Presented to the
LIBRARY of the
UNIVERSITY OF TORONTO
by
Prof. Harcourt -Brown
'
MATRI SILE ET GQNJUGI D.D.D. AUCTQR
A HANDBOOK OF
CHURCH MUSIC
A PRACTICAL GUIDE FOR ALL THOSE HAVING
THE CHARGE OF SCHOOLS AND CHOIRS, AND
OTHERS WHO DESIRE TO RESTORE PLAINSONG
TO ITS PROPER PLACE IN THE SERVICES OF
THE CHURCH
By F. CLEMENT C. EGERTON
WITH A PREFACE BY
H. G. WORTH, M.A.
MEMBER OF THE PONTIFICAL COMMISSION
R. & T. WASHBOURNE, LTD.
i, 2 & 4 PATERNOSTER ROW, LONDON
74 BRIDGE STREET, MANCHESTER
248 BUCHANAN STREET, GLASGOW
BENZIGER BROS. : NEW YORK, CINCINNATI, CHICAGO
1909
[All rights reserved}
W. E. BLAKE & SON, LIMITED
CATHOLIC CHURCH SUPPLIES
123 CHURCH ST. TORONTO, CANADA
MAR
AUGUSTINUS GATARD, O.S.B.,
CENSOR DEPUTATUS.
Imprimatur.
E. CANONICUS SURMONT,
VICARIUS GENERALIS.
WESTMONASTERII,
Die 12 Augusti) 1909,
" Vide ut quod ore cantas, corde credas,
Et quod corde credis, operibus comprobes."
" See that what thou singest with thy lips thou
dost believe in thine heart, and that what thou
believest in thine heart thou dost show forth in
thy works
Tenth Decree of the Fourth Counct,
of Carthage, A.D. 398.
PREFACE
" Nihil operi del pvaeponatur" says St. Benedict in his
rule. LET NOTHING BE PREFERRED TO THE WORK OF
GOD, and we know from the context that by Opus Dei is
designated the Divine Service.
Although these words were addressed to monks, they
express a truth which concerns all ; nothing is of so
great importance as the Service of God.
Two methods of approaching God in public worship
have always prevailed, by act and by word, by sacrifice
and by vocal prayer. Little vocal prayer was prescribed
under the Mosaic ritual, almost all was sacrificial, but
choir office was established in the time of Samuel, and
later on we find both kinds of worship the daily sacrifice
in the Temple and the public prayers in the Synagogue.
Christianity, when it emerged from Judaism, brought
with it the twofold worship of act and word that of act
was represented in the Eucharistic Sacrifice, and the
worship of word was modelled on that of the Synagogue.
No Catholic, we may presume, would assert that there
is anything which can be considered of more importance
than the Mass, nor is he likely to undervalue it, but it is
necessary to say something about the great importance
of the Divine Office, for many people seem to misunder-
stand what it is.
vi PREFACE
In the first place, it is not, as some suppose, a service
which concerns priests alone. It is one in which all have
a part : it is the heritage of all Catholics. We may say,
indeed, that it has a lay origin, for the Divine Office
owes its beginning in the Christian Church to the
assembling of the people together, and especially the
religious of both sexes. We must bear in mind that the
early monks were laymen, and in the time of St. Benedict
the priest-monk was the exception, not the rule.
The Divine Office has nothing especially clerical in its
structure, as it is said daily by nuns without the presence
of a priest, also by various secular confraternities and
societies in Catholic countries.
We read in the Peregrinatio Etheriae how the faithful
in Jerusalem in the fourth century assembled together
for the morning and evening services, and it would
appear that the congregation was almost entirely com-
posed of lay people, the Bishop with his clergy entering
towards the end, when the Bishop concluded with
prayer. In Rome also on Sundays and Station days,
all the faithful assembled for the vigils, and although
owing to the crowds great disturbances sometimes took
place, still, when Vigilantius urged this as a reason for
the discontinuance of the service, the Roman Church, to
show the great value which she set upon the service,
condemned Vigilantius. The service was eminently
congregational and remained so, the earliest service-
books bear witness to the fact, inasmuch as books were
written not one for each type of service, but one for
each class of person engaged in the service, as is still
done in the Eastern Church ; for instance, for the Mass
we find the SACRAMENTARY containing the Celebrant's
part, the GOSPEL BOOK for the deacon, the ANTIPHONALE
MISSARUM for the singers ; and for the Divine Office, the
PREFACE vii
COLLECTAR for the officiant, the LESSON BOOK for the
reader, the RESPONSORIAL for the singers.
As time went on and piety declined, the services were
performed in a less dignified manner, the old Solemn
Mass wellnigh disappeared, and High Mass gave way to
Low Mass, and hence all parts of the Mass were gathered
into one book. In the Divine Office, when it came to be
said in private, the parts assigned to officiant, reader, and
singer, were gathered into one book, hence our Breviaries.
The Carthusians, the most conservative Order in the
Church, have kept to the old way ; no Breviaries are used
in choir, but the ANTIPHONER, the PSALTER, etc., are
employed. The sole Breviary that is used is a small one
with shortened lessons, for those monks who are sick and
thus unable to attend the choir.
The ideal, however, of the public service was never
lost sight of. High Mass and the Divine Office were
daily sung in all cathedrals and monastic and collegiate
churches ; and, what is more, in England, right up to the
Reformation, the Divine Office was performed daily in all
large parish churches ; and even in the smallest churches
it was performed on Sundays and Feast-days. More
than this, we have proof that the lay-people attended,
and each Sunday, at least, they assisted at Matins and
Vespers (or to give it its old English name, Evensong).
It is scarcely necessary to give examples, there are so
many, and no one who knows anything of the ecclesi-
astical history of this country would venture to deny it.
To give only two instances, Langland says that all
business is to stop on the Lord's Day, and that all ought
to hear God's service, both Matins and Mass, and after
meat to hear Evensong.
Blessed Thomas More bears witness to this ; he himself
attended Matins, and he reproves those that neglect to do
viii PREFACE
so even on Sundays. In 1557, Cardinal Pole inquired
whether taverns and ale-houses opened their doors on
Sundays and holy days in times of Mass, Matins, and
Evensong, showing that these were the services of general
obligation.
We have countless instances also of lay-folk saying
the Office when prevented from assisting at it in church.
To name a few : William the Conqueror, King Henry VI.,
and Queen Mary. Of Queen Katherine of Arragon we
read that she attended Matins every morning. It is
needless to give more examples, for we may say that all
devout people who had any pretension to education knew
and appreciated the Divine Office.
Need we be surprised at this ? No, indeed ; for after
the Mass the Divine Office is the greatest service of the
Church. It is the Opus Dei, so called not only because
God is served therein by us ; it is even more than this,
for in this service the words used are chiefly those of the
Holy Ghost Himself words not human but Divine ; in
uttering them we are the instruments whereby Divine
worship is offered to divinity, and we may say " Of
Thine own have we given Thee."
There are not wanting people who say that lay-folk
have nothing to do with the Divine Office ; some would
almost seem to think that such as assist at and say the
Office are infringing the prerogative of the priesthood ;
and some people, when the Office was established in
Westminster Cathedral, actually sneered and said it was
an imitation of St. Paul's and Westminster Abbey, as if
the Psalms were Protestant. It is quite possible that
people who have no knowledge of Church services, and
have never been out of England, may from the fact of
never hearing the Divine Office sung in its entirety, and
Vespers only once a week, and on the other hand hearing
PREFACE ix
of Matins and Evensong being sung daily in Anglican
churches and cathedrals, may have come to think that
heresy lurks in the word Matins. Still, everyone has
been taught that Tenebrae consists of Matins of the last
days of Holy Week. In Catholic countries, of course,
this ignorance could not prevail, for in all cathedrals
and minsters the Office is sung daily ; and the Matins of
Christmas are sung in most parish churches in France.
Possibly it is too much to expect ordinary people to
take part in these Offices often, but at least they might
attend Vespers on Sundays and Feast-days.
It is sometimes urged that people of slight education
cannot appreciate' the Divine Office. This is not really a
fact, for we find that in France the people attend Vespers
on Sundays, and Matins at Christmas and in Holy Week.
In England also, until comparatively recent times, Vespers
were sung in most churches on Sundays, and Tenebrae in
Holy Week. In a Catholic Directory of 1864, ^ w ^ t> e
seen how Vespers were sung in nearly every London
church, and, what is more, in the greater number of
country churches also. Is intelligence less now than
then? If the people are taught how superior the
Church's own services are to others, they will learn to
appreciate, and will endeavour to enter into their spirit.
Vesper books are published and also Holy Week
books, which, having a translation side by side with the
Latin text, give every facility to those who wish to follow
the services.
It is surely the duty of a Catholic to endeavour to
acquire a spirit in accordance with the Church's teaching,
and to wish to use the prayers she gives her children.
The spirit which cares not to enter into these things,
which prefers private fancies, is Protestant.
The Missal and the Breviary are the two official
x PREFACE
prayer-books of the Church, and should be in the hands
of all who have sufficient education and intelligence to
use them.
The Holy Father expresses his wish that the people
should be taught to take part in the services ; and as one
means to this end, he wishes to restore the use of the
Church's chant, and to bring it back to its original purity.
Although he does not insist that no other music than
plainsong be used, still he places it far before all other ;
nor is this to be wondered at, for no other music has the
official sanction, the official books contain no other but
plainsong. The fact that Holy Church gives us books
of chant, shows clearly that she wishes us to use it. If
she thought the matter of small importance, would the
Holy Father have insisted on an authentic version of the
chant being prepared, or have appointed a commission to
do this work ?
By degrees, but much more slowly than the Holy
Father has a right to expect, his wishes are being carried
out, schools of plainsong are being established, and choirs
formed. The difficulties are supposed to be great, but
they are much exaggerated. It has been found by
experience that success has attended the efforts of those
who have dealt with the most unpromising material. In
one parish a few poor boys have succeeded in singing
both Mass and Vespers, with all the variable parts, on
each Sunday and festival ; in another a small choir of
men did the same ; in another a few small school-children
were found capable of singing Mass and Vespers, even
the parts accounted the most difficult. The writer knows
of other instances, but these three will suffice to show
that the plainsong can be sung in most places, if the will
is there. In this, as in most things, where there is a will
there is a way. To take one example, many people will
PREFACE x
tell us that it is absurd to expect the ordinary set of
singers to execute the Gradual. This has been proved
to be untrue, for in each of the cases above mentioned
the Gradual was sung. The real fact is, that people
do not realize the importance of the Gradual ; it is by
far the most essential of all the sung portions of the
Mass ; it is the only piece that is intended to be listened to,
in the same way as the Epistle and Gospel. Other sung
pieces are used to fill up the time whilst some action is
being performed. The INTROIT is sung whilst the
sacred ministers approach the altar, the OFFERTORY
whilst the oblation is made and the alms collected, the
COMMUNION during the communion of the people and
the ablutions. The Gradual is a feature in itself; it "is
one of the oldest parts of the Mass, and should be
treated with the respect which it deserves.
One great obstacle in the way of the propagation of
plainsong is the lack of teachers and of useful simple
instruction books ; there are many books suitable for
advanced students, few for beginners. It is to be hoped
that the little book now put forth may be an assistance
to many. The writer has had much experience in train-
ing children, and has met with wonderful success. One
of the choirs above mentioned was formed and trained by
him ; he therefore knows what is needful. The book is
purposely made as simple as possible, and it is to be
hoped that it may assist toward the accomplishment of
the great work which the Holy Father has so much at
heart.
ST. GREGORY'S DAY,
1909.
AUTHOR'S NOTE
THE writer desires to express his keen sense of acknow-
ledgment to Mr. H. G. Worth, for his encouragement
and for the trouble he has taken in the correction of the
manuscript ; to the Rev. G. H. Palmer for his assistance in
that work, and to Miss Mary Whittle, who has spared no
pains in assisting in the work of preparing this book for
the press. Finally, he has to thank Dom Gatard, O.S.B.,
of Farnborough, for his very thorough and helpful work
of revision.
He will be only too pleased to give any assistance in
his power to choirmasters, or others interested in the
formation of choirs, who may care to communicate with
him through the Publishers.
A supplement, containing the illustrations, together
with explanatory matter for the use of classes, has been
prepared, and may be obtained from the Publishers,
price 3d. (discount for quantities).
October, 1909.
CONTENTS
PAGE
PREFACE V
AUTHOR'S NOTE - xii
INTRODUCTION I
PART I
I. WHAT IS PLAINSONG? 9
II. VOICE PRODUCTION - 14
III. THE PRONUNCIATION OF LATIN 22
IV. THE MODES OF PLAINSONG - 26
V. RHYTHM - 29
VI. NOTES ON THE LESSONS - 37
I. BRIEF HISTORY OF PLAINSONG, THE
NOTATION, THE CLEF, THE GUIDE,
THE BARS - - 42
II. THE FLAT, THE NATURAL, NEUMS 46
III. SOME IDEA OF THE PLAINSONG TONALITY - 49
IV. THE RESPONSES AT MASS 51
V. THE CREED 52
VI. THE ASPERGES - 54
VII. THE INTROIT FOR ALL SAINTS' DAY
(GAUDEAMUS) - 56
VIII. FOUR HYMNS - 57
IX. PSALMODY - 6 1
X. ANTIPHONS - 62
XI. THE GRADUAL FOR THE FEAST OF ALL
SAINTS' DAY - 64
XII. MORE EXAMPLES OF MELISMATIC CHANT 65
xiii
:iv CONTENTS
PART II
PAGE
VII. THE CHOIR - 71
VIII. THE CHOIRMASTER - 76
IX. THE ORGANIST 93
X. THE PLAINSONG OF THE MASS 104
XI. THE PLAINSONG OF THE DIVINE OFFICE AND
OTHER LITURGICAL SERVICES - 1 15
XII. BENEDICTION AND EXTRA-LITURGICAL SERVICES 134
XIII. CEREMONIAL - - 140
XIV. CALENDAR 148
GLOSSARY - 176
BIBLIOGRAPHY - 1 88
APPENDIX
THE SCHOLA CANTORUM - - 199
THE SHAPE AND USE OF THE NOTES
(FROM THE VATICAN GRADUAL) 207
INDEX - 215
LIST OF ILLUSTRATIONS
I.
II.
IIA.
IIB.
III.
IV.
V.
VI.
VII.
vni.
IX.
X.
XI.
XII.
NOTES AND NEUMS
DIAGRAM OF THE MODES
TYPICAL MELODIES OF THE MODES
TYPICAL MELODIES OF THE MODES
THE RESPONSES AT MASS
THE CREED
THE CREED
" ASPERGES ME "
THE INTROIT FOR ALL SAINTS' DAY
FACING PAGE
40
49
- 50
50
51
52
- 52
54
56
HYMNS: "TE LUCIS," " TANTUM ERGO," " ISTE
CONFESSOR," " AVE MARIS STELLA " - -
58
PSALMODY : " MAGNIFICAT," " LAUDATE PUERI " - 60
ANTIPHONS: " ANGELUS," " HODIE," " HAEC DIES " 62
GRADUAL FOR THE FEAST OF ALL SAINTS 64
EXAMPLES OF MELISMATIC CHANT - - 66
XV
A HANDBOOK OF CHURCH
MUSIC
INTRODUCTION
IT is now some years since our Holy Father Pius X,, in a
motu proprio on Church music, made clear his wishes
and commands with regard to the music to be used in
Catholic churches throughout the world.
This official act of the Sovereign Pontiff has marked
the beginning of a new era in the history of Church
music, the importance of which has yet to be fully
realized. In this document the Pope deplores the abso-
lute unsuitability of much music in vogue, and in order
to put a stop to the prevalent abuses, he lays down with
admirable clearness a special code of laws by which the
music to be used henceforward must be regulated.
Masses of the schools of Haydn, Mozart, Hummel, etc.,
are to be entirely excluded ; the more ecclesiastical styles
of Palestrina and other polyphonic composers are tolerated
or permitted ; but the Pope distinctly declares that the
chant above all others most suited for the sacred purposes
of the Divine Liturgy is that known as the Gregorian
chant to give it its old English name, plainsong.
We cannot use words more forceful than the Pope's
own ;
i
2 A HANDBOOK OF CHURCH MUSIC
" Sacred music should . . . possess in the highest
degree the qualities proper to the Liturgy, and precisely
SANCTITY and GOODNESS of FORM, from which its other
character of UNIVERSALITY spontaneously springs. It
must be HOLY . . .it must be TRUE ART. . . .
" These qualities are to be found in the highest degree
in the Gregorian chant, which is, consequently, the
chant proper to the Roman Church, the only chant she
has inherited from the ancient Fathers, which she has
jealously guarded for centuries in her liturgical codices,
which she directly proposes to the faithful as her own,
which she prescribes exclusively for some parts of the
Liturgy, and which the most recent studies have so
happily restored to their integrity and purity.
" On these grounds the Gregorian chant has always
been regarded as the supreme model for sacred music, so
that it is fully legitimate to lay down the following rule :
THE MORE CLOSELY A COMPOSITION FOR USE IN CHURCH
APPROACHES IN ITS MOVEMENT, INSPIRATION, AND SAVOUR,
THE GREGORIAN FORM, THE MORE SACRED AND LITURGICAL
IT BECOMES ; AND THE MORE OUT OF HARMONY IT IS WITH
THAT SUPREME MODEL, THE LESS WORTHY IS IT OF THE
TEMPLE.
" The ancient traditional Gregorian chant must there-
fore be largely restored to the function of public worship,
and everybody must take for certain that an ecclesiastical
function loses nothing of its solemnity when it is accom-
panied by no other music but this.
" Special efforts are to be made to restore the use of
the Gregorian chant by the people, so that the faithful
may again take a more active part in the ecclesiastical
offices, as was the case in ancient times."
And yet in how many churches in England have the
Pope's instructions been carried out ? To what extent
INTRODUCTION 3
has any attempt even been made to introduce the singing
of plainsong, although the Holy Father has spoken so
strongly in its favour ? These questions are only too
easy to answer. Do we not still read in the columns of
our Catholic newspapers such reports as the following ?
" Mademoiselle Squallini held the congregation spell-
bound by her superb rendering of M 's ' Et Incar-
natus est ' in Ab, the silvery notes of her glorious voice
ringing through the sacred building. . . . Signor Basso-
Bello, of the Italian opera, was heard to great advantage
in W 's ' Qui Tollis.' "
Such disobedience to the spirit of the Church is not
pleasant to contemplate ; nor do we care to ponder over
the extraordinary ideas of those who are responsible for
such performances.
It is often said in extenuation that the best (?) of all
the arts, including music, should be given to the service
of God. In a sense this is true, but why introduce
theatrical music without all the appurtenances of a
theatre ? Why not footlights, and trap-doors, and
moving scenery, transformation scenes, and the like ?
These all enter equally with music into theatrical art.
Others, again, say that such music attracts non-
Catholics. This is possible, Non-Catholics also go to
the theatre ; but does it not seem somewhat a degradation
of the Mass to make it a show for outsiders ? One
could go on multiplying reasons against such perform-
ances, but the Pope has spoken, and that should be
enough.
In smaller churches the objections to the introduction
of plainsong often take a more straightforward and
reasonable form. As it is our object to deal principally
with such cases, we will consider some such probable
objections.
i 2
4 A HANDBOOK OF CHURCH MUSIC
1. The congregation would not like plainsong; the
people would not come to the sung Mass.
This need not be true. The people may be taught to
take a part in it, thus fulfilling the Church's ideal.
2. It requires a specially-trained choir, and is difficult
to sing well. It is only suitable for men's voices.
Again, this is certainly untrue. I once trained a
choir, if so it may be called, of a few small girls, none
more than thirteen years of age, to sing the whole of the
Mass, including the Proper.
I do not say that anything like perfection was attained,
but I had to make use of the whole of the material at my
disposal, which consisted of no boys and never more
than six girls. There were no other children to be had,
no voices to be carefully picked out, but in three months'
time I managed to obtain the result mentioned. Then a
schola, or class, for the instruction of the congregation
was formed in the manner I have described in a separate
chapter. This work is being carried on in a place where
there are but 200 Catholics, and where there is an
average congregation of about sixty-five, nearly all very
poor. Surely this is a convincing proof that there is no
place where plainsong cannot be sung.
I do not know of any other objection to plainsong
which cannot easily be refuted. It may and should be
sung in every church.
The object of this little book is to begin at the
beginning and explain how plainsong should be taught
and sung, and to give simple directions for the carrying
out of the services so far as the choir is concerned in
a fit and proper liturgical manner. It is intended as a
sort of directory for all those who have the charge of
choirs and schools. I do not know of any other work
which covers quite the same ground, or that is suitable
INTRODUCTION 5
for one who is trying to introduce plainsong as a part of
the Liturgy, with limited material at his disposal.
My great hope is that it may be a means of inducing
schoolmasters and others who are responsible for the
training of choirs, to make plainsong a regular subject in
the school curriculum, for it is only when this is univer-
sally done that Gregorian music will ever become well
known to the rising generation.
With this end in view, I have tried to make it as easy
and free from technicalities as possible, and consequently
have had to omit much of the theory of plainsong that is
both interesting and useful. For those who wish to make
a deeper study of the chant, there is the excellent
" Grammar of Plainsong " of the Benedictine nuns of
Stanbrook, and there are also many excellent works in
French, for a list of which the reader is referred to the
bibliography which will be found at the end of the book.
PART I
WHA T IS PLAINSONG ?
IT has been well said that there are two kinds of
Catholic religious music the music of the Church,
which is PLAINSONG, and Church music, which is any-
thing. The Catholic Church authorizes one kind of
music ; she tolerates others only when they fulfil certain
conditions.
Plainsong is the oldest known form of music which
still exists. There is no doubt that originally it was
adapted from the music of ancient Greece, and we can
still trace the connection between the Greek modes and
those of plainsong. From the very commencement of
the Christian era, the faithful delighted to praise God in
Psalms and hymns, which they sang, hidden away from
their persecutors, in the catacombs of Rome. After-
wards, when the persecutions ceased and they were able
to worship God with greater liberty, they built churches,
and the Liturgy of the Catholic Church began to take a
more definite shape. It grew, and, accompanying it in
all its services, there grew and developed with it a
special form of sacred music. This music we call plain-
song.
St. Ambrose of Milan, and St. Jerome and Pope
Damasus in Rome, seem to have been pioneers, and
9
io A HANDBOOK OF CHURCH MUSIC
St. Gregory set in order the music of the Mass. From
St. Gregory's time onward, it flourished and retained its
primitive perfection, but during the fourteenth century a
decline took place. Polyphonic music, being a novelty,
seemed more attractive, and plainsong suffered accord-
ingly. Less care was taken in the execution of the
chant, and thus the traditional method was neglected, and
in time wellnigh lost.
Even during this period of decadence, however, the
Church insisted on the use of plainsong alone during the
most solemn parts of the Mass, particularly at the Preface
and Paternoster.
During the first half of the nineteenth century, when
liturgical study became more general and more scientific,
the monks of Solesmes, under Dom Prosper Gueranger,
were the introducers of a new age in the history of
plainsong. From that time onward the monks of
Solesmes have worked with untiring energy to render
the traditional music of the Church better appreciated
and its importance better realized.
This is not the place in which to speak of the difficulties
against which they had to contend. These were not few,
but the diligence of the Solesmes Benedictines has at
last reaped its reward in the signal mark of approval
which Pius X. has set upon their work. In 1904 the
Holy Father appointed a Pontifical Commission for the
preparation of a correct version of the liturgical chant,
one which should thereafter be the only one recognized
by authority. The presidency of this Commission he
placed in the hands of Dom Joseph Pothier, one of Dom
Gueranger's most distinguished disciples.
I have said that the object of the Commission was the
formation of a correct version of the chant. It was
indeed necessary, for the researches of the Benedictine
WHAT IS PLAINSONG? i
Fathers had already conclusively proved that those
editions of the chant which had been commonly received
and used during the last three centuries were entirely
incorrect, and that they were in the very worst sense
mutilations of the original, foreign to the true plainsong
tradition in every degree.
The result of the labours of the Commission up to the
present has been the production of the Vatican Gradual.
This henceforth will be the only version of the chant
permitted by authority in churches which follow the
Roman rite.
Unfortunately, we know that, although the wishes of
our Holy Father are so clear, and his instructions on the
matter so precise, there are still many who, having been
brought up in what they term the old school, find it
necessary to raise objections to the use of plainsong.
Such persons declare that plainsong is suitable for
Requiem Masses, but that it is not attractive enough for
the sung Mass on Sundays. Is not this because their
taste in music has become decatholicized, and because,
in music at least, they are a little too ready to render
unto God the things that are Caesar's ?
May we be allowed to suggest one or two considera-
tions for the benefit of such as these ?
1 . Why should the Church preserve with such devotion
a special form of music, if no obligation of using it rests
upon us ?
2. The Church having told us, by the mouth of the
Pope, that plainsong' is the ideal music for the worship
of Almighty God, at the same time absolutely forbidding
certain other forms of music, are we not bound to obey
the spirit as well as the letter of the law ?
(We must remember that the Church has as much
12 A HANDBOOK OF CHURCH MUSIC
power to make laws about the music to be used in
churches as to command us to abstain from eating meat
on Friday.) The acceptance of plainsong by such
persons as these to whom we have just referred involves
some little use of the Catholic spirit of obedience to
ecclesiastical authority and tradition.
Those, however, who make objections to plainsong on
the ground of what they are pleased to term its barbarity
and harshness, must remember that they speak of a
subject with which they are little familiar, and one is
bound to admit that the wretched execution of the plain-
song melodies, mutilated as they were by such revolu-
tionary editors as Guidetti and those who followed him,
culminating in the still more drastic reforms contained in
the Mechlin books of the last century, must have given
some cause for this opinion. Before, however, they
condemn plainsong, they should make it their business
to hear some trained choir sing the authorized version of
the chant. It is certain that few people can remain
unconvinced of the beauty and eminent suitability of
plainsong if only they make the effort to understand and
appreciate it. No one denies that plainsong requires
some understanding, but it is unfair to condemn it
without allowing it to make its own defence.
Without making a lengthy comparison between
Gregorian music and modern music, we may perhaps
mention the following principal differences:
1. There are no rules arbitrarily governing time in
plainsong. ,^
2. Plainsong is always sung in unison. Harmonized
plainsong would be a contradiction in terms.
3. The indefinite range or " compass " of modern
music is unknown in plainsong, which is governed by
WHAT IS PLAINSONG? 13
certain mode laws, beyond which a particular melody
may not extend.
We have done little more than sketch a very brief
account of plainsong. The reader who wishes to study
more of its history and to trace its development will
find suitable books mentioned in the bibliography.
II
VOICE PRODUCTION
HOWEVER well the theory of Gregorian music may be
known, the execution will be very defective if proper
attention be not paid to the elementary rules which
govern voice production.
Let us understand clearly what " voice production "
really means. First of all, its object is threefold :
1. To give to our children the power to SING
SWEETLY and with PURE TONE.
2. To teach them to produce the FINEST and
PUREST sound with the MINIMUM OF EFFORT.
3. To insure TRUE EXPRESSION that is, the
perfect blending of the SPIRIT of the WORDS
with the SPIRIT of the MUSIC.
Let us try to keep these three objects simultaneously
in view, for it is impossible to overestimate their impor-
tance ; and yet if the teacher is prepared to expend only a
little time and trouble, there need be no difficulty in fully
attaining them. Those who are responsible for the
training of children's voices only too frequently say that
14
VOICE PRODUCTION 15
they find it impossible to obtain really good singing from
those under their charge, because their voices are too
rough. This is usually a sign of incompetence on the
part of the teacher. I do not believe that one child in a
hundred has a voice so bad that it is incapable of
improvement.
I have spoken hitherto of children. It is not difficult
to train children to sing well, but with older people, such
as those who come to our schola cantomm, without any
early training in the rudiments of good singing, it is next
to impossible.
I shall therefore treat principally of the training of
children's voices, and here I cannot do better than
recommend an invaluable book called " Voice Culture
for Children." It is written by Mr. James Bates, the
Director of the London College of Choristers, whose
splendid results are well known to all teachers of music,
and it seems almost the last word on the subject. The
author gives a simple and very interesting account of the
method of teaching voice production, a series of exercises,
and at the end of the book Dr. Hugh Blair adds a
number of two-part exercises. The book is published by
Novello, and may be obtained complete in one volume
or in three parts.
At the outset it must be said that if children are to be
successfully trained in voice production, they must have
plenty of FRESH AIR. Few children can keep in tune in
a stuffy room or church.
In a school where plainsong is taught during the time
devoted to religious instruction, it should be possible to
give five minutes' sharp drill in the playground every
morning, ending with the following exercise, which should
be repeated about twelve times. The result will be
surprising.
16 A HANDBOOK OF CHURCH MUSIC
ATTENTION.
HIPS FIRM. The children smartly rest their hands
upon their hips without pressure.
BREATHE IN. Take as long and slow a breath as
possible, inhaling the air through the nose, with the
mouth closed.
BREATHE OUT. Allow the air to pass out gradually
through the nose.
REPEAT TWELVE TIMES.
ATTENTION.
This exercise will probably be found in itself quite
sufficient to fill the children's lungs with the necessary
fresh air. It is taken from the admirable Course of
Physical Exercises issued by the Board of Education
for use in schools. Other exercises may be found in
nearly all books upon children's singing.
Now will follow a series of voice exercises. With
regard to the posture in which they should be taken, we
may say that the best position is that which is most
comfortable, whilst at the same time it allows free play
for the expansion of the chest. The children should
stand upright, not too close together or too stiffiy, and
with their hands behind. Sitting down during singing
lessons is out of the question, particularly in desks where
there is insufficient space.
Some children appear to find it necessary to contort
their faces horribly when singing. This is, of course,
unnatural, and should be taken as a sign that there is
something wrong both with the singing and the singer.
The exercises may well commence with the scale of C,
sung first downwards and then upwards, without a break.
It should be sung to a vowel-sound (ay, oh, oo, ay,
VOICE PRODUCTION 17
ee), not to Doh, Te, Lah, etc. The singing down-
wards does away with any tendency to force the voice
on the top notes of the scale. Then the tone may be
raised and another vowel-sound sung in the same way,
and so on. This singing to the vowel-sounds is most
useful, because it helps to check the natural tendency
of the vowels to degenerate in purity e.g., of oh to
become aw. Proper vocalization is absolutely essential
to good rendering of the chant, or, indeed, of any vocal
music.
Care must be taken that no straining is allowed upon
the higher notes this more especially in the case of
younger children, who have not the same vocal power as
the older ones. Young children i.e., under eight
should never be allowed to sing notes much below C or
above E 1 .
Here I may say that I believe many teachers make
the mistake of not telling their children all about the
powers, the needs, and the weaknesses of the vocal
apparatus. It must be impressed upon them that the
singing organs form a most delicate instrument, and can
easily be spoiled by misuse and want of care. Shouting
should never be allowed in school singing, and the
children should be discouraged, as far as possible, from
noisy singing in their play and in the streets. When
that refinement of the voice which is so desirable in singing
has once been lost, it is practically impossible to recover
it. Further, with the aid of a blackboard a diagram
illustrating the vocal organs very simply and roughly may
be shown and explained to the children. In such a way
it becomes easy to show them what is meant by " voice
placing," " chest voice," " throaty singing," " the top
voice," and so forth. There is nothing difficult in
such instruction. I have found it quite intelligible to a
2
i8 A HANDBOOK OF CHURCH MUSIC
class of country children aged from seven to thirteen,
possessed of no extraordinary intelligence. During one
or two singing lessons I talked about the matter quite
casually, and then made sure that the ideas had gone
home by making the children write an essay on the
subject without giving them any further help.
When these exercises are being gone through, no
faults should be allowed to pass unchecked even for a
moment ; for when once they have gained a hold upon
the singing, they are much more difficult to eradicate
than if they had been checked at the outset.
NOISY SINGING is one of the faults most common in the
case of children who have not had the benefit of proper
vocal training. Another is THROATY SINGING. This is
singing from the throat, making that the SOUNDING-BOARD
of the notes instead of the roof of the mouth. KEEPING
THE MOUTH HALF-CLOSED is still another very common
fault ; it is particularly fatal.
When singing, enough space should be left between the
teeth for the insertion of the thumb. Unless this is done,
the tone will be poor and the words will be imperfectly
pronounced. The teacher must therefore insist very
strongly upon the mouth being kept well open through-
out the singing lesson.
Plainsong depends for its beauty entirely upon the
quality of its rhythm and the perfection of its expression.
To obtain these effects, the singing must be perfectly
natural. A plan which I have found very successful in
obtaining that delicacy of expression which I have said
is so desirable, both in plainsong and figured modern
music, is never to sing any words until the melody is
thoroughly known. Although I have always taught
school songs by the Tonic Sol-fa method, I invariably
dispense even with the names of the notes (Doh, Ray,
VOICE PRODUCTION 19
Me, etc.), as soon as possible, allowing the children to
see them on the blackboard, but making them sing
the melody to one of the vowel-sounds or coo. Of
course they should watch the blackboard all the time.
(The same principle may be followed when the plainsong
and old notations are used.) In this way they learn the
spirit of the melody. Now they must comprehend the
meaning and spirit of the words. This is no less neces-
sary. The sense of the words as a whole, in sentences
and individually, should be fully grasped ; then, and not
till then, may the melody and the words be blended.
FLATNESS is another important fault which must be
combated. There is no need for flat singing, though
there may be many excuses in individual cases. It can,
however, be remedied if sufficient care be exercised,
though the cure is not always an easy one. If children
sing softly, they are much less likely to be flat than if
they in any way approach shouting ; and if they are able
to monotone, first on one note and then on another, such
an exercise will be found a great help.
Flatness may be caused (i) by the throaty singing of
the children ; (2) by their not opening their mouths
sufficiently ; or (3) by circumstances altogether apart
from faults of voice production, such as damp, foggy
weather, the closeness of the room, and so on. Some-
times it does not seem possible to ascribe the flatness to
any natural cause ; then I have found an exercise
borrowed from Mr. Bates very useful. It is :
I d:-|r :- | d :- r :- | d :r |d:r|d:r |
| d : r | d.r : d.r | d.r : d.r | d.r : d.r | d.r : d.r | d : - - : |
This should be sung to different vowel-sounds at varying
speeds, and on every note of the scale from C to F 1 .
(Ah is the best tone-producing sound.)
2 2
20 A HANDBOOK OF CHURCH MUSIC
i Another help is the singing of part-songs, and here I
may say that I believe very firmly that, no matter
whether the choir be a school choir or not, and although
the chief end in view is the rendering of plainsong in the
services of the Church, madrigals and part-songs should
certainly be made use of. They are an admirable help to
voice training, and at the same time act as a relaxation.
Moreover, an occasional concert is beneficial to the
choir and those interested in its welfare, apart from the
question of providing funds for choir expenses, etc. No
fear need be entertained lest the singing of harmonized
music should prejudice the children against plainsong.
On the contrary, it need only serve to show, by contrast,
the peculiar sweetness, nobility, and suitability of plain-
song for liturgical purposes.
Many children, without proper training, seem to sing
in gasps. This is because they do not lay up a sufficient
store of breath at the beginning of an exercise to carry
them through it. The objections to this fault will be
intensified in plainsong, for it is then particularly
necessary to retain the breath and use it up gradually ;
otherwise in singing the chant the children might stop
and take a gasping breath in the middle of a neum or
elsewhere, and ruin the whole effect of the melody. A
useful exercise in eradicating this fault is that which
Mr. Bates calls " swelling." The children sing one note,
beginning softly, becoming louder, and then letting the
sound gradually die away. This is repeated all the way
up and down the scale.
Voice exercises should be performed both with and
without the piano, and individual children should be
encouraged to sing by themselves. This insures a
feeling of self-confidence, which is very useful, and which
can be obtained by no other method.
VOICE PRODUCTION 21
It is a great mistake to rely too much upon a musical
instrument in the teaching of singing, and especially in
the training of children for plainsong. If they cannot
sing in tune without a piano, they certainly will not be
made to sing in tune with one.
It is not possible in the space at our disposal to go
more deeply into this all-important subject of VOICE
PRODUCTION. Neglect of it is fatal ; but, on the other
hand, the benefits which result from careful training will
more than repay the teacher for the time and energy he
has expended. Moreover, the advantages being per-
manent, the children will in after-life never cease to
benefit from the training they received when young.
In concluding this chapter let me draw attention once
more to the three important objects with which we
commenced our discussion of voice production :
1 . The power to sing well.
2. The power to sing easily.
3. The power to sing with expression.
If these are attained the singing will leave little to be
esired.
Ill
THE PRONUNCIATION OF LATIN
ONE of the greatest difficulties which have to be over-
come by the teacher of plainsong is that of securing the
proper pronunciation of the Latin words which have to
be sung. It is quite possible, and unfortunately only too
common, to find a very fair rendering of the actual music
spoilt by wretched pronunciation. Consequently the choir-
master should make certain -that his class attains perfect
correctness in pronunciation. When once this has been
assured, there need be little fear that it will ever be lost.
It is not always possible to obtain this perfect pronun-
ciation in a schola formed of adults, partly because they
cannot well be treated as children, and made to repeat a
word or phrase time after time until they get it right,
and partly because it is probable that they already
possess erroneous ideas of pronunciation. These must
be overcome and eradicated by degrees.
It is quite different in the case of children who have no
ideas of Latin at all. Then it is not so difficult to
inculcate a proper system at the outset, so that it some-
times happens that children are able to pronounce the
words of a Latin hymn with far greater distinctness than
those of an English hymn which they have been accus-
tomed to sing from their very babyhood.
When once this correct pronunciation has been
22
THE PRONUNCIATION OF LATIN 23
obtained, it becomes necessary to see that it is not lost,
or at least injured, by subsequent carelessness on the
part of the singers. There is a tendency to grow some-
what slack in important details, such as the pronunciation
of um, and the final consonants. This, when noticed,
should never be allowed to pass unchecked, or it will
lead to serious defects.
The rules of pronunciation may be briefly summarized
as follows :
VOWELS.
A sounded as ah i n English e.g., pater (pahter).
E ay (nearly) e.g., bene (baynay).
I ee e.g., inter (center).
O o in "or."
U o in " whom " e.g., turn.
Au ow in " how " e.g., laus (lows).
The vowels in Latin, as in all other languages, are the
backbone of the words, and, as such, must be sounded
with the utmost care and fidelity to rule. A little
latitude may perhaps be allowed in the case of o, which
is sometimes given a sound rather more round and full
than in our example. It must be remembered that if
the vowels are not properly sounded, the whole word
will be affected.
CONSONANTS.
C before e, i, ce, and ce, like
ch in " child."
incensum (een-chayn-soom).
cibus (chee-boos).
coelum (chay-loom).
A HANDBOOK OF CHURCH MUSIC
before o and u,
likefc
Ch before e, like
k
G before e, like
dj
G before a, o, u,
and ^, like grin
contra
cum
(kontra).
(koona).
cherubim (ker-oo-beem).
genitum (djay-nee-toom).
(plah-gass).
" game
plagas
H in words mihi and nihil, as
if they were michi and
nichil, as they were in-
deed written in the MSS.
J pronounced
like y Alleluja (allay-loo-yah).
R must always be well and
strongly sounded.
S as in English, but rather
more sharply, as in the
word " gas."
T like ts when it comes before
i followed by another
vowel gentium
but gentibus
Gn somewhat as
in " gnat,"
(djayntsee-oom).
(djayn-tee-boos).
THE PRONUNCIATION OF LATIN 25
The remaining letters are pronounced almost, if not
exactly, as in English. It should be impressed upon the
class (i) that every letter, especially the vowels, must
be sounded clearly ; (2) every word and part of a word
must be distinct. It is especially necessary to keep the
vowel-sounds pure, for, in addition to questions of
pronunciation, the quality of the singing depends to a
large extent upon this.
In the Kyriale and all books of chant words of more
than two syllables are accented or marked, so that the
proper accent may be given, and the words rendered
with correct expression. These marks of accentuation
must be carefully followed. Words of only one or two
syllables are not marked in the books, because in such
words the accent is always on the first syllable. Atten-
tion to the details of accentuation is one of the tests by
which good singing of plainsong may be recognized.
In recitatives or passages upon one note great care
in both accentuation and voice production is essential.
Such are the responses at Mass, the verses of the
Psalms, etc. No part should be hurried over at the
expense of another, and one word must not be clipped of
its ending and slurred on to the next, a mistake, unfortu-
nately, one so often hears.
One of the most common faults of this nature is the
pronunciation of words with a double consonant in the
middle, like tollis, as though there were only one
consonant ; so tollis becomes toe-lis. The fault arises
in the mistaken separation of the syllables.
I do not think that there is any need to make a special
lesson out of the pronunciation of Latin. The words
may be learnt as they are required, and the class will
soon readily learn to apply the rules given to words with
which they have not previously met.
IV
THE MODES OF PLAINSONG
IT was the original intention of the writer to treat of the
modes among the sketches of practical lessons which
follow the chapter on Rhythm. When, however, he
came to look over the lesson which he had written,
it seemed obvious that it was impossible to give children
a complete idea of the system of tonality which is
peculiar to plainsong, and that to attempt to do so would
only lead to bewilderment and confusion. As the subject,
however, is one of the utmost importance, for rhythm
and a peculiar system of tonality are the two principal
features which distinguish plainsong from modern music,
it would be absurd to ignore it, and it has therefore been
allotted a separate chapter.
The plainsong melodies are classified in eight different
manners, or MODES. Each of these modes has a separate
and special character, which is determined :
1. By the position of the tones and semitones on the
scale.
2. By the note which predominates or leads through-
out the melody (the DOMINANT).
3. By the note on which the melody ends (the TONIC).
It is found that nearly all melodies can be classified in
one of these eight modes.
26
TH MODES' OF PLAINSONG 27
In modern music there are only two modes, which are
called the MAJOR scale and the MINOR scale. These
include, of course, different keys, but we find that in all
the keys of the major scale the semitones occupy the
same places (Me-Fah, and Te-Doh). So also in the
minor scale the semitones occupy the same positions,
though different from those of the major scale. Here
we have the distinguishing feature of the plainsong
modes. A fresh scale may be commenced upon Ray, Me,
Fah, or Soh, and the position of the semitones varies
accordingly. It is on account of the changing positions
of the semitones that each mode receives a special
character.
The advantage of so many different modes consists in
their variety of character, which enables the Church the
better to express the varied feelings of joy and hope, of
sorrow and of glory, with which she celebrates the
different feasts of the ecclesiastical year. The diagram
of the modes (Illustration II.) explains itself more clearly
than any description would explain it, but we may perhaps
mention a few important facts with regard to them.
The first, third, fifth, and seventh modes are called
AUTHENTIC, from the Greek word avOtvriKos, which means
original, and from each of these is derived another,
having the same TONIC, but not the same DOMINANT.
The dominant, however, is the note from which the
mode derives its character ; for it is that on which all the
others seem to lean, which occurs more frequently than
any other, and which is, as it were, the centre of
gravity.
Upon reference to the diagram it will be seen that the
first, fifth, and seventh modes have a dominant, a fifth
above the tonic ; but in the third mode, if this interval
were retained, it would fall upon Te, which would be un-
28 A HANDBOOK OF CHURCH MUSIC
satisfactory as a leading note, because it is so frequently
lowered to Ta, and consequently not sufficiently stable.
The interval is therefore raised to a sixth. So much for
the authentic modes.
In the PLAGAL (from the Greek TrAayios, meaning
borrowed), the dominant is a third above the tonic ,
except in the eighth mode, when, for the same reason as
before, an interval of a fourth is taken instead of a third.
The fourth mode also has this interval.
Now we come to the question as to how much of this
theory of the modes should be taught. It is hardly
necessary to say that more may be told to the adult
members of a schola than to a class of children. In the
latter case the teacher should not attempt to do more
than make his class understand that there is a special
character attaching to each of the modes. It may be
useful also for him to give his children practice in finding
the mode of a melody upon which they are engaged,
but nothing else seems really necessary in the way of
theory.
By making a large copy of our diagram of the modes
upon a sheet of paper about the size of a blackboard,
and using this as a modulator, the teacher should find no
difficulty in getting his class to sing any intervals, and
also in giving them an idea of the peculiar characteristics
of each mode.
RHYTHM
IT is impossible for us to discuss here, except very
shortly indeed, the all-important subject of rhythm : a
question so far-reaching and full of detail would require
a regular treatise devoted to its study alone. Much
controversy, a great deal of it as useless as acrimonious,
has already been expended upon it, but into this dis-
cussion we shall not enter. A list of books upon
rhythmical theory will be found in the bibliography.
We shall attempt nothing beyond the simplest explana-
tion of the meaning of rhythm, but we shall give a few
short practical rules for the performance of the plainsong
melodies, believing that an ounce of practice is worth a
ton of theory. The average choirmaster is not called
upon to do more than explain to his choir the very
simple rules which govern the execution of the chant.
He must do this to some extent in order that the singing
may be imbued with that spirit of grace and unanimity
which is the beauty of plainsong.
Rhythm cannot well be defined in a few words. In
their excellent little book " The Grammar of Plainsong,"
the Benedictines of Stanbrook explain rhythm as " the
ebb and flow of sound." It is the living spirit which
animates the chant, which gives it that beauty, fitness,
29
30 A HANDBOOK OF CHURCH MUSIC
and characteristic grace which make plainsong pre-
eminently the sacred music of the Church.
Perhaps we may best illustrate the meaning of the
word by an example. Let us suppose that we hear two
men, one educated and the other uneducated, reading
the same passage from one of our English classics.
The latter reads badly, spelling out the words almost
like a child beginning to read. Instead of giving each
syllable its proper quantity or amount of accentuation,
he makes them all the same length. He himself prob-
ably fails entirely to understand the drift of what
he reads, and we, his hearers, suffer likewise. We say
that there is no expression about his reading. It is
painful to listen to him.
On the other hand, the more cultured reader is fluent.
Not only are we able to understand the words he utters,
but we do more : we feel that we enter into the spirit of
the writer. The animation and evident comprehension
which characterize his delivery are in their turn com-
municated to us. By the tones of his voice we may tell
whether the subject-matter is glad or sorrowful, amusing
or pathetic. The reader does not always keep the same
monotonous pace. Sometimes, when he desires to convey
to us a sense of excitement, his speed quickens ; at other
times he conveys to us a feeling of sadness by the slow
and mournful manner of his reading. There is all the
difference in the world between his good delivery and the
bad reading of his more uneducated companion. That
difference corresponds to rhythm. It is just as essential
in the singing of music as it is in reading and speaking.
There are two distinct kinds of rhythm the rhythm
of poetry and the rhythm of prose. Both depend on
that accentuation of words and syllables which comes to
us naturally when we speak. With the former we are
RHYTHM 31
not principally concerned here, although, of course, it
enters into hymnody. But both kinds of rhythm take
their rise from the same principle. The voice naturally
rests upon certain syllables rather than others in the
same word, and on one word more than another in the
same group. It rises upon one syllable and falls upon
the next, or the next but one ; it seems to gather force
and rises upon still another syllable, and so forth> till
finally it seems to rest upon the last syllables of a phrase
or portion of a phrase. This rising and falling, a move-
ment regulated as it is by almost natural laws, is what we
understand by rhythm.
The rhythm of poetry, or measured rhythm, depends
upon certain immutable laws, which are independent of
the meaning or sense of the words. In this case the
pronounced differentiation between long syllables and
short occurs at certain regular intervals, decided before-
hand by the particular form of rhythm which the poet
desires to employ. This particular form of measured
rhythm is called " metre," and when once it has been
selected the writer must abide by its laws, and accommo-
date his words and ideas to its requirements.
It is this form of rhythm which is generally used in
modern music, the " time " of the music being to some
extent dependent upon the "metre" employed for the
words. Free rhythm, as we call that used in speaking
or reading, is used also in plainsong, and consequently
depends upon the meaning of the words and phrases
which are sung.
Hence it is clear that a proper comprehension of at
least the general meaning of the words is essential if the
chant is to be intelligently rendered.
Although the rhythm used in plainsong is called
" free," this does not mean that there are no underlying
32 A HANDBOOK OF CHURCH MUSIC
principles to govern it. For, just as there are certain
rules of punctuation employed by authors in order that
the reader may understand how to read intelligently, so
there are certain principles which guide the singer to an
intelligent method of singing.
Perhaps, before actually giving the simple rules, it
will be advisable to say a few words about the true
meaning of "accentuation" in its connection with the
pronunciation of Latin. Our own language has a very
decided kind of accentuation. We pronounce the
accented syllables of our words and the accented por-
tions of our phrases with a good deal of stress. Hence,
when we come to deal with other languages, we are apt
to expect a similarly pronounced form of accentuation ;
and so in our pronunciation of Latin we fall easily
into the mistake of over-accentuating certain important
words, while we allow others which we do not consider
so important to pass without much attention.
But the Latin language was never accentuated to the
same degree as our own, and, in fact, very few, if any,
languages are. Consequently, when we are told, as
I have been, that the plainsong of the Vatican Edition
(which is, in fact, the plainsong of the MSS.) abounds
in false quantities, we may reply that our objectors
place an entirely false interpretation upon the principles
of Latin accentuation. Of course there must be a
definite accent upon certain syllables and parts of a
phrase; but it is absurd, now that Latin is a dead
language, to try and accuse those who were in the habit
of speaking it, and who set the plainsong melodies to
their words, of not knowing their own language.
We will now give some practical rules for the execu-
tion of the plainsong melodies, but a few preliminary
remarks are necessary.
RHYTHM 33
Theoretically, all notes have the same value, no
matter what their form or shape may be, but this rule is
varied in practice according to circumstances. It means,
practically, that no note by reason of its shape alone has
a different time-value from another, but its value may
be altered because of its position in a neum (a group of
two or more notes) ; or, again, because it belongs to an
accented syllable. It is easy to tell where one neum
begins and another ends, because they are separated
from one another by short spaces.
We will assume that the character of the chant and
the meaning of the words have already been considered,
and that we have come to the examination of the melody
as it is blended with the words in phrases. The phrase
as a whole and the words individually need careful
consideration, because the rhythm depends not only
upon the word, but also upon its position in the phrase.
Just as in reading, so in plainsong, there is a culminating
point in each phrase, up to which the movement flows in
increasing volume, and from which it gradually descends.
This culminating point is not difficult to discover.
RULES FOR THE EXECUTION OF PLAINSONG.
A. The Simple Notes.
Individually they have all the same value, but
(a) If one belongs to an accented syllable, it is
slightly accented.
(b) If one comes at the end of a word or part of a
phrase, it must be held a little longer, and
it may be followed by a pause, according to
the position of the note in the group and its
distance from the culminating point.
3
34 A HANDBOOK OF CHURCH MUSIC
B. Notes forming Part of a Group or Neum.
(a) The note which commences a neum is accented.
(b) The note which ends a neum, if it comes at
the end of a phrase, is lengthened. There
should, however, be no lengthening of the
last note of a neum except at the end of a
word, NfevER before the beginning of another
syllable in the same word.
(c) A virga forming the highest note of a group is
very frequently given a special accent.
(d) The first note of a pressus (vide Illustration I.)
is given a strong accent.
C. Pauses.
These are marked by vertical lines of varying length
(vide Illustration I., F).
(a) Before a quarter bar the last note or the last
two notes should be doubled, but the pause
thereat should be almost imperceptible, and
no breath should be taken if it can be avoided.
(b) Before a half bar the last note is doubled.
When a group of two notes immediately
precedes the bar both are lengthened. A
breath may be taken.
(c) Before a full bar there is the same doubling,
but a longer breath may be taken.
(d) Before a full bar or double bar (which is the
same kind of pause as the full bar, except
that it marks the end of a certain piece of
chant, or the part taken by one choir) there
is a slight rallentando movement.
RHYTHM 35
N.B. If the passage be carefully READ through, a
very good idea of its rhythmical proportion
may often be gained.
The ends of the words must be clearly pronounced,
but all staccato rapping out of the notes, with
a view to the better distinguishing of the
words, must be avoided.
Although an intelligent following of these rules should
be of assistance, nothing will help the choir so much as
to hear the chant properly sung by a well-trained choir.
The singers can then note for themselves the manner in
which the above rules are carried into effect. The
Solesmes monks have in recent years organized a
summer school in the Isle of Wight, for the assistance
of choirmasters, organists, and others interested in the
chant. This is perhaps the best help which can be had.
The great fault of an inexperienced choir is a want of
cohesion and that exquisite grace which results from the
strict observance of the laws of rhythm. Consequently,
no time will be wasted that is spent in the search for
perfection in this all-important subject.
RHYTHMICAL SIGNS.
In order to render the execution of the chant more
easy and uniform, the Benedictines of Solesmes publish
editions of the Gradual, etc., with the addition of certain
marks called " rhythmical signs." These are particu-
larly useful in the case of choirs unacquainted with the
language of the Liturgy, since they render the perform-
ance " more easy, more precise, and more uniform."
i. The MORA vocis, indicated by a dot placed after a
note, shows that it must be held for nearly twice its
ordinary length. A breath must not be taken unless
before a half or full bar.
32
36 A HANDBOOK OF CHURCH MUSIC
2. A COMMA on the highest line marks the place where
a short breath may be taken.
3. A short HORIZONTAL LINE placed either above or
below a note denotes that it is to be held a little longer
than usual.
4. The EPISEMA, or ICTUS SIGN, is a tiny vertical line
attached, like a tail, to the square notes, and placed
before the diamond notes.* This indicates that a slight
impulse must be given to the note so marked. (Care
must be taken that a square note marked with the Ictus
Sign is not confounded with the Virga, the tail of which
is much longer, and which, of course, has no special
stress.)
Perhaps the words of a letter of Mgr. Dubois, Bishop
of Verdun, to his clergy upon the advantages of these
rhythmical signs will serve to illustrate the benefits
which may be expected from their use :
" The trial of this notation with rhythmical signs
which has been made in our cathedral, in our seminaries,
and in several parishes of the diocese, has proved
entirely successful. ... It renders the study of the
chant much more easy, and enables a choir to be readily
formed.
" Finally, thanks to these rhythmical signs, it is
possible to obtain from children, the attention of whom
it is more difficult to concentrate, a result much more
speedy than with the traditional notation without
rhythmical signs, certain points of which are obscure
and difficult to interpret."
* In the Vatican editions, the Episema takes the form of a
horizontal line above or below the square notes, and a vertical line
beneath the diamond notes.
VI
NOTES ON THE LESSONS
THE following series of lessons is by no means intended
to form a complete scheme of instruction. Examples as
widely varied in character have been purposely selected,
in order to suggest a method of treatment of the different
styles which will be met with, but space will not permit
more than a suggestive outline of a course of connected
lessons.
The music of the Mass should naturally be the first
object of the choir, and after a few preliminary lessons,
such as our first six, I would suggest that a start
be made upon a simple Mass, such as No. XIV.. Jesu
Redemptor, or No. XL, Orbis Factor; then No. IX.,
Cum Jubilo, a little more advanced in difficulty ; and then
No. II., Fons Bonitatis, which is suitable for the more
solemn feasts. There is no need, however, for the
choirmaster to confine himself to one particular so-called
Mass. He may choose whatever is most suitable for his
purposes from any part of the Kyriale. Until the choir
is sufficiently proficient, the Proper must be monotoned
by two cantors. This will require some practice in
careful pronunciation and phrasing.
Our examples are taken :
Example i, from the Preface to the Vatican
Gradual.
37
38 A HANDBOOK OF CHURCH MUSIC
Examples 3, 4, 5, 6, 7, n, and 12, from the Vatican
Gradual.
Example 10, the Te Lucis, Tantum Ergo, and Iste Con-
fessor, from the " Liber Usualis "; Ave Mans Stella from
the " Manuale pro Benedictionibus."
Example 9 from the " Psalmi in Notis."
Further examples the teacher may select from the
same books, but my own experience seems rather to
favour the gradual acquisition of the necessary melodies
than an attempt to group together and learn melodies
of the same class.
There does not seem any particular advantage to be
gained by learning together several antiphons of the
same mode and then several of another mode, or so
many hymns of the same metre.
Whatever plan be adopted, the same care should be
given to the explanation and, as far as possible, the
perfect rendering of each new melody.
It is necessary nowadays to draw special attention
to the liturgical importance and the melodic beauty
of the Gradual. Unfortunately, an idea seems to have
arisen, even in choirs where plainsong is regularly sung,
that it is not necessary to do more than monotone the
Gradual. But it should be remembered that, whilst the
other portions of the Proper were invented as accom-
paniments, so to speak, of certain actions of the priest,
the Gradual has no such purpose. It stands by itself,
and is quite as important as the Epistle. There may
be some difficulty in learning the chant of the Graduals,
but as some of the most exquisite melodies are those
of the Graduals, it is a decided mistake not to make
an attempt to learn them. I have therefore given the
Gradual for All Saints' Day a special place amongst the
examples.
NOTES ON THE LESSONS 39
Nothing more remains for me to say except to repeat
what I said at the beginning of this note that the
teacher must not consider the following examples as a
course of instruction. Their purpose is only to show how
different classes of melodies should be treated, and their
order may be varied according to circumstances.
N.B. I have made use of the Gregorian notation
alone throughout this book, because it is the traditional
notation, because it is quite sufficiently intelligible to
anyone, and also because adaptations of plainsong to
modern notation are liable to give a wrong impression of
the value of the notes, and serve no particularly useful
purpose.
EXPLANATION OF THE NEUMS, ETC., DISCUSSED DURING
THE FOLLOWING LESSONS.
(The numbers refer to Illustration I.)
(a) A Quarter Bar. Double the last or the two last
notes. If it can be avoided, no breathing ; if
necessary, it must be the slightest.
(b) A Half Bar. Double as for the quarter bar. A
short breath may be taken.
(c) A Full Bar. The last note or notes doubled,
and a slight rallentando movement. A breathing-
space.
(d) A Double Bar. Pause between the two choirs.
The last two or three notes have a slight rallen-
tando movement. A full breath may be taken,
(m. v.) Mora Vocis. Double the note affected. Not
necessarily a breathing-space.
2. The Podatus. The lower note sung first and
slightly accented.
40 A HANDBOOK OF CHURCH MUSIC
3. The Clivis. The upper note sung first and slightly
accented.
4. The Epiphonus. A Podatus of which the second
note is LIQUESCENT i.e., of equal length but
weaker intensity.
5. The Cephalicus. A Clivis of which the second
note is LIQUESCENT.
6. The Scandicus. First note slightly accented.
8. The Climacus. First note slightly accented, the
others slightly more flowing.
10. The Torculus. First note slightly accented.
11. The Porrectus. A Clivis with a third note higher
than the second. The top of the thick line marks
the first note, and the bottom the second. The
first note has a slight accent.
12. The Torculus Resupinus. The first note is
accented.
13. The Porrectus Plexus- A Porrectus followed by
a lower note, fh 6 first an d third notes of the
Porrectus have the accent.
14. The Pes Subpunctis. Podatus followed by
descending notes.
15. The Scandicus Subpunctis. The first note has
an accent, the third a slighter stress ; but when
the second note is a QUILISMA, the first note is
lengthened, and the culminating Virga has its
special stress.
1 6. The Scandicus Plexus. Note the culminating
Virga, which has some stress.
17. The Climacus Resupinus. A Climacus followed
by a higher note.
1 8. A Double Strophicus, or Distropha. -- The
length of two Puncta, the first of which is a little
lower than the last.
Illustration I. NOTES AND NEUMS.
Stave
The PUNCTUM or SQUARE Note.
B ^ The VIRGA or TAIL Note.
The DIAMOND Note.
The " DOH " CLEF. D || : The " FAH " CLEF.
abed
The
GUIDE "
Different
"BARS"
O Je-su
The
NATURAL
3_
Bivirga Podatus Clivis Epiphonus Cephalicus
Tr~ ^i IT~ ,
i ^ ^-^ i~. _
10
Scandicus Salic us Climacus Ancus
Torculus
11
12
13
14
15
Porrectus Torculus Porrectus Pes Scandicus
resupinus flexus subpunctis subpunctis
17
18
19
20
Scandicus Climacus Strophicus Pes strophicus Clivis
flexus resupinus strophica
21
-*%-
22 _ I 23
24
25
Torculus strophicus Pressus Different Forms of the Pressus
27 :-fl--fl- lr ~
IE: 28
Trigon
32
30 _
Quilisma
31
33 L 34
35
Groups composed of more than one neuni
NOTES ON THE LESSONS 41
i8a. A Triple Strophicus, or Tristropha. Three
Puncta, of which the middle one is always slightly
lower than the first. This neum always comes
near the end of a phrase, and requires a < > move-
ment.
20. Clivis Strophicus, or Clivis with Oriscus. The
Clivis is treated as usual, but the Oriscus must be
very light.
21. Torculus Strophicus. The first note slightly
accented.
22. 23, and 24. The Pressus. Formed when two
notes are placed close together on the same line
or space. The first has a marked stress.
28, 29, 30, and 31. The Quilisma. This note has a
slightly tremulant effect, and causes a slight
lengthening of the previous note or group.
* A group composed of Climacus and Pes Subpunctis.
Slightly accentuate the first note of the Climacus.
LESSON I.
A BRIEF HISTORY OF PLAINSONG, THE NOTATION,
THE CLEF, THE GUIDE, THE BARS.
SUBJECT-MATTER.
History. Plainsong is
the music of the Catholic
Church. It is only used
by the Church. It is very
old music indeed, and was
sung in the catacombs of
Rome before the days of
persecution ended. Pope
Gregory the Great arranged
it, and so it is sometimes
called GREGORIAN CHANT.
Introduced to England by
St. Augustine, it was sung
by his monks before ETHEL-
BERT of Kent, and thence-
forward for many hundreds
of years it was the only
music used in the services
of the Church. When men
began to change their minds
about the Catholic Religion,
people became careless
about the chant, and it
METHOD OF TREATMENT.
These facts should be told
to the class in as interesting a
form as possible, particularly
if the choir is composed of
children, pictures being shown
to them of St. Gregory, St.
Augustine's landing, and so
on.
The idea must be to give
them a reverence and love for
the Liturgy in general, and its
music in particular.
They should understand that
the singing of plainsong is a
matter not of choice, but of
obligation, and that no other
music than plainsong can be
considered the MUSIC OF THE
CHURCH.
42
LESSON I
43
began to be disused in many
places. Now it has been
restored to its proper place
in the Liturgy i.e., the
solemn, universal worship
of the Church by Pope
Pius X., aided very much
by the Benedictine monks,
who have done much to
preserve the ancient music.
The Stave. The stave
consists of four lines :
. Upon these lines
are grouped certain notes :
The PUNCTUM, or
square note.
The VIRGA, or tail
note.
note.
(I)
(2)
(3)
The DIAMOND note took
its shape because the copier,
in the days when the chant
had to be copied by hand,
used the side of his pen in
writing descending passages.
The notes are placed
upon the lines to show the
RELATIVE TONE VALUE each
possesses.
Draw attention to Illustra-
tion I., A, and compare with
the five lines in Staff notation.
Illustration I., B: Compare
with notes in modern notation,
and the sound-names in the
Tonic Sol-fa notation.
Show the resemblance be-
tween the scale and a ladder :
when the notes appear to go
up the steps of the stave, the
voice has to ascend the degrees
of sound.
44
A HANDBOOK OF CHURCH MUSIC
The notes, taken sepa-
rately, have all the same
length, or must all be sung
for the same time.
The Clef. At the begin-
ning of each line of music
is placed a CLEF, or KEY.
There are two CLEFS, and
they may be placed upon
any lines. When the music
is high, they are placed
upon lower lines to save
the addition of extra or
LEDGER lines.
These two CLEFS are
called :
(i)The"DOH" clef.
Compare with modern Staff
| notation, with its crotchets,
j minims, quavers, dotted notes,
I etc.
Illustration I., C and D:
Compare with the key signa-
ture in modern Staff notation,
and explain that whereas in
the modern notation a note
placed upon a certain line
always has the same sound or
tone value, in plain song it may
have any pitch, because the
Doh or Fah from which it is
found may be given ANY
desired value.
(2) The "FAH" clef.
at=
We take our Doh or
Fah, as the case may be,
from the line upon which
the clef is placed. To find
the note upon which the
melody commences, we
have only to run up or
LESSON I
45
down the scale from the
Doh or Fah, according to
the clef with which we
are dealing. We may pitch
these two notes wherever
we please.
The Guide. At the end
of a line is placed a GUIDE,
to show the note upon
which the next line com-
mences.
The Bar. There are four
kinds of BAR in plainsong :
Bars mark stops and
breathing-places: (a) Indi-
cates a slight check in the
singing not time for a
breath if it can be avoided ;
(b) corresponds to the
comma : in reading a rapid
breath may be taken ; (c)
corresponds to a semi-
colon : a longer breathing-
space ; (d) corresponds to
Illustration L, B : The guide
may be compared to the word
at the bottom corner of a page
to be seen in old books, placed
there so that the reader might
not have to stop when turning
over the pages.
Illustration I., F: Try to
find out from the class some
ideas of the purpose of bars.
The use of the bar in modern
music will probably be given.
This should be contrasted with
the use of the plainsong bars.
Discover from the children
their idea of the use of stops
in reading, and compare with
the use of bars in music.
4 6
A HANDBOOK OF CHURCH MUSIC
the period or full-stop, and
is always used at the end of
a piece of chant. A full
breath may be taken at the
double bar.
Give an example of reading
and singing, with and without
pauses.
SUGGESTED QUESTIONS.
1. What is the stave ?
2. What are the names of the notes ?
3. Write upon the blackboard a VIRGA, a SQUARE
NOTE, a DIAMOND, etc.
4. How many kinds of bars are there, and what are
they for ?
5. When should breath be taken during the chant ?
LESSON II.
THE FLAT, HE NATURAL, NEUMS.
SUBJECT-MATTER.
The Flat. In modern
music we notice certain
signs before a note which
raise or lower the value of
that note a semitone. Only
two of these are used in
plainsong :
THE FLAT ([,) :
-IT
METHOD OF TREATMENT,
Illustration I., G and H :
Sing, or let the class sing, the
CHROMATIC SCALE, and ex-
plain that out of the eight
notes of an octave only one
can be altered in plainsong.
Te may become Ta. No other
notes can be so changed.
LESSON II
47
which simply lowers the
value of Te to Ta i.e.> one
half-tone or semitone. It
may not be used with any
other note.
THE NATURAL ($) :
which shows that the note
has been altered again to
its original value.
The FLAT affects all the
notes that follow it upon
the same line or space, up
to the next BAR, unless a
NATURAL is introduced.
Neums. Groups of two
or more connected notes
are called " NEUMS."
The commonest NEUMS
are those of two notes.
2. The PODATUS :
3
1 -
The lower note is sung first.
Point out examples of the
FLAT in the chant-books, and
illustrations showing that Te
is the only note affected.
The members of the class
should be encouraged to find
out their own examples. In
this case they are more likely
to remember them.
Illustration I, : The names
of the NEUMS of two notes
and the more common of those
of three may be learnt by the
class, so that they may be
more easily pointed out in the
chant - books. Others need
not.
4 8
A HANDBOOK OF CHURCH MUSIC
3. The CLIVIS :
The top note is sung first.
10. The TORCULUS
ii. The PORRECTUS :
The top of the broad line
is counted as one note, and
the bottom as the second
note, making three in all.
8. The CLIMACUS :
These are perhaps the
commonest and simplest
NEUMS. Others are given,
with their names, in Illus-
tration I.
The class should have plenty
of practice in pointing out and
identifying NEUMS, and later
in finding Doh or Fah> as the
case may be, and SINGING the
NEUMS.
Our illustrations may well
be used for this purpose, and
for the teaching of intervals,
of which we are not treating
in a separate lesson.
RAY
FAH -
Illustration II.
MODE - T D
i. *
Authentic
T D
2.
Plagal
3- _
Authentic E
ME
4-
Plagal
5-
Authentic 8 . i_
. T D
6.
Plagal
Authentic i_
SOH xf
Plagal
T = Tonic. D = Dominant.
LESSON III 49
SUGGESTED QUESTIONS.
1. What is a flat ? Write one on the blackboard.
2. Which is the only note with which a FLAT may be
used?
3. What does a NATURAL show us ? Write one on the
blackboard.
4. What is a NEUM ?
5. How many NEUMS of two notes are there ? What
are they called ?
EXERCISES.
Practise the typical examples of the modes which form
Illustration II., A and B, upon the vowel-sound (oo, ay,
ah, ee, oh), in turn, changing the pitch of the commencing
note each time. The speed also should be varied.
The exercises should be sung very smoothly, each note
being kept clear and distinct, yet with a gliding move-
ment from one to another.
Other exercises upon the same principle may be drawn
up by the teacher without much difficulty, and written
upon the blackboard.
LESSON III.
SOME IDEA OF THE PLAINSONG TONALITY.
SUBJECT-MATTER.
The eight notes of the
SCALE are called Doh, Ray,
Me, Fah, Soh, Lah, Te,
Doh.
METHOD OF TREATMENT.
Illustration II. : If possible,
pla}*- upon the piano a short
passage of music in the MAJOR
scale, followed by another in
the MINOR s'cale. Ask the
class to explain the difference
in character.
4
A HANDBOOK OF CHURCH MUSIC
The manner in which
the tones and semitones of
the scale are arranged is
called a MODE.
There are eight modes
in plainsong. Each has a
special style of its own.
The Church uses these
MODES to express different
shades of feeling.
The two principal notes
in each mode are the domi-
nant or leading note, and
the tonic or ending note.
In the plainsong books
we are told the mode of
each melody by a figure
i, 2, 3, etc. placed before
the first bar.
Explain by analogy
modes of plainsong.
the
Show by means cf suitable
questions, that in speakingand
singing we have different ways
of expressing our emotions.
These may be called MODES
of expression. It is exactly
the same in plainsong.
A modulator should be
made as large as possible, and
used with the blackboard.
This should be placed before
the class, and the scale of each
mode sung. The exercises of
Illustration II., A and B,
should be again taken, and also
melodies from the Kyriale.
These should be transcribed
on the blackboard and sung,
in the first instance, without
any attempt at rhythm.
Care should be taken to
emphasize the tonic and the
dominant of each MODE.
SUGGESTED QUESTIONS.
1. What is the meaning of the word MODE ?
2. What are the MODES for ?
3. What are the^two principal notes in a MODE called ?
Illustration HA.
TYPICAL MELODIES OF THE MODES.
Mode
I.
Mode -
II.
Mode il
III. ~
Mode *
IV.
-* -
Illustration II B.
Mode I
V. *
-m-
Mode r
VI.
.
Mode II
VII. ~
Mode Si
VIIL -
Illustration III.
THE RESPONSES AT MASS.
i. T^z. to the DOMINUS VOBISCUM and the ist and last PRAYERS.
Et cum Spi-ri-tu tu-o. Amen.
2. I^z. at the Announcing of the GOSPEL.
G16-ri- a ti-bi Domine.
3. !$]$. at the PREFACE.
Amen. Et cum spi-ri-tu tu- o.
3
Habemus ad Domi-num. Dignum et justum est.
4. ^7. at the PATER NOSTER.
Amen. Sed li-be-ra nos a ma- lo.
5. Kr. at the PAX DOMINI.
i
Amen. Et cum spi-ri-tu tu- o.
Note the 3 different melodies to Et cum spiritu tuo.
LESSON IV 51
4. How can you tell (i) the dominant, and (2) the
tonic of a MODE ?
5. How would you tell the MODE of a melody shown
to you ?
The teacher with a modulator before his class will be
able to strengthen the weak points of his explanation by
questions far more appropriate than any we can devise
for him.
LESSON IV.
THE RESPONSES AT MASS.
METHOD OF TREATMENT.
Illustration III.
1. Explain that these are examples of SYLLABIC CHANT
i.e., chant in which one note is given to each syllable.
There are in syllabic chant never more than three
notes to any syllable, and that only occasionally.
2. Each response should be read first by the teacher,
slowly, and then by the class. This process should be
repeated until correct pronunciation is attained. The
meaning of each response should be explained.
3. The melody should be sung to a vowel-sound,
preferably oo (usually improperly sounded).
4. The words and the melody should then be sung
together. Care should be taken to keep the correct
accentuation, as in all recitative passages.
5. The first note of a Podatus or Clivis should be
given its proper stress.
6. The choir should be trained to accommodate the
pace at which the responses are sung to that of the
priest, but it should not be too fast.
42
52 A HANDBOOK OF CHURCH MUSIC
7. The responses should be sung without a musical
instrument.
8. The singers should all begin together promptly,
continue and end together.
9. It should be explained that by singing the responses
the congregation (not the choir only) finds a means of
expressing its unanimity with the priest in offering the
Holy Sacrifice.
SUGGESTED QUESTIONS.
1. What kind of chant is used for the responses ?
2. Why is it called SYLLABIC ?
3. What are the points to be careful about ?
4. What is the meaning of " "?
5. Why should the singing of the responses receive
special attention ?
LESSON V.
THE CREED.
This lesson must be taken in two parts : (a) as far as
Sepultus est, and (b) thence to the end.
1. Commence with a few general remarks on the lines
of those in the Glossary (vide CREED).
2. Explain that it is SYLLABIC CHANT. The pace must
therefore be that of fairly rapid reading.
3. The melody is in the fourth mode Dominant Ray,
Tonic Me.
4. Give translation of the whole.
5. Examination of phrases, from one bar or pause to
another.
(a) Each phrase should first be recited slowly by the
teacher, and then repeated by the class. Pro-
Illustration IV.
CREDO I.
* --.. . i
Credo in unum De-um, Patrem omnipot-entem, fac-
M.V.(2)a M.V.(2)a
J 1.
t(5-rem coeli et terrae, vi-si-bi-li- um omni- um et invi-si-
^
*
bi- li- um. Et in unum Ddmi-num Jesum Christum, Fi-
" . " fl.
li- um De- i unige-ni- turn. Et ex Patre na-tum ante 6m-
M.V. d
i
r
lu
mtt j
ni- a saecu- la. De- um de De- o, lumen de lumi-ne,
M.V.d M.V.d
De- um ve-rum de De- o ve-ro. Gd-ni-tum non factum, con-
i
! b S
fL
? '
i '
substanti- d-lem Patri : per quern omni- a facta sunt. Qui
M.V.a M.V.a
propter nos hdmines, et propter nostram sa-lu-tem descen-
Illustration V.
CREDO I. (continued)
M.V.( 2 )d
M.V. b 2
dit de coelis. Et incarna-tus est de Spi-ri-tu Sancto ex
3 M.V. b 2 3 M.V. d
Ma-ri- a Virgi- ne : Et homo factus est. Cru-ci-fi-xus et-i
M.V. b 2 M.V.b 2 3
am pro nobis : sub Ponti- o Pi-ld-to, passus et sepultus
l.V. d M.V. b 2 M.V. d
est. Et resur-re-xit t^rti- a di- e, secundum Scripturas.
M.V.b 2 M.V.d 2
jrr-
Et ascendit in coelum : sedet ad ddxteram Patris. Et
f-te-rum venturus est cum gl6-ri- a judi-Ccl-re vivos et
3 M.V.b M.V.( 2 )d
mortu- os cu-jus regnit non e-rit fi-nis. Et in Spi-ri-tum
M.V.( 2 )a 2 M.V.b
Sanctum D6mi-num, et vi-vi-fi-cantem : qui ex Patre Fi-li-
Illustration V.
M.V.( 2 )d M.V.a
dque procedit. Qui cum Patre et Fi-li- o simul adora-
M.V.a 2 M.V. b M.V.( 2 )d
tur, et conglo-ri-fi-Ccl-tur : qui locu-tus est per Prophe-tas.
2 M.V. 3 a 2 3
L=r . zh . . ,^~ -
-^-" %
Et unam sanctam cathd-li-cam et aposto-li-cam Eccle-si-
M.V.d 2 M.V.a
am. Confi-te- or unum baptisma in remissi- onem pecca-
M.V.(2)d M.V.( 2 )d 2
tdrum. Et exspecto resurrecti- dnem mortu-drum. Et vi- tarn
3 6 M.V. d * 2M.V.d
ventu- ri sad-cu-li. A- men.
LESSON V 53
nunciation should be carefully watched, par-
ticularly, the u sound, and the proper accen-
tuation preserved.
6. Examination of the melody.
(Attention will be drawn to the following details
as they occur in the chant. For an explana-
tion of the letters, see the list before the notes
on these lessons.)
(b) The melody follows the phrases from pause to
pause.
(c) The attention of the class should be drawn to
the different pauses, breath being taken only
at C and D.
(d) The PODATUS and CLIVIS, when they occur must
be noted, also theToRCULUs STROPHICUS (21).
These are the only neums which appear in
the Creed, except the SCANDICUS (15) in the
last phrase, and the long neum in the Amen.
(e) The MOR/E Vocis must be pointed out.
7. The phrase should then be sung to a vowel-sound
by the teacher. The vowel-sound should be changed
from time to time.
8. It should be repeated by the class until perfect.
9. The teacher should then sing the words and melody
of the phrase together, and this should also be repeated
by the class until perfect.
10. Each phrase must be treated in this way.
11. When sufficient phrases have been treated, sing
from one double bar to another.
12. No accompaniment should be used if it can be
avoided.
13. All breathing, except at the proper breathing-
places, must be carefully checked.
54 A HANDBOOK OF CHURCH MUSIC
LESSON VI.
THE ASPERGES.
1. Antiphonal chant of the thirteenth century. The
words are taken from the fiftieth Psalm. It is sung
before Mass upon Sundays only (vide " Antiphonal
Chant " in Glossary).
Mode 7. Dominant Ray, Tonic So h.
2. TEMPO, fairly quick.
3. Translations and sense of the whole.
4. Examination of phrases (divided by lines).
(a) Recite each phrase and let the choir repeat until
perfect.
(b) Sing the melody to a vowel-sound, then let the
choir repeat, and afterwards the melody and
words should be taken together.
1. ASPERGES ME* (Thou shalt sprinkle me). Intoned
by the Celebrant.
Note that the asterisk (*) shows the end of the
intoned passage.
Note 2, 8, and the M.V. (MORA Vocis).
2. DOMINE (O Lord).
Note 3, 2, and 29. In 29 the toothed note is the
QUILISMA, the effect of which is the lengthening of the
previous note. The QUILISMA itself has a very slightly
tremulant movement.
3. HYSSOPO ET MUNDABOR (with hyssop, and I shall be
clean).
Note 8 and 10 and the M.V. There is a full bar here,
which means a space for breathing.
4. LAVABIS ME (Thou shalt wash me).
Illustration VI.
ASPERGES ME.
8 M.V. a 29 3 a
1 a-fc 1
Asper-gesme, * Dd-mi-ne hysso-po, et mundd-
M.V. c M.V. b 15 M.V. d
I , y t a " I fr , a -3+7
bor : lava- bis me, et su-per ni-vem de- alb- bor.
10 M.V. c 4
' ' 3
Ps. jo. Mi- se-re-re me- i, De- us, * se-cundum magnam mi-se
29 18 M.V. d M.V. a
m^ "?
r
ri-cordi- am tu- am. G16- ri- a Patri, etFi-li-o, et Spi-ri-
5 M.V. c M.V. a
J-MT
tu- i Sancto : * Sic-ut e-rat in princf-pi- o, et nunc, et sem-
M.V. c M.V. d
-fr
per, et in saecu-la saecu- 16-rum. A- men
LESSON VI 55
5. Ex SUPER NIVEM DEALBABOR (and I shall be whiter
than snow).
Note 1 5. and the valient ando movement which com-
mences on the penultimate syllable.
6. PSALM L. It may be remarked that formerly more
than one verse of the fiftieth Psalm was sung, and the
antiphon repeated after each verse.
7. MISERERE MEI, DEUS * (Have mercy upon me, O
God). Intoned by the cantors. .
Note the notes affected by the M.V., and 10.
8. SECUNDUM MAGNAM MISERICORDIAM TUAM (accord-
ing to Thy great mercy).
Note the gentle " swelling " of the voice on the triple
STROPHICUS, and the rallentando before the double bar.
Note also 4, 29, and 18.
The pronunciation of the word Misericordiatn will prob-
ably need attention. There is a tendency to pronounce
the first three syllables like the English " misery," almost
omitting the second.
9. GLORIA PATRI, ET FILIO (Glory be to the Father
and to the Son).
10. ET SPIRITUI SANCTO (and to the Holy Ghost).
These two verses are sung by the Cantors).
11. SICUT ERAT IN FRiNCiPio (As it was in the begin-
ning).
12. Ex NUNC ET SEMPER (is now, and ever shall be).
The M.V. at the quarter bar separating these phrases
should be of short duration.
13. ET IN SAECULA SAECULORUM. AMEN (world with-
out end. Amen).
14. The antiphon is then repeated.
N.B. The melody, of course, should be sung as a
whole after being treated in phrases.
It is interesting to trace, by comparison with the first
56 A HANDBOOK OF CHURCH MUSIC
ad libitum chant for the Asperges, which belongs to the
tenth century, the gradual elaboration of the melody.
LESSON VII.
THE INTROIT FOR ALL SAINTS' DAY (GAUDEAMUS).
1. Antiphonal chant, formerly used for the Feast of
St. Agatha. It became very popular, and was subse-
quently adapted for other occasions, including the Feast
of All Saints.
Mode i. Dominant Lah, Tonic Ray.
2. TEMPO, not too quick.
3. Translation and sense of the whole.
4. Examination of phrases (as in previous lesson).
1. GAUDEAMUS OMNES IN DOMINO (Let us all rejoice
in the Lord). The first word intoned by the cantors).
Note 6, 5, 10, and the long neum on the syllable mi,
formed by Clivis and Porrectus (u), joined by Quilisma.
Owing to the Quilisma, a M.V. is necessary on the
previous note.
2. DIEM FESTUM CELEBRANTES (celebrating a holy
day).
Note the CLIVIS STROPHICUS or CLIVIS with ORIS-
cus (20).*
3. SUB HONORE SANCTORUM OMNIUM (in honour of all
the Saints). The M.V. on the isolated punctum no.
* In " Le Nombre Musicale," vol. i., p. 380 (note), Dom
Mocquereau remarks that there are occasions, such as this, in
which a lowering of the note which precedes the Oriscus has a
pleasing effect. Thus, instead of Soh-Fah before the Oriscus upon
Fah, the syllable turn may be sung Soh-Me-Fah.
As Dom Mocquereau further remarks, skilled singers will
probably be able to sing a note somewhere between Me and Fah.
Illustration VII.
THE INTROIT FOR ALL SAINTS DAY.
6M.V. a 5
io M.V. ii M.V. b 4
I.
J
Gaude- dmus * omnes in Do- mi- no, di- em fe-
20 20 20 a M.V. M.V. M.V. c
A .
m -
stum ce-le-brdntes sub bond- re sanctdrum omni- um :
M.V. M.V. M.V. b
a .
de quorum so-lemni-ta- te gaudent An-ge- li, et
M.V. 14 a M.V. d
P 1 A alt5
colMu- dant Fi- li- um De- i. Ps. Exulta-te justi in
M.V. c M.V. d
D6mi-no : * rectos decet col-lauda-ti- o. G16-ri- a Patri, et
M.V. a M.V. c M.V.
. . . . . . . . .
. . . 1
p i
N '
Fi- li- o, et Spi-n'-tu- i Sancto : * Sic-ut e-rat in princi-pi- o
M.V. c 18 M.V. d
t
i u }
|
C
m
'
et nunc, et semper, et in saecu-la saecu- 16-rum. A- men.
LESSON VII 57
4. DE QUORUM SOLEMNITATE GAUDENT ANGELI (at
whose solemnity the Angels rejoice).
Note the M.V., again on a single punctum, and the
long neum made up of Podatus and Porrectus on An.
The first note of each of the composing neums must be
slightly emphasized.
5. ET COLLAUDANT FiLiuM DEI (and give praise to
he Son of God).
Note another single punctum and 14. A long neum
on um ; the first note of each of the component neums
requires stress. Also on De first note doubled on account
of Quilisma.
6. EXULTATE JUSTI IN DOMINO (Ye just, rejoice in
the Lord). Intoned by the cantors.
7. RECTOS DECET COLLAUDATIO (It is meet that the
Saints should give praise).
Again note the triple Strophicus.
8. 9, 10, 11. GLORIA PATRI, etc.
Treat as in the Asperges.
12. Repeat the antiphon.
LESSON VIII.
FOUR HYMNS.
N.B. This lesson may be extended over two or more
occasions. Although in our illustrations we have only
given one verse of each hymn, each of our examples
should, of course, be treated as a whole.
A. THE "TE Lucis " (THE COMPLINE HYMN).
Mode 8. Dominant Doh, Tonic Soh.
i. Give the translation of the whole, explaining the
sense and showing the connection with the last day-hour.
58 A HANDBOOK OF CHURCH MUSIC
2. By reciting a verse show that the rhythm is
different from that of prose, and that the accent depends
upon the METRE, and not merely upon the words. This
accent recurs at certain regular intervals.
The metre of the Te Lucis is IAMBIC TRIMETRE, the
metric accent occurring as illustrated, the secondary on
the second syllable, and the principal on the sixth.
3. The words should then be learnt, and, if necessary,
recited first by the teacher and then by the class, with
the proper metric accentuation. The class should now
be able to read at sight easy syllabic chant, such as that
of the Te Lucis.
4. The Mora Vocis at the end of the second and fourth
lines should be pointed out, and the SCANDICUS SUB-
PUNCTIS (15) noted. This group has a strong accent on
the first note, and a slightly weaker accent on the
culminating Virga.
At this stage it should be hardly necessary to treat the
melody apart from the words.
5. Each verse of the hymn should be sung in the same
way.
6. The variations which occur in the DOXOLOGY at
certain seasons may be mentioned, and different forms
sung.
7. In hymns of this metre the whole of the first line is
intoned by the cantors ; the verses are sung by alternate
sides of the choir, and Amen is sung by both sides.
B. THE "TANTUM ERGO."
Mode 3. Dominant Doh, Tonic Me.
i. Treat as before, explaining that the metre this time
is TROCHAIC (four lines, alternately of eight and seven
syllables, the principal accent occurring on the seventh
Illustration VIII.
HYMNS.
TE LUCIS (Compline Hymn.)
- d
-+-* *-
Te lu-cis ante terminum, Re-rum Cre- d-tor, posci-
15 mv / // / // mv
f-
fl*i~
,
M
-
mus, Ut pro tu- a dementi- a Sis praesul et custo-di- a.
TANTUM ERGO.
//
Tantum ergo Sacramentum, Vene-remur cernu-
/ // mv / // mv
Et antiquum documdntum, Novo cedat rf-tu- i : Praestet fi-
// mv / // mv
des supplementum, Sensu- um de-fectu- i.
ISTE CONFESSOR (Hymn at Vespers of Confessor Pontiff).
/ * // mv( 2 ) /
I-ste Confessor D6mi-ni co-lentes Quern pi- e lau-
* // mv(2> / * 18
dant pdpu-li per orbem, Hac di- e lae-tus me-ru- it be- d-
v (2)
tas Scande-re sedes.
AVE MARIS STELLA
Hymn at Vespers of Our Lady. Carthusian Melody of xn. Cent.
/ // mv
mv( 2 )
P". .8
i r
A- ve ma-ris Stella, De- i Ma-ter alma, Atque
// mv / // mv (2)
h= f*j h= =
semper Virgo, Fe- lix coe-li porta.
LESSON VIII 59
and the secondary accent on the third syllable in the
eight-syllabled lines, and upon the fifth and first in the
seven-syllabled lines).
2. Each verse should be treated in the same manner
as that we have explained above. Note the M.V. at the
end of each line. It is double i.e., on two notes, at the
end of the fourth line.
3. In hymns of this metre the whole of the first line is
intoned by the cantors.
C. THE " ISTE CONFESSOR."
Mode 8. Dominant Doh. Tonic Soh.
1. SAPPHIC METRE : three lines of eleven syllables and
a short line of five. In the long lines the principal accent
is on the tenth and the secondary on the fourth syllables.
In the short line the principal accent is on the fourth
syllable, and the secondary on the first.
2. Treat each verse as before, paying special attention
to the metric accent, noting the M.V. (double) and the
Double Strophicus.
3. When the CAESURA after the fifth syllable, marked by
an asterisk, is preceded by a double neum, the Podatus
or Clivis (here the Podatus) is very slightly lengthened.
4. In this hymn, as in all those of which the first line
has more than eight syllables, the cantors intone as far
as the Caesura.
D. THE " AVE MARIS STELLA."
Mode 4. Dominant La, Tonic Me.
The melody we have chosen for this hymn is a Car-
thusian chant, also found in old English MSS. (Man.
pro Bened.).
60 A HANDBOOK OF CHURCH MUSIC
1. An exception to the series of TROCHAIC hymns,
having only four lines, each of six syllables. The
principal accent is on the fifth, and the minor accent on
the third.
2. Proceed with each verse as in the other examples,
noting the M.V. and the neum on the second syllable
of the second line (marked with a cross), composed of a
Podatus, connected by a Quilisma to a Clivis. The
Quilisma necessitates the lengthening of the first note of
the Podatus, a shortening of the second, and again more
stress upon the Virga following the Quilisma.
3. The cantors intone the whole of the first line.
GENERAL REMARKS UPON THE EXAMPLES IN THIS
LESSON.
1. A special explanation is necessary of the pre-eminent
importance of the METRIC ACCENT compared with the
NATURAL ACCENT.
2. Hymns should be sung lightly and freely, and at a
moderate pace. A space for breathing may be taken at
a full bar.
3. For exercise several hymns of the same metre may
be sung to the same melody.
4. The verses should be sung by alternate choirs, the
AMEN by both.
5. Note the remark on " Elision " in the Glossary.
In addition, we may say that, though a vowel is " elided,"
it must not be slipped over as though it did not exist.
For example, in the line " Monstm te esse matrem " te esse
should not be pronounced "tesse" but both te and esse
should be pronounced distinctly.
<u
c
o
H
X*
HH CO
n i
8
Sv
3
i .,
2 Sig-S-s^ .!, = =
$ -a
Is
O
1 "S ^
^ S ~ .
^o aj e -g M M
s ^2 cx, .5 g ^ cs
^S S -a^^ -3
. 1 AJ 8 | ^ -8
C/5 * * * x ^ ^v ^ C3
3 gAs-jl3->:'a'5-s J ^
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tJ
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rt 1 'a t g ^ -c -S
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C^O rt OJD v rt -^-J O ,_, CH ^
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LESSON IX 61
LESSON IX.
PSALMODY.
A. THE " MAGNIFICAT."
1. Explain the meaning of Psalmody and its use in the
services of the Church.
2. Pronunciation. Each verse should be treated sepa-
rately.
3. Point out (a) the INTONATION, (b) the TENOR or
RECITING NOTE, (c) the MEDIATION, (d) the ASTERISK
separating the two parts of the verse, (e) the renewed
RECITING NOTE, and (/) the FINAL CADENCE.
4. Note that the intonation is repeated before each
verse.
5. Observe the accent on the first note of the MEDIA-
TION.
6. Note the pause at the asterisk, equal in length to
the cadence of the mediation.
7. The accent of the final cadence must be observed.
8. The pause at the end of the verse is equal in length
to the last note.
9. Care must be taken in verses 3 and 5 that the long
passages on the reciting note are sung evenly, giving
due weight to the natural accentuation of the words.
10. The mediation and the final cadence must not be
sung too heavily, the intensity of the voice decreasing
slightly after the strong accent.
11. The verses are, of course, sung by alternate choirs.
B. THE "LAUDATE PUERI."
1. The meaning of this Psalm, as well as that of the
Magnificat, should be first explained.
2. Point out the intonation, etc.
62 A HANDBOOK OF CHURCH MUSIC
3. Note that the intonation is not repeated.
4. Each verse may be sung to each of the four
endings.
5. Note the two accents of the mediation.
GENERAL REMARKS,
1. Except in the very long verses, breath should not
be taken unless at the asterisk.
2. There is a slight ralkntando movement after the last
accent at the mediation and final.
LESSON X.
ANTIPHONS.
1. The object of the antiphons is to sum up in a few
words the sense of the Feast. At Easter-tide ALLELUIA
is added as a sign of joy.
2. TEMPO, fairly quick and smooth.
3. Translation, etc.
4. Examination of the phrases :
(a) Recite each phrase, and let the choir repeat it
until correct.
(b) Sing the melody to a vowel-sound, and let the
choir repeat.
(c) Blend the words with the melody.
A. THE FIRST ANTIPHON AT VESPERS ON EASTER
DAY.
Mode 8. Dominant Doh, Tonic Soh.
1. ANGELUS AUTEM DOMINI (But the Angel of the
Lord). Intoned by the cantors or one of the choir at
their prompting.
Note 5 and the M.V.
2. DESCENDIT DE COELO (came down from heaven).
Illustration X. ANTIPHONS.
1st Vespers of Easter,
s M.V.
M.V.
\r^ E. ^r^
f-s -
j[Ange-lus autem Do- mi-ni * descendit de coe- lo, et
M.V. M.V. M.V.
A k_ i
S_ i i
1 M '
.
_. . ." <
acc^- dens revol-vit la-pi-dem, et sedebat super e- um, alle-
g M.V. (2)
. :
- -
lii- ia, alle-lu-ia. E u o u a e.
2nd Vespers of Christmas.
M.V. ii
M.V.
Ant. ! -
i. J -^
i r
Hodi- e * Chri-stus natus est : ho-di- e Salva-tor app^-
M.V. M.V.
=r. ,. fa. , -
j i P" g-i
ru- it : hd-di-e in terra canunt Ange-li, laetdn-tur Archdn-
M.V. 14 M.V. M.V.
i
rfe-
!! f '-^
. J
ge- li : h6-di- e ex-iil- tant justi, dicentes G16-ri- a in ex-
i n
II
'"%
Pa. P II-
'\
celsis De- o, alle-lu-ia. E u o u a e.
Vespers of Easter.
M.V. 23 M.V.
Ant.
iB^I. "!"
"1 A i !%
Haec di- es, * quam fe- cit
M.V. 62323
15 23 M.V. 15 23 23 23
-j \-s-s
mi- nus : exsulte- mus,
M.V. M.V. M.V. 29 M.V.M.V.
et lae- te- mur
12 M.V.
n e- a.
LESSON X 63
3. ET ACCEDENS REVOLVIT LAPiDEM (and coming near,
rolled back the stone).
4. Ex SEDEBAT SUPER BUM. ALLELUIA (and was
sitting upon it. Alleluia).
5. E, U, O, U, A, E, the vowels of the words
" saeculorum. A men." These letters give the ending of
the Psalm tone, while the " 8 " shows the tone. These
letters will be found after each antiphon.
B. ANTIPHON TO THE " MAGNIFICAT," CHRISTMAS,
SECOND VESPERS.
Mode i. Dominant Lah, Tonic Ray.
1. HODIE CHRISTUS NATUS EST (To-day was Christ
born). The first word is intoned by the Celebrant.
Note the Porrectus (n) and the M.V.
2. HODIE SALVATOR APPARUIT (To-day appeared a
Saviour).
3. HODIE IN TERRA CANUNTANGELI (To-day the Angels
sing upon earth).
4. LAETANTUR ARCHANGELI (the Archangels rejoice).
5. HODIE EXULTANT JUSTI DiCENTES (To-day the just
exult, saying).
Note 14 and the M.V. following.
6. GLORIA IN EXCELSIS DEO. ALLELUIA (Glory to
God in the highest. Alleluia).
C. THE " HAEC DIES."
This antiphon takes the place of the hymn, the
chapter, and the versicle, etc., on Easter Day and
during the Octave.
Mode 2. Dominant Doh, Tonic Lah.
i. HAEC DIES (This is the day).
Note the long neums following the ^Clivis, upon di.
Intoned by the cantors.
64 A HANDBOOK OF CHURCH MUSIC
2. QUAM FECIT DOMINUS (which the Lord hath made).
Note 23, the PRESSUS, which occurs three times in this
phrase, the TRISTROPHA on mi, the M.V., and 6.
3. EXULTEMUS (Let us rejoice).
Note 15, 23, which occurs four times, and the M.V.
4. ET LAETEMUR (and be glad).
5. IN EA (in it).
Note the vocalization on the last syllable, the usual
place for the most elaborate embellishments of the chant.
Note also the M.V,, 29 and 12, the third note of which
is also accented.
LESSON XI.
THE GRADUAL FOR THE FEAST OF ALL SAINTS' DAY.
The Gradual is a piece of chant, usually of great
beauty, sung between the Epistle and Gospel. It is
responsorial in form (vide " Responsorial Chant " in Glos-
sary, also " Gradual ").
Mode i. Dominant Lah, Tonic Ray.
(a) TEMPO, with solemnity.
(b) Translation, etc.
(c) Examination of phrases (as before).
1. TIMETE DOMINUM (Fear the Lord). The first word
is intoned by the cantors.
Note the M.V. and the PRESSUS (23).
2. OMNES SANCTI EJUS (all ye His Saints).
Note 29, 23, 13, 4, 15.
3. QUONIAM NIHIL DEEST (for nothing is lacking).
Note 29 and i. Mind the pronunciation of NIHIL.
4. TIMENTIBUS EUM (to them that fear Him).
5. INQUIRENTES (but they that seek). This phrase
should be taken in two parts.
Note 5, 4, and 23.
Illustration XL
GRADUAL FOR THE FEAST OF ALL SAINTS.
M.V. 23 M.V. 29
M.V.
23 13
Ti-me"-te * Ddmi-num
15 23 M.V. 29
omnes san- cti
M.V. 4
e-jus : quo- ni- am ni- hil de- est timen-
23 M.V. 23 20 M.V. 5 4 23
1
3:
L
" A i A u liflm A
tibus e- um.
M.V.
16 15 M.V.
y. In- qui-ren- tes
24 24 14 20 13 4
au-
14 M.V.
M.V. 23
tern D6-
23 M.V.
^^ 8 "fl
^
minum non de- ff- ci- ent o- mni * bo- no.
23 23 M.V. 23 20 M.V.
=:
-g-l !+
LESSON XI 65
In the second part of the phrase note 16 and 15. A
breath may be taken, if necessary, at the quarter bar,
and at our further division of the phrase.
6. AUTEM DOMINUM (the Lord). This phrase is divided
into three :
(a) Note 24 and 14.
(b) Note 20, 13 and 4.
(c) Note 14.
A breath may be taken after (a), (b), and (c).
7. NON DEFICIENT (shall not want for).
8. OMNI BONO (any good thing). This phrase also is
divided into three parts, two being reserved for the
MELISMA.
Note the Pressus in each division. A breath may be
taken after the second division, if it is really necessary.
N.B. The singing of such melismatic chant as that
of the Gradual, and the Alleluias in the next example,
affords the greatest scope for the exercise of the true
rhythmical sense. The whole movement should be one
continual flow of melody, and the accentuation of certain
notes should not be so marked as to interfere with the
freedom.
The verse is sung by the cantors, but the choir takes
up the chant after the word omni.
Note the repetition of the melody at the end.
LESSON XII.
MORE EXAMPLES OF MELISMATIC CHANT.
For the meaning of the words "melismatic chant,"
see the Glossary.
The ALLELUIA, being a song of joy, is often adorned
with the most ornate melodies.
5
66 A HANDBOOK OF CHURCH MUSIC
The vocalization of the last syllable of the Alleluia is
called JUBILUS. St. Augustine calls it " a song of joy
without words."
Mode 8. Dominant Doh, Tonic Soh.
1. TEMPO, a little more quick than the Gradual, the
verse being quicker 'than the Alleluia itself.
2. Translation, etc., of the verse.
3. Examination of the phrases, as directed before.
A. ALLELUIA, ETC., FOR FEAST OF ALL SAINTS.
Mode 8. Dominant Doh, Tonic Soh.
1. ALLELUIA.
Note 5 and 23, the different M.V. and 16.
2. THE VERSE.
VENITE AD ME (Come unto Me).
3. OMNES QUI LABORATIS (all ye who labour). A very
long phrase, which will require careful breathing. M.V.
on the nes.
A breathing-space at the half bar.
4. ET ONERATI ESTIS (and are heavy burdened).
5. ET EGO REFICIAM vos (and I will refresh you).
Note the different M.V. and the repetition of the
melody, which should be very carefully sung.
Breath may be taken, if absolutely necessary, at the
quarter bars.
The Alleluia should be recommenced immediately.
N.B. The cantors sing the ALLELUIA as far as the
asterisk ; the choir then recommences at the beginning,
and continues to the end of the JUBILUS.
The cantors sing the verse, but the choir takes up the
melody after ego, and repeats the whole Alleluia with the
JUBILUS.
L 5
Illustration XII.
EXAMPLES OF MELISMATIC CHANT.
Alleluia & Verse for All-Saints Day.
23 M.V. 16* 16* M.V.
Al-le- lu-
M.V.
1
a. .
23 M.V.
, ,
M.V. 6 M.V.
Ve-nf-
21
te ad
me o- mnes qui labo-rd-
M.v.
i i 1 ff.SA. P-l
M.V.
tis, et one-rd-ti e-
M.V. M.V. M.V. M.V.
m I-
^
^ d 'p I
stis et ego * re-fl-ci- am vos.
M.V. M.v.
Alleluia Verse for Easter Day.
64 23 M.V.
23 M.V.
.
Alle-lu- ia. * //
23 M.V.
23 M.V.
Pascha no-strum immo-
23 M.V. 14 23 M.V. 12*
u-
M.V. 7 ii 33 23 M.V.
23 M.V.
tus
est * Chri- stus.
LESSON XII 67
Note the repetition of the melody of the Jubilus at the
end of the verse.
B. THE ALLELUIA AND VERSE FOR EASTER DAY.
Mode 7. Dominant Ray, Tonic Soh.
1. The ALLELUIA should be treated as before.
2. PASCHA NOSTRUM IMMOLATUS EST CHRISTUS
(Christ our pasch is sacrificed).
3. In the first phrase note n,* 23, and the M.V.
In the second phrase note the descending series of
CLIMACI, which is repeated in the third phrase. The
descending passages should, of course, be sung decres-
cendo.
In the fourth phrase, note how the melody rises and
falls again.
In the fifth phrase, note 12 (rather a curious neum)
and 14.
In the sixth phrase, CHRISTUS, note 7, 12, and the
thrice-repeated Pressus.
* The PORRECTUS here has a punctum before it, and may be
called PORRECTUS PRAEPUNCTIS.
PART II
VII
THE CHOIR
IN the early days of the Church the privilege of being a
member of the choir was reserved only for those who
were consecrated to the service of God by ordination.
The choir was always composed of clerics, and laymen
were only allowed to join, as the faithful are invited to
join to-day, in the singing of the Ordinary of the Mass.
What is the reason for this exclusiveness ? It is that the
function of the choir is especially sacred. As the priest
is the representative of the people when he offers the
Holy Sacrifice, so the choir also represents them in offer-
ing up to God their praises and their prayers. We have
only to think of the place of the choir in the chancel,
close to the altar, and the part taken by the singers in the
ceremonial actions, to realize this fact. Moreover, a
special liturgical dress, the long white robe called
" surplice," is also the vestment of the inferior clerks,
and shows clearly the connection of the choir with the
clerical state.
It is unfortunately true that to a very great extent
this view of the privileges and duties of the choir has
been lost sight of. But if we visit one of our English
cathedrals, which even in these days retain much of the
character they possessed in Catholic times, we may see
72 A HANDBOOK OF CHURCH MUSIC
for ourselves the important position held by the choir
before the Reformation. In these days the office of a
singer is open to laymen, clerks being seldom, if ever,
ordained unless it is intended that they shall proceed to
priest's orders. The liturgical character and importance
of the choir, however, still remain, and the honour of a
place therein should be regarded as a great privilege.
Women are forbidden a part in a regularly-constituted
liturgical choir.*
When we look back to the clerical origin of the choir,
we may easily see the reason for the exclusion of women.
Recent legislation on the subject has, however, made it
clear that the services of women and girls may be utilized
when necessary or even advisable. They are to be
encouraged to take their part with the rest of the con-
gregation in singing the Ordinary of the Mass, as did the
women of St. Augustine's time.
When Gounod's " Messe Solennelle," and music of
that kind, was commonly sung in our churches, it is well
known that the singing was often left to non-Catholics,
the services of touring theatrical and operatic companies
being much in request for such purposes. Such a
practice is a sufficient reason, from a Catholic point of
view, for condemning music of that kind.
If a choir is properly constituted, the privilege of entry
should not depend alone upon the musical qualifications
of him who desires admission. His life must be such as
would warrant his participation in the sacred functions
which devolve upon the singers. An irreverent and
careless person, no matter how good his voice, should
never be allowed to join the choir. When once we have
* Choirs of nuns, of course, are excepted, their special function
of singing the Divine Office, etc., being clearly shown at their pro-
fession by the presentation of a Breviary.
THE CHOIR 73
discovered a person who possesses the necessary moral
and religious qualifications, we may then concern our-
selves with his musical ability. A magnificently powerful
and thrilling voice, such as is necessary for the effective
rendering of an " operatic " Mass, is by no means
essential, or even desirable, in plainsong. It is not a
question of the amount of noise that can be made. What
is much more important is that the singer should be able
to keep his voice under perfect control, and to merge his
own personality in that of the choir. He should have
that power of keeping in tune which is really so essential
in plainsong, and his voice should be sweet. A know-
ledge of Latin would be a further qualification, though
it is not absolutely necessary.
Friction frequently arose in choirs of the old Haydn-
esque school between members who wished their own
views upon the choice of music to prevail over those of
the choirmaster. Persons of this calibre are not suitable
for membership of a plainsong choir. It is essential that
the choirmaster should be supreme ; his directions must
be implicitly obeyed. In one respect at least there can
be no difficulty : the Proper is definitely fixed, and
cannot be varied to suit the wishes of anyone. Still,
there are opportunities for trouble wherever there are
adult members of a choir. Even in the case of a
children's choir there are always parents ready to com-
plain if they consider that their children have been in any
way unfairly treated. It should be understood that if a
singer is unwilling to accept the directions of the
choirmaster, he must leave the choir. This, of course,
does not mean that singers should not at times make
suggestions, but the decision of the choirmaster must be
final.
In Anglican cathedrals it is the custom to allow those
74 A HANDBOOK OF CHURCH MUSIC
boys who have been accepted for admission to take their
places in the choir with the others, and to follow the
service with them, for a considerable time before they
are actually allowed to sing, in order that they may
familiarize themselves with the services, the chant, and
the ceremonies in which they will have to take part.
A great deal of practice is necessary if plainsong is to
be well sung. There are new melodies to be learnt and
old ones to be made more perfect. Consequently, choir-
practices are a necessity, and every singer should under-
stand that it is his duty to be present, unless he is
prevented by some really serious cause.
The size of the choir will depend upon the number of
men and boys available, upon the size and acoustic
properties of the church, and other similar circumstances.
Provided that the singers are well trained, it would be
almost impossible to have too large a choir if the church
can conveniently accommodate them. The relative
proportions of men and boys should be carefully main-
tained, a suitable proportion being one man to four boys.
In this way a choir of twenty-four boys .should be
supplemented by from six to eight men.
Personally the writer does not care for mixed choirs of
men and boys. It is very difficult to get the voices of
men and boys to agree well in unisonal singing such as
plainsong, especially when the adult voices are untrained ;
but aesthetic considerations must yield to those of liturgy.
There is no doubt that in St. Gregory's time, which
should be our model, there were certainly both. In a
choir of men there is a quality of fullness which is not
possessed by one of boys ; but, nevertheless, children
and women may be taught to render the chant very
beautifully.
We shall have much more to say about the choir in
THE CHOIR 75
other chapters, but it may be useful to mention here one
or two points, which the choirmaster may enlarge upon if
he wishes. The singer should remember :
1. That his is a sacred office, and he must try to
render himself worthy of it by the manner of his life.
2. That he has a splendid tradition to uphold, and that
all the care and trouble he expends upon the study of the
chant is an act of worship and a mark of devotion to the
Liturgy of the Church of God.
3. That he may do much to further the adoption of
plainsong, and remove popular prejudice against it, by
learning its history and theory, and explaining them to
others who are not acquainted therewith. Before he can
do this he must make it his aim to understand the chant
thoroughly himself.
4. That he alone does not constitute the choir, but
is only an individual member, and he must try and unite
as thoroughly as possible with the other singers.
5. That for the success of the choir it is necessary
that all the singers should obey the directions of the
choirmaster.
6. That he must be always ready, punctual in attend-
ing the services, and prompt in rendering the chant.
7. That he must be free from self-consciousness.
8. That his familiarity with the service of God must
not render him irreverent or slack in his behaviour.
9. That the choir-practices are for him, and not for the
other members of the choir only.
Esprit de corps is invaluable in this, as in every other
undertaking where several individuals combine for one
end. When enthusiasm is aroused, difficulties begin to
fall away, and the duties of the choir become a pleasure
as well as a privilege.
VIII
THE CHOIRMASTER
THE necessity for someone to lead and direct the choir
is obvious from its very nature. The earliest choirs
of which we have complete records are those which
were employed in the Greek drama. The word
" choir " is derived from xP 0<s > * ne name given to the
body of singers who took a prominent part in the
plays of ancient Greece. This choir had a leader,
Xo/oayos, who was responsible for the training, etc., of the
singers.
Later, coming to the Schola Cantomm, or Song School,
organized by St. Gregory the Great, we find that there
was selected from the subdeacons, who performed the
office of cantors, one whose duties corresponded to a very
large extent with those of a modern choirmaster. He
was named Primicerius, or Prior of the Schola. It may
be interesting to mention a few of his special privileges,
as an indication of the importance which was attached to
his office.
" According to Hugo Victorinus, the rights of
the Primicerius were extremely extensive. He
had the supervision of all the ceremonies, as far as
the chanting and reading were concerned, and
76
THE CHOIRMASTER 77
looked after the moral conduct of the clerks.
Indeed, he played an important part in the choice
of a Pope."*
He alone was allowed to intone the Introit at the Papal
Mass.
The leader of the cantors was known as the Precentor,
a word which perhaps more nearly corresponds to the
idea we desire to convey than choirmaster. It is still
used in our English cathedrals. The office is one of
the greatest importance, for the success of a choir,
especially if it is a new one, depends very largely upon
the personality of the choirmaster. He is directly respon-
sible for the manner in which the chant is rendered ;
with him rests the power either of expressing the beauty
of the melodies, by the interpretation which the choir, by
his direction, places upon them, or of spoiling the whole
effect by misinterpretation. If his directions are at fault,
the singers cannot be held responsible for the failure
which is bound to ensue.
Apart from mere questions of the chant, it is to a very
large extent upon the personality of the choirmaster that
the success of a choir depends. He must be a man who
is capable of ruling, able to secure obedience to his
directions without letting it appear that he demands
obedience in other words, he must be tactful. Another
quality in the choirmaster, which in the past perhaps has
been too little insisted upon, is an ability to realize the
fact that the singing of the music of the Liturgy is in
itself a most solemn act of worship, and not a device for
relieving the monotony of the service.
He must bear in mind that it is possible for a single
individual to do incalculable harm to the cause of plain-
* Wagner, " Introduction to the Gregorian Melodies," p. 192,
78 A HANDBOOK OF CHURCH MUSIC
song by blundering methods in his dealings with clergy,
choir, and congregation. One who forms opinions in a
hurry, and then declines to listen even for a moment to
those of others, is not a fit person for the post of choir-
master. Brusqueness in manner should be avoided.
This frequently does harm, while, on the other hand, a
little politeness often goes a long way. Politeness and
genius do not always go together, but politeness, extended
even to the youngest of the singers, should be a dis-
tinguishing feature of our choirmaster.
We have already said that he should not be averse to
hearing the opinions of others. On the contrary, he
should make a practice of seeking, and acting, upon, the
advice of those who are really competent to give it.
A knowledge of Latin, even if it be only slight, will be
found very useful, for the language of the Liturgy, so far
as we are concerned, is invariably Latin. It is not
necessary, however, for the choirmaster to be a Latin
scholar. Ecclesiastical Latin is very easy, and it is only
necessary for him to be able to find his way about the
liturgical books, and to explain the meaning of the words
to his choir.
The absence of this knowledge of Latin does not
present any insuperable difficulty, for an energetic man
can easily learn sufficient Latin for the purposes of
Church music. The priest of the parish will, no doubt,
be willing to give such instruction if he has time; but if
oral instruction cannot be obtained, good correspondence
lessons may be had at a very small cost. However, now
that higher education is insisted upon as a preliminary to
the training of teachers who, at least in country districts,
are the most likely to have the charge of choirs there
should not be much difficulty owing to the absence of a
knowledge of Latin.
THE CHOIRMASTER 79
So far we have spoken of those qualifications of a
choirmaster other than musical. In addition, he must
possess a thorough grasp of at least the rudiments of
plainsong. He must have made a detailed study of
practical rhythm, be possessed of what is called " a good
ear," and be able to read the chant at sight with a fair
amount of ease. The possession of a sense of true
musical perception is of far more importance than a good
voice.
We have assumed that the choirmaster takes a keen
interest in his work. If he is not prepared to expend
considerable energy and trouble, he is not a fit person to
hold the position. If the choirmaster does not work
hard, the choir will certainly not do so. If he does,. he
will take every opportunity of learning more and more
about the chant, in order that he may more fully com-
prehend it. The bibliography at the end of this book
is intended to suggest suitable works, the study of which
may form a theoretical course of instruction in plainsong.
Perhaps of those qualities to which we have referred,
the one which our choirmaster will most require is tact.
There are always some at least, in adult choirs who are
difficult to manage. Much may be done by promoting
friendly intercourse between the members of a choir by
means of social evenings, etc. Such forms of entertain-
ment are not everywhere necessary or even desirable,
but they may be a help in keeping a newly-formed choir
together. We must remember that plainsong is not
usually appreciated at first, and it is wise to encourage the
members of a choir by some such means as I have men-
tioned. If, however, a singer is continually making
himself objectionable, either because he does not like
plainsong, or because he wants to introduce some other
element, it would be well to let him understand at once
8o A HANDBOOK OF CHURCH MUSIC
that he must make up his mind to carry out the directions
of the choirmaster without question, or else leave the
choir. If there is disunion among the singers there can
be no hope of success for the choir. For this reason, it
is essential that those who appoint the choirmaster
should invest him with authority to select and, if neces-
sary, dismiss members of the choir. It will be impossible
for the choirmaster to work well unless he knows that
his authority will be upheld by the clergy under whom
he holds it.
The reader will easily understand that these remarks
do not apply equally to every kind of choir. We speak
here of the most numerous, in which the singers are not
drawn from what are sometimes called " the more
educated classes." Generally it is from the more un-
educated that trouble is to be expected. If, however, the
choir is composed of both classes, the choirmaster and the
singers themselves should remember that in the choir
they meet on common ground ; before the altar they are
all equal, and should therefore expect to meet with the
same treatment.
Children must be dealt with in quite a different
manner. If they are well taught, they will soon learn
that they sing to please God, and so wish to do their
best. They need, however, continual encouragement of
a kind that is not suitable for older people.
The choirmaster must take into consideration all these
points in dealing with the different members of his
choir.
A visit to other churches where the chant is well sung
will be of the greatest possible assistance ; for besides
giving a model to the singers, such visits are likely to
stir up a spirit of emulation, which in itself is nearly
always a good thing.
THE CHOIRMASTER 81
Almost invariably it is a disadvantage for the office of
choirmaster to be combined with that of organist, for
each has its particular duties, and one person will
find a difficulty in exercising both. When the posi-
tions are held by different persons, it is essential that
they should work together harmoniously, and consult
each other's wishes whenever possible. Yet the fact
should not be lost sight of that in a plainsong choir the
choirmaster, and not the organist, must decide all the
details which concern the rendering of the chant.
Among such details one of the most important is the
question of time y to which we refer in other chapters.
The choirmaster should, of course, always give due
notice to the organist of his intentions with regard
to the singing, and consult him about it. On the
other hand, the choirmaster has nothing to do with the
purely instrumental part of the service. When the two
offices are united the work is doubled, but there is the
advantage that there can be no possibility of friction
between the two principal officials of the choir.
We come now to that very important and difficult
question of the extent to which one may yield in Church
music to popular likes and dislikes. W 7 e have said else-
where that whenever plainsong is newly introduced in
any church, there are sure to be objectors persons who
prefer the kind of music to which they have been
accustomed from their childhood. This is quite natural,
and as far as possible the choirmaster should try to take
their feelings into consideration. But where a question
of principle is involved, particularly with regard to the
music of the Mass and the Office, he cannot yield without
sacrificing the cause which it is his duty to further. The
case is quite different with extra-liturgical music, but if
the choirmaster wishes to improve the quality of the
6
82 A HANDBOOK OF CHURCH MUSIC
music, and to rise above the level which prevails almost
universally in our churches to-day, he must rigidly eschew
all such hymns as " O Mother, I," and the other compo-
sitions, devoid both of literary sense and musical correct-
ness, which are so abundant in some of our collections of
hymns.
The choirmaster's duty is perfectly clear. It is his
business to uphold the dignity of the music of the
Church, and he has a right to refuse to allow his choir to
render any music which is below the proper standard.
Sometimes, when the matter is one of taste rather than
principle, he may yield if there is anything to be gained
by such a course.
Having thus briefly sketched the qualifications of our
choirmaster, we will consider his regular duties, beginning
with his training of the choir.
There should be at least two choir practices every
week, at which all the singers should be expected to be
present. Convenient times are (i) after the sung Mass
on Sundays, and (2) after the week-night evening service.
If these times are adopted there will be no need for the
members of the choir to make a special journey. In
many places it is necessary to hold the practices in
church, but wherever possible one practice at least
should be held elsewhere, where the singers will not feel
the same constraint. The parish room or school would
be suitable. Punctuality in attending the practices
should be insisted upon, and the choirmaster himself
should set a good example in this respect. It is unfair
to penalize those who come early by making them wait
for those who come late. The practice should not last
longer than an hour. No time should be lost in having to
find books, the places in them, and so on. Everything
should be prepared beforehand by the choirmaster, or
THE CHOIRMASTER 83
some other person appointed by him. This person
need not be one of the singers, but a special librarian
may be appointed, whose duties will be to look after
the chant-books and prepare the music, both at the
services in church and the choir practices.
No talking should be allowed during the practice. It
is very annoying to have to keep waiting for different
groups of people to finish their conversations.
There should be as much unaccompanied singing at
these practices as possible. It is always an advantage
to be independent of the organ. The piano is the most
convenient instrument for use in practices ; it is certainly
infinitely better than the harmonium. If a violin can be
made use of it will be better than either, because it
resembles more closely the human voice. But a good
choirmaster who has studied beforehand the melodies
which he is going to teach can very often dispense with
accompaniment altogether during the practices.
After a few voice exercises the words should be read
slowly and distinctly, their literal meaning and their
sense should be explained, after which they should be
repeated by the choir very carefully. Sometimes it is
advisable to call upon individual members of the choir to
repeat them alone. Then the melody should be sung in
phrases, until the whole has been gone through. The
rules which I have given in the chapter on Rhythm
should be carefully observed.
When plainsong is taught in this way, the choirmaster
is able to correct immediately any faults which arise.
He should not proceed with the chant until they have
been remedied. This method will save that tedious
reiteration which is so wearisome to the singers. Further-
more, he who is responsible for the mistakes should be
taught to correct them himself by singing the passage
62
84 A HANDBOOK OF CHURCH MUSIC
alone. If this individual singing is habitually practised,
the natural shyness which afflicts boys and others who
are not accustomed to singing by themselves will soon
disappear.
The utmost attention to detail, even in the smallest
matters, but especially in pronunciation and expression,
is essential. No melody should ever be sung in church
which has not first been perfectly learnt in the practices.
Otherwise the bad effect will disgust the hearers, and the
singers themselves will be disheartened.
The -choirmaster will have to select four singers to act
as cantors, two as chief cantors and two as secondary
cantors. The two principal cantors will have by far the
greater share of the work, four being employed only on
the greater feasts. Their voices should agree perfectly
in pitch and quality, so that when they sing it should be
impossible to distinguish their voices. The choirmaster
will instruct them in their duties and in the necessary
ceremonial. If he is unable to do this, he must call
in the help of the master of ceremonies. We may say
here, in passing, that it is the duty of the master of
ceremonies to signify the time at which the singing
should commence, and although in an ordinary sung
Mass or Vespers this is hardly necessary, there are many
occasions when such directions are exceedingly useful.
Any signal from the master of ceremonies should be
obeyed immediately, whether it is opportune or not.
If a schola cantorum be founded, as it certainly should,
the choirmaster will be responsible for the direction of
that also. He will attend the practices with his choir, in
order to give all the necessary assistance in illustration.
The question of the manner in which the choirmaster
is to direct the singing in church and during the practices
is somewhat difficult. He cannot " beat time," for there
THE CHOIRMASTER
is no time in plainsong. On the other hand, there is
a method of illustrating the rhythmical movements of
Arsis and Thesis. A full description of this system,
known as Chironomy, will be found in several of the
books mentioned in our bibliography (especially in Dom
Mocquereau's " Le Nombre Musical Gregorien"). We
must content ourselves with saying that the movement of
the hands is one which will come naturally to the choir-
master who really understands the principles of rhythm.
and it resolves itself into a system of rising and falling
curves, which correspond to the rising and falling of the
rhythmic movement.
The choirmaster or librarian will prepare before a sung
Mass copies of the Kyriale for each singer, as many
Graduals as may be required, and also any other music
which may be sung during the Mass. For Vespers Anti-
phoners will be needed, or .the " Liber Usualis " (No. 567,
and not the more recent No. 700, which does not contain
the music for Vespers). Books of the Psalms noted for
singing (" Psalmi in Notis ") wLl also be needed for Vespers,
and Compline books, which contain everything required
for Compline, may now be obtained very cheaply.
GLORIA IN EXCELSIS DEO
CREDO IN UNUM DEUM
ITE MISSA EST.
In addition to this provision for the choir, the cele-
brant must be warned of the intonations to the Gloria,
86
A HANDBOOK OF CHURCH MUSIC
St. James's, Stamforb 1bill
Day:
All Saints 1 , November 1st, 1910.
HOLY MASS.
BOOK.
PAGE.
ASPERGES ....
Ky. I.
/
INTROIT
Grad.
550
KYRIE
Ky. II.
7
GLORIA
Ky. II.
7
GRADUAL, ETC.
Grad.
557
CREED
Ky.L
49
OFFERTORY ....
Grad.
(28)
AFTER OFFERTORY . Sanctis
Var. P.
234
SANCTUS
Ky. VII.
23
IN HONOUR B.S. Ave Verum
Var. P.
7
AGNUS DEI ....
Ky. IX.
29
COMMUNION ....
Grad.
552
ITE MISSA EST
Ky. II.
9a
Practices :
Wednesday Evening after Benediction.
Special Notices :
THE CHOIRMASTER
VESPERS AND BENEDICTION.
Vespers I Double of the First Class with Octave.
DEUS IN ADJUTORIUM . Festive
ANTIPHON . . Vidi ttirbam. L.
Dixit Dominus I. f.
Et omnes.
Confitebor /. /.
Redemisti.
. Beatus Vir. 8 G.
Benedicite
Laudate pueri, 8 G.
Hymnus
Laudate Dominum, 8 G.
. Placare Xti. Serv.
. O quam gloriosum.
PSALM
ANTIPHON
PSALM
ANTIPHON
PSALM
ANTIPHON
PSALM
ANTIPHON
PSALM
HYMN
ANTIPHON
MAGNIFICAT
BENEDICAMUS DOMINO
COMMEMORATIONS : I.
II. III.
IV. V.
ANTIPHON B.V.M.
. Ad. Lib.
Salve
L. U. 1024
U. 1034
Ps. N. 5
L. U. 1024
Ps. N. 13
L. U. 1025
Ps. N. 33
L. U. 1026
Ps. N. 41
L. U. 1025
Ps. N. 69
L. U. 1026
L. U. 1027
Ps. N. 131
L. U. 66
L. U. 92
Benediction :
ENGLISH HYMNS .
i. O SALUTARIS
2.
3. TANTUM ERGO .
.- Tozer 114 and 137
ArundelH., Vol. II. (1)
Rex Sanctorum. Man. 194
Man. pro Bened. (IV.) 14
88 A HANDBOOK OF CHURCH MUSIC
Credo, and lie Missa Est. We illustrate a very convenient
little frame, which opens like a book and is divided into
three divisions (see p. 85). The frame is opened, the
proper intonations (which should be written on strips of
paper in red and black), inserted, and the fastening of
the frame will keep them in position.
Some device is also needed for showing the choir at a
glance what has to be sung. We give a form suitable
for this purpose (p. 86) .
Large numbers of such forms could very easily be
printed at a small expense, with the spaces for the pages,
etc., left blank. If the paper is good, one side can be
used for Mass and the other for Vespers and Benedic-
tion. These forms should be filled up by the choir-
master, or by somebody at his direction, and a copy
given to each member of the choir. When the schola
is able to render the Ordinary of the Mass, the same
idea may be carried out for their benefit by means of a
board like a hymn-board, which would give the people
the necessary information with regard to the different
parts of the Ordinary. Hymn-boards should be used at
Benediction to tell the congregation the number of the
hymns. (This presupposes the adoption, for congrega-
tional use, of a regular hymn-book. If special hymns are
used copies must be provided for the people.) .The
clergy also should be fully informed with regard to the
music, in order to avoid misunderstandings.
As to the choice of music for the liturgical services,
we are here concerned with plainsong alone. I do not
wish to enter into controversy with those who wish to
introduce what is known as polyphonic music. There is
no doubt whatever that the use of polyphonic music is
perfectly lawful, but it seems unnecessary to go outside
the Church's own music, when there is so much wealth
THE CHOIRMASTER 89
of melody and so much variety in plainsong. Certainly
the use of polyphony has the strongest claims to recom-
mendation in other than strictly liturgical services.
The choirmaster will have to learn from the Ordo, or
official Ecclesiastical Calendar, the Feast that is being
kept, and consequently the music that has to be sung, on
any particular day. The use of our calendar will, it is
hoped, save him some trouble in finding additional
music.
With regard to those " offertory pieces," etc., which
are introduced into the Mass to relieve the period of
waiting during the incensing of the altar, they should, if
possible, be taken from some part of the Office of the
day the responds from Matins, an old sequence, or a
hymn from Lauds. In the " Variae Preces," published by
the Benedictines of Solesmes, many such pieces may be
found, taken both from that form of the Office in use. at
the present day and from liturgies that have fallen into
abeyance. Some of these melodies are exceedingly
beautiful, and originally formed part of the liturgies
which were in use in different places throughout
Europe.*
After the Consecration, a prose or hymn may be sung
in honour of the Blessed Sacrament. It should be short.
The Ave Verum is very suitable, but many others will be
found in the " Variae Preces."
It is not allowable to sing anything in English during
a sung Mass, and it is not permissible to include amongst
the music anything beyond the offertory piece and the
hymn in honour of the Blessed Sacrament to which we
have referred.
In small and poor parishes a great deal of expense can
be saved by means of a duplicator. The writer has an
* See p. in (note).
90 A HANDBOOK OF CHURCH MUSIC
EllamV Duplicator, which can be used for copying
both music, handwriting, and typewritten matter. With
it he has copied a great deal which otherwise it would
have been necessary to buy, both for the choir and
congregation. It is always advisable to supply the
congregation with a copy of the words at least of any
music sung by the choir, in order that they may take an
intelligent interest in what is being done. This is not
difficult when a duplicator is used. A gelatine copying
press will also prove very useful, because with it red
lines and black notes can be printed together.
Paper ruled with a stave of four lines in red can be
obtained, of any size, from the Plainsong and Mediaeval
Music Society, and this is very useful for copying out
melodies which the choirmaster desires to teach, and yet
which are not found in the ordinary chant-books used
by the choir.
A duplicator of some sort is almost indispensable to a
choirmaster, and it will soon pay for itself over and over
again, besides enabling him to do much which he could
not do by any other means. Certain melodies which are
used only occasionally as, for example, the neumas, some-
times sung at the end of the antiphons of the Psalms
and Magnificat,* or the Sarum hymn melodies, which, by
the way, it is perfectly lawful to use may be written in
large notes on big sheets of paper, and placed in a frame
in front of the choir. This cannot be done unless the
singers are in the gallery.
The choirmasters should see that proper care is taken
of the books used for the services of the Church. They
have to stand much hard wear, and should be strongly
bound ; but if care is taken they should be made to last
* The neuma was sung after the last antiphon according to the
Use of Sarum ; other Uses had it after every antiphon on Feast days.
THE CHOIRMASTER 91
for a long time, and much useless expense may be
avoided. Each book should be covered and numbered,
and the same singer should always use the same book.
It is then easy to trace any damage that may be done.
The members of the choir should be encouraged to buy
their own books, as well as their own cassocks and
surplices. The latter should conform to the standard
adopted.
At services in the vernacular English hymns are
generally sung sometimes before the sermon, sometimes
after the sermon, and occasionally after Benediction. If
these are good there should be plenty of them. Unfor-
tunately, there are many wretchedly bad collections, and
some of them should be avoided at all costs. Such are
the "Crown of Jesus " Hymnal, the melodies of which,
if they can be called such, are mutilated cuttings from
the profane works of the great secular composers. Further,
the harmonies are appalling, and would never meet with
any quarter at the hands of a musician. It is such music
as this which has made our services a laughing-stock to
Protestant England. There are also collections of
hymns made by amateur musicians, whose devotion is
no doubt sincere, but whose idea of music suited for the
services of the Catholic Church is hopeless. I have in
mind a certain hymn-book for which a community of
Sisters is responsible, and of which even the words are
extraordinary, devoid both of poetic grace and common
sense. Some of the tunes would do very well for
dances ; others would make splendid marches for per-
formance by a third-rate brass band.
Dr. Tozer's "Catholic Hymns" is a splendid collec-
tion at least, so far as his own compositions and most of
the other are concerned ; but there are hymns included,
I suppose as a concession to the popular depraved taste,
92 A HANDBOOK OF CHURCH MUSIC
which would have been better omitted. An example
that occurs to me at the moment is the notorious
" O Mother, I could weep for mirth." The " Arundel
Hymns " contains many valuable hymns which cannot
be found elsewhere. Unfortunately its price is almost pro-
hibitive. It is to be hoped that the proprietors will see
their way to publish a cheaper edition. I am afraid that
for the best English hymn tunes we are obliged to have
recourse to collections from outside our own communion.
There are many most excellent English hymns and tunes
in the ''English Hymnal," "Songs of Syon," etc., to
which we refer in the introductory part of the calendar.
Other hymn-books will be found in the bibliography.
If I have dealt rather at length upon the duties of
the choirmaster, it is because with him rests the power
to "make or to mar" his choir. In these days the
adversaries of plainsong are so ready to seize upon the
slightest sign of failure that the position of a choirmaster
is rather an anxious one.
Let him anticipate success and work hard to obtain it,
and then it is sure to come. If he remembers that in
some degree he holds in his hands the honour of the
music of the Catholic Church, he is sure to do his best
for the chant.
Apart from his duties as master of the singers, he may
do much good, when an opportunity offers, by explaining
plainsong, by lecturing upon it, and also by encouraging
others who are inclined to make the experiment of start-
ing a plainsong choir.
IX
THE ORGANIST
ALTHOUGH jt is seldom in these days that we hear
plainsong unaccompanied, except during Advent and Lent,
and in the monastic houses of the Carthusian Order, no
accompaniment of the chant was originally intended.
The use of the organ is merely a concession to the weak-
ness of the singers, who might have some difficulty in
rendering the music without any such accompaniment.
So it has come about that the organist, who really ought
not to have anything to do with the chant, has become
a person of very great importance to such- an extent, in
fact, that a bad organist is able to spoil all the good
effect which would otherwise be produced by an efficient
choir.
What, then, are the essential qualifications of a good
organist ?
1. He must understand the chant thoroughly; other-
wise it is impossible for him to accompany without
putting a false interpretation upon the rhythm.
2. He must realize that the accompaniment of plain-
song does not afford him a suitable opportunity for
putting into practice any theories he may have of
elaborate accompaniment. All that he is called upon to
do is to support the singers, not to drown their voices in
a tremendous roar of the organ.
93
94 A HANDBOOK OF CHURCH MUSIC
It is necessary that the organist should be able to
place his chords upon those syllables where the rhythmi-
cal stress has to be emphasized. By this we do not
mean that every rythmical stress must be marked by a
fresh chord, but that the chords should not be placed upon
unimportant notes, and thus interfere with the rhythm.
In syllabic chant, where there is a note, or perhaps two
notes, to each word, he may make use of a fuller accom-
paniment. In neumatic passages he must be very
sparing of his chords, remembering that his aim is
rather to mark the delicate shades of the rhythm by
emphasizing the melody than to supply harmonies.
Further, he must take care to make his accompani-
ment of the chant fulfil the requirements of the plainsong
tonality, and he must therefore avoid notes extraneous to
the mode of the melody he is accompanying. In other
words, it must be diatonic.
It is not the duty of the organist to lead the choir, or
to decide the tempo at which a melody should be sung.
This is the work of the choirmaster and the cantors.
The organist must make the pace of his accompaniment
coincide with that of the singers, and must not try to
hurry them on, or vice versa.
Nevertheless, the subordination of the organ to the
chant by no means requires that the accompaniment
should be wooden and devoid of expression. By the
proper disposition of his harmonies, and the graceful
rendering of melismatic passages, the organist can do
much to assist the singers. The accompaniment should
be soft, never loud enough to drown the voices of the
smgers, and the stops should rarely exceed 8 ft. in depth.
Here, perhaps, we may say that the limitations of the
harmonium as a suitable instrument for the accompani-
ment of plainsong are considerable. A small pipe organ
THE ORGANIST 95
should be obtained wherever possible. This, if a one-
manual instrument, should have most, if not all, the
pipes enclosed in a good swell-box. The notes should
be of a fluty rather than a reedy character, and this is the
particular point in which the harmonium fails. Reedy
notes have a very dragging tendency.
Further directions it is almost impossible to give with-
out entering upon technicalities which would be quite
confusing to other than accomplished organists. It is, of
course, useful that the organist should be well acquainted
with the laws of harmonization and counterpoint ; but the
fact remains that a good accompanist of plainsong is
born rather than made, for so much depends upon his
ability to appreciate the beauty and spirit of the rhythm.
The best plan for an inexperienced organist will be to
seek advice from one who is already known as a good
accompanist of plainsong, and to study his methods. Fail-
ing this, he may obtain the accompaniments to the Kyriale
and the Proper for several of the principal Feasts, by
Dr. P. Wagner, a member of the Pontifical Commission.
These are published by the Procure-Generale de Musique
Religieuse, and may be obtained direct from that house
at 22 Rue Jeanne d'Arc, Arras, France, or through the
usual English publishers of Church music. Other
accompaniments are those of Giulio Bas and Mathias,
obtainable from Breitkopf and Hartel. None of them,
however, can be considered perfect, and it is really
necessary that the organist should use considerable
discretion when employing them. It may perhaps be as
well to say that a mere slavish following of any accom-
paniments, however good they may be, will not do away
with the necessity of a thorough practical knowledge of
rhythm.
But apart from the simple accompaniment of the
96 A HANDBOOK OF CHURCH MUSIC
chant, the organist has many opportunities of displaying
his abilities. It is customary to play as the clergy enter
and leave the church on solemn occasions, and also at
intervals during the Mass and Office. Here he is not
tied down to th diatonic scale ; indeed, the attempts at
diatonic voluntaries or interludes which I have occasion-
ally heard had a most unpleasing effect. There is more
scope for the exercise of the personal ideas of the
organist. Nevertheless, he should take care that what-
ever he plays in this way harmonizes with the style of
the remainder of the music. It would be absurd to play
a rousing offertoire, such as is often found in books of volun-
taries, during a plainsong Mass. It would be equally
foolish upon Easter Day to perform a kind of dirge. In
other words, the organist must use his common sense.
The power to improvise is extremely useful, if not
indispensable, to our accompanist. Many who are by no
means fitted to do so are apt to attempt such improvisa-
tion. The organist who feels this inclination should
remember that he must possess a thorough knowledge of
the laws of the counterpoint before he can successfully
improvise. If he has not this knowledge he should
attempt nothing. A keen sense of imagination is also
essential. It is possible to obtain several excellent books
of voluntaries specially suitable for use in our churches
from the principal publishers of organ music.
The following are the principal occasions upon which
the organist will be required to play :
MASS.
1 . Before and during the entry of the clergy (and choir).
2. He gives the note for the intonation of the Asperges
and accompanies the choir (on Sundays only).
N.B. The organist never accompanies the celebrant.
THE ORGANIST 97
3. At a sign from the choirmaster he will play the note
upon which the cantors are to commence the Introit.
He then accompanies the choir.
4. He will then, with the necessary prelude in-
troducing a change of key, commence the Kyrie.
If the people sing, he should, of course, introduce more
volume into the accompaniment of the parts sung by
them.
5. If the Kyrie finishes before the incensing of the
altar is over, or the priest is ready for the Gloria, he
should play a short interlude upon the soft stops, until
the priest moves to the middle of the altar to intone
the Gloria.
6. He will then play the melody of the intonation, but
not accompany the priest. He will accompany from
Et in Terra Pax to the end.
7. During the singing of the Epistle nothing must be
played. The same remark applies during the singing of
anything at the altar.
8. The Gradual, Tract, etc. If any part of the
Proper is monotoned, the organist should accompany
softly with suitable harmonies.
9. If the Gradual, etc., do not take up the time between
the singing of the Epistle and the Gospel, the organist
may again play.
10. He plays the intonation of the Credo and accom-
panies the choir.
11. The Offertory.
12. The Offertory Piece, or, if one is not sung, he
should play until the priest is ready to begin the Preface.
If his voluntary is not in the key in which the priest has
to sing the Preface, the organist should lead up to the
proper note by changing the key.
13. The Sanctus, which should be commenced with-
7
98 A HANDBOOK OF CHURCH MUSIC
out any preliminary melody as soon as the priest has
ended the Preface.
14. He may play until the Consecration, very softly.
15. He will accompany the chant sung in honour of
the Blessed Sacrament. If one is not sung, he may play
softly.
1 6. The Agnus Dei.
17. The Communion.
1 8. He will play the melody of the Ite Missa Est for
the priest, and accompany the Deo Gratias.
19. He may accompany the verse for the King.
20. He will play as the clergy leave the church, and
also during the departure of the congregation.
In most country or, indeed, most parochial churches,
either in town or country, it is unlikely that the organist
will have to concern himself with any other parts of the
Divine Office besides Vespers and Compline. Very few
instructions will be necessary here.
VESPERS.
1. On festivals the organ should be played during the
entry and departure of the clergy.
2. The organist may continue to play very softly while
the choir recites the Aperi Domine, the Pater and Ave
secretly.
3. He may accompany the response to the Deus in
Adjutorium, having previously given the first note to
the officiant.
4. The Antiphon for the first Psalm.
The organist will first play the intonation of the
antiphon, and then accompany the singers. The anti-
phons are sung from beginning to end, both before and
after each Psalm, except on days which have a lower
rank than double.
THE ORGANIST 99
The Psalm should follow the Antiphon without any
change of key.
The accomplished organist will find plenty of oppor-
tunity for harmonization in his accompaniments of the
Psalms, for it is advisable to vary the harmonies some-
what ; but one who does not possess sufficient skill in
the extemporization of such harmonies should make use
of some such collection as that published by Novello
and Co.
The proper pauses at the middle, and also at the ends,
of the verses must be carefully observed.
The organist will need some practice in changing from
the mode of one antiphon into the mode for the next.
This is very often necessary, and the omission of any
connecting link between the two modes has a very un-
pleasant effect.
5. The intonation of the Hymn and its accompani-
ment.
6. The antiphon of the Magnificat.
7. The Magnificat. It is customary in large churches
to sing the verses of the Magnificat in twos, with a
short interlude upon the organ between each pair.
This is, of course, to give the priest more time for the
incensing of the altar. Such interludes will require care,
and should be in perfect keeping with the chant. (The
writer feels compelled to mention this, because he has
seen some so-called " Versets for the Magnificat " which
were most unsuitable.) If possible, they should lead up
to the note upon which the cantors have to recommence
the next verse.
If, at the end of the Magnificat and the repeated
antiphon, there is still time to spare, on account of the
incensing of the choir, etc., the organist will continue
to play until the ceremonies are completed.
72
ioo A HANDBOOK OF CHURCH MUSIC
8. When there are Commemorations, the antiphons
will be accompanied.
9. The response to the Benedicamus Domino.
10. After the Paternoster in silence, an antiphon of
Our Lady follows.
COMPLINE.
Compline was not originally a choral service, but, as
it is sometimes sung in churches where the choir does
not venture upon Vespers, we may say that it is treated
by the organist in the same manner as Vespers, except
that there is only one antiphon for all the Psalms.
The Nunc Dimittis is sung without interludes, and
there is in addition a short respond, In manus tuas
Domine, which needs careful accompaniment, in order
to preserve the beauty of the melody.
* Before we leave the liturgical services, we may per-
haps remark upon the use of the organ in Advent and
Lent. Theoretically, the accompaniment of the chant,
and consequently the use of the organ, is improper at all
times. However, as we have already said, accompani-
ment is granted as a concession to the singers. The use
of the organ for interludes, voluntaries, etc., is strictly
forbidden during Lent and Advent ; but the same con-
cession with regard to accompaniment may, if really
necessary, be taken for granted. It is, however,
customary, even though inconvenient, to avoid all use
of the organ during the penitential seasons. Gaudete
Sunday (the third Sunday in Advent) and Laetare, or
Mid-Lent, Sunday are exceptions. Upon these days the
full use of the organ is allowed. Upon weekdays in
Lent and Advent, when the Feast which is being cele-
brated has the rank of double or higher, the organ is
allowed.
-,
THE ORGANIST 101
BENEDICTION.
With regard to Benediction and the evening service
generally, custom varies in different places. It is usual
to sing English hymns before and after the sermon, and
sometimes after Benediction. A tune new to the con-
gregation should be played over in full before it is sung.
It is well, if the capacity of the organ permits, to treat
the treble part as a solo, by the judicious use of the
second manual, if the organ possesses one, or by a suit-
able arrangement of stops. If the tune is well known to
the congregation, it may be left to the discretion of the
organist to decide how much of it he shall play. He
must bear in mind that the requirements of the congre-
gation are to be considered in the accompaniment of
English hymns, rather than those of the choir.
The actual service is so well known that there is no
necessity to describe it. A short voluntary should be
played as the clergy enter the church, or, if there is not
time for this, the tune of the O Salutaris. This should
always be done when a new melody is to be sung, that
the congregation may have an opportunity of becoming
familiar with it, and so be able to take part in the
singing. Needless to say, the music should always be
within their capacity.
A short interlude may well be played on the soft stops
of the organ while the preparations for the actual
Benediction are being made. Some organists continue
such interludes right through the Benediction, but com-
plete silence at the actual moment would seem more
fitting.
When the clergy and people leave the church, the
organist may play something more lively than is possible
102 A HANDBOOK OF CHURCH MUSIC
at other times. Marches, etc., which would be hardly
suitable at the conclusion of a plainsong Mass, would be
open to no objection after Benediction. Even so, the
player should remember the dignity of the sacred build-
ing, and refrain from the introduction of what may be
termed "profane" music.
We have mentioned a concluding voluntary. The
custom of playing a soft voluntary during the assembly
of the congregation before the service sometimes fills up
rather an awkward wait. It is generally pleasing to
those who are in church early. The difficulty lies
in the choice of music suited to the capacity of the
organist and the organ. The series of " Original Com-
positions for the Organ," published by Novello, already
large, and continually being increased, is a very useful
hunting-ground for all organists. Foreign music specially
adapted for use in Catholic Churches may be obtained
from Schott, of Regent Street. Lists of organ music can
be obtained from these firms, but it is always advisable
for the organist to see the music before he buys it, in
order that he may find out first whether he can play it
or not. Insipid and sentimental compositions, of which
there are many, especially French, should be avoided,
the musical style is not good, and the organist should
remember that one of his main objects in the present day
is to elevate the musical taste of his congregation.
This is not a theoretical treatise for organists, and
little more remains to be said. We may conclude by
repeating that in plainsong much depends upon the
accompaniment of the chant, and by reminding the
player that the organ must be made subservient to the
chant, and not the chant to the organ. Nevertheless,
although the part of the organ should be unobtrusive, it
THE ORGANIST 103
is yet most important, and should merit the particular
care and study of the player.
NOTE. In pontifical functions the organ should be
played so long as necessary during the procession from
the church door to the altar, and until a sign is given by
the master of ceremonies that it is time to stop. The
chant should receive the necessary accompaniment.
X
THE PLAINSONG OF THE MASS
So far as the music is concerned, the Holy Mass is made
up of two portions the Ordinary and the Proper. The
Ordinary remains invariable, and consists of the Kyrie,
Gloria, Sanctus, Credo, and Agnus Dei. The Gloria
is omitted at certain seasons, such as Lent and Advent,
and the Creed also is not always sung. The rubrics
always give directions as to when the Gloria and Creed
are to be sung and when omitted.
The Proper consists of those portions of Holy Scrip-
ture, etc., varying according to the season or Feast,
which form the Introit, Gradual, with the Alleluia (or,
after Septuagesima, the Tract), the Sequence, when
there is one appointed (namely, upon Easter, Whit
Sunday, Corpus Christi, the Seven Sorrows of Our
Lady, and in Masses for the Dead), the Offertory, and
the Communion.
The Ordinary of the Mass is intended to be sung by
the whole congregation, and it is usually with the object
of teaching this that scholcz cantorum are instituted.
The Proper is sung by the choir alone.
The Ordinary and Proper of the Mass, with their
music, are both found in the chant-book called the
Gradual. The correct and only authorized edition of the
Gradual was published in 1908 by the Vatican Press.
104
THE PLAINSONG OF THE MASS 105
Perhaps a word or two of caution with regard to some of
the editions which have hitherto been in use may be
advisable. Previous to the great revival in plainsong
introduced by Dom Prosper Gueranger and the monks
of Solesmes, many absolutely incorrect and faulty innova-
tions were made in the chant, without the slightest
shadow of authority. The result was that the chant was
robbed of the greater part of its life and beauty, and only
the " dry bones " remained. Everything seems to have
been done by men who were ignorant of the very prin-
ciples of plainsong, with a view merely of cutting the
chant short, and rendering a mechanical execution more
easy.
Now, the Holy Father, by placing the matter in the
hands of a specially chosen and capable Commission, has
definitely put an end to disputes as to the correct version
of the sacred music, and in future no editions of the
chant may be published which do not correspond exactly
with that issued by the Vatican Press.
The first of these authorized chant- books to appear
was that part of the Gradual called the Kyriale. It
contains the Ordinary of the Mass. For the con-
venience of those who may wish to procure it, I may say
that it may be obtained for congregational use in a small
edition from the great firm of Desclee, of Tournai
(Belgium) and Rome, at a cost of threepence (fifteen copies
may be had for the price of twelve, etc.). It may also be
obtained from English publishing houses, such as that of
Breitkopf and Hartel, of Great Marlborough Street, W.
For those who prefer them, editions with the rhyth-
mical signs of the Benedictines of Solesmes may be
obtained from the same publishers at a very slightly
increased cost. I have received from M. Desclee a copy
of the Gradual, printed on India paper, which only
106 A HANDBOOK OF CHURCH MUSIC
takes up a fraction of the size of the original Vatican
edition. It is extremely pleasant to handle, and is beauti-
fully printed.
The Proper is procured from the Gradual itself, but
the Masses known as the Common of Saints (sung on
those Saints' days which have not a special Mass) may
be obtained separately in a small and handy form.
Having thus briefly considered the Ordinary and
Proper separately, we will now regard them more
closely in the actual position they assume during the
Mass.
On Sundays the Asperges precedes the Mass. This,
like the Introit, consists of an antiphon, or portion of
Holy Scripture (very frequently a Psalm), followed by a
verse of a Psalm and the Gloria Patri, after which the
antiphon is repeated. The antiphon is intoned by the
priest, carried on by the choir unto the end ; the Psalm
is then intoned by the cantors, .and the whole choir
continues to the end, after which the cantors sing the
first part of the Gloria Patri, and the choir the second
part. The Asperges is immediately recommenced and
sung throughout by the choir. In Passion-tide (from
Passion Sunday until Easter) the- Gloria Patri is not
sung. There are three versions of the Asperges given
in the Kyriale ; the third of these, from its English origin,
should commend itself to us at least, for occasional use.
From Easter Sunday to Whit Sunday (inclusive), the
Vidi Aquam is sung instead of the Asperges. This
is composed and sung in the same way. Versicles,
responses, and a prayer follow, after which the priest
puts on the Mass vestment. Versicles are marked " V."
responses " R." The Amen at the end of the prayers is
always sung on a monotone. The Asperges and Vidi
Aquam are sung only upon Sundays.
THE PLAINSONG OF THE MASS 107
As the clergy approach the altar the cantors begins to
intone the Introit This consists of antiphon, Psalm,
and Gloria Patri. The cantors sing as far as the asterisk,
then the choir takes up and continues the chant to the
end of the antiphon, when the cantors sing the Gloria
Patri. The choir continues the Sicut Erat, and the anti-
phon is then taken up by everyone and continued to the
end. In accordance with the rubrical directions given
in the preface to the Vatican Gradual, it would appear
that the ancient practice of singing the Introit as the
priest approaches the altar may be returned to. How-
ever, as the sung Mass is in most cases usually only on
Sundays, the Introit will immediately follow the prayer
after the Asperges.
As soon as the Introit is ended, the two cantors sing
the first Kyrie, and this is continued by the choir. The
second Kyrie is sung by the congregation,- and so on
alternately until Kyrie Eleison has been sung three times,
Christe Eleison three times, and Kyrie Eleison twice again.
The last Eleison is sung by the choir and congregation
together. If the congregation is not able to sing the
chant, the choir must be formed into two divisions, the
part appointed for the choir being sung by the first
division, and the part of the congregation by the second
division. This remark applies to all the Ordinary of
the Mass. It is most necessary to take care in render-
ing every vowel-sound correctly in the words of the
Kyrie.
When the end of the Kyrie has been reached, the
priest will probably be ready to intone the Gloria in
Excelsis Deo. The cantors take up the words " Et in
terra pax hominibus," and the choir continues to the
end of the first double bar. Then the congregation, or,
failing them, the second choir, continues to the next
io8 A HANDBOOK OF CHURCH MUSIC
double bar, and so on up to the last phrase. The Amen
is sung by all.
We may say here, in passing, that the. responses of the
Mass before the prayers and the Preface, etc., as well as
the Amens, should always be sung by the whole congre-
gation. The reason is obvious. The versicles are
addressed to the congregation directly, and the people
should themselves respond. The Collects following are
sung by the celebrant ; Amen is sung at the end of the
first and last prayers only. Then comes the Epistle.
Immediately after its completion the Gradual is com-
menced. The music of the Gradual is the oldest plain-
song that has come down to us, and in many respects is
also the most beautiful ; consequently, an effort should
be made to sing it. The cantors intone the commence-
ment, as in all the melodies, and the choir continues to
the double bar. The verse is then sung by the cantors
alone, until another double bar or asterisk is reached,
when the whole choir takes up and continues the chant.
Except during the penitential season, from Septuagesima
to Easter Eve, the Gradual is followed by an Alleluia
and verse. This Alleluia is intoned by the cantors to the
bar, then recommenced by the choir, and continued to
the end of the long neuma, a vocalization of the " a "
at the end of Alleluia. A verse of a Psalm follows, and
this is sung by the cantors, except the last bar, which is
taken up by the whole choir. The cantors again intone the
Alleluia as far as the neuma, which is continued by all.
The Gradual is a responsorial chant, and originally
the first part of it that is, the part before the verse
was sung throughout by the cantor alone. It was then
repeated by the choir, both before and after the verse.*
* Afterwards it was begun by the cantor alone, and continued by
the whole choir. The verse was then sung by the cantor alone,
THE PLAINSONG OF THE MASS 109
The sense is not always complete without this repetition
of the respond after the verse, as, for example, in the case
of the Gradual for the Feast of the Nativity of St. John
the Baptist. In the preface to the Vatican Gradual
(p. xv, No. 4) we are told that, when it seems more
fitting, the first part of the Gradual may be repeated
after the verse, or, " according to the responsorial rite, all
repeat the first part of the respond, as far as the verse,
after the verse has been sung by the cantors, or by one
cantor alone." When this is done, the cantor will sing
the verse throughout by himself. This course may be
objected to on the ground that it takes rather a long
time, but it should certainly be followed on the Nativity
of St. John the Baptist, and at other times when
opportunity offers.
From Septuagesima to Easter the Alleluia is not sung,
but a Tract, composed of passages from the Psalms,
takes its place. This may be sung from double bar to
double bar by the two divisions of the choir alternately.
From Easter to Whit Sunday in the place of the
Gradual is sung an Alleluia verse alone. This differs,
however, from the verse described above, in that a second
Alleluia follows the verse, instead of a repetition of the
first.
On certain Feasts Easter, Whit Sunday, Corpus
Christi, the Seven Sorrows of Our Lady a Sequence
follows the Alleluia, and is sung in alternate verses by
the two divisions of the choir.
After this the Gospel is sung, which in its turn is
followed by the Credo, sung in the same way as the
Gloria, by choir and people alternately. The Offertory,
and the Gradual later was again begun by him and sung through
by the choir. This custom might well be followed now.
no A HANDBOOK OF CHURCH MUSIC
*
which is a passage of Scripture, is then said by the
priest, and commenced simultaneously by the choir.
The Preface follows the Secret Prayers, and is immedi-
ately followed by the SanctllS, which is intoned by the
cantors and continued to the end by the choir. The
choir respond to the priest at the Paternoster and the
Pax Domini, after which the Agnus Dei is intoned by
the cantors each of the three times it is sung. It is
continued by all.
When the priest has received the Precious Blood, the
Communion is sung.
' The Ite Missa Est is the last chant of the Mass, and
is replied to by the choir in the same tone. This should
be the same as that of the Kyrie with which the Mass
began.* In the penitential seasons of Advent and Lent,
and at certain other times, Benedicamus Domino is
sung instead. In Paschal-tide two Alleluias are added to
the Ite Missa Est and the response.
At a Pontifical Mass the Bishop sings after the Deo
Gratias : " Sit nomen Domini benedictum "; to which
the choir replies : " Ex hoc nunc et usque in saeculum."
Then " Adjutorium nostrum in nomine Domini "; to
which the choir responds : " Qui fecit coelum et terram."
He then sings the Blessing. The choir replies " Amen."
In Masses for the Dead no Credo or Gloria is sung,
but the Sequence Dies Irae follows the Tract ; the Gloria
Patri is omitted, as in the last two Sundays before Easter,
and, instead of " Ite Missa Est," " Requiescant in Pace "
is sung, to which the choir responds " Amen."
In addition to the actual music of the Mass, which we
* It is interesting to note that in England the Ite Missa Est,
was always sung to the melody of the Christe, as it is marked in
the Vatican Gradual for Mass VII., Rex Sphndens (the English
Mass).
THE PLAINSONG OF THE MASS in
have just considered, it is customary to sing some appro-
priate piece after the Offertory has been sung, in order to
relieve the monotony of the long wait caused by the
incensing of the altar, etc. Care should be taken that
the piece selected is appropriate, in keeping with the
Feast, and also with the music which precedes and
follows it. Some suitable pieces are suggested in the
calendar.*
An almost universal custom has arisen of singing the
Benedictus as a separate piece after the Consecration.
This is traditionally incorrect, and apparently arose from
the impossibility of finishing both the Sanctus and Bene-
dictus before the Consecration, in the days when, and in
those churches where, the music sung was anything but
the music of the Church. As it is said by the priest as a
part of the Sanctus, so it should be sung by the choir and
people. After the Consecration may be sung the Ave
Verum. I can imagine nothing more beautiful, more
simple, or more appropriate than this.
In this country a prayer for the King, preceded by a
versicle and response, with a Gloria Patri, follows the
sung Mass on Sundays.
The Introit, Alleluia, and Communion can nearly
always be sung by any choir, however small, to the
* Perhaps a better way would be to restore the verses which
formerly followed the Offertory itself (vide Wagner, " Introduction
to the Gregorian Melodies," p. 93 et seq.; and Kienle, " Theorie
et Pratique du Chant Gregorien," p. 184).
There seems no reason why this should not be done, especially
on the great Feasts.
I think none of the melodies have been published in modern
editions, but if anyone who wishes to reintroduce the singing of the
Offertory verses in the way mentioned will communicate with me,
care of the Publishers, I may be able to procure a transcription of
the one required.
112 A HANDBOOK OF CHURCH MUSIC
proper melodies ; but the Gradual, the Tract, when there
is one, and the Offertory, however, frequently present
considerable difficulty. It is not always possible to
insure their being well sung by small choirs, and when
this is the case they may be carefully monotoned by
the cantors. The Alleluia, however, should always be
sung.
The cantors intone all those pieces of chant which are
not commenced by the celebrant, and the last bar, or
Amen, is always sung by the whole choir.
The responses, " Et cum spiritu tuo," etc., should
always be sung promptly and carefully ; so with the
Amen.
The Kyriale gives us a choice of fifteen complete
Masses with Gloria, and three without. There are also
four Creeds, and a choice of Kyrie, Gloria, etc., ad libitum.
Although these Masses are arranged in sets of Kyrie,
Gloria, Sanctus, and Agnus Dei complete, there is no
reason for us to adhere to the order in which they are
given. Thus the Kyrie from one Mass may be used with
the Gloria from another and the Sanctus from a third,
etc. However, the Ite Missa Est should, whenever
possible, have the same melody as the Kyrie with which
the Mass was commenced. Thus, if the Kyrie be taken
from Mass IX., De Jubilo, no matter if all the rest be
taken from other Masses, the Ite Missa Est must be that
of Mass IX. also. Some of the ad libitum chants at the
end of the book are extremely fine, and should certainly
be made use of. The first Credo is the traditional one,
which has been sung nearly a thousand years to signify
the faith of Christians, and this being so, there does not
seem to be any reason for its not being sufficient to-day.
The Mass No. IX. is very simple, and I started my
own choir upon that. It is both easy and attractive, and
THE PLAINSONG OF THE MASS 113
consequently a useful one with which to commence the
singing of plainsong.
I have said something about the choice of music of
varying degrees of difficulty in Chapter VI.
The pace at which the melodies shall be sung varies
considerably, according to circumstances. In a large
church, where the sound has to cover a greater area, the
rate will have to be less than in a small church. More-
over, a large choir can never sing quite so quickly as a
small one, on account of the absolute necessity of keep-
ing together. The hearers should always be able to
distinguish the words, and in the case of a large choir
singing quickly this is almost, if not quite, impossible.
Consequently, the few remarks which follow must not
be taken as more than relatively true. It is impossible
to define any particular rate at which a Gradual should
be sung, because, apart from the circumstances we have
already mentioned, the meaning of the words and the
character of the melody have to be taken carefully
into account. Speaking generally, however, the Kyrie,
SanctuSj and Agnus Dei should be taken more slowly
than the Gloria and Credo, a fact which is evident from
their nature. In an ordinary church, with a choir of
ordinary numbers, the time-value (considering a single
note equal to a crotchet) might be given for the Gloria
and Credo as J=ioo; but the other chants of the
Ordinary should not be quicker than J = 80. With regard
to the Proper it is impossible to give any definite rules,
for each melody has its own peculiar characteristics, and
must be treated accordingly. As a general rule, the more
elaborate the melody, the less rapid the pace should be.*
* Some eminent authorities do not agree with this remark, but
my own experience compels me to regard it as a safe rule, in the
case of children's choirs, at least.
8
U4 A HANDBOOK OF CHURCH MUSIC
Thus, on the Feast of All Saints the pace of the Gradual
should be somewhat slower than that of the Introit and
the Offertory, while the Communion should be some-
where between the two. In syllabic melodies, such as
the Sequences, the pace should be about that of a good
reader.
In the calendar we explain how the singer may find
out the particular chant which has to be sung, both at
Mass and Vespers.
XI
THE PLAINSONG OF THE DIVINE OFFICE AND
OTHER LITURGICAL SERVICES
STRICTLY speaking, the word Liturgy refers to the Mass
alone, but it has come to be used in a much wider sense
of all the official and public worship of the Catholic
Church. Consequently, it includes what is called the
Divine Office, consisting of the canonical hours of
Matins, Lauds, Prime, Terce, Sext, None, Vespers,
and Compline.
I have said that the Divine Office forms a part of the
public worship of the Church, but in this country,
whether owing to the periods of persecution through
which the Church has passed, or through some lack of
appreciation of its value as a public devotion, the fact
remains that there are hundreds, if not thousands, of
Catholics in England who have not the faintest idea of
the meaning of the words " Divine Office." They may
sometimes hear, when they go to see their priest, that he
is " saying his Office," and they go away with the
idea that it is some private devotion for priests alone.
Nothing could be farther from the truth.
Needless to say, this is not the Catholic ideal, or even
a Catholic idea. Even so far back as the days of
St. Ambrose, we know that he had all the canonical
hours observed in his cathedral at Milan, for the purpose,
115 82
ii6 A HANDBOOK OF CHURCH MUSIC
not of exciting his own devotion only, but for the edifica-
tion of all the faithful. St. Louis, King of France, when
journeying from his own land on board ship, had all the
canonical hours observed on board, and attended them,
with all his following.
Again, the famous Simon de Montfort, as we are told
in his Life, written by a contemporary, attended all the
canonical hours said publicly by the clergy attached to
his army, even in the midst of his most difficult wars
with the Albigenses. When England was a Catholic
country, throughout the length and breadth of the land,
in cathedrals, monasteries, and collegiate churches, and
usually in parish churches also, the Divine Office was
everywhere celebrated, and attended by the faithful in
great numbers. Here is an example of Catholic practice
in the ages of faith. To what an extent have we
deteriorated 1
So long as the idea remains that the Divine Office is a
private devotion for priests alone, the Catholic people will
suffer an incalculable loss. There is a great abundance
of far inferior evening services, confusing and puzzling
in their variety, for they differ in nearly every church one
enters ; but the Divine Office, or any part of it, may only
too often be sought for in vain.
I speak principally of Vespers, which is the most
suitable of the canonical hours for celebration in the
evening. Compline is occasionally heard, but it is
perhaps better fitted for its original purpose of private
recitation than for singing in public. But Compline
has at least one advantage. There is no choir so weak,
and no congregation so collectively devoid of understand-
ing, that Compline would overtax its strength. Certainly
it would be better than the unending repetition of the
Rosary, Sunday after Sunday, without any variation.
THE PLAINSONG OF THE DIVINE OFFICE 117
Far be it from me to decry the excellence of the Rosary,
which is one of the most beautiful of our private devotions,
but it was never intended by the Church to supplant her.
universal official prayer by taking the place of Vespers.
I have been trying to imagine some excuses which
can be raised for the non-celebration of Vespers in our
churches. They are indeed difficult to find, but perhaps
it may be useful to discuss two or three of them.
1. The people cannot take an intelligent part in
the service.
They could, if anyone would take the trouble to teach
them. This might easily be done in a short course of
instructions.
2. Non-Catholics would not be attracted.
I have already said something about this objection.
Our services are not intended for the capturing of non-
Catholics. Besides, are non-Catholics attracted by the
Rosary ? I have heard some who were scandalized by
the manner in which the Rosary was said.
3. The choir and the organist could not manage
the service.
This difficulty will be found to disappear when an
attempt is made to learn the service.
The statement may seem rather unpleasant, but I am
inclined to believe that the disinclination of many persons
to Vespers as the evening service must be put down to
laziness.
It would probably be impossible for a choir of ordinary
capacity to do more than manage one of the canonical
hours on an ordinary Sunday or Feast day. Con-
sequently, it will be sufficient for us to take Vespers and
Compline alone in our description of the plainsong of the
Divine Office, with perhaps a very bare outline of Matins
and Lauds.
n8 A HANDBOOK OF CHURCH MUSIC
The chant-book needed for* Vespers and Compline is
the Antiphoner, or the Vesperal, which contains every-
thing absolutely necessary. The Vatican edition of the
Antiphoner has recently been taken in hand, and should
appear before very long. I believe it is suggested that
before the whole work is published everything necessary
for Vespers, etc., will be printed. When this book
appears, its use will become obligatory. Probably some
publisher will then produce a compendium, such as the
present " Liber Usualis," containing everything required
for Mass and Vespers in one handy volume.
VESPERS.
Before every canonical hour, when the clergy and
choir have assembled, the preparatory prayer, Aperi
Domine, is said in silence, followed by the Pater and A ve,
also in silence. Then the celebrant intones the " Deus
in adjutorium meum intende," and the choir responds,
" Domine ad adjuvandum me festina." The melody
varies according to the solemnity of the Feast, the
tones being given in the Antiphoner. The versicle and
response should be sung slowly and solemnly, followed
by the Gloria Patri. From Easter to Septuagesima is
sung Alleluia, but from Septuagesima to Holy Satur-
day, " Laus tibi Domine, rex aeternae gloriae," is sung
instead.
Then the first antiphon is intoned by the officiant, or,
if this be not possible, by the cantors, and continued by
the choir. On days with a lower rank than double, the
antiphon is sung only so far as the asterisk, before the
Psalm, but in full after it. The tone of the Psalm which
follows the antiphon depends upon the mode of that
antiphon, and is indicated by a number printed just
THE PLAINSONG OF THE DIVINE OFFICE 119
before it. The ending of the Psalm also is indicated
by a letter.
This brings us to the very important subject of
psalmody the singing of the Psalms and canticles,
which is the oldest Church music. I imagine that it
would be useless, in such a book as this, to attempt to
explain the principles of psalmody at length, particularly
as it has been done already so admirably and clearly
by Dom. Andre Mocquereau, in the little " Rules for
Psalmody," which, costing, as it does, only threepence, is
within the reach of all.
Moreover, the singers of Vespers will need books of
the Psalms noted, and with these the theoretical diffi-
culties of psalmody will no longer trouble them, for
every Psalm which is ever required at Vespers or Com-
pline is given at length for every tone and every ending.
Further, the treatise on psalmody which I have just
mentioned is given at the beginning of the book. It
may also be found translated in the " Grammar of Plain-
song." by the Benedictines of Stanbrook, which every
singer ought to possess.
We will, however, make one or two general remarks
upon psalmody. The custom of singing the Psalms is
older than the Church herself, and the method of anti-
phonal singing that is, the singing of alternate verses by
two choirs was introduced to the Western Church by
St. Ambrose at Milan. He probably introduced also the
inflexions which have developed into the present Psalm-
tones. But we find mention of the singing of Psalms
and spiritual hymns as a most important means of
exciting the devotion of the faithful in the writings of
the Fathers at a much earlier date even than this.
The Psalms are divided into verses ; the verses are
again divided each into two parts by an asterisk. Some-
120 A HANDBOOK OF CHURCH MUSIC
times these divisions are again divided, if they are rather
long, into two more parts. The division in this case is
indicated by a cross. The Gloria Patri is treated as two
verses in the same manner.
There is a Psalm T tone corresponding to each mode,
and one, called the Tonus Peregrinus, in addition. Each
tone may be divided into three parts :
1. The Intonation.
2. The Reciting Note, or Dominant.
3. The Cadences, one of which at the end of the first
part of the verse forms the Mediation, and the other,
at the end of the verse, forms the Ending.
The difficulties of psalmody occur principally in the
placing of the right syllables upon the right notes in the
mediation and the ending. As these are all clearly
pointed out in the " Psalms Noted," the singer need not
trouble unduly about them. Of course practice is
needed as much in psalmody as in any other branch of
plainsong. There is, perhaps, more risk here than else-
where of the clipping of the endings of words, or the
slurring over of their syllables.
The reciting note should naturally be adapted to the
requirements of the singers, but, generally speaking, it
should not be lower than A or higher than B. The
reciting note should be the same for all the Psalms, but
the antiphon must be transposed, so that its dominant
falls upon the note which has been selected for the
reciting note of the Psalm.
The Psalms should be sung at a moderate pace, but
with some animation. A pause at the mediation is
made equivalent to the length of four notes, but the
greatest care must be taken that, when the chant
recommences, all the singers begin at the same time ;
otherwise the effect will be very bad. At the end of the
THE PLAINSONG OF THE DIVINE OFFICE 121
verse there should be a pause of the duration of one note
only, the note or two notes immediately preceding the
pause being doubled.
The Canticles, Magnificat, Nunc Dimittis, and Bene-
dictus, may have a higher reciting note, and should be
sung more slowly.
The great point to observe in the singing of the
Psalms and canticles is the avoidance of hurry. The
tendency of an improperly trained choir is to rush through
the recitative portions of the Psalms, and to drawl the
mediation and ending.
The cantors intone the first Psalm as far as the
asterisk, and one side of the choir continues it ; the
other side takes up the next verse, and so on. The
antiphon is sung throughout by the whole choir at the
end of the Psalm, and the second antiphon intoned by
the cantors, when the melody of the intonation has been
played by the organist, if necessary. It would be proper
for the senior members of the choir to intone the anti-
phons to the remaining Psalms in turn, but it may be
necessary for the cantors to intone them all. There are
five Psalms in all.
After the last antiphon, the celebrant sings the
Chapter, and the choir responds, " Deo Gratias." The
celebrant then intones the Hymn, which is continued to
the end of the first verse by his side of the choir, and
then sung in alternate verses by each side. All sing the
Amen. The Doxology of the hymn varies at certain
seasons.
It is to be hoped that before very long the hymns of
the Divine Office, which were altered from their original
form at the last rearrangement of the Breviary, may
shortly be restored to their earlier, simpler, and more
beautiful form. A step in this direction has already
122 A HANDBOOK OF CHURCH MUSIC
been made by the inclusion in the Gradual of an older
form of the hymns for Ascension and Pentecost than that
recently in use.
After the Amen of the hymn, the cantors sing the
versicle, to which the choir responds, and the celebrant
intones the antiphon to the Magnificat, which the
choir continues. The cantors then intone the Mag-
nificat, which is sung in the same way as the Psalms.
If the altar is incensed, there will be a short pause
before the third and fourth verses, which will be sung,
the third by the cantors and the fourth by the choir.
The Canticle is continued in this way, two verses at
a time, until all the incensing is completed; then the
Gloria Patri is sung, followed by the antiphon.
The celebrant then sings Dominus VoUscum and the
prayer of the day. If any other Feasts are to be com-
memorated, the cantors sing to the simple tone their
versicles, after the antiphon to the Magnificat for the
commemorated Feast has been sung by the choir.
Then the celebrant sings the prayer. This course is
followed for all the Feasts that are commemorated, the
more important coming first, according to their rank.
The cantors sing Benedicamus Domino, the melody
varying according to the rank of the Feast. The choir
responds in the same tone, Deo Gratias ; the celebrant
says in a lower tone " Fidelium animae," etc., to which
the choir responds, " Amen."
When a Bishop is present he gives the Blessing in the
manner described in our last chapter.
If Compline does not follow immediately after Vespers,
the Paternoster is said silently by the choir ; the cele-
brant says, " Dominus det nobis suam pacem," after
which there is the response, " Et vitam aeternam,
Amen," Then the celebrant immediately commences
THE PLAINSONG OF THE DIVINE OFFICE 123
one of the antiphons of Our Lady, of which there are
four the Salve Regina in Trinity-tide, the Alma
Redemptoris Mater from the first Sunday in Advent
to the Purification, including both days ; Ave Regina
Coelorum is sung from the Purification to Easter, and
the Regina Coeli from Holy Saturday at Compline
until the first Vespers of Trinity Sunday.
There are solemn and simple tones to each of these
antiphons of Our Lady: the solemn tone should always
be sung at solemn Vespers.
The antiphon of Our Lady concludes the Office, but
the prayer " Sacvosanctae" which asks the pardon of God
for the faults committed during the singing or recitation
of the Office, is usually said kneeling and in silence,
before the celebrant and the choir leave the altar.
The cantors should pay the greatest attention to the
singing of the versicles, the intoning of the antiphons,
etc. The whole effect of an otherwise well-sung Office
may be spoilt by want of care in such details as these.
The ceremonial rules which are given in another chapter
should be carefully observed, particularly when the choir
occupies its proper place in the chancel or sanctuary of
the Church. They should be observed as far as possible
even if the choir is in a gallery. Nothing is more
distressing than to see a choir going through the
service with no more regard for the liturgical rules as
regards sitting and standing, etc., than if they did not
exist.
COMPLINE.
The prayer Aperi Domine having been said in silence,
the singer who occupies the lowest seat in the choir goes
to the middle, before the altar, and bowing to the
celebrant, sings, Jube domne benedicere. The
124 A HANDBOOK OF CHURCH MUSIC
Blessing is then given by the celebrant. Then the
singer, who should be a junior or boy, if possible,
occupying the last place in the choir for the purpose,
sings the Lesson and " Tu autem," etc. The Cele-
brant sings, " Adjutorium nostrum in nomine Domini,"
and the choir responds, "Qui fecit coelum et terrain."
Then the Paternoster is said throughout in silence, and
the priest begins the Confiteor. All the singers reply,
" Misereatur," and then, bowing: down, say the Confiteor
themselves on a monotone in a low voice. After the
Misereatur and Indulgentiam they reply, "Amen."
Then follow more versicles and responses, which there
is no need to describe in detail, as they are given in the
Compline books.
The antiphon Miserere or Alleluia (in Paschal-tide)
is intoned by the cantors. Four Psalms, all on the same
tone, follow immediately, and the antiphon is then sung
again. The antiphons are never doubled at Compline
and the little hours.
The hymn Te lucis ante terminum is then intoned
by the priest, and continued by the choir, as in Vespers.
The celebrant then sings the Chapter, and the choir
responds, Deo Gratias.
Then follows a short respond, In mantis tuas
Domine, commendo spiritum meum, which is sung
very solemnly by the cantors. The choir repeats the
same words, the cantors continue, Redemisti nos
Domine Deus veritatis, and the choir responds,
Commendo spiritum meum as before. The cantors
sing, Gloria Patri et Filio et Spiritui Sancto, and
the choir then sings, In manus tuas Domine, etc., to
the end. The melody changes in Advent, and in Easter-
tide Alleluias are added. During Passion-tide the Gloria
Patri is omitted.
THE PLAINSONG OF THE DIVINE OFFICE 125
- The cantors then sing the versicle Custodi nos, and
the choir responds. The priest intones the antiphon to
the Nunc Dimittis, and that canticle is then sung. We
have already said that a higher reciting note may very
suitably be taken for the canticles, and so, of course, the
Nunc Dimittis.
There are no pauses during the singing of the Nunc
Dimittis, as there is no incensing. The antiphon Salva
Nos is repeated at the end. After Dominus Vobiscum
and the response, followed by the prayer and Dominus
Vobiscum again, the cantors intone the Benedicamus
Domino, and the choir responds, Deo Gratias. Then
the priest sings the Blessing.
One of the antiphons of Our Lady follows immedi-
ately, with the appropriate prayer. The priest says,
" Divinum auxilium maneat semper vobiscum," to which
the choir replies, " Amen." Finally Pater, Ave, and Credo
are said in silence, together with the prayer Sacrosanctae.
MATINS AND LAUDS.
Sung Matins is a very beautiful service, and it would
be a very good thing if some of our choirs would attempt
to learn sufficient, at any rate, to enable them to sing
Matins at Christmas, Easter, Whit Sunday, and some of
the other great Feasts. When one thinks of the great
amount of trouble which choral societies take in
practising difficult works, one is inclined to think that
surely there are some choirs who would not mind taking
a little extra trouble simply for the greater honour and
glory of God. If they learnt only one in a year, it
would not be long before the great Feasts might be
celebrated by the singing of Matins, or even Lauds
alone on their vigils. Everything necessary for Matins
upon the Feasts of Christmas and Easter will be found
126 A HANDBOOK OF CHURCH MUSIC
in the " Liber Usualis," but antiphoners will be required
for any other day.
It is not absolutely necessary to sing the whole of
Matins. Certain parts may be sung and others only
recited. I will try to explain what may be done in a short
outline of the service. After certain versicles, etc., the
Venite is sung, preceded by an Invitatory. The cantors
intone the Invitatory the first time, and the choir repeats
it. The cantors sing each verse of the Psalm Venite, and
the choir sings the Invitation between the verses. The
cantors sing the Gloria, and at the end intone again the
Invitatory, which the choir sings through. The Venite
should always be sung at Matins. Then follows a hymn,
which is sung as at Vespers.
Next come three Nocturns, consisting of three
Psalms with antiphons, which are followed by three
lessons. Different members of the choir may each
learn a lesson, so as to be able to chant it. (On Sundays,
when the Office is that of the Sunday, there are more
Psalms.) An ordinary choir might well sing the last of
the three nocturns and recite the other two.
After each lesson there is a long respond, and one of
these may be selected and sung, while the others may be
recited. These responds may be varied on different
occasions, so that in time all may be learnt and sung.
The Te Deum is sung on all Feasts throughout the
year, immediately after the last lesson. After the Te
Deum, if Lauds is to be sung, the Office commences
immediately, except on Christmas Day, when, after a
prayer, comes the Midnight Mass.
Lauds has almost exactly the same form as Vespers,
except that there are different antiphons and Psalms, and
that the canticle Benedictus takes the place of the
Magnificat. If there is incensing of the altar, the same
THE PLAINSONG OF THE DIVINE OFFICE 127
rules about the singing of the verses in pairs may have
to be observed.
The other parts of the Divine Office, which are called
the " Little Hours," on account of their shortness, are
not usually sung, because, for one thing, they are hardly
long enough in themselves to form a suitable separate
service. Terce, however, is often sung before Solemn
Mass.
It is said that people will not come to church for such
a service as sung Matins, because it is too long ; but it
does not last longer than an hour, or an hour and a half
with Lauds. In the present state of ignorance concern-
ing the Office there may be some difficulty in getting the
people to come to Matins, but we must try and revive
the old Catholic spirit which animated our forefathers,
who regarded attendance at a service which they did not
fully understand as still pleasing to Almighty God.
We are told that this country was once an " island of
saints." That was a time when people were wont to
pay more attention to the Divine Office. However,
whether people attend the service or not, there is such a
thing as working (and in this we include singing) simply
for the honour and glory of God. Why should it be
absurd to make use of that wonderful treasury of
devotion which the Church provides for her children in
the Divine Office ? If it is so important for priests and
religious of both sexes that they are bound to recite it all
every day, under pain of mortal sin, surely it must be
important and useful for lay-folk also.
Another liturgical service which has fallen into disuse
no one seems to know why is the Procession, which
used to precede Mass on Sundays and holidays. In
some of our churches, owing to their extraordinary
structure, it is not possible to have these processions in
128 A HANDBOOK OF CHURCH MUSIC
the manner in which they should be held ; but in others
there would seem to be no reason why the choir and the
clergy should not, before Mass begins, go round the
church in procession, using the chant from the Pro-
cessional. It would hardly be necessary to provide
Processionals for all the singers. The particular melodies
required could be copied with the duplicator. Such pro-
cessions, if not held every Sunday, would at least serve
to increase the solemnity of the greater Feasts of the
year.
ROGATION PROCESSIONS.
Regular processions are ordained for the Rogation
days, for the Feast of Corpus Christi and Palm Sunday.
The Rogation processions should be held out of doors
wherever possible. They commence with the singing of
the antiphon Exurge Domine, which is sung like an
Introit, the choir standing before the altar, and then the
Litanies are begun, all kneeling. Each invocation
should be sung by the cantors, and repeated once by the
choir. After the Sancta Maria all rise, and the pro-
cession begins. The order is given in the chapter on
Ceremonial. On the return to the church, the Psalm
Deus in Adjutorium is sung, and the prayers recited.
Mass then begins.
CANDLEMAS.
When the prayers for the blessing of the candles have
been sung, and the celebrant is distributing the candles,
the choir sings the antiphon Lumen, and the canticle
Nunc Dimittis. The antiphon is repeated after each
verse, and the antiphon Exurge Domine follows.
Then, in response to the deacon, the choir sings In
nomine Domini, and the procession is commenced.
THE PLAINSONG OF THE DIVINE OFFICE 129
Two antiphons are given, and a respond, which is
reserved for the return journey to the church. If the
procession is short, there is no need to sing both
antiphons. Responds are intoned by the cantors, con-
tinued by the choir as far as the verse. This is sung by
the cantors alone. The choir then repeats the last
part of the respond proper. The cantors sing " Gloria
Patri et Filio et Spiritui Sancto," and the choir again
repeats the respond. After the respond Mass begins.
ASH WEDNESDAY.
On Ash Wednesday the Office begins with the singing
of the antiphon Exaudi nos like an Introit. As soon
as the distribution of ashes begins, the first antiphon,
Immutemur, is sung. Another antiphon and a respond
follow, after which the Mass begins.
PALM SUNDAY.
After the Asperges (at which the Gloria Patri is
omitted) the antiphon Hosanna is sung by the choir.
Then, after a prayer and a lesson, there is a choice of
two responds. A Gospel and a prayer follow, then the
Ferial Preface is sung, with the Lenten Sanctus from
Mass No. XVII. More prayers follow, and then two
more antiphons are sung, during the distribution of
palms. These must be repeated until all the palms
are distributed. Then, after the Procedamus in pace,
the procession begins. Six antiphons are given for use
during the procession, of which as many as are considered
necessary may be used. When the procession has
arrived at the church, on its return, either two or four
cantors enter, and the door having been closed, they
face the procession and begin, Gloria, laus et honor,
9
130 A HANDBOOK OF CHURCH MUSIC
which is repeated by the choir. There are five verses to
the " Gloria, laus," etc., the first of which is repeated by
the choir after each of the others has been sung by the
cantors. Then the procession .enters the church, the
cantors take their places, and the respond Ingrediente
is sung. Mass then begins.
HOLY WEEK.
On Wednesday, Thursday, and Friday in Holy Week
Tenebrae, as the service of Matins and Lauds for those
days is called, is often sung. It consists of nocturns,
Psalms, and lessons, with their responds, the lessons
having a special tone. Lauds begins immediately after
the last respond ; chapter and hymns are omitted, but
after the Benedictus the Christus factus est is
sung, an extra phrase being added on the second and
third nights. After that is said the Miserere and a
prayer, So the service ends abruptly.
The service of Tenebrae is given in full in the " Liber
Usualis."
On Holy Thursday, after the Mass, the Blessed
Sacrament is carried in procession to the Altar of Repose,
and the Pange Lingua is sung. On Good Friday
there is the Mass of the Presanctified, which begins
with two lessons, between which there are Tracts, and
then follow the Passion and the intercessory prayers.
The priest, uncovering the wood of the Cross, sings
hree times "Ecce lignum crucis," to which the choir
responds " Venite adoremus." Then follow the Re-
proaches, while the ceremony of the Veneration of the
Cross is being carried out.
Two cantors, standing in the middle of the choir, sing
" Popule Meus." One part of the choir sings the Greek
invocations and the other part the Latin. Two cantors
THE PLAINSONG OF THE DIVINE OFFICE 131
from the second choir and two from the first continue
the singing of the Reproaches during the Adoration of the
Cross, the two divisions of the choir replying alternately.
Afterwards is usually sung the antiphon Crucem Tuam
like an Introit, and then the verse Crux Fidelis, and the
hymn Pange Lingua Gloriosa, the verse Crux
Fidelis being repeated after the first verse as far as the
asterisk, and the Duke Lignum after the second verse,
and so on alternately. The choir takes part in the
procession to the Altar of Repose, and on the return to
the altar the hymn Vexilla Regis is sung.
On Holy Saturday there is the Blessing of the Font.
The Office begins with twelve Prophecies. Before
the fourth and fifth, and again between the eighth
and ninth, and eleventh and twelfth, tracts are sung.
Before the prayers the deacon sings, " Flectamus
genua," to which the sub-deacon replies, " Levate."
After the prophecies the priest precedes to the Blessing
of the Font, and another tract is sung. There is a
preface in the Ferial tone. After the Blessing of the Font,
the Litanies are sung by two cantors kneeling in the
middle of the choir, each invocation being repeated by
the whole choir. Immediately afterwards the Mass begins
with the solemn intonation of the Paschal Kyrie. Then
is sung the Gloria in Excelsis, the prayer and the
Epistle. The Alleluia of Easter is then sung by the
celebrant three times, and repeated by the choir. Each
time the tone is raised slightly. Then the choir sings the
verse and the tract. There is no Credo, Offertory, or
.Agnus Dei, but a form of Vespers follows immediately.
All that is sung is the triple Alleluia, the Psalm
Laudate Dominum, and the Magnificat with its
antiphon, followed by the prayer and the Easter Ite
Missa Est
92
132 A HANDBOOK OF CHURCH MUSIC
CORPUS CHRISTI.
After the Mass a procession * is formed, and the hymn
Pange Lingua sung. There are several hymns, any of
which may be sung during the procession. They are the
Pange Lingua, Sacris Solemniis, Verbum Super-
num, Jesu Nostra Redemptio, Aeterne Rex Altis-
sime, Te Deum, Benedictus, and the Magnificat.
The length of the procession will determine the number
of hymns t be sung. It will be noticed that the older
forms of these hymns have been given in the Gradual.
The procession is followed by Benediction.
Other liturgical services are described at length in the
Ceremonial of Bishops and the Ritual, but as they are
seldom used it is not necessary to give long directions
for them here. Such are Ordinations, the Consecration
of a Church, etc.
The occasion of a Confirmation is usually made to
coincide with the Visitation, and as this is a more or less
regular service, we will describe it briefly.
When the Bishop arrives at the church, and has kissed
the cross offered to him by the senior priest or dignitary
present, two cantors begin the antiphon Sacerdos
Pontifex, or the respond Ecce Sacerdos Magnus.
The choir replies to the responses, and the Visitation
proper begins. After the Confiteor the De Profundis
is said, and then, after a prayer, a procession is formed,
either to the churchyard or to some place in the church
which is supposed to represent it. The respond Qui
Lazarum is sung upon the arrival of the procession.
When the procession has arrived at the appointed place,
another respond, Libera, is sung, and after the Pater -
* This is the liturgical procession for Corpus Christi, and the proper
time for it is after Mass, not at the evening service.
THE PLAINSONG OF THE DIVINE OFFICE 133
noster, the response Sed Libera Nos a Malo. A Porta
Inferi follows, with the proper responses, and the return
is made to the altar. During the return the Miserere
is recited, not sung.
Afterwards the Tantum Ergo is sung, with a break
between the verses, while the Bishop examines the
tabernacle, etc.
If Confirmation follows, all the responses are made in
Ferial tone. When all have been confirmed, the antiphon
Confirma Hoc is sung like an Introit. Versicles and
responses follow.
XII
BENEDICTION AND THE EXTRA-LITURGICAL
SERVICES
IN the strict sense of the word, Benediction is not a
liturgical service. However, on the Feast of Corpus
Christi provision is made in the liturgical books for a
procession of the Blessed Sacrament, followed by Bene-
diction, and it is an adaptation of this service which
forms an adjunct to the Mass of Corpus Christi, which
we call Benediction. In this country, Benediction
universally forms part of the evening service on
Sundays.
As a rule, it begins with the singing of the O Salu-
taris, when the priest opens the tabernacle, and incenses
the Blessed Sacrament. Then comes the Litany of
Loretto, and finally the Tantum Ergo. After the
actual Benediction, the service is concluded by the
Adoremus. This is the most usual order of things.
It should be noted, however, that the only essential
parts of the Benediction Service are the Tantum Ergo, the
versicle and response, and the prayer " Deus qui nobis."
The O Salutaris might occasionally give place to some
other Latin hymn to the Blessed Sacrament, such as the
Panis Angelicas, or the Ecce Panis Angelorum,
part of the beautiful sequence for Corpus Christi.
English hymns may not be sung during Benediction.
134
BENEDICTION 135
The Litany is certainly a great favourite, and I am
inclined to think that it is so more because of the swing
with which it is usually sung than from any particular
suitability. A hymn addressed directly to the Blessed
Sacrament would seem more appropriate. There is no
shortage in the supply of acts of devotion, such as the
Ave Verum and the O Quam Suavis. To meet the
need for such devotions, a book has recently been pub-
lished by the Benedictines of Solesmes the " Manuale
pro Benedictionibus" which contains several antiphons,
responds, and hymns, taken from the Liturgy, and
relating to Our Lord Himself. At the present time
Mr. Giulio Bas is bringing out a series of accompani-
ments to this book.
The O Salutaris should not be sung until the priest
has opened the door of the tabernacle. This remark
applies equally to any other hymn that may be sung.
At short Benedictions the O Salutaris may be alto-
gether omitted, and in that case, if nothing else is sung
in its place, the Tantum Ergo is sung immediately after
the incensing of the Blessed Sacrament.
If the Litany of Loretto must be sung, it should be
taken responsorially, the Ora pro Nobis being repeated
after each invocation.
I have said that Benediction is not a strictly litur-
gical service ; consequently, there is no need for the
choirmaster to confine himself to plainsong. Common
regard, however, for the decencies of Church music
should prevent him from making use of the theatrical
types of Tantum Ergo, etc., which were -so common a
few years ago. I have already referred to Dr. Tozer's
" Catholic Hymns." His " Benediction Manual " is by
far the best collection of music for Benediction that has
yet been published. It contains a great number of tunes,
136 A HANDBOOK OF CHURCH MUSIC
many of which possess considerable merit. Some plain-
song melodies to the O Salutaris and Tantum Ergo are
given, but the harmonization might be improved upon.
ROSARY.
In England, unfortunately, this service, or rather
devotion, is frequently allowed to take the place of the
Divine Office. The Rosary is the most beautiful private
devotion we possess, and as such it should be practised
by every Catholic. There can be no possible objection
to the practice of the recitation thereof by the priest and
his people in the church, but when we hear that the
Rosary is " bright and hearty," much in the same sort
of way as a " P.S.A." entertainment, and that con-
sequently Vespers or Compline must be dropped, it is
clear that there is something wrong.* If one or the
other must be omitted, it should not be the Opus Dei,
the Work of God, or Divine Office. There is, however,
no need at all for one to displace the other. The
Rosary is best fitted for recitation in the family at home ;
the proper place for the Divine Office is the church.
In any case, the Rosary should be recited, not sung.
Musical versions of the Hail Mary do not seem very
devotional.
STATIONS OF THE CROSS.
At this service, which is held in Lent as a rule, a
verse of the Stabat Mater is frequently sung between
the stations. Sometimes the whole sequence is sung, a
* In France the Rosary is said on Sundays in nearly all churches,
either before or after Vespers, and thus does not interfere with the
celebration of the Divine Office.
BENEDICTION 137
different verse after each station, and the remainder after
the last station, and sometimes the verse " Holy Mother,
pierce me through," is sung after each station. The
former custom is preferable. The simple French tune
is perhaps the most suitable, and as the prayers, etc., of
the stations are in English, it would seem that the
English words of the hymn are more suitable than the
Latin.
OTHER SERVICES.
In some churches different choral, or rather musical,
devotions to the Sacred Heart are sung, but it would be
impossible to give details of them here. Besides, it will
probably be found that there is no need for any such
musical devotions when the liturgical services are intro-
duced. The necessary directions may be found in the
books of devotion themselves.
HYMNS.
Unfortunately, too often the quality of the words and
music of the hymns sung in our churches leaves very
much to be desired. Meanwhile there is no doubt that
a very great need exists of some good collection of
hymns- cheap, musically good, and of good literary
style. The Church of England possesses many such for
example, the English Hymnal, Hymns Ancient and
Modern, and Church Hymns. The choirmaster should
certainly possess one of these hymn-books, for he will
find many excellent tunes which he may use with other
words of the same metre.
Much may be done to popularize the singing of good
English hymns in our congregations by having copies
138 A HANDBOOK OF CHURCH MUSIC
of the words placed in every seat in the church, while
the melodies may be systematically introduced when
the proper opportunities present themselves from time to
time.
The writer makes a frequent use of melodies from the
English Hymnal, and also of a most excellent collection
of words and music (published separately) called " Songs
of Syon," edited by the Rev. G. H. Woodward. We
have given in our calendar a list of hymns suited to the
different seasons from the recently published List of
Hymns for use in our Churches, drawn up by a com-
mittee of the Bishops of England.
One of the Office hymns of the day may well be sung
in English, and some effort should be made to choose
the other hymns with reference to the Church's seasons.
We always have Christmas hymns at Christmas, and the
same idea can easily be carried out throughout the whole
year. Perhaps it may be as well to call attention to the
way in which the singing of the hymns is often spoilt by
drawling. The congregation should certainly be en-
couraged to stand and sing, but there is sure to be a
tendency to drawl the hymns when the people do take
part in them, and this should be resolutely opposed by
the choir and the organist. The result may be rather
unpleasant for a little while, but in the end the congrega-
tion will begin to learn to sing more briskly.
The verses should be separated by a slight pause, and
great attention should be paid to the expression demanded
by the meaning of the words. Probably the reason that
we so often hear hymns shouted out at -the top of the
voice, from the first verse to the last, is that the words
sometimes have no meaning. I have often wondered
how many people who sing, apparently with such
rapture, " I rise from dreams of time," have the faintest
BENEDICTION 139
idea what is meant by the words they sing. What do
they mean ?*
It will be better to select a short hymn to precede
Benediction immediately than to allow a long one to go
unfinished. Very often the clergy enter the church
during the singing of this hymn, and it is then dropped
immediately. This is rather an undignified proceeding.
* I have been authoritatively informed that the use of hymns
other than those in the Bishops' List, is now forbidden. Con-
sequently, all Catholics who possess any spirit of obedience to
authority will now cease to use such effusions as the above. All
the hymns in the Bishops' List are mentioned in the calendar.
XIII
CEREMONIAL
As the liturgical place of the choir is in the sanctuary,
close to the ministers of the altar, it is necessary for the
proper ritual to be observed by the singers.
I will therefore give the necessary rules as briefly and
concisely as possible. First it may be advisable to say
something about the liturgical dress of the singer. This
is the surplice (superpelliceum). The surplice is properly
the dress of a clerk that is, one who has at least
received the tonsure but as in these days the office of
singer is taken and exercised by other than clerks, the
vestment is worn by laymen. It is, for many reasons,
unfortunate that the surplice is very little worn in this
country. In its place we are accustomed to see the
cotta, an Italian malformation of the true surplice. In
fact, one who wears a real surplice is often looked upon
with suspicion as a kind of semi-Protestant. This is
absurd, for there can be no doubt that the surplice was
always worn in this country up to quite recent times, and
the fact that the Church of England retains the use of
the surplice is surely no argument against its revival
amongst Catholics. There are persons who imagine
that all the practices and customs of Anglicans are to be
despised, although very frequently they have their origin
140
CEREMONIAL 141
in a Catholic tradition. Certainly the surplice is the
official vestment of the inferior clergy of the Catholic
Church.
I may perhaps quote the great Ritualist and Rubrician
Martinucci, whose book upon Ceremonial is the standard
work, with regard to some of the more modern forms of
the cotta. He says : " We cannot hide from ourselves
the fact that the ornamentations of certain forms of the
surplice are more suited for the theatre or the milliner's
shop than for a clerk occupied in performing his sacred
duties." There is nothing solemn or dignified about the
cotta as it is worn at present by some of our altar-boys,
reaching barely to the waist, and that only with the
assistance of a few yards of lace trimmings. I therefore
quote the measurements of a suitable surplice as given
by Martinucci.*
LENGTH. It should reach to halfway between the
knee and the foot.
WIDTH. (a) At the top 12 feet in circumference,
gathered into a band at the neck ; (b) at the bottom
about 20 feet.
LENGTH OF SLEEVE. It should reach to the tips of
the fingers.
WIDTH OF SLEEVE. Six feet in circumference at the
bottom.
These measurements may be varied as circumstances
require, our measurements being given for a full-grown
man, but the main features of the shape and fullness
should be carefully preserved.
The scarlet cassocks which are to be seen in a few
churches are quite contrary to the Roman usage. Black
is the only colour allowed except in cathedral churches.
* " Manuale Sacrarum Caeremoniarum," vol. iii., p. 201
Rome, 1879.
142 A HANDBOOK OF CHURCH MUSIC
Having thus discussed the vestments. of the singer, I
will give in detail some general rules as to procedure in
choir.
All the members of the choir should assemble in their
vestry well before the hour of service, so that they may
vest without delay.
At the appointed time, and at the signal of the master
of ceremonies, the boys first and the men after proceed
in pairs to their places, genuflecting in pairs before the
altar, and then bowing to each other, after which they go
to their seats in the sanctuary. Care should be taken
that the genuflections are made together.
Those in the choir stand till the signal is given to
kneel. Whenever it is necessary for the choir to stand,
kneel, or sit, the action should be performed by all as
one man.
The head is bent when the names of Jesus, Mary, and
the saint whose Feast is being celebrated, are men-
tioned ; also during the singing of the Gloria Patri.
The choirmaster should occupy the seat nearest to the
altar on the Gospel side, and the cantors should be
together on the opposite side.
When the service is over, the boys come out of their
stalls first, meet in the middle, and genuflect in pairs.
They go out of the church in the same order as that in
which they entered.
It is hardly necessary to speak here of the reverence
which should be observed in all the actions of the choir.
There should be no talking in the sacristy, and certainly
not during the procession or in the church. All lounging
in the stalls and carelessness of every kind should be
promptly stopped.
So far as the ceremonies are concerned, the choir
is immediately under the direction of the master of
CEREMONIAL 143
ceremonies, and it is essential that his directions should
be followed promptly and carefully. By this means
alone can the services be maintained with due reverence
and order.
DIRECTIONS FOR MASS.
The singers stand during the singing of the Asperges
and the subsequent prayer, during the Introit, the Kyrie,
the Gloria in Excelsis, and the Collects.
They sit during the Epistle ; rise and stand until after
the Offertory.
After they have sung the Offertory they may sit.
When the incensing of the oblations is ended, the
singers will be incensed. If they are seated, they will
rise and return the salutation of the thurifer ; then the
singer to be incensed bows to the thurifer, and also to his
nearest companion who has not yet been incensed. He
again bows to the thurifer after he has been incensed.
The singers will remain standing until all have been
incensed.
They stand during the Preface, and kneel after the
Sanctus. After the Consecration they rise, and remain
standing until the Communion has been sung.
They then sit until the celebrant is ready to sing the
prayers, then they stand.
They kneel for the Blessing, and then stand until the
end of Mass.
N.B. There is no kneeling except in Requiem Masses
and on Ferias which are also fasting days, when all
kneel for Collects and Post-Communion, and after the
Consecration to the Pax Domini.
When the Pax, or kiss of peace, is given, after the
Agnus Dei, the master of ceremonies will first come to
144 A HANDBOOK OF CHURCH MUSIC
the choirmaster and then to the singer nearest the altar
on the other side of the choir. The Pax is then given by
one singer to another in the following manner : The first,
placing his hands upon the shoulders of the next, brings
his left cheek near to that of the second, saying, " Pax
tecum." The other places his hands under the elbows
of the first and replies : " Et cum spiritu tuo." They
then bow to each other, and the second singer turns to
give the Pax in the same manner to the third, and so on.
He who gives the Pax does not bow before so doing.
VESPERS.
When the singers are in their places, they stand until
the celebrant is ready to commence; they then kneel
with him to say the preparatory prayer Aperi Domine.
They rise with him, and say secretly the Pater
and Ave.
They continue' to stand until the intonation of the first
Psalm.
They sit until the time comes for the second antiphon,
which is intoned by one of the choir, all the singers on
his side standing. They sit until the next antiphon, and
continue in this course until the last antiphon.
At the chapter the singers stand ; they remain stand-
ing during the hymn, and until the antiphon to the
Magnificat has been intoned, after which they sit until
the time comes for the intonation of the Magnificat
itself.
During the Magnificat they stand till the end of the
Gloria Patri, but at the words Sicut erat they sit down
until the antiphon has been repeated.
They stand again until the end of Vespers.
When the antiphon of Our Lady is sung, they kneel,
CEREMONIAL 145
except on Saturdays and Sundays, when it is sung
standing.
In the hymn Ave Mavis Stella the choir kneels during
the singing of the first verse ; so also during the first
verse of the Veni Creator Spiritus. They kneel in the
Vexilla Regis at verse 9 (0 crux).
During the singing of the Magnificat the choir will be
incensed, and the rules which I gave in the directions
for Mass will be observed. If the incensing has not
been completed before the end of the Magnificat, it will
be necessary for the choir to remain standing until all
the singers have been incensed.
SPECIAL DIRECTIONS FOR THE CANTORS.
At Solemn Vespers the two cantors will sit, one on
either side of the choir, in the stall farthest away from
the altar.
When it is time to intone the antiphon, they go to the
middle of the choir, genuflect, and then pre-intone the
antiphon in a low voice to the officiant, who intones it.
They afterwards commence the Psalm, turning towards
that side of the choir which must continue the verse.
Afterwards they genuflect together, bow to each other,
and return to their places. This is done before each
Psalm and canticle.
They sing the verse after the hymn also, and the
Benedicamus Domino m the same manner, standing before
the altar.
CANDLEMAS.
The choir stands during the blessing of the candles.
After the servers have received theirs, the singers
advance in pairs, and each receives his candle kneeling,
kissing first the candle and then the hand of the
celebrant.
10
146 A HANDBOOK OF CHURCH MUSIC
They stand during the prayer Exaiidi Domine, and in
the procession they follow the cross immediately, those
on the left holding their candles in the left hand, and
those on the right in the right hand.
The candles are lighted during the Gospel, and from
the Preface to the Communion.
ASH WEDNESDAY.
The singers stand during the blessing of ashes, and
receive them when directed. They stand after the
distribution.
PALM SUNDAY.
The singers stand, as usual, during the Blessing ; they
receive the palms in the same manner as the candles on
Candlemas Day. When the choir has left the church,
and is just outside the door, on the return of the proces-
sion, two cantors enter, and, the door having been closed,
they sing the Gloria Laus, etc., which is responded to by
the choir outside the church.
HOLY WEEK.
On Maundy Thursday the choir remains standing
after the Communion. The singers kneel during the
incensing of the Blessed Sacrament.
A procession follows. The singers kneel at the altar
of repose.
On Good Friday two cantors will be near the altar
to sing the In quo salus mundi pependit when the cross is
uncovered.
The singers kneel while the celebrant prostrates
himself.
They stand when the celebrant goes up to the altar,
but sit during the lessons. They stand for the Tracts
and prayers and during the singing of the Passion. At
the Venite Adoyemus^ihey kneel.
CEREMONIAL 147
When the celebrant stands, the choir rises. In the
beginning of the procession a genuflection is made to the
altar. At the altar of repose a double genuflection is
made. There is no genuflection on the return from the
altar of repose.
On Holy Saturday, when the deacon sings Lumen
Christi, the singers genuflect.
They sit during the Prophecies, but stand for the
Tracts and the sung prayers.
When the deacon sings Flectamus genua, the choir
kneels.
For the Litanies two cantors should kneel at a fald-
stool placed in the middle of the choir.
ROGATION DAYS.
Two cantors in the middle of the choir commence the
Litanies as far as the Sancta Maria, ora pro nobis. They
then follow the choir, before the sacred ministers, singing
the Litanies. They should take care that the singing be
not finished before it is necessary for the procession to
re-enter the church.
The singers kneel during the prayers which follow the
return of the procession.
BENEDICTION AND EXPOSITION.
The choir sings kneeling.
THE RECEPTION OF A BISHOP.
The choir should be grouped with the clergy at the
door of the church. They kneel to be sprinkled with
holy water. They then form in the procession to the
altar.
They kneel to receive the blessing of the Bishop, and
while he prays before the altar.
IQ 2
XIV
THE CALENDAR
THE ecclesiastical year is divided into weekdays (Fm00),
Sundays (Dominican), and the Feasts of Our Lord, Our
Lady, and the Angels and Saints.
During the course of years this latter class has so
largely increased that very many Sundays and nearly all
the weekdays are now celebrated as Saints' Days. Some
of these festivals of the Church fall upon the same day in
every year; others change according to the date of
Easter. The most convenient way of finding out the
particular Office or Mass celebrated upon a certain day
is to make use of an Ordo Recitandi, a little book
published every year, price sixpence. This is a kind of
calendar. It is in Latin, but as the same forms occur
over and over again, one who is unacquainted with the
language will have little difficulty in making out the
meaning of the Ordo after some practice.
There are also more simple forms of ecclesiastical
calendars in the " Catholic Directory " and the " Catholic
Almanack," which cost only a penny. These calendars
are adapted from the Ordo, and it may be useful for us
to explain the principles upon which it is arranged.
A certain rank or class is appointed for every day in
the year. The weekday, or Feria, is the lowest ; then, in
148
THE CALENDAR 149
ascending order, come the Simple, the Semi-double, the
Double, the Greater Double, the Double of the Second Class, and
the Double of the First Class. Sometimes the two last have
an Octave, or, in other words, the celebration is kept up
during a whole week. The Octave day itself ranks as
a double, the intervening days being semi-doubles.
An ordinary Sunday ranks only as a semi-double.
If two Feasts happen to fall on the same day, the one
of the higher rank is celebrated, and the other transferred,
or merely commemorated in other words, the prayers
appointed for the Feast of lesser rank are said in the
Mass after those of the higher. Sometimes there are
two or three, or even more, commemorations of this
kind. At Lauds and Vespers these commemorations
are also made.
Certain Sundays and Ferias are privileged. Such are
the days of Holy Week, the Vigil of Christinas, Palm
Sunday, etc. This means that any Feast falling upon
those days must be transferred or put off to another daji.
The Ordo also mentions the days upon which the
Gloria and Credo are sung. Special directions are given
for unusual days, such as Christmas and the days of Holy
Week.
In the Missal and Breviary, and consequently the
corresponding books of chant, the Gradual and Anti-
phoner, besides the Ordinary or invariable part, there are
three other parts the Temporale, devoted solely to Sundays
and weekdays (except for the Feasts which come in
Christmas Week) ; the Sanctorale, devoted to the Feasts
of those Saints who have a separate and distinct Office ;
and also the Common of Saints, which serves for all those
Feast-days for which a separate Office is not assigned.
The Proper of Saints is arranged according to the
months, beginning with November.
150 A HANDBOOK OF CHURCH MUSIC
The Common of Saints contains
1. One Mass for the Vigil of an Apostle.
2. Two Masses for a Martyr Bishop.
3. Two Masses for a Martyr not a Bishop.
4. One Mass for a Martyr (in Easter-tide).
5. One Mass for several Martyrs (in Easter-tide).
6. Three Masses for several Martyrs.
7. Two Masses for a Confessor Bishop.
8. One Mass for a Doctor.
9. Three Masses for a Confessor not a Bishop.
10. Two Masses for a Virgin Martyr.
11. One Mass for several Virgin Martyrs.
12. Two Masses for a Virgin not a Martyr.
13. One Mass for a woman Martyr other than a Virgin.
14. One Mass for a Holy Woman neither Virgin nor
Martyr.
From this variety of separate Masses, one is always
appointed for those Saints who have not a Proper Mass. It
is indicated under its date in the Proper of Saints, Some
Saints have partly a Proper Mass and partly a Common.
The perpetual calendar which follows takes no account,
of course, of Sundays, or those Feasts which change their
date from year to year. They must be found out from
the Ordo.
The Anniversary of the Dedication of the Parish Church,
and also of the Cathedral of the Diocese, as well as that
of the Patron Saint or Title, rank as doubles of the first
class with an octave, and so take precedence of most
other Feasts.
The following calendar is intended to show the choir-
master at a glance suitable chants for use after the
Offertory or at Benediction, chiefly from the " Variae
Preces," the " Manual of Gregorian Chant," etc.
THE CALENDAR
The CREED is always sung on Sundays, Feasts of Our
Lord, Our Lady, Apostles, Angels, Doctors, and certain
other days indicated in the Ordo.
The GLORIA IN EXCELSIS is not sung on Ferias, except
in Easter-tide ; neither is it sung on Sundays in Advent
and Lent, or in Requiem Masses. Upon all other days,
however, it is sung.
The days which vary according to the date of Easter
are :
Ash Wednesday, the Sundays in Lent, Passion
and Palm Sunday, and Holy Week, Low Sunday,
the Sundays after Easter, Ascension Day and its
Octave, Whit Sunday, Trinity Sunday and Corpus
Christi, the Sundays after Pentecost, and the
Sundays in Advent.
Other Feasts, the dates of which vary, are :
The second Sunday after
the Epiphany.
The Most Holy Name
of Jesus (double of the
2nd class) .
The Prayer of Our
Lord in the Garden
(gr- d.).
Commemoration of
the Passion of Our Lord
(gr. d.).
The Crown of Thorns
(gr. d.).
The Spear and Nails
(gr. d.).
The Holy Winding-
Sheet (gr. d.).
The Five Wounds
(gr. d.).
Friday after Septua-
gesima.
Friday after Sexagesima.
First Friday in Lent.
Second Friday in Lent.
Third Friday in Lent.
Fifth Friday in Lent.
152
A HANDBOOK OF CHURCH MUSIC
The Seven Sorrows of
Our Lady (gr. d.).
The Sacred Heart of
Our Lord (double of ist
class).
The Precious Blood
(double of 2nd class).
Holy Relics (gr. d.).
St. Joachim (double of
2nd class).
The Holy Name of
Mary (gr. d.).
Rosary Sunday
(double of 2nd class).
Maternity of Our Lady
fer- d.).
Purity of Our Lady
(gr. d.).
Friday after Passion
Sunday.
Friday after the Octave
of Corpus Christi.
First Sunday in July.
Second Sunday in July.
Sunday within the Octave
of the Assumption.
Sunday within the Octave
of the Nativity of Our Lady.
First Sunday in October.
Second Sunday in Octo-
ber.
Third Sunday in Octo-
ber.
Another Feast of higher rank would, of course,
take precedence of any of the above.
The authorized list of English hymns will be found
after the list of Latin hymns, etc.
With regard to that list, I addressed the following
questions to the Archbishop of Westminster, and received
the replies attached from His Grace's Secretary :
1. Must the hymns sung at public services in the
vernacular be drawn solely from those given in the
Bishops' List ?
Answer: Yes.
2. In the case of translations from Latin Office hymns,
etc., must those versions only be used which are given
in the Bishops' List ?
Answer : Yes.
THE CALENDAR 153
3. In the case of translations of Latin hymns, of
which no versions are given in the Bishops' List, may
permission to use such be obtained in particular cases
from the Bishop of the Diocese ?
Answer: Yes.
4. Generally speaking, may permission still be obtained
from the Bishop of the Diocese to use hymns other than
those mentioned in the approved List ?
Answer : Yes and no. (I understood that, though the
Bishops reserved to themselves this right of permission,
it was unlikely that it would be used except in special
circumstances.)
5. Will additions be made to the list from time to time,
so as to include new hymns and versions ?
Answer: Yes.
A hymn-book containing the words of all the hymns
in the Authorized List is now published by Messrs.
Burns and Gates, but for melodies the choirmaster
must have recourse to different collections. Dr. Tozer's
"Catholic Hymns" is usually excellent, and the Anglican
hymn-books before mentioned should also be used.
The following abbreviations are made use of in the
calendar :
Ant. (Antiphon). Man. (" Manuale pro
Benedictionibus ").
Bp. (Bishop). Man. of G. C. (" Man. of
C. (Confessor). Gregorian Chant ").
D. (Doctor). P. (Pope).
d. (double). Seq. (Sequence).
gr. d. (greater double). V. P. (" Variae Preces ").
K. (King). V. (Virgin).
M. (Martyr). W. (Widow).
154 A HANDBOOK OF CHURCH MUSIC
HYMNS, RESPONDS, SEQUENCES, ANTIPHONS, ETC
FOR USE AT MASS AND DURING BENEDICTION.
THE COMMON OF SAINTS.
Apostles.
V. P.:
(252) Resp., O quam pulchri.
Prose, Salve turba duodena.
MAN. OF G. C. :
(367) Two sequences.
Martyrs.
V. P. :
(254) Resp., Gloriosus (for one martyr).
Resp., O veneranda (for several martyrs).
MAN. OF G. C. :
(369 and 370) Two Sequences (for one martyr).
(144) Hymn, Deits tuoruni militum (two melodies).
(147) Hymn, Sanctorum meritis (for several martyrs).
(150) Rex Gloriose Martyrum.
Confessors and Bishops.
MAN. OF G. C. :
(150) Iste Confessor.
(372) Seq., Adest nobis dies.
(373) Alma Cohors.
V. P.:
(257) Resp., Ecce Vir Prudens.
(258) Sancte Chris ti Confessor.
Confessor not a Bishop.
V. P. :
(259) Resp., Iste est de sublimibus coelorum.
MAN. OF G. C. :
(155) Iste Confessor.
(375) Quern invisibiliter.
THE CALENDAR 15 5
Advent.
V. P. :
(59) R or ate coeli de super and Qui regis.
(56) Salus aeterna.
(57) Seq., Regnantem.
Christmas-tide.
V. P.:
(70) Seq., Laetabundus exultet
(72) Rhythm, Salve virgo singularis.
Ant., Ecce nomen Domini.
(73) Ant., Virgo hodie fidelis.
(74) Rhythm, Corde Pair is genitus.
(75) Rhythm, Lux: optata claruit.
(76) Rhythm, Puer natus.
(77) Adestefideles.
Epiphany -tide.
V. P. :
(92) Venite, Psalm with antiphon.
(93) Hymn, /<?.$# refulsit.
(94) Seq., Verbum bonum.
(95) Veterem hominem.
MAN. OF G. C. :
(327) Epiphaniam Domino.
Septuagesima to Ash Wednesday.
V. P.:
(106) Respond, Media vita.
(107) Ant., Domine Deus.
Lent.
V. P. :
(108) Psalm, Miserere mei Deus.
(112) Attende Domine.
(114) Miserere.
(117) Respond, Surgam et ibo.
Ant., Chris te Deus.
(120) Ant., Exatidi nos.
156 A HANDBOOK OF CHURCH MUSIC
Passion Sunday and Five Wounds.
V. P.:
(136) Stabat Mater.
Easter-tide.
V. P.:
(141) Respond, Christus resurgens.
Seq., Salve dies.
(147) Rxultemus.
(148) Three rhythms.
MAN. :
(149) Salve jesta dies.
(152) Ofilii.
(153) Concordi Laetitia.
(151) Victiinae Paschali.
Ascension-tide.
V. P.:
(153) Psalm.
(155) Hymn, Optatus i>otis omnium.
MAN.:
(158) Omnes gentes plaudite.
Whit Sunday.
V. P.:
(158) Ant., Vent Sancte Spiritus.
(160) Sancti Spiritus adsit nobis gratia.
(163) Another Seq.
Trinity -tide.
V. P. :
(165) Kyrie fans bonitatis and Fir ma tor sancte.
MAN. :
(164) Benedicta semper.
THE CALENDAR 157
Ouv Lady.
V. P.:
(37) Sub tuum praesidium.
(38) Inviolata Integra.
(39) Respond, Sancta et Immaculata Virginitatis,
and Respond, Virgo parens Christi.
(40) Respond, Candida Virginitas.
(41) Respond, Salve virginale Christi.
(42) Hymn, Virgo Dei Genitrix.
(43) Hymn, O quam glorifica.
(44) Sequence, Ave mundi spes Maria.
(46) Sequence, Ave Maria gratia plena.
(48) Gaude Dei Genitrix.
(51) Alleluia imperatrix reginarum.
(53) Alleluia salve virgoflorens.
(54) Ant., Totapulchra es Maria.
MAN. :
(38-45) Antiphons of Our Lady.
(45-106) Various chants in honour of Our Lady.
Dedication.
V. P. :
(246) Respond, In Domine.
Seq., Jerusalem et Sion Filiae. Use melody
from English Hymnal 172.
All Saints.
V. P.:
(234) Sequence.
MAN. OF G. C. :
(365) Rex Sanctorum.
Virgins.
MAN. OF G. C. :
(377) Seq., Virginis venerandae.
Holy Women.
MAN. :
(378) Seq., Mulier Laudabilis.
158 A HANDBOOK OF CHURCH MUSIC
In Honour of the Blessed Sacrament.
V. P. :
(5) O Salutaris.
(6) Hymn, Panis Angelicus.
Invitatory, Christum regem Adorenius.
(7) Ave Verum, and Seq., Ecce panis.
(8) Ant., O quam suavis.
(9) Ant., O sacrum convivium, and
Hymn, Pange lingua.
(10) Hymn, Sacris Solemniis.
(12) Hymn, Verbum Supernum.
(13) Hymn, Adoro te devote.
(14) Ant . , Venite popule ad sacrum.
(15) Respond, tlomo quidam fecit coenam.
(16) Respond, Units panis.
(17) Tedecetlaus.
MAN. OF G. C. :
(255-260) O Salutaris (twelve melodies).
(260-265) Tantum Ergo, Adoremus (several melodies).
Hymn, Ad quern dh(.
AUTHORIZED LIST OF HYMNS FOR USE IN CHURCHES
IN ENGLAND.
(Drawn up by a' Committee of the Bishops of England.}
I. ADVENT. 7. Angels we have heard.
1. Hark, an awful voice. 8 " The snow la ? on the
2. Dear Maker of the starry
skies 9. Lead me to Thy peaceful.
3. Like the dawning. Ia Slee P' Hol y Babe '
4. O Thou who Thine own. ' ' Stars of S l01 ^
12. All in a stable.
13. From where the rising
II. CHRISTMAS.
5. Come, all ye faithful. 14. Flowers of martyrdom.
6. See, amid the winter's 15. Jesus, Redeemer of the
snow. world.
THE CALENDAR
159
III. OLD YEAR AND NEW
YEAR.
1 6. A year is dead.
17. O cruel Herod.
1 8. Bethlehem of noblest
cities.
IV. MOST HOLY NAME.
19. Jesus, the VERY thought.
20. O Jesu, King most won-
derful.
21. O Jesu, Thou the beauty
art.
V. LENT.
22. Now are the days of.
23. Thou loving Maker.
24. All ye who seek a com-
fort.
VI. PASSION-TIDE.
25. Overwhelmed in depths
of woe.
26. My Jesus, say what
wretch.
27. O come and mourn with
me.
28. At the cross her station.
29. Say, O say, my people.
30. Forth comes the stan-
dard.
31. O soul of Jesus.
32. Jesus all hail ! who for.
[ 33. My God, I love Thee, not.
34. Jesu, as though Thyself.
35. He who once in righteous.
36. I "see my Jesus.
37. Man of Sorrows.
VII. EASTER-TIDE.
38. Christ the Lord is risen.
39. Ye sons and daughters.
40. All hail, dear Conqueror.
41. Now at the Lamb's high.
VIII. ASCENSION.
42. O Thou eternal King.
43. Rise, glorious Victor.
44. O Thou pure light.
45. O Thou in whom.
46. Lift up, ye Princes.
IX. PENTECOST.
47. Come, Holy Ghost, Crea-
tor, come.
48. Come, Holy Ghost, send
down.
49. Spirit of grace.
50. The Eternal Father.
X. CONFIRMATION.
51. Signed with the cross.
52. My God, accept my heart.
XI. HOLY TRINITY.
53. Have mercy on us, God
most high.
54. O Thou immortal Ligh
Divine.
55. Full of glory, full of won-
ders.
56. Praise to the Holiest.
57. O God of loveliness.
XII. OUR BLESSED LORD.
58. Jesus is God, the solid
earth.
59. When morning gilds the
sky.
i6o
A HANDBOOK OF CHURCH MUSIC
60. Light of the anxious
heart.
61. O Jesus, Jesus, dearest
Lord.
62. When evening's last faint.
63. I met the Good Shepherd.
64. Crown Him with many
crowns.
65. Jesus, Lord, be Thou my
own.
66. O brightness of eternal
light.
67. Jesus, the ONLY thought
of Thee.
68. I need Thee, precious
Jesus.
69. O Lord of perfect purity.
XIII. BLESSED SACRAMENT.
70. Hail to Thee, true Body.
71. Sing, my tongue.
72. Jesus, my Lord, my God,
my all.
73. When the loving Shep-
herd.
74. Soul of my Saviour.
75. The word descending
from above.
76. O Godhead hid devoutly,
I adore.
77. O Jesus Christ, remember.
78. Sweet Sacrament Divine.
79. I come to Thee once
more.
80. Sion, lift thy voice.
81. Thou, prostrate, I adore.
82. Jesus, gentlest Saviour.
XIV. THE SACRED HEART.
83. To Christ, the Prince of
peace.
84. To Jesu's Heart all burn-
ing.
85. Jesus, Creator of the
world.
86. O Sacred Heart, our
home.
87. O Sacred Heart, all bliss-
ful.
88. O Heart of Jesus, purest
Heart.
89. O Heart of Jesus, Heart
of God.
90. I dwell a captive.
91. A message from the
Sacred Heart.
92. Heart of Jesus golden.
93. Sweet Heart of Jesus.
XV. THE PRECIOUS BLOOD.
94. Hail, Jesus, hail.
95. Glory be to Jesus.
96. Blood is the price.
XVI. THE SACRED WOUNDS.
97. Hail, wounds, which.
98. There is an everlasting
home.
99. Ark of the Covenant.
XVII. THE BLESSED VIRGIN.
100. Daily, daily sing.
101. Hail, Queen of Heaven.
102. Mother of Mercy.
103. Look down, O Mother
Mary.
THE CALENDAR
161
104. Holy Queen, we bend
before thee.
105. Sing, sing, ye Angel
bands.
1 06. O purest of creatures.
107. Hail Mary, pearl of grace.
108. O Mother blest.
109. Hail, Thou resplendent
Star.
no. Hail, thou Star of ocean.
in. O Glorious Maid.
112. I'll sing a hymn.
113. The Lord whom earth.
114. What mortal tongue.
115. Whither thus in holy
rapture.
116. O Sion, open wide thy
gates.
117. Rejoice, O ye spirits.
1 1 8. Green are the leaves.
1 19. This is the image.
120. Joy of my heart.
121. O Vision bright.
122. O balmy and bright.
1 23. O Flower of grace.
124. Mary, dearest Mother.
125 Mother Mary, at thine
Altar.
126. Ave Maria, O maiden.
127. Gentle Star of ocean.
128. O mother, will it always
be.
129. O tender Mother.
130. Remember, Holy Mary.
XVIII. ALL SAINTS.
131. O Christ, Thy guilty.
132. Giver of life.
XIX. ALL SOULS.
133. Help, Lord, the souls.
134. O turn to Jesus.
135. Out of the depths.
XX. THE CHURCH.
136. Who is she that stands.
1 37. O Lord, behold the sup-
pliant.
138. Blest is the faith.
139. Faith of our fathers.
140. Full in the panting.
141. Jerusalem, thou city blest.
XXI. MISSIONS.
142. Hail, holy mission.
143. O Father, Son, and Holy
Ghost.
We come to Thee, sweet
Saviour.
Souls of men, why do ye.
146. Days and moments.
147. Jesus, my Lord, behold at.
148. God of Mercy and Com-
passion.
O come to the merciful
Saviour.
O the priceless love of
Jesus.
XXII. FOR CHILDREN.
151. Hear Thy children, gent-
lest Jesus.
152. Hear thy children, gent-
lest Mother.
153. O sing a joyous carol.
154. I love those precious.
155. Dear little One.
II
144.
145.
149-
150.
1 62
A HANDBOOK OF CHURCH MUSIC
156. Mother Mary, at thine
altar.
157. Come, ye little children.
158. O Jesus, God and Man.
159. Mary, dearest Mother.
1 60. Dear God of orphans.
161. Guardian Angel.
i#2. Jesus, Thou art coming.
163. Little King.
164. My God, I believe.
165. O Jesus, on Thy Mother's
breast.
XXIII. ANGELS.
166. Kind angel, thanks to
thee.
167. My oldest friend.
1 68. Dear angel, ever at my
side.
169. O Christ, the glory of the
angel.
170. O Jesu, life-spring of the
soul.
171. Jesu, brightness of the
Father.
1 72. Praise we those ministers.
XXIV. HEAVEN.
1 73. Who can paint that lovely.
174. O Paradise.
XXV. SAINTS.
175. Hail, holy Joseph, hail.
176. Dear Husband of Mary.
177. Seek ye the grace of God.
y8. Jesus, let me call Thee
Son.
179. Joseph, pure Spouse.
1 80. Joseph, our certain hope
below.
181. Great St. Joseph, son of
David.
182. In caves of the lone
wilderness.
183. O blessed saint of snow-
white.
184. Seek ye a patron to de-
fend.
185. The beauteous light.
1 86. The Lord commands, and
lo His.
187. Peter, blest shepherd,
hearken.
1 88. Now let the earth with
joy.
189. The Lord's eternal gifts.
190. When Christ by His own.
191. Now daily shines the sun.
192. Saint of the Sacred Heart.
193. The life which God's.
194. An exile for the Faith.
195. Great St. Andrew, friend.
196. O Thou of all Thy
warriors.
197. O Thou the Martyr's
glorious.
198. Martyrs of England.
! 99' Tyburn's days.
200. Leader now on earth no
longer.
201. Arm, arm for the struggle.
202. The Confessor of Christ
from.
203. Hail, glorious St. Patrick.
204. St. Patrick, for our country
pray.
THE CALENDAR
163
205. All praise to St. Patrick.
206. Lord, receive our thankful.
207. OThou,the eternal Father.
208. Dear crown of all the
Virgin.
209. Sweet Agnes, holy child.
210. Let the deep organ swell.
211. More fair than all the
vernal.
212. Spotless Anna, Juda's
glory.
213. Father of the lights.
XXVI. GENERAL HYMNS.
214. My God, how wonderful
Thou art.
215. Praise we our God with
joy.
216. Loving Shepherd of Thy
sheep.
217. Sweet Saviour, bless us.
218. Why art thou sorrowful.
219. Heaven is the prize.
220. Jesus, ever-loving Saviour.
221. Just for to-day (Lord for
to-morrow).
222. Say not thou art left of
God.
223. Unveil, O Lord, and on
us shine.
224. When I sink down.
225. The day of wrath.
226. Great God, whatever
through (Acts of Faith,
Hope, and Charity).
227. Happy, we who thus
united (Holy Family),
228. Let those who seek the
world.
229. Hail, full of grace and
purity (Rosary).
230. By the Archangel (three
hymns).
231. O blest Creator of the
light.
232. Now with the fast de-
parting.
233. O Bread of Heaven.
234. What happiness can
equal.
235. Now doth the sun ascend.
236. All night the Apostles.
237. The fierce gale struck the
ship.
238. As fades the growing orb.
239. Amid the city's golden
towers.
240. Christmas comes to bless
the earth.
241. There is a land.
242. The darkness fleets.
243. Jesus, eternal Truth.
244. Light of the soul.
245. Soon the fiery sun.
2
1 64 A HANDBOOK OF CHURCH MUSIC
Sanitary
DAY.
OBSERVANCE.
NOTES.
2.
3-
4-
5-
6.
8.
9-
10.
ii.
12.
13-
14.
T5-
1 6.
17.
1 8.
19-
20.
21.
22.
23-
24.
25-
26.
27.
28.
2 9 .
30.
3 T -
First
Sunday
after
Epiphany
CirClimCi6iOn. V. P. (86), "Laetare puer-
pera." Ant. (87), "O
beata infantia."
Cta\>e Ot St. Stepben. Everything as on the day.
ctave ot St. 3obn, Bp., i
See Epiphany-tide.
ctave ot 1bolE 5nnocente. |
[cu'l. ctave ot St.
ftbomas ot Cant.
t tbc ctave.
ctave ot tbe
St. Ibilar^, C., ^Sp.
St. Paul, jfirst fbermit.
St. /iBarcellus, p., /IR.
St. HntonB, ^bbot.
St. peter r Cbair at IRome.
St. Wulstan, J6p. t C.
SS. 3fabian, p., ant) Sebas*
tian.
St. agues, li). ant> /IR.
SS. \Dmcent ant) Bnas*
tasius.
Cbe ^Espousals ot
JB.D./lft.
St. ^imotb^ t JSp., C.
Gbe Convereion ot
Ipaul, Bp.
St. ipol^carp, JBp., /IR
St aobu Cbrg008tom t
tbe
St.
St.
St. jfrancfs ot Saks.
St. /IRarttua, \D. t /1R.
St. peter molaeco, C.
tfeast ot tbe 1boi^ 1Rame.
V. P. (97), R.,
omnes." Ant. (98), e "O
adniirabile Nomen
Jesu." Man. (124), Seq.
" Dulcis Jesu Nazar-
enus."
THE CALENDAR
165
OBSERVANCE.
St. 30natius, ;H6p., jflfc.
purification of JB.tD.
C. ; a
St. Xawrence, J
St. liaise, 36p. t .
St. Bnorevv Gorsini, JBp., C.
St. Baatba, D., /Ift.
St. tTitus t JBp., C.; anD St.
Dorotb^, lt). t /Ifc.
St. IRomualD, Bbbot.
St. $obn of /!Ratba t C.
St. GgrU of BlcjanDria, C., 2).
St. Scbolastfca, It).
St. Gilbert, ur Xao of SOD
rows.
St. Rennet JBfscop, 2lbbot.
I St. Dalentfne.
SS. ^Faustinas ano
St. Simeon, ^5p.,
St. filter's Cbafc at Bntiocb.
St. pet r Bamfan, 36p, t <J., 2),
St. /iRatbias, Bp.
St. Etbelbert, Iking, C.
NOTES.
V. P. (102), "Suscipiens Je-
sum." Ant. (103), "Ave
gratia plena." H. " Quod
chorus vatum."
V. P. (104), Seq. "Emicat
meridies." Ant. (106), " O
quam praeclara."
i66
A HANDBOOK OF CHURCH MUSIC
flDarcb.
OBSERVANCE.
NOTES.
St. 2>av>io, ffip., G.
St. Cbio, Bp., C.
St. Helteo, Bbbot, C.
St. Gasfmir.
St. ftbomas aqufnas, C*, S>.
St. ffelfc, p., G,
St. fiancee of TRome,
o;be 3f ortg
S r .
tbe (Breat.
St. {Patrick JBp., C.
St. Gabriel.
St. 3-osepb.
St. Cutbbert t JSp., C.
St, cncWcr, abbot.
St. Cgril of Jerusalem.
annunciation ^.ID./lft.
St. 5obn H).imasccne, C.,
St. 5obn Capietran.
V. P. (121), " Exultet men-
tis." Man. (137), Seq.
" Doctor Thomas."
V. P. (122), "Iste est." R.
(123), "Gregorius."
Man. of G. C. (341), " Audite
omnes." (343), " Ecce ful-
get."
; V. P. (124), "Ivaeto cantu
celebretur." H. (126),
"Iste quern." Ant., " O
felicem virum." Man. of
G. C., "To Joseph."
V. P. (127), Seq. " Laeta
quies." R. (128), ''Pater
insignis." Ant. " O Coe-
lestis."
V. P. (130), R. "Gaude," and
Seq.
THE CALENDAR
167
Hpril
DAY.
OBSERVANCE.
NOTES.
I.
2.
St. 3f rands of panla.
3-
St. IRicbarD, Sp. t C.
4-
St. JstDore, 3Bp. t C., 2).
5-
St. Wincent jfeccer.
6.
7-
8.
9-
,
10.
ii.
St. 3Leo, jp. t C., 2).
12.
13-
St. 1becmene0UD t S. t IB., /IR.
14.
St. Austin, jflft.
15-
16.
17.
St. Stepbcn, Bbbot.
18.
19.
St. Blpbege, ^8p., /!R.
20.
21. St. Bnselm, 3Bp,, G., 5).
22.
SS. Soter anD Cains, UMP.
23-
St. <3eor0e.
2 4 .
St. jfiDelis Si^maringen, /IR.
25-
St. /IRarfc, jvan<g^Ust.
26.
SS. Cletus anD /iRarcellinus,
27.
St. B0bert.
28.
St. ipanl of tbe Cross.
2 9
St. peter, /IR.
30.
ctave of St. <Seor0e, /IR,
1 68
A HANDBOOK OF CHURCH MUSIC
OBSERVANCE.
C.
SS. ipbilfp ano Sames, Bpp.
St. atbanaeius.
ffinoing of tbe Cross, $. $obn
ffisber, a. More, ano Comp.
St. Monica.
St. Catberine of Siena.
St. $obn before tbe Xatin
(Bate.
St. Stanislaus, $p. t ^ift.
apparition of St. dfcicbael.
St.
C., 5).
St.
St. Ipius ID.,
St. TRereus.
St. IKaaUnirga.
St. Boniface.
St. 5obn baptist De la Salle,
c.
St. Simon Stocfc, C.
St. jpascbal ^Saslon, C.
St. IDenantius, /Ift.
St. Bunstan, ^5p., C.
St. ^ernaroine of Siena.
St. ipeter Celestine, p., C.
St. "Qlbalo, JBp., C.
St. 5obn Baptist oe IRossi,
C.
ur Xa^ t>elp of Cbri6tian0.
St. Biobelm, $p.. C.
St. 2iu0u0tine, 36p., C., Bp. of
NOTES.
i V. P. (151). R., "Ocruxglori-
osa." Ant, "O Crux."
Man. (154), "Salve crux."
St. ffieoe.
St. reaor^ tDH., U5,, C.
St. JEleutberius, jp., /IB.
St. tfelij !., p. t m.
St. Angela of /Hbericia, ID.
THE CALENDAR
169
30.
Sunday
after oc-
tave of
Corpus
Christi.
OBSERVANCE.
ctave of St.
St. jfrancia Caracctola, C.
St. JSSomtace, 3Bp., dfc.
St. iKorbert.
St. William.
SS. primus an& ffelfcfanus,
St. /ifta'r^aret, <Sfc. ot Scotland.
St. J6arnabai? t Bp.
St. $obn ot jpacimDum.
St. Hntons ot paDua, C.
NOTES
St.
tbe Great,
C.,
SS. Ditus, flfeooestus,
ccntia,
St. ;fcotolpb, Bbbot, C.
SS. /Iftarcus anD /Hbarcellf=
nus, /ift/ift.
St. Juliana jfalconfcrf, \i).
St. Silvertus, flX, /ift.
St. 2llo^6iu0 (5on3a0a t C.
St. Blban t iproto^/lftartsr ot
\Df0tl. St. BtbelOreba.
mativitg ot 5obn baptist.
St. irafllfam, Bbbot.
SS. 5obn anC> ipaul,
t tbe ctave.
St. Xeo 11., p., <T.
SS. peter auo Paul.
Comm. of St. Paul, Bp.
SacreD Ibeart.
V. P.(i76),R., "Siquaeris
miracula." Man. of
G. C., "Psallat voce "
and two hymns.
V. P. (177), R., "Hie est
praecursor." Man. of
G. C. (177), "Quisolim/'
and Seq.
5. Peter, V.P. (181), 2. R.
and an Ant., 5". Paul,
i R., Both Man. (180),
H. "Felix per omnes."
V. P. (168), pffice hymns
from Matins and Lauds.
Ant. (169), " O quantum
in cruce." (i7o)Transi-
toriuni from Ambrosian
Liturgy.
A HANDBOOK OF CHURCH MUSIC
DAY.
9-
10.
II.
12.
13-
14.
15-
16.
i?.
1 8.
*9-
20.
21.
22.
23-
24.
25-
26.
27.
28.
2 9 .
30.
First
Sunday
OBSERVANCE.
crave ot IRattvftg ot St 3obn
baptist,
Disitation .IB.D./Ift.
f tbe ctave.
St/iantonE /iftarg ^accaria, C.
ctave of SS. peter anO pauL
translation of St. ftbomas of
St. Bti3abetb, (SI. of Portugal.
St. TKaillibalo, ^3p., C.
Gbe Seven JBrotbers.
St. plus I.. flX t /IR.
St. Job)t (Sualbert, Bbbot.
St. Hnaclctus, p. t /ift.
St. JSonaventure, JSp., C., 5).
St. Swftbln, J5p. t C.
ur XaD^ of /iftt. Carmel.
St. smunfc, JSp., C.
St. Camillue of TLciiis, C.
St. Wncent of Paul, C.
St. Jerome Bemtlian, C.
St. 1benr^ t Bmperor, C.
St. ^iftar^ /iftagDalen, pent*
tent.
St. Bpollinaris, J8p., /Ift,
St. :aieius, C.
St. 5ame0 t Bp.; ano St. Gbris*
topber, /ift.
St. Bnne, /Iftotber of JB.W./lft.
St. ipantaleon. /Ift.
SS. 1Fla3ariu6 anD Celsus,
/Ift /Ift.
St. /iftartba, It).
St. (5ermanu6 t ^Sp. t Cj SS.
aboon ano Sennen, /Ift/lft.
St. 5anatiii6 OLo^ola.
{precious ^Slooo.
NOTES.
V. P. (187), R. and Seq.
V. P. (190), R., "O Mir-
ium." Ant. and H. (192).
Man. of G. C, Seq. " Tes-
tamento veteri."
V. P. (186) R., "Vos.
THE CALENDAR
171
august
OBSERVANCE.
St. Jeter's Gbafns.
St. Hlpbonsus /IBarla Xfaueri,
JBp. t G.
Gbe Jfm&ing of St. stepben,
St. 5>omtnfc, G.
2>eo:cauon of JBasilica
of ur Xao& of Snows.
transfiguration of ur
Xoro.
St. Gajetan, G.
SS. G^riacus anD Sniaragt)us t
St. swalfc, S. iB. t anb /IB.
St. Xawrence, /IB.
f tbe ctave of St. Xaw=
rence.
St. Glare, It).
f tbe ctave.
Sseumption of JB.lD./fB.
St.
ctave of St. Xawrence, /IB.
St. ibden, m
f tbe ctave.
St. JSernaro, Bbbot r C., 2).
St. Sane ^Frances oe Gbantal,
TKH.
ctave of assumption.
St. ipbtlip ^Senitius, G.
St. ^Sartbolomew, Bp.
St. Xouis, 1R. t G.
St. ^epbgrfnus, ip, t /IB.
St, Josepb Galasancttus, G.
St. BiiGustine t J6p., G., 2).
of St.
tiet.
St. IRose of Xima, ID.
St. Bfoan, Bp. t G.
NOTES.
V. P. (I 95 ).
V. P. (196), Seq. "Fulget
mundo."
V. P. (199), R. "Gloriosus."
V. P. (200), R. (203), R. (204).
V. P. (205), Seq. "Laeta-
bunda."
V. P. (208), Seq. "Magne
Pater Augustine."
172
A HANDBOOK OF CHURCH MUSIC
September.
OBSERVANCE.
St. IRagmono IRomtatus, C.
St. Stepben, IK. ot
C.
St. Xawrence Justinian,
f tbe ctave.
St. ifticbolas of Goletttftto, G.
f tbe ctave.
tbe 1bols Cross.
ctave oa^ ot IRatfvntg
JB.ID./IR.
SS. Cornelius, B\, /lft. t
Cyprian, ^Sp., /lib.
impression of SacreD
mata of St. tf rancis.
St. 5osepb of Cupertino.
SS. ^anuarius, etc., /Ift/IR.
SS. JEustacbius ano Cornp.,
St. /ifcattbew, 2lp.
St. ttbomas of Dillanova.
St. Xinus, lp. t
ur XaOp of /iR
St. IRtnian, ^Sp.. C.
St. Gbeooore, J8p. t C.
SS. Commas ano 2>amian t
St. Menceslaus. 2>ufce t /lib.
H)eoication of St. /UMcbael,
Brcbangel.
S. Jerome, ipresb. ano 2).
NOTES.
V. P. (211), "Solein" and
Seq.
V. P. (216), Responds. Man.
(191), another respond.
THE CALENDAR
ctober*
173
OBSERVANCE.
NOTES.
First
Sunday
in
October
Second
Sunday
Third
Sunday
St. IRemfafus, 3Bp,, C.
1bol (BuarDtan Bngete.
St. Gbomae ot IbereforD,
G
St. tfrancte, C.
SS. flMacto an& Gomp.,
St. jScuno,
St. /Hbarh, ip. ant) C.
St.
SS.
Comp., .
St. paulinu0 t Sp. t C.
St. jPrancis Borgia, C*
St. Mfltrtt).
St. ^EDwarD tbe Confessor
St. Callistus l., flX an& /IR.
St. ^bcresa, ID.
f tbe crave of St.
St. 1beDwi^e t TKfl.
St. Xufce, raug.
St. ipeter of BIcantara.
ctave Da^ ot St. ^Eovv
SS. 'drsula ano Gomp.,
S. 5obn Gantius.
ur 1bol^ iRe
St. IRapbael, Brcbangel.
. of St.
3Bp., G.
St. J6vartetus, ip. t jrtb.
ID tail.
SS. Simon an 5 3uoe t Bp.
9100.
Sunoag*
/Iftaternft^ of ur Xaog.
ipuritg of ur Xadg.
V. P. (225), R., "Angeli
Dei."
V. P. (226), H.
V. P. (230), Seq.
V. P. (283), " Divine ductor
Raphael."
V.P. (220), R. "Ornatam."
(223), Rhythm. "Omni
die."
174
A HANDBOOK OF CHURCH MUSIC
IRovember*
OBSERVANCE.
NOTES.
2111 Saints.
Comm. of ail Souls.
St. TOnefrtoe.
St. Cbarles JBotromeo.
f tbe crave.
ctave of 2111 Saints.
Gbe BeDication of Brcb*
basilica of S. Saviour.
St. HnDrevv Bvellfno, C.
St. Martin, Sp., C.
St. Martin l. t p., M.
St. Bioacus.
St. Brconwalo, ^3p., C.
St. (Bertruoe, D.
St. JEDmunt), 3Bp. t C.
St. 1busb, JSp., C.
Gbe BeDication of basilica of
SS. peter ano Paul.
St. U3abetb, IKfl.
St. BDmuno, 1k. t M.
presentation, J8.1D./IR.
St. Cecils, ID.
St. Clement 1., p., M*
St. $obn of tbe Cross.
St. Catherine, ID., M.
St. Silvester, Bbbot
V. P. (341), "Rogamus te
Domine," and another R.
V. P. (250), R., "Audi Filia."
V. P. (251), R., " Virgo flagel-
latur."
IDigil. St. TOllibrorD,
St. Bnorew, Bp., /IR.
C.
THE CALENDAR
December.
175
OBSERVANCE.
NOTES.
Messed B&munD Cam*
pion ant> Soc,, .flfe/Ift.
St. JBibiana, ID., /Ifc.
St. tfrancfs lavier, G.
St. fleeter Gbrgsolocjus,
JBp., G., 2).
St. minus, 3S8p., G.
St. IKUcbolas, ;JBp., G.
St. Hmbrose, :JBp., G., 2).
immaculate conception,
f tbe ctave.
St/feamaaus 1., p., G.
t tbe ctave.
St. Xuc^ t ID., A.
t tbe ctave.
ctave of Immaculate
Gonception ot ^5.1D./lft.
St. Bueebius, ^Sp. t /IR.
I ^Expectation JS.D./lft.
JBleseet) IDicban D., IP.
INgfL
St. Ubomas, Bp.
V.P.(6i), "Exejustumba." (68), Seq.
" Congaudentes exaltemus."
V. P. (66), Seq. " Dies iste." (69) H.
" Aurora soli praevia." Man. of G.
C. (109), "Ad honorem Messiae."
(no) " Mariae Conceptio."
St. 3-obn, Bp. anD
_ of ur Xort).
St. Stepben, pl'OtOs V. P. (79), R. "Ecce jam coram te."
H. " Sancte Dei pretiose Proto-
martyr." Man. of G. C. (316), Seq.
" Magnus Deus."
(V. P.) (82), Seq. "Johannes Jesu
Christe." Ant. (84), "Hie est
beatissitnus." Man. of G. C. (319),
"Ouein ad terras." (321), "Con-
telnplator."
5nilOCentS, /Ife/llb. V. P. (84), R., "O quam gloriosum."
Ant. (85), Clamant." Man. of G. C.
(324), "L,aus tibi Cbristi."
St. ^Ibomas Of Gaitter* Man. of G. C. (325), Seq. "Solemne
bUtg, ^fiSp., /Ift. Canticum."
St. Silvester, p., G.
GLOSSARY
Accent. (a) The increased stress with which one syllable at least
in each word is pronounced. In words of two syllables the
accent is usually on the first. In longer words the accent is
indicated in the chant-books by an acute accent e.g. , Dominus.
(&) The mark placed upon the syllable to be pronounced
with stress.
Accompaniment. The art of supporting the voices of the singers
upon the organ, by supplying suitable diatonic harmonies to
the melodies.
Theoretically, plainsong is better without accompaniment,
and when it is used, its purpose of merely supporting the
singers must be kept in view. Other instruments than the
organ or harmonium are forbidden for purposes of accompani-
ment. It is forbidden to accompany the celebrant.
The use of the organ is forbidden during Advent and
Lent, except upon Feast-days, and Mid-Advent and Mid-Lent
Sundays.
Agnus Dei. " Lamb of God." Formerly sung during the Com-
munion of the people, at the order of Pope Sergius I. (678-701).
The melodies are usually more simple than the others of the
Ordinary. The Agnus Dei should be sung fairly slowly.
Alleluia. A Hebrew word of rejoicing. It is sung after the
Gradual, and also after the verse.
During Easter-tide the Alleluia is more frequently used. In
Lent it is not sung, to signify the Church's sorrow.
It should be sung with great solemnity.
Alleluia Verse. The verse sung during Easter-tide in the place of
the Gradual.
Antiphon. Gk. avrlffruvos = re-echoing.
The chant which precedes and follows a Psalm. It was
formerly sung after each verse, like the Invitatory at Matins,
which is repeated after each verse of the Venite. The antiphons
reflect the spirit of the Feast, and they determine the mode of
the Psalm.
Antiphonal Singing. The alternate singing of the Psalms by two
choirs.
176
GLOSSARY 177
Antiphoner. Means literally " the book of the antiphon." This is
the book of chant which corresponds to the Breviary, and
contains the Divine Office. At present the official Antiphoner
of the Roman Church is being arranged by the Pontifical
Commission.
Arsis and Thesis. The names given to the ascending (Arsis) and
descending (Thesis) movements, which form the basis of the
rhythmical system. Every word contains a short and light
part, the Arsis, and a slower and more drawn-out portion, the
Thesis.
Authentic Modes. Gk. dvdevTiKos = original.
The first, third, fifth, and seventh modes. Sometimes called
" primitive," as the others were not considered separate modes
until about the time of Guy of Arezzo.
The Greeks still retain the old system of four modes, each
with two forms.
Cadence. A falling of the voice in psalmody.
There are two cadences :
1. The cadence of the mediation at the end of the first
half of the verse.
2. The cadence of the final, at the end of the whole
verse.
Canticle. The Magnificat at Vespers, the Benedictus at Lauds, and
the Nunc Dimittis at Compline. Special adaptations of the
Psalm tones are used for the Canticles to give greater solemnity.
The intonation is repeated before each verse.
Chant. See Plainsong, Syllabic Chant, Neumatic Chant, Melismatic
Chant.
Chironomy. Gk. xpoi>o/u'a = a regulated movement of the hands.
The direction of the chant and the indication of the rhythm
by means of movements of the hands. The arsic movement is
denoted by rising curves, and the thetic by descending curves.
Choir (or Quire). (a) The body of singers, formerly clerks, to whom
is entrusted the rendering of the sacred music. It is divided
into two parts, who sing antiphonally.
The choir should occupy a place in the chancel.
(b) The part of the church occupied by the singers, separated
from the nave by a rood-screen.
Chromatic Scale. Gk. xp&fj-a = colour.
The scale in which the notes are divided by semitones.
This scale is the opposite of diatonic, the scale used in plain-
song.
Common. The part of the Gradual and Antiphoner in which are
given the chants for those Saints who have no particular Mass
or Office allotted them. The dedication of a church and some
Feasts of Our Lady are provided for in the Common.
Communion. An antiphon sung during the Communion of the
people, or immediately after the priest has received the Precious
Blood.
The Communion should be sung fairly rapidly.
12
i;8 A HANDBOOK OF CHURCH MUSIC
Creed (or Credo). "I believe."
The profession of faith sung in the Miss is the Nicene
Creed. It was introduced into the Roman Mass in 1015, at the
instance of the Emperor St. Henry.
The Creed is sung only on Sundays, Feasts of Our Lady,
the Apostles, and a few other Feasts. It is essentially a chant
for the people to join in.
Diatonic Scale. The scale used in plainsong, in which the notes
follow the natural order, as opposed to the chromatic scale, in
which any of the notes may be raised or lowered a semitone by
means of the " sharp " and " flat."
As the diatonic scale is used for the modes, the accompani-
ment must also avoid chromatic alterations.
Dominant. The note in each mode about which the other notes
seem to group themselves.
Elision. The sliding over (not omission) of a vowel at the end of a
word before a word commencing with another vowel. The
syllables to be elided are printed in italics in the Vatican and
Solesmes editions e.g., " Arbor decora et fulgida."
Final (or Tonic). The note upon which the melody ends. It is
always the first note of the mode.
The final or tonic, with the dominant, are the two principal
notes of the mode, and give it a special character.
Flex. Lat. flexus = a. bending.
A break in the verse of a Psalm, indicated by a cross (t).
The note preceding must be slightly lengthened. In monastic
churches the note before the flex is lowered.
Gloria. The " Angelic Hymn." Mentioned in the Apostolic Con-
stitutions. Probably introduced into the Roman Mass by St.
Telesphorus, who died in A.D. 154. Until the eleventh century
the singing of the Gloria was practically reserved for Bishops,
then it was extended to priests. It should be sung by choir
and people alternately, fairly quickly.
The Gloria is omitted in penitential seasons, and in some of
the votive Masses, as well as on ferias outside Easter- tide.
Gradual. A responsorial chant sung between the Epistle and
Gospel, except during Easter-tide, when an Alleluia verse is
sung instead.
It consists of a respond, an Alleluia, and a verse. From
Septuagesima until Easter the Alleluia and verse are replaced
by a Tract.
It is called Gradual from the Latin gradus = a step (on
account of its being sung on the steps of the ambon). The
melodies of the Graduals are nearly all anterior to the time of
St. Gregory, and are perhaps the most beautiful of all plain-
song. They should be sung fairly slowly, for the elaborate
music requires careful rendering.
Harmonization. See Accompaniment.
Hymn. A composition in verse, or, in other words, a composition
in which the words follow a regular meter, not the free rhythm
of speech.
GLOSSARY 179
St. Ambrose introduced the singing of hymns into the
Western Church.
A hymn is sung at each hour of the Divine Office, those at
Matins, Lauds, and Vespers being variable according to the
Feast, but the others, except for the Doxology, are invariable.
The Doxology has several forms e.g., for Feasts of theB.V.M.,
the Epiphany, Passion-tide, the Lance and Nails, Easter-tide,
Ascension-tide, Whitsun-tide, and others.
Hymns were known in England in the seventh century.
At the revision of the Breviary in the seventeenth century,
under Urban VIII., the original, popular forms of the hymns
were changed for other forms more in accordance with the
laws of classical prosody, but of late years there has been
a strong movement in favour of a reversion to the original
form. (See Vatican Gradual.)
Hymnody. The system of hymns, sequences, and other composi-
tions in verse. Six meters are employed. The most common
are :
1. Iambic Tetrameter.
Eight syllables. Secondary accent on the second,
and principal accent on the sixth.
" Nunc Sancte nobis Spi'ritus."
2. Iambic Trimeter.
Twelve syllables. Principal accent on tenth,
and secondary on fourth.
" Aurea luce *et decore roseo."
(This hymn was spoilt by the alteration of the
revisers to " Decora lux aeternitis auream." There
should be a Mora Vocis after the fifth syllable, to
which the cantors intone. This is impossible in the
altered form.)
3. Trochaic Meter.
Usually six lines of eight and seven syllables
alternately.
In eight-syllabled lines principal accent on seventh,
and secondary on third.
In seven-syllabled lines principal accent on fifth,
and secondary oil first.
The Stabat Mater and Ave Marls Stella are excep-
tions. The latter has four lines of six syllables each.
The principal accent is on the fifth, and the slight
accent on the third.
4. Sapphic Meter.
Three lines of eleven syllables, with principal
accent on tenth and secondary on fourth.
12 2
i8o A HANDBOOK OF CHURCH MUSIC
One line of five syllables accented upon first and
fourth.
" Iste Confessor Domini sacratus,
*****
Scandere sedes."
5. Asclepiadic Meter.
Three verses of twelve syllables, with a principal
accent on the tenth and secondary accents on the
third and seventh. (Mora Vocis after the sixth.)
One line of eight syllables, accented upon the third
and sixth.
" Sacris solemniis juncta sint gaudia,
*****
Corda vocis et opera."
Ictus. The impulse of the voice, or stress, if so it can be called,
given to certain syllables marked in the Solesmes editions by a
short vertical line joined to the note affected.*
Interval. The distance between two sounds. In the scale there
are five intervals called tones and two semitones. In addition
to these natural intervals called " seconds," there are intervals
called thirds, fourths, fifths, sixths, sevenths, and the
octave, according to the number of degrees in the scale in-
cluded. The seventh is never used in plainsong, and the sixth
and octave very rarely.
Intonation. (a) The part commencing a melody; sung by the cele-
brant e.g., Gloria in Excelsis Deo.
(b) The commencement of a piece of chant as far as is sung
by the cantors alone.
(c) In psalmody a melodic formula leading from the final of
an antiphon to the reciting note of the succeeding Psalm. It is
sung to the first verse of every Psalm, and the Gloria Patri and
Sicut erat, except in Offices de tempore, when it is omitted.
The intonation is always sung to every verse of the Canticles
(Magnificat, etc.). In the second, seventh, and eighth modes,
there is a special solemn intonation for the Magnificat on
double Feasts.
Introit. Lat. Introitus = & " going within."
The chant sung during the entrance of the priest at the
beginning of Mass. It originally consisted of an antiphon
and a Psalm, after each verse of which the antiphon was
repeated. It was sung by two choirs. At the present day the
* " Le Nombre Musical Gregorien," p. 49, says: " Les ictus
rhythmiques sont les temps porteurs, du rythme;" and again,
" L'ictus rythmique correspond au temps frappe de la musique
moderne." Dom Mocquereau.
GLOSSARY 181
Introit consists only of a single verse with the Gloria Patri.
The antiphon is sung before the Psalm and after the Sicut
erat.
On Feast-days the Carthusians still repeat the antiphon before
the Gloria Patri. In accordance with the rules given in the
Vatican Gradual, it would seem that the ancient practice of
singing the Introit during the entrance of the priest, or rather
his approach to the altar, may be revived.
The Introit should be sung fairly quickly.
Invitatory. The name given to the antiphon which precedes the
Venite, and which is repeated, in whole or in part, after each
verse in the old antiphonal manner. Sometimes the word was
used instead of " Introit," as in the fifth Ordo Romanus. Its
purpose is much the same as that of the Introit ; it is an
invitation to worship.
Kyrie. One of the oldest chants of the Mass. It has probably
remained ever since Greek was ffreFTTf urgical language in Rome.
St. Gregory introduced the present manner of singing Kyrie
six times, and Christ e three times. The Greeks still sing Kyrie
only. The singing was prolonged indefinitely, according to
circumstances, even after St. Gregory's time.
Litany. Gk. Xiraveia.
The only liturgical Litany is that of the Saints. Formerly
this was sung before every Mass, as it is still sung on Holy
Saturday. It was also sung during processions, as on the
Rogation Days.
The Litany of Loretto is commonly sung during Benediction,
to invoke the prayers of Our Lady.
Liturgy. Gk. Xetro? fyyov = " the service of the people."
The formal, official prayer of the Church. In the Greek
Church this word is used exclusively for the Holy Eucharist,
but in the Roman Church the term also includes the Divine
Office.
Mediation. The melodic formula which ends the first part of each
verse of a Psalm. It is marked by an asterisk, and followed by
a pause equal in length to the preceding cadence.
Melismatic Chant. The embellished form of neumatic chant, in
which certain syllables are prolonged by melodic ornamenta-
tion. This is particularly the case with the chant of Alleluia,
the last syllable of which is sometimes prolonged to a very
great extent. St. Augustine, speaking of this jubilus, as it is
called, in his exposition of Psalm xcix., says : " He who sings
a jubilus speaketh not words, for it is a song of joy without
words. ... He cannot express in words the greatness of
his joy."
Meter. The regular and measured recurrence of accented syllables
in the rhythm of poetry. (See Hymnody.)
Mode. Lat. modus a. manner.
The manner in which the tones and semitones of the scale
are arranged.
There are eight modes, each with a special character, caused
182 A HANDBOOK OF CHURCH MUSIC
by the position of the semitones, the final and the dominant.
(See the chapter on The Modes of Plainsong.)
Mora Vocis means "delaying of the voice."
A lengthening of the final note or notes before a bar or
other division of the Chant. In the Solesmes rhythmical
editions the Mora Vocis is marked by a dot placed after the
note it qualifies.
Neum. Gk. iri>evfj,a = a. breathing ; or vev/j,a = a. sign.
A melodic group of two or more notes forming a connected
whole. (See Illustration I. and the Preface to the Vatican
Gradual.) Their form is derived from the old signs of
accentuation.
1. ' (acute accent), denoting an elevation of the voice.
This has developed in the virga, a note relatively
higher than those next to which it occurs.
2. v (grave accent), denoting a lower tone or a want of
pronounced accent. This has become the punctum,
or, when it denotes a lowered tone, the diamond.
3. v (inverted circumflex) has become the podatus, a low
note followed by a higher.
4. A (circumflex) has become the dims a high note fol-
lowed by a low one.
Other neums are all derived from these. It will thus be
noticed that the forms of the notes refer, not to their length, but
to their relative pitc h.
Neuma. A form of melismatic chant attached to the Alleluia.
These embellishments of the Alleluia date back even before the
time of St. Gregory. Later neumas were added to the antiphons,
to the Magnificat and Benedictus.
Neumatic Chant. The more elaborate chant, in which the syllables
are not necessarily confined to one or two notes as in syllabic
chants. Such are Introits, Graduals, etc.
Nocturn. A division of Matins. There are usually three nocturns,
in each of which there are three Psalms and three lessons, each
of the latter being followed by a long respond.
Notation. In music, the system by which the sounds are expressed.
There are three principal notations :
1. The plainsong notation, derived from the accents,
which were originally used without lines to refresh
the memories of the singers, who were supposed to
know the melodies by heart. When this was no
longer the case, Guy of Arezzo introduced the use of
the four-lined stave, upon which the notes were then
placed,
2. The (so-called) old notation, an adaptation of the
plainsong notation, but in which the shape and
colour of the notes indicate their length. This is the
notation used in modern music.
GLOSSARY 183
3. The Tonic Sol-fa notation, in which letters are used
instead of signs. These letters represent the names
given to the notes by Guy of Arezzo.
Offertory. Originally an antiphonal chant sung during the offering
of bread and wine by the people during the Holy Sacrifice.
Originally, as all the congregation presented their own offerings
to the celebrant, several verses of a Psalm were sung, and the
antiphon repeated after each verse. It later took a responsorial
form. This form has been retained only in the Offertory in
the Mass for the Dead.
The Offertories are often elaborate, and should be sung at a
moderate pace.
Ordinary. Lat. Ordinarium Missae.
The invariable part of the Mass, containing Kyrie, Gloria,
Credo, Sanctus, and Agnus Dei. These are particularly the
chants of the congregation.
The Ordinary was really only fixed definitely so late as the
Council of Trent, having passed through considerable changes.
Paleography. The study of ancient manuscripts.
This most interesting branch of the study of plainsong has
been brought within the reach of all by the publication (by
the Benedictines of Solesmes) of the " Paleographie Musicale,"
in which are reproduced in facsimile the most important
manuscripts.
Plagal. Gk. -n-Xdyios = borrowed or derived.
The second, fourth, sixth, and eighth modes are so called
because they are derived from the others. (See the chapter on
Modes.)
Plainsong. The official liturgical music of the Catholic Church.
It is also called plain chant (cantus planus), Gregorian chant
(carmen Gregorianum), from its connection with St. Gregory. It
is free from all rules of "time," etc., and so can adapt itself
more closely to the spirit of the words. (See Chapter I.)
Pontifical. The liturgical book containing all the services at
which a Bishop officiates.
Processional. i. The chant used in processions.
2. The book in which those chants are to be found.
Proper. Lat. Proprium Missae.
This includes the Proper of the Season (de tempore) and the
Proper of Saints (de sanctis), and is that part of the Gradual
which provides the variable portions of the Mass. The Proper
took its present form even before the time of St. Gregory. It
includes the Introit, Gradual, Offertory, and Communion. It is
by no means less important than the Ordinary, and contains
music of a higher quality.
Prophecy. There were originally three lessons read at Mass :
First, a prophetic lesson (lectio prophetica] ; second, the Epistle
(Apostolus) ; and, third, the Gospel. These three lessons are
still preserved in the Mozarabic Liturgy, but, except for the
Ember Day Masses and certain Ferial Masses in Lent, they
have disappeared from the Roman Mass. A trace of them is,
184 A HANDBOOK OF CHURCH MUSIC
however, found in the two chants now sung between the Epistle
and Gospel, one of which used to be sung after the Old
Testament lesson, the other after the Epistle, as is still done on
Ember Days.
The tone for the singing of the prophecies is given in the
Vatican Gradual.
Psalmody. i. The singing of Psalms.
2. The system of Psalms.
Psalmody is a tradition received by the Christian Church
from the synagogue. The Psalms are sung to a special form of
syllabic chant, almost a recitative. It is important to notice
that there is a Psalm tone corresponding to each mode ; and
that there is also an additional tone, the tonus peregrinus.
Each verse is divided into :
(a) The intonation.
() The reciting note, or tenor.
(c) The mediation.
(d) The reciting note (repeated).
(e) The final cadence.
(See Dom Mocquereau's little book, " Rules for Psalmody.")
Recitative. The name given to those forms of purely syllabic
chant which approximate as nearly as possible to reading, and
so follow the natural modulation of the voice. Although
simple, they are extremely important. They are the Prayers,
Preface, Pater. The Preface and Pater have a simple form for
ferias, and one a little more elaborate for other days. The
versicles and responses in the Divine Office have also a simple
and a solemn form. There are also the Epistle, the Gospel,
Confiteor, the Lessons and Prophecies.
Examples of all the recitative melodies used at Mass will be
found in the Vatican Gradual.
Respond. There are two kinds of responds long and short. The
short responds follow the Chapter in the Little Hours, and
have three melodies for Advent, Easter, and the remainder of
the year. These melodies are very beautiful, although simple.
The cantors sing the first part, and the choir repeats the whole.
They then sing the versicles, and the choir repeats the last part
of the respond. The cantors then sing the Gloria Patri, and
the choir repeats the whole of the respond.
There are long responds at Matins, which are sung in the
same way. They are, however, far more elaborate and very
beautiful. They are sometimes very appropriate for use after
the Offertory and during Benediction.
Responsorial. The book containing the chants of the responds.
Responsorial Chant. That form of chant in which a soloist sang a
verse, the whole or part of which was repeated as a response
by the whole people. The Gradual is the best remaining
example of a responsorial chant.
This manner of singing is very ancient, and is mentioned in
the Apostolic Constitutions.
GLOSSARY 185
Rhythm. Gk. pew = to flow or roll.
The ebb and flow of sound.
There are two kinds of rhythm :
1. Free rhythm (that of prose).
2. Measured rhythm (that of poetry).
(See the chapter on Rhythm.)
Ritual. (a) The code of laws by which the services of the Church
are ordered and arranged ; (b) the liturgical book containing
the rites for the administration of the Sacraments and Sacra-
mentals, also for processions.
Sanctus. A continuation of the Preface, and one of the earliest
portions of the Ordinary. It is said in the " Liber Pontificalis "
that Pope Sixtus I. introduced the Sanctus to the Church of
Rome. It was originally intoned by the celebrant and con-
tinued by the whole congregation. The custom of singing the
Benedictus after the Consecration is really a misuse, objection-
able because it separates the words of the chant from those of
the celebrant, who always says the whole before the Consecra-
tion. The contrary practice of singing the whole Sanctus at
the same time as the Priest says the words is tacitly sanctioned
by the Vatican Gradual.
Sequence. Syllabic chant which took the place of the Alleluia
jubilus or neuma. The sequences are composed in verses,
which are sung alternately by two choirs. They were origin-
ally fitted, so to speak, to the notes of the jubilus, but they
afterwards lost all connection with it. Notker, a monk of
St. Gall, who died about 910, was the inventor. His sequences
were marked by the free rhythm of prose, but later rhymed
sequences became common. At the revision of the Roman
Missal all the sequences were omitted from the Mass except
for Easter, Whit Sunday, Corpus Christi, the Stabat Mater, and
the Dies Irae.
They should be sung rapidly.
Schola Cantorum. Schola means not ' ' a school " in our modern
sense of the word, but an "assembly" of singers. Such a
school was founded by St. Gregory for the rendering of the
sacred melodies, and such schools continued for some centuries
both at Rome and throughout Europe. Perhaps the most
famous are those of St. Gall and Metz.
Pius X. has strongly advocated the formation of such scholae
at the present day.
(See chapter on Schola Cantorum.)
Syllabic Chant. Chant such as that of the Credo and the
sequences, in which every word receives but one or two notes.
It was the earliest form used by the Church, because it was the
simplest and most easily learnt.
Such chant should be sung at the moderate pace of a good
reader. The rhythm is determined soiely by the text.
Termination. The final cadence of the Psalm tones. Some tones
have several cadences, and in the Solesmes books these are
i86 A HANDBOOK OF CHURCH MUSIC
denoted by a letter placed after the number of the mode of the
antiphon.
(See " Rules for Psalmody.")
Thesis. See Arsis.
Tonality. In plainsong refers to the system of modes, which
differs very considerably from the tonality of modern music.
(See chapter on Modes.)
Tone. (a) Musical sound.
(b) The quality of a sound e.g., " good " or " bad " tone.
(c) The melodies to which the verses of the Psalms, etc. ( are
sung. There are nine of these melodies, which have several
different endings. Each corresponds to a mode except the last
(tonus peregrinus).
Tract. Lat. tractim = without a break.
From Septuagesima to Easter and on Ember Saturdays the
Tract takes the place of the Alleluia verse. It is so called
because most probably, as Amalarius says, it was not broken
up by the responses of the choir, like a Gradual. The Tracts
are sometimes very long, and are probably the oldest form of
music retained in the Proper. They are sung slowly.
Transposition. The removal of a melody from its ordinary position
and final to a higher or lower position, without interfering
with the position of the intervals. This transposition is some-
times necessary between two antiphons. The difference of the
number of tones or semitones between the final and the domi-
nant of the last antiphon and the beginning note and dominant
of the next will show him how many tones or semitones to
ascend or descend.
Tritone. An interval of a fourth, called a major fourth that is,
including three full tones. This has a disagreeable effect in
plainsong, and in the Middle Ages it was called the " Devil in
music."
Trope. The name given to insertions or additions to the text of the
Liturgy, which became general about the tupe of Notker.
They frequently entailed melismatic addition^to the melody.
An example will perhaps be the best illustration :
' ' Kyrie fons bonitatis, pater ingenite, a quo bona cuncta
procedunt eleison."
The same idea was carried into chants of the Ordinary, and
also into the Proper. Liturgically, perhaps, little can be said
for the introduction of these tropes, a custom which, it is said,
was introduced from the East. However, they frequently form
very beautiful paraphrases of the liturgical text, and as such
are worthy of note. They might well be used occasionally on
extra-liturgical occasions.
Verse. A division of a Psalm or hymn.
These verses of Psalms, apart from their occurrence in the
Divine Office, are found in the Introit, where they are given a
special melody, and after the Gradual and Alleluia.
GLOSSARY 187
Versicle. Short sentences placed between parts of the Office at
Vespers between the hymn and the Magnificat, and at the Little
Hours after the respond.
They are sung briskly, and the last syllable is vocalized more
or less elaborately according to the rank of the Feast. .
Vocalization. (a) The singing of a melody to a vowel-sound (ah,oo }
eh, ee, oh, etc.), instead of the proper words. This forms a
very necessary and useful exercise for attaining purity of tone
in the melodies.
(b) The prolonging of a syllable to melismatic chant, as in
the last syllable of the Alleluia and Benedicamus Domino, etc.
BIBLIOGRAPHY
THE list of books of one kind and another which forms this
bibliography does not profess to be in any way complete. I have
tried to mention those books especialty which I myself have found
most useful, in the hope that they may prove useful to other choir-
masters also. But the interest in plainsong is not confined merely
to choirmasters and those actually responsible for the rendering of
the chant ; consequently, books which have more than a simply
practical object have also been included. At the end of the biblio-
graphy a list of the principal publishers, whose books are mentioned
or who are agents for the sale of such books, has been appended.
i. Paleography.
The following manuscripts may be consulted in the Manuscript
Room of the British Museum upon previous application for a permit
from the director :
1. Egerton 857 (Metz Gradual of the eleventh century, with
neums).
2. Harl. A 951 (Toulouse Gradual of the eleventh century, with
neums).
3. Add. 32247 (St. Gall Gradual of the eleventh century).
4. Add. 12194 (Sarum Gradual of the thirteenth century). This
manuscript has been reproduced in collotype by the Plain-
song and Mediaeval Music Society.
5. Royal 264 (St. Albans Gradual of the twelfth century).
6. Add. 18031-2 (Gradual from Stavelot, thirteenth century).
7. Harl. 3961 (Leofric Collectar, with neums, tenth century).
8. Harl. 1117 (Offices for St. Benedict, etc., from Croyland,
eleventh century).
9. Add. 30848 (Old Roman Antiphoner from Spain, eleventh
century).
10. Add. 35285 (Antiphoner from Gisburne, Yorks, thirteenth
century).
11. Add. 37399 (noted Breviary, Paris, thirteenth century).
12. Add. 28598 (Sarum Antiphoner, anterior to introduction of
Feast of Corpus Christi).
13. Harl. 2942 (Sarum*Processional, fourteenth century).
188
BIBLIOGRAPHY 189
The following manuscripts are also of considerable interest :
BODLEIAN LIBRARY, OXFORD.
1. Bodley 775 (Winchester Troper, eleventh century).
2. Laud Misc. 358 (St. Albans Gradual, twelfth century).
3. Bodley 948 (Sarum Antiphoner from St. Mary Axe, London,
fourteenth or fifteenth century).
4. Lat. Liturg. (York Gradual, fourteenth century).
5. Jesus College, MS. 10 (Gloucester Antiphoner, thirteenth
century).
CORPUS CHRISTI COLLEGE, CAMBRIDGE.
i. MS. 473 (Winchester Troper, eleventh century).
PALEOGRAPHIE MUSICALE.
This wonderful work consists of the principal manuscripts of
the chant, whether Gregorian, Mozarabic, or Gallican ; pub-
lished in phototypic facsimile by the Benedictines of Solesmes.
(Desclee and Co., Tournai.)
Vol. i. (now out of print) contains the Codex 339 of the
St. Gall Library. It is an ANTIPHONALE MISSARUM SANCTI
GREGORII. The 142 pages of the manuscript are accompanied
by an explanatory treatise.
Vols. ii. and iii. contain the Gradual Justus ut Palma from
more than two hundred manuscript antiphoners from the ninth
to the seventeenth century.
Vol. iv. contains Codex 121 of the Einsiedeln Library ; also
an ANTIPHONALE MISSARUM SANCTI GREGORII of the tenth to
the eleventh century. It is a complete Gradual.
Vol. v. contains Codex Add. 34209 of the British Museum.
An Ambrosian antiphoner of the twelfth century, in the original
neums. Vol. vi. contains the same manuscripts transcribed
upon lines.
Vol. vii. contains the Codex H 159 of the library of the
Montpellier School of Medicine. This is an ANTIPHONARIUM
TON ALE MISSARUM of the eleventh century. This volume
contains only the text, together with a complete and masterly
treatise on rhythm. The manuscript is reproduced in facsimile
in vol. viii.
Vol. ix. is the Codex 601 of the cathedral library of Lucca,
and is a monastic antiphoner of the twelfth century.
Vol. x. is the Codex 239 of the Laon Library, and is a tenth-
century ANTIPHONALE . This work is still being published under
subscription. The annual subscription for England is i.
There is also a second series of the PALEOGRAPHIE MUSICALE,
the first volume only of which has appeared. It is Codex 390
and 391 of the St. Gall Library, the ANTIPHONALE of BL.
HARTKER (tenth century). Other volumes will no doubt follow.
190 A HANDBOOK OF CHURCH MUSIC
ANTIPHONALE SARISBURIENSE.
A Sarum ANTIPHONALE, published in collotype facsimile by
the Plainsong and Mediaeval Music Society.
GRADUALE SARISBURIENSE.
A Sarum Gradual published like the above (out of print).
ANTIPHONALE MONASTICUM WIGORNENSE.
The unique Worcester ANTIPHONALE, published by the
Benedictines of Stanbrook Abbey in facsimile. (This book is
now, I believe, under subscription. For terms, apply to the
Lady Abbess, Stanbrook Abbey, Worcester.)
BlBLIOTHECA MuSICO-LlTURGICA.
A " descriptive hand list" of the principal English manu-
scripts. (Quaritch.)
LES MELODIES GREGORIENNES.
By Dom Pothier. (No. 380 of the Desclee editions.)
GREGORIAN Music.
A short summary of the first four volumes of the PALEO-
GRAPHIE MUSICALE by the Benedictines of Stanbrook.
UN MOT SUR L'ANTIPHONALE MISSARUM.
A short note by Dom Cagin. (Desclee, 3037.)
2. History, etc., of the Chant.
DE CANTU ET MUSICA SACRA. (Gerbert.)
Migne, Patrologia Latino, .
SCRIPTORES. (Gerbert.)
A collection of the writings of different musical authorities
during the Middle Ages. (Some published in Migne.)
DE OFFICIIS. (Amalarius of Metz.)
Also published in Migne.
HISTOIRE ET THEORIE DE LA'MUSIQUE DE L'ANTIQUITE. (Gervaert.)
ORIGINES DU CHANT ROMAIN. (Amed6e Gastoue, Consultor to the
Pontifical Commission.)
ORIGINE BYZANTINE DE LA NOTATION NEUMATIQUE DE L'EGLISE
LATINE. (Thibaut.J.)
A study of the origin of the neumatic notation.
TRAITE DE PSALTIQUE. (Rebours.)
An authoritative work on the music of the Greek Church.
BIBLIOGRAPHY 191
3. Practical Works on Plainsong-.
A GRAMMAR OF PLAINSONG. (The Benedictines of Stanbrook.)
The principal English book on the chant. This book should
be in the possession of every singer of the chant.
HANDBOOK OF RULES FOR THE SINGING AND PHRASING OF PLAIN-
SONG. (Stanbrook.)
ELEMENTARY GRAMMAR OF GREGORIAN CHANT. (Norman Holly.}
A small but interesting little introduction to the chant.
(Published by Fischer of New York.)
A PRIMER OF PLAINSONG.
(Desclee, 659.) A useful little book.
A NEW SCHOOL OF GREGORIAN CHANT. (Domjohner.)
A good handbook for the teacher. (Published by Pustet of
Ratisbon.)
RULES FOR PSALMODY. (Dom Mocquereau.)
An indispensable little pamphlet for those choirs in which
Vespers is sung.
PLAINSONG AND GREGORIAN Music. (Burgess.)
An Anglican grammar of the chant. (The Vincent Music
Company.)
ELEMENTS OF PLAINSONG. (Plainsong and Mediaeval Music Society.]
Out of print.
LE NOMBRE MUSICAL GREGORIEN. (Dom Mocquereau. )
The theory and practice of Gregorian rhythm. This is
Dom Mocquereau 's latest work, and forms the most advanced
of the courses of plainsong which he is now publishing. The
first volume contains the Origin of Rhythm, and the Application
of the Melody to Rhythm. The second volume contains the
liturgical text Psalmody, Hymnody, and Accompaniment.
Needless to say, this is a work of the highest importance.
(Desclee, 698.)
THEORIE ET PRATIQUE DU CHANT GREGORIEN. (Kienle ; Desclee,
382.)
METHODE COMPLETE DE SOLFEGE. (Sufiol ; Desclee, 674.)
A very good book, translated from the Spanish. It contains
a very good resume of the seventh volume of the Paleography.
This is one of the best grammars, etc. , I know.
192 A HANDBOOK OF CHURCH MUSIC
METHODE ELEMENTAIRE DU CHANT GREGORIEN. (Bastien ;
Desclee, 610.)
Also a very good book, but rather more elementary than the
last.
L'ACCOMPAGNEMENT DU PLAIN CHANT. (M athias ; Desclee, 648.)
A short handbook for the organist.
GREGORIAN Music CHARTS.
Large sheets for teaching the chant to classes. There are
three the first containing the elementary signs, etc. ; the
second, universal scale, etc. ; the third, the eight modes, rather
like our Illustration II. These are suitable for use during the
preliminary stages of instruction, but they would soon be
dispensed with. The use of the blackboard would seem equally
as good.
NOZIONI DI CANTO GREGORIANO. (Ginlio Bas; Desclee.)
4. Voice Production and General Choir Training.
VOICE CULTURE FOR CHILDREN. (Bates; Novello and Co.)
I have already said so much of this excellent book that it is
unnecessary to make any further remarks upon it. It should
certainly be made use of by every choirmaster.
BREATHING FOR VOICE PRODUCTION. (Dr.Hulbert; Novello.)
An illustrated handbook, giving a series of good exercises for
developing suitable methods of breathing.
VOCALIZATION FOR CHORAL SOCIETIES. (Stainer ; Novello.)
Advanced exercises in vocalization suitable for a proficient
choir.
CHOIR-BOY TRAINING. (Martin; Novello.)
It is only necessary to say that this book is by Sir George
Martin. This gives it all the authority with which such a
book could be invested.
5. Liturgical Chant Books, etc.
GRADUALE ROMANUM.
Several editions have been published from the Vatican model
by Schwann, Pustet, etc , which are really excellent ; but that
of Desclee, on India paper, forming a volume less than an inch
thick, is by far the most convenient that I have seen. The
1 type is excellent. It can be obtained with or without rhythmical
signs. (Desclee, Nos. 6g^A. and 6Q6A.)
BIBLIOGRAPHY 193
LIBER USDALIS MISSAE. (Desclee, 700.)
This contains the chant of the Vatican Gradual for Mass on
all Double Feasts, together with the text of the prayers, Epistle,
Gospel, etc. The size is i8mo. The type is much superior to
that of the old Liber
KYRIALE.
This may be obtained in several sizes and at very moderate
prices from Desclee, with and without the rhythmical signs.
Herrn Schwann of Dusseldorf publish a very nice edition of the
Kyriale with the TONI COMMUNES MISSAE and the MISSA PRO
DEFUNCTIS. The type is -very large, and the volume well
bound and cheap.
EXTRACTS FROM THE GRADUAL.
Besides the KYRIALE, the Mass for the Dead, the TONI
COMMUNES, and the Common of Saints may all be obtained
separately.
LIBER ANTIPHONARIUS. (Desclee, 300.)
Contains the antiphoner for Vespers and Compline. It is
the Solesmes edition, and will be superseded by the new
Vatican Antiphoner,
PSALMI IN NOTIS. (Desclee, 590.)
This book is required for the singing of the Psalms. If
preferred it may be obtained in a French edition. (No. 589
and 5896.)
LIBER USUALIS MISSAE ET OFFICII. (Desclee, 567.)
A manual containing all the music for Mass and Vespers,
etc., on Double Feasts. The Mass music has now been super-
seded, but the book may still be found useful for the Office,
Matins and Lauds are given for Christmas and Easter. Tene-
brae is also included.
PROCESSIONALS MONASTICUM. (Desclee, 3019.)
A monastic processional.
OFFICIUM MAJORIS HEBDOMADAE. (Desclee Latin. 576; French,
579-)
Here again the music for Mass has been superseded.
VARIAE PRECES. (Desclee, 3018.)
Different chants for use at Mass and during Benediction,
collected from ancient and modern Liturgies, etc. This book is
extremely useful, and is referred to in our Calendar.
13
194 A HANDBOOK OF CHURCH MUSIC
MANUALE PRO BENEDICTIONIBUS ET PROCESSIONIBDS SS. SACRA-
MENTI. (Desclee, 625. Accompaniments by Giuiio Bas, 626^,
i, 2, 3, etc.)
A somewhat similar collection to the foregoing. This con-
tains several melodies to the Ave Mans Stella, etc.. and an
interesting and more ancient form of the Salve Regina.
MANUAL OF GREGORIAN CHANT.
This useful little book has also been referred to in our
Calendar. The preface and explanations are in English, and
much of the music is taken from Old English sources.
PLAINSONG HYMN MELODIES AND SEQUENCES.
The Sarum Hymn Melodies, etc., published by the Plainsong
and Mediaeval Music Society. This is a very good and handy
book, and might well be used frequently at Vespers.
ACCOMPANIMENTS.
Messrs. Desclee publish accompaniments to theKYKiALE, the
MISSA PRO DEFUNCTIS, and the COMMUNE SANCTORUM, by Mr.
Giuiio Bas.
In the writer's opinion, the best accompaniments are those
by Dr. Wagner, published by the Procure Generate de
Musique Religieuse of Arras. They are excellent in every
respect. Accompaniments by Dr. Wagner to the whole
Gradual may now be obtained.
Fr. Matthias' accompaniments to the Kyriale, published by
Pustet of Ratisbon, are also good.
Herrn. Schwann of Diisseldorf, whose productions are
always beautifully printed, publish the accompaniments of
Fr. Nekes.
6. English Hymns.
CATHOLIC HYMNS. (Dr. Tozer.)
One of the best, if not the best, collection of Catholic hymns
published.
ARUNDEL HYMNS. (The Duke of Norfolk and Mr. Scott Gatty.)
A very good collection of hymns, Unfortunately, it is
rather expensive. (Published by Boosey and Co.)
SONGS OF SYON. (The Rev. G. Woodward; published by Schott.)
An excellent collection, both of words and music. There are
many very beautiful translations of sequences and hymns, and
the melodies are extremely fine.
THE ENGLISH HYMNAL. (Published by Frowde.)
An Anglican collection containing many Sarum hymn
melodies and translations of Office hymns, etc.
BIBLIOGRAPHY 195
HYMNS ANCIENT AND MODERN. (Published by Clowes.)
CHURCH HYMNS.
Anglican collections of hymns, with some very good tunes.
7. Periodicals devoted to Plainsong, etc.
RASSEGNA GREGORIANA.
A bi-monthly review, published at the Rome house of
MM. Desclee, treats of all liturgical subjects, and especially of
plainsong. The articles are mostly in Italian, but occasionally
French articles appear. This is the most important review of
the kind, its notices of books being exceedingly useful. Sub-
scription for England, 7 francs.
REVUE DU CHANT GREGORIEN.
An excellent little French review, published every two
months at Grenoble, and the recognized organ of Dom
Pothier. Many very useful articles have appeared during the
last few months upon the Vatican Gradual. Subscriptions
should be sent direct to " L' Administrates," Place Vaucan-
son 4, Grenoble (Isefe), France. The annual subscription for
England is 5 francs.
CHURCH Music.
An American review of varying quality. It appears monthly,
and is published at the offices of the American Ecclesiastical
Review, Penna, U.S.A. Subscription 6s.
8. General.
ORIGINS OF CHRISTIAN WORSHIP. (Mgr. Duchesne.)
An exceedingly valuable book on the formation of the
Liturgy. Published by the Society for Promoting Christian
Knowledge.
ORGAN ACCOMPANIMENT. (Bridge ; Novello.)
Intended primarily for Anglican organists, this little hand-
book contains many useful hints with regard to the accom-
paniment of hymns, voluntaries, etc., which would prove
useful to a Catholic organist.
THE SCHOOL Music REVIEW.
This monthly review is published by Novello, and though it
has nothing whatever to do with plainsong, the choirmaster
will find in it many useful hints from time to time, and much
excellent figure music for children's voices. It costs id. a
month.
CATHOLIC CHURCH Music. (Richard Terry, Organist of Westminster
Cathedral ; published by Greening.)
A thoroughly practical and excellent book. One of the most
useful features is a collection of all the decrees of the Sacred
I 3 2
196 A HANDBOOK OF CHURCH MUSIC
Congregation of Rites upon Church music. Mr. Terry also
gives full directions for the choir and organist at all Pontifical
functions, and several interesting chapters on Old English
polyphonic music, the study of which he has made particu-
larly his own.
9. Organ Music.
I can hardly do more than indicate certain directions in which
the organist may look for suitable works. Messrs. Schott pub-
lish the excellent music of Guilmant (" L'Organiste Pratique"),
which every organist should certainly see. The same firm
also publish much music by German composers, which is
extremely useful for Catholic services, being arranged in pieces
of varying lengths.
Messrs. Novello publish " Original Compositions for the
Organ," by well-known modern English composers. This
series is excellent. More simple music may be found in the
" Village Organist."
The Procure Generale de Musique Religieuse also pub-
lish music specially adapted for Catholic Church services.
Lists should certainly be obtained from these publishers, who
are generally willing to supply selections of music on approval
to recognized organists.
The Abbe Delepine, Director of the Procure Generale (which
appears to be doing a very useful work in France), corresponds
in English, and issues an English catalogue.
Names and Addresses of Various Publishing
Houses, etc.
For the Stanbrook publications, address : The Lady Abbess,
Stanbrook Abbey, Worcester.
Desclee and Co., Editeurs, Tournai, Belgium.
Plainsong and Mediaeval Music Society address : The Secre-
tary, 44, Russell Square, London, W.C.
Messrs. Novello and Co., Wardour Street. Soho, London, W.
Messrs. Schott and Co., publishers of organ music, Regent
Street, London, W.
Messrs. Breitkopf and Hartel, publishers of organ and
other music ; agents for many of the Continental pub-
lishers, including Desclee : 54, Great Marlborough Street,
London, W.
Messrs. J. Fischer and Brothers, 7 and u, Bible House, New
York.
The Vincent Music Company, 60, Berners Street, London, W.
Procure Generale de Musique Religieuse, 32, Rue Jeanne
d'Arc, Arras, Pas-de-Calais, France.
Messrs. Schwann, Dusseldorf, Germany.
Messrs. Pustet, Regensburg, Bavaria.
APPENDIX
THE SCHOLA CANTORUM, OR SONG
SCHOOL
OUR Holy Father, in the Motu Proprio on Church music,
encourages the formation of Scholae Cantorum, as a means
by which the faithful may learn to take that part in the
liturgical music which belongs to them by right. Many
difficulties are urged against such a plan by those who
imagine or pretend that plainsong is beyond the reach of
small and untrained choirs. These objections generally,
however, fall to the ground before the light of reason and
experience. It is said that it is not possible to get people
together for such a purpose. If those who make this
objection would first try and see what can be done in this
respect, I think they would find themselves mistaken.
If the proper course is pursued, it will be found that
a Schola of some kind can be formed even in the smallest
and most remote of country parishes. The root of the
whole matter is that the idea must be placed before the
people in an attractive light. Certainly, it is not much
use asking men and women, still less young children or
youths, to come to what they imagine will be a long and
dreary series of musical exercises. Variety and interest
are essential to insure the success of the class. Given
these, it is by no means difficult to form a successful
Schola.
A great deal depends upon the manner of the teacher
himself in this, as in every other, branch of instruction ;
much, again, depends upon the means he employs. He
must not forget that difficulties which are as nothing to
himself may be very considerable to an audience com-
posed for the most part of uneducated people. He must
199
200 A HANDBOOK OF CHURCH MUSIC
descend to the level of his class, and not expect them to
rise instinctively to his. The teaching must not be a
lecture, but a lesson. Those who are engaged in the
teaching of children will realize how very fundamental a
principle this is.
Nevertheless, the teacher must not treat his class as
though they were children in school. Persons who have
been through elementary schools very often 'have a great
dislike even to going back to the building in which they
were taught as children, and still more to be taught in
the manner to which they were accustomed at school.
The extent of the instruction depends very largely
upon the character of the class. Those who study the
theory of plainsong are, no doubt, able to put their
theoretical knowledge into practice with better results
than those who have only a very limited knowledge of
its principles. But we must bear in mind that to many
persons it would be irksome to be compelled to master
the theory, and in such a case w r e must leave this study
almost entirely on one side, and try to instil a practical
knowledge of the chant. Still, to enlist the interest of
learners, it is usually well to tell them something of the
history of the chant, its peculiar character as the only
real Church music, and its position as a connecting link
between our Catholic ancestors and ourselves.
Where a choir has already been formed, it will be
found most useful in illustrating passages of chant, and
for this purpose its services should certainly be requisi-
tioned. Plenty of illustration is essential the more the
better. All the diagrams that are needed may easily be
prepared by the teacher himself.
The objection one so often hears, that plainsong is too
difficult for persons who have no previous knowledge of
music, is absurd. There is no form of music so easy to
teach and so easy to learn. It is true that there are
difficult melodies, but every Schola which is formed will
not need to concern itself with them. If the only advan-
tage gained by the formation of such a class were the
singing of the Creed by the congregation as a whole, it
would still be ample repayment for the little trouble
attaching to its formation. But this is by no means all
APPENDIX 201
that can be effected. An acquaintance is formed with
the plainsong notation and system, which may lead much
farther. I have found, even with a handful of school-
children who had just formed such an acquaintance,
great keenness for the chant; and a desire to learn more
of it.
It remains for me to describe the actual formation of
a Schola Cantorum. The mission in which this Schola
was formed is one with a Catholic population of 200. I
had previously trained six small girls from the elementary
school to sing easy chant at sight. The more they learnt
of plainsong, the greater the interest they took therein.
In the place of Mass music from the " Crown of Jesus
Hymnal" of anything but ecclesiastical style plain-
song was sung by these children, and sung really as well
as is humanly possible for such a small number, trained in
such a short time as six months, to sing. The next stage
was obviously the formation of a class for the instruction
of the congregation. At the Mass on Sunday a notice
was given out that the congregation might be asked in
the near future to join a class for the learning of Church
music, so that all the people might be able to take part
in the singing of the Mass. At the evening service further
particulars were announced, and the following leaflet,
duplicated with the " Ellam's Duplicator," was placed in
their hands :
THE CATHOLIC CHURCH, NEWPORT.
Our Holy Father, Pope Pius X., in his letter upon
Church music, desires that classes should be formed
in parishes, in order that members of the congrega-
tion may be able to take their part in the music of
the Holy Mass.
The idea of such classes is by no means new.
St. Gregory the Great, who sent St. Augustine to
England in A.D. 597, founded large classes in Rome.
It has always been intended by the Church that
the sung parts of the Ordinary of the Mass should
be sung by the whole congregation. The music is a
202 A HANDBOOK OF CHURCH MUSIC
part of the Mass that the people have a right to
take a direct share in.
At present we are entirely dependent upon a hand-
ful of small children, who do indeed sing very well,
but who are not enough to sing the Mass music alone.
Now we ask the congregation to do their part in
giving glory to God.
Plainsong, as this Church music is called, is the
most easy of all music. The practices would not
prove dry and tedious, for the work is full of interest.
If a class were started at once, it would be pos-
sible for all the necessary music to be learnt during
Lent, and the High Mass on Easter Day could be
sung by the people.
There will be no expense for those who join the
class.
Several times have been suggested as suitable,
Sundays and weekdays. The class will be held at
the time most convenient to the majority of those
who join.
IT IS NOT NECESSARY TO HAVE A FINE VOICE.
If you feel inclined to join, please stay behind
after the service, or let us know as soon as possible.
In response to this appeal, about twenty-five men and
women formed themselves into a class, which met during
Lent for not longer than half an hour after the evening
services. It was held in the church, and the choir
attended. Copies of the Kyriale, costing sixpence each,
were supplied, without expense to the members of the
Schola, and a start was made on the Creed. Other
portions of the Ordinary followed.
There should be no difficulty in forming a Schola of
this kind anywhere, and the results will certainly justify
any trouble that may have to be taken. In many cases
it would be possible to learn the Ordinary of the Mass,
the usual Sunday Vesper Psalms, and many other
liturgical chants. Lectures might be given on the
APPENDIX 203
Liturgy, such as " How the Mass assumed its Present
Form," " Vestments," " Ceremonies," the " History of
Plainsong," and other kindred subjects. These could be
made both interesting and instructive ; they might do
more, and awaken a spirit of interest in the Liturgy,
which seems to be so lacking in these days.
Another use of the Schola would be the formation of
a better taste in English hymn-singing. The class need
not confine itself to Plainsong : a number of good
English hymns might be learnt, and used according to
the seasons. Apart from all questions of Liturgy, the
value of a cultivated taste in music can hardly be over-
estimated, for it has a distinctly refining influence upon
the lives of those who come within its reach.
The choirmaster will naturally be responsible for the
conduct of such a Schola. He will try to make the
conditions as pleasant and as little troublesome as
possible.
So far I have treated of the teaching of Plainsong,
principally in its relation to actual choirs, and it is to be
hoped that a day will come when Catholics will have
been so well trained as children, and brought up with
such a thorough knowledge of the Church's music, that
it will not be necessary to organize classes for the
instruction of adults. In these days, if the congregations
are to take part in the singing of the Mass and Office,
some insight into the method of the chant must be given
them, and for this special instruction is necessary.
Unfortunately, in many places people of the working
classes have neither the time nor the disposition to listen
to lectures upon the chant. Are they therefore to be
debarred from taking part in the music altogether ?
Surely not. So in the few following remarks I have tried
to explain the minimum of instruction which can possibly
be given ; that it is sufficient for the congregation has
been proved by actual experience. Some congregations
are small, for the most part quite uneducated, and
probably quite incapable of understanding the theory of
the chant, even if an attempt were made to teach it. Of
course, the amount of instruction that can be given varies
in different places. The teacher must make the difficulty
204 A HANDBOOK OF CHURCH MUSIC
and amount of his instruction accord with the intelligence
and capacity of his class.
Commencing again with the object of our Schola, we
must remember that our aim is to enable the congrega-
tion to take an intelligent part in the singing of the Mass
and Divine Office. The work done in the Schola should
result in more than mere instruction in plainsong : it
should lead to a beginning of interest in the Liturgy, and
so do something to counteract the influence of some of
the more insipid and fantastic of modern devotions.
When the Church provides such a " treasury of devo-
tion " in the Holy Mass and the Office, it is a pity that
our people should so often be attracted by what is in-
finitely inferior.
At the first meeting of the Schola a blackboard or
some other form of illustration should be displayed,
showing the forms of the notes and the two most simple
neums the Podatns and Clivis. The object of the Schola
should be briefly explained, and then a start should be
made immediately upon the singing of the Creed. At
the outset it will be a case of learning the melody by ear,
until the eye has become accustomed to the use of the
notation.
The words of each phrase should be first translated,
then read aloud and repeated by the Schola. This
several times, until the proper pronunciation is obtained.
The melody alone should then- be sung by the choir, if
that be possible, and then repeated by the class. When
the melody and the words are sung together, the choir
should sing one phrase at a time, and it should be
repeated by the Schola until it is correctly rendered.
Attention should, of course, be paid to the pauses, and to
the various difficulties and traps which may occur in the
course of the lesson. I have said that at first the class
will learn the melodies by ear, but the object of the stave
should be explained at the outset, and by degrees the
singers will come to recognize the intervals, and be able
to sing them at sight.
Particular care should be taken with pronunciation,
although the choirmaster must not expect that perfect
pronunciation which he is able to get from his own choir.
APPENDIX 205
Care is necessary, again, to insure commencement of
the various phrases of the chant by all the singers simul-
taneously. The pace at which the melodies are sung by
the Schola will necessarily be less than that of a small
well-trained choir.
The Schola will be taught to sing alternately with the
choir from one double bar to another. The staccato
and over-distinct method of singing, which is so objection-
able, will need some eradicating, but it may be done in
time.
After the Creed, the Agnus Dei, the Kyrie, and the
Gloria may be taken, preferably in the order mentioned.
A simple Mass will naturally be chosen first. I set my
Schola to work. upon No. 10 (Alme Pater). Other Masses
should not be attempted until the first is well known.
The practices should be regular, and held at times
convenient to the majority of the members. They should
not last longer than is absolutely necessary or they will
become tedious.
I have mentioned the Creed as a suitable starting-point,
but perhaps it would be better to take the responses at
Mass, which it is distinctly and pre-eminently the duty of
the congregation to sing, although one seldom hears them
so sung.
Some means of indicating the page or number of the
piece of chant to be sung will be found necessary when
the Schola has become sufficiently proficient to sing the
chant in church. A simplified form of that given in the
chapter on " The Choirmaster " may be devised and used
for this purpose.
One English hymn may well be taken at each meeting
of the Schola.
I did not enter into any explanation of rhythm or
tonality, other than that which is absolutely necessary in
explaining the use of the notes, the pauses, breathings,
and mora vocis. The accentuation of the first note of a
neum and other important little details of that kind must,
however, be explained as soon as possible. Too much
explanation should not be given at the beginning.
Where editions of the chant with the rhythmical signs
are made use of, when once the meaning of these signs
206 A HANDBOOK OF CHURCH MUSIC
has been explained, the singers will be able to find out
all such little details for themselves, and to apply the
rules for the execution of the chant without further
explanation.
Just as in the choir, the best results should be aimed
at, and the instructor of the Schola should not rest until
he is satisfied that the best results possible with his class
have been obtained. Nevertheless, he should remember
that perfection in the singing can hardly be expected
from such a body of singers.
THE SHAPE AND USE OF THE NOTES
(TRANSLATED FROM THE PREFACE TO THE VATICAN GRADUALE).
THE different ways of forming, and especially of join-
ing, the notes adopted by the Fathers and universally
observed throughout the Middle Ages, have much to do
with the correct execution of the chant. They are
recommended as a model to the editors of the present
day.*
In order that there may be no mistake or hesitation
with regard to the interpretation of these notes, we must
give a few preliminary explanations.
1. Of the two notes which form the Podatus, the lower
is to be sung before that which is immediately above it.
2. The thick sloping line of the Povrectus represents
two notes, graphically joined, the top of the line being
the first note, and the lower end the second.
3. The half-note which ends the Cephalicus and the
Epiphonus is not found except at the end of a syllable, and
then only when another syllable, following immediately
upon it, causes two vowel-sounds to unite and form a
diphthong, as, for example, " AUtem, EI/ws, allelUIa," or
else when several consonants occur together, such as
"0MN*s, s0NCTs." For, in such a case, the very
nature of the syllable necessitates a modification of the
sound, and the voice, gently flowing from one note to
the next, dies away (liquescit). In other words, the
sound, being kept back in the mouth, does not appear to
have a definite end (non finiri videatur). It appears to
lose half, not of its actual length, but of its power
(cf. " Gui. Microl." c. xiv.).
* Our Illustration I is practically a copy of the scheme of notes
which follows the above paragraph.
207
208 A HANDBOOK OF CHURCH MUSIC
But when the nature of the syllables requires not a
liquescent, but a fuller sound (plenius proferatuy] the
Epiphonus gives place to the Podatus, and the Cephalicus
to the Clivis.
Sometimes the two notes which follow another higher
note, or Virga, in the manner of a Climacus, are liques-
cent, or, at least, the last of them. In such a case both
are written in smaller characters, or a Cephalicus is
placed under the Virga. A neum of this kind having
affinity with the Climacus is called the " Ancus."
4. When several notes, either simple, as in the Stro-
phicus, or forming part of a composed neum, as in the
Pressus and similar neums, are placed together on the
same degree, so that they are separated only by a very
short space, they are sung with a slight undulation of
the voice (vario tenore), the sound being prolonged more
or Jess, according to their number. Nevertheless,
there is this difference between the Strophicus and the
Pressus the latter should be sung more firmly, or even
with a tremulant effect (trcmula voce), if desired, the
former more softly, unless the tonic accent upon the
syllable affected requires a more pronounced stress.
5. There is another tremulant note, the Quilisma,
which also occurs in the chant as a melodic flower (flos
melodious). It is called the " flowing " and " stepped "
note (nota volubilis et gvadata). The singer who has
not learnt to produce these notes with a tremulant or
flowing sound, or one who, knowing the manner in
which it should be done,. is singing with others, should
simply rest with some sharpness upon the note which
precedes the Quilisma, in such a way that the sound of
the Quilisma itself is more subtle rather than more rapid.
6. The tailed note which surmounts the Climacus,
the Clivis, and the Porrectus is peculiar (de pvoprietate) to
those neums in the shape in which they have been handed
down to us by the Fathers. A note of this kind is given
a somewhat stronger impulse not because it is a tailed
note, but because, not being bound to the note which
preceeds it, it receives the impulse of the voice direct.
The little line which sometimes leads from one to the
other simply acts as a bond between the first and second.
APPENDIX 209
7. The descending notes which in some neums follow
a higher note have no special time-value of their own.
That they are subordinate to the culminating" note, and
are to be expressed as connected sounds, is evident from
their peculiar shape and sloping order. But each neum,
no matter how its component parts are connected in
writing, forms in the chant one united whole, so that the
notes which follow the first seem to rise therefrom in
such a manner that the impulse which the first receives
is communicated to all the others. The reason for the
joining of the notes together, both in the notation and
in singing, requires that the neums themselves shall be
distinguished from each other in a manner obvious at
once to the reader and the hearer. This is done in
different ways, according to circumstances.
8. When several neums each correspond to a syllable,
the neums must be distinguished as well as the syllables,
in order that they may be clearly articulated. In this
case every neum participates in the peculiar character
and strength of the syllable to which it is attached, so
that the neum is sung with greater force if the syllable
is stronger on account of its accent, and with less force
if the nature of the syllable requires a weaker sound.
a
D B
U! i
A C D
B
A C A B
5
L EJ
! w ' f
. Q
'S.S"
i
IM
a
*
* r '
T" a
9. When several neums are attached to the same
syllable, their series is thus divided : those which are
completely or almost entirely united are sung in one
continued succession (see A) ; but in the case of those
which are separated by a greater space (B), or by a
short bar or division (C), a slight suspension of the
voice is made upon the last note, and, if necessary, a
short breath may be taken.
Note that a tailed note followed immediately by a
dependent neum does not mark a breathing-space, but a
pause of longer duration.
210 A HANDBOOK OF CHURCH MUSIC
According to the "golden rule," no pause, however
short, not even a slight delay, and still less a silence
which would cut up the word into unsuitable divisions,
may be made at the end of any neum which is followed
by a new syllable in a word already commenced.
The divisions of varying importance which the sense
of the words and melody alike requires must be observed
in every kind of chant. To this end the different signs
of punctuation already in use in books of chant to indi-
cate the different divisions or pauses, according to their
nature and extent, have been adopted namely :
1. The division, or greater pause, sometimes called the
pause of distinction, is made by a moderately long pause
upon the last notes and a full breathing.
2. The shorter pause, or pause of subdistinction,
indicates a short delay and also a short breathing-space.
3. The smallest pause consists in a very short resting
of the voice, and allows in case of necessity the very
shortest space for renewing the breath. If the cantor
must take breath more frequently, he may take it, as if
by stealth, at the points of intersection either of the
words or the melody, so that the words and neums may
never be cut too short.
4. A double line marks the end, either of the melody
or one of its principal divisions.
This double line usually plays another part in the
choir books, for it also denotes the place at which the
choir itself continues the chant which has already been
commenced, or where the alternation takes place. But as
a sign of this kind interposed here and there throughout
the chant too often interferes with the general effect, we
have thought it better to replace it by an asterisk (*),
which answers the same end, as will be seen in the
preceding example Kyrie Eleison.
In this and similar places we put a single asterisk
APPENDIX 211
when the choir which is singing must wait for the other
to take up the chant alone, but we place a double
asterisk (**) when both choirs take up the chant together,
so that, as is fitting, the chant may be concluded by all
the voices together. It should be remarked that when
a flat (b ) is placed anywhere, it keeps its value only
until a natural (ff) occurs, or a bar of division, or a
new word.
When these different points have been once fully
mastered, it behoves those who take part in the Divine
praise to learn and diligently obey all the rules of the
chant, in order that their soul may always be in har-
mony with their voice. Their first care, therefore, must
be to perfectly understand the words which they sing
(Benedict XIV.), for it is not fitting that the singing
should cause the sense of the words to be lost sight of,
but rather that it should imbue them with light.
In every kind of text, whether recitative, psalmody, or
chant, so far as is in our power, the accent and the
harmony of the words must not be neglected, for it is
chiefly by these means that the sense is apparent
(" Instituta Patrum ").
The greatest care must be observed in order that the
sacred melodies are not spoilt by unequal singing. One
neum must not be improperly prolonged or shortened,
according to the fancy of the singer. We must sing
uniformly, observe the pauses together, by paying atten-
tion to the singing of the others. If we are singing
slowly, the pauses must be longer. In order that all the
voices of the choir should go forth as that of one man
and this is most important let each singer strive humbly
to merge his own voice in that of the whole choir. Let
us detest every kind of affectation, vanity, or novelty in
singing, everything which breathes the spirit of the
theatre. Let us not imitate those who rush through the
chant with too great levity, or those who give out the
syllables one by one with undue emphasis. But whether
we sing slowly or quickly, the melodies must be rendered
without effort, with fullness and sweetness (Hucbald,
Nicetas, "Instituta Patrum").
We have gathered these rules from the writings of the
142
212 A HANDBOOK OF CHURCH MUSIC
Holy Fathers, several of whom learnt the manner of
singing from the angels, whilst others learnt it in their
hearts by contemplation at the inspiration of the Holy
Ghost. If we try to put them into practice with the
same zeal, we also shall perceive the hidden sweetness
which they perceived, singing to God with mind and
heart and soul (" Instituta Patrum ").
But they who have the privilege of singing in the
Church of God must also be well instructed in the rites
of their office, and so we give below the chief of those
rules which have any connection with the Gradual :
THE RITUAL TO BE OBSERVED IN' THE
SINGING OF THE MASS.
1. When the priest draws near to the altar, the cantors
begin the antiphon of the Introit. Upon ferias and
simple Feasts this is intoned by one cantor only as far as
the sign * ; on other Feast-days and Sundays, by two ;
and on the Great Feasts by four cantors, when there are
sufficient for the purpose. The choir continues the chant
as far as the Psalm. The cantors sing the first part of
the verse, as far as the asterisk, and also of the Gloria
Patri, and the remainder of the verse is sung by the
choir. The Introit is then repeated by all as far as the
Psalm.
2. When the antiphon has been completed, the choir,
singing alternately with the cantors or the second choir,
chants the Kyrie Ekison three times, Chviste Eleison three
times, and again Kyrie Eleison three times. But the last
Kyrie Eleison is divided into two parts, sometimes into
three, by a single or double asterisk. If there are only
two parts, and consequently only one asterisk, the first
part is sung by the cantors themselves, or by the first
choir ; the second by all. If there are three parts, and
consequently a single asterisk at the first division and a
double asterisk at the second, the first part is sung as
directed above ; but the second, which is a repetition of
the melody of the first, is sung by the second choir ; the
third being sung by all the voices together. Sometimes
there are as many as five parts ; then the manner of
APPENDIX 213
alternating the singing is indicated by the signs of simple
and double division repeated several times, and can be
interpreted in accordance with the remarks we have
already made.
3. The priest intones the Gloria in Excelsis Deo alone
and in a loud voice ; then the choir continues, Et in tevva
pax hominibus, etc., being divided for that purpose into
two divisions, each of which replies to the other, or else
the singers alternate with the cantors. The response of
the choir to the Domimis Vobiscum follows.
4. When the Epistle or lesson is ended, the respond
called the Gradual is begun by one or two cantors as far
as the sign, and the whole choir, or at least those who
are called cantors, continue it with due attention. Two
cantors sing the verse of the Gradual, which from the
asterisk to the end is finished by the whole choir ; or,
according to the Responsorial Rite, when that seems
more appropriate, the whole choir repeats the first part
of the respond as far as the verse when the vrse itself
has been sung throughout by the cantors alone.
If Alleluia is to be sung with a verse, it is sung by one
or two cantors as far as the sign *. The choir repeats
the Alleluia, and adds the neuma or jubilus, which prolongs
the syllable " 0." The cantors sing the verse, which is
finished, as before, by the whole choir from the asterisk.
When the verse is ended, the cantor or cantors repeat
the Alleluia, and the choir adds the neuma alone.
After Septuagesima the A lleluia and the following verse
are omitted, in their place being sung a Tract, the verses
of which are sung alternately by the two divisions of the
choir, or else by the cantors and the whole choir.
In Paschal-tide the Gradual is omitted, and in its place
is sung Alleluia, with a verse as above. The single
Alleluia which follows immediately is intoned by one or
two cantors as far as the neuma, and is then finished by
all, without any repetition. The verse and the single
Alleluia at the end are sung in the manner described
above.
The sequences are sung alternately, either by the
cantors and the choir or by the two divisions of the
choir.
214 A HANDBOOK OF CHURCH MUSIC
5. At the end of the Gospel, if the Credo in unum is to
be sung, it is intoned by the priest, Patrem omnipotentem
being continued by the choir. It is sung either alter-
nately or by all the singers together, according to the
custom of the place.
6. The Offertory, like the Introit, is intoned by one,
two, or four cantors, and is continued to the end by all.
7. At the end of the Preface the choir continues 'the
Sancttis, etc. ; but while the Blessed Sacrament is being
elevated the singers are silent, and adore with the rest.
8. After the response to the Pax Domini, the Agnus Dei
is sung three times either by the whole choir when it
has been intoned by one, two, or four cantors each time,
or else alternately. In any case, the last words, Dona
nobis pacem, or, in Masses for the Dead, Sempiternam, must
be sung by all.
9. After the priest's Communion, the antiphon called
the Communion is sung by the choir. This is intoned by
one, two, "or four cantors, as we have said with regard to
the Introit.
The priest or the deacon sings Ite Missa Est or Bene-
dicamus Domino, and the choir replies, in the same tone,
Deo Gratias.
In Masses for the Dead, Amen is the response to the
Reqniescant in pace.
INDEX
Cantate Vocibus, Cantate Cordibus, Cantate Oribus, Cantate
Moribus (ST. AUGUSTINE, Expos, of Ps. xxxii.}.
A.
Accent, 176
Accentuation, 24, 32
Accompaniment, 93-103, 176
of Responses, 52, 96
Accompaniments, books of, 95,
194
Addresses of publishers, 196
Adoration of the Cross, 130, 131
Adoremus, 134
Agnus Dei, no, 113, 176, 214
Alleluia, 65-6, 104, 108, 118, 176,
213
Alleluia verse, 109, 176, 213
for Easter Day, 67
Alma Redemptoris Mater, 123
Ambrose, St., 9, 115, 119
Amen, sung by whole congrega-
tion, 108
Ancus, 208
Antiphonal chant, 119, 176
Antiphoner, 118, 177
Antiphons, 62-3, 118, 123, 176
Angelic hymn. See Gloria
Angelus autem Domini, 62
Arsis, 85, 177
Arundel hymns, 92, 194
Asclepiadic meter, 180. See
Hymnody
Ash Wednesday, 129, 146
Asperges, 54, 96, 106
Augustine, St., 42
Authentic modes, 27, 49, 177
Author's note, xv
Ave Maris Stella, 59, 145
Ave Kegina Coelorum, 123
Ave Verum, in
B.
Bars, 34, 39, 45, 210
Bas, Giulio, 95, 192, 194
Bates, J., 15, 192
Benediction ceremonial, 147
music for, 135, 154 et
seq.
service, 87, 91, 101,
134-5
Benedictus, 126
Bishop, blessing of, no
reception of, 103, 132, 147
Blackboard, use of, 46, 49, 50,
192, 200
Books, care of, 90
on plainsong, 191-192
Breathing exercises, 16, 192
pauses, 34
C.
Cadences, 61, 120, 177
Calendar, 148-175
Candlemas, 128, 141, 145
Canonical hours, 115
Canticle, 177
Cantors, 84, 123, 145
Cassocks, 141
"Catholic hymns" 91, 153,
194
Cephalicus, 40, 207
Ceremonial, 123, 140-147
Ceremonies, master of, 84, 148
215
216
A HANDBOOK OF CHURCH MUSIC
Chironomy, 85, 177
Choir, 71-76, 177
clerical origin of liturgical
place and dress, 71, 140-1
mixed, 72
size of, 74
training, 82-85
Choirmaster, 76-92
Chromatic scale, 46, 177
Clef, 44
Climacus, 40, 48
Resupinns, 40
Clivis, 40, 48
Clivis strophicus, 40
Commission, Pontifical, for the
revision of the chant, 10
Common of Saints, 150, 177
Communion, 177, 214
Compline, 123-125
Confirmation, 132, 133
Corpus Christi, 132
Cotta, 140
Credo, 52-53, 109, 151, 178, 214
" Crown of Jesus " Hymnal. 91
D.
Damasus, Pope, 9
Diamond note, 33, 43
Diatonic scale, 177
Divine Office, 115, 133
attendance at, ix-xi,
116, 117
origin of, vii-ix
.Dominant. See Mode
Doxology. See Hymnody
Dubois, Mgr., 36
Duplicator, 89, 90
Elision, 178
English hymns. See Hymns
" English Hymnal," 92
Epiphonus, 40, 207
Episema, or Ictus sign, 36
Extemporization, 96
F.
Feast-days which vary, 151
Final, 50, 178
Flat 46
Flat singing, 19
Flex, 178
G.
Gaudeamus, 56, 57
Gloria in Excelsis Deo, 151, 178,
213
" Golden Rule," 210
Gradual, 108, 178, 213
importance of, xiii, 38
" Grammar of plainsong," 5, 29
Gregory the Great, St. , 10
Gueranger, Dom, 10
Guide, 45
H.
Hiiec Dies, 63
Harmonium, limitations of, 83
95
Harmonization. See Accompani
ment
History of plainsong, 42, 190
Hodie, 63
Holy Week, 130, 131, 146
Hymn -boards, 88
Hymnody, 179, 180
Hymns, 57-60, 137-139, *94
authorized list of, 152, 153
158-163
English, 91
I.
Iambic meter, 179
Ictus sign, 180
Improvization, 96
Incensing. See Ceremonial
Interludes. See Voluntaries
Interval, 180
Intonation, 120, 180
Introit, 106, 107, 180, 212
Invitatory, 126, 181
Iste Confessor, 59
Ite Missa Est, no, 214-
Jerome, 9
J.
K.
Kyrie, 107, 181, 212
L.
Latin, pronunciation of, 22 25
Laudate Pueri, 61
INDEX
217
Lessons, 126
Librarian, 83, 85
Liquescent neums, 207
Litanies, 181
Litany of Loretto, 135
Liturgy, 115, 181
M.
Madrigals, 20
Magnificat, 61
Manuscripts, 188-9
Mass, ceremonial at, 143
for the dead, no
music, 104-114
Matins and Lauds, 125, 126
Mediation, 181
Melismatic chant, 65-67, 181
Meter, 31, 181
Mocquereau Dom, 56, 85
Modes, 36-38, 49, 50, 181
Monks of Solesmes, 10, 35
Mora Vocis, 35, 39, 182
Motu proprio, i, 2
N.
Natural, 47
Neuma, 90, 108, 182
Neumatic chants, 182
Neums, 35-41, 47, 48, 182, 209
execution of, 34
Nocturnes, 126, 182
Notation, 182
Notes, shape and use of, 207-212
O.
Offertory, 183, 214
pieces, 89
Ordinary of the Mass. See Mass,
183
Ordo, 89, 148
Organ^in Lent and Advent, 100
music, 102, 196
subordination of, 9+ ) 3
use of, 83
Organist, 93-103
at Benediction, 101
at Mass, 96-98
at Vespers, 98-100
Original compositions for organ,
T02
P.
Pace. See Tempo
Paleographie Musicale, 189
Paleography, 183, 188
Palm Sunday, 128, 129, 146
Part singing, 20
Pauses, 34
Pax, 143
Peregrinatio Etheriae, viii
Periodicals, 195
Personality of choirmaster, 78,
79
Pes subpunctis, 40
Piano, use of, 20, 21
Pius X. on plainsong, i, 10
Plagal modes, 28, 183
Plainsong, 9-13, 183
history of, 42, 190
objections to, 3, n, 12
Podatus, 39, 47, 207
Polyphony, i, 88
Pontifical blessing, no
Porrectus, 40, 48, 207
flexus, 40
Pothier, Dom Joseph, 10
Practices, 82
Preface to the Vatican Gradual,
207
j Pressus, 41, 208
Primicerius, 76
Probationers, 74
Processional, 183
Processions, 127
Proper. See Mass, 183
Prophecy, 183
Psalmody, 61, 119-121, 184
Punctum, 33, 43
Q.
Quilisma, 41, 208
R.
Reception of a Bishop, 103, 132,
J 47
Recitatives, 184
Reciting note, 120
Regina Coeli, 123
| Respond, 126, 184
| Responses at Mass, 25, 51
I Responsorial chant, 184
218
A HANDBOOK OF CHURCH MUSIC
Rhythm, 29-36, 185
Rhythmical signs, 35
Ritual, 185, 212
Rogation Days, 128, 147
Rosary, 136
S.
Salve Regina, 123
Sanctus, 185, 214
Sapphic meter, 179
Scandicus, 40
flexus, 40
subpunctis, 40
Schola cantorum, 76, 84, 185,
199-206
Sequence, 104, 185, 214
Solesmes monks, 10, 35
summer school at, 35
" Songs of Syon," 92
Speed of plainsong. See Tempo
Staff notation, 43-45
Stations of the Cross, 137
Stave, 43
Strophicus, 40, 41, 208
Surplice, 71, 140, 141
Syllabic chant, 51, 52, 114, 185
T.
Tantum Ergo, 58
Tempo, 113
Tenebrae. See Holy Week
Te. Deum, 126
Te Lucis, 57
Timete Dominum, 64, 65
Tonality. See Mode
Tone, 186. See Psalmody
Tonic, 50, 178
sol-fa, 43
Torculus, 46, 48
resupinus, 40
Strophicus, 41
Tract, 109, 1 86
Transposition, 186
Tristropha, 41
Tritone, 186
Trochaic verse, 179. See Meter
Trope, 186
V.
" Variae Preces," 89
Vatican Gradual, 104
preface to, 207-214
Vcni Creator Spirittts, 145
Venite, 126
Verse, 186
Versicles, 187
Vespers, 118-123
ceremonial at, 144
Vexilla Regis, 145
Vidi Aquam, 106
Virga, 33, 43
Vocalization, 187
Voice production, 14-21, 192
Voice exercises. See Voice pro-
duction
Voluntaries, 95, 96, 100
W.
Women in choirs, 72
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