herron.samuel
Ieropsaltis
Just some personal compositions of mine. Enjoy. Any criticisms are welcome.
Compositions
- Thread starter herron.samuel
- Start date
Samuel, I had a look and I liked your compositions. I couldn't find any obvious mistakes as such at first sight. Nice traditional lines and simple clean writing. Well done. It'd be nice to get Fr Ephraim's opinion on the arrangement of English in your compositions. It looks fine to me. Keep it up.
herron.samuel
Ieropsaltis
Enjoy. Comments welcome. Feel free to pass on to whomever.
monk martyrios
Νέο μέλος
Christ is Risen! I want to give you a belated thank you for your compositions – I have been singing them (especially the Anaphoras) since you first posted them. There are a few phrases where the rhythm or accents have always felt awkward to me, and so I looked them up in Papa Ephraim's Formula book for alternatives. Forgive me; I admittedly am not very experienced, and am only offering them as suggestions for you to consider. I would like to know what you think though, because I would prefer to sing them in whatever final (or working) form you give them. My copy of the formulae is about three years old, and I have not updated it with any changes. I hope this won't cause any confusion).
In the Anaphora in the second mode in the phrase “heaven and earth are full of Thy Glory” it seems like there should be a little more stress on “full,” and so I put a klasma on “full” and then continued with the first formula in the “2nd to last syllable ending on Vou – 0010 (2nd Mode Sticheraric).” This keeps your same ending for “Glory.” And on the final phrase, “and we pray unto Thee, O our God,” it feels like there should be more emphasis on “O” than on “our.” I used the 8th formula from the Old Sticheraric Formulas in Di – Vou (001), but began it with a oligon over a petaste instead of an ison (to raise it up a 3rd to Di). This also preserves your original concluding musical phrase (only written slightly more analytically).
Finally, in the It is Truly Meet Pl 2nd Mode, on the phrase “than the Seraphim” I used the first (of two) formula for 10100 in the Di – Pa 3rd to last syllable.
That is all. The anaphora in Kliton is very good. I had a question about this, which maybe I should address elsewhere, but as I am on the subject here: is it considered to be in the Fourth Mode, or no particular mode, as it is recitative? The two recordings I have of it (Angelopuolos and Vatopedi) use an Axion Estin in 2nd Mode after it (deuteroprotos in Vato), but I've never found out if this was cicumstantial (according to the mode of the week – in the Vatopedi recording) or if there is a connection between the Klitos and the Second Mode (it is an easy transition to make), or if it was by an entirely different criterion (ie how Angelopoulos would choose pieces for his recordings....).
Well again, thank you for your compositions here and on the troparia for the Menaion. I ask your prayers and wish you a Bright Paschal season. Monk Martyrios.
In the Anaphora in the second mode in the phrase “heaven and earth are full of Thy Glory” it seems like there should be a little more stress on “full,” and so I put a klasma on “full” and then continued with the first formula in the “2nd to last syllable ending on Vou – 0010 (2nd Mode Sticheraric).” This keeps your same ending for “Glory.” And on the final phrase, “and we pray unto Thee, O our God,” it feels like there should be more emphasis on “O” than on “our.” I used the 8th formula from the Old Sticheraric Formulas in Di – Vou (001), but began it with a oligon over a petaste instead of an ison (to raise it up a 3rd to Di). This also preserves your original concluding musical phrase (only written slightly more analytically).
Finally, in the It is Truly Meet Pl 2nd Mode, on the phrase “than the Seraphim” I used the first (of two) formula for 10100 in the Di – Pa 3rd to last syllable.
That is all. The anaphora in Kliton is very good. I had a question about this, which maybe I should address elsewhere, but as I am on the subject here: is it considered to be in the Fourth Mode, or no particular mode, as it is recitative? The two recordings I have of it (Angelopuolos and Vatopedi) use an Axion Estin in 2nd Mode after it (deuteroprotos in Vato), but I've never found out if this was cicumstantial (according to the mode of the week – in the Vatopedi recording) or if there is a connection between the Klitos and the Second Mode (it is an easy transition to make), or if it was by an entirely different criterion (ie how Angelopoulos would choose pieces for his recordings....).
Well again, thank you for your compositions here and on the troparia for the Menaion. I ask your prayers and wish you a Bright Paschal season. Monk Martyrios.
herron.samuel
Ieropsaltis
I will take a look at these changes as soon as I can. This was very helpful. Thank you.