Ο μέγας Στρατηγός

[basil]

I've attached to this post my English adaptation of the First Kathisma of the Annunciation «Ο μέγας Στρατηγός» as composed by George Rigas the Priest (1884-1960).

 

[tsak77]

I syggest a change of the mode at this composition, from the 1st to oblique 1st. Many phrases are based at the slow composition of the eblogitaria by Peter as we see them here and many others as we read them at the new stichirariko way of composing at this mode. Only exemption, the third and fourth line at the second page, which reminds the prosomoion "Ω του παραδόξου θαύματος" as the school of Ιάκωβος compose it.

Thanks for the sharing though :wink:.

 

[Shota]

I syggest a change of the mode at this composition, from the 1st to oblique 1st. Many phrases are based at the slow composition of the eblogitaria by Peter as we see them here and many others as we read them at the new stichirariko way of composing at this mode. Only exemption, the third and fourth line at the second page, which reminds the prosomoion "Ω του παραδόξου θαύματος" as the school of Ιάκωβος compose it.

Thanks for the sharing though :wink:.

Since the liturgical books call for the first mode and Fr. Regas himself notates it as the first mode, it's probably better to leave it as it is now. But musically it is indeed more of the first plagal mode than the first mode.

 

[greek487]

I've attached to this post my English adaptation of the First Kathisma of the Annunciation «Ο μέγας Στρατηγός» as composed by George Rigas the Priest (1884-1960).

Basil,
I really like this adaptation.

I especially appreciate the simplicity of your notation. The way you visually organize the melody into phrases helps for easier reading. Chanting in English can be especially challenging because it may be unclear when to begin or end a particular word. I had no such trouble here.

I'm wondering though if it's possible to make a small adjustment. Three lines from the bottom of page 1, we have the words "to thee that the". The word "thee" seems to have too long a musical expression. The musical formula works, but I feel as though the word "thee" gets too much attention. The entire piece seems to flow very well, except at this point. Is it possible to tweak this?

Do you or anyone else see this as a small issue to improve? This is my impression, but confirmation would make me more confident as to the accuracy of my observation.

Looking forward to seeing more of your work!

Thank you,
Taso

 

[basil]

I especially appreciate the simplicity of your notation. The way you visually organize the melody into phrases helps for easier reading. Chanting in English can be especially challenging because it may be unclear when to begin or end a particular word. I had no such trouble here.

I'm wondering though if it's possible to make a small adjustment. Three lines from the bottom of page 1, we have the words "to thee that the". The word "thee" seems to have too long a musical expression. The musical formula works, but I feel as though the word "thee" gets too much attention. The entire piece seems to flow very well, except at this point. Is it possible to tweak this?

Thank you for your kind words and for taking the time to make a practical suggestion based on your experience. I tried replacing what I had with some other melodies, but none of them left me satisfied. Perhaps if I put this aside for a while, when I take another look at it in the future something more satisfactory will come to me.

 

[basil]

I syggest a change of the mode at this composition, from the 1st to oblique 1st. Many phrases are based at the slow composition of the eblogitaria by Peter as we see them here and many others as we read them at the new stichirariko way of composing at this mode. Only exemption, the third and fourth line at the second page, which reminds the prosomoion "Ω του παραδόξου θαύματος" as the school of Ιάκωβος compose it.

Thank you for taking the time to make a wise suggestion based on your experience. Although the melodic formula in question which ends on Ke does indeed appear often in Plagal First Mode (particularly in the Slow Evlogitaria by Petros), it is not unique to that mode. For example, the same melodic formula can be found in the Ninth Heirmos of the First Mode Iambic Canon for the Nativity «Στέργειν μεν ημάς» in the Heirmologion of Ioannis, which I have attached to this post. This example justifies the use of the melodic formula in question in First Mode compositions.