Reading from the Holy Books The Trisagion Antiphon before the Pauline Epistle (Galatians 1:8-9) The Epistle of Saint Paul The Third Service The Husoyo (Liturgy of Absolution) The Proemion The Sedro (Main Prayer) The Etro (Fragrance/incense prayer) The Anaphora The Kiss of peace Veiling and placing of the hands prayer The Dialogue Preface Sanctus (Qadish) Words of Institution Anamnesis Epiclesis Petitions Fracturing Liturgy of Repentance Lord's Prayer (Abun dbashmayo) Invitation to Holy Communion The Procession of the Holy Mysteries Prayer of Thanksgiving The Dismissal of the Faithful In the books of the Patriarchal Sharfet seminary, this order is clearly strict, with the deacon and congregation prayer being the same no matter which anaphora is used. The only prayer that changes when a different anaphora is used is that of the priest. Rubrics The Liturgy of St. James is commonly celebrated on the feast day of Saint James (October 23) and the first Sunday after Christmas, and then almost exclusively celebrated on a daily basis in Jerusalem, in the Eastern Orthodox Church. The Liturgy of Saint James is long, taking some hours to complete in full. The recitation of the Divine Liturgy is performed according to the worship rubrics of a particular Rite, with specific parts chanted by the presider, the lectors, the choir, and the congregated faithful, at certain times in unison. Like other compositions in the Byzantine tradition, the Divine Liturgy of St. James as celebrated in Greek forms the basis of the English transcription. In its Syriac form, the Liturgy is still used in the Syriac and Indian Churches - Catholic and Orthodox - both in a Syriac translation and in Malayalam and English. During the Offertory, the partiture calls for a Cherubic Hymn chanted by readers as the priest brings the gifts to be consecrated onto the altar. In the Latin Catholic Church, this composition became popular as a separate hymn of adoration of the Blessed Sacrament, known in English as Let All Mortal Flesh Keep Silence. Musical annotation The hymnographers of the early Church composed both the words of the sung prayers and the tones of the musical scale to be sung in a single codex for a particular community. The annotation was recorded in close correspondence to the text (for sample codices, see those collated by the North American Greek Orthodox Monastery of St. Anthony in Arizona) with neumes indicating the melodic tones and their