TH E F U N D A M E N TA LS

G RE GO RIA N C H A N T

A S IM P L E EXP O S I T I ON OF T HE S O L E SM E S
P R INCIP LE S F OUN D ED MAIN LY ON
“L E N OMB RE M U S I C A L G R EG O R I E N
M M OCQUEREAU
’

OF D O A N D RE ,

LU R A F . H E C K E N LI V E LY

I
S OC E T Y OF S T J OHN E VANGE L S T I
D E S C L EE Co

P r i n t e rs t o t h e H o l y S e e and t h e S a c r e d Co n gr . of R i tes

TO UR NA I ( B e l g i u m )
P r i n te d i n B e l g i u m
T O D OM J O S E PH G A J A R D

AN D T H E M ON K S

OF S t . I
P E RR E DE S O L E S ME S

WH O S E K ND I C O -
OPE RA T O N I
HAVE M A D E T H S I W OR K

I
PO S S B L E
ES L —
u __
ut pro ph ét
-
ae tu fi dé les i n - ve

ni én tu r : ex -
éu di pre c es servi tu

Is ra el . P S L a e -t é
. tus su m

w
h is qu e dic t s t
a a un mi hi : in dom u m D é m i ui

__ _

l bi mu s . Gl é r i a P a t i r .
 INTR O D UCTIO N .

term s Gregori n Ch nt
Th e P l inc h n t P l insong

w
a a a a a

L iturgic l Ch nt C ntus P l nus

a a d
a o th er sim il r a a n a

ppell tions denote th t univers l li t urgi c l song of the L tin

w
a a ,
a a a a

Chur h fro m the firs t centuries to the present ti m e

c ,
It is the .

only liturgi l m usic of the R o m n Church

ca it is the only a , as

m usi sung t the lt r

c Wh ile Cl ssic a l P olyp h ony d the
a a a . a an

m usi of other gre t schools of Chur h Music

c perm i t ted
a c are ,

w
the Ch nt re m ins the true S ong of the L tin Chur h
a a a c .

T h L tin term C ntus P l nus refers to the ncient m ode

w
e a ,
a a a

of execution sin e t h e di fference in the dur tion of the single

,
c a

notes of the ( P l inch nt not so gre t in F igured Music

a a
’
as a as .

A cording to
c uthor of the 3th Century E li s S lo m on
an a 1 , a a

It is m usi sung on one pl ne d no p rt of it is to be quicker

a c a , an a

th n the other
a h ich sim ply m e ns th t e ch note is equ l a a a a .

In the Middle A ges before the invention of P rt Music a ,

before the 2 t h Century only gener l design tions su h

wwww
1 ,
a a c as

C ntusa C ntilen a Music S cr awere used ; i t not a a a as

ne ess a ry to use distinguishing term for the ch nt until

c a a ,

there beside it nother kind of Music Me sured Music ;

as a ,
a

an d it is re lly fro m the 1 2 t h d 3th Centuries when p rt

a an 1 a

m usic beg n to develop th t the ter m

a C ntus P l a nus a ,
a

co m es .

Th subj e t of Gregor n Ch nt involves two bra nches of

e c ia a

study Th H istory of L iturgy

: e d the H istory of Music , an , .

Gregori n Musi h grown out of the L iturgy

a c d in the
as ,
an

e rly ges
a ainsep r ble fro m it ; it
as not until re ent ti m es
a a as c

th t the Choir h been r ther

a dj unct th n as integr l a an a a an a

p rt of the L iturgy ( T h e rly ide still prev il s in R o m e

a . e a a a ,

to so m e extent ) T hus it m ost necess ry fro m ti m e to

. as a

ti m e to reform the Ch nt
,
‘
the L iturgy itself a as as

developed .
 o d u t i on Intr c .

w s

ww
In the study of P l inch nt it is v lu ble help to keep in g a a , a a a

m ind th t th re were lw ys two kinds of contr sting Ch nts a k

a e
® a a a z Le

T h S olo or R esponsori l Ch nts

e d the Chor l or A ntiphon l a a ,
an a a

Ch nts a In tr ing the L iturgic l develop m ents it is lw y

. ac a ,
a a s

evi dent wh i h p rts t ert in periods were g v to t h

c a a c a 1 en e

Congreg tio d which p rts were given to the tr ined singers

a n , an a a .

F or inst n e in the e rly centuries the Ch nts of t h

a c ,
a , a e

O rdin ry being sung by the peop l e

a d the m inisters t the an a

a lt r were very sim ple ; while the G d l A l l l i

a ,
ra ua s, e u as ,

T t etc were el bor te

rac s , d were llotted to tr ined singers ; a a ,
an a a

it not until the Ordin ry

as t ken w y fro m the a as a a a

c ongreg tion d turned over to tr ined singers th t its

a an a ,
a

i m port nce rose bove th t of the P ropriu m

a a In the e rly
a a a

d ys to write
a ,
M ss m e nt to write the P ropriu m a or a a ,

v ri ble section while in Modern tim es

a a M ss ,
onsists of a a c

the inv ri ble p rts or O rdin riu m

a a a ,
a

F the Chur h Musici n who is to beco m e ss oci ted with

or c a a a

c hoirs in the R o m n or A ngli n Church e s the study of a ca ,

Gregori n Ch nt is a bsolute ne essity F the Chur h

a an a c . or c

Musi i n in gener l this study m y be found

c a very v lu blea , a a a a

a sset m ny form s of Church Musi

,
as a founded on the c are

L iturgi l Ch nt In lm ost every pie e of Cl ssi l P olyphony

ca a . a c a ca

a ppe rs C n t us P irm us of P l in h nt round whi h th

a a a a c a , a c e

c ontr punt l texture is woven N ot ble ex m ples

a a the : a a are

Av M i e d the T
ar a , t m g of T h
ano m s L uis de Vi tori an u er o a c a .

M ny H ym ns us ed in P rotest nt Chur hes h ve Gregori n

a a c a a

a ncestry ; A ngl ic n Ch n t is but v ri tion of the e rlier

a a a a a a

P l insong
a d thorough knowledge of the m ore n ient
, an a a c

form is gre t help in the interpret tion of the v ri tion

a a
"

a a a ,

especi lly to R hyth m M ny m odern A nthe m s S ervi es

a as . a ,
c ,

C nticles etc
a written with h nging tim e sign tures d
, .
,
are c a a ,
an

so m e even in F ree R hyt hm Th student of P l insong will . e a

find gre ter f ility in h dling these t h n the org nist or

a ac an a a

conductor who h h d no experien e with Gregori n R hyth m as a c a .

T the spiri g Co m poser this study dds new inspir tion

o a n d , a a an

opens new port l s d sim ply p rt of the H istory of Musi a , an as a c,

it deserves im port nt pl e an a ac .
x . n t o d t i on I r uc .

T h student of Me sured Musi who enters into the study

e a c

of this ncient song m ust put a side ltogether his old ide s
a ,
a a ,

an d pl ce hi m self in
a very different world of Musi l t
a ca ar .

H m ust sh ke ff the coils of H r m ony

e a o d Counterpoint a an ,

an d le rn to study n ked Melody without feeling

a a y H r m onic an a

response wh tsoever H m us t try d pl ce hi m self in the

a . e an a

spirit of the g d give his soul to the lofty inspir tion of the
a e, an a

L iturgy With such m ent l ttitude

. d a gre t de l of a a , an a a a

p tience he will find hi m self m ore d m ore entr nced by the

a an a

ever new m ysteries reve led to h i m a .

In this brief T re tise on the L iturgic l Ch nt I m not

a a a , a

atte m pting to tr nscend the m ny v lu ble works on the subj ect

a a a a .

It is to be si m ple expl n tion of the T h eories of S oles m es

a a a ,

with few pr cti l suggest i ons to its interpret tion I h ve

a a ca as a . a

tried to sim plify so m e of t h e co m plex proble ms whi h , c ar e

we l l expl ined in other l ngu ges espe i ll y F rench

a a a , c a .

A s every m usic l student is not a expert in foreign an

l ngu ges
a a d ,
not re d the gre t m ount of l iter ture
an c an a a a a

on our subj ect in other l ngu ges I h ope I h ve contributed a a , a

so m ething in this dire tion I sh ll be very h ppy if this s m ll

c . a a a

volu m e suc eeds in l rifying the intric te proble m s involved

c c a a ,

an d m ost of ll if it w kens so m e of the love I h ve for this

a ,
a a a

ancient m usic .

T h A uthor e .
 PA R T I .

T he F u n da me n ta l P r i n c i pl e s of the T he or y .

t
othe r S ol e s m es book

S ol e s m es
.
w
w
A l tr a n s l a ti on s fr om
s
o bre
Le N m
er e m a de
usi l Gr gorien
M ca é an d

i th the a u thor i ty of the m on ks of

 CHAP TER I .

TH E LA NGUA GE OF TH E CHA NT .

song is born of the union of tones d words T hese two

w
A ll an .

elem ents closely bound together d i d e h other m utu lly

are an a ac a .

Th words ni m te d bring out the sense of the m elody

e a a an ,

whic h without the m would h ve little m e ning ; on the other a a

h nd the m elody t
a fi
g the text by supplyin g energy
ran s u res

an d express on If this true in ll vo l o m posit on it is

i . is a ca c i ,

espe i lly true in P l insong where i m ny ses not bly t h t

c a a , n a ca a a

of the P s l m ody there is si m ply

a sole m n d m j esti
, a an a c

de l m tion of the s red text Whether the Ch nt be sung

c a a ac . a

in its origin l L tin or nother l ngu ge it is first

a a v a a a ,
n ec ess ar

to le rn d pply the rules of good de l m tion

a an a -
c a a .

In dis ourse we h ve syll bes grouped together in di fferent

c a a

w ys to f m
a d fro m words
or born t h e p h
or m mbs ,
‘

ar e ra s e e er s ,

an d fro m these developed p h d p i d

are T h syll bles r a s es a n er o s . e a

m ust be cle rly d orre tly pronoun ed words corre tly

a an c c c ,
c

a ccented ; p h m mb ph rase d p i d m ust be cle r e er s , r a s es an er o s a

with p uses of the right proportion

a .

Th l ngu ge on whose fr m ework P l insong is onstruc t ed

e a a a a c

is the L tin l ngu ge a d fro m this l ngu ge it t kes its

a a ,
an a a a
c h ra cter d its rhyth m O t of the s m ooth flow of spondees
a an . u
a n d d a ctyls o m es the deli te interpl ying of the bin ry d
c ca a a an
tern ry groups th t o m pose the free rhyth m of P l insong
a a c a .

A thorough knowledge of the peculi r h r teristi s of the a c a ac c

L tin l ngu ge
a a well the proper pronun i tion of the
a ,
as as c a

words n d syl l bles a d the m e ning of the text a is ,

an a ,

a bsolutely ne ess ry to the P l insong student T h sh rp

c a a . e a ,

light n ture of the L tin toni

a ent which h the ti m e v lue a c acc as a

of only single 8 t h note in m usi the we k fin l syll ble which

a c, a a a

is lw ys soft d theti the le n crisp pronunci tion of every

a a an c, c a a

vowel d conson nt an only few things to keep in m ind

a ar e a .

Th hoir should be m de to pr cti e re ding the L tin text

e c a a c a a

with the intention of conveying its full m e ning d with a , an

a slight lift of the toni ent E very L tin word h its

'

c acc . a as

A rsis d T hesis or m ove m ent of life

an d repose , an

Pé ter ,
ster ,
Do mi nus ,
ad te .
 w
C h ap t e r I . Th e La ngu g f t h C h nt a 3 e o e a .

In the history of the La tin l ngu ge we distinguish four

a a

periods
F i rs t rehistori d Ar h i
P e r i od begins when the
: P c an c a c,

L tin l n gu ge
a e to be distinguished fro m other R o m n
a a cam a

di le ts d bec m e distinct l ngu ge T his period extends

a c an a a a a .

to the se ond century before Christ d is ch r cterised by the

c , an a a

existen e of double c ent one intense on the first syll ble

a acc ,
a

of e h word the other m usi l or m elodi whi h onsisted

ac ,
ca c c c

of elev tion of the voi e on syll b l e of the wo rd other

an a c a a

th n the initi l syll ble T hi s

a l led the a ccent of a . as ca a

height .

S d P i d
ec o n Cl ssic Begins bout the second entury
er o : a . a c

before Christ d continues to the end of the fourth entury

,
an c

of the Christi n E Th ent preserves its origin l m elodi

a ra . e acc a c

c h r ter inherited fro m the S ns rit

a ac d Indo E urope n a c an -
a

l ngu ges but slowly d gr du l ly quires ert in intensity

a a ,
an a a ac a c a .

T h L tin of this period t kes on the qu ntit tive ele m ent

e a a a a

o f the Greek l ngu ge rtifi i lly distinguishing long d a a ,

a c a an

s h ort syll bles d t king this ele m ent s b sis of rhyth m

a ,
an a a a a .

A t this point the perm nen t rules for c en t u tion m de a a c a are a

a lw ys on the penulti m te if it is lo g or on the t i p l t i m t

a a n , an en u a e
if the penulti m te is short a .

Thi d P i d P ost Cl ssi Begins t the end of the fourth

'

r er o : a c . a

c entury d is prolonged during the whole fifth entury d

an c an

beyond It is ch r cteri ed by
. o m plete tr nsform tion of a a z a c a a
the cent ; it prese ves its n ient m elodi h r cter but
ac r a c c c a a ,

a t the s m e tim e beco m es strong F usion on the s m e syll ble

a a a

of the two elem ents tone d strength T h qu ntit tive an . e a a

elem ent dis ppe rs d l l syll bles be o m e rel tively short

a a an a a c a .

A t t h is period we h ve the ppe r n e of pri m ry d se ond ry a a a a c a an c a

acc ents T his l ngu ge without prosodic qu ntity with intense

. a a a

m elodi ent d counter ents is the l ngu ge of the ‘

c acc an acc a a

ec clesi stic l or Gregori n period

a a a .

F th P i d
ou r T his the R om nce period is
er o : , a a c on

ti nua ti of the pre cedin g period T his is the E poch of

on .

the form tion of the R o m n e L ngu ges d a ughters of the

a a c a a ,

L tin L ngu ge T h
a aent by evolution beco m es intense
a . e acc
to the p oint of co rseness d t kes on qu ntit tive a , an a a a a

ch r tera ac .

O f these four periods the one whi h is of interest to us the c Is

T hird or Gregori a n P eriod
, .
4 Part I .

w
Th e P ro n u n c i a ti on of Ch u r ch Lati n .

hurch L tin in m ost c ses is pronounced like corre tly

C a a c
spoken R o m n It li n H owever in the It li n we find syll bles
a a a . a a a

often run together such m ggi gl i inste

, d of as a or e or a a

gl i
o- r etc-
Tahis nnot be in L tin
. where every syll ble ca a , a

m ust be le r d risp c T aso m e It li n words

an c ented
c . oo, a a are a c

on the l st syll ble a i m possibility in the L tin We h ve

a , an a . a

spoken of the h r cter of the L tin ccent in preceding

c a a a a

p r gr phs
a a a .

T h letters
e divided into vowels d onson n t s
are an c a

Vo el s .

In L tin e ch vowel m ust be given the proper ti m bre d to

a a an

preserve its proper color the slightest ch nge in the position a

of the lips or tongue m ust be voided during its rticul tion a a a .

T here m ust never be th t m ixture of sounds peculi r to the a a

E nglish l ngu ge ; but the vowel sounds m ust be

a a f as ar as
possible uniform It is very i m port nt while singing ex t ended
,
. a
m elis m a tic m elodies to keep the s m e ti m br e of the vowe l
,
a

throughout .

A h s bro d open sound like the in t he word f th

a a a a a er ,

never like the E nglish in

ww
a ca n .

E h no ex t E nglish equiv lent It is be t ween the

as ac a .

e in the E nglish word m t d the in fl m m e an a a e, sa e .

I is pronounced like in f t or in t It m ust never ee ee ,

ea s ea .

be l ke the in m l k m m
i i is pronounced i m i i eu s e e u ee e ec oo s .

0 in the E nglish f h lf open d uniform Gl i

as or , a an . o r - -
a , or a .

U is pronounced like the in the E nglish word m 00 oo n .

N ever the E nglish in p etc E x m ples m l i

u u s e, s u re, u r e, . a u us

m lt oo ; d m
o os
y d m the
s ec u u
; m ust notube z
sa c o on oo 00
t o o l on g .

Y tre ted
al a ys a as a vowel never like ,
a conson nt a .

P ronounced like L tin I a Ma r t e e r .

Con s e cu ti ve Vo el s .

As gener l rule when two vowels co m e together e ch

a a ,
a

keeps its own proper sound d consti t utes sep r te syl an a a a

l be di i di i fi l i i fi li i
a e m m
—e - t T his rule
,
- -
,
e or u e - o -r u ,
e c .
 w
6 Par t I .

Cons on a n ts .

As the n m e indi tes onson nts

a only be pronoun ed ca ,
c a c an c

in conj unction wi t h the vowels d form the m otive power , an

of these T hey m ust be pronoun ed i th cert in crispness

. c a a

a n d energy ; otherwise the diction will not be le r but we k c a , a

an d unintelligible .

C when it o m es before E A E OE I d Y is pronounced

c , , ,
an

l ike h in c h h E x m ples l m
c h yl
u rc m C li . a ca e u c a oo , ec e a

Ch y chee lee h
a - - -
a .

C likewise when it precedes these h rd vowels A 0 a ,

an d U is pronoun ed like the E nglish K

,
E x m ples it c . a : ca r as,

cor pu s ,
cu m .

CC before the s m e vowels like t h E t h y a ,

c . cc e e c a .

SC before the soft vowels is pronoun ed like h E x m ples c S . a

A di t
s ce n A shen deet D di t
-
de shen deet -
,
e s c en - -
.

SC before the h rd vowels d is h rd the E nglish a a ,

o an u a , as
word s n s ourge s u m ca ,
c , c .

CH is lw ys h rd even before the vowels i d y

a a a , e, an

w
.

E x m ples
a Ch i t K
: toos ; Cherubi m d other words
r s us r e e s- an

of Greek origin
-

G is soft before i d y in the E nglish word e, ,

a e, oe a n ,
as

germ generous t L tin ex m ples G i t i R gi

, ,
e c . a a en or ,
e na .

G is h rd in ll other ses l ike in the E nglish word g

a a ca ,
o .

E x m ples Gl i
a G ti t or a ,
ra a s, e c .

GN h the F ren h sound he rd in the word A g

as c a n ea u
'

the S p nish word M t n a d the E nglish word i on a a ,

an o n on .

E x m ples A g
a A yi Ill g i
nusfi t M nyi fi t n u s, a n ca a - -
ca .

H is pronounced like K in m i hi ( m k ) d nihil ( k l ) ee ee ,

an n ee ee

an d their o m pounds c T hese t words were form erly written . o

m i hi c d i hi l
,
anIn ll other ses H is silent E x m ples
n c . a ca . a
or a hor h bi t t bi t t
a, a a z
a a .

is often written I a d is pronoun ed like the E nglish Y n c

It m ust be uttered p rt of the fo l lowing vowel d the two as a ,

an

sounds form only syll ble E x m ples m or I A m on e a . a a ,

A ll l i e u or A l l elu i ( never in the Greek A ll l o i ) f

-
a -
a as e u — -
a . es u s

or Iesus ; f m or Io m
o- a n u e T h vowel fo l l owing pl ys -
an n e . e a

the m ost i m port nt p rt in the syl l ble d on it the neu m s

a a a ,
an

are sung when they o ur in su h pl e cc c a ac .

 w
w
n g u ge f t h C h n t
C h apte r I 7 . T h e La a o e a .

R should l w ys be trilled slightly in It li n When it

a a as a a .

precedes another onson nt in i d m rtyr c re m ustc a ,

as ca r n s an a ,
a

be t ken t to p ss over it
a no in ul t iv ted E nglish It is a as c a .

i m port nt too t to shorten or m odify the vowel in the syll ble

a ,
no a
preceding the R is done in F rench It ali n d other l ngu ges
,
as ,
a an a a .

S is usu lly h rd d dent l in the E nglish words y

a a an a as es ,

s ea , d so on ; however it is slightly softened when

s ou r c e , an ,

i t co m es bet e en two v l s z m i i di m o e s er co r a, i s er er e .

TI before vowel d preceded by y other letter excepta an an

S T ,
X is pronounced t i
or E x m ples : G ti Gr t see s . a ra a a - -
a,
L ti ti
ae L y t ee t
a P ti ti a P t si
-
tsi But -
see a , -
a en a a - -
en - -
a .

M odes ti a .

T in E nglish except in the l s t inst nce d before H

as ,
a a an

where it is silent T h m T om s Th T t o as a , es a u r u s e s a u ru s e c .

X in m ost c ses h the s m e sound in E nglish But a as a as .

X C before i d y m ust be
e, refully noti ed It is
a e, ce , an ca c .

equ l to K plus S C We h ve noted bove th t the soft

a . a a a

co m bin tion S C when followed by the soft vowels

a i dy e , a e , oe , an ,

is pronou ed h putting these together we h ve K h

nc S —
,
‘

a S .

A not ble d often m ispronounced ex m ple is E x l i properly

a an a ce s s

E k shel sees
-
A lso E x
-
E k shess oos
. c es s u s - -
.

X is slightly softened when it o m es between two vowels c

E x it er c E g zer chee toos

us - - -
.

XC when followed by the h rd vowels d h the a a , o, an u ,

as

norm l sound E x a m B k —coos roo m c u s s or u s -

so - .

Y see vowels .

Z pronounced d E x m ple Z i i dzi d i z . a z an a -

z a -n -
a .

T h rest of the Conson nts : B D F K L M N P Q V

e a , , , , , , , , , ,

are pronounced in E nglish as .

D bl ou C t e bo t h m us t be cle rly rticul ted

on s o n a n s a a a .

E x m ples B ll
a Bel lo ; A l ti i m A l —tis si m
e o =
; Pii im
-
ss us - -
us ss e

P i is si m - - -
e .

In the pronunci tion d singing of word never t ke a an a ,

a

a bre th before fresh syll ble of word

a a a a .

In singing the vowels should ppropri ate the v lue of the

,
a a

notes ss gne d to the m

a i f possible ; the conson nts m ust ,
as ar a s a

only o upy m uch ti m e

cc is ne ess a ry for their le r
as as c c a

a rti ul tion N m tter how m ny notes

c a . o ssigned to a a are a

a syll able every one m ust be sung on the vowel d the vowel
, ,
an
m ust not undergo y lter tion bec use of the conson nts an a a a a

in the ourse of long p ss ge

c a a a .
8 Part I .

In long words like m i p ten t m m i se ri di d o -

n -
o- -
e ,
- - -
c o r- a, an

all d ctyls a re m ust be t ken to pronounce every syll ble d

, ca a a an
not to slide over y of the m an .

T here m ust never be coup de glotte on tt cking su h a a a , c

as mi h t F i li h
s er e etc a ur, us, .

Th Greek word ( ele son ) h f syll bles not

w
e , i as ou r a ,

three .

Th e n a tu r e o f th e Lati n T on i c A c ce n t

w
With syll bles form ed words But the syll bles by
a are . a

the m selves only the m teri l d unform ed ele m ents of

are a a an

words T h t whi h constitutes properly the word d gives

. a c an

it its form its being its life is the

, t , , a ccen .

ccent m olds d unites l l the syll bles of word d

w
Th e a an a a a ,
an

helps the distinguish in discourse one word fro m the other

e ar .

L t us review the profound

e d subst nti l di fferen e existing an a a c

between the Cl ssic l L tin cen t d th t of the l ter enturies

a a a ac an a a c

In the Cl ssi l E poch the L tin ccent essenti lly m usi l

ww
a ca a a as a ca
an d m elodi T h L tins like the Greeks uttered
c . d decl i m ed
e a an a

the different syll bles of the s m e word with di fferent sounds a a

an d inton tions T h t syll ble ( there
a only one ) whi h
. a a as c

o cupied the highest pl ce in the word rried the T oni A cent

c a ca c c ,

c ll ed t h e A cute Eéi
a T h others ( syll bles ) whi h pre eded
o a .
e a c c

or followed it d grouped round it d subordin ted to it

, an a , an a ,

c rried the Gr ve A cent in Greek p pa

a a Th sign of the c . u e . e
A cute A cc e nt s m ll oblique line s ending fro m left to right
as a a a c

( I th t of t h e Gr ve A ccent on the other h nd s ending fro m

a a , a a c

right t o left ( l ) T hose s yll bles which were found between the a

w
.

A cute d Gr ve A ccents were uttered in h l f voice

an a thus ,
a

they h d A ccent which

a an c lled the Medio ( ? u m ) as a r ) sr v

mu li
g r a v e med . acu te m ed .

ro m this ltern tion of A cute d Gr ve syl l bles

F a born a an a a as

a si m ple d n tur l m elody T hus Cicero would y E t

an a a . sa ,
s

t m i
au e di d q id m C t
n b i
cen ( O r t X VIII )
o u a an us o s c u r or a . .

T h L tin L ngu ge in contr st to the Greek never elev t ed

e a a a ,
a a

the fin l syll ble but only the penult d the ntepenult F

a a an a . or

this re son it c lled b riton le L ngu ge or L ngu ge

a as a a a a a ,
a a a

with d a di g d e s c en n ca en c e .

()
1
D . P a olo M . Fe rr e t t i ,
P ri n c i pi i T e o ri c i e P r a t r i c i d i C a n t o G r e go
ri a n o R om a ,
D e s c l ée e Ci . 1 9 37 .
m tion
a

L tin T oni
a
ng u g f t h C h n t
C h apte r I

In the P t Cl i C t i be use f the slow t

os

d evolution to whi h L ngu ge

an

A ent be m e strong intense

c
-

rhyth m i f tor N evertheless it never t l l lost its m elodi

a group of a cute notes

c

in lin tion ; proof of this

c a
ac .

the m elodies t h e m selves in

whi h the c ented syll bles oc upy l m ost lw ys note
c a c

lso the f t th t we ( the

It li ns ) pronoun e the syll bles of the words with v rious
a a c
f
ass c

subj ected the

d therefore
cc
“
9 . The

en u r es ,

ca

,
La

are

a
c

as
c

a
a
ca
a

,
e

a
a
o

a
o

w
a

ac
e

as

a
an

a
a

a
a
.

r a n s or

a
,

or

inton tions a .

T herefore whil e pronouncing the syll bles it is ne ess ry t a , c a o

blend the m d link them so th t the an m y distinguish a e ar a
whi h syll bles belong to e ch word T his fusion this
c a a .

leg to this indivisible unity is i m possible to obt in un l es

a , , a s
e h word is pronoun ed with single vo l i m pulse whi h
ac c a ca , c ,

co m m en ing with the initi l syll able d rising to its highest

c a an

point on the A ented syll ble without rrestin g the m ove m ent
cc a , a

either by bre th p use or prolong tion p use T stop for

a a a a a a . o

an y re son in the m
a iddle of word or wh t is worse to tt k a , ,
a , a ac

e h syll ble with he a vy vo l stroke is to destroy the unity

ac a a ca ,

w
of the word well the word it elf d is to spell it not to
as as s ,
an ,

spe k it T give to the ented syll ble rough loud c ent

a . o acc a a , a c
is to obs ure d render unintell igible the others T h A ccent
c an . e
m ust be light si m ple delic te d spiritu l, O nly thus m y ,
a an a . a
be c lled into being the form d soul of the word
a an .

R u l e s f or Lati n A ccen tu ati on .

In Latin l l words whi h h ve distinct m e ning posses

a c a a a s
an ented syll ble ; this in ludes m onosyll bles T hus t h
acc a c a . e
following h ve no ents a a cc

)aT h en liti s q e m T hese

c however h ve t
c h -
ue , e, ne , cu . a e

power to dr w the ccent on to the fin l syll ble of the word

a a a a
to which they dded 8 are a . 0

I I
F i l i oq u e , vo bi s cu m , h o m i n e s qu e ,
vol u cr es ve .

the m onosyll bic ending

b) Al l p d m m t a s ce , ee , e ,
e .

)cA ll the conj un tions i t tq t E x ept when it i c S eu ,

a u e, e . c s

isol ted fro m wh t is to follow but is t the s m e ti m e onnecte d

a a , a a c

in m e ning the t c rries the ent E x m ple

a , e a acc . a

I
E t Tu i n p r i n ci p i o D om i n e ter r a m , fu n da s ti .
10

d)
m odified
preposit i ons
The
E x m ple a
an d
Part I

a
.

dverbs which precede the w

o rd

w
.

su p er ea m ,
p os t p a r tu m .

If they follow the noun they receive the ccent whi h , a c

belonged to the word itself E x m ple . a

D eu m p ro fit e r .

e ) The rel tive pronouns when they h ve

a a an a ntecedent
referred to
D e u s qu i f e ci t .

If there is no ntecedent expressed the ccent goes to the

a ,
a

pronoun E x m ple . a

gu t vu l t ven i r e p os t me .

( Athese words deprived of

ll ent pronoun ed so an acc a re c

th t they form single word with the word referred to )

a a .

R l 2 Co m posite
u e o rds si m ple words h ve only one ,
as a

accented syll ble E x m ple a . a

I
i u r ei u r a n do , be n e d i c er e .

R u le 3 In words of two syll bles the ccent is lw ys a a a a on

the first . E x mpl e

a
r I
p a ter ,
m a ter ; D e u s .

R u le 4 In words of m ore th n two syll bles the ccent a a , a

m ay st nd on the penu lt or the ntepenult : It st nds on the

a a a

penult when this is l g syll ble ; on the ntepenult wh en the a on a a

penult is h t E x m ples s or . a

m a gn a l t a , fi l i u s te n e bi t D om i n e
, , .

( In few ses
a the G regori n follows
ca the ccentu tion of t h a a a e
Vulg r L tin a S o m e verbs whi h in l ssi l L tin h ve the
a c c a ca a a
acc ent on the ntepenult Vulg r L tin ccents on the
a , a a a
penult E x m ple
. a :
 S m
Ch

md t

words in Vulg r L tin E x m ple

a

etc
ap

o e co m pound words in l ssi l L tin

a
w
ng u g f t h C h n t
te r I

In o m pound o rds the Vulg r L tin h the tenden y to

a
c
II

ret in the ccent on the root syll bl e even when this is short

a
.

.
Th e La

ci r cu

c a

a
-
a

a a

ca
a

,
a

a
e

.
o

are
as
e

tre ted a
a

as
.

sep r te
c

a a
,

pri u s u a m , et e n i m
, q .

en liti q
Th e c c ue d a r ws the ac cent to the penultim te even a ,

when this is short . E x m ple a

r S ec on da y A cce n ts .

E h word
ac h ve but one T oni A ent but long words
c an a c cc ,

require se ond a ry c ents to se ure proper pronunci tion

c a c c a ,

S uc h words : as l

I l I l
“
fi bs ta n ti a l em om n i p oten tem
.

u s ti ca ti o n e s , c on s u
j , ,

h ve their m in T oni c ent

a m rked but they m y lso
a c a c as a , a a

h ve m i nor cents E finding the S e ond ry ents ount

a ac , or c a acc , c
b ck fro m the T onic ccent d give every se ond syll ble
a a an c a
a subsidi ry cent D t yl l i words m y h ve
a ac d y . ac c a a
‘

a
*

se c on ar
a ccent on the l st syll ble when the word following is m ono
a a a

syll ble or h no ccent on its initi l syll ble

a as a a a .

L ogi cal A cc en t .

Wh t the T oni cent is to word the L ogic l or P h o

a c ac a ,
a r ase

l ogic l ccent is to t h e phr se ; it m ust bring out t h sense d

a a a e an
me ing of the phr se by l yi g stress on the im port nt word
an a a n a
or words E x m ple . a

Os te n de n o bi s D om i n e mi s er i c or di a m tu a m .

P a th eti c or E xpr essi ve A cc e n t .

e P l insong riti s consider the P theti

S om a ent entire l y
c c a c a cc

out of pl e in this form of m usic but I do not feel th t it

ac ,
a c an
be ex luded fro mc y m usic H owever be use of the an .
, ca

i m person l qu lity of P l insong it m ust be used intelligently

a a a ,

an d never be ll owed to degener te into senti m en t lity

a a a .
12 Part I .

Di vi s i on s , P au s es , an d R h yt h m of Di s c ou r s e .

As fro m v rious groupings of syll bles we h ve words so

a a ,
a ,

fro m cert in rr nge m ents of words we h ve P hr se Me m bers

a a a a a

an d P hr ses We m ke the following divisions ) Words

a . a : a ,

b) Me m bers of P hr ses ) P hr ses a ,

c a .

In order to indic te in writing the division or p rts of dis ourse

a a c ,

we h ve re ourse to v rious punctu tion m rks T h

a c a a a e

the olon ( ) t h e se m icolon

c z the ,
d so on B t in an . u

spe king
a it is i m possible to m ke visible use of these signs
, as a ,

the divisions represented m ust be given to the by l ti v ear re a e

b
;a u s es T h
. first p use re lly he
e rd is found t the end of
a the a a a

first P h M mb
rase sep r ting it fro m the m e m ber to follow
e er , a a .

T his p use consists of

a slight prolong tion of the l s t syll ble a a a a ,

ca lled the m v i T h second p use longer one loses

or a oc s . e a , a ,
c

the entire P hr se d divides it d sep r t es it fro m t h

a an , an a a e

following P hr se ; this is the B thi g P a r ea n ause .

We give the following E x m ple a

l st P h ra s e
l st Me m b e r 2n d Me m b e r

— — 3 1 — 2 _3 “
4—

1 1 7 r fi F? 1 1 I l r 1
Tu I sunt caeh ,
,

et
,

tu a est terr ,

a :

2s t P h r a s e

l st Me m b e r 2n d Me m b e r

1 2
mr mr
—

or e m t e rr aru m l i udi m
I f l
tu fond sti
c , et p e n t n u é j us a .

In this ex m ple t h e m v i is represented by one line

a or a oc s
an d the b thi g p by two lines ( ) T h ltern tion of
r ea n a u se I . e a a

strong n d we k syll bles lifting of the T oni ccent rel ativ

a a a , c a , e
p uses d proper di m inuendi on the fin l syll bles onstitutes
a an a a , c

the R hyth m of D iscourse T his rhyth m is not m e sured but free ,

a ,

an d not regul ted by r i gorous rules but by good t ste

a d the ,
a an

n tur l instin t of the

a a ; it is the found t ion of P l insong
c e ar a a
R h yth m .
14 Pa rt I .

hese brief notes on the A ents su ffi e here

T cc c . We m ust only
re e ber th t the A cute c ent is only
m m a a c a no e t signifying a

m usi l rise or ca

The following eleven A ccents were recognized by t he La t in

gr amma ri ns a

I n N e uma ti c N ota ti on .

I A cute
2 Gr ve a Gr ve or P unctu m
a

3 Ci r c u m fl e x A Clivis

4 A n t i c i r c u m fle x v P od tus a

5 Long R o m n S igna E pise m a

6 Breve
A postroph 9 S t r o ph i c u s

w
7 a

8 H yphen

9 H ypodi stole a .. n _

A spir tions a ( D a si n N ot tion )

a a .

these eleven A ccen t s N eu m ti N o t tion m kes use of

Of ,
a c a a

six In the Middle A ges the h bit of using L tin A cents for a

w
. a c

m usic l not tion aso co m m on th t few theorists used the

a as a a

D d the P i l
a sea a n s e .

r
D e i vat i on of Neu ms f r om A c u te an d Gra ve A c c en t s .

B . t Ch i r o n o mi c Nota i on .

O be o m ing N eu m s or m usic l notes the A cute

n c d Gr ve a , an a
ac ents t first sub m itted to only slight m odific tions ( except
c a a
in ert in ses the Gr ve )
c a ca , a .

Th A cute ccent b c m t h Vi g
e a e a e
‘
e r a

T h Gr ve ccent e m ployed lone

e a tr nsform ed into the
a a as a
P u n ctu m
 C h apte r I I . o t t i on
N a 15 .

o bined with the A ute

C m c ac cent the Gr ve kept so m ething
,
a

lik its old form

e

Th Ci m fi x bec m e the Cl i vi
e rcu e a s

F in l ly the A t i i
a m fl x be m e the P
,
n or P d t
c rcu e ca es o a us

In m usi o m bin tions of ccents n tur lly m ore nu merous

c, c a a are a a
th n in spee h S we h ve eu groups of three four five
a N cm — o a

ww
.
, ,

notes or m ore
)IN eu m s of three notes
T or ulus ( pressin g m chi e )
c 7 Gr ve A cute Gr ve a n «
a a

P orre tus ( extended ) c /V A G A . . .

S ndicus ( sc ndere to cli m b )

ca G G A a , . . .

w
Cli m us l dder)
ac A G G a . . .

an d so on for l rger groups a .

T his not tion is c l led Chirono m ic ( X P h nd ; rule ’

w
a ; a vo o
u g SL ,
a

l
a o f the h nd ) bec use the cc ents a o nl y gr phic signs
, a a ar e a ,

representi g t h e rising d f lling m ovem en t s which the h nd

n an a a

m kesa it tr es the m
as ac .

'

c . Di as te mati c Notati on .

old Chirono m not tion

Th e Very li m ited ; it indi tedic a as ca

f irly well the rise d f ll of the voice but ould not indi te
a an a ,
c ca

the ton l interv ls It a necess ry for skilled te her to

a . as a a ac

si g over t h e Ch nt thus perm itting the hoir to he a r the

n a ,
c

interv ls d the m elody Th singers repe ted it over d over

w
a an . e a an

aft r the m ster until the m elody

e a m e m orized It took ye r s as . a

of study to m e m orize the m usic l repert oire of the Chur h a c .

It bec m e the business of the gre t m usic l s hol rs to perfect

a a a c a

the old Chirono m i N ot tion by m king it cle r d intelligi ble

c a a a an

at first gl n e Th m ny tte m pts in th is direction fi

a c . lly
e a a n a

brought bout excellent results Copyists writing the neu m s

a .

n tur lly wrote the notes t different heights cording to t h e

a a a ac

different interv ls T his lled D i stem tic or Interv l

a . s o-c a a a a

not tion m e in t the end of the t h Century

a ca a ro .

F in l ly so m ebody thought of dr wing

a horizont l line a a a

a round whi h the notes ould be g thered ; then second line

c c a a

dded ; then third until t l st the fourth line co m pleted

as a a ,
a a

the m usi l S t ff A It li n m onk Guido d A

ca a . is supposedn a a ,
’
rez z o

to be the m in figure in this e volution of the st ff T hen the

a a .
16 r
Pa t I .

invention of the Clefs finished the work T h N eu m cents . e -

ac ,

slightly m odified were pl ed on this st ff ac d the re ding a , an a

be m e f irly e sy
ca a a .

F the convenience of t h e student we ppend the foll owing

or a

co m plete t ble of the Gregori n m usic l signs with t h eir m odern

a a a

w
,

tr nscription
a

A . Si mpl e Not es .

S q u a re P u n c t u m

S q u a re P u n c t u m

w
ith
A t t a ch e d I c t u s

D i a m o n d s h a pe d
-

P u n ct u m

D i a m o n d -s h a p e d
P u n ct u m ith
a tt a ch ed I ct u s

A p o s tr o p h a

O r i s on s

Q u ilis ma
acc
Th I t

R hyth m
e

.
c us

re eives this rhyth m i touch T

e
.
a
a
on C h apte r I I

is tiny vertic l line tt hed to note

signifies rhythm i division or support not ne ess ril y
c

ent In Gregori a n rhyth m every se ond or third note

d

su h I t i c nnot o m e
or m ore th n three notes More of this in the Ch pter on
a

In t h S oles mes E diti ns t h e E pi m

c

togeth e r ; rhythm ic division nnot be less th n two notes

m rked thus o
.
.

ca
w
N

se
ot

o
a
a ti

ac

a s ar e
c
.

a
a
a

a
a

a
,

c
an

an

w
0 I

Wh t ever t heir form all no t es h a ve t h e s m e v lue ; in m odern

a , a a

not tion the eighth note is the s m llest unit

a a :

E xe rci se .

L ook t h rough the Ch nt books a an d pick out th e sim ple notes

an d n m e the m
a .

B . Neu ms of t o Notes .

Pes or P oda t u s

Cli v i s

)
a In t he P od t us the lower no t eais sung first
,
In t he Clivis .
,

the upper note is sung first .

b) T h r e doubled Vi r g B i vi g m a y be c lled group ‘

e a or r a a a

of two notes .

)c lso thAe dots a d h orizont l E pi m m y be dded n a se as a a

to the groups of two notes Th dot doubles t he length . e

18

w
w
the note or group m rked i th it
. e
Part I

of the preceding note T h horizont l E pisem sl ightl y lengthens

.

a a

w
a

w
.

E xa mpl es .

w
Pes i t h dot

w
P es ith t o dots

w
w
P es i t h E pi s e m a

w
Cl i v i s ith dot

w
Cli v i s ith t o dots

C l i vi s i t h E p i se m a

Cl i vi s i t h v e rt i c a l
E pi s e ma o r I c t u s

E xe r c i ce .

In the ch n t books find groups of two d give their n m es

a an a .

A lso consider the m e nings of the dot horizont l E pise m

a , a a,
verti l E pise m t
ca a, e c .

It is lso v lu ble to pr ctice writing the Gregori n notes

a a a a a
an d tr ns ribing the m into m odern not tion
a c a .
 C h apter I I . N ot at i on . 19

C . Neu ms of thr ee No te s .

P o rr e c t u s

T o rc u l u s

S c an di cu s

S ali c u s

Cl i m a c u s

)
a W h en t he S c n dicus is ter
a m in ted by a a irg
V a, as a r le
u
this l st note t kes the Ictus
a a

c ndicus d the Clim cus m y witho u t ch nging

b) T h e S a an a a , a

their n m es m ke up four five or m ore notes

a , a , ,

c ) Th e S a l i c u s m a y or m ay not h ve its two first notes

a at the
U nison .
20 P a rt I .

ook up groups of t hree notes in the

L Ch a n t books an d le rna

to n m e the m
a .

D . Ne u ms of F our Notes or mor e .

u s we h ve been considering h ve only single

Th e N e m a a a
n e to design te the m T t he longe r groups o m posite
am a . o c
term s given ; t h e first term th t of the neu m nucleus to this
are a -

is dded qu lifying term

a a a .

) Tah ter m P le
e xus which m e ns b t dded to the regul r a en 15 a a

m e of
n a group norm lly ending in
a upw rd direction to
a an a ,

which dded des ending note

15 a a c :

w
Po rre c t u s F l e xu s

S c a n d i c u s P l e xu s

S a l i c u s F l e xu s

b) T h e t erm R e s u pi n u s ( t urned b ck ) in the s m e y qu a lifies

a a a

these groups nor lly ending i ma n a downwa rd dire tion t o which c ,

is dded
a scending note
an a

To rc u l u s R e su pi n u s

C l i m a c u s R e s u pi n u s

hese t wo t erm s m be used in conj unction

,

c ) T ay
22 P art I

w
.

gr phi subordin tion of the di m ond P unct to the

The a c a a a
Virg which lw ys precedes
a, d do m in tes the m de m onstr tes
a a an a , a
their depend nce to it ( T h di m ond notes
a the product . e a are

of single stroke of the pen st rting fro m the Virg

a d keeping ,
a a , an
the s m e direction to left or right
a

T o or three groups pl a ced very close to one no th er re lly a a

for m a single group the exe ution of the Ch nt in c a

P es an d C l i m a c u s f o r m i n g a gr o u p ,

or S ca n d i cu s S u bbi p u n c t u s

P odatu s an d C li v i s fo rm i n g a

g r o u p

C li v i s an d P odat u s f o rm i n g a

gr o u p

rr
P o e ct u s S u bb i pu n c t u s an d
r
C li m a c u s f o m i n g a g o u p r

w
E xer c i se .

ke ch nt book d n m e the groups d co m bin tions

Ta a a an a an a

of groups P r c t ice picking out the neu m s th t should be

. a a

phr sed together

a .

Li q u es ce n t n e u ms .

The groups of neu m s whi h we h ve studied receive slight c a a

gr phi m odific tion when they co m e in cont ct with cert in

a c a a a

conson nt or vowel co m bin tions whose pronunci tion de m nds

a a a a
a cert in lightness In such c ses we use t the m o m ent of
a . a ,
a

the tr nsition fro m one syll ble to nother notes c l led

a a a ,
a
Li q t S mi v
u e s c en s l figured in the N ot tion in the
or e o e s, a

following m nner ( T h L iquesc e nt is the s mall note )

a : e .
 C h apte r I I . N ot a ti on . 23

E pi ph o n u s o r ,

be com e s P od at u s
Li q u e scen t _i
'
—
i
*

E xer c i se .

e a rn to distinguish the L i q
L u e sc e n t s , an d pr ctice singing
a

groups ont ining L iques ent

c a a c .

Notes an d Gr ou ps d eri ve d fr om th e A pos troph a .

postroph is nother sign borrowed fro m the Gr m m r

Th e A a a a a .

It holds i m port nt pl e in neu m ti c entu tion B y

an a ac a c a c a .

n ture the A postroph i

a , note j oined it were to nother
a s a ,
as ,
a

note .

Th n m e e d very often the ex t for m h

a ,
an been preserved ac as
for us in the group c lled S t phi a ro cu s

S i m p l e A p o s t ro p h a

D i st r oph a

T r i s t r o ph a —
H 9 -

N ° 75 8 . 2
24

()

T hus we h ve the P
its
T h e P r es s u s
double n o t e gr phi sign
a
origin in

Cli vi
the

a
A postroph
,

with different ountries d s hool s of copyists

c
1

a
In order
has to
pl ced fter ; t his S g v rieda c

an

r es s u s
Part I

c
w as

s
.

a a

.
a .

l n a

is lso
T h e Or i s c u s A pos t rop h I t is lw ys pl ced t
a an a . a a a a

the end of group Th S olesm es books lw ys distinguish

a . e a a

the O i —
I O t h er books usu lly xp
r scu s . i t si m ply a e r ess v

as a
squ re note
a S the Ch pter on the Interpret tion of ee a a

S peci l N eu m s
a .

Th e Gr egor i a n Sta ve .

Gregori n st ve is
The a a ma de up of four horizont l lines a , an d
three sp ces a

When the notes go bove or below the S t ve o t her lines a a , ,

c ll ed L g lines
a dded
e in m odern m usi
er are a , as c

The am n e of the notes the S t v is design ted by m e ns on a e a a

of Cl efs ; these Cl f signs borrowed fro m the ncient m usic l
e are a a
letters At . . present only t wo Cl f used in Gregori n e s are a
N ot tiona

or c Clef g_ [13t
T h e d oh d t h e f h or F Clef
te
.
an a .
F l
F ahJ
’

Th notes occurring on the s a m e line

e the Cl f c rry the n a m e as e a
of the Cl f F ro m this l in e up or down we ount the n m es of
e . c a
the other notes .

T h C or D h Cl f m y ppe r
e t h e second third or top
o e a a a on ,

lines T h F or F h Cl f ne rly lw ys ppe rs on the t hird

. e a e a a a a a

S e e P a rt I I . Ch a pt e r I I I .
1
9 . 174 .
 ne
li
No w , an

an
d is ,
as a
o t t i on
C h apte r

rule e m ployed only for S e ond Mode

d then it is found on th e 2 d or 4t h line
‘

II .

n
N a

c
.

.
m elodies
25

E x am ples of Cl efs on different lines with S olfeggio N mes a

Do re mi fa Do re mi fa sol la
I
n

I
Do ti la so l fa mi re do Do ti la sol fa

mi fa sol la ti do
‘

re
I

Do ti la sol fa mi

Fa sol la ti Fa sol la ti do re
l I

Fa mi re do ti la so l Fa mi re do ti 13
.

Wh en tr nscribing the a Ch a n t in t o Modern not tion only

a ,

one Cl f is necess ry the

‘

e a , S ol Cl ef .
 Part I .

T he G uide is a tiny note pl ced a at the end of e ch a

I
line t o indic te in dv nce the first no t e of the following line
a a a .

It is lso e m ployed in the ourse of line when the extension

a c a

of the Melody de m nds ch nge in the pl e of th e Clef t o

a a a ac ,

denote the first note fter the ch nge a a

A c ci d e n t a l s .

O nly one ccident l the ( b) B F l t is d m itted in Gregori n

a a , a ,
a a

Ch nt
a It m y oc ur i either the lower or the upper oct ve
. a c n a .

( Th A
e n ients did
c o t write B F l t in the lower
n oct ve but a a a ,

preferred tr nsposition )
a a .

n
i _ :
—t - E

Th e e ffec t of this F l t l s t s through the word unless contr

a a a

w
,

dicted by ( 3) N tur l or y kind of B line

a a a an ar -
.

N v in Gregori n m elody m y the two B ( B l: d E h)

e er , a a , a s
1
an

follow e h other either s ending or des ending

ac ,
a c c

n e ve r

g a bb b : c

t on t hR h y h mi c S i gn s
S ta v e e .

T kinds of R hyth m ic S igns

o found on the S t ve are a

a ) R hyth m i S igns ffecting the

c N otes a .

I ) T h D et pl ed fter N ote doubles its v lue

o ac a a a a
‘

A dotted note is represented in Modern N ot tion by Q u rter a a a

N ot e 3 1 :
 Ch apte r II . N on ot at i27 .

2 ) T he H or i z on ta l E p i s em a l bove or below note

l a a

le gthens it slightly When t h

n . e S ign underlines Group it a ,

m t h t group is to be ret rded

P
e an s a a l
. . .

3) T he we h ve
Ve r ti c a l E p i s em a ,
as a m entioned a bove
represents R hythm ic T ou h or S upport
a c l f

b) R hyth m ic S igns of D ivisio n

I) is erely
T h e Vi r gu l a
m gn of bre thing lw ys t ken a Si a ,
a a a

from the pre edi g N ote c n .

2) Th I i e or Qu a rter B m rks s m ll Me m bers of P hr se

n c se, -
ar a a a a .

D o no t t k b
a th unless the sense of the words de m nd it
e a r ea ,
a .

rk or lf distinguishes t e hr se

w
3) T h M m e b m e H Ber a h P a -
ar a

Me m bers properly c lled ; it is co m posed of one or two In ises

a c .

If respir tion is necess ry h ere it sh ould be t ken fro m the v lue

a a ,
a a

of the pre eding N ote ( When Chorus is singing unless the

c . a ,

sense of the words dem nds it no bre th is t ken ) a ,

a a .

4) T h e F l l B corresponds
u -
to full
ar stop in punctu tion ; a a

here bre thing is oblig tory

, a a .

5) T h D b
e l B ends the Ch nt or prin ip l p r t of it
ou e -
ar a ,
a c a a .

S u gges ti ons f or P r a cti ce i n R ea di n g .

T h e fo ll o h nts in the L i b U S l i
mg C a er ua s

C Clef on 4t h L ine K yrie fons b i t t i on a s .

3 d Credo III ; Vidi qu m

r a a .

A sperges m ( 7 t h Mode )
N
d 2n e

F Clef on 3 d L ine A gnus D i X ; Glori a in excelsis

r e

4t h S nctus XI a .

O ffert ory Verit s m a ea .

S olfeggi o .

The S ystem of i gh t di g in use for the pr ti e of Gregori n

s rea n ac c a

Ch nt is the F i x d d h syste m
a It is very e sy to find D h on
e -
o . a o
the st a ve with little pr ctice t he C Clef is lw ys pl ed on
a a a a ac
the C line ; the F Clef on the F line T h syll bles fixed by . e a
28 Part I .

G uido d A ’
rez z o in the t h century r1 , an d co m pleted by theorist s
a little l ter
a ,
are st i ll in use U t ( D h ) o Re Mi F a h S ol La S i ( )
T i
( 1
) T e u ) D o h .

It is lso good pr tice to voc lize on the

a ac a N m u bers ,
a lw ysa

counting fro m C
R u l es f or Pl a ci n g th e I ctu s .

As it is necess ry for t he studen t fro m the very beginning

a ,

of his s t udy of P l insong to h ve o m e ide bout the pl e m ent

a ,
a s a a ac

of t he R h yth m i I tus I do not consider it out of pl ce to give

c c ,
a

a few gener l rules in this Ch p t er on N ot t ion

a a a .

Al l the S oles m es E ditions d so m e others published wit h an are

the princip l R hyth m i S igns In these books it is f irly e sy to

a c . a a

figure out the ddition l I tus N otes In the books th t h ve

a a c . a a

the S oles m es R hyt h m ic S igns we m y st t e the following rules , a a

)
a All l g notes
on which include
I ) E very dot t ed note .

first note of the P ssu

w
2 ) Th e re s .

3) A l l notes be a ring the H orizon t l E pise m ( W h ich a a .

indic tes lengthen ing)

a .

b) O ther pl ces for t he I tus

a c are

)
1 E very note be ring the V ertic l E piseam ( I ctus ) a a .

2) Th note before the Quilis m ( Which lw ys h the

e a . a a as
H orizont l E pise m ) a a .

3) T h firs t note of every N eu m in m ost c ses

e ,
a .

4 When N eu m of three no tes is followed by

a s i ngle no t e a ,

the l st note of the N eu m t kes t h e Ictus In other

a a .

words no R hyth m i D ivision be s m ll er th n two c can a a

notes or l rger th n three notes ; thus t h e single note

w
a a

be t e en groups goes b k to the group before it ac

The Ictus never o ur on consecutive single no t es

c an cc .

In the books th t h ve no R hy t h m ic S igns the foll owing

a a ,

m ore co m pli ted R ules m y be l id down ( )

ca a a
2

S e e S u no l T e x t B o o k o f Gr e g o r i a n C h a n t
,
.

I n o t a d v i s e t h e u s e o f B oo ks h i ch h ave n ot the S olesme s

( ) d
2
o

R h y t h m i c S i gn s .
30 P ar t I .

Cl i vi s first note t kes the Ictus ; the

Th e d note is a s e con

a l ost lw ys of less i m port nce rhyth m i lly d m elodic lly ;

m a a a ca an a
like the od tus it is often m ere m elodi orn m ent
P a ,
a c a .

O l ink wit h nother neu m

r a a

( O n e m ust lw ys be r in m ind th t every no t e in P l insong is

a a a a a

a lw ys given its full tim e v lue A lthough t h e second notes

a a .

of these N eu m s sung m ore ligh t ly t hey m ust not be sung

are ,

m ore qui kly ) c .

S di ca n T h Ictus is on the first not

cu s A Ic t us m y
e e n a

f ll on the l s t note when the N eu m is followed by single

a a a

note or we k be t a a a .

S li a In this speci l N eu m the Ic t us lw ys f lls on the

cu s a a a a

d note
s e c on In m os t of the S oles m es books this Ictus is
alw ys m rked thus le rly distinguishing i t fro m t h e S c ndicus
a a ,
c a a
whic h is m uch like i t Th note c rrying t h e Ictus is lw ys . e a a a

sligh tly leng t hened ( S N o m bre Musi l V l I P rt II . ee ca , o .

, a .
,

Ch pter XI )
a .

his N eu m be rs th e Ictus on t h e first note d

Cl i m a c u s T a ,
an

m y lso h ve one on the third if necess ry

a a a T h Cl i m a . e a cu s

of f or fiv not e s In these long N m it is lw ys ne ess a ry

ou r e eu s a a c

to h ve second ry Ictus It norm lly f lls on the third note

a a a . a a

of t h e group .

T l T h Ictus lw ys on the first note unless speci l

or c u u s e a a a

conditions m ke it ot h erwise T his N m m ust lw ys be

a . eu a a

sung evenly d v given the e ffect of triple t When the

, an n e er a .

third note of the group is m rked by E pise m or dot the a an a a ,

group is ltered rhyt h m i lly

a ca .

P Th P
r es s u s s occurs wh en two N eu m s co m e t ogether
e res u s
a t the s m e pitch ; or
a P unctu m d N eu m m y m eet to for m a an a a
a P T h first note of the P
r e s su s . lw ys t kes t h e Ictus
e r e ss u s a a a

in spite of y other rules T h two notes form ing the P

an . e re s su s
a re sung strongly rel tively a .

( )
1
O r fi rs t n ot e of P oda t u s .
 C h ap te r I I . N ot ati on . 31

A S tr ophi cu s either lone or in conj un tion with nother

a c a

N eu m c an never form P a r e ssu s

w
cae li R e dem pt or I ra

S t r O p hi cu s P r e ssu s

or T i t ph
B i s tr opha ,
It is not pr tic l for t h e ordin ry
r s ro a ac a a

c hoir to tte m pt the Medi ev l interpret tion of these N eu m s

a a a a .

( Which is not too le r ) It is described by

c e rly
a t h eorists to be a

a double or three fold per ussion or repetition of t h e note ;

-
c

this exe uted r pidly d lightly T h present pr ti e

as c a an . e ac c

in the best hoirs is to give the two or three notes their full
c

tim e v lue but to slightly ccent e ch group in the s m e bre th

a ,
a a a a

an d onnected
c

Gra d u a l

Q u i l i s mahere h been gre t

T de l of ontroversy as a a a c

concerning the interpret tion of this note S o m e theorists a .

say it represents turn whi h is doubtful a T h m odern rendition

, c . e

by uthorized choirs is to slightly prolong the note p di g

w
a r e ce n
the Quilis m note d to sing this l tter note lightly
a , an d a an
deli tely T his note m a y never be r the Ictus whi h lw ys
ca . a ,
c a a
occurs on the preceding lengthened note .

- u /

O n e N o t e b e fo r e Q u i li s m a . T o n ot e s b e fo r e Q u i li s ma .

B o th n o te s a r e l e n gth e n e d .
32 Pa t II r .

T h re e n ot es b e fo r e Q u i li sm a .

I st a n d gr d n o te s a r e l e n gt h e n e d .

F ou r n ote s S ix n otes

b e fo r e Q u i li s ma . b e fo r e Q ui li s m a .

B oth notes doubled ; however cert in m oun t of freedo m

are a a a

of in t erpret tion is llowed

a a .

O i r s cu s T h V ti n Gr du l e d other books of Ch nt
a ca a a an a
h ve no sp e ci l f orm for this N m but m erely represent it by
a a eu ,

an ordin ry P unctu m It usu l ly o curs t the end of group ;

a . a c a a

however we find it between two groups on one syll ble or before a ,

a new syl l ble Th O i

a .never b e rs the rhyth m ic I tus
e r s cu s a c ,

bec use it is lw ys preceded or followed by the Ictus

a a a

di em te - stu m ce le br an t es

T here is re son to believe t h t t h e note preceding the

a a Or i s c u s
is to be sung not e lower th n the G i
as a a r s eu s

di em fe - stu m ce le br antes

S mo e schools however dvoc te singing the two no t es a written

, ,
a a s ,

on the s m e l d g the O i
a s ca e itself being exe uted very
e r ee, r sc u s c

l ightly ( S
. N m beeM i l V l I oCh pter X
re P r g ph u s ca , o .
, a , a a ra
 CHAP TE R III .

TH E MOD E S TONALITY .

Th e Na t u r e of Gr eg ori a n Mel ody .

Gregori n Melody essenti lly m onodi is bove l l

The a ,
a c, , a a ,

D i to n i
a It ex ludes l l hro m ti progressions ; the only
c . c a c a c

a cc ident l it dm its is the B P on the express ondition th t

a a , c a

this B l never be p rt of the progression A

? Eh Bh
a C

ww
.

O nly the white notes on the pi no recognized In this a are .

D i toni f t lies the first h r teristi of Gregori n Melody

a c ac c a ac c a

( M onogr phies G r é goriennesa X D m Joseph G j d ) , , o a ar .

T his quot tion of the ven er ble m onk of S oles m es su m s up

a a

prev iling theories of the Medi ev lists on erning Gregori n

a a a c c a

T on litya While it is true th t m ny of the se rets of

. a a c
Gregori n T on lity still re m in shrouded in m ystery this
a a a ,

D i toni outline gives us

a c work ble syste m Whether or not a a .

so m e of the Ch nts suggest P ent toni b kground h not a a a c ac ,

as

been proved to our s tisf tion In this Ch pter we sh ll a ac . a a

lim it our studies to the prev ailing Medi ev l D i toni T heory a a a c

h ich h been ccepted by S olesm es

as a .

Gregori n m elody lso ex ludes the sentim ent l h lf tone

'

a — a c a a

ca den e ex ept in the Vt h d VI t h Modes Th A n ients

c , c an . e c

ca lled the h lf tone i m perfe tion d therefore considered

a an c an

w
-
,

the se m it ne or r ised seventh den e in o m p tible with t h e

o ,
a -
ca c c a

Musi to be used in the

c o rship of the P erfe t Being c .

D m Ga j d g o es on to st te
o arChro m ti is m x l l in p inting a , a c e ce s a

the p ssions d extre m e sentim ents whi h stir the hu m n

a an c a

he rt B t pre isely wh t the Gregori n A t desires to p int

a . u c a a r a

ar e not hu m n p ssions but the L ove of Go d d the P e e

a a ,
an ac
whi h results fro m it ( Monogr phies Gr égoriennes X )
c a .

T so m e extent it h
o b een p ossible to tr e the Medi aev l as ac a
Mod l S yste m i n the writings of theorists It h been
a epted . as acc
as outgrowth of the Greek P erfe t S yste m whi h pl yed
an c , c a

its p rt with other Greek influences in the L iturgy of the e rly

a a

Chur h Tc out of three chief fe tures of the Church Modes

. o a

m entione d by e rly theorists cl e r ) Th r

a nge d ar e a I e a an

su ess on of the interv ls in e h Mode n d 2 ) T h ide of the

cc i a ac , a e a

D o m in nt It is not ert a in when the im port nce of the F in l

a . c a a

to det erm ine ton lity be m e evident We tr e the

a ca . can ac

on eption of the D o m in nt f b ck A ristotle but to the

,

c c a as ar a as ,

theoris t t le ast the signific nce of the losing note of melody

, a , a c a
 ww
w
w
w
34 P ar t I .

had not been recognized I t only fter the R o m n Ch nt

. as a a a

had been dopted by the F r nks th t we find theorists who give

a a a

m uch i m port ance to t he F in ls of the Modes O f wh t h pp e ned a . a a

in the develop m ent of the Church Modes between the 5 t h n d a

the 6t h Centuries we know lit tle excep t wh t we

,
figure out , a c an

by o m p ring the m elodies the m selves

c a .

In t h e older the R esponsori l Ch n t s t h e D o m n a n t

, of a a ,
i as
gre t i m port nce
a i t s on t h is note th t the gre ter p rt
a ,
as a a a a
of the t ext recit ed But h ere no gre t i m port nce is given
as . a a

to the F in a l It as in t he A ntiphon l m elody whi h c m e fro m

. a c a

th e E st in th e 4t h Century th a t t h e F in l g ined its i m port nce ;

a , a a a
for the A tiphon consists of m elody with recit i ng tone
n a a

whose ton lity is l rgely determ ined by the Cl

a a T herefore os e .
,

it is logic l to y th t the F in l g ined i m port nce wit h the

a sa a a a a
develop m ent of t h e A n t iphon l style A nother f ct we h ve to a . a a

consider is th t wit h t h e ch nge in ch r cter of the R esponsori l

,
a , a a a a

Ch nts fro m the s t r ight P s l m odic types of Ch nts to the

a , a a a
highly el bor ted Melis m tic Ch nts we e even to d y in t he
a a a a s e a

Ch nts of Gr du ls
a d A llelui s
a the i m port nce of t he
a an a ,
a

D o m in n t g ve pl ce t o the F in l in settling T on lity

a a a We h a ve a a .

m uc h re son to believe th a t t h is ch nge took pl ce between

a a a

t he st h d 6t h Centuries
an .

Th e Di vi si ons of t h e Ori gi n al S c a l e

w
.

A irst D ivision of the O rigin al D i a t onic S c al e

F .

F ro m the following O rigin l D i t onic S c a le co m es t h e a a Mod a l

S ys t e m used for Gregori a n Ch n t a

I
A B C D E F G a b c d e f g

to which dded as a an ex t r no t e
a at e ch end for the s ke of
a a

Co m pleteness
 G or S l is the F i n l of the T
o a e tr ar du s F ourth Mode .

The interior division of the Modes is indic ted in the following

a

t ble
a
l

l
I

Protu s

D e u t er u s

st h I

T ri t u s

T e tr a r d u s E
36

T t
F
S

e r ar

ou r

El v
e

It
F ifth
a

th
en
d

w,
w
t rting fro m the Fi n l of e ch Mode we find F i fth ; this is
the center of the S le In the P t it extends fro m D to A
in the D t

notes
as

and
eu

an

.
ca .
a

fro m E to B in the T i t fro m F to C ; in the

eru s

fro m G t o D ( upper) T hen b l t his F i fth is

us

d b v it is a F th
o eE ch Mode regul rly includes
a ou r

n tur l th t t h e Melody should f ll in t o t he Centr l

a
little bove
a

a
a

d below it

S o m eti m es the m elodies mov e in the n rrow p

a

R r ely do we
a

find Gregori n m elodies whi h e m br ce t he co m plete s le

f the Centr l
P a r t 1;

an

c
.
.
ro u s

a
r

a
,

us

e o

s
.

ace o
a

a
a

ca
a

a
.

F ifth ; in other c ses the L ower F ourth is dded ; so m eti m es t he

a a

U pper F ourth is re hed the L ower F ourth bei g entirely

ac ,
n

ignored .

T h us we h ve the L ower Ch nt
a d t h e U pper Ch nts In a s an
-

a .

order to differenti te thes e different regist ers ; d to sim plify

a
‘

an

the T heory t he F our P ri mitive Modes were once m ore divided ,

givi g us the E ight Modes of the Middle A ges

n .

w
B T h E i ght M d
e showing t h eir rel tionship t o the
o es a

P ri m i t ive F ou r .

p
U pe r Prot u s Md o e

Ch a n t s A u t hen t i c I

P r ot u s

Lo er Protu s Mo d e
Ch a n t s P l a ga l II

w
U pp e r D eu t eris Mo d e
Ch a n t s A u then t ic III

D e u t er u s

Lo er D e u t e ri s Mo d e
Ch a n t s P l a ga l IV
38 r Pa t 1 .

Fi l In e ch p ir of Modes or M n eri the F in l re m ins

na a a ,
a a, a a

the s m e for both the A uthenti

a d the P l a g l c an a

D or R F irst d S e ond e an c .

E or Mi T hird d F ourth an .

F or F F ifth d S ixt h a an .

G or S l S even t h d E igh th o an .

tter how m uch w ndering Melody d oes it lw ys ends

No m a a a ,
a a

on the in l of its Mode

F a .

T h m ost i m port nt N ote in the Mod l

w
Th D m i e t o n an e a a

S le next to the F in l or T oni

ca ,
is its D o m in nt It is the a c, a .

R e iting N ote of t h e P s l m ody

c d the center of ttr ction a , an a a

a round whi h t h e m elodies tend to revolve

c .

Th A th ti M d
e uh ve t h eir D o m in nt t t he F ift h bove
en c o es a a a a
the F in l T h following will cl rify
a . e a

F irst Mode Fi l D or R ; D m i t A or L na e o n an a .

T h ird Mode E or Mi ; B ( C) or S i ( D h ) o

F ifth Mode F or F ; C or D h a o .

S eventh Mode G or S l ; D or R o e .

T h regul r D o m n nt of the T hird Mode

e a i form erly B (S i )
a as - .

( S o m e M on steries still use

a t he O l d D o m in nt in the P s l m ody ) a a .

But the inst bility of this tone ( B l or B i ) a n d its proxim i t y

a ?
,

to D h h ve little by little ttr t ed t h e D o m in nt to D h

o ,
a a ac a o ,

espe i lly in the P s l m ody ( In m ny old m elodies we fin d the

c a a . a

B recit t ive or tr nsition tone ) U nder e rt ain i m

as a a a a . c c rcu s

t n es it is i m port nt to keep the old D o m in nt in order to

a c a a

preserve the re l h r cter of the Mode A theorist of the

a c a a .

XI t h Century s ys U nquestion bly the T hird Mode prefers

a ,
a

the S d N i th ( B b
e c on l) be use it is the F ifth bove its F in l ;
n ,
ca a a

but espe i lly be use it returns by the i t v l f t he F th

c a ca n er a ~
o ou r ,

to the note B the highest of its S c le ,

a

Th P l g l M d
e a h a ve their D m i t t t h e T h ird below
a o es o n an a

the D mi t of the orresponding A uthenti Mode ; the E i ghth

o n an c c

Mode is e x e ption to this rule ( S

an c T hird Mode ) . ee .

T hey follow

S econd Mode Fi l D or R ; D m t F or F
na e o i n an a .

F ourth Mode E or Mi ; A or L a .

S ixth Mode F or F ; A or L a a .

E ighth Mode G or S l ; C or D h o o .
 Ch ap te r o e
III . Th e M d s T on l i t y a . 39

S u e gge s t i on for m em orizing the F in ls a an d D o m in nts a

Modes 1 2 3 4 5 6 7 8 .

Fin ls a Re Re -
,
Mi Mi
-
,
Fa Fa -
,
S ol S ol -
.

D o m in nts a La F a -
,
D o La D o La R e D o
-
,
-
,
-
.

T h e A m bi tu s or the extent of S le is not enough to a ca

ch r terize Mode T h F irst Mode d the E ighth Mode

a ac a . e an

h ve ex t l y the s m e outw rd ppe r n es but

a ac atot lly a a a a c , ar e a

unlike in h r ter c a ac .

a) T h F in l of the
e F irst M ode is
a D d th t of the E ight ,
an a

Mode is G .

b) T h D o m in nt of the F irst Mode is A

e a d th t of the an a

w
,

E ighth Mode is D h o .

)
c T h interior division
e of the F irst M ode is F ifth t botto m a ,

an d F ourth bove whi l e in the E ighth Mod

a the F ourth is t
, e , a

the botto m d the F ifth t the top an a .

T h A m bitus of the m elodi es is ex tr em e l y v ri ble : S o m e

e a a

fil l the Co m p l ete S le of the Mode ; others st y within the F ifth

ca a

an d develop within the sp e of few notes ; so m e go beyond ac a

the li m its of the regul r S le so m etim es on th L ower side a ca ,
e ,

so m etim es bove ; so m e m elodies even m ke use of p i r of

a a a a .

Modes (A uthenti d P l g l) c an a a .

A gener l rule m elodies of t h e A uthenti Modes extend

s a a ,
c

to the note b l t heir F in l d the Melodies of the P l g l

e o a , an a a

Modes in lined to borrow notes b v their regul r o m p ss

ar e c a o e a c a .

T h F if th Mode however does not dd the note below its

e ,
a

fin l be use this T one is S em i to n e down F thi re son

"

a ca a -
. or s a

we often find den e skips down to D d b k in the F ifth

ca c an ac ,

Mode well its P l g l the S ixth Mode E x m ples A g

as as a a ,
. a nus

D i ( 5 t h Mode ) X VII ; B
e di t t Gr du l for D e e m b e r en e c a es u ,
a a c

8 t h ; U bi it 6t h M d A t i ph
car for M undy T hursd y
as o e n on a a .

Tr a n spos e d Modes .

Thetones d G not the only ones whi h t

* *
D E F an a re c ac as

F in ls to Gregori n Melodies
a We lso find A B ; d C useda . a ,
an

as F in ls thus o m p l eting the o m p ss of t he D i toni O t ve

a ,
c c a a c c a .

D othe e fin l s represent three ddition l Modes with their

s a a a

Pl g l
a thus m
a s, king F ourteen M odes in l l ? S o m e theorists
a a

so ntend co d p ge ould be filled with the unsettled

,
an a s c
dis ussion H owever the n ient Gregori n theo ists ccept
c .
,
a c a r a
only E ight Modes d consider the re m ai ning six T , p an as ran s os
40 r Pa t I .

i ti of the others When the O rigin l Modes

on s ffe ted. a a re a c

by B b they represent the s m e S c a le constr ction the dded

,
a u as a

Modes T h following t ble will expl in this T heory

. e a a

P t N orm l l si do R E m i f l l si do re
I
;ro u s a a a so a .

I st e t 2n d l?
Modes .
[T r nsposed
a m i fa sol LA si do re m i fa sol l a .

D e u t e ru s ; N m a
f or l si do re MI fa sol l a si do re mi .

3r d e t 4t h l? [7
M odes t T r a n s po s e d
. fa sol l a SI do re m i fa sol l si a .

T ri t u s ; N orm l do re mi FA sol l si do re m i fa
f
a a .

5 t h e t 6 t h l?
M odes [ r nsposed sol l si
T a a DO re m i fa sol l si do a .

We observe th t the three T r nsposed S c les equiv lent

can a a a are a
to the N orm l S les H owever this th eory does not lw ys
a ca . a a

expl a in the pecul i rities of cert in s c lled T r nsposed Melodies

a a o -
a a .

Muc h rese r h could be m de on t h is subj ec t

a c a .

E x m ples of T r nsposed Modes include Co m m union P

a a r : a sse

i v i t A ntiphon H
n en Di E a st e r Vespers ; Introit E x d i
a ec es , au

D mi o A ll m y be found in the L i b
ne . U a li er su a s .

w
r Modes

w
Ch a ra ct e i s ti cs of t h e D if f er en t .

or Mode on R rese m bles little our m odern

Th e F i r s t M o de ,
e, a

c le of
S a D M inor without the ra ised S eventh ( C t ) Wh en the
,
.

B17 is present in this Mode it be rs still closer rese m bl nce , a a a

to th t ore recent S c le
a m a .

T h A ncients design ted it P ri m us Gr vis title we l l deserve d

e a a , ,

as it is l w ys d is reet serious , tr nquil d recolle ted ; the

a a c ,
a an c

Mode of onte m pl tion ; the Mode p

c excellence of P e ce It
a ar a .

see m s to m th t t h e l st qu lit m entioned is m ost desir ble

e a a a a a

an d definite h r cteristi of t is Mode c It a not without

a c . as

re l pu pose th t the lovely P r yer for P e ce the Introit of

a r a a a ,

the Votive M ss for P e e set in the F irst Mode A

a ac , as . n
excerpt of it fol l ows

Da p a -
c e m Do mi sus ti ~
n é n t i bu s
 C h a pt e r I I I . The M od e s T on ali ty . 41

te , _
ut p p
r o h é t a e tu fi dé les ih -
ve n i a ntur ‘

A nother fine F irst Mode Melody whi h belongs to the s m e c a

T ype the pre eding Introit is the K yrie O bi f t

as c , r s a c or .

It is very suit ble Ch nt to follow Introits i t h F irst Mode

a a a n e

m king onsistent use of the B l

a c We giv it in its A n ient form ) . e c

K y— ri e e i son . a ]: C hri ste -

e lé i son . i i f Ky
. ri e e le i son .

A nother well known Ch t f this s m e l ss ( with the f m ili r

-
an o a c a a a

R to L skip
e d B P e m bellish m ent ) is the A ntiphon for the
a ,
an ,

F e st of the A nnun i tion A v M i

a -
T L d e Vi tori uses
c a , e ar a . . . c a

this Melody to develop h i s im m ort l setting of the s m e words a a .

A ve Ma r1 a,
* r a- ti
g a ple -
na,
-

D m1o nus tecu m : etc .

T here m ny m elodies of t h is style

are a t h First Mode In e .

Th e student m ight try looking the m up in the L i b U l i er su a s .

Th e F irst Mode Melodies whi h do not use the B l? r in the c a e

m inority d ,
ll a n ient Ch nt s
an O
ar e of the best known
a c a . ne

is the K y i ti p t g i to D
r e cu n c N I V L i b U S l i
o en s en r eu s .
O
. er ua S

or K y i l r a e .
42 r Pa t I .

T ypi l ca Ca dences of the F irst Mode are given below

e lé i son . do -
na r é -
bis p a c-
e m . s a écu li .

Is ra e lé i son . no -
stri .

T h e S ec o n d M ode : T h e A ncien t s recognized the P l a g a l of

the irst
F Ma nera or first p a ir of Modes a s S ecundus T ristis
, , .

Itm ay be ch r cterized m uch t he s m e its A uthentic p rtner

a a a as a ,

the irst ode O wing to its low register

F M . the lowest of t h , e
Modes ,
its ch r cter is m uch m ore sober d serious th n th at
a a an a

of the F irst Mode T h B l is lm ost lw ys present when its

. e ? a a a ,

Melodies e xtend ei t her up or down to th t note ; but it seldo m a

m kes use of the L ower B b B S but skips fro m the C down to

‘
a or ,

the lower A .

Most of the S econd Mod e Melodies keep within the C t l en r a

F i fth,
d
an in l l t he P l g l Modes wh en extension o curs
as a a a ,
c ,

i t is usu lly t the t op of the S c le

a a a .

T ypic l S econd Mode Melodies

a the Glori d S nctus are a an a

of the Miss O bi f t r XI L i b U l i We give excerp t s

a r s ac o , . er su a s .

fro m t hese pieces

Ce l e b r a n t Ch o i r

Gl o ri a in exc el sis -
De 0 . Et in terr a p a x

ho m i n i -
bus

Sa nc t us ,
S a n -c t u s ,
Sa nctus D o- m i - nus De us
 C h a p te r I I I . The M des o T on ali ty . 43

s o ba oth .

On e of th e m ost be utiful of the S econd Mode Melodies a

is t h e so m ewh t d but highly de votion l A llelui for Whit
a sa , a a

S und y I t keeps the usu l s m ll r nge cli m xing on the

a . a a a , a

U pper B l ) .

A lle ~
ia .

n i S an ct e S pi ri tus ,
r e pl e

o e of the m ore el bor t Gr du ls T r cts d R esponsories

S m a a e a a ,
a an

of the S e ond Mode extend down to the G of the L ower

c
‘

T etr hord usu lly fl t ting t h e B l when it o ccurs

ac ,
a A ex m ple a ? . n a

is the R esponsory C l g t ;b ti fi of P l m S und y

~

o e er u n on ce s a a .

We give few in ises a c

runt e tc .

A ga i n .

i l -l i us ,

is not used t the firs t descen t s t o th e lower p rt of t h e

T h e B l? a a

Mode But in m ost pl es we find it

. ac

A ex m ple of S yll bi Ch n t of the S econd Mode is the

n a a a c a ,

S e quen e St b t M t
c ,
of the M ss of the S even D olors
a a a er a .

Li b U er li p 1 634
su a s, . .
 w
44 P ar t I .

T h e T h i r d M o de whose F i n l is E is perh ps the Mode a ,

a

whose ton ity is f rthest re m oved fro m our Modern s l es

al a ca .

It is ed by so e F rench theorists l m d xt ti q ;b
c a ll m e o e e a ue ar

e xce l l e n ce indeed it is ecst ti for it see m s not to co m e

an d a c,

to fin l rest but to rem in suspended

a a ,
it were between a ,
as ,

e rth d he ven T ertius My t i

a an a the very signific nt
. s cu s as a

term pp l ied to t hi s Mode by the A n ients Cl ose x m i

a c . e a

n tion f the Ch nts in this Mode will rep y the student

a o a a -

for he wi ll discern in t he m etern l d ltogeth e r m ysti l an a an a ca

qu lity whi h no other m usi l s le
a ,
c dis lose F Ch nts ca ca c an c . or a

of pure une rthly pr ise the T hird Mode is perfe t S u h

,
a a c . c a

Ch nt is the
a T D m Al so the h e venl y G d
e eu a au en s

gau d b e Introiot to the M ss of the I m m u l te C onception a ac a ,

p 13 6 Li b U li
. 1 ,
er su a s

(j u xt a m or e m R om a n u m .
)

Te De um l a u d am u s te D om i -
n u m c on fi - em t ur .

Ga n -
dens g ud e a bo in Do mi no ,

here
T nu m ber of T hird Mode Melodies of this type T h
are a . e

flight upw rds to the D o m in nt of the Mode ft e r Well

a a , a
est blishing the F in l E is ch r cteristic
a a ,
a a .

T h T hi d M d
e d its P l a g l the F ourth
r om ost suit ble
e an a , ,
are a

to express the Mystery of the I nc r tion ; t h e Medi ev l a n a a a

co m posers see m ed to feel this m ny Christ m s H ym ns d ,
as a a an

Ch ntsa found in this Mode T h M tins R esponsory

are . e a ,

O M g m my t i ma nu the ncient L uds H ym n A solis

s er u a a ,

t
or u S di ca r m ong the T hird Mode Christ m s Ch nts
ne a re a a a .

Of t h F ourth Mode Melodi es which h ve the s m e F in l

e , a a a ,
are

the O ffertory of the Midnigh t M ss of Christ m s L t t a a ,

a e en u r

C li
ae d the Christ m s M tins R esponsory
an
Q m vi d i t i a a ,
ue s s

p a s to r e s
An ex m ple of the T hird Mode which h ret ined the A n ient
a as a c

o in nt E h is the K yrie for the F eri l M ss XVI K y i l it

D m a , ,
a a , , r a e

follows
46 Part I
‘

Me m én t o *v é r b i t t
'
I -
i s ervo t u o ,
D om i n e, e tc .

The lower register of t h e F ourth Mode d its frequent use of an

theBP give it m ore serious spe t th n the T hird Mode T h

a a c a . e

fine esponsory M di Vi t
R c rries with it the m ore serious
,
e a a a

fe ture of the Mode bu t wit h t he s m e m ysti l F in l den e

a ,
a ca a ca c

— _ n _

Me—di a Vi ta in mo rte su mus : que m qu ae

ri m us a dj u to r em ,
n i si te Do mi -
ne ? qui pro

pe c a tis
c -
n o stris i ré sce S an

Dé us ,
S an c t e for -
tis ,
S an c t e

mi -
sé -
ri cors
-
Sa lv a tor ,
am a
-
re mo rti ne tra das

nos . e tc .

C h r cteris t ic C dences of th e F
a a a ou r th M ode :

n o
-
bis p a c em . in ex el sis c . vé
 .

ca
T h F i fth M d

r
-

of F M j or
C vi vi m
on

Christi
m odern m usic
e

S le of F ; in f ct it h
th oughout the com position

.
u
w
e
w
C h ap te r I I I

with its T on i F (
,
o
on l i t y

S ixth Mo de ) be use of its suc ession of interv a ls ca

47

lso its P l g l the

e :

d the
h lf st e p below its F in l re m inds us very m u h of the Modern
the s m e form when the B ? is used
a

done in l ter tim es when

p rt m usi beg n to develop ( T here is no doubt th t the sc le
a c

a
a

the first Modern S le ) S the following one

a as

of the m ost be utiful of the m ore m odern Ch nts the 0 S

M g i fi t A ntiphon of the F e st of Corpus
a

T h B ? is pl ced t t h e beginning of the st ff

n
m

in
ca
.

a
,

as
Th

a
,

.
e

as
M od e s

a
c

ca
c

as

.
as

ee

a
T

,
a

a
a
.

,
a

a
an
a

,
,

a cr u

as
a

O sé c ru m onvi c Vi um "in quo hristus

C

su mi tur : re co -
li tur m e mo -
ri a p ssi
a o nis

é j us z m e n s i m pl é tur gr a -
ti et fu ti i
’

rae

gl o -
ri ae e tc .

owever the old o m posers of the Golden A g of the Ch nt

H ,
c e a ,

were c ref l to suppress in t h e Melody the h lf tone e ffe t bel ow

a u , a -
c

the T onic ; to m ke the rel a tionship F —B P unno t i e ble

a , as c a

as possible d to m ultiply on the contr ry the B LT T hus they

an , a ,
.

preserved the fine old T on lity of these Mod e s E ven to d y a . a ,

the F ifth P s l m T one h ret ined the B tl ( We sh ll discuss

a as a . a
this in the Ch pter on the P s lm ody ) a a .

F ollowing few short ex m ples of this Mode in its

are a a ,

purer F orm F irst phr se of the Co m m union of the M ss of

, a a a

Virgins ; then phr se of the Gr du l fro m the E piph ny

a a a a a
48 P art I .

Ma ss ,
ore orn te
a m a Melody , to wh ich well pplies the old a

descrip t ion Quintus L ,

aetu s

Q uinque prud en t es vi r -
gi -
nes a c c ep é runt o

le um in V a-
sis su is cu m l am p dia- bus . e tc .

m n es de S a ba

w
T ypic l C dences of the F ift h Mode
a a

fa me . D om i ne .

The P l g l of the F ifth Mode t he S i xth Ill d rries t h e s m e

a a ,
o e ca a

descrip t ion its A uthen t ic with the exception of ourse of

as , ,
c ,

i t s L ower R egister F ourth l ower d di fferent D o m in nt

a an a .

N o t quite so m u h c re t ken to m int in the ncien t

c a as a a a a

T on lity in the S ixth Mode

a in 't h e F ifth ; d we do not ,
as an

find so m ny m elodies using the B q Below we ppend p rts

a . a a

of two A ntiphons of t he Christ m s S e son a a

Ipse in v o - c a- bit me ,
a lle -
'
l ia
t I -
. e tc .

P ii er J é sus pro
- -
fi - ci é bat
-
a et a te -
e tc .
 C h ap te r III . The M des o T on a li ty . 49

More m odern are the Introit an d K yrie of t h e Re quie m Ma ss

R é— qui em ae t ér n am do na é is

w
D om i

Ky ri e lé i -
son . C hri ste lé i s on .

D istinc t ive Ca dences of the S ixth Mode those in whi h are c

the F in l is prec e ded by groups of the L ower T etr hord of

a ac

t h e Mode ; fe f o l low
a

son li
'

e -
lé i -
. be ra me .

sa ecu lo ru m . a-
nes .

or
T h e S e ven th M ode the ncients
S e pt i rn u s A n ge li c u s a s
,
A ,

c lled it is
a ,
ighest in pit h of
the H c the odes It seldo
a ll M m .

has the B pr sent

l
? e the j or hird
an d ma
,
”

t pre eded
— GB -
c
‘

by the sub toni -

progression gives to the den es
c F -G ,
Ca c a

succe sion
s three whole steps
oi _ is Thkes the ritone
ma T .

l ost lw ys evident in the elo ies

a m a a M d theorist c l s
On e a l .

the eventh ode the uper

S M S j or ode the ode of l rge
Ma M ; M a

inte v ls
r a full sonorities In this ode
an d ost of the
M . m ,

M elodies woven round

are a oni
the T o in nt
c S ol t he D m a Re , ,

or the usu lly present

a B L followin excerpts illustr te
T The g . a
the h r cteristics of the ode
c a a M Introit of
Th e hrist st h e 3r d C
. ma
50 Part 1 .

Ma ss , an d the brilli nt d j oyful A llelui

a an a, M a gn u s D omi n u s
for the 8t h S und y fter P entecost
a a

Pu er n a tus est n o bis ,

et fi li us etc .

Al le l-
'
il ia . if

WMa . gnus Do mi n us, et

l ud a bi lis
a v al de ,
e tc .

F am ili r C dences of the S even t h Mode

a a are

affir m tion a
a c

d fu l filled j oy
writers O t vus P erfe tus
, c a
sa e

E i ghth M d is t he Mode of cert inty

o e

anIt
cu la

If the S even t h Mode is the Mode of j oyous flights d

enthusi sti outbursts its o m p nion P l g l Mode t he
lled by the old
d we find it serving the
.

ssur nce of sole m n

purpose of setting forth the T exts of F ulfill m ent ssur nce

,

c ,
.
c

an
a
lé

w ,

as
i- son

a
.

ca
a

a
a

,
a
,

a
an

,
 C h apte r III . The M od e s o l ity T n a . 5 1

an gre t T heologi l
d a ca T ruths . Th e E P is seldo m used . We
q uote few phr
a ses a

Ne tim e as Ma -
ri a, qu e cre di disti
a - -
:

— l ~
= — l —L

Sp i — ri tus D om i re
p l é vit or b e m ter

r é -ru m , a lle lu ia . etc .

Ky ri e e lé i- son . i i j Ch i
. r ste

e lé i son .
'

i i y Ky
. ri e e lé i son . ty .

K y— ri e e lé i -
son .

Ch a r cteristic C dence s of t h e E igh th Mode

a a

lé i- son . ru m s a é c u -l a .
52 Part I .

Modul ati ons

In spite of its see m ingly lim ited resources no other m usic ,

is so ri h in m odul tionc Gregori Ch nt or P l insong

a as an a a .

But while in figured m usi the h rm ony supplies m ny powerful

, c, a a

m e ns by which to m odul te P l insong m ust depend entirely

a a , a

on the res our es of Melody to cco m plish this f t In this the

c a ac .

D o m in nt pl ysa i m port nt p rt
a e h Mode h its own
an a a , as ac as

F in l ad D o m in nt with c den es pecul i r to it

an a F resh
,
a c a .

D o m in nts foreign to the ton lity

a introduced e h of the e a are ,
ac s
requires its own p p T i d C den e thus m ki g
ro er
'

on c an a c , a n a
m odul tion a .

I n Gregori n Ch nt we find both the T on l Modul tion

a a a a
as in m odern m usic d Mod l Modul tion T h first type an a a . e
is f irly r re T h K yrie S t l l i f i C di t O bi no XIII
a a . e e er on or r s, .

V tic n E dition fur ishes

a a ex m p l e ,
n an a

Ky ri e lé i son .

Ky ri e lé i son .

Ky ri e

w
e lé i son .

T he F i rst K yrie is pl i ly in D Minor with ou t of cour se

a n , ,

the C i T h e S e con d K
. yrie reproduces ex ctly the first m elody t a ,
a

()
1
P a t s o frt hi s su b di v i s i o n e re t a ke n f ro m M o n ogr a phi e s Gr égo
r i e n n es X b y D o m J o s e p h Ga ja r d .
54 Part I .

In the following Introit Om g t V I I t h S und y ,

n es en es a

after P entecost the first phr se ends in true dence of

,
a a ca

the F irst Mode ( D ) then the wh ole second phr se is est blished
,
a a

on F .

mu es g en -
tes pl au di te
-
mani -
bus

j ubi la te D é o in v oce e su lta

x -
ti o nis .

In the following A gnus D i of the XVI t h M ss the second e a ,

line is in the T hird Mode well the q i t ll i of the , as as u o s

firs t line whi h m kes typic l T hird Mode infle tion re m inding
,
c a a a c ,

one of so m e c dences in the well—known T D m T est blish

a e eu . o a
the T hird Mode the A ncient T hird Mode D o m in nt B ; is used
,
l a , .

T his is very interesting piece

a it ltern tes between the ,
as a a

F irs t d T hird Modes throughout thus giving con t r st between

an , a
t h e m ore con lusive C dence on R a d the m ystic l see m ingly
c a e, n a ,

unfinished C den e on M i It fo l lows

a c .

3r d Mo de

A gn us D é i qui t ol -
lis pec ca -
ta m un di :

mi -
se -
ré re n o
~
bis . A gnus Dé i ,
qui t ol -
lis pe c a t c -
a

mu ndi : mi se r é- r e n o bis . Ag nus Dé i ,

 C h apte r I I I . The M od e s T o n al ity . 55

gr d M o de I st Mo d e

qui tol -
lis pecc a-t a m un di do n a -
n o bis p é c em .

The following A ntiphon S d ec u s ecu rs u s a gu a r u m h ve

a

incises I a d 4 in Mi d t h e 2 d in R
n , an n e

Sé -
cus de c u rsus a Eq u ar u m

P l nt i vit
a Vi ne am ? j ust o ru m

Et in l ég e D om i -
nI fi I
’

it v o l u nt s a e o ru m .

The following A ntiphon Om S ti with the c dence , n es an c a

of torm ente on D d the fin a l c den e on S l the ,

an a c o , as

Mode indic tes a

Om nes Sa ncti qu ant a p assi sunt

. t or m en -
ta,

8th Mode

I
ut se c u
- -r i perve -
n i- ren t ad
- p alm am ma r ty ri i
-
"
o i es we h a ve m odul tions a t th e s m e t im e Mod a l d
S m et m a a an
r onic where t he Mode d T one a both ch nged on the
Ha m , an re a

N o 758 . 3
56 Part I .

s e F in l In t he following A ntiphon for Good F rid y we

am a . a ,

fi d the first p rt re lly

n G Minor d D m inor with B l7
a a in ,
an ,

and t he second p rt the re l Mode of S l or 8 t h Mode with

a in a o ,

ch r cteristic B q m king the m j or third interv l

a a
’
,
a a a .

G Min o r D M i n or

A sti - *
t ér u n t r é ge s t ér r a e , et principes conven e runt -

8 th Mo de

in i num dv ersus
t a D om inu m , et a dversus Ch r i s t u m é- j us .

o eti m es m elody w i ll t ke so m uch liberty th t we c n n ot

S m a a a a

say it belongs to y ton lity ; it goes n d co

anm es touc h es one a a ,

tone d then nother but does not p use long enough to be

an a ,
a

considered nchored Tha fo llowing unpublished I vi e n

t t o y ne rer th e T hird Mode th n n y other will illustr te

a r ,
a a a ,
a

L h i k ig tly and qu c ly

Hé di e si V o- c e m é -
j us a udi é- ri tis
-
,
no li -

te ob du r a r e
- -
c ord vestr
a a, si c u -
t in e xa
- — cerb ti a -
on e
ve r y h
l i g t ly

se c u ndu m di
-
em tent ti a- nis in de s erto
o u -b i t ent a

v é- runt me p tres
a vé s t r i , pro ba vé -
runt et vi d é
-

( ) D om
1
J o s e ph GA J A R D i n M o n ogr a ph i es Gr égor i e n n es X .
 CHAP TER IV .

RHY THM 1
.

Th e Natu r e of R hy h m t .

M Vin c ent in his C d I n dyd C m p i ti st tes

’
. ou r s e o os on a ,

R hyth m is the pri l elem ent in m usi

ma d m ust be onsidered c , an c
before l l other ele ents ; prim itive peoples know no other
a m
m usic l m nifest tion
a M ny persons
a a ignor nt of H rm ony
. a are a a

so m e even of Melody but few without so m e rhyth m i

, ar e c

sense .

If we look round us we c nnot but re l ize how re son ble

a a a a a

is this st te m ent T here is rhyth m in l l n ture In the poun d

a a a

of the surf on the be h in the p tter of the r in upon the roof ;

ac ,
a a

the be ting of our own he rts or the very t of bre thing is

a a ac a

rhyth m ic Besides these n tur l rhyth m s there

. m ny a a , are a

m ech ni lly produ ed be ts su h

a ca cthe ti king of a lo k ,
c as c a c c ,

the revolutions of Wheel or the explosions of g solene

a ,
a a

m otor .

If series of notes of equ l dur tion

a pl yed or if dru m
a a are a ,
a

is be ten with num b er of even be ts the m ind will n tur l ly

a a a ,
a a

feel these repercussions in twos d threes an

f f f pf f x h h h h h h 0,
consequently the A rses d T heses
r

the rhyth m of m odern m usic ; d su h

-
a
well the s t rong d
we k be ts return t fixed d equidist nt interv ls T his is
a a a

the rhyth m of m uch

Greco R o m n m usic especi ll y d nce m usic O the contr ry
R hyth m is s id to be free when the p rts l ck the
,

bove
an

a
Pa t I

an

an
a
.

c
as

w
a
as
.
as

n
a .
an

a ,

w
a a a a
m entioned sy m m etry when feet f di fferent length follow e ch , o a

other d when the A rses d T heses d the strong d we k

,
an an , an an a

be ts do no t m ke the m selves felt t determ ined interv a ls

a a a .

T othis l tter tegory belong t he Gregori n m elodies the

a ca a ,

m elodies d lyric poe m s of the Greeks ; lso ll the n ien t

an a a a c

m etri prose
c d s we h ve lre dy st ted ordin ry
, an a a a a a , a

discourse .

In order to t h gh t l y underst nd the pheno m enon

orou of a

R hyth m it should be studied by i t self divested of l l m elodic

, ,
a ,

h rm onic d vo l spects T h study of rhyth m ic figures of

a an ca a . e

all kinds is helpful ; d in t he study of F ree R hyth m it is an

highly instruc t ive to sing or spe k the l t t g p f t a a er n a e r ou s o os

an d th on the s m e degree of the s le until the n tura l

r e es a ca a

sequen e of the F ree R hyth m is felt

c .

In P l insong or Gregori n m usic t h e sim le be t whi h is

p
a ,
a , a , c

indivisible is equ l to one P unctum (

, or one aeight h
note in m odern not tion A we h ve e m ph sized t h is be t a . s a a , a
c an never be d vided m odern or m e sured m
i c a s In a u SI

N e ve r ,
h =
0
F
0
l
0
l
0
l
“ l l

H owever it be sligh t ly lengthened

,
c an h doubled a .

J or tripled J A s we h ve s id before a a ,

we c nnot h ve m ore th n three be t s in group When

a a a a a . a
si m ple be t is doubled or tripled we h ve C mp i t R hythm
a ,
a o os e .

T h e C mp i t B i o y B t h ostwo for m s e n ar ea as

)
a T h distinct e for m in w h ich the two be ts e expressed a ar
sep r tely by two individu l im pulses or I t i
a a a c

contr cted form in which the t wo notes

b) T h e a are m el t e d
into one whi h l sts two si m ple be ts c a a
 C h apt e r I V . R h yt h m . 59

T h e d ot a ft er note in P l insong not tion

a a a , d oubles the v lu a e
of the note

T h e Compos i te T er n a ry B e a t h a s three regul r form s a

w
a ) Th e distinct form

b) T h e contr c t ed form
a

c ) The m ixed form

w
distinct or ontr cted is worth T
T h e B i n a r y B ea t , i mp l c a ,
o s e

bea ts . distinct contr cted or m ixed is

T h e T er n a r y B ea t , ,
a ,

worth ike the sim ple be t the co m posite

thr ee S i m p l e be a ts L . ,
a ,

be t
a be slightly shortened ccording to the syll ble of the
m ay a a

word or for dyn ic re sons but it

am a v be reduced to ,
c an n e er

t e v lue of
h a a S i m p l e be a t .

Th e Rh yth m of th e W or d .

As h ve repe t ed the L t in L n gu ge is the fr m ework

e a a , a a a a
on which Gregori n Ch nt h developed ; thus the rhyth m
a a as

of the L tin word is the found tion of Gregori n R hythm

a a a .

A e ch word h
s a i t s A rsis d T hesis or rise d f ll so every
as an ,
an a ,

bin ry d tern ry gro p h its individu l A rsis d T hesis

a an a u as a an .

T h si m ple t wo syll ble word is

e co m ple t e rhyt h m
a a

A lso th e th ree syll ble wo d : a r

Do mi nus
Thus will be seen the difference be t ween E lem en t ry R hyth m a ,

or one be t to the A rsis ( the two syll ble wo d ) d co m pound

a a r ,
an
w
60

be t rhyth m in words of three or four syl l bles ( O f ourse

a
in neu m ti m elodies the two syll ble or even the m onosyll bi
a c
o rd m y h ve m ore th n one A rsis )
a a
,

a
Part I

-
a
.

a . c

a c

Word of four syll bles wit h T ern ry A rsis a a

Mu l t i do
'
-
t tl

Beyond four syl l bles words form C mp i t R hythm bout

a ,
o os e a

which we will tre t l ter a a .

T h A rsis or gener ating force is the first p rt of the Co m pound

e a

Be t d the T hesis or res t ing point or lighting point is the

a ,
an , ,
a ,

l st p rt of the co m pound be t
a a a .

Th e Rh yth m of th e I n c i s e and Half B ar .

Just two or three sim ple be ts go to m ke up the co m posite

as a a

be t so do succession of co m pound be ts m ke up the Incise

a , a a a

or H lf B a T hese divisions m y be m de up of
ar . few or a a a a

nu m ber of syll bles S o m eti m es the H lf B serves the s m e

a . a ar a

purpose the In ise m rk ( to m rk s m ll division ) so m eti m es

as c a a a a
it m rks the end of o m plete ide ; in very long P hr ses d
a a c a a an

P eriods both Incise

, d H lf B present observe the
an a ar are ,

following H ym n

—l — i — —n — 1 — n
T
I

A do ro -
te dev o t e -
,
l a- tens Dé i tas , Q u e
a sub

his fi-gu ris ,

etc .
62 Par t I .

( A lme P a te r .
)

Ky ri e e lé i -
son .

or i t m ay be co m posed of t wo Incises
( F o r t he S u n d a y s o f A d ve n t and L e n t)

Ky -
ri e lé i -
son .

Wi th 3 me m bers

Sa nc t us ,
Sa nctus ,
Sa nctus D om i nus
-
Dé us

S a ba
-
ot h .

A gnus Dé i ,
qui t ol -
lis pecc a t -
a mu ndi :

mi se -
ré re n o bis
hr se m y be m de up of th ree or a nu m ber of B rs
The P a a a a ,

a ccording to i t s lengt h a d co m plexity It is lw ys co m plete

n . a a a
ide fro m st nd point of bot h tex t d rhythm a d often
a a a an , n

is c m ple t e independen t m e m ber of P eriod

a o , a .
'
 w
Composi te Rh yth m .

In order to thoroughly n lyse the P hr se or Wh ole B a a a ar

R hyth m it will be necess ry to expl in m ore fully Co m posite

,
a a

R hyth m of which there ,

two kinds are

Co m posi t e R hyth m is m de in one or two w ys st ted a a ,

as a
above ( ) By the regul r ltern tion of A rsis d T hesis
: a a a a an ,

which e h ve been discussing ; this is lled C mp i t R hythm

a ca o os e

by j xt p i ti
u A lthough closely followed by e ch other
a os on . d a an

co m pletely knitted together t he i mp l hythm re m in distin t ,

s e r s a c ,

e ch T h esis m rking the end of one

a d e ch A rsis m rking
a , an a a
the beginning of nother T h following ex m ple will better
a . e a
expl in t h is process
a

A ri
s s T h e s is A ri
s s T he s i s A ris s T h es i s

second m e t hod of building Co m posit e R hyt hm ( b) is by

Th e
the repe t ition of sever l consecutive A rses d T heses T h is
is c lled C mp i t R hythm by C t ti
a
a

ccur te bec use

a
o os T his term is m os t Q o
e

t h e regul r R hyt hm ic O rder is th a t

a as
a

on r a c
a
on .
an .

m
, , ,

a fter A rsis co m es T hesis every tim e th t s ever l A rses or

an a ,
a a

T heses follow one nother one of the m is the blending pointa ,

of two linked R hythm s T h T hesis of t h e first or preceding

.
. e
R hyth m beco m es A rsis when onsidered in rel tion to the
an c a

following R hythm Just the individu l i m pulse or Ictus. as a

is the contr ction of two R hythm s in sim ple t m e s in
a ,
i ,
o

Co m pound R hyth m do th e individu a l A rses d T heses contr ct an a

to form longer or Co m pound Rhythm By few sim ple

a . a
ex m ples th is pheno m enon m y be m de cle r
a a a a

A rs i s A r si s T h e si s T h e sis
64 Part I .

n r l l o

A r s is T h e sis T h e si s A ri
s s A r is
s T h e s is T h e s is

w
Whether the is t o t ke the sim pler form
C omp os i te R hythm a

of j u x ta p o or the ore co plic ted form of C t ti

s i ti on m m ,
a on r a c on

depends upon both the elody M the T ext A in the bove

an d . s
-

a
ex ple if t e elody ontinues to rise fter the first group
am h m
,
c a ,

espe i lly on the onic cent of the word we lw ys h ve

c a T ac , a a a a

second rsis even though in this ex m ple of the K yrie

A as a

the des ent begins before the end of the second group this m y
c ,
a

only be A rsis bec use its first note is the cul m in a ting point
an ,
a

of the A i el n or cre s cendo In the s m e y when sever l

rs c a . a a ,
a

groups continue in downw rd direction especi lly t the enda a , a a

of word or phr se we lw ys h ve two T hes es
a a , a a a .

We c nnot go into t h e m ny te hnic lities of A rses d T h eses

a a c a an

here We sh ll tre at this sub j ect m ore fully l ter ( Th Bible

. a a . e

for those who dhere t o t h e S oles m es theory of Gregori a n

a

R h yth m is the gre t work of D m A ndré M q

, a o oc u ere au ,

L N mbe M i l G ég i
o re P rt of T o m e I h
u s ca been r or e n a as

tr nsl ted into E n glish but t h e res t of t h e work whi h is very

a a , ,
c

instru tive is still in its origin l F rench F the serious

c ,
a . or

student of the L iturgic l Ch nt I dvise c reful study of the a a , a a a

co m plete work ) It is not si m ply the Melody itself though it

.
,
 C h apte r IV . R h y th m .

pl ys very i m port nt p rt
a a whi h c uses A rses d T hese
a a ,
c a an s
of the groups ; it is lso the T ext S o m etim es these oin ide
a . c c ,

so m etim es they ontr di t e h other ; in the l tter situ tion

c a c ac a a

we find one of the m ost diffi ult dyn m i proble m s of P l i c a c a n

w
Ch nta H owever
. it is this C mp i t R hythm by C t ti
,
as o os e on r a c on

whi h is the prev iling spe ies in Gregori n Ch nt it is

c a c a a ,

ne ess ry to underst nd it tho r oughly to properly interpret the

c a a

Melodies .

It is of either of these kinds f R hyth m which m kes up t h e o a

P l insong P hr se
a Just e h L tin Word h its proper
a . as ac a as

T onic A ent so h cc e h P hr se its P hr seologi l A cent

,
as ac a a ca c .

S o m eti m es this cent oincides with the highest Melodi l

ac c c c an ,

an d so m eti m es it does not When the form er f t is true it is . ac ,

not so di ffi l t to n lyse the P hr se d to de ide its A rses

cu a a a ,
an c

an d T h eses d thus determ ine its interpret tion

,
an C reful a . a

a n lyz tion of e h P hr se is the only y to recognize these

a a ac a a

subtle nu n es d to be o m e m ore sensitive to the ever v rying

a c , an c a

succession of A rses a d T heses n .

Th e R h yth mi c I ct u s .

it
been ne ess ry in our dis ussion of different ph ses

"
As has c a c a

of the Chant to m ention the R hyth m i I tus it is not ltogether

,
c c , a

a new subj ect to us T h R hythm i l I t is t the s m e tim e

. e ca c us a a

an lighting pl a ce d
a im pulse sought by the rh yth m
an an

a t interv ls of e very two or three notes to renew

a d sust in ,
an a

its flight to the F in l T hesis or resting pl e It m ust lw ys

a ac . a a

be re m em bered th t the I tus h nothing t do with l gth

a c as o en

or f necess rily ; in itself it m y be strong or we k c ording

or c e a a a , a c

to the n ture of the syll ble or note on whi h it f lls O of

a a c a . ne

the o m m onest d m ost ruinous f ults in P l in Ch nt inter

c an a a a

prot tion is to ssim il a te the R hythm ic Ictus to the T oni

a a c
m usic )
and d a
.

w
not be confused wit h these term s used in onducting b rred
I t begins with p b t when the A rsis is S i mp l
b t when the A rsis is Bin ry or T ern ry
o n ea
an u
r
Pa t I

ea
.

as

a
c

a
a

e,

A m en
-
.

A lthough the beginning of P hr se is often quie t d of T h etic a a ,

an
n ture it is l m ost lw ys be t ter to st rt the i m pulse of the
a ,
a a a a

P h r a se with the A rsis ; i t suggests to t h e c h oir th t feeling of a

m ove m ent which m ust lw ys be fel t un t il the end of t h e phr se a a a .

It is so m e t im es of dv nt ge to be t prelim in ry A rsis before

a a a a a a

the ch nt begins or t o begin the be t higher

a ,
prep r t ory a as a a a
be t a
'

Pr ep . be a t

A ss oci ated W ords .

We h ve discussed t he R h y t h m of S i gl W d We sh ll
a n e or s . a

nex t t ke up t h e sub j ec t of A i t d W d
a s s oc a e or s .

S ingle words lw ys keep th eir n tur l R h ythm Wh en

a a a a .

connec t ed or pl ced in th e P h r se so m e t i m es they keep t h eir

a a ,

individu l R hyth m so m e t im es th ey lose it H e n ce we h ve

a , . a

two kinds of Words R h y th m ic Words d T im e Words , an

a ) R hythm i c W or d s
T hese ar e a l l th ose wh ich end on an Ic t us
r r r
Sa lus honor , , Vi rt us quoque ,
.

the words in t h e ex m ples

A ll so m ny s m ll rhyth m s a are a a ,

when we consider th t first of ll the R h yth m i I tus m rks a ,

a c c a

the end of m ovem ent Wh en the l st syll ble of word

a . a a a

be rs the I tus i t m rks both t h e end of the word d the end

a c ,
a an

of t he R hyth m R hythmi W d follow one nother by being

. c or s a
 Inste d of the n tur l rhythm of the words which we find
a

when the word is rhythm ed the Ictus is displ ced d p sses

T h words no longer form
e rhythm but only p rt of one
When the I tus d the T oni A ent oin ide
c bove the
an

words see m sep r ted by the intensity d em ph sis on the

A ccen t
legitim t e
.
a a

Both these m ethods of m rking words

a

b k to the A ccented S yll ble ( in o rds of two syll bles )

ac

equ lly
d the presence of both kinds of words in the
a , an
m elodies m kes for v riety in th e m ove m ent
a a
a

R h yth m
,

a
a

of
cc

Ncu ms
w
,

.
c

an

.
c
a
,

as
,

a
an

ar e
a
a

a
.

N cu ms divided like Words into T i m G p d R hythmi

are e r ou s an c

G p
r ou While the Word is in itself R hythm the N m in
s . a ,
eu

itself is C mp d B t T h difference between the Word

a o ou n ea . e

a nd the N eu m is the di fferen e between the position of the c

R hyth m i I tus While the W d n tur lly be rs the Ictus

c c . or a a a

on the l t syll ble it is the n ture of the N m to rry the

as a , a eu ca

R hyth m i I tus on its fi t note

c c T his is the purpose of the rs .

N m to pl y the p rt of
cu , C mpa d B t a a o ou n ea .

a ) T h e T i m e Gr ou p
his be rs the I tus on its fi t note
T a d not on the l t ;
c rs , an as

it needs nother N eu m to co m plete its R hyt hm In series

a . a

of T im e Groups e ch group ends its R hyth m on the first note

a

o f the following Group Of ourse the l st note of the series . c ,

a
h to be R hy thm d its v lue is doubled by the d t :
as e a o
 w
w
68 r Pa t I .

Ch ined togeth er in t h is
a y the T i m e Groups for m in the m sel a

ves so m any el m ent ry rhyth m s the Ictus m rki n g t the s m e

e a , a a a
tim e the point of rriv l of one group n d the point of dep rture
,
a a a a
of nother When c om bined with the N eu m the Word in
a .
, ,

m ost c ses s c r i fices its indivi du l rhyth m to the rhyth m of

a a a
the N eu m In the following ex m ple the text oincides ni ely
. a , c c
with the N eu m s It is o m posite rhyt hm of the contr cted
. a c a
v riety T h first two T i m e Groups rise with t h e first two
a . e

syll bles of the Word to rd the T onic ccent of the word ;

a , a a

these syll bles therefore A rsie bec use of both text d

a are , a an

m usic T h third N eu m
. d syll ble of the word is
e T hesis an a a

both bec use it is the l st syll ble of t h e word

a d be use
a a , an ca
it is lose to the end of the In ise d the m sculi ne T hesis m
c c , an a e,

a long note d one of rest In the whole Ch nt A p g m

,
an . a ,
s er es e

there is not single R hyth m ic Group T im e Groups like T i m e

a .

Words succeed e h other by Juxt position ac a .

A s p er ges m e .

Al so th e firs t Incise of t h e K yrie Or bi s f a ctor

e i son .

The firs t Incise of the Vi d i aqu a m is in the s am e c t egory

a

qu am
70 Part I .

m ore th n is necess ry We find nu m erous ex m ples where

a a . a

word rhyth m is s crificed to m elodic rhythm thus disproving

a ,

the t heory of si m ple diction rhyt hm form erly t ugh t a .

Masc ul i n e an d F e mi n i ne Ca de n c es .

uch T heses the fo llowing

S as c lled F em inine or P st i t i ar e a ,
o c c,
bec use t h ey
a not conclusive ; nother no t e
are double note a ,
a

is necess ry to co m plete it
a

( F e m i n i n e Ca d e n c e )

close of rhyth m
Th e a m ust be T hesis a . Th eses or Ca dences
which end on the Ictus are c a lled M sculine a

T he s i s
( Ma s c u li n e Ca d e n c e )

D i ffer en t Type s of I n c i ses .

a ) Incises ma de up of Co m posite R hy t h m by Juxt position a

— |
7
A ri
s s T he s i s A ri
s s T he s i s A rs i s T h es i s

A rsis T h e s is
 C h apte r IV . R h yth m . 71

b) Incises m de up of Co m posi t e R hy th m by Con t ra c t ion

a

w
2 A r si s ,
on e T h e si s .

I I

A r si s A r si s

on e A rs i s t o T heses .

A ri s s T h e si s T h e si s

T h e si s T h e sis

Pl aci n g of th e Rhyth mi c I c tu s .

We h ve le rned th t R h yth m obt ins its A rsis T h esis

a a a a -

undul tions fro m one bin ry or tern ry g oup to the other

a a a r ,

by its succession of lighting points d i m pulses whi h keep a an ,

c

the m ovem ent progressing to its fin l resting pl e In order a ac .

to distinguish these A rses d T heses we m ust know t j ust an , a

ex ctly wh t point e ch begins It is therefore very necess ry

a a a . a

to know wh ere to pl ce the R hy t h m ic Ic t us which design tes

a , a ,

a t t h e s m e ti m e t he end of one bin ry or tern ry group

a , d a a , an

t h e beginning of nother We m ust void uniform tre t m ent

a . a a a
of these little footf lls this would isol te the little rhyth m ic
a a

groups d destroy the continuity of t h e phr se It is m ost

an a . a

serious f ult with beginners d inexperienced choirs to ent

a an acc

e ch t iny division thus te ring p a rt t h structure of the P hr se

a ,
a a e a .

Th m ore
e refully Melody is n lysed by the intelligent
ca a a a

an d well tr ined m usici n t h e finer will be its execution

-
a a ,
.

Without deciding the ex ct pl e of every I tus or rhyth m ic a ac c ,

touch it is i m possible to conduct choir in U nison

,
O f course a .

these lit t le rhyth m s m ust be lw ys onsidered p rt“ of the a a c as a

Gre ter or P eriod rhyth m ; otherwise the e ffect

a ,
be j erky can
72

an

an

ac
l ck t h true flow of the Melody

org nist
a
d

P l insong in
a

a
a

a
y

d h
y
a
is bound to s
e

t udy
d p rt fro m his knowledge of other m usi
an
T herefore the Choir
director who is to d re the use of P l insong in his hoir d
for th t m tter the m usi i n who ventures to t m per with
a a

this
s rilege for y individu a l to think th t be use he is
an

he is o m petent to te h conduct d otherwise work with

c

P l insong without spe i l tr ining )

c
, Th Ch nt
only in onne tion with the L iturgy to whi h it s wedded
c
subj
(
,

ect
It is
g ined gre a t n m e in the world of m usic
an as
ww
seriously
l m o

be studied
s
gre t
t
a

a
a

ac

c a
,
a
c a
Part I

a
.

.
a
.

an
a

a ,

e
ca

c
c .

c an
a
,

a
c

a
,
an

a
,

fro m the beginning T h E piscop li n the L uther n d

w
. e a a , a ,
an

an y other dire tor who m ust m ke use of Pcl insong in E ngl ish a a ,

Germ n or y other m odern l ngu ge m ust first study it in its

a ,
an a a

m i li O nly then will he be ble to re lly underst nd its soul

eu . a a a ,

its re l m e ning H prob bly will not c re to te r it fro m its

a a . e a a a

origin l L tin or to uproot it fro m its L iturgic l b kground ;

a a ,
a ac

but if he does de ide to tr nspl nt it to new environ m ent c a a a ,

it will be with th t reverence d respect which m ust be presenta an

wherever P l insong is used a .

T know how to rhyth m

o Gregori n m elody is not e sy a a an a

proble m It presupposes . m ount of theoreti l pr cti l an a ca , a ca

an d p leogr phic l knowledge whi h only the sincere persevering

a a a c ,

s hol r
c apossess T h s fest y out of this d i ffi ulty is to
c an . e a a c

use the R hyth m ic E di tions of S oles m es But even with these .

,

there will be P hr ses m ny un m rked by the Ictus F this a ,

a , a . or

re son we give few gener l rules below

a a a

T xt T h rule reg rding the T ext is to rhyth m the words

e e a

whenever this be done F ex m ple let us t ke the

c an . or an a ,
a

D i es i r a e

DI es I -r a e , di es Il- l a , S o l ve t s a é cl u m In

" "
— i
ta -
vil l -
a Te ste . e tc .

In“ the first Incise we know t h ere is Ictus on the l st syll ble an a a
of i ll it is the end of D ivision ; we lso know th t
a as a a a
we m y not h ve t I ti together ; therefore we ount b k
by twos d threes d pl ce
a

an
a

e ch word T his ltern tion of I tus with T oni A c ent is very

a
w
a
C h ap te r I V

I tus on the l st syll ble of ,

o

an
a
c

a
.

an

c
R h y th m

c
.

c
a
c

c
a
73

ac

w
.

gr ceful In the next In ise we h ve so m e T i m e words d so m e

a . c a an

R hyth m i words ; the re son is obvious : We c nnot begin t

c a a a

w
the e d of t h e division d work b ck in t he other In ise
n an a as c ,

be use we h ve d fi i t I t
ca pod tus
a on the l st
a e n e c us a a a
syll ble of S l v t
a d we know fro m our Ch pter on N ot tion
'
o e an a a

th t the first note of neum be rs the I tus T hus

a é l m a a c .
, sa c u
m ust beco me T i m e word even though it lso h
a N eu m , a as a
on the l st “ syll ”ble d be use f vi ll is m ore i m port nt
a a ,
an ca a a a a

word th n i the first syll ble of th t word h the Ictus

a n ,
a a as .

In the l st Incise of the P hr se bec use th m t b

a b k a a er e us e no re a ,

the c ented syl l ble of T t is linked on to the preceding

a c a es e

bin ry T h e sis of the preceding Incise thus form ing tern a ry

a , a
group the s m e it ,
between the first two In ises T hese
a as as c .

two figures c rried t hroughout the e n tire S equence d

ar e a an
rhyth m ed in this y a .

T h Moz r bic T e t m g is given

a so m
a ew h t t h e s m e an u er o a a
tre t m ent :
a

Ta ntu m é r go S a c r a m é n tu m ,
Ve -
n e - r ém u r c ér

nu -
I Et a ntiquum docu m entum -
,
No vo c éda t ritu -
i

It is n of t h e finest m elodies in l l P l i
o e g repertoire d a a n son ,
an

h asbeen used by t he gre t polyp h onist of A vil T L de Victori a a, . . a,

for the C ntus P irm us of his fine s etting of the H ym n of T ho m s
a a

A quin s a .

M l dy e o In p l cing the I t i in the course of m elody sever l

a c a , a

things m ust be considered ) T on lity b) m elodic p tterns a a ,

a ,

0
) N eu m s d ) p uses ) rhyth
,
m ic l m nuscripts
a ,
e a a .

) Ta l i ty If there
on a is y hoi e in the m tter the I c tus an c c a ,

is pl ced on the M d l T
a or t h ose which ontrol the ton lity
o a on es , c a

of the p ss ge in question a a

Mo re re c e n t fo r m .
74 P ar t I .

C e
r -
do in un u m Dé u m .

T he over t h e l s t syll ble of C d

E well th t over a a re o as as a

t he l st syll ble of
a m being t he T onic of the Mode ( I V)
a unu

de m nds the Ic t us T h words g in by bei g rh y th m ed

a . e a n , as
is usu lly the c se
a a .

b) M l di P tt e o In P l insong in m odern m usic we

c a er n s a as ,

find l l ki ds of m elodic p tterns ques t ions d nswers ;

a n a , an a

in f ct al l v rieties of im it tive th em es sequenti a l p t terns

a a a , a ,

an d ne rly every kind of im i t t ive m ove m ent

a In l l c ses a . a a

we find the R hyth m ic Ictus bringing out the m usic l thought a .

T hose p ss ges in which the rhyth m ic design is cle rly defined

a a a
by t he m elodic outlines m ust serve rul e to be followed in ,
as a

sim il r c ses It wo l d not do to rhyt h m two p ss ges in

a a . u a a

a different m a nner ; d i m it tive phr ses m ust keep the s m e an a a a

“
rhyth m ic outli es S we noticed in the D i i n . whose first o es rae

phr se we h ve j us t n lyzed ; lso the S p nis h T t m g

a a a a a a an u er o

N otice lso the Ve i S

a t S pi i t sequence for P entecost n an c e r us

Vé -mi S an c t e S p i ri tus
-
,
Et e it te
m -
ca e li t us
-
Ln

cis tii -
ae r é di um .
3 C . onso la -
tor (S
p tim e -
,
Du lcis hos p e s

a-
ni m e a . Du l e c r e fr i - gé ri um . etc .

N ote how c refully the In ises d P hr ses a rhyth m ed c an a a re .

The second Incise nswers t h e first in perfe t form T hen e h a c . ac

m elodi p ttern c rries the s m e rhyth m ic outli e

c a the one
a a n as

it i m it tes a .
www
C h apte r I V . R h y th m .

)c In
N eu ms the Ch pter on N ot tion we h a ve discussed a a ,

at len gth the rel tion of the R hyth m ic Ictus to cert in N eu m s

a a .

L t us
e m up briefly
su

Th F i t N t f v y g
e rsp when i t is no t directly preceded
o e o e er r ou ,

or followed by note be ring t h e E p i m (A there m y not

a a se a . s a
be two I ti in succession )
o .

T he La s t n ote o f a gr ou p hi ch i s f ol l o ed by a s i n gl e n ote

usu lly be rs the Ic t us

a a , as a rhythm ic foot m ust be at le st
a
t b t l g ( see bove )
o ea s on a .

M os t cu l mi n a ti n g Vi r ga s of N cu m Gr ou p s a r e given the rhyth m ic

support wh e t her in the cen t er of the group or a t the end
,

Do mi ne .

A ll L on g N otes otted Notes ll P s Groups ll N otesD ,

a r e su s ,
a

le ngthened by the Quilism O i H orizont l E pise m etc a, r scu s , a a, .

d) P s au A gener l r le the l st note before p a use

es s a a u ,
a a
is doubled If the p use is pre eded by N eu m of two notes
. a c a

( P od tus aor Clivis ) both notes a rule doubled are , s a ,

.

A ti p h
n often end wit h syll bi S pondee on t he s m e
on s a a c a
degree Wh en this is a ppro hed fro m above its two notes
. ac ,
are

doubled d conseque ntly receive the Ictus

,
an .

cu m disci -
p u lis su is .

) e T he R hythm i c We know th t t h le rned

M a n u s cr i p ts a e a

rese r h work of the Bene di ctines of S olesm es h disclosed

a c as
a m os t v lu ble rhyth m ic tr di t ion ; therefore
a a profound study a a
of the P l g p hi M i l sh ould be m a de by a ll Gregori n
a eo r a
’

c u s ca e a

students ( S P rt II Ch pter I )
. ee a ,
a .

Th e Gr eat er R h yth m .

Just t he elem en t ry rhyth m s unite to form Incise rh yth m

as a -
,

in turn t he Incises when grouped together produce P hr se a

Co n s u l t P a r t I I .
,
Ch a pt e r I I .
76 Part 1 .

Me m bers ; these fin lly uni t e to form

a P hr ses a an d P eriods .

T his is the Gr ea ter R hythm .

ri tur ti o
‘

Di ga -
o ré-
me si c- u t

i n c én s u m in c o n sp é c t u tu

Th us ppe rs the ce seless ever living power of rh yth m A

a a a ,
-
. s
the R hyth m s incre se in size t h e i m port nce of the F in la , a a
T h esis of e ch one of t he m is m e
a m nifest It exercises on re a .

e ch Incise e a ch Me m ber strong ttr c t ion d i t is tow rds

a , ,
a a a ,
an a
it the whole m ove m ent tends in its flight t h rough s m ller A r s i

w
a c
an d T hetic Groups .

Music l S entences or P h r ses

a of v rying lengt h s : T h ey a ar e a

m y co m pose
a single short S ection or they m y require m ny
a ,
a a
'

Incises d Me m bers to o m plete the m e n ng m elodic or

an c a i ,

liter ry In f ct it is the m e ning of the piece liter ry ton l

a . a a , a ,
a

an d m elodic which governs the lengt h,

d subdivisions of the an

P hr se a .

Th M l di E l m t pl ys
e e o m ost i m port nt p rt in the
e e en a a a a

division of the m usi l P hr se or P eriod It results fro m the ca a .

m utu l ttr ction of di ffer en t sounds

a a a d t he T onic D o m in nt ,
an -
a

rel tionship of the Mode in whi h the P hr se is set or the

a c a ,

introduction of the N D o m in nt rel tionships to bring bout e a a a

te m por ry m odul tions It i s p rt of our n tur l esthetic

a a . a a a a

sense to introduce rests or p uses t cert in in t erv ls when a a a a

singing or spe king long phr se T his is kind of m usic l
a a a . a a

punctu tion wh ich renders the m usic l thought m ore intelligible ;

a a

in very brief p uses t h is cess tion not only throws into relief
a a
the preceding Incise but lso m ore closely connects the following
,
a

one .

S i m ple R hy t h m owes its cohesion to the close rel tionship a .

of A rsis d T hesis Co m posite R h yth m by Contr ction

an . a ,

where A rsis or T hesis is repe ted ( see bove ) lso owes the a a ,
a

m utu l dependence of the s m ller groups to A i c T heti c

a a rs -

rel tionship Co m posite R hyth m by Juxt position even wit h

a a
78

so
f th

as
e h w
s a ying t h t t he P ri ncip l A s i Group of the whole P eriod

i
o e d
a
to which consequently its G ener l A ccent orresponds
,

to which a ll the s m a ll R h yth m s Incises d so on

subordin te norm al ly coincides wit h the hi gh t m l di g p
l P
a
F
,

the proper
er o rtistic
. effect i
or t
,

is
a

necess
t o incre se the in t ensity gr du l ly fro m one Ic t us to t h e next
a
to re ch t h e s m m i t of t he Melodic L ine lm ost

or we ker proportion t ely s th ey

a

i m perceptibly T h e s m e process in reverse m ust be used

.

.
a
the m elody descends T h A ccents d I t i will t hus be stronger
u

e
ne rer to or f rther
a
d

ry
P ar t I

a
c
.

an
a
,

c
c

an

es

,
e o

,
c

a
,

,
an
are

r ou

as
,

w
a a a are a ,
a
fro m t h e Gener l A ccent of t h e P hra se A rule it is better
a . s a ,

to m ltiply th e A rses during t h e P rot sis d the T heses during

u a ,
an
t he A podosis It si m ply m e ns t h t before deciding on
. a a ,
a

cert in groupi g when there could be choice of two di fferent

a n a

group i ngs we m ust consider the pl ce it is to occupy in t he

, a
Gre t e r R h ythm of t h e L rger P hr se or P eriod
a a a .

T h is wide di s t ribu t ion of e m ph sis over the w h ole P eriod is a

very i m port n t if ple sing d intel ligent execution is to be
a a a an

a tt ined Without this subordin tion of

a . ents there will a acc ,

be no co h eren e or sense to t he p h r ses H owever there m ust

c a .
,

be no ex gger tion but i all t discretion restr int d

a a ,
as n ar , ,
a ,
an

delic cy of fe e ling m ust be l y p

a t a a s r es e n .

Vi de D om i ne a tfl i - c t i o- n e m me am ,

q u o ni -
am e r ectus est i nim i cus -
me us .

Vé -
ni spons a Ch risti ,
a cci p -
e co ré n am , qu am

ti bi
-
D om i nus r
p a e pa r
-
é -
vit in ae t é r num
-
.
 w
C h ap te r IV . R h yth m . 79

3) T h e P r op or ti o n a l L ihis is the rel tion d dependence

n k T a an
set up by t h e proportion of sounds between Incises d Me m bers

w
an .

T his rel tion onsists not only in the nu m ber of sounds but lso
a c , a
in the dur tion of the p uses T h m elodic t t r ction d the
a a . e a a an

rhythm i ttr tion whi h the syn t hetic ction of the rhyth m
c a ac c a

sets up between different groups of notes constitutes the ,

m ove m ent T hese t wo c uses working on our inner esthetic

. a a

sense decide the nu m ber of sounds which m ust enter into e ch a

se tion d e h m e m ber in order to est blish equ i libriu m
c an ac a
an d proportion between the m T h poor singer m y destroy . e a

this proportion te rel tionship either by no t giving the different

a a ,

p their proper v lue or by x gg ti g th i l gth

a u s es a ,
e a er a n e r en .

4) T h L i k ef A ti l ti n T his is the M
o v i r cu a on . or a oe s ,
whose ction is felt b t
a the sections d m e m bers j ust t e een an a
t h e point of j un tion T h dotted note before the p use m ust
c . e a
a l ys be nticip ted d not sung in thoughtless m nner :
a a a , an a a

the l st syll ble m ust not be over

a a ented T h M v i acc . e or a oe s
which o urs t the end of the In ise or short Me m ber ( where
cc a c

there is usu lly no bre th t ken ) fulfills two fun tions this

w
a a a , c :
l t d
as bl d
ou t ends one m e m ber
e no e d le ds on to nother an a a .

It m ust therefore not be tre ted t h ough it were m ere resting a as a

pl ce for the voice but m ust be full of life even when in repose ;
a ,

the voice h sc rcely lighted on i t when it enters upon its

as a a

se ond duty of j oining the two phr ses F this it m ust prep re
c a . or a

itself by t king on in dv nce the color d m e ning of the

a a a an a

second phr se If the new m e m ber begins on strong note

a . a ,

a slight rescendo on le ving the l st note of the pre eding

c a a c

phr se wil l le d into the new m ood su essfully If the first

a a .

cc .

note of the next Incise be we k note it m ust be le a d into with a a ,

a slight decrescendo A is often the c se when there is i gl . s a , a S n e

no et f ll o d by
o m in t he following phr se
e a re m ust be
n eu a ,
ca

t ken to give this t

a y rhyth m ( the do t ted note linked to the
er n a r

single note ) its full va lue of three be t s S m ooth exe ution

,
a . c

of such pl ces requires gre a t de l of pr ctice

a a a a .

( A)

Ca nt a t e -
D om i no
-
c anti -
cu m n o vu m l us
a

ab extrem is t err e a .
80 Part I .

Et inc rn a tus est de

a -
S pi - ri tu S a n ct o e tc .

Wh en p use occurs between th e l rger sections d bre th

a a a ,
an a a

m ust be t ken the Mor V i serves m ore to sep r te the notes

a ,
a oc s a a ,

th n t o j oin the m
a d in suc h c ses there m ust be
,
an m ore a a

definite feeling of p re os e .

S we find the Gregori n

o c ntilen continuous m elody
a a a a

whose different divisions tend to unite the whole i nste d of ,

a

cutting it up Wh en t hese m elodies

. sung in ligh t flowing are a ,

m nner wit h pr o per expression

a ,
they should be t h ey as ,
are

like bird in flight which by every renewed i m p lse of its

a ,
u

wings so rs higher d higher dips down little then high er

,
a an ,
a ,

still until it fin lly pl nes down to e rth d co m es to rest

,
a a a an .
 CHAP TER V .

COND UCTI NG THE CHA NT .

ncien t s were not s a tisfied with h ving t their servi e

Th e a a a c
cle r d pre ise term inology to expl in the rhyth m ic

w
a a an c a
m ove m ent In order to p int these rhythm s to the eyes they
. a ,

h d not only the m ove m ents of the body in the d n e but lso
a a c , a

the gesture A ourselves they m de use of feet d h nds

. s ,
a an a ,

an d quite n tur lly these gestures reproduced the rhyth m i

a a c

m ove m ents of the d nce T h r ising of the h nd or the foot a . e a a

corresponded to the A rsis d the lowering of foot or h nd ,

an a

corresponded to the T hesis .

Th indic t ion of R hyt h m by m e ns of the h nd or

e a a a ,

ch irono m y ( x fp h nd d p ; rule ) h existed lw ys e' a ,

an vo
'
o ,
as a a .

Wh t interests us however in this short ch pter on Gregori n

a , ,
a a

Ch irono m y is its rel tionship to our subj e t

,
F ro m Medi ev l a c . a a

tre tises on m“usi we find the Ch nt

a perform ed under the
c, a as

dire tion f p i m i i
c o aprior s hol e who indi ted
r cer u s or a c a ,
ca

with his h nd the m ove m ents of both m elody d rhythm

a an .

In his C m m m t i brevis H b l d does not hesit te

o e or a o uc a a

to counsel the m ster of the h nt to m rk the rhyth m i a c a ,

a c

flow by m e ns of so m e kind of per ussion of h nd or foot

a c a ,

in order to in ul te in t he hildren fro m c e rly g the

ca c an a a e,

pr tic l scien e of rh yth m M ny ex m ples m ight be ited

ac a c . a a c

to bring out the histori l ph se of hirono m y or other ca a c

m e ns of m rking rhyth m
a a .

T h fund m ent l gestures t o be used in conducting the h nt

e a a c a ,

m ust be free fro m nything th t m ight suggest m e sured rhyth m

a a a

or m usi T hese gestures m ust ex tly reproduce not only the

c . ac

m rch of the rhyth m but the m elodi line with its el ns

a d f lls c a an a ,

its m ove m ent d p uses It is bsolutely ne ess ry we h ve

an a . a c a ,
as a

repe ted bove to thorough ly n lyze every phr se m e m ber

a a ,
a a a ,

an d si m ple rhyth m of the Gregori n m elody before we undert ke a a

to condu t it c .
82 Par t 1 .

re t Chi on omi s D if fe n r e .

) y
aB S i m p l B t : It would be a m os t clu m sy d erroneous
e ea s an
m ethod to m rk e ch d every no t e of a m elody in the foll owing
a a an
m nner
a

i i i

w
t

a tor a lm e
-
si de ru m etc .

Nothing but choppy m t ll t e d a d dis gree ble rendi t ion

a ,
ar e a n a a
could be expected ; it is ltogether opposed t o the flowing a

c h r c t er of the Ch nt O ly i xt m
a a wh en it is
a . n n e re e c a s es ,

a question of poor c h oir singing th e notes evenly or not

a ,

giving the proper ret rds or so m e other very good re son could
a , a

this m ethod be toler ted only te m por rily f f

a t a or a e n o es .

Th o m petent hoirm ster will be ble to j udge this

e c c a a .

b) B y S i m p l E l m t y R hythm
e or T his is c o m plis h ed
e en a r s . a c

by lowering t h e h nd fro m one Ictus to the next It is m uch

a .

better t h n the first m et h od but s t ill not t h e best m e t hod

a ,

suited t the s t yle of the Ch nt

o i t c nnot dequ tely express a ,
as a a a

the proper rise d f ll or rhyt h m ic divisions of the m elody ;

an a

it lw ys l ks the power of expression

a a ac

—
G T

w
a tor al m e
-
si de ru m e tc .

T hi s m ethod m a y be used in cert in c ses to“e m ph size the a a a

T onic A ccent or to conduct short p h r se of free rh yth m a a

interpol ted in a A nthe m or Motet in Me sured S tyle

an a .

H owever for l ong Gregori n P hr ses it does not possess th t a a a

,
“
ele m ent of freedo m d flight so necess ry for a free d an a an

be utiful rendition
a .

)
c C d ti
on b
g y M m buc in C m p d T i m is
e the perfect
er s n o ou n e .

y
a d the
an only m ethod suited to the flowing Gregori n a
style . It is lso very e ffective though co m pli ted m ethod
a a ,
ca

to use in conducting P olyphony While m rking e ch . a a

 on d ct i n g t h C h n t
C h ap te r V . 83 C u e a .

bin ry d tern ry group it lso depicts before the eyes of t h

a an a ,
a e

singers the el n d f a ll of the m elody the s m ooth rhythm ic

, a an ,

suite d in f t every necess ry det il

, an ac well th a a as as e

gener l s ope of the Gre ter R hyth m

a c With t h is type f a o

Chirono m y there is no nu nce of dyn m i s or gogi s whi h a a c a c c

c nnot be expressed by t h oroughl y tr ined con du tor with

a a a c

a well tr ined group A t the A rsis the h nd des ribes a upw rd

-
a . a c n a

cir ul r m ovem ent fro m R i ght t L ft ; t the T hesis it t a kes

c a o e a

a downw rd sweep to the R i ght T his is Chirono m y of S im ple

a . a

R hyth m : A succession of these m ove m ents A ltern tion of a

A rsis d T hesis is used for Co m posite R hyth m by Juxt posi t ion
an a :

A rs is T h e s is A r si s T h e si s A rsis T h e sis Ar s i s T h es i s

In series of sim ple rhyth m s m king up Co m posite R hyth m

a a
by C t ti the A i or T heti m ovem ents
on r a c on ,
repe te d rs c c are a

as long the m elody d text indic t e them

as an a

A rsis A r sis T h e sis r

A si s T hes i s T he s i s

I 2 3 I z

A ri
s s A r si s T h e si s T h e si s

It is m ost nec e ss y t o dist inguish b tween the m ove m ent

ar e

for bin ry group d th t for tern a ry group T h A rsi

a a an a a . e e

circle is of cou se l rger for t h e l t t er but in proport ion In th e

r a a , .

m ove m ent for the bin ry A rsis the second be a t corresponds a ,

with th e t op of the circle while for the tern ry group the circle , a ,

is divided in t o three .

In series of sever l A rses the m ost im port n t one m ust b

a a ,
a e
design ted by m ore em ph ti r ising of the h nd In serie
a a a c a a . a s
of T hes s fter the h nd co m es down on the first it is l ightly
e ,
a a ,

r ised before it descends on t h e second T h m elodic line of

a . e
the m elody m ust lwa ys be kept i the Chirono m ic outline
a h ,
84

rising with the A rses d f l ling i th the T heses

of the fine points of ll condu ting
of pr ti e ac

rs
c

a
.

the fi t p rt of the be t is m rked by prelim in

a

whi h st rts the A rsis before the Ch nt begins

e
c a

T h singers do not begi

,

d t kes

When m ove m ent begins on the l st p rt of bin

until the condu tor s h

an

n
Part I

a
c
w .

a
, an

c
a

’
.

a
T his is one
gre t de l
a

ry rhyth m
ry gesture
nd re hes ac
a

the of the se m i ircle

arc c

o e hoirm sters m rk this Initi l I tus by t p of the h nd

S m c a a a c a a a
or finger on the conductor s st nd or on book F beginners ’

a ,
a . or

this m ight be good pro edure ; but the prelim in ry gesture

a c a

is m ore in keeping with the flow of the h nt ; the singers c a are

thus prep red for the m ove m ent

a d m ke le ner tt ck , an a a c a a a .

Th eC mp l t R hy thm inste d of j ust the A rsis m kes

o e e , a ,
a an

effective m ethod of st r t ing the inexperienced choir

a

sta rt of chan t

If t h p h r se begins wit h
e a a T hesis it is indi ted in the
,
ca

following m nner a

st a rt of chan t

T h esis

T here is stil l nother gesture e m ployed by

a D om . Mo c q u e r e a u
an d his S oles m es followers ; th U d l ti e n u a on

e
m
Me m é n t o rvo D om i me
'

v ér bi tu -
i se t u- o ,
e tc .
86 r Pa t I .

as the T hesis ( T hesis m ust not be confused with ( i t d ). r r ar .

It t kes gre t de l of study d experience to lw ys cl ss

a a a a an a a a

corre tly the A rses d T heses Often the t ext will m ke

c an .
‘

a T hesis of otherwise A rsi group or vice vers A gre t

an e , a . a

de l depends upon the gener l m ove m en t of the P h r se d

a a a an

t h e thought expressed M ny ti m es descending phr se . a a a

h ving
a i m port n t word or T onic c ent is t re ted
an a a c a as an

A rsis or rising m ove m en t tt ch ed t o

,
a uni mport a n t word a a an

s h ould b c l d a s T hesis e
‘

asse a .

R hythm by j xt p os i ti o s Move m en t s in wh ic h nei th er

u a n .

m elody t ext de m nd th e repe t ition of t h e A rsis or T h esis

n or a ,

are known s j ux t posed rhyt h m s ( S bove) a a . ee a .

R hythm by C t ti s O th e o t her h a nd wh en the

on r a c on . n ,

m ove m en t bec use of m elody or text de m nds m ore t h n

,
a ,
a a

one A rsis or T hesis in succession it is known s R h yth m by ,

a

Contr ction It is m a de up of sever l A rses d T h eses which

a . a an

m ust be reproduced by gestures of t h e h nd Wh en it is cle r a . a

th t the following group does no t depend on t h e preceding one

a ,

a new A i m ove m ent m ust be st rted In the course of

rs c a .

s ever l sec t ions d m em bers contr tion is usu lly prefer ble
a an ,
ac a a

t o j ux t position In d pting gestures t o m elodies cer t in

a . a a ,
a

m elodic p tt erns m ust be brought out ; a d we find l l kinds an a

of i m it tive figures in P l insong in figured m usic

a a as .

T mp e S hould be neither hurried or dr ggy

o . In ch oosing a .

the te m po of different h nts the n ture of the m elody t he c a ,

a ,

m e ning of the text nu m ber of singers

a coustics d size of , ,
a an

the building m ust be considere d A s rul e m elodies h ving . a ,

a

wide interv l s require less speed a .

R ecit tives should be t ken a t t h e speed of dis t i nct

a d a an

dignified re ding ( T his refers ch iefly to the P s lm ody )

a a .

N eu m t i Ch nts m y a c s rule b e t ken f irl y quickly bu t

a a , a a ,
-

a a ,

never h urried s th e bsence of words f cilit tes th e execu t ion

,
a a a a .

A l rge c h oir s
a rule shoul d be m de to sing m elody m ore
a a ,
a a

slowly t h a n s m a ll group ; but c re m ust be t a ken in slower

a a
singing ot to perm it the c n t il en to beco m e he vy Cert in
n a a a . a

m ove m en t s such s the A g D ei S

, t etc tr di
a nus ,
an c u s , are a

ti on all y s l ower wh ile ot h ers including the Gl i C d G d l

, or a , re o, ra u a e,

an d P s l m ody ( ccording to t h e P s l m )
a tr dition lly f ster
a a are a a a .

M ny editions h ve m etrono m ic m rks bu t these sho l d be

a a a ,
u

considered pproxi m tely a a .

A ntiphon l d R esponsive Ch nts m y be t ken t f irly

‘

a an a a a a a a

quick te m po In l rge churches especi a l ly in those with high

. a ,
 on d uc t i n g t h C h n t
C h apt e r V 87 . C e a .

v ul ti g the singing m ust be slower

a n , it t kes longe for , as a r

the t one t o tr vel ; too the i m pressive dim ensions of the l rge
a ,
a

c thedr l seem s to de m nd m ore dignity

a a a .

H i n ts t o th e Con du ct or .

The be t ter the m usi l d liter ry b ckground of t h e Grego ca an a a

the m ore effectively d intelligently will he interpret

r i a n i st ,
an

the Ch nt Th t h a gh m.usici n is l ess e li ble

'

to let the
or ou a a

m ny little f ults of chor l si ging

a ad interpre t tion get by a n an a
A lso the liter ry d linguisti bility of the well edu ted
.

hi m .
, a an c a ca

dire t or ,m kes finer n lysis of the text possible to y nothing

c a a a , sa
of the n logous possibilities M ny
a a c lled Gregori n . a so -
a a

a uthorities not well grounded m usici ns but sim ply

are -
a ,

r heologists
a c d ly i t who h ve not the slightest
an an a c s s a

unde st nding of the finesse of m usi l m ove m ents d tim bres

r a ca an .

Th Ch nt often su ffers in the h nds of these be use they

e a a , ca

overdo the light soft d fem inine ele m ent or vis vers ,
d
'
an ,
a a an

forget th t the person lity of the different h n t s v ry S o m e

a a c a a .

are even dr m tic the extre m ely virile O ffertory P t

a a ,
as , r eca u s

es t M y T h superior m usici n will l so know when to

o s eS e a a

bre k gener l rules to better express the

a a
“
m e ning of the a

text .S uch t king bre th t the forbidden pl ces

as a a a a a

when better interpret tion c be cco m pl ished

a a an a .

O the other h nd to repe t no org nist no m tter wh t his

n a ,
a ,
a ,
a a

b ckground should d re the conducting of P l i song W ithout

a , a a n

spe i l tr ining in th t p rticul r idio m F

c a a tim e he shoulda a a . or a ,

dep r t fro m the world of figured m usic

a d pl ce hi m self in ,
an a

an entirely different sphere bio m e so to spe k of f , a a ,

ar

re m oved ide s It is only by steeping him self in Medi ev lis m

a . a a ,

th t he will be b l e to bsorb the true spirit of the Ch nt d

a a a a an

its L iturgy .

Th c reful conductor wi l l not per m it his hoir to

e a punch c

the top notes H will see th t no . voice sti ks out e a on e c

to spoil the ensem ble but th t l l tim bres blend for the gre ter ,
a a a

T h m tter of bre thing will be i m port nt e a a a

see th t his choir m n ges this in su h a a a c a

y i m p p t bl S t ggered bre thing s erc e a e . a a

in long phr ses p rt of the group a a

d the other p rt an a
or the process m y a
roup by dividing the ,
88 P ar t I .

when he finds i t necess ry If the choir is incl ined to shout

a .

or scre m or otherwise ex ggerate the energy m ore T heses

a ,
a ,

should be used d fewer A rses O the other h nd f t he

an . n a ,
i

choir is sl ck in t t ent on or express on m ore A rses necess ry

a a i i , ar e a .

E very kind of m nneris m should be b nished fro m the Ch nt

a a a .

E cho e ffec t s lw ys ; n
a m by —
ap m b y t i at li t i in y a sen rn e n a es an

form a re lw ys ou t of pl e in S cred Music d even m ore

a a ac a ,
an

so in this form T he tric l dr m ti e ffects which we often

. a a ,
a a c

he r in choirs o m posed of soloists who lso sing in t he oper

a c a a

an d concer t h lls en t irely out of pl ce ; Individu lism is

a ,
are a a

absolutely interdit in the Gregori n Ch oir F t his re son a . or a ,

the highly t r ined soloist is often no t suited t o t h e i m person l

a , a
qu lity of t he L iturgic l Ch n t
a a a .
90 Par t 1 .

Mos t u th orities distinguish three m in kinds of p a r llelism

a a a

I ) Sy m
n on
y the co m m
us, onest type is when the ide of the a

phr se or l use of the first stich os or m e m ber is repe ted in

a c a , ,
a

differen t words or exp nded in the second m e m ber We find

a

w
.
,

m ny ex a m ples of this kind of p r l lelis m in every p ge of the

a a a a

P s lter

w
a .

P s l m 2 verse 4 a , .

Q i h abi t t in
u e lis i i d é biat e ca rr os

t D om inus b
e abi t e su s an n os .

P s lm 1 1 3 I a , .

In xi t Isr el de A gypt e u a e o,

d om us J acob de p opulo b arb ro a .

P s lm verse 2 a I ,
.

But his delight is in the l o f t he L ord a

A d in his l
n d ot h he m edit te d y d night
a a a an

P s l m 2 4 verse I a , .

Th e rth is the L ords

e a d the fullness therof an

T h world ed t hey th t dwell therin

an a

Th ex m ples
e a m ny are a .

2 ) A n ti theti c or is when the

c o n tr a s ted thought p a r a l l el i s m ,

expressed in the first sti hos is strengthened or elucid ted byc a

w
its opposite in the second stichos T h oldest col lection in

w
. e

the Book of P roverbs ont ins m ny ex m ples ( Ch pters 1 0 2 2

c a a a a -
.

E x m ple
a

E very wise wo m n bu i ldeth h er house a

But folly plucketh it down with her own h nds a

( P roverbs X I V I ) ,
.

I t is not r re in the P s l m s ; ex m ple

a a a

P s lm I 6 a , .

F the L ord knoweth the y of the righteous

or a ,

But the y of the ungodly sh ll perisha a

P s lm 9 8 a 1 , .

S o m e trust in ch riots d so m e in h orses a an

B u t we will c ll u p on the n m e of the L ord our God

a a
 C h ap te r V I . The P salm od y . 91

s l m 44 3 P a , .

F t hey got not the l nd in possession by their own sword

or a ,

N either did their own m s ve the m ar a

But thy right h nd d thi e m a ,

an n ar ,

d the light of thy ounten nce

an c a ,

Bec use t hou h dst f vour unto the m

a a a

3) S y th ti C n t e ti v Pc ll l i m
or T here m ny
on s r u c e a ra e s . are a

differen t types of S ynthetic p r llelism T h two sti hoi st nd a a . e c a

in the rel tion of c use d consequence prot sis d podosis

a a an ,
a an a ,

proposition d qu lifi tion or lm ost y logi l or

an a ca t , a an ca c on s ru c
ti l rel ti on ; or the p r llelis m m y be of form only with
on a a a a a

no logi l rel tion between the l uses

ca a c a .

P s l m 7 ( H ebrews a

O L ord m y God in T hee h ve I put m y trust , a

S ve m fro m l l the m th t persecu t e m

a e a d deliver m a e , an e

In P s l m 4 we find co m p rison
a 1, a a .

A the h rt p nteth fter the w ter brooks

s a a a a ,

S p nteth m y soul fter T hee O G d

o a a , o

P s l m 5 6 verse a ,
1 .

H ve m er y on m a O G d h ve m er y on m
c e, o ,
a c e

F m y soul trus t eth in T hee or

Th l st stichos exp l ins the first

e a a .

P s l m 48 I a , .

Gre t is the L ord d gre tly to be pr ised

a ,
an a a

In the ity of our G d in his holy m oun t in

c o a

a nswering the question where

Th si m plest
e d m ost o m m on p r llel constru tion is the
an c a a c

di ti h
s but this m y be exp nded into tris t ich or tetr sti h
c . a a a a a c ,

or even longer rr ngem ents F r lines of verse m y be

a a . ou a a

S ynonym ous the following ,

as

P s lm 2 9 a .

A scribe unto Jehov h O ye sons of the m ighty a , ,

A scribe unto Jehov h glory d strength a an .

A s ribe unto Jehov h the glory due unto his n m e ;

c a a

Worship Jehov h in holy rr y a a a

 w
92 Par t I .

T hree l ines S ynony m ous .

s l m 93 3 P a , .

T h floods h ve lifted up O Jehov h

w
e a ,
a ,

T h floods h ve lifted up their voice ;

e a

T h floods lift up their din

e

T o lines S y the t hird supple m ent ry

n o n ym u s , a n d a .

Ps lm 2 2 a ,
.

T h kings of the e rth t ke their St nd

e a a a ,

A d rulers hold on l ve together

n c c a ,

A g inst the L ord

a d g inst his noin t ed an a a a

w
T o lines one A ntithetic
S yn o n ym u s ,
an d .

P s lm 54 3 a , .

F str ngers risen up g inst m

or a are a a e,

A d vio l ent m h ve sought m y l ife

n en a

T hey h ve not set God before their eyesa

An d so on A ll kinds of o m bin tions

. to be found c a are .

The h nting of the P s l m s h

c a lw ys been losely bound a ,
as a a c

up with the singing of the A ntiphons h i h pre ede d end c c an

e h P s lm
ac In ncient ti m es A ntiphons were interc l ted
a a a a

between e h verse A these A ntiphons were written in y

ac s an

w
.

of the E ight E cclesi stic l Modes which we h ve j ust expl ined a a ,

a a ,

a ccording to the hoice of the o m poser or the suit bility of

c c ,
a

the T ext to the Mode it h been necess ry to h ve m ny ,

as a a as a

P s l m T ones
a we h ve Modes whi h is E ight T these we
as a ,
c . o
a dd N inth the T onus P eregrinus ( foreign tone )
a ,
It is lw ys . a a

the A ntiphon whi h de ides the T one in whi h the P s l m is c c c a

to be sung d the for m ul on e de ided the whole P s l m

,
an a c c , a

is to be sung to it Th A ntiphon is lw ys few words or . e a a a

a Verse of the P s l m whi h is to follow a c .

P l m dy is t h e singing of the P s l m s with their proper

sa o a ,

A ntiphons Th term lso includes the C nticles especi lly

. e a a ,
a
those of the N T est a m ent the M g i fi t B di t e d , a n ca ,
en e c us, an

the N di m i tti
un c Th usu l pl e of the P s l m ody is the
s . e a ac a

O ffi e a lt h ough we find
c , ert in m ount of this type of S ong a c a a

ne ess ry to the other S ervices of the Chur h

c a c .
Th e di fferent Inton tion F orm ul e follow
a a

2 S yl la ble s

3 S l l
y a b le s

-l -l -
l
-
l

Di xit D o m i H US

Cr é di di p o p t r er

a tus vir qui

— l -
l — l
l
Be
- ~

Co n -
fi té bor ti b i -

Di xit D o m i nus - -

C e di
r di p o p t r -
er

B a
e tus vir qui
C fi
on-t é bor ti b i - -
 Ch apte r V I od y . 95 Th e P salm .

Th following T ble shows the rel tionship of the F i l

e a a na

of the Mode on which usu lly ends the A ntiphon

,
a d th ,
an e

beginning of e ch I t ti a It will be observed th t t h

n on a on . a e

voi e m ust descend

c W h l S t p in t h e 2 d T one ; it m ust
on e o e e n

as end M i T hi d in the t n d 3 d T ones ; s end F th

c a n or r I s a r a c a ou r

in the 4t h d 7 t h T ones ; in the 5t h 6t h

an d 8 t h T ones we , ,
an

find the In t on tion F orm ul st rting on the F in l of the Mode

a a a a .

In t on at ion I n ton at i on

w
A sce n d s a T hi d r

On t he s a m e n o te D e sc e n d s a h ole T one

In t on ati on

A sce n d s a F h
i ft
 Q ui a re s pe xit .

Th e D omi n a n t or Te n o r .

or R i ti g T
Th e D o mi n a n t f e n or ,
ec n on e is the note on which
a re sung the words between the I t ti
a ll d th M di t n on a on an e e an

fro this to the F i l C d

C a den ce a n d m
, F ll the E ight na a e n ce . or a
T ones whether for the irst H lf or the S econd H lf of the
, F a , a
V erse the enor is the s m e
, T t h t of the A ntiphon which a as
'

pre edes
c an dfollows s l m s We h ve given the D o m in nts
the P a . a a

for the di ferent odes bu t it m igh t be convenient to review

f M ,

the here
m ;

C or D for T ones III ( A ncient T one II I h

o old D m m t B ) , as o an .

V d VIII,
an .

F or F for T one II a .

A or L for T ones I I V a d VI , ,
an .

D or R for T one VI I

w
e .

T onus P eregrinus F irst H lf of Verse L a , a .

S e ond H l f of Verse S l c a , o .

nu m ber of syll bles to be sung on the T enor v ries

Th e a a
ccording to the length of the H lf Verse In m ny ses the
a a -
. a ca

Ch nt on the T enor is poorly exe uted the words

a incorre tly c ar e c

ented the syl l b l es chewed

acc ,
d the notes sung unevenly
a ,
an ,

even dotted A in ll P l insong the notes m ust be sung evenly

. s a a ,

d the words pronoun ed l e r l y

an in good spe king T h c c a as a . e

T e m po should be ni m ted enough to rry the singers through

a a ca

(« t the oC den e on one bre

a th ; however
c l l the P s l m s t a a a ar e n o

of the s m e T e m po so m e
a of tr nquil h r cter ; others: are a a c a a
dr m tic T h m e ning of the words
a a . e wel l a the type of ,
as as

t h P s l m should be
e a refully studied by the D irector ca U su ally
K
.

b , ,

slight rit rd on ppro ching the C dences is very e ffective

a a a a a ,

M with gr du l
a de rescendo
a t the aF in l C den
c e a a a c .

It good pr tice to h ve the singers spe k the words of the

15 ac a a

T enor , or to sing the m R ecto T ono witho u t y voc l inflection an a ,

pronouncing every syll ble evenly d singing every note ev e nly a , an .

 Part I .

Ca dence t o e ch T one With the F in l C dence or the C dence

a . a a , a
which closes e ch verse it is quite different A ll bu t F our
a , :
P s l m T ones h ve m ore th n one F in l C dence A ti ph
a a l a a a : n on a e
M ti m shows m ore
on a s cn .

w
hese m ny C dences not only give v riety to the P s l m ody
T a a a a ,

but furnish the proper connections with the A ntiphon which

m ust be repe ted fter the Gl i P t i t the end of the
a a or a a r a

P s lm a .

A t the beg i ning of e ch A ntip h on in m ost Ch nt Books

n a a ,

after the nu m ber of the Mode will be foun d letter indi ting ,
a ca

the F in l C den e to be u sed ( E x 7 — Mode VI I C dence c )

a a c . . c , a .

T his letter corresponds to the l st note of the P s l m a a .

T ki ds of letters
o used to indic te F i l C d
n ar e a na a e n ces

C pit ls A B C D E F G a a -

S m ll L etters b d e f g a a c

l si do m i f sol a- - -
re- -
a-

w
If the fin l note of the C dence is the s m e the F in l of
a a a as a

the M d§ of the A ntiphon the L etter is C p i t l If the

0 ,
a a a .

F in l N ote of the C den e is th

a th n the F in l of the Mode a c o er a a ,

a sm ll l tt is used
a When there is m ore th n one F in l C dence
e er . a a a

g on the s m e note t he s m e l etter is used with s m ll

a ,
a a a

nu m er l fter it E x m ple g g g A t the end of e h

a a . a : ,
2
,
3
,
ac

A ntiphon the fin l c dences indi ted with m usic l notes

,
a a are ca a

an d the vowels e u o u e bbrevi tion for the words a , a a

s a ecn l or n m . A m en
whether Medi nt or F in l m y be redu ed to two
C a d e n c es a a a c

c tegories ) C den es of
a A ccent : d b) C den es of t
a a c on e , an a c o

A c entsc C d f A :t m y be spond
a ic m
en c e s de o on e c c en a a a

up of word with i t s tonic ccent on the penulti m te

a D a a , as en s ,
 od y C h a pte r VI
99 . Th e P salm .

p t or d mpti m Or they m y be d tylic m de up

a er , re e on e .
,
a ac a
of word or co m bin tion of words whose c ent f l l on the
a a a c a s

antepenultim te with two toni syll bles following su h

a ,
a c a , c

as D om i n n s B e n e di ci te gl or i a
, ,

w
Ca de n ces of On e A cce n t .

w
w
S pond ic a

Da c t ylic

w
It m y be cle rly seen t h t the Caden e of O A ccent
a a a c ne c an

never h ve less th n two syll b l es or m ore th n three

a a a , a .

Ca de n c es of T o A ccen ts .

C a den ces
f oso be eitThe r spond
o i or
Accen ts m ay al a c

d ctylic or m ixed T o S pondees two D ctyls

a ,
S pondee
.
,
a ,
a

and D tyl or
a D tyl ac d S pondee m y m ke up
,
a ac an a ,
a a

a C dencea Th following t ble will illustr te :

. e a a

Ca den ces of T o A c cents .

1 2 34

w
I
S p on d a l c — =

c orde m eo .

12 3 4 5 6
I
Dac tylic Pu eri D m o inu m .

1 45

D om in o m eo .

Mixed
1 2 3 4 5
,
Ti m
0

et D oml n u m
O

It will be observed th t C dences of t A ccents c nn ot a a o a

be m de up f less th n f
a or m ore th i x syl l bles
o a ou r , an s a .

A wi ll be noted in the t bl e f P s lm T on es at t h end of

s a o a e

the Ch pter the regul r denti l form of the different T one s

a , a ca a ,

is for the S p d i C d e F the D ctylic words

on a c extr
a en c . or a ,
an a
 E xa mpl es of Di ff er en t Medi an t Caden ces .

2 A c c e n ts

Ton e I

D o- m i

I A cc e n t

Q
T on e II

I on e III

D o- m i

2 pre p . n o te s I A c ce n t

>< 1 l I

T on e Iv
 w
ww
w
Pa t I r -
.

g) T erm in tion or F in l a ,
a Ca den e c . We h ve lre dy spoken a a a

of the F i l C d e arna a en ce . Th y e al l s h o n c o mplete in the

T ble of l l the P l m T
a a sa on es .

T h pal s e t the T erm in tion is equ l to

e i Q
a u rter N ote a a a a ,

or the length of the l st syll ble T h e usu l p use between a a . a a

the verses or between the l st verse d the A ntiph o n is

,
a an ,

a si m ple T ern ry R hyth m t be ts on t h e l s t note of the

a -
o a a

Verse d ,
be t t the B
an Th us it is one be t shorter
on e a a ar . a

th n the p use t the Medi a tion wh ich counts t be ts for

a a a , o a
the l t syll ble as d t be ts t t h e B a A ll S hools of
,
an o a a ar . c

Ch nt do not gree on the p use t the T erm in tion but t

a a a a a ,
a

le st it is better to h ve som e work ble r tio

a ,
a a a .

w ww
P r e parat or y Not es pr e cedi n g Ca d e n ces .

Not in
c ses does t h T en or or D o m in nt p ss i m m edi te l y
all a e a a a

to the C dence Medi a nt or F in l O ften the A cent of the

w
a ,
a . c

C dence is prep red by

a voc l infle tion of one or m ore notes
a a a c ,

or groups of notes We h v e C den es ) without prep ra tion ; . a a c a a

b) with prep r tion of one N ot e ; ) with p rep r tion of two

a a 0 a a

N otes ; d ) with prep r tion of three N otes ( S T ble of a a . ee a

Modes ) .

S o m eti m es it is di ffi ult to distinguish betw en C dence c e a a

of t t a d C den e with p p
o a c c en s , t y N t n A good a a c re a r a or o es .

R ule to follow is this If the Melody le a ves the T enor to l a o er

note the C den e is of

,
t i th p p
a t y c t If the on e a ccen re a r a or n o es .

Melody le ves the T enor to a higher n ote the Ca dence h a ,

as n o

p p re ti ara d the Melody itself will show whet h er the C den e

on ,
an a c

is of O or T A ccents Th following R ules for prep r t ory

ne o e a a

notes m y be observed a

)a N holl ow A
o uxili ry no t es found in the P p t y a a re re a ra or

F or m u l a .

9)
1 T here are as ma ny syll bles a as there are prep r tory a a

notes
) c hese syll
T bles m y be of y n ture ccented
a or toni a an a , a a c,

an d a those which precede i m m edi tely t he R hyth mi A c ent

re a c c

of the C den e T h prep r tory syll bles

a c . usu lly m rked e a a a are a a

in i t l i a N ever di d
cs . ou s of notes °

Th S ole m n F or m s of the P s l m T ones

1

S l m P lm d
o e n sa o e a

include d in t h T ble T h S ole m T on e s

.

are used for e a . e n are

the C n t icles on spe i l F e st D ys d will be found design ted

a c a a a ,
an a

in the bes t Ch n t Books a .

 od y Ch 10 3 ap t e r VI . T h e P sa lm .

T i di t m
on n s F the P s lm s whi h
n sung
r ec u or a c
‘

are

without A ntiphon P s l m 1 45 t Vespers 2 9 in the O ffi e for

,
as a a ,
1 c

the D e d d P s l m 69 fter the Lit ny of the S ints the

a ,
an a
-

a a a ,

following S pe i l T one lled i di t m is e m ployed

c a , ca n r ec u

D om inan t or T e n or Me d

w
.

Dé -
us in ad -
j u -
to-
ri -
um me um in t en de ,

D om i n a n t or T e n or
"

F i nal

m e fe sti
re d ém p t i o .

Th e Medi a nt
of this T one is of O A ent with T P rep ne cc o a

ra t y N otes
or T h F in l is like . A cent but without note
e a an c , a

of prep r tion T here is no Inton tion T h P s lm st rts

a a . - a . e a a

on the D o m in nt C ( d ) T h F l x t kes the s m e form in

a ,
o e e a a a as

other T ones in this se down [ Mi T hi d ca a n or r .

) A t
I V p S ole m n F o
esr m of the
er s a D i dj t i m en s n a n or n

is used ( ) 1

Dé us ‘

in dj u a -
t o- ri um me um int ende .

R .
7D om i -
ne ad a djuv andu m me festi -
n a.

2 ) So m le n T one ( F o r S ole m n F e sts ) a

V . Dé us in dj u a —t é -
ri um me um i nt ende R7 D om i . .
-
ne

()
1
S ee L i be r U s n a Zi s an d A n ti ph o n a l e M o n a s ti cu m fo r c o m pl e t e
ch a n ts an d ot he Ton es r .
 P art 1 .

ad a dj uv andu mm e festi -
n a . e tc .

3) A n oth er tone for S und ys a an d F e sts

a .
( Mon a sti c )

w
V . Dé us , in dj u
a -
t o- ri um me um i n t én d e . R7 D om
. i -
ne,

ad a dj uv andu m me festi— na .

T h e P a s cha l T on e the P s l m s of Co m pline on H oly

. At a

Sa turd ya an d a lso t t he P s l m s which

a sung wi t houta are

A ntiphon as a ,
lso the C nticle N di m i ttiain the Offi e ,
nnc s c

for E aster S a und y d to the Vespers of L

,
an S und y the o a ,

following T one is sung

Me d i a n t

l — l —H — I —l —
I — l
-
I

Cu m I nvoc are m e xa u d i vi t j u sti ti ae me

I

F i n al

in tri -
bu l a- -
ti -
o ne
-
di l-
a ta -
sti mi hi .
10 6 Part I .

T on e I I I ( R ecen t ) .

D om . r
T e mi n at i o n

Int . D om . Me d i a t i o n

S i mpl e

O rnate

T on e I V .

I nt . D om . Me d i at i on D om . r
T e mi n at i o n

S i mpl e

O r n a te

T o n e IV R a i sed .

D om . r
T e mi n ati o n

Int . Dom . M edi at i o n

S i mpl e

O rn at e

T o n e I I I A n c i e n t fo u n d i n A n t i phon a l e M o n a s ti c u m .
 C h apte r V I . The P salm od y . 107

T on e V .

D om . Med i at i o n
Do m . r
T e m i n at i o n

S i mp l e

O r n at e

T o n e VI .

Int . Dom . Méd i a t i o n

S i mpl e
D om . r
T e mi n a t i o n

O rn at e

T on e VI I .

Dom . r
T e mi n at i o n

Int . D om . Medi a t i o n

S i mpl e

O r n at e
10 8 P ar t I .

T on e VII I .

D om . r
T e m i n at i on

Int . Dom . M edi at i o n

S i mp l e

O rn at e

T on u s P er egri n u s .

D om M edi at i o n r
"
In t In t D om T e mi n a t i o n
“
. . . .

‘
r F .

T on u s I n di r ectu m

D om . or T en o r M e d i a ti o n D om . T e r m m at i o n

P a s c h a l T on e .

Do m . M e di at i o n D om r
T e mi n a t i o n
 CHAP TER Vl] .

THE LITUR GI CA L R E CI TA TI VE S A ND S OME OTHE R CHAN TS .

w
T hese Ch nts belong t o the Cl ss of Ch nts l led S yl l bi
a a a ca a c
an d R e it tive T hey consist for the m ost p rt of Ch nts
c a . a , a
at the A lt r to whi h the singers respond
a ,
M ny ti m es c . a an
otherwise be utiful S ervice is ruined by poor rendition of
a a

these Ch nts on the p rt of both lergy t the A lt r d choir

a a c a a , an
in ch n el or g llery S we often he r dotted notes incorre t
a c a . o a , c
rhyth m d bove l l poor coordin tion between the m inisters
,
an a a , a

an d si gers n .

T h en t ire text is sung

e recto tono ex ept for slight vo al c c
i fi xi
n e t the end of
on s ert in phr ses T h words m ust be
a c a a . e

de l im ed le rly d with
c a cert i ccentu tion i thout
c a an a a n a a ,

perm itti g the v i t f ll ; there m ust be no hewi g of

n o ce o a c n
syll bles ; the T oni A cents
a to be well considered well c c ar e , as
as the y p d fi
n ece s s a r l ll t di a u s es a n na ra en a n .

Th e T on es of th e P r a ye r s .

the singing of the pr yers the V

F or a ,
a tic n E dition prescribes
a

two ones the F ti v d the F i l

T es e an er a .

T h F ti v Te is used when the Offi e is D ouble or S e m i

es e on e c

double or on S und y t the O t i

,
of the M ss ; of M tins
a a a ra on e s a a ,

I .d aud Vespers ;
s an t the prin ip l O r tion of the Votive a c a a

an d C mm mm o ti P r yers ; it is lso used t the O r tion

e o ra on a a a a

of T erce whi h precedes the P ontific l M ss

w
,
c a a .

Th O m e or L t us pr y h two p rts : the body

re us e a as a

of the Ch nt d the on lusion a P (

,
m d m )
an D m i m c c ,
er en e o nn

t m
n os r u d Q i vi vi t gan In both the body ofu s e re n as

the ch nt O m a d in its con lusion we distinguish th

re us an c , r ee

p rts or p uses the M t m the F l x

a a d the P : t m e rn ,
e a, an unc u .

In a l l c ase s o f H e b re w
W o r d s o r M o n o sy l l a bl e s , t h e r eg u l a r C a de nc e
w
m ay b e ke p t ( h i c h i s t h e s i m p l e st s o l u t i o n ) , o r t h e b ro ke n C ad e n c e
a u t h o r i z e d i n t h e Va t i c a n E di t i o n s m a y b e e m p l o y e d .

Ho w e ve r
S o l e s m e s p r e fe r s t h e fi r s t m e t h o d a s i t i s m o r e A n c i e n t , a n d i s
w
,

m o re i n ke e p i n g i t h t h e G r e go r I a n M é l o p é e , hi c h I S b a se d o n t h e
L a t i n L an g u ag e .
 ( L t
w
w w
u gi l R i t t i v
Ch apte r VI I

us observe however th t the order of these p

e

in the t p t In the body of the Ch nt the M t m co m es

o ar s :

then the F l x while in the Conclusion the F l x precedes

the Zlf t m ) T h M t m onsists of C d
e rn
e

whi h is sung t the U nison on the D o m in nt or T en or D

f
a,
,

A
111

differs

t e
.

e rn
,
Th e Lit

c
a
r ca

a
,
,

a
ec

e n ce o
a

e rn

e
es

a u s es

on e
.

c c en
,

w
c a a , o,
with t t f p p ti S i
o n o es od L T h F l x is likewise re ara on , an a . e e a

a C d f O
a A t but
en ce with o t fp p ti ne d ccen , no no e o re a ra on , an
c onsists of sim ple vo l infle tion fro m the Ta D d ca c , en o r o o n

t Si
o In both these C dences there is the dded note for the
. a a

D ct yli ending which we h ve in the P s l m ody ; in this

a c , se a a ca
it is pl ed on D ( t the E lex ) Th P unctu m in both the
ac o a a . e ,

body of the Ch nt d in the Con l usion is sung t t a an c , r ec o on o

T h rest of the P r yer is sung In the Miss l d

.

e t t a r ec o on o . a an
the V ti n A ntiphon ry the little ross ( r) indi tes the
a ca a , c
J
ca
pl ce of E lex
a d the sterik where the Metrum is to be
a, an a

used Gener ll y the E lex h the dur tion of

. a i mpl a as a a s e
p t m
unc u d the M t m th t of t,
an p t or qu rter note e rn a o unc a, a a

in m odern not tion a .

E x am ple of the F estive Or em n s

—
I — °
I — I — I

Y
] D o
.m inus v o -b i s c u m . R7 E t . cu m S pi -
ri tu
-
t II
’

o . O -
rem us .

M e tru m

Pré -
ces n str so a q u a é s u m u s D om i -
n e , c l e m én -
ter ex au di
El e xa

a tque a pec c a - t o- r u m vi meu lis a bs o

P u n c tu m

ab om ni nos a d v e s t a-
r i -
te cu sto di . Per (e II m d e m
’

)
112 Part I .

F l e xa

D om i -n um n ostru m J é -
su m Ch r i s t u m F i -
li um t 11
’

um qui té
M e tr u m

w
cu m vi vit
-
et r egn t in uni
a -
ta -
te S pi ri tus - -
Sa ncti Dé us ,

P e r om ni a s a éc u -l a s a c o u lo- -
ru m . Am en .

T h e F e r i a l T on e the Minor H ours of the bove is used at a

m entioned e st F a l l M j or H ours
an d at d t the M ss
,
a a ,
an a a

on i p e e sts
S m l F a eri e F this T one there
an d F t a . or , are o

fo r m u l a e : Tfirst onsists in singing the whole

h e c m or e us

t
r ec o t sust ining the voi e so m ewh t t those pl ces
on o , a c ,
a , a a

where in the F ti v T
,
would b M t m Fl x
es or
e on e . e a e ru , a e a ,

a P t m T h other for m u l
unc u is l ike the first ex ept th t
. e a , c a

at the end of the m nd t th Con lusion vo l or e us a a e c ,

a ca

i fl xi
n of m inor third i m de
e on a s a

i — I -
l

V Do mi
. nus v o -
bi sc u m . O -
r em us . Dé us qui n o bi s
-

R77 . Et cum spi ri tu t u o

l — ~
l —l -
I

sub senti am us . P er Ch r i s t u m D om i

num n ostru m . R7 A m
. en
114 P ar t I .

E xa mpl e of th e S ol e mn A n c i e n t T on e .

V . D om i nus
-
vo -
bis -
cu m .
(Pa x v o- bis) . R7 E t
. cu m spi ri tu
- -

tu o . O -
r em us Ma je s t a
- -
tem t II
’

am D om i -
ne suppli

ci- ter exo mus ,

u t s i c -u t E cc e l si ae t ti ae

be a— tus A ndr é as p sto

A o et ré ctor : i ta-
a pud
P u n ct um

Ca d .

e n— n— n— «
a —n -n —n — n

te sit pro n o -
bis p p
e r é -
tu us in -
ter c és sor P er

tu u m q u i t é c u m V IV I t
,
S pi -
ritus Sa ncti D é us ,

P u n ctu m

per om ni a s a éc u - l a s a éc u lo ru m . R7 A m . en .
 C h ap te r VI I . The Lit u r gi c a l c
R e i t at i v s e . 115

E x am ple of F l e xa e .

p r é ci bus
-
n o s t ri s ac co m m o da .

ac fl i gi mur .

con -
fé s si sunt . A
( ) .

or : con fes si sunt . B

( ) .

P un o t i .

s er Vi tus té net .

p é r fru u -
i lae ti ti a .

di g at es n us .
( )
A .

di gn a tus es ( B ) . .

When the O r ti on is long the P un tu m in the body of t h

a , c e
P r yer is repe ted m ore th n once provided th t between
a a a , a

thes e P unctu m i fl xi o there be interposed F l x n e n s, a e a .

T one for the A d m onitio n in the A n ient T one , c

O -
rem us . F l e c t am u s gé n u a . Le -
va -
te . P op u l u m t II
-
'
um

T he S i mp l e T on e is used f A n c i en t ad l i bi tu m or
the pr yer of t h ea the M i H ours for the O r tion
da y a t a ll n or , a

a fter the F in l A ntiphon of the Virgin d for l l the other

a ,
an a

O r tions
a L it ni e s
S prinkling of H oly W ter
: B ene
a ,
a ,

dictions t d l l pr yers of non liturgic l n ture ex ept

, e c .
,
an a a -
a a , c

the bove m entioned F l t m g

a -
or tion ec a ns en n a a .

Th S i m ple T one h
e the E lex lw ys pre eding the Metru m as a a a c ,

even in the C on lusion T h E lex d t h e F in l P un ctu m

c . e a an a

a m de by low e ring t h e voi e

re a Minor T hird ( Ca dence of one c a
a ccent ) A t the P un ctum before t h e Con lusion the vo l
. c , ca

inflection m y be either Minor T hird or F ifth ccording to

a a a ,
a
1 16 Part I .

the us ge a . Th e Metru m is like th t of the a F est l a A n ient

c

Ton

V . D om inus v o -
bi sc u m .
R7 E t . cu m spi ri tu - -
’

t 11 o . O -
r em us .

El e xa

o m ni pot ens - -
Dé j u t se m per ra- ti o n a -b i

M e tr u m
—
u — C

l
- -
l —I — I -
l —l — l — l — H — I — l

li a me -
di t an tes qu e ,
a t i—
bi sunt pl a -
ci -
ta et di ct is e xs e

P u n ct u m

C o n c lu s io n

q u am u r et fa ctis .
( et fa c ti s .
) P e r D om i -
n um

F l e xa Me tr u m

Fi li u m tu um z f q u i té S pi — ri tus
-
Sa ncti Dé us ,

P u n c tu m

per om ni a s a écu - l a sa e c u lo ru m
-
. R7 A m . en .

When pr yer ends with a a m onosyll ble a .

—I —
fl -
I I
-

r e- di e m -
te dign tus es a -
. or : dign a tus es -
. or : dign a tus es -
.
118 Part I .

II . T o n e f or th e P r oph e cy .

E —l
'
— u— l — l — l — l — l -
l —a

L eo t i o I —s a i ae p p
r o h é -
t a e . Ha e di cit D om i nus D é us
c - -

El e xa F S u ll to p

E cce Sa lv a tor t us
-
II
’

vé -
nit ecce me rces é -
j us cu m é o .

Q uis est iste qui v é ni t de ,

-
E do m ,
t i n ct i s v es t i bus de
-

F m i n a l fo r ula

D om i nus
-
Dé us n o-
ster . D om i nus
-
om n i po- tens .

id est transi tus -

D om i -
ni .

Before the C nticle of a Moses an d th t of the T hree hildren

a c ,

the ending is follows as

et ad fi -
n em usque c o m p lé -
vit in forn a -
cc di -
c én -
tes
E x am ples of the F lex for a a Monosyl l a ble or H ebrew word
A

e
—
I —
I —I

ve -n i te ad —
ve n i te ad me .

pro pt vos -
er . pro p t e r vos .

Dé i J a c ob . or : Dé i Ja c ob .

in J e r 11
’

sa lem .
J e r 11
'
sa lem .

S pi ri tus est ,
S pi ri tus est .
 ur g i l R i t t i v s
C h a p t e r VI I 119 . Th e Li t ca ec a e .

E x m ples of the F ull stop for

a m onosyll be or H ebrew word a a

A B
E — l — l — l

vi num et lac . vi n um et lac .

D om I nus 1 0 cu tus est . 10 cu tus est .

do mu -
I J a c ob
f
. or do m u - i
-
Ja c ob .

e j u Em
s ma
I
-
nu cl .
f
E m ma
1

nu l c .

D o mi nus ( est . Do mi nus est .

Interrog tions end a as follows

Si De us pro n obis , quis

F ilius us es tu
me ,
eg h odie gé
o

N u m q u i d om nes a

r e s po n d i t Quid

Th e Ch an ti n g of th e E pi stl e .

o n Ch nt of the E pistle h two T ones O Co m m on

Th e R m a a as ne

an d m ore recent ; t h e other A ncient d m ore S olem n an .

If cert in Chur h or Order h its own proper T one for the

a a c as

Gospel E pistle or P r yers these m y be used provided they

, ,
a ,
a ,

conform too good P l insong S tyle T h C mm T is sung a . e o on on e

wholly t t s ve t the Interrog tion P oint where is m de

r ec o on o a a a ,
a

a voc l m odul tion like in the L essons d the m ore A ncient

a a ,
an

S ole m n T one Th S l m T h. th Metru m e d the o e n on e as e an

P unctu m T h Metru m is o m itted when the T ext is brief or the

. e ,

not perm it it ; on the other h nd it m y be repe ted a ,

a a

es when the P eriods ,

long enough T h R e iting are . e c

Both t h M t m d the P un tu m C den es e e ru an c are a c

with the p rti ul r pe uli rity th t in the Metru m

'

a c a c a a ,

is preceded by the prep r tory N t L Th a a o e, a . e

two ent C dence ; however these twoa ac c a

together but there interm edi te notes ,
ar e a

T th t p rt of the T ext which precedes oo , a a

sung lso on S i on the A ntepenulti m te a a

12 0 Pa t I r .

S yll b l e the voice descends to L for one note (

a , rule ) t h en a as a ,

righ t w y g in t kes the S i finishing on the P od tus of the

a a a a a ,
a

l st S yl l ble
a a .

St ruc t ure of the S ole m n T one at th e E pis t le

-A

Pr ep .

j
fl _. F
Me t r u m i
'

p r o-
pi or 5 est n o str a sé lus .

et § ca 5 li go p é p u lo s .

te sti —
z mo n1 um di cans .

con -
E fi té b1 tur E Do mI no .

n
“ 1
“

indu a mur -
ar ma i 111
in a -
st t di es § D6 ~
mi
qui 5 11 be rat ié
in- ter 5 ii ci et Fi m pi
T e n or T e nor

CO H CIU g—H —l —l — n—5— i—n '

°

l — -
l
a n n n I n n
si on

reprob re Em a a l u m 5e t e ge re f
-
b oli - -
num

sed d 1 ml II ll 1 ni ED om I n u m J é s u m ;C
‘

hri stu m .

om n I b u s d I é bus c o n s u m m a t I on e m s a e cu li .

Monosyll a bic or H ebrew ending :

q u i a n on sunt .

sors il lo m est
-
ru .

p e t é n t i bus se .

Me l chise dech .

in s cul
ae a . A m en .
 Part I .

a Minor
hird on the fourth to the l st syll ble fterw rds
T a a ,
a a
returning to the T enor D A t the fin l P un tu m of the ,
o . a c

Con lusion the des ent is m de on the penulti m te

c ,
cent c a a ac ,

whether prin ip l or second ry d is there sung on

c a a , an a

s ndicus quilis m neu m T h Interrog tion is like th t

ca -
a . e a
’
a

of the E pistle d the L essons E x m plean . a

V . Do mi
- -
nus vo -
bis -
cu m . R7 E t . cu m S pi ri tu t u o
-
.

3 2 1

l — H —
I — I — I— I— I —l —l —
I —l — l —I — I

In principio er t a .

F in al

—
P I — J — i — l I fl —
H —
l i — l i

ma gnus v ab i t in oc ur regno l o m cae ru .

non p otest m eus es se d i i p lus

-
sc u -
.

pl enu m grati e t a e ve ri t a tis -

.

et qui se h m i l i t u a ex l t abi tur a - -

.

) 2 Th e S e con d T on e the M etru m T h ad l i bi tu m has . e

interrog tion point d the conclusion

a like the S ole m n
an are

T ones of the E pistle Th P unctu m is so m ewh t di fferen t . e a ,

an d is m de up of t wo sep r te C dences inter epted by

a group a a a ,
c a

of notes which is sung on the D o m in nt of the T o n e D Th a ,

o . e

first c dence h two c ents with two prep r t ory notes

a as a c a a ,

an d is si m il r to the Metru m of the S ole m n E pistle

a T h second . e
c dence is of one ccent d consists of Clivis d one si m ple
a a ,
an a an
note
 u v
;

Ch a p t e r
7
VI I . The Lit rgi c a l R e c i tati es . 12 3

_
— -
o u

V . D om i -
nus v o -b i s c u m . R7 E t . cu m S pi ri tu ’

t 11 0 . Se

M e tr u m F u ll s t o p

q u én t i a S an ot i E v nge li i
a se -
c u ndu m J o an

n em . R7 Gl o . ri a ti -
bi D om i -
ne . In il -
lo t em po re

“
l . .

n II
'

p t i a e fac t a e sunt in Ca na Ga laeli

v o c at u s est au t em et J é
e t de fi c1 én te

et é r a t Ma e ter J su 1 bi .

d i s c i p u h éj u s a d
’

et n II
p t1 as .

m vinu non hé bent .

Monosyll a bic an d He brew words as follows :

n és c i o vos . nesci o vos .

un - gerent é su m . un ge r e n t Jé su m .

non su m o non sum .

fa cta sunt . fa ot a sunt .

Is ra el . Is ra el .

s p on d i t Non . r e S p on dit Non .

12 4 Par t I .

3) n ient Gospel
Th e A T one is sung
c on the D o m in nt L a a .

T h Interrog tion onsists of

e C den e of O
a A c ent with
c a a c ne c

two si m ple notes on S l T h rest of the T one is like the o . e

preceding ex ept for the differen e in i terv ls

,
c c n a .

V . D om i nus
-
vo -
bis cu m . R7 . Et cu m spi ri tu
- -
t 11
’

0 . Se

M e t ru m

q u é n t i a Sa n ti c E v ng li i
a e -
se -
c u ndu m Ma t t h a é um .

R 7 . Gl o -
ri a t i —bi D om i -
ne . In i l— lo t em po n i -
si ut

mit ta tur fé ras, e t c o n c u l c é- tur b h a o mi n i

- -
bus .

vos estis lux m un di .

supr m onte m
a
p é t si
a .

hi c m a gnus voc b
a i —
-
tur in regno c a elo r u m -
.

F ull stop for Monosyll bles a an d H ebrew words .

— n — n — n

n és c i o vos . n es i o vos
c .

q u Ib u s d atu m est . quibus d a t m est u .

tribus Is l
—t a e . tri bus Is
-
l ra e .

non i i I-i t
’

S IC . non fu it S IC .
12 6 P ar t I .

Dé o nostro . R7 D i gn u m et j u s t u m
. est .

M o s t S ol em n T on e

V . P e r om ni a s a éc u -l a s aecu -lo ru m . R7 A m . en V . . D om inus

vo -
bis -
cu m . R7 E t . cum spi ri t u
— -
tu 0 .
V . S u r —s u m c ord a .

R7 H a e m u s
. b -
ad D o mi n um
- -
.
V . Gr a t -
i as a ga -
mus Do

mi -
no Dé o n ostro R7 D i gn u m
. et j ti -
stu m est .

A t the P a ter N os te r .

at the en d .

a a

V . P e r om ni a s a ee n l a
-
saecu -
lo rum . R7 . Am en V. . Et ne

nos i n d 11c a s
’

in tent ti a- o n e m R7 S e d
-
. . libe -
ra nos a m ai 10 .
 C h ap te r V I I . T h e L i t u r gi c al R e ci tat i v es . 12 7

B efor e the A ge n e] Dei ;

V . P e r om ni a s a éc u -
la sa e cu -
lo ru m . R7 A m
. en V . . Pax D o

mi ni sit se m per v o - b i s —c u m . R7 E t
. cu m spi ri tu
- -
t 11
’

0 .

A t the P on ti c a l B l e s s i n g .

4
l — I— l —H - n -
l — l -
l —l -
l

V . S it n om en D om i -
ni bene dic t u m
-
. R7 E x
. h oc nunc et usque

— b _

in s a éc u -
lu m .
V . A dju t o- ri um n os t ru m in n om ine D om i

— n— n -n

R7 .
Q ui fé- cit c elu m a et t ér r a m .

V . Be -
ne -
di -
c at vos o m n i -
p o -
t ens Dé us : Pé- ter , et Pi

et Sp i -
ri tus -
Sa nc t us . R7 A m. en .
12 8

an
a
During the first world
C tholi

d the XVI I t h century

the V ti n press restored to the
world the A n ient form of the C t P i i
T his Gregori n tre sure
c

long with m ny others

Th
a

ltered during those de dent ye rs between the Xt h entury

centu tion
sentim ent l figures introduced d the c dences suggested too
m u h the m odern m odes
c
a
a s dly
distorted
ca
ww
c

.
w
Th e S i n gi n g

ar

.
Pa t I

,
r

an
a

e
of
.

ac
t h e P assi o n

ca

a
a
.
()
1

an us

as
a s s on s

as

c
a
.

Wh t relief this be utiful d sublim e h nt h t

a a t a an c a ,
a n os r ec o

ton o but with dignified d sober sim pl i ity whi h ccords

a an c c a

so perfectly with the inspired text D m Joseph G j d in the . o a ar

R v e G ég i
ue nu m ber of ye rs g h s id It see m s
r or en n e a a a o as a ,

to m th t the re l h r teristi
e a d interest of this
a P ssion
c a ac c an a

lies in its sim plicity its str ightfo w rdness d sobriety on ,

a r a an

the one h nd d in its perfect h rm ony between the p rts

a ,
an a a ,

on the other A d g in the e m inent m onk observes n a a ,

S o m eti m es it is presented one of the proofs of the divine as

inspir tion of the Gospels the note of bsolute c lm d

a ,
a a an

tr nquill ity l m ost without e m otion whi h perv des ll of

a ,
a c a a

the m d espe i lly the recit tion of the P ssion ; not person l
,
an c a a a a a

note but the si m ple rel ting of f ts wi thout om m e n ts

,
a ac c

A d how perfectly onceived is this

n R estored P ssion for c a

these divine phr ses a .

In the C ntus P i i we distinguish three p rts whi h

a a ss on s a c

return suc essively d c divided betw e en e ch other in the

,
an are a

S cred T ext
a In the Miss l these p rts
. d esig ted by C a a are n a

for the Chroni ler or story tell er ; P? t the words spoken by

c a a

Chris t ; d S for the S yn gogue or Chorus of the people

an a , .

Th entire m elody is in the F ifth T one ( A ug m ented ) extending

e ,

fro m R E below the T onic to the upper F A of the Mode T h , . e

Chronicler ch nts on the entr l notes of the Mod e ; the S yn

w
a c a a

gogue on the upper notes d Ch rist on th e Gr ve notes

w
an a

w
, .

E ach p rt h its own proper m odul tion with E lex Metrum

a as a a,
an d P unctu m .

Th p a rt of t h e Chroni ler whi h is the found a tion of t h e

e c , c
P ssion a is re lly t h e S ole m n T one of the L essons t M tins
a a a
given in t li C t i
, ,

V ti e for F e st d ys
a n or n n swith a ca n n s a a ,

the three regul r den es a ca c

( )
1
I am i n debt e d t o D om o s e p h G a j a r d fo r m o s t J of t h e fo l l o ing
a n alysi s o f t h e P a ssi o n a n d o s pe l h i c h fo l l o sG
130 P ar t I .

P u n c tu m d i ff e re n t

w
p rt of Ch rist si m ple tr n scription in t h e lower oct ve
Th e a ,
a a a ,

of the S yn gogue Ch nt h a two proper c dences for t h e

a a ,
s a

P t m : one for the interior of t he p h r a se on t h e R E : th e

unc u ,

other for the F in l on t he F A a

on Re on Fa

The firs t c dence on R E m inor shows by its suspensive

a

ch r cter th t t h e discourse is no t co m pleted ; when

a a , a he r e a
it with the words we conscious of t h e perfect ccord between are a

the two T h ot h er is conclusive term in ting

. e it does on ,
a as
the F in l of the Mode H d it kept to its origin l m odel it
a . a a ,

would h v e c denc e d on the D O gr ve

a a the S yn gogue on a , as a
the upper D O But with gr ceful undul tion of the voice
. a a a ,

it m odul tes to the F A thus giving t o the p rt of Christ the

a , a ,

princip l p rt the conclusion T h Chronicler lso finishes on

a a , . e a

F A but in p ssing in t h e m n n er of
, a re ding Christ spe ks
, a a a a
the l st word th t to which there is no reply
a ,
a

We m y d d th t this p a rt of O L ord is t h e only p rt

a a a ur a
which sings for in ddition to true m usic l m odul tion , a a a a
fro m the m inor t one to its rel tive m j or it h lso sole m n a a , as a a

in t on tion to set in relief cert in notes A m di

a ,
etc a en co .

T oo,t his expression is introduced by speci l form ul m ore a a a,

m elodi whi h is the only v ri tion wh i h the Ch ronicler is
c, c a a c

perm itted to m ke fro m his rigorous R ecit tive a a

(j ,
A- it 11- 11 Jé -
sus >< XA m en di -
co ti bi ,
qui -
a e tc .
I

a
t 15 a
C h ap te r VI I

"
e

w
tu g i l Re cit t i v s

si nger with good religious sense d rtistic te m per m ent

m ke very m p
a

S yn gogue but
a
e

The S
these few si m ple words
oct ve p rt
,

yn gogue
I

a
r ess

T h Interrog tive C den e is the s m e for christ

a

an
e
.

re ll y the m ost im port nt of l l the p rt round whi h

the whole story enters It is Christ who dire ts l l dc
13 l

A lthough this p rt ( Christ ) t first gl nc see m s insignific nt

a

d the
a

a
.
The

a
c
a

a
a
Li r

an
a ,

a
ca

a
.
a
a

c
e

a
.

an
,
a

an

c an
c
,

w
e
hris t
C

The rtist ic result produced by the co m bin tion of these three

a a
p rts is very s tisfying espe i lly when sung by rtists who
a a , c a a

underst nd the true spirit d style T h n logous form ul e

a an . e a a a
which respond ce selessly t o e ch other give b l n e d
a a a a a c an
a h rm onic sy m p thy re lly inspiring
a a a .

Th foll owing ex m ple will give so m e ide but one m ust

e a a,
listen intelligently to the co m plete o rk to re lly ppreci te the a a a
gre t t of t h e co m poser
a ar .

C Q ,
ui a ut em t ra- di dit
-
é um, dé -
dit il -
lis signu m di cens -

u e m c um q u e o s c u -
la -
tus tu e- r o , ipse est , t e —n é -
te

-Q — _ s fl fi _

é um .
C Et c o n fé s t i m a c c é -
dens ad J é -
s u m di xit
-
S A ve ,
13 2 Part I .

Ra bbi .
C Et o sc u -
l a tus est
-
é um . D i xi t q u e
-
il -
li

J é sus : I
> < A mi -
cc ad quid ve -
nisti ?

The singing of the P ssion de m nds first of l l si m plicity a a a .

A s ys D m G j d
s a S in e the inspired uthor h
o t ken the
a ar ,
c a as a

trouble to b nish fro m his R ecit tive l l e m otion d t i m

a a a an sen en

t lity d since t h e m elody is so wedded to the text to riv l

a , an as a

it in sobriety d pe ce it would be re l l k of t ste d an a ,

a a ac a an

contr di tion to ssu m e voice of ffect tion d sentim ent lity

a c a a a a an a

in singing this R eci t tive under t h e pre t ex t t h t t he Gospel a ,

a

is to be sung with m j es t y a

T his is espe i lly true of the p rt of the Chronicler his p r t

c a a : a

should be sim ply fine recit tion with sin ere observ nce of ll a a c a a

the l ws of good re ding A m oder t e te m po with speci l

a a . a a

a ttention to the L tin ccentu tion the p uses t A cle r a a a ,

a , e c . a
pronunci tion of the vowels a d conson nts so th t the an a a

a ssist nce m y underst nd every word F this p rt is no t

a a a . or a

a m elody is so m e t i m es the p rt of Christ but sim ply W

, as a , ,
as e
h ve s id fine R e i t tive
a a d ,
such l l depends on t he
a c a ,
an as a

c le r re it tion H owever there m y b ti m es when h is

a c a . a e

recit tion m y be m ore

a m t d cording to the tex t or
a an I a e , ac ,

ret rded intelligently to lend better unders t nding to th e

a a a

words T h c den es should be given speci l tt ention

. e a c a a .

We ppend few lines fro m the P ssion re d on P l m

a a a a a

S und y th t c ording to S t M tt h ew :
a , a a c . a

C ,
Pa ssi o D om i -
n i n ostri Jé -
su Ch risti se c u ndum
-
Ma t

th a e—um . In il lo te m p o
— -
re Di -
xit J é -
sus d i s c i pu lis su is .
13 4 P ar t 1 .

S ,
Ré us est mo rtis . Cr u —c i fi ga- -
tur .

lso t h e fo l lowi ng fro m the P ssion

A a a ccording to S t . L uke ,

sung on the Wednesd y of H oly Week a

S ,
To lle hu n c , e t di m i t t e n o-
bis Ba -
r abb a m .

An d a g in
a .

S ,
C u ci
r -
i i ge , c r u -
ci I I - ge é um .

An d the s am e in t h e Pa ssion a ccording to St . Jo h n Good

.

F rid y a .

S T ol l e t ol l e um
I

,
-
,
-
, c u ci
r -
fi ge e .

response of the S nhedrin to the unfortun te Jud s

Th e a a a ,

whi h is pierced with the m ost profound disgust for the tr itor
c a

who h served t h eir evil purpose

as

S , Q uid ad nos ? Tu vi—de ris -

.

S ing this r pidly st rongly ccen t ing we l l t

a , ,
a n vi — deris s ys
a

D o m Ga j a r d
. .
 H
A d how c l m
n
w w u g i l R i t t i ves
C h apte r V I I

v ery di fferent is the touching phr se of the Centurion

o

d sweet espe i lly a

A fter the terror of the d rkness the e rthqu ke

G d o
an

T his phr se m ust be sung with reverence

13 5

it follows i mm edi tely

an

the description of the n tur l pheno m en fter the rucifixion

d the rending
of t h e veil of the T e m ple we he “r the words of the lm ost
repent nt d be l ieving crowd T ruly H
a the S of
d gre t
a t
.

a
,
Th e Li t

,
a

,
c a

:
a
r

as

a
ca

a a
a

a
ec

e
a

an

as

an
c
.

a
a

on

ar
"

S ,
Ve -
re Fi li us Dé i é -
rat iste .

Th e p rt of Ch rist is the only p rt whi h is re lly sung

a a c a
T he m elody is re l m elody d is perfe tly wedded with the
a a an c
words T here . m ny deli te nu n es whi h per m it the
are a ca a c c
gre t rtist to m ke vibr te the very soul of the S viour
a a a a a .

But t he rtist m ust be first of l l inspired with the p rt th t he

a a a a
is to portr y d m ust portr y th t p rt with true hu m ility
a , an a a a

an d self bneg tion never seeking t o pro j ect his own person
a a ,

a li t y T h gener l style here is c lm gentle gr ve d

. e a a , , a an
perh ps little d ; the phr ses m ust lw ys be sung very
a a sa a a a

leg to with gre t ttention to the c den es especi lly the F A

a a a a c , a
being c reful to give full v lue t o e ch note of the t orculus
a a a

so l l -
l which st rts the gr ceful r llent ndo
a-so ,
a a a a .

>< XT u di cis .

O ther phr ses in the p rt of Christ

a a : Pa ssion ccording to a
St M tthew P l m S und y
a a a
Cd
. .
,

a e n ce D M i n or

I
>< T ristis est a -
ni m a me a u sque ad m or - t e m susti
Cd a e n ce F M a jo r

né te hic , et vi gi l a te me cu m .
13 6 Part I .

ter mi ,
si possi -
bi l e est tr anse
,
at a me

ca lix is te e tc

w
. .

Pa ssion a cc ording to St . Ma rk T uesd a y

,
of H oly Week ( S a m e
as in S t . Ma tthew) .

T ristis est a-
ni m a me a u sque ad m or t e m
-
:

Th ep ssion ccording to S t L uke which is pl ced on

a a . a

Wednesd y of H oly Week cont ins so m e of the m ost i m pressive

a a
p ss ges i the N T est m ent T h following consoling words
a a n e a . e

of O L ord to the repent n t thief on the ross fits well into

ur a c

the m usic l phr se T h gentle a t li of the initi l

a : e c an e na a

incise followed by the definite ssur nce of t h e F M j or

, a a a
C dence
a .

P
P Am en di -
co ti bi : H é di e -
me -
cu m é -
ris in p a -r a di so .

cont ins the verific tion of Christi n H ope d F ith

a a a an a .

A d the perfect confidence

n d resign tion of the fo l lowing an a ,

Into T h y h nds I co m m end m y pirit a T h text h been S e as

wisely hosen for the Brief R esponse of Co m pline the l st

c ,
a

O ffi e of the d y
c When l l work is finished d the ti m e for
a . a ,
an

rest is co m e it is this phr se whi h gives pe ce to our sleep

, a c a .

P
P Pé -
ter in ma nus t II
’

as co mm e ndo S pi ri -
tu m mé um .
13 8 P ar t I .

chef d euvre -
It is
’
ofine R ecit tive orn te d with a a ,
a ,
an

a very fr nk d pure to n litya T h R e iting T one ltern tes

an a . e c a a

b t DO
e u een d L A fin lly o m ing to rest on L A the f vourite
an ,
a c ,
a

reciting note of the nc ents a i .

It is the s m e F orm ul in l l the Gospels with only the

a a a ,

necess ry m odific tion for the different texts

a a .

T h give the following excerpts fro m the Gospel ccording to

e a

S t L uke sung F eri I V M j oris H b d m d

.
,
a . a e o a ae

ec e vir n om i
c -
ne J o s e
-

p h , qui é -
rat de -
’

c 11 -
ri o ,

—n _ — _ o fi n ]

—1 — a —l -n — l -
n— H — l — l —i

vir b onus et j u stus : hi c non c o n s én s e - r a t c on si li 0, et

a c t i bus
-
e o ru m
-
, ab A -
ri math a é -
a ci vi ta te Jud a e- a e ,

qui e xs p e c t ab a t et ipse r egnu m Dé i . e tc .

w
an d the F in l C dence a a

Once m ore we re t urn to the reflexions of D m Josep h G ja d o a r ,

the gre test “u t hority of l l on the subj ect of Gregori n Ch nt

a a a a a .

H e dvises We believe th t it would be t o t l m i d

a , a a a su n er
st nding i this Gospel to sing it r pidly i th the el tion a d
a o , a , a n
t h e j oy of song of triu mph N the m elody is not ex c t ly
a . o, a
 C h a pt e r VI I . Th e Lit u r gi c a l R e c i ta t i v es . 139

a song of h ppiness ; it is sweet m ysterious c l m confident ;

a , , a ,

Interpret it bro dly gent l y with very sust ined voice d

a , ,
a a ,
an

wi t h discreet expression supporting wel l the E t the beginning ,

a

of the Inton tion d espe i lly i t di g well e ch one of the

a ,
an c a r ar n a
i m port nt C den es of ourse m ore m rked t the very fin l
a a c c a a a .

N ever perm it to esc pe this t m osphere of m ystery which flo ts a a a

through this str nge m elop ee d envelopes it with
a pene an a

tra ti g n d i d fi b l ch r m
an D m G j d
n e lso finds in
na e a o a ar a
this Gospel T one dist nt veiled nnounce m ent of the ,
a , a

R esurrection H s ys th t A l l he rts h ve been he vye a a , a a a

with s dness during the long gony d P ssion of Christ Th
a a an a . e
the Church re ssures them m tern lly W it w it ; ll is not
a a a a , a a

finished ; only the first p rt of the m ystery is ccom plished ; a a

w it you will see

a ,
It is no t told wh a t is to co m e to p ss a ,

th t re m ins m ystery
a a a .

In ll the Gospels except S t M tthew this m elody des ribes

a . a , c
t he ento m b m ent of Christ It is like m oving f rewell of . a a
the friends of the L ord of his f ithful D is iples united round ,
a c a

his to m b to weep over his m ngled rem ins S leep in pe ce a a . a

as Joh nn S eb ti n B ch ends his P ssion ccording t

a as a a a a o

S t M t thew
a .

Th e Ch a n ti n g of th e Con fite or

This Ch nt h three voc l inflec t ions ; t h e fi t Minor

a as a rs a
t h ird below the D o m in nt fter the n m e of e ch s int ; the a ,
a a a a

s ec ond se m i tone below the D o m in nt t the word P t

,
a -
a , a a er

t h e T hi d gre ter m odul tion of F ifth below ; t the end

r a a a a a
of the two m in periods a d t the words v b t p
a ,
n a er o e o er e

—E
e— I— I — l l — l — n— l

Confi t eor D é o -
om n i
p o t en t i et o pe - -
re .

orare pro m e ad D om inu m Dé um n ostrum .

Th e S i n gi n g of th e Ch a pter .

The C h pter is sung on the D o m in nt D O T here is E lex

a a . a a,

M etru Interrog tion d F in l P unctu m T h Interrog tion

m ,
a an a . e a

is like th t of the E pistle d the L essons Th E lex is

a an . e a a
14 0 Par t I .

Ca dence of O A c ent d is m elodi descent to ne c ,

an a c La below
the D o m in nt D O T h Metru m is C dence of O
a . e a a ne A ent cc

an d two prep r tory notes ; the P un tu m is lsoa a c a a C de n ce

a
of O A cent with no prep r tory notes E x m p l e
ne c ,
a a . a

F l e xe [ M e tr u m P u n c tu m

con fi d en v o c ab u n t
-
é u m : n o ster .

w
Dé o gra -
ti as .

If the T ext is brief the F l x is o m itted T h C dence is ,

e a . e a

m dea t the H ebr ic words

a d m onosyll bles cording to a an a ,
ac

the gener l rules ; this is only t the E lex

a d the Metru m d a a an ,
an
not t the P unctu m wh i h re m ins inv ri b l e If the Interro
a ,
c a a a .

gat i is t the end

on it keeps the
a T one of the P un tu m , c .

Th e Ch a n t of t h e Ve r s i cl e s .

the Ch nting of the V i l there

F or at T th e rs c es , are o on es , e

O rn te or N eu m ti
a d the S im ple T one T h firs t is sung
a c, an . e

entirel y recto tono with long voc lise on the l st syll b l e a a a a .

T his is used fter the N o turns t L uds d Vespers

a fter c ,
a a an ,
a

the H ym n ; lso t the H ours fter the Brief R esponse

a a ,
a

V . Di -
ri ga tur
- -
D om i -
ne o ré- -
ti o me a .

R 7 . Si -
cu t in -
c en -
su m in c o n -
sp é -
ctu t 11
’

0 .

V . Di -
ri gatur
-
D om i -
ne o- ré— ti o m e a .

(
)
1
F or othe r T o n es c on su lt A n ti ph o n a l e M o n a s t i ci z m
. .
142 Part I .

Th e Ch a n i n g t of th e A bsol u ti on

an d B e n e di cti on s at Ma ti n s .

In the A bsolution the E lex d the Metru m m de

,
a an are a
with the usu l m elodic den es
a d the P un tu m with t h e ca c ,
an c

Minor T hird I fl xi A t the Benedictions th e Metru m

n e on .
,

onl y is m de d t the end the P unctu m with the i fl xi

,
a , an a , n e on

of F ifth for the F irs t L esson d of T hird for the second

a ,
an a .

k l — n— l — m

Pé -
t er n o ster V. . Et ne nos i n d uc a s in t en t t i a -
o n em .

R7 S e d . li b e ra nos ma a lo .

A bsolution in Is t N oc t urn
El e xa Me tru m

E xau d I tu o ru m -
, T et mi se r é- r e n o- bis , s a e cu

lo ru m . Am en .

Benediction ( F irs t L esson )

J
’

t I b e D om n e bene di -
c e -
re . Bene -
di cti on e p e r pé tu a

bene di -
cat nos P a-t er a e t érn u s . R7 A m . en .
 C h apte r V I I . T h e L i tu rgi c al R e c i ta t i v es . 14 3

Ch an ts of th e Less on s .

Of these there T hree T ones : the Co m m on t h e S ole m n

,
are , ,

an d the A n ient c .

)I T h C o m m on Teone h only the E lex which m y be as a, a

repe ted sever l tim es if the P eriod is long d the P unctu m
a a , an .

Both C dences of O
are A ccent : Th first i fl t the voice
a ne e n ec s

a se m itone d the other F ifth E x m ples follow

, an , a . a

j n be D om n e ben e di cer e ( as a bove ) .

T itle .

—Ea
e
—n — H — n— H — a - -I —I -
I —I — I — I —E
—I

De A c t i bu s A pos t o 1c ru m . De L ibro E ccle si -

a sti ci -
.

P u n c tu m

Sa pi n t i e s api ens T et in p r o ph é — t is va cd bi t

Na rr t i a- on e m vi -
r é -r u m conser va bi t et in v e r s u- ti

I — I — l — l — l —l ~

intro i bit . ex q ui ret et in a b sc on d i

C o n cl u s i o n

—n

conver -
sé bi - -
tur Tu a ute m D om ine mi -
se -
r é- r e n o- b i s .

R7 D é
. o gr a-
ti as .
144 Par t I .

the colon when the words of nother

At bout to be a are a

rel ted the E l ex is not m de but m erely sim ple P use

a ,
a a ,
a a

Et di xit
-
Sic -
ut s riptu m est
c .

Interrog tion P oint is like th t of the E pistle Wh en

Th e a a .

the Interrog tive P eriod is long the i fl xi down to S I fro m

a ,
n e on

the D o m in nt D O is m de only on the l st word which m y

a , a a a

be connected in m e ning with wh at follows a

Wh en the L essons do not lose with T t m D mi c n au e o ne

as in t he c se in the O ffi e of the D e d d of the T riduo of

a c a an

H oly Week the Interrog tion is o m itted

,
d the P eriod ends a , an

with Co m m on P unctu m
a .

T h L essons of t he D e d
e d of t he 2 d d 3 d N oc t urnes a an n an r

of the T riduo of H oly Week well the P rophecies unless , as as ,

ended recto tono lw ys t erm in ted thus are a a a

I Q I ‘

et m u ndus é u m non co -
g
n o vit n es i unt quid fé c -
ci unt .

one of the P rophecies is like th t of t he ordin ry L esson

Th e T a a ,

except th t it closes recto tono when it nnoun es following

a a c a

Ch nta .

2 ) Th S ole m n T one is used

e d l i bi t m t the L essons a u a

of M tins in the Most S ole m n F e sts ; there is F l x

a d a a e a an

a Metru m like those of the Ch pter ; the P unctu m lone is a a

di fferent E x m ple :. a
Be n e di c tio n

E
— l — I — I — n— n —n — n — a

J ube D om n e b e -
ne di -
ce r e -
. B ene di ti -
o on e p e r p é -
tu a .

l — I — I — I — l — l -
n

bene di - —c a t nos Pé -
ter a e t érn u s . R7 . A posto —l o- r u m .
14 6 Pa t r . I .

Ch a n t of th e S h ort Les s on

his is like the Ch nt of the Ch a pter with the sole difference

T a ,

th t the P unctu m d the Int e rrog tion

a sung
an in the a ar e as
Co m m on T one of the L esson .

A t the end of P ri m e fter the S hort L esson is ch nted

a a

V . A dj u -
to -
ri u m n ostru in n m om i -
ne D om i -
n i . R7 .
Q ui fé -
ci t
Bene di ctio n

c elu m
a et t err a m .
V.Bene di - -
ci -
te . R7 D é
. us . D om i nus nos
-

bene di -
cat et ab om ni m a lo de - -
fé n d a t et ad vit am p e r d II
’

c a t a e t ér n a m . E t fid é li requi esc ut in p é a -
cc . Am en .

F or other tones for the Ma ss d O ffi an ces cons ul t L i ber

U s ua l i s Gr a du a l e R om a n u m
, , a n d A n ti ph on a l e M o n a s ti c n m .
 S YNO P S IS OF CHAP TE R S .

PA R T I .

I N T R O D U CT I O N .

TH E LAN GU A GE OF GR E GO R I A N CH A N T . 2

R e l a t i o n o f L a n gu a ge t o Mu s i c T h e L a t i n L a n gu a ge A u t ho
r
r i s e d P o n u n c i a t i o n o f t h e Ch u c h L a t i n r r
A t i cu l at i on N at u e r
o f t h e L a t i n a c ce n t R u l e s fo r L a t i n a c c e n t u a t i o n S e con d a y r
a ccen ts L o gi c a l a c c e n t x r
P a t h e t i c o r E p e ssi ve a c ce n t
D i vi si o n s , pa u s e s a n d R h y t h m o f D i sco u se
, rT h e s i n gi n g o f
P l a i n c h a n t i n E n gl i s h .

N OT A T I ON .

O ri gi n Ch i r o n o m i c N o t a t i o n D i a st e m a t i c N o t a t i o n
T a b l e o f Gr e go r i a n M e l o d i c s i gn s Co n n e c t i o n o f Gr o u p s
L i q u e sc e n t N e u m s Not e s a n d G
r o u p s d e ri v e d f r o m t h e A p o s
t r o ph a T h e Gr e go ri a n S t a v e A c ci d en t a ls R h y t h m i c S i gn s
S u gge s t i o n s fo r p ra c t i c e i n r e a d i n g S o l fe ggi o R u l e s fo r
p l a c i n g t h e I c t u s .

THE MO D E S T ONA LIT Y .

33
r
T he n at u e o f Gr
e go i a n Me l o d y
r D i v i s i o n s o f t h e O i gi n a l r
S cale L a t e d i v i s i o n s i n t o t h e E i gh t Mo d e s
r A u then t i c a n d
P l a ga l Mo d e s T he D om i n an t T h e F i n al T h e A m bi t u s
T a n s p o s e d Mo d e s
r Ch a a c t e i s t i c s o f t h e d i ffe e n t Mo d e s
r r r
Mo d u l a t i o n s .

RH YT H M .
57
T h e n a t u re o f R h y t h m Me a s u r e d a n d F r e e R h y t h m T he
S i m pl e B e a t T h e B i n a ry B e a t T h e T e rn a r y B e a t W o rd
R hyth m T h e Co m p o s i t e B e a t R hy th m o f t h e In ci se A rs i s
a n d T h e si s R h y t h m o f t h e W h ol e B a r Co m po s i t e R h y t h m
P h ra s e o l o gi c a l A c c e n t T h e R hy t hm i c I ct u s R h y t h m i c W o rd s
a n d T i m e W o rd s T he R hyth m o f N eu m s T i m e Gr o u p s a n d
R hy t h m i c G ro u p s M a s c u li n e a n d F e m i n i n e C a d e n c e s T yp e s
o f I n ci se s T he G
re a t e r R h y t h m .

CO N D U CT I N G T H E CH A N T .

C h i ro n o m y O ri gi n D i ffe r e n t ki n d s Mo s t e ff e c t i v e m e t h o d .

T he u n du lat i on T e m pi
. H i n t s t o t h e Co n d u c t o r
. .
14 8

w
w w THE P S A L MO D

A n ti q u ity
Sy

H eb e
no p s i s
Y
r
.

P oet y
o f t h e A n t i ph o n t o t h e P s a l m T o n e
i t h c om pon e n t pa t s r
of

r
C h ap te r s

T h e In t on at i on
r
P a a ll e li s m
.

.
89
R e l a t i o n s hi p
E xa m p l e o f a P s a l m T o n e
r
T h e T e n o o r D o mi n a n t

w
T he F le a x T h e Me d i a n t T h e Ca e s u a r
T h e F i n a l Ca d e n c e
Ca d e n c e s o f O n e A c c e n t C a d e n c e s o f T o A c ce n t s D a c t y li c
a n d S p o n d a i c Ca d e n c e s r r r
P e pa a t o y N o t e s S ol e m n P s a lm o d y
r
T o n u s i n D i e ct u m P a s c h al T o n e Co m p l e t e T a b l e o f P s a l m
Ton es S i n gi n g t h e P s a l m o d y i n E n gl i s h r r
I n t e p et at i on of t h e
P s a lm o dy .

TH E L IT U R G I CA L R E C I T A T I VE S .

T o n e s fo r t h e O re m u s Ch a n t i n g t h e P ro p h e c y T h e E pi s t l e
T o n e s f o r P r e fa c e P a t e r a n d F a x D o m i n i
T he
G o spe l ,

T h e s i n gi n g o f t h e P a s s i o n T he G
o s p e l ( a d l i b i t u m ) fo l l o in g t he
P a ssi o n T h e Co n fi t e o r T h e Ch a p t e r T h e V e rs i c l e s i n t h e
O ffi c e T h e A b s o l u t i o n a n d B e n e d i c t i o n s o f Ma t i n s T h e Le sso n s
T h e S h o rt L e s s o n s .
 CHAPTER I .

w
w
THE RH YTHMI C S I GNS I N THE A NCIE NT MA NUS CRIP TS .

By the m selves the pure neu m s with lines or without l i nes ,

determ ined neither t h e dur t ion the force nor the rh yt h m ic a , ,

m ove m ent of the sounds A lso the best m n uscripts s h o .

,
a

the neu m s cco m p nied by little lines supple m ent ry l e tt ers

a a , a ,

m odific ti ons t awhich co m plete the neu m tic not tion b y

, e c a a

showing us in so m e degree t le st the interv l s the v lue , a a ,

a , a

an d intensi t y of the sounds d ert in ot h er nu nces of in t er , an c a a

p t t
re a i Th on figur tion. of these R hyth m ic signs
e th t a , as a
of the m elodic signs v ries with t h e different gr phic sch ools ; ,
a a

but in spite of these m ny form s i t is quite e sy to discover a ,

a

a pri m itive tr dition which univers lly known d wh ich

a ,
as a ,
an

a ffir m s with the s m e evidence d ut h ority the tr dition l

a an a as a a

m elodic unity H owever this pri m itive r h yth m i tr dition

.
,
c a

is not m int ined with t he s m e const ncy s is the m elodic

a a a a a

tr dition : Th s t t e of the m nuscripts in t h e ten t h d th e

a e a a an
eleventh centuries reve ls t o us gre t v ri tion in the fig a a a a a u
r tions ; th e m ost perfect
a we h ve s id before the , as a a , are

m nuscrip t s of S t G ll
a d Metz between which the rh yth m ic. a ,
an ,

concord nce is stonishing O ther represent tives of the s m e

a a . a a
c lli gr ph ic school
a a f fro m preserving t h e rhyth m i ,
ar e ar c

tr dition wit h the s m e p t y d fideli t y m king use of

a a ure an , a

rhyt h m ic signs bu t often c relessly d with out m e a ning

,
a an .

N evertheless these precious d ébris often ,

i d the course of a

reconstruction S ever l f m ilies in It ly F r nce A qui

. a a ,
a ,
a ,

t ni a etc o ffer indisput ble evidences of the rhyt h m i

a , .
,
a c

tr dition
a d e h d y ,
new study of these docu m ents
an ac a ,
a ,

reve ls new tr es of rhyth m i signs T here

a ac lso ot h er c are a

w
.

m nuscripts th t reve l nothing of t he rhyth m neither

w
a a a ,

support i ng nor denying th e s m e ; such like tex t wi th out

w
a are a

punctu tion or ccentu tion ; for ex m ple like the origi n l

a a a a ,
a

H ebrew texts of the Ol d T est m ent before the M s i t a ,

a sor s s

a dded the vowels d other signs to f cilit te the re ding an a a a .

We m ke use of the two princip l groups of m nuscripts

a a a ,

those of S int G ll d Metz to determ ine the R hyth m ic

a -
a an ,

T heory T hese . the only groups whi h h ve m int ined are c a a a

I n t h e s e s e v e n sh o t c h a pt e s h i c h fo l l or r
m u ch h a s b e e n t a n sl a t e d r
ré
,

f o m L e N o m br e M u s i c a l o f D o m A n d
r Mo c q u e r e a u H i s e pl a n a t i o n s . x
r
a r e so p e ci se t h a t i t o u l d b e q u i t e i m po s si bl e t o i m p o v e t h e m
,
r .
 ns
C h apte r I 15 1 . The R h y th m i c S ig .

the h y t m i system co m plete ; in the other s hools we find only

r c c
sc ttered ex m ples
a a .

Th S i t G l l M
e i p t m ke use of two kinds of R hyth m ic
a n a a n u s cr s a
signs ) T rue R hyth m ic asigns d ( b L etters , an .

A m ong the T R hythmi S i g we distinguish two l sses ru e c ns c a

( ) a T h R hyth m i signs whi h ffect the pure neu m s by

e c c a
m odifying the m d ( b ) Th signs dded to the prim itive ,
an e a
neu m tic form a .

A Modi ficati ons .

w
T he ch a r teristic of these m odifi tions consists in
ac ca

thickening d so m etim es in h nging the ontour

a l l o n ga t i o n s , , an c a c
of neu without y outw rd dditions A ll these m o d i
a m , an a a .

indic te in prin iple r llent ndo ret rd support

fic a t i on s a c , a a a ,
a a , a ,

m ore or less pronoun ed c .

P t m pl
unc u m T h P unctu m is lengthened m ore
an u . e

or less ccording to the m nus ripts

,
a T his is the a c

P t m pl
un c u m or Vi g j T his l st expression e m ployed
an u ,
r a a c en s . a
by sever l t h i i d escribes the gr phic f o rm of the sign
a eor c an s , a ,

not its role in the m elody which lw ys represents not ,

a a , an

elev ted note

a does the true Vi g but note f irly gr ve
as r a, a a a ,

as the P t m h en e the n m e of P t m p l m T h
unc u
“
. c a un c u an u . e

R hythm i intentions of t h ese t P t m

c e a ffirm ed o un c u s, ar
e speci lly in the neum ti groups where the ontr st desired
a a c , c a
between the two form s is l e r O t side of this the ,
c a . u ,

p t m pl
un c u m is often only gr ph ic l i ense without
an u a a c a

rhyth m ic m e ning ; i t is the P t m used the m ost often in

a unc u

the R e it tions d it is lw a ys lone

c a T h m ove m ent of
,
an a a . e a

not tion wri t ten r pidl y invited the opyist to let his pen
a ,
a ,
c

dr g little on the p a r hm ent fro m one P un tu m to the other

a a c ,
c ,

in ste d of lifting the pen e h tim e he dded new P un tu m

a ac a a c ,

t hus obt ining only light round point s rcely visible

a a ,
ca .

P Q esd t ( squ re )
ua Th first note
ra u s of the P d t a . e o a us

is m odified in this m nner J It be tr nsl ted t hus l a can a a

T h first note is supported

e d l l g t d slightly by m e n an a on a e ,
a

o f t h is H i t l E pi m P q
or z o n a s/ fro m (q t i ) se a . es u a s su s ua o

t o sh ke to strike T h e first sound of the group is so m ewh t

a ,
. a

longer th n the first tone of the P Q d t : it is often

a es ua ra u s

tr nsl ted by two notes in the M nuscripts

a a a

N °
758 . 6
 w
15 2 Par t I I .

In the P roses d S equen es where the m elodies an sim ply c , are

vo l ises or supported by text purely syll bi the P

ca ,
a , a c, es

q is found
u a ssu s tr nsl t ed so m eti m es by three syll bles
a a a .

R E MA R K T h P Q d : t d the eP q es so m eti m
uaes ra u s an es u a ssu s ar e

used one for the other whi h le ds one to believe th t there , c a a

m ust h ve been cert in rese m bl n e between the m H owever

a a a a c .

this rese m bl n e not co m plete equiv len e M nus ript

a c as a a c . a c
0
11 2 1 of E insiedeln o ffers this proof
1 .

Th the O ffertory
e B di xi ti V O t d we find the en e s , . s en e,

two following no t tions a

od tus q
Th e P

ww
with the direction v l ( or) indic t es
O st en de

w
a u a ss u s e a

th t a option is offered between the two not tions which

an a ,

suggests two different executions .

In these two P d t the first note long d supported

o a us, as , an ,

but to the P q a to be dded so m e kind of voc l

es u a s su s s a a

e ffe t unknown tod y : we sh ll h ve to re sign ourselves to

c a a a

ignor nce in this m tter P r tic lly

a d c ording to oura . ac a ,
an a c

l k of inform tion we sim ply execute the two groups in the

ac a ,

s m e m nner supporting d lengthening the first note of

a a , an

the groups Th length of the first note of these groups is

. e
further verified by the signific nt l etter ( tenete ) pl ced a 4 . a

over the note S o m eti m es we find lso the letter f ( forte )

. a

over long note h ich m e ns th t force is to be dded to

a ,
a a a

length .

Th T l
e f t kes the foll owing form s
o r cu u s . ) a

P q d t fl x es F irst
ua note is suppor t ed A
ra u s e us . .

W P q s fl x F
es irst note supported
u as u s S m e bove e us . a as a .

I T or cu l u s l on g ,
the t hree no t es are ret rded
a .

m
Th e P orrectus enl rges a an d dil tes its lines
a AA

The si m p l e P unctu m s of th e li
C mac us are ch nged intoa
 w
w
15 4 Part I I .

a ) S i m p l e i s ol a ted Vi r ga I s ol a te d Vi r ga i th E p i s em a

( D o u b l e s u s u a lly va l u e o f n ot e
)

w
1: I I

b) Or d i n a r y P oda tu s P od a tu s i th E p i s em a

w
( R h m c . Ict u s on 2n d N o te)
.

_ _ t

Or di n a r y Cl i vi s Cl i vi s i th E pi s em a

w
c ) on I s t . N ote :

d) Or d i n a r y T or cu l u s T or c u l u s i th E p i sema

w
Or di n a r y P or r ectu s P orr ectu s i th E p i s em a on the
F i n a l N ote

f)

g)
Or di n a r y S ca n di cu s

Or di n a r y Cl i m a c u s w
S c a n di cu s

Cl i m a cu s
i th E p i s e m a

i th E p i s em a
 C h apte r I . The R h yt h m i c S i g ns . 15 5

Th e E pisem is j oined to the

a Gr a ve A ccen t or to the P u n c tu m .

a ) At the extrem ity of the P unctu m

P a l nu m

6) A t the b se of a the l st br n h
a a c
of the Cl i vi s

c) A t the b se of the a la st br nch a

of the T l or cu u s
A
I ;

d) O r in the Co m posite N eu ms /I . .

Th einfluence of the pi m t i line ffects only the no t e e s a c a

w h is rked by it In the Clivis
hi c ma only the first note .
,

or is lengthened d t h e I tus f ll
Vi r ga this note In the , an c a s on .

following neum it is the contr ry A it is the second or Gr ve

, a . a
A ent whi h be rs the R hyth m i Ictus
cc c a c .

R E MA R K Th m odifi tions: d rhyth m ic

e dditions ca an a ar e
con erned only with the support R i t d or L engthening of
c , ar ,

sounds Th . hythm i ig
er e
f B vi t
are
y In the next
no r c s ns o re .

arti le we
c introduced to L etters whi h indi te cceler ndo
are c ca a a ,

but never brevity .

S i gni fic a n t R oma n i a n Le tters

In m ny M nuscripts of S int G ll origin the neum s

a a a -
a ,
ar e

surrounded by letters be seen in the photogr phic ,

as c an a

reprodu tions of the P l é g p hi M i l ( S t I V M nus

c a o ra e u s ca e . ee .
,
a

cri p t 2 1 of E insiedeln )
1 .

O i gir A C hronicler of S i t G ll E kk h t I V the

n . a n a
a ,
e ar ,

young ( c ttributes to R o m nus the singer sent from

. a a ,

R o m e to S int G ll bout the ye r 7 9

a -
the use of the L etters
a a a 0, .

T hus the n m e R o m ni n L etters a L t us keep this n m e a a . e a ,

although the origi n is disputed .

S ig i fi n : Th thing which is not disput ble is their

ca n c e e a

existence d m e ning A l et t er fro m N t k

an am onk of . o er, a
15 6 P art I I .

Sa int G ll ( c
-
agives very uthentic expl n tion of them
. a a a a .

It h been pr eserved for us in the M nus ript 38 of S a int G l l

as a c 1 — a ,

an d in the M nus ript lit 5 of B m berg ( p 2 8 ) R ei hen u

a c . . a . c a

origin A short version of t his le t ter is found lso in the

. a

Codex 37 of L eipzig 1We m ke use of it here . a .

R f
e a s on th R m i L
or tt : Th r ison
es e d etre of o an an e er s e a
these l et t ers is to l rify the N eu m tic N ot tion which does
c a a a ,

not m ke ert in either the inton t ion or t h e R hyth m T hus

a c a a .

we h ve two series of L etters whose func t ion is to correct these

a ,

f ults
a .

F i r s t S er i es M el odi e L e tte r s S e ven L e tter s

. .

hese ttem pt to fix the interv ls but they give only v gue

T a a , a

indi tion We enu m er te the m here

ca . a

E l eva ti on : U t A l ti u s e l e ve t u r a dm on e t .

L L e va r e n eu m am .

f S u rsu m sc nderea .

g U t i n gu t t u r e ga r r u l e t u r gr a da ti m .

D es c en di n g : a U t depr i m a tu r .

U n i s on I u su m vel i n fer i u s i n s i n u a t .

Ut e qu a l i te r s on e t u r .

S e c o n d S e r i es L e tter s r el a ti ve to the r hyth m S e ven L ette r s

. .

Th ese letters are divided in t hree cl sses a

R e ta r d T h vel t
ra er e en er e .

fl
. E xpe cta r e .

M edi ocr i ter m o d e r a r i m elodi a m .

A c c el er a ti on : c Ut cito vel c el e r i te r dicatu r .

fl =
S ta ti m uivez
S . Do not p use a .

I n ten s i ty ii P r e s s i on e m vel p er e cti on e

f m s i gn i fic a t .

f Ut cu m fr a gor e fe r i a t u r .

k Cl a n ge s i gn i fi c a t .

R a l l en ta n do ) indic tes t enueTheof the voice ( 4 a a , as

in m odern m usic It is often used the E pise m 7; for /7

. as a
'

T here often nu a nces in t h is lengt h ening where the (

a re 4 )

doub l e note
,

can a .
15 8

( )
41

m di
1r )

( )

e
7

R
v
bene
rer
inferius v lde
e
t

A
t

synony
a

a
t

i t ; ( m ) inferius m d i
o cr er
of
.
r II
S ense of this letter is very cle r ( f )

(
.
en ea u r , e c

) v lde (
bene lev re

T h letter ( m ) given in the S econd S eries is often united

to different l etters ( m ) ltius m di i t ; ( m ) c l i t
t
:
i t ; ( m ) tenete m di
i

it
a
m
.
Pa t

e
a

ocr
If
.

er
e
a

ocr
4
a
i

er
e

,
wc

e
u su

e er

o cr
a

er
er
,

I MP O R T A N T R E MA R K Gener lly these signifi nt letters ffect a ca a

only single note of the neu m ti group to which they

a a c are
j oined T h position of the letter denotes the note ffected
. e a
47

clivis d pod tus with first no t e lengthened

an a In :
the «

following pod t us it is the second no t e which is ffected J

a ,
a

T here exceptions to this rule h owever : when the ( )

are ,
c

or the ( ) is prolonged over series of groups t he celer ndo

c a ,
ac a

or the re t rd ffe ts ll the groups

a a
AAA 7
c
my ”;
a
/

A nother ex m ple : a q l i t m elodic le tt er ; e e ua er , a

t h e five punctu m s to be sung t the unison are a .

T h signse d the rhyth m ic letters

an often e m p l oyed in are
t h e s m e group
a

Cl i vi s A, lst no t e light , z ud no t e supported or lengthened

by the pisem E a .

st no t e light ( l ordin ry
C

C l i m a cu s 1 c e e ri t e r ) , z ud a ,

3 d
r , lengthened or supported by E pise m a .

the notes of group

A ll a m ay be m odified in th eir m ove m en t ,

by the R o m ni n L etters a a

T h e T or cu l u s I long . A ll the notes are ret a rded .

T h e S ca n di cu s four P
The u n ctu m s
pl a n u m s m a rked
with the E pise m a are t o be ret rded a an d ma rked strongly .

is to be tre ted with

T h e Cl i m a cu s a a progressive R i t ar
d ndo on the four l st notes
a , a .

S a i n t- Ga l l si
gnint G ll M uscripts con t in other
s : Th e S a -
a an a
sig s n an d a bbrevi tions which not m entioned by N t k
a are o er :
 Ch apte r I . The R h y th m i c S i g ns . 15 9

co
j to j oin
c o n u n ga t u r t o blend , . L eg to a .

L h
’

e l it sweetly dolce
en er , .

M ll oMo l liter with delic cy softly pp a , . .

fid fid l i t f ithf lly wi t h ex a ctitude

e er a u , .

fid t with ssur nce ( P)

en er a a .

i ml
s sim ul ensem ble together tutti , , .

sim il iter in like m nn er the s m e a , a .

p f er
p f t with
er ec eperfection .

w
f a s t tim without p a use suivez continue i m m edi a t el y
a , , .

so m etim es equiv lent to ) l ri t a c ce e er .

R hythmi ig c f M t
s ( Mnsessin o) A s S int G ll these
e z . a -
a are
divided into two differe t ki nds n

)
a Rh yth m ic signs properly c lled ,
a .

b) S ignific nt L etters a ( M e i s) . ss n .

Th N ot tio
e of Metz t o expl in t h e rh y t hm used only
a n ,
a

the signs m odifying the ordin ry neu m s T h dditions a . e a

of S int G ll were unknown
a -
a .

T h E pise m
e represented by so m e sort of m odific tion
a as a a
of t h ontour of the neu m or by L etter with the s m e
e c ,
a , a

m e ning
a .

A t S int G ll there
s a a -
ordin ry neu m s d long neum s
a ,
are a , an

Or di n a r y N e u m s L on g N eu m s

P u n ct u m

Cl i v i s

P odat u s

T o rc u l u s

Cl i m a c u s

The v lue of the long neu m s is reve led to us by the co m p

a a a

rison with the S int G ll m nus ripts In f ct the ordin ry

a -
a a c . a a

M i i
e ss n an signs correspond ex ctly with the ordin ry S a a an

g ll i n signs T h ere
a a thous nds of ex m pl es of this
. are a a c on c o r
16 0

d nce between t h t s hools S above P t m p l m

a
a
in the S int G ll list T h l ong neu m s of Metz h ve

Th M i i
e
a

L tt
-
a
rhyth m i v lue th n the p t m p l m of S int G l l
c a
e

We do ot h ve letter fro m N t k
es s n an e
w
m ore

t Metz to give us the key to the S ign ific nt L et t ers of the

M nuscripts of Metz
a N ever t h eless m ost of the m a be
interpreted in the l ight of the S i nt G al l M nuscripts A t
.

er s

.
o c

unc u
Part II

a
.

ee

an u
_

-
a

,
a
‘
,

a
a
unc u

-
a

a .

a
no

.
c
an u

s
er

a
,

S int G ll we dist in guish two series : the m l di l tt

a -
a , ; d e o c e er s an

the hythm i l tt
r c e er s .

M e l odi c L ette r s
We enu m erate th e m
E lev tion : f t S in t G ll S ursu m
’

a or as a a -
a .

D escending b h m i l i t ( i m ) u er u su Sa i nt G ll -
a .

U nison : ( f ) q l i t c e ua er .

O ther le tt ers of less i m port nce were lso in use a a at Me t z .

Messi ni a n Rh yt hmi c Letters .

et rd R a t ene t e .

L engt h ening m plific t ion , a a = a uge ,

au g ete, am pl e .

CI it o , c e l e ri u s , c e l e r i t e r .

A cceler tion a

n a t u r a li t e r .

The ( 45
) as at S a i t G ll m rks
n -
a tenuto of the voice
,
a a .

It hasoften for an equiv lent ( ) g

a t m ple t ,
av au e e, a , e c .

T hese two letters are ne rly lw ys found on the neu m es which

a a a ,

in the S int G ll m
a -
a a nuscripts indic ted l g ,
are a on .
 CHAP TER H .

R HY THM AND E XE CUTI ON

OF ME LODI C GR OUP S IN THE P HR A S E .

I t is the function of these hythmi g p d ti m g p r c r ou s an e r ou s

to form the phr se m e m bers we h ve expl ined before

w
a ,
as a a .

S o m e groups j oined together to form closely knit m usic l

a re -
a
senten es while others
c , it were det ched ccording to are as a , a
the m usic l sense a .

A gener l ign of the a j unction of groups is the gr phi

S , a c
union of sever l notes in ingle group
a d the pl i g of a S , an ac n

these groups lose together O the other h nd gr phic sp cing

c . n a ,
a a

between notes d groups usu lly m e ns disj unction But

an a a .

th e t t were not lw ys c reful to indic te these

n o a ors a a a a

j un ct ures d disj unctures so th t tod y one of the

an a a

m ost di ffi ult proble m s of Gregori n R hyth m is to de t erm ine

c a

these two di fferen t types of groups especi lly m ong the m elis ,
a a

m tic h nts
a c It a only fter long l borious co m p rison
. as a a a a
of m nus ripts th t D m M q
a c d his workers were
a o oc u ereau an

ble to co m e to few definite conclusions We h ve lre dy

w
a a . a a a
expl ined the term j uxt position in the Ch pter on R h yt h m
a a , a ,

but few m ore words will not prove de t rim ent l

a a

Wh en ti m g p the l s t no t e of whic h
e -
r ou without m
s, a are or a

v i
oc s, united to following note or group ; Ic t us f l l s on
are a a
first note of e h group E x m ples ac . a

A s p ér ge s me . Vi di a -
qu am .

Ho r f gr o ps
t h e ma n u sc i pts i n di cate
th i s j u xt p i ti a os on o u .

)aT h procedur e
e of the docu m ents withou t rhy t h m ic signs .

is to pl ce the groups very close toge th er

a .

6) T h R h y th m ic m nuscripts
e m ore pre ise Th a bsence are c . e a

of y letter of l e gth wh tsoever is

an inf llible ign of
n ,
a ,
an a S

j uxt position
a .

S e e Vo l I ,
P a rt I I Ch a pt e r V I I
,
Le N o m br e M u s i c a l
 Ch a pte r I I . R h y th m an d E xe cu ti on . 163

Ms s . St . Ga l l .

/7 /7 /7 /Z /T

D om i ne

/l /7 /7 /I /T
.

int ende
in t G ll neu m es bove the st ff pl inl y tel l us th t
Th e S a -
a a a a a

there is to be no ret rd but th t l l the groups to be sung a ,

a a are

In one phr se a .

Th s m e phr se is found in other m nus ripts with the

e a a a c

a dded S ignific nt L etters both R o m ni n d M ai i ,

a a an ess n an .

( S e expl
e n tion in Ch pter ) a a a .

L aon 2 39
J.
“ 1
" “
1

simu l
O

S . G all 37 6 /7 /7 /l

S e v e ra l Ms s S . . G all /7 /l /7

T ra c t .
Q u i r egi s

Th e ( ) lines
c B d C is continuous over the
c el er i t e r , an ,

three l i vi thus indi t i ng lose li ison

c s, ca a c a .

T h ( si m ul ) over the
e on line B m ph i the l i t c
,
e ac ses ce er er .

It is redund nt ign d used in only one m nus ript

a a S ,
an a c .

A for the Codex of L on 2 39 the gr phi union of the three

s a ,
a c

C l i vi in single group is si gnifi nt T h (

s a t li t ca . e n n a u ra er ,

at the b se of the two groups prevents

a p use of y kind a a an ,

either fter the p a bbi p t or the l i vi Th e ffe t es sn un c us, c s . e c

w nted by the o m poser is no doubt sl ow trill of four be ts

a c a a ,

whi h is to c eler te up to the t i g or p

c a of the squ re
c a r on ,
r es s a s a

not tion a .
16 4 P ar t I I . _

The use of the s i gm fk st ti m

a .

L aon 2 39

S . Ga l l 77
”
fl :

R 7 . br . T i m e bu n t

w
et vi d ebi tur
here is to be no m or v i fter the l i m
T —d l l a oc s a c a cu s o- a - s o ,

or the li vi d —l Why ? T h punc tu m s

c s- obrief a d this
a . e are , n

group is surm ounted by ( whi h see m s to ffect the a c c a

entire neu m T hen the ddition of the fk . st ti m whi h a a , c

i m m edi tely follows s ys to continue without ret rd Th

a a a . e

s m e re m rks pply to the next l i vi d l

a a — a c s o- a .

T h m nuscript of L on furnishes the s m e indic tions for

e a a a a

the Clim us T h long pun tu m ac t the b se this neu m e c f a a

—
.
,

is ly l g h on o m p nied by or so m e other indic tion

on en acc a r: a

of ret rd A for the l ivis the (

a . t li t
s whi h follows c ,
n n a u ra er c

it is equiv lent to fb st ti m in the S int G ll m nuscripts

a a a -
a a .

A nother ex m ple of f st tim a c z a .

1
” M 1
L aon 2 39 J 7 7 7

w
MS S S Ga l l /
”
. .
77 (fl 77 fl ‘
o

T ra c t . C o mm o vi s ti

his sign interdicts ret rd fter the

T a a a tr i go n - p r e s s a s d o -
s ol ,

where the white sp ce m ight suggest m a a or a vo c i s .

A l e s s on in Gr egor i a n would t he
R hythm : Ho a ver ge a

m usi i n rh yt
c a hm the following phr se m e m ber ? a
w
166

The

a
Me ss i n i a n m a nuscript ( a bove )

T orculus with t he sign ( )

-

re
g e t e ( l
conform s ex ctly wit h
the int G ll indic tions We h ve the long Clivis the lon g
Sa a

rgo )
t he lengthened T orc ul us of t h e S a in t G a ll vers on Th three
Clim cus a co m posed of t wo light punc t um s e ch ending
i th the long punctu m which indic t es a support
corresponds with the p t m p l m of S in t G ll
a

correspondi ng to

d
unc u
av

,
Part I I

au

an u
.

-
a

a
,

a
.

a
a

,
e

an

w
.

S uch t h e rh yth m ic interpre t t ion of t hi s p ss ge ccording

Is a a a , a

to the “m nuscripts T here a m a ny expl n tions of t h is

. are a a

sor t in L N mb M i l G ég i
e o of D m M cq
re u s ca r or en o o u e r e au
“ ,

an d the M g ph G ég i n
In b y D om M q
on o r a u i es r or e n es , oc u ere a ,

D m G j d
o d other ut h orities
a ar ,
an I t will p y the s t uden t a . a

of P l inch nt to m ke de t iled studies of t hese volu m es

a a a a .

Th rhy th m ic signs
e not t h e only proof of the necessi t y are

of j oining the groups In t he m nuscripts we find the s m e . a a

p ss ges wri t ten so m eti m es in
a a singl e neu m ti group
,
a a c ,

so m eti m es in two groups “so m etim es three T h e followi g , . n

p ss ge fro m th e O ffertory R g T h i fro m t h e Codices :
a a e es ars s

a ) in t wo groups

6) in one group

usici n h would like to rhyth m the firs t ex m ple ( )

The m a o a a ,

by si ple j uxt position ( rhyth m ic ictus on the first note of

m a
e ch group ) needs only to study the second ex m ple
a ,
to a

underst nd th t his ide h no v lue H owever in this se ond

a a a as a .
,
c

ex m ple the m usici n is free in principle to pl ce t h e i tus

a ,
a a c

on either t he third or fourth note But which subdivision .

,

will better preserve the true Gregori n tr dition ? T h is question a a

m ust lw ys be sked by t h e m odern m usici n who is c us

a a a a ,
a c

t m d to cl ssi l
o e d m odern rhyth m s
a Th ver ge m usici n
ca an . e a a a

would m ke the following m ist ke d pl e the ictus on the

a a ,
an ac

first notes of the groups .

A / ‘
o
 C h apte r I I on 167 . R h y th m an d E xe c u t i .

T h gregori nist would decide th t the sep r te groups m e n

e a a a a a
nothing but woul d study the situ tion in the l ight of the
,
a

docum ents before pro eeding with his divisions T h following c . e

would be his on lusion he would decide to pl ce the rhyth m ic
c c ,
as a

ic t us on the ( i ) thus j oining the groups ccording to the spirit

s ,
a
an d h bits of the neu m tic no t tion
a S e the following a a . e

The descendi g
elodic design de m nds rhythm i support
n m a a c

on the t d i l A lso the rhyth m ic m nus ripts pl e

n o es o- s -
so . a c ac

a R o m ni n epise m on the l st note of the T or ulus

a a ( ) a a c . a

A nother ex m ple of the s m e Melis m awith one note m ore a a, .

O ffer t ory I v i T hree different not tions

n en a

n A /
a ) in single group ;
a
the Virg fin l is a a

R esupin M s S t G ll a . s . . a .

b) in two groups
m s S G 37 5s . . .
,

and S G 34 . . 0 .

c ) in three groups
m Monzss a,

w
.

m ss .
,
N o v a l és e .

These t h ree not a tions equ lly good if in singing the ar e a , ,

j oini g of the groups is well observed B ec use of its gr phi

n . a a c

unity type ( ) m ight be onsidered the best H ere the m elodi

a c .
c

rhyth i unity is well defined In the second ex ple

,

an d m c ( )
b m .
a

the l it
o forbids
c e er support on the first
er note of the C livis a
this indic t ion preserves the unity of the group ( ) T
a . 0 o

a tt in the s m e result in this ex m ple we pl e the rhythm i

a a a ac c

ictus on the l st note of e h group thus blending the notes

a ac ,

of the in ise c .

T here t h ous nds

are of ex m ples h m g the s m ae m elodi a s o a c

form ul written in sever l gr phic styles F this re son

a a a . or a ,
 ww
16 8 P a r t 11 .

it is i m port nt to use edi t i

a of the ch nt whi h the rhythm i on s a c c
an d dyn m ic signs a H owever it is di ffi ul t to indic te the
.
, c a
delic te nu n e s of interpret tion found in the m nuscripts ;
a a c a a

for this re son every serious student of P l inch nt hould

a a a S
Study these intric ies with re l uthority n these m tters
ac a a a o a
d there
an e v ery few arh o underst nd the theory d a , an
also t h e true m e n i ng of the m elop ee a .

H w ould you divide t he rh yt h m the following group ?

o In

Ms s Me s s i n s
. I) . l

Ms s S a n ga ll i e n s
.
J o
. fl

R7 . G . Mo d e II

We th t the first note of the P

are su re a dem nds r e s su s a an

i tus lso the first of t he two Virg s But wh t of t h first

c : a
“

a . a e

group ? W e h ave five n ote s We m ke tim e group of the . a a

p es bbi
su
p ti d d ivide
un c it into twos, bin ry o
an m posi t e a c

be ts pl ing the ictus on the first d third ( l ) notes ; t h en

a ,
ac an a

be use of the P
ca the ( l ) of the following p d t m ust
r es s u s , a o a us

go b k to the bi ry group thus form ing co m posite tern ry

ac na a a

rhyth m T h entr l i tus m ight f ll on the ( l) but the ( l )

. e c a c a so , a

see m s to invite su pport being m od l note in this the fifth

a ,
a a ,

m ode Th .Om pl t phr se of this ch n t follows :

e c e e a a

An o t her ex am ple of gglutin tion fter ti m e groups

a a ,
a

Ms s Me s s i n s
.

Ms s S . . G a ll

A lle -
li I i a
’

Th e first Cli vi l f d the first note of the second Clivis

s so -
a , an

for co m posite tern ry rhyth m thus losely onne ting

,

m a a , c c c
 w
17 0 Part I I .

cert in th ta a a m or a vo c i s is m e a nt . The following m elis m a

will il lustr te a

m o ra voci s

T versions of the s e ch nt
o am a : The C odices of Sa in t G ll
-
a

wri t e in two differen t w ys the fo l lowing a .

L aon 2 39 .
f;
‘

Ms s . S a n ga l l i e n s

Mo d e II . T ra c t .
a )

w
Th etwo not tions equiv lent but the first m ust be
a are a ,

interpreted by connection of groups between the Cl i vi d ,

s an

P d t
o m king
a us, tern ry rhyth m before t h e P
a awhich a r ess u s

foll ows In the second ex m ple the P

. t t kes re of a or r ec u s a ca

the tern ry rhyt hm tim e group Th re l e ffect of such

a as a . e a

phr ses is
a
I

A f e exa m p l es of the fu s i on of gr ou p s i n the P r ess u s

The l st note of the first group lw ys dr ws the rhyth m ic

a a a a

i tus with the result th t the first note of the second group
c , a

loses its rh yth m ic ictus d its individu l ictus by virtue of an a

its fusion with the pre eding no t e c .
 C h ap te r I I . R h y th m an d E x u t i on
ec . 17 1

Effect .

H ere the episem on the l st note of groups A d B plus

a a an ,

the t t sp es following certify m or v i In t h e M nuscript

e ac ,
a oc s . a

of L on
a ,
— tenete is found on the l st note of group B
) a f: a .

S o m eti m es sever l different inte pret tions m y be dr wn

a r a a a
from the rhythm i signs in the following In like c ses we
c ,
as . a

often find i d in other docu m ents d even fr gm ents

a an a .

A B C

”
L a on 2 39 I
; ; 7
g
f

c o

8 . G ai l Ms s . s/ =

R7 . G . C on ve r te r e .

Th ere are t wo possibili ties here : disj un tion fter groups

c a

A an d B .

A B C

or by j oining a ll the groups .

L gm ar e en t

2 -2 3

F Or m a ny re sons so m e of the m m ore or less o m pli ted

a ,
c ca ,

Soles es
m has hosen the first interpret tion
c a .

S o m eti m es the rhyth m i letters settle these diffi ulties c c an c

for us ; but they not lw ys le r E h se m ust be

are a a c a . ac ca

stu d ied sep r tely ; we c nnot m ke too m ny gener liz tions

a a a a a a a .

It is ne ess ry to know well the different sh des of m e ning

c a a a

between the different letters d combin tions of le tt ers A l so an a .

17 2 Par t I I .

the rel tionship of the letter with the rhyth m i ign in e h

a c S ac
speci l se a well ca reful co m p rison f their m e ning
, as as a ca a O a

in the v rious s hools of m nuscr pt N on lu si ons m y

a c a i s . o c c a
be m de without onsidering ll these f cts d m ny others
a c a a an a .

Th rhyth m i letters of disj unction

e cthe ( ) tenete are 4
,

c o m m on to both the m nus ripts of S int G ll d Metz ; the a c a -

a an

( ) av
g t in the Messi
au n do u m
e e,ents when they tt hed a c , are a ac
to the l st note of group f vor usu lly disj un tion H owever
a a ,
a a c .

it is the letter ( a ) expect which gives us the m ost cert in

s
a a
inform tion in reg rd to the m or v i
a d the sep r tion of
a a oc s an a a

groups T his letter wherever found either in onnexion with

.
, , c

text or m elody indi tes in ise the end of phr se

,

, ca an c , a a
m e m ber t It is the ign p excell ence of di sj unction or
,
e c . S ar

m or v i a in distinct o pposit on to the ign ( f )

oc s, st ti m i S
’c
a ,

whi h the inf l l ible ign of j un ture O ften t h e ( serves to

c Is a S c . as

expl in m ore fully the signs (

a d O bserve the following 4 an :

Laon 2 39

St . G all 37 6 an d E in . 121
f a x /1
A ,

In t r A q u a
. sa pi e n ti a e

ai le ln ia .

The ) fter the

( Taors
u lus (a is f d in two c l a r e—d o e

ou n
m nuscripts of S int G ll
a It s ett l es the v lue of the epise m
a a . a a
on the l st note of the T or ulus
a c .

Th ( )e in the L on version pres ribes t t h s m e pl e

4 a , c a e a ac
disj un tion by m e ns of m or vo is In L on this ( )
,

a c a a a e . a ,
4

is not lw ys doubled note but when it orresponds to ( a )

a a a , c an s

of S int G ll we
a -
definitel y give it this v lue
a , can a .

A nother ex m ple Gr du l E x S i a a a on

e r
L a on 2 39

M s s S a n ga l l i e n s
.

Gr ad . E x S i on

o r d i n a vé runt
 CHAP TER III .

MORE AB OUT THE AP OS TR OPHA -PRE S S US .

its origin in th e A pos t roph a (

Th e P r e s su s h a s a no t e 7

pl ced next t o a no t her no t e or group n ota pp s i ti n i

a a o o s .

T here a two t ypes of t ppos i ti i

re no a a on s

1) Th type whic h fuses with the no t e or l s t no t e of

e a
a preceding group t o form single sound double i lengt h a ,
n ,

as the P r es sa s .

2 ) Th type which is disti c t ly sep r ted in th e no t tion

e n a a ,
a ,

fro m the precedin g note d which de m nds a repercussio ,

an a n

to keep its ch r cter ; this l a tter cl ss is represented by the

a a a

S t ph i c s
ro d in cert in m e sure by t he Ori
u ,
an a a a ,
sc u s .

P M f
r es s a s d P Mi a or T his distinction is
an r e s su s n or .

m de m ore bec use of the gr phic di fference in the two signs

a a a
th n bec use of their use T hese signs of the P v ry

w w
a a . r e s su s a

a ccording to pl ces d epochs ; bu t t h e docu m ents of Germ n

a an a

a d S int G ll origin give the t wo f ollowing for m s

n a -
a

P ss s M or
j f
re “ u -
a

P s Minor
res u s -
a

Th n m e P e expl ins t h e e ffect whic h t h is neu m m ust

a r e s su s a

produce in the Ch nt It is in prin iple a strong note d long

a c an a

no t e T h si m ple ign of t h e P
. e without cessory no t es
S r e ssu s ac
is the si m ple ign ( ) which is deriv e d fro m
S t he A postroph 7 a .

Th P
e M j or s o m posed of three sig s
r e ss u s - a A si m ple
1 c n

Virg a or wit h E pise m f A A postroph P ( ) a n a- r e ssu s ,

an d dot a whi h follows ll P T his ense m ble

c a r essu s .

is co m posed of three notes the first two of wh ich t the ,

- are a

U nison It is t h e Clivis wh ose firs t no t e would be doubled

.
,

three sim ple be ts in ll a a .

T h e P r e s s u s —M inor h s only two no t es : T h A pos t rop h

a e a

P r e ss u s ( fl ) a n d the dot re lly two notes in ll T h a a . e

Vo l I P a rt I I Ch a p t e r V I I I
, ,
L e N o m br e M u s i ca l
Ch apte r I I I o b ou t t h
. A p os t o p h
M reP e a 17 5 e r a- r ssu s .

only difference between these two signs is th t the P ,

a r e ssu s

M j or is represented with the note to which it is pposed

a d a ,
an

the P Minor is isol ted fro m the s m e

r e s su s - When the a a .

l tter is tt hed to
a a pre eding note there is no distin tion
ac a c ,
c

to be m de between the two P

a ; their v lue is t he s m e r e s su s a a ,

an d the s m e m elody is written so m eti m es with the P

a r e s su s
M j or
a ,
d so m eti m es with the P
an Minor r e s su s - .

After h ving ex m ined m ny of t h e best m nus ripts

a a a a c ,

D m M q
o oc found th t
u ereau a .

)1 Th P e Minor is used
r e ssu s v y t i
-
it is j oined t the e er rn e a

U nison to the l a st note of group a

Cl i vi s P r e s s u s
,
an d P u n ct u m

Pes s u bb i p u n c t i s , P r e s su s an d
P u n ct u m

I t does not h ve to be j oined gr phi lly to the note whi h

a a ca c

precedes it .

2 ) Th P e M j or ( f ) is used on the ontr ry

r e s su s a t ll c a a a

w
, ,

t im es when the note whi h precedes the P not t the c r e ssu s is a

U nison with the note i m m edi tely pre eding a c .

j
P r e s s u s -Ma o r a thi r d h i gher
t h a n t h e D O o f p r e c e d i n g C li vi s

Pr es u
s s -
Ma j o r lo th a n S i
er

of t he p r
e c e d i n g P o d a tu s
 '

17 6 Part I I .

h
T e P r e s j or is lw ys e m ployed even t the U nison of
su s -
Ma ,
a a ,
a

a precedin g note when there is to be new syll ble in t he text

,
a a .

”/ 77 fi W /I

I n t r Os
.
j u s ti

m edi ta bi -
t ur

Th e Pr oofs of F u si on .

T here ny equiv lences of N ot tion wh ich prove the

are ma a a

F usion
of the P T hese equiv lences nu m erous r e s su s . a are ,

a s D om M q h found by
oc c reful study of the
u ere au as a a

M nuscripts T heir enu m er tion m y be found in L N m b

a . a a e o re

M i l G ég i
u s ca Vo l I P rt 11 Ch pter VIII
r or e n ,
a ,
a .

T here is lso R o m ni n ign whose only use is to indi te

a a a a S ca

this F usion form ing the P It is the sign as C j r e s su s : on u n

g tur
a d is ,
l m ost l w ys found where two groups co m e
an a a a

together t the U nison Very r rely it is pl ced over P

a . a a a r e ss u s

M j or
a to m rk the intim te union of the firs t notes a a .

In this c se the ign is superfluous

a ,
the gr phi union of the
S ,
as a c

Virg d the P
a an s su ffices to indic te the F usion H ere
r es u s a .

ar e2 ex m p l es a

E n s i e d ln 12 I

O ffe r t P or t a s . ca e l i

mi n i

H a r t ke r S . G .
fi if

R7 S a n c to
. cl i m m a cu l a ta

Sa nct a

following R ul es h ve been form ul ted for the inter

Th e a a

p t t i
re a of the P on in view of the usu l squ re not tion
r e s su s , a a a .

R ule 1 Wh en two groups co m e together on the s m e note

. a ,

the two notes t the U nison form P d m ust be executed

a a r e ss u s , a n

by f in single sound of two sim ple be ts ( U su ll y if

u s z on a a . a
17 8 Part I I .

a ) ttr ct
A to the m
a the notes d groups ne r the m d an a an .

b) A ttr ct e h other
a ac .

T his qu lity of ttr tion is s n tioned by the R hyth m ic

a a ac a c

N ot tion of the M nuscripts of S int G ll

a a d Metz a -
a an .

In the c se of ( ) the bove m entioned Codices e m ploy

a a ,
a -

before the P ll v the lig h t or ordin ry form s of t h e

r e s su s , u su a a

N eu m s .

T his re t ro c t ive qu l ity c

a ffec t single no t e only if
a an a a ,
th ere
ha ppens t o be a H o ri ont l E pise m a on preceding note
z a a .

{ a

w
A lle h -
’

I ia

odex 2 39 of L on represents th is s m e by long Clivis :

C a a a
t wo L ong P unctu m s with g t between the m O nl y
av au e e .

th e M nuscripts
a t e ch suc h nu n es of expression
c an a a c .

Very oft en t wo th ree four or m ore P,

s sep ar a t ed by one
,
r e s su

note or few no t es succee d e ch ot h er in th e s a m e m elod y

a a .

See t h follo i ng
e

e a e ma ny s i m pl er ex a m ples bu t we append th is excerpt

T h er r ,

fro t e A l l l i P t m
m h e u a, m m t wentieth S und y fter
ara u c or eu a a

P ente ost be use of the very be utiful m otive presented three

c , ca a

ti m es slightly different ly but e ch tim e l ittle m ore dr m tic ,

a a a a .

In the execution these P ttr ct e h other i p

,
r e ssu s a a ac rec ro

c lly d t his m u t u l ttr ction forbids h lt on the linking

a an a a a a a
 ww
Ch ap te r I I I o t t h A p os t o p h P ess s 17 9
. M or e ab u e r a r a .

notes ; but the entire phr se m ust be sung in a singl e flight a

n tur lly flowi g giving to e h degree the l ight v l ue of

a a , n , ac a
a s1m pl be t d no m ore
e S o m eti m es su h p ss ges
a , an t ken . c a a are a
slightly f ster indi ted in the m nuscripts by the sig
a ,
as ca a n

( 0 l i t ) over the neu m or neu m s

c e er er .

t
E xc ep i ons t o th e La of A tt ra tic on a mon g th e P r ess us

Th estudy of the R hythm i M nus ripts reve l ex eption c a c a c s

to this l o f light notes a in the Gregori n A t like other as a r
m usi the co m poser often desired different nu n es of i nter
c, a c

w
p t
re a t i S the followi ng the first Clivis is light bein g
on . ee :
m rked with (
,

a l i t ) whi l e the se ond is longer being

c ce er er c ,

written with the H orizont l E pise m tenete in neum tic a a . 4 a

not tion)
a .

c 4

me O ru m

Th e gener l L of m utu l ttr tion m ong the P

a a a a ac a r e s su s
has a lso its ex eptions the following ex erpt fro m the Gr du l
c as c a a
R esponse R p i fro m the M ss of the T hirteenth S und y fte
es ce a a a r

P ente ost will illustr te

c Without the i d of the M nus ript it is a . a a c

i m possible to know th t the groups of five notes sep r ted a are a a

by m or v i We le rn this fro m the

a oc s in the S i nt G ll
. a a -
a

Codex d the ( ) in the L on Codex

,
an T his is m gnifi ent
4 a . a a c

phr sea d i t , t g
an fine ex m p l e of sequen e
n e r e s In as a a c as

well Gregori n R hythm

as a .

M a z a ri n e 38 4 fll ‘ f
.
‘
y ‘ flh ‘
flfl
‘
I f, V’ "
a r
f
.

"
.

La o n 2 39
7 33 In i] r71/ l“ p
-
.
f 4 / 4 f 4
4

S . Ga l l

R7 . Gra d .
18 0

(
4

an
Th e
i llustr tes the l

s )
a

h to
er e indi
d gr eful phr se
ac
te p uses
a

a d m ust be sung with m ore viv city

in
a
wthe
ca

.
p h rase
P ar t I I

following t ken fro m t h e s m e F ifth Mode Gr du l

a
of m utu l ttr tion m ong the P
a

T here
But
a

the
m o t ives m ust be losely linked in t he exe ution to for m
di f
.

ac

no ( 26 ) or
a

ferent
ligh t
a

c
a

:
are
a

a
a
r e ssu s ,

5
,

“ fl
( 1 l
Ma z a ri n e 8
3 4 t
f . I 7 ,

zl '
La on 2 39 f

S . G all
[ 71
g fT
18 2 Part I I .

We find no t her d m onition for the Introit verses of the

w
a a

S eventh Mode

S pi -
ri t u i S an c t o .

w
The exis t ence of no t es so repe t ed in t he Gregori n Mélop ée a a

is an unquestion ble f ct T hese a c lled t p ra e . are a n o ae re e cu s s a ,

an d this expression is pp l ied to the D i t ph d the a s ro a an

T r i s t ph ro t the unison
a a T his double or t riple repercussion .

as to be light r pid d gr eful T h preserv tion of this

,
a an ac . e a

voc l technique seem s di fficult in our ti m e t le st for l rge

a , a a a a

g roup withou t speci l m usi l tr ining a ca a .

H owever we c nno t ignore these notes which occupy

a
i m port nt pl ces in the m usic l constru tion A s m ll group of
a a a c . a

tr ined voices m y be b l e to perform these neum s ccording to

a a a a
the tr dition l rules b t the ver ge choir of untr ined voices
a a ,
u a a a

or m edio re voice tr ining woul d cre te p nde m oniu m i th

c a a a a

such in t ric cies Th pr ctice e m ployed t S olesm es is t o

a . e a a

repe t only the first no t e of e h group usu l ly the ictic note

a ac ,
a .

T his repeti t ion m ust be very light d delic te without cen t an a ,

ac

or lengthening ( It is l m ost m gi l the interpret tion of

. a a ca ,
a
t h e m onks of S o l es m es in this m tter so gr ceful so deli t e a ,
a , ca ,

you wonder how it be possible but l t us re m ind ourselves

c an e

t h t they the restorers of this l m ost lost t d incident lly

a are a ar ,
an a
F renc h whic h is ,
synonym for finesse ) E x m ples foll ow
a . a

sce ris etc .

E xercises for t h e S t r o ph i c u s : ( T a ken fro m T h e N om br e

M u s i ca l
T h e D i s t r o ph a a lone : R epe a t e c h exercise a as ma ny t i m e s
as necess ry a .

M d v o e .

a e , a e . a e, a e . a- e , a e . e ,
a e .
 w
C h ap .
’
IV . St ud y an d E x u t i on
ec of th e S trOph i cu s . 18 3

e , a

a a e a a e a a e

a a e a a e a a e
Combi n ati on s of Str ophi cus an d Vi rgas

a ) irgV before S t p hai a ro cu s

A single Virg before S t ph i is o rth bout two sim ple

a
”
a ro cu s a

be ts :
a the dot fol lowing it indic t es We y bout
as a . sa
“

a ,

bec use often the v lue is reduced in suite of S t phi with

a a a ro cu s

V irg Tahere
. m ust be repercussion on the S t p h i which a ro cu s

follows Observe the following

.

L a on 2 39

St . G all [
77 7 ”

A dj uva
Laon 2 39

St . G all

et fa c no bis -
cu m

6) V irg be t ween
a a S t r o ph i c u s

O fi e rt .

A n i m a n os tr a

l aque [ e e ] libera ti [ i i i] su m u s

N °
7 58 . 7
18 4 P ar t I I .

T ibi di xit -

O ffe r t.

Z lf i h i a u t e m

ni m is
Here lso th e repercussion is necess ry bo th for t he long
a a ,

Virg d the t i s t ph which fo l lows it

a an r ro a .

I t i ty : A
n en s gener l rul e the long Virg pl ced th us h
s a a a a ,
as
m ore force th n the S t ph i c a Th intensive m ovem en t
ro us . e

can be indic t ed t h us a

51 12 25

w
C o m bi n a ti on s of S tr ophi cu s an d Vi r ga s . E xe r c i s e s

a a e ,
a a e ,
a a e . a a a a a

S tr ophi cu s pre cede d or f ol l o ed by gr ou ps at th e u n i s on

The following ex am ples will illustr te a

P receded

F ollowed
a a a 3
, a a a
 w
18 6 Part I I .

S tr ophi cu s p r ece de d by gr o u p s at the u n i s on . E xe r ci s e

a a e ,
a a e ,
a a e , a a a a .

S trophi cu s f oll o ed by grou ps at th e un i s on

Rule T h firs t no t e of group t th e unison fter t ophi

e a a ,
a a s r cu s

is lw ys repe a ted
a a .

T his rule origin tes cle rly fro m the equiv lencies of not t ion
a a a a
whi h c found in the m nuscripts T h s m e opyist for
are a . e a
.

c ,

the s m e m el ody in the s m e m nuscript e m ploys indifferently

a ,
a a ,

t h e different gr p hic form s which for us pre ious source

a ,
’

are a c

of inform tion they often expl in e ch other T h co m p r

a ,
as a a . e a
ison of t h e docu m ents of t he s m e f m i ly d those of different a a , an

f m ilies present th e s m e differences d the s m e instruc t ions

a a an a .

A ex m ple t ken fro m th e T r c t s of t he VI I I t h Mode

’

n a a a .

St . Ga l l 339

A T ra c t . Vi n ea

St . G a ll 339 7 ”[k
B T r a c t A tt e n d e.

et lo qu r
-
a

ine A
L int G ll M nus ript 339 ordin ril y writes
. Th e S a a -
a c a

this m elody with ( group 3) d torculus ( group

a d i s t r o ph a an a

L ine B But in t h e T r ct A tt d h e notes the s m e p ss ge

. a en e a a a
with t i t ph ( group 3) d l ivis ( group
a r s ro a an a c

In the gener l R ule which we h ve given bove two gener l

a a a , a
l sses m ust be onsidered
c a c

1 Th repe ted note

.
-
ft er t he S t phi c s wh ich be rs
e a ,
a ro u , a
a rhythm i i t E x m ple c c us . a
 C h ap I V . . St ud y an d E x u t i on
ec of th e S tr Op h i c u s . 18 7

2 .
repe ted note fter the S t ph i h ving onl y
Th e a , a ro cu s a an
the rhythm i i t being given to the se ond
i n di vi du a l i ctu s , c c us c
note of the group E x m ple . a

We give four ex m ples of the first se the repe ted no t e a ca , a

with the hythmi i t fter the S t ph i T h rhyth m i
,

r c c us, a ro cu s e c
m nuscripts t e c h us th t
a m ong these repercussions there
a a a
del i te nu nces of l l gr des of length d intensity
,

are ca a , a a an
fro m the long support h t doubled n logous to th t of the
,

,
a n os , a a a

p to the sim ple d sub t ile repe t of the m ost del i te note
r e ss u s , an a ca .

In the foll owing ex mples old rules c nnot des ribe the a ,
c a c
desired interpret tion ; It is for the director to inspire the singers
a

with the t d t ste de m nded in the perform nce of these

w
ar an a a a
delic te phr ses
a a .

L aon 2 39

St . G al l 2?
”a i r

R7 . G . S ci a n t

u t ro t am

F orthe n e nt t t the repercussion of the three pos

a ci no a ors , a
t r o ph a s oblig tory ; the rhyth m i ic tus fell therefore on the
as a c

first the t h ird S to keep the s m e not tion d the s m e

an d . o, a a an a

rhyth ith the not tion A the repetition of the first note of the
m a ,

is necess ry it is it which will be r the rhyth m i i tus

t or c u l u s a ,
a c c .

We give few ex m ples a a

)
a S t p hi followed
ro by note repe ted
cu s d doubled a a an .

L ong Clivis t the end of phr se a a a

I n t r I n m ed i
. o

intel l éc t u s
18 8 P a r t 11 .

L ong Clivis before a Q ui li sm a

Laon 2 39
j) si /
c a ,

4 f A

St . Ga l l n
.
77
,r m /r

A l l I n ve n i
.

A llel u ia

E x am ple n logous wit h B i vi

a a r ga

Laon 2 39

St . G all

R7 . G . B e n e d i c tu s

b) S t r o ph i c u s followed by a note l igh t l y enl rged by a an

E pise m a .

L aon 2 39

St . Ga ll 77 2 A :

R7 . G . Tu es D eu s

p opulu m t u

Laon 2 39

St . Ga l l ,r /77 . r

O ff e r t L a e ta m i n i
.

c Or de
190

A g in I
a y

of Gregori n Ch nt

a
3

)
a
.

S t phi

m
T
o
h

m
Go

repe
to

ted
S
sa

a
oles

notee
m
r

es
,

first
d

note
w
of these intri cies c nnot su ffice ; it is necess ry to feel the m
ca

listen
under the erudite d sensitive direction of D m G j d
It is the only y to bsorb little of the tru spirit d t
a

of
.

a
to the
an
a

group
onks
a
sing

following
when the rhyth m ic ic t us f lls on the second note
of the group followed by
so eti es p s
cu s ,

a r e su s .
Pa t II

,
a
an
.

a
a
a

e
o a ar

an ar
.

b) so m eti m es it is oris ns an o .

)
c or si m ply rhyth m ic ictus a .

) T ha p on t he
e second no t e of
r e s su s t h e group .

Laon 2 39

St . G all

I n t r S a ce r d o tes tu i
.

a v ér tas

In l l t h ese ex m ples t he firs t note of t h e clivis whi h follows

a a , c
t h e S t ph is worth only s i m ple be t
ro i cu s d m ust not be a a an
len gthened : I t does not be r the rhyt hm ic i tus but sim ply
,

a c ,

l ght d v d l touch T his i di vi d l ictus is pl ced on

.

a i 1n 1 1 ua . n ua a
the third m ple be t of t er ry co m posit rhyth m
Si a a na e .

b) Th e O r i s c u s .

L a on 2 39

St . G a ll

R7 . G . E c ce S a c e r d os
C h ap . IV . St ud y an d E x u t i on
ec of th e S t r Oph i c u s . 19 1

c
) Th e sim ple rhythm i i tus on the second note of the group
c c .

Laon 2 39

7? 77 77 4
St . G a l] °

R] . G .
j u r a vi t

six postroph s of the preceding figure

Th e a lso divided
a ar e a
into two t i t ph d m y even be found in
r s ro singl e i t
as, an a a un n er
ru
p t d series in so m e m nus ripts
e f ct whi h proves th t a c ,
a a c a

they were ll to be repe t ed a a .

Laon 2 39

St . G a ll

R7 . G j u r a vi t
.

w
w
L aon 2 39

St . G a ll

j u s tu s u t pa lm a

L a on 2 39
“
a
c r
,
N

St . G all
"
4 I
7’

R7 . G . S a lou m fa c

vu m
19 0

A g in I
a y

of Gregori n Ch nt

a
3

)
a so
.

S t phi

m
T
ro

eti
h

m
G

repe
to

ted
S oles
sa

note
a
m es

firste
d ,

note
ca

under the erudite d sensitive dire tion of D m G j d

w
of these intri cies c nnot su ff ce ; it is ne ess ry to feel the m
listen
It is the only y to bsorb little of the tru spir t d t

of
a

a
to the m
o

groupa
onks

.
a
sing
an

following
when the rhyth m ic ic t us f lls on the second note
of the group followed by
es p
cu s ,

a r e ssu s
a

.
Pa t II

,
r

a
i

an
.

a
c

a
a

e
o

i
a ar

an ar
.

b) so m eti m es it is i an or scu s .

)
c or si m ply rhyth m ic ictus a .

) T h a p on the second
e no t e of th e group
r e ss u s .

L a on 2 39

St . G a ll

In tr S . a c e r d o tes tu i

a v ér t as

In l l these ex m ples the first note of t he clivis wh ich follows

a a ,

t h e S t ph i is worth only sim ple be t

ro cu s d m ust not be a a ,
an

lengthened It does not be r the rhythm ic ictus but sim ply

. a ,

a light individu l t ouch T his i di vi d l ictus is pl ced on

a . n ua a
the third sim ple be t of t er ry co m posi t e rhyth m a a na .

b) T h e O r i s c u s .

L a on 2 39

St . G a ll

R7 . G . E c ce S a ce r d os
19 2

It is in t eres t ing to note th t the Codex of L on ne rly lw ys

express es the i tic epise m of S int G l l by the or

S tr ophi cus preceded

Ve r c e 11 1 8 6

St

IV
. G
G
all
c

P r o ba St i
a

an d
P art I I

foll o

f
A
fl
w
a

fi
ed

JL /
.

-
a

by grou ps

fi
a

at
4
a
a.

th e Uni s on
a a

w
. .

L a on 2 39

St . G all
7’
/7
'

R7 . G . E xa l ta bo te

Str ophi cu s i mmedi atel y foll o ed by Q ui li s ma

w
-
a .

a ) T r i s tr opha T h e . repercussion is oblig t ory on t h e t h ird a

A postroph a E am . x ple :
Ve r c e i l 18 6

St . Ga l l 00 9

O ffe r t .
j u s tu s

p al m a

b) D i s tr opha . executions
T o possible a re

I ) The i tus on the first pos t roph

c a a .

Ve r c e i l 18 6

St . Ga l l

R7 . G . I n ve n i
 x u t i on
'

Ch ap IV S t ud y an d E ec of th e S tr o p h i c u s 19 3
. .
.

2 ) Th e ic t us on the se ond postroph c a a .

Bot h of these interpret tions good T h first is e sier a a re . e a

the ordin ry hoir sing the postroph s one sound
,
as a c can a a as
pplying sim ply t h e gener l rule Th two postroph s before
,

a a . e a a
the quil ism wil l thus be redu ed to single sound worth
a c a on e
l g i mp l b t thus perm itting the f notes ( f f
,

on s e ea , l l ) ou r , a -
a , so a
to be sung the e ning of the
,

l g t y h y thmas S am ar e er n a r r o a
3 in the m odern tr nscription
.

a .

I n f vor of the second interpret tion we ite

a figure found a c a
in m ny m nus ripts ; the first note in the Quilism figure is
,

a a c a
a m
( ) i ins t e d of (f ) a a a :

Th e t on a l
indecision of this no t e would h rdly invite a
a rhyt h m ic ic t us such is de m nded of note preceding the
, as a a

Q uilis m S the solid note of the p ss ge woul d h ve to be

a . o a a a
t h e second postroph which would be r the tus
a a, a ic .

T h is l st interpret tion is m ore ex t m ore

a rtistic if
a ac , a ,

m ore difficult H owever it is for the sens t ve cho rm ster

. i i i a
to c h oose t he one to his t ste d which h ho r bet t er a ,
an is c
.

i c an

in t erpret .

I h ve devo t ed ch pter to the subj ect of the S t phi

a a a ro cu s
bec use these t
a p ppe r so
n o ae frequently re t h er c u s s a e , a a In e
Gregori n m el pé a d often v ery b dly exe uted our
o e, an are a c in

choirs When interpre t ed with tr d t on d good t s t e t h ey

. a i i an a

dd m uch to t h e gr ce d be uty of the l turg c l phr se

.

a a an a i i a a ,

but if pounded out in crude d indel te m nner they a an i ca a , c an

spoil the effec t of whole servi e In the h nds of the a t c . a s e n s 1 1y e ,

well tr i ed m usi i n they

-
a n be m de to express the e m ot on
c a can a i

in t ended by the o m poser so m etim es j y d exult t on c : o an a i as

in t he ch nts for Christ m s E v m d y ; pr se

. .

d C
i i
a
hr
suppl c t onst s the Gr du l
a e an
.
i a a ai ,

Ga u den s ga u de bo B t , en e d c te , e c .
,
i a i as a a ,
19 4 P ar t I I .

M i s er e r e of A sh Wednesd y ; hu m ble pr yer the Introits

a a

R em i n i s ce r e an d D a p m S on through l l the s l igh t est

a ce . o ,
a

e m otions .

In these det ils s wit h ll t he Gregori n Ch nts even if we

a a a a a ,

ca nnot lw ys know the n m e or the per od of the o m poser

a a a i c ,

we should try to put ourselves in his pl e d feel his e m otions ac ,

an

when he produced t h e be utiful opus a .

In the long periods c ont ining the different S t phi

a the ro cu s,

Gre ter R hyth m m ust be lw ys onsidered ; d so m eti m es

a a a c an a

slight ch nge in a neu m m a y be dem nded

a a .
 w
19 6 Part I I .

0 00

O ffe t r . I n o e n i D a vi d

et br a chi

2 ) E x am ples of the Or i scu s a hol e s te p a bove t h e precedi g n

note

I n t r L oq u e ba r
.

re
gu m

Co m m . D i c i te u si
p ll a n i m e s

CC CC

In t r D u . ml c a ma r em

hu m i li a vi t
J? j

O ffe r t S i cu t i n h o l o c a u s t o
.

t au rO ru m

D . in D i S g h l von S int G llen

S c h u b i ge r , e an ersc u e a -
a
defines e pos t roph O i c t h us Th O i
th A is a -
r s us : e r sc u s a
gr eful note sung on the degree b v th p di g t
ac a o e e r ec e n no e .

T his definition t first see m s contr diction to wh t we h ve

a a a a a

s id before in reg rd to the O i

a sort of A postroph
a r sc u s as a a
at t he U nison of the preceding note But the s v nt writer . a a
h d in m ind the m ny ex m ples found in the fine
a ncient
a a a

m nuscripts of S int G ll ; the m ore we study the O i

a a -
a r scu s ,
 C h ap o t oph O fi
. V . 19 7 S tu dy of t h e Ap s r a- scu s .

the m ore we feel th t it is in l l ses to be sung on the note a a ca

above the pre eding note or r ther in the ses t the U nison
c , a , ca a ,

the note pre eding the O i is to be sung on the h lf step

c r s cu s a

below the O i r scu s .

In the ex m ples bove we o m e to the following

a a can c

con lusions
c

)
a T h O i is light
e note d the
r scu s fi l f g p ; d a an na o a r ou an

we m y even y th t it is note higher th n the note which

a sa a a a

precedes or the note whi h follows c .

b) It is light note of tr nsition i t i m i t l y linked to the

a a ,
n e

preceding group ; or we m y y th t it m kes integr l p rt a sa a a an a a

of t his group .

T hese two f ts going to help us in our interpret tion

ac are a

of the O i found t the U nison with note pre eding

r sc u s a a c .

B . Th e Ori s cu s f ou n d at th e Un i son of a pr ec edi n g n ote .

his is the ordin ry c se in the not tion ctu lly in use t

T a a a a a a

the present ti m e .

A l l the degrees of the S le good for the O i but it ca are r scu s,

prefers to be pl ced on the note bove the h lf step eit h era a a ,

faor d E x m ples
o . a

1 ) On f a or do .

J? j J?

Co m m E . cc e D om i n u s
h

R7 . G . T olli te

ve str sa

/l f /7

T ra c t D o m i n e
. a u d i vi

u m bro

i n t e rp r e t a t i o n .
19 8 r
Pa t I I .

On la
’

2 ) sol , ,
re .

O ff e rt . C o n fo r ta m i n i

e n im

IV . G . E x S i on

v eni et

Co m m D i ci te .

c o n fo r t am i n i

is r rely on m i or i
T h e Or i s c u s a s .

Th double ch r cter of the O i c s is found in t he preceding

e a a r s u
ex m ples
a

It is note of tr nsi t ion cert inly ; for it is pl ced t the end

a a a a a

of group d le ds i m m edi t ely into nother group or syll ble

a ,
an a a a a .

It i s an l v t d t lthough bec use of the not tion t the

e e a e n o e, a a a a
U nison t his ch r cteristic is
,
t evident t first gl nce
a a no a a .

H owever study of the m nus rip t s reve ls t h t

,
a l ight a c a a a
inflection of the voice is to be m de on the no t e directly preceding a

the O i thus pl cing this l tter in h lf tone relief to

r s cu s , a a a a ,

preserve its ch r cter higher note

a a as a .

T h neu m tic m nuscripts indic t e t h is nu nce thus

e a a a a

i Af r)

inste a d of the Or i s c u s ,

t h ey e m ploy t h e Virg a
wwa

w
2 00

before the Gris us ( S

Th O i
e

S int —G ll
a

Th
a
It

s t o be h urried
e
a a
bove 3 under E x m ples of O i s
pl ced h lf step bove the preceding group )
o

often indi ated by sim ple virg even in th e docum ents of

c
a

itself did not h ve y speci l v lue ; it

r scu s

t h erefore not sign of orn m ent but

a .

,
as
.

ordin ry note very light with retro c t ive e ffect of c eler tion
a

on t h e prece ding group T his did not m e n t h t the group

but m erely sung ligh tly d gra ceful ly
Guidoni n not t ion r rely used the true sign of t he
a
,
a

a
ee

.
a
P a r t 11

a
a
,

a,

a
.

a
an

a
a

an
a
a

a c
,
r

a
cu s

as

an

O i
r sc u s ,bu t represented it ordin ry P unctu m or Virg as an a a,
except in Germ ny t h e ho m e of ex ct not t ion T h is loss is
a , a a .

j ust one m ong the m a ny signs of the dec dence one of those
a a ,

nu m berless fissures which during t he course of t h e cen t uries , ,

perm itted to esc pe fro m th e Gregori a n v se the exquisi t e

a a ,

perfu m es of t d be u t y which n t iquity h d enclosed

ar an a a a

therin Th sign of t h e O i c w rned t h e singer of the

. e r s us a

extre m e sweetness d ligh tness of this no t e ; t he ordin ry an a

Virg s a d P unctu m s whic h repl ce i t tod y suggest t

an often a a oo

the P with its in t erpret tion very different T h singer

r e ss u s a . e .

t hus w rned could prep re the e m ission of t h e O i s

a by the a r cu s

delic te execution of the prec eding neu m T h V t ic n E di t ion

a . e a a

represen t s t he O i c by th e bove m entio ned ordin ry

r s us a -
a

no t es We look forw rd to th e
. t bli h m t of t h e origin la rees a s e en a

form of the O i where possible r sc u s , .

T h execution of t h e distinct O i
e presents no difficul t y r sc u s

when t he note is written properly .

T h execu t ion of t he O i c
e t the U nison r ises t he question r s us a a

of whet h er or not to i fl t the note pre eding T h is is the n ec c .

m os t ncien t tr dition but di fficult for

a hoir of un t r ined
a ,
a c a

singers A t S olesm es the Introit G d m is lw ys sung

. au ea us a a

wi t h this inflec t ion ( S P t I ) . ee ar .

P l a ce o f the R hythm i c I ctu s n ea r the Gr i s eu s . Th e O r i s c u s

never be rs the rhyth m ic ictus bec use it is usu a lly preceded
a ,
a

or followed by this t ou h T h ictus f l ls on the note following c . e a

the O i except when t h is note h ppens to be S l i

r sc u s a a a cu s

V . A l l A d o r a bo
.

or m usi l m otive with spond ic text where

a ca extr a ,
an a n ote
is pl ced fter the O i c for brief penulti m te syll ble
a a r s us a a a .
 C h ap . V . St ud y of th e A p o stro p h a —O r i s o n s . 201

S pond i a c F orm
T ra c t . De p f
ro u n di s

Da ctyli c F orm
T ra c t B e a t u s . vi r

GlO Ii a

Before the O i the i tus should f ll on the note loser

r scu s c a c
t o the O i s r T his is lw ys the
cu s . se when the O i is a a ca r scu s

fused with pre eding note ; d in other m elodi form s where

a c an c
th e O i
r scu sis higher th n the preceding note a .

i m pl e
-
vit tau -
I O ru m

In so m e o t her m elodic groups t he ic t us fa lls on th e second

no t e before t he O i ‘

r sc u s .

us que su per

The following equiv alence is in teres t ing an d very gr ceful a

in pr c t ice
a .

/V

The c c e l e ri t e r a bove t he P orrec t us would de m nd a a very

i gh t tou h c .
2 02 P art I I .

here is only one possibil ity wh ere t he rhy t h m ic ic t us m igh t

T
f ll on
a O i
an itself ; thus when four notes
r sc u s be counted can

between the two i t i which fr m e i t T his c se is usu lly

c a . a a

due to t he interpol tion of brief penul tim te syll ble ina a a a

a m elodic m otive of three no t es be t ween the two i t i c .

N orm l form wi t h spond ic t ex t

a a

O ffe r t S pe r e n t
.

Da c t ylic form

T r a c t L a u d a te
.

c o n fir ma ta es t

onform ing t o t h e rules of the n t ur l rhyt hm th ese four

C a a ,

note s d i d d m y be divided in two bin ry rh y th m s by

,
o s - -
o -
o . a a

m e ns of
a ic t us whic h would h ve t o f ll on t h e O i c u
an a a r s s .

c on fir m a ta es t

is division m y be voided however by th e principle of

Th a a ,

conden sing four light no t es in single co m posite t ern ry be t a a a .

( S e rticle
e a on t he S t p hi ) ro cu s .
2 04

are a fe w
We r rely find
a

c a se s
a Q u i lis m

( ) 61
Pa t II

a
r
preceding

(b)
.

th e S a li c u s , but t h ere

)
a oC mm M ss of S in t
. M tth
a ew d E v ngelis t a S ep t 2 1 s t a an a .

b) Co m m XXI S und y fter P ente ost

. a a c .

Th f ts on which we m ke t h ese in t e rpre t tions

e ac th e a a are

fol lowing
1) N eu m tic equiv l ences found in th e m nuscripts of
a a a

S int G ll
a -
a .

2 ) R o m ni n L e tt ers
a a .

3) T h use of
e t h e s m e ign for t h e P s s a d
a t h e S l iS s r e su n a cu ,

in t h e M nuscrip t s of Me t z L on V i l d Mi l n
a ,
a ,
erce an a .

4) E quiv lences in the M nuscript of L on

a a a .

5 ) Th d pt tion of the text to the S li c

e a a a a us .

U nder t h e first f ct we h ve found in th e m nuscrip t s of

a , a a

S in t G ll t he upper no t es of the S li
a -
a , repl ced by ot h er a cu s a

neu m s ,the p q d t J es d the p q ua ra u s ,

s an es u a s su s /

E x m ples
a
:

w
Very r rely is found
a

f aci as nos
In vo e tu c ba e

S al i cu s repl a ced by t h e S c ndicus a very ra re .

T h e R o m a n i a n L etter s We find t h e f o ll o mg co m bin a tions ’

t
f s/
a

. s/
 ou t t h S l i
C h ap t e r V I 2 05 . M or e ab e a cus .

In the M nuscripts of Me t z we find the P

a d the ,
‘

r e ss u s an
S lia represented by the s m e ign
cu s a S .

Th M i i
e P is pl ced ne r the note whi h is to
e ss n an r e s su s a a c
be lengt hened
j oined in the following
L O rdin ry Clivis P ‘
. a r e s su s
L 39 a on 2 U
,

d P unctu m
[
an

de t c h ed here
a

P e s S u b b i pu n c t i s P r e s s u s
Laon 2 39
,

an d long P un tu m c

s m e sign serving t he centr l note of the S li

T he a in as a a cu s ,

the not tion of Metz with the difference th t it st nds lone

a , a a a
and un tt ched t o
a
y note a an .

here
T other diffe ences in the gr phi represent tio s
are r a c a n

of the S li d the P
a to be found in these s m e
cu s an r e s su s , a

m nuscripts
a H ere lso we find the ( )
. l it dded to a e c e er er a

a S li a whi h is represented by the P

cu s , c si gn ; this wou l d r e ss u s

reduce the form er ign to i t re l v lue S s a a .

Laon 2 39

S . Ga l l
O ffe r t . L a e t e n tu r

Sa i nt
nuscrip ts G ll
here g in the m odels of
~

The -
a ma are a a

fide ity T h S li
l . is l most lw ys well represented T h
e a cu s a a a . e

Messin Ma nuscripts less a c u t often e m p l oy ng the are o ra e , i

20 6 Part II .

S ca n di cu sfor S l i s S uch errors foresh dow t h e dec dence

a a cu . a a .

By co p ring the s m e m elodi p ss ges in the m nus ripts

m a a c a a a c

of Metz or even in the m nuscript of L on we often find the

,
a a ,

S li a or S di used for e ch other the work of reless

ca s ca n cu s a ca

c opyists But when we o m p re these with S in t G ll we

. c a a -
a ,

c an re est blish in ll c ses the S a li

a a a cu s .

S o m eti m es t he erroneous S c ndi us of the L on M nuscript a c a a

is given its S l i v lue by use of the ( ) g t pl ced

a cu s a a au e e, a

ne r t h e centra l note
a

La on 2 39 Laon 2 39

S . G all S . G all

O ffe r t D e u s
.
fi m r
a vi t O ff e rt . Tu i su n t

tu es tu fun d as t i

we find th t lthough m nusc ip t s d copyists often

So a ,
a a r an
di fer in t h eir gr phic represent tions of the S l i
f a t here is a a cu s ,
a lw ys so m e sign of suppor t d length on the second or
a an ,

the penulti m t e no t e a .

T h S li e t t h e U nison is tre ted in the s m e m nner

a cu s a a a a as

the preceding ex m ples T here m y be t wo in t erpret tions

a . a a
t h eoretic lly a .

E x
ple ( ) is possible bu t no t
am a pr c t i l
a ca .

b ) U nite t h e two first no t es as in the P the firs t note

r e s su s ,

receiving t h e rh yth m ic ictus . But the tt ck is ligh t witha a

a soft crescendo A t S l m . o es n es the S al i c t t h e U nison is
us a
alw ys sung thus
a .

A daptati on of th e Text to th e S ali cu s . Th e Di aer esi s of the S ali cu s .

When the nu m ber of syll bles dem nd it the gregori n a a ,

a

co m poser m kes use of t h e di eresis or division of t he S l i u

a a ,
a c s .

H pl cese syll ble on t h e second no t e whic h then be o m es

a a a ,
c
t h he d of the group
e a d receives the rhyth m ic ictus an .
 CHAP T ER VII
“

S TUDY A ND E XE CUTION OF THE QUILI SMA .

In form er ch p t er we h ve discussed the Q uilis m so m ewh t

a a a a a
fully In this rticle let us es t blish few f c t s concerning
’

. a a a a

t h e equiv lences in the m nuscrip t s

a d y m ore bout t he a , an sa a

in t erpret tion of t his neu m

a .

T h I t p t ti
e f
n erth Q i l i
re a m T h
on infor m
o a tion w h ic
e h u s a e

we find in reg rd t o the in t erpre t t ion of th e Quil is m is

a a a
furnish ed us by the Byz n t ine sources the L t in u t hors d a ,
a a an
t h e M nuscrip t s
a .

It evident th t th e Quilis m
is of Greek origin i t s t ym
a a IS , as e o

logy is very cle r ( x m p ) c t ion of rolling H owever the

a : u c a a .

m usic l signific nce

a disputed ad we find two opinions on
is ,
an

this subj e t c .

)
1 T h firs t te ches
e t h t t h e Byz n taine Q uilis m is no t
a a re l a a a

note but one of th e nu m erous non voc l signs whic h h ve

,
a a
reference to the hirono m d the indic tions of the
c y , an are a

qu ntit y or m e sure
a d not of the voi e
a 2 ) Th
,
an second c . e

opinion is th t the Q uilis m is sign not of one note but

a a a , ,

a c o m plete series of no t es even co m p l ete m elis m a a

w
.
,

T hese two ide s give us no th ing definite in reg rd to th e

a a

v lue of the occident l Quilis m whi h h s th e v lue of one

a a a, c a a

eighth note d no m ore ,

an .

Th gregori n Quilis m is cert inly

e a re l no t e d a a a a , an an

integr l p rt of the m elody ; le t us tur to t h e m nuscrip t s

a a n a

the m selves .

Th odices give us little inform t ion n th e Q uilism a i t self

e c a o ,

but gre t de l on the no t es which precede t he Quilism

a a a a .

Th L tin Q uilis m h
e a retro ctive e ffect of ret rd even
a as a a a ,

prolong tion on the note or group which precedes i t T h is rule

a .

su ffers no excep t ion t he m nuscripts of ll countries which

, as a a

preserve the R hyth m ic t r dition un nim ous in one y or a ar e a a

the o t her in expressing t h is qu lit y a .

We unite in t h ree princip l cl sses t h e nu m erous

c an a a

procedures e m ployed by the different gr p h ic schools t o indic a t e a

the re t rd of the note d o t es which precede t h e Quilis m

a an n a .

L e N o m br e M u s i ca l ,
r
P a t 11 C h a p t e ,
r XI I .
 C h ap t e r V I I .
Q u i l i sm a . 2 09

) I use
Th eof the long rhyth m i c s igns an d letters in the
S a int G a ll-
d the Metz m nuscripts
an a .

A B C D

It is very in t eresting we h ve m entioned before th t ,

as a ,
a

these two s hools with neum ti writing so dissim il r should

c a c a

agree so co m pletel y in ide s d t h use of m usi l indi tions a an e ca ca .

h d o u bl i n g gr a p hi ca ll y of th e n ote p r ec e di n g the Q u i li sma

)
- T2 e

T he fo lowing ex ples fro the

l am nuscripts of Monz
m ma a

( Xt h entury
C ) ienn
a n d V entury o p red with
a, ( XI t h C ) c m a

the not tion of nt G ll wi l show wh t we e n T h two

a S ai — a l a m a . e

form er ne rly lw ys double the l st note of the group preceding

a a a a

the Quilis m a .

) D oubled
a N ote fter C l ivis a a

Mo n z a fl
W "

St . G all Vi e n n e

I n t r R or a te
.

b) N o te doubled fter a a T orculus

St Ga l l I “/
4 Vi e n n e e/ 7 m/

W
.

Co m m E . cc e D eu s

In this l tter ex m ple Monz does t double the note fter

a a ,
a no a

the T orculus but this Codex m kes use of the long T or ulus I
,
a c
2 10 P art I I .

c ) N o t e doubled ft er a a C mali cus

St . G all

R7 . G . A s u mmo

3) T he di vi sfi on p r ece di n
g th o
e Qu i li s m
the Gr ou p
a .

nother gr phic procedure t o indica t e t h e ret a rded no t es

A a ,

before t he Q uilism a is the sep a ra tion of th e l a s t n o te of t he

,

group which precedes the Quil is m a T h e following is fro m .

the m nuscript of Montpellier

a

) T
a h ordin ry Cliviseof t wo br nc h es a a A beco m es before
the Quilism oft en a,

g o
v
/V

b) Th e ordin ry a T orculus fl
. oft en beco m es before ,
th e
Q ui is
l ma °

The m a nuscripts of It ly L o m b rdi a A qui t ni S p in a , a . a a, a .

an d h ot ers use t he s m e m ethod T h e S i t G ll not t ion

a . a n -
a a

also expresses the P od t us or J by t wo p t m pl m a ,

un c u an u
before t h e Quilism a
T h ese two l st procedures doubling d dividing of groups
a an

arefound m ny ti m es i the m nuscripts ; with tim e they

a
‘

n a

beco m e m ore d m ore r re But this is nother indi tion

an a . a ca

of the dec dence H owever the i m port nce of t h e note or

a .
,
a

group preceding t h e Quilism is m int ined even when the a a a ,

Q ui l is m note itself
a is insignific nt f ct an a a .

T h L t in ut h ors
e a very obscure in reg rd t o the Quilism
a are a a,
an d furnish only the m es for conj ectures F ro m t h ese we co m e .

to the conclusion t h et the Quilis m i s sort of scending a a a

port de voix T h is interpret tion grees with t h e te ching a a a
of the m nuscripts In f ct every p t d v i x scending
a . a or e o a

ex cts the sust ining of the l ower note on which t h e voic e

a a ,
2 12 P a r t 11 .

w
letter ( ) tenuto It is not r re to find in these a n logous
4 . a , a

c ses the Virg doub l ed before the Clivis

a ,
a

an d so m etim es t he use of the P r e s su s

In pr cti e we m ust not p ss over y of these precious

a c ,
a an

signs these subtle indi tions T hey

,
l l v lu ble ids in ca . are a a a a
the rtistic interpret tion of our be utiful liturgic a l ch nt
a a a a .

D i fferent nu nces hou l d be in d ic ted either b y

a R o m ni n
S a
—
a a a
Sign or epise m a .

T hree notes before the Quilis m a .

a
h

ollow the rules R hyth m ic ictus f ll s on t h e firs t d third

F . a an

notes of the group with the three no t es l ight ly ret rded , a .

A g in here good t ste is i m port nt

a ,
a a .

4) F our notes d m ore before t he Q uilis m T

an h following a . e

m nus ript equiv lences

a c in t eres t ing a are

Laon 2 39

St G a ll
77
.

M ,

Th e regul r a ru l e s hold good here lso a . Art is necess ry a .

5 ) S t r o ph i c u s before t h e Quilis m a .

St . G all

E —
t
O ffe r t .
j u s tu s u t pa l m a

repercussion l ightly supported on t he postroph

Here a a a
preceding the Quilis m is de m nded R hyth m ic ictus on firs t a a .

and third notes of T i t ph r s ro a .

 Ch apte r VI I .
Q u i li sm a . 2 13

The following c se is f irly r re a a a

os i port nt note here would be the second no t e of

Th e m t m a

the the note i mm edi tely pre eding the Quilism

D i s t r o ph a a s a c a .

A cording to the m nuscript

c reper ussion of the three f
a ,
a c a
is necess ry A e sier but less tr dition l i terpret t ion
a . n a a a n a
b
( ) is to unite the two strophes in single sound a .

Q u
6)i lis m t the U nison a a .

U su lly the N eu m Q ui l is m is considered to be no t e lw ys

‘

a a a a a

ab v the note whi h pre edes i t

o e l m ost lw ys c second bove c a a a a a ,

but s om e t i m es thi rd ( S bove ) a . ee a .

H owever in the M tins of Christ m s d in so m e of the H o l y

a a an

Week R esponses there oc urs th t r re curiosity the Quilism

,
c a a , a

t t he U nison

w
a .

il lum in are ,
l em , e tc .

ourse the thoughtful Choirm ster will k wh t is to be

Of c ,
a as a

done in such c ses Th ch r ter of the Q uilis m is not

a . e a ac a

ch nged H ere there

a . two possible w ys of exe ution : a re a c

) M a ke si gle
a double no
a t e of tnhe two L d sing a, an as a

P but lighter or better

re ssu s , ,
.

b) S ing dis t inctly the t L with slight lengthening of the o a, a

first cording to the regul r R ule H owever this reper ussion

,
ac a . c

of the Quilis m note m ust be very light d deli te su h the

a an ca ,
c as

repercussions on the lev é whi h we h ve seen in the S t ph i c a ro cus .

T his l st procedure is prefer ble

a d m u h loser to the a an c c

Gregori n T r dition ; this repercussion of the Qui l is m N ote

a a a

adds i m m teri l etheri l qu lity to the phr se wh ch would

an a a ,
a a a ,
i

be lost i n the first interpret a t ion .

 CHAP T ER VHI .

THE INTE R PRE TATI ON or THE CHA NT .

In considering t h e in t erpre t tion of th e Li t urgi c l Ch n t t h e

a a a ,

first ques t ions which should co m e to t h m ind of t h e serious e

c h oirm ster
a Wh t is the true spirit of the L iturgy ? Wh t
are a a
is the rel tionship between the Ch nt d the Liturgy ? W h y
a a an

do we sing ? F who m do we sing ? Wh y is the Gregori n

or a

C h an t superior to ll Churc h M usic ?

a Wh a t is the tr dition l a a
interpre t tion of the Gregori n Ch n t ? T hese
a very gener l
a a are a
questions but very i m port nt ; i t is necess ry for l l choirm sters
,
a a a a
an d singers to se rch d find th e re l nswers before en t ering
a an a a

the choir loft .

T hen m ny other questions should follow so m e gener l

a , a
concerning the choir the voice d others m ore subtle
,
an

concerning th e interpret tion of S peci l phr se a d the a a s, an

hundreds of different nu nces of expression de m nded for a a
the proper unfolding f the Gre ter R ythm of the Ch n t ; o a a
for Gregori n Ch nt is re lly gre a t m usic
a a d such i t h as
a , an as

the right t o dem nd t h e highest in rtis t ic expression well a

a a

w
as s
t he deepes t spiritu l unders t nding a a .

A speci l study should be m a de of th e L iturgic l T ext

a d its a an
rel t ionship to the m elody O ften l m ost the s m e m elody will
a . a a

be found for different t exts especi lly in t h e Versicles of cert in

,
a a
Gr du ls d t he interpret t ion will not be lw ys the s m e
a a ,
an a a a a ,

a lthough the m elody m y suggest the s m e s t yle S tudy every

a a .

Ch n t sep r t ely for its individu l s t yle its text

a a a d neu m tic a an a
”
,

co m bin tions Wh e t her or not you c rry th e rhyt hm over

a . a

the in ise or h lf b oft en depends on t he continuity of the

c a ar

m e a ning of the S red text ac .

In t his ch p t er we sh l l t ry d nswer so m e of th ese questions ;

a a an a

bu t th ere i ll be m ny ot h ers whi h belong r t h er to t h e

a c a

re l m of A esthe t ics d
a such will h ve to w i t no th er
an as a a a a

volu m e .

I hope”the follow ng brief p r gr phs on th e S t yle of

i a a a

S oles m es will give the re der little of t h e true m e ning ofa a a

our Gregori n Ch nt it is unders t ood t S oles m es
a a as a .
2 16 Part I I .

e ffe t never the desire of y p rticul r voi e to do m i n te to

c ,
an a a c a ,

le d but perfe t ense m ble of tone whi h is born of

a a c c a
oneness of spirit d purpose single desire to h nor the an ,
a o

P erfe t Being with ll the perfection possible

c a .

T h qu lity is l ight but fi m

e a d never e ffe m i n te re ching ,
r ,
an a ,
a

when necess ry gre t heights of i tensity It is so flexible so

a a n .
,

free yet so ccur te both rhythm ic lly d m elodic lly th t you

,
a a a an a a

wonder if you be re lly listeni ng to group of hu m n

can a a a

beings : so m eti m es it is the i ntensity of p t i t p h or a r e ssu s , a r s ro a

a rising phr se ; so m etim es the deli te reper ussion in t ph i

a ca c a s ro

cu s group or the note or neum following such group ; or it m y

,
a a
be the g e ntle r ll ent ndo d dim inuendo t the end of phr se
a a an a a a .

Wh tever the det il there is lw ys re m rk ble cur cy

a a ,
a a a a ac a

without the studied cons iousness of the rhyth m ic divisions c ,

which one usu lly finds in Gregori n Choirs ; this souplesse

a a

extends even to the p uses whi h lw ys in proportion d a c ar e a a ,

an

whi h serve their pu pose

c p rt of the Gre ter R h yt h m r as a a

so perfe tly th t the listener is m ost inspired d di fi d

c a an e e .

O is never tired of listening to such divine be uty which is

ne a ,

a t once the result of gre t erudition d profound under a an a

s t nding i the E tern l Mi d

a o pe ce whi h p sseth l l a n a a c a a

ww
,

underst nding a

F ro m these two Gre t S ources spring the P ower of S oles m es a

Th le rned rese rch of D o m s G é

e a g P othiera M q u ran er , ,
oc u ereau ,

an d the present D m Joseph G j d who h one of the m ost

o a ar ,
as

sensitive m usi l m inds of the present d y plus the Benedictine

ca a ,

L ife d S pi i t
an r .

T his Benedic t i ne L ife d S pirit where by hu m ility d an an

”
obedience the dis iple is pl ced before God in disposition c a a

of fili l fe r onform ing to the F ollowing of Christ to l l the

a a ,
c a

D ivine P recepts in the m odest ttitude of sub m ission d

,
a an

p tien e whi h influen es l l his ts ondu ts hi m fin lly to

a c ,
c c . a ac , c c a

th t l ove of God h i h t
a f m his h ole life d by the c r an s or s , an
only p th whi h O L ord tr ced d followed the S i m plicit y
a c ur a an ,

of L ittle Children
S t Benedict hi m se l f h given the definition of his m on as a
“
.

t y
s er A s hool of D ivine S ervi e
: c Th entr l work the c e c a ,

ac tion p ex e l lence of this R oy l S erv ce is to be the Op

ar c a i us

D i e the m sterpiece which h G d for Obj ect S even

a as o .

ti m es d y d i the course of t h e night the m onks sse m ble

a a ,
an n , a

in their ch pel to cco m pli sh the H oly F un tions It is the

a a c .

pr yer of the F m ily the true Ch sti n r yer ffered in the

a i P a ,
r a a ,
o

R ule of St . Be n e d i c t .
 C h ap t e r V I I I n t p t t i on f t h C h n t 2 17 . The I er re a o e a .

n m e of ll Cre tion the m ost

a
“
a o m plete lso sin e it ais , c a , c an
ho m m ge of b ody d soul Th spirit s ys S t B enedi t
a an : e , a . c
m ust lw ys be i tune with the voi e
,

a a n c

F the m onks of S oles m es the Gregori n Ch nt is p rt of

or , a a a a
this Op D i With this profound reveren e d l ove for
us e c an
H oly things d the deep underst ndi g of G d which springs
d th t T “
an a n o
“ ”
,

w
,

f m su h life they know how to pr y well

w
ro c a , a an a
t pr y well one m ust sing well d to sing we l l one m ust
o a ,
) an
o
, ,

pr y well T hus t r ns end nt t whi h is b

a . of su h a a c a ar c o rn c
p rents Gre t S ien e d L ove
a as a c c an .

S u h should be the m odel

c d the go l of every hoirm ster an a c a
an d singer Th l oser the Benedi tine Ide l is ppro hed the
. e c c a a ac ,

finer the results in the Choir d the gre ter the di fi t i of ,

an a e ca on
the f ithful a .

él é
Th Choirm ster hi m se l f or herse l f shou l d be
e a pers on of deep m j a
, a

f ith d profound stu d ent of the H o l y L iturgy d Ch t

n

a an a an an

lw ys re lising the cord between these two A ll h i

tr

"
‘
a a a ac c o rs
i
.
1
-

nnot h ve D m G j d for Choirm ster but l l those who

6
8
7
ca a a o a ar a ,
a

te ch d dire t the”Ch nt
a an strive f cpossib l e to a can as ar as

a ppro h th t ide l If possible visit to S ol esm es should

ac a a ,
a

be m de by l l students who h ve h osen su h

a a holy a c c a

vo tion ca it is onl y there th t m y be found the true

,
as a a

tr dition the true sour e d the t l ight

a ,
c an ru e .

A f spossib l e the personnel of the Choir should be hosen

ar a s c

for p t y of l ife respe t for ho l y things d love of the L iturgy

u re ,
c an ,

r ther th n for voi e or m usi l knowledge but of ourse the

a a c ca , c

c o m bin tion of both is the perfe t ondition

a c c .

B efore every hoir rehe rs l t m osphere of repose d W V

c ” a a an a an

reveren e should be re ted by

c short l e ture on so m e i c a a c

L iturgi l or R eligious subj e t

ca A re ding with dis ussion of f c . a c

the text of the L iturgi l S ervi e to be rehe rsed will bring ca c a

a bout better underst nding of the p rts to be sung

a well a a ,
as as

c re te the proper t m osphere of reveren e d repose B efore

a a c an .

entering “
the Church on S und ys d other d ys when there is to a an a

be sung S ervice the Choirm ster or R ector should hoose

a ,
a c

a Ch nt fro m one of the L iturgi l B ooks to pl e the hoir in

a ca ac c

the proper st te of m ind T h O ffi e H ym ns of P rim e T

a e c , erce
‘

or

S ext espe i lly suit ble T h

are V i C c at is lw ys a . e en r e a or a a

in order ; d there m ny others

an are a .

We should l i ke to rem ind our re ders g in th t Gregori n a a a a a

Ch nt is in the first pl e m usi d gre a t m usi d m ust

‘

a ,
ac ,
c, an c, an

b respe ted
e su h A d it is m th n this it is true L itur
c as c . n ore a

g i ca l m usi d the sung pr yer

c of the anChristi n world T h a a . e
 r

w
w w
choirm s t er or org nist who spends hours perfecting his org n
Pa t II .

w
a a a
sol os m otets in polyphony d m odern m usic
,
d brushes an , an

o ff the p rts of the S ervice to be sung in pl in h nt i th

a a c a a
few m inutes of c rele s running through is not worthy of a s

the high privilege ccorded h i m a .

In other p r gr phs h ve poken of the m ultitudinou

a a a . e a s s
be uties d intric cies of our priceless herit ge the Gregori n
a an a a , a
Ch nta H . m ny of our choir directors
o ppre i te these
a a c a

th i ngs especi lly in those newer l nds f fro m the tr ditions

,
a a ,
ar a

an d sources of Christi n song t d rchitecture In our a ,

ar an a .

schools of S cr d Musi it is m ost in spiring to study the t

a e c ar

an d r hitecture of the s m e period with the m usic of th t

a c a a
period H c lose . the n logies between the R o m nesque
o are a a a

a rches d pill rs of Ju m i eges or S i nt T ph i m

a n a d the rou d a ro e an n ,

gr ceful m ove m ent of our L iturgic l ch nt ; l l the different

a a a a

types of R o m nce rches d curves present here

a a an ar e ,
as

the true student of ch t knows When we e m ploy the “

an .

Gregori n hirono m y with its su cessions of rses d theses

a c c a an ,

we nnot help but feel these n logies

ca a a .

S m ust be the m ovem ent of the ch nt : rising

o d f lling a an a

in gre t w ves of sound d neve r sudden spurts of cres endi

a a ,
an c

an d di m inuendi celer ndi d i t d di T h culm in ting

,
ac a an r ar an . e a

groups lw ys the round rches of the R o m n

ar e a a d never a a an

the pointed h of the Gothic arc .

M M Th only true ut h orities we h ve oncerning the i t p

e a a c n er re

t ti
a of the Gregori n Ch nt
on the neu m tic m nuscripts ; a a ,
are a a
T h Guidoni n or m nus ripts with l ines give
e a very good ide a c a a

of the m elodies but for the interpret tion d rhyth m i tr dition

,
a an c a

we m ust onsult the m ore ncient docum ents A not m ny

c a . s a
org nists or choirm sters h ve recourse to these pre ious sources
a a a c ,

we h ve given nu m ber of equiv lences in form er h pter

a a a a c a ,

an d h ve spoken t length of the spe i l ne um s n d their indi

a a c a a

vidu l interpret tion H owever whe n these

a a co m bined .
,
are

with other neu m s d single notes to form phr ses d phr se an a an a

m e m bers the entire phr se t ogether with its spe i l text m ust
, a c a

be considered H ere delic cy of t ste gre t m usici nship

. a a ,
a a ,

as well profound knowledge of t h e Gregori n tr dition

as a a a ,

is de m nded a .

Th e Tempo .

wi t h l l m usic there
As be no h rd d f st l in
a , can a an a ru es

gener l : E very ch n t h its own individu l person lity ccord

a a as a a ,
a
ing t o the text m elody pl ce in the liturgy etc We , ,
a , . can
22 0 Part I I .

interpl ying of bin ries d tern ries with nu m erous neu m ti

a a an a , a c
nu n es to onsider T h use of the m etrono m e is not possible
a c c . e ,

as with the B h org n fugue or the Beethoven S on t

ac a a a .

Pi tfa ll s or D an ge rs .

We m ust never forget th t every note is worth

T he tr i p l e t . a

one si ple be t no m ore no less T h tern ry rhyth m s m ust

m a , , . e a

not be hurried or su g triplets T here is spe i l d nger of n as . c a a

this when singing T or ulus the gr phi repre sent tion of

a c ,
as a c a
this neu m suggests the triplet .

in ex c el Ky ri

ong su ess i on of tern ries in the K y i O bi f

The l cc a r e r s a ctor

espe i lly the des ending phr se see m s to invite triplets

c a c a , .

le i son .

In pie e a o m posed l m ost entirely of Bin ry rhyth m s

c c a a ,

ex ept for
c den e in luding tern ry or tern ry rhyth m”
a ca c c a a ,
a a

here d there
an these poor groups of three
,
often s r m b l ed are c a

un m er ifullyc We m y cite the well known ex m ple of the

. a a

Ky i m y bi t
r e ca whi h h sever l K yri l phr ses co m posed
'

a o c as a a a

of bin ries with tern ry nte penulti m te rhyth m

a a a a a .

Ky ri e e lé i -
son .

I lso h ve in m nd sever l hym ns in E ngl ish t ken fro m

a a i a a

the Gregori n repertoire : T h V xi l l “R gi p d t fro m

a e e a e s ro ea n

the Vespers of P ssion S und y d D i vi m My t i m

a a , an na s er u
 C hap t e r V I I I e t t i on f t h C h n t 2 2 1
. Th e I nt e r p r a o e a .

tr nsl ted in the E nglish H ym n l s

a a ~ O f the F ther s L ove a as a
’

B egotten I h ve he rd so m e of the finest A ngli n choirs

a a ca
in the worl d sing these two hym ns very d m ir b l y up to the a a
tern ry group when the wild s r m ble upsets the otherwise
,

a , c a
we ll sung pie e T h fo l lowing phr ses
-
c . lso prec rious
e a are a a

A gnus D i M ss XI T ern ry groups

e ,
a a

qui t l is ol p e c c a-
ta mu ndi : e tc .

lori of M ss IX d Christe of M ss XIII

G a a T here ,
an a are
m ny ex m ples l ike this when
a a tern ry g oup foll ows singl e a a r
a

note thus inviting triplet

, a .

La ud a mu s te . Gl o — ri fi -
ca mu s te .

-
n

C hriste le i -
son .

At ert in tim es the P orre tus see m s to invite triplet ;

c a c a

see first ex m ple on pre eding p ge d the following fro m the

a c a , an

Gr du l
a d A l le l ui of the Midnight M ss of Christ m s
a an a T here a a .

are m ny si m il r d ngers in the Gregori n repertoire ; it p ys

a a a a a

to oun t until the rhyth m is felt

c
“

ae e tc .
ex te ro e tc .
gé nu -
i te e tc .

N ote s o ften here ert in notes which

s hor te n e d . T are c a

dema nd speci l c re not to p ss over too qu kly : S

a a the a ic o a re
2 22 Part I I .

top n otes of the phrase wh ich ,

m ust never be pounded but
gi ven their full v lue a

Ky ri e
T his f ul t is often due to l ck of voc l con t rol bu t m ore
a a a a ,

often to c relessness a .

T h s i ngle no t e on the upb e t before

e neu m often su ffers a a

disgr e by being sung to quickly A s in m ny phr ses in the

'

ac . a a

Glori in E xcelsis H ere is one fro m the E ster M ss L x

a . a a ,
a

a Or i go

Et in t ér ra p a x ho m i - -
ni -
bus e tc .

A lso Sa nctus of M ss VI a .

Sa nctus e tc .

A gnus D i of M ss XI e a .

A gnus Dé

T hi s t y p e of phr se is to be found everywhere in the ch oir

a

books so c re m ust lw ys be t ken to give the loneso m e

‘

, a a a a

note its fu l l v lue a .

When we h ve ul m in ting note which descends directly

a a c a

to lower note there is lw ys d nger of sliding off the top

a , a a a

note too quickly Th following ex m ples will ill ustr te

. e a a

ste e tc . Ky -
ri e
224 Part II .

The note before the S a li c u s is often p a ssed over too ;

lightly .

J u di -
ca me e tc .
gl o ri a n o -

p or tet e tc .

Th el st note of T i t ph i tic note not repe ted but

a a r s ro a ,
c a ,

given its full v l ue followed by single punctu m

a ,
a ,

per que m e tc . su a vis est e tc . é go-

ho di e e tc .

C entr l note of
a a group ,
as found in A s p er ge s m e an d
Vi d i a qa a m

su per
—
mi -
v e m etc . et om nes . ad quos e tc .

o bin tions of D i t ph
C m a a s ro a an d a single note as in the
Introit of the Christ m s Midnight a Ma ss .

Do mi nus di xit ad me .

There m ny inst nces of notes in peril

a re a f l m g thei ra o os

j ust v lue a .

T h gregori nist m ust lw ys be on the l ookout for these

e a a a .

N t v l
o es o gth d T here is
e r en lso tenden y to
en eoverlengthen a a c

c ert in notes ; their position in the phr se

a d in rel tion to a , an a

the text often gives the i m pression of l onger note when it a ,

is si m ply question of one si m ple be t

a a .
 C h ap t e r V I I I n t p t t i on f t h
. The I er re a o e C ha nt . 225

Cu l m in ting note before

a des ending group a c .

Ho -
s ann a in ex c él s i s

P enulti m te note of c den e

a a a c .

J é -
su m Ch r i s t u m e tc . Dé o v é - r o e tc .

o eti m es P
S m is given too m u h v l ue
a r e s su s c a .

Th entr l note of T or ulus in fin l phr ses

e c a a c a a .

do n a -
n o -
bis p é cem .

A lso the l st note of

a a T or ulus in
c a ca den e c .

k
>

do n a -
no bl S p a c em .

o eti es the note before the Quilis m re eives undue

S m m a c

here gre t knowl edge d t ste

a l l o n ga t i o n ; ne ess ry for
a an a are c a

the proper nu n e this note is lw ys lengthened so m ewh t

a c ,
as a a a ,

and l m ost doubled i n so m e

a ses ca

C refu l of l l Virg s
a the h ngover of R tisbon d
a a ,
as a a . an

other f lse books is still evident m ong the o l der singers

a a

espe i l l y T hey
c a . worth onl y one sim p l e be t
ar e a .

I t
nh F i et P l m T
“
rs I
”
t i t F m l
sa extre m e re on e , n ro or u a, ca

be t ken not to pun h the top note in the P od tus

a c a

in the F irst P rt d the top note f_the T or ulus ( A C A )

a
—
,
an o c -

e S e ond P rt R ound ff b y m king the highest note

c a . o a

d w i th very very slight rub to Th a e

'

an - «

a ,
22 6 P ar t I I

c ons iousness of the R o m n A r h will help the i m gin tion

c a c a a
c on eive the true interpret tion here d in ll such p ss ges
c a , an a a a .

L aeta -
tus su m in his qu e di t sunt a c a mi hi : in d om um

D om i mi i bi
-
mus . Go l ri a Pa tri .

S am e ide with the

lori P tri in the s m e form ul
a G a a a a .

Th H i t l E p i m is
e very deli te nu nce of length ;
or z o n a se a a ca a

it is often not lengthened sufficiently d j ust often held ,

an as

too long H ere very gre t t is necess ry to give j ust the

. a ar a
right interpret tion in l l c ses Th E pise m on the single
a a a . e a
note t the beginning of phr se is not to be held too long ;
a a a

here si m ply bro dening of the syll ble is usu lly enough
,
a a a a .

S an c t e E cce a n il l
o -
a D om mi i -

prev iling te m po is l so determ ining f c t or with this

Th e a a a
- a

sign y
,
rtist
as an re lizes In the long
a voc lises of the Gr duals . a a a

especi lly the Versicles a d A llelui s the E pise m is an a , a

tre ted m ore deli tely A g in t ste d proportion pl y their

a ca . a a an a

p rta .

R p e i In nother Ch pte we h ve spoken t

er cu s s on s . a a r a a

length of the S t ph i d the di fferent types of repe ted

ro cu s an a

notes de m nded Just few re m rks here in reg rd to other

a . a a a

pl ces where repetition is ecess ry In m ny of the K yries

a n a . a

we find repe ted notes without new syll ble T h l s t of

a a a . e a e

th e word K yrie m ust be repe t ed witho ut t king bre th very a a a a ,

n atura lly d e sily T h b t i f l K yrie D

an a mpi t . e
'

eau u eu s se er n e

is only one of m ny ex m ples a a .

Ky -
ri e e -
lé i -
son .
22 8

pounded but r ther strong fl o f intensity fusing the

groups T h next ex m p l e be use of the text de m nds
s ro

a
s
.

m e n th t there is to be
a,

a
a
e

so m ewh t m ore intense tre t m ent of the Virg followi ng the

di t ph
a
but g in we w rn g inst he viness a a

A we h ve st ted before this m tter of intensity does not

a

ent on the first note of every

group ; for the rhyth m i i tus in itself h nothing to do with
a

,
a

c
a

c
a

an
Part II

a
,

acc
ca

a
.

a
w a

as
.
a
,
,

a a

intensity ; so m etim es when it f lls on the toni ent of the a c acc

word it is by cident m ore intense but here it is not the

,
ac ,

rhyth m i division which is the question

c .

l
l ,
O u o mi -
am Dé us ma “
gnus
By intensity we m e n r ther fusion of gro ups m elting
,
a a ,
a , a
together of the s m ll er ele m ents to form the dyn m i expression
a a c

of the gre ter ide H ere g in good t ste is i m port nt d

a a . a a ,
a a ,
an

never e ffe t for the s ke of e ffe t

c a c .

In the Gregori n m elodic line we m y find ll the degrees a ,

a a

of inte n sity F ro m the deli te res endo in the A ntiphon

. ca c c

Sp i fro m the O ffi es o fe sts of the Blessed Virgin

e c os a c n a

S pe ci o- sa f t ac a es et su a
-
vis in de li

ci is t u is ,
e tc .

t o th e glorious
elis m s of the E ster S und y Gr du l d
m a a a a a an
A ll elui We gener lly be g i d d b y the ontour of t h e
"
'

a . can a u e c

m e l odic line d the text T here is,

n tur l in re se d
an . a a a c a an

d e re se in strength with the rise

c a d f ll of the m elody Th an a . e
short él n is n tur l ly m ore deli te d does not de m nd the
a a a ca ,
an a
i ntensity of the powerfu l d longer flights whi h perm it an , c
a ll the degrees of intensity even up to fortissi m o B t v , . u ne er

s or z a n d o ’
f .
 C h a p te r V I I In t p t t i on f t h C h n t 22 9
. The I er re a o e a .

Th ch nt in question m ust be refull y studied for the

e a ca
gre test lim xes in order th t the lesser su m m its m y be in
a c a , a a
proportion P rep re the gre t clim xes with gr du l incre se
. a a a a a a a
of i nte nsity nd in the short sudden s ents st rt the res endo
, a a c a c c
at the se ond note We h ve nu m ber of A ll elui s l ike the
c . a a a
following fro m the E ster M ss a a .

Al le l u
-

g in we ple d for e sy round su m m its ; this is possible t

A a a a a
the top of gre t cres endo even Gregori n Ch nt h been
a a c . a a as
ca lled R o m n t a d su h de m nds r ther the roun d
a ar ,
an as c a a
r h th n t h pointed Gothi r h
a c a e c a c .

A d let us spe k here of the toni

n cents on the up be t
a c ac a ,

as we find m ny of the m espe i ll y in the syl l bi h nts

a , c a a c c a .

In m ny of the verses of the Credo the H ym ns d even m ore

a , , an
el bor te h nts T hese tonic syll b l es m ust be rounded ff
a a c a . a o ,

an d never hurr i e d It i the spe i l right of the L tin T oni

. s c a a c
ac ent to de m nd this lift
c a

o n o stro .
J é -
su m Chri stu m -

c o n su b s t a n t i a lem P a t rl
- -
a m a—r a e m ort 1

D om im
-
e J é -
su C hriste R e x t r e m én d a e m a -
j est a -
tis

A lso
the c de ces of the P s lm s lif t d round off the
in a n a an

toni cents ; it is very in rtisti d m und ne to s tr ke the

c ac a c an a i
-
fi t ccent of
rs a P s l m C dence with thud a a a a
230 P ar t I I .

Di - xit D om i -
nus D om i - no m é o Sé -
de a d extr i s m e
’

is .

F l exi bi l i ty lthough we h ve insisted i n the first p rt

. A a a
of this tre tise still insist on th equ lity of the individu l
a ,
an d e a a
be ts we do not wish to est blish tyr nny of rigidity d
a ,
a a a an
m ech nis m a T perfe t precision m ust be dded flexibility
. o a c a ,

e se d n tur lness T be sure

a an a awith y gre t t the . o ,
as an a ar ,

te hnique is i m port nt but m ust lw ys re m in the m e ns

c a ,
a a a a

an d no t the end T h gregori nist m ust be bsolutely sure

. e a a

of every det il every bin ry or tern ry rh yt h m but m ust

a ,
a a ,

a lso be conscio us of the gre ter rhyth m or ide whic h tr nscends a a a

a ll theory T be sl ve to every s m ll rhyt hm ic division

. o a a a ,

every rule of incise or double b is to lose sight of the spiritu l ar , a

sense d proportions of bo th text d m elop ee A we h ve

an an . s a
s id before the entire ch nt m ust be studied with underst nding
a ,
a a

of both m elody d text Th p use t m e m ber b or do u ble an . e a a ar

b ar is no t lw ys the s m e depending on the gre ter ide ;

a a a , a a

there m ust be the correct proportions .

In t h e Gregori n repertoire we often find different texts a

given to the s m e m elodi form ul In these c ses the inter

a c a . a

p t
re t i a not lw
on c an ys be t h e s m e ; the texts m aust be studied
a a

c refully in order to bring out the different nu nces of m e ning

a a a
“
.

Co m p re the A l l l i
a V L d t D m of the second
e u a S und y
. . au a e eu a
after E piph ny with t h A l l l i V E m i tt S pi i t m t m of
a , e e u a . e r u uu

Whit S und y Th m elody of the Versicles is the s m e but

a . e a ,

the different texts n t ur lly de m nd different interpret t ions a a a a .

Th s m e wi t h the Versi les of the Gr du ls of the Christ m s

e a c a a a

Midnight M ss d j t a t P l m of the
an M ss of us us u a a a

Confessors Melody is t h s m e in both c ses but would you

. e a a ,

express the D i xi t D m i of the form er in the s m e m nner o n us a a

as th e A d ti d m m mi
an n u n i di m t m of t h e
an u an e s er cor a ua

l tter ? T h ese v ri tions of interpret tion

a a im port nt d
a a are a an

very d i fll l t so m etim es the h a bit of singing t h e s m e m elody

Cl l as a

in the s m e m nner is not e sy to overco m e

a a a .

In the m ny ch nts of the F irst Mode with the m elodic

a a ,

form ul l i or ( i fl t) there is no h ori ont l epise m

a, r e- a - s , s a ,
z a a

over the l but this “note is to be well lengthened A m ong

a -
.

these h nts c the Introits D p m G d m R ”t

a are . a a ce ,
au ea us, or a e

ca li S t t i t I
,
li a u d o th ers
,
ncOffert ory j bi l te D
na an ,
. u a eo ,

A ntiphon A v M i . e ar a
2 32 Part II .

T here is very be
a a u t iful d gr ceful m otive which occurs in
an a

the Versicle of sever l of the F ifth Mode Gr du ls T h

a a a . e

phr sing here de m nds v e ry delic te tre t m ent S ing the Virg
a a a a a,

second note of group before e ch P m ore lightly th n t h e

a r e ssu s , a

pre eding P unctu m tt cking the P

c ,
a of e ch group with
a r e ssu s a

so m e intensity d with m an li v es s a c oce .

It is interesting f ct t h t t h is Melis m in two Gr du ls

an a a a a a

blosso m s out of the l st syll ble of M i i di a d in

a s e r c or ae an

another the w ord is m t di m T h inspired Co m poser

an su e u ne e

evi dently liked to dwell on the though t of t h e D ivine Mercies

of God

mi se n c or - di ae

Ch a n t s of Ch r i stma s an d E ast er .

We c nno t bring this ch pter to close without s ying few

a a a a a

words bou t t he Ch nts of Christ m s d E ter they occupy

a a a an as , as

such i m port nt pl ce in t he L iturgic l Y e r

an a a a a .

T hese C h nts aoften given

a rewrong or t le st indi fferent
a ,
a a an

int rpr t a tion bec use the Ch oirm ster h as no t t ken t h t roub l e
e e a a .
a e

T h i s i s a b ri e f re s u m e of r
t h e ve y fin e c om m e n t a i e s b y D o m Ga ja r d
r
in R e vu e Gr ego r i en n e
 study the tr dition d the true L iturgi l sense T m u h
a an ca oo c
the ide of m j esty j y too exuber nt or
.

a t m d a o a u n con a e
IS the usu l h bit ; or perh ps it is the often forgotten re l
a a a a
m e ning of the h nt
a pr yer c a ,
as a a .

In the Gregori n Ch nt there m ust l w ys be dis retion a a a a c

d ontrolled e m otion d in these Ch nts of N tivity

w
an c an a a

p l l y true ; the m nus ripts

es e c 1a eloquent in this a c are
'

The Cha n ts strike the double note of vibr nt

o f Chr i s tm a s a
j“oy recolle ted dor tion D m Joseph G j d re m rks
an d c a a . o a ar a
I nnot help but onsider this Christ m s L iturgy the
,

ca c a as
wel o m e given by the Chur h to the In rn te Word to
c c ca a ,

E m m nuel a It see m s to m th t I see the entire Chur h united

. e a c
a round the m nger ne r to Joseph d M ry w t hing the
a a an a , a c
H oly E vents onte m pl ting this l ittle Being l l th t H is

w
, c a ,
a a e ,

a ll th t H is to
a o m p l ish ll the L ove whi h his o m ing
e a cc ,
a c c
i m plies d losing itself in dor tion
,
an d pr ise E verywhere a a an a

e b thed in
are a t m osphere of pe e of l m of purity
an a ac ,
ca ,

d espe i l l y of tenderness
an d love It is the
c a r dle an . c a

the whole m ystery of the In rn tion of the co m ing ca a ,

h of the S e ond P erson of the T rinity A d in this c . n

m we m ust not forget H i E tern l Birth d

e s a an

s a e c u l a s a e c u l or u m

w w
.

iturgy of the N tivity is full of this ide

L is lso a a, as a

dies H ere is the note of supern tur l vibr nt j oy

. a a ,
a

lw ys ontro ll ed d te m pered by deeper note of

a a c an a

d recolle ted dor tion d ; d like the work

c a a an a e an

ti these e m otions ontinue into i finity fter

rn a on ,
c n a

den e h ende d
ca c as .

du l note ppe rs first in the I vi t t i m of M tins

a a a n a or u a ,

t us t t
na us bi v it d mes Th first h l f
no s : en e a or e us e a

verse furnishes the j oyful note in m el ody whi h rises a c

o t ve in its first short flight

an c a T h se ond p rt e c a

se v i t d m ,
follows with the m ost reverent
en e a
”
or e us

d an We m ust ppro h d dore with

a e . a ac an a

this divine m ystery T his be utiful refr in a a

wi th P s l m X CI V V i t x l t m D mi
a ,
en e e su e us o no

m the interpret tion of this be utiful I vi t

s es, a a n a

ig ifi t the o m bin tion of ext ti j oy

s n can : c a a c ,
a e
veiled tone d reful ,
an ca

cre tes the t m osph ere a a

ll the L iturgy a
2 34 Part I I .

Th e Mi dn i ght Mas s .

During the M tins we h ve been i m m ersed in th t t m osphere

a a a a

o f sweet onte m pl tion c d reverent dor tion whi h is lso

a an a a c a
to perv de the Midnight M ss T h E pistle Gospel Ch nts
a a e , , a ,

all gree ; only t the O ffertory the pr ise m ounts to the gre test
a a a a

height in the L iturgy L t t li t x lt t t but , a e en u r ca e ,

e e su e er r a

h ere the text is te m pered by the m elop ee .

I n troi t an d Commu n i on .

We h ve spoken before of the m ost v lu ble inform tion

a a a a
to be found in t h rhyth m i m nus ri pts fro m the doublee c a c ,

point of view of t d pr yer ; often the m ost delic te nu nces

ar an a a a

of expression preserved here are .

Th Introit d Co m m union of the Midnight M ss m y

e an a a

be quoted two very fine ex m ples of t h Medi ev l

as a e a a

T r dition
a .

T hese two pieces usu lly interpreted in the s m e ‘

ar e a a

m nner : bro dly m j estic l l y

a a Th m elodic lines of the
,
a a . e

two ch nts a very m uch l ike but here the m nus ripts
are a ,
a c

enlighten us
Th Introit is essenti lly light bright d j oyous A ll the
e a , an .

neu m s light except three or four T h only pp t d

ar e . e su or e
neu m s on ME US t he first note of H O di
are d the second
, e an

syl l ble of g N U i A l l the rest flows

a e . T rue there , are

tenuto notes but these light holds T h t phi

,
are . e s ro cu s ,

light by n ture m de even ligh t er by the

a are
( l i t ) a c ce er er

which is seldo m found over these neu m s .

I t is re m rk b l e th t l l the m nuscripts of ll the schools

a a a a a a

should gree even to the finest nu n es

a , a c .

O the contr ry the Co m m union is quite di fferent being

n a , ,

m de up of long neu m s except for the l i vi

a of l i f m ; , c s uc er u

the tenuti the m selves di fferent fro m those of the Introit are .

T h light S t ph i
e here repl ced by the bi vi g long
ro cu s a re a r as,

by n ture a d sti l l m ore

, ll
an g t d by the H orizont l a on a e a
E pise m of S t G ll In the L n M nuscript surm unted by
a . a .
'
ao a o
a In the Co m m union in the Introit the as ,

m nuscripts
a gree ; one nnot doubt the interpret tion
a ca a .

Th e m elody is gr ve sole m n a d gives a extr ordin ry

, ,
n an a a .

a ffir m tion to the T ext

a .
w
23 6

as a
c
r
S u h is the interpret tion which the entire Midd l e A ges
g ve to these two pie es t the ti m e when the Gregori n Ch nt
living thing the spe i l voi e of the Chur h where nobody
o uld h ve d red to i m pose his p erson l pinion
a

W h y the ontr st in these two Melodies so m u h like

with words l m ost identi l ?

a
a
c
a

If we ex m ine the m losely we find th t in the Introit it

is the Inc rn te Word in the person of the D ivine Child who
a a

utters the words or r ther e hoes the words of his E tern l

d a
,
c

a
,

c
a

ca
a

c a
Pa t I I

c
c
.

a O

a
c

c
a

a ,
a

an

F ther ; while in the Co m m union it is the F ther H i m self

a ,
a

who spe ks H ere lies the se ret of the m ystery d the different
a . c an

interpret tions a .

S ing the Introi t si m ply sweetly without displ y d with , , a , an

gre t recollection ; let t h voi e gl ide light l y d with extre m e
a e c an

flexibility over the neu m s with slight support on m d ,

a eu s an

a b ndon itself to the well m rked r dle m ove m ent of the

a a c a

m elody .

O the o t her h nd the Co m m union is gr ve profound

n a ,
a , ,

etern l S ing d support bro dly ll the F A

a . d gi v to the
an a a ,
an
'

entire pie e sole m nity strength m j esty d ll th t the T ext

w
c , ,
a an a a

i m p l ies S t rt the t l i f m with energy m king the

. a an e uc er u , a

ret rds indi ted D not fe r to sing the rising GE i t

a ca . o a nu e

with intensity with very bro d d strong descent t the ,

a a an a

fin l den e T h i m pression should be th t of S overeign

a ca c . e a a

t king possession
a d t the s m e ti m e of a irrevo ble ,
an a a n ca

a ffir m tion a .

Th e Gra du al T e c u m p ri n ci p i u m .

his too is gre t m sterpi e e It is the usu l type of Gr du l

T a a a c . a a a

of the fi d Mode j t n t p l m R q i m t m d , as us us u a a, e u e a e er n a ,
an

H di
a ec f E ster H owever
es the
o o m poser no op
a y ist . c as c ,

an d in the others
as gre t de l of origin lity is disp l yed ,
a a a a a

whe n ne ess ry c a .

A tt ck the P a on D ( fter with vigor d sing with r e s su s o a ,

an

al l your soul this splendid ffir m tion of the E ternity d the a a an

O m nipoten e of the Child which h c j ust been born ; fter as a

th t e where the type is t ken up sing the m elody cle rl y

uae a ,
a
an d with strength ; give the i p l d i b t m fu l l n s en or us s a n c or u

he rt d voi e ; ondu t this entire phr se i

a an c d giving c c a n cr e s c e n o

all the support possible ( dis reet of course ) to the end o f x c e

t
u er o whi h m ust be well rhyth m ed with
c well rounded a -

tern ry on d é mi d
a lifting of the P o r -
l e ding to
— an a ressu s a

the dence ca .
 C h a pter V I I I n t p t t i on f t h C h nt 2 3 7
. The I er re a o e a .

T here is sur h rge of j oy dor tion d enthusi s m in

a c a , a a an a
a l l this first p rt of this Gr du l It is one of the m ost be utiful
a a a a
in l l t h Gregori an repertoire T h rest of the pie e is m de
a e . e c a
up of the usu l form ul of the 11 d Mode S ing it lightly
g

a a n
j oyousl y d lertly
.
,

an a .

A ll elu i a D om i n u s di xi t ad me .

Th is A llelui only reproduces known form ul very n ient

a a a, a c
an d d ting fro m the first Gregori n epo h ; it is VI I I t h Mode
a a c an
l elui of the type O t d
A l a bi D m i ( F irst S un d y of s en e no s o ne . a
A dvent ) But here it dheres f ithfully to its type fro m
.
, a a
beginning to end
,

T h gener l m ove m ent m ust be qui k with wel l m de u n es

e a c , a n a c
rounded su m m its the two den es t d h di f irly l ight
,

, ca c es u an o e a
the l st den e b eing well pronoun e d d ret rde d m king
,

a ca c c an a a
felt the S l T on l ity
,

o a .

Off e r t ory L a ete n tu r .

“
fe tory
T he Of r
L t t h entirely differen t ch r cter a e en u r as an a a
whi h bre ks with l l th t we h ve seen up to this point
c a a a a

in the ours e of this M ss A l though the text m ight l end itse l f

.

c a .

re dily to exterior exult tion

a unbounded j oy the m elody
an a ,
an ,

would forbid it it s r e l y bu d ges fro m the n rrow lim its of

,
ca c a

a fi ft h-
d there ,
no gre t flights to
an o m od te the are a acc a

words S it woul d be v ery b d t ste to interpret this short

w
. o a a

pie e with too m u h enthusi s m d dr m be use of the

c c a an a a ca
words l t t d x l t t It shoul d be sung with
a e en u r a n fine leg to e su e . a a ,

am p l itude d vo l w r m th d not too f st A l l the

,
an bp ca ti a ,
an a . su unc s

neu m s whi h s ttered throughout the pie e shou l d be we l l

c are ca c

rounded well the tenuti of x l t t d f i m ; follow

,
as as e su e an ac e

carefully lso the ontours of t a d v it; ffir m litt l e

c er r a an en a a

m ore cle rly the double s cent of the a den e on

a l of D m a c c so o i ni

thus set in relief before the end of the conte m pl tion the a in

very c l m undul tion of v i t re ched through the very

a a en ,
a

h r m onious i fl xi
a to t q i m n e on re a u on a .

Th e Mass at Da n .

Th e Ma ss
wn s ys D m G é g in his Liturgi l
at Da a o u ran er , ca

Ye r
. sings the Birth of Gr ce d M”er y wh h t kes
a a an c ic a

p l e in the
ac he rt of the f ithful Christi n It the hour a a a . IS

when the sun ppe rs on the horizon to d p l the d rkness

o
“

a a IS e a ,
238 P art I I .

an little by lit t le to inund te everything with its light O f

d a .

course it is question here of the T rue L ight q

a i ll mi t ,
uae u na

om m h mi m v i t m i
ne o h m
ne d m d who be m e
en e n e n unc un u ,
an ca

Inc rn te only for th t to purify us d to enlighten

a a a : an -
us .

In this be utiful O fli ll is b thed in

a t m osphere of ce , a
'

a an a

exult tion d cl rity

a an a .

I n tr oi t L u x u l ge bi t
f .

ex t t ken fro m ( Is i h I X 2 6 d 7 ) is the key to

The T ,
a a a , ,
an

the whole M ss T h m elody is in perfect ord It o m m en es

a . e acc . c c

with j oyful él n m ounting qui kly to the upper D O T h

a a c . e

E h in the V ti n E dition over a p ca d D mi so m ewh t su er an o nus a

destroys the t m osphere of the S l den e in the VI I I t h Mode

a o ca c .

( It gives r ther fl vour

a of the Ist Modea R a) A lthough it e .

is ne ess ry to observe this B 1 the e ffe t should be voided

c a 7, c a

as mu h possible by stressing the S l c dence d by firm ness

c as o a ,
an

in the m ove m ent .

S t rting with t v
a bi t the m elody de m nds less sole m nity
e o ca ur, a

an d m ore l ég i t é l m ost in the m nner of

er si m ple
a a a

enu m er tion but not dry

a d inexpressive e h one of an : ac

the titles given to the D ivine Child should be set in relief

by reful d speci l expression
ca an a .

In the third phr se we return to the m ore m j esti style

a ,
a c

of the beginning with still m ore ffirm tion d enthusi s m a a an a .

A ltogether — one light phr se fr m ed by two others m ore a a

rich but the whole developing into sweet d serene light

,
a an .

It is interesting to co m p re this Introit with P t t a u er na us es

of the M ss of the D y a the two h ve the s m e gener l

a ,
as a a a

sense ; however the s e cret between the two lies in the differen e c

between the Modes VI I d VIII an .

Gr ad u al B en edi c tu s .

c lls this piece long y of th nks for the

D o m Ga ja r d a a cr a

Work of Illu in tion which is in the pro ess of co m plish m ent

m a c ac .

Th e m elody is l ogether live d light vibr t ing with j y

a t an ,
a o .

The voc lises unro l l the mselves round the tex t like so m ny
a a ll a a

g rl nds ; the develop m ent m ust not be ret rded nor m de

a a a a
he vy by excessive” sole m nity Th Verse is gre t e xult tion
a . e a a a
which blosso m s ll the length of the m gnificent voc lise a a a ,

m u h like th t in the Gr du l of E piph ny

c a D not hurry a a a . o

too m uch the series of p s bp ti in the second i cise ; e su un c s n

2 40 P art I I .

or m teri lize the endless holds where t he c o m poser h put

a a , as

so m u h of his soul ; llow the life blood of inten sity t p ss

c a o a

through ll these m elis m s hold b k so m ewh t t e h c den e

a a ac a a ac a c ,

an d dep rt directly wi t h the él n which follows in rescendo

a ,
a , c

tow rds the t phi

a on D O whi h t t cked gently with
s ro cu s c are a a

slight m di v A tt k vigorously
es sa p t ffirm oce ac ara a a

well d d e ch one of the words w h ich follow

se es an f a ,
as ar

as x t esung with ll the m plitude d expression

un c a a an

possible A for the l st phr se it lso

,

.
l t
s a a : a s a ecu o u es a

de m nds the m xim u m of firm ness d power with its B

a a an ,

N tur ls which
a arepe ted in l m ost direc t con t ct with the
are a a a

F giving the true fl vour of Mode VIII

a, a .

Commu n i on E a s a l ta .

It see m s th t fro m the beginni g of this M ss t D wn

a
'

n a a a

begun j y l y the ide of divine m j esty grows fro m pie e to

o ou s ,
a a c

piece with the O ffertory s the clim x With the Co m m union

,
a a .

we return to the o t her ide of these Christ m s Ch nts th t of a a a ,

a

deli cy gr e d recolle tion . H ere is lso

ca ,
ac ndid d an c a a ca an

serene j oy m rked with cert in gr vity ,

a a a a .

Th e Ma ss of th e D a y .

In contr st to the Midnight M ss l l the sung p rts of this

a a ,
a a

T hird M ss with the ex eption of the O ffertory cel ebr te

a c a

the o m ing to e rth of the Messi h

c d the gre t j oy whi h
a a , an a c

results fro m it T his is perh ps the expl n tion for the m o re

. a a a

j oyous th e m ore obj e tive h r cter of l l t h e pieces T hey

,
c c a a a .

ar e n ot less be utiful th n those of the ot h er M sses but they

a a a ,

less profound d less rich in in t erior conte m pl tion of

j

are an a ,

c ourse with the ex eption of the O ffertory T i

,
t d c ,
u su n ,
an

S o m ewh t the Introit P a t t H ere nother spe t ,

u er n a us es .
,
a a c

is given to the Christ m s Mystery the hu m n spe t a a a c ,

E mm l G d with us
anu e d f l l E ternity
,
Be use of this
o ,
an or a . ca

a dm i bi l mm
ra i m whi h is to be es t blished in the P erson
e co er c u c a

an d in the Work of the S v iour between the D ivine N ture a ,

a

an d poor hu m n n ture t h Chur h un ble to ont in its

a a ,
e c ,
a c a

j oy d enthusi sm bre ks forth into songs of pr ise d

.

an a ,
a a an

gr titude
a .

I n t roi t P u e r n a tu s es t .

his st rts with

T y of j oy which bursts
a spont neously a cr ,
a

fro the he rt of the C hur h It is Mode VI I the Mode of

m a c .
,
-
 C h apt e r V I I I nt 24 1 . The I nt e r p r e ta t i on of th e Ch a .

exult tion Child is b

a d f these two ide s
: a or n , an or us a are
set rel ef S ing the t
In t j oyfully but tre t di fferentl
i
y
n a us es , a
e ch of the two b ; the higher one l ight d the se ond one
a no i s
, an c
with ert in gr vity
a cd sole m nity with its des ent of
a a an , c
a fourth d return to the T onic A fter bi in spite of ert in
an . no s, c a
m elodi m otives the t m osphere h nges
c bit Th D ivine , a c a a : e
P g t
re ro v of the Messi h
a Ito o upy the field of vision
es a are cc
B efore th s sovereign power the int rpret tion would de m nd
.

i , e a a
m ore m j est y m ore sole m nity
a but te m pered by loving
, ,

conte m pl tion a .

Gr a d u a l Vi d e r u n t om n es

r du l lso is full of fervour d enthusi s m D ep rt in

Th e G a a a an a . a
a oder tely brisk m ove m ent d m ount j oyousl in res endo
m a ,
an y c c
tow rds the m i of the l i m
a whi h ends the Inton tion c a cu s c a
do not tt k t h is l i m with for e however but sing
a ac c a cu s c , ,

it e sily A ffirm vigorousl y the fi t

a . with its suite n es er r a e ,

of tenuto notes d dep rtures to the lower third A fter an a .

the light de res endo t the end of t dep rt j oyful l y t king

c c a er r a e , a a

ca re to onne t losely the three words l t D i

c c t i c sa u ar e e n os r ,

in spite of the qu rter b whi h indi tes here often not a ar , c ca as ,

a stop but si m ple m usi l pun tu tion A ll this second

,
a ca c a .

Me m ber wh i h is perh ps the expressive entre of the entire

,
c a c

pie e m ust be sung whole he rtedl y in gre t él n f vibr nt

c ,
a a a a o a
enthusi s m with ll the intensive nu n es whi h the m el odi
a ,
a a c c c

line de m a nds res endo whi h m ust begin with the ;b

: a c t c c or r e c u s

of S l t d m ount progressively through D i t h

a u are an fin l e ,
e a

s ca ndi being strongly supported lm ost s nned ( ording

cu s ,
a ca acc

to the m nus ripts ) ; then des cend deli tely onto the fin l
a c ca a

of t i n os r .

A t the beginning of the se ond phr se j bi l t D the c a ,

u a e e o,

feeling h nges so m ewh t ; the m ove m ent lw ys j oyous but

c a a ,
a a ,

very light d with well m odul ted voi e ontinuing thus

an
-
a c , c

to the end of the first p rt of the gr du l with very sim ple a a a ,

nu n es of intensity d dur tion

a c an a .

A fter the light inton tion of the Verse do not rush into the a ,

long voc lise of D om i hold b k so m ewh t on this suite

a nus ac
‘

of neu m s m de up of él ns d long descents d ondu t ll

a a an ,
an c c a

the l st in ise in bright m ove m ent with res endo whi h

a c a ,
c c c

cul min tes in the rising Quilism before f l ling to l

a d a, a a an

est blishing itself well on l t

a m; reful here to give s a u are su u ca

full ti m e t o the single notes which f ll to l A t t

:

p t m a a . a n e co n s ec u ,

we h ve l m ost the s m e m elodi line th t we found on the

a a a c a

l st I cise of D m i
a n d fro m here to the end series
o n u s , an are a
 w
2 42 Part I I .

of be utiful d expressive curves before the fin l double

a an a

curve which bri gs this superb pie e to c l m d serene n c a a an

close .

Al l el u i a D i e s s a n c ti fica tu s .

is A llelui is only si m ple d pt tion very ncient of

Th a a a a a , a
the usu l I I d Mode type h ich is tobe found on nu m ber
a n ,
a

of the S ints d ys followi ng Christ m s It would be futile

a a a .

to look for speci l ccord between text d m usi It is

a a a a n c . a
very j oyous d light piece with W rm d cle r sonority
an ,
a a an a ,

and d pts itself well to t h e senti m ents of this S e son

a a a .

Commu n i on Vi der u n t om n e s .

Th e C m m o union
Vi der u n t om n es in t h e second p rt is ex ctly a a

the s am e
t e
a s R e vel a bi tu r h C mm , o union for t h e M ss of the a

igi
V l H ere the
. s a l u ta r e D ei n os tr i
,
is very n tur l concl u sion
a a a

to the j oyous l n of the first

éa m m e ber It m ust be sung with
.

a r pid ove en in single

a m m t a flight without m rked r llen
,
a a a
t ndo on nticip te t e bri li nt conclus on
'

a te r r a e t o a a h l a i .

Off ert ory T u i su n t .

With t h e Offertory T i t we enter nother worl d or u su n a ,

r ther we return to the c h r cter so ch rm ing whi h we found

a a a ,
a c

in the sung p rts of the Mi dn ight M ss T ext d m elody

a a . an are
in perfe t ccord to sep r te the soul fro m ll hu m events
c a a a a an .

It is long m t m pl t i of the D ivine A ttributes of t h e

a co e a on

new born Messi h the bsolute M ster d K ing of ll re tion

-
a , a a an a c a .

T here is little m ove m ent in this inco m p r ble m elody if we a a ,

ex ept the T f d ti wh ich bursts forth in senti m ent of

c u un as a

"
ador tion which the co m poser c nnot control
a a .

D not hurry the te m po or force the voice m int in to the

‘

o a a
end d f ro m the T i
an t bro a d m ove m ent ( wit h out slowing
u su n ,
a

down too m uch but preserving the profound ch r cter of text

,
a a

an d m elody ) ; give to the voice ll t h m ellowness d w rm th a e an a

possible ; underline by i m per eptible nu nces of intensity d
,

c a an
m ove m ent the slightest undul tions of the m elody ; round
,
a

we l l ll the different neu m s which succeed e c h other giving

a a ,

to e h note its full ti m e v lue

ac d blending the Whol e into a an

"
,

an uninterrupted l g t Wh t exp nsion of love d str ength e a o . a an a an

in the s ent by four Cl i m cus t t
a c t t Join closely a a ua es er r a ,
24 4 P ar t I I .

Gr a d u al H a e c d i es .

his Gr du l is fund m ent lly only

T a a d pt tion of well a a an a a a a

known Mode II form ul ( type j t t p lm R q i m ad us us u a a, e u e ,

an

T m p i i p i m whi h we h ve n lysed in the Christ m s

ecu r nc u ,
c a a a a
Midnight M ss a .

H ere lthough the gener l li ne is kept the o m poser h

,
a a , c as
introduced interesting m odific tions to suit cert in words a a .

A in the T
s m p i i p i m it is t the beginning wher e these
e cu r nc u ,
a

origin l phr ses h ve been in t rodu ed A t H

a a di
a q m c . a ec es ua

f i
ec t d on the
an V ersi le C fit m i i free rei n h been given
c on e n ,
as

to the i m gin tion a a .

In ll the inton tion there is j oy

a enthusi s m a youth a ,
an a ,
a

of soul A fter the first Clivis the m elody unrolls light d , , an

flowing T this beginning give gener l m ove m ent very

. o ,
a a ,

live d lert ( but lw ys even ) In m ost choirs this inton tion

an a a a . a

is lw ys too slow too he vy to weighty ; here the

a a , ( l i t ) a ,
c ce er er
of the m nus ripts is eloquent A d this j oyous flight
a c . n

m ust not be interrupted by y of the long neu m s ; but the an

m elody m ust flow lightly through these giving to the m their ,

true rh yth m i v lue but no m ore ( on f i t “d D mi ) M ke

c a ,
’

ec an
’

o nus . a

known the di fferent nu nces of the two double D over a o

f
’

i
ec t the ‘

.first is rsie while the second is thetia ; this é l n

, f c a e
'

o m m nds d controls l l the rest of the phr se D m i

”
’

c a an a a . o nus

m ust be sung with full d enthusi sti res endo full of a an a c c c ,

feeling .

A t x lt m e the m elody resu m es its l ssi form ; however

su e us, c a c ,

there is lightness d freshness here which cords perfe tly

a an a ac c

wit h the do m in nt note of the whole pie e exult tion T h a c ,

a . e

et l t m ae e introdu es nu n e of gr vit y into this flood of j y

ur c a a c a o

which perv des the whole piece T here to be progressive

a . is a

ra ll t d
en a n fro m the l s t m e m ber of i
o whi h though a n ea c ,

re m ining light introduces

a sh de of bre adth before the
,
a a

F in l a .

With the Versi le C fit mi i D m i resu m e the m ove m ent c on e n o n o,

of spiritu l ex lt tion of the beginning but be c reful to

a a a ,
a

keep ontrol in order not to be c rried into

c disordered a a

m ove m ent A new nu nce is introdu ed t the q

. i m b a c a u on a on u s ,

th t of d m ir tion unbounded
a a m ze m ent of the soul
a ,
an a a

before the splendor of the Work of R ede m ption o m plished acc

an d the i m m ense L ove th t i t i m plies E n t er progressively a .

in the course of the q i m m ove m ent m ore d m ore u on a ,

a an

intense d enl rged which m ust le d in

an a uninterrupte d
,
a an
c

essenti l
an d
C h apte r V I I I

xp
c

light l y ( he d voi e )
d h
as e
a

ly
is bw
w
res endo to the upper double
n t p t t i on f t h C h n t 2 4 5

f e t tion or senti m ent lity ;

.

l ; this m ust be t ken very

d with well m odul ted tone
a c

; sing it bro dly wel l supported

or

re ss

nu nces
e
e re

possible ( Of ourse without f lling into

o

ust be n
Th

as

tur
,

l
The

an

on u s
I er

.
re

so
a

c
a
o

,
e a

a
.
.

w w
a
f c a l l m a a a a a
W thout striving for e ffe t
i
) c .

A t t he words q i m i l m resu m e the r pid

u on a d n s a ecu u , a an

j oyous te m po of the beginning d keep it t the d with an o en

of ourse the gr du l bro dening of the F in l C den e of the
,

c a a a a a c
l s t m e m ber m i i di i
a s e r cor a e us .

Commu n i on P a s cha n os t r u m .

o union l so is h rm ingl y l ight

The C mm d it keeps this
a c a ,
an

qu lity to the end Give to the m ove m ent pl enty of l ife fro m
a .
,

the beginning ith well m rked él n t P h whi h ill

, a a a a asc a , c

give the hoir good st rt T here is l ittle note of sol e m nity

c a a . a

at i mm l t t with its long q i li m t i

o a us es neu m where we u s a c ,
are

re m inded of the pri e whi h h been p id for our rede m ption ; c c as a

but the perv ding j oyous note m ust not be lost

a .

Th e on d phr se un que in the repertoire in flexibility

e s c a is i

an d freshness S t rt it p i d fter the i t q

. whi h is very
a a n o, an a a ue c

slightly i t t perm it the m elody to unroll with l l the fluidity

r en u o , a

an d gr e possible with out tou hing e rth so to spe k ; here

ac , c a ,
a ,

espe i lly the i tus m ust not be m teri l ; it is pure rhyth m

c a ,
c a a ,
a

gentle line with slight undul tions whi h pl nes tow rds the a ,
c a a

first P d t of v i t t whi h m ust be

o a us the cul m in tion of
er a us c as a

the d d
c r e s ce nle d of the entire phr se
o an a cce ra n o a .

S t rt the triple A ll l i pi no in
a -
f irly bro d m ove m ent ; e u a a ,
a a a

then fro m the se ond A ll l i ffir m le rl y the res en d o

c e u a, a c a c c

whi h is to le d us to the third whi h is to be sung very bro dl y

c a ,
c a

an d with ll the force of our lungs though lw y s with ontrol l ed

a ,
a a c

tone d well m odul ted voi ce R ound well the F in l C den e

an a . a a c ,

an d end with serenity .

S eq u en c e Vi cti m a e a s c ha l i
p .

be utiful d fresh si m pli ity of its di logue m kes

The a an c a a

this one of the m ost inspiring of the E ster pieces T h m e l odi a . e c

line is very fine with its gre t curves pl ing in fine re l ef the a ,
ac i

j oyful text S upport well d ret rd the m t v

.
d ,
an a a or a i s er e , an

s ing wit h conviction the rdent pr yer t b v t x a a u no i s i c or re ,

77128 6 7 67 8 .
2 46 P art I I .

A l l el ui a P as cha n os tr u m .

is lw ys j oyous ; but it is not necess ry lw ys

T h e A l l el u i a a a a a a
th t it displ y
a exuber nt j oy S o m etim es enthusi s m d
a an a . a an

ly i i m
r c s m y m eet to express very profound senti m ents
e a ,

whi h de m nd
c m ove m ent of gre t
a m plitude a Th fine a a . e
voc lise of i m m l t
a t in the Versi le wo l d e sily invite
o a us es c u a

a f st m ove m ent d brilli nt interpret tion but deeper

a an a a a ,

study of text d style would prohibit t oo f st te m po

an a a .

T h j ubilus A ll l i
e with its sust ined beginning ( ccording
e u a, a a

w
to the m nuscripts ) d its l rge interv ls would g in r ther
a ,
an a a , a a
by f irly bro d te m po with well m rked nu n es d sung
a a a ,
a a c ,
an

with voc l sonority w rm s possible ; gre t l l t d

a a as a a a a ra en a n o

on the m gnificent fin l A fter the repe ted undul tions on

a a . a a
the do m i nt followed e h ti m e by bro d d full des ent
n a ,
ac a a an c

to the T oni the l st incise is cert inly profound d sole m n

c, a a an .

L t us re m rk here th t the m nus ripts give

e a se ond Versicle a a c a c

to this A ll l i which is no longer in use in the L iturgy

e u a, :
Ep l m i
u e y m i i
ur i t ti t v i
n t ti the
az m el o dy s s n c er a s e er a s

to this verse ccords with the interpret tion suggested here

a a .

T his A ll l i y t h i welle u the two spe

a ts sof the En ster ec z es a c a

fe st j oy m ixed with d m ir tion d

a ,
t this m ys t ery of a a an a e a

the R ede m ption .

Off e r tory T e r r a tr e m u i t .

With the O ffertory we enter into nother world It h a . as

no t hing in co m m on wi t h the other Ch nts Of this F e st H ere a a .

,

there is no longer hu m n exult tion d j oy but profound a a an ,

a

an d loving onte m pl tion of the R ede m ption

c it ffe ts ll a as a c a

c re t on T h text would see m t first gl nce to spe k only of

a i . e a a a

t he f cts of the R esurrection of the I ord but the m elody h

a , as

a bro der m e ning Observe the sole m n

a d m gnificent
a . an a

c h r cter of the m elodi line with its sudden scents d unusu l

a a c a an a
interv ls d fin lly the str nge develop m ent of the A l l l i
a ,
an a a e u a

with its m rked berce m ent d insistent repetitions

a ,
an .

We in the I Vt h Mode d there is in this piece in spite

a re ,
an ,

of the gre t scents serenity d m j esty very m u h like

a a ,
a an a a c

the T i t of Christ m s
u It would see m th t it sings the
su n a . a

return of the redee m ed re ture d of ll cre tion to the c a an a a ,

pri m itive pl n of origin l j ustice fro m whi h sin h d c used

a a ,
c a a

h i m to f ll a .
 w
24 8 P art I I .

In order t o o m prehend the true interpret tion of this Introit

c a ,

one m ust know well wh t is Christi nity d the supern tur l a a an a a

life the re l h r cter of the Christi n R eligion whi h should

,
a c a a a , c

be bove l l not
a gare t exterior
,
de m onstr ti
a n t a a o n, o a

senti m ent lity but a interior f i th d love thing of the

,
an a
'

an , a

soul union of l l ones self with ll of G d T know lso

,
a a a o . o a

t h t H is the Cre tor nd the E d of A l l d th t H is infinitely

a e a a
‘

n ,
an a e

a bove us A d to underst nd fin lly th t the only re son for

. n a a a a

our existen e is in H i m by H i m d for H i m T hus this

c ,
an .

R r xi
es u r e ill be for us the true E s t er S ong a .

K eep t h e t m osphere of m ystery

a d dor tion by following an a a

it with K yrie no II I (D mp i t ) eu s s e er n e .

Re -
sur ré -
xi , et a dh u c t é -c u m su m ,

al le ia p o su s
i sti su per me

ma
i

n um tu e

am , al :
“

le ln ~
mi :
ra b 1 113

he eta es t sc i é n -
ti =
a t ii
'
a. a ll e lii -ia ,
’
 C hapt e r V I I I . The I nt e r p r e tati on of th e Ch a nt . 2 49

al le in .

Th e Paus es .

Among the m ost i m port nt ele m ents in the Gre ter R hyth m a a
a re the p uses T hey a f tors of unity wel l sep r tion ; ar e ac as as a a
they show the rel tionship of one phr se to the other whether
a a
it be syntheti ntithetic T herefore mu h ttention
,

c are a . as c a
should be given to these punctu tion m rks to the m elodi a a as c
phr se in f ct they
a p rt of the m el odic phr se A we
a are a a a s
h ve m entioned before if they too brief the true serenity
.

a , ar e
of the Ch nt is lost ; if they
,

a
too long the unity suffers are _ ,

in the ourse of the m e l is m itself here there m ust be

. .

A s c a
“ ,

fl xi lb i l i t y
e d souplesse an lso T rue t is never regim ented ; a . ar
so it m ust be lw y s with the Gre ter R hyth m of Gregori n
a a a a
Ch nt including the
a , silences
F the hoir d ébut nt it will be necess ry perh ps to
or c a a a
h vea ex t rhyth m ic rel tionship between c den es” p uses
an ac a a c , a ,
an d the following tt k or r ther gliding in a
( T his
ac a .

m ust be lw ys cle n but e sy

a a d n tur l with no shocks
a , a an a a ,

F or the experienced hoir however the group whi h h been c , , c as

singing together for so m e ti m e d know well the R epertoire ,
an
there m ust lw ys be flexibility
,

a a .

F the short verses of the Glori in E x elsis d the Credo ,

or a c ,
an

one count ( pproxim tely ) t the double b rs is orre t ; but

a a a a , c c

here in m y opinion the i m port nt f tor is the qu lity of

, , a ac a

the l st note of the short phr se

a d the first note of the a , an

following phr se T h dim inuendo of the fin l note shoul d

a : e a

flo t over the b
a with only very brief p use for bre th
ar .
a a a .

( If one group sings l l the verses ) If these

a p rts of the M ss . a a

are sung A ntiphon lly they should be the oord n t on

a as ,
c i a i

m ust be perfect between the two groups for the proper e ffect , .

W ith pr ctice d true concentr tion this shou l d not be too

a an a
“
diffi ult N ever le p into the fol lowing phr se b t su vez
c . a a ,
u i

with e se d reveren e n tur lly d not too stud ed

a an c , a a an i

T h l onger e d m ore el bor te phr ses m y so m eti m es de m nd

an a a a a a

a fr ction longer
a ross the b line pproxi m tely one b n ry
ac ar a a i a

rhyth m H ere the Choirm ster m ust dis ern j ust ex tly wh t
.
,
a c ac a
25 0 P art I I .

proportion is suit ble a d rtisti A g in fro m the end of the

a n a c . a ,

dim inuendo to the t king up of the next phr se is the di fference a a ,

be t ween t d m ediocrity d often between order d h os

ar an ,
an an c a .

A fter it d lw ys be c reful to pick up the next phr se

w
a r ar ,
a a a a

a t mp ; otherwise the unity of the piece m y be hope l essly

e o , a

destroyed H ere lw ys t h Gre ter R hyt h m the b l nce

.
, as a a , e a , a a ,

the m e ning of the co m plete piece m ust be onsidered

a c .

A rule there is no bre thing or h lt t the Incise but here

s a a a a ,

as lw y s the m e ning of the S cred T ext the m elodic line

a a ,
a a ,

an d L iturgi l tr dition t ke pre edence ca F inst nce in the

a a c . or a

repetition of m ny A llelui tic phr ses the m elody m y be

w
a a a , a

continued over the In ise or h lf b while in others the m usic l c a ar , , a

sen se or t ext forbids su h procedure T h A gnus D i h its c a . e e as

origin in t h ncient L it nies therefore it is not corre t to

e a a
°

continue the m i bi p rt of the phr se ending s er er e no s as a a

p t m
e cc a a di form erl y m iun bi t he response
as s er e r e n o s as

of the people to the invo tion of the priest A g D i q i ca nus e ,

u

t ll i
o ps t m di
ecca a I h ve he rd very rtisti groups
un a a a c

ignore these m ore i m port nt de m nds of li t urgy d t ext a a an .

It m ust lw ys be in m ind th t Gregori n Ch nt is first of

a a a a a ,

11 pr yer then
,
a gre t t but this t
,
never be for its
a a ar ,
ar c an

own s ke but it is forever subservien t to the re l purpose d

a ,
a an

function of the S red Ch nt h ich is to en h nce the L i t urgy

ac a , a
an d give the highest honor t o God .

Th e P r obl em of th e A s t eri k
At t he
beginning of lm ost ll ch nts there is p hr se a a a ,
a a , an

incise
“
so m eti m es j ust
,
”
word foll owed by the sign T his a ,

inton tion is lw ys sung or intoned by one or sever l

a a a a

precentors followed by the entr nce of the hoir or co m plete

, a c ,

group ( if it is question of S hol ) fter t h e sterik

a O ften a c a ,
a a
the rtisti choirm ster finds hi m self ex sper ted with the
a c a a a

m ny different types of
a Inton tions for there m ny a are a

kinds While so m e su h
. the F irst Mode form ul R L ,
c as a e- a

S i b L with its di ffere t o m bin tions m y be given

-
a re lly n c a a a a

artistic nu n e before the entr n e of the choir there

a c , a c ,
are

others very short fter which to p use see m s to destroy the

, ,
a ,
a

continuity of m elodic d textu l thought an a .

T here two possible interpret tions t the : T h regul r

are a a e a
rhyth m m y be kept the Choir ontinuing without p use the
a
'

, c a ,

Inton tion of the P recentors ; there is no L iturgic l R ule g inst

a a a a

this procedure T h only question is C the Choir enter

. e ,
an
2 52 r Pa t I I . .

T h si m plest pro edure f

e the ver ge choir is to give one
c or a a

si m ple be t of prep r tion a fter the l ong fin l note a a a a ,

whether or not it is fo l lowed by In ise or H l f B In the an c a ar .

first ex m ple the norm l rhyth m l e ps the In ise b

a ,
d a a c ar an

m kesa tern ry rhyth m with the following first note of the

a a

P od tus a F the Inton tion two bin ry groups wil l be

. or a ,
a

ne ess ry the second group st rting on the Incise

c a ,
a .

In the second E x m ple l m ost the reverse will be necess ry ;

a ,
a a
the norm l rhythm being 2 a d ch nged to I 2 3 2 I -
,
I an a - -
,
1 -
.

in E x m ple a

Th following
e m ong the m ny types of Inton t ions
are a a a
ending with one or two long notes

Int r E .

G ude a am u s o -
m n es E xs ur ge -
q u a re

La ud a te Do m inu m

D o- m i -
ne ne l onge Al le —l '
ii

D om us me

Wh en t h e In t on tion ends with si m ple punctu m or neum

a a , a
not lengthened it is usu lly best to lengthen this l st note
,
a a
or neu m ; either by dot or horizont l epise m Where the a a a a .

m e ning of the text or the m usi l phr se de m nd it si m ply

a ca a a ,

lengthen this l st note d ontinue without

a bre k we ,
-

an c a a

find this continuity f Sense in m ny of the A ntiphons o

'

a ,

as wel l the t h ash t A m ong these o th I t it :

er . c an s : are e
‘

n ro s
A d or a te D eu m S i cu t ocu l i D um cl a ma r em j u s tu s
 w
C hapt e r V I I I . The I nt e r pre tati o n of th e Cha nt . 25 3

es Om n i a q u a e fe c i s ti Of fertories S i c u t i n hol o c a u s to
S a c er dotes D om i n i a a Gr du le Eg o di xi A dju va bi t
C mm o i un ons
: P a s s er i n ve n i t H o n or a D om i n u m P a ce m
m ea m here
F a ctu s e s t r ep e n te ny others with T are m a
the l st note lengthened where following bre k would
a a a
be b d t ste
a a .

F those Inton tions ending with P od tus or Clivis

or a a a a

( not lengthened ) it is better to l engthen the t ,notes t o as a

the end of phr se ; this m kes ni e nu n e
a a d per m its a a c a c an
the choir to enter without sho k Su h the a c c are
Offertories
,

E m i tt S pi i t m d A di t D
°

e r u an s ce n eu s
Co m m un on M m t i d Gr du le
: R pi e en o an a a : es ce

VI I I

A s c én -
dit E mit te

spi Me m ento v erbi

'

Ré -
ce ,

Ma ny Ch a nts m a y be given very be ut i ful n u nce of a a a

expression before the A sterik Besides thos e of the F irst
Mode m entioned bove the Introit of P lm S und a y D m i
a a o ne
“
, ,

ne l gon the Co m m u nion for the s m e d y P t

e i o a a ,
a er , s n n

{ t
oo es t d the pie es
an whi h h ve e xtended Int on tionsc c a a .

T here other Inton tions where t h t ik see m s '

are a e as e r

m ispl ced a d p use of y sort would destroy not only

,
an a a an

the sens of the T ext but the Melodi L ine

e It is for the
,
c

Choir m ster to discern these points of

a l i son d h ndle ai an a

the m rtisti lly p ossible

as a ca as .

H ere lw ys it is necess ry for the Choirm ster to

as a a a a

underst nd well the text d t h / mpl t I d

a of the an e
”

co e e ea

Musi l phr se
ca E h Ch nt m ust be onsidered sep r tely
a . ac a c a a

for its spe i l style no h rd d fa st rules

c a be m de for
,
as a an can a

a ll l ike
a .
 w
CHAP TER IX .

GRE GOR IA N A CCOMPANI ME NT .

Th is c pter is no t m e nt to be
ha theory of P l inch nt a a a a

A cco p ni ent
m a m there is no such thing T hese perfect
,
as .

m elodies were co m posed l ong before y kind of contr punt l an a a

or h r onic co m bin tion
a m known ; there is ddition l proof
a as a a

of this f ct in m ny of the m elodies the m selves Which defy

a a ,

an
y kind of h rm onic Substructure
a wh tsoever T herefore a .
,

to cco m p ny the L iturgi l Ch nt is gross n hronism

a a ca a a a ac ,

an d when possible the flow of pure m elody should be left

unfettered .

T hen why dis uss or write boutcGregori n A cco m p ni m en t ? a a a

Bec use in our d ys the use of the L i t urgic l Ch nt is oblig tory
a a a a a
in l l R m C t h l i
a
“

o an d m ny A nglic n Churches
a o E ven
c an a a .

other P rotest nt deno m in tions h ve dopted cert in P l insong

a a a a a a

H y m ns n d Ch nts for their services

a a A not m ny choirs . s a

are p ble of perfect

ca a c ppell perform nce so m e kind
a a a a a ,

of support is ne ess ry ; even so m e very fine choirs beco m e

c a

al m ost p nic stricken t the thought of singing wit h out the

a a

ai d of the org n It is m uch better to sing well with g od

a . a o

acco m p ni m ent th n to s t ruggle helplessly through service

a ,
a a

un ided But the cco m p ni m ent m ust be good one

a .
,
a d a a , an

worthy to be o m e p rt of the s cred ch nt : it m ust i d d

c a a a a a an

not h inder the free rhyth m d the m od lity d m ust be so an a ,

an

close l y wedded with the ch nt d the text th t the singers a an a

an d the ssist nce a it were un w re of its presence T his

a are as a a .

ho m ogeneity or perfect ccord between the m elody d its a an

ac co m p ni m enta only be cco m plished by profound study

can a a

of text d m el op ee well those speci l m od l d h rm onic

an ,
as as a a an a
di ffi ulties de m nded by the cco m p nim ent itself ; our org nist
c a a a a

m ust lso be lw ys onscious of the Gre ter R hyth m with its

a a a c a
m odul tions a d di fferent dyn m i
an d gogic nu nces Th a c an a a . e

f ct of being gre t org nist d co m poser does not m ke

a a a a an a

one co m peten t to cco m p ny pl inch nt ; the truly gre t a a a a a

m usic l schol r will re lize this
a a d ppro h his profession a ,
an a ac
with gre t hu m ilit a T here is no pl e tod y in the field of
y . ac a

L iturgic a l m usic for t he egotisti l m usi i n who t h inks he

, ca c a
h a s t he righ t to introdu e D o m in nt d D i m inished seventh c a an
 w
ww
P ar t I I
3:
.

x
0 1 As a gener l rule the f l l m g m port nt t otes ll for
a ,
o o i a ic ic n ca

a c h nge of h rm ony or so m e kind of h rm oni m ove m ent

a a ,
"

a c :

“
h rm ony of the r d i g stron g note We k i ti no t es
a e n a c c

usu y those b et e en t he stron g i ti c notes i t p_i e

.

are a c n s e s

W
.

pro gressions W , In deter m ining .

the strong we k i ti notes the text is lso to be co nsidered

an a c c , a ,

as it often de ides t h e h n ge of h rm ony T h n tur l rhyth m

c c a a . e a a

o t e tin wor s t e re ons p between the princip l

a ,
a i 1 a
an d second ry ents of the text will pl y
a i m port nt
acc a an a

p rt in the cco m p nim ent of the ch nt especi lly the

a a a a , a

P s l m ody
a .

In the h rm oniz tion of su h form ul s

a the following doa c a as ,

not ch nge the h rm ony n the we k syll bles

a a o a a

Ky ri e . Do mi ne . Gl o ri a, e tc .

second syll ble of K y i D m i

Th e Gl i t in such
a r e, o n us, or a , e c .

c ses should keep the h rm ony of the initi l syll ble

a ,
a a a .

H owever in c se of florid tre t m ent of the we k syll ble such

a a a a a

as this ex m ple of D mi in t h e R equiem M ss there m y be

a o
’

ne a ,
a

h rm onic m ove m ent

a .

here a
T m b r of m elodic types in the Gregori n reper
re a nu e a

toire to whi h di fferent texts h ve been d pted We give

c a a a .

a few ex m ples H ere in writing

a c o m p ni m ent the tex t
. an a c a ,

m ust be studied .
 ”
or i n
T

c h ap te r I X Gr eg a A cc o m p n i m ent a 25 7
.
.

I n t ro i t . Mo d e I .
T ra c t . Mo d e VI I I .

Da é cem
p .
J u - bi 1a

I n t ro i t . Mo d e III .

Gaii dens ga u dé bo e tc .

here
T l so m ny Versi les of the Gr du ls whi h ppe r
are a a c a a c a a
in di fferent p rts of the Liturgy with very different words
a
a d pted to the s m e Melodi form ul In such c ses
a a reful c a . a a ca
a n lysis of both text d m el ody is im port nt
a guide toan a as a
the best t ste in e ch se a a ca .

M d l i ty o a Th Gregori n Modes
.
not h r terized by
e a are c a ac
a s le of seven notes the l ssi l theory exp l ined in the
ca as c a ca a
first p rt m ight suggest but by s m l l group of notes with
a , a a
the m od l T onic in the enter ; when the m elody w nders w y
a c a a a
fro m this T oni it h tenden y to seek nother point of
c, as a c a
support thus c using m od l m odu l tion T hese m od l
“

, a a a a . a
m odu l tions a very frequent but the m edi ev l uthors
are , a a a
sa y litt l e bout them N either is the subj e t of the B n tur l
a . c a a
a n d the B fl t we l l expl ined We a given the im pression a . are
th t the B n tur l is lw ys to be onsidered essenti l d the
a a a a a c a an
B fl t to be t ken
a ident l whi h is nything but ex t
a as an acc a , c a ac
in m ny h nts in Modes V d VI em ploy the B fl t
,

as a c a an a
throughout ; d in l m ost l l the Modes we find definite m odu
an a a
l ti
a
'

where th i s B fl t is re ll y essenti l note T his subj e t

on s a a an a . c
i s very i m port nt d re m ins one of the m ost di ffi cul t prob l e m s
a an a

for the Gregori n co m p nist T h following ses a ac lw ys a . e ca a re a a

delic te to h ndle
a a

ci as .
25 8 Part II .

T here ny ex m ples in the Gregori a n reper t oire where

are ma a

E h d B i follow e ch other cre ting e m b rr ssing situ tions

an ? a ,
a a a a

for the o m p nist A v ery reful selection of ch ords or

acc a . ca

in ident l h rm onies is ne ess ry in these c ses in order to

c a a c a a ,

a void the i m pression of f lse rel tion s d to m int in t h e a a ,

an a a

true nu nce of the phr se a a .

Th bes t uthorities h ve found i t convenient to divide ll

e a a a

t he Gregori n repertoire in t o three T on lities or groups ; t h ere

a a

a re t h ree pl es on the gre t Gregori n sc le where we find the

ac a a a

ch r cteristi m od l interv ls
a a c a a .

Th following cl ssific t ion is th t of D m D

e qau t t a a o e sro c e e

T his is only very elem ent ry expl n tion ; for fuller tre t i se
a a a a a a

on the Gregori n H x d l T heory re d H enri P otiron

a e a cor a , a

L A ly M d l d Ch t G ég i d other books
’
na se o a e u an r or en an

by th e s m e u t hor ll published by D l é T ourn i

a a ,
a esc e, a .

Group I Group of D o do ,
si ,
la ,
s ol .

on D Modes V d VI ;
o an on S i Modes III a n d I V ;
on L Modes I d II ;
a an on S l o Modes VI I a n d VIII ;

Group II Group of F a f a, mi ,
r e, do .

on F Modes V d VI ;
a an on Mi Modes III a n d I V .

on R Modes I d II ;
e an on D o Modes VI I a n d VIII
( wit h S i fla t below D o ) .

Group III Group of S i F l t i b l l f a s ,

a , so ,
a .

on S i b Modes V d VI ; on L Modes I II d I V ; an a an

on S ] Modes I d II ;
o on F Modes VI I d VII I an a an

( with m i l
) possible below t h e F ) a

is l st group does not exist independently but is j us t ified

Th a ,

by the nu m erous second ry c dences in spite of th e bsence a a , a

of M ]? in t h e ch nt
a t a .

T h first group or D group is ch r c t erized by t h e S i n tur l

e o a a a
:

, a .

T h second or F group is ide ntified b y t h bsence of S i

'

e ,
a e a
n tur l d the possibility of t h e B F l t
a a an a .

Th third group th t of B l) by t h e possibility of

e , E b in a an
the c o m p ni m ent lthough there is no ppe r nce of E F l t
a c a ,
a a a a a
in the Ch nt We a ppend e x m ple for e ch of th ese t on al ities
a an a a .
.

Co u rt e s y of D e s c l ée ,
w w
Part I I .

tr nsition tone i s B F l t F ro m the third group to t h e first

a a .

group the note of tr nsition is t he B n tur l

,
d fro m t h e a a a , an

50 third to the sec o nd the t r nsition tone is Mi n tur l a a a .

A lso we p ss fro m one group to not h er by m e ns of

a a a a

cle rly est blished m od l c dence belonging to

a a different a a a

group T hus the c dence of the VI I I t h Mode on S l belongs

. a o

to the F irst Group no m t t er wh t m y be the i m m edi te ,

a a a a

ontex t
c .

In the h rm on y then we m ust consider B n t ur l obli g t or y

a a a a

in the D rou in the F Gro o tur l is forbidden a a

when B F l t is p oss b l e In the 3 d Group t e

a a ur l i . r i na a

not to b e used but this ton l ty usu l ly confined to short

is ,
as a i is a

m e m bers d closely linked to the 2 d Group p ssing h rm onies

,
an n , a a

cont ining the Mi n tur a l

a uthorised T h s m e is t he a are a . e a as
c se of p ssing h rm onies in the F Group wh en the B n tur l
a a a a , a a
is perm itted E ither when the princip l ton lity is in the D
. a a o

Group d we h ve to m ke se ond ry m odul tion to th e

an a a a c a a

F Group or when t h e m elody in the second group uses exclu

a ,

i V l y the B n tur l we
s e ob l iged to e m ploy B n tur l in the
a a ,
are a a a

cco m p nim ent It is ver i

a a t t to know x tl t he or an e ac

fi
.

x pgrou t o nother o cur T his is one of the gre test d ffi culties
recise m o m ent d note when th d l ti fro m
an one o u a on s

p a a c . i

in the t of Gregori n cco m p nim ent d the s m ooth flow of

ar a a a ,
an

the cco m p ni m ent depends gre tly on this precise knowledge ;

a a a

for y f ilure t o properl y blend th ese points of m odul t ion

an a a
c uses m od l confusion
a a .

T here nu m ber of pieces which li e exclusively in one

are a

k t on lity aF t he D Group
. where t h e
orF is voided the o a a ,

F und m en t ls per m itted would be G M j or e m inor

a a m inor a , ,
a

d C M j or d excluding the chords of F M j or d d m inor

“(
h
an a , an

In t h e F Group the p erm itted chords would be th ose of d m inor

a
a an .

F M j or m inor
a d C M j or ; with the possibility of the chords
a ,
an a

of g m inor d B i M j or when B l m kes its ppe r n e

,

an ) a ,
a ) a a a a c

in h rm ony of tr nsition T h third or B F l t Group

a a a we . e a ,
as

h ve s id is usu lly confined to

a a , single m em ber or perh ps
a a ,
a

division in t h e F Group In m odes I II V d VI we

a a .
, ,
an ,

find the m ore frequent m odul tions t o the t on lity of B l a a ) .

H ere t he fund m ent ls to be F M j or ( 1 m inor g m in or

a a are a , , ,

d B i) M j or
an a .

Of ourse the first inversion of l l t h ese chords is perm itted

c a
d dvised in the interior of the phr ses ; lso p ssing notes
an a a a a ,

” a p p gi t
‘
osuspensions
a u re , d other contr pun t l devices , an a a .

N
19
,( S p r gr ph on the S t yle l ter in t h is Ch pter)
ee a a a , a a .
 C ha p t e r I X o n co m p n i m n t

w
’

. Gr eg ria Ac a e . 261

Th e Hexa ch ordal Th eory .

ever l uthorities of the present d y not bly P rofessor

S a a a , a
H enri P otiron present the H ex hor d T heory which
, ac , as
a fter l l conception of the theorists of the Middle A ges Th
a a . e
con lusion is th t the truly ho m ogeneous Gregori n s le is
c a a ca
a H ex hord ( six notes )
ac d not H ept hord ( seven notes ) , an a ac .

T h sol m iz tion of Guido d A o m prised on l y six notes ’ '

e a rez z o c ,

f t which est blishes m ore o m pletely the H x h d l T heory

ac a c e ac or a .

T h seventh note m y intervene without

e using m odul tion
a ca a a
T his is true of m ny B F l ts wel l the F in
a dence of a , as as as a ca
the T t d T h B n tur l however is usu lly
e rar us . e m odul ting a a , , a a a

note except for ses where it does not ppe r in the c dence
, ca a a a .

T hree H ex chords re ognized in the repertory of the

a are c

Gregori n Ch nt : F irst the N tur l H ex a hord where the

a a , a a c ,
,

S i does not exist either S i b or S i b as

. 3
s te p l

S econd the H ex chord of B q whi h is

,
a c an ex c t t r nsposition
a a

at the upper F ifth

an n l ly the
d fi a ,
H ex chord of a E h tr nsposition
a at the U pper
F ourth

A s may be seen e h ,
ac H ex hor d ac has a sing e h lf step in
l a -

its sc le a .

If Melody le ves the N tur l H ex hord the B um odul tes

a a a a ac ,
a

to the H ex hord of B a d the B p espe i lly f t m

‘

ac an c a i i i s u n a cco

p i
an e d by lower note ( notab l y the h lf step L E h m odul tes a a -
a -
a

l ess often but usu lly to

,
the H ex chord of Ea h a

()
1
C o u r t e s y o f D e s c l é e ,

D m D t t s d i ffe r s s l i gh l l y
( )
2
o e s r o c q u e e .
 w
2 62 Par t I I .

L e ving the
a “
ex hord of B there is no
H ac , m odul a t ion in
t h following or ul
e F m a

but through the h lf tone Mi F ; d the third R F there a - -

a an e- a,
is m odul tion to the N tur l H ex chord ; d le ving the
a a a a a an a

"
H ex chord of B i) the Mi m odul tes to the N tur l H ex hord
a a a a ac .

F ro m the H ex chord of B to th t of B I: ad i v ly ) a an n e rs ,

the substitution of the F orm ul B 5 D for the F orm ul L E h a o, a a-

an d vice vers determ ines m odul tion qu si chro m tic so

a, a a a a ,

the note L is T onic of the P t with B of the D t

a ro u s H .
eu eru s
with B a; S l is the T onic of the T t d
o ith the E q of the e rar us ,

P t with E h D is the T onic of the T t d with the

ro u s o e r ar us

E h of the T i t with the B h ( O uncert in T oni when

r us r a c,

t h e S i is l cking) a .

w w
In f ct e h H ex hord form ing sort of utono m ous ton lity
a ac ac a a a ,

c ont ins the essenti l ele m ents of e ch one of the F our Gregori n
a a a a

Modes ( S form er Ch pter I I I in P rt I )

. ee a ,
a .

Na t ur l H ex chord
a a .

H
—
a
L A B —
ar i a
;
—
v

ro f u s
“

P D eu teru s Tritu s
T etrardu s ,

( p
i m r e c i s e i f l o e r d e g r e e n o t e x p r e s s e d ) I f a E h s h o u ld a
pp e a r .
,
e

a r e n o t o n ge r i n t h e N a t u r a l H e x a c h o r d b u t i n t h e B ; H e x a c h o r d .

B Na tur l H ex chord
a a .

w
T e t ra r d u s ,
P rot u s D eu t eru s Tritu s
( ca de n ce so m e
t i m e s i m p r e ms e .
)

B Fl t a H ex hord ac .

T e t r ar du s, P rot u s D eu teru s Trit us

( al a ys i mp re c i s e ) .
 P ar t I I .

odul tion fro m t h e N tur l H ex chord into the B l?

The m a a a a

H ex chord a d inversely t kes pl e especi lly in the F irst

an ,
a ac a ,

S e ond F ourth F ifth

c ,
d S ixth Modes When the m elody
,
an .
,

a fter h ving tou hed the B b returns to the N tur l H ex chord

a c a a a ,

the H rm on y will perm it p ssing hord cont ining the B b

a a a c a

( Chords of B o or G M inor ) ex tly under the

'
s m e conditions , ac a

as t h F i t h e H ex chord of B ;
e a h -
a l

A for the region of the B F l t H ex chord the Mi is not

s a a ,

perm iss ble T h H rm ony m ust be H x h d l when t h e E h

a e a e ac or a

do m in tes the Incise d Mi does not ppe r

an an a a a .

T his brief d in o m plete exposition of the H x h d a l

an c e ac or

T heory is onl y m e nt to give gener l ide of the subj ect d a a a a , an

to rem ind the would be gregori n c o m p nist th t profound a a c a a a

study of ll the ele m ents of this t is necess ry to re ch th t

a ar a a a

st ge of worthiness de m nded the H ouse of God

a a in .

F full stud y of these questions

or a L c P ti q ,
s ee e on s ra u es

dA
’
mp g m t d
cc o C h t G ég i
a ne by H enri P otiron
en u an r or e n ,

by the s me

w
d L A ly M d l d Ch t G ég i
’

an na se o a e u an r or e n a
“
a uthor ( D l é ) ,
well Vi gt —
esc f P ie H m is
as as n n eu e ces ar on e es
'

a v mm n t i
ec co y th m i q m d e x t h
a r es m i q r by u es , o au e ar on u es

D m H ebe rt D
o ocq tt d H enri P otiron e sr( H erelle P ris )
ue es, an a

w
. .
,

I mportan ce of A n al ysi s .

Before tte m pting y kind of Gregor n A cco m p nim ent

a an i a a ,

severe d c reful n lysis of the Ch nt in question sh ould

a an a a a a

be m de E x m i e first the R hyth m

a . d be sure of every
a n ,
an

M yictus d its i m port nce

an in t he phr se M rk the m ost i m p o rt nt
a a . a a
icti no t es be sure of the C dences whether they be sim ple
c ,
a , ,

M co m pound te m por ry or fin l A fter

,
you cert in of at h e a . are a

det ils study the rhyth m ic ense m ble or Gre ter R hyt h m for
a , ,
a

the m ost suit ble h rm onies cli m xes rel t ionships between
'
a a ,
a ,
a

: g roups phr ses periods ,

tc a , , e .

A fter the rhyth m ic n lysis h s been s tisf ctorily co m p l eted a a a a a ,

fi d with
ro ce e the M od l a n lysis ccording to the three a a a
fi H ex chords or T on lities
a Be sure of prev iling ton lity d a . a a an

m odu l tions ; A lso tr nsition l fe tures

a d m erely p ssing a a a an a

B F l ts d B N tur ls Wh en B F l t d B N tur l
a an a a . a a an a a a

ppro h e ch other losely it m ust be determ ined which

a ac a c ,

one is the essenti l or if ei t her to be tre ted e ssen

a ,
are a as

t i l ; t h ese
a s often m b i g spots we h
are indic te d e a rr a s n as a r
e a
bove a .
 Cha p t e r I X . Greg o ri a n A cco m p n i m en ta .

A voi di n g th e S yn c opati on .

When writing or i m provising Gregori n cco m p ni m ent a a a a ,

the h nge of H rm ony in the wrong spot often c uses sym o

c a a a a c

pa t i onevil whi h c nnot be toler ted in this t I h ve

,
an c a a ar . a

he rd very rtistic c o m p nim ents spoiled by this error d

a a a c a , an
the org nist h to be lw ys on the lookout espe i lly if he
a as a a , c a
perm its h arm oni m ove m ent ff the ictus d t the c den es
a c o ,
an a a c

In princip l ch nge of h rm ony is t to be m de on non

a a a a no a a

i ti note H owever it
c c .

4
fter the l st note of Bin ry or T ern r subdivision the
A a a a a y
4
,

voi ce which h m de h rm onic m ove m ent m ust not keep

as a a a
the s m e m el odi degree by l i ison with the follow ng i ti
a c , a i c c

note T h fo l lowing ex m ple will il lustr te

. e a a

H PO R O . TI N .

I n: S yn c o pa t i o n i n
T e n o r n o t go o d .

Co rr e c t i o n 9 4
_
- n

A lso if ch nge of h rm ony h been m de on single note

a a a as a a

preceding i t i note C h nge m ust be m de on the i tic

,

an c c a a a c
’

no t e ; the s m e chord tones m ust not be ti ed to the fol lowing

a .

See below
H PO R O
. TI N .

C o rr e c t i o n

void h r onic ove ent on of tern ry

'

A m m m t h d a e se c on n ote a a
y an
subdivision ; if there h to be m ovem ent t m ust be m de
o

as a ,
i a

S e e P o t i ro n P r a ct i c a l L es s o n s
 Part II .

on the l st no t e of t he group of
a th ree ,
an d resolved on th e
following icti no t e c .

H PO RO . TI N .

B ad .

Co rr e c t i o n
s yn c o pa t i o n
in Ten or
9 ;

At tim es the h rm onic ch nges m de on t he up be t

a ll a a a a

m us t be light d never fu l l hord

,
an a c .

A fter c dence wh ether fin l h lf c dence or incise do

a a ,
a , a a , ,

not m ke h rm oni ch nge on dep rture on the up be t

a a a c a a a a

an d even when st rting with ictic no t e it is better to keep

a an ,

t h e preceding h rm ony when possible

a ,
.

h lf c dence or si m ple incise ;

a a a ,
a

ion occurs f preced ng c t us i a i i is

an d no t

Th e rules for co m posi t e c dences m or e co m plic t ed a are a .

But ex t re m e c re is necess ry here n d m uch knowledge

a a ,
a .

T here is not sp ce in this s h ort ch pter for

a full exp l n a tion ; a a a
study the texts which we h ve reco m m ended a .

P roper Ha rmon i es .

e lre dy given the h ords proper t o e ch H ex ch ord

a a c a a

y T hese rules m ust be s t ri tly observed

.. N h c . o c ro
m ti s or foreign h rm onies m y be introdu ed
a e a Th perm it t ed a c . e
chords m y ppe r eit h er in fund m en t l p osi t ion or in the first
a a a a a
2 68 Part I I .

Th e Fund m ent l c h ords especi lly with the R oo t in t h e

a a ,
a

Melody s h ould be reserved fo i m port n t c dences In se m i r a a .

ca dences incises t the invert ed chord is often better

,
e c .
, .

Th C d e fath D t
en ce s ( Mode III o d I V) presen t e eu er u s s an

a speci l proble m It f lls in the N t ur l H ex chord , d

a . a a a a an
we h ve le rned th t the B q is not d m is ble here ; therefore
a a a a sa

the hord of E Minor is not possible in the c dences

c t h is a , as
fund m ent l belongs to the H ex chord of B N tural nd is
a a a a , a
not co m p tible with the h lf s t ep bove t he T i of the
a a -
a on c

D t
eu eru s
; t his h l f step F is one of the d istinguishing
as a -
a

fe tures of th e D t
a the B fi in the E Minor tri d m ust
eu eru s , a

not be he rd here T herefore without going into m re t h i

a .
, o ec n

cali t i we find t h e uthorities greeing th t the only chords

es a a a

possible for such C den es those of A Minor or C M j or a c are a .

In c ses of the I m pre ise D t

a h owever t h e C h ord of c eu e ru s , ,

E Mi n o r is possible ( S P otiron Ch p t er I I I ). ee a

Tr a n sposi ti on s .

As th e range of t he differen t Mod es v ry i t

t e ssa t u r e an d a ,

is necess ry to tr nspose often to key suit b l e to t h h oir

a a a a e c

in ques t ion F the ver ge choir the following tr nsposi t ions

. or a a a

are the usu l ones a

Fi t M d : rs O rigin l K yo d e T one H igher a e ,

an a .

d M d : A T hird F ourt h H ig h er
l

S econ d o e an a .

T hi d M d r O ri gin l K y o d D egree L ower

e a e ,
an a .

F th M d :
ou r O rigin l K y d o D egree H ig h er
e a e ,
an a .

F i fth M d : O rigin l K yo d e S econd a d T h ird a e an a n a

L ower
S i xth M d O rigin l K yo d eD egree H igher a e an a .

S v th M de en Tr nspose T h ird
. o d a F ourth L ower
e a a an .

E i ghth AI d O rigin l K y d o D egree L ower

e a e , an a .

L e co n s P r a t i q u e s d
’
mpagn e m e n z du c ha n
’

t gr e gor i e n
’

a c co .
 C h ap te r I X . Gr e g o r ia n Ac co m p n i m n t a e .

A CCOMPANYING THE P SA LMOD Y .

In co m p nying the P s lm ody it is necess ry for the

ac a a , a
org nist to restr in his rtisti i m pulses d lim it him self to
a a a c an
j ust few hords keep the s m e chord for the re it tion a d
a c a c a ,
n
m ke no h rm oni
a h nges before the de es It is ide l
a c c a ca nc . a
to h ve one chord for the re iting tone d nother for the
a c ,
an a
ca den e but this is not lw ys possible A spe i l study is
c , a a . c a
ne ess ry to c o m p ny the ps l m ody orre tly
c a da t the c a a c c , an a
s m e ti m e rtisti lly ( S P otiron
a P ti
a l L ca . ee rac ca e s s on s
Ch pter V now
a v il ble in E ngl ish lso L A mp
, a a a a
’
cco a

g m
ne t d P m s
en by D m H ebert D es
q t t both
sau e o . .
e sr o c ue es

published by D l é ) T here other very good h rm oni e sc e . ar e a

z ati of the P s lm ody but re m ust be t ken to hoose the
on s a , ca a c
best .

T h following two h rm on i z tions of Mode I V D

e in t e a a . are
resting ( see ex m ples t end of Ch pter )

w
a a a .

Th e E xecu ti on of Gregori a n A cc ompani men t .

of the terrors in m ny of o Chur hes of the present

On e a ur c

d y is the org nist who insists on showing his t lents

a ,
a a as

concert org nist t the expense of the L iturgy T here is no

a ,
a .

pl ce for such egotis m in the H ouse of God ; for t h e org nist to

a a

refuse to l t the singers be he rd thus depriving the F ithful of

e a ,
a

their righ t to he r the D ivine T ext d the S red Ch nt is in a an ac a ,

m y pinion i i N m tter how fine the o m

'

Og v ,
a re ou s s n . o a aec

p i
an m t the Ch nt
en is lw ys ,
the i m port nt ele m ent a a a a .

A e h ve s id
s bove the only re son t l l for Gregori n
a a a ,
a a a a

A co m p ni m ent is to support the voi es ; it is in this

c a ,
p city c ca a

m ore th n in y other th
a t the o g i t m t ano m pletely eff e ,
a r an s us c ac

hi m sel f ; here he m ust never p r de his t never try fo e ffe ts

,
a a ar ,
r c ,

but lw ys subj ect hi m self to the Ch nt d pr yer se r hing

a a a an a , a c

his cons ience ontinu lly for l k of dis retion rever ence or
c c a ac c , ,

too m uch person l feel ing a .

A l so the gregori n
_ ,
o m p nist is never to reg rd his t a acc a a ar as

independ nt C om position b t a the hu m ble serv nt of the , u as a

L iturgy T here is often the te m pt tion to eng ge in

. v in a a a a

disp l y of co un terpoint when prep ring written

a mp ,
a a cc o a

n im t espe i lly m ong the young

en s, d the
c a budding a ,
an

co m posers T h utho r h experien ed the s m e te m pt tions

. e a as c a a

m ture d serious o m p nist will strive to keep his

“

Th e a an a cc a

substru ture si m ple d if possible pl y fro m the F our L ine

c ,
an ,
a
acc
w
Gregori n N ot tion with only very bro d preconceived pl n
a
a
a

In t hi s y he will be free to d pt his work to the ever v rying

disposition of his singers their l ssitudes their enthusi s m the
prev iling t m ospheric onditions t A co m p l ic t ed written
a a

o m p nim ent is very diffi ult to d pt to the m ny different

a

prob l e m s whi h rise the ourse of S ervice ( Of course ll

this presupposes thorough m usic l educ tion
profound knowl edge of the Ch a nt especi lly
c a

a
,

well s
to rhyth m d
in
,

c
Part

c
a
a

a
II

,
,
.

a
e c

a
a

a
.

a
,
a

a
as
.

,
a
a

as
a
a

a
a

an
a
.

m od lity ) a .

A t S oles m es the c o m p nim ents very si m ple usu lly o l y

a c a ar e ,
a n
underlining the im port nt ictic divisions d dences O f a an ca .

c ourse the Ch nt is never cco m p nied during the forbidden

a a a

se sons of A dvent d L ent d t R equie m s

a an an a .

T h s m ll org n in the Choi r is espe i lly constructed for

e a a c a

A co m p ni m ent purposes
c a d h in o m p r ble ense m ble ,
an as an c a a

for this t T here is m ellowness d sym p thy of tone which

ar . a an a

blends perfectly with the voi es ; in f ct it is not di fficult to c a

forget th t there is aco m p ni m ent so well conceived an ac a ,

is the pl n a .

E h of t h two M u ls h ve 8 F oot Bourdon of different

ac e an a a an ,

types d entire l y independ nt of e ch other b t whi h wh en

an a a ,
u c

c o m bined b l e d perfe tly : T h t of the S well is stopped

,
n c a

an d rese m bles in qu lity the d it while the Bourdon 8

a c or e nu

of the Gre t O rg n is open a d m u h brighter a an c ,

T hese two Bourdons for m the usu l R egistr tion of the a a

A c o m p nis t with the Bourdon 6 of the P ed l

c a ,
T h e P ed l is 1 a . a

a lw ys used with the Choir whet h er si ging together or divided ;

a ,
n

however it is suppressed with t h e S chol of T welve voices a

( m xi m
a u m ) w hich s s the P ro priu m d the soloists l W h en ,
an .

the Choir is gm n ed or grouped into aum ore powerful en ,

a

ense m ble the ddition of the 8 F oot P ed l Bourdon to the

,
a a

1 6 F oot Bourdon gives fullness d m ellowness whi h is quite a an a c

s tisfying If the voi es de m nd m ore support the right h nd

a . c a , a
m y descend to the 8 F oot Bourdon of the Gre t
a d reinfor e a ,
an c

the Melody whil e the left h nd re m ins on the swell for the
,
a a

lower voi es with the S well Bourdon 8 F oot T his rr nge m ent
c , . a a

is very e ffective for the P s l m ody O r re occ sions the a . n a a

acc o m p ni m ent is pl yed on the Gre t O rg“n

a d in extre m e
”
a a a ,
an

ca ses the m nu ls coupled d the a q i ta t or the

are , an u n a on

F lute 4 dded but with the expression box l

a ,
d c os e .

It is not for l l Choirs to h ve such inco m p r ble

a a an a a
inst u m ent but f
r possible these ti m bres should be
,
as ar as

i m it ted In this m tter ne rly ll O rg ns

a . di fferent ; the
a ,
a a a are

nu mber of voices the cous t ics of the building d ll the other,

a ,
an a
27 2 P ar t I I .

na in ex el c sisf

F ro m 25 Gre go ri a n P i e c e s H a r m o n i z e d by D om J H E B ERT D E S R O C
a n d H EN RI P o r i n o x
.

QUE
’ ‘

TI E S .

A LLE LUIA .

A lle -
l ll la . Z] AU G . L E GU E N NANT .

OFF E R TOR Y .

A U G L E GU E N N A N T
. .

t re mu it ,
et qui
 i
'

Ch a p t e r 1X . Gr e g o ria n A cc o m p n i m en t
a 27 3

w
.

lii ia
’

fi n a l e C a den c e .

T o Harmon i z ati on s of P sal m Ton e I V D .

D om J H éBE RT
. DE S R O CQU E T T E S .

HE N R PO R O
I TI N .

A U G L E GU E
. NNANT .

Di -
xit D Om i nus i o me o Se de a d éxt r i s m e is .

VI I I G
27 4 Par t I I .

Ch an o i n e F PO R T IE .

Co u rt e s y of D esclée .

OFFE RTOIRE A ve Mari a .

D om J . HéBE Ri
‘
DE S R O CQU E T T E S .

ve Ma

VI I I

a, gr a

R e v u e Gr ég .
,
“

J an v .
-
F év . 1 9 35 .
27 6 Part I I .

Th e Organi st and t h e Li tur gi cal S ervi c e .

Too often the org nist in his g llery considers hi m self king
a a

and ruler over the ere m onies in the S nctu ry inste d of

c a a , a
re lizing th t he is only the hu m ble serv nt of the L iturgy In
a a a .

f t ll the p rti ip nts in the se vice fro m the elebr nt on

ac a a c a r ,
c a

down but the serv nts of th t sublim e M ster the H oly

are a a a ,

L iturgy ; choir d org nist m ust t ke thei r pl e in this

an a a ac

hier r hy a c .

If the org nist is of the con ert v rie t y he m ust distinguish

a c a ,

ca refully between those o m positions whi h strictly recit l

c c are a
pi e es d those whi h
c an worthy to form unity wit h the
c are a
L iturgic l S ervi e a N o m position however fine whi h dr ws
c . o c , ,
c a

a ttention fro m the A tion t the A lt r should be e m p l oyed ”

c a a as

an Interlude during the S ervi e T h P relude should l d i t c . e ea n o

the S ervice d here let us c ution g inst long P reludes

an ,
a a a , as
it is not question of a m i l p g m T h P ostlude
a u s ca
‘

ro ra e ,

however m y be so mewh t m ore extended ; but here g in the

a a a a
C hoice m ust be reful ly m de A Widor or Vierne F in l
ca a . a a

would never be e m ployed by true student of the E ster a a

L iturg y .

If the S erv e m de up stri tly Of Gregori n Ch nt very

ic is a c a a , a

a ustere choi e of O rg n S olos m ust be de m nded A t S oles m es

c a a .
,

the works of B ch d of pre B h Co m posers a an used l m ost -

ac are a

ex lusively F the r re org nist who h m stered the t

c . or a a as a ar

of i m provis tion in the Church Modes co m position re ted on

a , c a
the m es of t h e S ervice of t h e D y ex ell e nt ; but these m ust a are c

be worthy of their pl ce in the S ervi e a

'

c .

If the S ervice is one of Cl ssic l P olyphony the hoice of a a ,

c

O rg n solos w i ll be lso very l i m it d

a I prefer not to he r
a e . a an
instru m ent duri n g P olyphonic S ervice perh ps P relude d
a a an
P ostlude but not during the S ervice
, .

Th org n m y pl y fter the singing of the O ffertory up to

e a a a a ,

the P ref e ; A fter the B di t to the P t N t

ac d en e c us a er os e r an
between the A g D i d the O r tions n us e an a .
 CHAP TER X .

HI S TOR I CA L SUR VE Y .

Th e H istory of P l in h nt a c a m ay be divided into four ma in

periods
) I period
Th e of first for m tion whi h coincides with the a c
first develop ments of the L iturgy T his E po h extends fro m

w
. c
A postolic ti m es or t le st fro m the L iber tion of the
, a a a
Christi ns by the E di t of Mi l n in 3 3 A D to the p t i fi t
a c a ,
1 . on ca e
of Gregory the Gre t ( 5 9 a 0

2 ) Th second period th t of the perfe tion l sted fro m the

e a c ,
a

tim e of S int Gregory to the 3th Century T his E po h m y

,

a 1 . c a

be subdivided into two periods T h Golden A g of the Ch nt e e a ,

whi h lso S w the L iturgy o m e to its perfection fro m the

c a a c ,

tim e of P ope Gregory T h Gre t to the t h Century ; the l st e a r1 a

p rt of thi E po h fro m the t h to the 3th Century the
a s c ,
ri 1 ,

production Of Ch nts ontinued to in re se but the new ch nts

a c c a , a
of this period l cked the sim pli ity of form d fine spont neity
a c an a
of the e rlier o m positions T h feeling for p rt m usic
a c . e a as

beginning to m ke itself evident a .

3) T h third period
e th t of decline l sted fro m the end
,
of a , a
the 1 3th Century to the m iddle of the 9t h Century P olyphony 1 .

de lt the de th blow to pure unisonous m elody T hen the

a a .

devel op m ent of the oper orchestr d other m usi l form s a, a, an ca

c used the si m ple h nt to be se t side in f vor of the m ore

a c a a a

el bor te d sensuous styles

a a an .

4) T h fourth peri
e d th t of the R estor tion whi
o h beg,
n a a , c a

abou t the m i ddle of the 9t h Century d is still going on 1 ,

an .

Most of this work of res t or tion is due to the untiring e fforts a

of the Monks of S oles m es .

A this work oncerns the S oles m es T heory we sh ll give

s c ,
a

a S hort H istory of the F ourth P eriod only , .

F ourth peri od Th e R estorati on .

the stude nts of Gregori n Ch nt

A ll a a an d those who h ve
a ll a

a nything to do with L iturgi l Musi ca c, are f mili r with the

a a
27 8

wonderful R h yth m ic E ditions f S olesm es ; but I doubt if y

of you re lise how m uch l bor how m ny dis ppoint m ents
a

yes even h rdships it took to pl ce the m in your h nds T o

a

restore su h perfe t order out of su h h os of bewilderm ent

as
c

existed round these subli m e m sterpie es

a

work of a s m ll group of s v nts under the inspired direction

a
c

the untiring
Par t I I

a
a
'

a
0

a
.

c a c
a

c w as
a

a .
an

w
of the first A bbot of S oles m es D m P rosper G é g ,
o u ran er .

Th following is m ostly
e tr nsl tion fro m the very pr ise a a a a
worthy volu m e L E l G ég i d S l m
,
by t h e
’
co e r or e n n e e o es es

R everend N orbert R ousse u professor t the Gr nd S e m in ire a ,

a a a

of L M ns F r nce
e a ,
a .

Th v st re l m of C tholi L iturgy is not lim i t ed to the text

e a a a c

of the o ffi i l pr yer ; its m plitude extends lso to t h e s cred

c a a a a a
m elody which is to it the clothing d be utiful expression as an a .

It is then n tur l th t the restor tion of the L iturgy i F r nce

a a a a n a
be ssoci ted wit h the reest blish m ent of the ncient R o m n
a a a a a

form ul d the re t urn to t he n ient Gregori n song

a an a c a .

At e rly hour the A bbo t P rosper G é g

an a lik”
, e u ran er as ,

S int A ugustine ch rm ed by t h e
a subli m e a d be utiful
,
a n a

c h nts of the Church T hese m elodies in spite of the d f

a .
,
e or

m tion t o which they h d been sub j ec t ed in the course of the

a a

centuries of the dec dence still kep t so m et h ing of t he freshnessa ,

of their first inspir t ion ; the routine feeble e ho of powerful

a as a c a

tr dit i on preserved the ch nt t le st i the be t ter known

a ,
— a a a n

m elodies T hree y e rs sc rcely

. fter his reception into the a a a

priesthood the young bbot be t r yed his hopes in m onogr ph

,
a a a a
Consider tions con erning the C tholi L iturgy in Gener l

"
a c a c a
wh ich c used quite stir in the G lli n c m p L ter in
a a a ca a . a ,

F ebru ry 8 3 he wrote in th e C tholic Me m ori l Oh

ww
a 1 0, a a

Who h not tre m bled thous nd tim es to the ccents of this

as a a a

gr ve m usic wh i h i spite of its severe ch r c t er is ni m ted

a ,
c , n
‘

a a , a a

with the fire of devotions d throws the soul into religious ,

an a
reverie t h ous
“
nd
a ti m es m ore ex lting th n the i m posing
a a a

voice of t h e gre t w ters of the S rip t ures T hese

a d a c an

m ny other like e m otions were experienced by the young bbo t

a a
who h d only h e rd the s cred ch nt in its deform ed s t te
,

a a a a a .

Wh t would be his e m otions now if h e ould he r his beloved

a c a

disciples t S int P ierre de S oles m es sing these he venly

"
a a ,
a
m elodies in th t st t e of perfection whi h only a p inst king
a c a a a

restor t ion h perm itted

a as

A t firs t it only the desire of D m G é g to give t o

as o u ran er
t h e c h oir of his m on stery style of m gm g t ruly est h e t ic a a s a

an d tr di t ion l a H owever th e i m pu l se
a . not long l e ping ,
as ln a

t he A bbey w lls d spre ding into ll corners of the c h risti n

a an a a a
 Part I I .

introduced by negl igence d b d t ste T h pre ep t of an a a . e c

S int Benedict
a M t d t v i ,
t stru k an s n os r a c o n c or e oc n os r a e c

the ear and the m ind of D m G é g T h d ily experience o u ran er . e a

o f the hor l l iturgy the rehe rs ls of the choir were to serve

c a ,
a a ,

the A bbot with field of observ tion fro m m orning to evening

a a

w
.

H listened he took notes he orre te d d fin ll y fixed the

ww
e , ,
c c ,
an a

prin iples T hen these s m e principles were tried e h d y

c . a ac a

a t the regul r exer ises then re tified a d purified so to spe kc ,

c an , a .

B efore long they i m p rt ed to the hoir of the m on stery th t a c a a

n tur l ness the ps l m odic re it tion th t e se the neu m ti
a a in a c a ,
a a 1n a c
voc lise ; in
a word th t spont neous leg to d gr ceful
a a a ,
a an a

m ove m ent without disp l y or m n eris m whi h s tisfies you a a n c a

beyond ll expression a d whi h is lled right l y the S tyl e ,

an c ca ,

of S oles m es
A we h ve m entione d bove
s a t first D m G é g only a , a o u ran er

w nted to find tr d i tion l m ethod for his m on stery ; but

a a a a a

the i m pulse too gre t to re m in confined to the enclosures

as a a

9”
of S oles m es It first t t h Music l Congress t P ris in
. as a e a a a
0
th t the Ch nt of S oles m es
a given t firs t notoriety
a as i s ,

when the C non Gontier exposed in his m e m oire the ex ct

a a

prin iples of D m G é g
c F our ye s l ter in 864 D m
o u ran er . ar a ,
1 , o

B en edict S uter m onk of Beuron

a d form er novi e of
,
a an a c

S o l es m es m de this de l r tion
,
T h m o m ent h
a o m e to c a a : e as c

expose in det il the m ethod to follow in the exe ution of the

a c

L iturgi l Ch nt Th prin ip l es whi h we to est blish

w
ca a . e c c are a

are the resul t of our conferences wi th speci l ists d our perus l a ,

an a

of two works re ently pub “

l ished under these titles
c P l in h nt a c a ,

its E xe ution a d A L ogi l Method of P l inch nt by

c n ca a a

the R v Gontier e H owever it is the long soj ourn which

. .
,

we h ve m de in a o m m unity the onl y one perh ps which

a a c ,
a

nu m bers m ong its m ost s red duties the study d the pr cti e
a ac an a c

of the L iturgi l Ch nt whi h h ontributed the m ost to

ca a ,
c as c

give us th l e r d ert in opinions on question so deb ted

e c a an c a a a

tod y a T hus the rh y th m of the h t h d rendered first c an a a

service to the Germ n m on stic olony of Beuron whi h h d a a c c a

j ust been est b l ished a .

It is p p to m ention here th t D m G é g
a ro os a o u ra n er as

strongl y ided in his t sk by his m onks who l iving lso the

a a , ,
a

c hor l life sh red the m bitions d hopes of their A bbot

a ,
a a an .

F ro m this kind of coll bor tion there resulted m u l titude a a ,

a

of v ried observ tions which were sh red with the entire

a a a

c o m m unity criticizing verifying d determ ining by in ess nt ,

an c a

c o m m unic tions on erning a o m m on work l oved d lived

c c a c ,
an

collectively H owever l l did not h ve equ l influence the

.
,
a a a ,
 s o t i on C h a p te r X . Re t ra .

s m e role to pl y S o m e were endowed with re m rk b l e t l ents

a a .
a a a
be m e exception lly o m petent three m ong these
,

an d so on ca a c : a
m er t ipl e p rt D m J i
a ac D m P othiera d a o au s on s, o an
D m M q It is to these three fter D m G é g
,

o oc u er e au .
a o u ran er,
,

th t we owe the Gregori n R estor tion We should lso d d

a a a . a a
another n m e to this illustrious list th t of the C non Gontier
a , a a
n tive of the provin e of M ine the uthor of the first text
,

a a c a a
,

book expl ining the first S oles m es prin iples

a c

w
.

S we h ve s m ll ide of the preponder nt d de isive

o a a a a

w
a an c
influen e of the ill ustrious founder of the s hool of S o l es m es
c c
the A bbot P rospero G é g We sh ll pe k briefly of
,

u ran er . a S a
the work of e h one of the person ges who h ve m de the
ac a a a
gre t R estor tion possible
a a .

Th integr l R estor tion of the liturgi l h nt de m nde d M

e a a ca c a a
the solution of doub l e proble m : T h re onstru tion of the
a e c c
t

pri m itive m usi l text ording to the uthenti version of

ca acc a c
“

w
,

the elodies d the re est blish m ent of the orre t i t p

m an T ‘ N

“
, a c c n er re -
-
t tia of this A n ient S ong T his involved the reprodu tion P
on c . c
of the tr dition l not tion by the dis overy of the m elo d i T

w
‘

a a a c c o

signs d lso in order to return to the n i ent m ode o i fih c»

,
an a , a c u- .
exe ution the tr nsl tion of the rhyth m i signs T his
c , a a c . as
a tre m endous t sk but l l difficulties were over o m e
a the
, a c ,
as
present m gnifi ent S h ool of S olesm es be rs witness
a c c a .

www
Th e Mel odi c R est or a ti on .

se r h for the origin l m elodi form ul presented fewer

Th e a c a c a

di ficulties th n the restor tion of the an ient rhyth m It

f a a c . as

bove l l work f p t i under the dire tion of the indo m i

‘

a a a o a en ce c

t ble spirit of D m G é g
a H h d given the m o t to whi h
o u ran er . e a c
to do m in te the rese r h
as When we dis over different
a a c . c
m nus ripts of different
a c enturies d di fferent ountries c an c

which gree we a be sure th t we h ve found the A uthenti

can a a c
Gregori n P hr se a a

T his work of re onstru tion long d tedious but the c c as an ,

m ethod sim ple d very sure : It

as to olle t the an as c c

m nus ripts cl ssify the m

a c ording to their written h r ters
,
a acc c a ac ,

their v ri tions d their in o m plete for m s de ipher the m

a a ,
an c , c ,

find in e ch l ss the m ost n ient d the best types ; choose

a c a a c an

the m ost uthorized lessons being ided by the ontext ; t king

a a c a

note of the p rti ul r style of l ngu ge d the person l

a c a a a an a

ch r cteristi s of the uthor in order to be ble to re onstru t

a a c a ,
a c c

the ltered p ss ges T re onstruct those m elodies whi h

a a a . o c c

were sung in the Church fro m the beginning of the VI I t h to

28 2

w
w w
the end of the K I t h entury prefer b l e T his period
the R en iss n e of the A g of Gold which h d been fro m the
a

VI t h to the I Xt h century
a c

T h discovery of the A ntiphon ry of S int Gregory p

e
c

.
e
P art I I

, as

a
.

,
a

a
.

reoccu
as

w
pied the r heologists d the gregori nists T hey se r hed

w
a c an a . a c
for this m gi volu m e everywhere : so m e t S int G ll others
a c a a -
a ,

at Montpe l lier But D m G é g wiser. d inste d o u ran er as , an a

of hoping for this philosophic l s t one he took the longer but a ,

m ore cert in route d de m nded the tre sure in t h e co m p rison

a an a a a
of m nus ripts
a c .

D om P a u l J a u si on s .

this t sk the A bbot of S oles m es c st his eyes on young

F or a , a a
m onk who bec use of his educ tion his liturgic l
, , a ulture a , a c
an d his deli te spirit see m ed especi lly endowed for suc h
ca , a
m eti ulous work
c D m P ul J i who .d m itted o a au s on s , as a

to the O rder of S int Benedi t S epte m ber 2 9t h 8 5 6 the

w
a c ,
1 , as

first m e m ber of the Benedi tine ongreg tion of F r nce to c c a a

follow serious studies of the L iturgic l Ch nt H pplied a a . e a

hi m self to his work with l l the enthusi s m of rdent a a an a

an d p ssion te n ture
a F ro m the first ye rs of his soj ourn
a a . a

t S oles m es D m J i0 worked t the restor tion of the

’

a , o au s ns a a

ch nt T ye rs l ter we find h i m in t h e libr ries of t h e gre t

a . en a a a a

cities delving into the m nuscrip t s with fine energy H a a . e

m de copies of the m ost precious m nuscripts in the libr ries

a a a

ww
of P ris L M ns A ngers
a ,
d others
e H i tr nscriptions
a ,
‘

,
an . s a

are m s t erpieces of pre ision

a d be uty d were of gre t c an a ,
an a

v lue for the P l gm phi

a before the use of phototype a eo
’

f
ac si m iles But the will of this v li nt young m
. stronger a a an as

th n his body d he died S epte m ber ot h 1 87 0 t the g of

a ,
an ,
a a e

3 6 ye rs H iawork constituted
. the firstsshe f of th t pulent a a O

h rvest re lised by the Benedic t ine f m il y h l f century l ter

a a a a a a .

Dom J os eph P oth i e r .

rovidence h d pl ced t the side of D m J u i

P bro th er
a a a o a s on s , a

who to pursue the t sk with success ; for to gre t in t el

as a a a

lig d
en ce fine t lent God
an to d d long d l borous
a a ,
as a a an a

life Brot h er Joseph P othier

. young novice of the dio ese ,
a c

of S int D i e Vosges h d coll bor ted with D m J i

a , , a a a o au s on s

in his work with the m nuscripts H re d theoretic l works a . e a a ,

a ncient d m odern fol l owed t h e m usicologi l discussions

an ,
ca ,

studied m nuscripts tr nsl ted the neu m s took notes

a d ,
a a , ,
an

copied entire gr du ls a a .
28 4 r P a t 11 .

We onvin ed th t this is the cert in m ethod of putti g

are c c a a n an

end to the hesit tions the preventions d the s epti is m

a , ,
an c c

s id D m M q
a o E ch person m nus ript in h nd
oc u erea u . a ,
a c a ,

wil l be ble to verify the pro edures d the ssertions of the

a c an a

m odern erudites T hose who in doubt or wh o deny the

. are ,

possibility of de iphering the purely neu m tic not t ion will c a a ,

be i ded by t h o m p r tive m ethod d with the help of the

a e c a a ,
an

Guidoni n or A lph beti do u m ents of our collection to tr ns l te

a a c c , a a

the ncient m elodies

a d to dis over d re onstru t the ,
an c an c c

origin l version phr se by phr se neu m by neu m note by

a ,
a a , ,

note S m u h for the Melodi restor tion

o c c a .

D m M q o lso dded the subj e t of the rhyth m i

oc u ere au a a c c

restor tion ad the fo l lowi ng quot tion will best expl in his
an a a

intention T those who den y the possibili ty of red i s overing

o c

t he tr dition a l rules of execution we sh ll show these rules

a ,
a

engr ved so to spe k in the m elodies the m sel ves in the

a ,
a , ,

stru ture of the Gregori n phr se in the grouping of the notes

c a a , ,

in the tiny lines or supple m ent ry signs whi h ert in f m i lies

w
a c c a a

of m nus ripts h ve preserved with re E very m ethod of

a c a ca .

exe ution m ust sub m it to the proof of co m p rison with the

c a

m nus ripts the only e ffi cious

a c d de isive m e n s of distin
,
ca an c a

g i h
u si g in the
n di fferent syste m s proposed up to this ti m e ,

th t whi h is too person l d inex ct fro m the re l trut h d

a c a an a ,
a an

tr dition ont ined therin

a c a

In 8 8 9 in spite of
1 opposition m ore or less onfessed
,
an c ,

the publi tion beg n with the support of the A bbot

ca a

Couturier Th first T o m e so j ustly pr ised d form ul ted

. e a an a

by D m M q o d sever l of his confreres

oc u ere auppe red an a ,
a a

a m idst the ppl use of the s hol rs a d friends of the Gregori n

a c a an a

R estor tion T his

a so o n followed by T o m es II III
. d as , ,
an

IV d l ter found their li m x in T o m e VI I the m ost ele

“

,
an a c a , c

b t d of ll In 8 96 M Jules C m b i su m m ed up the

w
ra e a . 1 . o ar eu

work cco m p l ished a In the h nds of the students d t he : a an

dis iples of D m Joseph P othier the s ien e of P l in h nt h

c o ,
c c a c a as,

so to spe k been secul rized Th editors of the P l gm jbki

a ,
a . e a eo
’

M i l h ve h d the ex ell ent ide ( for which we t h prof ne

u s ca e a a c a e a

do not know how to th nk the m ) of pplying to the study of a ,

a

the Gregori n m elodies the principles of the histori m ethod the

a c ,

s m e whi h the gre t professors of the S hool of Ch rtres d

a c a c a an

the College of F r n e follow in their m ost seri ous work T a c . o

est blish in ll its purity the Gregori n T r dition d in order

a a a a ,
an

to protect this T r dition g i st ll s epti is m they h ve a a a n a c c , a

tr nsform ed the m selves into ph i lologi ns gr m m ri ns

a a ,
a a a ,

p la eo
g p hi t photogr
ra phers d
s s,wh t not d in this y a ,
an a an a
 w
es t o t i on C h ap te r X . R ra .

h ve brought to the im p rti l re der

a d m ir ble bun d n e a a a an a a a a c

of precise de m onstr tions thus perm itting the ontrol of the

‘

a , c
s m ll est det ils of their do trine
a a c

A few ye rs l ter the P l e g phi h d g ined su h i m por

a a , a o ra e a a c

t an e m ong the s ientifi works of th t epo h th t t the

c a c c a c a a
Congress of Christi n A r heology he l d t R o m e in A pri l
,

a c a
9 1 00 ,
the Volum e s luted very i m port nt d d ition to the
,

as a as a a a

g ener l s ientifia bibliogr phyc c a .

T nourish the work of the generous ph l nge of workers

o

w w
a a
hen eforth t the servi e of the R estor tion of the S red
,

c a c a ac
Ch nt two B enedi tines in the course of the ye r 8 90 no longer
a c a 1
”
,

pilgri m s of G d d l iberty but r ther of the Chur h

,

o an , a c
s ien e d t set out for R o m e d l l It ly T hey se r he d
, ,

c c an ar , an a a . a c
the libr ries the m on steries the c thedr l s the h pters
a , a , a a , c a
d even the s m l lest hur hes for the m nus ripts d
,
‘

an a c c , a c an
do u m ents which ont ined the tr dition l m el o d ies T hen
c c a a a .

lo ded with their pre ious booty they returned to their

,

a c ,

m on stery a d with the i d of their brethren tr ns l te d the

, an , a , a a
m nuscripts
a d docu m ents into intelligibl e l ngu ge whi h
an an a a c
gives u the true Gregori n C ntilen

w
s a a a .

T his the h rvest of the R esponse Gr du l j t

as ai -
a a us us u
P lma whi h form s the 2 phototype engr vings of T o m es II
a, c 11 a

d III of the P l gm fiki M i l Th rese r h m de

’

an u eo e u s ca e . e a c as a
in It ly d in S witzerl nd by D m M q
a an dD m C b l a o oc u erea u an o a ro
In Bel giu m d H oll nd by D m M q
,

an d D m C gi a o oc u ereau an o a n
In F r n e E ngl nd Germ ny d S p in by the frien d s of
,

a c ,
a , a an a ,

the Mon stery a .

T his work whi h onsisted in de iphering the neu m s of the c c c

a n ient m nus ripts of the I Xt h Xt h

c a d K It h
c enturies , , an c

in tr nsl ting with ur y the gr phi signs whose i g i

,

w
a a acc ac ,
a c s n
h d been for long tim e forgotten i d ed by the

w
fi c an ce a a ,
as a

ingenious o m p rison of triple tegory of do u m ents T h

c a a ca c : e
neum ti m nus ripts the lph beti m nus ripts
a c a c d the ,
a a c a c ,
an

Guidoni n or D i ste m ti m nus ripts

a a a c a c .

T h first were the m ost i m port nt for they be l onged to the

e

Golden A g of the h nt d the m j ority h d been re edited

e c my a an
a ,

a a
'
“
,

by the elebr ted s hools of S int G ll d Metz O the

c a c a — a an . n

other h nd they o ffered in the m selves m ny di ffi ul t es Th

a ,
a c i
.

: e

m elodi signs consisted ex lusively in the di fferent co m b n tions

c c i a

of the ute d gr ve ents the key to whi h h d been lost

ac an a acc ,
c a .

T hen the not tion l led or tori l or iv

a hi mi q ca a ca cu r s e c r on o u e,
did ot indi te su ffi ien t ly the interv ls of sounds ; it
n ca c a as

t h m ster of the h nt who

e a ob l iged to supply these withc a as
 Part I I .

the voice d the gestures of the h nd T h P l e g p hi an a . e a o ra c

reprodu ed in its first T o m e the Codex 339 of S int G l l

c , a -
a ,

fine spe im en of this type of m nus ript

a c a c .

T h se ond type or the A l ph beti M nus ripts the notes

e c ,
a c a c ,

of whi h represented by letters were lre dy m ore intel

c are , a a

ligible for they ried with the m their own tr nsl tion ; these
,
c ar a a

were gre t i d to the underst nding d re ding of the neu m tic

a a a a an a a

d hirono m i m nus ri pts O of the m ost re m rk ble

an c c a c . ne a a

do u m ents of this genus is the A t i ph i m ton le Mi m

W ( K I t h Century ) discovered the 8 th of D e e m ber 847 in
c n on ar u a ssa ru

“a me libr ry of the school of m d i ,

1 c ,
1 ,

t Montpell ier through

J
a e ec n e a ,

the e fforts
”
of M D nj ou director of the R eview of R eligious . a ,

Musi T his B ilingu l M nus ript is of ex eption l i m por

c . a a c c a

t nce be use of the double not tio wh ich surm ounts the
1“ a

text Both A lph beti : d N eu m ti

ca

not tions Th first a c an

a

a
n

c a . e

ertified the notes the m selves

c d consequently their inter ,
an

v l s ; the se ond the grouping d the figures of the notes

a c ,
an .

T o m e VIII of the P l é g p hi gives in engr vings of a o ra e ,

a

irrepro h ble d istin tness the nu m erous p ges of this el e

ac a c ,
a c

b t d M nus ript
ra e a c .

“ F in ll y the Guidoni n
0
a d D i ste m t ic m nuscripts for m ed
,
a an a a a

the third tegory of the o m p r tive docu m ents Of m ore

M( recent epo h they were the pre ursors of our tu l not tion
C u
ca

c ,
c a

c
a

ac
.

a
a

a .

Guido d A ( fter h gropings of H b ld (

’

t r ez z o c a e uc a c
h d definitely fixed the m usi l st ff of four lines
a Th neu m ca a . e

ents ould be pl ed on these lines then repl ed l ter by

a cc c ac ,
ac a

the squ re notes T his kind of writing respected the grouping

a .

of ents d ccepted the new figures whi h be m e those

a cc ,
an a c ca

of our m odern books T hese m nus ripts were lled Guidoni n . a c ca a ,

be use of the not tion whi h Guido of A rezzo h d perfe ted

ca a c a c ,

if not invented ; d D i ste m ti fro m the Greek B x i m m an a a c, ron

-
a

( interv ls ) they could portr

a y the interv
,
ls of
as sounds by a a

the m e ns of Clef d S t ff a an a .

F those who would h ve m ore precise ide of the riti l

or a a a c ca

m ethod of S oles m es the second d third Volu m es of the ,

an

P l g g bhi M i l m ost inspiring We find here the

’

a eo ra e u s ca e , are .

nu m erous f sim iles of the R esponse Gr du l j l ac -

t -
a a ,
us us u

P lm fro m the fine delic te neu m s of the Gr du l of Monz

a a, a a a a,

to the gre t squ re notes of the hoir books of Monte C ssino

‘

a a c a

A lso to be found there is the h r m ing H istory of N eu m c a a

by D m M q o oc u e re a u .

T ter m in te this xp e we ppe d

o ex m ple borrowed
a e os ,
a n an a

fro m the A t i ph i m ton le Mi m of Montpelli er

n on ar u a ssar u .
 w w
P ar t II .

Th e story of Ch rle m gne d his desire to spre d t only a a an a no

the hristi n F ith but the R o m n L itu rgy throughout his

C

w
a a , a

Em pire h been rel ted before in these p ges We h ve

,
as a a . a
spoken of the two singers fro m R o m e P eter d R o m in , an a
who were sent by P p H d i n with f ithful opy of o e a r a a a c

w
the M nus ripts used in the R o m n S chools of Ch nt H
a c a a . o
R o m in fell i l l d for ed to find refuge t the A bbe y

w
a an as c a

of S int G l l ne r the L ke of Const n e while P eter

w
a -
a ,
a a a c , c on
ti nu ed his j ourney to Metz the f m ous s hool of ch nt on ,
a c a
the Mosell e

w
.

L ter the guest of S int G ll re m ined there definitely

a ,
a a a

l e ving h i tre sure to his benef tors It is prob bly to this

,

a s a ac . a
providenti l m l dy th t we owe the redis overy of the tr di
a a a a c a
ti on al Gregori n R hyth m be use it by the o m p rison
a ,
ca as c a
of the M nuscripts of Metz with those of S int G ll th t the
a a a a
key to the prec ous signs ttributed to the h t i Ro m in a c a n eu r a
or R o m ni n re overed T h two envoys fro m R o m e
a a as c . e

founded the two m ost elebr ted schools of P l in h nt whi h c a a c a , c

as riv ll ed only by th t of R hein u T h S hool of S int G ll
a a a . e c a -
a
as espe i l l y k d for the be uty of its o ffi es
c a re d the
no n e a c an

s pl d en of its h nts By curious return of things this

ou r c a . a ,

re k no is to be reflected in nother school ten enturies

n a , c
dist nt which tod y ontinues the s m e tr dition of S int G ll
a ,
a c a a a -
a ,

S int P ierre de S oles m es

a .

By the side of S int G l l flourished the s hool t Metz a -

a , c a ,

founded by P eter the other envoy of P ope H dri n

w
, a a .

S int G ll
a d Metz reedited the pre ious m nus ripts
-
a an d c a c , an
the copyists took p rti ul r c re to dd the rhyth m i signs to a c a a a c

w
the neu m tic figures T hese m nus ripts of S int G l l were
a . a c a -
a

sent to ll p rts of Germ ny a d there a good nu m ber a ,

an ar e a
to be found tod S o m ewh t i nferior but still i m port nt
ay . a . a
were t h m nuscripts of th t ity whi h were spre d over
e a a c c a a
gre t re round Metz d even into upper It ly for ex m ple
a a a a ,
an a , a ,

Co m o Th m ost f ithful of this s hool to the rhyth m ic

. e a c ,

tr dition is the Codex 2 39 of L on Xt h century which lre dy

a ,
a , , a a
however m nifests slight de line in the pri m it ive tr dition
a a c a .

T h m nuscripts of V
e a i l 86 d of Mil n E 68 lso erc e 1 ,
an a .
,
a re a

ver y precious ; but the de line here is forec st It due c a . as

pri m rily to the b ndon m ent of the rhyth m i signs th t
a a a c , a
t h e interpret tion of the ch nt lost B t in spite o f l l
a a as . u a

this the c ord nce between the two schools Metz

,
a c a d , an

S int G ll in the m tter of rhyth m is stonishing A decisive

a -
a ,
a ,
a

proof th t the s m e rhyth m ic l ws even t o the finest det ils

a a a , a ,

were i m posed fro m the beginning on the entire C tholic world , a .

 s o ti on Ch apte r 28 9 X . Re t ra .

T his l st reflection h
a m u h m ore weight th n the f ct of the as c a a
two R o m n singers P eter d R o m in
a , an a .

T these m nus ripts others m ore question ble d less

o a c , a an
intell igib l e were found in It ly F r n e d A quit ni a , a c an a a
A epted with reserv tions these do u m ents served to help
.

cc a , c
verify the true R hyth m ic T r dition But it is fro m the hoi e

w
a .
c c
m nus ripts of S int G ll
a c d Metz th t S oles m es is to extr t
a - a an a ac
its rhythm i theory
,

ww
.

L t us review here
e few f ts on erning the hythmi a ac c c r c
de den e of the Gregori n Ch nt
ca c a a .

T h period of full de den e st rts t the XVI t h entury

e ca c a a c
Th Middle A ges lre dy unf ithful to the Gregori n T r dition
.

e ,
a a a a a
h d perm itted the texts to be ltered by inexperien ed h nds
,

a a c a
;
l ter the introdu tion of m e sured m usi
a entu ted the ruin
c a c acc a
of Gregori n R hyth m A t the s m e tim e the tre tises of m usi
a . a a c
were conse r ted lm ost ex lusively to the te hni of the n ient
c a a c c c a c
t or the new m e sured vogue ; therefore the st dy of

w
ar , aIll i u u s ca
Pl lm ost entirely negle ted

w
au a as a c .

A nother m ore i m port nt re son for the d e line of P l in h nt

w
a a c a c a
as the overediting of so m e of the finest m nuscripts from the a

w
,

VI I t h to t he K I t h entury H ere often fi d the rh yth m i

c . e n c
signs too num erous t o the detrim ent of the neu m ti signs a c
d the m ost n ient texts o ffer extre m ely v ried resour es
,

ww
an a c a c
for the interpret tion a .

A fter the invention of the Guidoni n m nus ript there a a c ,

shoul d h ve been m ore ur cy but here we find the opyist

a acc a , c
often very reless in reg rd to the R hyth m i S igns forgetting
,

ca a c ,

th t the n ient s hol rs would one d y dis ppe r A l so

a a c c a a a a .
,

sin e t h e role of the m ster

c no longer i m port nt the a as a ,

rhyth m i interpret tionc entirely forgotten a as .

w
Before long the m elodi form ul lost lso through l k c a as a , ac

of underst nding soon it a found to be too long d: as , an as

shortened T h m elism s were m util ted the neu m s divided
: e a a , ,

an d the phr ses were rendered sth m tic by the divisions

a d a a an
b rs until the d y when it
a ,
de lt its fin l blow the h nds
a as a a ln a

of the N evers d the L b f A t this tim e the P l in h nt

an e oeu s . a c a

took the form of m e sured rhyth m r ther th t the n ient a a a a c

tr dition T h m sses of D u m ont

a . egood ex m ples of this
a are a

distorti on .

D m G é o g m entions u notherranc use whi

er h m y h ve a a c a a

helped in the rhythm i d e den e of the h nt It the c ca c c a . as

cus t o m which introdu ed fro m the end of the XVI t h entury

as c c ,

in our gre t hur hes d whi h is pr cti ed even in our t m es

a c c , an c a c i
Th e

g tai
use of the lower voi es in the h thus e m ploying pit h
whi h prevented the people fro m t king p rt in the L iturgi l
S ervices
fe
c

l
on l
S the singers no longer responsible to the ongre
into
,
ll
.

kinds of f lse
o

rhyth m
ne rly three centuries the h nt of the Church
s a
c

,
Part I I

a
c
.

a
0 1r

.
a
a

w ca
c

w
F or a c a as

plunged into this infirm ity d therefore into the m ost o m plete ,
an c

dis redit T h A uror of the R es t or tion beg n to d wn

c . e a a a a

tow rds the m iddle of the XI Xt h Century E m inent m

a . en
set to work In Germ ny H m d ff S hlecht S h bi g

w
: a ,
er es or ,
c ,
c u er ,

H b l
a er d sever l m onks of Beuron
an In Belgiu m the b ron
a . a

Gev ert the a nons V D m m e d S osson brought the light

,
ca an a an

of their knowl edge d their public tions In It ly such

w w
an a . a ,

m sters
a T eb ldi Bossi B
as i d l ter Mg C rlo R espighi
a , ,
on u z z ,
an a r . a ,

D m R ff ello B l li D m A m brogio A m elli d others dded

,

o a a ara ,
o ,
an a

the generous ontribution of their e fforts In F r n e the c . a c

tri l which m rks the first step in the return to tr dition

a a a

as the E dition R m C m b i i ( R hei m s C m br ye

) T h o -
a r a s eu u e -
a a . e

C rdin l Gousset
a a ppointed o m m ission o m posed of thea a c c

best Gregori nists to edit the new h nt books onform ing to

a c a c

the m nus ripts then v il ble But rhyth m ic lly the edition
a c a a a . a ,

as tro ious due to the prej udi es of the ti m es B t the

a c , c . u

a uthors of the new tte m pt were willing to knowledge the a ac

i m perfe tions of the new E dition d did not co sider it definite

c ,
an n .

It for S o l esm es under the directio of its first A bbot

as , n ,

to bring to light the re l solution

w
a .

A we h ve m entioned before the first M th d of

s a , e o

P l inch nt inspired by the scho ol of S ol es m es th t of the

w
a a as a

R v A ugustin M thurin Gontier of the C thedr l of L M ns

e a a a e a
Inspired by the s mooth d fervent rendition of the m onks of
.
, .

an

S oles m es he studied the works of the ncient m usico l ogists

, d a ,
an

produ ed his M th d i
c l pl i h t e T his work
’

o e r a s ou u e e
'
ce a n -c an

proved to be of re l v lue for the m st ers of th t ti m e H ere a a a a .

the fund m ent l xio m s of S olesm es were form ul ted with

a a a a

a ert inty whi h shows the re m rk ble Gregori n insight of

c a c a a a

its uthor Th proble m is very le nly st ted Is the rhyth m

a . e c a a

of P l insong th t of m usi
a d poetry or th t of prose
a d c an ,
a an

recit tive a In other words it correct to sing the h nt as c a

in the rhyth m of m odern m usi d L t i n poetry ltern ting c an a ,
a a

long d short notes or

an it to be si m ply the rhyth m of ,
as

discourse with syll bles cented d un ented T h s ge

, a ac an acc . e a

a uthor form ul tes his definition P l in h nt is m odul ted

a : a c a a a

re it tion whose notes h ve the s m e v lue d whose rhyth m

c a , a a a , an ,

essenti lly free is th t of discourse

a We h ve here the essence
, a a

of t h tr dition H goes on to expl in his theory m ore fully

e a . e a
ww
w
292 Part I I

w
.

Li q u esce n t s etc so m e of which , un ert in even now

. are c a .

It for nother i d i f t i g bl person lity to bring to light

as a n a a e a

these det ils by the use of phototypes d m uch o m p rison

a an c a

of M nuscripts a .

We h ve spoken of D m A ndré M q
a m ny ti m es in o oc u ere au a

the course of our review of the Melodic R estor tion H i a . s

production of the P al e g p hi M i l is m onu m ent l o ra c u s ca e a , as
we h ve seen D m M q
a not only m onk d
. o oc u er e au as a an
Gregori n spe i list but lso gre t m usi i n H
a c a student a a a c a e as a

w
.
,

of l l kinds of m usi prof ne well religious A su h he

a c, a as as . s c

as the one best fitted to co m plete or r ther bring to high ,

a a
st te of perfection this business of the R hyth m i R estor tion
a c a

of P l inch nt Aa gre t org niser he chose for h is helpers

a . s a a a

a l rge t i of v t religious d se ul r With the

a c o er e sa an s , an c a .

soul of the m onk he ould see the inspired union of m elody with c

the s cred text ; his m usi l tr ining en bled hi m t o pierce the

a ca a a

scientifi veils c .

w
A ndr é M q g twenty six
oc ye rs knocked
u ere au t the a e a a

ww
, ,

door of S int P ierre de S oles m es July 2 2 87 5 T h 9t h of

a ,
1 . e

A pril 8 77 he m de his profession on the fe st of the A

1 ,
a a nnun

i ti
c a of O L dy d two ye rs l ter
on ur d m itted to the
a ,
a n a a as a

honour of the priesthood .

T h young priest re lizes fully t he work he is to cco m plish

e a a .

H receives his first lessons in Gregori n Ch nt fro m D m

e a a o

P othier se ond A bbot of S olesm es D m Couturier

w
Th . e c , o

recognizes i m m edi tely the exception l v lue of the young a a a

m onk in the Gregori n S hol O bedient to his superior a c a .

,

D m M q org ni zes school A t first priv te this

w
o oc u ereau a a . a ,

group lled by the R v A bbot to t ke its pl e in the

as ca e . a ac

Choir It . the next d y fter the expulsion of 880

as d a a 1 , an

the m onks were united in the P rish Church H i ped gogi l a . s a ca

qu lities were soon noti ed d it

a not long until the repu c ,
an as

t ti
a of S oles m es
on singing s hool be m e univers l M ny as a c ca a . a

illustrious m sters visited the A bbe y to le rn the se rets of

a ,
a c

the S cred Ch nt t the feet of D m M q

a a T here were
a o oc u ereau .

D m L
o P i fro m R o m e M Ch rles Bordes founder
or en so eros ,
. a ,

of the S chol C ntoru m of P ris T his l ttera aso ch rm ed a . a as a

with his first voy ge th t he sent thirty of his students m ong a a ,

a

whi h were Vin ent

c
“
d I d y A lex nder G i l m t c d F de l
’
n ,
a u an , an . a

T o m belle A Gregori n life

. org nised with lessons a as a

by D m M q o Just now there were the ple s nt

oc u er eau . as ,
a a

w lks in the be utiful countryside which h rm onizes so

a a a

perfectly with the inspired singing t the A bbey M C m ille a . . a

B ll i g
e a P ris Journ list c m e to he r the Ch nt of S oles m es
ue, a a a a a a
 s o t i on C h apte r X . Re t ra .

d le ves us his i m pressions in fine des ri ption whi h is

" "
an a a c c as
,

true tod y t th t ti m e T h m onks who sing only G d

a as a a : e , o
sing onl y for G d A d how they sing S o m etim es se ted in
,

o n a
their st lls d ll together ; so m etim es few m ong the m le ve
a , an a a a a
their se ts d form ir le before the lt r This is the S hol
a an a c c a a . c a,
the group of m usi i ns with hosen voi es O of the m condu ts c a c c . ne c
the hoir with low gestures s r e l y noti e b l e T hey o mm en e
c ,
ca c c a . c c
to sing d i m m edi tely y feel yourself in t h presen e of
, an a ou e c
so m ething perfe tly be utiful perfe t l y pure Y see you c a , c . ou
he r nothing th t is not ex t d l e r T h h nt is now
,

a a ac an c a . e c a

bright the d y which shines through the white windows

,

"
as as a ,

now so m ber the night whi h the gre t sh d ow st on

,
as as c a a s ca
the p vem en t of m rble A ll l i A l ong m o d ul ted phr se
a a . e u a a a ,

vo l ised sl owly is rolled round the l s t syll ble of the j oyous

ca , a a a
an d sweet word T h j ust sh ll flourish like the p l m tree . e a a ,

an d m ultiply the ed rs of L eb non Th vo l ises redoub l e

as c a a e ca ,

an d the sonorous ste m lso m u l tiplies its br n hes d bre ks a a c an a

into bloo m I rem em ber still K y i S. t not florid but a r e, a an c u s , ,

robust th ough lw ys eleg nt

, M C B ll i g wrote this
a a a . . e a ue
in 8 98 We ould enl rge on this des ription m ny ti m es

ww
1 . c a c a

tod y s I m sure fro m ye r to ye r the S chool of S olesm es

a ,
a a a a
be o m es m ore d m ore perfect
c an .

U nfortun te l y these rtistic pilgri m ges h d to o m e to

a a a a c an

end for ti m e In 90 the m onks were h sed fro m their

, a . 1 1 c a
m on stery by se t ri n intoler n e whi h h d no reg rd for
a c a a a c c a _ a
ar t s ien e or liberty
, c T h ro d of exile took the m to the Isle
c . e a

of Wight where they est b l ished the m selves t A pp ld om b a a u u rc e,

ne r Ventnor then t the A bbe of O L dy of Q

a ne r R yde a y ur a u arr a .

T his h nge of residen e d telier did not stop the enthusi s m

,

c a c an a a

of t h e m onks or the outside worl d of rtists who ontinued to a , c

visit the S chool in ever incre sing nu m bers T h F rench -

a . e

m sters
a e re not the only ones to be ptured by the h rm s ca c a

of the Gregori n R hyth m Musi i ns fro m ll n tions m e a . c a a a ca

to visit the restorers in exile d m ny rhyth m i onversions ,

an a c c

were m de there nu m erous persons who h d rej e ted the

a : a c

S o l es m es rhyth m ic theories h d only to listen to the singing ,

a

of the m onks to b e convin ed T o m ention very few we find c . a ,

the R v N orm n D o m ini H olly of N York renoun ing his

e . a c e c

form er opinions fter p ssing eight d ys t Q A bbey ;

,
a a a a u a rr

the It li n m ster Giulio B a a uthor of m ny Gregori n

a ,
as , a a a

A cco m p ni m ents fter studying the S oles m es rhyth m i theories

a ,
a c ,

an d listening to the hoir o m pletely h nged his mp i c c c a acco an

m ents to onform with the new do trines c M L ouis L loy c . . a ,

m oved by the penetr ting d gr eful rhyth m of the light a an ac

a c en t on the rsis wrote F m y p rt I sh ll never forge t

c a ,
or a ,
a
w
w
www
294

w
Part I I .

ww
the white cell t S olesm es where the rhyth m of t he A a
gi ce re na
as reve led to m : for I a truly present t the R esurrection e as a

of buried m elody I m ert n th t this Mir le will be

a . a c ai a ac

produced g in for others it a for m it su ffices to m erit

a as as e ,

it to believe in the m usi

,
c

A nother i m por t nt onvert to the new R hyth m ic F ith a c a

as the Germ n m onk R v P Gregorius B o keler O S B a ,
e . . c , . . .

T his se ca of p rticul r interest be use Germ ny

as onea a ca a as
of the m ost diffi cult obst cles in t h Gregori n R estor tion a e a a .

D m B ockeler le rned the new rhyth m ic se re t s by stud y ing

o a c

the do trines of S oles m es

c d pro l i m ed the gre t v lue of an c a a a

w
,

the R hyth m i E ditions of D m M q

ne In trying to
c o oc u ere au .

describe ert in nu n es of rhythm d style he re lizes th t

c a a c an ,
a a

theory is lim ited H only y 1 tod y Go to

. e c an sa ,
as , a ,

S oles m es d he r the m onks singan a

D m M q o still th t gre t ingenious d p t ient

oc u ere au as a a an a

org nizer who knew how to divide the work m ong his nu m erous
a a

c oll bor tors

a d to receive o c sion lly their observ a tions
a ,
an , c a a ,

in one word to w it the results of the m o m ent

w
,
a a .

Th se rch for m nus ripts in l l l ngu ges of ll epochs

e a a c a a a , a
of l l types d h r cters h d used to flow into S olesm es
a an c a a ,
a ca

an i m port nt nu m ber of tr dition l do u m ents F the

a a a c . or

dissection of these whole rm y of o m petent workers , a a c as

ne ess ry S o m e were put to work studying the texts of the

c a .

e rly m usicol ogists others ex m ined the m nuscripts for

a ,
a a

rhyth m ic indi tions while D m M q hi m self n lysed ”

w
ca ,
o oc u ereau a a

m inutely the P olyphonic works of the XVt h d the XVIth an

c enturies the works of m odern m usici ns tre tises of m usi

,
a ,
a c,

discourse d l ngu ge penetr ted the l ws of n tur l rh yth m

an a a ,
a a a a ,

an d o m p red his dedu tions with the discoveries of his o l l

c a c c a

b It lso ne ess ry to extr t m ethodic lly fro m

w
t
or a ors . as a c a ac a

the confused m ss of m nuscripts one fter the other a d a ,

a ,
an

piece by pie the different ch nts whi h co m posed them then

ce a c ,

re sse m ble the di fferent versions of these h nts in pre ise

a c a ,
a c

order to perm i t ,
e sy consult tion T h young m onks an a a . e

threw the m selves into t he t sk with rdour following uniform a a ,

a

m ethod d soon the synoptic report of

,
an whole libr ry of a a

m nus ripts
a m de
c T hen D m M q t ught the m
as a . o oc u e re au a

how to m ke use of these st tistics to the best dv nt ge

a a a a a .

H hi m self
e, ble to discover the se ret of ert in rhyth m ic
as a c c a

l ws very v guely defined by the ncients but inv ri bly

a ,
a a ,
a a

a pplied in the execution of the A n ient S ong c .

T his the beginning of L N o m bre Music l G g i

as e a re or en

t h e gre test of l l the works on Gregori n ch nt T h firs t

a a a a . e
2 96 Part I I .

s tisfying ; the s m ooth flow of its free rhyth m i m p rts

a a a

sense of pe e r ther th n excite m ent

ac a a .

P ope P ius X h j ustly l led the Gregori n Ch n t the

as ca a a

perfe t Model of ll S red Musi

c aIt is the U nivers l S ong
ac c a

an d L iturgi l P r yer of the Christi n Worl d ; its U nison for m

ca a a

a dds unity d si m p l i ity rele sing the m ind fro m t h

an c m ,
a e co

p li tions
ca of m y p t W h enansung correctly d
ar s in the
. an

S pirit intended Gregori n Ch n t h ,

tre m endous power of
a a as a

purific tion d a tifi ti

an Who san c ssist t O ffi e t
ca on . can a a an c a

S int P ierre de S oles m es without feeling in so m e m e sure

a a ,

tr nsform ed A d to follow the L iturgi l ye r through the

a ? n ca a

Cy les of A dvent Christ m s E piph ny S ept

c ,
gesi m L ent a ,
a ,
ua a , ,

E ster
a d P entecost
an experien e co m pletely overwhel m ing
15 a n c ,

one m y e sil y m gine

a a l f tr nsported to A postoli T i m es
i a on se a c .

It is onl y t S olesm es th t m y be fe l t the t rue signifi n e of

a a a ca c
the L iturgy ; one re lly lives the L iturgi l E vents through
a ca

t h ye re a .

If we o l d only reprodu e this m i l th t is S oles m es in t

c u c rac e a a
le st our m ore i m port nt Mon steries d Chur hes wh t
a a a an c , a a

regener tion of S oul wh t

a truly A postoli ,
w kening a a c a a

would follow to fin lly bring Christi nity on e m ore to t h A g

,
a a c e e

o f F ith a .

S oles m es In S l m i t t S Joseph 95 0 ,
o e n a e .
,
1 .
 BIB LIO GRAP H Y .

B ooks of Ch an t .

Gra d u a l e R o m a n u m .

V e s p e ra l e R o m a n u m .

O ffi c i u m M a j o r i s H e b d o m a d a e .

A n t i p h o n a l e Mo n a s t i c u m .

L i ber U su a li s .

Va r i a e P re c e s

w
.

P ro c e s s i o n a l e Mo n a s t i c u m .

E l e me n t ar y Me th o ds .

D om GRE G O R Y S UNO L Co m p l e t e Me t h o d o f G re o r i a n Ch a n t
g
.

LAROCH E P r i n c i p e s T r a d i t i o n n e l s d E x é c u t i o n d u Ch a n t Gr é
.

.
r
go i e n
’

J C. OU D R A Y M é t h o d e d e Ch a n t Gr é o r i e n
g
F M S O Q UE S
.
.

. . Me t o d o d e C a n t o Gre go ri a n o
.
L i b re ri a S p i c a .
-

B a rc e l o n a .
,

Mr s J US T I N E B W A R D
. C a t h o l i c E d u c a t i o n a l S e ri e s
.

M o t h e r GE O R G I A S TE P H E NS
.
.

Gre go ri a n Ch a n t Ma c m i l l a n
Y o rk
.
“
,
Ne .

B o oks on th e R h yth m .

D om A N RE D MO C Q U E R E A U . Le n om b e r Mu s i c a l G r é g ri o en 2 V0
lu m es .

Dom J OS E
GA J A R D PH N o t i o n s s u r l a R h y t h m i u e Gr o ri e n n e
q g
.

é
r
,

( H a s b e e n t a n s l a t e d i n t o E n gl i s h )
é
.

L I c t u s e t l e R y t h m e ( R e v u e Gr go ri e n n e 1 9 2 0 —1 9 2 1
’

)
L e R y t h m e o r a t i o i r e e t L e R y t h m e m u s i c a l ( R e v u e Gr é o r i n n e e
g
1928

é
L a M t h o d e d e S o l e s m e s ( R e v u e Gr go r i e n n e J a n v i e r 1 9 é
é é
,

A L E G U E N N A N T 4 P r c i s d e R h y t h m i q u e Gr go r i e n n e
. .

( In st i t u t .

d e P a ri s ) .

D M O C Q U E R E A U a n d D o m GA J A R D L a T ra d i t i o n R h t h m i u e
y q
. .

d a n s l e s M a n u s c ri t s Mo n o gr a p h 1e Gr eg I V . . .

ww
W or ks on t h e Mo da li ty .

H P O T R ON
I L A n alyse
’
Mo d a l e d u C h a n t Gré go ri e n
Gr égo ri e n
. .
.

’
L O r i gi n e d e s Mo d e s , by same au tho r .

W orks on t h e A c c ompa n i m e n t .

H P o r rR O N L e co n s p r a t i q u e s d A c c o m p a gn e m e n t
’

du Ch a n t
Gr é r
. .

go i e n .

D om H DE S R O CQU E T T E S an dH P o r rR O N V m gt n e u f P i ec e s -

é é é
. . .

r
g g o r i e n n es r
ha m on is es et com m e n t es ( H er e l l e P a r i s).
, .

A ll t he orks m e n t i o n e d i n this B i bl i o gra ph y are pu bli she d by

D e s c l ée e t Ci e ,
T o u r n a i B e l gi u m ,
u n le ss o t he r 13e s p e c 1fi e d .
2 98

W orks
J .
H P o r IR ON

Ne
H

o
A

on

D m L B A R ON
R

r
.

A C H IL L E B R A GE R S
o rk
)
LD

"
w
B o o ks o f A c c o m p a n i m e n t s b y D o m D E S R O C Q U E T T E S

L E p
P

i
Y
al so A c com pan i m e n t t o t h e
-

.
l NO
.

Gr e go r i a n A c c o m jpa n i m e n t

a i n s on g A c co m pa n i m e n t

P l a i n s o n g i n E n gl i s h )

t h e I n t e pr e t ati o n
d E xp

d
i

Ch t Gr é g r i
y
.
r i

.
a

(
l
T
e

h
S a m
e best
e a
an d

u t h o r
o rk o n
by

( C a rl F i s c h e r
.
B i bli

x
an

r ess on
og r aph

ress o n

u
y .

an
.
K
.

o
.

en
.

.
(3
w
Vol u m e s )
.
,

D m P o F ERRETT E t ti
A 0L0 Gr g ri ( V l I s e ca e o an a 2 o u m e s ),
R O M ANO G UA R N
. .

L E p i t d l L i t r gi
’
DI I s r e a u e

t G r é g ri G én é ra l
.
.

J P.
N t r B C
E R R OD ON h ( O ffi . o e eau an o en . ce du
Li r P ri ) v e, a s

Mél d i d N l ( S i m p l
.

D m J OS E
o G J L PH A ARD . es o es e oe m e n t a i re s )
es com

C o m m e n t a i re s s u r l e s Ch a n t s d e L a S e m a i n e S a i n t e e t d e P aq u e s .

“
N u m e ro u s c o m m e n t a r i e s o n Ch a n t s t o b e fo u n d i n L a R evu e
G r é go r 1e n n e

Hi st or y o f t h e Ch a n t .

M gr R OUSS E AU cole Grég r d e S ol e sm e s

’
N L E o i en n e .

Gr é go ri e n ( A l c a n
.
. .

L Art P a ri s )
’

A . GA S T O U E .
.
,
.

A GA S T O U E Le Gr a d u a l et l A n t i ph o n a i r e R
’
om ai n s ( y )
L o n

GE V A ERT
. . .
.

La M e l o p ee d u C h a n t G r e go r i e n .

é Gr é go ri e n n e
.

D o m GA J A R D . Les D b u t s d e l a R e s t a ur a t i o n
a S ole sm e s
U GO S E I I SN
D e c a d e n z a e R e s t a u r a z i o n e d e l C a n t o L i t u r gi c o
.
.

a s a E d i t r i c e d A r t e e L i t u r gi a B A n ge l i c o M i l a n o
’

( C . .
, .

E S C H U B I GE R
.
D i e S a n ge r s c h u l e S a i n t G a ll e n
. .

Pal é ogr aph i e .

GRE G O R Y UNO é Gr é

w
D om S L . In t ro d u c t i o n t o the P al r
o g a ph i e

o rien n e
g
é
.

P al r
o g a ph i e Mu si c a l e P u b l i sh e d u n d e
. t he di ect ion of D om r r
MO C Q U E R E A U ,
th en D o m GA J A R D S e i e s 1 1 5 Vo l u m e s . r -
.

S e ies II r ,
2 Vo l u m e s t o d a t e ,
.

Ge n er al .

D om J O T P Gr é go ri e n n e s
HI ER Les M el o d i e s .

L a M u s i c a l i t é Gr é go r i e n n e
.
.

Do m G J
A ARD .

S ES N
.

UGo I I L a R o m a n a C a n t i l e n a ( Cr e m o n e s e R o m a )
I n i t i a t i o n Gr é go r i e n n e
. .
.
,

P I ERRE C A R R A z ( L e L u t ri n G e n e v a )
. . .
, .

V e r y go o d P r o f Ca r r a z i s a re a l s pe c i a li s t )
( . . .

R evi e s .

T he C a t h o li c C h o i rm a s t e r . E dited by N i cola Mo n t a n i ,
P hi la
d e l ph i a U S A
é
. . .
,

R e v u e Gr go r i e n n e ( D es o l ee ) .
— A l l t h e re c e d i n g
p su b e cts j d i s cu s se d .

L e L u t ri n ( G e n ev e ) .
 w
3 00 Sy no p s i s of Ch apte r s .

w
Ch ap t r VII
e . STUD Y AND E XE CU T I O N OF THE Q U I L I S M A 2 0 8 .

P o s s i bl e H i s t o r y o f t h e Q u i l i s m a D e c i s i o n s o f D o m Mo c q u e r e a u
r
R e t o a c t i v e q u a l i t i e s o f t h e Q u i l i sm a T h e d i vi si o n o f t h e ou p Gr
r
P e c e d i n g t h e Q u il i s m a r
S i n gl e N o t e s p e c e d i n g t h e Q u i l i s m a
r r
T o o r m o e n o t e s p e c e d i n g t h e Q u i li sm a o u ps p e ce di n g Gr r
t h e Q u i li sm a .

Ch ap t r VIII
e . IN T E R P R E TA T ION OF T H E CH A N T .

T h e S t yle o f S o l e s m e s R e a s o n s fo r S o l e s m e s s u p e i o i t y r r
S r
S o l e s m e s pi i t o f t h e Ch u c h T he re n e di ct i n e v i e B p o i n t a n d i t s ,

r r
i n fl u e n c e o n t h e i n t e p e t a t i o n o f t h e L i t u gi c a l C h an t r C eatin g r
r
t h e i gh t a t t i t u d e i n t h e C h o i r
Ch o o s i n g t h e p e so : m e l o f t h e Ch o i r r

Gr
T he voi ce
P i t fa l l s
eate r
R h yt h m
"r
E n s e m ble

T he P a u ses
T e m pi F l e xi b l i t v
Io e a b o u t c o n d u c t i n g t h e C h a n t
E a ct it u de
D e v e lo pi n g t h e
D e t a i ls o f In t e p et a t i on r r
x
.

Ch a p t r IX
e . GR E GO R IA N A C CO M P A N I M E N T . 2 54

W hy ? W h en
R h yt h m ? M o d a l i ty S tyle H a m on ie s r
t o e m pl o y r
T h e o i e s o f T o n a li t y E ecu tion of x
e go i a n A c c o m Gr r
p a n i m e n t T h e u s e o f o o k s o f A c c oB m p a n im en t e go i a n Gr r
A c c o m pa n i m e n t an A d a pt i v e A rt
,
T h e A c co m pan i m en t s a t
S ol e sm e s E a m pl e s x r
T h e O ga n i s t a n d t h e L i t u gi c a l S e v i c e r r .

Ch a p t rX
e . H I S T O R I CA L S U R V E Y . 27
7
The r
F ou th P e iod r The R e st o ra t i o n The E xce ll e n c e of
Gre go r i a n Ch a n t .

Bi bl i og r a ph y .
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A NALYTICAL IND E X .

r
A ccen t ; N at u e o f L at i n T o n i c A cce n t 8 ; T on i c A cce n t o n t he le v e 229 é
A c ce n t s o f L a t i n amm a ian s 13 1 4; U se d i n N e u m at i c Gr r ,

N o t a t i o n 1 3 14 I n P s a l m o d y Ca d e n c e s o f O n e A c c e n t 9 8 9 9 ;
, .
, ,

C a d e n c e s o f T o A c c e n t s 9 8 99 L o gi c a l A c c e n t 1 1 ; E p e s s i v e ,
. x r
A c c e n t 1 1 ; P h a s e o l o gi c a l A c c e n t 7 7 , 7 8 r .

A c c e n t u a t i o n ; 9 1 32 ; N e u m a t i c A c c I 3 ,
. .

A c c o m pa n i m e n t 2 5 4 .

A cu t e ; ( S e e A cc e n t )
A m b i t u s 39 .

A n cu s 2 3 .

A n c i e n t (t o n e s ) 96 1 13 ,
.

A n t i p h o n a l e Mo n a s t i c u m 1 0 3 1 0 5 2 9 5 , ,

A n t i ph o n a y o f S t r
e go y 2 7 9 282 . Gr r ,

A n t i t h et i c ( P a a lle l i s m ) 90 r .

A n a l y s i s I m p o t a n c e o f 2 64 r .

A po d o s i s 7 7 .

r
A p o s t o ph a n o t e s d e i v e d f o m 2 3 1 7 4 1 8 1 1 9 5 r r , ,
.

A r s i s ; t h e ge n e a t i n g fo c e 6 0 r
S e e a l s o 5 8 63 7 0 8 3 8 4 8 5 2 32 2 48 2 5 1 r .
, , , , , , , .

S e e a l s o E l a n Ch i o n o m y R h y t h m ,
r ,
.

A r re z o ,
G
u i do 15 28 S e e a lso u i don i an ,
. G .

r
A t i cu l at i o n 7 ; L i n k o f 79
'

r
A s t e i k s i gn i fi c a n c e o f 2 5 0 2 5 1
, ,
.

A t o n i c ( U n a c c e n t e d s y l l a b l e ) 99 1 0 2 , .

A u t h e n t i c ( M o d e s ) 38 3 9 ,
.

B ar ; H a lf B ar F u l l B a r D o u ble B a r 2 7 ,
S ee P a u ses , ,
. .

w
B e a t ; S i m pl e I n d i v i s i b l e 5 8 ; Co m p o s i t e in a y an d Te B r rn a ry 58 59
-
.

r
P e pa a t o y e at 80 r1 17 25 2 r B , ,
.

B e n e di ct ( S a i n t ) 2 16 .

B en e d ic t i n e L i fe a n d S p i i t 2 1 6
,
r .

B r
eu on Mo n a s t e y o f 2 8 0
,
r .

B i l i n gu a l M a n u s c i p t o f Mo n t p e l l i e 2 8 6 2 8 7
,
r r -
.

B r
in a y ; R hyth m i c D ivi sio n 5 8 59 61 S e e R hyt hm A lso , ,
. . 2 15 , 2 5 1 .

B i v i r g a I 7 1 6 1 2 35 , ,
.

Br e v i t y o f T o n i c A c ce n t 2 0 ; o f I n d i v i s i ble
,
eat 58 B .

B z
y a n tin e
Q u i l i s ma 2 0 8
,
.

C a d e n c e ; C h a r a c t e r i s t i c 42 45 46 49 5 0 5 1 ; M a s c u l i n e a n d F e m i n i n e 7 o ; , , , , ,

S p o n d a i c a n d D a c t y l i c 99 ; O f O n e A c c e n t 99 ; O f T o A c c e n t s 99 .

S e e C h a p t e r V I P s a l m o d y a n d C h a p t e r V I I L i t u rgi c a l R e c i , ,

t at i ve s I n A c c o m p a n i m e n t 2 63 2 68 . S p e c i a l t re a t m e n t o f -
.

D e u t e r u s 2 68 .

C e ph a l i c u s 2 3 .

Cl e f 2 5 .

C e l e r i t e r 1 6 1 2 0 5 2 35 S e e a l s o L e t t e rs
, ,
. .

C h i r o n o m y 6 3 6 4 66 6 8 7 0 7 1 8 2 8 8 ; 2 3 2 2 48 2 5 1
, , , , , ,
-
, , .

C h r o m a t i c 2 6 33 ,
.

Cl i m a c u s 1 9 2 2 ,
.

C li v i s I 7 1 8 2 2 30
, , , .
 w
3 02 A n aly tical I n d e x .

C o m p o s i t e ; S e e R h yt h m .

Co n s o n a n t s 6 7 S e e A rt i c u l a t i o n D e c l a m a t i o n
-
.
, .

C o n t r a c t i o n ? Co m p o s i t e R h y t h m b y 6 3 .

C re s c e n d o 1 0 9 S e e Ch a p t e r I n t e r p r e t a t i o n P a r t I I
.
, Ch a pt e r V I I I .

D a ct yli c ; r
o d s 69 C a d e n c e s 9 7 99 ,
-
.

D e n t e a s Mo d e 36 ; H a m o n i z a t i o n o f C a d e n c e s 9 7 99
r ,
r -
.

r
D i ae e si s o f S alicu s 20 6 2 0 7
,
.

D esroc q u et t e s ( D om H ebe t ) T o n a li ty T heo y 2 5 8 r r . A c co m pa n i m e n t s

2 1 » 2 7 3 2 7 4 2 75
7 , ,

D 1a t o n 1c 33 .

D i a st e m a t i c N o t a t i on I 5 ,
.

r
D i e c t u m T o n u s i n D i e c t u m 1 0 3 1 41
,
r ,
.

D i s c e e t 40 M o v e m e n t I n t e n s i t y e m o t i o n 2 33
r , ,

j
,

D i s u n c t i o n ; 1 63 ; o f g o u p s 1 6 9 ; l e t t e s o f 1 7 2 r r .

D i s s o n a n c e ; 2 67 .

D i s t r o ph a ; 2 3 1 8 7 s e e S t r o ph i c u s
,
.

D o m i n a n t ; o f Mo d e s 38 39 ; P s a l m T o n e s 9 6 -
.

D yn a m i c s ; 2 5 4 .

E c h o ; e ff e c t s n o t t o b e u s e d 8 8 .

E lan ; 80 ; se e A si s r .

E l e m e n t a y ; h yt h m 5 9 r r
Ch i o n o m y o f 8 2 . r .

E n cl i t i c s ; 9 .

E p i ph o n u s ; 2 3 .

E pi se m a ; 1 7 ; s e e I c t u s a n d H o i o n t a l rz .

x
E e c u t i o n ; s e e S t r o p hi c u s P r e s s u s S a l i c u s e t c , , .

E pi st le ; t o n e s o f 1 1 9 1 2 1 -
.

E d i t i o 1 S o l e s m e s R h y t h m i c 1 7 2 4 2 8 30 2 7 8
=
, , , , , ,
2 94 . E dit ion R he i m s
Ca m b a y 2 90 r .

F e m i n i n e Ca d e n c e s 70 .

F e st i v e : P s a l m T o n e s 1 0 3 1 0 8 -
.
(S ee S olem n ) ; of t he Ma s s 1 10 - 1 12 ;
Ch a p t e V I I r .

F i n a l o f M o d e s 38 39 -
.

F le a x S e e P salm o dy .

F l e xu s n e u m s 2 0 .

x
F l e i b i l i t y i n t h e c h a n t 2 30 .

G allica n ; se e St . Ga l l ,
Ma n u s c r i p t s ,
R h yt h m i c s i gn s , R hyt hm i c
L e t t e rs e t c ,
.

G a ja r d D o m 2 1 7 2 9 5 34
,
1 2 8 2 3 2 2 47 , .
, , ,
.

G e s t u re s 8 4 S e e C h i r o n o m y
,
. .

w
Gre go ry S a i n t 2 7 7 2 7 9
,
.

G
,

re go r i a n ( c h a n t ) s e e e s p e c i a l l y M e l o d y Mo d a l i t y R h y t h m , , .

Gra d u a l V a t i c a n 32 ; L i b e r Gr a d u a l i s
,
2 8 3 S e e Mu s i c a l I n d e x . .

Gro u p s : R h y t h m i c 69 ; T i m e gro u p s 67 ; D i s u n c t i o n o f gro u p s 1 69 ; j

Go n t i e r ( R e v ) 2 8 0 .

Gu i d e 2 6 .

G u i d o n i a n 1 60 2 0 0 S e e Ma n u s c r i p t
, ,
2 89 . .

G u e r a n ge r ( D o m ) 2 1 6 2 37 2 7 8 2 7 9 2 8 9 , , ,
-
.

Gre e k I n fl u e n c e o f Gr e e k m u s i c 32 .

H e x a c h o r d T h e o ry 6 1 ;
H e b re ( P o e t ry ) 8 9 .
3 04 A n al y ti c al I nd x e .

Mo d u l a t i o n 5 2 5 6 ; 2 5 2 2 60 , ,
.

Mo v e m e n t d i s c r e t i o n o f L e ga t o e t c ( s e e C h a p t e r I n t e rp re t a t i o n ) 8 0
, , ,
.
,
2 18 .

Mu s i c Gre go r i a n C h a n t gr e a t Mu s i c 2 1 4 2 1 7 , .

Mo r a v o c i s 1 2 2 6 ; 7 9 8 0 i n t h e m a n u s c r i p t s 1 5 7 1 7 2
, , , .

r
N e u m s ( s e e P a t I Ch a pt e I I ) a ls o P e s P o d a t u s T o c u lu s P o e c t u s,
r , ,
r ,
rr etc .

N e u m a t i c ; n o t a t i o n 1 3 Ma n u s c i pt 1 9 8 ; o u p b e fo e O r i s c u s 1 99 r Gr r .

r
N o t e s d e i ve d f o m A po s t o ph a 2 3 ; s e e n e u m s g o u ps r r ,
r .

N o t a t i o n s e e N e u m a t i c D i a s t e m a t i c , Ch i r o n o m i c P a t I , C h a p t e I I
, , . r r .

N u a n c e 8 3 1 68 1 8 5 2 1 2 , , ,
.

N o t ke r 1 5 5 1 5 6 ,
.

O ffe t o r y ( S e e M u 5 1c a l I n d e x ) .

O pu s D e i 2 1 6 2 1 7 -
.

O ri s on s 2 4 3 2 ; 1 9 5 2 0 2 ,
P la c e o f R hy t h m i c I ct u s -
. n ea r 32 , 2 0 1- 20 2 .

I n t e rp r e t a t i o n o f O r i s c u s 1 9 9 —2 0 0 .

O rga n p l a c e i n t h e L i t u r gi c a l S e rv i c e 2 69 2 7 6
, , .

O rga n i s t i n L i t u rgi c a l S e r v i c e 2 7 6
,
.

é
P a l o g a p h i e Mu s i c a l e 7 5 2 8 3 2 9 5
r S e e a l s o Mo c q u e r e a u G a j a r d ,
-
.
, .

P a s c h a l T o n e 10 4 ,
.

P a u se s 2 7 In P salm o dv 10 2 ;
, ,
en e al u le s 2 49 ; at a st e i k 2 5 0 G r r r .

Q u a l i t y 2 49 .

P e s P o d a t u s d e i va t i o n 1 4; a l s o 1 7 a n d 1 8
-
,
r .

P eace a q u ality of
,
e go i a n C h a n t 2 1 6 2 9 5 Gr r , .

P l a ga l M o d e s 3 6 39
,
-
.

r
P h ase t h e e go i a n 1 2 3 2 6 2 Gr
7 6 2 8 1 S e e a l s o Me l o dr m e l i s m a
, y , , , ,
.
, .

rr
P o e c t u s o i gi n o f 1 5 ; 1 9 2 3
,
r -
.

r r r
P e pa a t o y (n o t e s ) i n P s a l m o d y 1 0 2 eat s 84 S e e a lso P eli m i n a y B r r

w
. .
.

r r
P e l i m i n a y ( b e a t s i n Ch i o n o m y ) s e e a b o v e p e p a a t o y r -
r r r .

r
P on u n ci a t i o n S e e L a t i n A c c e n tu a t i o n , , .

r
P ot hi e (D om ) 2 8 2 2 83 ,
-
.

r r
P o t i o n ( P o fe s s o ) 2 5 5 2 6 1 2 6 2 2 6 3 2 64 2 65 2 66 2 7 1 2 7 3 r , , , . , , , , .

P r e s s u s 30 3 1 ; 1 7 4 1 8 0 ; s e e a l s o A po s t o p h a
,
P r e s s u s Ma o an d
-
r . j r
P r e s s u s Mi n o 1 7 5 r .

r
P o p h e c y T o n e f o r 1 1 8 ; t e m i n a t i o n 1 44
,
r .

r
P ot a si s 77 85 ,
.

P r o t u s 3 5 36 S e e a l s o Mo d e s H e a c h o d
, .
,
x r .

r
P u n c t u m ; O i gi n o f 1 1 ; S q u a e 1 6 ; D i a m o n d 1 6 ; P u n c t u m P l a nu m r
15 1 153 ; 155 L o n g P u n c t u m o f Me t N o t a t i o n 1 5 9 ; a l so 1 6 0
-
. z .

P salm o d y S e e H e b e In t on at ion T en o D o m i n a n t Me d i a n t P l e u s
r , ,
r , , ,
x
C a d e n c e T e m i n a t i o n T o n e A n t i ph o n S po n d a i c D a c t y l i c e t c
, r , , , , ,
.

r
P o t i e ( Ch a n o i n e ) E a m p l e o f e go i a n A c c o m a n i m e n t 2
p 74 x Gr r .

Q u a rr ( A b b e y o f ) 93
2 .

r
Q u a d a t u s ( P e s ) 1 5 1 1 5 2 ; (P le u s ) 15 2 ,
x .

Q u a s s u s ( P e s ) 1 5 2 ; Q u a s s u s F l e xu s 1 5 2 .

Q u a n t i t y ; e a t S y l l a B
b l e ,
.

Q u i l i s m a 3 1 3 2 ; In t e p e t a t i o n 2 0 8 2 1 3
, ,
r r -
.

R ecitat ive S e e L i t u gi c a l R e c i t a t i v e s ( e n e a l I n d e ) T e m p o r G r x of 86 .

R e c t o T o n o 1 1 0 ; s e e T o n u s i n D i ec t u m r .

R e m o Ca m br a s i a n ( E d i t i o n ) 2 8 7
, , .

r
R e p e c u s s i o n s e e S t r o p h i c u s B i s t r o ph a , T r i s t r o p h a
, , .

R e p o s e o ppo s i t e o f E l a n
,
S e e T he si s S e e Mo m voe i s 8 0 . . . .
R hyt hm ; N at u e o f 5 7 5 8 ;

eate R hythm 75
o d
o f W h o l e B a r 6 1 ; Co m o s i t e R h t h m b
p

R h y t h m i c ; s i gn s o n S t a v e 2 6 ; I c t u s 6 5 7 1 ;
r
h y t h m 5 9 ; I n c i s e a n d H a l f B a r 60 ;
y y
r
u t a p o
b y C o n t a c t i o n 6 3 ; o f A s s o c i a t e d W o d s 66 ; o f N e u m s 6 7 ;
Gr r
s i t

o u p s 69 ; M a n u s c i t s
R h y t h m i c S i gn s i n M a n u s c i p t s C h a p t e I P a t I I
L et t e s (S ee L e t t e s) r
i
,

p
n 63 ;

75
R h yt h m i c
A n
w
a ly t i c a l

r
r r

.
r
I

,
nd e x

Gr
.

r ,
J x

r .
r
305

R e s p o n s e ( S e e L i t u gi c a l R e c i t a t i v e s en e a l In de
) r ,
G r x .

r
R e s p o n s o i a l ( C h a n t s ) 34 .

R e s po n s o y ( S e e Mu s i c a l I n d e )
r x .

R e s t o a t i o n ; M e l o d i c 2 8 1 ; R h y t h m i c 2 8 7 ; S e e Gu e r a n ge r
r Ja u s i o n s , ,

M o c q u e r e a u P o t h i e P a l eo g a p h i c M u s i c a l e G a ja r d , r , r , .

R e s u pi n u s 2 0 S e e a l s o P l e u s R e s u pi n u s 2 0
,
x .

r
R i t a d a n d o ( R a l l e n t a n d o ) 1 35 d i s c e t i o n o f 2 1 8 ; i n Ma n u s c i p t s 1 5 6 r r .

R o m a n i a n ( S e e E pi s e m a ) .

St . Ga l l R h y t h m i c s i gn s o f 1 5 0 1 6 1 ; s e e M a n u s c i p t s
150 , N o t ke r -
r ,

N eu m s Lette s r

w
.
,

S a l i c u s 1 9 fl e x u s 2 0 ; I n t e p e t a t i o n o f 30 2 0 3 N e u m a t i c e q u i v a l e n c e s
, ,
r r ,
°

of 204 20 6 R h y t h m i c I c t u s n e a 30 2 0 3 2 0 6
-
. D i ae esi s of 20 7 r , ,
. r .

S can di cu s 19 30 F l e x u s 2 0 ; S u bb i p u n c t u s a n d S u b t r i p u n c t u s 2 1
,
.

L i q u e sce n t 2 3 E o n e o u s u s e o f S c a n d i c u s fo r S a l i c u s 2 0 6 rr
S
. .

U s e o f t h e s a m e i gn fo r P r e s s u s a n d S a l i o n s 2 0 4 .

S c a l e ( S e e Mo d e s ) .

S i gn s ( S e e S t a l l M a n u s c i p t s L e t t e s Me l o d i c )
. G ,
r ,
r , .

S o l fe ggi o 2 7 .

S o u pl e s s e ( S e e F l e i b i l i ty ) x .

r
S pi i t o f ,
Gr
e go i a n C h a n t 2 1 6 ; r
e n e d i c t i n e S pi i t 2 16 B r
S po n d e e ( s y l l a b i c i n A n t i ph o n s ) 7 5 ;
S pon d a i c o d 8 5 ; Ca d e n c e s 99
,
r S e e a lso T a bl e o f P s a lm T o n e s 10 5 10 8 .
-
.

S t r o ph i c u s D e i v a t i o n ,
r
f o m A po s t o ph a 2 3 In te p e tat i on of 31 r r r r ,

an d C h a pt e IV P a t I I A ls o D i s t r o ph a r
T r i s t r o ph a ,
r .
,
.

R e pe c u s s i o n s o f m a n y n u a n c e s r P a t I I , Ch a pt e I V . r r .

S t y l e o f S o l e s m e s 2 1 5 ; o f a c c o m p a n i m e n t 2 69
,
.

S u b pu n c t u s 2 1 S u b b i pu n c t u s s u b t r i pu n c t i s 2 1
.
,
.

S yl l a b l e 8 A t o n i c 99
,
. .

S y n o n o m o u s P a a l l e l i s m 90 ,
r .

S y n c o p a t i o n i n a c c o m p a n i m e n t 2 65
,
.

S yn t h e t i c P a a l l e l i s m 9 1
,
r .

r
T e n o (se e D o m i n a n t ) .

r
T e m i n at i on ; o f P salm T o n e s 10 2 10 5 10 8 S e e a l s o Ch a p t e L i t u gi c a l , ,
. r , r
R e ci t at i v e s .

r r
T e n a y ; E l e m e n t a y b e a t s 5 7 C o m p o s i t e T er n a y r e a t 5 9 ; D a n ge of ,
r B r
m a ki n g a T i p l e t 2 2 0 r . .

T e t r a r d u s ; 35 37 I n H e a c h o d s 2 6 1 2 6 3 -
x r -
.

x
T e t ; I m po t a n ce o f a c le a r d e c l a m a t i o n o f 9 1 1 0 1 32 N e ce ssity o f
. r , ,
.

stu dy i n g T e t 2 14 2 1 5 2 30 x , ,
.

i
T he s s ; O f W o d s 59 ; S e e P a t I C h arp t e I V a n d C h a p t e V A l so r ,
r ,
r .

P a t I I Ch a pt e V I I Ir ,
r .

T o n e o f P s a l m o d y S e e P a t I C h a pt e V I ; a l s o T o n u s I n d i r e c t u m
,
r ,
r .

T o n a l i t y 40 5 6 ; 2 5 8 2 64 ,
-
.

T o n i c ( s e e F i n a l ) 34 40 -
.

r
T o cu lu s 9 ; 1 L i q u e s c e n t 2 3; R e s u p i n u s 2 0 D a n g e o f t i p l e t 30 2 2 0 . r r ,
.

r
T a n s po s i t i o n 39 .
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3 06 A n al yt i c a l I nd xe .

T r i s t r o p h a ( S e e S t r ophi c u s ) .

x
T r i t u s 37 ; I n H e a c h o d s 2 6 1 r -
2 63 .

U n d u la t i on 84 8 5 S e e C hi r o n o m y
-
. .

U n i s o n ( C h a n t ) v a l u e o f 2 9 6 ; O r i s c u s a t 2 0 0 ; Me l o d i c L e t t e f o r 1 6 0 r

w
'

w
S a l i on s a t U n i s o n 2 0 2 2 0 6 ,
.

U n i t y a s a fa c t o
,
in r
e go i a n Gr
Ch a n t 2 9 6 r
Of t he L at i n o d an d . r
P h a se 9 r r
U n i t y o f S p i i t a n d p u r p o s e n e c e s s a y fo r p e fe c t
. r r
r
e n d i t i o n o f t h e Ch a n t 2 1 6 .

Va l u e ( o f n o t e s ) s e e Be a t I n d i v i s i b i l i t y
, .

Ve r t i c a l ( E p i s e m a ) S e e I c t u s E p i s e m a ,
.

V i b ra t o S e e Q u i l i s m a S t r o p h i c u s R e p e rc u s s i o n
, , , .

V i r ga 1 4 1 6 ; I n S t r o p h i c u s 1 8 3 1 8 4
, ,
V i r ga j a c e n s 1 5 1
, S e e P u n ct u m
. .

P lan u m V i r ga t h e s a m e v a l u e a s o t h e r s i m p l e n e u m s 2 2 5
.
, .

Vo i c e ; q u a l i ty a t S o l e s m e s 2 1 6 N e c e s s i ty o f b l e n d i n g p e r f e c t l y 2 1 6
. .

Vo e l s 4 5 ,
.

W o rd s ; T h e T o n i c A c c e n t t h e so u l of 8; n ece ssi t
y of p ro n o u n c i n g ell 9;
R h y t h m i c W o d s 66 ; T i m e
r W o rd s 67 .
308 A n al yt c
i al I nd x e .

r
P a c e m e l i n q u o v o b i s ( Co m m .
)
Pue rJ e su s ( An t .

r
P u e n at u s e st ( In t r .

P r e c a t u s e s t Mo y s e s ( O ffe t r .

Q u in qu e p r u d e n t e s ( Co m m ) .

R e q u i e m a e t e rn u m ( I n t r ) .

R e s u r r e xi ( I n t r o i t )

S a n c t u s ( XI )
S an ct u s (I)
S a n c t u s ( I X)
S ecu s dec u rs u s a q u aru m ( A n t .

S p e c i o s a fa c t a e s ( A n t
S t at u i t (In t r ) .

Te D eu m ( u ta m o J x re m R om an u m )
T a n t u m e go r
rr
T e a t r e m u n t ( O ffe r t)
U rb s J e r u s a l e m ( H y m n )

Ve n i S a n c t e S p i r i t u s ( S e q )
Ve n i s p o n s a C h r i s t i ( A n t ) .

Vi d i a q u a m ( A n t ) .

Vi d e D o m i n e ( A n t .
)

I m p ri m é en B e l gi q u e p ar l a S oc i é t é S .
J ea n l E v an géli s t e
’
, Dz s c u t r-
z 8: Ci e . T o urn a i .