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موسيقي ترنيمة مين احن منك - عود ابونا ايلاريون

ترنيمة (الله هو ربنا
ترنيمة لاهوتية عن الكنيسة بموسيقي لحن اري هوو اتشاسف ( اداء : القمص صرابامون عبده و عائلته المباركة و المعلم ابراهيم عياد

ترنيمة الله هو ربنا

ايبارثينوس+بى جين ميسى+ابنشويس) المعلم ابراهيم عياد+خورس الكلية الاكلريك)

الجلجثة بالعبرانية، الاقرانيون باليونانية، الموضع الذي صلبت فيه يا رب بسطت يديك وصلبوا معك لصين عن يمينك وعن يسارك، وأنت كائن في الوسط أيها المخلص الصالح
(المجد للآب)
فصرخ اللص اليمين قائلًا،  اذكرني يا مخلصي،
 اذكرني يا ربي، 
اذكرني يا ملكي متى جئت في ملكوتك أجابه الرب 
بصوت وديع: 
أنك اليوم تكون معي في ملكوتي.
أتى الصديقان يوسف ونيقوديموس وأخذا جسد المسيح وجعلا عليه 
طيبًا وكفناه ووضعاه في قبر قدوس وسبحاه قائلين: قدوس الله، قدوس القوى قدوس الذي لا يموت الذي صلب عنا ارحمنا.
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لحن غولغوثا - كورال بى ابوسطولوس - من قناة اغابى

قسمة الصوم والصﻻه لنيافة الانبا رافائيل

كالوس للبابا تواضروس | خورس إكليريكية دير المُحرق

“All or Nothing at All,” with music by Arthur Altman and lyrics by Jack Lawrence from around 1940, is a classic standard built on a single, uncompromising idea: love must be total, or it is not worth having. There is no middle ground in this song’s emotional world; its very title states the ultimatum, and every musical and lyrical detail reinforces that stance. It is a song about risk, about staking everything on a single relationship, with the awareness that such a bet can hurt as much as it can fulfill.

The melody is one of the most striking features. It opens with a bold, upward leap, immediately conveying determination and intensity. This is not a tentative tune; it does not creep in by small steps. Instead, it stretches out in long, sweeping phrases that demand breath and commitment from the singer. These lines often climb toward a high point on key words—“all,” “nothing,” “fall”—so that the very shape of the melody dramatizes the lyric’s extremes. Between these peaks, the melody relaxes into more stepwise motion, giving the impression of someone thinking aloud between declarations.

Harmonically, “All or Nothing at All” is rich, dark, and distinctly jazz‑oriented for its time. It leans heavily on minor tonalities and chromatic movement, which add a sense of tension and sophistication. The chord changes feature classic jazz progressions—ii–V motions, altered dominants, and brief tonicizations—that invite improvisation while maintaining a strong emotional arc. The harmony often seems to circle around the tonic rather than settling comfortably, mirroring the unsettled, all‑or‑nothing emotional state described in the text.

Lawrence’s lyric is direct but not blunt. It uses simple language to express a complex emotional posture: “There ain’t no in‑between” is almost colloquial, while lines like “Please don’t bring your lips so close to my cheek” reveal the vulnerability underneath the tough surface. The singer appears to be setting rules for self‑protection—demanding total devotion to avoid the pain of half‑measures—but the very need to say this suggests a history of disappointment. The lyric walks a fine line between resolve and pleading, making the song feel both strong and slightly fragile.

Culturally, the song is inseparable from its early association with Frank Sinatra, whose 1939 recording with Harry James became a major hit when reissued in 1943. That version helped define the piece as a vehicle for expressive, elastic phrasing and subtle rhythmic play. Since then, “All or Nothing at All” has become a staple of the Great American Songbook and a favorite among jazz musicians, precisely because its structure supports both emotional storytelling and harmonic exploration.

On solo or felt piano, an especially intimate and reflective side of the song can emerge. Stripped of big‑band accompaniment, the tune turns into a kind of interior monologue: a late‑night confession rather than a nightclub performance. The pianist can emphasize the tension in the harmony with close‑voiced chords and gentle dissonances, letting the minor colors linger before resolving. Slight rubato—pulling back on the phrases that contain the ultimatum, then flowing forward on the more vulnerable lines—can mirror the push and pull between firmness and fear. In the softened, muted timbre of felt piano, “All or Nothing at All” feels less like a threat and more like a plea for honesty: if love is to be given, let it be given fully, because anything less will not survive.

All or nothing at all  1940

لحن طوذيبنو (فى عشائك السري) يوناني والعربي ⲧⲟⲩ ⲇⲓⲡⲛⲟⲩ | Hymn To Zibno Greek and Arabic

موسيقى لحن غولغوثا

ღ Thutokya el Gom3a - 5ors Hos Erof-2015 ღ.ثؤطوكيه يوم الجمعه. مباركه انت في النساء

ECHORA : A realm even beyond ADENIA. Deep in the heart of THE VERITY.  I'm exploring some sounds for this... and like 'The Mallowkins' themes, I thought I would share some early ideas.  Right now they are all instrumental movements—that might change. I may title them too. Thanks for listening!  :)

لحن غولغوثا عزف ناي ابونا إيلاريون - Golgotha-'s instrumental Abouna Elarion

MickaelNoshy

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Mariam Saad

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