Appendix 3: Glossary
afterfeast (Gk. μεθεόρτια; Slavonic, poprázdnestvo). The period immediately following a feast, during which the observance of the festival continues. It varies in length: often it lasts for a week (compare the western ‘octave’), but it may last only for a single day.
ainoi. See Lauds.
ambon (Gk. ἄμβων). In Greek churches, the pulpit. In Russian churches, which in general have no pulpit, the term ‘ambon’ is applied to the central part of the soleas, i.e. to the space immediately in front of the Royal Doors. Whichever the sense in which ambon is used, it is the place from which the deacon reads the Gospel, and from which the sermon is delivered.
analogion (Gk. ἀναλόγιον, from ἀναλέγειν, ‘to read’). A desk, about four or five feet high, with a sloping top; usually made of wood, and often covered with a cloth made of silk, damask, or the like. Such desks are used: (i) for reading (ii) when an icon or the Book of the Gospels is placed in the body of the church for veneration by the faithful.
anavathmoi. See Degrees, hymns of.
antidoron (Gk. ἀντίδωρον, ‘instead of the gift’, i.e. instead of Holy Communion; also known as Evlogia, Gk. εὐλογία, ‘blessing’). Small pieces of bread distributed to the congregation by the priest at the end of the Holy Liturgy. As material for the antidoron, it is the practice to use what remains of the loaves from which the Eucharistic bread has been cut. Although sharing in some measure in the Eucharistic blessing, the antidoron is to be distinguished carefully from the bread of the Eucharist itself: the antidoron is blessed, but not consecrated. It has, to some extent, a western counterpart in the ‘Pain bénit’, distributed in some French and Canadian churches at the conclusion of High Mass.
apodosis (Gk. ἀπόδοσις, ‘giving back’, ‘return’; Slavonic, otdánie). The last day of the afterfeast, on which the festival finally closes. The office of the feast is repeated more or less in its entirety on the apodosis.
apolysis. See Dismissal.
apolytikion (Gk. ἀπολυτίκιον, ‘dismissal hymn’; Slavonic, otpustítelnyi). The principal troparion of the day, occurring at the end of Vespers (hence its name), and celebrating the particular feast or saint commemorated in the calendar. Also known as the ‘troparion of the feast’ or the ‘troparion of the day’.
On Great Feasts the practice with regard to the apolytikion is as follows:
(i) It is sung three times at the end of Vespers, immediately before the blessing of the bread, while the priest censes the table on which the bread rests.
(ii) It is repeated three times near the beginning of Mattins, after The Lord is God.
(iii) It is sung once at the end of Mattins, immediately after the Great Doxology.
(iv) It is sung at the Liturgy, after the Small Entrance and the Introit.
(v) It occurs likewise at Great Compline and at all the Hours.
aposticha (Gk. ἀπόστιχα; Slavonic, stikhíry na stikhóvne). Stichera accompanied by verses (Gk. στίχοι) taken from the Psalms. Aposticha occur:
(i) At the end of Vespers, both on feasts and on ordinary days.
(ii) At the end of Mattins, on ordinary days only (i.e. on days when there is no Great Doxology).
artoklasia. See Blessing of Bread.
blessing of bread (Gk. ἀρτοκλασία: literally, ‘breaking’—not ‘blessing’—‘of bread’). A ceremony occurring at the end of Vespers on the eve of Great Feasts, and on certain other days on which there is a Lity. A table is placed in the centre of the church, and on it are set five loaves together with three small vessels, containing respectively wine, oil, and grains of wheat. During the singing of the apolytikion the priest goes round the table censing it, and then he says a prayer of blessing, recalling the five loaves at the feeding of the five thousand in the desert (Matthew 14:15–21). The loaves are then taken into the sanctuary, cut up, and dipped in the wine. The bread is later distributed to the congregation: if there is a Vigil, after the Gospel at Mattins; if there is no Vigil, at the end of Vespers.
bogorodichen. See Theotokion.
canon (Gk. κανών). A series of eight canticles, each made up of a number of troparia. The canon occurs at Mattins after the reading of the Psalter and of Psalm 50 (on Sundays and feasts, after the Litany, O Lord, save Thy people). Originally, in Mattins at this point the nine Scriptural canticles or ‘odes’ were sung, with a short refrain inserted between the verses. St. Andrew of Crete (7th–8th cent.) established the practice of expanding these short refrains into troparia celebrating some particular theme: repentance (as in St. Andrew’s own masterpiece, The Great Canon); the feast or saint of the day; the Saviour; the Theotokos; the departed; and so on. In course of time the custom of reading the actual Biblical text largely disappeared, although it is still observed by many monastic communities during Lent (also throughout the year in monasteries on Mount Athos, Patmos, and certain other places). As a result the troparia of the canon are now usually recited by themselves, accompanied by a short invocation such as Glory to Thee, O God, glory to Thee, or Most Holy Theotokos, save us. The sole Biblical canticle still sung in full is the Magnificat: this is never omitted, except on Great Feasts. In present practice there is no second canticle in the canon, save only on various days in Lent: thus the canon, which theoretically contains nine canticles, has in reality only eight. The canons on weekdays in Lent contain as a rule either two, three, or four canticles (διῴδια, τριῴδια, τετραῴδια).
Canons have a varying number of troparia in each canticle. Normally more than one canon is prescribed to be read at Mattins: on Sundays, four; on normal days, three; on Great Feasts usually two, but occasionally only one. In reading the canons, the following rules are observed. Canticle One of the first canon is read; then Canticle One of the second, third, etc. canon; then Canticle Three of the first canon, and so on. The canons should be so combined that the total number of troparia in each canticle amounts always to fourteen. If the canons prescribed to be read have too many troparia, then two troparia are joined together and read as if they were one; or else some of the troparia are omitted. If the troparia are too few, then particular troparia must be repeated twice or even three times to make up the requisite total. In assessing the number of troparia, the first stanza of each canticle (the irmos) is included in the reckoning, but not the katavasia at the end.
Canons are read not only at Mattins, but at Compline, and on Sundays at the Midnight Office; and they occur also in other services, such as the Anointing of the Sick, and the Preparation Service before Holy Communion.
canticle (Gk. ᾠδή, ‘ode’, ‘song’; Slavonic, pesn). A title applied:
(a) to certain prayers and poetical compositions of Biblical origin (other than the Psalms);
(b) to the nine (in practice, eight) subdivisions of the canon (originally designed to accompany the reading of the Biblical canticles).
Nine Biblical canticles are appointed for use at Mattins, as follows:
(i) The Song of Moses (Exodus 15:1–19).
(ii) The Song of Moses (Deuteronomy 32:1–43).
(iii) The Prayer of Hannah (1 Kings [1 Samuel] 2:1–10).
(iv) The Prayer of Habakkuk (Habakkuk 3:1–19).
(v) The Prayer of Isaiah (Isaiah 26:9–20).
(vi) The Prayer of Jonah (Jonah 2:3–10).
(vii) The Prayer of the Three Holy Children (Daniel 3:26–56).
(viii) The Song of the Three Holy Children (the Benedicite: Daniel 3:57–88).
(ix) The Song of the Theotokos (the Magnificat: Luke 1:46–55).
The Prayer of Zacharias (the Benedictus: Luke 1:68–79).
Apart from the Magnificat, all these canticles are now usually omitted, except during Lent.
catechumens (Gk. κατηχούμενοι, ‘those who are being catechised’). In the early Church, those undergoing training and instruction preparatory to baptism. They were assigned a distinctive place in the church, and were sent out before the beginning of the specifically Eucharistic portion of the Liturgy. With the more or less universal adoption of infant baptism, they have long since ceased to exist as a separate class: but the Orthodox Church still retains a special Litany for the Catechumens, which concludes with their dismissal from church and occurs shortly before the Great Entrance.
communion verse (Gk. κοινωνικόν; Slavonic, prichásten). A verse from Scripture, sung at the Divine Liturgy after the words of the priest, Holy things for the holy, and the response, One is holy.
degrees, hymns of (Gk. ἀναβαθμοί, from βαθμός, ‘step’, ‘ascent’; Slavonic, stepénnyi). Poetical compositions based on the Gradual Psalms or ‘Songs of Degrees’ (Psalms 119–133). They are sung immediately before the prokimenon and Gospel at Mattins on Sundays and feasts. There is a different hymn of degrees for each of the eight tones. Every hymn of degrees is divided into three antiphons (except that in Tone Eight, which has four); and each antiphon in its turn contains three short troparia. On Great Feasts the first antiphon of the hymn of degrees in Tone Four is sung (based on Psalm 128).
dismissal (Gk. ἀπόλυσις; Slavonic, ótpust). The final blessing said by the priest at the end of Vespers, Mattins, the Liturgy, and other offices. It takes two main forms: a longer, known as the Great Dismissal, and a shorter, the Small Dismissal.
dogmatikon (Gk. δογματικόν). A term applied to certain theotokia. Dogmatika are so named because they are specially concerned with the dogma of the two natures of Christ.
doxastikon (Gk. δοξαστικόν, from δόξα, ‘glory’; Slavonic, sláva). A troparion or sticheron inserted after the verse Glory be to the Father, and to the Son, and to the Holy Spirit. On many occasions no doxastikon is prescribed, in which case the second half of the Glory, Both now…, follows immediately upon the first.
doxology (Gk. δοξολογία, ‘hymn of glory’; Slavonic, slavoslóvie). The hymn of great antiquity at the end of Mattins, that opens with the words of the angels, ‘Glory to God in the highest and on earth peace, good will among men’ (Luke 2:14). It takes two forms:
(i) The Great Doxology, sung on Great Feasts, Sundays, and certain Saints’ days.
(ii) The Small Doxology, which is said—not sung—on ordinary days.
ekteneia. See Litany.
entrance (Gk. εἴσοδος; Slavonic, vkhod). A procession in which the priest and deacon, preceded by one or more processional candles, make their way through the north door of the iconostasis to the centre of the church; after pausing there, they return to the sanctuary through the Royal Doors. Entrances occur as follows:
(i) At Great Vespers: here the deacon carries the censer.
(ii) At the Liturgy. There are two Entrances:
(a) The Small Entrance: here the deacon carries the Book of the Gospels.
(b) The Great Entrance: here the clergy bring the bread and wine, set aside for the Eucharistic offering, from the table of Prothesis to the Holy Table. The deacon, holding the censer, carries the paten (diskos), and the priest carries the chalice. Both paten and chalice are covered with veils.
epiclesis (Gk. ἐπίκλησις, ‘invocation’). The prayer during the Orthodox Liturgy in which the priest asks God to send down His Holy Spirit upon the bread and wine, and to make them the Body and Blood of Christ. Whereas in the Roman Catholic Church the ‘Words of Institution’ (This is my Body… This is my Blood…) are regarded as the ‘moment of consecration’, for Orthodox the culminating moment in the Eucharistic prayer is the Epiclesis.
evlogia. See Antidoron.
evlogitaria (Gk. εὐλογητάρια, from εὐλογητός, ‘blessed’; Slavonic, neporóchnyi). Troparia sung at Mattins after the reading of the psalter; they are accompanied by the refrain, Blessed art Thou, O Lord: teach me Thy statutes. They take two forms:
(i) Evlogitaria of the Resurrection (εὐλογητάρια ἀναστάσιμα), at Sunday Mattins after Psalm 118 or the Polyeleos.
(ii) Funeral Evlogitaria (εὐλογητάρια νεκρώσιμα), at Mattins for the dead after Psalm 118.
exapostilarion (Gk. ἐξαποστειλάριον, from ἐξαποστέλλω, ‘dismiss’). A troparion occurring at the conclusion of the canon at Mattins, and frequently developing the theme of Christ as light of the world. It is termed ‘exapostilarion’ because it ‘gives the dismissal’, as it were, at the end of the canon. Sometimes it is called ‘photagogikon’ (Gk. φωταγωγικόν, ‘hymn of light’; Slavonic, svetílen).
The exapostilarion on Sundays is always linked with the Gospel of the Resurrection, used earlier in the service. The exapostilarion is usually read, but on occasion it may be sung (e.g. on 15 August).
exapsalmos. See Six Psalms.
exapteryga (Gk. ἑξαπτέρυγα, ‘six-winged’). Liturgical fans, set on the end of staffs: so termed because the figure of a seraph appears upon them. They are carried in procession, especially at pontifical services: in particular, they are held over the Gospel while it is being read in the course of Mattins or the Liturgy, and over the Holy Gifts at the Great Entrance in the Liturgy; and they are carried in procession before the Holy Cross on 14 September.
forefeast (Gk. προεόρτια; Slavonic, predprázdnestvo). One or more days of preparation immediately preceding a feast. Christmas has five days of forefeast, and Theophany four; the remainder of the Great Feasts in this volume have a forefeast of one day only.
heirmos. See Irmos.
hexapsalmos. See Six Psalms.
hexapteryga. See Exapteryga.
hypakoë. See Ypakoë.
iconostasis (Gk. εἰκονοστάσιον, τέμπλον). The screen of icons separating the sanctuary from the body of the Church, and pierced by three doors. The central doorway, which is closed by double gates and a curtain, is known as the Royal Doors.
ikos (Gk. οἶκος). The stanza or strophe that follows immediately upon the kontakion, between Canticles Six and Seven of the canon at Mattins.
introit (Gk. εἰσοδικόν, from εἴσοδος, ‘entry’; Slavonic, vkhódnoe). The hymn sung at the Small Entrance in the Liturgy, as the priest and deacon enter the sanctuary. There is a standard introit beginning O come, let us worship, which is sung on most days; certain Great Feasts have a special introit.
irmos (Gk. εἱρμός, ‘chain’). A title applied to the opening stanza in each canticle of the canon. In the original Greek text, all the remaining troparia in the canticle follow the same rhythm as the irmos. In content it acts as a ‘link’ verse (hence its name), joining together:
(a) the theme of the Biblical canticle, which the canticle of the canon was originally designed to accompany;
(b) the theme of the feast or commemoration of the day, which is developed in the troparia that follow.
katavasia (Gk. καταβασία, from καταβαίνω, ‘go down’). The concluding stanza in a canticle of the canon. Sometimes the irmos is repeated as katavasia (when there are several canons, the irmos of the last canon); but on Sundays and certain feasts the katavasia at the end of each canticle is specially appointed according to the time within the liturgical year. On Sundays and feasts there is a katavasia at the end of every canticle, but on ordinary weekdays at the end of the third, sixth, eighth, and ninth canticles only.
The katavasia is so named because originally the members of the choir came down from their stalls on either side and stood in the centre of the church in order to sing it.
kathisma (Gk. κάθισμα, from καθῆσθαι, ‘to be seated’). A term signifying:
(i) each of the twenty sections into which the Psalter is subdivided in the Orthodox Church;
(ii) a short troparion sung or read during Mattins at the end of each kathisma of the Psalter.
In Slavonic, (ii) is known as sedálen (compare the Latin sedere, ‘to sit’). To distinguish the two senses, in the present translation ‘kathisma’ is reserved for (i), while (ii) is always designated ‘sessional hymn’.
kontakion (Gk. κοντάκιον, from κοντός, ‘pole’, ‘shaft’: hence a vellum roll wound round a stick of wood). Originally the kontakion was a long poem, designed for singing in church. It consisted of a short preliminary stanza, followed by some 18–24 strophes, each known as an ikos (Gk. οἶκος): the preliminary stanza and every ikos concluded with the same refrain. In course of time the kontakion was displaced by the canon, and in the liturgical books today all that remains is the brief preliminary stanza (to which the title ‘kontakion’ is now more particularly attached), followed by the first ikos. These are to be found between Canticles Six and Seven of the canon at Mattins. The kontakion, without the ikos, is also read or sung at the Liturgy after the Small Entrance, and during the Hours.
The most celebrated among the authors of kontakia is St. Romanos the Melodist (died 556).
lauds (Gk. αἶνοι, ‘praises’; Slavonic, khvalítnyi). The morning psalms—148; 149, and 150—used daily throughout the year towards the end of Mattins. The name is taken from the opening of Psalm 148, ‘Praise’ (Gk. αἰνεῖτε; Slavonic, khvalíte), a word which also recurs constantly throughout the psalms. On Great Feasts, Sundays, and certain other days stichera are inserted between the closing verses of Lauds: these may be ten, eight, six, or four in number, according to the rules of the day.
Lauds have their counterpart in the evening psalms sung daily at Vespers, beginning Lord, I have cried. The use of these psalms at morning and evening prayer each day is of the utmost antiquity, and has its roots in the worship of the Jewish synagogue.
litany (Gk. συναπτή, ἐκτένεια or ἐκτενής, αἴτησις; Slavonic, ekteniyá). A form of prayer in which the deacon calls upon the faithful to pray for various intentions: to each petition the choir responds Lord, have mercy (Kyrie, eleison), or sometimes Grant this, O Lord. Meanwhile, in most cases, the priest reads secretly a prayer provided in the service book, reciting aloud—at the end of the Litany—the final ‘exclamation’ (Gk. ἐκφώνηαις; Slavonic, vózglas) to the Holy Trinity with which the prayer concludes. Litanies occur with some frequency throughout Vespers, Mattins, and the Liturgy; and with their strongly pronounced ‘dialogue’ structure, they confer a distinctive character upon all Orthodox worship.
The chief types of Litany are as follows:
(i) The Great Litany, beginning In peace let us pray to the Lord. This occurs at or near the opening of Vespers, Mattins, and the Liturgy.
(ii) The Small Litany, beginning Again and again in peace let us pray to the Lord.
(iii) The Litany of Fervent Intercession, in two parts, beginning:
(a) Let us all say, with all our soul (sometimes the first two petitions are omitted, and it begins Have mercy upon us, O God).
(b) Let us complete our prayer (morning, evening prayer) to the Lord.
liturgy (Gk. λειτουργία: literally, a public duty or office). In the west, this term is often used to signify public worship in general; in the Orthodox Church it denotes specifically the Eucharist.
lity (Gk. λιτή, ‘prayer’, ‘entreaty’; connected with λιτανεύειν: compare the English ‘litany’). A procession and solemn intercession at Vespers on the eve of Great Feasts and on certain other days. At the end of the Litany of Fervent Intercession, during the singing of troparia appointed for the day, the clergy go in procession to the narthex, and the entire church is censed by the deacon. When the troparia are finished a long litany is intoned by the deacon, for all the needs of the Christian people. Then, during the singing of the aposticha, the clergy return to the centre of the church; and after the apolytikion, the blessing of the bread takes place.
The term ‘Lity’ is likewise applied to the shortened Office of the Dead that is commonly sung at the end of the Liturgy, immediately before the Dismissal. This Office of the Dead is also used daily during Lent at the end of the First Hour, except on Saturdays and Sundays.
lord, i have cried (Gk. Κύριε, ἐκέκραξα; Slavonic, Góspodi vozzvákh). The opening words of Psalm 140: applied as a general title to the evening psalms—140; 141, 129, and 116—which are sung daily at Vespers throughout the year, and which have their counterpart at Mattins in the three psalms known as ‘Lauds’. Stichera are inserted between the last verses of Lord, I have cried: they may be ten, eight, six, or four in number, according to the rules of the day.
megalynarion (Gk. μεγαλυνάριον; Slavonic, velichánie). A short verse, usually beginning with the word Magnify (Gk. μεγάλυνον; Slavonic, velicháem). Megalynaria are sung at Mattins:
(i) after the polyeleos, on Great Feasts and on certain saints’ days (Slav use only);
(ii) in place of the Magnificat, on Great Feasts.
narthex (Gk. νάρθηξ; Slavonic, pritvór). A vestibule at the west end of the church. In monasteries Compline is usually said here, and sometimes the Midnight Office and the Hours; and the Lity on the eve of Great Feasts takes place here.
ode. See Canticle.
oikos. See Ikos.
photagogikon. See Exapostilarion.
polyeleos (Gk. πολυέλεος, from πολύ, ‘much’, and ἔλεος, ‘mercy’). A title applied primarily to Psalms 134 and 135. These two psalms constitute the third appointed reading from the Psalter at Mattins on Great Feasts, on certain Sundays (according to the use in many places, on all Sundays), and on certain saints’ days. Usually the two psalms are not sung in full, but only a selection of verses is used: Alleluia is sung once or more after each verse. The name ‘polyeleos’, ‘much mercy’, arises from the frequent repetition of the word ‘mercy’ in Psalm 135.
At the polyeleos on the three Sundays immediately preceding the beginning of Lent, Psalm 136 is added to the other two psalms.
In the Greek use only, on feasts of the Mother of God the polyeleos is Psalm 44.
presanctified, liturgy of the (Gk. λειτουργία τῶν προηγιασμένων). The form of the Liturgy that is celebrated on days in Lent other than Saturday and Sunday. It is combined with Vespers and contains no consecration, communion being given from the Holy Sacrament consecrated on the previous Sunday.
prokimenon (Gk. προκείμενον, ‘what is set forth’, i.e. what is appointed to be read). Verses from the Psalter, sung immediately before readings from Holy Scripture. A prokimenon occurs:
(i) at Vespers, after the hymn, O joyful light;
(ii) at Mattins on Sundays and feasts, before the Gospel;
(iii) at the Liturgy, before the Epistle.
prothesis (Gk. πρόθεσις, προσκομιδή). The service of preparation at the beginning of the Holy Liturgy, in which the priest makes ready the bread and wine to be used in the Eucharist: this is done at a special table.
The term ‘prothesis’ is also applied to the small room in which this service of preparation is performed. This room—frequently, although incorrectly, styled a ‘chapel’—is situated to the north of the sanctuary. If there is no separate room, the prothesis table stands in the sanctuary itself, on the left side.
royal doors. See Iconostasis.
sessional hymn, sedálen. See Kathisma (ii).
six psalms (Gk. ἐξάψαλμος; Slavonic, shestopsálmie). The psalms read daily at the beginning of Mattins: 3; 37; 62; 87; 102; 142. There should be no movement or noise whatever in the church while they are being recited, and all present are required to remain standing.
soleas (Gk. σωλέας). The space immediately in front of the iconostasis; it is raised above the level of the nave floor by one or more steps.
sticheron (Gk. στιχηρόν). Stichera are stanzas inserted between verses (Gk. στίχοι) taken from the Psalms. They occur in particular:
(i) at Vespers, between the closing verses of Lord, I have cried;
(ii) at Mattins, between the concluding verses of Lauds.
Stitchera also occur at the Lity, but without verses from the Psalter.
svetilen. See Exapostilarion.
synaxarion (Gk. συναξάριον; also termed Menologion, Gk. μηνολόγιον). A short account of the life of the saint whose feast it is, or a commentary on the meaning of the mystery that is being celebrated. In the Greek use, the Synaxarion is read daily at Mattins between Canticles Six and Seven of the canon, immediately after the kontakion and its ikos. These readings are contained in a special book, with the same name ‘Synaxarion’: this corresponds approximately to the Roman Martyrology. The Synaxarion readings are also incorporated in the Greek Menaia at the relevant points.
The Synaxarion has been omitted in the present translation.
synaxis (Gk. σύναξις, ‘assembly’; Slavonic, sobór). A title applied, among other things, to certain commemorations falling on the day immediately after a Great Feast, and honouring some personage closely connected with the theme of the Feast itself (e.g. the Mother of God on 26 December; St. John the Baptist on 7 January; the Archangel Gabriel on 26 March). Not every Great Feast is followed by a Synaxis.
In a more general sense, ‘synaxis’ means an assembly for worship.
theophany (Gk. Θεοφάνεια, ‘manifestation of God’; Slavonic, Bogoyavlénie). The feast of Christ’s Baptism in Jordan (6 January): western Epiphany.
theotokion (Gk. θεοτοκίον; Slavonic, Bogoródichen). A troparion or sticheron in honour of the Theotokos. The last of any series of troparia or stichera usually takes the form of a theotokion. On Wednesdays and Fridays—days specially dedicated to the memory of Our Lord’s Passion—in place of the theotokion there is normally a stavrotheotokion (Gk. σταυροθεοτοκίον; Slavonic, krestobogoródichen), i.e. a troparion honouring both the Cross and the Theotokos.
theotokos (Gk. Θεοτόκος, ‘God-bearer’; Slavonic, Bogoróditsa). The chief title ascribed to the Blessed Virgin Mary in the theology and worship of the Orthodox Church: the third Ecumenical Council (Ephesus, 431) solemnly decreed that she should be honoured by this name. Often translated ‘Mother of God’, although for this there is a different phrase in Greek (Μήτηρ τοῦ Θεοῦ).
tones (Gk. ἦχοι; Slavonic, glásy). The Church music of the Orthodox Church is based upon eight tones, ranged in two groups of four:
One Five (or First Plagial)
Two Six (or Second Plagial)
Three Seven (Grave Tone)
Four Eight (or Fourth Plagial).
Each week has its appointed tone. On Saturday evening in Easter Week (the eve of the Sunday of St. Thomas), the cycle of tones commences with Tone One; and so, week by week, the sequence continues through the successive tones from One to Eight, changing to a new tone every Saturday evening. The various texts in the Tone for the week are to be found in the Octoechos.
The special texts for fixed feasts (in the Menaia) and for days during Lent and Eastertide (in the Triodion and Pentekostarion) are set in various tones; and these of course do not, save by coincidence, correspond with the appointed tone of the week.
While all Orthodoxy uses the same division into eight tones, the way in which these tones are sung varies from one Orthodox Church to another: for example, the Russians execute the tones quite differently from the Greeks.
triadikon (Gk. τριαδικόν; Slavonic, troíchen). A stanza in honour of the Holy Trinity (Gk. Τριάς). Often the last but one in a series of troparia takes this form, just as the last troparion is usually a theotokion.
On Sunday at the Midnight Office there is sung a special ‘Triadic Canon’ (Gk. τριαδικὸς κανών) in honour of the Trinity: these canons are eight in number, one for each tone, and are found in the Octoechos.
trisagion (Gk. τρισάγιον, ‘thrice-holy’; Slavonic, trisvyatóe). The words ‘Holy God, Holy and Mighty, Holy and Immortal, have mercy upon us’. They are usually repeated three or more times, and occur:
(i) in the Liturgy, after the hymns following the Small Entrance, and before the prokimenon;
(ii) in Mattins, at the end of the Great Doxology;
(iii) in almost every office, as part of the short petitions preceding the Lord’s Prayer.
troparion (Gk. τροπάριον). A generic term to designate a stanza of religious poetry. In particular it is applied:
(i) to the apolytikion, which is also known as the ‘troparion of the feast’ or ‘troparion of the day’;
(ii) to the stanzas of the canon.
typical psalms. Psalms 102 and 145, which are normally sung at the beginning of the Liturgy: so called because they occur in the service of the Typika.
typika (Gk. τυπικά; Slavonic, izobrazítelnaya). An office having no precise equivalent in the west; it is sometimes compared with the ‘Dry Mass’ (Missa sicca) of the Roman Church or with the Anglican office of Ante-Communion, but these parallels are not exact. It consists in hymns, prayers, and readings taken from the Liturgy; and in principle it is a substitute for the Liturgy, to be said on days when there is no celebration of the Eucharist. In modern practice it is occasionally said on days when a Liturgy takes place: this happens, for example, on the eves of Christmas and Theophany. The Typika are always said when there is a Liturgy of the Presanctified.
velichanie. See Megalynarion.
ypakoë (Gk. ὑπακοή, from ὑπακούω, ‘hearken’, ‘give ear’). A troparion sung at Mattins on Great Feasts and Sundays:
(i) On Great Feasts it occurs after Canticle Three of the canon (but sometimes the troparion at this point is designated ‘sessional hymn’).
(ii) On Sundays it comes at the end of the reading of the Psalter (i.e., after the Evlogitaria of the Resurrection and the Small Litany).
(iii) The Sunday Ypakoë is also read at the Midnight Office on that day, after the Canon to the Trinity.