Kyrie

Seeking mercy and compassion

Music by Pat Mayberry
Words by Pat Mayberry
Tune Name: Kyrie

Lyrics as Poetry

Kyrie Eleison, Christe Eleison.
Kyrie Eleison, Christe Eleison.

Lord have mercy,
hear the prayers of these your people,
we your people.
Christ have mercy,
hear the prayers of these your people,
we are.

Kyrie Eleison, Christe Eleison.
Kyrie Eleison, Christe Eleison.

Lord have mercy,
breathe your mercy on we who stumble,
we who fall.
Christ have mercy,
breathe your mercy on we who stumble,
we who fall.

Kyrie Eleison, Christe Eleison.
Kyrie Eleison, Christe Eleison.

Lord have mercy,
all our longing leans into you,
into you.
Christ have mercy,
all our longing leans into you.

Kyrie Eleison, Christe Eleison.
Kyrie Eleison, Christe Eleison.

Lord have mercy,
hear the prayers of these your people,
we your people.
Christ have mercy,
hear the prayers of these your people,
we are.

Kyrie Eleison, Christe Eleison.
Kyrie Eleison, Christe Eleison.

Comments About Song

Pat Mayberry
shares some of her comments about “Kyrie”:


Kyrie is a meditative piece particularly appropriate for use before or following a period of prayer or reflection or as a reaching out for God’s blessing at a time of struggle. Section A should settle in the heart as a prayerful chant and can be repeated as wished.

                                                    Audio Sample

Pat Mayberry sings "Kyrie"
from her CD: "Labyrinth"

Note: The CD version as sung here
is in the key of Bbm.

Scripture Reference

  • Lamentations 3:22-23

Season, Theme
or Subject

  • Love∶ God's
  • Mercy
  • Prayer

Presentation Suggestions

“Kyrie” calls for a gentle, flowing presentation. Allow the lyric and the music to guide a natural ebb and flow. Although not a lament, the pleading of the text for mercy suggests a similar feeling.


SOME OPTIONS TO CONSIDER:

• As suggested in the printed music versions, consider emphasizing the calling out for mercy by repeating the opening refrain (which follows each verse) between the 2nd & 3rd as well as the 3rd & 4th verses. This could be done regardless of the configuration of presenters — anything from solo to choral offering. This is demonstrated on the Audio Sample above.

• When repeating the refrain (Section ‘A’), an interesting ‘cross-over’ effect can be achieved by having a voice or voices (and accompanists) begin the repeat of the section on the first beat of measure 21 while another voice or voices sustains the ending note as indicated at measures 21 & 22 before joining the others at measure 8. This ‘cross-over’ is demonstrated on the Audio Sample above.

• An ending (Fine) is suggested at measure 12. Another possibility, if the situation permits, would be to end with a ‘repeat and fade’ of Section ‘A’. As the section is repeated, it becomes softer and softer until the sound disappears completely. There does not need to be a planned ending point as the moment will dictate that. In fact, it can be more effective if the actual ending of sound is mid-point in a phrase. This end style is demonstrated on the Audio Sample above.

• Engage a congregation or group by encouraging them to sing along on the repeating refrain. Some in the congregation may well be able to ‘hear’ the harmonies and add them to their participation — regardless as to whether or not it precisely matches the printed harmonies.

• The introduction as offered in the print versions is a basic riff on the tonic chord. Another possibility for the introduction would be to play through one complete refrain, utilizing a solo instrument on the melody with chorded accompaniment supporting the solo. If available, consider using an English Horn or Oboe. These instruments are able to set the tone of the piece and could also be played on each of the refrains.

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Melody Line Versions (including transposing instruments)


  • Melody Line: 'C' Instrument or Vocal
  • Melody Line: 'C' Instrument 8va
  • Melody Line: Bass Clef 'C' Instrument
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