They include complete settings of Divine Services (Sluzhby Bozhie, Службы Божие) and a psalter (by Simeon Polotsky), as well as numerous vocal concertos for feast days.
[2] In Titov's music the text is the most important element, as it defines both the overall form and the shape of the melodic lines, sometimes resulting in accomplished word-painting.
Titov's textures in his large-scale works suggest that these pieces were meant not to separate the choirs in alteration, but to unite them, so there is no direct connection to the antiphonal style of the Western Baroque.
[5] A characteristic feature is the so-called variantnost (вариантность), the linking of melodic motifs by continuous subtle alterations which is also an important element in Russian chant and folk polyphonic traditions.
[6][7] The prayer Mnogaya leta (Многая лета), or Bol'shoe mnogoletie (Большое многолетие) proved to be the most enduring of Titov's compositions, possibly because its polyphony was more simple and therefore in line with the ideals of Classical music era.