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HAROLD

B.

LEE UBRARY

&RIGHAM YOUNG UNIVERSITY

nOVO, UTAH

AW

t

2

109?

.

(^ Primer of Plainsong WITH PRACTICAL EXERCISES ACCORDING TO THE SOLESMES METHOD (Editions with and without Rhythmic Signs) BY A CHOIRMASTER. of Rites. ROME. (Belgium) . — TOURN AI 1906.r\ J Uo . Congr. ^£&= SOCIETY OF SAINT JOHN THE EVANGELIST DESCLEE. LEFEBVRE & Go. Publishers to the Holy See & Printers to the S.

St Laurent-sur-Sevre.APPROBATION OF THIS EDITION. France. i-t'JSL . and I have conceded the printing and sale of it to Messrs. Par un Direcieur de Maitrise.. BRIGHAM " w l . I testify that the present English edition is a correct and true translation (and the only authorised one) of the Solfege populaire (Tapres les principes des Benedidins de Solesmes. Vendee. ^$*j Publisher. Aku'i ->- 1 . of Tournai. Desclee. of which I am sole proprietor. Lefebvre & Co.

suppose a perfect knowledge of the notation. . 22nd. Masters of Gregorian art gave it much praise and the rapidity with which the first French edition was sold is an evident proof that it was much wanted. it first when came out. In order to meet a want felt by many choirmasters. called the Vatican Edition. We hope that it will also be appreciated by English choirmasters. intended for those who have no notions of plain chant. The Motu Proprio of Nov. but at the same time leaves free scope to the interpretation of the melodies. there is we offered to the public a Solfege populaire. in which the Solesmes Benedictine Fathers have an important place. This papal decision brings about the unity of chant which was so much wished for. of a more modest turn. and cannot even read Latin. we prefer the method of the Benedictines but if : no lack of books which purport to give the teaching of these renowned masters. 1905 has given a new importance to the question of Gregorian Chant. is now preparing an official edition. some are too scientific and are made for perfect plainchantists. and every body knows that an international Commission.. Now. appointed by our Holy Father Pope Pius X. among the methods which are actually in use.PREFACE. It is divided into three parts. while the others.

which the Solesmes Fathers have kindly allowed us to reproduce. and we have added practical advice for the training of the voice. and some elementary notions of accentuation. In this new edition. The Second Part. which is the chief one. in which. — x ( ) The introduction of rhythmic signs into some editions of the Vatican Kyriale has been the cause of violent polemics France. and compound neums. cannot be denied that the opportuneness and place of some of these signs may be called into question this is the business of professional gregorianists. Italy. grounded on daily expein It : rience for several years : The use of rhythmic signs ?nakes it much easier for choirs to sing well together. But we are firmly persuaded that all chorimasters will subscribe to the following judgment. Germany and England. . dealing separately with the successively study higher and lower notes. All that seemed too scientific or too technical has been carefully avoided. taken for the most part. with the tonic and melodic accents accurately marked practical : — . we single notes.PREFACE. ) and given the rules of interpretation according to the principles admitted by all gregorianists. from the Preface of the Liber Usualis. The Third Part contains the pronunciation of Latin. and the Psalms which are usually sung on Sundays. The which It is First part contains the preliminary notions it is absolutely indispensable to know. the Rules for Psalmody. is entirely composed of exercises. formulae of two and three notes. without any danger of introducing the modem measure i?ito the chant. and often word for word. we have also taken x ( into account the notation without rhythmic signs.

is a pleasant duty to offer our thanks to A. — transcription in modern notation . and to the plainchantists have favoured us with their criticisms. — who Blessed be God! The Author H . Dom taken from the Solesmes editions. with a dy. At the end of the book will be found progressive exercises on the various intervals. thirds. who had the kindness to this examine book.PREFACE. Mocquereau. fourths and It fifths. — the manner of rendering a piece without rhythmic signs. advice for the application of the words to the melothe analysis of a rhythmical melody.

. IV. Seconds II...TABLE OF CONTENTS.. Notes on some of the preceding signs IV. I. Solfeggio. PART I. Exercises in the Do clef 3rd li?ie Seconds II. II. Exercises on the note Si. III. Fifths . Exercises on Sip on Si v. 4th line 28 29 III. Exercises to learn how to hold the sounds 24 26 PART II. Exercises in the Do clef. I. Fifths . Rhythmic touches or ictus II. Morse vocis. Breathing. Do 2nd 43 CHAPTER I. chief Neums J 5 17 19 20 21 21 22 VII. Pauses. Fifths 34 38 40 line V. V. Thirds III. Exercises § III. Rhythmic signs § II. Exercises in the Fa clef 56 56 60 64 67 CHAPTER § I.. Thirds III. Rhythmic notation § I. Forms and Values of the Notes and III. Practical Suggestions. Thirds I. VI.. First elements of Plainsong it Names. 73 . . Fourths IV. Fourths IV. 44 44 47 5° 53 CHAPTER I. 69 70 7i § II. IV. Binary and ternary subdivisions. Fourths clef. General hints for correct singing VIII. CHAPTER Seconds II. Preliminary Notions. Accidentals and compound Neums .

. Psalmody General rules for singing Psalms II. How to read Latin The Roman pronuntiation § I.TABLE OF CONTENTS.. Dixit Ps. Confitebor in. Beatus vir 112. Ps.. Ps. 133. 131. 121. 126. PART CHAPTER I. 109. In te Ps. Ps. Domine 87 88 88 Qui habitat Ecce nunc 89 Nunc dimittis 89 . 90.. Place of the accent § II. sum Dominus Lauda Jerusalem Psalms for Compline.86 87 87 Ps. -83 84 84 85 Domine probasti me Memento Feasts of Our Lady.. Accented Psalms . Laudate pueri 80 80 81 8i Ps. The Consonants Accentuation (Tonic accent) § I. Nisi Ps. . I. Cum invocarem .80 Sunday Vespers. 147. Dominus no. III. accent 76 76 76 77 77 CHAPTER I. Ps. Value of the accent § III. Ps. Ps. The Vowels § II. 30. In convertendo Ps. The secondary II. 113. Ps. Laudate Dominum 83 Ps. 125.. 116. 138. Laetatus Ps. Ps. Common of Virgins and Holy women. Credidi Ps. Martyrs and Confessors. In exitu 81 Magnificat 82 Common of Apostles. 4. 74 74 74 75 76 II. 115.

Ps. 132. De profundis . 90 90 90 9i Deus noster Ps. How to sing .. V. 89 Ps. Special Psalms for certain Feasts... Confitebor. 129. Beati omnes quoniam Ps. . Analysis of a melody with rhythmic signs Transcription into modern notation IV. 50. III.a melody without rhythmic signs III. . Application of the text to a melody with rhythmic Practical rules 92 92 93 94 94 96 II. Ps.. 137. Miserere Ps. 45. Ecce quam bonum 92 CHAPTER signs I.. Progressive exercises with and without rhythmic signs . 127.IO TABLE OF CONTENTS.

the sounds. Notes are the signs used to represent do (or ut). The . To show the names of the notes. signs are placed at the beginning of the stave which are called Clefs.PART I. si. 4th line — 3£d space 3rd line 2nd 1st line line 2nd space is^ space * Clefs. mi. Preliminary Notions. The - lines and spaces are counted from the lowest. 7 notes : The Notes. The notes are placed on four parallel and horizontal lines which are called the Stave . The Stave. The la. In Gregorian Chant the ( ^ ) which all have the same We lay dow?i as a principle that all notes are equal. notes have various forms of the Notes. re. fa. they may be on the lines or in the spaces between the lines. Stave Notes on the stave If these four lines added are not sufficient. — First elements of Plainsong. sol. There are The Forms value. I. leger lines are above or under the stave.

: d"o mi> re fa> mi sol . clefs the do (or ut) clef (jY and the fa the notes on the lines where they are placed are called do ox fa. followed with the first repeated : do. semi-tone semi-tone semi-tone semi-tone An 1. sol-la: la-si. mi. The scale is the series of the seven notes. : There are two clef (ifc\ . y» 3rd line /z clef. — a third. sol. re> re mi mi fa it includes three degrees. An interval is the distance between two The and two smaller ones called : scale contains 5 intervals nearly equal called tones. the distance E from any given sound to the next I " adjoining d e. sounds. la. Do si la sol fa mi re do. do 3rd line do 2nd line Fa Fa ^ -*jj — sometimes clef. when j —ZZ ?tt=* 1 * ! . : — a second. fa. Intervals.— 12 I. interval is called i. si. : ^=r Do re mi fa sol la si do. re. si-do. *—•clef. semi-tones. 4th line The scale. clef. Dot do - Dof 4th line -•—* Dogclef. do. The tones are do-re: re-mi: fa-sol: The semi-tones are mi-fa. — FIRST ELEMENTS OF PLA1NSONG. (A degree is the place of a note in the scale) 2.

the note si ral fc[ is lowered throughout the piece. if it is at the signature. : includes E four degrees Z do fa.) melody and the is the special disposition of . re sol. not The Bars. — a fourth. The divisions of the melody are marked by means of bars. re la. All the notes of the scale are invariable and cannot be modified. It should not be sung. si flat. The sharp | which raises the note a semi-tone admitted in Plainsong. Sixth and the Octave^ are seldom used in Plainsong. si natural. it is then preceded by the sign |? called a flat. 4. which may be lowered which is a semi-tone. The character its it mode of a derives from its scale intervals. is The Guide. except si.I. when it includes l five degrees Z do sol. This The Modes. the length of which varies with the importance of the pause : a little note placed at the end of each line to indicate the note which begins the next line. the seventh is never used. unless a natuis occurs. mi la. (Dom Kienle. the Two Accidentals. intervals. it 13 3. is si. when — a fifth. which when lowered by the sign if The called a natural restores the si flat to its natural tone. The influence of the flat extends only to the word or to the bar in which it occurs. mi si. — : '- FIRST ELEMENTS OF PLAINSONG.

: 14 i. The Finals and Dominants of each Mode. There are 8 modes in Plainsong. 7 . of the scale in which the piece is written. and The Dominant (or reciting note) most prominent note in a melody. 6. are divided into two classes 4 are called authentic (primitive) 1.la. 3. 5. « Fa -do. Sol - do. Mi - do. FIRST ELEMENTS OF PLAINSONG. Sol - re. \ Re - — 4th Mode. 6. Fa - la. mode are : 1 st 3rd Mode. are distinguished by their finals and domi- The Final the first (or tonic) is the last note of a piece. E 6th Mode. 3. E i 8th i Mode. The modes nants. 2nd Mode. \ Mi r. the middle of the scale in each mode. at the beginning of the piece. 7. and 4 are called plagal (secondary) : : They 2. with the final. 5. 4. „ 7th Mode. . 5th 1 i Mode. 8. 8. The first note is the Final. la. 4. 2. and the 2nd the Dominant . the It generally occupies is. Re - fa. marked in noted books with one of the figures i.

* — flexus mi mm ^SP Scandicus flexus Names Porrectus Salicus flexus Forms 13 ft—i 7^—^ — is — Musical Value ^-m^m m wm 14 — w • —*+** 4 .la la-sol. sol-fa. la-fa-sol. Punctum or Square Note X Names Punctum or Diamond Note Virga Forms Musical Value gum T=t —5 ^ 2 Glivis — — 3 m Porrectus Names . of the 1 II.la-si. —6— b- — — 8 Musical Value is Torculus * — mz Salicus mm Climacus Names Forms : *3E 9 s — 10 Scandicus 1 3CX 12 — — — 11 Musical Value. FORxMS AND VALUES OF THE NOTES. — NAMES. do. Oriscus Quilisma Pes or Podatus Forms £=£ 7 J«= fa-sol. — Names. fa. Forms and Values Notes and chief Neums.:: 5 II.

Forms *nn ft 1 gs gs — 23 — 1 Musical [ Value ^jj 1 a 1 jju^iu^ox^ Tristropha •*•*- Names: Forms Apostropha Bistropha •« 6— — Musical Value 24 — 25 M* tsj^: 26 — — — — inn s . — NAMES. FORMS AND VALUES OF THE NOTES Torculus resupinus Names Glimacus resupinus Podatus subbipunctis Names Scandicus subbipunctis Liquescent Liquescent Liquescent Podatus Clivis Climacus Forms gfl»% \ £ % 3 — 20 21 35: K 22 Musical Value is — 19 ra— — S g Pressus S5 X ^i ram .: : n l6 II.

— The Oriscus () \ 5. note is never used by itself. ) The diamond part of a 1 3. 1-4. (3) shows a note It is often fS H tt doubled. g. 23. in represented by a crotchet — \$ ). The Apostropha () §. distropha. Podatus subbipunctis 35. This is note N° indented and lightly sung always preceded and followed by one or more 659. is a kind of at the end which found apostropha is of a group. climacus 55 ) or a preceding neum (see 18. ( ) — Notes on some of the preceding signs. 25 and 26) should v. — is The Virga relatively is it is which higher. it is always group including a virga (see 2. or three times (26. s Ni 1 i i «-* •=* t I : H —- should be subdivided as follows *=fF=3 j-a Musical value : BBjfl ^J^ ^l j ji 1 ^a III. most frequently between two torculi. square or diamond. l*J that From the preceding Table it may be seen Note. tristropfta. it there called bivirga. — The Punctum. is never found alone.) may be 4. — be divided into groups of two or three notes. either shows a note which is relatively lower. and which case 24. —2 . repeated twice (25. — NOTES ON SOME OF THE PRECEDING SIGNS. compound Neums (12 to 19. — The Quilisma.III.

l8 III. The two notes in juxtaposition combine in practice. . e. The liquescent note loses part of its strength. only making one. or of consonants. but it has a retrospective effect its execution is always prepared for by a slight ritardando of the note or group which precedes it. scandicus). If there are it two diamond notes. to show that the pitch afterwards descends. is is called subbipunctis called subtripunctis. Means " rising again". Applied to a neum the last is followed by diamond notes. as au-tem. These notes are smaller than the others. etc. This ictus. with a strong 23. g. When a group it is the first note of the group which is the more lengthened and emphasized thus the first note of a podatns or clivis may be looked upon as doubled. as om-nis. 18-19. — 16-17.per su. because is a neum. . They occur in conjunction with certain combinations of vowels.per m sub thro- no De- i I p^r!^r:=ttU=i et sub thro- no De- i I 3" I 5Flexus. : : TT\ et X^ su. climacus). sub throno Dei below by the little line precedes the quilisma. when two notes meet on the same pitch. of double length. if — Liquescent notes. In modern notation this is indicated notes. the same as that of other notes. ending with a fall (torcuius. is — Pressus. Means "bent". followed — note of which Subpunctis. the neum there are three. 20-22. e-]\is. by a note rising to a higher pitch. or is bent in a downward direction. and is added to neums which have an acute ending (porrectus. — Resupinus. duration placed above such notes. — NOTES Its ON SOME OF THE PRECEDING is : SIGNS. but not of its duration.

,u

IV.

— PAUSES,

MORAE

VOCIS, BREATHING.

19

IV,

— Pauses,

Morae

vocis, Breathing.

Since all single notes, whatever their shape or their position in a group, are represented in modern notation by a quaver, double notes of the gregorian notation (distropha, oriscus and preceding note, pressus) are represented by crotchets, and triple notes (tristropha) by dotted crotchets. In reality the length and stress of each note in syllabic chant are the same as the length and stress of but the average value of a the corresponding syllable syllable may be reckoned as a quaver. Nevertheless, this reckoning of notes and syllables is often modified by their position in the textual or musical phrase, especially at the end of phrases, incisa, and all These divisions are rhythmical divisions in general. marked by a lengthening of the final note or notes (morae vocis, as it was called by the ancients), and pauses propor tioned to the importance of the rhythmical divisions. The following signs are used to distinguish the incisa, phrases and sentences, and to mark the morae vocis.
:

1.

The

quarter bar.
:

With

this

sign,

breathing is optional the time required should be taken from the value of the preceding note.
2.

— The
The

half bar. Zl|

=

Here breathing

is,

as a

rule, necessary, the

time required to be taken, as before,

from the value of the preceding note.
full bar.

Here the

last

neum should

be

slightly lengthened, and a full breath taken, of the value of one note, which is marked by a half rest •? in
:

modern

notation.

s
...

i—\
ho-san-na
-•

tu-

P

^

tu-

a

ho-sanna

20

BINARY AND TERNARY SUBDIVISIONS.
4-

The double bar
when

is

used at the end of

the lengthening should be more considerable; marks the end of the verses sung by alternate choirs, and in the old books the close of the intonation and the place where the choir are to continue a melody
pieces,
it

also

already begun.

The asterisk (*) now marks the close of the 5. intonation and the commencement of the choir, and the double asterisk (**) shows when the two choirs are to join together after singing alternately.
6.

— The blank spaces
syllable

same

mark the morae

between the neums on the vocis. The preceding note

should be lengthened.

\

t.

1

m

r*-

\
"\ —
e-

%

jjj

_—
g
i

a-

-.

Ky-ri- e

|^^^^
Ky-ri-

^^^^^
le- i-son.

e-

le- i-son,

V.
"It
that

— Binary and
is

ternary subdivisions.
fundamental and general law

acknowledged

as a

all rhythmic movements are either binary or ternary" (Abbe Ant. Lhoumeau.) The same law applies to Gregorian chant. Each binary

or ternary subdivision or rhythmic movement begins with a slight impulse of the voice, which should not be a lengthening.

The
1.

following notes receive that rhythmic touch
:

:

— The first note of each group
s
5

fcWi
*

Asper-ges

me

Vi-di

aquam

VI.
2.

— RHYTHMIC

NOTATION.

21

— The middle note of groups which contain more
"\
coe*

than three notes. Thus


Rex

j

should be subdivided

:

j

J

"*p

a

j

j

lestis

Rex
S-

cce-

lestis

6—
8

.*
TS
i

I

should be subdivided

:

g

8

[SZj

jj

Agnus De-

Agnus De-

i

(i)

VI.

Rhythmic

notation.

In order to make the rendering of the Gregorian melodies easier to choirs, the Solesmes Benedictines have devised rhythmic signs by means of which the rhythm may be rendered in a precise way and without hesitation.

§ i.

— Rhythmic
(

signs.

i.

— A dot
e

after a note

"'

!}"

)

doubles that note or

nearly so.

3vs
it

2.

The

shows that
This podatus
3.

must be
line

little line above or below a note slightly lengthened.

(

fi

)

little

may extend
?

over a whole

clivis

(% J

or

(j).

— The comma "»


is

the sign of a breathing

rapidly taken from the length of the preceding note.

1

D. Pothier, Mtlodies grigoriennes.

p.

183 et 184.

written ( ) *. When the second note forms & pressus with the following . — The side of a episema is a little squnre note. e. The slight following notes receive the rhythmic touch. of'lengthening the marked : notes. Vi-di aquam Except a) Pressus of &podatus or of a <r//V/i n° 23).e le-i-son. for a virga (5) the i Cre-ator alme siderum Beware 2. All first notes of groups Ez^znn=z=zz 5k 9|C 555 Jt.22 4. a impulse of the voice 1. left PART I. [ $^£Lt-i Ky-rie ^$^Ji&^^m e\6. S(C Asper-ges me (p. is 5. diamond note. — tail These notes must not be mistaken of which is longer. All square notes with an episema or supplementary stroke (^ ). is written m m. 16. — Rhythmic : touches or ictus. 6.i-son. and on the right to mark the rhythmic subdivisions stroke placed on the side of a : 6 b-j «• ivi-y^r by e- p Ky-ri. — The oriscus () — The strophicus § 2. i.

which marked by a space after the first note. In this group is (. — All diamond notes with the episema. 15. neum should not be mistaken for the scandicus (See the table of neums.tens . 23 group. n os 10 and n).* 35x hosanna b) Salicus. super or at the end of a group omni£>o. the ictus first : falls this second note instead of the .) the ictus is on the second note. p. This 3. alba-bor — All culminating virgas whether in the : a) middle of a group : I/>) vH et > : .VI. — RHYTHMIC on 1 NOTATION. : whether they are a) in the middle of a group * * * g—S — -3| !i_ !_ lestis The syllable ^ : g—-£• should be sung Rex £) at the cae- end of a group : S-^r-r de4.

Draw in quickly. Blank spaces in the rythmic notation never lengthening of the preceding note. General Hints for correct singing.24 5.e N. will . 2. but the abdomen should be enlarged and expanded. 1. when a full breath is taken. — i. In order to sing well. — Open your mouth as far To open as the first it correctly. but gently and without noise. or lean forward when you sing. e. e. thus avoid saying Ky-ur-ri-e for Kyrie. 3. doubled by a dot. as great a quantity of air as possible. You joint between your teeth. — mark a VII. the value of which is ^E*-*^ Ky-ri. . or Correct position of the body. the following points should be observed. put your thumb edgewise and keep the teeth in the same position as long as you sing on the same vowel. All dotted notes. Correct breathing. from what was said above of that group — Exception follows a): 1 S^B^ sanctus 6. This (2. — arms. Mi-se re-ir-re for Miserere. — Correct opening of the mouth. i. Do not fold your bow your head. before you give out a sound. not only the chest and ribs. and then expire it evenly and gradually. in order not to alter the sound of that vowel. — The first note of the pressus.-B. PART I. Breathing should be abdominal.

but gently at the same Avoid it sliding pitch. . but be kept in the lower part of the mouth. or preceding from a lower with an obscure nasal sound. open your mouth as said above (2) and sing to the vowel 0. 25 but hold your head erect. voce" i. : C.VII. e. striking each note sharply and evenly : p E T^r^T^-r^^^^^ a O (short) 1 m should also avoid what is called "portamento di e. bring your chest forward. Exercise . as far as possible. the tongue should not touch the palate. e. this will naturally lead to the singing of the words. To obtain this. avoid throaty or nasal You will avoid the former defect by being careful not to contract the muscles of your throat. You not strain your voice. 4. and. sliding through all or most of the intervening tones between two notes. first registers. A. to avoid the other. u. Develop the head register of the voice. each note boldly and clearly. o. i. as will be said presently. After drawing in a great quantity of air. E. 5. Go through frequent exercises in order to learn to hold the sounds. which should be used above G on the second line of the treble staff. D. What boys should do to train their voices and sing well rules. in order to obtain purity of tone. sing to the syllable piano. Practise vocalization. — Do sound production. or to the note up with a consonant or a diphthong. Strive to bridge over the break between the head and chest 00. stand upright. sing an exercise to the various vowels a. — GENERAL HINTS FOR CORRECT SINGING. Avoid how shouting. — Strike time. i. Observe the preceding B. then mezzo forte and forte. or at least above A soft singing ought to be insisted upon.

. and then softly and hold it for some time with the same intensity. but not harshly. VIII. Take a deep breath (see p. 1 1 1 a 1 u — e a u 1 TS . and hold it decrescendO) e. • — s • I I — j-j . 24).— 26 PART I. and then strike the note sharply and clearly. and then pass on to another. utter the sound. decreasing the volume of sound. 2.-B. The sign t^ which is called a pause or hold^ means that a note may be prolonged according to the will of the singer or of the conductor. N. 1 1 a C u e i a u 1 > 1 1 a o u e i a o u. The is teacher should mark by some sign when each note to i. — e X H^- . . 1 . be struck. i. etc. — Exercises to learn how to hold the sounds. Take a deep breath as above.

etc. 1 § I § 1 j j n * f 1 * 1 a o u e 1 a o u. -< >~ E i -0 -< :> ^>~ -<:=- ^>~ -<>- — e^ 0- u "^^ - ^^ -<>- -<>- . and then give out the note and then decreasing the volume of first sound. e.-B. hold the note crescendo. indefinitely. — Take a deep i. first increasing. etc. breath. and then decrescen- Be careful to keep in tune. N. These exercises may be varied way. softly.EXERCISES TO LEARN ^~ 1 E 1 HOW TO HOLD THE SOUNDS. 3. The vowels should be pronounced in the Italian . do. >~ i 1 2J >- ^^— ' u.

De-o gra- ti-as. CHAPTER Exercises in the Do clef. — All final notes however short they may - J b : aV M -!^ p l* 1 1 11 *_*. i. u. 2. should be sung decrescendo. ^r==— It is aganist nature to sing be. e. Avoid ^Sfe—:r ^5 De-o grati-as. but keep it in proportion with the preceding tempo. The abreviation ral above the last neum of a 3. Practical suggestions : The following exercises should be sung in the i. piece indicates that the movement should be slower. this slakening. movement proper to Gregorian chant. vocalize it. to one vowel sound. cither by itself or and 152 of the metronome. them crescendo -===zZ or even with uniform intensity 4. taking each of the vowels a. in Do not exaggerate order to mark the end of the piece. e. is between 132 — After singing the notes of an sing it exercise. . The proper value of i. i. o. 4th line. — each note. e. in a group. in turn. Solfeggio. I.PART II. at the rate of deliberate recitation or reading. 1 do re mi fa sol la si do re mi.

Punctum A Single notes Virga m • The virga is not longer than the punctum. 2 1 5 Do. do. fa. la. — SECONDS.-B. 1 give separate exercises for the lower and higher notes in order not to strain the voices. 29 I. when united to others they form what is called musical formula. 1 1 I — § Do. mi. '• 1 1 B a —• Mi. x § 1-. Re. sol. mi. sol. N. fa. Do. (2) 1 M 1 1 Re. — ( Mi. — Seconds Notes. — Lower The notes are single when they are by themselves . or neums. and should not be prolonged. re. Fa. groups. > > l 1 '' --3 ---• i Sol. as the pitch may then be lowered at will. We . 2 A dot (* ) after a note doubles that note. Re. Fa.I. Mi. Fa. 1 i 1 1 • Do. . - * 1 - . a. • 1 re.


PART

II.

— CHAPTER
3=5^
La.

I.

6Mi.
Sol.

Fa.

Mi.

Sol.

4
Re.
Fa.

Do.

Mi.

B
or musical formulae of two notes.

Podatus

Neums

m
to another very
:

&

Clivis

Notes.

tf)

The

in the clivis should

lower note in the podatus, the higher be sung first.
first

b) Give a slight impulse to the without lengthening it.
c) Sing smoothly.

note of each neum,

legato,

i.

e.

pass from one

neum

— M, mi —
1
\

d)

The

letters

F, fa

under the stave mean L, la O, sol

D, do
S,
si.

— R,

re

^a
5

r,

z
>-

!

r— E=;
s

r

4
M. O. O.
M.

i
-J

D. M. M. D.
rail.

R. F.
.

F. R.

R. F. F.

R.

2

-a

p—a
m

"

^^s
R. F.

i

*

ft

D. M. M. D.
I

D. M. D. M.

R. F.

M. O. M. O.

5=C*=s:
F.
L.

*-a-P.
F.

•Z!Z|5_4_^
F.

F.

rail.

>

L.

L.

F.

L.

O.

M. O. M.

R.

F.

R.

fr-2-fi
M. D. M. D.

I.

— SECONDS.

c
or musical formulae of three notes.

Neums

3it_

Climacus

£U

Jjj

~NT~
Notes,
a)

Porrectus

X-^=
(

The diamond

notes in the climacus

35

)

ar e

not shorter than the others.
b) In the porrectus ( |5j ) the two ends of the stroke represent the first and second notes.
-c) Give a slight impulse to the without lengthening it.
first

note of each group,

d) Sing legato, as above.

There is another group of three notes, the salicus ( i^ ), which is distinguished from the scandicus (J?) by a space between the first and second notes.
e)

But as
in

in the salicus the impulse
it

is

on the second
r^_

note,
*

we take no account of
which the impulse note of each group.
1

in following exercises,

is

always on the

first

gbjE

*^

J
R.

IN
F.

M.
R. O.

*-*
M.
L.
rail.

D.

*-JL-H-i
O.
F.

A—

-8-

3v
F.

t=s
M.
R.

O.

M.

M.


32
L.


PART
II.

— CHAPTER

I.

rail.

^^n^^-^ny-^-^^^iv-i^ MO.
F.

i^

O.

F.

M.

F.

M.

R.
rail.

3

ss=s
L.

H
F.

ST
O.

N~S——t3fl
F.

O.

M.

F.

M.

R.

4
K8
R.

Nfr
M.

S=^=S==:
M.
F.

S3=*e:
F.

%
L.

E
O.
F.
la
si

R.

M.

O.

F.
rail.

i

izq

g
O.

« ,

,

^-"-MST^V
M.
F.

W
R.

F.

M.

8 2.

— Higher

Notes.

g


Sol



re

1
5

a

Sol.

La.

""""*"•
1

* * .,«.,
--•
"
"
-•

do

mi

re

do

si

la

sol.

-.'
1

t

1

Si.

Do.

"

Re.

Do.

2
i

*

'•
Si.

La.
.
1
1

ill
Si.

a

"1
'

1

Sol.

Sol.

La.

Do.

R. Si. O. i a Do. -p. L. L. L. C fr a S. a F. i . pi D. . > 2 K-r o. l=$ R. 5 A O. D. ^i^=pizs=?iz£i=*=! lzjrztzzl L. S. D. Si. S. M. S. a=8=H.H .r S. Re. D. R. R. - ^ Si. ' . S. J D. r* I- O. D. birr^T La. O. D. -J-A S. S. —3 . _>_t-T-'-^--r-^-g->-^ Mi. ' . • Sol. ^-fr-^=J: L. L. D. R. D. 33 I .. M. rail. s. D. S. Re. M. D. D. R. D. B E^-a O. S. Do. R. R. 1 O. 6-a g a g -ft-8-3 t a i| r ' -i-f'-r-izj D. ' i ' . r* S. L. J 2±-l F.I. N° 659. D. S. S. S. — SECONDS. rail. s. M.

. Notes. O. »• -w- X D. — Thirds. R. L. " S. *r S. L. • O. II. n _gJfo-4. *t^4 L. rail. W=HS. R. L. D. O. — CHAPTER I. A-*Hv L. S* D. h8 L. i K " w O. - —=—* F. . S. \ k D. S. — Lower A • —=—- "i » ' D. S. • fc ^_h I"' R. rail. O. D. I A S. V-a M S. O. St D. "' I Is l y-f^ L. D. R. F. M. rail. I j* M. Jr L. S. L. hL^l L. M.34 PART II. S. F. L. M. M. -= R. jj arfzrj z D. 3 I v» R. § i. d D.

1E=Z B t - ! r-_3 f— j-f* i .-= ra//. . notes ^ and d. — THIRDS. p. 1 i M. " a . -•• M. . F. " ~r J F. 2 35 1 1 " •• I a F. . % E R. L. ^=* ^=^ 1 4=C A— ir See above. - 5 ! fl a i p. ' -J-ft-3-p . F.i II. B -8—ft—^=^=3=^ 1=JC rail. O. D. r^r-a-T-H-xJ ^p> a nrfrrirJ rail. L. 1 i R.' J ' a . r m-f^~Y\ r. F. M. . 31. i i 1 ' . D.. M. R. 1 a • O. 1 " " ' M. D.

S. s. S. i i : ._l_ — L. a " : •. — rail. M. ..— - -M-S— ' ra//. 36 PART II. i S. D. M. H _p V-%. D. L. . B 1 S. . R. — —= a — a R. M. L. — CHAPTER — H I.. M._l_. » A fi ft a a-jt. i « S. x xl m a • d S. o. D. • o. !z___z^Tz_Zii:^ R. s. D. gpaza rail. D _- • . L. — %. -a O. — 4»s r~\ ntt j S .~~ * i s ' §2. • 3 O. . D. :1v=%r-" ?~~ . — Higher A - Notes. a H-r D. i g_. !_- * — » R. fa D. <| " J ! & is J-J^-H-! I ..

« \ . % 8 . *=*=^ . ^M " «- ff '%" a . — . . ?=£ 2 5 Jb ft » £ =t rail. " ' ^ . i=S=^=|n 3 C .a 1% i%-'"Is 3_H '. s a • .s rwff. " 37 Ifc - 1 if a . ra//. -k —V-—gH 5 8 » r-c . is -T-i \ j 1 j£ «- \ % . | i i .% — II. — THIRDS. >- 3 r«//. • . f*~ r • . — . 1 t=fc=?=Ci=f=at=s - r<7//.» a i. 4 fctoz j-.

— CHAPTER I. § i. l • _ »- . — Fourths. ' . ' .a - £=n=J is • here only 1 The interval fa-si % called Tritone or augmeiited fourth for practice. II. I > . « - •- • i_ 1—a »-_§ fc • -a — - m- B £^=^±2=^=% Mifr . - " m - - . •_ P q - 41 - 4H- • *I . . M • 1 > fh 3 .— 38 = PART III. — Lower Notes.' IE i »' \ I * 3 S w ft ra//.

— III. II I n : n ' flr-HI flF» rail. — FOURTHS.^Zfat-j. g^ -• ' I fsr[^ i sr E:|: SiSr^ Notes. §2.-8 ^±J • I " I— 9" g -« — = m- 8-r • ?EE^ ft M- —— = i ft- .-s-.-^^^^-^-^ ra//. — Higher A -^« -^-8 ft- 8 s-. d r* " 39 t=F^T 3^7=2==^=^=^=* U raft. n -fc3==tq i Jl A. il A *• I fa ™//.

*=*=*= **//. t^-f. Notes. TL fj g c | a . —— = rw//.. l ^j a"- 3 IV. .--3=g^ 3* ^Jb^qfep j— 1 * *= =^=F =3=S=J I rail. A£ | 5 A ju+LMUJUu ffl//. § i. bj. • -jSrNF^ — Fifths. g . — CHAPTER B I.p 4o PART II. — Lower A •a - ' I »— i 1 • . L^ ! .

i • 3 ' f» pl * ' r_ lh n g • M i ' J >- B * 2 3 1 * \ 3 " PL f* i rt ! 1 .' ' L-^-te- . • 'I ' B 1 * 1 .. . • ' ru >- f 1 fl *' pl rim • a ii a . L ' n : - V 12 k ? §.IV. ' r i J J" j l J r. i . i . l fl 3 -.. 3 PL lb 1 J rail.• . 41 i — 1 —* 1 2 • i • J E • * > • •« I i . — FIFTHS. >- 2 f r^//.-. --/*> t i J 3 •J * "^ A 4 ' «!i ' 3 J1 • is In A J ^ 1 * 3* rail.3 • B - i n (L rail. c 1 P p rtf//. n JL • *i . >- » n Pi P . "i 1 A % * ' ai * » - ' K * . i i >a * pB "'* —N .

-> ^ •-. B JO V J .. . — Higher A a Notes. — " " 1 . E^^3FFf* Tir r 7i-frr^~g rail.: • J=^=j=*z^=J ra//. . B . 1 P ' i 1 . i ' 2 ? i • "*" I i .42 PART §2. ii » * . II. kcb B3^Fts4=^=t3 t==£ . .. "*" i • """ "*"""" » . l " ' 1 " 1 1 i * " "- 1 • ". •. — CHAPTER I.

sir do. rail. si. 43 rail. j. sol. | • j 1 b£a=HhL44JU V. mi. Thus the semi-tones occupy the same places. do. 3S=5 — The Do clef on the 2nd line. re. mi. mi. — THE DO CLEF ON THE 2ND LINE. sol. fa. fa. Simplification. tB^J NV. line there tion. sol. si. re. re. i±~ : 3=3=^ re-mi y semi-tone V semi-tone . fa. . and si if (7 they were troughout. thus If in a piece written with the is : do I? clef on the 2nd a si (?. there must be a mi in the transposi- = \ 5=3=^ la-si „ Transposition . do. la. ttr \ Clef 2nd line Clef 4U1 line : Sol. The pieces may be read as written with the do clef on the 4th line. fc*±=Ffi=* rail. la. : Do.V.-B. la. semi-tone semi-tone N. Sol. la. i p.

3rd line. si. S. la. Fa. la.— 44 PART II. la. Si. do. O. Sol. sol. L. — Seconds. L. La. S. . —• do. Do. F. La. sol. I. Do clef. rail. si. Fa. — Lower Notes. CHAPTER Practice of the II. Si. ^=ZiZZtI F. " Fa. fa. j Si. G — Fa. L. si. sol. La. 2 - l a La. . mi. j _^^ __4-___ -^-. L. Fa. - _ »- Fa. Sol. La. re. Sol. Sol. fa. § 1. — CHAPTER II. sol.

O. ta=%=33 D. 25=* •w O. H L. ^*—. » L >t S. P* S. O. ^ L. r«?//. 4 —c-= f^j » L. — SECONDS. rail. rail. BM J L. —— O. O. S. O. » L. '-*-f*-=pi5 -wL. hv^ D. L. *J L. L. L. j — L. S. 0. F. L. is D.a is S. 3 6=t* >& D. +— ^sa- M L. F.a * 45 I. tog M S. A \ J M. ft r~i~n L. F. O. hfl a O. wL. F. L. n L. rail. 0. '"H F. fr a —— S. S. f» D. S. O. L. O. S. F. .Mv* F. rail. v O. U> D. O. . X-J^ L. S. s I M D. O.

mi. > F. M. I P* . R. M.46 PART §2. M. M. B r B a a T F. Fa. F. Re. do. mi. re. . M. Notes. — CHAPTER II. Bi * s 3=2 M. 2 ' i { JU Re. 2 g-a-£=a: D. sol. . M. F. II R. D. R. Do. 1 : * 1 • • Do. — Do. O. II. D. rtf//. g—+-*-*-*Do. jjl> Re. M. fa. D. a • Mi. Re. Mi. R. M. O. . D. O. re. . — Higer fa. M. F. : e . 3 — —Mi. i _-» Do.

— Lower A * 1 > • • |* —\ E „ . — THIRDS.J II. F. 2 =Hj 5=K=SI If. R. Wf-=-J* D. M.. 3 t3* D. X O. D. HH* R. R. 3S=3 1ZZ2 R. F. — Thirds. M. D. rail M. M. F.. § i.. S. * . i= M. M I - 1* " R. F. L. R. 3— O. E * * H F. M. F. -t-^-Jz^^i M. J«-"-M=f= M. • h i F. 1 a " • -"* ' t .' — . S. c 47 h-s-nE?V-S D. '-l % * R. M. II. Notes. R. D. M. rail. hi D. R. R.• «. M. R. R. R. D. rail. »« a .. *=tas M.

.•Ir = ^ CK 3v 1=3 1ft 3-v- v ir ~T~Ts 1 ftr— ra//.-*///.— 48 — II. • •- ' . PART — CHAPTER II. ^ a g-« E -i a — ^ B.^-j£^£3 mil./i-5l_t_i!ti. 3_p^-rr~t~ft~8 ' r« taazzzig c rs=zi=a^=s=i rfl//. -t - HI fr.'_* §2.V *•' \ V ^. « * * B i^F^ ! i . j=3=*=s====)=«=^=j *z±^±Fi=3=^il— -%-J_^_HzFi^ S rail. . i ^-A-^-A 1 J fl3 » \ V . i Higher Notes. 3v^_.. Tf.

i-ff^ -ffc"T-.^Ti q -J i jj V. g ^v^f*-^-.. —=—- 41 • = —P—=—- m -* — *-*-*•- "• —=— B 1 * ea^i i a 8 *L ^ . 1 i i rail.jumi. ^^ ' 1 C "'* \ \ - ("Vy. 1 p ] . A r<z//. A 49 Hi — THIRDS. . —4 . . J: 2 3t ra//. . - a e . is ^r. >~ i i \ 9 a y • * i m//. ^ / g •-y^. N° 659.-- P- ' i i .* II. Tpp~*~p*1 L~* Pi'* • ' ^ i : : ik a a - • p» ' • . r*//. j 2 5 m i ^ i 3 • .h is .

r g==fl p. r* '" .P 5° PART II. III. — Lower • •—=—-—=—•- . — Fourths. Notes. IzCi— . rail. -N_s- hi •— F«- i 3-fi-S-^ r*//.=I .. i - 1—irH a ^ r-s— < J e^±z±J 41 - 41 = *-1 i- Ml •- = - B '-«— <- — 3=P#: rail. i r. — CHAPTER II. § t. jh t ^ i II i ii iirnr^irail. ^^zfaz z^z^^ii^d^^iaz^ j .

. 1 -•- • : • - | — ] B ! 1 .. 1 . 5' r^i^-t-j an^-i-Nuis^^rtd rail. • 1 . " " • J HH I C „ " -tt- • i - *" i c m HH -*• a 1 * 1 1 1 - - •* I i . J 2 i 5 1 • .III. — Higher ". rs [n fsj §2. p i# " " -• ?-^ -i E E ' 1 * * * -•"^-. Notes. . — FOURTHS. B - i .

. — CHAPTER B * 3=^=£ F^F=t=3==S 3 -^r^J ra//. ji fl • i fl ji j bzfc. rarrin^-rN-Nn ^ . » n. - J *'* " .n PART II. HT rail. a EE^H^EEaEJ tfc* i ^3 h ' . n II. ^-i-^ir-T-fk-. rail. ' i n - rail.-! J&i >• fW-a P^=:=3 5-ir-J nr3~i"^%-fa-r |A n.

1 * a * *.IV. Notes. < c m " " 2 " . i J < rail. ft 3 1 B 1 1 3 '. — Fifths. 53 IV. • i a • " .» ft PI • fl 1 aft 1 J • • ' 1 I rail. >1 E 6 a ft 3 • J t 1 a S * 1 a I i a i l ' JUL . _ B "." " I • i 1 --• "• "• • 1 1 . •' 1 ? 1 "• 'la " _ 3 " .. § i. — FIFTHS.. L 3 f ft a 3 - all -• 1 J ft ft 9 3 a. — Lower A ." * J _. > • ' Eft ft ' ft a 3 3 2 El .

. i_l / Is • ' m 1 hJ • — Higher A ' I Notes. JL J.- .1 54 PART II. ft 1 > E i 2 n : : rail. '- ' . r^ r —— i i-« . r > . rail. 1 E .• m L J 1 Ji i *' "L Jl '**"'• H PI i i : . JL 3 P . 1 a • ! g—•—5— •—i- - •- E i • i : — 1 - — 1 - - S—i 6 -_= -___ a .__. — CHAPTER c II.. % " SI • 2. -. - . 1* % J ^ 5 > J s i-t n is i % " "I ' iJ N " J ^ 1\ 1 I * ^ » * hh • r.

l iM. rail. Note. Pieces could be sung as written with the <& clef if on the 3rd 5/ I? written in the/a with through- The semi-tones are then in the same places. 1t i1t . 55 B | l . rtrr j 5ztl feEEEEE rail. *= 1 « clef.ii 1t T. 8 Mi. j semi-tone semi-tone . v • >- =^=^ fe s ? — line «* J out. do. re. mi. rail. la. — FIFTHS. fa.*t\ p^h^^ rail.-. sol.n IV. B s ^fc^^om^^a fa. >•«//.iu. si.

mi. do. • * Mi. Si. si. . — Seconds. sol. § i. sol. _--• - i I . mi. semi-tone semi -tone CHAPTER III clef. • i 1 . J * . Practice of the Fa La. Fa. I. si. sol. ! * Do. Re. ' Do. 1 B* % La. la. la. fa. La. re. 1 • • a Si. si. do. •• w_si . do. mi. re. La. II. re. ? % • i «. si. fa. fa. . — Lower Notes. b do. re. mi. do. la. p 1 • I i La.5^ PART Transposition. — CHAPTER - III. • Re. fa. I 1 i Mi.

L. 3=*3=5= L. L. D. S. M. ^ Do. ti a S. 57 ^===P La. R. . A Do. M. Re. rail. et c Fa. 1— Do. M. R. Fa.a I. L. L. Sol. r* D. R. D. D. M. > P * • L. D. ' a * S. — SECONDS. R. M. S. D.ll . R. i Mi. R. fc . R. R. R. -j D. <--—Re. D. h F. M. D. M. 0. ggbs S. : - 1 . -. B 1 * a 1 a a p. > a# J % Pi Pi j P« Pi D. D. R. F. L. D. "* • L. Re. Re.• M R. . D. ' • a Pi •* - i- . O. • Mi. . i S.»•< O. M. R. M. R. S. D. g \ F. % i* a . ! 1 5 Si. F. O. Si. F. M. Do. Mi. D. M. D. M. . > • ' > a 8 p« r- • a i " r ' 1 • I— ' | i . M.. F. i L. • 1 J a a D. M. 2 1 ! ^ 1 i s ^ r* • f a a r« • S. D. g % F.— La. " ' (h r a P« r- * a * i Pi i a Pi " * a I S. R. R. Pi r- a Pi r" • h R. rail.

<=& F. *•• •• •. D. L. M. F. <-« H=s=n. Sol. H O. *•' H M.1 ! 1 > R 1 - | 1 Re. fa. -wD.ds=s O. is F. £35= S. 35 M. i a R. . *5=±=j& O. j D. D.' 'Is' i». MM R. sol.• I * R. Re. M M. F. Vi-J-^r D. R. H=Na: R. >a M. S. * M. M. M.* 58 PART II. is F. sol. Mi. S. 4 ^=S R. St R. M. tft R. R. . R. J R. si [7 Notes. D. *• I ft M. la. R. M. >5=^=W S. nn. rail 4^ -N- ±35 D. mv D. fa. D. M. rail. — Higher •— la. . S. mi. ^ O. D. R. is R. M. re. aSzft^ N O. Fa. rail. rail. *s hi M. % 2. F. ". F. F. — CHAPTER III.

1 "" . R. O. -* Iji Fa. F. R. rail. s.-! Re._. > Fa. s. 1 ' Mi. Si. La. O F. a ". F. M. "'• a - J 1 1 ' Mi.. i=? lz * M. O. F.-. F. Sol. ^ Sol. 2 8 8 ^~ V& > <l^r>l^ f" ~Pr a - 8 1 r' a " \=$=\ F. F. L. 59 — " Fa. O. M. R. Sol. . o.a % F. ! % . C li a " ill.3 tf " im . O.Mi.P'— L. R. s. O. .. F. rail. o. 2 3 " Re! | . M. Sol. F. % J M. F. M. F. L. La.-T^HTfr-TTTC t. O. 1 i * I | j | Fa. L. L. -> 1 |-l La. . 15 L. ' n * > ' •• . • I. i as R. 1 -* T 1 Re. R. F. B 1-5- a i R. M. o. O. D. Fa. y SECONDS. .

M. L. F. 4-t*-°. 4 £SS=W M. 3 O. to M. rail. O. F. Is L. M. 3 N B L. ' aagg L. NJ " I i*. § i. W=^ M. M. ^ L. st W.^ 60 PART II. O. rail. j ^is L. L. M. F. - M. m"* O. R. O. W M. F. ' si O. R. sa O.1* F. -AF. S. — CHAPTER O. II. F. F. J ' a * • a a " " 1 a a* J ' 1 1 . O. Notes. M. M M. St=z=3t R. ±±^±3* F. F. 2 gfc± r|-V-* zff±4 4»t O. rail. — Lower A i 1 a • • a •' * a ' • I a. • M< ft-j-n •*— M. *»-* F. M R. R. F.S3=jS=?: O. O. O. S. Vfi H R. O. — Thirds. ^s-*-w* L. F. III.

«- 6l < — =—-• ! % •-• '' --=-•- — = " • . . B1 a " * % * * a a* J a a 5 -"1— —— * ! 5 S a —a— _ i • B *-*^4=& t-k nzftz±±3dkz! rail. . » 'ft t-ft-i zzzz^zz^^tztejiz^zzzz. — = THIRDS. rail. 1 ^ 1 ^ tm j . 1* -^^HV fr z!±tzr!=a > U^^^^ rw//.— II. ^'. g±zfa I r» =^ ^j^dT'-r. . *3— 1 i^. --j-j to.

_*__. . — Higher A Notes.__. is \ y\\:\ \ be f' ^ -1% -3* 1t ^ H J ^viv 3v-v^z4=^ <_j i H • i4 v- H-jj_^_|_% __gzz=n . rail. ^r £=£: :£=£=£: fi ~ 7L 1'Clll. i: t\ \ . 1 r«?//. ' 1 . 1 1 V i 1 ' . 1 1 ' .*=^=l. &-H-.. . ai % P * * - """ 1 _ 1 j J " " a -• .— *-V-k §2. -k* ^ b " " „._ -rT-y^fc^v^^zlzJ • i~ P % la .PART II. — i — - T._.£_. — CHAPTER III.i i U * I . *'• P % m m • * *•'"* . ».

63 e *! ^ 1 . P ^ 1 I 9 Ik % ^ S PI ' I Ik P..• ' 1 ! | n Hi • — • : r~rt— |-s 1 Ht »' b p— 3-. >- *k P^ P... pi T" rail. ^ j rail. 2 - h " ' 3 " " • Pi r- p 1 a J Pi 1 1! - P.II.' 1 p Pb i % a " • 3 % ^ a • " ^ b p ' • % a P ! * 1 1 ' r<7//.. q \ 1 k i! _ P PE / d" fc. . >. ^ ^-^n-^-^tzHzKB 8-'- 1'Hn-^ . "* la ' 5 \ —H^ 5 S E 5\ j sa . | i . -*r - *-A - T 13 k 1 iP m//. P~iP'» K=±td S ^-^-li^^t^prj^^iir- n gg I g -^T= r»//. — THIRDS. 3 Jl A A ft" a a-HHSrail. >.

— A F " "• • "" ! _ .•'" " m P ™ " • " " I B * * i * I ' %„„ if " t . > % a pJ m .• r* 3 > a % * 3 . " % . " " J J _ ! 11 " '" • i 2 • j •• i rf % P 1 • * • * .1 1p % ' • 3 ' • i. .--•_. " . — CHAPTER III. III. . Lower Notes. . « * « i 1 % 1 —— • 5 5 a — _ fl — — —__ a B ..— — 64 PART II. — Fourths. i B i i .• i 1 pi ' - j - 1 • I i Ti r- % * * rail >- F 1 F.• * . § 1.

• b • b 1 * • I M 1 J 1 . 2 ^Pto^S^ a • s==o rail. E * ? % * ' . ? j 5 ^J-^v^ ^>y^-f > f §2. V 1 * f-7* . — Higher A Notes. t A ac=3 n. a i k • 1 * 1 1 — .III. 1 1 1 1 •f % " la r 1 »• 1 1 a «. 1 J 2 F * . 1—UUzb A A -•— \ inn Jl 3F* rail. -ft- 65 ^=3=. " "•' 1 • " " - • a 1 l I 1 ' F % N° 659. EbsrfeEBES ^Hra * — —- rail.•<?//. . — FOURTHS.

3E£^^E5E^^3 ^i^E5^z^-^^i=5g=^:p£g=£ ^^^^l^^bNz^SbN^p^: . % • I * ^-%-^-ir-i-V-i-l *=f^ _ i_ 3=Z=3= Hz&zizzztzS-r^r^^^ *-JL_tf_i_J j^ ^^n^^^d ra//. — CHAPTER - M 4= III.= * — 66 -s-— PART II. < '—- — —= Jl —— i \ 5 ———— • 5 —— B - to* b*=* I P-iT-* g J=^=s: r—i— r^=s ra//.

— FIFTHS.T^i JP % • . 7W//. • ^3 ' • 1 1 1 1 2 in^s±^ -1L • — —— f -i- k- —L- ^*n^=t . § i. IV. — Lower a m m —2—a— 5 B " JL^-* - ' . . ." — 67 IV. • • J J ? % 1 1 I • ' - - ! * ft « Ik te E^^S^SH^ rail.. — Fifths. Notes. • 1 — B 3 a-HI 3 ^ '" L J 1 It .

1 B I . — CHAPTER III. . — Higher Notes. 1=2 ts=z=$ *-£—H- >Jr ' * *> Jy A ' ^ n j §2. a HI ' i th fc— = i « 1 a a ' .* | 1 i b " ' b " B a i " 1 ' 1 1 1 ! % ' .' i iK— . 1 £ % ! % . *- hrft At- Jl JWt=& *=*=%= rail. > 1 1 2 H F - rail.= 68 PART II._ 1 • 1 j i ll 2 ! * . c rail. I i " " • a . - * " a . » * B.!• — i!-*_ nMMl.

^-^r a > sa j- 5 3 CHAPTER Accidentals and Notes. and the natural (fcf) Read again the note .ACCIDENTALS AND COMPOUND NEUMS. 1 ' is rail. compound neums. ^"r^rft^-^tVH^ 1 e ^-^ujuaih l. > ' i > In =b i 1 N .V 2 r«//. 17.. 3ir <-hr= . ty) «) Read page again the remarks on the flat 13. £) IV. p. 4rri X- .. 1 J 1=^ '-Jd 11 ra//. u - '. 69 B ihHW <"- 3± ii fr J .- = 1 ^=l3=r-t nr//..

— Exercises on the Note SI (140) ' * ——— 1 = • rail. .— 7o = PART II. H *-*-F 5 a (838) m I m —i~± 6 m - (247) 1 —i^zz-X^-T^— r« J — Kj jga =fl *<-*^ £*v HUH fr j i*»-pir- M ' 777» *' p gft >~>=i-ii=tiiz!zz -— i-i «-*» >: i 'i — 7 (412) a a v a tr— r^ rav zisualis 1 The figures edit. z IV. 2 • (195) - —ii— -a — ——————— _ a B a a •- i- 1 * 3 {140) —- ih^zhtc^^ 4 (342) hi —mI* • . * f — CHAPTER § 1 i. 1903) between brackets refer to the Solesmes Liber from which these melodies are taken.

— Exercises s- on SI (?.-^ 3tf iF3 > a -*-H Hy1<|M Ar^jL E g^Ar g 5 g ! 8: .— r> * ' r. * 1 » % =za rsrT^^wAL^|^y.- — 10 (445) h-f b^A ./M^iv^ir^ ^±s tt7//.a J ACCIDENTALS AND COMPOUND NEU. ff"'*tg£^i e-'^ i > **-* y *wi . 1 (402) 2 f ^ I -—=—=—- *= (439) i. 5 s=3 "lyirn ' «-^*» a: "-*1- Na s . § 2. j i * j .'fl/ N 5 rnffr • 8(219) ! -^W a M^-^IWL^! ! ^frj-nr"^*=±^'9 (489) ' f — -^iv^=n 8 .MS. 7< C .^ ^ztaztej: g-^jji 4 *fw^ 5M ! —r-i—.

rt"i r«—.^-p.-I » 8 — l «g- .i 1 72 PART II.« . 35 • 1 r~A— —l^-^i— —. 8 . % ^WHr-^-^V^ T'fi-F=3 J-3 *-* a ra/7. . — CHAPTER IV. - 1-6 « *-|V ST8~rTfeTi %~8~i.»*— 4 P* -• —— - 4( 5 9S) Sirs ±fer^^-^^f^=^f^f=^^Jf!^ 5(17 h 6 (136) | rH g—H-iAr-f-| la.-^±x^iv^^3^ i i. ^^ 8 (143) rail. rail. 3 hcrtt 7 (500) 8- s-« —^~ ^ *'bJ— H —— *bJ —% £— S ' s-j* i %-=• * l ( =-! 8* la j -S-l !»j-j. a *tr-ry*-is3z& 10 (288) ^!r^-rt=£^ ^Ss <-. 3 (510) a a =^7-^=«t .

. s> 6 (495) . ^M sl >\ 4 ifcj eH fjp^ 73 : ! g p^ 1=3 <-frr^^=3wfr: § 3.ACCIDENTALS AND COMPOUND NEUMS. ^t3 j3ese j£ >-<i//.. •Hh tt^ a 5^^ g 3Bg g . 5 (603) taggjj . *. — Exercises - on SI ij. .a> .H." V gtg j=]fe ra//.. K13S) 8 . : b J» 1^-^TT V4 fdd'—fr-f^V "" >i i .2(697) ra//. 3 (262) *r^f*-A v 4 (623) tfA^ .±3 ->^- .*]>.

when a diphthong. M and inter. e. cultum. read Latin. e. the sound of the be uttered on the last note. e. § i. How to I. CHAPTER I. AU pronounced like pronounce day-OOS. — The Roman pronunciation. E has no exact equivalent in English.ge .. changing the sound of A into that of E. s 1 When AU and EU are sung to a group. pronounce is cool-toom. . equivalent to is ough in plough. — The Vowels. EU. g. Euge and heu are practically the only two words where you will have to pronounce these letters as a diphthong. (E I are is pronounced like e. O like o in for. Deus. /'. U should (137) ^»*~frfl " should be sung . is U Y always to be pronounced like oo in cool. g.u. It is A is pronounced like a mfather.* PART III. sented by the sound of a in fare.tern should be sung : Eu. pronounce een-tair. or of best repre- e in met. % Ji au- tern a- u. is to be pronounced like AU. Everywhere else the two vowels make two separate syllables. always equivalent to "the English ee. g.ge * E.

— the roman § 2. TI. except #. the following list The letters not named are to be pronounced as in English. is equivalent to the C before : e. is x. as in the G before a. pronounced si. is soft. t H tives. = chselum. u. is pronounced like ch in churchy e. English govern. o. ae. g. infantium = infansium. except. before a vowel and after a consonant. before ^. ce. feceritis cesium dicite = fecheritis. s. thus the pronunciation of ?nag?ius might be represented by mannuce. something like n followed by the consonantal sound of y as in new . /. as sh. = petsiit. or a consonant. CH G is always as K. = dichite. Thus \patientia petiit = patsiensia. oe. is pronounced like it In other cases k in mihi% mihil and its derivashould not be pronounced. = creshendo. J is always pronounced \\key in yes.i. before e. /. C before English K. ce^ ce. . Jam Jesus e. a. 75 — The in Consonants. GN have the softened sound given to these letters in French. = Yam. pronunciation. o. Thus : dilectio = dilecsio. : Thus = Yesus. i. between two vowels. is TI. SC. or a consonant. u. as in the English word general. pronounced tsi. Thus : descendit crescendo = deshendit. /.

— In words is accent more than two syllables. : After : T. factor em. — syllable is pater. mater. Thus thesaurus = tesaurus. — CHAPTER I. long words in latin as in all languages have secondary accents which are placed on every alternate syllable both before and after the tonic accent. g. — The never accented. i. — Place In words of two syllables. § i. the tonic always marked in liturgical books. syllable should not be lengthened. § 2. 2. divites. . of last syllable is 3. : II. g. — Value of the Accent. first In latin a stress words of several syllables. edits. tecum. Besides the tonic accent. Z is pronounced like dz. of the Accent. the secondary accent is placed on the last syllable when it is not immediately followed by an accented syllable : but : Dbmimis Dbminus et Deus. one of these receives or impulse which is called tonic accent. — The Secondary Accent. Before S. 21 12 In words accented on the antepenultimate (last syllable but two). tuum. Thus Zelus = Dzelus. S. TH is : always like T. Dbminus. T.76 PART III. — Accentuation. The accented § 3.ri-cor-di-a Do-mi-mis. e. the accented. mi-si. e.

We The rules for Psalmody are to be found in the « Petit Traite de Psalmodie » by the Benedictines of Solesmes. CHAPTER I.mi-nus te- bor Be. marked The Intonation is a musical phrase at the beginning of a psalm. except in the Canticles Magnificat and Benedictus. exaggerating the tonic accent.I. — General rules for singing Psalms. — GENERAL RULES FOR SINGING PSALMS. J and in the <lPsalmi cum notispro Vesperis et Officios give here only some general rules. and then sing it according to the Rules of Psalmody. consists of two distinct books by an asterisk (*). 77 Exercise : Read one of the following Psalms (p. Psalmody. : Intonation 1st Mode E \ \ 3rd Mode d 7th Mode h-fS—S Di. To sing an intonation well. . which is not repeated after the first verse.xit Con-fi- D6. whatever may be the quantity of the syllable. 80). II.aG161 tus vir ri- a Pa-tri the title An English translation " may be had under of " Rules for Psalmody. parts. The Psalms Each Verse in the liturgical are divided into verses. the rule without exception is One syllable to each note or group.

Tenor _i Mediation I Defectiet > B * / 3 • D te- nuturet it me tus li- non a sum Pa-tri baFi- Glori- . The Cadences are called Mediations and The Mediation is the musical phrase pause marked by the asterisk (*) the verse.miDefectio — — r—?—Q—. Cadences of one accent. Modes : the Finals of the 5th and All the other Cadences have one accent. before the after the first part of The verse. The Cadences of two accents are the Mediations : of the i st. Final is the musical phrase at the end of the These Cadences have one or two accents.—ftl-n ft / no tenu- meit me ni Magna opera Tenor D6. The Tenor the verse is or Reciting Note is the note to which sung.miFinal 8 J 1 / ' ' 1 D • is se-de a ante luci- fe- rum manet in sse- dexgecu- tris mei nu- te li lum sae-cu- Cadences of two accents. 3rd and 7th 7th Modes.1 78 PART III. Finals. Tenor g ft* Mediation 1 1 8 Do. CHAPTER II.

value -to the length- ened syllables* 35 Di. of the mated enough to allow of The movement . Pause equiva"ilent in ~ rail. —— 79 Final — GENERAL RULES FOR SINGING PSALMS.— I. J — -!—•f i 1 —— P * U Begin the folloiving verse or the antiphon immediately. If the half verse is too long. a dextris me- Do-nec psalmody should be anieach half-verse to be sung in one breath. Final rail. lengthen the movement the mediation. the sign of theyfe* (f) marks a slight pause. To as for sing the final correctly. and make a pause of the same value syllable. slightly lengthen the movement after the last accent. then as the last begin the following verse or antiphon. fe^g se-de U —U — is. IntonationTenor or reciting note Mediation rail.xit Do- p p —^ p p mi-nus D6-mi-no me (me- o) Tenor. rail. semini in proper rendering of the cadences. and then make a for the Rules pause of the same value as the lengthened syllables. To sing the mediation correctly. Tenor I 7 di-li- / D 1 D • is sede a abundantia et dexgene-jus tris ti- mebus sae-cu- te la.

So

PART

III.

— CHAPTER

II.

II.

— Accented

Psalms,
et

PSALM
Dixit

109.

nunc,

semper, *

et

in

ssecula saeculorum.

D6minus Domino
*

Amen.
psalm
Confitebor
in toto

mdo
meis.
tiios,

:

sede

a

ddxtris

110.
tibi

Donee ponam inimfcos
* scabellum

Domine
:

pedum
emit-

cdrde

m£o

tuorum.

consilio
virtiitis tiiae

justorum,

et

* in con*
:

Virgam
tet

Dominus
in

ex

Sion *

gregations Magna opera Domini
in

dominare

medio inimicd- exquisita
tes djus.

dmnes volunta-

rum tuorum.

principium in die Confessio et magnificentia virtiitis nine in splendoribus dpus djus; * et justitia £jus sanctorum * ex utero ante manet in saeculum sabculi. luciferum genui te. Memoriam fecit mirabiJuravit D6minus, et non lium suorum, f misericors et * tu es miserator Dominus: * escam poenit^bit £um sacerdos in aeternum, secun- dedit tim^ntibus se. dum ordinem MelchiseMemor erit in speculum dech. testamdnti sui * virtiitem
:

Tecum

:

:

Dominus
is,

*

a dextris tiicon fregit in die irae
in
:

suae reges.
Judicabit

6perum suorum annuntiabit pdpulo siio. Ut det illis haireditatem nationibus gentium * opera manuum
:

implebit rufnas * conquas- ejus Veritas et judicium. Fidelia omnia mandata sabit capita in terra multdrum. ejus t confirmata in saecuDe torrente in via bi- lum sseculi * facta in veri* propterea exaltabit tate et aequitate. bet
:
: :

caput.

Redemptionem

misit

pd-

Gloria Patri, et Filio, * pulo suo:*mandavit in aeteret Spirftui Sancto. num testam^ntum siium.
Sicut erat in principio, et

Sanctum

et terribile

nd-

N.-B. In Ihe following Psalms, the syllables which correspond to the melodic accents of the mediations and finals, are printed in bolder type.

1

1,

II.

ACCENTED PSALMS.

8l

men
tiae

initium sapiendjus PSALM 112. tfmor Domini. Laudate piieri DdmiIntellectus b6nus omni* num laudate ndmen bus faci&itibus eum * lauDomini. datio ejus manet in saeculum Sit ndmen Domini beneSaeculi. dictum, * ex hoc mine et PSALM III. usque in saeculum. Beatus vi'r qui timet Do A solis oitu usque ad minum; * in mandatis ejus occasum, * laudabile ndmen Domini. volet nimis.
: :

*

:

P6tens in terra
djus
:

erit

semen

* generatio rectorum

benedicdtur.
:

super gentes Dominus, * coslos gloria ejus.

Excelsus

omnes
et

super

Quis sicut Dominus Deus Gloria et divitiae in domo * et justitia ejus ma- noster, qui in altis habitat, * ejus net in saeculum saeculi. et humilia respicit in coelo Exortum est in tenebris et in terra. Siiscitans a terra fnolumen rectis * misericors pem, * et de stercore eriet miserator et Justus.
|

:

Juoindus homo qui mise- gens pauperem. Ut collocet eum retur et commodat, t disponet sermones siios in judicio * quia in aeternum non
:

cum
princisteri-

principibus,

*

cum
facit

pibus pdpuli

siii.

COmmov^bitur. In memoria
:

Qui habitare
aeterna
erit

Justus non timebit. Paratum cor ejus sperare
in

lem in domo, * matrem * ab auditione mala filiorum laetantem.
psalm
113.

Domino,
:

t

confirmatum

commo6st cor djus vebitur donee despiciat ini- pulo barbaro.
mfcos
bus
:

* non

In exitu Israel de pto, * domus Jacob

^Egyde pd-

siios.

Dispersit,

dedit

pauperi-

Facta est Judaea sanctificatio £jus, * Israel pot^stas
ejus.

f justitia ejus
:

manet

in

Saeculum saeculi

* cornu
\

Mare
!

vidit et fugit

*
:

ejus exaltabitur in gloria.
tur, t

Jordanis conversus est

re-

Peccator videbit, et irasce- trorsum. Montes exultaverunt ut dentibus siiis fremet et * et cdlles sicut * arietes, pecdesiderium tabescet agni ovium. catorum peribit.
:

No

fi

59.

-

6

82

PART Quid
est tibi
* et til

III,

CHAPTER

II.

fugisti?

mare quod ciunt 6a * et Jordanis, quia confidunt in dis.
:
:

dmnes qui

protector edrum est. Domus Aaron speravit in A facie Domini mota est Domino * adjiitor eorum t^rra, * a facie Dei Jacob. et protector edrum est. Qui timent Dominum speQui convertit petram in * * Stagna aquarum, et riipem raverunt in Ddmino in fdntes aquarum. adjiitor edrum et protector Non nobis Domine, non edrum est. Ddminus memor fiiit ndnobis * sed nomini tiio da * et benedfxit nobis. gldriam. stri Super misericdrdia tiia et Benedixit ddmui Israel: * * nequando benedixit ddmui Aaron. veritate tiia dicant gentes libi est D£us Benedixit dmnibus qui timent Ddminum, * pusillis edrum?
et
:

conversus 6s retrdrsum. M6ntes exultastis sicut arfetes, * et colles sicut agni dvium.

Domus Israel speravit in Domino * adjiitor eorum

:

:

:

:

:

Deus aiitem ndster in C&lo * 6mnia quseciimque
:

cum
vos
:

majdribus.

Adjiciat
fflios

Ddminus super
et

vdluit fecit.

* super vos,
vdstros.

super

Simulacragentium arg£n-

tum

et

aiirum, * opera
et

ma-

nuum hdminum.
Os habent
tur
:

nonloquen-

dculos habent et videbunt.
dient

*

non

Benedicti vds a Ddmi* qui fecit caelum et terram. Coelum caeh Ddmino, * terram aiitem dedit ffliis
no,

Aures habent et non au- hdminum. * nares habent et non Non mortui laudabunt te odorabunt. Ddmine * neque dmnes Manus habent et non pal- qui descendunt in internum. pabunt; f pedes habent, et Sed nos qui vivimus, be* non nedicimus Ddmino,* ex hoc non ambulabunt clamabunt in giitture siio. mine et usque in saecu:

:

:

Similes

illis

fiant qui fa-

lum.

CANTICLE OF THE
Magnificat * anima

B. V.

M.

m£a

Et

exultavit

spiritus

Do minum.

meus*in Deosalutarimdo.

4. : Suscepit Israel piierum Siium. FOR APOSTLES. Laudate pderi. /. manet VESPERS. Beatus /. chio siio * dispersit superdjus in saecula. 80. — 2. I. COMMON OF APOSTLES. 81. ancillae suae : omnes generationes. vir. misericordia ejus progenie in progenies * mdntibus 6um. * recordatus misericordiae suae. I. 83 Dep6suit pot£ntes Quia respexit humilitatem de * ecce enim s£de. : psalm Calicem salutaris accfpiam et nomen Domini Ego dixi in exc^ssu * m6o Omnis homo men. Vota mea Domino redhumiliatus : sum nimis. 3. Sicut locutus est ad patres F£cit potentiam in bra* Abraham et semini ndstros. MARTYRS AND CONFESSORS. : . — — 2. aetdrnum. est psalm : 116. dax. Qu6niam confirmata super 6]\is : Laudate D6minum omnes * laudate eum gdntes nos misericordia * in et Veritas D6mini 6mnes populi. 81. — I. * et exaltavit humiex h6c beatam me dicent les. Quia pdtens fecit : Esurientes : mihi magna qui nis * * et sanctum inanes. 80. 80. VESPERS. bos mente cordis sui. 115. /. Laudate pueri. est a ti- et divites impl^vit bodimfsit ndmen Et djus. II.invocabo. /.II. propter quod lotribuit mihi? * ego autem cutus sum no. Dixit Dominus. Dixit D6minus. /. — ACCENTED PSALMS. Confitebor tibi. 81 Quid retribuam Domipro 6mnibus quae reCredidi. p.

ita et djus. Et dixi Forsitan tenebrae rens in Austro. salem. : : : tes * Magnincavit Dominus internum. dam coram omni pdpulo ejus : psalm 138. Quo fbo a spiritu tlio? * Tunc repletum est gaudio os nostrum * et lingua no.diliiculo. * pretiosa in conspectu COgnovisti me * tit cognoejus visti sessionem meam et reO Domine quia ego sdr. * in exsultatione me- mea in deliciis meis.84 PART III.et quo a facie tiia fiigiam? Si ascendero in caelum.surrectionem m£am. Dirupfsti vincula mea tibi sacrificabo hostiam lau: * meas de longe : * semitam meam et funiculum meum dis. tenebrce ejus. Si siimpsero pennas meas facere cum eis.dediicet me * tatem ndstram. * sicut liimen manipulos . f et nox sicut : Venientes autem venient dies illuminabitur cum exsultatidne/*portantes siios.extremis maris : : : mus laetantes. sicut tdr. Intellexisti cogitationes : Domini : mors sanctorum Domine probasti me et : et filius ancillae tiiae. * et habitavero in cere nobiscum * facti sii. in medio tlii Et omnes vias meas praevidlsti * quia non est sermo in lingua mea. tu stra exsultatione. * in atriis domus Jeru- Domini. in lacri- conculcabunt me illuminatio : * et nox mis. et nomen Domini investigasti. Etenim illuc : manus tiia * et tenebit Converte Domine captivi. : Qui seminant tent. vus tlius * ego servus tiius. Mirabilis facta est scientia In convertendo Dominus * facti tiia ex me * confortata est. Quia tenebrae non obscute. et non potero ad earn. captivitatem Sion siimus sicut consolati. Ecce Domine tu cognovisti omnia novissima et antfqua * tu formasti me. Magnincavit Dominus fa. ades. rabiintur a Eiintes fbant et flebant. — CHAPTER II. et : : tiiam. Vota mea D6mino reddam in conspectu omnis populi ejus. invo- cabo. Tunc dicent inter gen.lllic es * si descendero in : psalm posuisti super me manuum 125.me dextera tiia. * mittentes semina sua.

et scfto * interroga me. Surge D6mine in requiem : . ACCENTED PSALMS. Vespers. FOR CONFESSORS BISHOPS. Dinumerabo eos. dinis djus * Ecce audivimus dam in Sicut juravit Domino. Vespers. t meum et bam? lllos in libro omnes scribdntur:*dies formabuntur.cum Domino. : : psalm : : Si introiero in tabernacu- in campis : silvae. Si occideris : * tores declinate a : viri Deus peccasanguinum : me mirabilia 6pera tiia. Ephrata * invenimus earn v6tum vovit D£o Jacob 131. in me me FOR MARTYRS. et 8 tu possedisti rdnes * suscepisti me de utero matris meae. * et palpebris meis ejus. Mihi autem nimis honorificati siint amici tiii D£us * nimis confortatus est principatus eorum. cognosce sdmitas m£as. exsurrexi. Credidi. * et 6mnis mansuetii. except the last Ps. si via iniquitatis * et deduc in via aetdrna. 83. * si ascenlum djus * adorabimus in dero in lectum strati mdi steterunt pddes Si dedero somnum oculis 16co ubi m£is. Et vide. in the I. quod os civitates tiias. except the last Ps. Et requiem temp6ribus meis donee inveniam loMemento Domine Da* tabernacuvid.II. Introibimus in tabernaculum ddmus m£ae. As in the I. oderam? * et super inimicos tiios tabescd- Imperfectum runt oculi tiio tui. et super arenam multiplicabiintur: * : Perfecto odio oderam * et inimici facti sunt : mihi. Confitebor tibi quia terri* biliter magnificatus es Quia : adhuc sum m£os tdcum. dormitationem. as above. Proba cor et me : meum est : Deus. As p. fecisti * accipient in vanitate Non est occultatum meum a : te. as follows. et anima ne Quia : dicitis in cogitatio- mea cogndscit nimis. et nemo in 6\s. Nonne qui in occulto * et substantia mea vide- in inferioribus tdrrae. oderunt te Domine. lum Deo Jacob.

— CHAPTER : II. * sedes super Jerusalem. 80. * et sancti tui Haec requies mea in saejustftiam culum saeculi * hie habitaexsiiltent. Propter David sdrvum bo qu6niam elegi dam. /. I. David. Quia illic sederunt sedes in judicio. f testimdnia docebo eos et mea : hsec. : mum Domini tendum ndmini Domini. Dixit Dominus. : : : Juravit Dominus David saturabo panibus. As in the I. sedem tiiam. FOR A CONFESSOR. * non avertas faciem benedfeam * pauperes ejus Christi tui. quae aedifica* ciijus partur ut civitas ticipate ejus in idipsum. Illuc prodiicam cdrnu David./. Si custodierint filii tiii * et sancti ejus salutari exsultatione exsultabunt. 121. . — 2. Inimicos ejus induam con* super ipsum fusione : Et filii eorum usque auterri efflorebit sanctificatio saeculum. * in atriis tiiis Jerusalem. Viduam ejus benedicens tlium. 81 psalm Illuc tribus. COMMON OF VIRGINS AND HOLY WOMEN.86 PART III. Stantes erant pedes ndstri. * paravi lucernam : testamdntum meum. Quoniam elegit Dominus tiiam. FEASTS OF OUR LADY. Vespers. enim tribus Laetatus siim in his quae * In dodicta sunt mini : Domini ascenderunt * : testimonium Israel ad confi- ibimus. * sedebunt super mea. et non frustrabiSacerd6tes ejus tur tiii induam dam * de friictu ventris ponam super sedem : tiiam. * tu et area sanctificationis tiiae. Rogate quae ad pacem Siint Jerusalem * et abun: domum dantia diligentibus te. quae in Chrfsto meo. Laudate piled. veritatem. Sfon * elegit earn in habiSacerdotes tiii induantur tationem sibi. NOT A BISHOP.

psalm fratres 147. * invocarem exaudivit orationem m6am. Qui emittit el6quium * velociter Siium terrae : Dominus custodierit ciirrit civitatem. et exaudi me Deus m6ae * : in tribulati6nedilatastimihi. .sicut bucc6Uas * ante faqui postquam sederitis. Nisi Nisi Dominussedificaverit * in vanum labora- pacem satiat * et adipe frumenti te. meos et j : prdximos meos. siiis in S7 Fiat pax in virtiite et tua * qu£tur inimicis ta. verunt qui aedlficant 6am. nam : siirgite Mittit crystallum siiam man. * quaesivi Quoniam confortavit seras bona portarum tuarum * bene| dixit filiis tiiis in te. et merces. : 1 judicia sua : Israel.liquefaciet 6a * flabit spiD6mini. * frustra vigilat qui custddit 6am. Sicut sagittae in manu Qui anniintiat verbum * ita filii pot6ntis excus.II. filii ctus v6ntris. nostri. psalm 126. Non fecit taliter 6mni Beatus vir qui implevit * et judicia stia desiderium siium ex ipsis * nationi non confundetur cum lo. s6rmo 6jus. por- abundantia Propter in tiirribus tiiis. Filii hominum usquequo gravi cdrde? * ut quid dili- . fru. Qui posuit : fines tlios ddmum. ciem frigoris ejus quis SUSCum dederit dilectis siiis tinebit? somnum * ecce haereditas Emittet verbum siium. * loquebar Lauda Jerusalem Ddmi- num gfon.non manifestavit eis.Siium Jacob * justitias et : liicem surgere * : : : : : SOrum. Cum Miser6re m6i. * lduda D ^ um : pacem de Propter tlium te : I domum Domini D6i tlbi. et fluent aquas. ducatis panem doloris. Vanum est vobis : Qui dat nivem sicut la* nebulam sicut cineante rem spargit. — ACCENTED : PSALMS. 1 PSALMS FOR COMPLINE. justftiae PSALM 4. ritus ejus.

et a verbo aspero. Qui habitat caeli Sacrificate sacrificium ju- sperate in no.mdus.tatis. non * daemonio meridiano. a neg6tio perambulante in * ab inciirsu. sti me Domine Deus veriEt scitote ficavit : Care Irascimini. Quis Dicet Domino Susceptor : ostendit nobis Deus meus spemeum Signatum est super nos rabo in £um. Cadent a latere tuo mille. vestris compungimini. * accelera ut eruas tiiis : ' * non timebis a £jus timore noctiirno. Esto mihi ! propinquabit. Domi: Dei commorabitur. * ut salvum me facias. * quae dicitis in cordibus vestris. Non accedet ad te ma* et flagellum non Educes me de laqueo hoc lum : * spes . et nolite pec. vini et Scapulis siiis obumbrabit * multiplicati sunt. Sciito circiimdabit te Ve- me. psalm 30. tidnem peccatdrum vid^bis. * Dominus exaudiet spiritum meum * redemime cum clamavero ad £um. : bona? meus es tii et refugium * : frumenti. confundar in aeternum in justitia tiia libera me. lumen vultus tui Domine * Quoniam ipse liberavit dedisti laetitiam in corde me de laqueo venantium. -- CHAPTER II.considerabis * et retribugii. * meo. Qu6niam tu Domine singulariter in spe * constituisti sperabis.* 88 gitis PART III. Quoniam fortitudo mea : Qu6niam : tu es D6mine * Altissimum et refiigium meum es tu mea et propter n6men tiium de. vanitatem et quseritis quern absconddrunt mihi: qu6niam tu es protector mendacium? quoniam miri. oculis tilis tectdrem et in domum refii. Dominus sanctum In manus tuas commendo Siium. I In te Domine speravi. sagitta volante in die. Inclina ad me aurem et decern millia a dextris ad te autem non aptiiam. et in adjut6rio * in protectione Altissimi. duces me et eniitries me. in cubilibus : PSALM 90. * Miilti dicunt stitiae. in Deum proI Venimtamen : .posuisti refugium tiium. et t^nebris ritas : A : : I me. olei siii * et sub pennis 6jus tibi In pace in idipsum * friictu : A d6rmiam et requiescam.

89 appropinquabit tabernaculo tiio.benedicite Dominum. et terram. PSALM 129. : ris Ddmine : * Dcmine. Quoniam liberabo in : me speravit. . Fiant aures tiiae inten.Israel in Domino. * in vdeem depreca* speret que ad noctem tionis meae. et ego Quia viderunt oculi m&\ * : CANTICLE OF SIMEON.ex Sfon. * et Super aspidem et basili. * omnes s£rvi Do: 6mnibus vfis | Qui I statis in mini. — ACCENTED PSALMS. Angelis siiis * ut cute mini : psalm 133. verbum tuum in pace Clamabit ad me. SPECIAL PSALMS SUNG ON CERTAIN FEASTS. Sustinuit anima mea in te Domine * Domine exauverbo 6jus * speravit anidi vdeem meam. ciem omnium populorum : : eum. quoniam cogndvit notiium Domine.II. Si iniquitates observave. * et gl6riam plebis tiise Israel. oflendas ad In noctibus ! ma- lapidem pedem tiium. salutare meum. Nunc dimittis servum : Longitudine pl^bo illi dum : dierum reLiimen ad revelationem * et ostendam gdntium. * in atriis domo D6ddmus D£i extollite In te : manibus * ne forte portabunt nostri. scum ambulabis * et conBenedicat te Dominus culcabis leonem et dracd. est : * et propter legem tiiam De profiindis clamavi ad sustinui te Ddmine. Qudniam mandavit de stodiant te in tuis. * qui fecit caelum nem. * secundum men meum. quis te propitiatio Quia apud : Ddminum * et copiosa sustin^bit? misericdrdia Quia apud apud £um red^mptio. sum in tribulatione eripiam Quod parasti * ante faeum et glorificabo £um.ma m£a in Domino. nus vestras in sancta. : : A custddia matutina usdentes. Ecce mine benedfeite D6minum. dum * protegam exaudiam £um * cum ipso salutare tiium. I .

aquae eorum Super misericordia tiia et sunt montes in fortitudine : : : I veritate tiia * : quoniam ma- djus. et turbatae sunt conturbati et confitebor nomini tiio. Sonuerunt. et humflia respicit : Uxor tua tiiae. Quoniam excelsus D6mi* nus. in anima tibi mea iniquitatibus virtutem. Et videas filios filiorum tuorum. gloria Domini. * pacem super Israel. Lab6res quia es. * tiiae. omnes reges : terrae * quia audierunt omnia verba oris Ddminum. sicut vitis abunI dans. gnificasti Fliiminis impetus laetificat super omne nomen * sanctifisanctum tiium. vivificabis me * et super iram inimi: in circuitu mensae corum meorum I extendisti manum fecit tiiam. et 6mnes qui timent tui * qui ambulant in viis djus. exaudi me: : . tionibus. I psalm Deus noster refiigium. i tuarum ne 45. Confiteantur Domine : psalm Beati 127. * qu6in toto corde meo Propterea non timebimus niam audisti verba oris mei.9Q PART omnibus III. et salvum benedicdtur ho* mo qui timet Ddminum. * in lateribus Filii tiii et alta a ddmus Si longe cogndscit. Benedicat tibi Dominus * et videas bona ex Sion sic : Ecce me dextera tiia. — CHAPTER II. * multiplicabis ex ejus. manuum tuarum : Et cantent in viis Domini * quoniam magna est : manducabis bene * beatus tibi 6rit.cavit tabemaculum suum * Altissimus. dio tribulatidnis. dura turbabitur terra * et In conspectu Angel6rum transferentur montes in cor * adorabo maris. opera madespf- cias. Et ipse r^dimet Israel. psallam tibi ad templum sanctum tiium. ambulavero in me- sicut novellae olij varum. cavero te. quae inven^runt Confitebor tibi Domine nos nimis. : I et virtus * adjiitor in tribulapsalm 137. omnibus diebus nuum . j me Dominus retribuet pro * Domine misericordia : i tiia in saeculum : Jerusalem vitae tiiae. civitatem Dei In quaciimque die invo.

D£us Jacob. — ACCENTED PSALMS. Deus in medio : ejus. Domine labia meam 6go cognosco * et peccatum meum contra est semper. Tibi soli me ries : * et os m£a apemeum annuntiiam. Ecce enim veritatem dileDominus virtiitum nobfs. Vacate.dium et laetltiam * et exsul* et scuta tabunt ossa humiliata. : et exsultabit lingua mea jus- iniquitatem tftiam tiiam.ficium. : laudem Qu6niam si dedfssem * : . Venite. * et spiritum sanctum tlia psalm 50. et con. mdta est mda. iniquos Docebo Et secundum multittidi: : Averte faciem tiiam a pecigni. Arcum conteret. Super t^rram : : : : Auditui meo dabis gauusque ad ffnem tdrrae. fringet arma bella : : comburet secundum miignam miseripal conffrma me. biscum Ne projfcias me a facie D6us Jacob. et videte quoniam catis meis * et omnes iniego sum Deus * exaltabor quitates m£as d£le. non ris in 91 tiiis. et videte 6pera Asperges me hyss6po et prodigia p6suit D6mini. Libera me de sanguinibus Amplius lava meab iniqui* et a peccato Deus. cdrdiam tiiam.et malum * ut justiflce. earn Deus mane diluculo. Redde mihi laetitiam saluMiserere m£i Deus. voluisse sacrilitique tiabit coram te feci peccavi. * et spiritum rectum noDeus Dominus virtiitum * susceptor n6ster innova in visc^ribus meis. Cor miindum crea in me in terra. Ecce enim in iniquitatiConturbatae sunt gentes.xfsti * incerta et occulta * susceptor n6ster sapientiae tiiae manifestasti cum mihi. Deus saliitis m£ae * tate mea : : mdo miinda Quoniam me. tiium ne auferas a me. * auferens et super nivem dealbabor. * taris tlii * et spiritu princi: | i] : : I : : vfas nem miserationum tuarum/* tiias * et impii ad te convertentur. bus concdptus sum * et in * peccatis concepit me et inclinata sunt r£gna mater : : dedit v6cem siiam. dele iniquitatem m£am.II. quae mundabor * lavabis me. sermonibus et vin- COmmov^bitur * adjuvabit cas cum judicaris. t£rra.

notes. a) are grouped together in the writing should not be separated in the singing. Quod descendit in oram aedificentur miiri Jerusalem. incisa. 2. 4. Application of the text melody with rhythmic I. bdnavoluntate tiiaSion:* ut barbam. Quoniam fllic mandavit nent super altare tiium vftu: los. — Then the words. Dominus benedictionem. barbam Aaron. non delectabe- psalm 132. — CHAPTER Ecce III. signs to notes. — Read the giving due prominence the accented — Carefully notice the phrases. ictus (p. signs. * usque in saecu- CHAPTER to a III. et Sacrificium Deo : spiritus quam bonum. but distinguished one from the other. holocaustis ris. sing rules to. sacrifiacceptabis vestimenti Tunc ejus. 5. — b) ac- . Miserere mei Deus serere 7/1 it. and bars breathing.montem Sfon. text attentively. — Observe the rhythmic added the — Find out the notes which receive an — Sing the taking the preceding account. qui descendit in holocausta * tunc impo.! 92 PART III.*habitare linum Sicut tum et humiliatum Deusnon fratres despicies. rules into 6. Benigne fac D6mine in pite. to syllables. : * mi. for 3. 22). * sicut ros ung-uentum in ca* quod descendit in cium justitioe oblationes et Hermon. — Practical Hints. In doing so the following — Notes and neumes which should be adhered 1. in contribulatus * cor contri- quam jucundum. they should not however be mixed up together.et vitam lum.

Dominus -r De- N us Saba. The movement of Plainsong ought to N. note of the clivis : 4. d) the Golden Rule should be observed: Never breathe before pronouncing a new syllable in a word — — already begun. take the following Sanctus. 93 c) the cented syllables should be introduced softly. A chant should always keep its proper movement.-8. note of the podatus 7. Speed. 13. San23 24 25 26 . — ANALYSIS OF A MELODY WITH RHYTHMIC SIGNS. 17.• — j j jyi^n. 27 San- San- ctus. d) Notes which receive the ictus dotted notes first first : 5. 25. divided into four phrases 6. B..II. an animated movement as far removed from drawling as from hurrying. . g. . Note the phrases. 10. 18. rhythmic ictus should not be prolonged or struck harshly. 19. . b) Dominus Deus Sabaoth. — Analysis of a melody with rhythmic signs. i 23 8 — +—ir6 7 8 9 10 11 12 13 — 14 15 16 17 18 19 20 21 1 22 + . ctus. bars for breathing There is only one sentence. 21. giving due prominence to the accents : Sanctus. : 9. Sanctus. 19. 24. Sanctus. j r \ 32m r ctus. of subdivision or episemata 3. It should be be that of deliberate recitation or reading. 26. a) Read the text. by the quarters of bar c) 14. to the notes : Rhythmic : signs added The dots The marks The The The The 5. 13.oth. whatever may be the degree of the feast. 26. . 20. incisa. 22. . 12. and apply these 4 5 Let us rules. culminating note of the climacus 11. 23. — II. e.

92.nus De. 16. all. The The The In e) first note of the torculus i. 1 2 3 5 6 8 9 10 12 13 8. (p. 15. B. \—^s Sanctus. — The same melody transcribed into 1 modern 56 notation. i Sanctus. 10 11 12 23 4 789 San25 131415 1617 J8 San1920 21 ctus. N. 21. 23 ctus. — How to sing a melody without rhythmic signs. first note of the pressus : 2. They should receive a slight impulse of the voice.us 14 15 16 17 18 19 20 izbzs ZZiTP Saba.* 94 PART III. 12. notes marked with the episema . 9. n° 6). 17. We ad take as an example Sanctus n° 3 from the Cantus libitum in the Vatican Kyriale.oth. without being prolonged. ictus.3. ctus D6-mi-nus De- 23 dots above the notes mark the 23 notes which receive the ictus or rhythmic touch. 23 cases of Sing the notes according to these indications. 35 ^ Sanctus Domi. — The IV. f) Sing the words as indicated above Ill. . 26 27 San- 22 24 —g * —g—« 3E£ #^3— ^g us Sa-baoth. — CHAPTER : III.

12. The following transcription into modern notation will show the rhythm more perfectly. which are marked : here we have only quarter bars a) by the bars (p. 6. — The single notes n08 7. N. or of three notes (scandicus. torculus. 20 Sanctus D6-mi- 12 13 14 t6 15 16 1 17 19 * +^m * * * * * * De. 3. by the middle notes of formula of more than three (p. ^ 1^^^ P^r ~ 123 4 5 6 789 1 10 11 ep nus San- ctus. 20. rhythmically belong to the preceding group. 10. 19. this melody we have vocis or : — The morce long notes. 19) and a double bar. The binary or ternary subdivisions\ which are determined : — a) by double or triple notes (strophicus). 8. We c) find the groups 2. (The asterisks above the notes mark the rhythmic divisions). they should be doubled b) by the blank spaces (p. n° 15.us Sa- ba- oth. but they are strong on account of the tonic accent. 13. The notes lengthened on account of these bars are n os 4. which divides into two the group of four notes n° 17. climacus. 15). . — HOW TO SING WITHOUT RHYTHMIC to find out SIGNS. 9. B. 8. which should be doubled. 1). We find only note 2. 18. 15). or nearly so. p. 11. notes This is the case of note n° 17. 5. 14.: IV. 21). We have only one strophicus (n° b) by formulae of two notes (podatus or clivis. 20). * 18 San-ctus. p. 95 In 1.

et illuminabit . Ze-lus domus tu-as -_-4. etopprobri-a exprobranti-um ti-bi ceci- b r.nas decoris meru--erunt de manu De- i. > m 4 (615) s j derunt super me. 1 — Edition with rhythmic signs. alle-lu- Ori-e-tur* rail.t i=3 abscondi-ta tenebra-rum. : * - et non . 1 ." B . the Solesmes Liber Usualts. — Progressive exercises with and without rhythmic signs. i. in di-ebus Domini abun- Hc— — 3 (295) 8 •- pfej^ danti-a pacis s et dominabi-tur.et g Do minus. 1 comedit me. A. tarda-bit. ad omnes -^ 2 (140) — __« t 5 s ia. § I. — Thirds. Cum palma "T" -* * ad regna pervenerunt • — -i *tH — PL 1 \ \f^\ < • _• [ sancti. rail.— 96 PART III. e. 1903. gentes. . — CHAPTER III. — Do clef 4th line. . l=E5 1 (116) l =t= h T^r-i Veni. 1 coro. V. et mani-festabit se rail. : 1.

vari- ba-oth. 3 ctus. J •- W Qui "«- tol-lis pecca-ta mundi. the Vatican Kyriale. alle-lu-ia. l E — Edition with rhythmic signs. 8voed. * Sanctus. »z-«i.re Agnus De- 7 (i9*) \ no- J=K i bis. e. published Co. 1 5 (14*) btt >»».PROGRESSIVE EXERCISES. Dominus Deto us Sa- * 6 (17*) : j : g ^ . - 7 . Pleni sunt cae-li et terra glo- a tu-a.a et flumina * benedici-te : hymnum di- S-T— r l< ^ "•"'•• f 2 1 (413) " P-T^- ci-te fontes 1 Domino. Scimus Christum surreby Messrs. = — 2. £ i8 (198) -8 — Domino i=3 • Mari. N° 659.. Lefebvre & i. Desclee. B. suscipe depre- §==3 ca-ti- '+T onem nostram. . Sans 1- s s fc* Sanctus -—«- #. T* * qui tollis * 55 peccata mundi : 4 mi-sere. 3=*=3 rail. 97 1 — Edition without rhythmic signs. — Fourths. A.

tu nobis victor mise-re-re.a.-a-*—p»—* petu-a s —%-s-A 7TT et asterni-tas * lucebit Sanctis tu. alle-lu.is D6mi-ne.1 98 1 I PART III.7*) '' ' ' S— ni-am tu solus sanctus. t S E (13*) *-*-* i * 6 * £-£-a-v mi-se. B. III.is vere (579) . > • - i - • Rex. rail. San-ctus >- s £lS Pleni sunt caeli V Dominus De-us Sa-ba-oth. 3 s gas At Jesus con versus. et terra glo- .* Sanctus.ia.ctus. . . di-xit : Confide 4 * (590) r -•— »- j- Hi - t salvam i rr~rf> fe-cit.ia.Jh xisse a mortu. Quo- (. Qui se-des ad dexteram Pa-tris. 8 k . -5-Hi- • ' £*-*. fides tu-a te alle-lu. I t temporum.re-re nobis. / K ' k H- - ' j San. Lux per- 1 . * -• ' " a-j fi-li. — CHAPTER . — Edition without rythmic signs.yz//. * et videns j^=-T-^3 e-am.

rail. — Fifths. S=! bonae pax ho. alle-lii-ia Ora pro nobis De-um. ^=^=n allelu-ia -•— * : Regina caeli laetare. Apostolorum glo-ri- f\ m 1 "li 1 *• 1 . rail. Dum >- 2 ^94) ii . vo-lunta-tis.mi-ni-bus > I ^& 3. b:--~ "" « ' * '1\ 1 '" II \ •. Juxta crucem lacrymosa. alle-lii.* am Tellus et astra concinunt. 3 (584) ==_ f.__ \ pendebat Fi-li-us. • : sicut dixit. 99 til ri- 4 V-'-pr Et in terra +—•- to a tu. . alle-lii-ia : Resurrexit. — PROGRESSIVE 7 i (18*) EXERCISES. * t isti Qui-a quern meru"6-i" portare. 1 — Edition with rhythmic signs. — a- Cae-lum resiiltet laudi-bus rail.a.ia. a* Exsiiltet orbis gaudi-is. A. (1223) 4=3 Stabat Mater dolo-rosa rail.V.

— IOO PART III. A. I — Edition with rhythmic signs.e ' t * rall.urn. e b=B r e- >-1S a • P le. rw//. § II.i-son. — Thirds. — Edition without rhythmic signs. : 1. 1 -*-= I) =3 ' Lumen * ad reve-la-ti- onem et glo-ri- am pie- . — CHAPTER III. rail. Christe e-le- 5(9*) a * Domine De-us. rail. & i-son. 4 S (8*) . 6(12*) e* * Ky-ri.T1y-L^ 33 as EfflEizjEEaE !* ir dL - ar 4r . B. * —nr-^-t-] Genti. I H (757) . Rex cae-lestis. j .> ** 7 (l8«) i ^K =*r-*H *i £" z* -' -r -* 35 Kyri- e-le.i-son. — Do clef 3rd line. M==3 V- > •- De-us Pater omnipo- tens. j .

4 *±*^ bis tii-ae Isra-el. IO! " fl' U I . alle-lu-ia. ni-si bibam il-lum E* w fi- . Sacerdo-tes D6-i *benedi-ci-te D6- T 6 • : 4HHH servi D6-mini minum hymnum tdi-ci-te De. ' p^. Chri-ste ^^ *^F e16.i-son.o. m//. . 3>> >. alle-lu. tt : *»ri Agnus De.% w'—m . — Edition without rhythmic signs.i-son.lix transi-re. dixit 6- is : Pax v6bis. i .ia. 5 C al (4*) ^ / A II rail..t-s 6(7*) 6-r > 1_ a ' it "L. rail.ia. 3 5 (427) . clausis.le. ^ at vo-liintas tu. 3=3 ingressus Post di-es 6c-to *janu-is Dominus *~ 6 -« 4 E (294) —=—«— -4Hh = H- ^-i ter. allelu. iff. — PROGRESSIVE 2 (632) > C EXERCISES. Pa- * 1=* si J-ftr non potest hie ca.i.e e. * Ky-ri.V.a. * qui t61lis pecca-ta mundi mi-se-re- . B.

r 7 (2 2*) > A iy\ ^ ^ k.-».e rail. 2. I Cum HI vocatus S fi — j- T-fr - -d fu-e-ris * ad nupti-as. i -— - * ut di-cat tibi qui te * invi-tavit : Ami-ce. -—- A.T 102 rail. PART III. p >a i V\ V — 'Y-r-i -—+— . 1 re no. Z (128) r*± * Rex pa-ci-ficus >• Magni-ficatus est super omnes reges 2 i (145) 1-' t£ u-niversse terrae. ** \^&£=&a ' - e- le. 1 6 — Edition with rhythmic signs. reciimbe in novissimo loco.bis. — CHAPTER 1 III.i-son. S^- 8 — 1- > £=5: i 3 (554) ante fa-ci-em D6mi-ni quoni-am ve-nit. et e-rit tibi glo-ri- a coram simul discumbenti- .i i'n'-MN > i . Ky-ri. f* et exsiiltet terra Laetentur caeli. — Fourths. ascende supe- * ri- * a - - us .

ri- jTizniLl g ae.* V.e >M -ru^ h > k-F* I ** e- le.i-son. sus qui vo-ca-tur p' h-^-r.te-re t qui * Is t61lis J > 33 iv *a ' ^% mi-serail. *- • • *— -» I £=s vi-rum alle-lii. 1 . B.tro. alle-lu- ia. Chri-stus t 1 £* > a ' 3 VN alle-hi-ia. — PROGRESSIVE 4 (436) EXERCISES.ia. 7 (29*) ! r^^vi Ky-ri. 103 V bus.J g^ Ma- de qua natus est Jerail. — Edition without rhythmic signs. entem de templo. (24*) 8-^ ^S dex.di- -** * 6 j-fcA n a 3 i. M-=J r£-re A pec-ca-ta miindi n6bis. 5(2*) 6 fcttgiaor Vi-di aquam rjpnr~T * egre. Jacob autem* g£-nu-it Joseph g g n\. SE M^l* allehiia i Agnus D£* la. .

— CHAPTER III. decora Mentis (649) •— —e-jus. — Edition without rhythmic signs. De.— io4 PART III. 3.ae Domine. **//. Be-atus ille servus * quern cum vene-ritDominus 4 (853) H et pulsave-rit -—• H=3: t-t 1=£3=3 janu-am. Rex cae-lestis. B. 1 — Edition with rhythmic signs.us Pa-ter omni-potens. I Quam SS3*: ^ E 3 v 'S . alle-lu-ia. ' Alie-lu-ia. % m S«* f«* do T he magna . .af *multi-tii- dulc6di-nis tu. sit t * jubi-la-ti-o. ^ t& 3 s * Sit juciinda. — Fifths. (1223) ^ 2 i (491) =— —• E " 3 Sit laus plena. invene-rit vi-gi-lantem. so-nora. 1 i —nr -* H=s=-=3 Domine De-us. sit rail. 1 5 (5*) n r~T-*"i — rail. alle-lu-ia. .>- A.

. h-imini. 1. 105 6(6*) t I !• j^V terra 1—'-* ri-a tii-a. Edition with rhythmic signs. I Ple-ni sunt cae1 I li et a fb glo- Hosanna 1 A . — Fa — Thirds. rail.. . • 1 1 1 ^Et^rna lux credenti. ^ Ho9 " a . 2 (196) •#* *E= in ttJg * ploratus et • • Vox Rama audi-ta est. 3 EEEi h— sis. .um. ±=T Redemptor 6mni-um ' Intende vo-tis suppli-cum. rj «_ i **-± 1 gg *s « Do- in excelsis. mi-se re-re nobis. — PROGRESSIVE I EXERCISES.ator alme siderum. u-lu-la-tus. — . Jesu. § III. 1 1! (106) a - % Cre. clef. Bene-dictus qui ve-nit in no- mine .— V. > 7 (33*) sanna 1* ' in exc£l- Qui s6des ad d£xteram _ % E 1 - Patris.

* Sanctus.os. >I" al-le- lii-ia. [I 6 jj (S3*) t- « . ^-> T=i Sanctus nobis. bant sancti tu-i Domine. — Edition without rhythmic signs.ia. PART III. * fl 5 (44*) ?r± peccata miindi : T mi-se-rere Agnus Derail. alle- 4 ! " ( 75 8) . * adjuva rail. * • 1 I ! (588) 1 0 ^ ..=» Sanctus.* Sanctus. >- f. r^— Sanctus a Dominus D6. 3 p« " . Pleni sunt a tu-a. nos. Dominus De. * qui t611is > .us rail. In ve-lamento ^ ! % .. mP * m n lb m * a " . et libera ^ * urn.ia.P ' "a* nos propter Wi a tii- nomen B. r- Rachel plorans fi-li- os i sii. Sanctus. 7 . I . * " P ' S •• a *clama- _ ^ P" "a . i.^ io6 . * (54*) t cse-li -** S=3et terra glo-ri- Saba-oth. . — CHAPTER 3 III.us Saba-oth.. alle-lu. • ' S 3 ]*• a* 3 ]*• i lu. Exsiirge D6mi-ne.

• popu-li per orbem. in nomi-ne Domini. in p % .e lae-tus meru- it be-a-tas -41— > ml 2 (128) a 1 % -• . r1 — a * 1 ft r ii ' p. =J *— et gaudi- •• T Rigem. . > %f 1 M* "S • m f m A P.* cu- i nomen a matris ha- . t _ % % ' * 1 I excel-sis. Benedictus qui ve-nit rail. * — I07 1 — PROGRESSIVE EXERCISES.' ! 1 * * V.e < • m\ . fl 1 H* 'S Hosanna 8 I Pleni sunt cae-li et * terra glo-ri-a tu-a.-_ -=^ co-lentes -• • Quern laudant Iste confessor Domini pi. "-g -fs — ± aeter-num. • •• % 3 % -i .P di.ta vestra : scandere se-des. Hac . g t* Hosanna in excel-sis. A. 1 — Edition 'with rhythmic signs. Fourths. * ecce 3 (153) i » ' -^ — ? Genu-it pu-erpera appropinquat redempti-o vestra. " -Ft Le-vate capi. (650) 7-3 M m .

* alle-lu. fcfadbp G16-ri- ±3 VI De-o. 1 — Edition with rhythmic signs. rail. 5 (39*) > 6 (43*) 1 . * # lu-ci- 1 -—*et ~-T*r%ante saecu-la. A.t 1 jo8 PART • III.cimus te. — Fifths. t ferum geni-tus. rail.it. %M h i g^i^^vSS: Bene-di. % bens a . ' • ft < (872) X=5 Ut que-ant laxis 3-r Mi-ra gesto-rum resonare fibris . >- TC". — Edition without rhythmic signs.. r=a Ante vi-sa est.e r mundo apparu. Sanctus 2ate.nus >- t*V Salvator noster hodi. *-A- x 7 (82*) a in excelsis San-ctus. — CHAPTER _ % _. * Sanctus. B. III. 1=5 • 5 nee habere sequentem. J cum virgini-ta-tis hono-re : nee primam simi-lem >- 4 (198) f. rail. . T ^=Cw r-— -g-3-^-r^— Laudamus Dominus De-us Saba-oth. 3.ia. * Domi.

Sanctus Dominus De. | 109 ia famu-li tu. =3 £ S —n^ in Benedictus qui ve-nit no-mi- .' % pi. .. -M-3^. * Sanctus. =•: ** 35=5 Pie. ±.ra glo-ri- r*~i tu-a.us Saba-oth. vixero. J me tecum rall. 5- Solve pollii-ti labi- i re-atum. San- 2 (804) - - fc: cte Jo-annes. S * Hi mus \ 3 Donee ego «r//. Sanctus.e flere. V. . con- > 3 (66) tf-^I 3 do-l£re.celsis. lu-ia. Fac . < -^i y*: i B. — PROGRESSIVE EXERCISES. Cru-ci-fixo . Be-ne-di-ca- *m at t Dob ^ 4 (470) *TTr*srTT Alle- — — i =&sP mino. sunt cae- a Hosan- iP *-+x-^ittrTZ na in ex. — Edition without rhythmic signs. a 5 (40*) *"= 2TZ * ft-u iv ?~> .ni s li =w•— et ter.6-rum.

H Hosanna * *—% liw in excelsis.crisis.se. .no PART III.ta miindi mi. * <_! qui w & j g n=3 : t61. 4 i=S3*: * 2=J5— »- mi-ni. rail. zxz gg ™//. Hosanna in ex. Hosanna in excel- Agnus De- i.lis pecca. III. — CHAPTER . (44*) gft j j j ne D6mi-ni. i jjg -- gg§ | pcjc \ J 6 .re-re nobis. >- „ IS zX^ Benedictus qui ve-nit in nomine D6- >- 7 (44*) * -8- h r» A i sis.

tr. ornements a froid. cartonne. mais avec les rubriques et explications en latin. et meme indispensables non-seulement la ou le chant de Solesmes a deja 6te adopte. [N° 562] Manuel de la Messe et des Offices extrait du Paroissien et des Varia Preces de Solesmes. ) Un vol. 4-50 rouge 5-50 j Dos mouton imitation chagrin noir. tranche rouge. ier choix. Le meme que in. de 1280 pages. imitation 6-75 tranche rouge 7-10 . ( Notation grigorienne.8 CHANT GREGORIEN Editions de solesmes En attendant l'achevement de l'edition vaticane du Graduel et de Antiphonaire qui vient de commencer par le KYRIALE. — — [N° 573] Le 376 pages meme que le in1 2. titre — dore sur plat. rouge . dos toile. mais partout ou Ton veut des maintenant se mettre a lapplication complete du Plain-Chant restaure et approuve. frs.) Memes prix qu'au N° 562. titre dore sur plat. ( Notation gr^ <rorienne. 2-50. tranche j 567 : Broche. 6-00 . Le meme. Le meme. . [N° 572] precedent. — ( [N° 567] Liber usualis Missae et cibus. 8-50 Chagrin noir veritable. 3-75. pleine toile. 3-00. [N° 566] Paroissien Romain contenant la Messe et TOffice pour les ( Notation gngorienne. Nous livrerons sur demande des Paroissiens.. tranche doree . tranche rouge . tranche rouge. dos toile. Mouton . 6-25 chagrin noir. plats toile. — Le Liber usualis se differencie en Officii pro Dominicis et Festis dupli- du Paroissien Romain en ce que les titres. edition rythmee. sont latin. in. in.18.8-85 . ) Broche : 1-50. ainsi que pour les Vepres. Ges livres completent le Kyriale pour les parties propres de la Messe. etc. 392 pages — le Broche [N° 563] Manuale Missae et Officiorum. . : 2-25. N° Reproduction exacte du 562. 9-50 Chagrin noir . 350 p. les livres de Chant gregorien deja edites sous la direction des Benedictins de Solesmes I sont les seuls qui puissent completer le Kyriale. Pegamoid. tranche rouge. mais en notation mnsicale moderne. 6-25 Basane racine. tranche marbree .12. dor6e. pleine toile.1 Dimanches et Fetes doubles. Liber usual is et Manucls ou les pages comprenant le Kyriale ou Ordinaire de la Messe sont remplacees par la partie correspondante du Kyriale Vatican. cartonne. — Memes prix qu'au N° 572. . 2-10. tr. Seuls ils sont reconnus conformes aux differents Motn proprio du Souverain Pontife et approuves par la Congregation des Rites.. rubriques. . tranche doree . precedent. Prix du Paroissien n° j66 et du Liber usualis n° Toile.. Ils sont done tres utiles. mais en notation musicale modeme % .

— Broche. — [N° 578] Officium Majoris Hebdomadae juxta Missale 186 pages 120 pages in. texte latin et francais. le p. 48 pages in. deme. Rom. (Notation gregorienneJ. ( Notation gregorienne. de 440 pages. — 50 — Appendix Missae fN° 563A] Missae in praecipuis Festis. — [N° 571] Officium et Missae Nativitatis Domini. 0-50. Sanct. [N° 582B] Le meme. [N° 579] Office de la Semaine Sainte. 1-00. Les Messes des principales Fetes se demandent fr£quemment reliies avec les Manuels correspondants. pour tons les Dimanches et Fetes doubles. ( Notation grigorienne. (Notation gregorienne. — — Broche. 0-50.12. S. ) — Broche. — Broche. et Ofiicio- le nio- p. — 116 pages in-18.) Reproduction exacte du N° 578. prix. — 196 pages in-18. — — Broche. (Notation gregorienne. — Memes prix. [N° 601] Psalmi in1 cum 8.) — Broche. 0-35.1 8. (Notation gregorienne. precedent.) — Broche. derne. mais en notation mnsicale mo[N° 572 a] Le meme que — Broche. mais en notation mnsicale [N° 573A] Le meme que — Broche. appendice au Manuel N° 572. appendice au Manuel N° 573. ( Notation gregorienne.12.] remplacant Le meme. C. ) Broche.wrec points rythmiques. mais avec les rubriques et explications en francais.) — Broche. 3-10. — Hebdomadae Sanctae. 48 pages in.18. — Toile anglaise.18. 0-50. extrait du Gradualc. precedent. (Notation mnsicale 711 ode me. in.) Broche. (Notation gregorienne. — 144 pages in-18.) — — [N° 589] Psaumes notes des Vepres et de rOftice. J. dos toile. ) [N° 605] Psalmi in notis pro Off. 0-75. 0-35. rum Solesmensis Manualis N° 563. — 40 pages Messe de goricnne.) [N° 573 ANG.18 [N° 581] A Manual of Gregorian Chant compiled from the Solesmes Books and from ancient Manuscripts. — 40 pages. 200 pages in-18. — Appendice au Manuel (Notation grcdes Offices N° 562. Broche. 280 pages in-8° (Notation gregorienne. — Memes frs lie iS pages en anglais. — 50 in. 0-50. 3-00.) Un vol. [N° 562A] Messes des principales Fetes. ? — . cartonne. notis Officiorum ( Notation gregorienne. sans points. [N° 580] Office abrege de la Semaine Sainte. selon le Missel et le Breviaire Romains. Le prix total est celui des deux brochures augment^ du prix de la reliure du Manuel. la avec une preface preface en latin. precede d un petit Trait e de Psalmodie. [N° 570] Office et Messes de la Nativite de N. 0-75. texte latin.) Broche. et la in. 1-00. Variae Preces ex liturgia turn hodiema turn antiqua collects aul usu receptae. 80 p. et Brev. in-8°. Reproduction du precedent. 1-25. 1-25. 1-25. [N° 582] Kyriale seu Ordinarium Missarum. in.18. 2-00. (Notation gregorienne. Hebd.

( Notation gn?g. in. S. Dom. 4-50: relie peau. - Memes prix. (Notation Relie forte toile. — 126 pages \n-i%.-. ( Notation grSgorienne. rit Monastique avec points rythmiqnes. — Romanum [N° 592A]. 0-30. in-18. 0-80. — Broche. in-4 (28 > 19^). ) Broche. 6-00. texte latin-francais avec chant. [N° 598] Petit Traite de Psalmodie. texte latin. avec tons signes rythmiqnes. Mocquereau O. ) — Broche. Prior 28 pages of Solesmes and Editor of the « Paleographie musicale >>. 0-75.e [N° 589B] Le ( Notation meme sans le Traiti de Psalmodic. les sans points. 1-25. rit — [N° 594] Officium pro Defunctis cum Missa et Absolution nee non Exsequiarum Ordine. 230 pages in-18. supplement au Liber usaalis ( 150 pages in-18. ) Romain. Antiennes et Repons brefs des Petites Heures. juxta ritum Romanum simul ac Monasticum. beau papier Relie de fr.18. 40 pages — Broche. [N° 599] Officium Defunctorum.) Broche. supplement au Paroissien Romain N° 566. [N° 592] Ritus Consecrationis Ecclesiae juxta Pontificale cum cantugregoriano. 0-40. beau papier teinte. en anglais. en rouge et noir — |N° 615] Le meme (sans paints rythmiqnes). [N° 593] Officium pro Defunctis cum Missa et Absolutione nee non Exsequiarum Ordine. Le meme en ilalien. en espagnol. A. 150 pages in-18. (Notation grcgorienne. riche impression en grands caracteres en rouge et noir avec encadrements. 0-75. — Broche. [N° 566B] Chants des Hymnes. 102 pages in-8 u . in -8° (Notation musical 1-00. avec encadrement. ) — [N° 61 5P] Officium pro Defunctis cum Missa et Absolutione nee non Exsequiarum ordine. [N° 64B] Rituale Romanum. 12 a 44 francs. ( Notation gr-Jgoricnnc). ( Notation gregorienne. 0-75. Notation grtgorienne. in-4 (28x19^) grands caracteres. 0-80.1 2. [NT ° 590] Psalmi — et in notis pro Vesperis et Officio in omnibus Dominicis Festis duplicibus. 0-75. 0-50. sans points. — [N° 594B] Le meme. ) [N° 593B] Le meme. 160 pages in. — — . 160 page.Prieres et Ceremonies de la Consecration ou Dedicace d'une Eglise scion le Pontifical Romain.o-75. Broche. impression . rit Romain avec points rythmiqnes. B. teinte.1 8. ( Notation grcgorienne. grtgorienne* ) Broche. — 1-20. 96 pages in-8° (Notation gregoricjine. N° 567.) — Broche. ) Broche. [N° 567B] — Le meme. — [N° 616] The Solesmes Transcriptions into modern musical Notation explained by the Rev. in. Broche. en allemand. ) rouge. — Broche. Broche. tranche grcgoriennc avec points rythmiques. — Broche. 1-20.

12) In Epiphania Domini (in. du Mont..Messes diverses a) se vendant separement : Notation grigorienne. in-8 L Pro Pace (in. M. Immaculate (in-18) Sequences pour la Fete de Flmmaculee Conception 2. 2275. : — . In Nativitate Domini. No No No N° No No 2285.18.. 2° Rosa vernans. Maria: conceptio.. (in. N° 2222.. (in.. 2267. No 2266. 3.12) Dominica Resurrectionis (in. N. (in-18) In Festo S.. In Pnesentatione B. Apostolorum (in. 2289.12) N° 2296.12) Pro Defunctis cu/u Libera (in... 2272.12) Les 3 Messes du i er 2 e et 6 e ton de H..12) modesta. V. 2290. 2276.18) S. V. Joannis Berchmans (in.18) Royah de H. J.12) In Ascensione Domini (in. La Messe (in1 dite M.. in. 0-5C O-IO O-IO 0-20 O-IO O-IO francais. du Mont (in. C.18) N° 2285B Les Messes du 2 e 8) — francais latin et du 6 e ton de H. M. Conceptions B.. 2280. M.12) . 2 messes (in. O-IO 0-15 O-IO 603.12) In Festo Omnium Sanctorum (in -12) In Festo Dedicationis Ecclesiae (in.18) . 2274. (in-8 n ) 36 pages Sacra: Columnar Flagellat.18) In Festo S.. V. No 2264. No 2270. 2284.. 2278. N. . 2281. Gregorii PP. V.. Ad honorem Messiae. . 4° Tota pulchra es. Conceptionis B. Feria sexta post Pascha (in-18) Immac.12) In Festo Assumptions B. 2286.1 2) Missa Votiva de SS. 0-10 0-15 0-15 O-IO O-IO — — : — . 2277. o 226l. — latin No 2286 B Les Messes du 18) — du 6 e ton de H.. D. N Ofticium et Missa S.12) Pro Pace (in.. Angela? Merici.. (in. . c No N No N° N° N° N° N° N° N° N° 2268. — (in-18) .. (in..12) Vesperce in Festis B. b) Notation musica/e. M. per annum (in. in-8*) Te Deum . V. 2269. 0-15 O-IO O-IO 0-15 O-IO 0-20 2292 2294 2295 2271 N° 2299 N° 2305 Feria V. Gratulare plebs I..12) — francais . . Virginis (in. Coletae (in-8°) Missa Apparitionis B. Mariae V.12) SS. 2283.12) In Solemnitate Corporis Christi (in. 4 pages in -8° Missa de Angelis (in-18) Lectiones primi Nocturni in Nativitate Domini (in-8°) In Festo Sanctis M. 0-15 O-IO 0-15 O-IO O-IO O-IO O-IO O-IO O-IO O-IO O-IO 0-15 O-IO 0-25 0-30 0-30 O-IO 0-2.. Eucharistiae Sacramento (in. in Ccena Domini (in-18. Immac. (in. N« 2288. La Messe (in- dite Rayah de H. du Mont .. N N n No N° N 2273. Messe *'Magne Deus" (in. du Mont . ... du Mont 2 e et . (in-8°) N 2307 N° 2308 N° 2310 u No *3" No 2318. Vincentii a Paulo (in-18) En l'honneur de la Ste Vierge i° Imperatrix Reginarum. 3 Salve Virga florens.12) Dominica Pentecostes (in.12) Pro Defunctis et Ordo Exsequiarum (in. .

petit in-8° (20 x 13).18 de 120 pages. Misscc propria tipkonarium Romano-Seraphicum. — 5-00. — Proprium Sanctorum totius Ordinis Fratrum Minorum.12 . Ad honorem Fete de l'lmmaculee Conception Messia?. petit in -8°. (in. (Chant Gregorien. Ambrosius der Beuroner Congregation. Les 3 Messes du (in1 2) — i cr . d'apres R. Min. Nominis Jesus (in. 12-00. 3-50. 060. Broche frs 4-25 En demi toile frs 500. 1 vol. histoire et theorie par Tabbe Soullier D. — Broche. par Dom Amdroise Kienle. Sequences pour 1. frs 4-50. des Ecoles normales et des Maitrises. [N° 379] Les Melodies gregoriennes. iibersetzt von P. [N° 407] Der Gregorianische Choral. — Broche. — CHEZ LES MfeMES 6DITEURS. 3. 2300. J. Testo italiano in-S° 5-00. modesta.12) Missa de Angelis (in. 10-00. Cantus varii Fr. [N° 465] Le Plain-Chant.) 8°. secondo la tradizione. Rosarii in.in-i2) Feria V. 3-00. 2301. — — [N° 415] Le Chant gregorien. Janssens. N° 2319. 0-50. par Edition de luxe. in Coena Domini (in. — Broche. Papier de FlollamU.121 N° N° N° 2298. l'usage des Seminaires.12) In Solemnitate SS. Grassi-Landi. D. 6-00. N° 2303. Requiem Mass. In-8° de xxxiv-376 pages. par Thiery. 4-00. 2. II. frs 5-00. : Kienle aus — : Manuel a [N° 382] Theorie et pratique du Chant gregorien. Cordis Jesu (in. in-8 ". [N° 418] Cours abrege et pratique du in. frs. Petit de 896 pages en rouge et noir avec cadre rouge. 2 C cl 6 e ton dc II. — Broche. — Broche. Vol. Pere Dom Joseph Pothier. 10-00. AhVol. petit in-8° de vi 1-330 pages.12) . Les deux ensemble. In Festo SS. du Mont Q-25 0-20 o-i5 O-IO O-IO O-IO 0-15 O-IO : latin N° 2287. Le Melodie gregoriane piccolo. seine urspriingliche Gestalt unci geschichtliche Ueberlieferung von Dom Joseph Pothier. grand in Broche. Broche. — lc [N° 380] Le meme. la tradition. Broche. . Patritii . 0-15 DIVERS.12) In Festo SS. Benedikti- ner der Abtei Solesmes. petit in -8° de 825 pages. — 1 vol. N° 2304. — — . sa genese et son developpement. totius Ord.N° 2282. I. . frs. Gratulare plebs — (in. — fort volume — Broche. Plain-Chant. Fr. Armenia e melodia mttsicah. C. — volume 1 [N° 381] Etude sur le Chant gregorien. 8-75. la — Marine concepiio. N u 2302. traduit de l'allemand par Dom Laurent Broche.12) In Festo S. Vesperarum in-8° liber juxta ritum sacri Ordinis Praedicatorum. par Dom Laurent Janssens. Broche. Minorum.

In Festo Ss. 9 12. In Missis B. V. a ) mini. V. 8. in Albis. Dominica Paschae. Purificationis B. Missa Angelis. I.Repertoire des melodies gregroriennes transcrites en notation musicale avec accompagnement pour Orgue ou Harmonium. In Solemnitate Corporis Christ i. 2 — ——— 6 ——— In Kpipbania Domini. 5. Dominicae Paschalis. SS. Apost. Credo I. . (3 M. Prix dc Pabonmment : 6 frs par a nine : Liste des fascicules deja publies lere 1. 2e 1 SERIE In Nativ. B.. In Nativitate Domini (Missa 7. Missa Omnium Sanctorum. II. SERIE et Hymni ad Vesperas. —Festum — — — 2 3. B. Missa dc Angelis dcja publics dans la . par Giulio Bas. ginia Dominicis infra annum. M. V. Marie Vir- Missa. 3 M. Missa Defunctorum. M. Missa Ss. — 11 — 12. (2) 4^ Antiphonce. Petri el Pauli. Missa Assumptions B. 10. Joseph Sponsi M. in nocte). second*. — ImmaculaUe B. In Festo Pentecostes. sumptione B. M. M. 3. Rosarii. In Festis Semiduplicibus I.:) vendent separemenl. In Missa tempore PaFestis Solemni10 4 —5— 1ms 6. 11. Cordis Jesu. S. 3. (1) 9. In Dominicis Advcntus Ouadragesimre. V. Domini. 8.. Petri et Pauli. In Purificatione B. In Festo S. In Festis Duplicibus I. 4. ns B. schali. 8 7 9. 12. Les fascicules (jj In Festis (-. — 2. 10 11. se In Festo Conceptionis In Nativitate Ap. In Festo - Omnium Sanctorum. 6. Ascensionis Domini. IV. M. Joannis Baptists. In Festo SS. — In As- N. In Ascensione Domini. Missa Nativitatis Domini. Psalmi 1. SERIE 7. V. 10 — In — — — 11 Nativitate B. 4 5. Missa Immaculate Conceptio- Festo Corporis Do12. M. cle Dominica 5- — — 4 6. in 9. Missa Nativitatis B. Pentecostes.» In Festis SolemnibusII. 3e 1 SERIE 7 Vidi aquam Asperges Modus respondendi in — —8— et Festis Duplicibus III. Missa Missa Missa Missa Missa Missa Epiphanise Domini. 2.' scric Duplicibus II ) S Credo III.

0-25. Pierre Bastien O. Sacrement et des Saluts. 0-20. Deuxieme edition. — Broche. Chanoine Cathedrale de Bruges. Decret de la S.1 8 de plus de 100 pages. P. guidonienne et musical moderne. Prix : 2 frs. — I Lettre de la Musique Sacree. contenant un tres heureux choix de chants populaires pour les Saluts. Duclos. R. — Prix : Broche. Table combinee avec celle du " Manuel ".12 de 56 pages. Pie X. Denys Mezard de l'Ordre des P>eres Precheurs. franco : fr.. — : [N° 604] Introduction a l'execution du chant gregorien d'apres les principes des Benedictins de Solesmes. 0-75. in. Commentaire connexes. II.) I.e [N°6io] Methode elementaire de Chant gregorien par D. en allemand et en espagnol. S. un seul exemplaire 0-50. in. traduit de l'allemand par TAbbe Bour. P. contenant 128 chants et airs varies. 3 frs. petit in-8° de 142 pages. III. par Ad.) 1. prix — fr. le cardinal Respighi. La douzaine 3-50 net. Maitrise. Duclos. Vierge. B. publies par le R rae Dom J. fr. S. [N° 618] sur les Sa frs. paroles du Bienheureux Grignion de Montfort. 1 vol. vol. — : : Solfege populaire. in. 1 vol. 0-25. Chants des Processions du T. par un Directeur de signes rythmiques. par le R. X — — — — . titulaire Musique religieuse. [N° 586] Origine et developpement du Chant liturgique jusqu'a la fin du moyen age. et les pieces X et la Prix : Proses et Motets. (Reliures diverses. par l'abbe Antonix Lhoumeau.) Supplement au "Manuel de la Messe et des Offices". la douzaine. Prix. relie. Benedictins de Solesmes. Motu proprio a S. l'ex. Tex. C. Suisse. Broche. des R. Nouvelle edition revue et augmentee. (deuxieme edition revue ct augments. Lettre du Cardinal-Vicaire au clerge seculier et regulier de Rome. 156 p. 1-25. Saintete Pie la Motu proprio de 2-00. 1 vol. Sacrement. de chant sans accompagnement. en notation gregorienne. IV. Pothier Abbe de Edition Saint-Wandrille. du Sacre-Cceur et de la T. 0-30. Les Documents Romains sur Sa Saintete Pie de S.) — Broche. Cantiques en style gregorien. Prix 5-00. S. 1-25. in-8° de 338 pages. publiee en deux notations. la douzaine. in -1 8. par Pierre Wagner. (Notation gre'gorienne). en notation musicalc moderne. S. 2 frs. Douze Tantum Ergo.1 8. prix fr. — 1-00. 1 vol. fr. (Notation grigorienne avec signes rythmiques. par Ad. en Fhonneur du T. Le meme. 1-00. Edition avec accompagnement par l'abbe Antonin Lhoumeau. P. E. S. Directeur de l'Academie Grcgorienne a Fribourg. Chanoine titulaire de la Cathedrale de Bruges. des Rites. in-8° de 80 pages. d'apres les principes (ATotation gregorienne avec : vol. 0-85.

frs 2-25. Ginquieme Annee 1906. tranche rouge.Grammaire de Plain-Chant en deux parties. la Rassegna gregoriana. relie toile. Paraissant tous les 3 mois. rien. cartonne. relie toile. 1-50. Prix de Tabonnement : : France : 20 fr. — Etranger : : 25 fr. publies en fac-similes phototypiques par les Benedictins de Solesmes. Gallican. frs 2-00. Revue Sacr6e et mensuelle pour Tetude de Liturgie de la Musique Prix de d'eglise. Traduction autorisee. : Pabonnement frs 7-00. — : Paleographie musicale. titre dore sur plat. par les Benedictines de Prix Stanbrook.. sur papier du Japon 40 on 43 Jr. Les principaux Manuscrits de Chant GregoAmbrosien. fr. Mozarabe. Grand in-4 raisin. tranche blanche. I vol. Sttr papier dc Hollande jo oi/jj fr. . in-8° de 120 pages. Broche. frs 2-50.

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