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THE FUNDAMENTALS
OF
GREGORIAN CHANT
N^ 758
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
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:^:
^^
L^
zfz:
r"^^
t#=*
-W-^-0-^
:*-i-^
m
i
i '
-0
i
1
1 . A
1 •
1
r
-r 1 ^~ —
~i — 1 —
/W-> — #— '^-#-^-#-^-#-^— ^-#-j-#-a'-=^'=M # — I — : — 1 — ' — ; — \-^ — I — ! — =M
mm
I
i 1--^ I
IV
OFFERTORY.
Aug. Le Guenxant,
Ter- ra * tre- mu- it, et qui-
■ — ^•t" *-H^— 'y— V— •- — * — '^ —
'j;— g.^ -^ ^
:*:=
I ^
V
^=::p
n»-v
:J=J:z=
Chapter IX. — Gregorian Accompaniment. 273
111- ia.
e-
vit,
etc.
M^:^^z
^^^
-^-f.
t;;=
^ ■
' r r-
T
5%^:
2=pEE^-i
zz^i^
l-l
?=?=?^l
finale Cadence.
Two Harmonizations of Psalm Tone IV D.
Dom J. Hi^;bert Desrocquettes.
D
^ yx
_ f -^z*-?-4.-^,,_|
^-^^[-
_l 1
^~-f^ -
^<5>'— j-45'j
p_:
J '^
f - -^^-
— -— — r — L--
L^^
ESr
Henri Potiron.
i
-1^^
§!;
-# — &-
VIII G "
Aug. Le Guennant.
Di-xit DominusDno me- o : * Sede a dextris me- is.
:fzztzzzzi^zzlzHif'tzz;*zi:izzJ?z:
■12?: —
=^r-=^P-
— *:
!=pd6:
I
|3^
il
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
•^ ■#-■«$>■• ^ .0. '.^, .0. .0., .^ .0. .0.
m^^^^^
;$—•-«
ElEEE^
ri-
a,
gra-
ti-
i=^p
a ple-
na,
—0^ 0-
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~^-^-
^^^=J^^^^^:fe^gi, '
n Lp 1 1
^1 . ^1 . .1 -3., ^
^i^i-^^z -. -
*-- — fp — ^i^-? ?—
qui se-des su-per Che-ru-bim et Se-ra-phim: Quem be-ne-
w — ;^ — ^ — ^ — V — ^ — 'i^ ^ \ ~^^ ^ — ^ — n^~=^-
di-cunt Ange- li Archange- li et lau-
— 0 ^ 0.^ t^0_w^0^^ m
I -^1 ' '
' - r
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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