Sunday Matins in the context of Vigil

The following is a maximalist expression of Sunday matins. In parish use, some portions of matins may be abbreviated or omitted. Psalm texts are taken from the Revised Standard Version, except the prokeimena, which are taken from the Hieratikon as published by St. Tikhon's Seminary Press. Pronouns are “thee/thou” when addressing the Deity, and “you” otherwise, in keeping with other 1967-era OCA texts.

For many of these hymns, there are no standardized OCA texts. In such cases I have made my own translation from the Greek, carefully comparing with at least two other English translations.

In contrast with OCA convention, I have chosen to translate the word Ἅδης as Hades rather than hell in many of the texts I have translated, for the following reasons:

  • In many hymns, Hades is personified. Hades was a chthonic underworld god in Greek mythology, whereas hell has never been considered a personage.
  • The Slavonic translations of Ss. Cyril and Methodius and their disciples render this as Hades (Ад) as well.
  • Most significantly, Hades/Sheol and Gehenna/Abaddon are two distinct places. Hades is the generalized abode of all the dead (in Greek mythology, it incorporated the Fields of Elysium, where the blessed dead dwelt), whereas Gehenna is the place of eternal torment and punishment. Christ did not descend into Gehenna to rescue Adam and Eve, but rather into Hades, the place where all the dead were awaiting His coming. In English, hell is usually thought of as the place of eternal punishment, so it would correspond to Gehenna, not Hades.

Note that this page is a work-in-progress. If you discover errors, please feel free to contact me.

Beginning of Matins

God Is the Lord/Resurrectional Troparia


Kathisma Hymns following Psalter readings



Hypakoë and Hymns of Ascent

Prokeimenon/Let Everything That Has Breath

  • Tone 1 (Znamenny/Arkhangelsky)
  • Tone 2 (Znamenny/Arkhangelsky)
  • Tone 3 (Znamenny/Arkhangelsky)
  • Tone 4 (Znamenny/Arkhangelsky)
  • Tone 5 (Znamenny/Arkhangelsky)
  • Tone 6 (Znamenny/Arkhangelsky)
  • Tone 7 (Znamenny/Arkhangelsky)
  • Tone 8 (Znamenny/Arkhangelsky)

Gospel and Post-Gospel sequence

Canon of the Resurrection, Odes 1-8 with Kontakion/Ikos

  • Tone 1 (abbreviated Znamenny/Yaichkov)
  • Tone 2 (abbreviated Znamenny/Yaichkov)
  • Tone 3 (abbreviated Kievan/Yaichkov)
  • Tone 4 (abbreviated Kievan/Ledkovsky)
  • Tone 5 (lesser Znamenny/Ledkovsky)
  • Tone 6 (abbreviated Znamenny/Ledkovsky)
  • Tone 7 (abbreviated Kievan/Yaichkov)
  • Tone 8 (Greek chant/Yaichkov)
  • Kontakion/Ikos, Tone 8 (Kiev Caves Lavra)

Magnificat/More Honorable

Canon of the Resurrection, Ode 9

Holy Is the Lord Our God

Exaposteilaria with their Theotokia


Doxastika at the Praises

Great Doxology