Y. Bilalis: While the Bishop is getting vested at the Throne with the 2 deacons reading the prayers and delivering the vestments, the choir of cantors (one note from manuscript has the left choir to perform it; the modern practice has the right choir, which is usually the most skillful) chants the hymn "Anothen oi Prophetai"=> The Prophets from on high have declared you, O maiden (=Theotokos), a pitcher (Exodus 16: 13-34), a rod (Num. 17: 16-24), a slab (Dan. 2: 28-35), a table, a lamp, a box/case, a bridge and scale (Gen. 28: 12), a non-carved mountain (Dan. 2: 35), a golden censer, a palace and throne of the King; the composition usually include "terirem" and reeat the last pohrase of the text again to end. From my small research I have not found in the past this hymn as a part of a specific service, but certain scattered Theotokia have these addresses for the Theotokos. All the above are taken from the Old Testament, I gave you the references. From a musicological standpoint, Ioannes Koukouzelis had composed first this hymn in two modes: 1. mode barys which was transcribed and published by the Three teachers (1814) in the new musical method as well as an abridged form which is most likely known and practised by the modern Greek cantors (one recent recording is done by Maistores choir conducted by Greg. Stathis); 2. mode plagal of second (nenano), which was until recently unpublished and unknown to the Greek musical library (Xourmouzios has transcribed it in his Matins #704 MPT manuscript of the Greek National Library) and was recorded by the Greek Byzantine Choir under Lyk. Angelopoulos (nice performance). There is also a hagiographic (painting) theme with the title "Anothen oi prophetai" which was analyzed in detail by one modern archaelogy scholar (if you need further details I will provide you the name and publication, it is in Greek though). Further, Petros Bereketis (17th c.) is composing anew another hymn for the Bishop's vesting procedure "Se megalunomen tin ontos Theotokon" (the text still refers to the Theotokos with many "Rejoice" to Her) in mode fourth (hagia); Gregorios Protopsaltis (19th c.), one of the Three Teachers of the chrysanthine reform, is composing a different text in mode barys than his predecessors: "Perizosai tin romfaian sou", which is one of the prayers that the Bishop/Priest are saying when they are vesting on the "ypogonation" (I do not know the English equivalent), it was performed by the Thessalonian Choir (100 members that night) directed by Karamanis/Chrysanthos/Taliadoros (june 12, 1971) in Herodeion theatre, Athens, Greece. Last, Basileios Nikolaides of Zagliveri (in the Greek Macedonia part, 19th c.) is composing in first mode another text ("Rabdon dunameos exapostelei soi kurios o Theos), which is used as a prayer when the Bishop is taking his Rabdos/Rod from his deacons. It seems that the last two hymns/compositions are more relevant to the vesting procedure. The byzantine tradition though used a hymn which was devoted to the Theotokos although the Bishop is the icon of Christ. I do not know why. Something to clarify here for the non-Greek orthodox fellows. The chanting of the above 4 different compositions is done at the same time while the two deacons are intoning (I do not know if this is the correct word) semi-loudly the prayers for each article of the whole vesting procedure. Prior to that vesting procedure, and immediately after the "Praise him all ye his angels" of the Praises /Matins (Left choir is chanting that) we do not continue to the Stichera, but we stop and the Bishop "pairnei kairo"(= take time to pray). While this is done the Right Choir of cantors are chanting "Ton despotin kai arxierea imon Kurie fulatte", an ancient melody composed anonymously in mode barys, a very artistic composition which has arisen a controversy among the modern Greek cantors as far as the execution of a specific interval. The melody is papadic in order to give time to the Bishop to pray and move and venerate the 4 main icons of the Templo (Iconostasis). Unfortunately, 2-3 years ago I have read a bad critique from a fellow musician from St. Vladimiros Institute ( I do not recall name) published in a California journal (??orthodox psalm), who was criticizing the slugginess of the Greek version messing up with the other 'Ton despotin kai arxierea" that we sing at the dismissal of the services!!!!! Anyhow, after this process is finished we continue the stichera of the Praises, Glory (Right cantors), both now (Left cantors; except the Typikon is asking for Glory/Both now ---> then it is performed by the Right cantors) and here again we stop and the Deacon is announcing "Kelefson, kelefsate, Iereis exelthete" and the clergy is coming out in the solea for the vesting procedure of the presiding Bishop. Another observation to give to the fellow readers of "Typikon" list: I have noticed that during the commemoration of St. Athanasios Athonitis, the protector of Great Lavra, Mount Athos on July 5 (O.C) 1982, Danielaioi-Thomades chanted the "Another oi prophetai" at the Narthex in front of the icon of Theotokos and the Bishop was vested in the Narthex. as far as your second paragraph: it is correct that the Bishop in the greek tradition finishes the proskomidi during the cherubic hymn and that was the need to compose longer Cherubic Hymns and give time to the clergy to finish. Unfortunately, I have seen lately the bishops of GOA to cut-off the proskomidi time in order to finish quickly(.....) the service. I totally agree with your Byzantine catholic friend, BUT we (clergy/cantors) must educate our people why it takes so much time every Sunday, especially the greek-americans ....

Shota Gugushvili: OK, so here's a quote from Elder Xrysostomos' book "Holy Mountain Typikon of Church Services": After the apolysis of the 6th Hour two deacons with dikiry and trikiry leave the vima and stand near the bishop, who descends from the throne, makes ekfonisis "Eulogitos o Theos imon..." and starts the entrance prayers, while the right choir is chanting slow "Ton despotin..." in Varys. After the completion of the prayers the bishop blesses people with dikiry and trikiry* and the deacons in turns exclaim "Iereis exelthete", "Exelthete iereis" until all priests leave the vima, each with some part of the bishop's vestments. The bishop stands under the great polykandilion and the deacons between two candleholders, facing the bishop, exclaiming "Tou Kyriou deithomen. Kyrie eleison" and the verses on vesting the bishop "Agalliasetai i psixi mou..." and others, while the priests are vesting the bishop. During the bishop's vesting the left choir is chanting slow "Anothen oi profitai..." of St. Ioannis Koukouzelis. When the bishop, vested, blesses the people with trikiry and dikiry, the right choir, interrupting the left, chants "Eis polla eti, despota". Then the bishop stands in the middle of the temple** facing the vima. The priests come to him from both sides and ask forgiveness and blessing***.

* In many monasteries, the left choir, interrupting the right one, chants quickly "Eis polla eti, despota". Elder Xrysostomos notes that this is not entirely correct since these words are contained in slow "Ton despotin...".
** If a bishop is old, a seat is brought to him.
*** A different, shorter rule, found in the Greek Arxieratikon (the one which Yorgos described) is also described. It is performed if time for some reason is limited. Thus the difference is that the bishop vests after the 3rd and 6th Hours. If one is interested in the historical practice of the Great Church, then one must consult Dmitrievskiy's "Opisanie...", see pdf, p. 101(301). The rule given there (in Greek) is from the 14th c. ms from St. Savvas' monastery.