The Tone 8 Troparion Melody
This prostopinije melody is used to sing troparia in tone 8, as well as tone 8 sessional hymns for which no podoben is appointed in the liturgical books. This page explains how to sing the tone 8 troparion melody, according to the patterns established by the Inter-Eparchial Music Commission.
The Structure of the Melody
The tone 8 troparion melody consists of two alternating melodic phrases:
an A phrase
and a B phrase
Three things distinguish the tone 8 troparion melody from the other melodies for troparia:
- Each melodic phrase can have TWO reciting tones (notes on which any amount of text can be sung) rather than one.
- The phrases are sung to a regular half-note pulse rhythm rather than the usual "patter" or free-speech rhythm.
- To allow some freedom of movement and prevent monotony, ornaments (small melodic flourishes) are often added to the second reciting tone in the A phrase melody. These ornaments are usually written out.
The singing of a particular troparion normally ends with the B phrase. This happens naturally if there are an even number of text phrases:
A - B - A - B - A - B
If there are an odd number of phrases, then the B phrase is repeated:
A - B - A - B - B
or the last phrase is sung to a combination melody AB, beginning like the A melody and ending like the B melody:
A - B - A - B - AB
The A phrase
The most basic form of the A phrase melody is as follows:
The melody can be expanded at either of two points by singing a series of half notes in place of a single half note:
The two pitches that can be expanded in this way are called reciting tones. Either or both reciting tones may be used in this way. The first note on a reciting tone is almost always accented; we mark it with a short horizontal line over the first note.
The notes before the first reciting tones form the intonation; the nodes between the reciting tones are called the transition. The notes after the second reciting tone form the cadence:
The intonation
The intonation of the A phrase consists of two or three halfnotes which are used to sing the text up to the first accent. There can be one, two or three syllables before this accent.
Occasionally, if the second and fourth syllables are accented, then the text may be sung as follows, with the second accent on the reciting tone:
One or more syllables, beginning with an accent are now sung on the first reciting tone (on re):
The transition
The transition to the second reciting tone consists of two quarter notes - thus, the melody moves twice as fast at this point, while keeping the same overall pulse. The two quarter notes are usually articulated (that is, the notes are not slurred, but are used to sing two separate syllables):
but they may be slurred, either because there isn't enough text, or to keep an accent from falling on the second note of the transition, which is always weak.
The cadence
More text is sung on the second reciting syllable until we come to the cadence at the end. The cadence begins on an accented syllable, and is used to sing two, three or four syllables:
Just before the cadence, there is a preparatory half note. This half note is always weak (unaccented); if for any reason the syllable before the cadence is accented, then the preparatory note is slurred together with the last half note on the reciting tone:
Often, only one reciting tone is "expanded"
There is usually not enough text to have multiple syllables on both the reciting tone pitches, and either the first reciting tone becomes a single half note:
or the second reciting tone becomes a single half note:
Adding variety to the A phrase
Ornaments are sometimes added to the second reciting tone to keep it from becoming monotonous:
These ornaments always lead up to an accented note; the half note before the cadence can be considered such an ornament. The following example contains two ornaments:
In this example, the second quarter-note ornament replaces the usual half note before the cadence. Note that when singing this phrase to sing the two consecutive accents, "the diVINE IMage", correctly; it is all to easy to accent every other half note and end up with "the diVINE imAGE".
When a text phrase is SHORT, the second reciting tone and the half note before the cadence sometimes turn into an ornament like the following:
The key to singing the A phrase of the Tone 8 troparion melody is to watch for the three accents that determine the melodic flow - at each reciting pitch and at the cadence - while being flexible in singing the transition and any ornaments. The entire phrase must be sung smoothly and evenly.
The B phrase
Like the A phrase, the Tone 8 troparion B phrase has an intonation, two (potential) reciting tones joined by a transition, and a cadence:
The intontation
The intonation is used to sing two, three, or four syllables leading up to an accent on the first reciting pitch. The intonation can consist of half notes and quarter notes:
or entirely of half notes:
The transition
The transition from the first reciting tone to the second always consists of two quarter notes:
The cadence
The cadence in the B-phrase is longer than that of the A phrase. It consists of two four-note segments. Both parts of the cadence usually begin with an accent (the exception is described below):
The first four notes can be used to sing one, two or three syllables; if there are two accents in this part of the cadence, they fall on the first and third notes.
Note that when this common four-note pattern is used to sing three syllables, we normally slur the first two notes UNLESS there is an accept (even a slight one) on the third syllable:
The final four notes of the cadence can be used to sing one syllable (rare) or two, three, or four syllables.
Occasionally, the accent that would normally fall at the start of the second part of the cadence is moved back to the third note of the first part:
Short B phrases
Because of the melodic interest in the cadence, there are usually no ornaments in the B phrase as there are in the A phrase. However, it is common for the second reciting tone to be combined with the cadence:
And the troparion of Mid-Pentecost contains an exceptionally short B phrase:
In this phrase, the intonation and both reciting tones have disappeared entirely; all that is left are the transition and the cadence.
Ending the Tone 8 troparion melody
The Tone 8 tropation melody always ends with the cadence of the B phrase. If there are an even number of phrases (A-B-A-B, and so on), this occurs naturally.
If there are an odd number of phrases, then either the B phrase is repeated (as in the Tone 8 troparion of the Resurrection), or a special phrase is used which begins like th A phrase and ends like the B phrase. Since the second reciting tone of each is the same, this is not hard to do:
A tone 8 troparion should be sung with a regular (but not ostentatious) processional rhythm. The possible variations make it important for the cantor to look ahead to as not to be surprised, especially at the B-phrase cadence. On the other hand, the fact that quarter notes signal accents are cadences make it an easy melody to follow along; the ornaments usually harmonize with the pitch before and after, avoiding clashes even if the congregation continues to sing the reciting tone.
Melodies for Glory / Now and ever
Here is how "Glory... Now and ever...." should be sung before a troparion in tone 8:
Here is how "Glory...." and "Now and ever...." should be sung when one or the other is sung before a troparion in tone 8:
Other uses of the melody
At Matins, "The Lord is God" is always sung to the melody of the troparion that follows it. Here it is in tone 8 (Sunday Matins book, page 99):
Learning the melody
Sing through the examples of tone 8 troparia, all of which use this melody.
Memorize the Glory, Now and ever melodies (above) and practice singing them from memory, immediately followed by troparia in tone 8.
Then try singing a troparion in each of the other tones, followed by either Glory or Now and ever, and a troparion in tone 8.
If your parish celebrates Vespers, learn the festal theotokion in tone 8 ( Sunday Vespers book, page 111).If your parish celebrates Matins, learn "The Lord is God" in tone 8 (above).
For more information
See the background article for this melody.