Byzantine music
One of the foundations of authentic chanting (along with proper chronos, intervals, and vocalizations) is the use of good compositions. Genuine Byzantine music is based on textual accentuation and governed by a series of formulaic rules that dictate which melodic lines may be used to match a particular syllabic pattern. In addition, a series of orthographic rules ensures consistency and readability.
Byzantine music compositions in English which rigorously adhere to these formulaic and orthographic rules have only appeared in the past few years. The most prominent of these is the Divine Music Project by St. Anthony’s Monastery, whose material I prefer. Thanks to St Anthony’s Seminar on Composing Byzantine Music in English, I have myself begun to study the art of composing authentic Byzantine melodies. Below you can find (in no particular order) several scores of Byzantine music in English, which I have prepared in adherence to the formulaic and orthographic rules of composition.
| It Is Truly Meet by Ioannis Arvanitis, Fourth Mode Agia | Byzantine | |
| Doxastika at the Praises for January 1, Plagal Second Mode and Plagal Fourth Mode | Byzantine | |
| Kontakion of the Annunciation, long version by Ioannis Arvanitis, Plagal Fourth Mode | Byzantine | |
| Doxastikon at the Praises for the Sunday after the Nativity «Αίμα και πυρ», patriarchal melody, Plagal Fourth Mode | Byzantine | Western |
| Communion Hymn for Sundays by Ioasaph of Dionysiou, First Mode | Byzantine | |
| Holy Saturday idiomelon «Σε τον αναβαλλόμενον», Plagal First Mode | Byzantine | Western |
| Lenten Apolytikia of Sunday Vespers, Plagal First Mode | Byzantine | |
| Troparion of Kassiane, Plagal Fourth Mode | Byzantine | Western |
| Megalynarion of the Meeting in the Temple, Third Mode | Byzantine | Western |
| Trisagion, Plagal Fourth Mode | Byzantine | Western |
| Dynamis, Plagal Fourth Mode | Byzantine | |
| Doxasticon at the Praises of the Synaxis of the Archangels, Plagal First Mode | Byzantine | |
| Sunday Evening Vespers, Third Week of Lent, Kekragaria | Byzantine | |
| Sunday Evening Vespers, Third Week of Lent, Aposticha | Byzantine | |
| St George, Vespers Stichera Doxastikon, Plagal Second Mode | Byzantine | |
| St George, Aposticha Doxastikon, Fourth Mode | Byzantine | |
| St George, Orthros Idiomelon, Plagal Second Mode | Byzantine | |
| St George, Doxastikon of the Praises, Plagal First Mode | Byzantine | |
| Evlogitaria of the Reposed, Plagal First Mode | Byzantine | |
| Canon of the Akathist, Fourth Mode | Byzantine | |
| Katavasiæ of the Theotokos, Fourth Mode | Byzantine | Western |
| Communion Hymn of Pentecost, First Mode | Byzantine | |
| Communion Hymn of All Saints, Plagal Fourth Mode | Byzantine | Western |
| Doxastikon of St Nicholas, Plagal Second Mode | Byzantine | Western |
| Psalm 22, Plagal First Mode | Byzantine | Western |
| First Kathisma of the Annunciation «Ο μέγας Στρατηγός» by George Rigas the Priest, First Mode | Byzantine | |
| Megalynarion of the Cross, Plagal Fourth Mode | Byzantine | Western |
| Kontakion of the Departed, Plagal Fourth Mode | Byzantine | Western |
| Rejoice, Thou Bride Unwedded, Plagal Fourth Mode | Byzantine | |
| Christ Is Risen, Plagal First Mode | Byzantine | |
| Stichera of Sts. Peter and Paul, Second Mode automelon | Byzantine |
The translation used for these hymns is that of the Holy Transfiguration Monastery in Brookline, chosen since many people throughout the world hold their liturgical translations in high regard due to their precision, meter, and elegance.