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1=1 [GRAMMAR

PLAINSONG

BY THE

BENEDICTINES OF STANBROOK
PART I.

850
G63
1905
oU

Grammar of Plainsong

Nihil obstat:

Domnus Wilfridus Corney, O. S. B.
Censor deputatus.

Imprimatur:

Domnus Aidanus Gasquet, O. S. B.

Abbas-Praeses.
Feb. 8, 1905.

Grammar of Plainsong

IN TWO PARTS

BY THE

BENEDICTINES OF STANBROOK.

STANBROOK ABBEY WORCESTER.
LONDON :

Burns & Gates Ltd.

28, Orchard Street,
Portman Square, W.

The Art & Book Co. Ltd.

Cathedral Precincts,
Westminster, S. W.

Benziger Brothers, New-York, Cincinnati, Chicago.

1905.

PREFACE.

The following pages, written at the request of His
Lordship the Bishop of Birmingham, are intended as
an introduction to a practical study of Plainsong; we
have, therefore, avoided in them, as far as possible,
all such intricate points as belong to the archaeology
of the subject. That they may contribute, in however
small a degree, to the fulfilment of the ideal proposed
to our choirs by our Holy Father Pope Pius X., is
our humble and earnest desire.

It is a pleasant duty to ackowledge our indebtedness
to the Revd. Dom A. Mocquereau, O. S. B., Prior of
Solesmes, and to the Revd. H. Bewerunge, Professor
of Ecclesiastical Music at Maynooth, from both of
whom we have received much generous and invalu-
able assistance.

Stanbrook Abbey,
Worcester.

Jan. 3Oth, 1905.

TABLE OF CONTENTS,

Letter of Pope Pius X. to the Abbess of Stanbrook.
Preface.

PART I.
Practical.

Chapter I. Historical Sketch . . ?,.- • l

Chapter II. The Pronunciation of Latin . . . .6

Chapter III. Notation j . j . j : . . . . . . 12

Chapter IV. Tonality. ;. . . %.,; . .20

Chapter V. Rhythm. , , . ... . .34

Chapter VI. Psalmody . ' . , . . .46

Chapter VII. Hymnody . * • / . . . . 59

Chapter VIII. Accompaniment . ./ iV . .62
Chapter IX. The Sung Parts of the Mass, and Vespers . 64

Chapter X. The Liturgical Recitatives ." . . .70

Chapter XL The Liturgical Books . . . . .79

APPENDIX. Broken Mediations of the Psalm-tones fil

PART I.

PRACTICAL.

CHAPTER I.
Historical Sketch.

Plainsong, Plainchant, or Gregorian Chant is the official
music of the Roman Church.

The name of Plainsong was given to the chant after the
introduction of Harmony. Because the old Church melody
served as a fixed theme for varying contrapuntal treatment, it
was called cantus firmus ; and because the added parts were
invariably more elaborate, more "figured", it was called cantus
planus.

The chant is also called Gregorian, on account of the
tradition which ascribes its compilation and final arrangement
to St. Gregory the Great.1

This ancient art, which comes to us with the special sanction
of the Church, has a history co-extensive with the Church's
own. This history may be divided into four periods:

ist. The period of its formation, from the Apostolic times,
or at least from the cessation of persecution (A.D. 312), to
St. Gregory the Great; 2nd. The period when it was at its
perfection, from St. Gregory to the i6th century (A.D. 600
to 1600). 3rd. The period of decadence, from the i6th to the
1 9th century. 4th. The period of revival, inaugurated in the
middle of the igth century, and still continuing.

I. Period. We can form only a general idea of the music
of the first Christian centuries, but the existence of a definite
musical setting for the sacred offices is proved by frequent
allusions in the works of the Fathers. The earliest Western
Liturgy of which the chant is known is the Milanese, which
represents a 4th century work. It is probable that much of
the Roman chant was derived from this source. A compa-
rison of the Ambrosian and Gregorian music shows that the
former (judging at least from the sources now available) was
at once simpler in its simple forms, and more elaborate in

1 For a statement on this subject, see The Gregorian Tradition, by
DOM W. CORNEY (Downside Review, April 1904); St. Gregory and ike
Gregorian Music (Plainsong and Med. Music Soc ); also Origins et
developpement du chant liturgique, by Dr. WAGNER (DESCLEE).

Grammar. — T.

CHAPTER I.

its florid pieces than the latter. St. Gregory's work, about
the end of the 6th century, was to arrange, and codify, and
probably to simplify, the already existing chants, and he is
generally supposed to have completed the body of Church
Music by composing melodies specially for the portions
added by himself to the Liturgy. The Cantus Roinanus thus
arranged spread gradually through Europe. St. Gregory
himself sent it to England with St. Augustine, and wherever
the faith took root in this land, there also the Church's song
found its natural home. Its introduction into the North of
England was the work of St. Wilfrid, who borrowed two
Cantors from Canterbury, the fountain-head in England of
all Roman traditions. St. Benet Biscop's zeal for the per-
fection of all ecclesiastical matters urged him to procure
for his monasteries of Wearmouth and Jarrow the instruction
of Abbot John, Arch-cantor of the Roman Church, and all
the neighbouring monasteries availed themselves of this
opportunity to learn the most correct manner of rendering
the sacred chants. The second synod of Cloveshoe ( A.D. 747)
enforced the use of the Roman chant in all Church services.
In the loth century St. Dunstan gave a fresh stimulus to
Church Music, as to all other ecclesiastical studies, and to him
is attributed the composition of the beautiful Kyrie "Rex
splendens." That England, in the following centuries, kept
up its reputation for Church Music, is proved by entries in
mediaeval history, and by the numerous MSS. of all ages
which may still be seen in the libraries of the country.

It gives an added interest to the study of the venerable
melodies now so happily restored to us, to know that they
are identically the same as those sung by our forefathers in
the Ages of Faith. Anyone familiar with the Solesmes
editions will find himself quite at home, both as to notation
and to melody, if confronted with an English MS. of say the
1 3th century. It is interesting also to note that the printed
Sarum books * are identical with MSS. of the same use, a
fact which proves that Englishmen, both before and after the
Reformation (for some of the books belong to the Marian

1 Owing to faulty registration misplacing lines and spaces these
books abound in misprints, but the mistakes are so obvious as to be
easily detected by the student.

HISTORICAL SKETCH.

revival), were familiar with the ancient Gregorian types.
For instance, the only printed Sarum Gradual in the British
Museum (C. 35. L. 5.), dated 1532, gives the very same
melodies, with the same divisions of neums, and the same
setting of syllables to music, as the I3th century MS. Gradual
reproduced in facsimile by the Plainsong and Mediaeval
Music Society

After this rapid glance at the history of the chant in
England, we may return to its general history.

II. The period inaugurated by St. Gregory (600-1600)
had various phases. In the holy Pope's own time, and for
ages after, his work was considered so sacred that none
might touch or alter it, and as a matter of fact the great bulk
of the music belonging to the Proper of the Mass has pro-
bably come down to us substantially intact from St. Gregory.
The ordinary of the Mass had not reached its present form
in St. Gregory's time, and the music of that part is therefore
of a later date, as is that of part of the office (some Anti-
phons and Responsories).

The liturgical movement inaugurated by Charlemagne
resulted in the spread of the Roman Chant throughout France
and Germany. The chief schools, founded by Roman
Cantors, were at St. Gall and at Metz.

With the year A.D. 1000 ends the golden age of Plainsong ;
the chant was still held in honour, but the compositions of
this period lack the severe beauty of the ancient Gregorian
type. Many of them are beautiful in their own style, but
others are mere artistic tours de force, and often, on account
of the wide compass they embrace, are quite beyond the power
of modern choirs.

The I4th century brought a further falling off in the chant.
At that time the attractions of harmony were fascinating all
musicians, and the harmonists and mensuralists were making
their mark even on the Church's song, and destroying its
rhythm, though the melodies were still preserved intact.
This prepared the way for the third period.

III. The decadence (1600-1800). Up to this time there
had been ha striking unanimity in all the MSS. and printed
books containing the chants, but the Pagan Renaissance
brought in the fashion of sneering at everything mediaeval.

CHAPTER I.

Church Music shared the fate of architecture and the other
arts; Plainsong was despised as the production of a barbarous
age, and though its existence was saved by its necessary
place in the Divine Services, it was seriously disfigured. The
melodic text was subjected to a process of abbreviation;
neumatic passages were arbitrarily cut up, neums were dis-
placed, melodies were frequently altered beyond recognition.
Such procedure would have been hard to forgive even if the
so-called Reformers had acted on any consistent or artistic
principle, but there is no trace of any such intention. The
abbreviators had the misfortune of living at a time when, as
has been said, the true spirit of the Gregorian melodies had
been lost, and their work was only what might be expected
under those circumstances. To this period belong the
Medicean edition, and others of the same type.

IV. The fourth period opened in the ipth century as a
consequence of the restoration of the Roman Liturgy in
France. Dom Gueranger, Abbot of Solesmes, feeling that
this restoration could not be considered complete until the
ancient chant was also revived, deputed Dom Pothier, one of
his monks, to the special study of this branch. The outcome
of his work is now well known throughout Europe ; its first
result was the publication of'Les Melodies Gregoriennes,"
a remarkable book which has done pioneer-work in the cause.
To bring the ancient Gregorian into practice, Dom Pothier
published, in 1885, the "Liber Gradualis," which represented
a vast amount of research and labour. Since then he has
given us the Liber Antiphonarius, the Responsorial, a Monas-
tic Processional, and a collection of Liturgical pieces entitled
Variae preces. And all this time the Solesmes School has
been forming. Headed by Dom Mocquereau, Prior of St.
Peter's, a number of monks devote themselves to a thorough
and critical study of the chant. Working on the comparative
method, they collate a vast number of MSS. of all ages and
countries, in order to procure the most authentic reading of
the musical text. The result of these researches has been
placed at the Holy Father's entire disposal, and will form the
basis of the Vatican Edition now in preparation. The latest
Solesmes editions now in circulation have certain marks
added to the ordinary Plainsong notation, to indicate the
rhythm, while, in answer to the outcry of Choirmasters, seve-

HISTORICAL SKETCH.

ral books have appeared giving the melodies translated into
the notation of modern music.

The restored chant has been quietly making its way for
years, and within the last decade it has spread into every
European country and also to the New World. The expira-
tion of the term of approbation accorded to the Ratisbon
version, the declaration of the Sacred Congregation of Rites
regarding the Solesmes edition, and finally the Motu proprio
of our Holy Father Pope Pius X., have created quite an epoch
in the history of Plainsong and made it a matter of the
highest and most practical importance.

CHAPTER II.
The Pronunciation of Latin.

A few rules for the Italian pronunciation of Latin are
given the first place in these pages, because the examples
occurring in the subsequent chapters contain many Latin
words, and it will be well to acquire at once a correct manner
of pronouncing them.

Vowels.

"The life and soul of Italian pronunciation lies in its
vowels," x and the student should take the greatest pains
to acquire the correct manner of treating these.

Each vowel has one uniform sound, whose quality is not
substantially changed by its quantity. It is the neglect of
this elementary principle which produces the half-Italian,
half-English pronunciation with which we are familiar.

A. This vowel has always a full open sound, as in father^
not only in open syllables like aino, but also in closed ones,
such as nain. The latter word must not, therefore, be pro-
nounced as in the English words ; ram, can, but with a full a
as in amo

E. We have in English no exact equivalent for the Ita-
lian e. It is certainly not the dipthongal sound given to the
English a. It is more like the e in met, or the a in fare, al-
though more resonant than in English. The digraphs a and
os equal e.

I. This vowel is always equivalent to the English ee*
whether the vowel in the Latin word be long or short "The
treatment of i in closed syllables is the one characteristic
defect of Englishmen by which they can generally be detected
in speaking Italian and other foreign languages." The
obscure sound of i often belonging to the word in English,
must be avoided in Latin. In the word inter, for example,
the first syllable must not have the sound of the English tin,
but something more like een though short.

1 See for most of this chapter a paper by the REVD. L. CASARTELLI.
(Report of Headmasters* Conference, 1891).

THE PRONUNCIATION OF LATIN.

O. This vowel is pronounced as in the English word for.

U. The vowel // is always to be pronounced as oo in
English, and never with the obscure sound sometimes given
to it in English, for example rub.

A U. This dipthong is pronounced like ou in the English
word plough.

Consonants.

It will be convenient to begin with a general classification
of the consonants.

i st. Labials : B, P, F, V.

B and P are formed by closing the lips while the breath
is collected, and then opening them to utter the desired sound.

F and V are produced by pressing the upper teeth on the
under lip.

2nd. Dentals : T, D, S, Z, and soft G.

T and D are produced by pressing the tip of the tongue
against the roots of the upper teeth.

5 and Z require the same movement of the tongue as do
T and D, but the tongue must not go so near to the gums;
a space being left between the tongue and the gums, the
hissing sound of these letters is obtained.

SH. To pronounce these letters, the tongue is drawn a
little more inwards than for 5.

3rd. Gutturals : K, Q, C, and hard G.

For K and G press the tongue against the soft palate, —
the sharp removal of the tongue produces K, the less sharp
removal, hard G.

4th. Nasal : M and N.

For M, the lips are closed, as for B or P, while the sound
is produced through the nose.

For N, the tongue is placed as for T, and the breath is
sent out through the nose.

5th. Liquids : L and R.

L is pronounced like T but more with the tip of the tongue
and by placing the tongue nearer the teeth.

CHAPTER II.

R. For this letter the tongue is almost in the position
required for T, but far enough from the palate to jar against
it when the air is propelled.

" Consonants may also be classified according as the voice,
as distinguished from the breath, is heard in them or no.
Thus the sounds represented by p, t, k, th (in thin), s (in sin),
sh,f^ and by wh in white as pronounced by a Northerner are
said to be voiceless or unvoiced ; while the corresponding
sounds represented by b, d, g (in go), th (in thine), s, s (in
pleasure), v, and w (in we) are said to be voiced." z

Pronunciation of Consonants in Italian.

The consonants not named in the following list are to be
pronounced as in English.

C, before e, i, se, and oe, is equivalent to the English ch in
such words as church. Thus : cetera == chetera. In all
other cases, C is equivalent to the English K.

CH is always as K.

G, before e, i, ae, ce, is soft, as in the English word general.
Thus : Genitor, regi, etc. Otherwise, G is palatal, as in
the English govern. Thus : gubernator,plaga, ergo.

GN have the softened sound given to these two letters in
French. The equivalent in English would be n followed by
the consonantal sound of y, as in neiv.

H. In the two words : tnilii and niliil, the His pronounced
like K, and in ancient books these words are usually written :
michi and nichil.

J is always to be treated as Y. Thus : Jam = Yam.

SC, before e, i, oe, oe, is like SH in English. Thus :
Suscepi = Sushepi.

77, when preceded and followed by a vowel, is equivalent
to TSI. Thus : Icetitia = latitsia.

TH is always like the English T. Thus : thesaurus =
tesaurus.

^ is pronounced like DZ.

1 Matriculation English Course, by W. H. Low and JOHN BRIGOS.

THE PRONUNCIATION OF LATIN.

The purity of each vowel -sound must be carefully main-
tained as long as the sound lasts. To ensure this the mouth
must be held perfectly steady, and the other vocal organs
must alter their position no more than is required by change
of pitch. Exercise : sing the scales or any other exercise to
each of the vowel-sounds in turn.

Each vowel-sound must be distinct and clear, and every
effort must be made to ensure this, for there is a tendency in
choirs, when singing long neumatic passages, to give an
uniform sound (a sort of oo) to all the vowels.

In Latin every syllable is pronounced ; we must therefore
avoid running two vowels into one, as : devo/w-nis, hos//Vz,
which should be pronounced : de-vo-ti-o-nis and ho-sti-a.

It is a common fault to omit the r in Latin words when it
occurs with another consonant; to say, for instance, cants for
camis, mater for martyr.

Care must also be taken not to run words together; we
should not say, e. g. : te roga-musau-dinos but te rogamus
andi nos ; not aso-lisor-tuus-quead, but a soils ortu usque ad.

It has been said that if vowels are the soul of a word,
consonants are its physical life. All consonants must be
articulated strongly and clearly, or there will be no energy
in the pronunciation. The greatest care should be given to
this point. Any piece of chant will prove an excellent
exercise, if the pupil is made first to read the text aloud, with
an exaggerated attention to the consonants; then to sing it
in the same way. It must be remembered that to pronounce
the different consonants a certain amount of facial movement
is indispensable. We do not of course mean to encourage
grimaces, but the other extreme is also to be avoided.

Special attention should be paid to double consonants;
they must be made to close the preceding syllable as well as
to begin the following, and the time used in pronouncing
them must be doubled. We must, therefore, say : tol-lis, not
to-lis; pec-cata, nokpe-cata.

On the other hand, syllables must be so carefully divided
that single consonants may not seem to be doubled ; for
example, we must not say : ca-thol-licam, apostol-licam, but
ca-tJi6-li-cam, aposto-li-cam; not confit-teor, lib-bera, but confi-
teor, li-bera^ etc.

10 CHAPTER II.

A correct pronunciation of vowels and consonants being
secured, the pupil must next turn his attention to accentua-
tion, for it is the accent which gives strength and unity to
words by gathering all their elements into one coherent whole.

There are three kinds of accents : the tonic accent, the
logical accent, and the pathetic accent.

Tonic or grammatical accent. Every Latin word which
has an independent signification has a tonic accent.

Words which have only a relative meaning have no tonic
accent : a) Prepositions, when they precede the words they
govern ; b) conjunctions, when they occur at the beginning
of phrases. (Both prepositions and conjunctions occurring
under other circumstances have an accent.) Thus : a] qua
propter; b] venit ergo, Tu autem.

Relative pronouns when they express mere relation have
no accent, v. g. : Benedict us vir qui confidit in Domino. It
however their antecedent is not expressed, or if they are used
as interrogatives, they are accented; v. g. Qui scdes ad dexte-
ram Pdtris; qui snnt isti qui ut m'ibes volant?

Place of the tonic accent. In words of two syllables the
accent is always on the first : pater, mater, soror, frater.

In words of more than two syllables the accent occurs on
the penultimate or antepenultimate, according to the quantity
of the penultimate, a) If the penultimate is long, it is
accented; b) if it is short, the antepenultimate is accented :
a) peccdta, fenestra. b) Fdcilis, gloria, justificdtio.

The enclitics, que, ne, ve, often draw the accent on to the
final syllable of the word to which they are added; thus :
hominesque, Filioque, fuitne, volucresve.

Secondary accent. Each word can have only one tonic
accent, but long words require subsidiary accents to secure
their proper pronunciation. Thus, for instance, jus tificattvnes,
consubstantidlem, omnipotentem, have their respective tonic
accents as marked, but for careful pronunciation they require
minor accents thus : justificdtiones, consubstdntidlem, omni-
potentem.

Logical accent. What the tonic accent is to a word, that
the logical accent is to a phrase, for its office is to bring out
the sense of the phrase, by laying stress on the important

THE PRONUNCIATION OF LATIN. II

word or words. Thus, in the following examples the accent
is on the underlined words : Ostende nobis Domine uiiseri-
cordiam tuam. Confitemini Domino quoniam bonus.

Pathetic or expressive accent. The pathetic accent is
sometimes considered to be out of place in Plainsong, but it
cannot be excluded from any music. It must, however, be
made use of in a spirit becoming Church Music. We may
perhaps call it the devotional or liturgical accent, since its
object is to elicit the unction of the Church's prayers, and
to bring out the lessons implied in every liturgical season
and indeed in every feast. It must never, however, be
allowed to degenerate into the sentimental, which is alto-
gether abhorrent to the virile character of Plainsong.

CHAPTER III.
Notation.

The Notes.

P.lainsong notation is developed from the acute accent (/),
denoting an elevation of the voice; the grave accent (V),
signifying a fall of the voice ; the circumflex (>\) and the
anticircumflex (v) accents, which are formed from the first
two. The combinations of these accents have in course of
time, and after various modifications, produced the neums or
groups of notes given below.

There are three forms of the single note : the square note>
or punctum (•), the tailed note, or virga, (1) and the dia-
mond (»). There are further two forms for special orna-
mental notes : the Oriscus and the Ouilisma.

Single Notes.

i. Punctuin

2. Diamond

3- Virga

Groups of two notes.

i. Podatus

2. ClivtS ~fi= SEK

i. Podatus.
first.

In this group the lower note is always sounded

NOTATION.

i. Torculus rt

Groups of three notes.

- 3. Climacus

2. Porrectus ~*^*~ •jffi—^-£*— 4- Scandicus "~ *

2. Porrectus. The stroke, in this neum, represents two
notes, i. e. one at the beginning and one at the end.

2. Scandicus I

Groups of four notes.

4. Torculus I

restipinus — B

3. Salicus ! —

6. PCS subbi-

Group of five notes.

/. Scandicus subbiptinctis

Pressus. This neum is formed by the meeting of two notes
of the same pitch. It may occur at the beginning of a group,
or at the junction of two groups.

liz

CHAPTER III.

Podatus Clii'is

dims Clivis

Climacus Clii'is

Scandicus Climacus

It must be remembered that the Pressus effect is to be
produced only when the two notes of the same pitch are
printed quite closely together as in the examples given above.

Strophicus. This consists in the repetition of the same
note. If the note is repeated only once, the neum is called

: if twice, it is called

BistropJia,

Tristropha.

Oriscus. A note at the end of a group, generally between
two torculi.

Quilisma. This little jagged note is usually found between
two notes which are a minor third apart. The usual manner
of rendering the group, is to prolong slightly the note or
group which precedes it.

as-

ecce

NOTATION.

Salicus. This group must not be confused with the
Scandicus. The former has the stress on its second note, the
latter on \\sfirst.

i. Epiphonus.

2. Cephalicus.

Liquescent groups.

3. Semivocal
torculus.

dimacus.

The liquescent groups are marked only .in the restored
versions of the chant ; they are important chiefly as helps to
a careful pronunciation.

A little memory work will soon familiarise the student
with the names of the groups, and he will find this knowledge
very useful in practising with a number of singers, when a
special group can be at once pointed out for attention by its
name.

The Stave.

To express definite intervals, these notes are placed on a
stave of four lines. x

If the melody extends beyond the compass covered by the
stave, leger lines are added.

1 The stave is the result of successive attempts at fixing the pitch of
sounds. The earliest notation was expressed only by neums, i. e. signs
written above the text, but generally affording no hint as to the pitch.
At one time a greater number of lines was used. The introduction of
the stave in its present meaning is due to GUY OF AREZZO.

16 CHAPTER III.

The stave is now used in this way: both lines and spaces
denote different positions, and each higher or lower position
indicates one higher or lower degree of the scale.

The lines are counted from the lowest.

The melody is, in modern editions, divided on the stave
into phrases and periods, by means of vertical lines called
bars. These bars, which do not indicate time-divisions, are
of four kinds: i) The double bar used only at the end of
pieces, or to mark off the parts of a piece sung by different

divisions of the choir. l 2] The whole bar HiZH I which

corresponds to a full stop in punctuation, marks the place of
a full breath and a long pause. 3) The half bar ~f. — 1~

occurs at the end of phrases, and corresponds to the colon or
semi-colon. Breath should be taken at half-bars. 4) The

1—

quarter bar ~"j- corresponds to the comma. Breath may

be taken, but it must be done rapidly. 5) A comma after a
note marks the place of a very rapid breath ~~§

The Clefs.

As already*stated, successive positions on the stave mark
successive degrees of the scale. But they do not, by them-
selves, show the distinction of tones and semitones. To do
this the clefs are employed. A clef, by giving a definite
name to one particular line, supplies a means of reckoning
all the other notes. Two clefs are now employed in Plain-
song: the Ut or Do clef (a formalised manner of writing

the letter C); and the Fa clef iz .

These clefs are movable. The Ut clef, for instance, may
be placed on any of the four lines; the Fa clef is generally

1 The double-bar is often used to mark the intonation of pieces, but
in the latest editions an asterisk is employed for this purpose.

NOTATION.

used only for pieces of the second mode, and is usually on
the third line.

Accidentals.

The only accidental used is the flat (b), and it affects only
one note, viz, B. The influence of the flat extends only to
the bar in which it occurs. If a natural is required in the
same bar, it is indicated by the usual sign : b.

The Guide.

This is a little note ^2 placed at the end of each line to

indicate the note which begins the next line. This sign is
used also when, in the course of a line, the clef is changed,
to show the relative pitch of the first note after the change.
Such alterations of clef are very frequent in the MSS., but
they have been greatly reduced in the most recent editions.
For an example of change of clef, see the 1^7. Cum appropin-
quasset, of Palm Sunday.

The value of notes in Plainsong is not determined by their
shape. The square note, the tail note, and the diamond
note indicate sounds of the same value. The form of these
notes is, we may say, historical, and the story of their evolu-
tion is full of interest. J It will be sufficient for our present
purpose to say that the plain square note (punctum) is deri-
ved from the stroke which indicated a low note, and the
tailed-note (virga) from the stroke or accent marking a higher
note (/). The lozenge-shaped note is due, in the MSS., to
the copyist's holding his broad-ended pen in a slanting posi-
tion when writing descending notes, hence diamonds occur
properly only in descending passages.

The rhythmical signs added to the groups in the latest
Solesmes editions are shown below. A dot, added to a note,
doubles that note; the little stroke, added to a note, gives
that note a rhythmical accent, but does not lengthen it.

1 See Gregorian Music, by the Benedictines of Stanbrook; also
Elements of Platnsong, by BKIGGS.

Grammar. — 2.

CHAPTER III.

Punctum

Diamond

Potiatus j' f~ T

Clivis

«7 ^^~ x*

Torculus \ •

Porrectus I

=ESE

Clint acus

And so on for the rest of the groups.

A line placed under or over a group indicates that that
note or group is to be sung more slowly.

In response to requests from many quarters, the Solesmes
Fathers have published a good number of choir-books in
modern notation. The principles on which these transcrip-
tions have been made are explained in the Prefaces of such
books, and a detailed description of the same maybe seen in
English : "The Solesmes Transcriptions into Modern Musical
Notation," by Dom A. Mocquereau. The specimens shown
in the table of neums will enable the reader to understand
the examples given in these pages.

Application of Tonic Sol-Fa Principles
to the Gregorian Notation.

There is no difficulty in reading the ordinary Plainsong
notation according to the same principles which Tonic Sol-
faists employ in reading the staff notation. As there is no

NOTATION. 19

key-signature, the clef at once gives us the position of Doh,
and from that the other notes are found in the usual way.
In order, however, that the mental effect may really corres-
pond to the names of the notes, a slight change is desirable
in the case of two classes of melodies. One class of melodies
ends on Ray, another on Fah, but the mental effect of these
final notes is in reality that of Lah and Doh respectively.
These melodies make a fairly frequent use of a flat before Te.
They might be printed, therefore, with a flat in the signature,
a natural being used for all the notes of the position in
question that are not marked with a flat now. This is what
we would advise the Tonic Sol-faist to imagine. The prac-
tical rule, then, might be formulated thus :

If a melody ends on Ray or Fah, call Fah Doh, singing Fe
instead of Fah, except when there is a flat marked in the
particular phrase.

Sometimes, however, when the Fe is rather frequent, it
might be desirable to adopt the "perfect" plan for modula-
tions, by calling Soh Doh, which means, of course, a return to
the actual notation. Thus, for instance, the Gradual- Verse
of the Fourth Sunday of Advent might be sol-faed thus :

Audem D6mi-ni loquetur

Key F

c ft - •

os me-uin et bene-dicat omnis ca-ro no-

men sanctum e- jus.

The Choirmaster should determine beforehand where these
transitions are to be made. It may be well to mention that
in the Introits the note to be looked for as the final note, is
the last note of the Antiphon, that is, the one before 1 lie por-
tion marked Ps..

CHAPTER IV.
Plainsong Tonality.

' In modern music there are two Modes, the modes of Do and
La, their essence being that Do or La respectively are the
" tonics ", i. e. the tones to which all the other tones of the
melody are referred, and from the relation to which they
receive their peculiar effect. In Plainsong, somewhat in
the same way, any of the seven tones of the natural scale
may be taken as tonics. This would give seven modes. But
according to the mediaeval theory, only four modes are
distinguished, those of Re, Mi, Fa, and Sol. The modes of
the remaining three tones, La, Si, and Do, are considered as
modifications of those lying a fifth lower, their scales being
identical with those of the notes a fifth lower, with the flattened
form of Si, thus :

I. La Si Do Re Mi Fa Sol La
Re Mi Fa Sol La Sib Do Re
II. Si Do Re Mi Fa Sol La Si
= Mi Fa Sol La SiP Do Re Mi
III. Do Re Mi_Fa Sol La SiJ3o
Fa Sol La Sib Do Re Mi Fa

The four modes of Re, Mi, Fa, and Sol, are each subdivided
into two classes, according to the compass of the melodies.
In one class, called authentic, the normal compass is con-
sidered to be from the tonic, or fundamental note, to its
octave; in the other, called plagal, from a fourth below to a
fifth above the fundamental note. This theory of the compass
is not fully borne out by the melodies themselves, but will
serve to give a rough idea of the distinctions.

PLAINSONG TONALITY. 21

The modes, then, are counted thus :

Authentic mode of Re = 1st.
Plagal » » = 2nd.

Authentic mode of Mi = 3rd.
Plagal » » = 4th.

Authentic mode of Fa =-- 5th.
Plagal » » = 6th.

Authentic mode of Sol = /th.
Plagal » » — 8th.

Besides the fundamental note, there is one other note
considered as of great importance. This is called the Domi-
nant. The Dominant of the various modes will be found in
the table below. The Dominant is very prominent in Psal-
mody, inasmuch as it forms the reciting-note of the Psalm-
tones. But it may also be observed as having a great
influence on the structure of the Gregorian melodies. If
we examine the typical melodies given below, we shall find
the following : In the Introit Gaudeamus of the first mode,
the intonation is evidently suggested by the interval Re-La,
Tonic-Dominant, and the La remains prominent at least
during the next phrase : omnes in Domino. In the example
of the second mode the Fa is most prominent throughout.
In the third example, we see again how the intonation, after
circling round the fundamental note, rises to the Dominant,
and the melody rests on the same note in the phrase : quia
misit Dominus. The fourth example does not, indeed, show
the La very prominent. One could only point to its forming
the culminating point of a few melodic groups. But the fifth
melody shows the dominating character of the Do again very
cleWly, and in the sixth the La will be found a rather impor-
tant note. In the seventh, the intonation again reveals the
interval Tonic-Dominant, Sol-Re, and the Re remains pro-
minent for one or two phrases more, though in the rest of
the melody the Do appears to occupy a place of greater
importance. In the eighth example, finally, the dominating
position of Do is again unmistakable throughout.

CHAPTER IV.

Table of Modes.

Name.

Character.

Range.

Final.

Dominant.

Dorian

Authentic

DEFGABCD|

A. La.

•" ' t

D. RE.

—

II.

Hypodorian

Plagal

ABCDEFGAJ

F. Fa.

III.

Phrygian

Authentic

EFGABCDE1

C. Ut.

{

E. MI.

IV.

Hypophrygian

Plagal

A. La.

Lydian

Authentic

F G A B C D E F)

C. Ut.

•4E

F. FA.

VI.

Hypolydian

Plagal

CDEFGABC)

A; La.

VII.

Mixolydian

Authentic

GABCDEFG)

D. Re.

G. SOL.

VIII.

Hypomixolydian

Plagal

DEFGABCDj

C. Ut.

It will be seen from the above table that the Gregorian
melodies are also known by names taken from the classical
Greek theory of music, namely ; Dorian, Phrygian, Lydian,
and Mixolydian, the Plagal modes being characterized by
the prefix JHypo. It must be mentioned, however, that the
Greek modes corresponding to these names are not identical
with the Gregorian melodies designated by them, the diffe-
rence being accounted for by some misunderstanding of the
mediaeval theorists. The Greeks used the names in the same
order, but began with E, and proceeded downwards. Hence
we have, in Greek music :

DORIAN :EDCBAGFE
PHRYGIAN: DCBAGFED
LYDIAN :CBAGFEDC
MIXOLYDIAN :BAGFEDCB

Care must be taken, therefore, when these names are met
with, to ascertain whether they are used in the Greek or the
mediaeval sense.

PLAINSONG TONALITY.

Tbe First Mode.
Its scale (Do Clef on 4th line) :

Intr. i.

Typical melody : Introit of the Assumption.

J=|£3 mtr. ,. a?=F=fFFa»=^^^

Aude-amus * omnes

'•f^£

Gaude- a- mus*6-mnes

in Do- mi-

no, di-

in Do-mi- no, di- em fe-

g .__,_=,— -t

~*** -P**— ,- fr* I • em fe"_stum ce- le- bran-tes

stum ce-le-brantes, sub ho- — k,

sub no-no- re be- a-tse

no- re be-atae Ma-ri-ae Vir-

ir- ==~^--j== =

— i jri ^a" r^" * Vir-gi- nis : de

-h — K — zKn^35iiiizffitE
J=it:=:.J_J_i!ziitrit«tJtir:

gi-nis : de cujus Assumpti- *?

cu- jus Assumpti- 6- ne

6- ne gaudent An-ge-
I ; !. -

gau-dentAn- ge-

li, et collau- dant Fi-

dant Fi-

li- um De- i. Ps. Eru- um De- i. Ps. E-ru-

CHAPTER IV.

3=^

ctavit cor me- urn verbum bo-

CQr m(,_ um

num : di-co ego 6pe-ra me- a num . df. co £_g-o 5.

pe-ra

K-8-

=^^^^

Ri- gi. G16-ri-aPatri. me- a Re- gi. G16- ri- a Pa-

t=a=

E u o u a e.

tri. E u o u a e.

or E u o u a e.

The Second Mode.

Its scale (Fa clef on third line) :

Typical melody, Mass " Pro Pace ".

Li Auda-te

Offert. 2.

Lau- da- te

*D6mi-num, qui- a be- ni-

Do- mi- num, qui-

1 The letters E u o u a e are the vowels of the final words of the doxo-
ogy : $€gcul6rumy Amen.

PLAINSONG TONALITY.

gnus est : psal li- te no- a be- ni- gnus est :

mini e- jus, quo- ni- amsu-

psal- li- te no- mi- ni

a- vis est : omni- a

e- jus, quo- ni- am su-

quaeciimque vo- lu- it,

— /w

a- vis est :

fe- cit in cse- lo

- mm- a quee-cum-que vo-

^^^^^^^&^5^=

?ii^_^3L_* *-•% djv *>

lu- it, fe- cit

et in ter- ra.

in cae- lo

ter- ra.

The Third Mode.

Its scale, (Ut clef on 4th line) :

t——'—^

CHAPTER IV.

Typical piece. Introit of Feast of Saints Peter and Paul.

*qui-a mi- sitD6-mi-nus re, *qui- a mi- sit Do- mi-

bj=:a-.-U— =3=:

nus An- ge- lum sii-

C3d

Ange- lum su- um : et , . . .

-S • •-»

um : et e- ri- pu- it
e-ri-pu-it me de manu i ' r^ ""t^T — I*T li 1-1

F^-*

He- ro- dis, etde omni

me de ma-nu He-

ro-

s
g

exspecta-ti- 6-ne pie-

is, et de 6-mni exspe-

— j-j eta- ti- 6- ne pie-

bis Ju-dae- 6- rum. Ps. Domi- — J
•_1| t u t ,*, • ,, bis Ju- das- 6- rum. Ps. D6-

= — J rf!

ne probasti me, et cognovi-

mi- nepro-ba-sti me, et cogno-vi-

sti me : tu cognovisti ses-

sti me : tu co-gno- vi-sti

si-6nem me-am, et resurre- ses-si- 6-nemme- am, et rc-sur-re-

PLAINSONG TONALITY.

cti- 6-nem me-am. G16n-a cti_ 5. nemme- am. G16-ri-

Patri. E u o u a e. a Pa-tri. E u o u a e.

The Fourth Mode.
Its scale (Ut clef ou fourth line) :

" J-V ^ ^

Typical piece. Alleluia of the Mass " De Beata."

i ' —

Lle-lu- ia. */;.

Al-le- hi-

-f^»=^f-^.n

. Post par-

turn, Virgo invi-o-la-

r. Post par- turn,

§_§

ta permansi- sti : De-i Ge- Vir- go invi- o- la-

+i3r-.r:

nitnx,

ta perman- si- sti : De- i

CHAPTER IV.

inter-ce- de Ge- ni- trix,

*pro nobis.

i^u— < -i'— ^V/--^^-

. •

n —

: ~

qad

in- ter- ce-

-I—

de *pro n6- bis.

The Fifth Mode.

Its scale (Ut clef on third line) :

Typical piece. Gradual of Christmas Day (Third Mass).

Grad. 5. |I

1» •••

Iderunt 6- mnes *

Grad
5-

Vi-de-runt 6-

PLAINSONG TONALITY.

g*=*JS^gJ^

fines ter- rae sa-lu- nines * fi- nes ter- rae

ta- re De- i no-

sa- lu- ta- re

stri : jubi-la-te De- o D^- i no- stri :

mnis ter-ra.

6- mnis

ter-

OTt

ra.

The Sixth Mode

Its scale (Ut clef on fourth line) :

IZZr

Typical piece. Offertory of the Common for the Dedication of a Church.

Offert. 6. ti : ^^_ zlz:

Offert- 6-

Omine D6- us, *

D6- mi-ne De-

in simpli- ci-ta- te cordis us * in simpli- ci- ta-

CHAPTER IV.

me- i Ise-tus 6b-tu-

li u- niver- sa : et po- , , ,, . "*" ..

lae- tus ob- tu- li

pulum tu- um, qui reper- nj_

•=-*V-

sa : et po-

tus est, vi-di cum ingenti pu. ium tu. urn, qui re-

f* * •

gau- di- o: De-us Is-ra- per- ,tus est, vi- di cum

<jftM;Kj

el, custo- di hanc in- gen- ti gau- di-

vo- lun- tatem, alle- o : De- us Is- ra- el,

iu- a.

cu-sto- di hanc

vo- lun- ta- tern

al- le- lu- ia.

PLAINSONG TONALITY.

The Seventh Mode.

Its scale (Ut clef on third line) :

Intr. 7.

Y I-rii

Typical piece. Introit of Ascension Day.

jjIntr.7.a^E^gg

riGa- li-lae- i, *quid

Vi- ri Ga- li- Ise-

admi-ra-mi- ni aspi-ci- en- i, *quid admi- ra- mi- ni

tes in cae-lum? alle- lii- adspi- ci- en-tes in cse- lum?

^g_B^E^Ejp

l^~9*

ia : quemadmodum vidistis al- le- lii- ia : quem-ad-

p. . m r-e^z^-.^

e-um ascendentem in cae- mo-dum vi-di-stis e- urn adscen-

.. I . . ... :-

=tc

lum, i-tav£- ni- et, alle- den-tem in cse- lum, i-tave"-

H^^V-irH h

lii- ia, alle- lii- ia, al- nj. et, al-le- lii- ia, al-

le- lii- ia. />.$•. Omnesgentes le- lii- ia, al-le-

CHAPTER IV.

plaudi-te mani-bus : ju-bi-late

ia. Ps. O- mnes gentesplau-

di- te ma- ni- bus : ju- bi- la-

-AV

De-o in v6ce exsulta-li-6-

te De- o in vo-ce ex-sul- ta-

nis. Glo-ri- a. E u o u a e.

zzfr_LLJ — T^f

ti- 6- nis. G16- ri- a Pa-

E u o u a e.

tri. E u o u a e.

0r E u o u a e.

The Eighth Mode.

Its scale (Ut clef on third or fourth line) :

Typical piece. Alleluia of Ascension Day.

L-le- lii- ia.

Al- le-

r. Do- ia.

PLAINSONG TONALITY.

minus in Sina in san-

y. Do- mi-nus in

PESIL-: =tz=Q=t

rf^

cto, ascendens in al- si.na in s^n.

H =

cto,

turn, capti-vam a- seen- dens in al-

dii-

vi-ta- tern.

tum, ca-pti-

xit *ca- pti- vi-

ta- tern.

Grammar. — 3.

CHAPTER V.
Rhythm.

The question of Rhythm is of primary importance to the
Plainsong student, and he should spare no pains to gain a
clear idea of this part of his subject, for it is Rhythm that
gives Plainsong one of its most characteristic charms. A
detailed theoretical study of the question, however, is not
necessary for the average executant, who will sufficiently
grasp the practical side of the question by ear, aided by a
few general principles ; but anyone who takes the trouble to
go deeper into the matter, will be repaid by the new light
the study will bring him.

In order not to weary the student with all the details of a
complicated subject, we give here only the general principles
of Rhythm, and some practical rules to secure the proper
effect. The reader who may wish to pursue this study, is
referred to Part II. of this volume, where he will find a de-
tailed account of the principles underlying Rhythm in gene-
ral, and Plainsong Rhythm in particular.

Rhythm may be defined as the ebb and flow of sound. It
is the lifegiving principle of melody, the sine qua non of
pleasing sound.

Rhythm is of two kinds, strict and free.

Strict rhythm is employed in poetry and modern music,
and is characterised by the regular recurrence of a metrical
stress.

Free, or mixed rhythm is the rhythm of prose and of
Plainsong. It is distinguished by a recurring rhythmical stress
dividing the composition into feet of two or three beats, but
the stress in this case does not occur regularly.

Rhythm consists, then, in the flowing and harmonious
movement of musical sound, and this depends on the proper
partitioning off of the parts of a melody, since a rhythmical
whole can be the result only of rhythmical parts. The mind
in singing or reading needs a resting-place after every two
or three syllables, and these resting-places mark the rhythmi-
cal feet. Thus Rhythm is, according to the classical definit-
ion," the order of movement," a sucession of rises and falls,

RHYTHM. 35

of beginnings and endings. The rhythmical sense is brought
out mainly by the endings, since they alone complete the
movement. These endings are of relative value, according
to the importance of the rhythmic fall which they conclude ;
they do not necessarily include the notion of pause, but they
are, as it were, the footfalls of the Rhythm, which alights
there and thence takes a new spring. Thus in a musical
phrase the Rhythm simply leans or bends on certain sylla-
bles, on others it makes an almost imperceptible pause, on
others a decided pause, on others again, at the end of a
phrase, a long pause.

In every smallest rhythmical unit, therefore, we have two,
parts: one which moves towards the following, and a second
towards which the first moves, and which, therefore, marks
the end. The first part is called Arsis, the second, Thesis.

The Thesis is also called accent (accented note). But it
should be clearly understood that "accent" here is not to be
taken in the sense of the modern word-accent This is a
stress accent, an increase in strength of tone, produced by
greater pressure of breath. We take accent in the sense of
prominence of some kind given to a tone. This accent may
or may not be greater stress. Its essence is that it marks,
in some way, the term of the movement.

It is acknowledged as a fundamental law that all rhythmic
movement is either binary or ternary, that is to say, that a
new accent is necessary, at every second or third note. When
there are more than two notes leading up to a Thesis, our
mind groups them again into smaller divisions, taking one
of the notes as a subsidiary point of rest. (Such subsidiary
points of rest are marked in the Solesmes editions by the
ictus-sign »).

In plainsong all single notes are equal in value. There
are no divisions of the normal time-value such as we find in
modern music, where a crotchet, for example, may have the
following equivalents:

-0-9-

The pratical result of this principle is that smoothness,
evenness, roundness, which are among the chief charms of

36 CHAPTER V.

the chant. Thus, in a phrase such as the following, the
groups of notes must not be sung rapidly, as if equivalent to
the single notes, but with their full value.

Not:

Su-pra fir-mam petram.

But:

Su-pra fir-mam petram. (Lib. Usualis,p. 690.)

The lengthening of notes will be treated farther on.

With regard to the position of the Thesis in syllabic chants,
it may be stated, as a general rule, that the Rhythm of such
pieces is usually determined by the accompanying words. A
singer should not, however, allow himself to be fettered by
the text to the detriment of the musical sense of a passage,
for there will be cases in which the melody must be left to
take things its own way.

The following considerations will give us an idea of the
rhythmical value of the neums.

Let us take the following little melody:

g— ^

ve-strse.

It seems natural that the note on which a syllable enters
should be accented as compared with the following notes on
the same syllable. In the case of the second syllable in the
above example, there is an additional reason. The main
movement in this little melody is from the first syllable to
the second. The first note on the second syllable is, there-
fore, the term of this movement; it must consequently have
a certain weight. We may state, then, as a general rule:

Rule. The first note of every neum is accented.

As to the final notes of the two neums in the example,
we must remark a difference. The final note of the first

RHYTHM. 37

neum, that on ve, leads over to the next syllable, and in
accordance with its position should be light and short. The
final note on the second syllable, on the other hand, forms
the end of the melody; it is, therefore, long, and has conside-
rable weight. The following rules may, therefore, be laid
down, regarding \\\e final note of a neum:

Rule. The final note of a neum on a syllable followed by
another syllable of the same word, or by another word closely
connected with the preceding, is light and short.

Rule. The final note of a neum on a syllable forming the
end of any rhythmical division, is long and weighty, — its
length and weight being, of course, in proportion to the
extent and importance of the division.

When we have groups of neums, they must be treated by
analogy of the single neums. Hence we may state the
following rules:

Rule. The final note of a neum leading on to another
neum is light and short.

Rule. The final note of a neum forming the ending of any
kind of division is long and weighty.

The following notes have regularly the rhythmical stress.

All notes marked by the ictus sign (»), whether they
occur (a) in the course of a neum, or ($) at the end of a neum.

a) Ky-ri- e b)

a) Ky- ri- e b)

Culminant virgas, whether they occur a) in the middle, or
/>) at the end of neums, have the accent.

n-e

38 CHAPTER V.

The first note of a pressus, should have a stress-accent of
marked vigour.

Agnus A-gnus

Pause or duration. It has been said already that in
Plainsong all notes are theoretically equal, i. e. have of
themselves an uniform time-value, but this value may be
modified by various causes. These modifying influences
give us the element of duration or pause required for the
production of rhythm.

Rule I. The simple mora vocis. This is the name given
to the smallest pause, since it implies not even a cessation
of sound, but requires a delay of the voice on the note at
which it occurs, and which must be held for the value of two
ordinary notes. The note must be sustained softly. The
mora vocis is marked, in the Solesmes editions, by a dot
placed after the note which it affects :

Hrr^

_!:

Chri-ste Chri-ste e-

This manner of marking these slight pauses enables those
who do not know Latin to make intelligent divisions in the
text. \Vnen one Cantor is singing alone, he may disregard
some of these pauses to follow his own artistic sentiment,
but to ensure a perfect ensemble with a number of voices,
their observance is obligatory.

Breath should not be taken at the simple mora vocis.

N. B. In plainsong editions which have no rhythmical
points, the place of the mora vocis is shown by the spaces
dividing the neums one from another; wherever there is
room between the neums for the insertion of a note, the
mora vocis is to be observed.

illi au- tern sunt

RHYTHM.

Rule II. The next pause, corresponding to the pause at
a member of a phrase, is marked by a dot after the note it
follows and by a quarter-bar.

=^—

San- ctus,

San-

ctus,

The dotted note is held on for the time of two notes. If
the singer finds it necessary to breathe at such places, he
should do so rapidly, and in that case, should shorten the
dotted note a little, taking from it the time required for the
breath.

Rule III. The third pause, marking the end of a phrase,
is shown by a dotted note followed by a half-bar. Breath
may always be taken at such places.

Ho-sanna Ho- san-na

Rule IV. The fourth pause marks the end of a sentence.
It is shown by a dot after the final note and a full bar, or, at
the end of a piece, by a dot and a double bar.

Sa- ba-oth.

ba- oth. pa- cem.

cem.

Rule V. Besides the above pauses, a mere breathing-place
is sometimes marked by a comma (?) placed above the stave;
the note preceding the comma must not be prolonged.

Qui sedes

Qui se- des

Rule VI. There is one further sign, viz. a line placed
under or over a note or neum, and indicating that the

CHAPTER V.

note or group thus marked is to be sung with a slight
ntardando.

Ho- sanna

Ho-

san- na

The observance of these rules should enable the choir-
master to produce a good rhythmical effect without which
Plainsong is no better than a body without a soul. But the
student can scarcely hope to obtain satisfactory results from
mere dry rules. He should study the rhythm practically by
listening to a competent choir, accounting to himself the
while by means of his rules for the various effects which he
hears ; he will find this exercise most profitable, and a great
saving of time.

The following example illustrates all the pauses.

Ant 8.

Y/
V

Idi

aquam * e-

Vi- di

a- quam*

gre- di- entem de tern- plo egre- di- en- tern de

" ' ~^^~^^1

a la- te-re dex-tro, al-

le- lii- ia : et omnes ad

1- tern- plo a la-

d te-re dex- tro, al-le-

t±

ui . CL uniiici ctu ic- ic dex- tro, al-le-
ervenit a-qua i- lu ia : et 6- i

quos pervenit a-qua i- lu

i gt , 7" _B1g a» g"^~^

sta,

sal- vi fa-cti ad

RHYTHM.

hez^sr^tTTJbg

sunt, et di- cent, alle-lu- ia,

alle- hi- ia. vi f^- cti sunt> et ^l~ cent»

-g— ^^ =K=

^ ^ ^^^-^zzj^

al- le-lu- ia, al-le-

lu- ia.

It will be convenient to group here a few practical remarks,
which may help the student in his interpretation of Plain-
song, though it has been owned that complete instruction
cannot be conveyed by any book, but must be gained, in a
large degree, from hearing the melodies intelligently rendered.

Plainsong pieces may be regarded, from a practical point
of view, as divided into syllabic and neumatic, — the former
having only one note, or rare groups of two notes, to each
syllable, while the latter have groups of notes on most
syllables.

Syllabic pieces. In singing these, the rules of good reading
are to be observed ; that is to say : the words of the text
are to be accented according to the rules already laid down,
and their meaning carefully brought out by means of pauses
wherever the sense so requires. It must be remembered
that staccato singing is altogether excluded in Plainsong, and
that the words of the text must be sung so as to give the
impression of flowing sound, i. e. legato.

Nen rnatic pieces.

There remains the question of how to treat the long and
beautiful passages which are frequently met with in the
more elaborate compositions, such as Graduate, Alleluia-
Verses, and Offertories. As a strict matter of fact, every-
thing, even in such elaboration, has to be reduced to the uni-
versal law of all Rhythm, that is, to binary and ternary

42 CHAPTER V.

fractions, but such divisions (under a careful Choirmaster)
can almost be left to look after themselves, since it is in the
nature of things to make them. As we have seen in the
previous rules, the groups of notes are our best practical
guides. A few words on the varying rhythmical value of
the different groups may be useful to supplement the rules
already given.

It has been laid down as a general principle, that the first
note of a neum is to be accented, especially when it begins
a syllable. The importance, however, of such accent depends
on the position of the group and on the value of the syllable
on which it occurs. For example, in the following Alleluia,
the first note of the group on le will be weaker than the first
of the group on /&, the latter being the accented syllable of

the word.

Alle- lu- ia.

When a phrase, or any other rhythmical division, ends
with a group, that group must be prolonged either wholly or
partially, according to the importance of the division at which
it occurs.

j AM% — The jast note Of tjje ciimacus is doubled.

est

• j~ Both notes of the clivis are doubled before

l a half-bar.

ve- stram

; The whole group on me is prolonged be-
; cause the phrase ends on a single note.

me- a.

Groups of three notes have often a secondary accent. For
example, in the three cases given below, there is a slight
accent on the last note of each of the groups.

Ciimacus - t-lrlt The last note of the first g^P has

\si'im(icu3 . s '*> M « . | ,-*• ..

• *'fc% the stress because the next (before

pressus) is weak.

T j i last note of torculus, before a single

lorculus : A i

note.

RHYTHM. 43

p . 6 ^ -- last note of porrectus, before a single
"~^* * f, note.

Groups of four or more notes must always have a second-
ary accent, the importance of which will vary according to
its position.

Groups of four notes :

~7. 6 %t , Stress on ist and 3rd notes of

Chmacus : _^\_ dimacus.

on ist and 3rd of the group

o i^ *• • ,

Pessubpunctts : fi"^ fo,,owed b/another note8

De- us
Groups of five or six notes :

u
another group. Otherwise on

ist 3rd and 5th.

Pessubpunctis , gT~Ti~ («*) on Ist a"^ 4th before a new
3\ ^jp group, (b) on ist, 3rd and

a) &) 5th before pause.

The phrase of the melody must, moreover, be clearly
marked, and in doing this the singers must be careful not to
separate notes or groups which have a distinct connection
(melodic or rhythmic) with each other. The foregoing pas-
sage, for example, is one musical idea, and must be sung as
such.1 The pauses required for distinguishing its parts, or
for taking breath, must not break it up into fragments.

It is on account of the long melodic passages in Plainsong,
that the proper management of the breath is a matter of
such paramount importance, for nothing so ruins the chant
as a gasping manner of singing. The leading voices of a
choir can, with care, so arrange as not to breathe at the same
place as the main body of singers, and thus awkward breaks
in the melody may be avoided.

A word may here be said on a point which is a serious
trial to many Englishmen when first they encounter it, i. e.

1 See above, pp. 27 and 28, the word Genitrix.

44 CHAPTER V.

the not unfrequent presence of a number of notes on a weak
syllable, while the accented syllable has perhaps only one
note. This is not the place to go into the archaeology of the
subject, which has been treated of elsewhere,1 but we may
point out that the whole matter is one of rhythmical fitness,
connected with that most important musical factor, the
cadence. There are in Plainsong melodies many well-known
cadences, which cannot be dislocated with impunity. Take,

for example, the familiar figure ^ , If, instead of a

De- us

dissyllable, we have at this cadence a trissyllable, with a weak
penultimate, the invariable custom is, to fit the last two
syllables to the cadence-figure, and to insert a note, before

the figure, for the redundant syllable, thus : , /T7~ An

Domi-nus
ear that has once felt the smoothness of this arrangement,

will prefer it very much to the following : — ^, „ ,~

Dor-minus

At any rate, if we are to sing the chant of the MSS., we
must accept the practice as a fact which has to be dealt with.
Practically, what is the best thing to do ? A beginner, full
of respect for his tonic accent, will lay great stress on the
accented syllable, perhaps he will even prolong it. Nothing
could be more unfortunate, or more calculated to defeat its
own end. An accent when prolonged, or pronounced with
undue stress, is thereby separated from the rest of the word,
and results in the oft-quoted : do minus, for Ddminus. The
most effectual way of solving the difficulty is also the
simplest; it consists in giving a quick, sharp accent on the
tonic syllable, and going on at once, and softly, to the trou-
blesome syllable, for the crucial point occurs at the junction
of the syllables. The ear soon becomes accustomed to
these arrangements, and feels that any other syllabic collo-
cation would shock it far more than the seeming anomaly

1 Gregorian Music. Chap. IX.

RHYTHM. 45

used to do. It is well to reflect, when confronted with facts
which do not fit in with our present ideas, that the men who
composed the Gregorian melodies had at least as strong a
sense of accent as we are likely to possess, and that if their
methods do not commend themselves to our minds, the fault
may perhaps lie with us. There is plenty of evidence that
in other circumstances they were at pains to consider the
claims of the accent.

Finally, constant care must be taken to ensure the most
perfect legato effect in the neumatic passages, and to preserve
the purity of the vowel-sound on which the notes occur, from
beginning to end.

Speed. With regard to the tempo at which Plainsong is to
sung, there are several points to be considered. The general
rate of speed must be determined, to a large extent, by the
size of the Church, and by its acoustic difficulties, or facilities,
as the case may be. In a large building, the speed will be
less than in a small one ; and if the acoustics are very good,
the Choirmaster may have to take the chant at a moderate
speed, to avoid the resonance causing an overlapping of the
sounds. In less favourable conditions, the movement will
have to be a little quicker. Another point which influences
the speed is the number of voices in a choir. A large body
of singers, especially if they are placed at any distance from
one another, will have more difficulty in keeping together
than a small number. A medium speed is, therefore, neces-
sary under such circumstances.

In syllabic chant, the rate of deliberate public reading will
give the normal tempo.

In neumatic pieces, the speed should vary a little accord-
ing to the character of the different pieces. The following
rough distinction may be made : The Introit, Alleluia-verse,
and Communion, in the Mass, as well as the Antiphons of the
Divine Office, should be sung rather briskly. The more
elaborate parts of the Mass music, (Graduals and Offertories)
should be taken in a rather graver tempo y though the Verse
of the Gradual, being reserved for the Cantors, may be sung
more quickly than the body of the piece.

CHAPTER VI.
Psalmody.

ON PSALMODY IN GENERAL.

The term PSALMODY * is applied to the chant of the
psalms and of the canticles used by the Church.

The psalms are divided into verses, and each verse consists
of two distinct parts, marked in the liturgical books by an
asterisk (*)..

Each of the eight modes of plainsong has a special musical
formula which is repeated at each verse. To these eight tones
must be added a ninth, — \hz peregrinns tone.

The choice of the tone is determined by a short melody,
called an Antiphon, which is sung before the psalm ; the
mode of the antiphon decides the mode of the psalm, and
consequently the formula to be used.

In a complete psalm-tone we find the following parts : —
a. an Intonation (initium, inchoatio) ; — b. a Dominant or
reciting-note; — ^.Cadences, — one, called the Mediation
(inediatio\ occurring in the middle of a verse ; the other,
called the Termination or final, appearing at the end of a
verse.

1 The whole of this chapter is from DOM MOCQUEREAU' S Petit Traitc
de Psalmodie, an English translation of which may be had under the
title of Rules for Psalmody.

PSALMODY.

THE EIGHT PSALM-TONES.
First Tone.

Recit.

Final.

Int. Recit.

Mediation.

u^ J

Int. Recit.

iF1^

Second Tone.

Med. Recit.

Final.

<—

Third Tone.

Recit.

•

Final.

_ _ —

— X—

• * I

•

..•

CHAPTER VI.

Fourth Tone.

Recit.

Final.

_•_ s

g * a — — — -p8-)— "-j-^— - For another position of this tone,
i 1 1 1 1 1 with finals E and a, see later.

Fifth Tone.

Int. Recit. Mediation. Recit.

Final.

Sixth Tone.

Int. Recit. Mediation. Recit. Final.

*—

Seventh Tone.

Int.

Recit.

•

Mediation.

/ /

• • • * i~| _ |

-V a

• • •

•

-•—

~i- b

• • •

•

• • •

•

-i-i-i-

».

PSALMODY.

Eighth Tone.

Recit. Final.

Int. Recit. Mediation.

-i- G

Tonus Peregrinns.

Int. Recit. Mediation. Recit. Final.

•

Fourth Tone transposed.

Recit. Final.

Int. Recit. Mediation.

— »—

— •—

P-S--U-! ! . '- i-f-

1 • • •

INTONATION.

The Intonation is a musical phrase at the beginning of
a psalm, connecting the end of the antiphon with the
dominant.

It consists of two or three notes or groups, fitted to as
many syllables.

Grammar. — 4.

CHAPTER VI.

1st and 6th Modes

3rd »
4th
7th »
Peregrinus

Int. of two syllables.

Int. of three syllables.

—»-•-• • 2nd Mode

qg — — • • • •

! .

i ]

f . . _

5th »

c - • • ••••-•-

5 , . . .

. .

• • • • 8th »

• *

Di- xit Do- minus
Cre-di- di propter
Be- a- tus vir qui
Confi- te- bor tibi
In conver- tendo

{ % 8

• • • i—

i lii

Di- xit
Cre-di-
Be- a-

Con-fi-

Dominus
di propter
tus vir
tebor tibi

When the intonation consists of two notes or groups, the
first two syllables of a verse are set to those two notes or
groups ; when the intonation has three notes or groups, the
first three syllables are set to those three notes or groups.

This rule admits of no exception ; the arrangement of the
notes of an intonation may not be altered, whatever be the
syllables which have to be sung to them.

These intonations, which are called festive^ are employed
for the first verse only of each psalm ; the other verses begin
on the reciting-note, recto tono. But for the Magnificat and
Benedictus (even in the Office of the Dead) the festive into-
nation is repeated at each verse.

At Complin, and in the Office of the Dead (except at the
Magnificat), the psalms begin on the reciting-note. This is
\hzferial intonation.

The intonation of the Magnificat follows the ordinary
form in the ist, 3rd, 4th, 5th, and 6th tones. In the remain-
ing modes it is as follows :

2nd Mode. 8th Mode. yth Mode.

Magni- fi-cat Magni- fi-cat £? Magni- fi-cat

Et ex-sultavit
Qui- a respexit

PSALMODY. 51

In the 2nd and 8th modes, the intonation shown above is
used for the first verse alone ; the following verses have the
festive intonation.

Et exsul- tavit
Quia re-spexit

In the 7th mode, all the verses have the same form of
intonation as the first.

THE TENOR OR RECITING-NOTE.

The tenor includes all the unisonous notes between the
intonation and the mediation, and between the mediation
and the final. In the eight regular modes both halves of a
psalm-tone have the dominant of their respective modes for
reciting-note ; the tone peregrinus has la for the tenor of its
first half, and sol for the second.

In singing the tenor, attention must be paid to the rules
of good reading, and especially to the accentuation of words.
As a rule no pause is allowed in the course of the reciting ;
the movement must be so animated as to allow each half-
verse to be sung in one breath.

A few exceptions to the above rule are marked in some
books by an obelus (f). In monastic choir-books this sign
denotes a fall (either of a second or of a third, according to
the mode), hence this pause is called the flex. The flex is
not employed in Roman psalmody, but the note before the
obelus may be slightly prolonged, and a quick breath may be
taken.

Rules for adapting words to Cadences. The reader will
have remarked that in the Table of Tones, given above, some
Cadences have only one accent, while others have two. The
Rules for both must now be given. x

1 The rules for the shortened and broken mediations will be found in
an appendix.

52 CHAPTER VI.

CADENCES OF ONE ACCENT.

(Five mediations. — Seven finals.}

THE ONLY RULE. No EXCEPTION. — a. The last accented
syllable of the text is sung to the accented note or group
of the cadence. — b. The notes or groups preceding this
accent are fitted each to a syllable. - - There is no excep-
tion to this rule, which holds good for both mediations and
finals.

Mediations : 2nd, 4th, 5th, 6th, and 8th Modes.
Finals : ist, 2nd, 3rd, 4th, 6th, 8th, Peregrinus Modes.

CADENCES OF TWO ACCENTS.

(Four mediations. — Two finals.}

Mediations : 1st, 3rd, 7th, and Peregrinus Modes.
Finals : 5th and 7th Modes.

THE ONLY RULE. The last two accents (tonic or secon-
dary) of the text are set to the two accented notes of the
cadence (mediation or final).

Consequently, these cadences can have only four regular
forms ; they cannot comprise more than six syllables.

a) two dissyllables / . / .

b) a dissyllable and a trisylable r . r . .

c) a trisyllable and a dissylable / . . / .

d) two trisyllables / . . / . .

No note may be inserted between the two parts of these
cadences ; neither may any one of the four essential notes be
suppressed.

It will be remarked that the cadences have as their original
type a) for cadences of one accent : a dissylable, such as
Deus; b] for cadences of two accents : two dissyllables, such
as Deus metis. But other syllabic arrangements are fre-
quently met with. The question then arises, which note of
the cadence-melody is to be repeated for the added syllable?

PSALMODY.

Repeated notes in cadences of one syllable. The additional
note is to be set to a note immediately following the accent-
note, and the inserted note is the same (in pitch) as the note
which begins the next syllable. If that note falls, the
inserted note also falls ; if that note rises, the inserted note
also rises.

Examples.

The additional note
falls.

// rises.

i • • • • • -• -

D6-mi- no
pue- ri

me- i o
Do- mi- i num

• : *

dex- tris
ssecu- him

P ,^

me- \ is
sre- cu- | li

••••'*• Q ; •

1 1

•

in toto cor- i de
laudate pii- e- j ri

me- i o
Do- mi- i num

In the following cadence
it falls at B and rises
at A..

There is a special rule for four cadences ending with a
clivis. In these, the additional note is the same as the
accented note which immediately precedes it. Thus :

b— *-t=

sapienti-

V-

3 a

7 a

mor I Do- mi- '•. ni

54 CHAPTER VI.

The mediation of the Third tone presents a little difficulty
in the adaptation of syllables, as when, for example, the last
word of the half-verse is accented on the ante-penultimate.
The note required for the additional syllable is inserted
before the clivis of the last accent, not after that group.

Thus : De- us me- us.
Domi-nus me- us.
Ti- met Do- mi- num.

e— • ^ ° »

not: Timet Dominum.

Secondary accents.

The secondary accents are important to remember in
connection with the cadences of Psalm-tones, for they fre-
quently come into use. The following are the rules for the
place of the secondary accent :

1. Prepositions and conjunctions, which have frequently
no tonic accent, have a secondary accent whenever the syl-
lable capable of receiving an accent corresponds to a strong
beat of the rhythm : super, inter, ztqnc, secundum, qubniain.

2. In long words the second syllable before the tonic
accent has a secondary accent, whenever it corresponds to
a strong beat of the rhythm : iniimcus, red&mptionein,

justific&tibnibtts.

3. A monosyllable, declinable or indeclinable, falling on a
strong beat of the rhythm is always accented ; otherwise a
monosyllable has no accent.

4. The last syllable of a word ending with a dactyl has a
secondary accent when it falls on a strong beat of the rhythm.
Thus : genui, propositum.

The use of secondary accents simplifies such syllabic
endings as the following, which have been the subject of
much discussion.

PSALMODY.

Verses ending in a monosyllable preceded by a word
accented on the antepenultimate are treated as follows, that
is, the last four syllables of such endings are set to the last
four notes or groups of the musical cadence.

'—

_., —

[•• :'-- "-

••••••

•

• 9

I _»««•_.

* '

•

• •

lucife-

rum

ti-

men-

nu-
ti-

i : te
bus : te

At the beginning of each antiphon, in the Solesmes books,
is lifigitre showing the mode of the piece, and a letter indi-
cating the psalm-ending which is to be employed with that
antiphon. For example : Ana. i. D.

la si ut re mi fa sol
Capitals: A B C D E F G

Small letters : abcdefg
Modified letters .-a 9 E

A word on the signification of these letters. Capitals are
used if the last note of the ending is also the final of the
mode. Small letters are employed when the psalm-tone ends
on any note other than the final of the mode. If, in any
mode, two psalm-tones end on the same note, modified letters
are used for one of them.

At the end of each antiphon the final is again specified,
this time by the notes themselves. Under the notes are the
letters e u o u a e^ the vowels of the words saculorum. A men.

CHAPTER VI.

Solemn Chant of the Magnificat.

(Ornate cadences of one accent.}

There is a more solemn form of the ist, 2nd, and 8th modes
(first half of the verse). This may be sung ad libitum on
greater feasts.

5 43/2 i

Modes 2 and 8

i .

• • • •

Q *

•

Magni-
Et ex-
Qui- a

ficat
sultavit
fecit mihi

spi-
ma-

ri-

gna

tus
qui

me-
po-tens

us
est

if-l

i _

— •• —

lii

]

• «J

a •

Magnifi-
Et exsul-
Quia fe-
Deposu-

cat
tavit
cit mihi
it po-

spi-
ma-
ten-

ri-

gna
tes

tus
qui
de

me-

po-tens
se-

us
est
de

In the ist mode, the intonation is the same as for the
simpler form.

In the 2nd and 8th modes, the festive intonation is repeated
for every verse.

PAUSES IN THE PSALMODY.

Three kinds of pauses may occur in the psalms :

1. at the flex,

2. at the mediation,

3. between the verses, and before the repetition of the
antiphon.

PAUSE AT THE FLEX. The movement of the psalmody
should as a rule be so animated as to allow of each half-
verse (including the mediation or final, as the case may be)
to be sung in one breath. If the first half of a verse be too

PSALMODY.

long to admit of this, it is subdivided by a pause called the
flex f. At this place a fresh breath may be taken, but the
pause must not be so long as to interrupt the flow of the
psalmody.

We may express the length of the flex-pause in modern
music thus : taking the quaver as the average length of notes
in the tenor, we make the note immediately before the obelus
(f) a crotchet. A quick breath must be taken on this
crotchet beat, to enable the singers to reach the mediation.
The pause which occurs in the second half of some verses, in
the Roman use, is to be regulated in the same way.

Flex.

Me-mo- ri- am fe- cit mi- ra- bi- li- um su- 6- rum t

mi- se- ri- cors et mi- se- ra- tor Do- mi- nus...

PAUSE AT THE MEDIATION. - - The length of this pause
must be exactly equivalent in value to the last cadence of
the mediation. This last foot, repeated mentally, will give
the precise length of the pause.

Mediation

last word Pause

. . . pu- e- ri Do-mi- num

lau-da-te...

... to- to corde me- o

in con-si- li- o.

.. Do-mi- no me- o *

se- cle a.

CHAPTER VI.

PAUSE BETWEEN THE VERSES, AND BEFORE THE REPE-
TITION OF THE ANT1PHON. - This pause equals one
crotchet ; it is therefore one beat shorter than the mediation-
pause. In other words, it equals, not the last cadence, but
the last syllable (or note, i. e. a crotchet). The last two beats
of the final, added to the pause, make a bar of triple time,
after which the choir takes up the next verse, or (if the verse
be the last of the psalm) the antiphon.

Ending

Next verse

Se- de a dextris me- is. Do- nee po- nam

Se- de a dextris me- is. Do- nee o-

po- nam

Ending Next verse

B EJqj^^^^SI^^

Se- de a dextris me- is. Do- nee po- nam

Ending Next antiphon

HF^F^— /» J^ 0— *=
fc&zi&^E^z:

;- cu- 16- rum A-men.

Ec-ce sa-cer-dos

CHAPTER VII.
Hymnody.

Hymns form so important a part of the Divine Office that
a word must be said about their structure and execution.

The Church hymns are often called Ambrosians, because
St. Ambrose was probably the first to introduce hymn-
singing in the West, by teaching his people the hymns which
he had himself composed.

In the liturgical hymns we must not look for an applica-
tion of the rules of prosody. The earliest of these compo-
sitions belong to a period when the laws of quantity were
practically disused and their rhythm is to be found rather in
a regular recurrence of accents than in the classical combi-
nation of long and short syllables.

A variety of metres is employed in the Church hymns.
The commonest form, and the one in which St. Ambrose
wrote, is :

I. Iambic tetrameter, known as Long Measure. This
consists of eight syllables, or four feet. It has a slight accent
on the second syllable, and the principal accent on the sixth
syllable.

Nunc Sancte nobis Spiritus

The strophe is made up of four such lines or verses.

If the melody of the hymn is syllabic, it should be sung in
the movement of deliberate reading, and the accented sylla-
bles should be strongly marked, but not as a rule prolonged.
The strophe should be divided into two parts by a clear pause
after the second line. Only a very slight pause should be
made between the first and second, and between the third and
fourth lines. If the melody is of a florid character, it should
be sung according to the general rules of execution.

II. Iambic trimeter hymns have twelve syllables, or six
iambic feet. A slight accent is made on the fourth syllable,
and the principal accent falls on the tenth syllable. A mora

60 CHAPTER VII.

vods pause should be made at the caesura which occurs
after the fifth syllable :

Beate Pastor, * Petre clemens accipe.

(Hymn for Feast of St. Peter's Chair.}

III. Trochaic hymns. The most familiar of this metre is
a strophe of six verses or lines ; these verses are made up
alternately of eight and seven syllables. The eight-syllable
lines have their minor accent on the third, and their principal
accent on the seventh syllable. In the seven-syllable lines
the accents occur on the first and fifth syllables.

Pange lingua gloriosi
Corporis mysterium.

IV. Other Trochaic hymns. Stabat Mater : each strophe
has two verses of eight syllables (four feet), and a third verse
of seven syllables (three feet and a half). The accents fall,
in the first two lines, on the third and seventh syllables, in
the third line, on the first and fifth syllables.

Stabat Mater dolorosa,
Juxta Crucem lacrymosa,
Dum pendebat Filius.

Ave maris stella : the strophe has four verses of six sylla-
bles or three feet each. The accents fall on the third
(secondary accent), and on the fifth syllable (principal
accent). Ave maris Stella.

V. Sapphic hymns. The scheme of this strophe is :
Three Sapphic verses followed by an Adonius; or, in other
words, three verses of eleven syllables, with minor and prin-
cipal accents on the fourth and tenth syllables respectively,
and a verse of five syllables with accents on the first and
fourth. The long verses have a mora vocis pause at the
caesura (fifth syllable) ; a very slight pause is made after the
first verse, and a good pause after the second. The last two
verses are sung without a break.

HVMNODY. 6l

Ut queant laxis
Mira gestorum
Solve polluti

resonare fibris
famuli tuorum :
labii reatum,

Sancte Joannes.

(Nativity of St. John Baptist.}

VI. Asclepiadic hymns. The strophe consists of three
verses of twelve syllables each, followed by a verse of eight
syllables. The long verses have their accents on the third,
seventh, and tenth syllables, and the caesura pause at the sixth;
the short verse has its accent on the third and sixth syllables.

Sanctorum mentis
Pangamus socii
Gliscens fert animus

inclyta gaudia,
gestaque fortia ;
promere cantibus

Victorum genus optimum.

Elision in Hymns. By Elision is meant the leaving-out
of a vowel, or of a syllable ending with a vowel and m at the
end of a word when the following word begins with a vowel
or //. The elision is observed in this way : the first of the
colliding vowels is (as a rule) omitted. When the word est
follows a vowel, or a vowel and ;;z, the e of est is elided. In
the Solesmes editions the vowels to be elided are printed in
italics.

On account of their metrical character, the Plainsong
hymns have a stamp of their own, which separates them in a
sense from the melodies set to prose texts, and approximates
them to the rhythm of modern music. There is however a
freedom in their movement, a rhythmical swing, which can
scarcely be described in dry rules.

CHAPTER VIII.
Accompaniment.

However well equipped and trained a choir may be, all its
good points may be obscured by an unsuitable accompani-
ment. In fact the organist can, in a large measure, either
make or mar his choir. It must be owned, however, that the
accompanist of Plainsong has to contend with many difficul-
ties. And primarily he is met by the fact that the ancient
melodies were never intended to be accompanied, Plainsong
being pure melody. The purist will still find his best
enjoyment of the chant when it is sung unaccompanied, but
to most a becoming accompaniment gives an added charm.

The question is : what kind of accompaniment is becoming;
The obvious answer is : that which is most in keeping with
the character of the chant, and which least injures its most
notable characteristics. Such an accompaniment will imply
respect for a) the tonality and b) the rhythm of the chant.

Regard for tonality will lead the organist to avoid as far as
possible in his harmonies all notes extraneous to the mode,
and to eschew entirely chromatic progressions. 4< Nature and
Art", it has been well said, "equally abhor a hybrid, and
chromatic Plainsong is a mere hybrid." *

To safeguard the rhythm requires considerable skill, and,
for the perfection of an accompaniment, sympathy on the
part of the player. He must know how to accentuate by his
harmonies the more important notes of the melody (following
as guides the rhythmical signs given in the notation), and
how to pass over unimportant notes. He must support the
voices, without overpowering them, and must be ever ready
to humour the varying needs of the choir.

The accompaniment should be unobstrusive and re-
strained, but it need not on that account be tame. A
sympathetic accompanist will know how to put life and
energy into his playing, and how to inspirit his choir
without ruling it.

1 Elements of Plainsong, /. 87.

ACCOMPANIMENT. 63

Flainsong should be accompaned softly and it should never
be possible for the hearers to wonder whether the singers are
accompanying the organ, or the organ the singers. A loud
accompaniment has many dangers; it covers the voices, it
injures singers by causing them to force their voices, and it
makes a light and free execution impossible.

A book of accompaniments for the Common and Proper of the Mass
is in preparation at Solesmes.

Accompaniments for the Ordinary, by DOM MICHAEL HORN O. S. B.
may be had from Messrs BREITKOPF & HAERTEL, and a series of
accompaniments by Mr. GIULIO BAS is being published in monthly parts
by Messrs. DESCLEE, LEFEBVRE & Co., Rome and Tournai.

CHAPTER IX.
The Sung Parts of Mass and Vespers.

The portions of Holy Mass vhich the Rubrics direct to be
sung are : the Introit, the Kyrie, the Gloria, the Gradual, the
Alleluia Verse (replaced, at certain times by the Tract), the
Sequence, the £>W<?,the Offertory, the Sanctus^ the Agnus Dei,
and the Communion. These pieces make up the Ordinary
and Proper of the Mass. To the Ordinary belong the Kyrie,
the Gloria^ the Credo ', the Sanctus, and the Agnus Dei ; to
the Proper, the Introit, Gradual, Alleluia Verse, Tract, Se-
quence, Offertory and Communion.

Proper of the Mass.

The Introit. The chants of the Mass open with the Introit.
The Introit is an Antiphon, generally taken from the Psalms,
and followed by a verse of a Psalm and the Gloria Patrit
after which the Introit is repeated. The Cantor or Cantors
intone the piece (up to the double bar or the asterisk, which
marks off the intonation), the whole choir takes it up, and
sings it through to the double-bar at the end. The Cantors
sing the first half of the Psalm-verse, the choir the second.
The Cantors sing the Gloria Patri; the choir, the Sicut erat,
after which the Introit is sung again as before the Psalm.

The Gradual This piece received its name from the fact
that it was sung from the steps (gradus) of an ambo. In
early times the Gradual was sung as a Responsory, that is,
the part before the y. was sung through by the Cantor and
repeated by the choir ; the Cantor then sang the y. after
which the choir repeated a part or the whole of the Respon-
sory. At present the piece is sung through without repe-
tition.

The Cantors having intoned the Gradual, the choir con-
tinues it as far as the double-bar. The verse (marked y. in
the books) is sung by the Cantors, the choir joining in only
at the close, where double-bars or an asterisk appear in the
melody.

THE SUNG PARTS OF MASS AND VESPERS. 65

The Alleluia. The Gradual is followed immediately by
a double Alleluia and a Verse. The Cantors sing the word
Alleluia, up to the neuma which follows it; the choir repeats
Alleluia and adds the neuma, vocalizing it on the vowel a,
the last of the word. The Cantors sing the verse, which the
choir takes up at the double-bar shortly before the end. The
Cantors repeat the Alleluia, and the choir adds the neuma.
N. B. In Paschal Time, from Easter Saturday until
Saturday in Whitsun week, the Gradual is omitted, and in
its place is sung an Alleluia Verse as described above; at
such times the Alleluia is not repeated after the first verse,
but another Alleluia is sung by the Cantors, and followed
(without repetition of the word) by the neuma sung by the
whole choir. The Cantors sing the verse up to the last phrase,
when all join in. The Cantors then repeat the second Alle-
luia, and the choir adds the neuma.

The Tract. From Septuagesima to Easter, and in Masses
of the Dead, the Alleluia is replaced by the Tract, which
generally consists of portions of a Psalm, and which may be
sung, like a Psalm, by alternate groups of singers. It is
intoned by the Cantor, and taken up by his side of the choir.
For the last phrase of the piece, marked off by a double-bar
or an asterisk, the whole choir unites.

The Sequence. This piece is so called because in the
earliest form it was made up of the notes of the neuma
following the Alleluia, which neuma was called Sequential
Formerly there was a Sequence for almost every feast, but
since the Reform of the Missal by St. Pius V, only five are
in general use. The survivors are fortunately the most
beautiful specimens of this kind of composition ; they are :
Victimce Paschali for Easter, Veni Sancte Spiritus for Whit
Sunday, Lauda Sion for Corpus Christi, Stabat Mater for the
feast of the Seven Dolours, and Dies irce for Masses of the
Dead. The Sequence is essentially an alternate chant.

A Sequence following an Alleluia- verse causes an alte-
ration in the way of singing the latter piece. The Alleluia is
not sung after the verse immediately preceding the Sequence,
since it is found, to its own notes, at the end of the Sequence.

1 For the history of the Sequence see : Introduction to the Win-
chester Troper, by Rev. W. H. FRERE. (H. Bradshaw Society.)

Grammar. — 5.

66 CHAPTER IX.

The Offertory. This piece, which is generally of an ela-
borate character, is intoned by the Cantor, and sung through-
out by the full choir.

It should be begun immediately after the Dominus vobis-
cum Et cum spiritu tuo and Oremus which follow the Credo,
or Gospel, as the case may be.

The Communion is properly an Antiphon, and it was in
earlier times followed by a Psalm and repeated after the
Psalm just as is done for Antiphons of the Office. It is
intoned by the Cantors as soon as the Priest has received
the Precious Blood, and is continued by the whole choir. A
relic of the ancient manner of singing the Communion is
preserved in the Mass for the Dead, where part of the Anti-
phon is repeated after the verse : Requiem.

Ordinary of the Mass.

The Kyrie. The Kyrie immediately follows the Introit.
Kyrie eleison is sung three times, Christe eleison three times,
and again Kyrie eleison three times. This is an alternate
chant. The Cantors intone the first Kyrie, which one divi-
sion of the choir takes up; the second division takes the second
Kyrie, and so on. The last eleison is sung by the full choir.

The Gloria in excelsis. As soon as the Kyrie is finished,
the celebrant intones, if the rubrics so require : Gloria in
excelsis Deo. This phrase must never be repeated by the
choir. The Cantors continue : Et in terra etc. to the first
bar, when one half of the choir joins in. The second half
takes the : Laudamus Te, and so on alternately, the divisions
being marked by double-bars. All sing Amen.

The Credo. The celebrant having intoned, if it is in the
Mass, Credo in unum Deum, which must never be repeated,
the Cantors sing : Patrem omnipotentem, and the rest of the
Symbol is sung as just described for the Gloria.

The Sanctus. The triple Sanctus follows the Preface, of
which indeed it is a part. The Cantors sing the first Sanctus,
and the rest of the piece, to the Benedictus, is sung by the
whole choir. After the Elevation, the Cantors intone Bene-
dictus, and the choir continues to the end.

THE SUNG PARTS OF MASS AND VESPERS. 6/

The Agnus Dei. As soon as the Pax Domini sit semper
vobiscum and its response : Amen, have been sung, the
Cantors intone Agnus Dei, and the choir continues the chant.
Each Agnus Dei is thus intoned by the Cantors.

The Responses at Mass.

The responses in a sung Mass are as follows :

1. The response : Et cum spiritn tuo x to the Dominus vo-
biscum a) after the Gloria in excelsis, b) before the Gospel,
c) after the Gospel or Creed, and d) before and after the
Postcommunion.

2. The Amen after Collects and Postcommunions. Amen
is sung on a monotone.

3. The Responses to the versicles preceding the Preface,
which are sung to a special chant.

A. — Solemn form.

Per omni- a saecu-la saecu-16-rum. !£. Amen. y. Dominus vobiscum.

• • • • •• i .. J • a • • • 8 • • • « i

§ — • II g [%• II ^ ^ ''

Et cum spi-ri-tu tii-o. J. Sursum corda. I^z. Habemus ad Dominum.

IS •

" ' • (L i ' 8 •' •' '

• a • •_•

• ™

f" 8

P1'

Jl. Gra-ti- as agamus Domino De-o nostro. }%. Dignum et jiistum est
B. — Ferial Form.

Per omni- a saecu-la saecu-lorum. R7. Amen. y. Dominus vobiscum.

?. Et cum spi-ri-tu tu-o. y. Sursum corda. R7. Habemus ad Dominum.
1 This response is always sung on a monotone.

68 CHAPTER IX.

. Gra-ti-as agamus Domino De-o nostro. }%. Dignum et jiistum est.
The ferial tone is used on ferias and in Requiem Masses.
4. The Responses before and after the Pater nosier.

1 . ._

... saecu-lorum. ty. Amen. ... tentationem. R. Sed libera nos a ma-lo.

5. The Responses Amen before, and Et cum spiritu tuo
after, Pax Domini sit semper vobiscum.

^?. Amen. Pax Domini sit semper vobiscum. 1$. Et cum spi-ritu tu-o.

6. The Response to Ite Missa est, or Benedicamus Domino.
Each setting of the Ordinary of the Mass has, as tone for
these, the same melody as for the first Kyrie. It is becoming
that the choir should answer in the tone just sung by the
celebrant, whether it be one of those appointed in the Missal
or the one belonging to the Mass sung by the choir.

In Masses for the Dead instead of the usual Ite Missa est,
or Benedicamus Domino, the form is Requiescant in pace.
1^. Amen.

Vespers.

The Office of Vespers consists, in the Roman rite, of five
Psalms (each preceded and followed by an Antiphon), a
little Chapter, a Hymn, a Versicle, the Canticle Magnificat
(preceded and followed by an Antiphon like the Psalms),
one or more Collects, the Benedicamus Domino, with its
Response Deo gratias, and the suitable Anthem to our
Blessed Lady.

Each Antiphon is intoned by one of the Clergy or by a
Cantor, the choir continuing it. The Psalm is intoned (first
half of first verse) by the Cantor and continued in alternate
verses to the Sicut erat inclusively. The Antiphon is then
again intoned by the cantor and sung through by the choir
On Sundays in Paschal Time, there are no proper Antiphons,

THE SUNG PARTS OF MASS AND VESPERS. 69

but all five Psalms of Vespers are sung to an Alleluia, which,
after the Psalms, is repeated three times.

At Vespers on Semtdoubles, only the first phrase of each
Antiphon is sung before the Psalm, but the whole Antiphon
is sung after the Psalm. If the Antiphon begins with the
first words of the Psalm which immediately follows it, the
Cantor, in intoning the Psalm, does not repeat those words,
but goes on where the Antiphon stopped. Thus, in Sunday
Vespers :

Ant. Dixit Dominus. Cantor : Domino me-o.

The Hymn is intoned by the Celebrant, and sung in alter-
nate verses by the two divisions of the choir.

The Versicle is sung by two Cantors, the Response by the
whole choir.

The Magnificat Antiphon is intoned by the Celebrant, and
sung in the manner already described for the other Antiphons.

The Benedicamus Domino is sung to settings which vary
with the rank of the office. The Cantor sings the Benedica-
mits, the choir answers : Deo gratias.

The Office concludes with the singing of one of the four
Anthems to Our Lady, which is intoned by the Celebrant,
and continued in alternate verses by the choir. The Anthems
vary as follows in the Liturgical seasons : Alma Redemptoris
is sung from the Vespers of the Saturday before the first
Sunday of Advent inclusively, to Vespers of the 2nd of
February inclusively. Ave Regina is sung from Complin
of the 2nd of February inclusively, till Easter. Regina C&li
is sung from Complin of Holy Saturday inclusively, to first
Vespers of Trinity Sunday exclusively. Salve Regina is
sung from the first Vespers of Trinity Sunday inclusively,
to Vespers of Saturday before the first Sunday of Advent
exclusively.

After the Anthem has been sung, the Cantor intones the
Versicle, to which the choir responds, and the Celebrant then
sings the Collect for the season.

CHAPTER X.
The Liturgical Recitatives.

By Liturgical Recitatives are meant all the portions of the
Mass and of the Divine Office which by the simplicity of
their inflections are closely allied to reading. They include
therefore : the Collect, Epistle, Gospel, Preface, Pater noster,
Chapter, Lesson, and Versicle.

Any one who is familiar with the prayers of the Mass in
the Latin text, must remark the rhythmical language of most
of the liturgical pieces, — of the Collects, the Prefaces, etc.
This rhythm becomes more striking when those pieces are
sung, for the structure of the melody is so arranged as to
enhance the rhythmical effect.

In order to have an intelligent appreciation of these ca-
dences, and of the manner of singing them, it will be well to
say a few words on the element to which they owe their
chief charm ; this is the cursus.

The cursus is a certain harmonious succession of words
and syllables, much used by prose writers, both Greek and
Latin, at the end of phrases, with a view to procuring
measured and pleasant cadences.

There are four forms of the rhythmical cursus :

Cursus planus 5 syllables

» tardus 6 »

» trispondiacus 6 »

» velox 7 »

1st. The Cursus planus. It consists of five syllables so
disposed — a paroxyton J of three syllables preceded by
another paroxyton.

be-

cle-

mere-

mun-

nignus illustra
menter exaudi
amur in ccblis
demur in mente

Paroxyton = a word which is accented on the penultimate.

THE LITURGICAL RECITATIVES. 7 1

2nd. The Cursus tardus. It is a cursus planus lengthened
or retarded by one syllable. It consists of six syllables, and
ends in a proparoxyton J of four syllables preceded by a
paroxyton.

solemni-

mi-

instau-

tate laetificas
carnis apparuit
micos diligere
mentis et corporis
rare dignatus es

3rd. The Cursus velox. It has seven syllables. It ends
in a paroxyton of four syllables, preceded by a proparoxyton.

Uni-
pro-

prsemia praestitisti
pelagi liberavit
sanguine dedicasti
geniti tui vi'as
ficiant et saluti

4th. The trispondiac cursus. It consists of six syllables.
Its structure is : a paroxyton of four syllables preceded by
another paroxyton.

ter-

more roboremur
rena moderaris
duce revelasti

The cursus is the basis on which numerous musical ca-
dences have been built. We shall find it in nearly all the
recitatives of the Liturgy.

Collects.

There are three tones for the Collect : the simple ferial
tone (tonus simplex, or tonus missae ferialis) ; the ferial tone
(tonus ferialis); and the solemn tone (tonus festivus).

ist. The simple ferial tone is sung from beginning to end
on a monotone, the phrases of the prayer being marked
merely by pauses. It is used only with the long conclusion.
This is the tone employed at all the Offices on simples and

1 Proparoxyton = a word accented on the antepenultimate.

72 CHAPTER X.

ferias, in Mass and Office for the dead, as well as at the Little
Hours and Compline on Sundays and feasts of all degrees
(except at Tierce when that Hour is immediately followed
by Pontifical Mass). The simple ferial tone is used, moreo-
ver, for the prayers of the Blessing of the Candles (excepting
the prayer Exaudi, which follows the distribution of the
Candles) ; for the prayer Omnipotens in the Blessing of the
Ashes ; for the prayers of the Blessing of the Palms (except
for Detis, qui per olives, and the prayer before the Procession);
for the first prayer of the Good Friday service : Deus, a quo,
the prayers after the Passion and for the prayer Libera in the
Mass of the Presanctified ; and lastly on Holy Saturday and
Whitsun Eve, for the prayers said after the prophecies, and
at the Blessing of the Font.

2nd. In the ferial tone, the prayer is sung on a monotone
as far as the last syllable (or the last two syllables, if the
word be accented on the penultimate), on which a fall of a
minor third is made. The same is observed at the conclu-
sion of the prayer. If several prayers are said in succession
under one conclusion, as after the Litany of the Saints, the
fall is made at the end of the last only. This tone is used
only for the short conclusion, as follows : for the prayer
following the Anthem of Our Lady, at the end of the Divine
Office ; for the prayer Dirigere of Prime ; for the prayer at
the Asperges and Vidi aquam ; for the prayers after the
Litany of the saints ; for the prayer Exaudi which 'follows
the distribution of the blessed candles ; for the prayers in the
Blessing of the Ashes excepting Omnipotens; and for two in
the Blessing of the Palms, viz : Deus, qui per olivce, and the
prayer before the Procession; for prayers at Benediction and at
processions ; for the prayers in the Absolution after the Mass
for the Dead, and the funeral service ; in fact for all prayers
outside the Mass and Office, which have the short conclusion.

Concede misericors Deus... iniquitatibus resur- ga-mus.
Per Christum Dominum nostrum.

3rd. The solemn tone. This tone is divided into three parts
which correspond with the three distinct phrases of which
most of the liturgical prayers are composed.

THE LITURGICAL RECITATIVES. 73

The first part marked by a colon (:),

Concede nos famulos tuos,... sani-tate gaudere : cursus planus.

is modelled on the cursus planus ; it is adapted as follows to
other syllabic combinations :

nostris in-fun- de. Cursus planus.
Incarnati-6-nem cognovimus. > tardus.

praemia prae- sti- ti- sti. » velox.

amore ro- bo- re- mur. > trispondaicus.

The second division of the prayer is marked by a semi-
colon (;) and is made by falling a semitone on the last sylla-
ble or syllables.

et gloriosa B. Mariae intercessi-one; (cogno-vimus).
The prayer is concluded on a monotone :

a praesenti... perfru-i laeti-ti-a.
The conclusion is sung thus :

Per Dominum... tu-um qui tecum vivit... Spiritus SanctiDe-us,

per omnia sabcula saeculorum. I^z. Amen.

The solemn tone is employed on Sundays, and on double
and semi-double feasts, for the prayers of Mass, Matins,
Lauds, and Vespers.

74 CHAPTER X.

The Epistle.

The Epistle or Lesson of the Mass is recited on a mono-
tone. The only exception is at a note of interrogation, when
the voice falls a semitone (on the last accent before the stop)
and rises again, by a podatus, on the last syllable of the
sentence.

Usquequo D6-mi-ne?

Quomodo praedicabunt nisi mit-tan- tur?
Tu quis es?

The Gospel.

The Gospel-tone comprises three melodic phrases : a) before
a note of interrogation ; b) before a full stop ; c) at the end.
a) The note of interrogation is treated in the same way as in
the Epistle.

b) At the full stop the voice falls a minor third, not sooner
than the fourth last syllable, and returns, to the reciting note
on the next syllable.

Sequentia Sancti Evang61ii secundum Marcum. 1$. G16ri- a tibi

Domine.

a I- || iJ-l

Nonne decem mundati sunt? Quid ergo erit nobis?

vitam aeternam pos- side- bit.
non auferetur ab ea in aet£rnum.

c) The end is marked by a little group of three notes,
occurring generally on the last accent but one ; i. e. not sooner
than the sixth, nor later than the fourth, syllable from the end.

THE LITURGICAL RECITATIVES.

There is a special tone for the singing of the Passion in
Holy Week. The Gospel narrative is divided into three
parts, each of which has its distinctive melody, marked thus
in the Missal : f (Christus) set before all the words of our
Lord ; C. (Cantor) before the narrative portions ; S. (Syna-
goga or Succentor) before the words of any but our Lord.
This last part includes, therefore, the cries of the crowd, the
words of the priests, the governor, etc. and those of St. Peter.

As the Passion-music is printed in full in a special edition,
it is unnecessary to analyse it here.

The Preface.

The chant of the Preface is of two kinds : the solemn form
(cantus solemnis orfestivus], and the ferial form (cantus fertalis.)

Solemn

Ferial

•

ifc

p. a •

Vere

... justumest, aequum et sa-lutare.

• • •

> 1st phrase.

Si-ne fine dicentes.

Second phrase*

There are also two forms (ferial and solemn) for the Pater
noster. We give below the chant to which the Confiteor is
sung when Holy Communion is given at High Mass.

Confiteor Deo omnipo- ten- ti,
B. Mariae semper Vir- gi-ni,

B. Michaeli Archange- lo,

B. Joanni Ba-pti- stae,

SS. Ap6stolis Petro et Pau- lo, omnibus Sanctis et tibi, Pater,

CHAPTER X.

-tn

qui-a peccavi nimis cogita-ti-6ne, verbo, et opere; me-a culpa, me-a

is:

culpa, me-a maxima culpa.

Ideo precor B. Mariam semper

B. Michaelem Arch-

B. Joannem Bap-

SS. Apostolos Petrum et

Vir-gi- nem,

ange- lum,

ti- stam,
Pau- lum, omnes Sanctos et te, Pater, orare pro me ad Do-

minum De-um nostrum.

Versicles.

Deus in adjutorium. — There are two forms : i. the simple,
2. the festive.

L .| 1 ,

Festive, r

. De-us in adjutori- um me- urn intende. ^7. Domine ad

adjuvandum me festina. Glori- a Patri et Fi-li-o et Spiri-tu-i

1 a- .

Sancto : Sicut erat in principi- o et nunc et semper, et in ssecu-

la saecu-lorum, Amen Alle-lu-ia.

From Septuagesima to Easter, there is sung, instead of
Alleluia :

Laus tibi Domine, Rex aeternae glo-ri-se.

THE LITURGICAL RECITATIVES. 77

Simple. \_

De-us in adjutori- um me-um intende.

All the rest on a monotone, down to

Alle-lii-ia, or Laus tibi Domine Rex aeternae glori-ae.

The simple tone is sung every day at Complin, and at all
the Hours on ferias.

The festive tone is used on double and semi-double feasts
at all the hours, Complin excepted.

Ver sides of the Office.

There are two tones : I. the simple, 2. the festive, 3. For
Tenebrae and Office of the Dead.

Festive. \

JT. Dirigatur Domine oratio me- a.
1^7. Sicut incensum in conspectu tu-o.

Simple.

. Angelus Domini nuntiavit Mari-ae.
?. Et concepit de Spiritu San- cto.

At Tenebrae,
and in Of. of Dead.

In pace factus est locus e-jus.

The simple tone is used a) for the versicles of all comme-
morations at Lauds and Vespers; b) for the versicle fol-
lowing the Antiphon of our Lady at the end of the Office ;
c) for the versicles occurring in the Preces\ J d) for the
versicles following the Litanies ; e) for the versicles at Bene-
diction; and /) for the versicle following the Asperges and
Vidi Aquam.

The festive tone is used for the Versicle in the body of the
Office at all the hours on feasts of double rank.

1 In the ferial Office, the Preces are not sung but recited.

78 CHAPTER X.

The Chapter.

The Little Chapter is sung on a monotone, with inflexions
only at a note of interrogation and at the end, thus :

a) Note of interrogation, as above for Epistle.

b] Final phrase :

ki ---------

-• — = — i —

J • • —

Apposuit ut apprehenderet et Pe- trum.

G16ria D6mini super te orta cst. ty. De-o gra-ti-as.

Lessons.

Lessons of Matins. — These are sung on a monotone, with
a fall of a fifth at the full stop, and the usual inflection at a
note of interrogation.

Lectio Isaiae Prophe- tse.

Lectio Ep. B. P. ad Co- rinthi-os.

.At Tenebrae and in the Office of the Dead, the Lessons
end on a monotone.

The same tone with monotone ending is employed for the
Prophecies which precede the Mass of Easter Eve and
Whitsun Eve, and for the first lesson in the morning service
on Good Friday.

•X—

CHAPTER XL
The Liturgical Books.

The official books of the Roman Liturgy are the following:
The Roman Missal (Missale Romanum). This book contains
all that is to be read or sung during Mass, i. e. Prayers,
Lessons, Gospels, etc., and the Canon of the Mass. The
music is given only for those parts which are sung by the
Priest at the Altar. The portions of the Mass sung by the
Priest are called Accentus, those sung by the choir, Concentus.

The Gradual (Graduate or Liber Gradualis}. This book
contains all the Mass-music appointed for the choir: Introits,
Graduals, Alleluia- Verses, Tracts, Sequences, Offertories, and
Communions, as well as the Ordinary of the Mass.

The Antiphoner (Antiphonarium}. The complete form of
this book would include all the chants of the Divine Office,
from Matins to Complin. But the volume commonly called
the Antiphoner, or more correctly Vesperal, contains the
music for Vespers and Complin only.

The Pontifical (Pontificate Romanum) contains the text
and music for all the functions performed by a Bishop.

The Ritual (Rituale Romannm}. This book contains the
rites for the admistration of the Sacraments, for the Burial
service, for processions, and for the various Blessings. The
Processional, and the Burial service are, for convenience,
generally published in a separate form.

The Psalter (Psalterium Romanum) gives the Psalms of the
Officium de tempore, as welfas the Hymns of the entire year,
and the Office of the Dead.

The Directorium Chori is the standard text-book for all
the tones of the Mass and Office, such as: Collects, Epistles,
Gospels, etc.

The Martyrology (Martyrologimn Romanum} gives the
lists of the Saints commemorated each day. The Martyro-
logy is sung or read every morning at Prime, in Cathedral
and monastic Churches.

APPENDIX.

BROKEN MEDIATIONS OF PSALMS.

The broken mediation may be employed in certain cases
when the medial cadence ends with an accented syllable, i. e.
with either a monosyllable or a Hebrew word (undeclined).

MEDIATIONS OF ONE ACCENT.

In the 2nd, 4th, 5th, 6th and 8th modes, the mediation is
shortened ' ; that is to say, its last note is omitted, and the
accented monosyllable, or the last syllable of the Hebrew
word is set to the accent-note.

The shortened mediation is always used, in the above
modes, with verses ending with a Hebrew word or .with a
monosyllable.

2 and 8
Ordinary med.

Dixit Dominus Domino

me-o

Short med.

Quoni-am e-legit Dominus Si-
Dixi D6-mino : Deus meus es

on
tu

4 t

Ordinary med.

Sit nomen Domini bene-l dictum

Rogate quae ad pacem sunt Jerusa
Domine, probasti me et cognovist

usa- It
isti I m

lem
me

Grammar. —

[2]

APPENDIX.

6 i. .. .

Ordinary med. --

Short med.

Dominus a dextris

tu-is

In convertendo Dominus captivi-tatem Si-

Benedictio D6mini

su- per

on
vos

MEDIATIONS OF TWO ACCENTS.

In the 1st, 3rd, 7th and Peregrinus tones, the mediation is
broken that is to say, a middle note of the cadence (the note
after the first accent) is omitted.

RULE. The singing continues on the tenor as far as the
third syllable from the end of the mediation. The last three
syllables are fitted to the three notes of the broken cadence.

Ordinary med.

Ordinary

Broken

Magna opera Domini

Broken med. ~~

Virgam virtu-tis su-ae emittet Dominus ex Si- on
Credidi, propter quod lo-cii- tus sum

Sicut juravit Domino

t < • • •• • — •

Et ipse redimet Isra- el
probasti... etcognovisli me

7-
Ordinary

t •____• •

Quid retribu-am Domino

APPENDIX.

[3]

Broken

Ordinary

Broken

Et ipse redimet Isra- el
Labia nostra a no-bis sunt

-tsr

• m.

Non nobis, Domine, non nobis

e t.

Benedixit d6mu- i I- sra-el
Virgam... Dominus ex Si-on

EXCEPTIONS. I. If the final monosyllable be preceded by
a word accented on the antepenultimate, the usual form of
mediation is employed. Thus :

... custodi-es nos

2. When a mediation ends with two monosyllables, the
broken mediation is not employed. Thus :

... medi-tabor in te.

3. When the final Hebrew word is a dissyllable and the
word preceding it has the accent on either the penultimate
or the antepenultimate syllable, the broken mediation is not
used. Thus :

yuoni-am elegit D6-mi-nus Si- on
Memor esto fi-li- 6- rum Edom

The above exceptions refer only to mediations of two
accents.

INDEX.

Accent logical . . . .10
» pathetic . . , 11 j
» tonic . .- . . 10 ;
Accidentals . . . . 17
Accompaniment of Plainsong . 62 !
Agnus Dei . . . . 67
Alleluia — Verse . . . 65 |
Ambrosian chant i

Anthems of Our Lady . . 69 !
Antiphonal chant, . . .68
Antiphoner . . . . 79 1
Aristotle . . . . 89 1

Arsis .... 35, 90 1
Asclepiadic verse . . .61
Authentic modes . . . 21 j
Bar (rhythmic). . . . 88 i
Binary rhythm. .. , .90 '
Broken Mediations . . . [i|
Cassiodorus . . . . 86 1
Cephalicus . . . .15

Chapter 77

Charlemagne . . . . ' 3 !
Clefs . . . . . i6j

Climacus 13 j

Clivis . . . ... 12

Communion . , . .66
Compass of modes . . .20

Compound bar 96

Compound beat . . .96
Compound Rhythm. . . 96

Confiteor 75

Consonants .... 7

Dies irae 65

Directorium Chori . . -79
Dominant . . .21, 22
Dorian mode . . . .22

Duration 84

Dynamic element in Rhythm . 84
Elision of the Arsis. . . 93
Epistle, Tone of . .74

Euge serve bone . . .100
Feminine endings . . -95
Final of modes . . .22
Flex (in Psalms) . . 51, 56
Gloria in excelsis . . .66

Gospel 74

Gradual . . . . 64, 79

Grammar. — 9

Greek Scales . . . . 22
Gregory the Great (St.) . . i
Gueranger (Dom) . . . 4
Guide . . . . . 17
GuyofArezzo. . . 15, 104
Haec dies . . . . 108
Hodie Christus natus est. . no
Hoffmann. , < .'. .92
Hypodorian mode . . .22
Hypolydian mode . . .22
Hypomixolydian mode . . 22
Hypophrygian mode . . 22
Iambic metre . . . -59
Individual beat . . . 86

Introit 64

Ite mi-ssa est . . . .08
Kyrie eleison . . . .66

Lessons 78

Liquescent neums , . .15
Liturgical Books . . • 79
Lunn, Mr. Chas. . . . 85

Martyrology . ... 79

Masculine endings . . . 95
Medicean edition of chant . 4
Melodic element in Rhythm , 84
Missal ...... 79

Mixed rhythm . . .. .99

Mocquereau, Dom , , . 4
Modern notation . . .18
Modes of Plainsong. . . 20
Mora voris . . . .38

Motu proprio .... 5

Miiller Max, .... 85

Neumatic chants . . .41
Neums, rhythmical value of . 36

Nietzsche 91

Notation 12

Notum fecit . . . . 1 1 1

Offertory 66

Ordinary of the Mass . . 66
Oriscus ..... 14
Paroxyton . . . .70

Pauses 38

Period ..... 103
Pessubbipunctis . . .13
Phrygian mode . . .22
Plagal modes . . . .21

INDEX.

Plato ....

. 85

Scales of Plainsong .

Podatus . . . • . .

. 12

Scheme of Compound rhythm.

Pontifical . ,

• 79

Scheme of Simple rhythm

Porrectus. . , > /.

- 13

Scheme of rhythmical analysis

107

Pothier (Dom).

Secondary accents .

Prayers of Mass and Office,

to-

Section . . „ ,

IOO

nes of . . , %

71,72

Sequence. .. . , ^

Preface . .. ' ' v i.v. /

• 75

Simple rhythm.

Pressus ,

Sound, elements of .

Pronunciation of Latin .

. 6

Speed of Plainsong .

"•T

Proparoxyton .

• 7i

Stabat Mater ... 60

» 65

Proportion of pauses f_

. 106

Stave .

Proportion of phrases

. 104

Strophicus •..,.,

Prout, Dr. ...

89,93

Syllabic chants. ...

Psalmody.

. 46

Ternary Rhythm . . .

Psalterium

• 79

Thesis .... 35

,89

Punctum ....

. 12

Tonic accent . . .

Quilisma ....

. 14

Tonic Sol- Fa notation ,

Recitatives

. 70

Torculus '. - . •'• .- .

Responses to Preface

• 67

Tract . \. S

Responsorial chant,

• 64

Tristropha ...

Restoration of Plainsong.

. 4

Trochaic verse.

Rhythm, definition of

• 85

Two-bar group. . .

» sphere of .

• 84

Value of notes. . . 17

» 35

Rhythmical signs .

• 17

Veni Sancte Spiritus

Riemann, Dr. .

87,90

Versicles of Office .

Rituale ....

• 79

Vesperal .....

Ruskin . . .

. 90

Vespers . . . .

Salicus . .

i •?, i c

Victimae paschali . .

Sanctus .......

*J9 j

. 66

Vidi aquam . . .

Sapphic verse ^ ... .

. 60

Vowels . ...

Sarum chant .

Printed by Desclee, Lefebvre & Co. , Tournai, Belgium.

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The Gregorian Plainsong

THE VATICAN EDITION THE SOLESMES EDITION

A complete set of liturgical Chant books com-
piled from the ancient Manuscripts, printed
under the immediate supervision of the Bene-
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AUTHENTIC APPROBATION

Praesens editio quoad textum
typicae plane conformis reperta
est, et quoad cantum respondet
Motui Proprio Summi Pontificis
Pii Papae X. die 22 Novembris
1903 atque Decreto Sacrorum Ri-
tuum Congregationis diei 8 Ja-
nuarii 1904.

This edition, as regards the text,
has been found entirely conform to
the Typical, and as to the chant,
responds to the Motu Proprio of His
Holiness Pope Pius X. of the 22d of
November 1903, and the Decree of
the Sacred Congregation of Rites of
January 8th 1904.

In fidem, etc.

Ex Secretaria Sacrae ejusdem Congregationis, die 24 Februarii 1904.
L. f S. >J< D. PANICI, Archiep. Laodicen.

S. R. C. Secretarius.

The Solesmes Editions, published by Desclee.
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This important magazine constitutes a veritable garner of information; it is indispen-
sable for the proper equipment of all who seek to acquire a thorough knowledge of the
theory and practice of Plain-song. It provides both phototypical reproductions of
ancient manuscripts, and a series of elucidatory essays dealing with them, most inte-
resting and useful to the Student and inquirer.

Yearly subscription 1 £.
On Hand-made paper, £. 1.8.0 — On Japan paper, £. 1. 16.0

RASSEGNA GREGORIANA

A Monthly Magazine for the study of Sacred Liturgy and Church Music

FOURTH YEAR — 1905. — YEARLY SUBSCRIPTION 55. 8d.

List of Gregorian Melodies

transcribed into modern musical Notation
with accompaniment for Organ and Harmonium, by GIULIO BAS.

A Fascicle large 4° size, each month. Yearly subscription, 4s. 1 Od.

ist Series (1903) — I. Mass of the Epiphany — 2. of the Purification -

3. of Easter Sunday — 4. of the Ascension — 5. of Whit-Sunday — 6. of
the Blessed Sacrament — 7. of SS. Peter and Paul — 8. of the Assumption

— 9. of the Nativity of the B. Virgin — 10. of All Saints — n. of the Im-
maculate Conception — 12. of Christmas (3rd mass).
Each Fascicle separately, of the 1st series, 5d.

2nd Series (1904) — i. 2. Mass of S. Joseph — 3. for Low Sunday —

4. 5. of the Angels — 6. of the S. Heart — 7. of the Nativity of S. John the
Baptist. — 8. of the Holy Rosary — 9. 10. n. of the Dead — 12. of Christ-
mas (Midnight Mass).

The Fascicles of the 2nd series are sold separately as follows :
NOS 1-2 : jod. — No 3 : 5d. — N<« 4-5 : iod. — N° 6 : 5<i. — NO 7 : 5d. -
N° 8 : 5d. — N°s 9-10-11 : is. 3d. — NO 12 : 5d.

3rd Series (1905) — N08 1-2-3, Asperges — Vidi aquam — Modus respon-
dendi in Missa — Missa tempore Paschali — In Festis Solemnibus I : is. 3d.—
Noe 4-5-6, In Festis Solemnibus II — In Festis Duplicibus I — In Festis Du-
plicibus III O : is. ^d. — N°* 7-8-9, In Missis B. Marias Virginis — Dominicis
infra annum — In Festis Semiduplicibus I : is. 3d. — N08 10-11-12, Dominicis
Adventus et Quadragesima? — Credo I, II, IV (2). : is. 3d.

(x) Tn Festis Duplicibus II ) are contained in the fascicle Nos 4-5 of Series II
(2) Credo III ) already published (Missa de Angelis).

OTHER PUBLICATIONS

[N° 379] Les Melodies gregoriennes d'apres la tradition, par le
R. Pere Dom J. POTHIER, large 8°. Edition de luxe. Text in French.
Paper covers 8s.

[K° 380] The same, popular edition, small 8°. Text in French. -
Paper covers 45.

Le Melodie gregoriane secondo la tradizione. — Testo italiano tra-
dotto dalla edizione francese, coll' approvazione dell' autore. Small 8°.
Text in Italian. — Paper covers 45.

[N° 407] Der gregorianisehe Choral, seine urspriingliche Gestalt
und geschichtliche Ueberlieferung von dom JOSEPH POTHIER, Bene-
diktiner der Abtei Solesmes, iibersetzt von P. AMBROSIUS KIENLE aus
der Beuroner Congregation, i vol. small 8vo. — Paper covers 33. $d.

[N° 382] Theorie et pratique du Chant gregorien, 8°. Manuel a
1'usage des Seminaires, des Ecoles normales et des Maitrises, par Dom
AMBROISE KIENLE, traduit de 1'allemand par Dom LAURENT JANSSENS.
Text in French. — Paper covers 2s. lod.

[N° 415] Le Chant gregorien, sa genese et son developpement,
8°, par Dom LAURENT JANSSENS. — Paper covers 6d.

[N° 465] Le Plain-Chant, histoire et theorie par 1'abbe SOULLIER
S. J. — Text in French. — i volume small 8° of ¥11-330 pages. —
Paper covers 35. 3d.

[N° 418] Cours abrege et pratique du Plain-Chant, i8mo. — A

volume of 120 pages. — Paper covers sd.

[N° 381] Etude SUF le Chant gr£gorien par THIERY, small 8°. A

thick volume of 825 pages. Text in French. -- Paper covers 8s.

Grassi-Landi. Armenia e melcdia musicale secondo la scienza e 1'arte.
— Paper covers 25. 5d.

Cantus varii Fr. Minorum. 8vo of xxxiv-376 pages. — Paper
covers -45. lod.

Proprium SanctOPUm totius Ordinis Fratrum Minorum.

Vol. I. Antiphonarium Romano Seraphicum. 45.

Vol. II. Misses propria totius Ord. Fr. Min. 35. 8d.

The two volumes together 75.
Vesperarum liber juxta ritum sacri Ordinis Praedicatorum.

Small 8vo of 896 pages, in red and black with red border, on hand-
made paper. — Paper covers 95. 8d.

Nozioni di Canto gregoriano, by GIULIO BAS. — Paper covers 6d.

Manuale di Canto greg'oriano, compilato dal SAC. DOMENICO FROLA
canonico della cattedrale d'lvrea — 76 pages. — Paper covers is.

Metodo teorico pratieo di Canto gregoriano tradizionale, com-
pilato da D. PIETRO IGNEO RICCI Monaco Vallombrosano O. S. B.
membro della Commissione per la Musica Sacra nelle diocesi di
Firenze e di Fiesole — 120 pages, is. 3d.

[N° 586] Origlne et develpppement du Chant liturg-ique jus-
qu'a la fin du moyen-age, par P. WAGNER, diredeur de 1'Aca-
demie gregorienne a Fribourg (Suisse), traduit de 1'allemand par 1'abbe
BOUR. i vol. 8° of 340 pages. — Paper covers 45.

[N° 610] JVtethode elementaire de Chant gregorien par D. PIERRE

BASTIEN. — 126 pag. i8mo. — Paper covers 10 d.

[N° 604] Introduction a Pexeeution du Chant gregwien, d'apres
les principes des BENEDICTINS DE SOLESMES, par AD. DUCLOS. i vol.
8vo of 80 pages. — Paper covers is.

[No 6 1 8] Sa Saintete Pie X et la Musique religieuse. Commen-
taire sur les Motu proprio et les pieces connexes, par Ad. Duclos,
Chanoine titulaire de la Cathedrale de Bruges. — i vol. small 8°, 142
pages. — Paper covers is. 8d.

Proses et Motets en Phonneur du T. S. Sacrement, du Sacre-Coeur et
de la T. S. Vierge, par P. DENYS MEZARD des Freres-Precheurs. i vol.
i2mo of 56 pages {Gregorian notation}. Paper covers 8d.

Cantiques en style greg'orien, par 1'abbe ANTONIN LHOUMEAU,
paroles du Bienheureux Grignon de Montfort. New edition revised
and corrected, published in gregorian or modern musical notations
- The dozen : 23. lod. net, one copy : 5d.

Solfeg'e populaire, par un Dire<5teur de Maitrise, d'apres les principes
des R.R. P.P. Benediclins de Solesmes. (gregorian notation.) —
In Boards is.

Douze Tantum ErgO, publics par le Rme Dom J. Pothier Abbe de
Saint-Wandrille. Edition without accompaniment, in gregorian notation,
the dozen, is. 8d. in modern musical notation the dozen, 25. 5d,.
Edition with accompaniment by l'abb£ Antonin Lhoumeau. : is. 8d.

Chants des Processions du Tres S. Sacrement et des Saints, (grego-
rian notation) i vol. i8mo. of 104 pages, — Paper covers Qd.; Cloth
back, sides in paper is.; in full Cloth, red edges is. 3d.: in Sheepskin,
gilt edges, is. lod.

NOTICE. — The Society of S. John the Evan-
gelist will be able to siipply the VATICAN
EDITIONS of Gregorian Plainsong as soon as
they are published, and also to reprint them
immediately in different sizes.

Carriage and other expenses to Customers charge.

PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET

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