Save me, O God, by thy name, and judge me by thy strength.

Hear my prayer, O God; give ear to the words of my mouth.

For strangers are risen up against me, and oppressors seek after my soul: they have not set God before them. Selah.

Behold, God is mine helper: the Lord is with them that uphold my soul.

He shall reward evil unto mine enemies: cut them off in thy truth.

I will freely sacrifice unto thee: I will praise thy name, O Lord; for it is good.

For he hath delivered me out of all trouble: and mine eye hath seen his desire upon mine enemies.





Psalm 54
King James Bible

and people for thy life.

Psaume 54

And the stars of heaven fell unto the earth, even as a fig tree casteth her untimely figs, when she is shaken of a mighty wind.

And the heaven departed as a scroll when it is rolled together; and every mountain and island were moved out of their places.

And the kings of the earth, and the great men, and the rich men, and the chief captains, and the mighty men, and every bondman, and every free man, hid themselves in the dens and in the rocks of the mountains;

And said to the mountains and rocks, Fall on us, and hide us from the face of him that sitteth on the throne, and from the wrath of the Lamb:

For the great day of his wrath is come; and who shall be able to stand?








Revelation 6:13-17
King James Bible

E il cielo si ritirò come una pergamena arrotolata;

and who shall be able to stand?

318@Nicea is an orchestral composition, in A major, celebrating the First Ecumenical Council of Nicea (325AD). It is Nicea, where 318 bishops from around the world gathered to assert the divinity of Jesus Christ, and denounce the heresy of Arius. 

The composition commemorates, in 2025, exactly 17 centuries (1700 years) since that significant Council of Nicea. The timing of the composition was by coincidence. For so many years, I had a persistent urge to celebrate the Council of Nicea in some artistic form. I had a novel or some form of drama in mind, but only last year I found myself venturing into this music composition.

The piece is composed of 318 music bars, almost by coincidence, a bar for each of the bishops in attendance at the Council of Nicea. The title of the piece reflects this, and I elected to add a Coptic subtitle, shomt she mit-eshmin khen Nikea, which means 318 at Nicea. This is homage to the great Coptic Orthodox Church that spiritually and doctrinally led the Council, through St Athanasius of Alexandria. It is St Athanasius who led the authorship of the Nicene Creed that is the basis for Christians’ belief in Christ the Lord, around the world. 

To guide the listener, I provided below a brief description for each of the ideas that inspired me through the composition. A time mark for each of these ideas is included.

0:00 – 2:40 Church of Alexandria and its spiritual growth. I included a couple of motifs that allude to two well-known tunes of the Coptic Orthodox Church, Evlogimenos (0:23-0:27; sung on Palm Sunday), and Golgotha (1:27-1:30; sung on Good Friday and adopted from burial rituals from the Pharaonic era).

2:41 – 4:12 Arius, his fall in heresy, and the danger the Church faces.

4:13 – 5:08 Sad divisions within the universal Church.

5:08 – 6:27 Constantine the Great calls a council to address the Arian heresy.

6:28 – 7:39 St Athanasius and Pope Alexandros prepare their defence of Christ and travel from Alexandria to Nicea.

7:40 – 8:43 Triumph of St Athanasius and the Church at Nicea against Arius and his heresy.

8:44 – 10:17 The Church is united in faith, condemning Arius.

10:18 – 10:47 Bishops develop the Nicene Creed based on faith of Christ’s divinity. 10:18-10:21 is a music motif (phrase) that reflects the sound uttered when one vocalises the word “Ho-moou-si-os” (ὁμοούσιος). This was the key term at the Council of Nicea, meaning “of the one and same essence”, when referring to the nature of Christ, being of the same and one essence with the Father. This motif is repeated in that section, to reflect the agreement that bishops had at Nicea, that this is indeed their faith. The celesta is clearly audible in this part, to symbolise the Divine guidance that led the Council of Nicea to have this faith in Christ. That is, it was the Holy Spirit who led the Council to assert Christ’s Divinity, as being of the one and same essence as the Father.

10:47-11:47 this is a military march, a reminder of the endorsement by the Roman Empire of the outcomes and canons of the Council of Nicea. It is based on a rhythm that Roman legions played at the time, when marching for war and during their military parades. It has a tempo of 120bpm and a time signature of 4/4, 4/4, 4/4, and 3/4 over a 4-bar unit that is repeated 8 times (a 32-bar section).

11:48 – 12:58 Continued spiritual growth of the Church. The Coptic Orthodox Church describes this during its liturgy, when reading Acts of the Apostles (Praxis): “the word of the Lord shall grow, multiply, be mighty, and be confirmed in the holy Church of God, Amen”.  

If you’ve come so far in this description, one thing remains that can make all the difference: lift up your heart to the Holy Trinity that He may unite all Christians in the one faith. The Scriptures teach us that there is  "One Lord, one faith, one baptism" (Ephesians 4:5).

Composer/Orchestrator: Kyrillos Guirguis
Copyright: Kyrillos Guirguis, 2024

YouTube link: https://youtu.be/2Q9plYlf1b8

318@Nicea

318@Nicea (Shomt She Mit-eshmin Khen Nikea)

Shehab x Alfy Mrzmn slowed & reverb  شهاب و الفي مرزمن بطئ

كلمات: فارس منصور 
ألحان وتوزيع: خارج النطاق 
إنتاج: ستوديو خارج النطاق 
تصوير: محمد بدر 


أعضاء فرقة خارج النطاق :
Vocal & Lead Guitar هشام بدر  
Bass Guitar فارس منصور 
Keyboard عمر الجزار 
Drums أحمد الضهراوي 
  
https://play.anghami.com/artist/12309875 
https://open.spotify.com/artist/1E5C9... 
https://kharegalnetak.com/ 


الكلمات:

بيني وبينك 
كان يوم في بعدك
توهت في ملامحك 
وحشاني صورتك
توهني حبك
عبرلي عنك 
ودعت روحي لما هويت

وياريتني ما هويت 
وياريتني ما هويت 
بيني وبينك

يمكن خسرتك 
صدقتي حبك 
كذبني قلبك 
سكتي دمعك 
صدقتي إني انتهيت 

بيني وبينك
يمكن خسرتك 
صدقتي حبك 
كذبني قلبك 
سكتي دمعك 
صدقتي إني انتهيت 

فهمتي نفسك إني ذكرى واتنسيت

وياريتني ما هويت 
صدقيني ما انتهيت 
صدقيني ما اتنسيت 
ودعت روحي لما هويت 

وياريتني ما هويت
وياريتني ما هويت
وياريتني ما هويت

Lama Haweit خارج النطاق - لما هويت

كلمات: فارس منصور 
ألحان وتوزيع: خارج النطاق 
إنتاج: ستوديو خارج النطاق 
تصوير: محمد بدر 


أعضاء فرقة خارج النطاق :
Vocal & Lead Guitar هشام بدر  
Bass Guitar فارس منصور 
Keyboard عمر الجزار 
Drums أحمد الضهراوي 

https://play.anghami.com/artist/12309875 
https://open.spotify.com/artist/1E5C9... 
https://kharegalnetak.com/ 

الكلمات:

عارف إن الطريق ده سد
لكن جوايا فيه صوت بيحب
شايف طريق بنيناه
وبإيدينا لازم يتهد

كل الظروف 
كل الوعود 
كل اللي بينا 
بيتهد 

ماشي في شوارع ضلمت 
كل الظروف بترفضك
كل الأماكن اتبدلت
حتي العيون اتغيرت

سكوتي عنك بودعك 
ساعات سكوتي بيكلمك

زحمة كلام تتوهك 
وسط الوشوش انا بعرفك

كل واحد شاف طريق ومشيه
بس اللي بينا 
شكله بيتهد

لو تسمحيلي أسألك 
لو القلوب اتكلمت
لو الظروف ما اتغيرت 
لو الشوارع نورت 
لو العيون دي دمعت 
لو الوعود ما اتأثرت 
لو السطور دي كملت 
إن اللي بينا 
ما يكون سؤال 
صح وغلط

Sah W Ghalat | خارج النطاق - صح وغلط


كلمات: هشام بدر
ألحان وتوزيع: خارج النطاق
إنتاج: ستوديو خارج النطاق
تصوير: محمد بدر
أعضاء فرقة خارج النطاق :
Vocal & Lead Guitar هشام بدر  
Bass Guitar فارس منصور 
Keyboard عمر الجزار
Drums أحمد الضهراوي

https://play.anghami.com/artist/12309875
https://open.spotify.com/artist/1E5C9...
https://kharegalnetak.com/




الكلمات:


لو كان بإيدي 
كنت فضلت تحت النجوم
لو كان بإيدي 
ما كنت أجاوب على السؤال
بجاهد روحي عشان انساكي
بعاند خوفي من الأيام
وادي الطريق فرق ما بينا في لحظة سؤال


لو كان بإيدي


وانا وحدي في ايامي
واسلملي ما اعيد الجرح من تاني
جوابي لسه في سؤالي
سؤالك عني خلاني
أتوه في حروفي وكلامي


بقيت وحدي في ايامي
واسلملي ما اعيد الجرح من تاني
جوابي لسه في سؤالي
سؤال خلاني
افارق حبي وانساني


لو كان بإيدي


لحظة سؤال
بيني وبينك 
لحظة سؤال
تاه الجواب 
اللي ف عينينا
في لحظة سؤال
اخر سؤال
بيني وبينك 
اخر جواب
 
وادي الطريق فرق ما بينا في لحظة سؤال

Lahzet Soa'al | خارج النطاق - لحظة سؤال

كلمات: فارس منصور 
ألحان وتوزيع: خارج النطاق 
إنتاج: ستوديو خارج النطاق 
تصوير: محمد بدر 


أعضاء فرقة خارج النطاق :
Vocal & Lead Guitar هشام بدر  
Bass Guitar فارس منصور 
Keyboard عمر الجزار 
Drums أحمد الضهراوي 
  
https://play.anghami.com/artist/12309875 
https://open.spotify.com/artist/1E5C9... 
https://kharegalnetak.com/ 


الكلمات:

آخر جواب 
كنا سوا 
آخر جواب 
كنا سوا 
لسه السؤال 
نفس السؤال 
لسه السؤال 
نفس السؤال 

وآخر جواب 
ضاع مننا 

وكل شئ لازمله وقت 
وكل واحد ساب في وقت
لسه السنين
هتزقنا عن بعضنا 
عن بعضنا

بكتب جواب 
زي زمان 
عن حب غاب 

وانا لسه بضحك عالزمان 
اللي وعدني بيك زمان 
وانا لسه ببكي في المكان
اللي حضنتك فيه زمان 
زمان

وكل شئ لازمله وقت 
وكل واحد ساب في وقت
لسه السنين
هتزقنا عن بعضنا 
عن بعضنا

Akher Gawab | خارج النطاق - آخر جواب

And Jesus returned in the power of the Spirit into Galilee: and there went out a fame of him through all the region round about.

And he taught in their synagogues, being glorified of all.

And he came to Nazareth, where he had been brought up: and, as his custom was, he went into the synagogue on the sabbath day, and stood up for to read.

And there was delivered unto him the book of the prophet Esaias. And when he had opened the book, he found the place where it was written,

The Spirit of the Lord is upon me, because he hath anointed me to preach the gospel to the poor; he hath sent me to heal the brokenhearted, to preach deliverance to the captives, and recovering of sight to the blind, to set at liberty them that are bruised,

To preach the acceptable year of the Lord.

And he closed the book, and he gave it again to the minister, and sat down. And the eyes of all them that were in the synagogue were fastened on him.

And he began to say unto them, This day is this scripture fulfilled in your ears.






Luke 4:14-21
King James Bible

This day is this scripture fulfilled in your ears.

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And brought them out, and said, Sirs, what must I do to be saved?
And they said, Believe on the Lord Jesus Christ, and thou shalt be saved, and thy house.

Kyrillos Guirguis is an Australian composer who has been passionate about music since early childhood. His music is influenced by both Middle Eastern music, including Coptic Christian, and Western classical music traditions. His compositions occasionally use the Arabic and Coptic maqams (scales/modes) that utilise micro-tonality (quarter tones), giving his music a rich flavour. He enjoys orchestrating his own music, utilising principles developed by some of the great orchestrators such as Rimsky-Korsakov.

Kyrillos has been learning and playing the lute (oud) for several years. He uses the lute for most of the compositional process, which tends to focus on melody. However, his strong music theory and broad intimate knowledge with various instruments enable him to orchestrate effectively and compose for a wide variety of genres and ensembles. 

Kyrillos loves the oboe, bassoon, and the French horn, and can't resist including them in his orchestrations.

Kyrillos has only recently started to share his music with others, bringing to the world wonderful music that has deep spiritual meanings. The Valley Winds Ensemble, Massachusetts, considers him a composer with “strong compositional skills”, attesting to his abilities to write music that inspires others and appeals to both musicians and listeners alike.

One of the scholars at the Melbourne Conservatorium of Music described his compositional style as "evocative, setting him apart in the Western contemporary classical idiom".

Kyrillos is currently completing his postgraduate music studies at the Melbourne Conservatorium of Music, with a focus on music composition.

Kyrillos continues to compose inspiring music that is loved by many fans around the world. He is also pursuing opportunities to collaborate and to support others in their musical journeys.

Please subscribe to my YouTube channel: www.youtube.com/@kyrillosguirguis9825

New tracks tagged #alexandria