Great Litany - Orthodox Gregorian Chant - Dorian mode скачать в хорошем качестве

Great Litany - Orthodox Gregorian Chant - Dorian mode

This series of videos is for anyone who desires to learn how to sing the Orthodox Divine Liturgy in Gregorian Chant. As Arranged from Kyrie IX, Cum Iublio, by ‪@raymondvincentthm1642‬ I have interpreted the neumes and edited it slightly. By the grace of God, the compositions of the services continue. This time the great litany, principally composed for the Introduction to the Divine Liturgy. This is a special experiment. As the notation for our project reaches its final stages of maturation, we can show not only the traditional ornamental neumes without reference to the adiastematic neumes, but even multiple voices. There are various forms of "polyphony" within the Gregorian Tradition, from simple parallel lines, as in "To Thee O Lord", to more independent lines as in "Most Holy Theotokos". These kinds of singing techniques have been used for solemn occasions well into the First millennium. From our experience, singing in this manner in the natural fine tuning produces extraordinary and powerful results. Following the tradition of the Buchhagen monastery we generally keep polyphonic melodies to mentions of the Holy Name of the Lord, other saints or generally important words in a hymn. It seems like we are more than capable of showing these traditional practices on the same staff as the melody. We continue to be indebted to our beloved Abbot Johannes of the Buchhagen monastery for showing us this is possible. Our approach to the notation, especially the ornamental neumes, is primarily based on what he has produced. A brief word on the composition itself. While we are calling it First or Dorian mode, the insistent focus on the Aiolian sixth, the fourth, and the third, puts us squarely in the Aiolian mode, the plagal of the First. The plagal of the First Mode is the principal mode of the services in many places within the Orthodox Church, especially monasteries. The simplicity and inherent joyfulness of the Aiolian is evident even in the smallest melody. The dance like figures that occur, especially in the last two responses, reveal to us the joyful character of the Aiolian. To the modern ear this is a "sad" or "minor" key. With the acceptance of the low tuned fourth for the Aiolian in the West at the turn of the millennium, it does indeed have a sad and subdued sound, an earthy and fleshy character. But not here. Here the golden Dorian light always remains. We find ourselves not confined to some minor mode, but contemplating a different aspect of the Resurrection of our Lord God and Saviour Jesus Christ. Also it's fun to sing. This quality can not be underestimated. We should be joyful in the liturgy, the very life of God, not bored or distracted. Only in the three voiced responses is the Aiolian transformed into the Dorian for the following part of the Liturgy. #gregorianchant #byzantinechant #divineliturgy #orthodoxgregorianchant