Chant or read Gospel variations

[Fr Benjamin Henderson]

My wife has been asking about the parochial experience of chanting the Gospel. How is it done in your parishes.

In ICXC,

Fr Benjamin

[Herman Blaydoe]

In the Carpatho-Russian tradition, we have specific melodic styles for NT and OT verses. The NT style is often used for both the Epistle (by the Reader) and Gospel (by the Deacon or Priest) readings. The beginning "Brethren" of the Epistle, is a 4-note "dip" ascendant on the last note. A lower note begins the verse followed by a "peak" higher note on the second word or syllable to a slightly lower single note, which transitions to a sort of "inverted" dip (lower to higher to lower) at the end of the phrase. The last phrase drops a half-note until the last 5 syllables which go up again a half-note, down again, and the last three notes ascending.

Is that what you are looking for or too specific?

[Michael Astley]

In the Carpatho-Russian tradition, we have specific melodic styles for NT and OT verses. The NT style is often used for both the Epistle (by the Reader) and Gospel (by the Deacon or Priest) readings. The beginning "Brethren" of the Epistle, is a 4-note "dip" ascendant on the last note. A lower note begins the verse followed by a "peak" higher note on the second word or syllable to a slightly lower single note, which transitions to a sort of "inverted" dip (lower to higher to lower) at the end of the phrase. The last phrase drops a half-note until the last 5 syllables which go up again a half-note, down again, and the last three notes ascending.

Is that what you are looking for or too specific?

Dear Herman,

I am pleased that you posted this. I know that I am coming to this three and a half years later but your degree of precision is exactly what I need. Are you able to send me or perhaps direct me to somewhere where I may myself locate an example of either or both the Old and New Testament chants in modern notation? If so, I should be very grateful indeed as this would be a great help to me.

More generally, does anybody know of any other chant traditions? I have a Greek Epistle melody in a book here at home, and have long been familiar with the Western Rite tones for the Epistle and Gospel this (http://www.allmercifulsavior.com/Liturgy/Sarum%20Epistle-Gospel%20Book.pdf) (.pdf) document, (and have used the Epistle one at my parish before now).

However, at the moment, I am specifically looking for those of Slavic tradition but prefer not to use the ubiquitous "ascending" tone. I know that this tone is frowned on by our Old Rite brethren, which I take to mean that there is an older Russian form that they use. Is anybody familiar with it or where to find it?

Thank you all in anticipation for your help.

In Christ,
The Reader Michael, (who is still rather new to all of this)

[Niko T.]

In the Greek tradition, I believe that OT readings are read without intonation, whereas the Epistle and the Gospel (along with petitions, certain hymns including "Today is hanged upon the tree...", "Today is born from the Virgin...", etc.) are intoned (generally by improvisation) according to the "ekphonetic" style (possibly translated as "proclamation"). I find that, when it is executed well and with the proper approach, it can be very beautiful and moving.

There is a discussion of the ekphonetic style along with numerous recordings at the following link:

http://analogion.com/EkphoneticStyle.html

[D. W. Dickens]

Everything at our parish (OT, Gospel, Epistles, prayers) apart from some select prayers (dismissal) is chanted.

But when I say chanted I don't mean there's anything formal about it. In fact, if you served at our parish and intoned a single note, no one would complain.

It's pretty much one note with... flourishes(?) and occasionally a raised note for a phrase or sentence. As best I can tell there isn't much of a system, it's pretty instinctual and it appears there's some subconscious influence they have on each other. If the Deacon is particularly decorative (forgive that term) then the Readers typically follow suit.

There do seem to be two or three different ways to complete the reading which most seem to select at random.

In fact the biggest difference I've noticed is during Lent. As everyone seems to intone based on C (the same key as the Lord have mercys) instead of the usual F.

The only instruction I've been given when I've been asked to read is to do it like I've heard others, or if I have trouble, just sing one note.

[M.C. Steenberg]

Dear Reader Michael, you wrote:



However, at the moment, I am specifically looking for those of Slavic tradition but prefer not to use the ubiquitous "ascending" tone. I know that this tone is frowned on by our Old Rite brethren, which I take to mean that there is an older Russian form that they use. Is anybody familiar with it or where to find it?


The 'ascending tone' tradition really ought to be something reserved for specific occasions that call for it, as it is rather bombastic and triumphal (e.g., readings around Paschaltide, triumphs of the cross and Orthodoxy, etc.); and perhaps mostly in large churches and cathedrals. I do realise that it is oftentimes found in parishes on normal settings; but it always seems rather too emotional.

The standard Russian style for readings is single-note with minor flourishes. There are occasionally more 'scientific' settings given to specific readings (such as the special tones for the reading from Ezekiel in Passion Week).

Remember that the aim of textual chant is to remove emotive expression from the reader's role.

INXC, Dcn Matthew

[Michael Astley]

The 'ascending tone' tradition really ought to be something reserved for specific occasions that call for it, as it is rather bombastic and triumphal (e.g., readings around Paschaltide, triumphs of the cross and Orthodoxy, etc.); and perhaps mostly in large churches and cathedrals. I do realise that it is oftentimes found in parishes on normal settings; but it always seems rather too emotional.

Thank you for this, Deacon Matthew. I agree. I can see it being suitable for readings such as the prologue to St John's Gospel, which has a natural ascent then climax, or perhaps such as the genealogy in St Matthew's Gospel. Otherewise, I find it a bit much.


The standard Russian style for readings is single-note with minor flourishes. There are occasionally more 'scientific' settings given to specific readings (such as the special tones for the reading from Ezekiel in Passion Week).

Remember that the aim of textual chant is to remove emotive expression from the reader's role.

Well, quite. I have been sent privately recordings of some of the chants used in the Old Rite. They are not so florid that they distract from the text, being simple enough to be easily adapted to any text and remain unemotive. There is a definite rhythm that I imagine would need to be mastered in order for it to be done well but it is generally simple and beautiful.

My thanks to others, as well, who have responded privately as well as here.

In Christ,
Michael

[Fr Raphael Vereshack]

Fr Dn Matthew wrote:



The 'ascending tone' tradition really ought to be something reserved for specific occasions that call for it, as it is rather bombastic and triumphal (e.g., readings around Paschaltide, triumphs of the cross and Orthodoxy, etc.); and perhaps mostly in large churches and cathedrals. I do realise that it is oftentimes found in parishes on normal settings; but it always seems rather too emotional.

Remember that the aim of textual chant is to remove emotive expression from the reader's role.

In parts of Canada this particular kind of chant is lovingly referred to as: bull-moose-roar.

In Christ- Fr Raphael

[Michael Astley]

In parts of Canada this particular kind of chant is lovingly referred to as: bull-moose-roar.

Lovingly?

In Christ,
the perplexed Reader Michael

[Fr Raphael Vereshack]

Lovingly?

In Christ,
the perplexed Reader Michael

Sorry- Canadian humour. ;]

[Anthony Stokes]

Fr Dn Matthew wrote:

In parts of Canada this particular kind of chant is lovingly referred to as: bull-moose-roar.

In Christ- Fr Raphael

I remember the first time I heard this done in a service. It was one of the former archdeacons of the OCA, who now resides in Rome, I believe. His voice was anything but a roar. My mother even said that she wanted to marry him for his voice.

In the hands of some it is an awesome thing to hear.

I only occasionally use that melody when doing the Epistle. The Epistle reading has to fit just right, can't be too long or too short.

I like the Greek melody for reading the Epistle, and sometimes I will do that, with the elaborate cadence at the end.

Sbdn. Anthony

[Fr Raphael Vereshack]

I remember the first time I heard this done in a service. It was one of the former archdeacons of the OCA, who now resides in Rome, I believe. His voice was anything but a roar. My mother even said that she wanted to marry him for his voice.

In the hands of some it is an awesome thing to hear.

I only occasionally use that melody when doing the Epistle. The Epistle reading has to fit just right, can't be too long or too short.

I like the Greek melody for reading the Epistle, and sometimes I will do that, with the elaborate cadence at the end.

Sbdn. Anthony

Yes, the kind of chant for the Epistle that we are talking about is only rarely used- often in Cathedrals at very big services. Otherwise most of our parishes use a very measured tone for the Epistle that gradually rises.

In Christ- Fr Raphael

[Herman Blaydoe]

I don't think it has been mentioned, or I missed it, but the "ascending" chant is actually quite interesting. "Western" music is based on steps or half-steps. C to D is a step. Sharps and flats are half-steps. C to C# (sharp) is a half-step up. The ascending chant, done properly, actually uses quarter-tones or half a half-step. Basically stopping between a C and a C#. This is quite difficult to do if you are not specifically trained to do it. Otherwise, the reader ends up progressing in half-steps or even full steps, and soon runs out of his comfortable range pretty quickly if it is a longer epistle. Once you are into that upper range is when it starts getting ugly as the struggle grows more pronounced. Using quarter-tones (and starting quite low), gives the reader more "room" before getting into that harder to reach upper range. It also helps if the reader has a wider singing range to begin with. Those that don't have much range or don't know how to sing quarter-tones are the ones who give the "ascending" chant a bad rep. Done correctly it can be quite inspiring, but as noted, it is very hard to do correctly.

Like wearing spandex, only those properly equipped should do it in public.

Herman the non-spandex wearing Pooh

[Michael Astley]

Sorry- Canadian humour. ;]

Oh, there's no need to apologise. I agreed with the description but perhaps wouildn't intend it affectionately. ;-) That's probably an awful thing for me to say but my delicate English ears simply cannot bear it. It must be a combination of the climate, the local pollen, and the proximity to Europe. Pay me no notice. :-)


I don't think it has been mentioned, or I missed it, but the "ascending" chant is actually quite interesting. "Western" music is based on steps or half-steps. C to D is a step. Sharps and flats are half-steps. C to C# (sharp) is a half-step up. The ascending chant, done properly, actually uses quarter-tones or half a half-step. Basically stopping between a C and a C#. This is quite difficult to do if you are not specifically trained to do it. Otherwise, the reader ends up progressing in half-steps or even full steps, and soon runs out of his comfortable range pretty quickly if it is a longer epistle. Once you are into that upper range is when it starts getting ugly as the struggle grows more pronounced. Using quarter-tones (and starting quite low), gives the reader more "room" before getting into that harder to reach upper range. It also helps if the reader has a wider singing range to begin with. Those that don't have much range or don't know how to sing quarter-tones are the ones who give the "ascending" chant a bad rep. Done correctly it can be quite inspiring, but as noted, it is very hard to do correctly.

Like wearing spandex, only those properly equipped should do it in public.

Herman the non-spandex wearing Pooh

I hesitate to link to it from here because I know that some people find it offensive or excessively irreverent but the Onion Dome entries for March include a story of one Reader Barsanuphius Johnson who struggled with precisely this, (the ascending tone, that is, not spandex. Well, he might have strugged with spandex but this wasn't mentioned in the article, perhaps deemed not relevant to the matter at hand).

Michael