92

Part I.

Three lines Synonymous.

Psalm 93, 3.

" The floods have lifted up, O Jehovah,

The floods have lifted up their voice;

The floods lift up their din ".

Two lines Synonymus, and the third supplementary.

Psalm 2, 2.

" The kings of the earth take their stand,

And rulers hold conclave together.

Against the Lord and against his anointed ".

Two lines Synonymus, and one Antithetic.

Psalm 54, 3.

" For strangers are risen up against me,

And violent men have sought my life :

They have not set God before their eyes ".

And so on. All kinds of combinations are to be found.

The chanting of the Psalms, has always been closely bound up with the singing of the Antiphons which precede and end each Psalm — In ancient times Antiphons were intercalated between each verse. As these Antiphons w^ere written in any of the Eight Ecclesiastical Modes, which we have just explained, according to the choice of the composer, or the suitabflity of the Text to the Mode, it has been necessary to have as many Psalm Tones as we have Modes, which is Eight. To these we add a Ninth, the Tonus Peregrinus (foreign tone). It is always the Antiphon which decides the Tone in which the Psalm is to be sung, and the formula once decided, the whole Psalm, is to be sung to it. The Antiphon is always a few^ words or a Verse of the Psalm which is to follow.

Psalmody is the singing of the Psalms, with their proper Antiphons. The term also includes the Canticles, especially those of the New Testament, the Magnificat, Benedict us, and the Nunc dimittis. The usual place of the Psalmody is the Office, although we find a certain amount of this type of Song necessary to the other Services of the Church.

Chapter VI. — The Psalmody.

93

In every Psalm Formula, we distinguish Six Elements :

a) Intonation.

b) Dominant (ist Half of Verse).

c) Flexa.

d) Mediant Cadence.

e) Caesura.

/) Dominant (2nd part of Verse). g) Final Cadence.

We give the Fifth Psalm Tone as an Example, as it is the simplest, and has only one Final Cadence :

Psalm Tone V.

The Intonation is a brief melodic formula which serves as a link between the Antiphon and the Tenor or Dominant. In Psalm Tones 2, 5 and 8, it consists of three different notes; in the 7th Tone, 2 groups of notes, and of one note and one group in Tones i, 3, 4, 6, and the Tonus Peregrinus. The Intonations of 2 notes or groups are adapted to the first two syllables of the Verse; those of 3 notes or groups are to the first 3 syllables of. the Verse. There is no exception to this Rule, and, as in all Psalmody, the groups cannot be divided, but must always be sung to a single syllable.

^

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i) Jubi-la-te Deo omnis ter- ra * servite Domino in lae- ti-ti- a.

(2) Introite in

conspectu e- jus* in exsul- ta- ti- 6- ne.

(3) Scitote quo- niam Domi-

nus ipse est De- us* ipse fecit nos, et non ipsinos.

T-7 / \ (see below)

Flexa _(5]; ' ^

Gloria Patri

et Fi-li-o * et Spi- ri-tu-i Sancto.

Sicut erat in principio et nunc et semper* et in saecula

saecu- 16- rum.A-men.

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THE FUNDAMENTALS

OF

GREGORIAN CHANT

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THE FUNDAMENTALS

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GREGORIAN CHANT

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THE FUNDAMENTALS

OF

GREGORIAN CHANT

a simple exposition of the solesmes principles founded mainly on "Le Nombre Musical Gregorien" OF DoM Andre Mocquereau,

BY

LURA F. HECKENLIVELY

SOCIETY OF ST JOHN EVANGELIST

DESCLEE & Co

Printers to the Holy See and the Sacred Congr. of Rites

TOURNAI (Belgium)

Printed in Belgium

BERKELEY MUSIC LIBRARY

UNIVERSITY OF CALIFORNIA

<^r

ALL RIGHTS RESERVED.

* .1

I '■

TO DOM JOSEPH GAJARD

AND THE MONKS

OF St. PIERRE DE SOLESMES

WHOSE KIND CO-OPERATION

HAVE MADE THIS WORK

POSSIBLE

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i-bi- mus. Gloria Patri.

INTRODUCTION.

The terms ' Gregorian Chant ', ' Plainchant ', * Plainsong ', Liturgical Chant ', ' Cantus Planus ', and other similar appellations, denote that universal liturgical song of the Latin Church, from the first centuries to the present time. It is the only liturgical music of the Roman Church, as it is the only music sung at the altar. While Classical Polyphony and the music of other great schools of Church Music are permitted, the ' Chant ' remains the true Song of the Latin Church.

The Latin term, ' Cantus Planus ' refers to the ancient mode of execution, since the difference in the duration of the single notes of the (Plainchant' was not so great as in Figured Music. According to an author of the 13th Century, ' Elias Salomon ', ' It is a music sung on one plane, and no part of it is to be quicker than the other ', which simply means that each note is equal.

In the Middle Ages before the invention of Part Music, before the 12th Century, only general designations such as ' Cantus ', ' Cantilena ', ' Musica Sacra ', were used; it was not necessary to use a distinguishing term for the chant, until there was beside it another kind of Music, Measured Music; and it is really from the 12th and 13th Centuries when part music began to develop that the term, ' Cantus Planus ' comes.

The subject of Gregorian Chant involves two branches of study : The History of Liturgy, and the History of Music. Gregorian Music has grown out of the Liturgy, and in the early ages was inseparable from it ; it was not until recent times that the Choir has been rather an adjunct than an integral part of the Liturgy. (The early idea still prevails in Rome, to some extent). Thus it was most necessary from time to time, to ^ reform ' the Chant as the Liturgy itself was developed.

Introduction. ix.

In the study of Plainchant, it is a valuable help to keep in '^^ mind that there were always two kinds of contrasting Chants : \^ a< The Solo or Responsorial Chants, and the Choral or Antiphonal >^ Chants. In tracing the Liturgical developments, it is always r^^ evident which parts at certain periods were given to the < Congregation, and which parts were given to the trained singers. For instance, in the early centuries, the Chants of the ' Ordinary ' being sung by the people and the ministers at the altar, were very simple; while the Graduals, Alleluias, Tracts, etc., were elaborate, and were allotted to trained singers; it was not until the ' Ordinary ' was taken away from the congregation and turned over to trained singers, that its importance arose above that of the ' Proprium '. In the early days, to write a ' Mass ' meant, to write the ' Proprium ', or variable section, while in Modern times a ' Mass ' consists of the invariable parts, or ' Ordinarium '.

For the Church Musician who is to become associated with choirs in the Roman or Anglican Churches, the study of Gregorian Chant is an absolute necessity. For the Church Musician in general, this study may be found a very valuable asset, as many forms of Church Music are founded on the Liturgical Chant. In almost every piece of Classical Polyphony appears a Cantus Firmus of Plainchant, around which the contrapuntal texture is woven : Notable examples are the Ave Maria, and the Tantum ergo of Thomas Luis de Victoria. Many Hymns used in Protestant Churches have Gregorian ancestry; Anglican Chant is but a variation of the earlier Plainsong, and a thorough knowledge of the more ancient form is a great help in the interpretation of the variation, especially as to Rhythm. Many modern Anthems, Services, Canticles, etc., are written with changing time signatures, and some even in Free Rhythm. The student of Plainsong will find greater facility in handling these than the organist or conductor who has had no experience with Gregorian Rhythm. To the aspiring Composer, this study adds new inspiration and opens new portals, and simply as part of the History of Music, it deserves an important place.

X. Introduction,

The student of Measured Music who enters into the study of this ancient song, must put aside altogether his old ideas, and place himself in a very different world of Musical art. He must shake off the coils of Harmony and Counterpoint, and learn to study naked Melody without feeling any Harmonic response whatsoever. He must try and place himself in the spirit of the age, and give his soul to the lofty inspiration of the Liturgy. With such a mental attitude, and a great deal of patience he will find himself more and more entranced by the ever new mysteries revealed to him.

In this brief Treatise on the Liturgical Chant, I am not attempting to transcend the many valuable works on the subject. It is to be a simple explanation of the Theories of Solesmes, with a few practical suggestions as to its interpretation. I have tried to simpUfy some of the complex problems, which are well explained in other languages, especially French. As every musical student is not an expert in foreign languages, and can not read the great amount of literature on our subject in other languages, I hope I have contributed something in this direction. I shall be very happy if this small volume succeeds in clarifying the intricate problems involved, and most of all, if it awakens some of the love I have for this ancient music.

The Author.

PART I.

The Fundamental Principles of the Theory,

All translations from " Le Nombre Musical Gregorien ", and other Solesmes books were made with the authority of the monks of Solesmes.

CHAPTER I.

THE LANGUAGE OF THE CHANT.

All song is born of the union of tones and words. These two elements are closely bound together and aid each other mutually. The words animate and bring out the sense of the melody, which without them would have Httle meaning; on the other hand the melody transfigures the text by supplying energy and expression. If this is true in all vocal composition,' it is especially true in Plainsong, where in many cases notably that of the Psalmody, there is simply a solemn and majestic declamation of the sacred text. Whether the Chant be sung in its original Latin or another language, it is first necessary to learn and apply the rules of good declamation.

In discourse we have syllabes grouped together in different ways to ioim -words; from words are born the phrase members, and from these are developed phrases and periods. The syllables must be clearly and correctly pronounced, words correctly accented; phrase members, phrases and periods must be clear with pauses of the right proportion.

The language on whose framework Plainsong is constructed is the Latin language, and from this language it takes its character and its rhythm. Out of the smooth flow of spondees and dactyls comes the delicate interplaying of the binary and ternary groups that compose the free rhythm of Plainsong.

A thorough knowledge of the peculiar characteristics of the Latin language, as well as the proper pronunciation of the words and syllables, and the meaning of the text, is absolutely necessary to the Plainsong student. The sharp, light nature of the Latin tonic accent which has the time value of only a single 8th note in music, the weak final syllable which is always soft and thetic, the clean crisp pronunciation of every vowel and consonant are only a few things to keep in mind. The choir should be made to practice reading the Latin text with the intention of conveying its full meaning, and with a slight lift of "the tonic accent. Every Latin word has its Arsis and Thesis, or movement of hfe and repose :

Pa- ter, no- ster, Do- mi- nus, ad te.

Chapter I. — The Language of the Chant. 3

In the history of the Latin language we distinguish four periods :

First Period : Prehistoric and Archaic, begins when the Latin language came to be distinguished from other Roman dialects and became a distinct language. This period extends to the second century before Christ, and is characterised by the existence of a double accent, one intense on the first syllable of each word, the other musical or melodic which consisted of an elevation of the voice on a syllable of the word other than the initial syllable. This was called the accent of height.

Second Period : Classic. Begins about the second century before Christ, and continues to the end of the fourth century of the Christian Era. The accent preserves its original melodic character inherited from the Sanscrit and Indo-European languages, but slowly and gradually acquires a certain intensity. The Latin of this period takes on the quantitative element of the Greek language, artificially distinguishing long and short syllables, and taking this element as a basis of rhythm. At this point the permanent rules for accentuation are made always on the penultimate if it is long, or on the antipenultimate if the penultimate is short.

Third Period : Post Classic. Begins at the end of the fourth century and is prolonged during the whole fifth century and beyond. It is characterized by a complete transformation of the accent; it preserves its ancient melodic character, but at the same time becomes strong : Fusion on the same syllable of the two elements tone and strength. The quantitative element disappears and all syllables become relatively short. At this period we have the appearance of primary and secondary accents. This language without prosodic quantity with intense melodic accent and counter accents is the language of the ecclesiastical or Gregorian period.

Foitrth Period : This, the Romance period is a con- tinuation of the preceding period. This is the Epoch of the formation of the Romance Languages, daughters of the Latin Language. The accent by evolution becomes intense to the point of coarseness, and takes on a quantitative character.

Of these four periods the one which is of interest to us is the Third, or Gregorian Period.

Part I.

The Pronunciation of Church Latin.

Church Latin in most cases is pronounced Hke correctly spoken Roman Italian. However in the Italian we find syllables often run together, such as " maggiore ", " gloria " instead of " glo-ri-a " , etc. This cannot be in Latin, where every syllable must be clear and crisp. Too, some Italian words are accented on the last syllable, an impossibility in the Latin. We have spoken of the character of the Latin accent in preceding paragraphs.

The letters are divided into vowels and consonants :

Vowels.

In Latin each vowel must be given the proper timbre and to preserve its proper color the slightest change in the position of the lips or tongue must be avoided during its articulation. There must never be that mixture of sounds peculiar to the English language; but the vowel sounds must be as far as possible, uniform. It is very important while singing extended melismatic melodies, to keep the same timbre of the vowel throughout.

A — has a broad open sound like the a in the word father, never like the English a in can.

E — has no exact English equivalent. It is between the e in the English word met and the a in flame, same.

I — is pronounced like ee in feet, or ea in seat. It must never be like the i in milk — inimicus is pronounced eeneemeecoos .

0 — as in the English for, half open and uniform. Glo-ri-a, ora.

U — is pronounced like the oo in the English word moon. Never the English w in use, sure, pure, etc. Examples : miiltus = mooltoos; secundum = sdiycoondoom.', the oo must not be too long.

y — always treated as a vowel, never like a consonant. Pronounced like Latin / — Marteer.

Consecutive Vowels.

As a general rule when two vowels come together, each keeps its own proper sound and constitutes a separate syl- labe : diei = di-e-i, filii = fi-li-i, eorum = e-o-rum, etc. This rule

Chapter I. — The Language of the Chant. 5

applies to on, and ai : both vowels are heard separately and belong to two different syllables, Examples : pro-ut, coutuntur = co-iituntur, ait = a-it.

Note ■ — AE and OE are pronounced as one sound, like E above : caelum, saectdorum.

In AU, EU and AY, the two vowels form one syllable, but both vowels must be distinctly heard. The principal emphasis and interest belong to the first vowel : In ^ L^ and E U the U takes a secondary place and almost forms a liaison with the following syllable. If several notes are sung on this combination, the vocalization is entirely on the first vowel, the second vowel being heard only on the last note at the moment of passing

to the following syllable. Examples — Lauda, Euge, Raymundus.

Offert.

— **n?'FlrV^"^i-

ii4^_V

Lau- - - da. Eu- ge.

Rend. La- - u- da. E- u- ge.

EI is similarly treated when it occurs in an interjection : hei ■ — hei, etc. In all other cases it follows the general rule of the two syllables. Examples : me-i, De-i-tas. U preceded by Q or NG and followed by another vowel keeps its normal pronunciation, but is uttered with the vowel which follow^s as one syllable; the following vowel keeps its proper timbre. Examples : Sanguis, qui, quae, quod, quam, quoniani. In these words the U plays the part of a liaison as in the case of AU and EU , except that it is at the beginning of the syllable and not at the end. The rule for AU and EU is> to be applied, but in reverse order. GUI follows the general rule of two syllables, and must be clearly distinguished from qui ; however in certain hymns because of the metre, this word has to be treated as one syllable : The Epiphany Hymn for Lauds will illustrate :

Mai or Bethlem cui contie^it Also the Hymn for the Dedication of Churches : cui laus potestas e^loria

The metrical rhythm makes these cases easy to determine.

Part I.

Consonants.

As the name indicates, consonants can only be pronounced in conjunction with the vowels, and form the motive power of these. They must be pronounced with a certain crispness and energy; othen\ise the diction will not be clear, but weak and unintelligible.

C — when it comes before E, AE, OE, I and Y is pronounced like ch in church. Examples : caelum = chayloom, Cecelia = Chay-chee-lee-ah.

C — likewise when it precedes these hard vowels A, 0 and U, is pronounced like the English K. Examples : caritas, corpus, cum.

CC — before the same vowels, like tch. — Ecce = etchay.

SC — before the soft vowels is pronounced like sh. Examples : Ascendit = A-shen-deet, Descendit = de-shen-deet.

SC — before the hard vowels a, o and n is hard, as the English word scan, scourge, scum.

CH ■ — is always hard, even before the vowels e, i and y. Examples: C/zm/z/s = Krees-toos; Cherubim and other words of Greek origin.

G — is soft before e, i, ae, oe and y, as in the English word germ, generous, etc. Latin examples : Genitori, Regina.

G — is hard in all other cases, Hke in the English word go. Examples : Gloria, Gr alias ^ etc.

GN — has the French sound heard in the word Agneau : the Spanish word Montana, and the English word onion. Examples : Agnus = Anyius, Magnificat = Manyi-fi-cat.

H — is pronounced like K in mihi (meekee), and nihil (neekeel) and their compounds. These two words were formerly written michi, and nichil. In all other cases H is silent. Examples : ora = hora, habitat = abitat.

/ — is often written /, and is pronounced like the English Y. It must be uttered as part of the following vowel, and the two sounds form only one syllable. Examples: Jam or I Am;

Allelu-ja or Allelu-ia (never as in the Greek Allel6u-i-a). Jesus or lesus; Jo-annem or lo-annem. The vowel following / plays the most important part in the syllable, and on it the neums are sung when they occur in such a place.

Chapter I. — The Language of the Chant. 7

R — should always be trilled slightly as in Italian. When it precedes another consonant, as in carnis and martyr, care must be taken not to pass over it as in cultivated English. It is important, too not to shorten or modify the vowel in the syllable preceding the i?, as is done in French, Italian and other languages.

S ■ — is usually hard and dental as in the English words yes, sea, source, and so on; however, it is slightly softened when it comes between two vowels : misericordia, miserere.

TI — before a vowel and preceded by any other letter except 5, r or X is pronounced tsi. Examples : Gratia = Grat-see-a, Laetitia = Lay-tee-tsee-a, Patientia — Pat-si-en-tsi-a. But Modestia.

T — as in English, except in the last instance and before H where it is silent : Thomas = Tomas, Thesaurus = Tesaurus etc.

X — in most cases has the same sound as in English. But XC before e, ae, ce, i and y must be carefully noticed. It is equal to K plus SC. We have noted above that the soft combination SC when followed by the soft vowels e, ae, oe, i and y, is pronounced sh ; putting these together we have K-sh. A notable and often mispronounced example is Excelsis properly Ek-shel-sees. Also Excessus = Ek-shess-oos.

X — is slightly softened when it comes between two vowels : Exercitus = Eg-zer-chee-toos.

XC — when followed by the hard vowels a, o, and w, has the normal sound : Excussorum = Eks-coos-so-room. Y — see vowels. Z — pronounced dz. Example : Zizania = dzi-dza-ni-a.

The rest of the Consonants : B, D, F, K, L, M, N, P, Q, V, are pronounced as in English.

Double Consonants : both must be clearly articulated. Examples : Bella = Bel-lo; Altissimus = Al-tis-si-mus ; Piissime = Pi-is-si-me.

In the pronunciation and singing of a w^ord, never take a breath before a fresh syllable of a word.

In singing, the vowels should appropriate the value of the notes assigned to them, as far as possible ; the consonants must only occupy as much time as is necessary for their clear articulation. No matter how many notes are assigned to a syllable, every one must be sung on the vowel, and the vowel must not undergo any alteration because of the consonants in the course of a long passage.

8 Part I.

In long words like om-ni-po-ten-tem, mi-se-ri-cor-dia, and all dactyls, care must be taken to pronounce every syllable and not to slide over any of them.

There must never be a " coup de glotte " on attacking, such as miser ehatiir, Filihus, etc.

The Greek word, (Ivjpisj'sXs'.o-ov (eleison) has four syllables, not three.

The nature of the Latin Tonic Accent (^),

With syllables are formed words. But the syllables by themselves are only the material and unformed elements of words. That which constitutes properly the word and gives it its form, its being, its life, is the accent.

The accent molds and unites all the syllables of a word, and helps the ear distinguish in discourse one word from the other. L-et us review the profound and substantial difference existing between the Classical Latin accent and that of the later centuries : In the Classical Epoch the Latin accent was essentially musical and melodic. The Latins like the Greeks uttered and declaimed the different syllables of the same word with different sounds and intonations. That syllable (there was only one) which occupied the highest place in the word carried the Tonic Accent, called the Acute o^sla. The others (syllables) which preceded or followed it, and grouped around it, and subordinated to it, carried the Grave Accent, in Greek [jacfia. The sign of the Acute Accent was a small oblique line ascending from left to right (() ; that of the Grave Accent, on the other hand ascending from right to left {\). Those syllables which were found between the Acute and Grave Accents, were uttered in ha]f voice : thus they had an Accent which was called the Medio (to ijistov)

mu-

grave

From this alternation of Acute and Grave syllables was born a simple and natural melody. Thus Cicero would say, " Est autem in dicendo qiUdam Cantus ohscurior". — (Orat. XVIII).

The Latin Language, in contrast to the Greek never elevated the final syllable but only the penult and the antepenult. For this reason it was called " baritonale " Language, or a Language with a descending cadence.

(1) D. Paolo M. Ferretti. " Principii Teorici e Pratrici di Canto Grego- riano ". Roma, Desclee e Ci. 1937-

Chapter I. — The Language of the Chant. 9

In the Post-Classic Centuries, because of the slow transfor- mation and evolution to which Language was subjected, the Latin Tonic Accent became strong, intense and therefore a rhythmic factor. Nevertheless it never at all lost its melodic inclination; proof of this are the melodies themselves in which the accented syllables occupy almost always a note or a group of " acute " notes, as also the fact that we (the Italians) pronounce the syllables of the words with various intonations.

Therefore while pronouncing the syllables, it is necessary to blend them and link them so that the ear may distinguish which syllables belong to each word. This " fusion ", this legato, this indivisible unity, is impossible to obtain unless each word is pronounced with a single vocal impulse, which, commencing with the initial syllable and rising to its highest point on the Accented syllable, without arresting the movement either by a breath pause or a prolongation pause. To stop for any reason in the middle of a word, or, what is worse, to attack each syllable with a heavy vocal stroke, is to destroy the unity of the word as well as the word itself, and is to spell it, not to speak it. To give to the accented syllable a rough, loud accent is to obscure and render unintelligible the others. The Accent must be light, simple, delicate and spiritual. Only thus may be called into being the form and soul of the word.

Rules for Latin Accentuation.

In Latin all words which have a distinct meaning possess an accented syllable; this includes monosyllables. Thus the following have no accents :

a) The enclitics-^w^, ve, ne, cum. These however have the power to draw the accent on to the final syllable of the word to which they are added. So :

Filioque, vobtscum, hominesque, voUicresve.

b) All the monosyllabic endings — ce, pse, dem, met.

c) All the conjunctions — sicut, atque, et. Except when it is isolated from what is to follow, but is at the same time connected in meaning, the et carries the accent. Example :

/ . . / / f /

Et Tii in principio Domine, terram fundasti.

10 Part I.

d) The prepositions and adverbs which precede the word modified. Example :

super euni, post partum.

If they follow the noun, they receive the accent which belonged to the word itself. Example :

Deiim propter.

e) The relative pronouns when they have an antecedent referred to :

Deits qui fecit.

If there is no antecedent expressed, the accent goes to the pronoun. Example :

/ / /

qui vtilt venire post me.

(All these words deprived of an accent are pronounced so that they form a single word with the word referred to) .

Rule 2 — Composite words, as simple words have only one accented syllable. Example :

tttreiiirando, henedicere.

Rule J — In words of two syllables the accent is always on the first. Example :

/ / /

pater, mater, Dens.

Rule 4 — -In words of more than two syllables, the accent may stand on the penult or the antepenult : It stands on the penult when this is a long syllable; on the antepenult when the penult is short. Examples :

f^ f.j - f

magnalia, filius, tenehit, Domine.

(In a few cases the Gregorian follows the accentuation of the " Vulgar Latin " : Some verbs which in classical Latin have the accent on the antepenult, "Vulgar" Latin accents on the penult. Example :

plaudtte.

Chapter 1. — The Language of the Chant. 11

In compound words the Vulgar Latin has the tendency to retain the accent on the root-syllable, even when this is short,

circiimdata, etc.

Some compound w^ords in classical Latin are treated as separate W'ords in Vulgar Latin. Example :

prius, quam, et enim.

The enclitic que draws the accent to the penultimate, even when this is short. Example :

itaqiie.

Secondary Accents.

Each word can have but one Tonic Accent, but long words require secondary accents to secure proper pronunciation, Such words as :

/// / /./ //

jiistificationes, consiihstantidlem, ommpotentem,

have their main Tonic accent as marked, but they may also have minor accents, I^or finding the Secondary accents, count back from the Tonic accent and give every second syllable a subsidiary accent. Dactyllic words may have a secondary accent on the last syllable w'hen the w^ord following is a mono- syllable or has no accent on its initial syllable.

Logical Accent.

What the Tonic accent is to a word, the Logical or Phraseo- logical accent is to the phrase; it must bring out the sense and meaning of the phrase by laying stress on the important w^ord or W'Ords. Example :

Ostende nobis Domine misericordiam tuani.

Pathetic or Expressive Accent.

Some Plainsong critics consider the Pathetic accent entirely out of place in this form of music, but I do not feel that it can be excluded from any music. However, because of the impersonal quality of Plainsong, it must be used intelligently and never be allow^ed to degenerate into sentimentality.

12 Part I.

Divisions, Pauses, and Rhythm of Discourse.

As from various groupings of syllables, we have words, so from certain arrangements of words we have Phrase Members and Phrases. We make the following divisions : a) Words, b) Members of Phrases, c) Phrases.

In order to indicate in writing the division or parts of discourse, we have recourse to various punctuation marks : The period(.), the colon (:), the semicolon (;), the comma(,), and so on. But in speaking, as it is impossible to make visible use of these signs, the divisions represented must be given to the ear by relative pauses. The first pause really heard is found at the end of the first Phrase Member, separating it from the member to follow. This pause consists of a slight prolongation of the last syllable, called the mora vocis. The second pause, a longer one, closes the entire Phrase and divides it, and separates it from the following Phrase ; this is the Breathing Pause.

We give the following Example :

1st Phrase

1st Member 2nd Member

12 3 1 2 3 4

|— I 1 "i I 1 V~\ ! I I I ! !

Tui sunt caeli, et tua est terra :

2st Phrase

1st Member 2nd Member

12 1 2 3 4 .5

I 1 r I n I I I I n i t~i

orbem terrarum, et plenitiidinum ejus tu fondasti :

In this example the mora vocis is represented by one Hne ( — ), and the breathing pause by two lines ( = ). The alternation of strong and weak syllables, lifting of the Tonic accent, relative pauses and proper diminuendi on the final syllables, constitutes the Rhythm of Discourse, This rhythm is not measured, but free and not regulated by rigorous rules, but by good taste and the natural instinct of the ear; it is the foundation of Plainsong Rhythm.

CHAPTER II.

NOTATION.

A. — Origin.

The melodic signs of Plainsong are derived from certain Accents used by the xAncients to denote the inflections of Speech.

Language possesses a melody which is proper to it, but because uncertain, varied and spontaneous, and because the intervals which compose it cannot be reduced to a determined scale, it cannot be graphical^ represented. Thus the ancient gram- marians, leaving to the orator every liberty for the invention and construction of oratorical or phraseological melody, contented themselves with indicating vaguely the intonation of isolated words, by means of signs which signified the rise and fall of syllables.

To such an end two simple signs sufficed :

i) The Aatte accent — for the rise of the voice; it is made with an upward stroke of the pen : (/).

2) The Grave accent — for the fall of the voice; it is made wdth a downward stroke of the pen : (\).

When the same syllable could sustain two vocal inflections, the two were combined making the

i) Circumflex A — a raising-falling note.

2) Anticircumflex V — a falling-rising note.

From the beginning these grammatical accents were purely melodic, with no idea of force or duration. The accent was not long; either Acute or Grave was a simple beat, no more. When one syllable was to be doubled it was given two simple accents in a single group : the Circumflex /\, or the Anticircumflex V

Finally a third simple accent, the Apostropha (5) passed into musical notation, giving birth to all the neumatic signs not derived from either the Acute or Grave accents. Therefore, except for the Quilisma which will be discussed later, the ancient notation called Neumatic Accentuation sets to work only three generative elements, three accents borrowed from the grammar : The Acute accent and the Grave accent for the Intonations ; the Apostropha whose special destination we shall see.

14

Part 1.

These brief notes on the Accents suffice here. We must only remember that the Acute accent is only a note signifying a musical rise or /

elan.

The following eleven Accents were recognized by the Latin grammarians :

In Neumatic Notation.

I — Acute

/

Virga

2 — Grave

\

Grave or Punctum

3 — Circumflex

A

Clivis

4 — Anticircumflex

V

Podatus

5 — Long

-

Roman Sign — Episema

6 • — Breve

u

7 — Apostropha

5

Strophicus

8 — Hyphen

~VJ~

9 — Hypodiastole

_rk_

10 — Dasea

11 — Psile

1-1

Hi

Aspirations (Dasian Xotc

Of these eleven Accents, Neumatic Notation makes use of six. In the Middle Ages the habit of using Latin Accents for musical notation was so common that a few theorists used the Dasea and the Psile.

B.

Derivation of Neums from Acute and Grave Accents. - Chironomic Notation.

On becoming Neums or musical notes, the Acute and Grave accents at first submitted to only slight modifications (except in certain cases, the Grave).

The Acute accent became the Virga (/).

The Grave accent employed alone was transformed into the Punctum (-).

Chapter II. — Notation. 15

Combined with the Acute accent, the Grave kept something hke its old form :

The Circumflex became the Clivis (/j)

Finally, the Anticircumflex became the Pes or Podatus (4/v/) .

In music, combinations of accents are naturally more numerous than in speech. So we have Neum-groups of three, four, five notes or more :

i) Neums of three notes

Tor cuius (pressing machine) *^ Grave — Acute — Grave

Porrectus (extended) /y A. G. A.

Scandicus (scandere, to climb) .♦^ G, G. A.

Climacus (x).r[^a^, ladder) x-. A. G. G.

and so on for larger groups.

This notation is called Chironomic {yj'^p, hand; vg[7.q; rule; law of the hand), because the accents are only graphic signs, representing the rising and falling movements which the hand makes as it traces them.

C. — Diastematic Notation.

The old Chironomic notation was very limited; it indicated fairly well the rise and fall of the voice, but could not indicate the tonal intervals. It was necessary for a skilled teacher to sing over the Chant, thus permitting the choir to hear the intervals and the melody. The singers repeated it over and over after the master until the melody was memorized. It took years of study to memorize the musical repertoire of the Church.

It became the business of the great musical scholars to perfect the old Chironomic Notation by making it clear and intelligible at first glance. The many attempts in this direction finally brought about excellent results. Copyists writing the neums naturally wrote the notes at different heights according to the different intervals. This so-called Diastematic or Interval notation came in at the end of the loth Century.

Finally somebody thought of drawing a horizontal line around which the notes could be gathered; then a second line was added; then a third, until at last the fourth line completed the musical Staff. An Italian monk, Guido d'Arezzo is supposed to be the main figure in this evolution of the staff. Then the

16

Part L

invention of the Clefs finished the work. The Neum-accents, shghtly modified were placed on this staff, and the reading became fairly easy.

For the convenience of the student we append the follo\Wng complete table of the Gregorian musical signs, with their modern transcription :

A. — Simple Notes.

Square Punctum

-.:ii=

Square Punctum

with Attached Ictus

Diamond-shaped Punctum

=~i=^=4i:

Diamond-shaped ^_

Punctum with " attached Ictus

Virga

Apostropha

Oriscus

Quilisma

^=1:

^ a

— i

n — ■

p

- 0

w n

^

n J

J d

y

^

f>

\^

[^

_ i^ _

^

#

_ '\

>

•

k.

n

— # —

'/

Chapter II.

Notation.

17

The Ictus is a tiny vertical hne attached to a note, and ^ signifies a rhythmic division or support, not necessarily an ^ accent. In Gregorian rhythm every second or third note receives this rhythmic touch. Two such Icti cannot come together; a rhythmic division cannot be less than two notes or more than three notes. More of this in the Chapter on Rhythm.

In the Solesmes Editions the Episemas are marked thus :

Whatever their form, all notes have the same value; in modern notation the eighth note is the smallest unit.

Exercise.

Look through the Chant books and pick out the simple notes and name them.

B. — Neums of two Notes.

Pes or Podatus

Clivis

\—i

35^^

ri:

^-

%

a) In the Podatus, the lower note is sung first. In the Clivis, the upper note is sung first.

h) The redoubled Virga or Bivirga may be called a group of two notes.

or

^-

zz=Lt==zidtzf=:t=z=ii

c) Also the dots and horizontal Episemas may be added to the groups of two notes. The dot doubles the length

18

Part I,

of the preceding note. The horizontal Episema slightly lengthens the note or group marked with it.

Examples.

Pes with dot

^=^

Pes with two dots

Pes with Episema

^

Clivis with dot

:^i=

J-4

*=t

Clivis with two dots p^

Clivis with Episema

Clivis with vertical --

Episema or Ictus Pi

mine

i^it

Exercice.

In the chant books find groups of two and give their names. Also consider the meanings of the dot, horizontal Episema, vertical Episema, etc.

It is also valuable to practice writing the Gregorian notes and transcribing them into modern notation.

Chapter II. — Notation.

19

C. — Neums of three Notes.

Porrectus

=N<

N=^

Torculus

^— ^-

^

Scandicus Ji p] ^

i=5:i:^

^ # "^ — ^ 0 ' — ^-

Salicus

4==1

— ^i^ — — 0-0 —

Climacus 1»^ ♦

-«-«-- 1 0 •-#

:?zi:

«) When the Scandicus is terminated by a Virga, as a rule this last note takes the Ictus :

:S:

b) The Scandicus and the Climacus may, without changing their names, make up four, five, or more notes :

r=f

f^-T-^--

Mzfi^==^zMz!L

^L^^=^^3=

c) The Salicus may or may not have its two first notes at the Unison.

20

Part I,

Exercise.

Look up groups of three notes in the Chant books and learn to name them.

D. — Neums of Four Notes or more.

The Neums we have been considering have only a single name to designate them. To the longer groups composite terms are given ; the first term that of the neum-nucleus ; to this is added a qualifying term.

a) The term Flexus which means bent is added to the regular name of a group normally ending in an upward direction, to which is added a descending note :

Porrectus Flexus

Scandicus Flexus

Salicus Flexus

^

h) The term Resupinus (turned back) in the same way qualifies these groups normally ending in a downward direction, to which is added an ascending note :

Torculus Resupinus

Climacus Resupinus

%^

=:]=

c) These two terms may be used in conjunction :

Porrectus

Flexus

Resupinus

^

Chapter II. — Notation. 21

d) Siihpunctus is the term used to quahfy a Virga, Porrectus, Scandicus, etc., which is followed by diamond-shaped Puncta.

If there are two Puncta, we say Subbipunctis ;

^44

~.-:d-A-

Pes Subbipunctis ~ "^» "♦. — y?#-^ ^-*-^^'

Porrectus Subbipunctis ^^ ^ -

Scandicus Suhbipunctis g^» 3—^

iiizi:

If there are three Puncta, we say Subtripunctis

Pes Subtripunctis J"»

Porrectus Subtripuntis

Connection of Groups.

For practical use it is important to know exactly how groups are formed : In order to see at the same time which are the notes to be united in the Chant, and which are to be separated.

Groups may be formed in three different ways :

1. By graphic linking of the notes.

2. By the succession of diamond-shaped Puncta.

3. By the simple placing together of several groups.

In all cases the unity of the elements thus grouped strikes the eye differently :

In the simple linking of notes the connection is evident.

22 Part I

The graphic subordination of the diamond Puncta to the Virga, which always precedes and dominates them, demonstrates their dependance to it. (The diamond notes are the product of a single stroke of the pen, starting from the Virga, and keeping the same direction to left or right :

K ♦♦

Two or three groups placed very close to one another really form a single group in the execution of the Chant :

Pes and Climacus forming a group, Mr-\-4

or Scandicus Subbipunctus ■ — (^

;ir^-^-

Podatus and Clivis forming a ^w--

group »l —

Clivis and Podatus forming a group

Porrectus Subbipunctus and '^"♦~i ^Zji^lJlJZZCiJll]:

Climacus forming a group d--^-^-*^ — zziiizzfldz^«ii:

Exercise.

ions

Take a chant book and name the groups and combinati of groups. Practice picking out the neums that should be phrased together.

Liquescent neums.

The groups of neums which we have studied receive a slight graphic modification when they come in contact with certam consonant or vowel combinations whose pronunciation demands a certain lightness. In such cases we use, at the moment of the transition from one syllable to another, notes called Liquescents or Semivowels, figured in the Notation in the following manner : (The Liquescent is the small note).

Chapter II. — Notation.

23

The — — Podatus — H~

-i^-

Epiphonus, or becomes Podatus ~^

Liquescent y_

The Clivis

iE^^

Cephaiicus, or

Glivis

Liquescent

-i-

The Torculus

Torculus — JJ- Liquescent

— —^-tl

The Porrectus

zSe^e^:

Porrectus — P^- Liquescent — ' — ^-

t^E^

The Scandicus

-^^^.

Scandicus Liquescent

3E|^

The Climacus

Climacus ^"1 z:~^^"

Liquescent '^ — *-^-^-

or Ancus

Exercise.

Learn to distinguish the Liquescents, and practice singing groups containing a Liquescent.

Notes and Groups derived from the Apostropha.

The Apostropha is another sign borrowed from the Grammar. It holds an important place in neumatic accentuation. By nature, the Apostropha is a note joined, as it were, to another note.

The name, and very often the exact form has been preserved for us in the group called Strophicus :

Simple Apostropha Distropha

^

^ y

Tristropha

^ ^ ^

_^_^_^_

NO 758.

24 Part I.

The Pressus (^) has its origin in the Apostropha. In order to double a note, a graphic sign was placed after; this sign varied with different countries and schools of copyists.

Thus we have the Pressus Clivis :

•H-

The Oriscus is also an Apostropha. It is always placed at the end of a group. The Solesmes books always distinguish the Oriscus. -1- Other books usually express it simply as a square note -■-. See the Chapter on the Interpretation of Special Neuitis.

The Gregorian Stave.

The Gregorian stave is made up of four horizontal lines, and three spaces :

I -- ^

When the notes go above or below the Stave, other lines, called Leger lines are added, as in modern music :

The name of the notes on the Stave is designated by means of Clefs : these Clef signs are borrowed from the ancient musical letters. At present only two Clefs are used in Gregorian Notation :

The doh or C Clef J — | -q j^ and the fah or F Clef »J — | -p . .

The notes occurring on the same line as the Clef carry the name of the Clef. From this line up or down we count the names of the other notes.

The C or Doh Clef may appear on the second, third or top lines. The F or Fah Clef nearly always appears on the third

') See Part II. — Chapter III. p. 174.

Chapter II. — Notation.

25

line, and is, as a rule employed only for Second Mode melodies. Now and then it is found on the 2nd or 4th line.

Doh Clef ^

<

<

Examples of Clefs on different lines with Solfeggio Names :

Do re mi fa

Do re mi fa sol la

i-M<-

■

-■-

_■_

- ■

-m-

■

■

■

t":

■

■

■

^ ■

' ■

Do ti la sol fa mi re do

Do ti la sol fa mi

Do re mi fa sol la ti do

5-1*.—-

Do ti la sol fa mi

Fa

sol

■ ■

la

ti

■

^^:

_■_

-■-

■

Fa sol la ti do re

l5-«-S

Fa mi re do ti la sol

Fa mi re do ti la

When transcribing the Chant into Modern notation, only one Clef is necessary, the fe G or Sol Clef.

26 Part I.

The Guide is a tiny note , placed at the end of each

hne to indicate in advance the first note of the following line. It is also employed in the course of a line when the extension of the Melody demands a change in the place of the Clef, to denote the first note after the change :

i5 ■

Do

^^re

^_!l-'j„-A-^-J-^.-.-.-|i^-i—

Do

Re Accidentals.

Only one accidental, the (;) B Flat, is admitted in Gregorian Chant. It may occur in either the lower or the upper octave. (The Ancients did not write a B Flat in the lower octave, but preferred a transposition).

a

Instead The^^ --

of urote |-

— ^SfiT^ — ^-fi—

The effect of this Flat lasts through the word, unless contra- dicted by a (;) Natural or any kind of Bar-line.

Never, in a Gregorian melody, may the two Bs (B ^ and B [?) follow each other, either ascending or descending :

S ;Vr^-i-'-

g a bb b^ c

Rhythmic Signs on the Stave.

Tw^o kinds of Rhythmic Signs are found on the Stave :

a) Rhythmic Signs affecting the Notes.

i) The Dot placed after a Note doubles its value : ■* = J A dotted note is represented in Modern Notation by a Quarter Note : =^3=

Chapter II. — Notation. 27

2) The Horizontal Episema ■ ■ above or below a note lengthens it slightly. When the Sign underlines a Group, it means that group is to be retarded : jj"jj i,

3) The Vertical Episema, as we have mentioned above represents a Rhythmic Touch or Support : ■ ♦

h) Rhythmic Signs of Division :

12 3 4 5 5 1

i) The Virgula is merely a sign of breathing, always taken from the preceding Note.

2) The Incise, or Quarter-Bar marks small Members of a Phrase. Do not take a breath, unless the sense of the words demand it.

3) The Member mark or Half -Bar distinguishes the Phrase- Members properly called; it is composed of one or two Incises. If respiration is necessary here, it should be taken from the value of the preceding Note. (When a Chorus is singing, unless the sense of the words demands it, no breath is taken).

4) The Full-Bar corresponds to a full stop in punctuation; here, breathing is obligatory.

5) The Double-Bar ends the Chant, or a principal part of it.

Suggestions for Practice in Reading.

The following Chants in the Liber Usualis : C Clef on 4th Line — Kyrie fons bonitatis.

'' " 3rd " — Credo III ; Vidi aquam.

" " 2nd " — Asperges me (7th Mode)

F Clef on 3rd Line — Agnus Dei X ; Gloria in excelsis XI ; 4th Sanctus XL

" " " " — Offertory Veritas mea.

Solfeggio.

The System of sightreading in use for the practice of Gregorian Chant is the Fixed-doh system. It is very easy to find Doh on the stave with a little practice : the C Clef is always placed on the C line; the F Clef on the F line. The syllables fixed by

28 Part I.

Guido d'Arezzo in the nth century, and completed by theorists' a nttle later, are still in use : Ut (Doh) Re Mi Fah Sol La Si (Ti) (1? Teu) Doh.

It is also good practice to vocalize on the Numbers, always counting from C C).

Rules for Placing the Ictus.

As it is necessary for the student, from the very beginning of his study of Plainsong, to have some idea about the placement of the Rhythmic Ictus, I do not consider it out of place to give a few general rules in this Chapter on Notation.

All the Solesmes Editions and some others are published with the principal Rhythmic Signs. In these books it is fairly easy to figure out the additional Ictus Notes. In the books that have the Solesmes Rhythmic Signs, we may state the following rules :

a) All long notes which include i) Every dotted note.

2) The first note of the Pressus.

3) All notes bearing the Horizontal Episema. (Which

indicates lengthening).

h) Other places for the Ictus are :

i) Every note bearing the Vertical Episema. (Ictus)

2) The note before the Quilisma. (Which always has the

Horizontal Episema).

3) The first note of every Neum, in most cases.

4) When a Neum "of three notes is followed by a single note,

the last note of the Neum takes the Ictus. In other words no Rhythmic Division can be smaller than two notes or larger than three notes; thus the single note between groups goes back to the group before it :

The Ictus can never occur on consecutive single notes. In the books that have no Rhythmic Signs, the following more complicated Rules may be laid down (2) :

(1) See Sunol, Text Book of Gregorian Chant.

(2) I do not advise the use of Books which have not the Solesmes Rhythmic Signs.

Chapter II. — Notation. 29

i) As before, all long notes, including dotted notes, notes having any sign of lengthening, including the Pressus.

2) The first note of any distinct group, unless special conditions

require a different ruling.

3) A Virga in a compound group has the Ictus usually.

4) The Second or penultimate note of a Salicus has the Ictus;

this note is also slightly lengthened. This feature distinguishes the Salicus from the Scandicus.

5) As before, the last note of a Neum of Three notes which

is followed by a Single note.

6) The note immediately preceding the Quilisma.

In case of the Pressus and,tha Salicus, Rule I is set aside. The double note of the Pressus draws the Ictus from the first of the group; the essence of the Salicus is to have the Ictus on its Second note, or the first note of the podatus.

The Treatment of Neums.

Since the Neums are the chief guide in placing the Ictus, a few explanations concerning the interpretation of the different Neums may not be amiss here.

Pes or Podatus — The first note has the Ictus ; the second note is always sung lighter (Sometimes it is merely an ornamental note sung lighter to give relief to a straight Chant on One Tone).

It may be a link between two more important tones

It may be a preparation for the following group, especially when the second note of the Podatus is on the same pitch as the first note of the next Neum :

S

2=-3

When both notes of the Podatus are dotted, both are equal in value — the value of a quarter note in modern notation.

30 Part I.

Clivis — The first note takes the Ictus; the second note is almost always of less importance rhythmically and melodically; like the Podatus, it is often a mere melodic ornament.

Or a link with another neum :

S

-■-■-

(One must always bear in mind that every note in Plainsong is always given its full time value. Although the second notes of these Neums are sung more lightly, they must not be sung more quickly).

Scandicus — ■ The Ictus is on the first note. An Ictus may fall on the last note when the Neum is followed by a single note or a weak beat.

Salicus — ■ In this special Neum the Ictus always falls on the second note p). In most of the Solesmes books this Ictus is always marked, thus clearly distinguishing it from the Scandicus which is much like it. The note carrying the Ictus is always slightly lengthened. (See Nombre Musical, Vol. I, Part. II, Chapter XI.)

^

MM

Climacus — This Neum bears the Ictus on the first note, and may also have one on the third if necessary. The Climacus of four or five notes : In these long Neums it is always necessary to have a secondary Ictus. It normally falls on the third note of the group.

Torculus — The Ictus always on the first note unless special conditions make it otherwise. This Neum must always be sung evenly, and never given the effect of a triplet. When the third note of the group is marked by an Episema or a dot, the group is altered rhythmically.

Pressus — The Pressus occurs when two Neums come together at the same pitch ; or a Punctum and a Neum may meet to form a Pressus. The first note of the Pressus always takes the Ictus in spite of any other rules. The two notes forming the Pressus are sung strongly relatively.

(^) Or first note of Podatus.

Chapter II. — Notation.

31

S-i

:n

-ri

*%

X

^

■m;=^-K

*pi

iS^^-^^^a^^^iS^

A Strophictis — either alone or in conjunction with another Neum can never form a Pressus :

=^-(^=

HP-

M

■ ■

tr«^

cae-

Re- demptor I- ra-

■* Strophicus + Pressus

+ +

etc.

Bistropha, or Tristropha — It is not practical for the ordinary choir to attempt the Mediaeval interpretation of these Neums. (Which is not too clear) It is described by early theorists to be a double or three-fold percussion or repetition of the note; this was executed rapidly and lightly. The present practice in the best choirs is to give the two or three notes their full time value, but to slightty accent each group in the same breath and connected : i i i

6 "~"~'*1^

Gradual

Mode

Qiiilisma — There has been a great deal of controversy concerning the interpretation of this note. Some theorists say it represents a turn, which is doubtful. The modern rendition by authorized choirs is to slightly prolong the note preceding the Quilisma note, and to sing this latter note lightly and delicately. This note may never bear the Ictus, which always occurs on the preceding lengthened note.

g

-**«/

**./

./7

.^

v5.=DziK

;a

One Note before Quilisma.

Two notes before Quilisma. Both notes are lengthened.

32

Part II.

</?*^

/'.^

^=n-\-^

i=^

%

♦^i

Three notes before Quilisma. 1st and 3vd notes are lengthened.

«l

fl .1.1

^ ,

H

a m

•s- ■

J

♦-..

\^

. ^ :%*■

■^

Four notes Six notes

before Quilisma. before Quilisma.

Both notes are doubled; however a certain amount of freedom of interpretation is allowed.

Oriscus — The Vatican Gradual and other books of Chant have no special form for this Neum, but merely represent it by an ordinary Punctum. It usually occurs at the end of a group; however we find it between two groups on one syllable, or before a new syllable. The Oriscus never bears the rhythmic Ictus, because it is always preceded or followed by the Ictus :

■flrt-

t^^

Pm

di- em fe-stum ce- le- brantes

There is reason to believe that the note preceding the Oriscus is to be sung as a note low^er than the Oriscus :

\— ; 7

I I

di- em fe-stum ce- le- brantes

Some schools, however, advocate singing the two notes as written, on the same scale degree, the Oriscus itself being executed ver^ lightly. (See Nombre Musical, Vol. I, Chapter X, Paragraph 2).

CHAPTER III.

THE MODES — TONALITY.

The Nature of Gregorian Melody.

" The Gregorian Melody, essentially monodic, is, above all, Diatonic. It excludes all chromatic progressions; the only accidental it admits is the BP', on the express condition that this Bb never be part of the progression A — Bb — B^ — C. Only the white notes on the piano are recognized. In this Diatonic fact lies the first characteristic of Gregorian Melody ". (Monographies Gregoriennes, X, Dom Joseph Gajard).

This quotation of the venerable monk of Solesmes sums up prevailing theories of the Mediaevalists concerning Gregorian Tonality. While it is true that many of the secrets of Gregorian Tonality still remain shrouded in mystery, this Diatonic outline gives us a workable system. Whether or not some of the Chants suggest a Pentatonic background, has not been proved to our satisfaction. In this Chapter we shall limit our studies to the prevailing Mediaeval Diatonic Theory which has been accepted by Solesmes.

Gregorian melody also excludes the sentimental half-tone cadence, except in the Vth and Vlth Modes. The Ancients called the half-tone an imperfection, and therefore considered the semitone, or raised-seventh cadence incompatible with the Music to be used in the worship of the Perfect Being. Dom Gajard goes on to state, " Chromaticism excells in painting the passions and extreme sentiments which stir the human heart. But precisely what the Gregorian Art desires to paint are not human passions, but the Love of God and the Peace which results from it " (Monographies Gregoriennes X).

To some extent it has been possible to trace the Mediaeval Modal System in the writings of theorists. It has been accepted as an outgrowth of the Greek Perfect System, which played its part with other Greek influences in the Liturgy of the early Church. Two out of three chief features of the Church Modes mentioned by early theorists are clear : i) The range and succession of the intervals in each Mode, and 2) The idea of the Dominant, It is not certain when the importance of the Final to determine tonality became evident. We can trace the conception of the Dominant as far back as Aristotle, but to the theorist, at least, the significance of the closing note of a melody

34 Part 1.

had not been recognized. It was only after the Roman Chant had been adopted by the Franks that we find theorists who give much importance to the Finals of the Modes. Of w^hat happened in the development of the Church Modes between the 5th and the 6th Centuries, w^e know little, except what we can figure out by comparing the melodies themselves.

In the older, the Responsorial Chants, the Dominant was of great importance, as it was on this note that the greater part of the text was recited. But here no great importance is given to the Final. It was in the Antiphonal melody which came from the East in the 4th Century, that the Final gained its importance ; for the Antiphon consists of a melody with a reciting tone whose tonality is largely determined by the Close. Therefore, it is logical to say that the Final gained importance with the development of the Antiphonal style. Another fact we have to consider, is that, with the change in character of the Responsorial Chants, from the straight Psalmodic types of Chants to the highly elaborated Melismatic Chants we see even today in the Chants of Graduals and Alleluias, the importance of the Dominant gave place to the Final in settling Tonality. We have much reason to believe that this change took place between the 5th and 6th Centuries.

The Divisions of the Original Scale.

A — First Division of the Original Diatonic Scale.

From the following Original Diatonic Scale comes the Modal System used for Gregorian Chant : __

ABCDEFGabcdefg

to which was added an extra note at each end for the sake of Completeness : , ■ .

_»- _i_ _ _^

g -i '

^

(G)ABCDEFGab c d e f g (aa)

Chapter III. — The Modes — Tonality.

35

This Scale was first divided into Four Modes by theorists to obtain different musical effects and color. Each had its Final and Dominant. Using the ancient terminology, we have

D or Re is the Final of the Protus — First Mode. E or Mi is the Final of the Deuterus — Second Mode. F or Fa is the Final of the Tritus — Third Mode. G or Sol is the Final of the Tetrardus — Fourth Mode.

The interior division of the Modes is indicated in the following table :

Complete -— Scale ii-

Protus %"

Central 5th

■ r ^ ■

j Lower 4th

Upper 4th j

Deuterus

I Lower 4th

Central 5th i -■-

Upper 4th

Tritus

Central 5th

^ i

:^t=^

I Lower 41 li

I Upper 4th

Central sth i ^ -■-

fl

■ ■

ietrardus k

- ■

a

-^

Lower 4th

Up pes 4th

36

Pari 1.

Starting from the Final of each Mode, we find a Fifth ; this is the center of the Scale. In the Protus it extends from D to A ; in the Deuterus from E to B ; in the Tritus from i^ to C ; in the Tetrardus from G io D (upper). Then helow this Fifth is a Fourth, and above it is a Foitrth. Each Mode regularly includes Eleven notes.

It was natural that the Melody should fall into the Central Fifth and a little above and below it. Rarely do we find Gregorian melodies which embrace the complete scale. Sometimes the melodies move in the narrow space of the Central Fifth ; in other cases the Lower Fourth is added ; sometimes the Upper Fourth is reached, the Lower Fourth being entirely ignored.

Thus we have the Lower Chants and the Upper Chants. In order to differentiate these different registers, and to simplify the Theory the Four Prirriitive Modes were once more divided, giving us the Eight Modes of the Middle Ages.

B — The Eight Modes showing their relationship to the Primitive Four.

Upper Chants

Lower Chants

Upper Chants

Lower

Chants

Protus Authentic

Protus Plagal

Deuteris Authentic

Deuteris'' Plagal

Mode

I

Mode II

Mode III

Mode

IV

Common 5th | _

• ■ 1

Protus

1 Upper 4th 1

Common 5th |

1^

n ■ ■

1 Lowe

___^

.) ■

r 4tli

i"

Common 5th ^ -■-

■ ° ° 1

. ■ ■ , !

X^) ' J _ 1 _

Deuterus '

*

1 Upper 4th 1

Common 5th |

H

n ■

. ■ °

1 Lower 4th

* Old Dominant

Chapter III. — The Modes — Tonality.

37

Upper Chants

Lower Chants

Upper Chants

Lower Chants

Tritus Authentic

Tritus Plagal

Tetrardus Authentic

Tetrardus Plagal

Mode

V

Mode

VI

Mode

VII

Mode

VIII

Common 5th | _

a B

i

-^-^^'— t

i i

— (

■) ■ ' i

Tritus '

') i 1

1 Upper 4th 1

Common 5th |

^ ■ "

/

.)-!

1 Lowe

■ (

r 4th

I

Common 5th | -■-

■

m °

. ■ ■ J L_

(■) " 1 I

p

! Upper 4th j

Tetrardus i

Common 5th |

^_

^ ■

"Tl

■ ■

«)

1 Lower 4th ,

These Eight Modes are grouped two by two, each Primitive Mode giving birth to two modes, one a Low Mode, the other a High Mode.

The Upper Modes receive the Name, Authentic — that is to say, — master, principal, superior. They are given the odd numbers — i, 3, 5, 7. The Lower Chants receive the name — Plagal — that is to say, — derived, inferior. They are given the even numbers — 2, 4, 6, and 8.

Interior Division of Each Mode.

The Central Fifths remain common to each pair of Modes. The Upper Fourth belongs to the Authentic Modes; the Lower Fourth to the Plagal Modes. The Eight Modes are distinguished by their Tonic, their Dominant, position of their Semi-tones, and their Ambitus, or the compass of notes which they cover.

In the Table the Tonics or Finals are encircled, and the Dominants are shown as hollow notes.

38 Part I.

Final — In each pair of Modes, or Maneria, the Final remains the same for both the Authentic and the Plagal :

D or Re ■ — First and Second. E or Mi — Third and Fourth. F or Fa — Fifth and Sixth. G or Sol ■ — Seventh and Eighth.

No matter how much wandering a Melody does, it always ends on the Final of its Mode.

The Dominant — The most important Note in the Modal Scale, next to the Final or Tonic, is its Dominant. It is the Reciting Note of the Psalmody, and the center of attraction around which the melodies tend to revolve.

The Authentic Modes have their Dominant at the Fifth above the Final. The following will clarify :

First Mode — Filial D or Re ; Dominant A or La.

Third Mode — " E or Mi; " B (C) or Si (Doh)

Fifth Mode — " F or Fa; '' C or Doh.

Seventh Mode — " G or Sol; '• D or Re.

The regular Dominant of the Third Mode was formerly B (Si) . (Some Monasteries still use the Old Dominant in the Psalmody). But the instability of this tone (B^ or B^), and its proximity to Doh, have little by little attracted the Dominant to Doh, especially in the Psalmody. (In many old melodies we find the B as a recitative or a transition tone). Under certain circums- tances it is important to keep the old Dominant in order to preserve the real character of the Mode. A theorist of the Xlth Century says, " Unquestionably the Third Mode prefers the Second Ninth (B^), because it is the Fifth above its Final; but especially because it returns by the interval of the Fourth, to the note B, the highest of its Scale " .

The Plagal Modes have their Dominant at the Third below the Dominant of the corresponding Authentic Mode; the Eighth Mode is an exception to this rule. (See Third Mode.)

They follow :

Second Mode — Final D or Re ; Dominant F or Fa.

Fourth Mode — " E or Mi; " A or La.

Sixth Mode — '' F or Fa; " A or La.

Eighth Mode— " G or Sol; " C or Doh.

Chapter III. — The Modes — Tonality. 39

Sueggestion for memorizing the Finals and Dominants : Modes — 1234 56 78.

Finals — Re-Re, Mi-Mi, Fa-Fa, Sol-Sol.

Dominants — La-Fa, Do-La, Do-La, Re-Do.

The Ambitus or the extent of a Scale is not enough to characterize a Mode. The First ]\Iode and the Eighth Mode have exactly the same outward appearances, but are totally unlike in character.

a) The Final of the First Mode is D, and that of the Eight Mode is G.

h) The Dominant of the First Mode is A, and that of the Eighth Mode is Doh.

c) The interior division of the First Mode is : Fifth at bottom, and Fourth above, while in the Eighth Mode, the Fourth is at the bottom and the Fifth at the top.

The Ambitus of the melodies is extremely variable : Some fill the Complete Scale of the Mode ; others stay within the Fifth and develop within the space of a few notes; some go beyond the limits of the regular Scale, sometimes on the Lower side, sometimes above; some melodies even make use of a pair of Modes (Authentic and Plagal).

As a general rule, melodies of the Authentic Modes extend to the note helow their Final, and the Melodies of the Plagal Modes are inclined to borrow notes above their regular compass.

The Fifth Mode however, does not add the note below its final because this Tone is a Semi-tone down. For this reason we often find cadence skips down to D and back, in the Fifth Mode as well as its Plagal, the Sixth Mode. Examples : Agnus Dei (5th Mode) XVH; Benedicta es tu, Gradual for December 8 th; Ubi caritas 6th Mode Antiphon for Maundy Thursday.

Transposed Modes.

The tones D*E*F and G are not the only ones w^hich act as Finals to Gregorian Melodies. We also find A, B ^ and C used as Finals, thus completing the compass of the Diatonic Octave. Do these finals represent three additional Modes with their Plagals, thus making Fourteen Modes in all? Some theorists so contend, and pages could be filled with the unsettled discussion. However, the ancient Gregorian theorists accept only Eight Modes, and consider the remaining six as Transpos-

40 Part J.

itions of the others. When the Original Modes are affected by B^, they represent the same Scale construction as the added Modes. The following table will explain this Theory

Protus; TNormal : la si do RE mi fa sol la si do re. ist et 2nd] > ?

Modes. [Transposed : mi fa sol LA si do re mi fa sol la. .

Deuterus; [Normal : si do re MI fa sol la si do re mi.

3rd et 4th- ? ?

Modes. I Transposed : fa sol la SI do re mi fa sol la si.

Tritus; TNormal : do re mi FA sol la si do re mi fa. 5th et 6th] ^

Modes [Transposed : sol la si DO re mi fa sol la si do.

We can observe that the three Transposed Scales are equivalent to the Normal Scales. However this theory does not always explain the peculiarities of certain so-called Transposed Melodies. Much research could be made on this subject.

Examples of Transposed Modes include : Communion Passer invenit Antiphon Haec Dies, Easter Vespers; Introit Exaudi Domine. All mav be found in the Liher Usualis.

Characteristics of the Different Modes.

The First Mode, or Mode on Re, resembles a little our modern Scale of D Minor, without the raised Seventh (Cx). When the B^ is present in this Mode, it bears a still closer resemblance to that more recent Scale.

The Ancients designated it Primus Gravis, title well deserved, as it is always discreet, serious, tranquil and recollected; the Mode of contemplation; the Mode par excellence of Peace. It seems to me that the last quality mentioned is a most desirable and definite characteristic of tnis I\Iode. It was not without real purpose that the lovely Prayer for Peace, the Introit of the Votive Mass for Peace, was set in the First Mode. An excerpt of it follows :

intr. \k^-^—:itzlf^^^w^

I. J -1 i-l-ii i_._:_.■_S^^l .

Da pa-cem * Do- mi- ne, sus- ti-nentibus

Chapter III. — The Modes — Tonality.

41

+ ^— r^ M

i ■

te, ut prophetae tu- i fi- de- les in-ve- ni- antur :

etc.

Another fine First Mode Melody which belongs to the same Type as the preceding Introit, is the Kyrie Orhis factor. It is a very suitable Chant to follow Introits in the First Mode making consistent use of the B b. We give it in its Ancient form :

£^-

-+-

^-l

♦r-B-

■^

Ky-ri- e

=F!

:l-v

-■— ■-

e- le- i-son. iij. Chri-ste 1 __

e- le- i- son. iij. Ky- ri- e

e- le- i- son.

t~-

Another well-known Chant of this same class (with the familiar Re to La skip, and B:^ embellishment), is the Antiphon for the Feast of the Annunciation, Ave Maria. T. L. de Victoria uses this Melody to develop his immortal setting of the same words.

5

Ant. 5 — I. G — ■-

-^

■\-

t-

Ave Ma- ri- a,*gra-ti- a ple-na, Dominus tecum: etc.

There are many melodies of this style in the First Mode. The student might try looking them up in the Liher Ustialis.

The First Mode Melodies which do not use the B? are in the minority, and are all ancient Chants. One of the best known is the — • Kyrie cunctipotens genitor Deus. N^ IV. Liber Usualis or Kyriale.

t^^Tv

-+-

f«*

^^

tEb=?zr:;i

Ky- ri-

le- i-son. iij.

42

Part I

Typical Cadences of the First Mode are given below :

-■ — m-

!

-■ — *

a

-■— ■-

e- le- i-son. do-na ro-bis pa-cem. saecu- li.

-i>— 11^— »^ — -tl — f\ , ■

;♦

=■—-■-

Is- ra- el.

e- le- i-son.

no-stri.

The Second Mode : The Ancients recognized the Plagal of the First Manera, or first pair of Modes, as Secundus Tristis. It may be characterized much the same as its Authentic partner, the First Mode. Owing to its low register, — the lowest of the Modes, — its character is much more sober and serious than that of the First Mode. The B? is almost always present, when its Melodies extend either up or down to that note; but it seldom makes use of the Lower B^ orB^, but skips from the C down to the lower A.

Most of the Second Mode Melodies keep within the Central Fifth, and as in all the Plagal Modes, when extension occurs, it is usually at the top of the Scale.

Typical Second Mode Melodies are the Gloria and Sanctus of the Missa Orbis factor, XI. Liber Ustmlis. We give excerpts from these pieces :

Celebrant

Choir

■^ '^ ■ s ■ ■

II. >_>■%,■■ ■. -.

■ ■ "■ ■ 1

■ ■ ■ '

G16- ri- a in excel-sis De- o. 1

Et in terra pax

■f "1 ■ ■ S

% , V ■

homi-ni-bus..,

n. <

■ ■ ■

V^

Pi-:

%-*!-

Sanctus, * San-ctus, Sanctus D6-mi-nus De- us

Chapter III. — The Modes — Tonality.

43

p-r

Sa-ba- oth.

One of the most beautiful of the Second Mode Melodies is the somewhat sad, but highly devotional Alleluia for Whit Sunday. It keeps the usual small range, climaxing on the Upper Bb.

^"^♦i

fcsl^-

sH^fi

t

f

^^*Mi

AUe- 111- ia. *

7^-

^Ji4^ls^z;4^%^ti.

f.Ve-

ni Sancte Spi-

ri- tus, reple

etc.

Some of the more elaborate Graduals, Tracts and Responsories of the Second Mode extend down to the G of the Lower Tetrachord, usually flatting the Bi^ when it occurs. An example is the Responsory " Colegerunt pontifices " of Palm Sunday. We give a few incises :

II.

5b=xr^

:Pf^=r_?JJLl^n sTi

^-P^=t:

Co-

le-

Again.

ge-

runt

etc.

l5r

♦x^l

il-li- us, etc.

The BI^ is not used at the first descents to the lower part of the Mode. But in most places we find it.

An example of a Syllabic Chant of the Second Mode, is the Sequence, " Stahat Mater " of the Mass of the Seven Dolors. Liher Usualis, p. 1634.

44 Part I,

The Third Mode : whose Fmal is E, is perhaps the Mode whose tonaUty is farthest removed from our Modern scales. It is caUed by some French theorists " le mode extatique par excellence "; and indeed it is ecstatic, for it seems not to come to a final rest, but to remain suspended, as it were, between earth and heaven. Tertius Mysticus was the very significant term applied to this Mode by the x\ncients. Close exami- nation of the Chants in this Mode will repay the student, for he will discern in them an eternal and altogether mystical quality, w^hich no other musical scale can disclose. For Chants of pure, unearthly praise the Third Mode is perfect. Such a Chant is the " Te Deiim ". Also the heavenly " Gaudens gaudebo " , Introit to the Mass of the Immaculate Conception, p. 13 16, Liher Usualis :

(Jiixta morem Ronianiim.)

5

Hymn. ? ■-■ w^-^H^fw^ ^-^-" i P""!^

HI. i -^ — i r

Te De- um laudamus : * te Domi-num confi-temur.

■-^-f-

Intr. i ^ ^„,

III.

.1=^=^:

3=^::.;

S-!i.fc

t

Gau-dens gaude- bo * in Do- mi- no, etc.

There are a number of Third Mode Melodies of this type. The flight upwards to the Dominant of the Mode, after well- establishing the Final E, is characteristic.

The Third Mode and its Plagal, the Fourth, are most suitable to express the Mystery of the Incarnation; the Mediaeval composers seemed to feel this, as many Christmas Hymns and Chants are found in this Mode. The Matins Responsor\', " 0 Magnum mysterium " , the ancient Lauds Hymn, " .4 solis ortus car dine " are among the Third Mode Christmas Chants. Of the Fourth Mode Melodies, which have the same Final, are the Offertory of the Midnight Mass of Christmas, " Laetentiir Caeli " , and the Christmas Matins Responsory, " Quern vidistis pastor es ".

An example of the Third Mode which has retained the Ancient Dominant, BJ, is the Kyrie for the Ferial Mass, X\T, Kyriale ; it follows :

Chapter III. — The Modes — Tonality.

45

5

III

i-'-'-

■ ■•

Ky-ri- e * e- le- i-son. zV/. Christe e- le- i-son. itj. etc.

Third Mode Melodies as a rule keep their Modal compass, with the exception of the usual borrowed note below its Final.

Following are a few characteristic Third Mode Cadences :

S—

-»♦

♦ ■•

— ?-N

i^

su- is. Ma-ri

- a Virgi-ne.

me-

u- ia.

^ ,

■ ■"■

. ■"■ ■

■ P.

■•-Vv, :

^: ?

■•

"■ ■• ■•

in ex- eel- sis. e-le- i-son. in ae-ter-num. um.

Of the Fourth Mode, which is the companion Plagal of the Third Mode, we are able to say somewhat the same things. It has the same mystical, ecstatic character, especially when the Bl? is not present. However, the effect of the cadence remaining suspended, is always there, thus creating an atmosphere of mystery and freshness. We quote the Hymn, " Urhs Jerusalem ", and the short Communion of the XXnd Sunday after Pentecost, " Memento verhi tui ";

Hymn.

S

IV

Urbs Je- rii-sa- lem be- a- ta,

t

Dicta pa-cis vi-

:15*-

xi

\

si- o, Quae constru- i-tur in cae- lis, Vi-vis ex la-pi-

di-bus, etc.

** Ancient Dominant.

46

Part I,

Comm.

IV

=^!zri-"zX:^t

^E

-■— ■-

J" i.4

Memento * verbi tu- i servo tii- o, Domi- ne, etc.

The lower register of the Fourth Mode and its frequent use of the B7 give it a more serious aspect than the Third Mode. The fine Responsory, " Media Vita " , carries with it the more serious feature of the Mode, but with the same mystical Final cadence :

Resp. *-

IV —

:!=zp.

^3=^PE^^=.33=^

Me-di- a vi-ta

* in morte sii- mus : quem quae-

■ -

■ a

■ ■ ■ .- ■■■ ■* ■•

^^ ■■ ■ Pm Pbb ■•

;

■i "^

]♦ ■■• 1 ■■ ij ■■ gg

■ '

rimus adju- to- rem, ni- si te D6-mi- ne? qui pro

g

-■-- 5— ■ -l*^ p--

^

■i._v_^_p-.

pecca-tis no- stris ju-ste i- ra- see- ris

San-

"I^^^J^

T-r

-^-U

;-fi^-t

n—^.W

■•■'♦■

cte

De- us. Sancte

-'^♦♦-S

for- tis, Sancte 1_

■ ■

'-\^~f*-\

mi-se-ri

-cors Salva-

tor.

ama-re morti

ne tra-

das

1

,

Fi.

nos. etc. Characteristic Cadences of the Fourth Mode :

IV

BH

!l>^'._J^^„

no- bis pa- cem. in excel- sis. ve-

nit

Chapter III.

The Modes — Tonality.

47

The Fifth Mode: with its Tonic F (as also its Plagal, the Sixth Mode), because of its succession of intervals, and the half-step below its Final, reminds us very much of the Modern Scale of F; in fact it has the same form when the Bi^ is used throughout the composition, as was done in later times when part music began to develop. (There is no doubt that the scale of F Major was the first Modern Scale). See the following, one of the most beautiful of the more modern Chants, the " 0 Sacrum Convivium " , Magnificat Antiphon of the Feast of Corpus Christi. The Bt? is placed at the beginning of the staff, as in modern music :

V io"

•*-■

s-F-

p.

r!=3

O sa- crum convi- vi- um ! * in quo Christus

^.

-■^♦--j

E^

a-p,

'■— ■-

fT=tZZZ

sii- mi- tur : re-c6- li- tur me-mo- ri- a passi- 6- nis

"35^=5^E^^^^

e- jus : mens imple- tur gra-ti- a : et fu- tii- rae

\^-

■ ■

gl6-ri- ae etc.

However, the old composers of the Golden Age of the Chant, were careful to suppress in the Melody, the half-tone effect below the Tonic; to make the relationship, F-B> as unnoticeable as possible and to multiply, on the contrary, the B^. Thus they preserved the fine old Tonality of these Modes. Even today, the Fifth Psalm Tone has retained the B\. (We shall discuss this in the Chapter on the Psalmody.)

Following are a few short examples of this Mode, in its purer Form : First, a phrase of the Communion of the Mass of Virgins; then a phrase of the Gradual from the Epiphany

48

Part I,

Mass, a more ornate Melody, to which well applies the old description, Quintus Laetus :

Comm. J

V

.,_«.

•_^.

t

i^4i

Quinque * prudentes vir-gi-nes accepe- runt 6-

^T^-

::3_._^_!_^_^_i_^ZL*_Sv!_p^;

le- um in va-sis sii- is cum lampa-di- bus. etc.

Grad. S

V

£— 7-lil^

■vil;

:1;i^:

;♦

O- mnes * de Sa- ba

Typical Cadences of the Fifth Mode :

etc.

SVf.:

:jVv«.-

-m—WFm—m-

fa- me.

me.

Domi- ne.

The Plagal of the Fifth Mode, the Sixth Mode carries the same description as its Authentic, with the exception, of course, of its Lower Register — a Fourth lower — , and different Dominant. Not quite so much care was taken to maintain the ancient Tonality in the Sixth Mode, as in the Fifth; and we do not find so many melodies using the B<. Below we append parts of two Antiphons of the Christmas Season :

5

Ant. ?

VI — ■ — ■-

-f

■ ■

-*—m-

t-

Ipse in vo-ca-bit me, alle-lu-ia. etc.

Ant.

VI

-■—-■-

-■—■—■-

Pu-er Je-sus pro-fi-ci- e-bat aeta-te etc.

Chapter III. — The Modes — Tonality.

49

More modern are the Introit and Kyrie of the Requiem Mass

S_

Intr. ^-

VI —

-■ — ■-

r4z:p.:S{:^=t=^%

I I I

Re-qui- em * ae- ter- nam do- na e- is

^*^-?,

Domi- ne. etc.

h-n

•+-

-T=^^3

-♦t-«— =— ■— B^

r^il=^li^!=i^

Ky- ri- e * e- le- i-son. Chri- ste

le- i-son.

Distinctive Cadences of the Sixth Mode are those in which the Final is preceded by groups of the Lower Tetrachord of the Mode; a few follow :

VI

£

-%^-

jus.

-a —

:ft?:

e-le- i-son. li-be-ra me.

VI

■ ■ ■

^-•^

saecu- 16- rum.

"AvP.

m-

a-nes.

The Seventh Mode, or Septimus Angelicus, as the Ancients called it, is the Highest in pitch of all the Modes. It seldom has the Bt? present, and the major third — G-B — , preceded by the sub-tonic F-G, progression gives to the Cadences a succession of three whole steps. This makes the Tritone almost always evident in the Melodies. One theorist calls the Seventh Mode the Super — Major Mode; the Mode of large intervals and full sonorities. In this Mode, most of the Melodies are woven around the Tonic Sol, the Dominant Re, or the usually present Bl^. The following excerpts illustrate the characteristics of the Mode. The Introit of the 3rd Christmas

50

Part I,

Mass, and the brilliant and joyful Alleluia, " Magnus Dominus '\ for the 8th Sunday after Pentecost :

Intr,

VII

g^i: ■■_

=13

■ ■•

^

Pii- er * na- tus est no- bis, et fi- li- us etc.

AHe-lii-

ia. * Vj

-%-J-

i- J'' ^i-r— g-

y . Ma- gnus Do- mi- nus, et

M

-^-i-!-

Fm

lauda- bi- lis val- de, etc.

Familiar Cadences of the Seventh Mode are :

i — 1 ,r

-■-■-■-

^_^_.-.,--.

-?t-fl

•^

]US.

tu- ae ? e-

ni-

> 5

pn-g-i-r-R

sae- cu- la.

e-

le- i-son,

If the Seventh Mode is the Mode of joyous flights and enthusiastic outbursts, its companion Plagal Mode, the Eighth Mode is the Mode of certainty, assurance, of solemn affirmation and fulfilled joy. It was called by the old writers, Octavus Perfectus, and we find it serving the purpose of setting forth the Texts of Fulfillment, assurance,

Chapter III. — The Modes — Tonality.

51

and great Theological Truths. The Bt^ is seldom used. We quote a few phrases :

Ant.

VIII

Intr.

VIII

5

t=

Ne time- as Ma-ri- a, quae cre-di-disti : etc. g h bJ-b— * — ■ »

j!=3=:!zsi;i=v=3

Spi-ri- tus Domi- ni * reple- vit orbem ter-

■-T^/i-i'iir

ra-rum, alle- lii- ia. etc.

VIII

5=,ti=K

1»» ■ ■

■^^tS

^3=^

S-iT*

Ky- ri- e * e- le- i-son. iij. Chri- ste

— St— +

;♦

M

K -■

■ — ■-

e- le- i-son. iij. Ky- ri- e e- le- i-son. ij.

M

H ■

^♦x-A--

•Ky-ri- e

e- le- i-son.

Characteristic Cadences of the Eighth Mode :

S-.:

-aH^-rsr

^v

Pii=d=!:--fz^!i=B

le- i-son. su- o. tae-

rum saecu-la.

52

Part I.

Modulations {^),

In spite of its seemingly limited resources, no other music is so rich in modulation as Gregorian Chant or Plainsong. But, while in figured music, the harmony supplies many powerful means by which to modulate, Plainsong must depend entirely on the resources of Melod\^ to accomplish this fact. In this the Dominant plays an important part, as each Mode has its ow^n Final and Dominant, with cadences peculiar to it. Fresh Dominants foreign to the tonality are introduced, each of these requires its own proper Tonic and Cadence, thus making a modulation.

In Gregorian Chant we find both the Tonal Modulation — as in modern music — and Modal Modulation. The first type is fairly rare. The Kyrie Stelliferi Conditor Orbis, no. XIII Vatican Edition, furnishes an example :

S—

ii==i^S=r..-=i=fl

Kv- ri- e

le- i-son.

:^=^i=?^.=^

Ky- ri- e e- le- i- son. i ^ T"** ^ ^i— i-*1—

Ky- ri-

-%

^ S^

r-^.

le- i- son.

The First Kyrie is plainly in D Elinor — • without, of course, the CC. The Second Kyrie reproduces exactly the first melody, at

(^) Parts of this subdivision were taken from Monographies Grego- riennes X by Dom Joseph Gajard.

Chapter III. -^ The Modes — Tonality.

53

the Fifth; the Final A, is no longer Dominant, as in the First line, but takes the true role of Tonic; and we find the Melody here to be really in A Minor without the raised Seventh, The Third Kyrie reproduces the Second, contrasting it somewhat, to suit the words. Finally at the last line, the new Tonic. A becomes once again the First Mode, or D Minor Dominant, and concludes definitely on D.

The Introit " Statuit " supplies the same tonal relationship. There are other examples of this more modern type of Modulation.

Intr. 0:>

-■—■--

-^^M-»r-h--«^

:?i^i

Sta- tu- it * e- i Do

— ^.

mi- nus te- stamentum

A

t^'

-■-a-

HHI— I

pa- cis, et prin-ci-pem fe- cit e- um : ut sit il-li sa-

■-'!-♦♦-?--

-m—m-

j_;=j^t4n_-^_-::

t

cerdo-ti- i digni- tas in ae-

ter- num. T.P.Al-

\^

:N:

rn:-*

i!fl^H-i«

le- hi- ia, al-le-

lu- ia.

But the usual type of modulation in Plainsong is the Modal Type. Each note of the scale may serve as Tonic of a new mode. The melody, after having, as a rule, touched a new Dominant, pauses on a cadence note, and gives it Tonic character by means of a Modal cadence. There are few chants of any length which do not make use of this type of modulation, often many times. In some cases a Gradual or other elaborate melody will make use of ten out of eleven notes of the complete scale, as cadence notes.

54

Part I.

In the following Introit, " Omnes gentes ", VII th Sunday after Pentecost, the first phrase ends in a true cadence of the First Mode (D), then the whole second phrase is established on F.

1

Intr. 1^5- ^— iTi

VI -■■■ j.r^ ^— ^-^-

-■-■—■-

O-

mnes gen-tes * plau-di-te ma-ni- bus :

■ ■

MV.

-^ ■—»♦■-—■ — ■-■— d--li-

jubi- la- te De-

o m voce

exsulta-ti-

nis.

In the following Agnus Dei of the XVIth Mass, the second line is in the Third Mode, as well as the " qui tollis " of the first line, which makes a typical Third Mode inflection, reminding one of some cadences in the well-known Te Deitm. To establish the Third Mode, the Ancient Third Mode Dominant, B ? is used. This is a very interesting piece, as it alternates between the First and Third Modes throughout, thus giving contrast between the more conclusive Cadence on Re, and the m3^stical, seemingly unfinished Cadence on Mi. It follows :

I n

I St Mode

3rd Mode

'-Wifi

^— ?-* fi-'V

Agnus De- i, * qui tol-lis pecca-ta mun- di

I isfMode I i

3rd Mode

^^^

i — I

--m — ■ — ■-

p=i

mi-se-re- re no- bis. Agnus De- i, * qui tol-lis pecca-ta

e=s=^

3rd Mode

f ist Mode

^^

-■-■-

1.—

X/A

mundi : mi- se- re- re no- bis. As'nus De- i,

Chapter III. — The Modes — Tonality.

55

3rd Mode

1 r

ist Mode

-■—-■-

^=^=

qui tol-lis pecca-ta miin- di : do-na no- bis pa- cem.

The following Antiphon " Secus decursus aquarum " have incises i and 4 in Mi, and the 2nd in Re :

^

i

- ■

- ■ " - "

■• ■•

i

Se-cus de- ciirsus a

quarum

n

- ■

■ ■ " . "

■ ■' ■*

Planti- vit vi- ne- am

justo- rum

^ . .

. 1

■ ■ ■ ■ ■ ■ .

-■

■ ■ ■

■• ■• i

Et in lege D6mi-ni fii- it vo- liintas e- 6- rum.

The following Antiphon, " Omnes Sancti ", with the cadence of " tormente " on D, and the final cadence on Sol, as the Mode indicates :

I ist Mode j

Ant.

VIII

S

=U

1

t

Omnes Sancti * quanta passi sunt tormen-ta,

I 8th Mode ]

1

■ ■

■ - ■ — ■ — ■

!

ut se-cu-ri perve-ni-rent ad palmam marty-ri- i!

Sometimes we have modulations at the same time Modal and Harmonic, where the Mode and Tone are both changed on the

NO 758. — 3

56 Part I.

same Final. In the following Antiphon for Good Friday, we find the first part really in G Minor, and D minor with B:^, and the second part in the real Mode of Sol or 8th Mode, with characteristic B^, making the major third interval.

I G Minor' | T D Minor

Ant. iZZiiizzzzL.J^_i ±zi: r-~:=m:;.:^j

VIII T r ■- T 1 -■

Asti-terunt*reges terrae, et principes convene- runt

^ D Minor |

1

a ■ ~~

8th Mode

1

Gb- ,

a

M

■ n'^

■ ■ .

■ m

••

iii

%

t^

■ • ■•

«

in linum adversus Dominum, et adversus Christum e-jus.

Sometimes a melody will take so much liberty that we cannot say it belongs to any tonality; it goes and comes, touches one tone and then another, but does not pause long enough to be considered " anchored " (i). The following unpublished Invi- tatory, nearer the Third Mode than any other, will illustrate :

Lightly and quickly

Li!'a_S-^_,

■ ■

Ho- di- e si v6-cem e-jus audi- e-ri-tis, no-li-

fl - -

—

.. !

i-i

i .

-■-

■

— r-

-•N-

-■--

■

i

■•

■

■

■

■

■

■

1

«

_-_

te obdu-ra-re corda vestra, sic-ut in e-xa-cerba-ti- one

very lightly

■ - - ■ - ■ ■ ■ . § .. J

i— ■ i— ■ — ■ — ■— I

se-ciindum di- em tenta-ti- onis in de-serto : u-bi tenta-

i

i=:=r=^^^=f=|£5

,__.i,-i-!— i^— i^

ve-runt me patres vestri, pro- ba- ve-runt et vi-de-runt. . .

(') Dom Joseph Gajard in Monographies Gregoriennes X.

CHAPTER IV.

RHYTHM 1.

The Nature of Rhythm.

M. Vincent d'Indy in his " Cours de Composition " states, " Rhythm is the primal element in music, and must be considered before all other elements; primitive peoples know no other musical manifestation. Many persons are ignorant of Harmony, some even of Melody, but few are without some rhythmic sense. "

If we look around us we cannot but realize how reasonable is this statement : There is rhythm in all nature : In the pound of the surf on the beach, in the patter of the rain upon the roof; the beating of our own hearts or the very act of breathing is rhythmic. Besides these natural rhythms, there are many mechanically produced beats, such as the ticking of a clock, the revolutions of a wheel, or the explosions of a gasolene motor.

If a series of notes of equal duration are played, or if a drum is beaten with a number of even beats, the mind will naturally feel these repercussions in twos and threes :

.^^^^^K. .^^.^^^^o. .^.^.^.^.^«..

III II II

This is the fundamental foundation of all rhythm. No Rhythmic foot can consist of less than two or more than three simple beats. All other rhythms are but multiples of these. The Rhythm of language, discourse, oratory or ordinary speech is composed of these binary and ternary groups. These small groups combine to produce the greater rhythm of the phrase and the period. ""W/^

Rhythm is divided into two categories : Measured and Free, n^ Rhythm is said to be measured when all its parts are perfectly ^^ symmetrical, when its musical feet are all of the same kind, and ^ 'Wo-

' For a more profound study of Gregorian Rhythm, the monumental work of Dom Andre Mocquereau, " Le Nomhve Musical Gregorien", is recommended.

58 Part I.

consequently the Arses and Theses, as well as the strong and weak beats return at fixed and equidistant intervals. This is the rhythm of modern music ; and such was the rhythm of much Greco-Roman music, especially dance music. On the contrary, Rhythm is said to be free when the parts lack the above- mentioned symmetry, when feet of different length follow each other, and when the Arses and Theses, and the strong and weak beats do not make themselves felt at determined intervals. To this latter category belong the Gregorian melodies, the melodies and lyric poems of the Greeks; also all the ancient metric prose, and as we have already stated, ordinary discourse.

In order to thoroughtly understand the phenomenon of Rhythm, it should be studied by itself, divested of all melodic, harmonic and vocal aspects. The study of rhythmic figures of all kinds is helpful; and in the study of Free Rhythm it is highh^ instructive to sing or speak the alternate groups of twos and threes on the same degree of the scale until the natural sequence of the Free Rhythm is felt.

In Plainsong, or Gregorian music, the simple beat, which is indivisible, is equal to one Punctum ( « = J^ ), or one eighth note in modern notation. As we have emphasized, this beat can never be divided as in modern or measured music :

Never /=*'; = # ; #' J =

However, it can be slightly lengthened ( m = j" ), doubled

( ■ ■ := J ) or tripled ( ■ ■ ■ = J . ). As we have said before,

we cannot have more than three beats in a group. When a simple beat is doubled or tripled, we have Composite Rhythm.

The Composite Binary Beat has two forms :

a) The " distinct " form in which the two beats are expressed separately by two individual " impulses " or Icti :

■ ■

#

h) The " contracted " form in which the two notes are melted into one which lasts two simple beats :

— m

Chapter IV. — Rhythm. 59

The dot after a note in Plainsong notation, doubles the value of the note : )

■* = •

The Composite Ternary Beat has three regular forms : a) The " distinct " form :

■ . . - ^ ^ ^

■ ■ ■ — 0 0 0

h) The " contracted " form. :

. . . = J

c) The " mixed " form : *

-• . = J .^

The Binary Beat, distinct or contracted, is worth Two simple heats. The Ternary Beat, distinct, contracted or mixed, is worth three simple heats. Like the simple, beat, the composite beat may be slightly shortened according to the syllable of the word or for dynamic reasons, but it can never be reduced to the value of a Simple heat.

The Rhythm of the Word.

As we have repeated, the Latin Language is the framework on which Gregorian Chant has developed; thus the rhythm of the Latin word is the foundation of Gregorian Rhythm. As each word has its Arsis and Thesis, or rise and fall, so every binary and ternary group has its individual Arsis and Thesis. The simple two syllable word is a complete rhythm :

c^

De- us Also the three syllable word :

Do- mi- nus

Thus w\\\ be seen the difference between Elementary Rhythm, or one beat to the Arsis (the two syllable word), and compound

60 Part I.

beat rhythm in words of three or four syllables. (Of course in neumatic melodies, the two-syllable or even the monosyllabic word mav have more than one Arsis) :

^.

2 .• or ■■■ ■•

De- us De- us

Word of four syllables with Ternary Arsis :

Mul-ti-tii-do

Beyond four syllables, words form Composite Rhythm about which we will treat later.

The Arsis or generating force is the first part of the Compound Beat, and the Thesis, or resting point, or alighting point, is the last part of the compound beat.

The Rhythm of the Incise and Half Bar.

Just as two or three simple beats go to make up the composite beat, so do a succession of compound beats make up the Incise or Half Bar. These divisions may be made up of a few or a number of syllables. Sometimes the Half Bar serves the same purpose as the Incise mark (to mark a small division) ; sometimes it marks the end of a complete idea; in very long Phrases and Periods, both Incise and Half Bar are present, observe the following Hymn :

*i ■■■:■*

'

V ^b ^■■■■"

■ , '

B

' ■ . ■• .

Ado-ro te dev6-te, 1

1

la-tens De- i-tas. Quae sub

fl, ■ . ■

*\5 : ■ ■ ■

his fi-gu-ris, etc.

Chapter IV.

Rhythm.

61

In most short Phrases one Incise is sufficient to make a division :

bj

ffi=I

-V

Ky- ri-

le- i-son.

A breath is never permitted at the Incise mark; not often at the Member or Half Bar, unless expression or the sense of the text demands it.

Between Incises the individual Arsis and Thesis of the simple or composite beats give way to the longer Arses and Theses of the succession of binary and ternary rhythms. Or there may be two Arses or two Theses, according to the rise and fall of the melody, meaning of the text, etc. In this " suite " of composite beats, the Rhythmic Ictus becomes at once the alighting place and the departing Arsic Force. It is most important that the student of Plainsong feel this alternation of Arsis and Thesis, (or in compound Rhythm it may be a succession of several Arses and Theses). This rise and fall of the Melody, like the waves of the sea or the flight of a bird which finally comes to rest, expresses the correct interpretation of all Plainsong.

The Rhythm of the Whole Bar.

Within the confine of the whole Bar develops the complete Phrase. This may be a short sentence with no divisions by Incise or Half Bar, such as the short sentences in the Gloria in Excelsis, and some of the Kyries :

n <

Laudamus te.

(Lux ei origo.)

VIII

M=i=n

:5v:f

Ky- ri- e

e- le- i-son.

62

Part I.

(Alme Pater.)

-^^

3tzp

■ 1^ %iHi ■-HH

Ky- ri- e * e- le- i-son.

or it may be composed of two Incises :

(For the Sundays of Advent and Lent)

I— ^ -— -

' =:3=^;iJSi=^^f^^^

Ky-ri- e With 3 members :

le- i-son.

■• ■

IV r

*♦]

g!-^

Sanctus, * Sanctus, Sanctus Domi-nus De- us

■ %

> ■•

Sa-ba- oth.

-■— ■-

Agnus De- i

•

, * qui tol-lis pecca-ta miindi :

S . ■ ■

■ ■ • ■ ■■ ■•

'

mi

i- se-re- re no- bis

The Phrase may be made up of three or a number of Bars, according to its length and complexity. It is always a complete idea from a stand point of both text and rhythm, and often is a complete, independent member of a Period.

Chapter lY. = Rhythm. 63

Composite Rhythm.

In order to thoroughly analyse the Phrase or Whole Bar Rhythm, it will be necessary to explain more fully Composite Rhythm, of which there are two kinds :

Composite Rhythm is made in one or two ways, as stated above : (a) By the regular alternation of Arsis and Thesis, which we have been discussing; this is called Composite Rhythm by Juxtaposition. Although closely followed by each other and completely knitted together, the simple rhythms remain distinct, each Thesis marking the end of one, and each Arsis marking the beginning of another. The following example will better explain this process :

r

Arsis Thesis Arsis Thesis

The second method of building Composite Rhythm {b) is by the repetition of several consecutive Arses and Theses. This is called Composite Rhythm by Contraction. This term is most^^ accurate, because, as the regular Rhythmic Order is that, after an Arsis comes a Thesis, every time that several Arses or Theses follow one another, one of them is the blending point of two linked Rhythms. The Thesis of the first or preceding Rhythm becomes an Arsis when considered in relation to the following Rhythm. Just as the individual " impulse" or Ictus is the contraction of two Rhythms, in simple time, so in Compound Rhythm do the individual Arses and Theses contract to form a longer or Compound Rhythm. By a few simple examples this phenomenon may be made clear :

Arsis Arsis Thesis Thesis

64

Part I,

m n n

Arsis Thesis Thesis Arsis Arsis Thesis Thesis

-.CJ3-

Whether the Composite Rhythm is to take the simpler form of Juxtaposition, or the more comphcated form of Contraction depends upon both the Melody and the Text. As in the above example, if the melody continues to rise after the first group, especially on the Tonic accent of the word, we always have a second Arsis — even though as in this example of the " Kyrie ", * the descent begins before the end of the second group, this may only be an Arsis, because its first note is the culminating point of the Arsic elan or crescendo. In the same way, when several groups continue in a downward direction, especially at the end of a word or phrase, we always have two Theses.

We cannot go into the man}^ technicalities of Arses and Theses here. We shall treat this subject more fully later. (The Bible for those who adhere to the Solesmes theory of Gregorian Rhythm, is the great work of Dom Andre Mocquereau, " Le Nomhre Musical Gregorien ". Part of Tome I has been translated into English, but the rest of the work, which is very instructive, is still in its original French. For the serious student of the Liturgical Chant, I advise a careful study of the complete work). It is not simply the Melody itself, though it

Chapter IV. — Rhythm. 65

plays a very important part, — which causes Arses and Theses of the groups; it is also the Text. Sometimes these coincide, sometimes they contradict each other; in the latter situation we find one of the most difficult dynamic problems of Plain Chant. However, as it is this Composite Rhythm by Contraction which is the prevailing species in Gregorian Chant, it is necessary to understand it thoroughly to properly interpret the Melodies.

It is of either of these kinds of Rhythm which makes up the Plainsong Phrase. Just as each Latin Word has its proper Tonic Accent, so has each Phrase its Phraseological Accent. Sometimes this accent coincides with the highest Melodic elan, and sometimes it does not. When the former fact is true, it is not so difficult to analyse the Phrase, and to decide its Arses and Theses, and thus determine its interpretation. Careful analyzation of each Phrase is the only way to recognize these subtle nuances, and to become more sensitive to the ever varying succession of Arses and Theses.

The Rhythmic Ictus.

As it has been necessary in our discussion of different phases of the Chant, to mention the Rhythmic Ictus, it is not altogether C a new subject to us. The Rhythmical Ictus is at the same time^ an alighting place and an "impulse" sought by the rhythm "^ * at intervals of every two or three notes, to renew and sustain ^ its flight to the Final Thesis or resting place. It must always be remembered that the Ictus has nothing ot do with length or force necessarily; in itself it may be strong or weak, according to the nature of the syllable or note on which it falls. One of the commonest and most ruinous faults in Plain Chant inter- pretation is to assimilate the Rhythmic Ictus to the Tonic accent of the words and give to it their value. The Tonic accent is always a fairly strong beat, an elan, a propulsion, a lift, — never heavy, however; — it is the Arsic element in the word. The Ictus may be the beginning of an Arsis or a Thesis; it may coincide with the Tonic accent, or it may alternate with it. It may be strong; it may be weak. But whatever its position, it is always both alighting place and motive force when in the middle or at the beginning of a Phrase, and resting point when at the end of the Phrase.

A Rhythm may begin with an upbeat or elan, or a down beat or alighting point (the terms upbeat and downbeat must

66 Part I.

not be confused with these terms as used in conducting barred music). It begins with an upbeat when the Arsis is Simple, and a downbeat when the Arsis is Binary or Ternary :

c\^

_^-_, — ^ — _ — -± — ^

A-men. De- us.

Although the beginning of a Phrase is often quiet, and of Thetic nature, it is almost always better to start the impulse of the Phrase with the Arsis; it suggests to the choir that feehng of movement which must always be felt until the end of the phrase. It is sometimes of advantage to beat a prehminary Arsis before the chant begins, or to begin the beat higher as a preparatory beat : ,

Prep, beat

Associated Words.

We have discussed the Rhythm of Single Words. We shall next take up the subject of Associated Words.

Single words always keep their natural Rhythm. When connected or placed in the Phrase, sometimes they keep their individual Rhythm, sometimes they lose it. Hence we have two kinds of Words, Rhythmic Words and Time Words :

" a) Rhythmic Words :

^^ These are all those which end on an Ictus :

*^ f f f f

(^ Salus, honor, virtus, quoque.

» « » \

All the words in the examples are so many small rhythms, when we consider that, first of all the Rhythmic Ictus marks the end of a movement. When the last syllable of a word bears the Ictus, it marks both the end of the word and the end of the Rhythm. Rhythmic Words follow one another by being

Chapter IV. — Rhythm. 67

linked on; the Rhythmic Ictus on the last syllable connects them with each other. In order that the words may be hnked together in singing, as when written, the Ictus must be passed over very hghtly. When words are rhythmed, care must be taken to give the Tonic accent its proper impetus, and not to pound the last

1W^

syllable which carries the Ictus.

h) Time Words: ^qj^^

These are the words without the Ictus on the last syllable : ..^^^

f f f f '<^

Salus, honor, virtus, quoque. ^^

Instead of the natural rhythm of the words, which we find when the word is rhythmed, the Ictus is displaced, and passes back to the Accented Syllable (in words of two syllables). The words no longer form a rhythm, but only a part of one. When the Ictus and the Tonic Accent coincide as above, the words seem separated by the intensity and emphasis on the Accent. Both these methods of marking words are equally legitimate, and the presence of both kinds of words in the melodies makes for variety in the movement.

Rhythm of Neums.

Neums are divided like Words into Time Groups and Rhythmic Groups. While the Word is in itself a Rhythm, the Neum in itself is a Compound Beat. The difference between the Word and the Neum is the difference between the position of the Rhythmic Ictus. While the Word naturally bears the Ictus on the last syllable, it is the nature of the Neum to carry the Rhythmic Ictus on its first note. This is the purpose of the Neum, to play the part of a Compound Beat.

a) The Time Group :

This bears the Ictus on its first note, and not on the last ; it needs another Neum to complete its Rhythm. In a series of TimxC Groups each group ends its Rhythm on the first note of the following Group. Of course, the last note of the series has to he Rhythmed — its value is doubled by the dot :

5—1

iZsZ^v^ziiz =a=5,=P

■ ■ ■'

68

Part I.

Chained together in this way the Time Groups form in themsel- ves so many elementary rhythms, the Ictus marking at the same time, the point of arrival of one group and the point of departure of another. When combined with the Neum, the Word, in most cases sacrifices its individual rhythm to the rhythm of the Neum. In the following example, the text coincides nicely wdth the Neums. It is a composite rhythm of the " contracted " variety. The first two Time Groups rise with the first two syllables of the Word, toward the Tonic accent of the word; these syllables are therefore Arsic, because of both text and music. The third Neum and syllable of the word is a Thesis both because it is the last syllable of the word, and because it is close to the end of the Incise, and the masculine Thesis me, a long note, and one of rest. In the whole Chant, '' Asperges me ", there is not a single Rhythmic Group. Time Groups like Time Words succeed each other by Juxtaposition.

Ant. |- VII r

■^:

I

As- per- ges me. Also the first Incise of the Kyrie " Orhis factor " :

Ky- ri- e "^ e- The first Incise of the " Vidi aqiiam '' is in the same category

Vi- di

quam

Chapter IV. — Rhythm. 69

Exercise.

Look up in the Chant Books, Incises, Phrases and whole chants made up of Time Groups.

h) Rhythmic Groups :

In these groups, hke Rhythmic Words, the Ictus falls on the last note of the group. When the smallest Neums, the Podatus and the Clivis are rhythmed, they must be preceded by a rest :

n ;; , ,h J , J^ j

2:

A rhythmic group of three or four notes has two Icti, and constitutes a simple rhythm in compound time :

• 0

• 4

1%. iv. V%

A rhythmic group of three notes is equivalent to a dactyl ; it has two notes to the Arsis, as the dactylic word has three syllables. A Neum of four notes may be rhythmed in two different ways : First : By doubling its last note. In this case the Arsis includes three beats and the Thesis is masculine. (See next page). The second method is to place the second Ictus on the third note of the Group. In this arrangement, the Arsis is binary, and the Thesis also binary and feminine. (See below, next page). If the second method is used, the Neum becomes a Time Group, and must have another note to complete it. The following sequence of rhythmic groups will illustrate :

i=ri^i=^»:

^^snrj;

=--7^

This is pure musical rhythm, and when combined with words, as much care as possible must be taken not to destroy it any

70

Part I.

more than is necessary. We find numerous examples where word rhythm is sacrificed to melodic rhythm, thus disproving the theory of simple " diction rhythm " formerly taught.

Masculine and Feminine Cadences.

Such Theses as the following are called Feminine, or Postictic, because they are not conclusive; another note, — a double note — is necessary to complete it :

n

r-#-

Arsis

Thesis (Feminine Cadence)

The close of a rhythm must be a Thesis. Theses or Cadences which end on the Ictus are called Masculine :

Arsis

Thesis (Masculine Cadence)

Different Types of Incises.

a) Incises made up of Composite Rhythm by Juxtaposition :

Arsis Thesis Arsis Thesis Arsis Thesis

Arsis

Thesis

Arsis

Thesis

Arsis Thesis

Chapter IV. — Rhythm.

71

b) Incises made up of Composite Rhythm by Contraction :

V_

n n — •-# — 0-0- I I

Arsis Arsis

— 0 2 Arsis, one Thesis.

Thesis

0 one Arsis, two Theses.

Arsis Thesis Thesis

-0-0-

n

-0-0-

Arsis

Arsis

I Arsis

three elans, two Theses

Thesis

Thesis

Placing of the Rhythmic Ictus.

We have learned that Rhythm obtains its Arsis-Thesis undulations from one binary or ternary group to the other, by its succession of alighting points and impulses, which keep the movement progressing to its final resting place. In order to distinguish these Arses and Theses, we must know at just exactly what point each begins. It is therefore very necessary to know where to place the Rhythmic Ictus, which designates, at the same time, the end of one binary or ternary group, and the beginning of another. We must avoid a uniform treatment of these little " footfalls"; this would isolate the little rhythmic groups and destroy the continuity of the phrase. It is a most serious fault with beginners and inexperienced choirs to accent each tiny division, thus tearing apart the structure of the Phrase. The more carefully a Melody is analysed by the intelligent and well-trained musician, the finer will be its execution. Without deciding the exact place of every Ictus, or rhythmic touch, it is impossible to conduct a choir in Unison. — Of course these little rhythms must be always considered as part of the Greater, or Period rhythm; otherwise the effect can be "jerky"

72 Part I.

and lack the true flow of the Melody. — Therefore, the Choir director who is to dare the use of Plainsong in his choir, and for that matter, the musician who ventures to tamper with Plainsong in any way, is bound to study this subject seriously, and apart from his knowledge of other music. (It is almost a sacrilege for any individual to think that, because he is a " great organist " and has gained a great name in the world of music, he is competent to teach, conduct and otherwise work with Plainsong, without special training). The Chant can be studied only in connection with the Liturgy to which it was wedded from the beginning. The Episcopalian, the Lutheran, and any other director who must make use of Plainsong in English, German, or any other modern language must first study it in its milieu. Only then will he be able to really understand its soul, its real meaning. He probably will not care to tear it from its original Latin, or to uproot it from its Liturgical background; but if he does decide to transplant it to a new environment, it will be with that reverence and respect which must be present wherever Plainsong is used.

To know how to rhythm a Gregorian melody is not an easy problem. It presupposes an amount of theoretical, practical and paleographical knowledge which only the sincere, persevering scholar can possess. The safest way out of this difficulty is to use the Rhythmic Editions of Solesmes. But even with these, there will be Phrases, many, unmarked by the Ictus. For this reason we give a few general rules below :

Text : The rule regarding the Text is to rhythm the words whenever this can be done. For an example, let us take the " Dies irae " :

Sea *

I ^-

■ 2 ■ i

■ ■ ■ - ■ - -•

% - ■ *

7 ■ - - _

Di- es i-rae, di- es il-la.

Solvet saeclum in

■ ■ ••

......

fa-vil-la Teste, etc.

In the first Incise w^e know there is an Ictus on the last syllable of ''ilia", as it is the end of a Division; we also know that

Chapter IV. — Rhythm. 73

we may not have two Icti together; therefore we count back by twos and threes, and place an Ictus on the last syllable of each word. This alternation of Ictus with Tonic Accent is very graceful. In the next Incise we have some Time words and some Rhythmic words; the reason is obvious : We cannot begin at the end of the division and work back as in the other Incise, because we have a definite Ictus — a podatus — on the last syllable of " Solvet ", and we know from our Chapter on Notation that the first note of a neum bears the Ictus. Thus, " saeclum " must become a Time word, even though it also has a Neum on the last syllable, and because " favilla" is a more important word than "in", the first syllable of that word has the Ictus. In the last Incise of the Phrase, because there must he no break, the accented syllable of "Teste" is linked on to the preceding binary Thesis of the preceding Incise, thus forming a ternary group, the same as it was between the first two Incises. These two figures are carried throughout the entire Sequence and rhythmed in this way.

The Mozarabic Tantum ergo is given somewhat the same treatment :

i_7 _ t~m — ■

:!=^Pi:1i;=b=:i=r:i--.

ri

Tantum ergo Sacramen- tum, Ve-ne-remur cer-

:-

■ ■

m

^— i-*::1v,

■ 7

nu-i : Et antiquum docu-mentum, Novo cedat ritu-i : etc.

It is one of the finest melodies in all Plainsong repertoire, and has been used by the great polyphonist of Avila, T. L. de Victoria, for the Cantus Firmus of his fine setting of the Hymn of Thomas Aquinas.

Melody — In placing the Icti in the course of a melody, several things must be considered : a) Tonality, b) melodic patterns, c) Neums, d) pauses, e) rhythmical manuscripts.

a) Tonality — If there is any choice in the matter, the Ictus is placed on the Modal Tones, or those which control the tonahty of the passage in question :

* More recent form.

74 Part I.

Cre-do in lirum De- um.

The " E" over the last syllable of " Credo ", as well as that over the last syllable of " itmifn ", being the Tonic of the Mode (IV) demands the Ictus. The words gain by being rhythmed, as is usually the case.

b) Melodic Patterns — In Plainsong as in modern music, we find all kinds of melodic patterns, questions and answers; in fact all varieties of imitative themes, sequential patterns, and nearly every kind of imitative movement. In all cases we find the Rhythmic Ictus bringing out the musical thought. Those passages in which the rhythmic design is clearly defined by the melodic outlines, must serve as a rule to be followed in similar cases. It would not do to rhythm two passages in a different manner; and imitative phrases must keep the same rhythmic outlines. So we noticed in the "Dies irae " whose first phrase we have just analyzed; also the Spanish " Tantiim ergo " . Notice also the " Veni Sancte Sptritus " , sequence for Pentecost :

Seq.

I

S

fci

>2 ■

■ 1 - , - a

Ve-ni Sancte Spi- ri-tus, Et emit-te cae- li-tus Lii-

■ ■

-■-

■

"K

:^z^±T^,^

7 1

cis tii-ae ra- di- um. 3. Conso-la-tor op-time, Dulcis hospes

a-nimae. Dulce refri-ge- ri- um. etc.

Note how carefully the Incises and Phrases are rh^^thmed. The second Incise answers the first in perfect form. Then each melodic pattern carries the same rhythmic outline as the one it imitates.

Chapter IV. — Rhythm. 75

c) Neiims — In the Chapter on Notation, we have discussed at length the relation of the Rhythmic Ictus to certain Neums. Let us sum up briefly :

The First Note of every group, when it is not directly preceded or followed by a note bearing the Episema. (As there may not be two Icti in succession).

The Last note of a group which is followed by a single note usually bears the Ictus, as a rhythmic foot must be at least two heats long (see above).

Most culminating Virgas of Neum Groups are given the rhythmic support, whether in the center of the group or at the end : *

-s4n— — S-S+

Do- mi- ne.

All Long Notes — Dotted Notes, all Pressus Groups, all Notes lengthened by the Quilisma, Oriscus, Horizontal Episema, etc.

d) Pauses — As a general rule, the last note before a pause is doubled. If the pause is preceded by a Neum of two notes (Podatus or Clivis) both notes are, as a rule, doubled.

Antiphons often end with a syllabic Spondee on the same degree. When this is approached from above, its two notes are doubled, and consequently receive the Ictus.

g_+

5=1-5

. cum disci-pu-lis sii- is.

e) The Rhythmic Manuscripts — We know that the learned research work of the Benedictines of Solesmes has disclosed a most valuable rhythmic tradition ; therefore a profound study of the Paleographie Musicale should be made by all Gregorian students. (See Part II, Chapter I).

The Greater Rhythm.

Just as the elementary rhythms unite to form Incise-rhythm, in turn the Incises when grouped together produce Phrase

* Consult. Part II, Chapter II.

76 Part I.

Members; these finally unite to form Phrases and Periods. This is the Greater Rhythm.

i '

Di-ri-ga-tur * o-ra- ti- o me- a sic-ut

ilJ?-trirJ=i=tzJJjS8zfcA

fcifc

incensum in conspectu tii- o, etc.

Thus appears the ceaseless, ever-living power of rhythm. As the Rhythms increase in size, the importance of the Final Thesis of each one of them is more manifest. It exercises on each Incise, each Member, a strong attraction, and it is towards it the whole movement tends in its flight through smaller Arsic and Thetic Groups.

Musical Sentences or Phrases are of varying lengths : They may compose a single short Section, or they may require many Incises and Members to complete the meaning, melodic or hterary. In fact it is the meaning of the piece, Hterary, tonal and melodic, which governs the length and subdivisions of the Phrase.

The Melodic Element plays a most important part in the division of the musical Phrase or Period. It results from the mutual attraction of different sounds, and the Tonic-Dominant relationship of the Mode in which the Phrase is set, or the introduction of the New Dominant relationships to bring about temporary modulations. It is part of our natural aesthetic sense to introduce rests or pauses at certain intervals when singing or speaking a long phrase. This is a kind of musical punctuation which renders the musical thought more intelligible ; in very brief pauses this cessation not only throws into relief the preceding Incise, but also more closely connects the following one.

Simple Rhythm owes its cohesion to the close relationship of Arsis and Thesis. Composite Rhythm by Contraction, where Arsis or Thesis is repeated (see above), also owes the mutual dependence of the smaller groups to Arsic-Thetic relationship Composite Rhythm by Juxtaposition even with

Chapter IV. — Rhythm. 77

its alternation of Arsis and Thesis, sets up a close relationship between these groups.- Therefore, every time the synthetic action of the rhythm ceases, certain groups of notes are left unconnected; thus, if no other factor intervenes, a new division or Incise may be marked in the Phrase, according to the importance of the pause. The text, the melody and the rhythm, which decide the outward form and length of the sections and members, also determine their inner form and coherence.

Rhythm of the Period. — To achieve unity in a phrase, the rhythm must be fashioned according to the rank and mutual subordination of the different elements composing it. To form a musical sentence, the rhythm has four links at its disposal, for coupling sections and members, according to their importance :

i) The Melodic Link. — • Quite often a musical theme is developed by the gradual rise of the melodic line to a culminating point; then a descent, either gradual or prompt to the Tonic. The First or Ascending part is called the Protasis, and the Second or Descending part is called the Apodosis. Like the Antecedent and Subsequent clauses in a grammatical Period, the Protasis and the Apodosis establish the unity of the whole musical sentence :

Protasis | | Apodasis

5^ +

Intr. 1 ^_,_«-_^_^S-«

^-4

I — :: — =-5 fl ■ -*= ^ i-m m— I

— I^HVP"-*- ; ■

Gaude- te * in D6-mi-no sem- per : i-te-rum

S

Apodasis ■+

■— ■-

di-co, gau- de- te : etc.

2) The Dynamic Link. — This constitutes the grouping of each section and each Member around its ow^n particular Accent, and the Members and Sections around the General Accent of the Phrase. It is clear that the Arsis corresponds to the Ascending Melodic movement, and the Thesis to the Descending movement of the Phrase; also the Principal Arsis which binds together the Incises and Members, generally coincides with the higher group. We may now amplify this statement by

78

Part I.

saying that the Principal Arsic Group of the whole Period, to which, consequently, its General Accent corresponds, and to which all the small Rhythms, Incises and so on, are subordinate, normally coincides with the highest melodic group of the whole Period. For the proper artistic efiect, it is necessary to increase the intensity gradually from one Ictus to the next, so as to reach the summit of the Melodic Line, almost imperceptibly. The same process in reverse must be used as the melody descends. The Accents and Icti will thus be stronger or weaker proportionately as they are nearer to, or farther from the General Accent of the Phrase. As a rule, it is better to multiply the Arses during the Protasis, and the Theses during the Apodosis. It simply means that, before deciding on a certain grouping when there could be a choice of two different groupings, we must consider the place it is to occupy in the Greater Rhythm of the Larger Phrase or Period.

This wide distribution of emphasis over the whole Period is very important if a pleasing and intelligent execution is to be attained. Without this subordination of accents, there will be no coherence or sense to the phrases. However, there must be no exaggeration, but as in all art, discretion, restraint, and delicacy of feeling must be always present.

Ant.

VIII G

(A)

5

Vi- de Domi- ne * affli-cti- 6-nem me- am, -f

qu6-ni- am e- rectus est i- nimi-cus me- us. (B) /

Ant. « ,

VIII

:-i.

iz^-R.^

■ ■

Ve-ni sponsa Christi, * acci-pe co- ro- nam, quam

-■ — ■-

fc*^«

i::-+-

-«-—■-

■• ■•

ti-bi Domi-nus praepa-ra-vit in aeter-num.

Chapter IV. — Rhythm. 79

3) The Proportional Link — This is the relation and dependence set up by the proportion of sounds between Incises and Members. This relation consists not only in the number of sounds, but also in the duration of the pauses. The melodic attraction and the rhythmic attraction which the synthetic action of the rhythm sets up between different groups of notes, constitutes the movement. These two causes working on our inner aesthetic sense decide the number of sounds which must enter into each section and each member in order to establish equilibrium and proportion between them. The poor singer may destroy this proportionate relationship, either by not giving the different pauses their proper value, or by exaggerating their length.

4) The Link of Articulation. — This is the Mora vocis, whose action is felt between the sections and members just at the point of junction. The dotted note before the pause must always be anticipated, and not sung in a thoughtless manner : the last syllable must not be over accented. The Mora vocis which occurs at the end of the Incise or short Member (where there is usually no breath taken), fulfills two functions : this last doubled note ends one member and leads on to another. It must therefore not be treated as though it were a mere resting place for the voice, but must be full of life even when in repose; the voice has scarcely alighted on it when it enters upon its second duty of joining the two phrases. For this it must prepare itself by taking on in advance the color and meaning of the second phrase. If the new member begins on a strong note, \ a slight crescendo on leaving the last note of the preceding \ phrase will lead into the new mood successfully. If the first note of the next Incise be a weak note, it must be lead into with

a slight decrescendo. As is often the case, when there is a single note followed by a neum in the following phrase, care must be taken to give this ternary rhythm (the dotted note linked to the single note), its full value of three beats. Smooth execution of such places requires a great deal of practice.

Canta-te D6mi-no canti-cum no- vum laus

^:^&-

-■— ■-

e- jus ab extremis terrae.

80 Part I,

(B) ::=.==_ g

Et incarna-tus est de Spi-ri- tu Sancto etc.

When a pause occurs between the larger sections, and a breath must be taken, the Mora Vocis serves more to separate the notes, than to join them, and in such cases there must be a more definite feehng of repose.

So we find the Gregorian " cantilena " a continuous melody whose different divisions tend to unite the whole, instead of cutting it up. When these melodies are sung in a light, flowing manner, with proper expression as they should be, they are Hke a bird in flight, which by every renewed impulse of its wings, soars higher and higher, dips down a little, then higher still, until it finally planes down to earth and comes to rest.

CHAPTER V.

CONDUCTING THE CHANT.

The ancients were not satisfied with having at their service a clear and precise terminology to explain the rhythmic movement. In order to paint these rhythms to the eyes, they had not only the movements of the body in the dance, but also the gesture. As ourselves, they made use of feet and hands, and quite naturally these gestures reproduced the rhythmic movements of the dance. The raising of the hand or the foot corresponded to the Arsis, and the lowering of foot or hand corresponded to the Thesis.

The indication of Rhythm by means of the hand, or " chironomy " {yzio hand, and vdj/o; rule), has existed always. What interests us, however, in this short chapter on Gregorian Chironomy, is its relationship to our subject. From Mediaeval treatises on music, we find the Chant was performed under the direction of a " primicerius ", or a " prior scholae ", who indicated with his hand the movements of both melody and rhythm. In his " Commemoratio brevis ", Hucbald does not hesitate to counsel the master of the chant, to mark the rhythmic flow by means of some kind of " percussion " of hand or foot, in order to inculcate in the children from an early age, the practical science of rhythm. Many examples might be cited to bring out the historical phase of " chironomy " or other means of marking rhythm.

The fundamental gestures to be used in conducting the chant, must be free from anything that might suggest measured rhythm or music. These gestures must exactly reproduce not only the march of the rhythm but the melodic line with its elans and falls, its movement and pauses. It is absolutely necessary, as we have repeated above, to thoroughly analyze every phrase, member and simple rhythm of the Gregorian melody before we undertake to conduct it.

82 Part I.

Different Chironomies.

a) By Simple Beats : It would be a most clumsy and erroneous method to mark each and every note of a melody in the following manner :

^ ^ — a ^ — 4

iS— . i

■

Cre- a- tor a-lme si- de- rum etc.

Nothing but a choppy, martellated and disagreeable rendition could be expected; it is altogether opposed to the flowing character of the Chant. Only in extreme cases, when it is a question of a poor choir singing the notes evenly, or not giving the proper retards, or some other very good reason could this method be tolerated — only temporarily for a few notes. The competent choirmaster will be able to judge this.

h) By Simple or Elementary Rhythms. — This is accomplished by lowering the hand from one Ictus to the next. It is much better than the first method, but still not the best method suited to the style of the Chant, as it cannot adequately express the proper rise and fall or rhythmic divisions of the melody; it always lacks the power of expression :

fe

?r"

0

1

.p

■

■

'

■• 1

% : m

■

'

'

■

Cre- a- tor al-me si- de- rum etc.

This method may be used in certain cases to emphasize the Tonic Accent or to conduct a short phrase of " free rhythm " interpolated in an Anthem or Motet in Measured Style. However, for long Gregorian Phrases it does not possess that element of freedom, and " flight " so necessary for a free and beautiful rendition.

c) Condiicting by Members in Compound Time. — is the perfect way and the only method suited to the flowing Gregorian style. — It is also a very effective, though complicated method to use in conducting Polyphony. — While marking each

Chapter V. — Conducting the Chant.

83

binary and ternary group, it also depicts before the eyes of the singers, the elan and fall of the melody, the smooth rhythmic suite, and in fact every necessary detail as well as the general scope of the " Greater Rhythm ". With this type of Chironomy there is no nuance of dynamics or agogics which cannot be expressed by a thoroughly trained conductor with a well-trained group. At the Arsis the hand describes an upward circular movement from Right to Left; at the Thesis it takes a downward sweep to the Right. This is a Chironomy of Simple Rhythm : A succession of these movements — Alternation of Arsis and Thesis is used for Composite Rhythm by Juxtaposition :

Arsis

Thesis

Arsis Thesis Arsis Thesis Arsis Thesis

In a series of simple rhythms making up Composite Rhythm by Contraction, the Arsic or Thetic movements are repeated as long as the melody and text indicate them :

Arsis

Arsis

Thesi

Arsis Thesis

Thesis

I 2

Arsis

123 Arsis

12 12

Thesis Thesis

It is most necessary to distinguish between the movement for a binary group and that for a ternary group. The Arsic circle is of course larger for the latter, but in proportion. In the movement for the binary Arsis, the second beat corresponds with the top of the circle, while for the ternary group, the circle is divided into three.

In a series of several Arses, the most important one must be designated by a more emphatic raising of the hand. In a series of Theses, after the hand comes down on the first, it is lightly raised before it descends on the second. The melodic line of the melody must always be kept in the chironomic outline.

84

Part I.

rising wdth the Arses, and falling with the Theses. This is one of the fine points of all conducting, and takes a great deal of practice.

When a movement begins on the last part of a binary rhythm, the first part of the beat is marked by a preliminary gesture, which starts the Arsis before the Chant begins : The singers do not begin until the conductor's hand reaches the arc of the semicircle :

^-#

Some choirmasters mark this Initial Ictus by a tap of the hand or finger on the conductor's stand, or on a book. For beginners this might be a good procedure; but the preliminary gesture is more in keeping with the flow of the chant; the singers are thus prepared for the movement, and make a cleaner attack. The Complete Rhythm, instead of just the Arsis, makes an effective method of starting the inexperienced choir :

start of chant

Prep.

If the phrase begins with a Thesis, it is indicated in the following manner :

start of chant

Prep

Thesis

There is still another gesture employed by Dom. Mocquereau and his Solesmes followers; the Undnlaiion :

I-

lzm!z%=!zfl.

i-^"-rf

:t=

Memento verbi tu- i servo tii- o Domi- ne, etc.

Chapter V. — Conducting the Chant. 85

This motion is to be used in a succession of Thetic movements, when the Tonic Accent of the Word ahernates with the Rhythmic Ictus. Most of the Sequences and many Hymns call for such a Chironomy. It is nearly always the spondaic word or a succession of Spondees which creates such a rhythm. Observe the following; in all cases, care must be taken not to " punch " the Accented Syllable :

-, ■_

^=^

Sur- re- xit Chri- stus spes me- a :

Finally, there is a Phraseological Chironomy which may be used with perfectly trained choirs — which are seldom found. It presupposes a finished and thorough knowledge of the Chant, both as to technique and aesthetics, on the part of both conductor and choir. It consists of a single movement of elan for the entire Protasis, and a long gradual Thetic movement for the entire Apodosis. This conducting of the Greater Rhythm, is only practical under the ideal conditions mentioned above.

The aesthetic value of each of these Chironomies is exactly the same as its model, that is to say, the analysis which it represents. Nevertheless all are possible and useful in their own way, provided they are used judiciously; it is to the choirmaster this choice belongs. If he is well trained he will know when to take advantage of the best method at the proper time, being always guided by the sense of the words, melody and rhythm. By his gestures and his glances he will be able to make his singers feel his inspiration, and make themselves one heart and one soul with him. This is the Epitome of art.

Arses and Theses.

As a general rule the melodic movement itself will serve as a guide in classing Arses and Theses. Since the Arsis represents the elan or uprush, and the Thesis the relapse and quieting down of the Rhythm, it is evident that the ascending group should be marked with the Arsis and the descending group

86 Part I.

as the Thesis. (Thesis must not be confused with (rirtard). It takes a great deal of study and experience to always class correctly the Arses and Theses. Often the text will make a Thesis of an otherwise Arsic group, or vice versa. A great deal depends upon the general movement of the Phrase and the thought expressed. Many times a descending phrase having an important word or Tonic accent is treated as an Arsis, or a rising movement attached to an unimportant word should be classed as a Thesis.

Rhythms by Juxtaposition. — Movements in which neither melody nor text demand the repetition of the Arsis or Thesis, are known as juxtaposed rhythms. (See above).

Rhythms by Contraction. — On the other hand, when the movement, because of melody or text, demands more than one Arsis or Thesis in succession, it is known as Rh3^thm by Contraction. It is made up of several Arses and Theses which must be reproduced by gestures of the hand. When it is clear that the following group does not depend on the preceding one, a new Arsic movement must be started. In the course of several sections and members, contraction is usually preferable to juxtaposition. In adapting gestures to melodies, certain melodic patterns must be brought out; and we find all kinds of imitative figures in Plainsong as in figured music.

Tempo. — Should be neither hurried or draggy. In choosing the tempo of different chants, the nature of the melody, the meaning of the text, number of singers, acoustics and size of the building must be considered. As a rule, melodies having wide intervals require less speed.

Recitatives should be taken at the speed of distinct and dignified reading (This refers chiefly to the Psalmody). Neumatic Chants may, as a rule, be taken fairly quickly, but never hurried, as the absence of words facilitates the execution. A large choir as a rule, should be made to sing a melody more slowly than a small group; but care must be taken in slower singing not to permit the cantilena to become heavy. Certain movements, such as the Agnus Dei, Sanctiis, etc., are tradi- tionally slower, while others including the Gloria, Credo, Graduate, and Psalmody (according to the Psalm) are traditionally faster. Many editions have metronomic marks, but these should be considered approximately.

Antiphonal and Responsive Chants may be taken at a fairly quick tempo. In large churches, especially in those with high

Chapter V. — Conducting the Chant. 87

vaulting, the singing must be slower, as it takes longer for the tone to travel; too, the impressive dimensions of the large cathedral seems to demand more dignity.

Hints to the Conductor.

The better the musical and literary background of the Grego- rianist, the more effectively and intelligently will he interpret the Chant. The thorough musician is less liable to let the many little faults of choral singing and interpretation get by him. Also, the literary and linguistic ability of the well educated director, makes finer analysis of the text possible, to say nothing of the analogous possibilities. Many so-called Gregorian authorities are not w^ell-grounded musicians, but simply archeologists and analycists who have not the slightest understanding of the finesse of musical movements and timbres. The Chant often suffers in the hands of these, because they overdo the light, soft' and feminine element, or visa versa and forget that the personality of the different chants vary. Some are even dramatic, as the extremely virile Offertory, " Precatus est Moyses ". The superior musician will also know when to break " general " rules to better express the meaning of the text. — Such as taking a breath at the " forbidden places " when a better interpretation can be accomplished.

On the other hand, to repeat, no organist, no matter what his background, should dare the conducting of Plainsong without special training in that particular idiom. For a time, he should depart from the world of figured music, and place himself in an entirely different sphere, a " biome " so to speak, of far- removed ideas. It is only by steeping himself in Mediaevalism, that he will be able to absorb the true spirit of the Chant and its Liturgy.

The careful conductor will not permit his choir to " punch " the top notes. He will see that no one voice " sticks out ", to spoil the ensemble, but that all timbres blend for the greater benefit of the whole. The matter of breathing will be important to him, and he will see that his choir manages this in such a manner that is it always imperceptable. " Staggered " breathing is absolutely necessary in long phrases : part of the group breathes at the incise or member mark, and the other part a few syllables before or after this point; or the process may be made very subtle, if there is a large group, by dividing the singers into smaller groups or, each singer may take a breath

N^ 758.-4

88 Part I.

when he finds it necessary. If the choir is incUned to shout or scream, or otherwise exaggerate the energy, more Theses should be used and fewer Arses. On the other hand, if the choir is slack in attention or expression, more iVrses are necessary. Every kind of mannerism should be banished from the Chant. Echo effects always; namby-pamby sentimentalities in any form are always out of place in Sacred Music, and even more so in this form. Theatrical, dramatic effects which we often hear in choirs composed of soloists who also sing in the opera and concert halls, are entirely out of place; Individualism is absolutely " interdit " in the Gregorian Choir. For this reason, the highly trained soloist, is often not suited to the impersonal quaHty of the Liturgical Chant.

CHAPTER VL

THE PSALMODY.

The Psalmody is the one type of Composition common to both the Synagogue and the Christian Church.; the Greeks knew nothmg of it. The Psalm is formed of a certain number of \erses; each one of these Verses is usually divided into two stichoi (7T'//G',), or members which respond to each other either as Antithesis or Complement. This balance of ideas IS admirably adapted to Antiphonal singing.

Construction of Hebrew Poetry.

Ancient Hebrew Poetry possesses neither rhymxe or metre, as usually associated with Poetry. However it is essentially Rhythmic when read correctly in the original Hebrew; even m translation we cannot help feeling this rhythm in the cadences and balance of Verses. Different kinds of rhythm are often employed to reflect the thought to be brought out. For instance, compare the animated rhythm of the opening lines of Psalm 2 to the calm, soothing rhythm of most of Psalm 23. Careful examination of the Psalter, whether in Hebrew, Latin or English will reveal many close relationships between rhythm and idea. A unique rhythm known as elegiac or Qinah rhythm was employed for dirges and at times in other poems.; each Hne IS divided into two unequal parts by a caesura. See Lam. 1-4 and Psalm 19,

The most striking characteristic of Hebrew Poetry, and really the foundation of its unique rhythm, is Parallelism. This is a balanced symmetry of form and sense, and was especially adapted to the primitive method of Antiphonal Chanting. ^ (See Exodus XV, I, 20, 21; also I Samuel XVHI, 7). We find this peculiar construction in the earliest poetical works of the Old Testament : In Numbers XXI, 17, 18, we have, " Then sang Israel this song — The well which the princes digged. Which the nobles of the people delved ". This type of poetry was not exclusive to the Israelites; Babylonian and Egyptian literature abound with it.

90 Part I.

Most authorities distinguish three main kinds of paralleHsm :

i) Synonymus, the commonest type is when the idea of the phrase or clause of the first stichos, or member, is repeated in different words, or expanded in the second member. We find many examples of this kind of parallelism in every page of the Psalter.

PsaJm 2, verse 4.

Qui habitat in caelis irridebit eos *

et Dominus subsannabit eos.

again Psalm 113, I.

In exitu Israel de Aegypto, * domus Jacob de populo barbaro.

again Psalm i, verse 2.

" But his delight is in the law of the Lord * And in his law doth he meditate day and night ".

again Psalm 24, verse I.

" The earth is the Lords and the fullness therof ; The world and they that dwell therin " .

The examples are many.

2) Antithetic or contrasted parallelism, is when the thought expressed in the first stichos is strengthened or elucidated by its opposite in the second stichos. The oldest collection in the Book of Proverbs contains many examples (Chapters 10-22.

Example :

" Every wise woman buildeth her house : But folly plucketh it dow^n with her own hands ".

(Proverbs XIV, I).

It is not rare in the Psalms ; example :

Psalm I, 6.

" For the Lord knoweth the way of the righteous, *

But the way of the ungodly shall perish ".

also Psalm 19, 8.

" Some trust in chariots and some in horses : * But we will call upon the name of the Lord our God ".

Chapter VI. — The Psahiiody. 91

also Psalm 44, 3.

" For they got not the land in possession by their own sword,

Neither did their own arm save them :

But thy right hand, and thine arm,

and the light of thy countenance,

Because thou hadst favour unto them ".

3) Synthetic or Constructive Parallelism. There are many different types of Synthetic parallelism. The two stichoi stand in the relation of cause and consequence, protasis and apodosis, proposition and qualification, or almost any logical or construc- tional relation; or the parallelism may be of form only with no logical relation between the clauses.

Psalm 7 (Hebrews 2).

" O Lord my God, in Thee have I put my trust *

Save me from all them that persecute me, and deliver me " .

In Psalm 41, we find a comparison.

" As the hart panteth after the water brooks, * So panteth my soul after Thee, O God " .

again Psalm 56, verse i.

" Have mercy on me, O God, have mercy on me * For my soul trusteth in Thee " .

The last stichos explains the first.

also Psalm 48, I.

" Great is the Lord, and greatly to be praised, In the city of our God, in his holy mountain ",

answering the question " where ".

The simplest and most common parallel construction is the distich, but this may be expanded into a tristich or a tetrastich, or even longer arrangements. Foiir lines of a verse may be Synonymous, as the following :

Psalm 29. " Ascribe unto Jehovah, O ye sons of the mighty.

Ascribe unto Jehovah glory and strength.

Ascribe unto Jehovah the glory due unto his name ;

Worship Jehovah in holy array ".

92 Part I.

Three lines Synonymous.

Psalm 93, 3.

" The floods have lifted up, O Jehovah,

The floods have lifted up their voice;

The floods lift up their din ".

Two lines Synonymus, and the third supplementary.

Psalm 2, 2.

" The kings of the earth take their stand.

And rulers hold conclave together,

Against the Lord and against his anointed ".

Two lines Synonymus, and one Antithetic.

Psalm 54, 3.

" For strangers are risen up against me,

And violent men have sought my life :

They have not set God before their eyes ".

And so on. All kinds of combinations are to be found.

The chanting of the Psalms, has always been closely bound up with the singing of the Antiphons which precede and end each Psalm ■ — • In ancient times Antiphons were intercalated between each verse. As these Antiphons were WTitten in any of the Eight Ecclesiastical Modes, which we have just explained, according to the choice of the composer, or the suitabilit\^ of the Text to the Mode, it has been necessary to have as many Psalm Tones as we have Modes, which is Eight. To these we add a Ninth, the Tonus Peregrinus (foreign tone). It is always the Antiphon which decides the Tone in which the Psalm is to be sung, and the formula once decided, the whole Psalm, is to be sung to it. The Antiphon is always a few words or a Verse of the Psalm which is to follow.

Psalmody is the singing of the Psalms, with their proper Antiphons. The term also includes the Canticles, especially those of the New Testament, the Magnificat, Benedict us, and the Nnnc dimittis. The usual place of the Psalmody is the Oflice, although we find a certain amount of this type of Song necessary to the other Services of the Church.

Chapter VI. — The Psahiiody. 93

In every Psalm Formula, we distinguish Six Elements :

a) Intonation.

b) Dominant (ist Half of Verse).

c) Flexa.

d) Mediant Cadence.

e) Caesura.

/) Dominant (2nd part of Verse). g) Final Cadence.

We give the Fifth Psalm Tone as an Example, as it is the simplest, and has only one Final Cadence :

Psalm Tone V. ^

The Intonation is a brief melodic formula which serves as a link between the Antiphon and the Tenor or Dominant. In Psalm Tones 2, 5 and 8, it consists of three different notes; in the 7th Tone, 2 groups of notes, and of one note and one group in Tones i, 3, 4, 6, and the Tonus Peregrinus. The Intonations of 2 notes or groups are adapted to the first two syllables of the Verse; those of 3 notes or groups are to the first 3 syllables of. the Verse. There is no exception to this Rule, and, as in all Psalmody, the groups cannot be divided, but must always be sung to a single syllable.

1 a \

b 1

r~d— 1 -

n

« a

■ .

m

■ ■ "

1

« ■

■ ■ (D) ■

■^n^.-!

■

<°>^r

'i) Jubi-la-te Deo omnis ter- ra * servite Domino in lae- ti-ti- a.

(2) Introite in

conspectu e- jus* in exsul- ta- ti- 6- ne.

(3) Scitote quo- niam Domi-

nus ipse est De- us* ipse fecit nos, et ncn ipsinos.

-ni /lb (see below)

Flexa (5)1 ' ^

Gloria Patri

et Fi-li-o * et Spi- ri-tu-i Sancto.

Sicut erat in principio et nunc et semper* et in saecula

saecu- 16- rum.A-men.

94 Part I.

1 b 1

1 b 1 1 ct i +

1 ^

B a a a a

ni^ ' n ■*

of U ■ 1

Flexa

V>>WX

A (4) et oves pascuae e- jus : * introite

(5) Quoniam suavis est Domi-nus : * in aeternum etc.

In ordinary Psalmody, the Intonation is used for the First Verse only, the other verses beginning directly on the Tenor or Reciting Note. Only in the three Canticles, of the New Testament, Magnificat, Benedictus and Nunc dimittis, is the ^* Intonation repeated at the beginning of each Verse; this is indicated in the best Chant Books.

When several Psalms or several divisions of a Psalm with Gloria Patri after each division, are chanted under the same Antiphon, the first verse of each should be intoned by the Cantor as far as the Mediation.

The different Intonation Formulae follow :

>.

2 S

yllables

Tone II

Tone

V

Tone

VIII

^ Tones I and VI

-■-■-■-■-

3 Svllables

P

Tone

1

■

P

! I

y ■

Tone

■

— ■—■—■—-•—

F a

IV

ff - ■"

c , ■

■ B ■

Tone

■ ■ ■ ■

■ ■

i 'i-*-

VII

Di- xit D6- Cre- di- di Be- a- tus Con-fi- te-

.

p .

mi- nus pro- pter vir qui

Tonus

?J5_J_^_

hnr tf-hi

Di- xit Cre- di- Be- a-

Con-fi-

D6-mi-nus di pro-pter tus vir qui te-bor ti-bi

Chapter VI.

The Psalmody.

The following Table shows the relationship of the Final of the Mode, on which usually ends the Antiphon, and the beginning of each Intonation. It will be observed that the voice must descend one Whole Step in the 2nd Tone; it must ascend a Minor Third in the ist and 3rd Tones ; ascend a Fourth in the 4th and 7th Tones; in the 5th, 6th, and 8th Tones we find the Intonation Formula starting on the Final of the Mode.

Tone

F

Intonation

ft

«

■

Tone I

5

Intonation

Tone

VI

Tone

VIII

Tone

IV

g

Tone ? [

III =-- ^

On the same note

g

Tone II

Ascends a Third

,p i

> ,

m

■ ■

Tonus " Peregrin

Descends a whole Tone

Intonation

5"

Ascends a Fifth

Tone

VII

Ascends a Fourth

1^^

The Intonation of the Magnificat m Modes I, III, IV, VI ^ and VII are the ordinary Intonations, and like the other two ^ Gospel Canticles, Benedictus and Nunc dimittis, is sung at the beginning of each verse. In Modes II and VIII there is ^ a special Intonation :

Tone II

feSEJHEJ

Magni- fi- cat

Tone I- VIII --

P

;

Magni- fi- cat

96 Part I,

These special Intonations are used only for the First \evse for the other verses the common formula is used :

.p

ff

m

m

%

i

*

■

*

Et Qui-

ex a

-sul re-

- ta- spe-

vit. xit.

The Dominant or Tenor.

The Dominant, Tenor or Reciting Tone is the note on which are sung all the words between the Intonation and the Mediant Cadence, and from this to the Final Cadence. For all the Eight Tones, whether for the First Half, or the Second Half of the Verse, the Tenor is the same as that of the Antiphon which precedes and follow^s the Psalms. We have given the Dominants for the different Modes, but it might be convenient to review them here;

C or Do for Tones HI, (Ancient Tone III has old Dominant B.)

\, and VHI. F or Fa for Tone II. A or La for Tones I, IV, and VI. D or Re for Tone \TI. Tonus Peregrinus — First Half of Verse, La.

— • Second Half of Verse, Sol.

The number of syllables to be sung on the Tenor varies

according to the length of the Half-\'erse. In many cases the

Chant on the Tenor is poorly executed : the words are incorrectly

accented, the syllables chewed, and the notes sung unevenly,

even dotted. As in all Plainsong the notes must be sung evenly,

and the w^ords pronounced clearly as in good speaking. The

Tempo should be animated enough to carry the singers through

^•4o the Cadence on one breath; however all the Psalms are not

of the same Tempo: some are of a tranquil character; others

-'dramatic. The meaning of the words, as well as the type of

J the Psalm, should be carefully studied by the Director. Usually,

a slight ritard on approaching the Cadences is very effective,

with a gradual decrescendo at the Final Cadence.

It is good practice to have the singers speak the words of the Tenor, or to sing them Recto Tono without any vocal inflection, pronouncing every syllable evenly, and singing every note evenly.

Chapter VI. — The Psalmody. 97

c) The Flexa. — Normally there is no pause in the recitation until the Mediation is reached; however, in a long verse, the sign (f ) indicates an interruption in the course of the Recitation, long enough for breath. In most Psalmody, a Melodic Inflection y^ of a Major Second below the Dofnmant is made at this pomt. Ijjj it the mterval below happens lo Be^ a Minor Second, as in w certain Modes, "the Minor Tlvtvd interval becomes__the_Note ol InSecdom At the 1^ lexa, the last accent before the sign is on the Tenor or Dominant ;~the"ohe or two syllables following are sung on the lower no/T^^^according^to the Rules for Cadences of One Accent', pee below, " Cadences '"^ XfterTHe~(^) Flexa, the verse resumes the Dominant to the Mediant Cadence. .

Tones i, iv and vi

Tones ii, in, v and vin and

Tone VII

Tenor

Flexa

b ■■■■■■

■ D i

■ ■■■■■

/

■!■*■■■■■■

^^■■■■■'

/

i

_■ □_- .—

mi-ra-bi-li-um su- cymbalis bene so-

6- rum nan-ti-bus

The extra hollow note is to accomodate the Dactylic Cadence,

" sonantibus ".

d) Mediant — The Cadence which closes the First Half of every Psalm Verse. There is only one Mediation to each Psalm Tone; occasionally a Solemn form is used in the Canticles. The last note of the Mediant is doubled. Mediants may have 07te or two accents. The manner of adapting the syhables to the notes wih be discussed in the next paragraph.

Cadences and their Rhythm.

In the Psalm Tone we find two Cadences. We have just spoken of the Mediant, or the Cadence which ends the First Half of the Verse, and we have said that there is only one Mediant

98 Part 1.

^ ^ : .

Cadence to each Tone. With the Final Cadence, or the Cadence which closes each verse, it is quite different : All but Four Psalm Tones have more than one Final Cadence : Antiphonale Monasticuni shows more.

Tone I

has -

- 10

Tone II

))

I

Tone III

))

5

Tone IV

»

4

Tone V

))

I

Tone VI

»

I

Tone VII

»

5

Tone VIII

»

3

Peregrinus

»

I

These many Cadences not only give variety to the Psalmody, but furnish the proper connections with the Antiphon which must be repeated after the " Gloria Patri " at the end of the Psalm.

At the beginning of each Antiphon in most Chant Books, after the number of the Mode, will be found a letter indicating the Final Cadence to be used. (Ex. y c — Mode VII, Cadence c). This letter corresponds to the last note of the Psalm.

Two kinds of letters are used to indicate Final Cadences :

;K

Capitals — ABCDEFG

Small Letters — -abode f g ]a-si-do-re-mi-fa-sol

If the final note of the Cadence is the same as the Final of

^ the Mock of the Antiphon, the Letter is a Capital. If the

A Final Note of the Cadence is other than the Final of the Mode,

<\4, a small letter is used. When there is more than one Final Cadence

nding on the same note, the same letter is used with a small

numeral after it. Example : g, g^, g^, At the end of each

^ Antiphon, the final cadences are indicated with musical notes and the vowels — e u o u a e, abbreviation for the words " saecttlonim. Amen ".

Cadences whether Mediant or Final may be reduced to two categories : a) Cadences of one Accent, and b) Cadences of two Accents : Cadences of one Accent may be spondaic — made up of a word with its tonic accent on the penultimate, as Dens,

Chapter VI. — The Psalmody.

99

fater, or redemptionem. Or, they may be dactyHc — ■ made up of a word or combination of words whose accent falls on the antepenultimate, with two atonic syllables following, such as Dominus, Benedicite, gloria :

Cadences of One Accent.

Spondaic Dactylic

/.

/

1 2

f

— Pater

1 2

Dominus

It may be clearly seen that the Cadence of One Accent can never have less than two syllables, or more than three.

Cadences of Two Accents.

Cadences of Two Accents may also be either spondaic or dactylic, or mixed : Two Spondees, two Dactyls, a Spondee and a Dactyl, or a Dactyl and a Spondee, may make up a Cadence. The following table will illustrate :

Cadences of Two Accents.

Spondaic — Dactylic —

Mixed — '

/ . /

/.. /,.

/.. /

/ . /

1 2 34

— corde meo.

12 8 4 5 6 / /

Pueri Dominum.

12 3 4 5

/ ; /

Domino meo.

12 3 4 5

Timet Dominum.

It will be observed that Cadences of two Accents cannot be made up of less than four, or more than six syllables.

As will be noted in the table of Psalm Tones at the end of the Chapter, the regular cadential form of the different Tones, is for the Spondaic Cadence. For the Dactylic words, an extra

Part I.

note (a hollow note) isj.nserted ajter_t)\e ar.r.entedjiote or neum of the Cadence, uplesTTF be a Uivis, in wMclT case]jthe £^^g^ noU comes~'bef'ore the^Clivis. This extra. nQl£ i7s?mlly_tdikes

\vhen this extra note would

"56" a

the Clivis.

>rEch of the Jollowins^ note :

the"

haye^F^'fSll a halT step, it takes the pitch of the^precegjn^note. These exceptions include both the Simple and Solemn Cadences at the Mediant of the Third Tone, as also Final Cadences a) and b) of this same Tone; all the Final Cadences of the Vllth Tone ; the Final Cadence of both forms of the Tonus Peregrimis. In all these cases except one, the Final Cadence (c-) of the VHth Tone, the auxilliary note would have to descend a half step, to follow the usual rnle. (See the Table of Psalm Tones at the end of this Chapter).

Tone I

Tone II

Pone III

Examples of Different Mediant Cadences.

2 Accents f

D6-mi- no me-

I Accent

iS-S-^-°-W

me- O (Spondee)

Fi- li- O (Dactyl)

2 Accents

e_--p-

f.

D6-mi- no me- o

Fi- li- o

g ' '

2 prep

notes

I Accent

* II / 1

!_,__

_

■

th-

Tone IV

*^

Do- mi- no me-

Chapter VI. — The Psalmody.

101

/

Tone V « ■■ " ■ "'

■

Tone VI

D6-mi- no me- o rs ■ T - T

or

H:

S

Tone VII i

Tone VIII

-T^

ve- ri- ta- te tii- a

in do-mo

lus

Tonus Peregriniis

-■ — ■-

t-i-

Is-ra- el de Ae- gypto

e^

e) The Caesura is the whole Bar which divides the First Half of the Psalm Verse, after the Mediant Cadence, from the Last Half of the Verse. This Bar is an integral part of the Rhythm, and has a two-fold purpose : To allow for breath, . and to bring out the form of the Hebrew Poetry; This pause ^ amounts to one Binary Rhythm, or two counts. In conducting f^ the Psalm, the hand indicates a Thesis of two beats. (See Chapter on Chironomy).

/) Tenor, Dominant, or Reciting Note. (Same as above).

102 Part I.

g) Termination, or Final Cadence. We have already spoken of the Final Cadence. They are all shown complete in the Table of all the Psalm Tones.

The pause at the Termination is equal to a Quarter Note, or the length of the last syllable. The usual pause between the verses, or between the last verse and the Antiphon, is a simple Ternary 'RhyiYiva-two beats on the last note of the Verse, and one beat at the Bar. Thus it is one beat shorter than the pause at the Mediation, which counts two beats for the last syllable, and two beats at the Bar. All Schools of Chant do not agree on the pause at the Termination, but at least, it is better to have some w^orkable ratio.

Preparatory Notes preceding Cadences.

Not in all cases does the Tenor or Dominant pass immediately to the Cadence, Mediant or Final. Often the Accent of the Cadence is prepared by a vocal inflection of one or more notes, or groups of notes. We have Cadences : a) without preparation; h) with preparation of one Note; c) with preparation of two Notes; d) with preparation of three Notes. (See Table of Modes).

Sometimes it is difficult to distinguish between a Cadence of two accents, and a Cadence with preparatory Notes. A good Rule to follow is this : If the Melody leaves the Tenor to a lower note, the Cadence is of one accent with preparatory notes. If the Melody leaves the Tenor to a higher note, the Cadence has no preparation, and the Melody itself will show whether the Cadence is of One or Two Accents. The following Rules for preparatory notes may be observed :

a) No hollow Auxiliary notes are found in the Preparatory Formula.

h) There are as man}^ syllables as there are preparatory notes :

c) These syllables may be of any nature, accented or atonic, and are those which precede immediately the Rhythmic Accent of the Cadence. — The preparatory syllables are usually marked in italics. Never divide_groups of notes.

Solemn Psalmody. — The Solemn Forms of the Psalm Tones are includecTinme Table. The Solemn Tones are used for the Canticles on special Feast Days, and will be found designated in the best Chant Books.

Chapter VI. — The Psalmody.

103

Tonus " in directum ". — For the Psalms which are sung without Antiphon, as Psalm 145 at Vespers, 129 in the Office for the Dead, and Psalm 69 after the Litany of the Saints, the following Special Tone, called " in directum " is employed :

Dominant or Tenor

Prep. 1 2

/ Med.

h

-■-

a ■-( a

■

De-US in ad-ju-to-ri-um me- um in- ten- de,

Dominant or Tenor / Final

j — a— B—^—- B — ■—- «- -■

Domine... me fe- sti- na.

re- dempti- o.

The Mediant of this Tone is of One Accent with Two Prepa- ratory Notes. The Final is like an Accent, but without a note of preparation. There is no Intonation. The Psalm starts on the Dominant, C (do) The Flexa takes the same form as in other Tones — in this case down a Minor Third.

j) At Vespers a Solemn Form of the " Deus in adjutorvum " is used : (^)

5 ■ 5

i "^^

De- us

in adju-to-ri- um me- um intende.

i

-

.

«

1 ■ ■ ■ ■ ■ J ■

R7. D6mi-ne ad adjuvandum me festi-na. 2) Solemn Tone (For Solemn Feasts)

-J -■ — ■ — ■ — ■—■—■- — ^-gS-

— fc — ■ —

:^

+-j

y. De-US in adju-to-ri- um me- um intende. R/. D6mi-ne

(1) See "Liber Usualis" and Antiphonale Monasticum for complete chants and other Tones.

104

Part 1,

-■ — ■ — ■— ■ — ■--

=ib^F!=:i

ad adjuvandum me festi-na. etc.

3) Another tone for Sundays and Feasts. (Monastic^

-■— ■ ■ — ■ — ■ — ■—■—■-

-■— ■-

a— "—p— ■-*-?— ■

y. De-US, in adju-to-ri- um me- um intende. R", D6mi-ne,

-■ — ■ — ■-

Hi .___J_^

ad adjuvandum me festi-na. etc.

The Paschal Tone. — At the Psalms of Compline on Holy Saturday and also at the Psalms which are sung without Antiphon, as also the Canticle, Nunc dimittis in the Ofhce for Easter Sunday, and to the Vespers of Low Sunday, the following Tone is sung :

Mediant

1 / 1

P BMBBaMa B. M a

■

■

k

•

■ ■

Cum invocarem exaudivit justiti- ae me- ae

Prep.

1 2

Final

:^zr:z:b

in tri-bu-la-ti-o-ne di-la- ta-sti mi- hi.

Chapter VI. — The Psahiiody.

105

TABLE OF PSALM TONES. Tone I.

Int. Dom.

a

Mediation

r /

Simple

1=1.-

■-•-■- , □ a ^ □

-•-—

1

l

f

-,a-l---i-rr

^^— -N

1

1'

Solemn

or Ornate

p

r

L-r?:i— isfi—iE.:

M

Dom.

'

lermination *

1 ' ' ■

—■-■-■--

. 1

s-o-

1^

""♦♦. .

\

r

-.-«»-■-

-.-

-r--|

■i~a~

%

"

♦♦

^^^

•

■

■

D P,-

1

•

1

/

--■ ■ ■

-.-

-r

-8 a

p.*

'

/

-■-».-

_..-___

.

So-

«•

1 "

1

/

1 I 1

■ 1 ■ 1 _

■ D

■■«.

1 1

1 1

/

-*-

1 _

■

■

■ □

■•

t

.

"*T:i

■' Q

1

--I-T-

r

-i-6~

.

-a^

i

■

1

/

—■-■-•-

-^

IT.I

—

1=E

-s.

Int. Dom.

Simple

Ornate

<1

^S

Tone II.

.Mediation

Dom. Termination

:^}-ll^:^

lfefei°""'^

* See Antiphonale Monasiiciim for other termination^.

106

Part I.

Tone III (Recent). *

Dom. Termination

Int. Dom. Mediation

5— r

_«_B_B_j-i_D-

_._

'"°"V

-HI-—

Simple " i ^

1

^ S— j:

-•-

i:^.-

-n^

Ornate ■. "

1

■ ■ ■- 1. 1

==

■•

.-.-. 1 -

-^:

-■•f-

«

,

/

-n , ^ -^

-1-

^

_.,::

.

_i —

/

->-

-J

_J

/

B_

1

'*~a'

"■•

1 r n

Tone IV.

Int. Dom. Mediation Dom. Termination

s

/

Simple ""S"

.-.-.-

-■-|-T-

.^_j_.l_c_L.i_

1

1 1

p

/

^ ■ • ■

-<_l J

■

-S o--«- 1

Ornate ■

■ ■ I

-T" ' ^

1 1

^ "*

/

■ - ■ > I ' 1

■ - ■ 1 ■ □ 1 «. 1

1

/

-V

■

° p.

_.!•-

Tone IV — Raised.

Dom. Termination

Int.

Dom. Mediation

r

/

-5-0-

-.—

C

Simple g-'-*-

J_._!.|_._|_._

..!._

-H--

/

■

::._i.__,.

-■-

.._'X_

_■_■_■!

-■--

_■_

—

-•—

— ; —

A

Ornate h^rll

■ ■ ■_L.V ' .1-1 1 ■ " I..-'

1— l-H — —

_^

f

A*

---1*

—

-•r

:^-

1

* Tone IIT Ancient found in Antiphoimle Monasticiim.

Chapter VI. — The Psalmody.

lo:

Tone V.

Int. Dom. Mediation

r

0

-

■ □ -• 1

Simole « , ■

/

■ .

■

_■____

.

Ornate * , "

— ■

Dom.

Termination

=:^^=EfeEM

Int. Dom.

Tone VI.

Mediation

1

, '

r

i 1

■ a ■ I'^a „

-a^

1— ■-■

"

a °

|— ■

Simple ,

5

/

S a

_

1 iH^

a

Hl^

li

■

r

^~ T^

:?!:

l5"a

1^

■

■

i "^

Ornate ^

a

1

r

i^T^

-a-a-a-

rr

-^*

-a-

_a-p_

i::

a ■^

'

Dom. Termination

^g^iSii

— nF or

c

Tone VII.

Int. Dom. ^Mediation

/ /

■ n— - . « . -• .

c. , ! "a -S

a a a

■

"

Simple i Ta ■

1

'

1

/

/

" a S

a a a

■■■~"°~ra-

g.

Urnate * >

il

1

1 ' _ 1

Dom.

Termination

/ r

a a a

■ a

a

> n

a D

a_«

/

/

a a a

■ □

a

-a-Q~

-i;—

/

"T"

/

a a a

-a— 0-

_B-

■ •

/

/

a a a

■ a

a

-P.-

/

r

—-5-

a

a-

■r

a a a

108

Part I.

Tone VIII.

Int.

Dom.

Mediation

-

■ „

* I

Simple ■ ■

1 .

. . . , . s ■

S ■ 1

■ ■ ■ 1 r.

^^

*

I Ornate ■ % J

1

Dom.

Termination

-

/

~*

■

-•-a-

-. G

1

/

J 1

_■_

-•—3-

-^^G

1 1

" ^

1

' 1

*~ -o-

*

1— i-F

c

1

Tonus Peregrinus.

Int. Dom.

» 1

Mediation

Int.

Dom. Termination

r

/

*^^ m

b ■

1 f

■

■

■ 3

,• 1 .' ■ ■ ■

1 i

■-•

■ .

/

/

*^i m

bi

( r bq

1

■ ■ ■

'

■ □

-. 1 -' ■ ■

■ ■ I

1 . n

■ ' I

■

■,' ll

Tonus " In directum ".

Dom. or Tenor .Alediation Dom. Termination

=— a— ■—■—■— ■—■—«-

^^i

|5

_.__^._^^

— ■-

.•

Paschal Tone.

Int. Dom.

Mediation /

Dom.

Termination

=i^P=

r±

Chapter VI. — The Psalmody. 109

Interpretation of the Psalmody.

The Intonation through the Mediation to the star is sung.by the Cantor or Cantors. Then the full Choir completes the First Verse. The remaining Verses are sung alternately between two choirs : Men and women, men and boys, or alternating between the Cantoris and Decani sides of the Cathedral Choir. The Gloria Patri may be sung Full, or the Cantors may sing the Gloria to the " siciit erat " , with the Full Choir taking it up at this point.

The Psalms may become very monotonous if not interpreted with understanding. A careful study of ever^^ individual Psalm, as to construction, original meaning, and so on is indispensible. It is often very difficult to discern the proper points of highest climax. Expression should never become sentimental; however, we cannot altogether exclude a certain amount of Drama in some Psalms. A proper understanding plus good taste will take care of this.

A good general Rule for the neophyte, is to make a gradual crescendo to the Caesura, then a gradual diminuendo to the Final Cadence.

Singing the Psalms in English.

When the Psalmody is sung in English there are certain differences to be observed, because of certain peculiarities of the English Language.

Because in English there are more strong syllables than in Latin, it is often necessary to double the value of a simple note on a strong syllable in order to keep the rhythm. Too, in the Latin the Flexas always falls on a weak syllable, while in English, it often occurs on a strong syllable. In such cases, do not drop the melody the customary major second or minor third, but simply make a brief pause long enough to take a breath, on the note of the Tenor.

These are only passing suggestions, as a great deal of research is necessary before we can establish hard and fast rules for the Plainchant in English. When possible the Psalms even should be sung in the original Latin. But, I should prefer it in English rather than not at all.

CHAPTER VII.

THE LITURGICAL RECITATIVES AND SOME OTHER CHANTS.

These Chants belong to the Class of Chants called Syllabic and Recitative. They consist for the most part, of Chants at the Altar, to which the singers respond. Many times an othenvise beautiful Service is ruined by a poor rendition of these Chants on the part of both clergy at the Altar, and choir in chancel or gallery. So we often hear dotted notes, incorrect rhythm, and above all, poor coordination between the ministers and singers.

The entire text is sung " recto tono ", except for slight vocal inflexions at the end of certain phrases. The words must be declaimed clearly and with a certain accentuation, without permitting the voice to fall; there must be no "chewing'' of syllables; the Tonic Accents are to be well considered, as well as the necessary pauses and final rallentandi. *

I. — The Tones of the Prayers.

For the singing of the prayers, the \^atican Edition prescribes two Tones : the Festive and the Ferial.

The Festive Tone is used when the Office is Double or Semi- double, or on a Sunday at the Orationes of the Mass; of Matins, I.auds and Vespers; at the principal Oration of the \^otive and Commemmoration Prayers; it is also used at the Oration of Terce, which precedes the Pontifical Mass.

The ' Or emus ' or ' Let us pray ', has two parts : the body of the Chant, and the conclusion, " Per (eumdem) Dornimim nostrum ", and " Qui vivis et regnas ". In both the body of the chant " Or emus " and in its conclusion, we distinguish three parts or pauses : the Metrum, the Flexa, and the Punctnm.

* In all cases of Hebrew Words or MonosyllableSj the regular Cadence may be kept (which is the simplest solution), or the " broken " Cadence authorized in the Vatican Editions may be employed.

However, Solesmes prefers the^rr^f method as it is more Ancient, and is more in keeping with the Gregorian Melopee, which is based on the Latin Language.

Chapter VII. — The Liturgical Recitatives.

Ul

(Let us observe, however, that the order of these pauses differs in the two farts : In the body of the Chant, the Metrum comes, then the Flexa, while in the Conclusion, the Flexa precedes the Metnim). The Metrum consists of a Cadence of one Accent, which is sung at the Unison on the Dominant or Tenor, Do, with two notes of preparation, Si and La. The Flexa is likewise a Cadence of One Accent, but with no note of preparation, and consists of a simple vocal inflection, from the Tenor Do doivn to Si. In both these Cadences there is the added note for the Dactylic ending, which we have in the Psalmody; in this case it is placed on Do (at the Flexa). The Punctum, in both the body of the Chant and in the Conclusion, is sung recto tono. The rest of the Prayer is sung recto tono. In the Missal and the Vatican Antiphonary, the little cross (f) indicates the place of Flexa, and the asterik (*) where the Metrum is to be used. Generally the Flexa has the duration of a simple punctum, and the Metrum that of tn^o puncta, or a quarter note in modern notation.

Example of the Festive " Or emus " :

y . Dominus vo-biscum. R/. Et cum Spi-ri-tu tii- o. 0-remus.

Metrum

1 2i I /

m

Pre- ces nostras quaesumusD6mi-ne, clemen-ter ex- au- di :

Flexa

1 7~ ""\

s-

■ — ■ — ■ — ■—- ■ — ■—- ■-

-■—- ■ — ■-

^-Fi

atque a pecca-to-rum vincu-lis abso- lii-

Punctum

tos,

J

■ ■— •-

-I

^1— J

ab omni nos adversi-ta-te cu- sto- di. Per (e- limdem)

112

Part I.

Flexa

* ■ ■

-■-

— ■—- ■-

■ ■ ■

-• i

— ■ — ■-«

g ■ ■

Domi-num nostrum Je-sum Christum Fi-li- um tu- um qui te-

Metrum

I /

cum vi-vit et regnat in uni-ta-te Spi-ri-tus Sancti De- us,

Per omni- a saecu-la saecu-16-rum. Amen.

The Ferial Tone is used at the Minor Hours of the above- mentioned Feast, and at all Major Hours, and at the Mass on Simple Feasts and Feriae. For this Tone, there are two formulae : The first consists in singing the whole " or emus " recto tono, sustaining the voice, somewhat, at those places where, in the Festive Tone would be a Metrum, a Flexa, or a Ptmctiim. The other formula is like the first, except that at the end of the " or emus " and at the Conckision, a vocal inflexion of a minor third is made :

-•-(■)-■—■-

--■— ■

-■—■—I

y. Do- mi- nus vo-biscum. 0-remus. De- us qui no-bis R". Et cum spi- ri- tu tu- o.

g

— ■ — ■

—41 U — -m ■— 41 ^— ■— 1

■ i 1

sub Sacramento...

senti-

amus. Per Christum Domi-

fl

■ 1'

.

1

«

■ '

1

_L

num nostrum. R7. Amen.

Chapter VII. — The Liturgical Recitatives. 113

This second formula is used at the Orations after the Antiphons of the Blessed Virgin, at the Oration " Dinger e " at Prime, at the Orations of the Ofhce of the burial of the dead, when they are said with the ' minor clause ' ; it is also used for the Orations at the Litanies, at the " Asperges " on Sundays, for all the prayers at the Blessing of Candles, ashes, and palms, and generally for all the functions which are not strictly Liturgical. (The Orations for the Blessing of the Fire and Incense are not to be sung, but read).

The Admonition at the Orations on Ferial occasions is sung in the following manner :

Priest

Deacon

Suhdeacon

11 ■ s ■

,■ ■■■ |B5«|

1 *-

1

■

0-remus. Flectamus genu- a. Leva-te. Praesta,

The Oration " Libera 7ios " of Good Friday, as well as all the Orations before the Mass of Holy Saturday, including the Blessing of the Baptismal Font, are sung on the First Formula of the Ferial Tone.

The Ancient Tones " ad libitum ".

Of the Ancient Tones " ad libitum " for the Prayers, there are tiuo : the Solemn and the Simple. The Solemn Tone is used in all the Orationes of the Mass, except that called " Super populiim" ; also at the principal Orations of Matins, Lauds and Vespers, at the Votive and Commemorative Orations of Lauds and Vespers, without any distinction between Festal and Ferial ; also in all the Orations which include the admonition " Flectamus genua ".

The " Or emus " is sung recto tono on the Tenor La. There is a Flexa, only after the First division. In place of the Metrtim, a simple pause is made. At the beginning, as also after the Flexa and the Pause, the Recitation begins on the Note, Sol. The Punctum is made up of a Cadence of One Accent (Recto Tono), w4th two preparatory notes on Sol. In the Conclusion, there is the Flexa, then the Metrum, like the preceding Punctum and the Final Punctum, made up of a Cadence of One Accent with two preparatory notes.

114

Part I.

Example of the Solemn Ancient Tone.

^*— j-

-tir.

iE^E''^-

■ ■

y. D6mi-nus vo-bis-cum. (Pax v6-bis). R;. Et cum spi-ri-tu

£

-■— ■-

1

HI ■ ■— ■ -■— ■ ■ -■-

7-1

til- o. 0-remus. Ma-jesta-tem tii- am D6mi-ne suppli-

Flexa

n- 1

■M—m — ■— ■-

-■—- ■ ■ ■-

,-^-*-i

ci-ter cxo- ra- miis, ut sic-ut Eccle- si- ae tii- ae

-• — -■— ■ — ■—- ■ — ■— ■-

-m-(D)-tH-

-.-.=^i

be- a-tiis Andre- as Aposto-lus... et re- ctor : i-ta apiid

Punctum

0

1 Prep. / Cad.

1

1

■ - J

■ ■

■ u

■ "

te sit pro no-bis perpe-tu- us in-ter- ces- sor. Per

Metrum / fPrep! / Cad.'[

-■—-■—■-

■m-0 ■-

-■-■-H

■ ■

-■— »

i

Dominum... tii- um,qui tecum vivit... Spi-ritus Sancti De- us,

Punctum , I Prep' /'Cad. ^|

-■— ■- ■—■—■-

:zpi

■ ■•

per omni- a saecu-la saecu- lo-rum, R/. Amen.

Chapter VII. — The Liturgical Recitatives.

115

Example of Flexae.

-■—- • — Q-

pre- ci-bus nostris ac- commo- da.

ac- fli- gi- mur.

con-fes- si sunt. (x\).

or: con-fes- si sunt. (B).

Puncti.

/

*•-■.■

• « i -•

■

■

;

ser- vi- tus te- net.

perfruu-i Jae- ti- ti- a.

di- gnatus es. (A).

di- gna- tus es. (B).

When the Oration is long, the Punctum in the body of the Prayer is repeated more than once, provided that between these Punctum inflexions, there be interposed a Flexa.

Tone for the Admonition, in the Ancient Tone :

-■-—i— ■-

zr_z=tni

-■— •-

-■— ■ -■— ■-

0-remus. Flectamus genu- a. Le-va-te. Popu-lum tii- um...

The Simple Tone ■ — • Ancient " ad lihitum " , — is used for the prayer of the day at all the Minor Hours, for the Oration after the Final Antiphon of the Virgin, and for all the other Orations : — Litanies, Sprinkling of Holy Water, Bene- dictions, etc., and all prayers of non-liturgical nature, except the above-mentioned " Flectamns genua " oration.

The Simple Tone has the Flexa always preceding the Met rum, even in the Conclusion. The Flexa and the Final Punctum are made by lowering the voice a Minor Third (Cadence of one accent). At the Punctum before the Conclusion, the vocal inflection may be either a Minor Third or a Fifth, according to

116

Part I,

the usage. The Metrum is hke that of the Festal Ancient Tone :

-■ — ■■-

—-■—■—■ — ■ — — -\'-m — ■

y. Dominus vo-biscum. R". Et cum spi-ri-tu tu- o. 0-remus.

Flexa

1 /■ " i

1

<■.■ ■■■■ ■

. ... " "■■ "° ■"

Praesta... omni-pot-ens De- us : f ut semper ra-ti- ona-bi-

Mctr

Prep.

/ Cad.

! .-.

■ .

-■-Q-I--

—•—■-■—■—

—■-■-■-

-.—■—■—■-

-■-

h- a me-di- tan-tes, quae ti-bi sunt pla-ci-ta et dictis exse-

Piinctuni

1 # or I Conclusion

quamur et fa- ctis. (et fa- ctis.) Per Domi-num nostrum...

Flexa Metrum

/ 1

Prep.

Cad. ;

* • a ■

— ■ — - —

.

— 1

!-■-■-■

■

,.-_

Fi-li- um tu-um:tqui te-cum... Spi-ri-tus Sancti De- us, *

Punctuin

I /

J— ■ ■ ■— ■ ■—■—-■ ■— ■ ■ 1 j 1^

per omni- a saecu-la saecu- 16-rum. Rj. Amen.

When prayer ends with a

monosyllable.

* ■ ■ ■ ■ ■ ■

. .

■ ■ ■ ■ ■ ■ ■

m a

■ ■•

n m^

re-dime-re digna-tus es. or .' digna-tus es. or .• digna-tus es.

Chapter VII. — The Liturgical Recitatives.

117

When the Oration is brief, the Flexa is omitted; the Metrum is never omitted. In long Orations the Flexa and the Metrum are alternated. Thus if the Text is divided into more Periods, at the end of each one is repeated the Final Punctum.

Likewise the Prayer, " Super populum ", in the Ferial Masses of Lent, if sung on the Simple Tone, permits the following Admonition :

-•—■—■ — ■ — ■— ■-

Humi-li-ta-te capi-ta vestra De- o.

A word or two in regard to the execution of the Amen at the " Or emits " is in order here : In most cases it is sung with an uncertainty and dragginess which causes the listener to wonder just what part it has in the Service. It is an inseparable part of the Prayer and should be sung as such. \\TLen both the syllables have two equal beats, it is fairly simple to interpret, but when the Amen starts on the " upbeat ", of the Arsis, a great deal of practice is required for performance :

1 2 3 (12) ]

I 2 (12)

saecu- 16-rum. R/. Amen.

The rhythm must be kept if the choir is to sing together, and keep a continuity with the Chant at the Altar. There is only one way to accomphsh this feat successfully. Start the Chironomy when the Priest reaches " saectdoritm " , placing an Arsis over the first three notes, and a Thesis of course over the binary final note. Then count the Double Bar and following note as one binary rhythm, starting the Arsis at the Bar, the singers entering on the "tip beat", and naturally a Thesis on the last note of the "Amen" (see example). The same with the " Per omnia saecula saeculorum. Amen " of the Preface, Pater and Pax Domini.

118

Part I.

II. — Tone for the Prophecy.

-■ — -•

-■-— ■ — ■— ■-

Lecti- o I-sa- i- ae prophe-tae. Haec di-cit Domi-nus De- us : ...

/ Flexa / Full Stop

-■ — ■ — ■-

-■ ■-

-■ ■— ■ ■ -■-

Ecce Salva-tor tii- us ve-nit : ecce merces e-jus cum e- o. —+

g

-■ — ■ ■ — ■— ■-

■ ■

■ ■

Ouis est

iste, qui ve-nit de Edom

Final formula / /

tinctis vesti-bus de

* ■'

■ ■ ■ ■ ■

■ ■ ■ ■ 1

y ■ s.

■ ■ ■ ■ 0 ■• f

■ ■ ■ b ■ Q ■•

Bosra?... Domi-nus De- us no-ster. Domi-nus omnipo-tens.

• . . ■ n ■

• ■■ °"l3«Q«.

1

id est transi-tus D6mi-ni.

Before the Canticle of Moses and that of the Three children, the ending is as follows :

et ad fi-nem usque comple-vit : in forna-ce di-cen-tes :

Examples of the Flexa for a Monosyllable or Hebrew word : A , B

i— ■— ■ ■ ■ a—^- -■— • ■ n Pi7-F

1 ■• U ■• [

-ni- te

ad me.

fve-ni-

te

ad me.

pro-pter vos.

pro-

pter vos.

De- i

Ja- cob.

or : '

De-

1

Ja- cob.

in Je-

ni- sa- lem.

.Te-

rii-

sa- lem.

Spi- ri-

tus est,

Spi- ri-

tus est.

Chapter VII. — The Liturgical Recitatives.

119

Examples of the Full stop for a monosyllabe or Hebrew word : A , B

g.

z"r^=iir3

VI- num et lac.

Domi-nus lo- cii- tus est,

do- mu- i J a cob.

e- jus Em- ma-nu- el.

Do- mi- nus est.

or

•<An

vi- num et lac. lo- cu- tus est. do-mu- i Ja- cob.

Em- ma- nu- el. Do- mi- nus est.

Interrogations end as follows -+

■ — -■ — ■ — -■ — -m-

Si Deus pro nobis, Filius mens es tu,

respondit :

■ ■ ■ ■

quis

ego hodie ge-

con- tra nu- i

nos? te?

Numquid omnes a- Ouid

pos- to- vis fi-

li?

H?

Qua-mo-

brem?

Sed

quid? Ouae?

III. — The Chanting of the Epistle.

The Roman Chant of the Epistle has two Tones : One Common and more recent; the other Ancient and more Solemn. — If a certain Church or Order has its own proper Tone for the Gospel, Epistle, or Prayers, these may be used, provided they conform too good Plainsong Style. — The Common Tone is sung wholly recto tono save at the Interrogation Point, where is made a vocal modulation like in the Lessons, and the more Ancient Solemn Tone. The Solemn Tone has the Metrum and the Punctum. The Metrum is omitted when the Text is brief, or the sense does not permit it ; on the other hand, it may be repeated several times, when the Periods are long enough. The Reciting Note is Do. Both the Metrum and the Punctum are Cadences of two accents, with the particular peculiarity that in the Metrum, the Cadence is preceded by the preparatory Note, La. The Conclusion also has a two accent Cadence; however these two accents do not come together, but there are intermediate notes which are sung on Si. Too, that part of the Text which precedes the Interrogation, is sung also on Si; on the Antepenultimate

N° 758.

120

Part I.

Syllable-, the voice descends to La for one note (as a rule), then right away again takes the Si, finishing on the Podatus of the last Syllable.

Structure of the Solemn Tone at the Epistle

Prep.

/

" /

1

fl

s

n

— a--

-

IMetrum

U ■ B ■

a

■

a

'

n

pro-pi- or

est

no-

stra

sa-

lus.

et

ca-

li-

go

po-

pu-

los.

te-

sti-

mo-

ni-

um

di-

cans.

con-

fi-

te-

bi-

tur

D6-

mi-

no.

Punctum

-a— a-

indu- a-mur

in-stat

qui

in-ter

ar- di- li- fi-

ma

es be- rat ci- et

lu-

D6- mi-

e-

im- pi-

-^\

CIS.

nus.

OS.

um.

Tenor

Conclu- ?-

reprobare

sed indu-

omnibus di-

=3:

— D-

ma- lum i- mi- ni e- bus..

Tenor

et e-li-ge-re Dominum Jesum consummationem

— a-

B

-D~

bo- num

Chri- stum, sae- cu-li.

Monosyllabic or Hebrew ending : A ,

-1— a-

qui- a

non

sunt.

sors il-

16-rum

est.

petenti-

bus

se.

Mel-

chise-

dech

in saecula.

A-

men.

or

B

qui- a non illorum , petentibus Melchi-se-

U-

■ *

■ •

I

i

sunt.

est.

se.

dech.

men.

Chapter VII. — The Liturgical Recitatives.

121

The TITLES of the Epistles of St. Paul and of the Apocalypse are sung in the following manner :

Meiruni

-■— B-

-■—■—■—■-

■ ■

■*—m-

Lecti-o Epistolae be-a-ti Pau-Ti A-p6sto-li ad Roma-nos.

« s

«1_ 1

; : 1

« ' ■ . ■ ■•

■1i . ■ ■:

BBB ■■;_:■ an*

■ 1 - 1

ad Co-rinthi- OS, ad Ga-Ia-tas. Lecti- o libri A-po-ca-ly- 1 ' '

g— ■ -«—■—■ — ■-

S '

■ B B . B B° 1

■" 1

psis be- a-ti Jo- annis Ap6sto-li. In the other TITLES, the Metrum is not observed :

-B— B— B B — B— !— ;

-§-[-■-■-■— ■-■—■-r-T-B-j^

Lecti- o I-sa- i- ae Prophe-tae. Lecti- o libri Sa-pi- enti-ae.

The words " In diehus Hits " at the beginning of the TEXT, are usually sung in the following manner :

1 ■

.

E ■

_ ■ B S ■

In di- ebus il-lis : Petrus etc.

IV.

The Chanting of the Gospel.

For the singing of the Gospel, the " Cantorino Vaticano " gives three Tones : The First, Simple and Common ; the Second " ad libitum " , with a few more inflexions; and the Third, the Ancient Tone.

i) For the Simple Tone, the entire Text is sung " recto tono", except at the Punctum, where the voice is lowered

122

Part I.

a Minor Third on the fourth to the last syllable, afterwards returning to the Tenor, Do. At the final Punctum of the Conclusion, the descent is made on the penultimate accent, whether principal or secondary, and is there sung on a " scandicus-quilisma " neum. The ' Interrogation ' is like that of the Epistle and the Lessons. Example :

g

-■ — ■-

y. D6-mi-nus vo-bis-cum. R/. Et cum Spi- ri-tu tu- o.

4

3 2 1

p

-• -•

E ■■ ■

""""""

■ ■ ■

Sequentia...

seciin-

dum

Matthaeum

Sequentia...

seciin-

dum

Joannem

Sequentia...

se-

cun-

dum Liicam

Sequentia...

se-

cun-

dum Marcum

Gloria ti-

bi

Domine

In principio erat...

et Deus

e-

rat verbum

non com-

pre-

henderunt

perhiberet

de

liimine

Final

magnus vocabitur in

non potest mens

plenum gratiae et

et qui se humiliat

regno caelorum.

es-se discipu-lus. ve- ri- ta-tis.

ex- al-tabi-tur.

2) The Second Tone " ad libitum " has the Metrum. The interrogation point and the conclusion are like the Solemn Tones of the Epistle. The Punctum is somewhat different, and is made up of two separate Cadences, intercepted by a group of notes which is sung on the Dominant of the Tone, Do. The first cadence has two accents with two preparatory notes, and is similar to the Metrum of the Solemn Epistle. The second cadence is of one accent, and consists of a Clivis and one simple note :

Chapter VII. — The Liturgical Recitatives. 123

I ■—■ ■ ■—- B^ ■ -■ ■ ■ ■■ ■— B^— R ■—!

= -m

f. Domi-nus vo-biscum. R/. Et cum Spi- ri- tu tii- o. Se-

Metrum / / Full stop /

-■ ■-

i ■

-■ — ■-

■■ — ■ — -m-

quenti- a San- cti Evange- H- i se-ciindum Jo- an-

-■— ■-

^

-■—-»-

±

nem. R/. Gl6-ri- a ti-bi D6mi-ne. In il-lo tempo- re :

^■■■■■■■■a

" -

!■■■■■■■■

m

' a ■ ■

nuptiae factae sunt in Ca- vocatus et defi-

na est ci-

Ga- li- lae- au- tern et Je- en- te vi-

ae

sus

no

/ 1

*■■■■■

• "■■■■

\ Q ■•

et erat Mater Jesu et discipuli ejus ad dixit... vinum non

i- bi.

nup-ti- as. ha- bent.

Monosyllabic and Hebrew words as follows :

A , B ,

-■ ■-

tS.:

■ — -■— ■-

:Fti:

nesci-

0

vos.

nesci- o

vos.

un-gerent

Je-

sum.

lingerent Je-

sum.

non

sum.

non

sum.

fa- eta

sunt.

or: <

fa- eta

sunt

Is- ra-

el.

Is- ra-

el.

re-

spondit •

Non.

l respon- dit :

Non

124

Part T.

3) The Ancient Gospel Tone is sung on the Dominant La. The Interrogation consists of a Cadence of One Accent with two simple notes on Sol. The rest of the Tone is like the preceding, except for the difference in intervals.

B a

— p

A B B*

■ . -J

B ■ ■

■ fi ■•

■

'

■ ■ ■ ■ ■

'

_L

y. Domi-nus vo-bis-cum. R". Et cum spi-ri-tu tii- o. Se-

^ Metruni / /

■ ■

-■— ■-

■ -S

■ • ■•

quenti- a Sancti Evange-li- i se-ciindum Matthae- um.

5-

-■— ■ — ■— a-

■*H

-■ ■-

R7. G16-ri- a ti-bi D6mi-ne. In il-lo tempo- re. .. ni-si ut

Q ■

F^

B B B-

-B B--

mit- ta- tur fo- ras, et conculce-tur ab ho-

vos est is lux supra montem

^ Conclusion /

mi-ni-bus. miin- di. p6- si- ta.

,.. hie magnus voca-bi-tur in regno caelo-rum.

Full stop for Monosyllables and Hebrew words. , A , ^ B ,

^ B B

' B B B B

B Q : B- ' B B B B

B*

■ 11

1

nesci- o vos.

quibus datum est.

trlbus Is-ra- el.

non fii-it sic.

or :

nesci- o vos.

quibus da- turn est.

j tri-bus Is- ra- el.

[non fu- it sic.

Chapter VII. — The Liturgical Recitatives. 125

V. — Other Responses at Mass.

At the " Preface", Solemn Tone.

-■— ■ — -—-■—■-

i-Si-J— i— -i

y. Per omni- a saecu-la saecu-16-rum. R/. Amen. )^. Domi-nus

g

i_3 ip.

i- . _i._aL_[_.3_i J _^

a ■ r" p " Jm.

vo-bis-cum. R/. Et cum spi-ri-tu tu- o. ^^ . Sursum corda.

B ■

L'nfi

a a

a— i^IaS:

a I

R/. Habe-mus ad Domi-num. y. Gra-ti- as aga-mus Domi-

Pi-i 's -

J ■ a 3

:tr.:

no De- o nostro. R/. Dignum et jiistum est.

Ferial Tone.

i-^sz^f.

a a-

a H

i-H

y . Per omni- a saecu-la saecu-I6- rum. R/. Amen. ^ . Domi-nus

ff 1

1 1

'! '- ]

m ■ a ■ ■•

■ ■ ! a •

J

a ■ a ■ ■

■ f"«.

1

vo-biscum. R/. Et cum spi-ri-tu tu- o. "f. Sursum corda.

n 1

R/. Habemus ad Domi-num. y. Gra-ti- as agamus D6mi-no

126

Part I.

^f.

De- o nostro. R7. Dignum et justum est.

Most Solemn Tone.

-u—m-

-m—m-

Ji

!t

-■— F«

y. Per omni- a saecu-la saecu-16- rum. R/. Amen. y. Dominus

--P-^-H-T

-s-P

^— B^

r^_p._:_^

vo-bis-cum. R/. Et cum spi-ri-tu tii- o. "^. Sur-sum corda.

f="-P— ^ -fs:

-1% ■ ■

■ ■•

R/. Habe-mus ad D6-mi-num. ^ . Gra-ti- as aga-mus D6-

1

fi-a

«

;s_!_^:

•_-fii

mi-no De- o nostro R/. Dignmn et ju-stum est.

At the Pater Noster.

at the end.

- — — i— -■-^-■-— i— -Fi-jT— R— i— ;:-H i-^

■ - - -^- - ^ -^

y. Per omni- a saecu-la saecu-io- rum. K/. Amen. f. Et ne

-■ — -■-

■ ■<

-1— ■ — ■-

:fiz-

nos indiicas in tenta-ti- 6-nem. R/. Sed libe-ra nos a ma- lo.

Chapter VII. — The Liturgical Recitatives. 127

Before the Agmis Dei.

-■— ■-

fi-i-

t

"f. Per omni- a saecu-la saecu-16- rum. R7. Amen. y. Pax Do 1

-■— »:

~^—m . ~—

mi-ni sit semper vo-bis-cum. R/. Et cum spi-ri-tu tu- o.

At the Pontical Blessing.

y . Sit nomen D6mi-ni bene-dictum. R/. Ex hoc nunc et usque

-■ — ■-

■ ■

r— ■— ■-

I— ■— ■ — ■-

g-:

in saecu-lum. ^ . Adjuto-ri- um nostrum in nomine Domi-

ni. R/. Qui fe-cit caelum et terram.

S '— ^ * ^— • 1 , -- ^ ' i , —

J. Be-ne-di-cat vos omni-po-tens De- us : Pa-ter, et Fi- 1

i -- - . 1

^,

yii ■ ■■■■

■• ■ r

1

li- us et Spi-ri-tus Sanctus. R/. Amen.

128 Part I,

VI. — The Singing of the Passion. (^)

During the first world war the Vatican press restored to the Cathohc world the Ancient form of the Cantiis Passionis. This Gregorian treasure along with many others was sadly altered during those decadent years between the XlVth century and the XVIIth century. The accentuation was distorted, sentimental figures introduced, and the cadences suggested too much the modern modes.

What a relief this beautiful and sublime chant, almost " recto tono " , but with a dignified and sober simplicity which accords so perfectly with the inspired text. Dom Joseph Gajard in the Revue Gregorienne a number of years ago has said, " It seems to me that the real characteristic and interest of this " Passion " lies in its simplicit}^ its straightforwardness and sobriety on the one hand, and in its perfect harmony between the parts, on the other". And again the eminent monk observes, " Sometimes it is presented as one of the proofs of the divine inspiration of the Gospels, the note of absolute calm and tranquillity, almost without emotion which pervades all of them, and especially the recitation of the Passion ; not a personal note, but the simple relating of facts without comments " .

And how perfectly conceived is this " Restored Passion " for these divine phrases.

In the '• Cantus Passionis " we distinguish three parts which return successively, and are divided between each other in the Sacred Text. In the Missal these parts are designated by C for the Chronicler or story teUer ; a ^ at the words spoken by Christ; and S for the Synagogue, or Chorus of the people.

The entire melody is in the Fifth Tone (Augmented), extending from RE below the Tonic, to the upper FA of the Mode. The Chronicler chants on the central notes of the Mode ; the Syna- gogue on the upper notes, and Christ on the Grave notes. Each part has its own proper modulation wdth Flexa, Metrum and Punctum.

The part of the Chronicler, which is the foundation of the " Passion ", is really the Solemn Tone of the Lessons at Matins, given in the " Cantor inus Vaticanus " for Feast days, — with the three regular cadences :

(1) I am indebted to Dom Joseph Gajard for most of the following analysis of the Passion and Gospel which follows.

Chapter VII. — The Liturgical Recitatives.

129

This is a very simple Recitative, with only the simple ornamentation of the lower minor third which introduces each incise ; these same simple devices are found everywhere in the Psalmody.

£

/ Flexa

-f

-■— ■-

/ Metruni

1-*

/ Punctum

-■—■—■-

The other two parts, that of the Synagogue, and that of our Lord, sing on the upper Fourth, FA, ond the lower Fifth, FA. The design remains identical save for the necessary modification of the intervals for the different tonalities. All three parts follow the same pattern with Flexa and Metrum; the Punctum is the same for the Chronicler and for the Syna- gogue, but different for the Saviour.

■ ■ ■ ■ ■

/ Flexa

H

B I ■ ■ ■

/ Metrum

■ ■ ■ ■

/ Punctum

ctr^

/ Flexa

/ Melnmi

-fi— ■—■—■— ■-

-■ -H-

Punctum

c ■ ■ D n

■ ■ .

■ 1

1 "

130 Part I.

/ Flexa / Metrum

-■— a— ■— ■— n-

Punctum different

The part of Christ, a simple transcription in the lower octave, of the Synagogue Chant, has two proper cadences for the Punctum : one for the interior of the phrase, on the RE : the other for the Final on the FA :

on J^e f on Fa /

-■ ■-

■-r!=,=^

,_,_,_■_■

^^

The first cadence on RE minor shows by its suspensive character, that the discourse is not completed; when we hear it with the words we are conscious of the perfect accord between the two. The other is conclusive, terminating as it does on the Final of the Mode. Had it kept to its original model, it would have cadenced on the DO grave, as the Synagogue on the upper DO. But with a graceful undulation of the voice, it modulates to the FA, thus giving to the part of Christ, the principal part, the conclusion. The Chronicler also finishes on FA, but in passing, in the manner of a reading : " Christ speaks the last word, that to which there is no reply ".

We may add that this part of Our Lord is the only part which " sings "; for, in addition to a true musical modulation from the minor tone to its relative major, it has also a solemn intonation, to set in relief certain notes : Amen dico vobis... etc. Too, this expression is introduced by a special formula, more melodic, which is the only variation which the Chronicler is permitted to make from his rigorous Recitative :

k-i +

i=z^z:^b:lt^

C. A-it il- li Je-sus : ^ Amen di-co ti-bi, qui- a etc.

Chapter VII. — The Liturgical Recitatives. 131

Although this part (Christ) at first glanc^ seems insignificant, it is really the most important of all, the part around which the whole story centers. It is Christ who directs all, and a singer with good religious sense and artistic temperament can make very impressive these few^ simple words.

The Interrogative Cadence is the same for christ and the Synagogue, but an octave apart :

The Synagogue : W_

— -S-'

Christ

g

The artistic result produced by the combination of these three parts is very satisfying, especially when sung by artists who understand the true spirit and style. The analogous formulae which respond ceaselessly to each other give a balance and a harmonic sympathy really inspiring.

The following example will give some idea, but one must listen inteUigently to the complete work to really appreciate the great art of the composer.

r

a

C. Qui autem tra-di-dit e- um, de-dit il-lis signum di-cens ■ ■■■■■ ■- ■■■.,■■

1 ■ """ ■ ■ ' ■_]

i - ".__•'

S. Quemciimque oscu-la-tus fii- e-ro, ipse est, te-ne-te

■

n i

I p__. ^-—U

e- um. C. Et confestim acce-dens ad Je-sum di-xit : S. Ave,

132

Part I.

.

g m^ ■— ■ — B— ■

-■-k-

:1:^-

-i

Rabbi. C

. Et oscu-la-tus est e- um. D i 1

i-xitque

il-li

fl

^ ^ n

H

1 i ■ ■•

■• ■• 1

. ■ ■ !

■ 1

■ ■ ■

Je- sus : >i< Ami-ce ad quid ve-nisti

The singing of the Passion demands first of all simplicity. As says Dom Gajard, " Since the inspired author has taken the trouble to banish from his Recitative all emotion and sentimen- tality, and since the melody is so wedded to the text as to rival it in sobriety and peace, it would be a real lack of taste and contradiction to assume a voice of affectation and sentimentality in singing this Recitative, under the pretext that the Gospel is to be sung " with majesty ".

This is especially true of the part of the Chronicler : his part should be simply fine recitation with a sincere observance of all the laws of good reading. A moderate tempo with special attention to the Latin accentuation, the pauses, etc. A clear pronunciation of the vowels and consonants so that the assistance may understand every word. For this part is not a melody, as is sometimes the part of Christ, but simply, as we have said, a fine Recitative, and as such all depends on the clear recitation. However, there may be times when his recitation may be more animated, according to the text, or retarded intelligently to lend a better understanding to the words. The cadences should be given special attention.

We append a fev/ lines from the Passion read on Palm Sunday, that according to St. Matthev/ :

5 :

-■— ■--

C. Passi- o D6mi-ni nostri Je-su Christi se-cundum Mat-

5 r

-■ ■-

I

--■ — -■— 1 — -a— a — ■

33^:

thae-um. In il-lo tempo-re : Di-xit Jesus discipu- lis sii- is.

Chapter VII. — The Liturgical Recitatives. 133

And again from the scene of the Last Supper : x\lso Palm Sunday and St. Matthew. The usual Final Cadence introduces the words of Christ.

5- — • i-

-■ — ■—- ■ ■ — 1-

Et acci-pi- ens ^ ■ ! ■

ca- li- cem,

gra-ti-

as e-git

et de-dit

i "15^. 1

■• ■•

■ 1

il- lis di- cens :

The following final phrase from the " Passion " according to St. Mark sung on Tuesday of Holy Week. The Final Cadence is the same in all the " Passions ".

J ■ — ■ — a— ■ — ■— « — ■ — n — m—- '— '-'—■— ■ — ■-— n

quae simul e- um e- o ascende-rant Je-ro- s6-lymam.

The part of the Synagogue is also to be sung with simplicity, although this part demands more variation owing to the number of different characters involved. One would certainly not use always the same nuance : the Apostles, Pilate, the crowd of Jeus, the thieves on the cross, the Centurion would naturally call for different interpretations. The Act of Faith of the Centurion the contrition of the "good" thief, the promise of fidelity of St. Peter, the wild cry of the " mob " of Jews, the hatred of the High Priests, all call for many nuances of voice and phrase. However there must never be a searching for effect, but simply the intelligent declamation of the Text.

■ a a

a a

!_:_^_^._E._H^_!^. j_^ _

n "11

1 1

S. Ecce nunc audistis blasphemi- am : quid v6-bis vi-de-tur?

n ■

a iL ■ ,.

k ■

S Ba- rabbam.

134

Part 1.

■ ■

-■— r

S. Re- us est mortis. Cru-ci- fi-ga-tur.

Also the following from the " Passion " according to St. Luke, sung on the Wednesday of Holy Week :

i

T-+

^f

S. Tolle hunc, et dimitte no-bis Ba-rabbam.

And again.

■ ■ I ■ ■ , ,

5 ■ •* u

S. Cru-ci- fi-ge, cru-ci- fi-ge e- um.

And the same in the " Passion " according to St. John, Good Friday.

S— '

■ _■ I _ ■ ■

"R-

^_U

S. T61-le, tol-le, cru-ci- fi-ge e- um.

The response of the Sanhedrin to the unfortunate Judas, which is pierced with the most profound disgust for the traitor who has served their evil purpose :

g

flr--

— ■— ■ —

S. Quid ad nos? Tu vi-de-ris.

" Sing this rapidly, strongly, accenting well tu i'/-deris ", says Dom. Gajard.

Chapter VII. — The Liturgical Recitatives.

135

How very different is the touching phrase of the Centurion ! And how calm and sweet, especially as it follows immediately the description of the natural phenomena after the crucifixion : After the terror of the darkness, the earthquake and the rending of the veil of the Temple, we hear the words of the almost repentant and believing crowd : " Truly He was the Son of God ". This phrase must be sung with reverence and great art.

S

S. Ve-re Fi- li- us De i e-rat iste.

The part of Christ is the only part which is really " sung ". The melody is a real melody and is perfectly wedded with the words. There are many delicate nuances which permit the great artist to make vibrate the very soul of the Saviour. But the artist must be first of all inspired with the part that he is to portray, and must portray that part with true humility and self abnegation, never seeking to project his own person- ality. The general style here is calm, gentle, grave and perhaps a little sad; the phrases must always be sung very legato with great attention to the cadences, especially the FA ; being careful to give full value to each note of the torculus sol-la-sol, which starts the graceful rallentando.

5

rail

^ Tu di- cis.

Other phrases in the part of Christ : Passion according to St. Matthew, Palm Sunday.

Cadence D Minor

5 . +

-■— ■-

■^

^ Tristis est a-nima me- a lisque ad mor-tem : susti-

Cadence F Major

5 +-

ne-te hie, et vi-gi-la-te me- cum.

Part I

^ Pa- li

ter mi

si possi-bi- le

est,

transe-

at a me

i

. a

■ ■■

—m^ — th —

ca- lix is- te. etc.

Passion according to St. Mark, Tuesday of Holy Week : (Same as in St. Matthew).

-■-a-

Tristis est a-nima me- a usque ad mor-tem : etc.

The " passion '' according to St, Luke which is placed on Wednesday of Holy Week contains some of the most impressive passages in the New Testament. The following consoling words of Our Lord to the repentant thief on the cross fits well into the musical phrase : The gentle " cantelina " of the initial incise, followed by the definite assurance of the F Major Cadence.

s . . *' . + +

a

■ ■ ■ ■.

■ ■ « ■• ■•

■ .■. ■

^ Amen di-co ti- bi : H6-di- e me-cum e-ris in pa-ra- di- so.

contains the verification of Christian Hope and Faith.

And the perfect confidence and resignation of the following, " Into Thy hands I commend my spirit "I The text has been wisely chosen for the "Brief Response " of Compline, the last Office of the day. When all work is finished, and the time for rest is come, it is this phrase which gives peace to our sleep.

e ^ ; —

-■ — ■ a— a^ ■ — ■ __■_■_■ bI_b1—

r»^ '-■i ■ ■

T Pa-ter in manus tu- as commendo Spi-ri-tum me- um.

Chapter VII. — The Liturgical Recitatives. 137

And finally, the following " Last Words " of Our Lord, from the " Passion according to St. John ", sung on Good Friday :

S-b-

NjP-

■-■-

-■ — ♦-

-■ — ■ — ■-

^ Mu- li- er ecce fi- li- us tii- us. C. De- inde di-cit

iitv

■ ■ a

:+i

di- sci-pu-lo : ^ Ecce ma-ter tii- a. C. Et ex ilia ho-ra

g

-a — ■-

■ — ■—- «-

— ■ ■—- • — I

acce-pit e- am disci-pu-lus in sii- a Poste- a sci- ens

Je-sus qui- a omni- a consumma-ta sunt, ut consumma-

? i^ IH

re

3-tur Scriptu- ra di- xit. ^ Si-ti- o.

And finally the last agony " It is finished "

$

1

i— rt

m*

1

■ -■

1 ,.

^ Consumma-tum est. C. Et inclinato capite, tradidit spiritum.

The Tone of the Gospel (ad libitum) which follows the Passion, is perhaps of a much more recent date than the "restored" Passion; but it is also of beautiful Gregorian

138 Part I.

" chef-d'oeuvre ". It is a fine Recitative, ornate, and with a very frank and pure tonahty. The Reciting Tone alternates betueen DO and LA, finally coming to rest on LA, the favourite reciting note of the ancients.

It is the same Formula in all the Gospels, with only the necessary modification for the different texts.

The give the following excerpts from the Gospel according to St. Luke, sung Feria IV. Majoris Hebdomadae :

sN^^r^

-f

Et ecce vir nomi-ne J6-seph, qui e-rat de-cii-ri- o.

-■ ■— ■-

-■ — ■-

vir bonus et Justus : hie non consense-rat consi- li- o, et

--■ ■— ■— ■ ■ ■-—■—■ -■— ■ ■ ■—- ■—- s Hi— ■-

ti

acti-bus e- 6-rum, ab A-rimathae-a ci- vi- ta- te Judae-ae, qui exspectabat et ipse regnum De- i. etc.

and the Final Cadence :

i — .-.

z^riziz^f^

in quo nondum quisquam p6- si-tus fu- e-rat.

Once more we return to the reflexions of Dom Joseph Gajard, the greatest authority of all on the subject of Gregorian Chant. He advises, " We believe that it would be a total misunder- standing of this Gospel, to sing it rapidly, with the elation and the joy of a song of triumph. No, the melody is not exactly

Chapter VII. — The Liturgical Recitatives.

139

a song of happiness; it is sweet, mysterious, calm, confident; Interpret it broadly, gently, with a very sustained voice, and with discreet expression, supporting well the E at the beginning of the Intonation, and especially ritarding well each one of the important Cadences — of course more marked at the very final. Never permit to escape this atmosphere of mystery which floats through this strange " melopee ", and envelopes it with a pene- trating and indefinable charm ". Dom Gajard also finds in this Gospel Tone, " distant, veiled announcement of the Resurrection ". He says that, " All hearts have been heavy with sadness during the long agony and Passion of Christ. The the Church reassures them maternally : " Wait, wait; all is not finished; only the first part of the mystery is accomplished; wait, you will see ". It is not told what is to come to pass, — that remains a mystery.

In all the Gospels except St. Matthew, this melody describes the entombment of Christ. It is like a moving " farewell " of the friends of the Lord, of his faithful Disciples united around his tomb to weep over his mangled remains. " Sleep in peace ", as Johann Sebastian Bach ends his Passion according to St Matthew.

VII. — The Chanting of the " Confiteor ".

This Chant has three vocal inflections ; the first sl Minor third below the Dominant, after the name of each saint; the second, a semi-tone below the Dominant, at the word " Pater " ; the Third a greater modulation of a Fifth below; at the end of the two main periods, and at the words " verbo et opere " :

/

Confiteor De-o omnipo- tenti : . . . verbo et

t

t

-■—

orare pro me ad Dominum De- um nostrum.

VIII. — The Singing of the Chapter.

The Chapter is sung on the Dominant DO. There is a Flexa, Metrum, Interrogation and Final Punctum. The Interrogation is like that of the Epistle and the Lessons. The Flexa is a

140 Part I.

Cadence of One Accent, and is a melodic descent to La below the Dominant DO. The Metrum is a Cadence of One Accent and two preparatory notes; the Punctum is also a Cadence of One Accent, with no preparatory notes. Example :

/ Flexe

/ Metrum

/ Punctum

" ■ ■-

•

• /'«\ « ! • _ •

M

^ ■ ■-

■

■ D S. 1

confi- den- ter... vo-cabunt e- urn: * Dominus... no- ster.

■ ■•

:h

De- o gra-ti- as.

If the Text is brief, the Flexa is omitted. The Cadence is made at the Hebraic words and monosyllables, according to the general rules; this is only at the Flexa and the Metrum, and not at the Punctum, which remains invariable. If the Interro- gation is at the end, it keeps the Tone of the Punctum.

IX. — The Chant of the Versicles.

For the Chanting of the Versicles, there are two Tones, the Ornate or Neumatic, and the Simple Tone. The first is sung entirely " recto tono " with a long vocalise on the last syllable. This is used after the Nocturns, at Lauds and Vespers, after the Hymn ; also at the Hours, after the Brief Response : (')

n

-.-. -^-B-

— -■ ■ — ■ ■ ■—■—■--

■ ^♦a o'a

1

%

1

'% •

1

y. Di-ri-ga-tur D6mi-ne o-ra-ti- o me- a. R/. Si-cut in-cen-sum in con-spe-ctu tii- o.

2 ■—•-■—■ ■—-■—■ ■—■-■—■ ■— «-7 1,^4— Bi-

U—

y. Di-ri-gatur D6mi-ne o-ra-ti- o me- a.

^) For other Tones consult Antiphonah Monasticitin.

Chapter VII. — The Liturgical Recitatives.

141

On the last three days of Holy Week and at the Office of the Dead, the Versicles are sung with a special Tone, described in another place.

The Simple Tone is also sung ' recto tono ', save for an inflexion of a Third at the end :

/

:□;

y. Dignare me laudare te, Virgo sa- cra- R7. Da mihi virtutem contra hostes tu-

ta.

OS.

The Simple Tone is used for all the Versicles of the above. The " broken " Cadence is permitted at monosyllables and Final Hebraic words. The melody afterwards descends to La, then returns to Do.

When the Versicle is somewhat long as happens in the Kyrie after the Litany of the Saints, the Flexa and the Metrum may be made in the manner of the " In directum " of the Psalmody.

The Prayers at Prime before the Oration and after " Pretiosa " , as also the Prayers of Terce, Sext, None and Compline, are

sung on the Simple Tone :

Liber Usualis.

-a — ■—■—■—■-

-■—■—■-

-■— ■-

-■ — ■ — ■-

:^3

Ky-ri- e e-le- i-son. Ky-ri- e e-le- i-son. Pater no- ster. Christe eleison. Et ne nos.

in tentatio- nem.

Ant. Monasticum.

F ■ ■ i ■•

■ Pi „ . ^— ■ ■ -i ,

E ■ ■ ■■ - a ■

■ 1

Ky-ri- e e- le- i- son.

Christe e-le- i-son. Ky-ri- e

p .. M

■ . ■ ■ !'

■ ' 1

e-le- i-son.

142

Part I,

X. — The Chanting of the Absolution and Benedictions at Matins.

In the Absolution, the Flexa and the Metrum are made with the usual melodic cadences, and the Punctum with the Minor Third Inflexion. At the Benedictions, the Metrum only, is made, and at the end, the Punctum with the inflexion of a Fifth for the First Lesson, and of a Third for the second.

-■ — ■-

^[

-m ■—■—-■ — ■— ■ — ■ ■—■—■—■-

m

-a— ■-

Pa-ter no- ster. y. Et ne nos inducas in tenta-ti- 6- nem. R/. Sed li- be- ra nos a ma- lo.

Absolution in 1st Nocturn

/ Flexa

/ Metrum

-■ ■— ■ -■ — ■-

1=^=^

-■—-■-

-■—■—I

Exaudi... tu- 6-rum, f et mi- se- re- re no-bis.

saecu-

i_^: D ^|l_D ::

16-rum. Amen.

Benediction (First Lesson)

H^as Baa aaaa

I «._■ 1

Jiibe Domne bene-di-ce-re. Bene-dicti- one perpe-tu- a *

I ■ ■ ■ — ■ ■ ■—- ■ — m—th ~ — m- —

m^ U L

bene-di-cat nos Pa-ter aeternus. R/. Amen.

Chapter VII. — The Liturgical Recitatives. 143

XI. — Chants of the Lessons.

Of these, there are Three Tones : the Common, the Solemn, and the Ancient.

i) The Common Tone has only the Flexa, which may be repeated several times if the Period is long, and the Punctum. Both are Cadences of One Accent : The first inflects the voice a semitone, and the other, a Fifth. Examples follow :

" Jiihe Domne henedicere " (as above).

Title. / /

-D~i-

-■ ■-

-■- ■— ■-

-a— ■-

De Actibus Aposto- 16- rum. De Libro Eccle-si- asti-ci.

/ / Punctum

-■—■—■—-■—■-

-■—a-

s=E

Sapi- enti- am... sapi- ens t et in prophe-tis va- ca- bit

* ■ ■ I

Narra-ti- onem vi-ro-rum conser- va- bit et in versu-ti- as.

-■ — ■-■

-■ ■--

intro- i- bit. Occulta... ex qui- ret et in abscondi-tis...

/ Conclusion / /

i_.

-■—-■—■ -•-

-■ tt-

conver- sa-bi-tur Tu autem Domine mi-se-re-re no-bis.

-■— •-

■ -■-

R/. De- o gra-ti- as.

144

Part I.

At the " colon " when the words of another are about to be related, the Flexa is not made, but merely a simple Pause :

— -a— ■ -■—-■-

Et di-xit : Sic-ut scriptum est.

The Interrogation Point is like that of the Epistle. When the Interrogative Period is long, the inflexion down to SI from the Dominant DO, is made only on the last word which may be connected in meaning with what follows.

When the Lessons do not close with " Ttt aiitem Domine " , as in the case in the Office of the Dead and of the Triduo of Holy Week, the Interrogation is omitted, and the Period ends with a Common Punctum.

The Lessons of the Dead and of the 2nd and 3rd Nocturnes of the Triduo of Holy Week, as well as the Prophecies, unless ended ' recto tono ', are always terminated thus :

r

/

. ■ ■ n ^

a ■ ■ ■ ■ ■ ■ : CJ B Q ■•

■ ■ : "^ : ■ Q ■•

■ \

; :

et mundus e- um non co-gno- vit : nesci- unt quid fa-ci-unt.

The Tone of the Prophecies is like that of the ordinary Lesson, except that it closes ' recto tono ' , when it announces a following Chant.

2) The Solemn Tone is used " ad lihitum " at the Lessons of Matins in the Most Solemn Feasts; there is a Flexa and a Metrum like those of the Chapter; the Punctum alone is different. Example :

/ Benediction /

J— ■— ■ — -■ — ■ — l-i — i

-— ■-

-■—■—■—a

■ . *— ■'

H

■ " ■ ■*

"

"■'

Jube Domne be-ne-di-ce-re. Bene-dicti- one perpe-tu- a. '

.____«!_.

m

a

: . • ,.-

! • ^

bene-di-cat nos Pa-ter aeternus. R/. Amen.... Aposto-16-rum. ..,

Chapter VII. — The Liturgical Recitatives. 145

/ Flexa

Metrum

Conclusion

g ■ . . ■

^^

1 ■ ■ ■ ■ ,.

■ ■ ■ , ■ ■

—■ — ■ — ■— « 1

'

discipu-16-rum,... adversus Hebrae-os. Tu aiitem D6mi-ne

i M m m

"1

^ m

1

« «^

- ■ , ..

1

mi-se-re-re no-bis. R/. De- o gra-ti- as.

When the Period is fairly long, it alternates many times with the Flexa and the Metrum; when, on the contrary, it is fairly brief, the Flexa is omitted, and sometimes also the Metrum. The Flexa does not permit a " broken " Cadence; at the Punctum the " broken " cadence is made as in the preceding Tone.

3) The Ancient Tone, except for the differing intervals, is like the preceding Tone. Its Reciting Tone is LA instead otDO.

_ / Benediction /

■ — ■ e — ■-

■— ■— B-

-■ — ■-

Jiibe Domne bene-di-ce-re. 1 ^

Bene-dicti- 6-ne perpe- tu- a *

,• 1

B- ■ !

■ man ■ ■

,« 1

i

'

bene-di-cat nos Pa-ter aeternus. A-men. De Acti-bus Apo-

/ / Fle.xa

4

--a — s-

-a — -■-

sto-16-rum.... disci-pu- 16-rum- f actus est... adver-sus He-

I / Metrutn / Puncluni /

I — a — I — B--

-a—- a-

brae- os, e- o quod... vi-du- ae e- 6-rum... Tu autem D6-

k . >

!

■ . ■

■ - -a^ 1

J . 9— a^ — -

mi-ne mi-se-re-re no-bis. R/. De- o gra-ti- as.

146

Part. I.

XII.

Chant of the " Short Lesson ".

This is like the Chant of the Chapter, with the sole difference that the Punctum and the Interrogation are sung as in the Common Tone of the Lesson.

At the end of Prime after the " Short Lesson ", is chanted :

-■— ■■

r-W

■m — ■ ■ I

y. Adju-to-ri- um nostrum in nomi-ne D6mi-ni. R/. Qui fe-cit

Benediction

-■— ■ -■ ■-

-■—•—•-

caelum et terram. y. Bene-di-ci-te. R/. De- us. Domi-nus nos

i .-I

:±

bene-di- cat et ab omni ma-lo de-fendat : et ad vitam perdii-

" ■ ■ ■

i i;

• ■ ■ ■

i i;

ml-.

— ■ — ■— ■— ■ — ■- ■ — ■— ■—- • — ■ ■ ■*''■' ■* -

cat aeternam. Et fide-li- um... requi- escant in pa-ce. Amen.

For other tones for the Mass and Offices consult Liber Usualis, Graduale Romanum, and Antiphonale Monasticiim.

SYNOPSIS OF CHAPTERS.

PART I.

INTRODUCTION. viij

r. — THE LANGUAGE OF GREGORIAN CHANT. 2

Relation of Language to Music — The Latin Language — Autho- rised Pronunciation of the Church Latin — Articulation — Nature of the Latin accent — Rules for Latin accentuation — Secondary accents — Logical accent — Pathetic or Expressive accent — Divisions, pauses, and Rhythm of Discourse — The singing of Plainchant in English.

II. — NOTATION. 13

Origin — Chironomic Notation — Diastematic Notation — Table of Gregorian Melodic signs — Connection of Groups — Liquescent Neums — ■ Notes and Groups derived from the Apos- tropha — The Gregorian Stave — Accidentals — Rhythmic Signs

— Suggestions for practice in reading — Solfeggio — Rules for placing the Ictus.

III. — THE MODES — TONALITY. 33

The nature of Gregorian Melody — Divisions of the Original Scale — Later divisions into the Eight Modes — • Authentic and Plagal Modes — The Dominant — The Final — • The Ambitus — ■ Transposed Modes — Characteristics of the different Modes — Modulations.

IV. — RHYTHM. 57

The nature of Rhythm — Measured and Free Rhythm — The Simple Beat — The Binary Beat — The Ternary Beat — • Word Rhythm — The Composite Beat — Rhythm of the Incise — Arsis and Thesis — Rhythm of the Whole Bar — Composite Rhythm — Phraseological Accent — The Rhythmic Ictus — Rhythmic Words and Time Words — The Rhythm of Neums — Time Groups and Rhythmic Groups — Masculine and Feminine Cadences — Types of Incises — The Greater Rhythm.

V. — CONDUCTING THE CHANT. 81

Chironomy — Origin — Different kinds — Most effective method.

— The undulation. — Tempi. — Hints to the Conductor.

148 Synopsis of Chapters.

VI. — THE PSALMODY. 89

Antiquity — Hebrew Poetry — ■ Parallelism. — Relationship of the Antiphon to the Psalm Tone — Example of a PsaJm Tone with component parts — The Intonation — The Tenor or Dominant

— The Flexa — • The ]Mediant — The Caesura — ■ The Final Cadence

— Cadences of One Accent — ■ Cadences of Two Accents — Dactylic and Spondaic Cadences — Preparatory Notes — ^ Solemn Psalmody

— Tonus in Directum — Paschal Tone — Complete Table of Psalm Tones — Singing the Psalmody in English — Interpretation of the Psalmody.

Vri. — THE LITURGICAL RECITATIVES. HO

Tones for the " Oremus " — Chanting the Prophecy — The Epistle

— The Gospel — Tones for Preface, Pater and Pax Domini ■ — The singing of the Passion — The Gospel (ad libitum) following the Passion — The Confiteor — • The Chapter — The Versicles in the Of&ce — The Absolution and Benedictions of Matins — The Lessons

— The Short Lessons.

PART 11.

A Few Paleographic Facts

Interpretation.

Accompaniment.

All translations from " Le Nombre Musical Gregorien ", and other Solesmes books were made with the authority of the monks of Solesmes.

CHAPTER I. *

THE RHYTHMIC SIGNS IN THE ANCIENT MANUSCRIPTS.

By themselves the pure neums, with lines or without lines determined neither the duration, the force, nor the rhythmic movement of the sounds. Also, the best manuscripts show the neums accompanied by little lines, supplementary letters, modifications, etc., which complete the neumatic notation by showing us in some degree, at least, the intervals, the value and intensity of the sounds, and certain other nuances of inter- pretation. The figuration of these Rhythmic signs, as that of the melodic signs, varies with the different graphic schools; but in spite of these many forms, it is quite easy to discover a primitive tradition, which was universally known, and which affirms with the same evidence and authority as the traditional melodic unity. However, this primitive rhythmic tradition is not maintained with the same constancy as is the melodic tradition : The state of the manuscripts in the tenth and the eleventh centuries reveals to us a great variation in the figu- rations; the most perfect, as we have said before, are the manuscripts of vSt. Gall, and Metz, between which the rhythmic concordance is astonishing. Other representatives of the same calligraphic school, are far from preserving the rhythmic tradition with the same purety and fidelity, making use of rhythmic signs, but often carelessly and without meaning. Nevertheless, these precious debris often aid the course of reconstruction. Several families, in Italy, France, Aqui- tania, etc., offer indisputable evidences of the rhythmic tradition, and each day, a new study of these documents, reveals new traces of rhythmic signs. There are also other manuscripts that reveal nothing of the rhythm, neither supporting nor denying the same ; such are like a text without punctuation or accentuation; for example, like the original Hebrew texts of the Old Testament, before the Massorists added the vowels and other signs to facilitate the reading.

We make use of the two principal groups of m.anuscripts, those of Saint-Gall and Metz, to determine the Rhythmic Theory. These are the only groups which have maintained

* In these seven short chapters which follow, much has been translated from " Le Xombre Musical ' ' of Dom Andre Mocquereau. His explanations are so precise, that it would be quite impossible to improve them.

Chapter I. — The Rhythmic Signs. 151

the rhytmic system complete; in the other schools we find only scattered examples.

The Saint Gall Manuscripts make use of two kinds of Rhythmic signs : ( a ) True Rhythmic signs, and ( b ) Letters.

Among the Tme Rhythmic Signs we distinguish two classes : (a) The Rhythmic signs which affect the pure neums by modifying them, and (b) The signs added to the primitive neumatic form.

A — Modifications.

The characteristic of these " modifications " consists in allongations, thickening, and sometimes in changing the contour of a neum, without any outward additions. All these modi- fications indicate in principle, a rahentando, a retard, a support, more or less pronounced.

Punctum plamim. — The Punctum ( • ) is lengthened more or less, according to the manuscripts ( - — ). This is the Punctum planum, or Virga jacens. This last expression employed by several theoricians, describes the graphic form of the sign, not its role in the melody, which always represents, not an elevated note as does the true Virga, but a note fairly grave, as the Punctum : hence the name of Punctum planum. The Rhythmic intentions of these two Punctums, are afftrmed especially in the neumatic groups, where the contrast desired between the two forms, is clear. Out side of this, the punctum planum is often only a graphic license without a rhythmic meaning; it is the Punctum used the most often in the Recitations, and it is always alone. The movement of a notation, written rapidly, invited the copyist to let his pen drag a little on the parchment, from one Punctum to the other, instead of lifting the pen each time he added a new Punctum, thus obtaining only a light round point, scarcely visible.

Pes Quadratus (square). — The first note of the Podatus

is modified in this manner v^ . It can be translated thus : 3 •

The first note is supported and allongated slightly, by means of this Horizontal Episema. Pes quassus v^ from (quatio) to shake, to strike. The first sound of the group is somewhat longer than the first tone of the Pes Quadratus : it is often translated by two notes in the Manuscripts :

SS:

■ i *-•-

zliit

N° 758. — 6

152 Part II.

In the Proses and Sequences, where the melodies are simply vocaUses, or supported by a text, purely syllabic, the Pes quassus is found translated sometimes by three syllables.

Remark: The Pes Quadratus and theP^s quassus are sometimes used one for the other, which leads one to beheve that there must have been a certain resemblance between them. However this resemblance was not a complete equivalence. Manuscript no 121 of Einsiedeln offers this proof.

The the Offertory — Benedixisti, J. Ostende, we find the two following notations :

or sf

. - J

—pi- —

rj»

O- sten- de

The Podatus quassus with the direction vel (or) indicates that an option is offered between the two notations, which suggests two different executions.

In these two Podatus, the first note was long, and supported, but to the Pes quassus was to be added some kind of vocal effect unknown today: we shall have to resign ourselves to ignorance in this matter. Practically, and according to our lack of information, we simply execute the two groups in the same manner, supporting and lengthening the first note of the groups. The length of the first note of these groups is further verified by the significant letter -< (tenete), placed over the note. Sometimes we find also the letter f (forte) over a long note, which means that force is to be added to length.

The Torcuhis </) takes the following forms :

i) j"' Pes quadratus fiexus. First note is supported. Jb

2) v^ Pes quassus flexus. First note supported Same as above

3) j^ Torculus long, the three notes are retarded. J^

4) The Porrectus enlarges and dilates its hues : /y

5) The simple Punctums of the Climacus X? are changed into

Chapter 1. — The Rhythmic Signs. 153

Punctum planum :

/'- /'.. /--. /x etc.

We find also

/I /I /I etc.

The Clivis n seldom receives any rhythmic modifications in its essential form. It is usually influenced by the added signs.

B — Additions.

Episema. — The second class of Rhythmic signs properly called, are distinguished by the fact that they add a tiny line to the ordinary neums, or even to the groups already modified, of the preceding class. We give it the name of Episema (i-icrY.aa-'vw) to indicate by a sign. As the Episema can occupy different places in the Neums, it is often obliged to undergo certain modifications. But whether it be Horizontal, lightly arched, or reduced to a sort of Punctum, it is always the same sign.

The Romanian Episema is nearly always the sign of prolon- gation. It is on this note marked by the Episema, that we preferably place the rhythmic Ictus. If there are several " de suite " , the choice of the Ictic note is made according to the context of the music. That is to say that not all of the notes in the Saint-Gall manuscripts which bear the Episema aJthougth retarded, draw the Rhythmic Ictus. The rhj/thmic value of the Episema is always subject to the most varied nuances. In certain cases, for example, above a Clivis, one can double at least the value of the first note. In other cases, on the contrary, the same mark will be the indication of a light support, but scarcely no prolongation of the voice. This observation applies to all the rhythmic signs, modifications and letters. The reason is that the rhythmic sign, as the neum itself is dependent upon the rules of position : The note to which it is attached, its position in the neum, the agreement of this neum with the text, the regular rhythm, the movement and expression of the musical phrase, all influence the value of the Episema.

The Episema is placed at the head of the Virga in the following Neums :

154

Part II,

a) Simple isolated Virga

/

ii^zzz:

:i=zz:

b) Ordinary Podatus :

y

=^

c) Ordinary Clivis :

^=

d) Ordinary Torculus :

e) Ordinary Porrectiis :

/y _S:

f) Ordinary Scandicus :

g) Ordinary Climacus :

/•.

Isolated Virga with Episema : (Doubles usually value of note)

^ =^-

Podatus with Episema : (Rhmc. Ictus on 2nd. Note)

^ =3=3

^^=*^\

Clivis with Episema on ist. Note :

= ^ =:S= =^:

Torculus with Episema :

^ — /■_ =^^i^ ^ — 1^-

jiz^z^

Porrectus with Episema on the Final Note :

n- -St:

^E^:

Scandicus with Episema

=i^^:

Climacus with Episema :

/■•• Z

=M^J

Chapter I. — The Rhythmic Signs. 155

The Episema is joined to the Grave Accent or to the Punctiim.

a) At the extremity of the Punctum Planum

b) At the base of the last branch of the Cltvis ■

c) At the base of the last branch ■-

of the Torculus — »-r

d) Or in the Composite Neums : /l,^ Ji,^ %~

0 _

T

T ■

The influence of the epismatic line affects only the note which is marked by it. In the Clivis /f, only the first note, or Virga is lengthened, and the Ictus falls on this note. In the following neum, it is the contrary : /I it is the second or Grave Accent which bears the Rhythmic Ictus.

Remark : The modifications and rhythmic additions are concerned only with the support, Ritard, or Lengthening of sounds. There are no rhythmic signs of Brevity. In the next article we are introduced to Letters which indicate accelerando, but never brevity.

Significant Romanian Letters

In many Manuscripts of Saint-Gall origin, the neums are surrounded by letters, as can be seen in the photographic reproductions of the Paleographie Miisicale. (See t. IV, Manus- cript 121 of Einsiedeln).

Origin. — A chronicler of Saint-Gall, Ekkehart IV, the 37oung (c. 1036), attributes to Romanus, the singer sent from Rome to Saint-Gall about the year 790, the use of the Letters. Thus the name Romanian Letters. Let us keep this name, although the origin is disputed.

Significa7tce : The thing which is not disputable is their existence and meaning. A letter from Notker, a monk of

156

Part II

Saint-Gall (c. 912), gives a very authentic explanation of them. It has been preserved for us in the Manuscript 381 of Saint-Gall, and in the Manuscript lit. 5. of Bamberg (p. 28) Reichenau origin. A short version of this letter is found also in the Codex 371 of Leipzig. We make use of it here.

Reason for these Romanian Letters : The raison d'etre of these letters is to clarify the Neumatic Notation, which does not make certain either the intonation or the Rhythm. Thus we have two series of Letters, whose function is to correct these faults.

Fust Series — Melodic Letters. Seven Letters.

These attempt to fix the intervals, but they give only vague indication. We enumerate them here :

Elevation : a^ — Ut Altixis elevetur admonet.

t — Levare neumam.

f — ■ Siirsum scandere.

g — • Ut in gutture garruletur gradatim.

Descending : a, — • Ut deprimatur.

Unison : »- — Lusum vel inferius insinuat. e- • — ■ Ut equaliter sonetur.

Second Series — Letters relative to the rhythm. Seven Letters. These letters are divided in three classes : Retard : ■< — Trahere vel tenere.

^ — Expectare.

"t — ■ Mediocriter moderari melodiam.

Acceleration : c — Ut cito vel celeriter dicatur.

/t Statim — • Suivez. Do not pause.

Intensity : p — Pressionem vel perfectionem significat. f — Ut cum fragore feriatur. k — Clange significat.

Rallentando : The (-^) indicates a " tenue " of the voice, as m modern music. It is often used as the Episema . ^ ior /f There are often nuances in this lengthening, where the ( -c: )

can double a note.

Chapter I. — The Rhythmic Signs. 157

The (♦;») is usually placed between two groups, two incises, two members of a literary or musical phrase to indicate a mora vocis, translated in the Solesmes Rhythmic Editions by a ( • ) which doubles the value of the note.

The (m) after or near a note designates a moderated movement; joined to another letter, it undergoes a modification of meaning. (See third Series).

Accelerando: The (c) expresses in general, lightness, piu mossQ, animation. It is necessary an attentive study of this letter to understand its different functions. There are two kinds of meanings attached to it : One positive, the other negative.

a) Positive meaning : The ( © ) expresses an accelerated movement, momentarily, from the normal movement of the work executed, as the piu mosso, animato, accelerando, or stretto of our modern music. In the Gregorian Art, as in modern music these modifications never change the value of the notes, but only give to the phrase more interest and life.

b) Negative meaning: Often the ( c ) is employed in opposition to the Episema and the tenete. It precedes or follows these signs of length. These two significations have this in common, that the ( c ) never changes the value of the note, while the

-c?

and the Episema can double the note they modify.

Intensity : ( f ) — Every note marked with this letter is strong. It is fairly rare in the Saint-GaU Manuscripts. However a manuscript of Reichenau (Bamberg, lit. 6) employs it a little more frequently.

( /: ) A strong note. Used very rarely.

( p ) can signify also a strong note, but this letter has other mea.nings, also, (perfecte, parum).

Although the invention of Romanus was ingenious, it did not entirely clarify the faulty notation. To show more definitely the intonation and the nuances of rhythm, the master added other letters to the first, to augment or diminish their value. These follow :

Third Series : Modifications of the preceding letters. Three Letters.

( -r ) — Ut bene extollatur vel gravetur, vel teneatur.

( V ) — • Valde.

( m ) — Mediocriter.

158 Part II.

( -f ) — Sense of this letter is very clear : ( -rt ) — bene levare ; (-«^-f) — bene teneatur, etc.

( V ) Rarer. A synonym of ( ^ ) : valde. ( t-v ) — • iusum, inferius valde.

The letter (m) given in the Second Series, is often united to different letters : (sum) altius mediocriter; (cm.) celeriter mediocriter ; (wm) inferius mediocriter; (-t?m) tenete mediocriter.

Important Remark : Generally these significant letters affect onh^ a single note of the neumatic group to which they are joined. The position of the " letter " denotes the note affected :

clivis and podatus with first note lengthened : /T^ %/ In the

following podatus, it is the second note which is affected : y/

There are exceptions to this rule, however : when the ( c ) or the (-«^) is prolonged over a series of groups, the accelerando or the retard affects all the groups : Tinnn 'nnn/1

Another example : e- = equaliter, a melodic letter;

the five punctums are to be sung at the unison.

The signs and the rhythmic letters are often employed in the same group :

c

Clivis — A , 1st note light, 2nd note supported or lengthened by the Episema.

Climacus — • X , ist note light (celeriter), 2nd ordinary, 3rd, lengthened or supported by Episema.

All the notes of a group may be modified in their movement, by the Romanian Letters :

The Torciiliis j^ long. All the notes are retarded.

The Scandicus ^ . The four Punctums plamims marked with the Episema are to be retarded and marked strongly.

The Climacus / "-- is to be treated with a progressive Ritar- dando, on the four last notes.

Saint-Gall signs : The Saint-Gall Manuscripts contain other signs and abbreviations which are not mentioned by Notker :

Chapter I. — The Rhythmic Signs. 159

CO = conjungatur — • to join, to blend. Legato. Len = leniter — sweetly, dolce. Moll = Molliter — with delicacy, softly, pp. fid = lideliter — faithfully, with exactitude.

fidenter = with assurance (?). siml — simul — ensemble, together, tutti.

similiter — in like manner, the same.

perf = perfecte — with perfection.

/t = statim — without pause, suivez, continue immediately, sometimes equivalent to (c) celeriter.

Rhythmic signs of Metz. (Messin) As Saint-Gall these are divided into two different kinds :

a) Rhythmic signs, properly called.

h) Significant Letters. (Messins).

The Notation of Metz, to explain the rhythm, used only the signs modifying the ordinary neums. The " additions " of Saint-Gall were unknown.

The Episema was represented by some sort of a modification of the contour of the neum, or by a Letter, with the same meaning.

As at Saint-Gall, there are ordinary neums, and long neums : Ordinary Neums Long Neums

Punctum • A

Clivis 7

Podatus -^

Torculus j^

Climacus : or ^

The value of the long neums is revealed to us by the compa- rison with the Saint-Gall manuscripts. In fact the ordinary Messinian signs correspond exactly with the ordinary San- gallian signs. There are thousands of examples of this concor-

ny

A

./ A

A

oy

A

/^A

AA

A A

A

160

Part II.

dance between the two schools. See above, Punctum planum, in the Saint-Gall list. The long neums of Metz have no more rhythmic value than the punctum planum of Saint-Gall.

The Messinian Letters : We do not have a letter from a Notker at Metz to give us the key to the Significant Letters of the Manuscripts of Metz. Nevertheless, most of them can be interpreted in the light of the Saint-Gall Manuscripts. As at Saint-Gall, we distinguish two series : the melodic letters ; and the rhythmic letters.

Melodic Letters : _

We enumerate them :

Elevation : or ( /* ) as at Saint-Gall = Sursum. Descending : { ^ ) humiliter (iusum) Saint-Gall. Unison : (ef) = equaliter.

Other letters of less importance were also in use at Metz.

Messinian Rhythmic Letters.

Retard Lengthening, amplification

Acceleration

c n

= tenete.

= auge, augete, ample. = cito, celerius, celeriter.

naturaliter.

The (-1^) as at Saint-Gall, marks a " tenuto " of the voice. It has often for an equivalent, ( a- ) — augete, ample, etc. These two letters are nearly always found on the neumes, which in the Saint-Gall manuscripts, are indicated long.

/

>/ v"

■ ■

— ■-

/T

AA

1=::

s-

^

:5;

Chj

ipter

I. —

A

The

Rhythmic Signs.

)61

A A

7 2»?«'

AA

ll

. ;'''

T'

\

. li^

J

Celeriter, Natiiraliter. — The Notkerian letter (c ), celeriter, is found in the manuscripts 239 of Laon, but it very often agrees with ( n ), naturahter. These two letters correspond always with the notes or groups, either ordinary, or marked with the ( c ), in Saint-Gall.

There is some mystery surrounding the letter (n). In the Laudunensis 239, this letter appears either alone, or followed by ( L ), or (-1?). In the Codex 91 of Angers, the ( « ) is never alone, but always accompanied by (u), — (nu), and once we find («L-t^). The expression which seems to respond better to this combination, is naturaliter, in opposition to ( a. ), amplitude, length, which changes the ordinary value of the notes.

The reciprocal substitution of ( c ) and ( « ), in the Manuscript 239 of Laon, reduces the signification of ( c ) to its just value. The school of Metz confirms this interpretation.

There is however an exception to understand in the notation of Laon : it is when the neumatic sign chosen by the copyist surpasses a little the real value that he wishes to attribute to it; then this (c ) placed over the excessive sign restores it to its desired duration, and, here, the meaning of celeriter must be taken to the letter; in this case the (n) never replaces the(<> ).

The Manuscripts of Metz employ the same sign for the Presstis as for the Salicus. The Pressus is a long, doubled note, while the central note of the Salicus is a supported and lengthened note, but seldom doubled. There is a similarity between these two signs, therefore the same neum in the Messinian manuscripts, and especially in the Laon 239. But in order to reduce the Salicus to its just value, the copyist adds the ( « ) celeriter to the middle note. The ( « ) is never used in this case, as it would give just the opposite meaning.

CHAPTER II. *

RHYTHM AND EXECUTION OF MELODIC GROUPS IN THE PHRASE.

It is the function of these rhythmic groups and time groups to form the phrase members, as we have explained before. Some groups are joined together to form closely-knit musical sentences, while others are as it were detached, according to the musical sense.

A general sign of the " junction " of groups, is the graphic union of several notes in a single group, and the placing of these groups close together. On the other hand, graphic spacing between notes and groups usually means disjunction. But the notators were not always careful to indicate these " junctures " and " disjunctures ", so that today one of the most difficult problems of Gregorian Rhythm is to determine these two different types of groups, especially among the melis- matic chants. It was only after a long laborious comparison of manuscripts that Dom Mocquereau and his workers were able to come to a few definite conclusions. We have already explained the term juxtaposition, in the Chapter on Rhythm, but a few more words will not prove detrimental :

When time-groups, the last note of which are without mora vocis, are united to a following note or group; Ictus falls on first note of each group. Examples :

g^-1s-i=== -OtP

i_^

1

Asper- ges me. Vi-di a-quam.

How the manuscripts indicate this juxtaposition of groups.

a) The procedure of the documents without rhythmic signs. is to place the groups very close together.

h) The Rhythmic manuscripts are more precise. The absence of any letter of length, whatsoever, is an infallible sign of iuxtaposition.

* See Vol I, Part II, Chapter VII " Le Nomhre Musical" .

Chapter II. — Rhythm and Execution.

163

Mss. St. Gall

£-3

y-. n n /) :. /i rr

V Y 3t»fi;if."^'nip-

Domi- ne

y-. n n n .\ /i /r

^?i^1^?iPi.Mp.7

intende

The Saint-Gall neumes above the staff plainly tell us that there is to be no retard, but that all the groups are to be sung in one phrase.

The same phrase is found in other manuscripts with the added Significant Letters, both Romanian and Messinian. (See explanation in Chapter).

Laon 239

S. Gall 376 Several Mss. S. Gall Tract. Qui regis

/.

•^n

simu c

n n

1 n

p

n n

n

nsf.rfrfi-^^

The ( c- ) — celeriter, lines B and C, is continuous over the three clivis, thus indicating a close liaison.

The (simul) over the ( c ), on line B, emphacises the celeriter. It is a redundant sign, and used in only one manuscript.

As for the Codex of Laon 239, the graphic union of the three Clivis in a single group is significant. The ( « ), naturaliter, at the base of the two groups prevents a pause of any kind, either after the pes snhhipitnctus , or the clivis. The effect wanted by the composer is no doubt a slow trill of four beats, which is to accelerate up to the trigon, or pressus of the square notation.

164

Part II.

The use of the sigm /t = statim.

Laon 239 S. Gall

Rz. br. Timehunt

.^ :

^1 .^ A t A

X-./t/' /7/t^^^/.-/l/7

bzt^S^?:^!;^^:??^:^^

et vi- debi- tur

fl^

There is to be no mora vocis after the climacus-do-la-sol , or the clivis-do-la. Why? The punc turns are brief, and this group is surmounted by a ( <^ ), which seems to affect the entire neum. Then the addition of the /t = statim, which immediately follows says to continue without retard. The same remarks apply to the next clivis-do-la.

The manuscript of Laon furnishes the same indications for the Climacus. The long punctum a at the base this neum, is only long when accompanied by -1^ or some other indication of retard. As for the clivis, the ( « ) naturaliter which follows it is equivalent to /t = statim in the Saint-Gall manuscripts.

Another example of /t = statim.

Laon 239

Mss. S. Gall

Tract. Commovisii

J

A

Sa- fugi- ant

na

This sign interdicts a retard after the trigon-pressiis do-sol, where the white space might suggest a mora vocis.

A lesson in Gregorian Rhythm : How would the average m.usician rhythm the following phrase member?

g_p_i'S.^>^-^-.

Chapter II. — Rhythm and Execution. 165

The average modern musician would no doubt place the ictus on the first note of every group, thus :

l-t^

^^lN=I

tv

To the ear accustomed to figured music, this rhythm would sound very well. But to the gregorianist ? Even he might be a little confused, but he would try and find out the intention of the unknown composer. How? Only one answer : search the manuscripts. We find the following equivalence between the Saint-Gall and the Messin neumatic versions :

Mss. Messins ^ Aa^ ^ ^

c c c

Mss. Sangalliens /f S' /•- /•- /•-

123 4 5

^. G. V Mode

All the groups are rhythmed, except the first. The ( c ) celeriter warns the reader or singer not to stop, or " punch '' the top notes, but on the contrary to glide lightly over these culminating notes. Everywhere in the gregorian repertoire we find such subtle phrases. All choir directors do not have recourse to the manuscripts, but a careful stud}^ of the Solesmes style will bring light into their twilight, for the thorough scholarly approach of the great men of this school has settled many questions for us, the lesser specialists.

Let us continue with the analysation of this excerpt : The Punctum planum on the last note of the Climacus (3, 4, 5), indicates a light support and lengthening, which naturally attracts the rhythmic ictus. We have spoken of the function of the ( « ) celeriter, here.

The Torculus J^ is entirely enlarged, with a rhythmic ictus on the first and third notes. This last ictus prepares the " legerete " of the Climacus which follows. Finally the long Clivis /f with its first note well supported and allongated, is the only time group of the mehsma. So much for the Saint-Gall document.

166

Part II.

The Messinian manuscript (above) conforms exactly with the Saint-Gall indications : We have the long Clivis, the long Torculus with the sign (a-) augete (largo), corresponding to the lengthened Torculus of the Saint-GaU version. The three Climacus are composed of two light punctums each, ending with the long punctum, which indicates a support and corresponds with the punctum planum of Saint-Gall.

Such is the rhythmic interpretation of this passage, according to the manuscripts. There are many explanations of this sort in " Le N ombre Musical Gregorien " of Dom Mocquereau, and in the " Monographies Gregoriennes ", by Dom Mocquereau, Dom Gajard, and other authorities. It will pay the student of Plainchant to make detailed studies of these volumes.

The rhythmic signs are not the only proof of the necessity of joining the groups. In the manuscripts we find the same passages written, sometimes in a single neumatic group, sometimes in two groups, sometimes three. The following passage from the Offertory " Reges Tharsis " from the Codices :

a) in two groups i "Ti^

i^ilE

-'^iir

h) in one group

^•.

g— Sf-

The musician who would like to rhythm the first example {a), by simple juxtaposition (rhythmic ictus on the first note of each group), needs only to study the second example (6), to understand that his idea has no value. However, in this second example, the musician is free in principle to place the ictus on either the third or fourth note. But, which subdivision will better preserve the true Gregorian tradition? This question must always be asked by the modern musician, who is accus- tomed to classical and modern rhythms. The average musician would make the following mistake, and place the ictus on the first notes of the groups.

Jt/'

i/y

/•

1=-^

—w-

— # — +

Chapter II. — Rhythm and Execution.

167

The gregorianist would decide that the separate groups mean nothing, but would study the situation in the hght of the documents before proceeding with his divisions. The following would be his conclusion, as he would decide to place the rhythmic ictus on the (si), thus joining the groups according to the spirit and habits of the neumatic notation. See the following :

m^

The descending melodic design demands a rhythmic support on the notes do-si-sol. Also the rhythmic manuscripts place a Romanian episema on the last note of the Torculus. (a)

Another example of the same Melisma, with one note more. Offertory " Invent ". Three different notations :

a) in a single group ; the Virga final is Resupina. Mss. St.

GaU.

i/y/l /

l-s^

iT-i:

b) in two groups : mss. S. G. 375, and S. G. 340.

</y /I A

S-^

m

c) in three groups mss. Monza, mss., Novalese.

jy n y

s-v

These three notations are equally good, if in singing, the joining of the groups is well observed. Because of its graphic unity, type [a) might be considered the best. Here the melodic and rhythmic unity is well defined, [h) In the second example the ( c ) celeriter forbids a support on the first note of the Clivis ; this indication preserves the unity of the group, (c) To attain the same result in this example we place the rhythmic ictus on the last note of each group, thus blending the notes of the incise.

There are thousands of examples showing the same melodic formula written in several graphic styles. For this reason,

168 Part II.

it is important to use editions of the chant which the rhythmic and dynamic signs. However, it is difficult to indicate the delicate nuances of interpretation found in the manuscripts; for this reason every serious student of Plainchant should study these intricacies with a real authority on these matters ■ — and there are very few • — who understand the theory, and also the true meaning of the melopee.

How would you divide the rhythm in the following group?

Mss. Messins J) S ^ ^''

Mss. Sangalliens I^. G. Mode II

We are sure that the first note of the Pressus demands an ictus : also the first of the two Virgas. But what of the first group? We have five notes. — We make a time group of the pes subbipunctis, and divide it into two binary composite beats, placing the ictus on the first and third (la) notes; then because of the Presstcs, the (la) of the following podatus must go back to the binary group thus forming a composite ternary rhythm. The central ictus might fall on the (sol), but the (la) seems to invite a support, being a modal note in. this, the fifth mode. The complete phrase of this chant follows :

s^sm5=

Another example of agglutination, after time groups

Mss. Messins

^?

Mss. S. Gall

/rk

A0

8 F^n

55_

, _i_>[if.

Alle-lii-ia.

The first Clivis sol-fa, and the first note of the second Clivis, form a composite ternary rhythm, thus closely connecting

Chapter II. — Rhythm and Execution 169

the groups. After you are certain of the notes and the inter- pretation of these excerpts, sing each one in one breath, making the usual crescendo upward, but without " punching " the top notes. Of course the Pressus in the first example demands a " pressing " support, so to speak. But in the second example, the (-C ) celeriter above the second Clivis warns to sincr lightly.

The disjimction of groups. — The disjunction of groups in the course of a musical phrase is made by retarding the voice (mora vocis) on the last note of the group. In the rhythmic editions of Solesmes, the dot { • ) ox the horizontal episenia ( - ) indicate this separation.

The value of the (mora vocis) is variable : It usually doubles the value ( • ) of the note at the end of an incise or phrase member. At the end of a long phrase, or at the end of a piece, it may triple the normal value of the preceding note. In the case of the (mora vocis) expressed by the horizontal episema ( - ), a very slight nuance of retard only may be meant. This retard depends on the phrase, the taste of the musician, and forms rather a link between the groups than a separation. A great deal of study and practice is necessary for the artistic treatment of the horizontal episema ( - ).

How the manuscripts indicate the distinction of groups in the melisraas.

In the manuscripts it is not always easy to find the positive signs which indicate a mora vocis. These signs are of various sorts : white spaces, rhythmic signs and letters; these indications happily aid each other to give us the desired information.

We must search the answers in the neumatic notation, as the Guidonian notation has preserved little or nothing of the rhythmic indications in the ancient manuscripts. While the notation on lines has preserved the melodic tradition, it has at the same time destroyed the rhythmic tradition.

The white spaces between the groups are the most uncertain indications of the distinction of groups.

The rhythmic signs of Saint-GaJl and Metz are a great help in distinguishing the groups and small divisions. However, the episema or ictic note at the end of a group, even the punctum planum, do not suffice to determine a mora vocis; often the episema is the sign of a simple support. But, in the manuscripts, if a very clear white space follows this " support " we are almost

170

Part II.

certain that a mora vocis is meant. The following melisma will illustrate :

A

c

\-^^^ —

B

/I

* mora vocis

Two versions of the same chant : The Codices of Saint-Gall write in two different ways the following.

Laon 239

Mss. Sangalliens

Mode II. Tract. a) ^HZ^S^^'^HZ b) ^~J^f^^'^^^~

The two notations are equivalent, but the first must be interpreted by connection of groups, between the Clivis and Podatus, making a ternary rhythm before the Pressus which follows. In the second example the Porrectus takes care of the ternary rhythm as a time group. The real effect of such phrases is :

'^-^

A few examples of the fusion of groups in the Pressus :

5

:m:

%

^<

tt|i

*F"-

The last note of the first group always draws the rhythmic ictus, with the result that the first note of the second group loses its rhythmic ictus and its individual ictus by virtue of its fusion with the preceding note.

Chapter II. — Rhythm and Execution. Effect. SE-

171

:^|E||^£lgg^|EjgggE|EjgpB

Here the episema on the last note of groups A and B, plus the white spaces following, certify mora vocis. In the Manuscript of Laon, a (-1?) tenete is found on the last note of group B.

Sometimes several different interpretations may be drawn from the rhythmic signs, as in the following. In Hke cases we often find aid in other documents and even fragments.

ABC

Laon 239

S. Gall Mss.

I^. G. Convertere.

AA ^ A A

:7

v^ v^ /:^n

rirr

1»-^

Vf.

no-

bis.

There are two possibiUties here : disjunction after groups A and B.

ABC

K

= ^v

3- 2 no-

3- 2

'^hr

3-22

bis.

or by joining all the groups.

Largement

g-^

^IV^R

*— 11^

For many reasons, some of them more or less complicated, Solesmes has chosen the first interpretation.

Sometimes the rhythmic letters can settle these difficulties for us; but they are not always clear. Each case must be studied separately; we cannot make too many generalizations. It is necessary to know well the different shades of meaning between the different letters and combinations of letters. Also

172 Part II.

the relationship of the letter with the rhythmic sign in each special case, as well as a careful comparison of their meaning in the various schools of manuscripts. No conclusions may be made without considering all these facts and many others.

The rhythmic letters of disjunction are the (t^) = tenete, common to both the manuscripts of Saint-Gall and Metz; the ( eu ) = augefe, in the Messian documents, when they are attached to the last note of a group, favor usually disjunction. However it is the letter {^) = expecta which gives us the most certain information in regard to the mora vocis and the separation of groups. This letter, wherever found, either in connexion with text or melody, indicates an incise, the end of a phrase member, etc. It is the sign par excellence of disjunction or mora vocis, in distinct opposition to the sign (/t) = statim, which is the infallible sign of juncture. Often the (j*) serves to explain more fully the signs ( -c: ) and ( a^ ) . Observe the following :

Laon 239 ^i17A

St. Gall 376 and Ein. 121 y/l^/y*

I«itr. Aqua sapieniiae

... al- le- lu- ia.

The (^) after the Torculus (la-re-do) is found in two manuscripts of Saint-Gall. It settles the value of the episema on the last note of the Torculus.

The (-t^) in the Laon version, prescribes at the same place, a disjunction by means of a mora vocis. In Laon, this {-«^) is not always a doubled note, but when it corresponds to an (v^) of Saint-Gall, we can definitely give it this value.

Another example — Gradual " Ex Sion ".

Laon 239 ^ a.

1/

-< c

Mss. Sangalliens r /) .•__ ^ J^ /7

/ // - ^ ^ // ._ ^ ^^

Grad. Ex Sion £ f ^ j^ ■V^'^^ ^"^

ordinave- runt

Chapter II. — Rhythm and Execution. 173

The {^) after the first pes siihhifimctus (trigon) is only in Bamberg ht. 6; but the same letter is joined to the second in the three manuscripts — Bamberg lit. 6, S. G. 359, and Einsied. 121. Disjunction is necessary at this place.

The 239 of Laon gives no rhythmic letter to the first of these groups, but is contented with two long punctums : but to the second it adds ( a. ) augete, which doubles the last note of the group. The two families of Manuscripts agree here.

There are many other examples, such as these where the rhythmic letters explain each other, and where the letter {^) serves to settle the question of the disjunction of groups and the mora vocis. We conclude with a long melisma which shows the equivalences between a number of different families.

The sequential pattern in the following example is interesting, also.

Gradual. " Specie tiia " .

Paris. Bibl. /t... /ly^ -/'y.

Mazarine 384

J\

Laon 239 1 .'^ %i y i^ yV /^ /^^ S'^*^

S.Gall359. — 340. — 376. f %,

Eins. 121. Bamberg, lit. 6. \/7\>'/^^ / /K^ / /K^ //K^ /' /V ^ JJ-.^

fi-prl^ftifr

— j-iK^s wT«p.5r'^ra^^

et mansu- e- tii-di-nem

For the full explanation of this example, see " Le N ombre Musical Gregorien " of Dom Mocquereau.

There are rhythmic variations as there are melodic variations in the manuscripts; this is not astonishing, and these questions are settled by the same means — the study and the comparison of the manuscripts, where we discover the Real Tradition.

CHAPTER III. *

MORE ABOUT THE APOSTROPHA-PRESSUS.

The Pressus has its origin in the Apostropha ( ^ ), a note placed next to another note or group nota appositionis. There are two types of nota appositionis :

i) The type which fuses with the note or last note of a preceding group to form a single sound, double in length, as the Pressus.

2) The type which is distinctly separated, in the notation, from the preceding note, and which demands a repercussion to keep its character; this latter class is represented by the Strophicus, and in a certain measure, by the Oriscus.

Pressus Major and Pressus Minor. — This distinction is made more because of the graphic difference in the two signs than because of their use. These signs of the Pressus vary according to places and epochs; but the documents of German and Saint-Gall origin give the two following forms :

Pressus-Major /^

Pressus-Minor ^

The name Pressus explains the effect which this neum must produce in the Chant : It is in principle a strong note and a long note. The simple sign of the Pressus without accessory notes is the simple sign (^), which is derived from ( ? ) the Apostropha. The Pressus-Major is composed of three signs : A simple Virga ( / ) or with Episema ( / ). An Apostropha-Pressus (^), and a dot ( • ) which follows all Pressus. This ensemble is composed of three notes, the first two of which are at the Unison. It is the Clivis whose first note would be doubled, three simple beats in all.

H^,-=Diz::Lt!t:

The Pressus-Minor has only two notes : The Apostropha- Pressus (^) and the dot (•); really two notes in all. The

* Vol I, Part II, Chapter VIII " Le Nombre Musical".

Chapter III. — More about the Apostropha-Pressus. 175

only difference between these two signs is, that the Pressus- Major is represented with the note to which it is apposed, and the Pressus-Minor is isolated from the same. WTien the latter is attached to a preceding note, there is no distinction to be made between the two Pressus; their value is the same, and the same melody is written sometimes with the Pressus- Major, and sometimes with the Pressus-Minor.

ji / r-

Ji /Ui

^^^-■ri-|- *=?t-v

5

^ /I

^

After having examined many of the best manuscripts, Dom Mocquereau found that.

i) The Pressus-Minor is used everytime it is joined at the Unison to the last note of a group :

Clivis, Pressus and Punctum

Pes subbipunctis, Pressus and Punctum

/•. / /K

* ■ ■

■ r ■ ^B

* :*

4a

•r«

It does not have to be joined graphically to the note which precedes it.

2) The Pressus-Major (/^) is used, on the contrary, at all times when the note which precedes the Pressus is not at the Unison with the note immediately preceding.

Pressus-Major a third higher

Pressus-Major lower than Si of the preceding Podatus

n r

^=f^^^

V r-

Mr;7

176

Part II.

The Pressus-Major, is always employed, even at the Unison of a preceding note, when there is to be a new syllable in the text.

77

y- r^or/zr

Intr. Os Jiisti

V^r*:*^^

medi- ta-

bi-tur

The Proofs of Fusion.

There are many equivalences of Notation which prove the " Fusion " of the Pressus. These equivalences are numerous, as Dom Mocquereau has found by a careful study of the Manuscripts. Their enumeration may be found in " Le N ombre Musical Gregorien '\ Vol I, Part II, Chapter VIII.

There is also a Romanian sign whose only use is to indicate this Fusion forming the Pressus : It is the sign co = Conjun- gatur, and is almost always found where two groups come together at the Unison. Very rarely it is placed over a Pressus- Major ( ^ ) to mark the intimate union of the first notes.

In this case, the sign is superfluous, as the graphic union of the Virga and the Pressus suffices to indicate the Fusion. Here are 2 examples :

Ensiedln i2i

Ofiert. Ponas caeli

CO

S=3^

■ ■

D6-

mi- ni

Hartker S. G.

I^. Sancto et immaculata

/ ^/T

5^^-=^

Sancta

et

The following Rules have been formulated for the inter- pretation of the Pressus, in view of the usual " square " notation.

Rule I. ■ — When two groups come together on the same note, the two notes at the Unison form a Pressus, and must be executed by fusion in a single sound of two simple beats. (Usually if

Chapter III. — More about the Apostropha-Pressus. 177

the groups are too far apart, a repercussion is meant, but this exception must be studied carefully).

Repercussion *

H

'-*%-•

Rule II. — In case of Fusion, the Rhythmic Ictus falls on the last note of the first group. (First note of two fused notes).

tfS

I

♦r*^

t^

Rule III. — Concerns the note which follows the Pressus; this note may be long by position, after the Pressus at the end of a phrase, incise (sometimes), or phrase-member; this length is indicated by the dot ( • ).

H%J^ r«r«H — **n i —

End of Incise

Final ending

in the center of a phrase, however, the note following the Pressus is usually brief or ordinary.

Hvr^

sf^

iTt

[<N3JiriN-pipt

De-

US

In this example the single note * falling between 2 Pressus is not to be hurried. This is a matter of style.

Theory of the Attractive Value of the Pressus. *

The Pressus constitute for the Gregorian Chant, very important points of Rh3rthmic Support for its melodic movement. In this quality, the Pressus have the power to :

* Here the Authorities differ slightly.

178 Part II.

a) Attract to them the notes and groups near them and.

b) Attract each other.

This quaHty of attraction is sanctioned by the Rhythmic Notation of the Manuscripts of Saint-Gah and Metz.

In the case of (a), the above-mentioned Codices employ before the Pressus, usually the light or ordinary forms of the Neums.

/y /vl . ^ i/y /%^

All Mode II —

Hi 1^-1X11 li^ , Mode VII ' 41

no- bis

This retroactive quality can affect a single note only, if there happens to be a Horizontal Episema on a preceding note.

-cr c

AUe-lii-ia

Codex 239 of Laon represents this same by a long Clivis : two Long Punctums with a^ = aiigete between them. Only the Manuscripts can teach such nuances of expression.

Very often two, three, four or more Pressus separated by one note or a few notes succeed each other in the same melody. See the following :

Sferr.. ■ lb'

W llain.H lia"n.|i •-

,■ ■

glo- etc.

There are many simpler examples, but we append this excerpt from the Alleluia, Paratum cor meum — twentieth Sunday after Pentecost, because of the very beautiful motive presented three times slightly differently, but each time a Jittle more dramatic.

In the execution, these Pressus attract each other recipro- cally; and this mutual attraction forbids a halt on the " linking "

Chapter III. — More about the Apostropha Pressus. 179

notes; but the entire phrase must be sung in a single " flight ", naturally, flowing, giving to each degree the light \'alue of a simple beat, and no more. Sometimes such passages are taken slightly faster, as indicated in the manuscripts by the sign ( c = celeriter) over the neum or neums.

Exceptions to the Law of Attraction among the Pressus :

The study of the Rhythmic Manuscripts reveal exceptions to this law of " light notes " as in the Gregorian Art hke other music, the composer often desired different nuances of inter- pretation. See the following : the first Clivis is light, being marked with ( « = celeriter) while the second is longer, being written with the Horizontal Episema. ( -cr = tenete in neumatic notation).

c -cr

/7 /7 /^ y-. i/: etc.

^^ztr^,^'Jii

me- o- rum

The general Law of mutual attraction among the Pressus has also its exceptions as the following excerpt from the Gradual- Response Respice from the Mass of the Thirteenth Sunday after Pentecost will illustrate. Without the aid of the Manuscript it is impossible to know that the groups of five notes are separated by mora vocis. We learn this from the (^) in the Saint-Gall Codex, and the (-*^) in the Laon Codex. This is a mxagnificent phrase, and interestmg as a nne example of " sequence " as well as Gregorian Rhythm.

Mazarine 384 /t... /^y. '^1, A. A. // ^^^j-f

Laon 239 7 .5 ti j>%) fy rh rnf^ rAc^

s. Gall n'"-^ /K^ /^/K^ //K^ r(^-.^ r/y^ yy-.^

K7. Grad.

g-PM^■^^^if.?t^^^^^4^;^-

^P.

180

Part II,

The following taken from the same Fifth Mode Gradual, illustrates the law of mutual attraction among the Pressus, and must be sung with more vivacity. There are no {^^s) or {-tr s) here to indicate pauses in the phrase : But the different motives must be closely linked in the execution to form a light and graceful phrase.

B

Mazarine 384

S. Gall

A/'''- ''•'.'

Laon239 ry^^h /h /'^^

/tU: /■/%-. //K^/ /T

n

Iz^^te^^F^TNTJ-

CHAPTER IV. *

THE STUDY AND EXECUTION OF THE STROPHICUS.

The Apostropha alone is seldom found in the Solesmes versions except as Apostropha-Pressus or Apostropha-Oriscus. The latter we will discuss fully in another paragraph. Here we are to deal with the Strophicus, properly called, Distropha and Tristropha.

Distropha and Tristropha alone : Place on the Gregorian Staff. — The Strophicus are found usually on the notes, do or fa, that is above the half steps, although sometimes on re, sol, la, si flat.

Aurelian of Reome, in the IXth Century, is very precise concerning the execution of the Strophicus : Each note of a Strophicus is to be repeated lightly. He speaks explicitly of the Tristropha at the end of the Introit verses of the First Mode :

i=^

*

Spi- ri- tu- i Sancto.

The same recommendation, but clearer still, for the verses of the Third Mode Introits : (Last half).

Sancto, * sic- ut e-rat in princi-pi- o et nunc et semper :

The competent singer is admonished herein to perform the syllables do and per, which are both on a Tristropha, with the triple percussion mentioned above ; but in this the order is more precise : it consists of three attacks of the voice, one after the other, rapid, light and brief, like a finger striking lightly.

* Chapter IX, Part II of Tome I, " Le Nombre Musical" has been followed closely.

182

Part II.

We find another admonition for the Introit verses of the Seventh Mode :

i^-.

I*

Spi-ri- tu- i Sancto.

The existence of notes so repeated in the Gregorian Melopee is an unquestionable fact. These are called notae repercussae, and this expression is applied to the Distropha and the Tristropha at the unison. This double or triple repercussion was to be light, rapid and graceful. The preservation of this vocal technique seems difficult in our time, at least for a large group without special musical training.

However we cannot ignore these notes which occupy important places in the musical construction. A small group of trained voices may be able to perform these neums according to the traditional rules, but the average choir of untrained voices or mediocre voice training would create a pandemonium with such intricacies. The practice employed at vSolesmes is to repeat only the first note of each group, usually the ictic note. This repetition must be very light and delicate, without accent or lengthening. (It is almost magical, the interpretation of the monks of Solesmes in this matter, so graceful, so delicate, you wonder how it can be possible — but let us remind ourselves that they are the restorers of this almost lost art, and incidentally French, which is a synonym for finesse). Examples follow :

i

^i-m-

I-ra-

sce- ris etc.

Exercises for the Strophicus : (Taken from " The N ombre Musical ").

The Distropha alone : Repeat each exercise as many times as necessary.

Mode. V I

a- e, a- e. a- e, a- e. a-e, a- e. a- e, a- e.

Chap. IV. — Study and Execution of the Strophicus. 183

n- — ^-

S=5t?:^

-H-

a- e, a- e.

sing first

^^^E^^SSiElEE

e, a- e.

then this

a- a- e a- a- e a- a- e

a- a- e a- a- e a- a- e

Combinations of Strophicus and Virgas :

a) Virga before a Strophicus :

A single Virga before a Strophicus is worth about two simple beats, as the dot following it indicates. We say" " about ", because often the value is reduced in a suite of Strophicus with Virga. There must be a repercussion on the Strophicus which follows. Observe the following :

Laon 239

-....^

St. Gall

y ?? 77;>

' ■ ■* kk kkh

R/. G.

5 3 V^ ^^^ .

Laon 239 St. Gall

— ■

Adjuva- bit

et fac no-bis- cum h) Virga between a Strophicus :

Offert.

Anima nostra

i^-J — w-< w ^.— A ^' ^^^ ^' ^H-

-■ — ■-

laque- [e e] us... libera- ti [i i i] sumus

NO 758. - 7

184

Part II.

■-- ^H

Intr.

Offert. Mihi autem

Tibi di-xit

-W-i^W

... nimis

Here also the repercussion is necessary, both for the long Virga and the tristropha which follows it.

Intensity : As a general rule the long Virga placed thus, has more force than the Strophicus. The intensive movement can be indicated thus :

ez:^t»?!z^=:

£-f-w-f^-

a-

Combinations of Strophicus and Virgas. Exercises

e=1i::^--±^iz^^=^i=^^

a- a- e, a- a- e, a- a- e. a- a- a- a- a- a.

Strophicus preceded or followed by groups at the unison :

The following examples will illustrate :

Preceded : g-A-^^^ jH^

^I^f

a- a a- a a- a a- a- a.

Followed

^^

a- a a- a

a- a- a

Chap. IV. — Study and Execution of the Strophicus. 185

Both preceded 1— ; and followed :

q-A M J-T^.

a- a

Some directors under the pretext of facihty, unite these three or four notes at the unison in a single prolonged sound. This is an impossible interpretation. By long experience the masters at Solesmes have become convinced that, in order to get a good ensemble, to avoid rhythmic confusion, and to obtain a truly aesthetic gregorian effect, it is absolutely necessary to distinguish the strophicus and the groups by means of light repetitions, and delicate nuance of tone.

Nothing is more antirhythmic, more ungregorian, and even, more difficult in practice, than these long sustained groups at the unison. To try to drag them out in one long sound is both untraditional and inartistic. We can, without fear make the rule that the gregorian melodies never admit a prolongation of more than two or three simple beats on the same degree. Therefore when a succession of four, five or six notes is found at the unison, there must be some kind of repercussion. There are many different nuances of repercussion, as a careful study of the manuscripts will reveal. These are all accomplished at Solesmes with the greatest art.

Strophicus preceded by groups terminating at the unison by the Strophicus :

Here a repercussion is necessary on the first of the Strophicus. There are the usual exceptions. As for the group which precedes it, the manuscripts tell us that it may be either a time group, or a rhythmic group.

Laon 239 A .^ '>

St. Gall Jl^y.lr

g-A-^-A-^^-

=■7-^

re- gnum no- stra

ho- mo

186

Part II.

Strophicus preceded by groups at the unison. Exercise :

yr

^-^

yA

^=^

ys^-

■■-^-

a- a- e,

a- a- e, a- a- e^ a- a- a- a- a.

Strophicus followed by groups at the unison :

Rule : The first note of a group at the unison, after a strophicus is always repeated.

This rule originates clearly from the equivalencies of notation which are found in the manuscripts. The same copyist, for the same melody, in the same manuscript, employs indifferently the different graphic forms, which are for us a precious source of information, as they often explain each other. The compar- ison of the documents of the same family, and those of different families present the same differences and the same instructions.

An example taken from the Tracts of the Vlllth Mode.

St. Gall 339 A Tract. Vinea

St. Gall 339 B Tract. Attende

M

\=^^±:f^^

di- le- cto

777

/K

^E_N:£^fe^

et lo-quar

Line A. — The Saint-Gall Manuscript 339 ordinarily writes this melody with a distropha (group 3) and a torculus (group 4).

Line B. ■ — But in the Tract Attende he notes the same passage with a tristropha (group 3) and a clivis (group 4).

In the general Rule which we have given above, two general classes must be considered :

I. — The repeated note, after the Strophicus, w^hich bears a rhythmic ictus. Example :

el I

v^

Chap. IV. — Study and Execution of the Strophicus. 187

2. — The repeated note, after the Strophicus having only an individual ictus, the rhythmic ictus being given to the second note of the group. Example :

^i^iii:

We give four examples of the first case, the repeated note, with the rhythmic ictus, after the Strophicus. — The rhythmic manuscripts teach us that among these repercussions, there are delicate nuances, of ah grades of length and intensity, from the long support, almost doubled, analogous to that of the pressus, to the simple and subtile repeat of the most delicate note.

In the following examples, cold rules cannot describe the desired interpretation; It is for the director to inspire the singers with the art and taste demanded in the performance of these delicate phrases.

Laon 239 J\ " z^

St. Gall <P ^^jc/r

E7. G. Sciant

ut ro- tam

For the ancient notators, the repercussion of the three apos- trophas was obligatory; the rhythmic ictus feU therefore on the first and the third. So, to keep the same notation and the same rhythm with the notation A, the repetition of the first note of the torculus is necessary, it is it which wiU bear the rhythmic ictus.

We give a few examples :

a) Strophicus foUowed by a note repeated and doubled.

Long Clivis at the end of a phrase :

?7 /T.^'

Intr. In medio n ^,

%

Intel- lectus

188 Part II.

Long Clivis before a Quilisma : Laon239 / J) -^/^

St. Gall / ^ ^^ /r^^^/r

All. Inveni

^^nl^^V^--

Allelu- ia

Example analogous with Bivirga : Laon 239 y'A/*'

St. Gall ///T

I^. G. Benedidns j TT""!!"^

n^

:sfc5^-

i) Strophicus followed by a note lightly enlarged by an Episema.

Laon 239 "-^ "^

St. Gall

?72

R/. G. Ti< ^s Df //5

S=^^1:i:

populum tu- uin

Laon 239 '"^^ /^^Aa.

A "^ AA

St. Gall .'' rr /rr s- h

Offert. Laetamini

cor- de

Chap. IV. — Study and Execution of the Strophicus. 189

c) Strophicus followed by a note lightly marked by a simple rhythmic support.

A

Laon 239 .^ J • J p /-

-c

St. Gall /^ .. /? ^

Offert. In virtute

►^5v%:

e- ms

d) Strophicus followed by a group whose first note is deUcately caressed by a rhythmic touch : The Saint-Gall Manuscripts often explain it by a ( c ) celeriter, and the Messinian, by an ordinary group, accompanied sometimes by ( « ) natiiraliter. The entire group must be lightly phrased.

Laon 239 St. Gall

^"1 : ^ ^

Offert. Inveni

^ .^^n,"%' ■

^ ' ■

Laon 239

me- a

St. Gall

c c ' c

* ^^ \ PL^^^Hi 1% A

I^. G. Diffusa est

la-bi- is tu- is

We have not time and space here to give all the examples which show the perfect concordance which exists between the manuscripts of Saint-Gall and Metz. The repercussions in such phrases must be as light as a zephyr; scarcely audible.

These different categories are fixed first, according to their archeological order, then their rhythmic and melodic order. There are times when contradictions seem to exist, and when the classification is so subtle that only art and good taste can decide the exact nuance to be employed; a deep study

190

Part II.

of these intricacies cannot suffice; it is necessary to feel them. Again I say, " Go to Solesmes and hsten to the monks sing under the erudite and sensitive direction of Dom Gajard ". It is the only way to absorb a little of the true spirit and art of Gregorian Chant.

3. — The repeated note, first note of a group following a Strophicus, when the rhythmic ictus falls on the second note of the group followed by

a) sometimes a pressus.

b) sometimes it is an oriscus.

c) or simply a rhythmic ictus.

a) The pressus on the second note of the group. Laon 239 •• *^

St. Gall

Intr. Sacerdotes tui

7?

77

n.

-f^

Jis;

a- ver-

tas

In all these examples, the first note of the clivis which follows the Strophicus is worth only a simple beat, and must not be lengthened. It does not bear the rhythmic ictus, but simply a light individual touch. This individual ictus is placed on the third simple beat of a ternary composite rhythm.

p

n

^^Ri.

fr

■

a-

e

h) The Oriscus.

Laon

239

a-

J-i-

St. Gall

I^. G. Ecce Sacerdos I

/■"/J

>

=v^^jvf^:

Chap. IV. — Study and Execution of the Strophicus. 191

c) The simple rhythmic ictus on the second note of the group. Laon 239 ■ / 7

St. Gal] '' '' '' ^'

I^. G. Juravit _"!»^

The six apostrophas of the preceding figure are also divided into two tristrophas, and may even be found in a single uninter- rupted series in some manuscripts, a fact which proves that they were all to be repeated.

,^ /iu

Laon 239 "^ )J^

St. Gall /^ ^_ jf

-K^-5,

R7. G. [ttravil ' |B= i T#^»

zizrizzilfl.:

Laon 239

/" 1

St. Gall /' /2_

J lis I US lit palnia

Laon 239 A A A-O *

a. A

-.7

St. Gall -TJ^^ ^V--

I^. G. Salvum fac

Sal- vum fac

190

Part II.

of these intricacies cannot suffice; it is necessary to feel them. Again I say, " Go to Solesmes and hsten to the monks sing under the erudite and sensitive direction of Dom Gajard ". It is the only way to absorb a little of the true spirit and art of Gregorian Chant.

3. — The repeated note, first note of a group following a Strophicus, when the rhythmic ictus falls on the second note of the group followed by

a) sometimes a pressus.

b) sometimes it is an oriscus.

c) or simply a rhythmic ictus.

a) The pressus on the second note of the group.

Laon 239

r

77

St. Gall

Intr. Sacerdotes tui

77

^-r^^S^

a- ver-

tas

In all these examples, the first note of the clivis which follows the Strophicus is worth only a simple beat, and must not be lengthened. It does not bear the rhythmic ictus, but simply a light individual touch. This individual ictus is placed on the third simple beat of a ternary composite rhythm.

S=^^^=

-3^=55

a-

h) The Oriscus. Laon 239

St. Gall

I^. G. Ecce Sacerdos

/••i-

r"n

f

^-n^^^m*

Chap. IV. — Study and Execution of the Strophicus. 191

c) The simple rhythmic ictus on the second note of the group. Laon 239 / •

St. Gal]

I^. G. Juravit

7

/!.,

%

The six apostrophas of the preceding figure are also divided into two tristrophas, and may even be found in a single uninter- rupted series in some manuscripts, a fact which proves that they were all to be repeated.

Laon 239

,^ 'a-

St. Gall

I^. G. Juravit

'-.rr

^-

-^^-

+♦1

m:

Laon 239 St. Gall

Jitsius lit pahua

/" 1

^

1 ^~

Laon 239

St. Gall

R7. G. Salvum fac

J^-T^

??

/--

fl-«'

A

Sal-

vum

f

fac

192 Part II.

It is interesting to note that the Codex of Laon nearly always expresses the ictic episema of Saint-Gall by the -«? or a. .

Strophicus preceded and followed by groups at the Unison :

Verceili86 / S]"''J)/''S

St. Gall

I^. G. Prohasti

Laon 239

*-7 y;

St. Gall v^ " /•. .../T

I^. G. Exaltaho le

Do- mine

Strophicus immediately followed by a Quilisma.

a) Tristroplia. The repercussion is obligatory on the third Apostropha. Example :

Verceil 186 " ^^ A A

St. Gall

3 _^^ ,0,1

Offert. Justus ■ ,»^ ' ' »[■ ""

pal- ma

h) Disfropha. Two executions are possible : i) The ictus on the first apostropha.

St. Gall

Verceil 186

S-.

R7. G. Inveni B-i_l^llfi'

e- um e- um

EStff^ W^^^^^

Chap. IV. — Study and Execution of the Strophicus. 193

2) The ictus on the second apostropha.

P

* -

Hi I itr— T-^-y— •-•-vv i-

um e- um

Both of these interpretations are good. The first is easier, as the ordinary choir can sing the apostrophas as one sound, applying simply the general rule. The two apostrophas before the quilisma will thus be reduced to a single sound, worth one long simple beat, thus permitting the four notes, (fa-fa, sol, la) to be sung as a large ternary rhythm. So the meaning of the 3 in the modern transcription.

In favor of the second interpretation, we cite a figure found in many manuscripts; the first note in the Quilisma figure is a (mi) instead of a (fa) :

=zfe:^^r_E

The tonal indecision of this note would hardly invite a rhythmic ictus, such as is demanded of a note preceding the Quilisma. So the solid note of the passage would have to be the second apostropha, which would bear the ictus.

This last interpretation is more exact, more artistic, if more difficult. However it is for the sensitive choirmaster to choose the one to his taste, and which his choir can better interpret.

I have devoted a chapter to the subject of the Strophicus because these notae repercussae, appear so frequently in the Gregorian melopee, and are often very badly executed in our choirs. When interpreted with tradition and good taste they add much to the grace and beauty of the liturgical phrase, but if pounded out in a crude and indelicate manner, they can spoil the effect of a whole service. In the hands of the sensitive, well-trained musician they can be made to express the emotion intended by the composer : sometimes joy and exultation as in the chants for Christmas Eve and Christmas day; praise, Gaudens gaudeho, Benedicite, etc., supplication as the Gradual,

194 Part II,

Miserere of Ash Wednesday; humble pra^^er the Introits Reminiscere and Da pacem. So on through all the slightest emotions.

In these details as with all the Gregorian Chants, even if we cannot always know the name or the period of the composer, we should try to put ourselves in his place, and feel his emotions when he produced the beautiful opus.

In the long periods containing the different Strophicus, the Greater Rhythm must be always considered ; and sometimes a slight change in a neum may be demanded.

CHAPTER V. *

STUDY OF THE APOSTROPHA-ORISCUS — ITS EXECUTION.

A) We have spoken of the Oriscus in a former chapter ; here we shall discuss its melodic character and its execution.

There are two main melodic differences in regard to the Oriscus :

i) The Oriscus found on the degree above a preceding note or group, and.

2) The Oriscus placed at the Unison of a preceding note or group.

In this first category we find the Oriscus appearing a half step above the preceding note, and a whole step above the preceding note.

i) Examples of Oriscus placed a half step above the preceding note :

77 y-.> -

R/. G. Diffusa est

Intr. In medio

g_^-i-v-Xy,_^^

et dedu-cet te

h-

imple- vit

-^

Intr. Resuvvexi

^i^JZ!

mi- ra- bi-lis

Intr. Vocem

US- que

* See Chapter X " NombreMusical " for examples and part of text.

196 Part II.

.../7/

fl

^^

O fieri. I liven i David | aOjZT.i."

et bra- chi- um

2) Examples of the Oriscus a whole step above the preceding note :

Intr. Loqitebar

re- gum

11 Comm. Dicite pusillanimes |_

ec- ce

Intr. Dum clamaveni 1^ ■ ■

hu- mi- li- a- vit

Offert. Sicut in holocausto I ^ *[ a^ti'

tau- ro- rum

D. Schubiger, in "Die Sangerschule von Saint-Gallen ", defines the Apostropha-Oriscus thus : The Oriscus is a graceful note sung on the degree above the preceding note. This definition at first seems a contradiction to what we have said before in regard to the Oriscus as a sort of Apostropha at the Unison of the preceding note. But the savant writer had in mind the many examples found in the fine ancient manuscripts of Saint-Gall; the more we study the Oriscus,

Chap. V. — Study of the Apostropha-Oriscus. 197

the more we feel that it is in all cases to be sung on the note \

above the preceding note, or rather, in the cases at the Unison, j

the note preceding the Oriscus is to be sung on the half step ^

below the Oriscus. i

In the examples above we can come to the following I conclusions : j

a) The Oriscus is a light note and the final of a group; and i we may even say that it is a note higher than the note which j precedes or the note which follows. i

h) It is a light note of transition, intimitely linked to the ' preceding group; or we may say that it makes an integral part \ of this group. I

These two facts are going to help us in our interpretation of the Oriscus found at the Unison with a note preceding. ■

B. — The Oriscus found at the Unison of a preceding note. *

This is the ordinary case in the notation actually in use at ; the present time. j

All the degrees of the Scale are good for the Oriscus, but it ] prefers to be placed on the note above the half step, either fa or do. Examples : ;

i) On fa or do.

^> jy

Comm. Ecce Dominus

t^m^%

il-la

/7>^

R7. G. ToUire

S=z^f^.

A

ve- stras

Tract. Domine aiidivi

/?/ n

^^

umbro-

so

* Distinguish the Oriscus from the Pressus which demands a different ^

interpretation. I

198

Part II.

2) On sol, la, re.

Offert. Confortammi

R/. G. Ex Sion

Comm. Dicite

S=.

^ . ^

■ li

e- mm

■ ■

^ . J^

\--^

-■-■-

veni- et

^ . ^

i'lTi

iV

confortami- ni

The Oriscus is rarely on mi or si.

The double character of the Oriscus is found in the preceding examples :

It is a note of transition certainly; for it is placed at the end of a group, and leads immediately into another group or syllable.

It is an elevated note, although because of the notation at the Unison, this characteristic is not evident at first glance. However, a study of the manuscripts reveals that a light inflection of the voice is to be made on the note directly preceding the Oriscus, thus placing this latter in a half tone relief, to preserve its character as a higher note.

The neumatic manuscripts indicate this nuance thus :

jy ^ jy

instead of the Oriscus,

Am

/?/ jy

'¥-^^^

they employ the Virga :

/y jy

■3ESi,

Chap. V. — Study of the Apostropha-Oriscus. 199

The natural transcription of this last equivalence demand the si or the mi before the Oriscus, and in fact, numerous manuscripts of different origins give this version. However it is interesting to note that the double Antiphonary of Montpellier, translates the two last notes of the neums yK and /y at the Unison. On this point there are numerous variations in the manuscripts, both neumatic and on lines; and what is the cause? We find the answer the same as for the Apostropha- Strophicus described above : the tonal indecision in the emission of a note; therefore a difficult task for the copyist to hear and record accurately. This indecision was not a question of the Oriscus, which remained stable, but for the note which preceded the Oriscus. According to the notator, this note was heard, either as fa-do, with the Oriscus written at the Unison, or as mi-si with the Oriscus written on the degree above.

VM

^m^

•W

rS-

B

V

•V-i-

"Sa-i

■=■-

Aa-i

■=■-

In reality, in the neumatic chant in campo aperto, the note preceding the Oriscus was not to be exactly either fa or do, but a graceful undulation of the voice which caressed the note in a manner not possible to indicate on the diatonic ladder. The contradiction between the two notations, neumatic and alphabetic, of the Codex of Montpellier, is indeed a good proof of this tonal indecision.

The Execution of the Oriscus.

i) — The Oriscus and the group which precedes it. For this Hght we must go directly to the Manuscripts, as the authors give us no information on the subject.

The neumatic group before the Oriscus. — • The significant letters and rhythmic signs of Saint-Gall tell us that this group is always brief and light. This fact is further confirmed by the use of the ( c ) = celeriter which often surmounts the neum

200 Part II.

before the Oriscus. (See above 3, under Examples of Oriscus placed a half step above the preceding group).

The Oriscus itself did not have any special value; it was often indicated by a simple virga, even in the documents of Saint-Gall. It was therefore not a sign of ornament, but an ordinary note, very light with retroactive effect of acceleration on the preceding group. This did not mean that the group was to be hurried, but merely sung lightly and gracefully. The Guidonian notation rarely used the true sign of the Oriscus, but represented it as an ordinary Punctum or Virga, except in Germany, the home of exact notation. This loss is just one among the many signs of the decadence, one of those numberless fissures which, during the course of the centuries, permitted to escape from the Gregorian vase, the exquisite perfumes of art and beauty which antiquity had enclosed therin. The sign of the Oriscus warned the singer of the extreme sweetness and lightness of this note; the ordinary Virgas and Punctums which replace it today suggest too often the Pressus with its interpretation very different. The singer thus warned could prepare the emission of the Oriscus by the delicate execution of the preceding neum. The Vatican Edition represents the Oriscus by the above-mentioned ordinary notes. We look forward to the reestablishement of the original form of the Oriscus, where possible.

The execution of the " distinct Oriscus " presents no difficulty when the note is written properly.

The execution of the Oriscus at the Unison raises the question of whether or not to inflect the note preceding. This is the most ancient tradition, but difficult for a choir of untrained singers. At Solesmes the Introit Gaudeamus is always sung with this inflection. (See Part I).

Place of the Rhythmic Ictus near the Oriscus. — • The Oriscus never bears the rhythmic ictus, because it is usually preceded or followed by this touch. The ictus falls on the note following the Oriscus except when this note happens to be a Salicus

f. All. Adorabo j '^~

ft

tu- um

or a musical motive with spondaic text, where an extra note is placed after the Oriscus for a brief penultimate syllable.

Chap. V. — Study of the Apostropha-Oriscus. 201

Spondaic Form

Tract. De profundis

Dactylic Form

Tract. Beams vir

S-i^

jS^I

Fi- ant

h-i*

gS^^-l-

G16- ri- a

Before the Oriscus the ictus should fall on the note closer to the Oriscus. This is always the case when the Oriscus is fused with a preceding note; and in other melodic forms where the Oriscus is higher than the preceding note.

g h

^^ti^

im-ple- vit tau-ro- rum

In some other melodic groups the ictus falls on the second note before the Oriscus.

Ui

♦ ^ ■

\-M-

us- que su- per

The following equivalence is interesting and very graceful in practice.

c c

/?/ /y

The ( c ) celeriter above the Porrectus would demand a very light touch.

202 Part II,

There is only one possibility where the rhythmic ictus might fall on an Oriscus itself; thus when four notes can be counted between the two icti which frame it. This case is usually due to the interpolation of a brief penultimate syllable in a melodic motive of three notes between the two icti.

Normal form with spondaic text

3 notes

Offert. Spevent

\=:M

Dactylic form

Spe- rent

4 notes

Tract. Laudate ■

confir- ma- ta est

Conforming to the rules of the natural rhythm, these four notes, do-si-do-do. may be divided in two binary rhythms by means of an ictus which would have to fall on the Oriscus.

S=^^--i;

confir- ma- ta est

This division may be avoided, however by the principle of condensing four light notes in a single composite ternary beat. (See article on the Strophicus).

CHAPTER VI. *

MORE ABOUT THE SALICUS.

In a preceding chapter we have seen that the SaHcus is an ascending group of three, four or five notes. There are two forms :

i) with all the notes ascending

.^

^

■

-i?-

«

_4-

— »i —

2) with the first two at the Unison :

g

*

This last form is always a three-note form.

The execution of the first form of the Salicus :

Again, it is necessary to consult the manuscripts for this information, as the theorists say nothing.

The origin of the word Salicus = Satire, the voice, after having slightly touched the first note, rebounds instantly on to the second, which is indicated by a particular sign n it is supported like the Pressus, but with not quite the length or force. Thus here on this second note is placed the Rhythmic Ictus or the Romanian Episema - this for the Salicus of three notes. For the SaHcus of more than three notes, the ictus falls on the penultimate, as may be seen in the examples.

* Chapter XI, " Le Nombre Musical".

204 Part II.

We rarely find a Quilisma preceding the Salicus, but there are a few cases :

3

3:

(a) (b)

a) Comm. Mass of Saint Matthew and Evangelist. Sept 21st

b) Comm. XXI Sunday after Pentecost.

The facts on which we make these interpretations are the following :

i) Neumatic equivalences found in the manuscripts of Saint-Gall.

2) Romanian Letters.

3) The use of the same sign for the Pressus and the Salicus, in the Manuscripts of Metz, Laon, \^erceil and Milan.

4) Equivalences in the Manuscript of Laon.

5) The adaptation of the text to the Salicus.

Under the first fact, we have found in the manuscripts of Saint-Gall, the upper notes of the Salicus replaced by other neums, — the pes qiiadratiis, ^/' and the pes qiiassiis s^ . Examples :

.'^ = .^ = M i__

=

/^

■

B-l _

Very rarely is found :

•

.>,^ =. y

=

faci-

as nos

in voce ti

u- bae

Salicus replaced by the Scandicus — //^ = / very rare. The Roynanian Letters : We find the following combinations' :

Chapter VI. — More about the Salicus.

205

In the Manuscripts of Metz, we find the Pressus and the Sahcus represented by the same sign.

The Messinian Pressus is placed near the note which is to be lengthened —

joined in the following :

t- Ordinary Clivis, Pressus

and Punctum

Laon 239

f^ss=

detached here : Laon 239

^

S-fe-

Pes Subbipunctis, Pressus and long Punctum

The same sign serving as the central note of the Salicus, in the notation of Metz, with the difference that — it stands alone and unattached to any note.

i=I

There are other diffeiences in the graphic representations of the Salicus and the Pressus, to be found in these same manuscripts. Here also we find the ( c ) celeriter added to a Salicus, which is represented by the Pressus sign; this would reduce the former sign to its real value.

Laon 239

S. Gall

Offert. Laetentur

X

The Saint-Gall manuscripts are here again the models of fidelity. The Salicus is almost always well represented. The Messin Manuscripts are less accurate, often employing the

206 Part II.

Scandicus for a Salicus. Such errors foreshadow the decadence. By comparing the same melodic passages in the manuscripts of Metz, or even in the manuscript of Laon, we often find the Salicus or Scandicus used for each other — the work of careless copyists. But when we compare these with Saint-Gall, we can reestablish in all cases the Salicus.

Sometimes the erroneous Scandicus of the Laon Manuscript is given its " Salicus " value by use of the [^^) augete, placed near the central note :

Laon 239 ^-/* Laon 239 -i

S. Gall ^ .y^ S. Gall _ /f^

g_ S-i-i —

Offert. Deus firmavit J « Offert. Tui sunt

tu es tu fun-dasti

So we find that, although manuscripts and copyists often differ in their graphic representations of the Salicus, there is always some sign of support and length on the second, or the penultimate note.

The Salicus at the Unison is treated in the same manner as the preceding examples. There may be two interpretations theoretically.

Example (a) is possible but not practical.

b) Unite the two first notes as in the Pressus, the first note receiving the rhythmic ictus. — But the attack is light with a soft crescendo. At Solesmnes the Salicus at the Unison is always sung thus.

Adaptation of the Text to the Salicus. The Diaeresis of the Salicus.

When the number of syllables demand it, the gregorian composer makes use of the diaeresis, or division of the Salicus. He places a syllable on the second note, which then becomes the head of the group and receives the rhythmic ictus.

Chapter VI. — More about the Salicus.

207

Tract. VIII Mode

dierese

i— 1

k-i ■

-^

■ >

X ■,! i

■

s

y

ge- et in

/y ny '

ne- ra- ti- ju- sti- man- (^a/^'s)

0

ti-

re- a

ctorum ejus

J "

^

i

J

in

cor-

nu in 16-

co

li-

beri

vi-

ne-

a

ad-

jli-

tor et

et

ex-

al- ta- bo

eum

nos

au-

tern

qui

ha-

bi- tat

etc., etc.

Exercise : Find examples of the different types of Salicus, in the Office Books. Compare different examples. Sing the groups of Salicus and other neums. Remember that the Salicus is never doubled as the Pressus.

* For other examples see " Le N ombre Musical Gregorien Part 2. " Stud}^ and Execution of the Sahciis " Chapter XI.

Vol. I.

CHAPTER VII

STUDY AND EXECUTION OF THE QUILISMA. *

In a former chapter we have discussed the Quihsma somewhat fully. In this article let us establish a few facts concerning the equivalences in the manuscripts, and say more about the interpretation of this neum.

The Interpretation of the Qvnlisma : The information which we find in regard to the interpretation of the Quilisma is furnished us by the Byzantine sources, the Latin authors and the Manuscripts.

It is evident that the Quilisma is of Greek origin, as its etymo- logy is very clear : (xL»A'.a-|^a) action of rolling. However the musical significance is disputed, and we find two opinions on this subject.

i) The first teaches that the Byzantine Quilisma is not a real note, but one of the numerous non vocal signs which have reference to the chironomy, and are the indications of the quantity or measure, and not of the voice. 2) The second opinion is that the Quilisma is a sign, not of one note, but a complete series of notes, even a complete melisma.

These two ideas give us nothing definite in regard to the value of the occidental Quilisma, which has the value of one eighth note, and no more.

The gregorian Quilisma is certainly a real note, and an integral part of the melody; let us turn to the manuscripts themselves.

The codices give us little information on the Quilisma itself, but a great deal on the notes which precede the Quilisma.

The Latin Quilisma has a retroactive effect of retard, even prolongation on the note or group which precedes it. This rule suffers no exception, as the manuscripts of all countries which preserve the Rhythmic tradition are unanimous in one way or the other in expressing this quality.

We can unite in three principal classes the numerous procedures employed by the different graphic schools to indicate the retard of the note and notes which precede the Quilisma.

* Le N ombre Musical, Part II, Chapter XII.

Chapter VII. — Quilisma.

209

i) The use of the long rhythmic signs and letters in the Saint-Gall and the Metz manuscripts.

-•^ ./ r/ ''?/ S-^ C^>/v .-/

A

A

f**^ ■^_^ ^^ //f^ s-^ /T-^--***/-

.^

S— n-

— n

— r

TASrM'i^"

-^,-J-

kfcT*

-r

-j-

7i^

::tl:]

-^

■■*

T^^ —

B

D

It is very interesting, as we have mentioned before, that these two schools with neumatic writing so dissimilar should agree so completely in ideas and the use of musical indications.

2) The doubling graphically of the note preceding the Quilisma :

The following examples from the manuscripts of Monza (Xth Century), and Vienna (Xlth Century) compared with the notation of Saint-Gall will show what we mean. The two former nearly always double the last note of the group preceding the Quilisma.

a) Doubled Note after a Clivis :

St. Gall Intr. Rorate

/K

Monza

,/l/

Vienne IT'

v/

5) Note doubled after a Torculus :

St. Gall

Comm. Ecce Dens

Monza J*".*^

Vienne «/^ . ***^

In this latter example, Monza does not double the note after the Torculus, but this Codex makes use of the long Torculus S- .

210 Part II.

c) Note doubled after a Climacus :

Monza -**4/*. .**«/•

St. Gall -.♦4/-_*^'. Vienne -*^'. -*^'

iB A |B A . fl-A- a A

I^. G. yl summo

g

3) T/^^ division of the Group preceding the Quilisma.

Another graphic procedure, to indicate the retarded notes before the Quilisma, is the separation of the last note of the group which precedes the Quilisma. The following is from the manuscript of MontpeUier :

a) The ordinary Clivis of two branches /7 becomes before the Quilisma, often

e-r^

h) The ordinary Torculus «/? often becomes, before the Quilisma :

\=t^

The manuscripts of Italy, Lombardia. Aquitania, Spain, and others use the same method. The Saint-Gall notation also expresses the Podatus y ox y/ , by two pimctum planum before the Quilisma _. ♦*./ .

These two last procedures — doubling and dividing of groups — are found many times in the manuscripts; with time they become more and more rare. But this is another indication of the decadence. However, the importance of the note or group preceding the Quilisma is maintained, even when the Quilisma note itself is an insignificant fact.

The Latin authors are very obscure in regard to the Quilisma, and furnish only themes for conjectures. From these we come to the conclusion thet the Quihsma is a sort of " ascending port de voix ". This interpretation agrees with the teaching of the manuscripts. In -fact " every port de voix ascending exacts the sustaining of the lower note, on which the voice

Chapter VII. — Quilisma.

211

must rest, in order to continue upward easily and gradually ". This is the precise teaching of the manuscripts.

There is nothing in the manuscripts to indicate that th Quilisma is to be sung as a sort of " trill " or " turn ".

Additional Rules for Execution.

A) The note immediately preceding the Quilisma is to be always slightly supported and lengthened, and will always bear the rhythmic ictus.

B) The note Quilisma, always light never receives the rhythmic ictus. This note is to be sung either " port de voix "^ or as a simple passing note. It has the value of one simple beat.

i) The single note preceding the Quilisma :

\

-^

,***/

::^r"

Apply the simple rules. The Romanian sign is useful but not necessar}^ as the presence of the Quilisma sign suffices to indicate the support of the note preceding.

2) Two notes before the Quilisma :

znzzn:

:^;

5-

^

W

"-J"

^^*-

The two notes are lengthened, approximately; here there is liberty in the interpretation, as the manuscripts show by different indications. Certain Codices double the note preceding the Quilisma :

-&

In a case like this we must preserve the value of the note. However the documents do not always double this note, as is here illustrated. On the contrary in the following example, in the case of the Clivis, more importance is given to the first note; it is surmounted by the sign of length or the Romanian

212

Part II.

letter (-«?) tenuto. It is not rare to find, in these analogous cases, the Virga doubled before the Clivis :

im and sometimes the use of the Pressus : ~~

—^. — — 'as-"=

In practice, we must not pass over any of these precious signs, these subtle indications. They are all valuable aids in the artistic interpretation of our beautiful liturgical chant. Different nuances should be indicated either by a Romanian sign or episema.

3) Three notes before the Quilisma.

rr-

^

/-^

U:

Follow the rules. Rhythmic ictus falls on the first and third notes of the group, w4th the three notes lightly retarded. Again here, good taste is important.

4) Four notes and more before the Quilisma. The following manuscript equivalences are interesting :

Laon 239

St. Gall

a. / A

/.

A

w

y

y--

.rr

S!.

J

in:

The regular rules hold good here also. Art is necessary.

5) Strophicus before the Quilisma.

St. Gall ^ ^7?"^^^

g k s f

Offert. Justus nt pahna

7??'

... palma...

Here a repercussion lightly supported on the apostropha preceding the Quilisma is demanded. Rhythmic ictus on first and third notes of Tristropha.

Chapter VII. — Quilisma. 213

The following case is fairly rare

^;— '' _.^^^-p.i__

re- ctae re- ctae

The most important note here would be the second note of the Distropha as the note immediately preceding the Quilisma. According to the manuscript, a repercussion of the three ja is necessary. An easier but less traditional interpretation (b) is to unite the two strophes in a single sound.

6) Quilisma at the Unison.

Usually the Neum Quilisma is considered to be a note always ahove the note which precedes it- almost always a second above, but sometimes a third. (See above).

However in the Matins of Christmas and in some of the Holy Week Responses, there occurs that rare curiosity, the Quilisma at the Unison.

f

\ ^:-\

-^■j-B^4H^-P«7

illuminare, Je-rii- sa- lem, etc.

Of course, the thoughtful Choirmaster will ask what is to be done in such cases. The character of the Quilisma is not changed. Here there are two possible ways of execution :

a) Make a single double note of the two La, and sing as a Pressus, but lighter, or better.

h) Sing distinctly the two La, with a slight lengthening of the first, according to the regular Rule. However this repercussion of the Quilisma note must be very light and delicate, such as the repercussions on the " leve " which we have seen in the Strophicus.

This last procedure is preferable and much closer to the Gregorian Tradition; this repercussion of the Quilisma Note adds an immaterial, etherial quality to the phrase, which would be lost in the first interpretation.

CHAPTER Vni.

THE INTERPRETATION OF THE CHANT.

In considering the interpretation of the Liturgical Chant, the first questions which should come to the mind of the serious choirmaster are : What is the true spirit of the Liturgy ? What is the relationship between the Chant and the Liturgy ? Why do we sing? For whom do we sing? Why is the Gregorian Chant superior to all Church Music? What is the traditional interpretation of the Gregorian Chant ? These are very general questions, but very important ; it is necessary for all choirmasters and singers to search and find the real answers before entering the choir loft.

Then many other questions should follow, some general concerning the choir, the voice, and others more subtle concerning the interpretation of "special" phrases, and the hundreds of different nuances of expression demanded for the proper "unfolding" of the Greater Rythm of the Chant; for Gregorian Chant is really great music, and as such it has the right to demand the highest in artistic expression as well as the deepest spiritual understanding.

A special study should be made of the Liturgical Text and its relationship to the melody. Often almost the same melody will be found for different texts, especially in the Versicles of certain Graduals, and the interpretation will not be always the same, although the melody may suggest the same style. Study every Chant separately for its individual style, its text, and neumatic combinations. Whether or not you carry the "rhythm" over the incise or half bar often depends on the continuity of the " meaning " of the Sacred text.

In this chapter we shall try and answer some of these questions ; but there will be many others which belong rather to the realm of Aesthetics and as such will have to await another volume.

I hope the following brief paragraphs on the "Style of Solesmes" will give the reader a little of the true meaning of our Gregorian Chant as it is understood at Solesmes.

Chapter VIIl. — The Interpretation of the Chant. 215

The Style of Solesmes.

To write about and to explain the Theory of Solesmes is not a too difficult task, provided one has studied the subject for a number of years; This theory, technique, as it were, a scientific matter, is somewhat a thing material; but to attempt a description or an explanation of that almost mystic "something" which is the " Solesmes Style", requires a sense of deep under- standing and inspiration : It is erudition, science, art, true, but much more : it is Liturgical Prayer at its best. For this reason it is not for everyone to penetrate this veil of spiritual beauty and grasp the " inner sanctuary " of that body of worshippers — I almost said. " singers " — but can this title be applied to the M^ Choir of Solesmes? Perhaps no, perhaps yes. They sing? Yes, ^ but rather, they pray in Liturgical Song, and that is not exactly pw*- the same thing. One has the feehng that they are outside the world, transported, a little as was Our Lady when the Angel of the Annunciation appeared to her. It is like a " voice " from the Age of Faith when these sublime melodies were created, being broadcast to us in this Century of wars and materialism. One must listen and understand in a State of Grace; not the kind which extends from Saturday evening to Monday morning, but a continual State of Grace and Humility. The garments of the world must be put aside in this Sanctuary of perfect Peace and Holiness ; here there is no room for avarice, pride, or any other of the world's vices; such imperfections would but prevent the understanding of such beauty.

I, myself am not one of these " elect ", but simply a zealous, hurnble disciple of Solesmes, but I wish to make an attempt to inspire my readers with the desire to study more and more the Gregorian Chant as it is interpreted at St. Pierre de Solesmes. Even for those who are not professionally concerned with the Chant, a force of purification and sanctification lies waiting there which is bound to give a new meaning to existence.

There is a simphcity, a sincerity, and at the same time, an artistry in the "Style of Solesmes" which completely satisfies the religious and aesthetic senses. The " suite " of binaries and ternaries with their many delicate nuances of expression, develop- ing into the Greater Rhythm, which rises and falls, pauses, resumes its flight, then falls to repose, produces such an effect of Unity, of Continuity, of perfect balance and expressive grace, that one is conscious only of the perfect accord between the melopee and the Sacred Text. There is never a striving for

N° 758. — 8

216 Part II.

effect, never the desire of any particular voice to dominate, to " lead ", but a perfect ensemble of tone which is born of a "oneness" of spirit and purpose, a single desire to honor the Perfect Being with all the perfection possible.

The quaHty is Hght, but firm, and never effeminate, reaching when necessary great heights of intensity. It is so flexible, so free, yet so accurate both rhythmically and melodically that you wonder if 3^ou can be reaUy listening to a group of human beings : sometimes it is the intensity of a pressus, a tristropha or a rising phrase ; sometimes the dehcate repercussion in a strophi- cus group, or the note or neum following such a group ; or it may be the gentle rahentando and diminuendo at the end of a phrase. WTiatever the detail, there is always remarkable accuracy wdthout the studied consciousness of the rhythmic divisions, which one usually finds in Gregorian Choirs; this " souplesse " extends even to the pauses which are always in proportion, and which serve their purpose as part of the "Greater Rhythm" so perfectly that the listener is most inspired and edified.

One is never tired of listening to such divine beauty, which is at once the result of great erudition and a profound under- standing of the Eternal Mind, a " peace which passeth all understanding ".

From these two Great Sources spring the Power of Solesmes ! The learned research of Doms Gueranger, Pothier, Mocquereau, and the present Dom Joseph Gajard, who has one of the most sensitive musical minds of the present day, plus the Benedictine Life and Spirit.

* This Benedictine Life and Spirit where by humility and obedience the "disciple" is placed before God in a disposition of filial fear, conforming to the " Following of Christ ", to all the Divine Precepts, in the modest attitude of submission and patience, w^hich influences all his acts, conducts him finally to that love of God w^hich transforms his whole life, and by the only path which Our Lord traced and followed, the " Simplicity of Little Children ".

St. Benedict himself has given the definition of his mona- stery : *'A school of Divine Service". The central work, the action par excellence of this Royal Service is to be the " Opus Dei ", the " masterpiece " which has God for Object. Seven times a day, and in the course of the night, the monks assemble in their chapel to accomplish the Holy Functions. It is the prayer of the Family, the true Christian Prayer, offered in the

* Rule of St. Benedict.

Chapter VIII. — The Interpretation of the Chant. 217 i

name of all Creation, the most complete also, since it is an j hommage of body and soul : " The spirit, says St. Benedict, must always be in tune with the voice ". ,

For the monks of Solesmes, the Gregorian Chant is a part of : this "Opus Dei". With this profound reverence and love for Holy things, and the deep understanding of God, which springs from such a " life ", they know how to " pray well ", and that ^^ ^ "to pray well, one must sing well, and to sing well, one must pray well. Thus a transcendant art which is born of such *^ parents as Great Science and Love. "^

Such should be the model and the goal of every choirmaster and singer. The closer the Benedictine Ideal is approached, the ■ finer the results in the Choir, and the greater the edification of the faithful. ,, .

The Choirmaster, himself or herself should be a person of deep ,^ faith and a profound student of the Holy Liturgy and Chant, ^^^^ always realising the accord between these two. All choirs j,".i cannot have a Dom Gajard for Choirmaster, but all those who ■^'^* teach and direct the Chant can strive as far as possible to approach ''that ideal" : If possible, a visit to Solesmes should be made by all students who have chosen such a "holy" .; vocation, as it is only there that may be found the true tradition, the true source and the true light. .

As far as possible the personnel of the Choir should be chosen /;* for purety of life, respect for holy things and love of the Liturgy, ^^^ rather than for voice or musical knowledge, but of course the ; combination of both is the perfect condition. ^

Before every choir rehearsal an atmosphere of repose and sr^ reverence should be created by a short lecture on some lu Liturgical or Religious subject. A reading with discussion of ^ , the text of the Liturgical Service to be rehearsed will bring about a better understanding of the parts to be sung, as well as create the proper atmosphere of reverence and repose. Before \ entering the Church on Sundays and other days when there is to \ be a ''sung" Service, the Choirmaster or Rector should choose ' a Chant from one of the Liturgical Books to place the choir in ■ the proper state of mind : The Office Hymns of Prime, Terce or : Sext are especially suitable. The " Veni Creator" is always ] in order; and there are many others. i

We should like to remind our readers again that Gregorian I

Chant is, in the first place, music, and great music, and must \

be respected as such. And it is more than this : it is true Litur- !

gical music and the sung prayer of the Christian world. The I

218 Part II.

choirmaster or organist who spends hours perfecting his organ solos, motets in polyphony and modern music, and " brushes off " the parts of the Service to be sung in plainchant with a few minutes of careless " running through ", is not worthy of the high privilege accorded him.

In other paragraphs we have spoken of the multitudinous beauties and intricacies of our priceless heritage, the Gregorian Chant. How many of our choir directors appreciate these things, especially in those newer lands, far from the traditions and sources of Christian song, art and architecture. In our schools of Sacred Music it is most inspiring to study the art and architecture of the same period with the music of that period. How close are the analogies between the Romanesque arches and pillars of Jumieges or Saint Trophime and the round, graceful movement of our Liturgical chant; all the different types of " Romance " arches and curves are present here, as the true student of chant knows. When we employ the Gregorian chironomy with its successions of arses and theses, we cannot help but feel these analogies.

So must be the movement of the chant : rising and falling in great waves of sound, and never sudden " spurts " of crescendi and diminuendi, accelerandi and ritardandi. The culminating

^ groups are always the round arches of the " Roman " and never

^ the pointed arch of the Gothic.

l"-*-^ The only true authorities we have concerning the interpre>- j» tation of the Gregorian Chant, are the neumatic manuscripts; The Guidonian or manuscripts with lines give a very good idea of the melodies, but for the interpretation and rhythmic tradition we must consult the more ancient documents. As not many organists or choirmasters have recourse to these precious sources, we have given a number of equivalences in a former chapter, and have spoken at length of the special neums and their indi- vidual interpretation. However, when these are combined with other neums and single notes to form phrases and phrase members, the entire phrase together with its special text must be considered. Here delicacy of taste, great musicianship, as well as a profound knowledge of the Gregorian tradition, is demanded.

The Tempo.

As with all music, there can be no hard and fast rules in general : Every chant has its own individual personality, accord- ing to the text, melody, place in the liturgy, etc. We can

Chapter VIII. — The Interpretation of the Chant. 219

say, generally speaking, that the melismatic chants, such as the y [ Gradual, Alleluia, Tract, sometimes the Offertory, are sung at '^*^ a somewhat greater speed than the simpler pieces. Of course"^" the Versicles are always taken at a much quicker tempo; The r»*J^ Sanctus, Benedictus, Agnus Dei, and Communion are sung ^^-3 much more slowly than the Introits and the Kyries — • these ^ last movements vary often according to the text, in the case of *^ *^ the Introit, and the style, in the case of the Kyrie. An elabor-*)^ ate Kyrie may be sung more quickly than, for instance ! numbers XV and XVI, and XVII and XVIII naturally take on \ the sombre color of Lent or Advent. The Gloria in Excelsis and j Credo are usually sung moderately fast. — And here in these two - pieces, at Solesmes you find no sentimental ritardandi at certain sentences, as " Et incarnatiis est" in the Credo: the tempo is */%[' kept up to the " Et homo factits est" , where a natural retard i^ ^^ is made in very good taste at the end of the long period. The influence of sentimental figured music, with its divisions into \ different movements has played havoc with the interpretation I of the liturgical chant. I have recollectiones of certain choirs, ; including my own, before I received the light from Solesmes, \ where it was " traditional " for the best soloist of the choir I to sing the " Et incarnatus est" , very slowly, and with great emotion. The same effects were also given to the " Adoramus , te " and other parts of the "Gloria in Excelsis". Another : example is the over-dramatization of the " Dies irae " and other j parts of the Requiem Mass : The " Tiiha mirum " was always proclaimed in a stentorian voice to represent the trumpet of | doom, while " Lacrymosa " was sobbed over like in the operatic ; aria of an unfortunate herione who has just lost her lover. ■

Of course it will take many years to erase all these " enfan-

tillages " and to bring the enlightenment of propriety and good j

taste into all our churches, but it can be done by close cooper- i

ation between clergy and choirmaster. These two must always \

be in harmony and unity of spirit and intention to bring about ^

the reforms necessary for the perfect Service in the House of God. i

I think one of the most difficult elements, if not the most ,; difficult, in the performance of any kind of music, is the estab- 1 lishing of the proper tempo at the beginning, and maintaining j that tempo throughout the composition. Any organist knows ] how difficult it is to play a great work of Bach in the same tempo, and return to that tempo after the rubati and accelerandi neces- sary for artistic interpretation. With the Plainchant this is even more difficult, for here there is not the regular succession of I, 2, 3 or I, 2, 3, 4 of figured rhythm, but the complicated

220 Part II.

interplaying of binaries and ternaries, with numerous neumatic nuances to consider. The use of the metronome is not possible, as with the Bach organ fugue or the Beethoven Sonata.

Pitfalls or Dangers.

The triplet. — We must never forget that every note is worth one simple beat, no more, no less. The ternary rhythms must not be hurried or sung as triplets. There is special danger of this when singing a Torculus, as the graphic representation of this neum suggests the triplet.

■ * * * n *

^^'

-■ — — -

•■-■-

in ex- eel- sis. Kv- ri-

The long succession of ternaries in the " Kyrie Or bis factor " , especially the descending phrase, seems to invite triplets.

S-+-

e- le- i- son.

In a piece composed almost entirely of Binary rhythms, except for a cadence including a ternary, or a ternary rhythm here and there, these poor groups of three are often " scrambled " unmercifully. We may cite the well known example of the " Kyrie cum juhilo " which has several Kyrial phrases composed of binaries with a ternary ante penultimate rhythm.

Ky- ri- e * e- le- i-son

I also have in mind several hymns in English taken from the Gregorian repertoire : The " Vexilla Regis prodeimt " from the Vespers of Passion Sunday, and " Divimim Mysterinm "

Chapter VIII. — The Interpretation of the Chant. 221

translated in the English Hymnals as " Of the Father's Love Begotten ". I have heard some of the finest Anglican choirs in the world sing these two hymns very admirably, up to the ternary group, when the wild scramble upsets the otherwise well-sung piece. The following phrases are also precarious :

Agnus Dei, Mass XI ■ — Ternary groups :

i-M^*-sS H

rs J!

qui tolhs pec-ca- ta mundi : etc.

Gloria of Mass IX, and Christe of Mass XIII — There are many examples hke this when a ternary group follows a single note, thus inviting a triplet.

• ■ . ■• ■•

. ■ : ■ i ^ «• i

i~ %^ ^

♦♦

* 1

Lauda- mus te. Glo-ri- fi-ca- mus te.

■

i ._ ... .. il

■ a. a. ._ il

-.^♦^'♦» I

!. 1 . . .^- U

Christe

le- i-son.

At certain times the Porrectus seems to invite a triplet; see first example on preceding page, and the following from the Gradual and Alleluia of the Midnight Mass of Christmas. There are many similar dangers in the Gregorian repertoire; it pays to count until the rhythm is felt.

:^^i-Ct

E^^^^EssBE?^^

tu-

ae etc. ex li- te- ro etc. ge- nu- i

te etc.

Notes often shortened. — There are certain notes which demand special care not to pass over too quickly : So are the

222 Part II.

top notes of the phrase, which must never be " pounded " but given their full value :

5 — . bIv I —

Ky-ri- e etc.

This fault is often due to a lack of vocal control, but more often to carelessness.

The single note on the upbeat before a neum often suffers disgrace by being sung to quickly. As in many phrases in the Gloria in Excelsis. Here is one from the Easter Mass, " L^ix et Origo ".

^ \ 1 .

^— B:

Et in ter- ra pax ho-mi-ni-bus etc.

Also Sanctus of Mass VI.

i— ^

Sanctus etc. Agnus Dei of Mass XI.

i — 9 — ■■ r«7 —

Agnus De- i.

This type of phrase is to be found everywhere in the choir books, so care must always be taken to give the "lonesome" note its full value.

When we have a culminating note which descends directly to a lower note, there is always danger of sliding off the top note too quickly. The following examples will illustrate :

■ ■

^♦XT*

Chri- ste etc. Ky-ri- e

Chapter VIII. — The Interpretation of the Chant. 223

Uncertainty as to the skip could be the cause of this fauh. The singer is concentrating on the lower note, thus neglecting the precision of the top note.

After an ascending passage, a second repeated note is ofte i dotted or shortened. A notorious example of thirty years ago, and even today, is the intonation of the Gloria " Cnnctipoten's genitor ". Nearly always in those days of " Ratisbon " fame, the celebrant dotted the Virga, and made a i6th note of the following punctum. The stih popular idea of the Virga as a longer note, may explain this; however in my experience, singers who listen over the radio to popular song artists, espe- cially to those of the " croon " variety often attempt to copy the style, thus dotting a series of 8th notes instead of singing them evenly, and indulging in other extraordinary interpretations. The "bizarre" renditions of Ad este Fi deles, and Silent Night which emanate from Hollywood play havoc with our not too well trained choir singers. We may admire greatly a certain film star without trying to copy his style of singing church music.

The simple note between two long notes often suffers great embarrasment, being often ignored in favor of his more corpulent neighbors. This group may be made very beautiful by a slight retard of the whole, as in the joyous Alleluia " Magnus Dominus ", and in the Versicle of the Alleluia " Quoniam Dens Magnus ".

g_/^».i:g.i_t:^.■l:•:

a. etc.

-"-4— *=5?«i7!te^

■ ■

Qu6-ni- am De- us ma- gnus

-7— f

— -■— ■ •

y. Confi-te- an- tur

-■ — ■-

-^■

■^**^*-.

U-.

Domi- no etc.

224

Part II.

The note before the Salicus is often passed over too lightly.

■ ■

yi:ct.^-?=5.=y^rf-:=!=

Jii- di-ca me etc. glo- ri- a- ri o-p6r- tet etc.

The last note of a Tristropha, ictic note not repeated, but given its full value, followed by a single punctum.

S

-■-•-■-

-■— ■-

fi

<

fi

per quem etc. su- a- vis est etc. e-go ho- di- e etc.

Central note of a group, as found in " Asperges me " and " Vidi aquant " :

i-tf^-r—

■ — ■-

s

■

=te •-

-

et su-per ni-vem etc.

et omnes ad quos etc.

Combinations of a Distropha and a single note as in the Introit of the Christmas Midnight Mass.

izf:

-f

■—■-■-■-

m*- — »«-

-th- -■ ■ —

i— ^-

Do- mi- nus * di- xit ad me.

There are many instances of notes in peril of losing their just value.

The gregorianist must always be on the lookout for these.

Notes overlengthened : There is also a tendency to overlengthen certain notes; their position in the phrase, and in relation to the text often gives the impression of a longer note, when it is simply a question of one simple beat.

Chapter VIII. — The Interpretation of the Chant. 225 Culminating note before a descending group.

B

\

-^

n

Ho-sanna in ex- celsis j

i

Penultimate note of a cadence.

:qzz

Je-sum Christum etc. De- o ve-ro etc.

Sometim^es a Pressus is e:iven too much valu

b^

le.

The central note of a Torculus in final phrases.

■a— Hv-T-^^ —

do-na no-bis pa- cem,

Also the last note of a Torculus in a cadence. g

^. i^i"t_.^

do-na no- bis pa- cem.

Sometimes the note before the Quilisma receives undue allongation; here great knowledge and taste are necessary for the proper nuance, as this note is always lengthened somewhat, and almost doubled in some cases.

Careful of all Virgas, as the " hangover " of Ratisbon and other false books is still evident among the older singers especialty. They are worth only one simple beat.

In the First Psalm Tone, Introit Formula, extreme care must be taken not to " punch " the top note in the Podatus (A-C) in the First Part, and the top note of the Torculus (A-C-A) in the Second Part. Round off by making the highest note slightly softer ^ and with a very, very slight " rubato ". The

226

Part II

consciousness of the Roman Arch will help the imagination conceive the true interpretation here, and in all such passages.

g

-■ — ■ — ■-

3=.

fi-r

f.

i-^-i

Laeta-tus sum in his quae dicta sunt mi- hi : * in domum

iz^it.==:

-■ — »«^-

Domi- ni i-bi- mus. Gloria Patri.

Same idea with the " Gloria Patri " in the same formula.

The Horizontal Episema is a very delicate nuance of length; it is often not lengthened sufficiently, and just as often held too long. Here very great art is necessary to give just the right interpretation in all cases. The Episema on the single note at the beginning of a phrase is not to be held too long; here, simply a broadening of the syllable is usually enough.

5-=^

5-^?;%^-

i^P-

f

1

■ ■•

Sancte

Ecce ancil-la D6mi-ni

The prevailing tempo is also a determining factor with this sign, as any artist realizes. In the long vocalises of the Graduals — especially the Versicles — and Alleluias, the Episema is treated more delicately. Again taste and proportion play their part.

Repercussions, — In another Chapter we have spoken at length of the Strophicus and the difterent types of repeated notes demanded. Just a few remarks here in regard to other places where repetition is necessary. In many of the Kyries we find repeated notes without a new syllable. The last e of the word Kyrie must be repeated without taking a breath, very naturally and easily. The beautiful Kyrie " Deus sempiterne" is only one of many examples.

5

1:^-

^

Ky-ri-

!♦

e-le- i-son.

Chapter VIII. — The Interpretation of the Chant. 227

We find the same interpretation in the " Benedicamus Domino V " of II Vespers and its response, " Deo Gr alias ", as well, as the " Ite Missa est " of Mass VII and others. These repetitions must be definite but not heavy, and always in keeping with the style of the Chant.

A very dehcate repercussion is made on a \'irga at the end of the Strophicus, when the following note bears the rhythmic ictus. This repeat is almost imperceptible, and must never interfere with the rhythm or movement of the phrase. This is perhaps the most difficult of all the many different reper- cussions. (See Part II Chapter IV).

" Christe " from the Mass " Kyrie fons honitatis ".

— V

Chri-ste

Ej^dE^5^^;EEEE

etc.

Introit " Miserere mihi Domine " .

to- ta di- e

We have some very dramatic repeats in the great Offertory, " Precattis est Moyses " , as well as in the AUeluia " Qiioniam DeiiS Magnus '\ These climaxes are not to be made suddenly, but well rounded like a great arch.

♦ ■

memen-to Abraham,

I-sa- ac

et

Ja-cob,

We have here in the first example on the word et a series of intense repetitions; and by intense we do not mean

228 Part II.

" pounded ", but rather a strong floK' of intensity, fusing the groups. The next exampJe, because of the text, demands a somewhat more intense treatment of the Virga following the distropha, but again, we warn against heaviness.

As we have stated before this matter of intensity does not mean that there is to be an accent on the first note of every group; for the rhythmic ictus in itself has nothing to do with intensity; sometimes when it falls on the tonic accent of the word, it is by accident more intense, but here it is not the rhythmic division which is the question.

JAi ^-

V, Ou6-ni- am De- us ma- gnus

By intensity, we mean rather, a fusion of groups, a melting together of the smaller elements to form the dynamic expression of the greater idea. Here again, good taste is important, and never effect for the sake of effect.

In the Gregorian melodic line, we may find ah the degrees of intensity. From the delicate crescendo in the Antiphon Speciosa from the Offices on feasts of the Blessed Virgin :

Ant. £ ,_,_^_i__iizi^5._4r:

.* • M J

i

« ■

Spe-ci- 6-sa facta es * et su- a-vis in de- li-

-■ P;

ci- is tu- is, etc.

tQ the glorious melismas of the Easter Sunday Gradual and Alleluia. We can generally be guided by the contour of the melodic line, and the text. There is a natural increase and decrease in strength with the rise and fall of the melody. The short elan is naturally more delicate, and does not demand the intensity of the powerful and longer flights, which permit all the degrees of intensity, even up to fortissimo. But never sjorzando!

Chapter VIII. — The Interpretation of the Chant. 229

The chant in question must be carefully studied for the greatest climaxes, in order that the lesser summits may be in proportion. Prepare the great climaxes with a gradual increase of intensity, and in the short sudden ascents start the crescendo at the second note. We have a number of Alleluias like the following from the Easter Mass.

Alle-lu

Again we plead for easy round summits; this is possible at the top of a great crescendo even. Gregorian chant has been called a Roman art, and as such demands rather the round arch than the pointed Gothic arch.

And let us speak here of the tonic accents on the up beat, as we find many of them, especially in the syllabic chants. In many of the verses of the Credo, the Hymns, and even more elaborate chants. These tonic syllables must be rounded off, and never hurried. It is the special right of the Latin Tonic accent to demand this " lift ".

S--^

De^

no-

stro.

:(§)::

Je-sum Chri-stum

H-

lii;

consubstanti- a-lem Pa-tri

■(.)-r

ama-rae morti

iz^

-J-.— «-Pi — (•>

~-^^—

D6mi-ne Je-su Christ e

— ■ — ■ — —

Rex tremendae ma-jesta-tis

Also in the cadences of the Psalms, hft and round off the tonic accents; it is very inartistic and "^mundane " to strike the first accent of a Psalm Cadence with a " thud ".

230 Part II.

Tone I D

j_.,_^_^_^ii):_Q_, — ^-..i.

-■—- ■ — ■-

i=*^

Di-xit Domi-nus Ddmi-no me- o : * Se-de a dextris md- is.

Flexibility. — Although we have insisted in the first part of this treatise, and still insist on the equality of the individual beats, we do not wish to establish a tyranny of rigidity and mechanism. To a perfect precision must be added flexibility, ease and naturalness. To be sure, as with any great art, the technique is important, but must always remain the means and not the end. The gregorianist must be absolutely sure of every detail, every binary or ternary rhythm, but must also be conscious of the greater rhythm or idea which transcends all theory. To be a slave to every small rhythmic division, ever}^ rule of incise or double bar, is to lose sight of the spiritual sense and proportions of both text and melopee. As we have said before, the entire chant must be studied with understanding of both melody and text. The pause at member bar or double bar is not always the same, depending on the greater idea; there must be the correct proportions.

In the Gregorian repertoire we often find different texts given to the same melodic formula. In these cases the inter- pretation can not always be the same ; the texts must be studied carefully in order to bring out the different nuances of meaning. Compare the "Alleluia, y . Laudate Detim" of the second Sunday after Epiphany, with the " Alleluia y . Emitte Spiritum tuitm " of Whit Sunday. The melody of the Versicles is the same, but the different texts naturally demand different interpretations. The same with the Versicles of the Graduals of the Christmas Midnight Mass and " Justus ut Palma " of the Mass of Confessors. Melody is the same in both cases, but would you express the " Dixit Dominus " of the former in the same manner as the "Ad annuntiandum mane misericordiam tuam " of the latter? These variations of interpretation are important and very difficult sometimes as the habit of singing the same melody in the same manner is not easy to overcome.

In the many chants of the First Mode, with the melodic formula, re-la-si, or (si flat), there is no horizontal episema over the la but this note is to be well-lengthened. Among these chants are the " Introits. Da pacem, Gaudeamus, Rorate cceli, Statuit, Inclina", and others, "Offertory. Jubilate Deo", " Antiphon. Ave Maria ",

Chapter VIII. — The Interpretation of the Chant. 231

biliziil

-■ — ■

^

■ Da pa-cem Ju-bi- la- te Ave Ma- ri- a

Even when the Chant is transposed to the Fifth, as in the " Domine Deus " in the Gloria of the Paschal Mass, the rule is the same; here the formula la-mi-fa, exacts the allonejation of the Mi.

s3=E^

IV- ■ -P'

D6-mi-ne De- us

The same formula occurs in the Hymn " Sacris Solemniis " in the Fourth Mode. At Solesmes the B natural is used with fine effect, and much more in keeping with the Mode than the B flat. The La here is lengthened in the same manner.

IV

m *

g— Hi fl— i f

Sa-cris so- lemni- is

A very beautiful interpretation in the Introit, Ecce Detcs, \ IXth Sunday after Pentecost ;

- dim. —

-et riL^^^* ^ tempo

-■ ■ -tHHt

V-

♦— ^

7-ii::^-^

a-nimae me- ae : a-verte ma- ]a

Crescendo from " animcB mecB " to the end of the Tristropha, then sing the CHmacus and final dotted punctum with a well rounded retard and diminuendo. Of course be sure to return to the original Tempo at " averte mala " — and this last precaution is always in order.

232

Part II.

There is a very beautiful and graceful motive which occurs in the Versicle of several of the Fifth Mode Graduals. The phrasing here demands very delicate treatment : Sing the Virga, second note of group before each Pressus^ more lightly than the preceding Punctum, attacking the Pressus of each group with some intensity and with messa di voce. — < r==-

It is an interesting fact that this Melisma in two Graduals "blossoms" out of the last syllable of " Misericordiae" , and in another the word is " mansicetudinem ". The inspired Composer evidently liked to dwell on the thought of the "Divine Mercies of God ".

< > < >

— ■ — ■ — r?^^ L

mi- .^- ri- c6r-di- ae

^-5-j-

^ffr^iNtv

e-

etc.

Chants of Christmas and Easter. *

We cannot bring this chapter to a close without saying a few words about the Chants of Christmas and Easter, as they occupy such an important place in the Liturgical Year.

These Chants are often given a wrong, or at least an indifferent interpretation because the Choirmaster has not taken the trouble

* This is a brief resume of the very fine commentaries by Dom Gajard in " Revue Gregorienne".

Chapter VIII. — The Interpretation of the Chant. 233

to study the tradition and the true liturgical sense. Too much of the idea of " majesty ", joy too exuberant or uncontained is the usual habit; or perhaps it is the often forgotten real meaning of the chant, as a prayer.

In the Gregorian Chant there must always be discretion

and controlled " emotion ", and in these Chants of Nativity

this is especially true; the manuscripts are eloquent in this regard.

I The Chants of Christmas strike the double note of vibrant joy and recollected adoration. Dom Joseph Gajard remarks, " I cannot help but consider this Christmas Liturgy as the " welcome " given by the Church to the Incarnate Word, to Emmanuel. It seems to me that I see the entire Church united around the manger near to Joseph and Mary, watching the Holy Events, contemplating this little Being, all that He is, all that He is to accomplish, all the Love w^hich his coming implies, and losing itself in adoration and praise ". " Everyw^here jvve are bathed in an atmosphere of peace, of calm, of purity, Df light, and especially of tenderness and love. It is the " cradle " Df God, the whole mystery of the Incarnation, of the coming ■o earth of the Second Person of the Trinity. And in this Birth " in time ", we must not forget His Eternal Birth and A^ork; In saecula saeculorttm.

All the Liturgy of the Nativity is full of this idea, as is also he Melodies. Here is the note of supernatural, vibrant joy A^hich is always controlled and tempered by a deeper note of reverent and recollected adoration and awe; and like the work )f the Incarnation, these emotions continue into infinity after ;he musical cadence has ended.

This dual note appears first in the " Invitatorium '' of Matins, ' Christiis natiis est nobis: venite adoremus " . The first half )f the verse furnishes the joyful note in a melody which rises ilmost an octave in its first short " flight ". The second part )f the verse, " venite adoremus " , follow^s with the most reverent idoration and awe. We must approach and " adore " with lumility, this " divine mystery ". This beautiful refrain ilternates with Psalm XCIV, " Venite exsultemus Domino ".

At Solesmes, the interpretation of this beautiful " Invita- orium " is very significant : the combination of extatic joy, awe md adoration produced by the always veiled tone, and careful gradations of ever-controlled nuance, creates the atmosphere 3f reverence and adoration which pervades all the Liturgy )f this great Mystery.

234 Part II.

The Midnight Mass.

During the Matins we have been immersed in that atmosphere of sweet contemplation and reverent adoration which is also to pervade the Midnight Mass : The Epistle, Gospel, Chants, all agree ; only at the Offertory the praise mounts to the greatest height in the Liturgy, " Laetentur caeli, et exsiiltet terra ", but here the text is tempered by the melopee.

Introit and Communion.

We have spoken before of the most valuable information to be found in the rhythmic manuscripts, from the double point of view of art and prayer; often the most delicate nuances of expression are preserved here.

The Introit and Communion of the Midnight Mass may be quoted as two very fine examples of the Mediaeval Tradition.

These two pieces are usually interpreted in the same manner : broadly, majestically. The melodic lines of the two chants are very much alike, but here the manuscripts enlighten us :

The Introit is essentially light, bright and joyous. All the neums are hght except three or four. The only supported neums are on MEUS, the first note of HOdie and the second syllable of g^NUi. All the rest " flows ". True, there are " tenuto " notes, but these are " light " holds. The strophictis, light by nature are made even lighter by the c = (celeriter) which is seldom found over these neums.

It is remarkable that all the manuscripts of all the schools should agree, even to the finest nuances.

On the contrary, the Communion is quite different, being made up of long neums, except for the clivis of liiciferitm ; the " tenuti " themselves are different from those of the Introit. The light Strophicus are here replaced by the hivirgas, long by nature, and still more allongated by the Horizontal Episema of St. Gall. In the Laon Manuscript surmounted by «-=: (augete). In the Communion as in the Introit, the manuscripts agree; one cannot doubt the interpretation. The melody is grave, solemn, and gives an extraordinary affirmation to the Text.

Chapter VIII. — The Interpretation of the Chant. 235

Iniroitus,

iS^v

-W-

-Yi H-

^!

-■^-

D6- mi- nils di- xit ad me : Fi- U- us me- us St. Gall ^/j ,,^ }' /^ f' c^ /? /T ^

Laon ,.*^ '"^ Chartres .'^ '"^

A /

^

St. Gall y., Laon /. Chartres J'»

es tu, e- go ho

c

/7

•;

777

Communion.

di- e ge- nu- i /7 ^ /^ ./•.

te.

Jj

e

VI

:13=i

«•

A-/

-■— »

^:^=iri^

In splen-do- ri-bus sancto- rum, ex u- te- ro

r

St. Gall / - /T - /T /T.J- ..^ /^ rA

Laon /*'

Chartres /

6

a, a. A ^

AA _ AA A AA

/ ^

i)'

/ :

I-._^-3:^-!-i»

T5^

an-te lu- ci-

St. Gall /*/ !^ /^.^-^

Laon a/ 7 '".•'^

Chartres -</ '^ /

fe-rum

ge-

i — A — B^

te.

nu- 1

A

AA

A

/ J

r

/

rr -r

// --^

236 Part II.

Such is the interpretation which the entire Middle Ages gave to these two pieces, at the time when the Gregorian Chant was a hving thing, the special voice of the Church where nobody would have dared to impose his personal opinion.

Why the contrast in these two Melodies so much alike, and with words almost identical?

If we examine them closely, we find that in the Introit it is the Incarnate Word in the person of the Divine Child who utters the words • — or rather " echoes " the w^ords of his Eternal Father; while in the Communion, it is the Father Himself who speaks. Here lies the secret of the mystery and the different interpretations.

Sing the Introit simply, sweetly, without display, and with great recollection; let the voice glide lightly and with extreme flexibility over the neums, with a slight support on meus and abandon itself to the well marked " cradle " movement of the melody.

On the other hand, the Communion is grave, profound, eternal. Sing and support broadly all the FA, and give to the entire piece solemnity, strength, majesty and all that the Text implies. Start the ante liiciferiini with energy, making the retards indicated. Do not fear to sing the " rising " GEnui te with intensity, with a very broad and strong descent at the final cadence. The impression should be that of a Sovereign taking possession, and at the same time of an irrevocable affirmation.

The Gradual Tecum principium.

This too is a great masterpiece. It is the usual type of Gradual of the Ilnd Mode, as Justus ut palma, Requiem aeternam, and Haec dies of Easter. However the composer was no copyist, and as in the others, a great deal of originality is displayed when necessary.

Attack the Pressus on Do (after *) with vigor, and sing with all your soul this splendid affirmation of the Eternity and the Omnipotence of the Child which has just been born; after the tiiae where the " type " is taken up, sing the melody clearly and with strength; give the in splendorihus sanctorum full heart and voice; conduct this entire phrase in crescendo giving all the support possible (discreet of course) to the end of ex utero which must be well rhythmed with a well-rounded ternary on do-re-mi and a " lifting " of the Pressus leading to the cadence.

Chapter VIII. — The Interpretation of the Chant. 237

There is a " surcharge " of joy, adoration and enthusiasm in all this first part of this Gradual — It is one of the most beautiful in all the Gregorian repertoire. The rest of the piece is made up of the usual formula of the Ilnd Mode. Sing it lightly, joyously and alertly.

Alleluia Dominus dixit ad

}ne.

This Alleluia only reproduces a known formula, very ancient, and dating from the first Gregorian epoch; it is an Vlllth Mode Alleluia of the type Ostende nobis Domine. (First Sunday of Advent). But here, it adheres faithfully to its type, from beginning to end.

The general movement must be quick, with well made nuances, rounded summits, the two cadences es tu and hodie fairly light, the last cadence being well pronounced and retarded, making felt the Sol Tonality.

Offertory Laetenhtr.

The Offertory Laetentur has an entirely different character which " breaks " with all that we have seen up to this point in the course of this Mass. Although the text might lend itself readily to an exterior exultation, an unbounded joy, the melody would forbid it, it scarcely budges from the narrow limits of a fifth, and there are no great " flights " to accomodate the words. So it would be very bad taste to interpret this short piece with too much enthusiasm and drama because of the words laetentur and exsnltel. It should be sung with a fine legato, amplitude, and vocal warmth, and not too fast. All the siibpunctis neums which are scattered throughout the piece should be well rounded, as well as the " tenuti " of exsultet and faciem ; follow carefully also the contours of terra and venit; affirm a little more clearly the double ascent of the cadence on sol of Domini thus set in relief before the end of the contemplation in the very calm undulation of venit, reached through the very harmonious inflexion to re at qiioniam.

The Mass at Dawn.

" The Mass at Dawn ", says Dom Gueranger, in his " Liturgical Year ", " sings the Birth of Grace and Mercy which takes place in the heart of the faithful Christian ". It is the hour when the sun appears on the horizon to dispel the darkness,

238 Part II.

and little by little to inundate everything with its light. Of course it is a question here of the True Light, quae illiiminat omnem hominem venientem in htinc mundiim, and who became Incarnate only for that : to purify us and to enlighten us. In this beautiful Office, all is bathed in an atmosphere of exultation and clarity.

Introit Lux fulgebit.

The Text, taken from (Isaiah IX, 2, 6 and 7) is the key to the w^hole Mass. The melody is in perfect accord. It commences with a joyful elan mounting quickly to the upper DO. The B 7 in the Vatican Edition over super and Dominus somewhat destroys the atmosphere of the Sol cadence in the ATIIth Mode. (It gives rather a flavour of the 1st Mode — Re.) Although it is necessary to observe this B'>, the effect should be avoided as much as possible by stressing the Sol cadence, and by firmness in the movement.

Starting with et vocahitur, the melody demands less solemnity and more " legerite ", almost in the manner of a simple enumeration, but not " dry " and inexpressive : each one of the " titles " given to the Divine Child should be set in relief by careful and special expression.

In the third phrase, we return to the more majestic style of the beginning with still more affirmation and enthusiasm.

Altogether — one light phrase framed by two others more rich, but the w^hole developing into a sweet and serene light.

It is interesting to compare this Introit with Puer natus est of the Mass of the Day, as the two have the same general sense ; how^ever the secret between the two lies in the difference between the Modes VH and VIII.

Gradual Benedictus.

Dom Gajard calls this piece a long cry of thanks for the Work of Illumination which is in the process of accomplishment. The melody is altogether live and light, vibrating with joy. The vocalises all unroll themselves around the text like so many garlands; the development must not be retarded nor made heavy by excessive solemnity. The Verse is a great exultation which " blossoms " all the length of the magnificent vocalise, much like that in the Gradual of Epiphany. Do not hurry too. much the series of pes suhpimctis in the second incise;

Chapter VIII. — The Interpretation of the Chant. 239

rather sing them roundly in the elan, and, after the " factum est" , start the. ^^ est mirahile, and make it resound with as much clarity as possible.

As for the last member, frequent in the Graduals of the Vth Mode, sing it entirely crescendo towards the porrectus at the end, and do not permit the length of the Strophicus to retard the movement; it is through them that the " hfe blood " passes to gather itself in a last elan, before the final diminuendo.

Alleluia Dominus regnavit.

The Alleluia repeats the words which have made up the Verse of the Introit; It sings of the beauty, the strength and the power of the Kingdom which has been inaugurated today.

Perform the vocalise with a vibrant voice, in a tempo fairly broad. The melody is fairly heavy, as the manuscripts show- most of the neums to be long. The Verse is as usual, more animated. Here are manv nuances to be underlined.

Offertory Deus enim.

The Church borrows the words of this Offertory from the same Psalm (XCII) which furnished the text of the Alleluia.

It is also a Hymn to the Omnipotence and the incomparable Excellence of this Child of a Day who has ruled since all Eternity. It is again the Vlllth Mode which the composer has chosen to exalt this Absolute Sovereignty of the Messiah ; the idea and the musical expression seem in perfect accord.

The melody is powerful, broad and somewhat weighty with little movement. The ambitus is extremely limited, being confined within the limit of a fourth in most places; there are the long " tenues " on DO which arc repeated ceaselessly and all of them leading to the Tonic, Sol.

However there is here a great sense of Majesty, a strong force of affirmation which is difficult to translate into execution. There is really only one way to succeed, and that is to understand and make evident the Greater Rhythm, that pulse of life which circulates through all the elements of the piece, organises them, forms them, orders them and animates them, uniting them and blending them into a broad synthesis.

So sing this piece with great feeling, neither join too much, nor break into bits these long neums; and do not make heavy

240 Part II.

or materialize the endless holds, where the composer has put so much of his soul; allow the " life blood " of intensity to pass through all these melismas; hold back somewhat at each cadence, and " depart " directly, with the elan which follows, in crescendo towards the strophicus on DO which are attacked gently with slight " messa di voce '\ Attack vigorously " parata ", affirm well " sedes " and each one of the words which follow, as far as " ex tunc " , sung with all the amplitude and expression possible. As for the last phrase : " a saecitlo tit es " , it also demands the maximum of firmness and power, with its B Naturals which are repeated in almost direct contact with the Fa, giving the true flavour of Mode VIII.

Communion Exsulta.

It seems that from the beginning of this Mass " at Dawn " , begun joyously, the idea of divine majesty grows from piece to piece, with the Offertory as the climax. With the Communion we return to the other idea of these Christmas Chants, that of delicacy, grace and recollection. Here is also a candid and serene joy, marked with a certain gravity.

The Mass of the Day.

In contrast to the Midnight Mass, all the sung parts of this Third Mass — with the exception of the Offertory — ■ celebrate the coming to earth of the Messiah, and the great joy which results from it. This is perhaps the explanation for the more joj^ous, the more objective character of all the pieces. They are not less beautiful than those of the other Masses, but they are less profound and less rich in interior contemplation, of course, with the exception of the Offertory, Tin sunt, and somewhat the Introit, Piter natus est. Here, another aspect is given to the Christmas Mystery — the human aspect, Emmanuel, God with us, and for all Eternity. Because of this admirahile commercium which is to be established in the Person and in the Work of the Saviour, between the Divine Nature and poor human nature, the Church, unable to contain its joy and enthusiasm, " breaks forth " into songs of praise and gratitude.

Introit Puer natus est.

This starts with a cry of joy, which bursts spontaneously from the heart of the Church. It is Mode VII, the Mode of

Chapter VIII. — The Interpretation of the Chant. 241

exultation : a Child is born, and for tis ; these two ideas are set in relief : Sing the natus est joyfully, but treat differently each of the two nobis ; the higher one light, and the second one with a certain " gravity " and solemnity, with its descent of a fourth and return to the Tonic. After nobis, in spite of certain melodic motives, the atmosphere changes a bit : The Divine Prerogatives of the Messiah are to occupy the field of vision. Before this sovereign power, the interpretation would demand more majesty, more solemnity, but tempered by loving contemplation.

Gradual Viderimt omnes

The Gradual also is full of fervour and enthusiasm. Depart in a moderately brisk movement, and mount joyously in crescendo towards the mi of the climacus which ends the Intonation — do not attack this climacus with force, however, but sing it easily. Affirm vigorously the fines terrae, with its " suite " of " tenuto " notes and " departures " to the lower third. After the light decrescendo at the end of terrae, depart joyfully taking care to connect closely the three words saltiture Dei nostri, in spite of the quarter bar, which indicates here as often, not a stop, but a simple musical punctuation. All this second Member, which is perhaps the expressive centre of the entire piece, must be sung whole heart edly in a great elan of vibrant enthusiasm, with all the intensive nuances which the melodic line demands : a crescendo which must begin with the porrectiis of Sahitare and mount progressively through Dei, the final scandicus being strongly supported, almost scanned (according to the manuscripts); then descend delicately onto the final of nostri.

At the beginning of the second phrase, Jubilate Deo, the feeling changes somewhat; the movement, always joyous, but very light and with weh-modulated voice, continuing thus to the end of the first part of the gradual, with very simple nuances of intensity and duration.

After the light intonation of the Verse, do not rush into the long vocalise of Dominus; hold back somewhat on this " suite " of neums made up of elans and long descents, and conduct all the last incise in a bright movement, with crescendo which culminates in the rising Quihsma, before falling to la and estabhshing itself well on salutare suum ; — careful here to give full time to the single notes which fall to la. At ante conspectum, we have almost the same melodic fine that we found on the last Incise of Dominus, and from here to the end are a series

242 Part II.

of beautiful and expressive curves before the final double curve which brings this superb piece to a calm and serene close.

Alleluia Dies sanctificatiis.

This Alleluia is only a simple adaptation, very ancient of the usual Ilnd Mode type, which is tobe found on a number of the Saints days following Christmas. It would be futile to look for a special accord between text and music. It is a very joyous and light piece, with a warm and clear sonority, and adapts itself well to the sentiments of this Season.

Communion Videnmt omnes.

The Communion Viderunt omnes in the second part is exactly the same as Revelahititr , the Communion for the Mass of the Vigil. Here, the salutare Dei nostri is a very natural conclusion to the joyous elan of the first member. It must be sung with a rapid movement in a single flight, without a marked rallen- tando on terrae to anticipate the brilliant conclusion.

Offertory Ttd sunt.

^^'ith the Offertory Tni stint we enter another world, or rather we return to the character, so charming which we found in the sung parts of the Midnight Mass. Text and melody are in perfect accord to separate the soul from all human events. It is a long comtemplation of the Divine Attributes of the new-born Messiah, the absolute Master and King of all creation. There is little movement in this incomparable melody, if we except the Tn fundasti which bursts forth in a sentiment of adoration which the composer cannot control.

Do not hurry the tempo or force the voice! maintain to the end and from the Tui sunt, a broad movement (without slowing down too much, but preserving the profound character of text and melody) ; give to the voice all the mellowness and warmth possible; underline by imperceptible nuances of intensity and movement, the slightest undulations of the melody; round well all the different neums which succeed each other, giving to each note its full time value, and blending the whole into an uninterrupted legato. What an expansion of love and strength in the ascent by four Climacus at tua est terra! Join closely,

Chapter VIII. — The Interpretation of the Chant. 243

without interruption, even at the Httle bars, the words pleni- Uidinem ejus He fundasti, leading this fine period, very flexible and light at the start, into a progressive crescendo, which finds its climax on the ht, which is to be sung broadly and with a little emphasis, but with no stress, keeping the reverent character of fundasti. Then, after a silence, which is like the great and mysterious atmosphere where God pauses to contemplate his work, the phrase jitstitia et judicium, so difficult to describe with its extraordinary movement of sweet and luminous warmth^ cadences in the Mode of Re. Departing in the same Mode, praeparatio adds still more serenity to the piece, before returning and concluding in the Mode of Mi, leaving us in that indefineable atmosphere of beauty and adoration.

We believe, with Dom Gajard that the Gregorian Art reaches, in this Offertory, its maximum of expression. These marvelous pieces are not only works of art, but also and most of all^ principles of force and action. For those who have faith, it would be profitable to sing them over and over, humbly in a great act of love and " abandon ".

The Easter Mass.

The Easter Mass deserves a long study, but here we shall limit ourselves to a few short paragraphs for each part.

Here in this Easter Mass, we have an outstanding example of the great versatility and astonishing variety which has always been present in our Liturgical Offices. All the aspects of mystery are in turn represented.

We have here the Chants that we expect : those where hearts pierced by meditations on the sufferings of Christy may finally be able to give to their Master, conqueror over death, and glorious, all their thanks and appreciation for the Work of Redemption accomplished; songs of overflowing joy, happiness and spiritual exaltation. Each one has its own particular note, the Haec dies, the Sequence, and the Communion.

Elsewhere, the joy is more subjective, more meditative and more profound, as in the Alleluia, or it is even completely suppressed in the Offertory, before the contem- plation of the Work of Redemption; the Introit is unique, and belongs to a world all its own. For this reason we leave this piece for the last.

244 Part II.

Gradual Haec dies.

This Gradual is fundamentally only an adaptation of a well known Mode II formula (type Justus ut palma, Requiem, and Tecum principium, which w^e have analysed in the Christmas Midnight Mass.

Here, although the general line is kept, the composer has introduced interesting modifications to suit certain words. As in the Tecum principium, it is at the beginning where these original phrases have been introduced. At Haec dies quam fecit and on the Versicle Confitemini, free rein has been given to the imagination.

In all the intonation there is a joy, an enthusiasm, a " youth of soul ". After the first Clivis, the melody unrolls, light and flowing. To this beginning, give a general movement, very live and alert (but always even). In most choirs this intonation is always too slow, too heavy, to weighty; here the c = (celeriter) of the manuscripts is eloquent. And this joyous " flight " must not be interrupted by any of the " long " neums; but the melody must flow lightly through these, giving to them their true rhythmic value, but no more (on fecit and Dominus). Make known the different nuances of the two " double " Do over fecit : the first is arsic, while the second is thetic ; this elan fe commands and controls all the rest of the phrase. Dominus must be sung with a full and enthusiastic crescendo, full of feeling.

At exsitUemus, the melody resumes its classic form; however, there is a lightness and a freshness here which accords perfectly with the dominant note of the whole piece, exultation. The et laetemur introduces a nuance of gravity into this flood of joy which pervades the whole piece. There is to be a progressive rallentando from the last member of in ea which, though remaining light, introduces a shade of breadth before the Final.

With the Versicle Confitemini Domino, resume the movement of " spiritual exaltation " of the beginning, but be careful to keep control in order not to be carried into a disordered movement. A new nuance is introduced at the quoniam bonus, that of admiration unbounded, an amazement of the soul before the splendor of the Work of Redemption accomplished and the immense Love that it implies. Enter progressively in the course of the quoniam, a movement more and more intense and enlarged, which must lead in an uninterrupted

Chapter VIII. — The Interpretation of the Chant. 245

crescendo to the upper " double " sol; this must be taken very lightly (head voice), and with well modulated tone. The essential word here is bonus ; sing it broadly, well supported, and as expressively as possible. (Of course without falling into affectation or sentimentality; all nuances must be natural without striving for effect).

At the words quoniam in saeculum, resume the rapid and joyous tempo of the beginning and keep it to the end, with of course the gradual broadening of the Final Cadence of the last member misericordia ejus.

Communion Pascha nostrum.

The Communion also is charmingly light, and it keeps this quality to the end. Give to the movement plenty of life, from the beginning, with a well marked elan at Pascha, which will give the choir a good start. There is a little note of solemnity at immolatus est with its long quilismatic neum, where w^e are reminded of the " price " which has been paid for our redemption; but the pervading joyous note must not be lost.

The second phrase is unique in the repertoire in flexibility and freshness. Start it piano, and after the itaqiie which is very slightly ritenuto, permit the melody to unroll with all the fluidity and grace possible, without touching earth, so to speak; here, especially, the ictus must not be material; it is pure rhythm, a gentle line with slight undulations, which planes towards the first Podatus of veritatus which must be as the culmination of the crescendo and accelerando of the entire phrase.

Start the triple Alleluia piano, in a fairly broad movement; then from the second Alleluia, affirm clearly the crescendo which is to lead us to the third, which is to be sung very broadly and with all the force of our lungs, though always with controlled tone and well modulated voice. Round well the Final Cadence, and end with serenity.

Sequence Victimae paschali.

The beautiful and fresh simpHcity of its dialogue makes this one of the most inspiring of the Easter pieces. The melodic line is very fine with its great curves, placing in fine relief the joyful text. Support well, and retard the a mortuis vere, and sing with conviction the ardent prayer tu nobis victor rex, miserere.

246 Part II,

Alleluia Pascha nostrum.

The Alleluia is always joyous; but it is not necessary always that it display an exuberant joy. Sometimes enthusiasm and lyricisme may meet to express very profound sentiments, which demand a movement of great amplitude. The fine vocalise of immolatus est in the Versicle would easily invite a fast movement and a brilliant interpretation, but deeper study of text and style would prohibit a too fast tempo.

The jubilus Alleluia, with its sustained beginning (according to the manuscripts), and its large intervals, would gain rather by a fairly broad tempo, with well marked nuances, and sung with a vocal sonority as w^arm as possible; a great rallentando on the magnificent final. After the repeated undulations on the dominant, followed each time by a broad and full descent to the Tonic, the last incise is certainly profound and solemn.

Let us remark here that the manuscripts give a second Versicle to this Alleluia, — which is no longer in use in the Liturgy : " Epulemur in azymis sinceritatis et veritatis " : the melody to this verse accords with the interpretation suggested here.

This Alleluia synthecizes well the two aspects of the Easter feast, joy mixed with admiration and awe at this mystery of the Redemption.

Offertory Terra tremuit.

With the Offertory we enter into another world. It has nothing in common with the other Chants of this Feast. Here, there is no longer human exultation and joy, but a profound and loving contemplation of the Redemption as it affects all creation. The text would seem at first glance to speak only of the facts of the Resurrection of the Lord, but the melody has a broader meaning. Observe the solemn and magniiicent character of the melodic line with its sudden ascents and unusual intervals, and finally the strange development of the Alleluia with its marked " bercement, and insistent repetitions. "

We are in the IVth Mode, and there is in this piece, in spite of the great ascents, a serenity and a majesty very much like the Tui sunt of Christmas. It would seem that it sings the return of the redeemed creature and of all creation, to the primitive plan of original justice, from which sin had caused him to fall.

Chapter VIII. — The Interpretation of the Chant. 247

This Offertory demands a very broad tempo, underiining each one of the details, but also a vibrant voice, full of admiration, of gratitude and of love.

Introit Resurrexi.

As we have said, this Introit occupies a world apart. Says Dom Gajard, " Here the Lord Himself, having accomplished the great work for which he has come to earth, presents himself before his Father to give Him his adoration and his love. All here is divine : It is an extasy of God in God. The piece is altogether immaterial, spiritual. There is scarcely any movement; it does not pass the limits of the fifth re-la, except on mirahilis, where it descends to the lower do in passing, to give more depth to the prayer. Most of the Chant stays in the narrow limit of the third mi-sol. This is a very small compass for a song of triumph, but it is after all God Triumphant here, not a creature. It seems the echo, translated into earthly language, of a conversation taking place within the Trinity. "

The first phrase is like a very sweet realization on the part of the Lord, of what has taken place, and of finding Himself once more with his Father, and for Eternity. Observe all the peace and tenderness implied in the words adhiic tecum sum. The second phrase, posuisti super me manum tuam with its long tristrophas on fa which give the impression of an extended and omnipotent hand, sing with more intensity. But sing sweetly the Alleluia which closes it, dwelling a little on each one of the re of ia (marked with -< = (tenete) in one of the manuscripts), and prolonging indefinitely the final fa, altogether extatic. Then, after a long silence, the Lord, awaking and becoming conscious of Himself murmurs in a movement of love and admiration, "Ah yes! truly our Works are admirable"! mirahilis facta est scientia tua ; this is to be given in a well marked crescendo. Finally the two Alleluias, the first with its very easy movement from mi to sol. (Leniter, say the manuscripts), and the last which cadences on mi, leave us in that atmosphere of peace and calm, of extatic contemplation where we have been from the beginning.

This Introit is to be sung broadly, but always without heaviness, and almost in half voice, without great nuances, and in a rather low tonality. It would give a serious countersense to sing it with a great cry of joy, and to give it " eclat " under the pretext that " it is Easter ". Its real character would be lost. Sing it thinking only of the One who is speaking, and of what he is saying, and you cannot help but understand.

N° 758. — 9

248

Part II.

In order to comprehend the true interpretation of this Introit, one must know well what is Christianity and the supernatural life, the real character of the Christian Religion, which should be above all, not a great exterior demonstration, not a sentimentality, but an interior faith and love, a thing of the soul, a union of all ones self with all of God. To know also that He is the Creator and the End of All, and that He is infinitely above us. And to understand finally that the only reason for our existence is in Him, by Him and for Him. Thus this Resurrexi will be for us the true Easter Song.

Keep the atmosphere of mystery and adoration by following it with Kyrie no III (Deits sempiterne).

Intr. i;

IV

fk ■—■-■-■--- ■- — ■ 5 5— ■

— f-

Re-sur- re-xi,

* et adhuc te-cum sum,

— %hm-m—-m-—^iHt — ■— ■'■ — ■-■ — tP—-—- — ^'tutm «-P« — -tn 1

al- le- lu- ia : po- su- i-sti su- per me

ma- num tii- am, al- le- lii- ia

■ ■ mi- ra- bi- lis

;_iV;_._^_fNfi_ii:^_p __:_«__.s:lJ

fl— = ; -*

fa- eta est sci- en- ti- a tii- a, alle- lii-ia,

Chapter VIII. — The Interpretation of the Chant. 249

— V..-

.fiz.^?nr?i=t

al- le- lu- la.

The Pauses.

Among the most important elements in the Greater Rhythm are the pauses : They are factors of unity as well as separation; they show the relationship of one phrase to the other, whether It be synthetic are antithetic. Therefore as much attention should be given to these " punctuation marks " as to the melodic phrase — in fact they are a part of the melodic phrase. As we have mentioned before, if they are too brief, the true serenity of the Chant is lost; if they are too long, the unity suffers. As in the course of the melisma itself, here there must be fiexilbihty and " souplesse " also. True art is never regimented; so it must be always with the Greater Rhythm of Gregorian Chant, including the " silences ".

For the choir " debutant ", it will be necessary perhaps to have an exact rhythmic relationship between cadences, pauses, and the following " attack ", or rather " ghding in ". (This must be always clean, but easy and natural, with no " shocks ".) For the experienced choir, however, the group which has been singing together for some time, and know well the Repertoire, there must always be flexibility.

For the short verses of the Gloria in Excelsis, and the Credo, one count (approximately) at the double bars, is correct; but here, in my opinion, the important factor is the quality of the last note of the short phrase, and the first note of the following phrase : The diminuendo of the final note should " float " over the " bar " with only a very brief pause for breath. (If one group sings all the verses). If these parts of the Mass are sung Antiphonally as they should be, the coordination must be perfect between the two groups, for the proper effect. With practice and true concentration this should not be too difficult. Never " leap '' into the following phrase, but " suivez " with ease and reverence, naturally and not too " studied ".

The longer and more elaborate phrases may sometimes demand a fraction longer " across the bar line " approximately one binary rhythm. Here, the Choirmaster must discern just exactly what

250 Part II.

proportion is suitable and artistic. Again, from the end of the diminuendo to the taking up of the next phrase, is the difference between art and mediocrity, and often between order and chaos.

After a ritard, always be careful to " pick up " the next phrase a tempo ; otherwise, the unity of the piece may be hopelessly destroyed. Here, as always, the Greater Rhj^thm, the balance, the meaning of the " complete " piece must be considered.

As a rule there is no breathing or halt at the Incise, but here as always, the meaning of the Sacred Text, the melodic line and Liturgical tradition take precedence. For instance in the repetition of many Alleluiatic phrases, the melody may be continued over the Incise or half bar, while in others, the musical sense or text forbids such a procedure. The Agnus Dei has its origin in the ancient Litanies; therefore it is not correct to continue the " miserere nobis " as part of the phrase ending " peccata miindi" ; as formerly " miserere nobis " was the response of the people to the invocation of the priest, " Agnus Dei, qui tollis peccata miindi '\ I have heard very " artistic " groups ignore these more important demands of liturgy and text. It must always be in mind that Gregorian Chant is, first of all, prayer, then a great art, but this art can never be for its own sake, but it is forever subservient to the real purpose and function of the Sacred Chant, w-hich is to enhance the Liturgy and give the highest honor to God.

The Prcblem of the Asterik (*).

At the beginning of almost all chants, there is a phrase, an incise, sometimes just a word, followed by the sign (*). This " intonation " is always sung or intoned by one or several precentors, followed by the entrance of the choir, or complete group (if it is a question of a Schola), after the asterik (*). Often the artistic choirmaster finds himself exasperated with the many different types of " Intonations " • — for there are many kinds. While some, such as the First Mode formula Re-La- Si'? -La with its different combinations may be given a really artistic nuance, before the entrance of the choir, there are others, very short, after which, to pause seems to destroy the continuity of melodic and textual thought.

There are two possible interpretations at the (*) : The regular rhythm may be kept, the Choir continuing without pause, the Intonation of the Precentors; there is no Liturgical Rule against this procedure. The only question is, " Can the Choir enter

Chapter VIII. — The Interpretation of the Chant. 251

peacefully " and without " shock "? And it is for this reason that the Director at Solesmes has chosen the other method : A brief pau^efs always made after the Asterik * to give the singers the opportunity to enter easily. However this " haison " must always be artistic, and in accordance with the style of the phrase. The Chironomy is to be continued and the rhythmic changes if there are any, well planned.

When the " initial " phrase or word ends with a long note, or two long notes, and when it consists of a real sentence there is no difficulty. At all times start the Chironomy with the Precentors and make the short pause a part of the Rhythm; sometimes it will be necessary to change a " binary " to a " ter- nary " or visa versa. Let us try to explain with a few Examples :

Intr. 1

VIII — B — ■-

Ad te le-va-vi * a- ni-mam

Ad te le-va-vi * a- ni-mam

Gaude- te * in D6-mi- no

0

,2,0^ 1 ^

b

-ii_|

. . J! ■ •^■'

■ fl P.

J ■ r

Gaude-

te * in D6-mi- no

252 Part II.

The simplest procedure for the a\'erage choir is to give one simple beat of " preparation " after the " long " final note, whether or not it is followed by an Incise or Half Bar. In the first example, the normal rhythm " leaps " the Incise bar and makes a ternary rhythm with the following first note of the Podatus. For the Intonation, two binary groups will be necessary, the second group starting on the Incise.

In the second Example, almost the reverse will be necessary; the normal rhythm being 1-2, 1-2., and changed to 1-2-3, i~2- in Example

The following are among the many types of Intonations ending wdth one or two long notes :

Intr. i ^-

Intr. 1

, .

Gaude- amus * 6-mnes Exsiir-ge * qua- re

•

Tract. ^-T^V-J*pJ,

VIII

Lauda- te * D6-minum

Intr.

VIII

■ ■*■• J ■

-m^

-s

^ Allel.J ^^_;-B-

--+-7U

D6-mi-ne * ne longe Alle-lii-

Comm. S— - — ■^i-"—- ■ii

vi ■ — r ^—^

Domus me- a, *

When the Intonation ends with a simple punctum, or a neum not lengthened, it is usually best to lengthen this last note or neum; either by a dot or a horizontal episema. Where the meaning of the text or the musical phrase demand it, simply lengthen this last note, and continue without a " break "; we find this continuity of " sense " in many of the Antiphons, as well as the other chants : Among these are the Introits : ' Adorate Deum " , " Siciit ociili " , " Didu clamarem '\ " Justus

Chapter VIII. — The Interpretation of the Chant. 253

es ", " Omnia quae fecisti " ; Offertories : " Siciit in holocausto ", " Sacerdotes Domini " ; Graduale : " Ego dixi " , " Adjuvabit "\ Communions : " Passer invenit " , " Honora Dominum " , " Pacem meam ", " F actus est repente ". There are many others with the last note lengthened where a following " break " would be bad taste.

For those Intonations ending with a Podatus or a Clivis (not lengthened), it is better to lengthen the two notes as at the end of a phrase; this makes a nice " nuance ", and permits the choir to "enter" without a "shock". Such are the Offertories : " Emitte Spiritum " and " Ascendit Deus " ; Communion : " Memento ", and Graduale : " Respice " ;

offert. ?z:zii:i:jilzzin offert. iiiz"-i:z:_zizz

--- 2 VIII — z — a — ■•

A-scen-dit * E- mit- te

S r-+ n r S

Grad. ? 2 ^ Comm, ^—

V

S i Comm, ? J-1--

^-M-*-- y IV — ■— i— r?-

Re-spi-ce, * Memento * verbi

Many Chants may be given a very beautiful nuance of expression before the Asterik (*). Besides those of the First Mode mentioned above, the Introit of Palm Sunday, " Domine * ne longe ", the Communion for the same day, " Pater, * 5/ non potest ", and the pieces which have extended Intonations.

There are other " Intonations where the asterik (*) seems misplaced, and a pause of any sort would destroy not only the sense of the Text, but the Melodic Line ". It is for the Choirmaster to discern these points of " liaison " and handle them as artistically as possible.

Here as always it is necessary for the Choirmaster to understand well the text and the- complete " Idea " of the Musical phrase. Each Chant must be considered separately for its special style, as no hard and fast rules can be made for all alike.

CHAPTER IX.

GREGORIAN ACCOMPANIMENT.

This chapter is not meant to be a " theory " of Plainchant Accompaniment, as there is no such thing. These perfect melodies were composed long before any kind of contrapuntal or harmonic combination was known; there is additional proof of this fact in many of the melodies themselves, which defy any kind of harmonic substructure whatsoever. Therefore, to accompany the Liturgical Chant is a gross anachronism, and when possible the flow of pure melody should be left unfettered.

Then w^hy discuss or write about Gregorian Accompaniment? Because in our days the use of the Liturgical Chant is obligatory in all Roman Catholic and many Anglican Churches. Even other Protestant denominations have adopted certain Plainsong H3^mns and Chants for their services. As not many choirs are capable of a perfect " a cappella " performance, some kind of support is necessary; even some very fine choirs become almost panic stricken at the thought of singing without the aid of the organ. It is much better to sing well with a good accompaniment, than to struggle helplessly through a service unaided. But, the accompaniment must be a good one, and worthy to become a part of the sacred chant : it must aid and not hinder the free rhythm and the modality, and must be so closely wedded with the chant and the text that the singers and the assistance are as it were unaware of its presence. This homogeneity or perfect accord between the melody and its accompaniment can only be accomplished by a profound study of text and melopee, as well as those special modal and harmonic difficulties demanded by the accompaniment itself; our organist must also be always conscious of the Greater Rhythm with its modulations and different dynamic and agogic nuances. The fact of being a great organist and composer does not make one competent to accompany plainchant; the truly great musical scholar will realize this, and approach his profession with great humility. There is no place today in the field of Liturgical music, for the egotistical musician who thinks he has the right to introduce Dominant and Diminished seventh

Chapter IX. — Gregorian Accompaniment. 255

chords or any other strange harmony which happens to strike his " artistic " fancy into his " Plainsong " accompaniments. The organist who composes or improvises compositions with Gregorian themes has to be always vigilant when accompanying the Liturgical service; in the latter field he has not the liberty of the composer, and must always differentiate.

For the neophyte in the field of Gregorian Accompaniment, I advise the use of the best written accompaniments. Those of Henri Potiron and Aug. Le Guennant^ of the Gregorian Institute of Paris, and those by Dom Hebert Desrocc^uettes, monk of Solesmes, and now professor at the Pontifical Institute of Rome. There are other very good collections, but care must be taken in the choice of plainchant accompaniments, as some are not true to rhythmic and modal lines. The greatest erudi- tion in this field is still among the French who are after all much closer to Solesmes than the rest of the world; but much fine work is being done in England, Spain, Switzerland, the United States, and other countries.

The serious church musician will eventually want to learn to write and to improvise his own accompaniments. As we have stated before, this study is somewhat complicated, and involves not only a thorough knowledge of counterpoint and harmony, but a special kind of technic. It is not my intention here to expound this special technic, as there are several specialists who have accomplished that task most admirably (*). I only want to make my readers more conscious of the problem and the importance of ""special study with the best authorities in order to bring more beauty into our liturgical services. Soli Deo gloriam. Cw»>*

The three most important elements involved in the study ; }- of Gregorian Accompaniment, or even in choosing a goodg V> accompaniment, are Rhythm, Modality and Style. ^ <^

The Rhythm of the Melody determines the place of the chords and often the choice of chords. Normally the change of harmony is on the ictic notes; but this does not mean every ictic note, which would produce a very heavy movement in the chant.

(*) The best text on the subject of Gregorian Accompaniment is by H Potiron of the Gregorian Institute of Paris. " Legcns Pratiques d'Acc'ompagnement du Chant Gregorien", it is being at this moment pubHshed in EngUsh, by Desclee of Tournai. Other good volumes are the " Vingt-neuf Pieces Gregoriennes Harmomsees, avec commentaires rythmiques modaux et harmoniqiies " by Dom Desrocquettes and Henri Potiron. PubHshed by H. Herelle & Co.. Pans.

256 Part II.

* As a general rule, the following important ictic notes call for o^ a change of harmony, or some kind of harmonic movement :

The long notes or group^s such as the Pressus, the dotted punctum. i Bistropha, lYistropha, ictic notes bearing the horizontal episerna. f Usually ictic notes forming neums of_an arsic nature, such as

the note preceding: the Ouilisma and the ictic note of the Salicus. *^ Notes of Modal importance, points of modulation . etc. require

changes ofliarmony"

^>^ The'uriimportant ictic notes are those not mentioned in the preceding classification; as a rule they continue under the harmony of the preceding " strong " note. Weak ictic notes are usually those betw.een the strong ictic notes in stepwise progressions, either asrpnding or Hp^rpnrlinp- In determining the strong and weak ictic notes, the text is also to be considered. as it often decides the change of harmonj^ The natural rhythm of the Latin words, the relationship between the principal and secondary accents of the text will play an important part in the accompaniment of the chant, especially the Psalmody.

In the harmonization of such formulas as the following, do not change the harmony on the weak syllables + .

M-4zi-4

Do- mi- ne. G16- ri- a, etc.

The second syllable of Kyrie, Dominiis, Gloria, etc. in such cases, should keep the harmony of the initial syllable. However in case of a florid treatment of the weak syllable such as this example of Domine in the Requiem Mass, there may be harmonic movement.

Domi- ne.

There are a number of melodic types in the Gregorian reper- toire to which different texts have been adapted. We give a few examples. Here in writing an accompaniment, the text must be studied.

Chapter IX. — Gregorian Accompaniment.

257

Introit. jMode I.

^^=^:

Da

pa- cem. Introit. Mode III.

Tract. Mode VIII. Ju-bi- la- te.

- — #-•-* — 9 — #— # 1

Gau-

dens gau- de-

bo

He.

There are also many Versicles of the Graduals which appear in different parts of the Liturgy with very different words adapted to the same Melodic formula. In such cases a careful analysis of both text and melody is important as a guide to the best taste in each case.

Modality. — The Gregorian Modes are not characterized by a scale of seven notes as the classical theory explained in the first part might suggest, but by a small group of notes with the modal Tonic in the center ; when the melody wanders away from this Tonic, it has a tendency to seek another point of support, thus causing a modal modulation. These modal modulations are very frequent, but the mediaeval authors say little about them. Neither is the subject of the B natural and the B flat well explained. We are given the impression that the B natural is always to be considered essential and the B flat to be taken as an accidental, which is anything but exact, as in many chants in Modes V and \T employ the B flat throughout; and in almost all the Modes we find definite modu- lations where this B flat is really an essential note. This subject is very important and remains one of the most difficult problems for the Gregorian accompanist. The fohowing cases are always delicate to handle :

Allel. viii ■

Ostende. —

-+-

Grad. V Jlt^i. ■■g^^i

Esto mihi, 1 ♦"

^i^:^-

HHh-

^TTi-

fa-

ci- as.

258 Part II.

There are many examples in the Gregorian repertoire where Bkj and Bt? follow each other, creating embarrassing situations for the accompanist. A very careful selection of chords or incidental harmonies is necessary in these cases, in order to avoid the impression of false relations, and to maintain the true nuance of the phrase.

The best authorities have found it convenient to divide all the Gregorian repertoire into three Tonalities or groups; there are three places on the great Gregorian scale where we find the characteristic modal intervals.

The following classification is that of Dom Desrocquette " *. This is only a very elementary explanation ; for a fuller treati se on the Gregorian Hexacordal Theory, read Henri Potiron — " L' Analyse Module du Chant Gregorien ", and other books by the same author, all published by Desclee, Tournai.

Group I ■ — Group of Do : do, si, la, sol.

on Do : Modes V and VI; on Si : Modes III and IV;

on La : Modes I and II; on Sol : Modes VII and VIII;

Group II • — Group of Fa : fa, mi, re, do.

on Fa : Modes V and VI; on Mi : Modes III and IV.

on Re : Modes I and II; on Do : Modes VII and VIII

(with Si flat below Do).

Group III • — • Group of Si Flat : s^'b, la, sol, fa.

on Sit? : Modes V and VI; on La : Modes III and IV;

on Sol : Modes I and II; on Fa : Modes VII and VIII

(with mz'l? possible below the Fa)

This last group does not exist independently, but is justified by the numerous secondary cadences, in spite of the absence of a Mi'\> in the chant.

The first group., or Do group is characterized by the Si natural.

The second, or Fa group is identified by the absence of Si natural and the possibility of the B Flat.

The third group, that of Bl? by the possibility of an E> la the accompaniment, although there is no appearance of E Flat in the Chant. We append an example for each of these tonalities*

* Courtesy of Desclee.

Chapter IX. — Gregorian Accompaniment. 259

It is necessary to analyse all the chants carefully to find those chants which belong entirely to one tonahty, and those which modulate to the other tonalities, and the precise point of these modulations.

ist or Do Group. — Kyrie of Mass I; — Gloria of Mass XIV; — Sanctus of Mass X.

2nd or Fa Group. — Kyrie of Mass IX ; — Sanctus, Mass XI ; Ant. Ave Maria.

^rd or B Flat Group. — No melody is entirely in this tonality, but certain incises of the following may be cited : Communion — " Pacem relinquo vohis ", from the Mass, Pro pace. (Second member). This is an interesting melody for the reason that the First Member belongs to the Do Group ; the Second Member to the B Flat Group, and the Third Member to the Fa Group. We give it below.

C Group I j Bt? Group

-■ — ■-

Pa-cem re- linquo vo- bis : '•' pa- cem me- am do v6- bis,

Fa Group

di- cit Domi- nus.

See also Graduals " Propter veritateni " , and " Probasti Domine " .

A number of melodies contain all three tonalities.

The following transition rules are given by Dom Desrocquettes ^

From the ist Group to the second, the tone of transition is the Fa, accompanied by a lower note, usually the half-step, mi- fa or by the Br? not followed by a lower note.

Fromi the First Group to the Third Group by the note Bt? accompanied by a lower note, especially the half-step, la-si';.

From the Second Group we pass to the First Group by the B natural. From the same group to the third group, the

260 Part II,

transition tone is B Flat. From the third group to the first group, the note of transition is the B natural, and from the JUo third to the second the transition tone is Mi natural.

) J^ Also we pass from one group to another by means of a

^ clearly established modal cadence belonging to a different

group. Thus the cadence of the VIII th Mode on Sol belongs

to the First Group, no matter what may be the immediate

context.

In the harmony then we must consider B natural obligatorj^" in the Do^Group; in the Fa Group the R natural is forbidden when a B"Flat is possible. In the 3£d_Groupthe Mi natiiral IS not to be used, but as this tonalityTs~usiiaily confined to short members, and closely linked to the 2nd Group, passing harmonies containing the Mi natural are authorised. The same as is the case of passing harmonies in the Fa Group, when the B natural is permitted. Either when the principal tonality is in the Do Group and we have to make a secondary modulation to the Fa Group, or when the melody in the second group uses exclu- sively the B natural, we are obliged to employ a B natural in the > accompaniment. It is very important to know exactly the * ^ precise mornen^ and note when these modulations from one ^ group to another occur. This is one of the greatest difficulties in the art of Gregorian accompaniment, and the smooth flow of the accompaniment depends greatly on this precise knowledge ; for any failure to properly blend these points of modulation causes modal confusion.

5\>A There are a number of pieces which lie exclusively in one

^ tonality. For the Do Group where the Fa is avoided, the

^ Fundamentals permitted would be G Major, e minor, a minor

^. and C Major, and excluding the chords of F Major and d minor.

In the Fa Group the permitted chords would be those of d minor,

F Major, a minor, and C Major, with the possibility of the chords

of g minor and B\? Major, when a Bb makes its appearance

in a harmony of transition. The third or B Flat Group, as we

have said, is usually confined to a single member, or perhaps

a division in the Fa Group. In modes I, II, V and VI, we

find the more frequent modulations to the tonality of Bj?.

Here the fundamentals are to be F Major, d minor, g minor,

and Bi? Major.

j^ Of course the first inversion of all these chords is permitted ^ and advised in the interior of the phrases; also passing notes, ., appogiature, suspensions, and other contrapuntal devices. ^ (See paragraph on the Style, later in this Chapter).

Chapter IX. — Gregorian Accompaniment. 261

The Hexachordal Theory. (^)

Several authorities of the present day, notably Professor Henri Potiron, present the Hexachord Theory, which was after ah a conception of the theorists of the Middle Ages. The conclusion is that the truly homogeneous Gregorian scale is a Hexachord (six notes), and not a Heptachord (seven notes). The solmization of Guido d'Arezzo comprised only six notes, fact which establishes more completely the Hexachordal Theory. The seventh note may intervene without causing a modulation : This is true of many B Flats, as well as the Fas in a cadence of the Tetrardus. The B natural, however, is usually a modulating note, except for cases where it does not appear in the cadence.

Three Hexachords are recognized in the repertory of the Gregorian Chant : First, the Natural Hexachord, where the Si does not exist as either Sir> or Si^ .

=fl {')

-^ 7^-

Iji^stepJ

Second, the Hexachord of B ^ , which is an exact transposition at the upper Fifth :

Sf:

I ^ step I

and finally, the Hexachord of B > , transposition at the Upper Fourth :

V2 step

As may be seen, each Hexachord has a single half-step in its scale.

If a Melody leaves the Natural Hexachord, the B [^ modulates to the Hexachord of B :; , and the B 7 , especially if it is unaccom- panied by a lower note (notably the half-step La-B -; ), modulates less often, but usually to the Hexachord of Br? .

(1) Courtesy of Desclee.

(-) Dom Desrocquettes differs slighlly.

262

Part II.

Leaving the Hexachord of B ; , there is no modulation in the following Formula :

32i:

but through the half-tone Mi-Fa, and the third Re-Fa, there is a modulation to the Natural Hexachord; and leaving the Hexachord of B ; , the Mi modulates to the Natural Hexachord.

From the Hexachord of B •> to that of B ^ , and inversly, the substitution of the Formula B ^ Do, for the Formula La-B > , and vice versa, determines a modulation quasi chromatic, so the note La is Tonic of the Protus with B J ; of the Deuterus with B > ; Sol is the Tonic of the Tetrardus with the B ^ , of the Protus with B i? ; Do is the Tonic of the Tetrardus with the B t? ; of the Tritus with the B > . (Or uncertain Tonic, when the Si is lacking).

In fact each Hexachord forming a sort of autonomous tonalit3^ contains the essential elements of each one of the Four Gregorian Modes. (See former Chapter HI, in Part I).

Natural Hexachord.

Tetrardus,

l^js

Protus Deuterus Tritus

etc.

(imprecise if lower degree not expressed.) If a RJ should appear, we are no tonger in the Natural Hexachord but in the BJ Hexachord.

B Natural Hexachord.

Tetrardus, (cadence some- times imprecise.)

^n^=sr

=1;

Protus Deuterus Tritus

etc.

B Flat Hexachord.

il^l

]^£zr^=^|£=iE

Tetrardus, Protus Deuterus Tritus

(always imprecise.)

etc.

Chapter IX. — Gregorian Accompaniment. 263

To borrow a modern term, we might say that the four Modes included in each Hexachord are relative to each other, as the modern Major and Minor Scales.

Notice in the above illustration that Do is Tonic of the Tetrardus, of the Tritus, or of an imprecise Mode. The Fa is Tonic of the Tritus or of an imprecise Mode. The Sol of the Tetrardus or Protus. La of the Protus or Deuterus. The Re and the Mi may be Tonics of an imprecise Mode, Protus- Deuterus, since the degree above the Tonic is not expressed.

Modulations between the Hexachord of B j;] and that of B7 are extremely frequent.

Each section being limited according to the rules of Modal analysis, it is clear that the natural Hexachord never admits either the B ^ or the B l? ; Its harmonic S3^stem is strictly Hexachordal. ' On the contrary, the Hexachord of B ^ , by reason of the general influence of its neighbor, will admit the Fa in the moving harmonies (Fundamentals F Major and D Minor). This harmony must be relatively brief, and is never to be applied to a Cadence note, a half Cadence, or the end of an incise, even. (A melodic Cadence on Fa always imphes a modulation to the Natural Hexachord); thus in the Hymn, Veni Creator, the end of " visita " must not receive the nuance of D Minor, but of G Major. The first incise of the Kyrie IV, must not be seated on Fa (F Major) for the same reason. The nuances of D Minor and F Major are transitional, nothing more, in these two Hexachords.

The " Suite " of these two Hexachords is frequent in the First, Second, Fourth, Fifth and Sixth Modes, which often commence in the Natural Hexachord, and modulate naturally by means of the B Natural, towards La, Tonic of the Protus, and Sol, Tonic of the Tetrardus, etc.

On the other hand, the Third, Seventh and Eighth Modes (the Seventh, almost always) in the Hexachord of B ^ , and modulate either into the upper (Seventh), or the lower (Third and Eighth), by means of the half-step Mi-Fa or the third Re-Fa, towards the Natural Hexachord, where the note Re, passing Tonic of the Protus seems to attract the Melody. Under these conditions, and minus restrictions already indicated, the Fa with a moving harmony will be possible in the region of the B ^ Hexachord.

Sometimes a First or a Fourth Mode starts in the Hexachord of B J , and a Third or Eighth Mode melody commences in the Natural Hexachord, but the rules are the same as above.

264 Part II,

The modulation from the Natural Hexachord into the Bb Hexachord and inversely, takes place especially in the First, Second, Fourth, Fifth and Sixth Modes. When the melody, after having touched the B 7 , returns to the Natural Hexachord, the Harmony will permit a passing chord containing the B7 . (Chords of B; or G Minor), exactly under the same conditions as the Fa in the Hexachord of B ^ .

As for the region of the B Flat Hexachord, the Mi is not permissable : The Harmony must be Hexachordal when the B 7 dominantes the Incise and a Mi does not appear.

This brief and incomplete exposition of the Hexachordal Theory is only meant to give a general idea of the subject, and to remind the would-be gregorian accompanist that a profound study of all the elements of this art is necessary to reach that stage of worthiness demanded in the House of God.

For a full study of these questions, see " Legons Pratiques d' Accompagnement du Chant Gregorien " , by Henri Potiron, and " L' Analyse Modale du Chant Gregorien " , by the same author, (Desclee) as well as " Vingt-neuf Pieces Harmonisees avec commentaires rythmiques, modaux et harmoniques " , by Dom Hebert Desrocquettes, and Henri Potiron. (Herelle, Paris).

Importance of Analysis.

Before attempting any kind of Gregorian Accompaniment, a severe and careful analysis of the Chant in question should ^ be made. Examine first the Rhythm, and be sure of every > ictus and its importance in the phrase. Mark the most important '^ ictic notes, be sure of the Cadences, w^hether they be simple, jir>^ compound, temporary or final. After you are certain of the >- details, study the rhythmic ensemble, or Greater Rhythm for SM ' the most suitable harmonies, climaxes, relationships between ^/►^ groups, phrases, periods, etc.

After the rhythmic analysis has been satisfactorily completed, ^y>^roceed with the Modal analysis according to the three Hexachords or Tonalities. Be sure of prevailing tonality and modulations; Also transitional features and merely passing B Flats and B Naturals. When a B Flat and a B Natural approach each other closely, it must be determined which one is the essential, or if either are to be treated as essen- tials; these are often embarrasing spots as we have indicated above.

Chapter IX. — Gregorian Accompaniment.

265

Avoiding the Syncopation. *

When writing or improvising a Gregorian accompaniment, the change of Harmony in the wrong spot often causes a synco- pation, an evil which cannot be tolerated in this art. I have heard very artistic accompaniments spoiled by this error, and the organist has to be always on the lookout, especially if he permits a harmonic movement off the ictus, and at the cadences. '^

In principal a change of harmony is not to be made on a non JU*- ictic note. However it is sometimes necessary to make sortie ^»av harmonic change on a non ictic note for better voice leading, and ^^ tQ_jmprove the general phmseT When this is done, certain ^jO rules must be obser\'ed to avoid a syncopation. ^ji.

After the last note of a Binary or Ternary subdivision, the voice which has made a harmonic movement must not keep the same melodic degree, by liaison with the following ictic note. The following example will illustrate :

* Syncopation in Tenor not good.

— Correction ^J

-j_j-

w.'^

Also, if a change of harmony has been made on a single note preceding an ictic note, a change must be made on the ictic note; the same chord tones must not be tied to the following. See below :

H. POTIRON.

Correction

„ _ * Syncopated

Avoid any harmonic movement on the second note of a ternary subdivision; if there has to be a movement, it must be made

W^^

* See Potiron " Pvaciical Lessons

266

Part II.

on the last note of the group of three, and resolved on the following ictic note.

H. POTIRON.

I^q — \-

^

ipizzz:

* Bad. syncopation in Tenor

Correction

JL-»

At all times the harmonic changes made on the " up beat " must be light, and never a full chord.

After a cadence, whether final, half cadence, or incise, do not make a harmonic change on a departure on the " up beat " ; and even when starting with an ictic note, it is better to keep the preceding harmony, when possible.

>K^ In simple cadences, i_t is obligatory to change the harmony *^on the_ final jpunctum,

iFbe ^ ab'smute cadence, a half cadence, or a simple incise;

a true harmonic syncopation occurs if a preceding ictus is

on the final punctum, "whatever be their value, and whether

>u

nderlined, and not the last.

iiz — m

-1-

1^ I..

—

m=j-^'-i

--*^-

— 1

!

A. 1

^r—^^-

_j

J ^ .

F-

and not

^

ft—-*-*— ■— *-* — a

9'

t9-

i

The rules for composite cadences are more complicated. But extreme care is necessary here, and much knowledge. There is not space in this short chapter for a full explanation; study the texts which we have recommended.

^<y

^'

Proper Harmonies.

e have already given the chords proper to each Hexachord ^ or Tonality. These rules must be strictly observed. No chro- matics or foreign harmonies may be introduced. The permitted chords may appear either in fundamental position or in the first

Chapter IX. — Gregorian Accompaniment. 267

inversion, and chords containing the interval of the diminished fifth are always to be used in their first inversion. In this realm, any progression suggesting the sentimental half-step v' cadence is to be shunned. With the Major triads, any kind o^ of a V 7 combination would be absolutely forbidden : C-E-G-B [? , G-B-D-F, (F-A-C-Et? ), are most distasteful and impossible.

Passing secondary sevenths are very good, and greatly aid ^ the beauty and the movement of the Chant. All the embel- ^ lishments, accented and unaccented passing tones, suspensions, tJ appogiature, retardations, etc., are necessary, if the style is ' not to be monotonous and static. 1

The use of the Six -Four chord is strictly forbidden, except as a passing chord with Pedal Point.

Care must be taken with fundamental positions, especially when employing Major triads, as they have a tendency to halt the movement which must be kept " in flight " to the end of the phrase or period. The judicious use of dissonances (always diatonic) in the form of sevenths, or non-essential notes, also aids the movement and beautifies the composition. A deep knowledge of the techniques plus, — fine taste, sensitivity, as well as a profound reverence for the Liturgy and the Chant are the qualities of a worthy accompanist. I have heard some very " dead ", uninteresting playing by great authorities on the^ Gregorian theory, who could not make a technical error, but who failed miserably artistically and spiritually. The accompaniment must be technically correct, and also enhance the beauty of both text and melody, and make the assistance feel the spiritual power of the complete idea.

We have found in our discussion of Gregorian Rhythm, that certain groups of notes, or even single notes create a feeling of repose, while others suggest a feeling of movement. As a general rule, rising melodies are Arsic, while " falling " groups are thetic; also, the note preceding the Quihsma, the Pressus, and the ictic note of the Salicus present a feeling of activity; and groups such as the Bistropha and the Tristropha give a still greater sense of momentum. (This does not mean these groups are to taken faster). On the other hand a sense of repose is felt in the descending neums, the dotted punctums, the ictic notes with horizontal episema, when they appear in cadences.

As long as the melody is Arsic, the activity must be preserved by active chords or intervals, dissonances, etc. The chords of activity include the dissonant chords and the chords iji the first inversion, and somewhat less active, the fundamental positions having the Third or the Fifth in the upper voice.

268

Part II.

The Fundamental chords, especially with the Root in the Melody should be reserved for important cadences. In semi cadences, incises etc., the inverted chord is often better.

The Cadences of the Deutems (Modes III and IV) present a special problem. It falls in the Natural Hexachord, and we have learned that the B ^ is not admissable here ; therefore the chord of E Minor is not possible in the cadences, as this fundamental belongs to the Hexachord of B Natural, and is not compatible with the half-step above the Tonic of the Deuterus; as this half-step Fa is one of the distinguishing features of the Deuterus, the B 1^ in the E Minor triad must not be heard here. Therefore, without going into more techni- calities w^e find the authorities agreeing that the only chords possible for such Cadences are those of A Minor or C Major. In cases of the Imprecise Deuterus, however, the chord of E Minor is possible. (See Potiron — Chapter III) *.

Transpositions.

As the tessature and range of the different Modes vary, it is necessary to transpose often to a key suitable to the choir in question. For the average choir the following transpositions are the usual ones :

First Mode : — • Original Key, and a Tone Higher.

Second Mode : — • A Third and a Fourth Higher.

Third Mode : — Original Key, and a Degree Lower.

Fourth Mode : — Original Key, and a Degree Higher.

Fifth Mode : — Original Key and a Second and a Third Lower.

Sixth Mode : ■ — ■ Original Key and a Degree Higher.

Seventh Mode : ■ — Transpose a Third and a Fourth Lower.

Eighth Mode : — Original Key, and a Degree Lower.

* Legons Pratiques d' accompagnemettt du chant gregorien.

Chapter IX. — Gregorian Accompaniment. 269

ACCOMPANYING THE PSALMODY.

In accompanying the Psalmody, it is necessary for the organist to restrain his artistic impulses and limit himself to just a few chords : keep the same chord for the recitation, and make no harmonic changes before the cadences. It is ideal to have one chord for the reciting tone, and another for the cadence, but this is not always possible. A special study is necessary to accompany the psalmody correctly, and at the same time artistically. (See Potiron — ■ " Practical Lessons " , Chapter V, now available in English — also " L' Accompa- gnement des Psaumes " by Dom. Hebert Desrocquettes both published by Desclee). There are other very good harmoni- zations of the Psalmody, but care must be taken to choose the best.

The following two harmonizations of Mode IV D. are inte- resting : (see examples at end of Chapter).

The Execution of Gregorian Accompaniment.

One of the terrors in many of our Churches of the present day, is the organist who insists on showing his talents as concert organist, at the expense of the Liturgy. There is no place for such egotism in the House of God; for the organist to refuse to let the singers be heard, thus depriving the Faithful of their right to hear the Divine Text and the Sacred Chant, is in my opinion, a grevious sin. No matter how fine the accom- paniment, the Chant is always the important element.

As we have said above, the only reason at all for Gregorian Accompaniment, is to support the voices; it is in this capacity more than in any other, that the organist must completely efface himself; here, he must never parade his art, never try for effects, but always subject himself to the Chant and prayer, searching his conscience continually for lack of discretion, reverence, or too much personal feeling.

Also, the gregorian accompanist is never to regard his art as independant composition, but as the humble servant of the Liturgy. There is often the temptation to engage in a vain display of counterpoint, when preparing written accompa- niments, especially among the young, and the " budding " composers. The author has experienced the same temptations The mature and serious accompanist will strive to keep his substructure simple, and, if possible play from the Four Line

270 Part II.

Gregorian Notation, with only a very broad preconceived plan. In this way he will be free to adapt his w^ork to the ever varying disposition of his singers, their lassitudes, their enthusiasm, the prevailing atmospheric conditions, etc. A complicated written accompaniment is very difficult to adapt to the many different problems w^hich arise in the course of a Service. (Of course all this presupposes a thorough musical education, as well as a profound knowledge of the Chant, especially as to rhythm and modality).

At Solesmes the accompaniments are very simple, usually only underlining the important ictic divisions and cadences. Of course the Chant is never accompanied during the " forbidden " seasons of Advent and Lent and at Requiems.

The small organ in the Choir is especially constructed for Accompaniment purposes, and has an incomparable ensemble for this art. There is a mellowness and sympathy of tone which blends perfectly with the voices; in fact it is not difficult to forget that there is an accompaniment, so well conceived is the plan.

Each of the two Manuals have an 8 Foot Bourdon, of different types and entirely independant of each other, but which when combined, blend perfectly : That of the Swell is "stopped", and resembles in quality the " cor de nuit " , while the Bourdon 8 of the Great Organ is " open " and much brighter.

These two Bourdons form the usual Registration of the x\ccompanist, with the Bourdon i6 of the Pedal. The Pedal is always used with the Choir, whether singing together or divided ; however it is suppressed with the Schola of Twelve voices (maximum) which sings the Proprium, and the soloists. When the Choir is augmented, or grouped into a more pow^erful ensemble, the addition of the 8 Foot Pedal Bourdon to the i6 Foot Bourdon gives a fullness and a mellowness which is quite satisfying. If the voices demand more support, the right hand may descend to the 8 Foot Bourdon of the Great, and reinforce the Melody, while the left hand remains on the swell for the lower voices, with the Swell Bourdon 8 Foot. This arrangement is very effective for the Psalmody. On rare occasions the accompaniment is played on the Great Organ, and in extreme cases the manuals are coupled, and the " quintaton " or the Flute 4 added, but with the expression box closed.

It is not for all Choirs to have such an incomparable instrument, but as far as possible these "timbres" should be imitated. In this matter, nearly all Organs are different; the number of voices, the acoustics of the building, and all the other

Chapter IX. — Gregorian Accompaniment. 271

problems should be considered. For the average choir, a soft 8 Foot Diapason and soft i6 Foot Pedal Bourdon is adequate. The organist should listen to the Choir and Organ Ensemble from the Nave of the Church, to better judge the effect.

For the beginner, prepared accompaniments are absolutely necessary; but the severest discretion should be used in their choice. Today, the best published Accompaniments are simpler than those of a number of years ago. We give a few simple examples of the best accompaniments, by the best authorities. There are undoubtedly many good collections.

SANCTUS (Mass IX).

Henri Potiron. Hebert Desrocquettes.

San- ctus, * San-ctus, San- ctus

Domi-nusDe- us Sa- ba- oth. Ple-ni sunt c^-

-0—0-

^'\ ^ ' T T f

I

G>-

iE?J

«l - ^ a ff G> # ^ ^ '

The examples of accompaniment from the is Pieces and of Aug Le Guennant are reproduced with the authorisation of " Editions Musicales . - Herelle, Paris.

272

Part II.

na in excel- sis.

m^^i.

TT

t?±

From 25 Gregorian Pieces Harmonized by Dom J. Hebert Desroc- QUETTES and Henri Potirox.

ALLELUIA.

Alle-iii-

ia. * ij.

Aug. Le Guexnant.

VI T

(g*

-^ii:^:

^^

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zfz:

r"^^

t#=*

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-0

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r

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mm

I

i 1--^ I

IV

OFFERTORY.

Aug. Le Guenxant,

Ter- ra * tre- mu- it, et qui-

■ — ^•t" *-H^— 'y— V— •- — * — '^ —

'j;— g.^ -^ ^

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Chapter IX. — Gregorian Accompaniment. 273

111- ia.

e-

vit,

etc.

M^:^^z

^^^

-^-f.

t;;=

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zz^i^

l-l

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finale Cadence.

Two Harmonizations of Psalm Tone IV D.

Dom J. Hi^;bert Desrocquettes. D

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Henri Potiron.

i

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§!;

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VIII G "

Aug. Le Guennant.

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274

Part II,

KYRIE.

Ky-ri-

Chanoine F. Potier.

e- le- i-son.

V "

-1

-4^

:tz-— ri?

Courtesy of Desclee.

OFFERTOIRE : Ave Maria

Dom J. Hkbert Desrocquettes.

A-

ve

Ma-

VIII

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Revue Greg., Janv.-Fev. 1935.

Chapter IX. — Gregorian Accompaniment. 275

AFTER BENEDICTION.

(Ambrosian Chant).

Dom J. Hi^:bert Desrocouettes.

Te laudamus * D6mi-ne omni-pot-ens,

[|?&-.*z~^-^-

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n Lp 1 1

^1 . ^1 . .1 -3., ^

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qui se-des su-per Che-ru-bim et Se-ra-phim: Quem be-ne-

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di-cunt Ange- li Archange- li et lau- — 0 ^ 0.^ t^0_w^0^^ m

I -^1 ' '

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I

dant Prophe-tse et A-p6sto- li.

i etc.

94#-- 0- — #- ^ — ^ ^-

Revue Greg., July-August I935-

276 Part II.

The Organist and the Liturgical Service.

Too often the organist in his gallery considers himself king and ruler over the ceremonies in the Sanctuary, instead of realizing that he is only the humble servant of the Liturgy. In fact all the participants in the service, from the celebrant on down are but the servants of that sublime Master, the Holy Liturgy; choir and organist must take their place in this hierarchy.

If the organist is of the concert variety, he must distinguish carefully between those compositions which are strictly recital pieces and those which are worthy to form a unity with the Liturgical Service. No composition, however fine, w^hich draws attention from the Action at the Altar should be employed as an Interlude during the Service. The Prelude should " lead into" the Service — and here, let us caution against long Preludes, as it is not a question of a "musical program". The Postlude, however may be somewhat more extended ; but here again the choice must be carefully made. A Widor or a Vierne " Final " would never be employed by a true student of the Easter Liturgy.

If the Service is made up strictly of Gregorian Chant, a very austere choice of Organ Solos must be demanded. At Solesmes, the works of Bach and of pre-Bach Composers are used almost exclusively. For the rare organist who has mastered the art of improvisation in the Church Modes, composition created on themes of the Service of the Day are excellent ; but these must be worthy of their place in the Service.

If the Service is one of Classical Polyphony, the choice of Organ solos will be also very limited. I prefer not to hear an instrument during a Polyphonic Service • — perhaps Prelude and Postlude, but not during the Service.

The organ may play after the singing of the Offertory, up to the Preface; After the BenedicHis to the Pater Nosier] and between the Agnus Dei and the Orations.

CHAPTER X.

HISTORICAL SURVEY.

The History of Plainchant may be divided into four main periods :

i) The period of first formation which coincides with the first developments of the Liturgy. This Epoch extends from ApostoHc times, or at least from the Liberation of the Christians by the Edict of Milan, in 313 A. D., to the pontificate of Gregory the Great (590-604).

2) The second period, that of the perfection, lasted from the time of Saint Gregory to the 13th Century. This Epoch may be subdivided into two periods : The Golden Age of the Chant, which also saw the Liturgy come to its perfection, from the time of Pope Gregory The Great to the nth Century; the last part of this Epoch, from the nth to the 13th Century, the production of Chants continued to increase, but the new chants of this period lacked the simplicity of form and fine spontaneity of the earlier compositions. The feeling for part music was beginning to make itself evident.

3) The third period, that of decline, lasted from the end of the 13th Century to the middle of the 19th Century. Polyphony dealt the death blow to pure unisonous melody. Then the development of the opera, orchestra, and other musical forms caused the simple chant to be set aside in favor of the more elaborate and sensuous styles.

4) The fourth period, that of the Restoration, which began about the middle of the 19th Century, and is still going on. Most of this work of restoration is due to the untiring efforts of the Monks of Solesmes.

As this work concerns the Solesmes Theory, we shall give a Short History of the Fourth Period, only.

Fourth period The Restoration.

All the students of Gregorian Chant and all those who have anything to do with Liturgical Music, are familiar with the

278 Part II.

wonderful Rhythmic Editions of Solesmes; but I doubt if any of you reahse how much labor, how many disappointments, yes even hardships it took to place them in your hands. To restore such perfect order out of such a chaos of bewilderment as existed around these sublime masterpieces was the untiring work of a small group of savants under the inspired direction of the first Abbot of Solesmes, Dom Prosper Gueranger.

The following is mostly a translation from the very praise- worthy volume, " L'Ecole Gregorienne de Solesmes " , by the Reverend Norbert Rousseau, professor at the Grand Seminaire of Le Mans, France.

The vast realm of Catholic Liturgy is not limited to the text of the official prayer; its amplitude extends also to the sacred melody which is to it as the clothing and beautiful expression. It is then natural that the restoration of the Liturgy in France be associated with the reestabhshment of the ancient Roman formula and the return to the ancient Gregorian song.

At an early hour, the Abbot Prosper Gueranger was, like vSaint Augustine, charmed by the " sublime and beautiful " chants of the Church. These melodies, in spite of the defor- mation to which they had been subjected in the course of the centuries of the decadence, still kept something of the freshness of their first inspiration; the routine as a feeble echo of a powerful tradition, preserved the chant at least in the better — known melodies. Three years scarcely after his reception into the priesthood, the young abbot betrayed his hopes in a monograph, " Considerations concerning the Cathohc Liturgy in General ", which caused quite a stir in the GaUican camp. Later, in February 1S30, he wrote in the " Cathohc Memorial " : "Oh! Who has not trembled a thousand times to the accents of this grave music, which, in spite of its severe character, is animated with the fire of devotions, and throws the soul into a religious reverie a thousand times more exalting than the imposing voice of the " great waters " of the Scriptures ". These and many other like emotions were experienced by the young abbot, who had only heard the sacred chant in its deformed state. What would be his emotions now if he could hear his beloved " disciples " at Saint Pierre de Solesmes, sing these heavenly melodies in that state of perfection which only a painstaking restoration has permitted!

At first it was only the desire of Dom Gueranger to give to the choir of his monastery a style of singing truly aesthetic and traditional. However, the impulse was not long in leaping the Abbey w^alls and spreading into all corners of the christian

Chapter X. — Restoration. 279

world. This movement on the part of Dom Gueranger towards the authentic sources produced a great wave of archeo- logical and mediaeval research : Lambillotte published a fac- simile of the Antiphonary of Saint-Gall, Danjou brought to light a bilingual Antiphonary of Montpellier. Many were occupied with the traditional purity of the melodies and with the rhythm which gave them life. All kinds of research followed : studies, memoires, dissertations, monographs, agreed with each other, disputed with each other in a grand pell-mell; all because Dom Gueranger sought to restore liturgical and musical tradition for his monks.

While the archeologists and the paleographists were searching without much success to recover the authentic Edition of the Golden Age, and the secrets of its true execution, Dom Gueranger was busy putting together the elements of the problem, which would enable his disciples later to bring it to a definite solution. What did it matter to him to be in possession of the true Anti- phonary of Saint Gregory if he did not know the laws for the rhythm and interpretation of the sacred chant. " It would be one hundred times better to tak(i the most faulty and the most incorrect edition possible and execute the pieces therin, however deformed they might be, according to the rules the ancients understood and practised ". What above all this judicious searcher wanted, was to give to the chant its spiritual value by a natural execution, as should be '' an intelligent language and a lyric recitation ".

To arrive at this result, the Abbot of Solesmes reminded himself that the chant was a true language which could not be learned altogether by a method. A living language is not learned with the aid of grammar and dictionary, only. One must live with the people who speak the best French, English, Italian, etc., to be able to speak with the correct accent, to capture all the finesse and different shades of meaning and pronunciation. So, it seemed to Dom Gueranger was the chant : The sung prayer of the people; its text is prose, its movement is recitation, its prosodie is the popular accentuation, its tonality is the tonality of the people, the natural scale.

To the indifatigable Abbot of Solesmes the ancient melody of Saint Gregory remained a living and popular language, but at that time, how much diminished! How then can it be made to flourish with the splendour and delicacy of former times? The response is given : By speaking it often, by observing it attentively, in order to correct the lack of legato, the " jerky rendition ", the ungraceful forms and the faulty interpretation

N° 758. — 10

280 Part II.

introduced by negligence and bad taste. The precept of Saint Benedict, " Mens nostra concordet voci nostrae " , struck the ear and the mind of Dom Gueranger. The daily experience of the choral liturgy, the rehearsals of the choir, were to serve the Abbot with a field of observation from morning to evening. He listened, he took notes, he corrected, and finally fixed the principles. Then these same principles were tried each day at the regular exercises, then rectified and purified, so to speak. Before long they imparted to the choir of the monastery that naturalness in the psalmodic recitation, that ease in the neumatic vocalise; in a word that spontaneous, legato and graceful movement without display or mannerism which satisfies you beyond all expression, and which is called rightly, " the Style of Solesmes ".

As we have mentioned above, at first Dom Gueranger only wanted to find a traditional method for his monastery; but the impulse was too great to remain confined to the enclosures of Solesmes. It was first at the Musical Congress at Paris in ;C i860, that the Chant of Solesmes was given its first notoriety, when the Canon Gontier exposed in his " memoire " the exact principles of Dom Gueranger. Four years later, in 1864, Dom Benedict Sauter, a monk of Beuron and a former novice of Solesmes, made this declaration : " The moment has come to expose in detail the method to follow in the execution of the Liturgical Chant. The principles which we are to establish are the result of our conferences with specialists, and our perusal of two works recently published under these titles : " Plainchant, its Execution", and "A Logical Method of Plainchant" by the Rev. Gontier. " However, it is the long sojourn which we have made in a community, the only one perhaps which numbers among its most sacred duties the study and the practice of the Liturgical Chant, which has contributed the most to give us the clear and certain opinions on a question so debated today ". Thus the rhythm of the chant had rendered a first service to the German monastic colony of Beuron which had just been established.

It is a propos to mention here that Dom Gueranger was stronglv aided in his task, by his monks who, living also the choral "life, shared the ambitions and hopes of their Abbot. From this kind of collaboration, there resulted a multitude of varied observations which were shared with the entire community : criticizing, verifying and determining by incessant communications concerning a common work, loved and lived collectively. However, all did not have equal influence, the

Chapter X. — Restoration. 281

same role to play. Some were endowed with remarkable talents, and soon became exceptionally competent : three among these merit a place apart : Dom Jausions, Dom Pothier, and Dom Mocquereau. It is to these three, after Dom Gueranger, that we owe the Gregorian Restoration. We should also add another name to this illustrious Hst, that of the Canon Gontier, a native of the province of Maine, the author of the first text book explaining the first Solesmes principles.

So we have a small idea of the preponderant and decisive influence of the illustrious founder of the school of Solesmes, the Abbot Prospero Gueranger. We shall speak briefly of the work of each one of the personages who have made the great Restoration possible.

The integral Restoration of the liturgical chant demanded the solution of a double problem : The reconstruction of the '"'^ primitive musical text, according to the authentic version of"^** the melodies, and the reestablishment of the correct interpre-^* tation of this Ancient Song. This involved the reproduction r^ of the traditional notation by the discovery of the melodic T^ signs, and also, in order to return to the ancient mode oi"^ execution, the translation of the rhythmic signs. This was a tremendous task, but all difficulties were overcome, as the present magnificent School of Solesmes bears witness.

The Melodic Restoration.

The search for the original melodic formula presented fewer difliculties than the restoration of the ancient rhythm. It was above all a work of patience under the direction of the indomi- table spirit of Dom Gueranger. He had given the motto which was to dominate the research. " When we discover different manuscripts of different centuries and different countries which agree we can be sure that we have found the Authentic Gregorian Phrase ".

This work of reconstruction was long and tedious, but the method was simple and very sure : It was to collect the manuscripts, classify them according to their written characters, their variations, and their incomplete forms, decipher them, find in each class the most ancient and the best types; choose the most authorized lessons being aided by the context; taking note of the particular style of language and the personal characteristics of the author, in order to be able to reconstruct the altered passages. To reconstruct those melodies which were sung in the Church from the beginning of the Vllth to

282 Part II.

the end of the Xlth century, was preferable. This period was the Renaissance of the Age"' of Gold, which had been from the Vlth to the IXth century.

The discovery of the Antiphonary of Saint Gregory preoccu- pied the archeologists and the gregorianists. They searched for this magic volume everywhere: some at Saint-Gall, others at Montpellier. But Dom Gueranger was wiser, and instead of hoping for this philosophical stone, he took the longer but more certain route and demanded the treasure in the comparison of manuscripts.

Dom Paul Jausions.

For this task, the Abbot of Solesmes cast his eyes on a young monk, who, because of his education, his liturgical culture and his dehcate spirit, seemed especially endowed for such meticulous work. Dom Paul Jausions, who was admitted to the Order of Saint Benedict September 29th, 1856, was the first member of the Benedictine congregation of France to follow serious studies of the Liturgical Chant. He applied himself to his work with all the enthusiasm of an ardent and passionate nature. From the first years of his sojourn at Solesmes, Dom Jausions worked at the restoration of the chant. Ten years later we find him in the libraries of the great cities delving into the manuscripts with a fine energy. He made copies of the most precious manuscripts in the libraries of Paris, Le Mans, Angers, and others. His transcriptions are masterpieces of precision and beauty, and were of great value for the " Paleographie " before the use of phototype fac similes. But the will of this vaHant young man was stronger than his body, and he died September gth, 1870 at the age of 36 years. His work constituted the first sheaf of that opulent harvest realised by the Benedictine family a half century later.

Dom Joseph Pothier.

Providence had placed at the side of Dom Jausions, a brother who was to pursue the task with success; for to a great intel- ligence and a fine talent, God was to add a long and laborous life Brother Joseph Pothier, a young novice of the diocese of Saint Die, Vosges, had collaborated with Dom Jausions in his work with the manuscripts. He read theoretical works, ancient and modern, followed the musicological discussions studied manuscripts, translated the neums, took notes, and copied entire graduals.

Chapter X. — Restoration. 283

According to the testimony of M. Gontier, Dom Pothier had been studying the Antiphonary of Saint-Gall since 1866. The colleague of Dom Jausions had attested to the unquestion- able value of the Saint-Gall manuscripts, and thus expressed his personal estime for the documents from which his successors were to draw the real treasure of the true rhythm of the ancient School of Rome.

The work of these tw^o monks resulted in a double accom- plishment : " Les Melodies Gregoriennes " , and an edition of the Liber Gradualis of 1883. The former was a memoire " to the venerated father and master " , Dom Gueranger, and was not published until later, in 1880, by the order of Dom Couturier, the second Abbot of Solesmes. " These pages " , Dom Pothier tells us, " reproduce the collection approved by Dom Gueranger together with the corrections and additions which he himself in a great part had indicated " . Dom Pothier did not forget to give the proper recognition to Dom Jausions for his initial work on the collection.

The Liber Gradualis was published in 1883. This work was important from the standpoint of the reconstruction of melodies. This first edition of Solesmes was not by any means perfect, due to many circumstances. But it was nevertheless an incontestable progress, not only over the brief editions which the choir had had to use, but over the different other attempts which had been made by others before.

Dom Andre Mocquereau and the Paleographie Musicale.

About this time there entered into the Gregorian scene a new personality whose influence was to be greatly felt in both the melodic and the rhythmic restoration. Dom Andre Mocquereau conceived the idea of creating a Paleographie Review which would reproduce phototype fac-similes of the ancient documents, offering thus in advance to the public, the justification for the new Editions in preparation. These actual proofs were very important at this time, for while Dom Pothier was acknow- ledged the musical master of the Benedictine choir, he could not establish the concrete proofs for that authority. Dom Mocquereau was immediately conscious of this void, and set to work to supply the visible witness, the Paleographie. This review was to produce in fac-simile the original texts of the purest, the most important and the most ancient manuscripts.

284 Part II.

We are convinced that this is the certain method of putting an end to the hesitations, the preventions, and the scepticism ", said Dom Mocquereau. " Each person, manuscript in hand, will be able to verify the procedures and the assertions of the modem erudites. Those who are in doubt, or who deny the possibility of deciphering the purely neumatic notation, will be aided by the comparative method, and with the help of the Guidonian or Alphabetic documents of our collection, to translate the ancient melodies, and to discover and reconstruct the original version, phrase by phrase, neum by neum, note by note ". So much for the Melodic restoration.

Dom Mocquereau also added the subject of the rhythmic restoration, and the following quotation will best explain his intention : '' To those who deny the possibility of rediscovering the traditional rules of execution, we shall show these rules engraved, so to speak, in the melodies themselves, in the structure of the Gregorian phrase, in the grouping of the notes, in the tiny lines or supplementary signs which certain famihes of manuscripts have preserved with care. Every method of execution must submit to the proof of comparison with the manuscripts, the only efficacious and decisive means of distin- guishing in the different systems proposed up to this time, that which is too personal and inexact, from the real truth and tradition contained therin ".

In 1889, in spite of an opposition more or less confessed, the publication began with the support of the Abbot Couturier. The first Tome so justly praised and formulated by Dom Mocquereau and several of his confreres, appeared amidst the applause of the scholars and friends of the Gregorian Restoration. This was soon followed by Tomes II, III, and I\^ and later found their climax in Tome VII, the most cele- brated of all. In 1896 M. Jules Combarieu summed up the work accomplished : " In the hands of the students and the disciples of Dom Joseph Pothier, the science of Plainchant has, so to speak, been secularized. The editors of the Paleographie Musicale have had the excellent idea (for which we "the profane do not know how to thank them), of applying to the study of the Gregorian melodies the principles of the historic method, the same which the great professors of the School of Chartres and the College of France follow in their most serious work. To establish in all its purity the Gregorian Tradition, and in order to protect this Tradition against all scepticism, they have transformed themselves into philologians, grammarians, paleographists, photographers, and what not, and in this way

Chapter X. — Restoration. 285

have brought to the impartial reader an admirable abundance of precise demonstrations, thus permitting the control of the smallest details of their doctrine ".

A few years later, the Paleographie had gained such impor- tance among the scientific works of that epoch, that at the Congress of Christian Archeology held at Rome, in April igoo, the Volume was saluted as a very important addition to the g;eneral scientific bibliography.

To nourish the work of the generous phalange of workers, henceforth at the service of the Restoration of the Sacrecl Chant, two Benedictines in the course of the year 1890, no longer " pilgrims of God and liberty ", but rather, of the Church, science and art, set out for Rome and all Italy. They searched the libraries, the monasteries, the cathedrals, the chapters, and even the smallest churches, for the manuscripts and documents which contained the traditional melodies. Then, loaded with their precious booty, they returned to their monastery, and, with the aid of their brethren, translated the manuscripts and documents into an intelhgible language which gives us the true Gregorian Cantilena.

This was the harvest of the Response-Gradual Justus ut Palma, which forms the 211 phototype engravings of Tomes II and III of the Paleographie Musicale. The research was made in Italy and in Switzerland by Dom Mocquereau and Dom Cabrol,

— In Belgium and Holland by Dom Mocquereau and Dom Cagin,

— In France, England, Germany and Spain, by the friends of the Monastery.

This work which consisted in deciphering the neums of the ancient manuscripts of the IXth, Xth, and Xlth centuries, in translating with accuracy, the graphic signs whose signi- ficance had been for a long time forgotten, was aided by the ingenious comparison of a triple category of documents : The neumatic manuscripts, the alphabetic manuscripts, and the Guidonian or Diastematic manuscripts.

The first were the most important, for they belonged to the Golden Age of the chant, and the majority had been reedited ^ by the celebrated schools of Saint-Gall and Metz. On the other hand, they offered in themselves many difficulties : The melodic signs consisted exclusively in the different combinations of the acute and grave accents, the key to which had been lost. Then the notation called oratorical or cursive chironomique, did not indicate sufficiently the intervals of sounds; it was the master of the chant who was obliged to supply these with

286 Part II.

the voice and the gestures of the hand. The Paleographie reproduced in its first Tome, the Codex 339 of Saint-Gall, a fine specimen of this type of manuscript.

""^ The second type, or the Alphabetic Manuscripts, the notes

^ of which are represented by letters, were already more intel- ligible, for they carried with them their own translation; these were a great aid to the understanding and reading of the neumatic and chironomic manuscripts. One of the most remarkable

- documents of this genus is the Antiphonarium tonale Missarum (Xlth Century), discovered the i8th of December, 1847, in

^the library of the school of medecine at Montpellier, through the efforts of M. Danjou, director of the " Review of Religious

4.* Music ". This Bilingual Manuscript is of exceptional impor- tance because of the double notation which surmounts the text : Both Alphabetic and Neumatic notations. The first certified the notes themselves, and consequently their inter- vals; the second, the grouping and the figures of the notes. Tome \lll of the Paleographie gives, in engravings of irreproachable distinctness, the numerous pages of this cele- brated Manuscrii)t.

^^ Finally, the Guidonian and Diastematic manuscripts formed *^ the third category of the comparative documents. Of a more i*^ recent epoch, they were the precursors of our actual notation. Guido d'Arezzo (c 1040), after the gropings of Hucbald (c 940), had definitely fixed the musical staff of four lines. The neum- accents could be placed on these lines, then replaced later by the square notes. This kind of writing respected the grouping of accents, and accepted the new figures which became those of our modern books. These manuscripts were called Guidonian, because of the notation which Guido of Arezzo had perfected, if not invented; and Diastematic, from the Greek o'.acTY.uara (intervals), as they could portray the intervals of sounds by the means of Clef and Staff.

For those who would have a more precise idea of the critical method of Solesmes, the second and third Volumes of the Paleographie Mitsicale, are most inspiring. We find here the numerous fac-similes of the Response-Gradual, Justus ut Palma, from the fine delicate neums of the Gradual of Monza, to the great square notes of the choir books of Monte Cassino. Also to be found there is the charming " History of a Neum ", by Dom Mocquereau.

To terminate this expose, we append an example borrowed from the Antiphonarium tonale Missarum of Montpellier.

Chapter X.

Restoration.

287

Communio unius Martyris non Pontificis. I.

Ms. Neumatique , / /I ^ /J ^ /-,

njy

Ms. Alphabetique Ms. Guidonien

e

d f

fe gh sh f<

fed

Pi:^

Pi

r*.

0 , ,■,

Qui vult ve-ni- re post me, * ab-

g i fe d fgh e

h ghg ef gtigh fd gef f

1~!^—

-?=^

■ ■

!

:^=h*i^-

ne-get se-met- i-psum : at tol- lat cru- cem su- am fghkh fg ef dfec d

i=a

et

sequa-tur me.

The Rhythmic Restoration of Plainchant.

We have said in the preceding paragraphs that the Gregorian Restoration involved a double solution : The reconstruction of the original Melodic text, and the rediscovery of the ancient Rhythm. The first operation was less difhcult. Because of the disappearance almost total of the natural rhythm, the latter process was much more delicate and complicated. The intro- duction of bars which destroyed the neums and original groups, the separation of ligatures, the isolation of notes and the disappearance of neumatic figures were the ordinary symptoms of forgotten rules. The Remo-Camhraisienne Edition, justly praised for its good intentions to return to the primitive purity, offers these inconveniences in a striking fashion ; it only suffices to compare a few of its pages with those of the same pieces in the Vatican Edition.

288 Part II.

The story of Charlemagne and his desire to spread not only the Christian Faith, but the Roman Liturgy throughout his Empire, has been related before in these pages. We have spoken of the two singers from Rome, Peter and Romain who were sent by Pope Hadrian with a faithful copy of the Manuscripts used in the Roman Schools of Chant. How Romain fell ill and was forced to find refuge at the Abbey of Saint-Gall, near the Lake of Constance, while Peter con- tinued his journey to Metz, the famous school of chant on the Moselle.

Later, the guest of Saint-Gall remained there definitely, leaving his treasure to his benefactors. It is probably to this providential malady that we owe the rediscovery of the tradi- tional Gregorian Rhythm, because it was by the comparison of the Manuscripts of Metz with those of Saint-Gall that the key to the precious signs attributed to the chanteur Romain or " Romanian " was recovered. The two envoys from Rome founded the two most celebrated schools of Plainchant, which was rivalled only by that of Rheinau. The School of Saint-Gall was especially reknowned for the beauty of its offices and the splendour of its chants. By a curious return of things, this reknown is to be reflected in another school, ten centuries distant, w^hich today continues the same tradition of Saint-Gall, Saint Pierre de Solesmes.

By the side of Saint-Gall, flourished the school at Metz, founded by Peter, the other envoy of Pope Hadrian.

Saint-Gall and Metz reedited the precious manuscripts, and the copvists took particular care to add the rhythmic signs to the neumatic figures. These manuscripts of Saint-Gall were sent to all parts of Germany, and there are a good number to be found today. Somewhat inferior, but still important were the manuscripts of that city w^hich were spread over a great area around Metz, and even into upper Italy, for example, Como. The most faithful of this school, to the rhythmic tradition, is the Codex 230 of Laon, Xth centur}-, which already however manifests a slight decline in the primitive tradition. The manuscripts of Verceil 186, and of Milan E. 68, are also very precious; but the decline here is forecast. It was due primarily to the abandonment of the rhythmic signs, that the interpretation of the chant was lost. But in spite of all this, the accordance between the two schools, Metz and Saint-Gall, in the matter of rhythm, is astonishing : A decisive proof that the same rhythmic laws, even to the finest details, were imposed from the beginning, on the entire Cathohc world.

Chapter X. — Restoration. 289

This last reflection has much more weight than the fact of the two Roman singers, Peter and Romain.

To these manuscripts, others more questionable and less intelligible were found in Italy, France and Aquitania. Accepted with reservations, these documents served to help verify the true Rhythmic Tradition. But it is from the choice manuscripts of Saint-Gall and Metz, that Solesmes is to extract its rhythmic theory.

Let us review here a few facts concerning the rhythmic decadence of the Gregorian Chant.

The period of full decadence starts at the XVIth century. The Middle Ages, already unfaithful to the Gregorian Tradition, had permitted the texts to be altered by inexperienced hands; later the introduction of measured music accentuated the ruin of Gregorian Rhythm. At the same time the treatises of music were consecrated almost exclusively to the technic of the ancient art, or the new measured vogue; therefore the study of " Mnsica Plana " was almost entirely neglected.

Another more important reason for the decline of Plainchant was the overediting of some of the finest manuscripts, from the Vllth to the XI th century. Here we often find the rhythmic signs too numerous to the detriment of the neumatic signs, and the most ancient texts offer extremely varied resources for the interpretation.

After the invention of the Guidonian manuscript, there should have been more accuracy, but here we find the copyist, often very careless in regard to the Rhythmic Signs, forgetting that the^ ancient scholars would one day disappear. Also, since the role of the master was no longer important, the rhythmic interpretation was entirely forgotten.

Before long the melodic formula was lost also, through lack of understanding : soon it was found to be too long, and was shortened : The melismas were mutilated, the neums divided, and the phrases were rendered asthmatic by the divisions and bars, until the day when it was dealt its final blow in the hands of the Nevers and the Leboeufs. At this time the Plainchant took the form of measured rhythm rather that the ancient tradition. The masses of Dumont are good examples of this distortion.

Dom Gueranger mentions another cause which may have helped in the rhythmic decadence of the chant. It was the custom which was introduced from the end of the XVIth century, in our great churches, and which is practiced even in our times :

290 Part II.

The use of the lower voices in the choir, thus employing a pitch which prevented the people from taking part in the Liturgical Services. So the singers, no longer responsible to the congre- gation, fell into all kinds of false rhythms.

For nearly three centuries the chant of the Church was plunged into this infirmit}^ and therefore into the most complete discredit. The Aurora of the Restoration began to dawn tow^ards the middle of the XlXth Century. Eminent men set to work : In Germany, Hermesdorff, Schlecht, Schubiger, Haberl and several monks of Beuron. In Belgium : the baron Gevaert, the canons Van Damme and Sosson brought the light of their knowledge and their publications. In Italy, such masters as Tebaldi, Bossi, Bonuzzi, and later Mgr. Carlo Respighi, Dom Raffaello Baralli, Dom Ambrogio Amelli, and others added the generous contribution of their efforts. In France the trial which marks the first step in the return to tradition was the Edition Remo-Camhraisienne (Rheims-Cambray). The Cardinal Gousset appointed a commission composed of the best Gregorianists to edit the new chant books conforming to the manuscripts then available. But rhythmically, the edition was atrocious, due to the prejudices of the times. But the authors of the new attempt were willing to acknowledge the imperfections of the new Edition, and did not consider it definite.

It was for Solesmes, under the direction of its first Abbot, to bring to light the real solution.

As we have mentioned before, the first " Method " of Plainchant inspired by the school of Solesmes was that of the Rev. Augustin Mathurin Gontier, of the Cathedral of Le Mans. Inspired by the smooth and fervent rendition of the monks of Solesmes, he studied the works of the ancient musicologists, and produced his " Methode raisonnee de plain-chant ". This work proved to be of real value for the masters of that time. Here the fundamental axioms of Solesmes were formulated with a certainty which shows the remarkable Gregorian insight of its author. The problem is very cleanly stated : " Is the rhythm of Plainsong that of music and poetry, or that of prose and recitative''? In other words was it correct to sing the chant in the rhythm of modern music and Latin poetry, alternating long and short notes, or was it to be simply the rhythm of discourse, with syllables accented and unaccented. The sage author formulates his definition : " Plainchant is a modulated recitation, whose notes have the same value, and whose rhythm, essentially free, is that of discourse ". We have here the essence of the tradition. He goes on to explain his theory more fully " :

Chapter X. — Restoration. 291

i) The rhythm of Plainchant is the rhythm of oratory; 2) the note or beat of Plainchant is indivisible, its value not being mathematical, but proportional ". The work was the true precursor to the " Melodies Gregoriennes " of Dom Pothier.

The Rhythmic works of Dom Pothier and Dom Mocquereau.

The work of M. Gontier marked a first stage in the work of the Rhythmic Restoration. The next work of importance, " Les Melodies Gregoriennes " of Dom Pothier, threw new light on the subject of the Gregorian rhythm. It was published twenty years after the former, and brings new knowledge of the ancient manuscripts and wisdom of the early musicologists. He, Dom Pothier, had learned the secrets of the ancient neumatic and alphabetic notation, and gives an analysis of these in the first part of his work. Added to this, Dom Pothier had also the experience of teaching the Sacred chant to his brothers, thus learning to distinguish in the Liturgical melodies the soul and the body, the two admirably made for each other and united in that prayer which they unite to express.

In the " Melodies Gregoriennes " we find admirable advice as to the pronunciation of Latin, the manner of uniting and singing the syllables of the same word, on the divisions in the reading and the singing, on the fashion of execution of the melodic marks or the series of formulae on a single S3dlable. Then the author unites his teaching in a chapter which definies the rhythm proper to the chant. Finally he condenses his ideas in a few axioms, well chosen : " It is necessary to know how to give to the chant the natural rhythm of discourse, a rhythm which consists of uniting and dividing the sounds and the syllables so that the sense of the phrase proceeds spontaneously and also with grammatical and musical perfection. Proportion within the divisions constitute the Rhythm, and also : the two elements which constitute the rhythm of the chant, are the accents of the words and the divisions of the phrase, and these are the same elements we have in fine discourse.

This work of Dom Pothier was another great milestone in the very complicated procedure of restoring the rhythmic tradition of the Age of Gold. But there were naturally imper- fections here. The recovery of a completely forgotten art was to demand much work, erudition and patience. There was still much research in regard to the execution of such neums as the OuiUsma, the Salicus, Pressus, Oriscus, Strophicus,

292 Part II.

Liquescents, etc., some of which are uncertam even now. It was for another indifatigable personahty to bring to hght these details by the use of phototypes and much comparison of Manuscripts.

We have spoken of Dom Andre Mocquereau many times in the course of our review of the Melodic Restoration. His production of the PaUographie Musicale is monumental, as WT have seen. Dom Mocquereau was not only a monk and Gregorian specialist, but also a great musician. He was a student of all kinds of music, profane as well as religious. As such he was the one best fitted to complete, or rather bring to a high state of perfection this business of the Rhythmic Restoration of Plainchant. As a great organiser he chose for his helpers a large coterie of savants, religious and secular. With the soul of the monk he could see the inspired union of melody with the sacred text; his musical training enabled him to pierce the scientific veils.

Andre Mocquereau, age twenty six years, knocked at the door of Saint Pierre de Solesmes July 22, 1875. The gth of April 1877, he made his profession on the feast of the Annun- ciation of Our Lady, and two years later was admitted to the honour of the priesthood.

The young priest realizes fully the work he is to accomplish. He receives his first lessons in Gregorian Chant from Dom Pothier. The second Abbot of Solesmes, Dom Couturier recognizes immediately the exceptional value of the young monk in the Gregorian Schola. Obedient to his superior, Dom Mocquereau organizes a school. At first private, this group was called by the Rev. Abbot to take its place in the Choir. It was the next day after the expulsion of 1880, and the monks were united in the Parish Church. His pedagogical qualities were soon noticed, and it was not long until the repu- tation of Solesmes as a singing school became universal. Many illustrious masters visited the Abbey, to learn the secrets of the Sacred Chant at the feet of Dom Mocquereau. There w^ere Dom Lorenso Perosi from Rome, M. Charles Bordes, founder of the Schola Cantorum of Paris. This latter was so charmed with his first voyage that he sent thirty of his students, among which were Vincent dTndy, Alexander Guilmant, and F. de la Tombelle. ■ — • A " Gregorian life " was organised with lessons by Dom Mocquereau. Just as now, there were the " pleasant walks in the beautiful countryside ", which harmonizes so perfectly with the inspired singing at the Abbey. M. Camille Bellaigue, a Paris Journahst came to hear the Chant of Solesmes

Chapter X. — Restoration. 293

and leaves us his impressions in a fine description, which is as Q^ true today as at that time : " The monks, who sing only God, q^ sing only for God! And how they sing! Sometimes seated in their stalls, and all together ; sometimes a few among them leave ^• their seats and form a circle before the altar. This is the Schola, the group of musicians with chosen voices. One of them conducts the choir with low gestures, scarcely noticeable. They commence to sing, and immediately you feel 3^ourself in the presence of something perfectly beautiful, perfectly pure. You see, you hear nothing that is not exact and clear. The chant is now, as bright as the day which shines through the white windows, now, as somber as the night which the great shadows cast on the pavement of marble. Alleluia! A long modulated phrase, vocalised slowly, is rolled around the last syllable of the joyous and sweet word. " The just shall flourish hke the palmtree, and multiply as the cedars of Lebanon ". The vocalises redouble, and the sonorous stem also multiplies its branches and breaks into bloom. I remember still a Kyrie, a Sanctus, not florid, but robust, though alwa3'S elegant ''. M. C. Bellaigue wrote this in 1898. We could enlarge on this description many times today, as I am sure from year to year the School of Solesmes becomes more and more perfect.

Unfortunately these artistic pilgrimages had to come to an end, for a time. In 1901 the monks were chased from their monastery by sectarian intolerance which had no regard for art, science or liberty. The road of exile took them to the Isle of Wight where they established themselves at Appuldurcombe, near Ventnor then at the Abbey of Our Lady of Ouarr, near Ryde. This change of residence and atelier did not stop the enthusiasm of the m.onks or the outside world of artists, w^ho continued to visit the " School " in ever-increasing numbers. The French masters were not the only ones to be captured by the charms of the Gregorian Rhythm. Musicians from all nations came to visit the " restorers " in exile, and many rhythmic conversions were made there : numerous persons who had rejected the Solesmes rhythmic theories, had only to hsten to the singing of the monks to be convinced. To mention a very few, we find the Rev. Norman Dominic Holly of New York renouncing his former opinions, after passing eight days at Quarr Abbey; the Italian master, Giulio Bas, author of many Gregorian Accompaniments, after studying the Solesmes rhythmic theories, and listening to the choir completely changed his accompani- ments to conform with the new doctrines. M. Louis Laloy, moved by the penetrating and graceful rhythm of the light accent on the arsis, wrote ; " For my part, I shall never forget

294 Part II.

the white cell at Solesmes where the rhythm of the " Ave regina " was revealed to me : for I was truly present at the Resurrection of a buried melody. I am certain that this Miracle will be produced again for others as it was for me : it suffices, to merit it, to believe in the music " .

Another important convert to the new "Rhythmic Faith" was the German monk, Rev. P. Gregorius Bockeler, O. S. B. This case was of particular interest, because Germany was one of the most difficult obstacles in the Gregorian Restoration. Dom Bockeler learned the new rhythmic secrets by studying the doctrines of Solesmes, and proclaimed the great value of the new Rhythmic Editions of Dom Mocquereau. In trying to describe certain nuances of rhythm and style, he realizes that theory is limited. He can only say, as I, today, " Go to Solesmes and hear the monks sing ".

Dom Mocquereau was still that great ingenious and patient organizer who knew how to divide the work among his numerous collaborators, and to receive, occasionally their observations, m one word, to await the results of the moment.

The search for manuscripts in all languages, of all epochs of all t3/pes and characters, had caused to flow into Solesmes an important number of traditional documents. For the dissection of these, a whole army of competent workers was necessary. Some were put to work studying the texts of the early musicologists, others examined the manuscripts for rhythmic indications, while Dom Mocquereau himself analysed minutely the Polyphonic works of the XVth and the XVIth centuries, the works of modern musicians, treatises of music, discourse and language, penetrated the laws of natural rhythm! and com.pared his deductions with the discoveries of his colla- borators. It was also necessary to extract methodically from the confused mass of manuscripts, one after the other, and piece by piece, the different chants which composed them,' then reassemble the different versions of these chants, in a precise order, to permit an easy consultation. The young monks threw themselves into the task with ardour, following a uniform method, and soon the synoptic report of a whole hbrary of manuscripts was made. Then Dom Mocquereau taught them how to make use of these statistics to the best advantage. He, himself was able to discover the secret of certain rhythmic laws, very vaguely defined by the ancients, but invariably applied m the execution of the Ancient Song.

This was the beginning of " Le Nombre Musical Gregorien ", the greatest of all the works on Gregorian chant. The first

Chapter X. — Restoration. 295

volume of this monumental production was published by the Society of Saint John the Evangelist, Desclee et Cie, Rome, Tournai, 1908, and is still the " Bible " for aJl those concerned with Plainsong. It was the result, the wonderful fruit of long years of persevering study and daily experience, not of one man, but of a pleiade of savants and real Gregorian artists.

The first Volume is devoted to the fundamentals of melody and rhythm, while the Second discusses at length the Latin Language, with two fine chapters on the Gregorian Chironomy.

From the year 191 1, Dom Mocquereau had beside him the very talented and sympathetic Dom Joseph Gajard, who at present is the director of the Solesmes Schola. As the true successor of Dom Mocquereau and those before him, Dom Gajard continues with the work of restoration. The Paleographie continues to grow under his able and erudite direction; The last edition of the Antiphonale Monasticum was edited by him, as well as the Office of IMatins for Christmas and Holy Week.

The Excellence of Gregorian Chant.

In these pages, I hope I have augmented in the minds of my readers the true value of our noble Liturgical Chant. To under- stand its true Spirit and beautiful forms is to love it more and more.

A number of Popes have given very definite Legislation concerning the use of Gregorian Chant throughout the Catholic World. These complete Texts are to be found in Brochure form and in other volumes.

I am quite certain that one reason for the lack of interest in this most perfect of Church Music Forms, is the fact that it is not understood either in Spirit or in Form. The pitiful attempts we hear, even in some of our Cathedrals, where note follows note, word follows word, in a chaotic, senseless, un rhythmic and formless whole, where the meaning and spirit are absolutely lost, bear sad witness to this fact. Such nonsensical renditions spring from a lack of true reverence for the Chant as the true expression of the Liturgy, and the failure to recognise it as great music and one of the most difficult forms.

The very high Excellence of the Gregorian Chant is unques- tionable. A careful study of its melopee will reveal infini- tesimal beauties; its nuances of expression are unhmited; the perfect accord between Melody and Liturgical Text is altogether

296 Part II.

satisfying; the smooth flow of its " free " rhythm imparts a sense of peace rather than excitemxent.

Pope Pius X has justly called the Gregorian Chant " the perfect Model of all Sacred Music". It is the Universal Song and Liturgical Prayer of the Christian World ; its Unison form adds unity and simplicity, releasing the mind from the com- plications of many parts. When sung correctly and in the Spirit intended, Gregorian Chant has a tremendous power of purification and sanctification. Who can assist at an Office at Saint Pierre de Solesmes without feehng in some measure, transformed? And to follow the Liturgical 3'ear through the Cycles of Advent, Christmas, Epiphany, Septuagesima, Lent, Easter and Pentecost is an experience completely overwhelming ; one may easily imagine onself transported to Apostolic Times. It is only at Solesmes that ma^^ be felt the true significance of the Liturgy; one really '" lives " the Liturgical Events through the 3'ear.

If we could only reproduce this miracle that is Solesmes in at least our more important Monasteries and Churches, what a regeneration of Soul, what a truh' Apostolic " awakening " would follow, to finally bring Christianity once more to the Age of Faith.

Solesmes, In Solemnitate S. Joseph, 1950.

BIBLIOGRAPHY. *

Books of Chant.

Graduale Romanum. Vesperale Romanum. Officium Majoris Hebdomadae, Antiphonale Monasticum. Liber Usualis. Variae Preces. Processionale Monasticum.

Elementary Methods.

Dom Gregory Sunol. — Complete Method of Gregorian Chant. Laroche. — Principes Traditionnels d'Execution du Chant Gregorien. J. CouDRAY. — Methode de Chant Gregorien. F. M. SoQUES. — Metodo de Canto Gregoriano. — Libreria Spica,

Barcelona. Mrs. Justine B. Ward. — Catholic Educational Series. Mother Georgia Stephens. — " Gregorian Chant " — Macmillan

New York.

Books on the Rhythm.

Dom Andre Mocquereau. — Le nombre Musical Gregorien 2 Vo- lumes. Dom Joseph Gajard. — Notions sur la Rhythmique Gregorienne. (Has been translated into English). L'Ictus et le Rythme (Revue Gregorienne 1920-1921) Le Rythme oratioire et Le Rythme musical (Revue Gregorinnee

1928-1929). La Methode de Solesmes (Revue Gregorienne, Janvier 1950). A. Le Guennant. — Precis de Rhythmique Gregorienne. (Institut

de Paris). D. Mocquereau and Dom Gajard. — ■ La Tradition Rhythmique dans les Manuscrits. Monographic Greg. IV.

Works on the Modality.

H. PoTiRON. — L'Anatyse Modale du Chant Gregorien. L'Origine des Modes Gregorien, by same author.

Works on the Accompaniment.

H. PoTiRON. — Le9ons pratiques d'Accompagnement du Chant

Gregorien . Dom H. Desrocquettes and H. Potiron. — Vingt-neuf Pieces

gregoriennes harmonisees et commentees. (Herelle, Paris).

* All the works mentioned in this Bibliography are published by Desclee et Cie, Tournai, Belgium — unless otherwise specified.

298 Bibliography.

Books of Accompaniments by Dom Desrocquettes and by

H. POTIRON.

AcHiLLE Bragers. — Gregorian Accompaniment. (Carl Fischer, New- York) also Accompaniment to the Kyriale. Same author.

J. H. Arnold. — Plainsong Accompaniment. (The best work on Plainsong in English).

Works on the Interpretation and Expression.

Dom L. Baron. — L'Expression du Chant Gregorien. (3 Volumes). Dom Paolo Ferretti. — Estetica Gregoriana. (2 Volumes). Romano Guardini. — L'Esprit de la Liturgie. J. Perrodon. — Notre Beau Chant Gregorien. (Office General du

Livre, Paris). Dom Joseph Ga j ard. — Les Melodies de Noel (Simples commentaires) . Commentaires sur les Chants de La Semaine Sainte et de Paques. Numerous commentaries on Chants to be found in "La Revue Gregorienne ".

History of the Chant.

Mgr. N. Rousseau. — L'Ecole Gregorienne de Solesmes.

A. Gastoue. — L'Art Gregorien. (Alcan, Paris).

A. Gastoue. — Le Gradual et I'Antiphonaire Romains. (Lyon).

Gevaert. — La IMelopee du Chant Gregorien.

Dom Gajard. — Les Debuts de la Restauration Gregorienne

a Solesmes. Ugo Sesini. — Decadenza e Restaurazione del Canto Liturgico.

(Casa Editrice d'Arte e Liturgia. — B. Angelico, Milano. E. ScHUBiGER. — Die Sangerschule Saint Gallen.

Paleographie.

Dom Gregory Sunol. — Introduction to the Paleographie Gre- gorienne.

Paleographie Musicale. — Published under the direction of Dom MocQUEREAU, then Dom Gajard. Series 1-15 Volumes. — ■ Series II, — 2 Volumes, to date.

General.

Dom J. PoTHiER. — Les Melodies Gregoriennes. Dom Gajard. — La Musicalite Gregorienne. Ugo Sesini. — ■ La Romana Cantilena. (Cremonese, Roma). Pierre Carraz. — Initiation Gregorienne. (Le Lutrin., Geneva). (Very good. — Prof. Carraz is a real speciahst).

Reviews.

The Catholic Choirmaster. — Edited by Nicola Montan^, Phila- delphia, U. S. A. Revue Gregorienne (Desclee). — All the preceding subjects discussed. Le Lutrin (Geneve).

SYNOPSIS OF CHAPTERS.

PART II.

Chapter I. — THE RHYTHMIC SIGNS IN THE ANCIENT MANU- SCRIPTS. 150

Importance — The Saint Gall Manuscripts — True Rhythmic signs

— Modifications — Additions — The Horizontal Episema — Romanian Letters — Melodic Letters — Rhythmic Letters — Combi- nations of Letters — Other Saint Gall Signs — Rhythmic Signs of Metz — Messinian Letters — Melodic — Rhythmic.

Chapter II. — RHYTHM AND EXECUTION OF .MELODIC GROUPS IN THE PHRASE. 162

Time Groups — Rhythmic Groups — Juxtaposition of Groups

— Disjunction of Groups — The Gregorian Rhythmic Sense — Paleographical Equivalences — Importance of profound Rhythmic Study.

Chapter III. — MORE ABOUT THE APOSTROPHA — PRESSUS.174

Origin — Pressus Major and Pressus Minor — Effect to be pro- duced in the Chant — A few proofs of "fusion" — Theory of the "attractive" value of the Pressus — Retroactive qualities

— Intervening notes.

Chapter IV. — THE STROPHICUS. 181

Ancient Interpretation — - Practical Interpretation — Repercus- sions Many different types of Repercussions — Combination of Strophicus and Virga — Strophicus preceded and followed by groups at the Unison — The repercussion after the Strophicus, of the note bearing only an " individual ictus " — Many delicate nuances of repercussion.

Chapter V. — A STUDY OF THE APOSTROPHA — ORISCUS. 195

The Oriscus above a preceding note or group — The Oriscus at the Unison — Paleographic Equivalences — Notes near the Oriscus — Place of the Rhythmic Ictus near the Oriscus — Interpretation.

Chapter VI. — MORE ABOUT THE SALICUS. 203

Paleography — Execution — Neumatic Equivalences — Romanian Letters — The Sahcus at the Unison — The Diaeresis of the Salicus.

300 Synopsis of Chapters.

Chapter VII. — STUDY AND EXECUTION OF THE OUILISMA.208

Possible Histon.^ of the Qiiilisma — Decisions of Dom Mocquerean

— Retroactive qualities of the Ouilisma — The division of the Group

— Preceding the Quilisma — Single Notes preceding the Quilisma — Two or more notes preceding the Quilisma — Groups preceding the Ouilisma.

Chapter VIII. — TNTERPRETATIOX OF THE CHAXT. 214

The St^de of Solesmes — Reasons for Solesmes superiority — Solesmes spirit of the Church — The Benedictine viewpoint, and its influence on the interpretation of the Liturgical Chant — Creating the right attitude in the Choir — Choosing the personnel of the Choir

— The voice — Ensemble — Tempi — Fiexiblity — Exactitude — Pitfalls — More about conducting the Chant — ■ Developing the Greater Rh\"thm — The Pauses — Detai's of Interpretation.

Chapter IX. — GREGORIAN ACCOMPANIMENT. 254

Why? — When? — Rhythm — Modality — Style — Harmonies to employ — Theories of Tonality — Execution of Gregorian Accom- paniment — The use of Books of Accompaniment — Gregorian Accompaniment, an Adaptive Art — The Accompaniments at Solesmes — Examples — The Organist and the Liturgical Service.

Chapter X. — HISTORICAL SURVEY. 277

The Fourth Period — The Restoration — The Excellence of Gregorian Chant.

Bibliography. 297

ANALYTICAL INDEX.

Accent; Nature of Latin Tonic Accent 8 ; Tonic Accent on the ,, levee " 229 Accents of Latin Grammarians 13, 14; Used in Neumatic Notation 13, 14. In Psalmody, Cadences of One Accent 98, 99; Cadences of Two Accents 98, 99. Logical Accent 11; Expressive Accent 11; Phraseological Accent 77, 78.

Accentuation; 9, 132; Neumatic Ace. 13.

Accompaniment 254.

Acute; (See Accent)

Ambitus 39.

Ancus 23.

Ancient (tones) 96, 113.

Antiphonale Monasticum 103, 105, 295.

Antiphonary of St. Gregory 279, 282.

Antithetic (Parallelism) 90.

Anals^sis Importance of 264.

Apodosis 77.

Apostropha notes derived from 23 174, 181, 195.

Arsis; the generating force 60. See also 58, 63, 70, 83, 84, 85, 232, 248, 251. See also Elan, Chironomy, Rhythm.

Arrezo, Guido 15, 28. See also Guidonian,

Articulation 7; Link of 79.

Asterik, signilicance of 250, 251.

Atonic (Unaccented syllable) 99, 102.

Authentic (Modes) 38, 39.

Bar; Half Bar, Full Bar, Double Bar, 27. See Pauses.

Beat; Simple Indivisible 58; Composite Binary and Ternary 58-59.

Preparatory Beat 80, 117, 252. Benedict (Saint) 216. Benedictine, Life and Spirit 216. Beuron, Monastery of 280. Bilingual, Manuscript of iMontpellier 286-287.

Binary; Rhythmic Division 58, 59, 61. See Rhythm. Also 215, 251. Bivirga 17, 161, 235.

Brevity, of Tonic Accent 20; of Indivisible Beat 58. Byzantine, Ouilisma 208.

Cadence; Characteristic 42, 45, 46, ^9, 50, 51; Masculine and Feminine 70; Spondaic and Dactylic 99 ; Of One Accent 99 ; Of Two Accents 99. See Chapter VI, Psalmody, and Chapter VII Liturgical Reci- tatives. In Accompaniment 263-268. Special treatment of Deuterus 268.

Cephalicus 23.

Clef 25.

Celeriter 161, 205, 235. See also Letters.

Chironomy 63, 64, 66, 68, 70, 71, 82-88; 232, 248, 251.

Chromatic 26, 33.

Climacus 19, 22.

Clivis 17, 18, 22, 30.

302 Analytical Index.

Composite; See Rh^^thm.

Consonants 6-7. See Articulation, Declamation.

Contraction? Composite Rhythm by 63.

Crescendo 109. See Chapter Interpretation Part II, Chapter VIII.

Dactylic; words 69, Cadences 97-99.

Deuterus, Mode 36; Harmonization of Cadences 97-99.

Diaeresis, of Salicus 206, 207.

Desrocquettes (Dom Hebert) Tonality Theory 258. Accompaniments

271, 273, 274, 275. Diatonic 33.

Diastematic, Notation 15. Directum, Tonus in Directum 103, 141. Discreet 40 Movement, Intensity, emotion 233, 236. Disjunction; 163; of groups 169; letters of 172. Dissonance; 267.

Distropha; 23, 187 : see Strophicus. Dominant; of Modes 38-39; Psalm Tones 96. Dynamics; 254.

Echo; effects not to be used 88. Elan; 80; see Arsis.

Elementary; rhythm 59. Chironomy of 82. Enclitics; 9. Epiphonus; 23.

Episema; 17; see Ictus and Horizontal. Execution; see Strophicus, Pressus Salicus, etc. Epistle; tones of 119-121.

Editic \ Solesmes Rhythmic 17, 24, 28, 30, 278, 294. Edition of Rheims- Cambray 290.

Feminine : Cadences 70.

Festive : Psalm Tones 103-108. (See Solemn); of the Mass 110-112;

Chapter VII. Final : of Modes 38-39. Flexa : See Psalmody. Flexus : neums 20. Flexibility : in the chant 230.

Galilean; see St. Gall, ^Manuscripts, Rhythmic signs. Rhythmic

Letters, etc. Gajard : Dom, 217, 295. 34, 128, 232, 247. Gestures, 84. See Chironomy. Gregory, Saint 277, 279.

Gregorian (chant) see especially Melody, ^Modality, Rhythm. Gradual, Vatican 32; Liber Gradualis (1883); 283. See Musical Index. Groups : Rhythmic 69; Time groups 67; Disjunction of groups 169;

171, 172, 173. Gontier (Rev) 280. Guide 26.

Guidonian 169, 200, 289. See Manuscript. Gueranger (Dom) 216, 237, 278, 279-289. Greek : Influence of Greek music 32.

Hexachord : Theory 61; Hebrew (Poetry) 89.

Analytical Index. 303

Historical (Survey) Four Periods 177; Restoration, Dom Gueranger and his goal 278-281. Melodic Restoration 281. Dom Jausions 282, Dom Pothier 282, " Les Melodies Gregoriennes " and Liber Gradualis of 1883, 283; Dom Mocquereau and the Paleographic Musicale 283-286. Rhythmic Restoration 287-295; Dom Pothier, Dom Mocquereau, Dom Gajard. 291.'

Hypermetric : syllables 5.

Ictic (notes) See Ictus, Rhythm, Accompaniment, Neums, etc.

Ictus 17, 28, 32, 65. See Episema; Also Quilisma, Salicus, Oriscus,

Pressus, etc. Incise 27, 60; types of 70. Indivisibility; of primary beat 58. Intensity; qualities of 228. Intonation; Psalm Tones 93-95, 105-108. Introit; tempo of 219; See a,lso musical index. Intervals (modal) 37. Imitation (in Gregorian Chant) 52, 54, 74.

Jausions (Dom Paul) 282.

Jubilate (See musical Index).

Jubilus : series of notes or neums sung on one syllable, especially on the

last syllable of the Alleluia. 223, 227, 229, 232, and" Musical

Index. Juxtaposition; Composite Rhythm by 63, 64.

Kyrie (see Musical Index).

Legato; Importance of 9.

Laon (Codex of) 170-172; 179, 180, 183; 185-192.

Latin (See Tonic Accent, Accentuation) Pronunciation 2-8.

Letters; Melodic 156-160; 156, 160. 161.

Link ; Melodic 77 ; Dynamic 77 ; Proportional 79 ; of Articulation 79.

Liquescent (neums) 22-23.

Liturgy (See Introduction) respect of Liturgy 217. Liturgy of

Christmas 233. Liturgical (see Chant Gregorian, Text). Long (notes) see Ictus. Le Guennant (M. Aug.) Examples of Gregorian Accompaniment 272, 273

Manuscript; Alphabetic 286, 287; Bilingual of Montpellier 279, 286; Diastematic 286; Guidonian 286; (see St. Gall, Metz, Bamberg, 156. See also under Rhythmic Signs.

Masculine (cadence) 70.

Measure (see Rhythm).

Mediant (Psalm Cadences) 93-101. Pause at 102.

Melisma 34, 232.

Metric 5 See Hypermetric.

Metrum (See Recitative Chants Chapter VII).

Melody (See Chant, Melisma, Cantilena, etc.)

Melodic (element) 76; pattern 74; Imitation (see above).

Metz; Manuscripts of 150-213.

Mediaeval; interpretation of Strophicus 31, 181; of Quilisma 208.

Mocquereau (Dom); 64, 150, 162, 166, 173, 176, 216, 283-284.

Modes 33-56; see Hexachord, Protus, Deuterus, Tritus, Tetrardus.

Modality; see Modes, Tonality.

304 Analytical Index.

Modulation 52, 56; 252, 260.

Movement, discretion of, Legato, etc. (see Chapter Interpretation) 80, 218.

Music : Gregorian Chant great Music 214, 217.

Mora vocis 12, 26; 79, 80 in the manuscripts 157, 172.

Neums (see Part I, Chapter II) also Pes, Podatus, Torculus, Porrectus, etc.

Neumatic; notation 13 Manuscript 198; Group before Oriscus 199.

Notes derived from Apostropha 23; .see neums, groups.

Notation, see Neumatic, Diastematic, Chironomic. Part I, Chapter II.

Nuance 83, 168, 185, 212.

Notker 155, 156.

Offetory (See ^Musical Index).

Opus Dei 216-217.

Oriscus 24, 32; 195-202. Place of Rhythmic Ictus near 32, 201-202.

Interpretation of Oriscus 199-200. Organ, place in the Liturgical Service 269, 276. Organist, in Liturgical Service 276.

Paleographie Musicale 75, 283-295. See also Mocquereau, Gajard.

Paschal, Tone 104.

Pauses, 27, In Psalmody 102; General rules . 249; at asterik 250.

Quality 249. Pes-Podatus, derivation 14; also 17 and 18. Peace, a quality of Gregorian Chant 216, 295. Plagal, Modes 36-39.

Phrase, the Gregorian 12, 32, 62, 76, 281. See also Melody, melisma. Porrectus, origin of 15; 19-23.

Preparatory (notes) in Psalmody 102. Beats 84. See also Preliminary. Preliminary (beats in Chironomy) see above-preparatory. Pronunciation, See Latin, Accentuation. Pothier (Dom), 282-283.

Potiron (Professor) 255, 261, 262, 2G3. 264, 265, 266, 271, 273. Pressus 30, 31; 174-180; see also Apostropha. Pressus Major and

Pressus Minor 175. Prophecy, Tone for 118; termination 144. Protasis 77, 85.

Protus 35, 36.' See also Modes, Hexachord.

Punctum; Origin of 14; Square 16; Diamond 16; Punctum Planum

151-153; 155. Long Punctum of Metz Notation 159; also 160.

Psalmody- See Hebrew, Intonation, Tenor, Dominant, Mediant, Plexus,

Cadence, Termination, Tone, Antiphon, Spondaic, Dactylic, etc.

Potier (Chanoine) Example of Gregorian Accompaniment 274.

Ouarr (Abbey of) 293.

Quadratus (Pes) 151, 152; (Flexus) 152.

Ouassus (Pes) 152; Quassus Flexus 152.

Quantity; Beat, Syllable.

Quilisma, 31, 32; Interpretation 208-213.

Recitative — See Liturgical Recitatives (General Index) Tempo of 86.

Recto Tono no; see Tonus in Directum.

Remo, Cambrasian. (Edition) 287.

Repercussion, see Strophicus, Bistropha, Tristropha.

Repose, opposite of Elan. See Thesis. See Mora vocis 80.

Analytical Index. 305

Rh^'thm; Nature of 57, 58; word rhythm 59; Incise and Half Bar 60;

of Whole Bar 61; Composite Rhythm by Juxtaposition 63;

by Contraction 63; of Associated Words" 66; of Neums 67;

Greater Rhythm 75. Rhythmic; signs on Stave 26; Ictus 63, 71; Groups 69; Manuscripts 75. Rhythmic Signs in Manuscripts Chapter I, Part II. Rhythmic Letters (See Letters). Response (See Liturgical Recitatives, General Index). Responsorial (Chants) 34. Responsory (See Musical Index). Restoration; Melodic 281; Rhythmic 287; See Gueranger, Jausions,

:VIocquereau, Pothier, Paleographie Musicale, Gajard. Resupinus 20, See also Plexus Resupinus 20.

Ritardando (Rallentando) 133; discretion of 218; in Manuscripts 156. Romanian (See Episema).

St. Gall 130, — Rhythmic signs of 130-161; see Manuscripts, Notker,

Neums, Letters. Salicus, 19, flexus 20; Interpretation of 30, 203; Neumatic equivalences of 204-206. Rhythmic Ictus near 30, 203, 206. Diaeresis of 207. Scandicus 19, 30. Flexus 20; Subbipunctus and Subtripunctus 21,

Liquescent 23. Erroneous use of Scandicus for Salicus 206.

Use of the same sign for Pressus and Salicus 204. Scale (See Modes).

Signs (See St. Gall, Manuscripts, Letters, Melodic). Solfeggio 27.

Sonplesse (See Flexibility).

Spirit, of Gregorian Chant 216; Benedictine Spirit 216 Spondee (syllabic in Antiphons) 73 ;

Spondaic, word 83; Cadences 99. See also Table of Psalm Tones 103-108. Strophicus, Derivation from Apostropha 23; Interpretation of 31, and Chapter IV, Part II. Also Distropha, Tristropha. Repercussions of many nuances. Part II, Chapter IV. Style, of Solesmes 213; of accompaniment 269. Subpunctus 21. Subbipunctus, subtripunctis 21. Syllable, 8. Atonic 99. Synonomous, Parallelism 90. S3nicopation, in accompaniment 265. S^mthetic, Parallelism 91.

Tenor (see Dominant).

Termination; of Psalm Tones 102, 103, to8. See also Chapter, Liturgical

Recitatives. Ternarv; Elementary beats 57, Composite Ternary Beat 39; Danger of

making a Triplet 220. Tetrardus; 33-37 : In Hexachords 261-263. Text; Importance of a clear declamation of 9, no, 132. Necessity of

studying Text 214, 213, 230. Thesis; Of Words 39; See Part I, Chapter IV, and Chapter V. Also

Part II, Chapter VIII. Tone, of Psalmody See Part I, Chapter \'l; also Tonus Indirectum. Tonality 40, 36; 238-264. Tonic (see Final) 34-40.

Torculus 19; Liquescent 23; Resupinus 20. Danger of triplet 30, 220. Transposition 39.

306 Analytical Index.

Tristropha (See Strophicus). Tritus 37; In Hexachords 261-263.

Undulation 84-85. See Chironomy.

Unison, (Chant) value of 296; Oriscus at 200; Melodic Letter for 160;

Salicus at Unison 202, 206. Unity, as a factor in Gregorian Chant 296. Of the Latin word and

Phrase 9. Unity of Spirit and purpose necessary for perfect

rendition of the Chant 216.

Value (of notes) see Beat, Indivisibility.

Vertical (Episema) See Ictus, Episema.

Vibrato, See Quilisma, Strophicus, Repercussion.

Virga, 14, 16; In Strophicus 183, 184. Virga Jacens 151. See Punctum

Planum. Virga, the same value as other simple neums 225. Voice; quality at Solesmes 216. Necessity of blending perfecth^ 216. Vowels 4, 5.

AVords; The Tonic Accent the soul of 8; necessity of pronouncing well 9; Rhythmic Words 66; Time Words 67.

■>-o<>c>^

INDEX OF PIECES CITED.

Adoro te devote

Ad te levavi (Intr.) .

Agnus Dei (XVI)

Agnus Dei (XI)

Agnus Dei (Requiem)

Alleluia (Magnus Dominus)

Alleluia (Veni Sancte)

Alleluia (Quoniam Deus Magnus)

Alleluia (Easter)

Asperges me (Ant.) .

Astiterunt reges (Ant.)

Ave Maria (Ant.)

Cantate Domino (Ant.)

Colegerunt pontifices (Palm Sunday Resp.

Da pacem (Intr.) Dies irae (Seq.) . Dominus dixit (Intr.) Dirigatur (Grad.)

Gaudete (Intr.) . Gloria in excelsis (III ad lib.) Gloria in excelsis (IX) Gloria in excelsis (I) .

Hodie si vocem ejus (Tnvitatory)

In splendoribus (Comm.) . Ipse vocavit me (Ant.)

Kyrie (Fons bonitatis) Kyrie (Deus sempiternus) . Kyrie (cum jubilo) Kyrie (Orbis factor) . Kyrie (Cunctipotens genitor) Kyrie (Ferial) . Kyrie (Requiem) Kyrie (Lux et Origo) Kyrie (Stelliferi conditor) . Kyrie (Advent and Lent) . Kyrie (Alme Pater) .

Media vita (Resp.) Memento verbi tui (Comm.)

Omnes gentes (Intr.)

Omnes Sancti (Ant.) .

O Sacrum convivium (Mag. Ant.)

50,

220,

60 251

54 221

62 223

43 223

272 68 56 41

79 43

40

72

235

76

77. 251 42 221

222

56

235 4a

227 206 220 , 220 41 45 49 61 52 62 62

• 46

46, 84

• 54

• 55

• 47

68

308

Analytical Index.

Pacem relinquo vobis (Comm.) . Puer Jesus (Ant.) Puer natus est (Intr.) Precatus est Moyses (Offert.)

Ouinque prudentes (Comm.)

Requiem aeternum (Intr.) Resurrexi (Introit)

Sanctus (XI) .... Sanctus (I) . . • .

Sanctus (IX) . Secus decursus aquarum (Ant.) . Speciosa facta es (Ant.) Statuit (Intr.) . " .

Te Deum (Juxta morem Romanum) Tantum ergo .... Terra tremunt (Offert)

Urbs Jerusalem (Hymn) .

Veni Sancte Spiritus (Seq.) Veni sponsa Christi (Ant.) . Vidi aquam (Ant.) Vide Domine (Ant.) . . .

259 48

50 .221

48

49

248

42

62

271

55

228

53

44 73

272

45

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