A ND T R U E ANTIP H O N Y I 7

in order to enclose and appropriate suffi cient of these strong

sy ll ab l es, which , fa l ling as they do at very irregular i nterva l s ,
bring in with the m a varying nu m ber o f others , which have
to be cr o wded into the fi xed bars ; t he m on o tonic recitation
being considere d as m ere l y the residue The evi l s of this m etho d .

are m any ; fo r t o repeat briefly, ( I ) it deprecia t es the i m portance

,

o f t he reci t a t i o n in favour of the m e l ody ; (2) it encourages

‘ ’

a s l ipsh o d, hurried recitation , as only a prepara t ion fo r a m etri

cal tune striking up after a pause at the end of it ; (3) it
‘ ’

increases great l y the di ffi cu l ties of poin t ing ; ( 4) it pro duces (i n

t he Ca t hedra l syste m ) a painfu l crowding of sy ll ab l es on the
last n o te ; an d ( 5) it involves a nu m ber of j ing l ing dactyls and
1
anapaests .

The syste m here adopted sta rts fro m the opposite theo ry , that
t he reci t ation is the i m p ortant part of the chant , and de m ands
t he fi rst at t ention an d the l east interference I t is held that the .

m elody, having encroached upon it, m ust be m ade to rec ede t o

its proper position , w ithou t, how ever , at all altering or cu rtai ling th e
ex is ti ng melody, as w i ll be explained .

2 . T h e I n fl ex i o n s The encroach m ent of the

or M e l o dy .
—

m elody upon the m onot o nic recitation is twofol d The m e l ody .

has been a l lowed to appropriate m ore tha n it s due share of

words or syl l ab l es an d has t hus trespassed u p o n the length
,

o f the free reci t a t ion , the essentia l part o f the chant and the
strong ac cent which i t has been a l lowed to clai m for its fi rst
note has given it that separate and pr o m inent character as

1
N ot such as are cause d b y a m in im an d two diff erin g crot chet s
in a bar of t he mus i c (already n otice d above p 6 I I I ) but such as are ,
.
, ,

du e to the assig nm ent o f three syll ab l es o f t he w or ds to two m i nims ,

which are thereby broken u p into cr ot chets with the sam e b ad effec t ,
.

T h e f ollowi n g happen to a ff o r d exam ples in each c ase o f either kin d

, , ,
b oth o f dactyls an d anapaests

Lo rd, lT h Ose . sh all in h er It th e 1 lan d .

w h er ei n l we ha ve V
s uff er ed ad | vers ity .

I
pu t I t il 5 per pet an | me
sh a .

on e chb s en ou t of th e | people .
 18 CHAN TING I N FR EE R H YT H M

a distinct tune which has so overshad owed t h e i mpor tance of

‘ ’

the recitation o f which i t is rightly but t he i n fl exi on and close

, .

B oth these wro ngs are righted b y one m eans , the free use of
d iaeresis by w hich the t w o fi rs t n o tes are a ll o w ed t o occupy
,

one sy ll able on l y, as a ru l e , whi l e by the sa m e m eans t he

accent o f the fi r st is di ssipated M o reover , t he di fficulty of .

pointing is great l y reduced by the reduc t i o n of the nu m ber of

syllables t o b e p o inte d 1
.

3 . e xpl aine d — I t will b e necessa ry here t o explain

D iaeres is
t he acti o n o f diaeresis , or the assigning of two notes, s l urred to ,

one syllab l e , e g . .

Ser ve t h e Lord In f ear A nd rej oi c e un o t t

hi m Wi h v
r e eren ce .

At fi rst sight i t m igh t be thought that this m ust gi v e additional

w eight and e m phasis t o this s yllable , which is m ore oft en than
n ot a weak o ne ; but the e ff ec t is exact l y the reverse The .

e m phasis o f t he syl l able, even if a strong one , and the accent of

the ( fi rst ) n o te are both reduced A n d the reason is this you .

c a nnot e mphasiz e an unfi n ished , and therefo re un m eaning , w ord

or sy l lab l e ex c ept when i t ends with a l ong o pen v owe l , which

,

is n o t c om m o n in English , and then on l y im perfec tl y ; an d

without e m phasis on t h e syll able you cannot , or a t least wi ll
n ot , get m uch accent on t h e n o te B y e m ph asis I m ean the .

accen t ua t ion o f m eaning , by accen t the accentuation of sound ,

m usical or o ther .

There is nothing new in t he use of diaeresis , or s l urring ; i t

is used m ore or l ess free l y in a l l poin t ed Psal t e s but w hereas
r —

i n those i t i s never used if t w o separate sy ll ab l es can be h ad,

here , on the contrary , two separa t e sy ll ables are never used in
this p l ace if it can be av o ided .

N or a — Th e only neces sary except i ons to the u s e of di aeresis

are the very rare cases in whi ch i t woul d fall on a very weak

1
Th e t erm s
D i aer esi s for the di v isi on o f one syllab l e between two
m ini m s ,an d S ynt h esis fo r the c on verse , i e t he c o u pl in g of two syll . .

abl es un der one m in im , seem to have been fir st applied to poin t in g

f or chant s b y t h e la te R ev H E H av er g al, in a P aper on t h e su b j ec t
. . .

ab out thirty years ag o W ith Synthesis we ha ve n o c oncern ; it is

.

t he caus e, when use d, of the j ing lin g , t rippin g , e ff ect o f dactyls or

anapaest s o f which we ha ve j u s t S po ken .