{"id":1714,"date":"2026-07-24T23:25:46","date_gmt":"2026-07-25T03:25:46","guid":{"rendered":"https:\/\/mci.archpitt.org\/blog\/?p=1714"},"modified":"2026-07-24T23:26:51","modified_gmt":"2026-07-25T03:26:51","slug":"chant-works-tone-7-prokeimenon","status":"publish","type":"post","link":"https:\/\/mci.archpitt.org\/blog\/chant-works-tone-7-prokeimenon\/","title":{"rendered":"Chant Works: Tone 7 Prokeimenon"},"content":{"rendered":"\n<p>This is one of the most florid and complicated prokeimenon melodies in the <em>prostopinije <\/em>tradition. But for reasons you&#8217;ll see, this will probably be one of the shortest and simplest entries in the <a href=\"https:\/\/mci.archpitt.org\/blog\/chant-works-introducing-a-new-series\/\" data-type=\"post\" data-id=\"1589\">Chant Works<\/a> series on the Eight Tones melodies for the Divine Liturgy.<\/p>\n\n\n\n<!--more-->\n\n\n\n<h3 class=\"wp-block-heading\">The Tone 7 prokeimenon and Alleluia in the 1906 <em>Prostopinije<\/em><\/h3>\n\n\n\n<p>Here is the Sunday prokeimenon in Tone 7 from the 1906 <a href=\"https:\/\/mci.archpitt.org\/books\/Bokshai\/\"><em>Tserkovnoje Prostopinije <\/em><\/a>or \u201cChurch Plain Chant\u201d of Bok\u0161ai and Malini\u010d:<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" src=\"http:\/\/mci.archpitt.org\/images\/music\/misc\/Tone_7_prokeimenon_Bokshai.png\" alt=\"\"\/><\/figure><\/div>\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/mci.archpitt.org\/recordings\/PappIrmologion\/Tone7ProkimenLiturgiji.mp3\"><\/audio><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>And here is the Alleluia:<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" src=\"http:\/\/mci.archpitt.org\/images\/music\/misc\/Tone_7_Alleluia_Bokshai.png\" alt=\"\"\/><\/figure><\/div>\n\n\n<p>Each has three parts, but there is a bit of a mismatch; the Alleluia leaves out of the &#8220;middle&#8221; part of the prokeimenon and divides  the first part into two. But they are very recognizably the same melody!<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The Tone 7 prokeimenon and Alleluia in English<\/h3>\n\n\n\n<p>At this point, you will probably NOT be surprised that the first official English settings of the Tone 7 prokeimenon and Alleluia substantially shortened their melodies; you can find them <a href=\"https:\/\/mci.archpitt.org\/books\/BLC1970\/page.html?R14\" data-type=\"link\" data-id=\"https:\/\/mci.archpitt.org\/books\/BLC1970\/page.html?R14\">here<\/a>.<\/p>\n\n\n\n<p>Here they are in the 2006 Divine Liturgies book:<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" src=\"http:\/\/mci.archpitt.org\/images\/music\/DL\/Tone_7_prokeimenon_Resurrection.GIF\" alt=\"\"\/><\/figure><\/div>\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/mci.archpitt.org\/recordings\/DivineLiturgies\/234SundayTone7Prokeimenon.mp3\"><\/audio><\/figure>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" src=\"http:\/\/mci.archpitt.org\/images\/music\/DL\/Tone_7_alleluia.GIF\" alt=\"\"\/><\/figure><\/div>\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/mci.archpitt.org\/recordings\/DivineLiturgies\/235SundayTone7Alleluia.mp3\"><\/audio><\/figure>\n\n\n\n<p><\/p>\n\n\n\n<p>Not only are these recognizably the same melodies as the Slavonic, but the prokeimenon melody can be used to sing a very wide range of texts without forcing.  <\/p>\n\n\n\n<p>You can see and listen to all the Tone 7 prokeimena in the Divine Liturgies book here:  <a href=\"https:\/\/mci.archpitt.org\/prostopinije\/melodies\/Tone_7_prokeimenon_examples.html\" data-type=\"link\" data-id=\"https:\/\/mci.archpitt.org\/prostopinije\/melodies\/Tone_7_prokeimenon_examples.html\">Tone 7 prokeimena examples<\/a>.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">The prokeimenon of the Ascension<\/h3>\n\n\n\n<p>As you look through the prokeimenon at the above link, one stands out as being noticeably different;  it is the Tone 7 prokeimenon for the Ascension of the Lord. Here is the official English version; it is sung at several points in the Divine Liturgy of this feast.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img decoding=\"async\" src=\"http:\/\/mci.archpitt.org\/images\/music\/DL\/Tone_7_prokeimenon_Ascension.GIF\" alt=\"\"\/><\/figure><\/div>\n\n\n<figure class=\"wp-block-audio\"><audio controls src=\"https:\/\/mci.archpitt.org\/recordings\/DivineLiturgies\/357AscensionProkeimenon.mp3\"><\/audio><\/figure>\n\n\n\n<p>This particular prokeimenon has its own special setting in the 1906 <em>Prostopinije<\/em>, at the  bottom of <a href=\"https:\/\/mci.archpitt.org\/books\/Bokshai\/page.html?93\" data-type=\"link\" data-id=\"https:\/\/mci.archpitt.org\/books\/Bokshai\/page.html?93\">page 93<\/a> in the section of music for the Ascension. So here the English follows that variant melody.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>This is one of the most florid and complicated prokeimenon melodies in the prostopinije tradition. But for reasons you&#8217;ll see, this will probably be one of the shortest and simplest entries in the Chant Works series on the Eight Tones melodies for the Divine Liturgy.<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"episode_type":"","audio_file":"","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","filesize_raw":"","date_recorded":"","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":"","footnotes":""},"categories":[5],"tags":[41],"_links":{"self":[{"href":"https:\/\/mci.archpitt.org\/blog\/wp-json\/wp\/v2\/posts\/1714"}],"collection":[{"href":"https:\/\/mci.archpitt.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mci.archpitt.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mci.archpitt.org\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/mci.archpitt.org\/blog\/wp-json\/wp\/v2\/comments?post=1714"}],"version-history":[{"count":3,"href":"https:\/\/mci.archpitt.org\/blog\/wp-json\/wp\/v2\/posts\/1714\/revisions"}],"predecessor-version":[{"id":1717,"href":"https:\/\/mci.archpitt.org\/blog\/wp-json\/wp\/v2\/posts\/1714\/revisions\/1717"}],"wp:attachment":[{"href":"https:\/\/mci.archpitt.org\/blog\/wp-json\/wp\/v2\/media?parent=1714"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mci.archpitt.org\/blog\/wp-json\/wp\/v2\/categories?post=1714"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mci.archpitt.org\/blog\/wp-json\/wp\/v2\/tags?post=1714"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}