Jonah Schupbach
@jonahschupbach
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Hi Gabriel and all, I have a question not just pertaining to Plagal 1 and this course … but couldn’t think of another, better place to ask: is there a Byzantine notation resource that contains versions of all the Resurrectional apolytikia, using the HTM translations?? We Antiochians are now officially transitioning to the HTM translations for all texts, which means that we have to re-learn these. (The one that I do have down is Plagal 1, *Let us worship the Word*, thanks to a prior Automelon course here at the Trisagion School.)
Hi all. My name is Jonah Schupbach, and I’m a reader at Sts Peter and Paul Antiochian Orthodox Church in Salt Lake City, Utah. I’m looking forward to going through this course with Gabriel and you all!
Okay, this is more appropriately a question for a different Octoechos course, but since it’s so closely related to my first line of questions above …
I noticed in preparing to chant the Exaposteilarion for the Ascension (the automelon *While Thy Disciples Looked on Thee*) this week that there’s a similar thing going on between a variation of Mode 2, and Mode 6. The automelon *While Thy Disciples Looked on Thee* looks to be in a variation of Mode 2 from *soft chromatic* Vou. Being soft chromatic and hovering a lot between Vou and Thi, this this variation of Mode 2 sounds a lot like Plagal 2 to my ear. So, similar questions to my questions above regarding Mode 3 and Plagal 4 from Ga: Why call this Mode 2 instead of Plagal 2? Are they distinguishable?
The scores written up for the Plagal 4 sessional hymns for this week include two prosomeia for *By Conceiving the Wisdom*. It was interesting to me that the version used/notated here is a bit different than the version of *By Conceiving the Wisdom* that we learned in our Automela course. Is there a reason for this discrepancy? Couldn’t we just as well use the version that we learned in that course for these sessional hymns? (I assume yes, but wanted to ask in case I was missing something.)
I just started into the material for Week 4, on Heirmologic Plagal 4 from Ga. This variation of Plagal 4 sounds indistinguishable to me from Mode 3. This is especially true, I think, for the dismissal hymns, which I would have sworn to be in mode 3 if I had had to guess; for example, those sound a lot like the mode 3 Automelon, *Thy Confession*. That makes sense insofar as mode 3 also has Ga as its root, but Plagal 4 is diatonic whereas mode 3 is enharmonic. How can I distinguish between mode 3 and Plagal 4 from Ga? Or do I really need to when chanting?
Hi all, Christ is risen! My name is Jonah Schupbach, and I’m a chanter at Sts Peter and Paul Antiochian Church in Salt Lake City, Utah. Looking forward to taking this course with you all!
Christ is risen! My name is Jonah Schupbach, and I serve as a chanter at Sts Peter and Paul Antiochian Church in Salt Lake City, Utah. I’m looking forward to getting more of these special melodies down!
One question I have as I think this topic through is what exactly counts as a “new Typikon”. Some of the changes suggested by pdfallon come down to formatting revisions (making it bilingual, including page headers and tabs, time estimates, etc.). Other suggestions don’t so much change any prescriptions of the Typikon as lay them out more clearly (when there are options/choices apropos for different level chanters, etc.) or involve more didactic explanations in the text of the Typikon itself (e.g., including design principles underlying and explaining decisions for how to lay out the lectionary). These all sound *really* helpful and are great suggestions, but do they count as changes to the Typikon?
I genuinely don’t know the answer, but my intuitions are that mere formatting changes would not constitute a new Typikon, whereas including more didactic or explanatory details about the prescriptions in the Typikon might count. Perhaps an example of the latter is George Regas’s Typikon, which (if I understood correctly) is primarily a more detailed (explanatory) and linguistically updated version of the TAS.
On the other hand, we might consider this discussion topic with respect to a new Typikon that would change something of the very substance of Violakis. A new descriptive Typikon based on the practice in US parishes today would, I believe, result in a substantive change in content (and not mere formatting changes or additions of didactic, explanatory text) to Violakis.
Hi everyone. My name is Jonah, and I’m a reader at Sts Peter and Paul Antiochian in Salt Lake City, Utah. I’ve been chanting in that parish since shortly after being baptized into Orthodoxy (with my wife and five kids) in 2012. For some time now, I’ve been wanting to figure out how to put together the services from the books instead of relying on notes that others put together. Looking forward to learning that in this class!
