆ ˆ. j ˆ of my sup pi ca tion, when & b ˆ ˆ ˆ ˆ ˆ ˆ ˆ. ˆ cry out un to & b Sow. j ˆ w w Lord. Let Give thee. my ear to the pray'r & b ˆ. j ˆ ˆ ˆ ˆ ˆ ˆ be set forth be fore thee as the & b ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ in Antiochian rthodox Christian Archdiocese 10/05/02 Rev. 0 MK Psam 140 cense, and the ift me, voice ing thee. me, up of

12 The Hymn of the Unwaning Light Contemporary Hoy Transfiguration' Byzantine Chant Monastery ToneS Soprano 1 Tenor 1 Soprano 2 Tenor 2 r 1 v V Ato Bass...) n Sowy J::: 80, """'.. (; = Come,Te ceive ye_ ight +...,..?:J Come,re ceive ye ight,.~.. ~ 0 0 ~ ~,. n frffi "'" frffi (; = r waning_ Light,,and go ri ~ (; '~~ the _ Un waning _ Light,, and go ri T (; ~ ~ " "... "!:.~. t /'. v J ~ ho fy.... fy... t) u.. r~, "'" o......'"',.. fi.j.4 Christ Who is a ". ~... ris ~ u ~ en_ from_the_ dead. "...,.... u '"'.~ Christ" Who is a ris en_ from_the_ dead. tr. Q u *

13 Pentecostarion The Feast of Pentecost Sung as the 3rd stichera of the Aposticha, after Psam 50 (Have mercy), and the Gory at the Praises Byzantine Chant Tone 6/Paga Second Mode Dn. John E Massih 2 D heav en y King, the Comforter, the Spir it of Truth, D A heav en y King, the Comfor ter, the Spir it of Truth, G Who art in a pac es and fi est D a things; Treas ur y of good things, and Giv er of ife; come, and dwe in us, and ceanse us from ev 'ry stain, D and save our sous, Good ne. A G 9 Fina ending Good G ne. Antiochian rthodox Christian Archdiocese of North America, Rev. 0, 5/27/17, CAH

14 Contemporary Byzantine Chant Tone 7 Arise 0 God Father Aexis Kouri, J """"" J J '"" A rise, 0 God, and judge_ the earth_ for Thou shat in ~ = = t 6 ::; ::; ::; t) ~.. 1\ ~ :~ 1\ t) 9 her it a mong_ a the_ 6 6 na tions U = ::: ~ Arise, 0 God, and judge the earth; for shat inherit among a the nations. 1) God hath stood in the congregation of gods, and being in the midst of them he judgeth gods. 2) How ong wi you judge unju~!x; and accept the persons of the wicked? / ~, 3) Judge the needy and fatheress. Do justice to the humbe and the poor. 4) Rescue the poor; and deiver the needy out of the hand of the sinner. 5) They have not known or understood; they wak on in darkness. A the foundations of the earth sha be moved. 6) have said: You are gods and a sons of the most High. But you, ike men, sha die; and sha fa ike one of the princes St. Mary's rthodox Church, Sinman Street, Cambridge, MA (617)

15 Poyeeos Psam 135 Tripe Meter 9 17 & # Ó & # & #, 18 & # B To u i B eth for Ó & # & #, 19 & # B And u i B eth for B Se [ Him a. that Œ ev er. a. sew Œ smote ev er.. on, Grave Mode D For A e great His u i might y D For His A e king of the kings. mer cy en kings.. a. mer cy en u i Am o A e b dur A e b dur. a. rites.

16 4 Poyeeos Mitri emurr Paga of First Mode 83 4~ J7hSJ;o J j ~ a. They have a mouth _ but sha D 92 not speak, eyes have _ they and sha not see: 96 4~ J JJJJj A e u a. * 112 not Ears have they and sha hear,_ nor D 103 G 4~ n fcj511 J ~) t ~C1 J] ~ f1j is_ there_ a ny breath n their_ F ',~ t3}i; 1M J J JjJjj 1~G1J Jj mouth: ~ A e Copyright 2008 Basi Crow. Permission to copy for iturgica use. BBC. Rev 1, 6/13/2009

17 176 Byzantine Tone 8 & b w son Thou who for our sake wast born of a vir gin, Basi Kazan ( ) & b. suf fer cru ci fix ion, good ne, and didst de & b ˆ ˆ spoi death thru death, and as & b. w_ rec tion, de God spise not didst those re vea whom and res hast didst ur cre & b. at ed with thine own hand. Show forth thy ove for man & b w. w mer ci fu ne. Ac cept the w_ in ter kind, ces sion & b ˆ ˆ moth er, the The o to kos, & b. j ˆ»» ˆ ww pair ing peo pe, Antiochian rthodox Christian Archdiocese 06/21/01 Rev. 0 MK Theotokion our Sav for us iour. and save of thy thy des To Dismissa»

18 Byzantine Tone 8 Sow & w_ ˆ ˆ ˆ ˆ. j ˆ_ ˆ ˆ_ Œ _. son Lord, have Basi Kazan ( ) cried 99 & ˆ ˆ ˆ ˆ Œ ˆ ˆ un to thee. & _ ˆ ˆ ˆ ˆ. j ˆ_ ˆ ˆ_ me, me. w_ Lord. & ˆ ˆ ˆ w Lord, have &. b j j # ˆ bˆ j ˆ ˆ nˆ ˆ & ˆ_. j ˆ_ ˆ ˆ_ _ voice of my cried me. sup pi & ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ ˆ. ˆ when cry out un to & ˆ ˆ ˆ ˆ. j ˆ_ ˆ ˆ_ me, PSALM 14 out thee. un Give ca to ear to w_ Lord. out thee. the tion, Antiochian rthodox Christian Archdiocese 10/05/02 Rev. 0 MK

PSALM 14O «. « «ˆ ˆ_ «Œ. nˆ ˆ ˆ««« ====================== l ˆ«. ˆ« ˆ « ˆ««ˆ ˆ« ˆ ˆ« ˆ«Œ «« ˆ«« ˆ ˆ ˆ« j ˆ_ «« ˆ ˆ_ «l ll. ˆ_ ˆ ˆ_ «_«l.

PSALM 14O «. « «ˆ ˆ_ «Œ. nˆ ˆ ˆ««« ====================== l ˆ«. ˆ« ˆ « ˆ««ˆ ˆ« ˆ ˆ« ˆ«Œ «« ˆ«« ˆ ˆ ˆ« j ˆ_ «« ˆ ˆ_ «l ll. ˆ_ ˆ ˆ_ «_«l. Byzantine Sow & ˆ ˆ ˆ ˆ. j ˆ_ ˆ ˆ_ _. son Basi Kazan (1915 2001) cried 99 ˆ ˆ ˆ ˆ ˆ ˆ un to e. Hear & _ ˆ ˆ ˆ ˆ. j ˆ_ ˆ ˆ_ me. Hear Lord. ˆ ˆ ˆ w &. b j j # ˆ bˆ j ˆ ˆ nˆ ˆ Hear & ˆ_. j ˆ_ ˆ ˆ_ _ voice