92

Part I.

Three lines Synonymous.

Psalm 93, 3.

" The floods have lifted up, O Jehovah,

The floods have lifted up their voice;

The floods lift up their din ".

Two lines Synonymus, and the third supplementary.

Psalm 2, 2.

" The kings of the earth take their stand,

And rulers hold conclave together.

Against the Lord and against his anointed ".

Two lines Synonymus, and one Antithetic.

Psalm 54, 3.

" For strangers are risen up against me,

And violent men have sought my life :

They have not set God before their eyes ".

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

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

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

Chapter VI. — The Psalmody.

93

In every Psalm Formula, we distinguish Six Elements :

a) Intonation.

b) Dominant (ist Half of Verse).

c) Flexa.

d) Mediant Cadence.

e) Caesura.

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

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

Psalm Tone V.

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

^

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

(2) Introite in

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

(3) Scitote quo- niam Domi-

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

T-7 / \ (see below)

Flexa _(5]; ' ^

Gloria Patri

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

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

saecu- 16- rum.A-men.

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THE FUNDAMENTALS

OF

GREGORIAN CHANT

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THE FUNDAMENTALS

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GREGORIAN CHANT

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THE FUNDAMENTALS

OF

GREGORIAN CHANT

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

BY

LURA F. HECKENLIVELY

SOCIETY OF ST JOHN EVANGELIST

DESCLEE & Co

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

TOURNAI (Belgium)

Printed in Belgium

BERKELEY MUSIC LIBRARY

UNIVERSITY OF CALIFORNIA

<^r

ALL RIGHTS RESERVED.

* .1

I '■

TO DOM JOSEPH GAJARD

AND THE MONKS

OF St. PIERRE DE SOLESMES

WHOSE KIND CO-OPERATION

HAVE MADE THIS WORK

POSSIBLE

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i-bi- mus. Gloria Patri.

INTRODUCTION.

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

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

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

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

Introduction. ix.

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

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

X. Introduction,

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

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

The Author.

PART I.

The Fundamental Principles of the Theory,

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

CHAPTER I.

THE LANGUAGE OF THE CHANT.

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

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

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

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

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

Chapter I. — The Language of the Chant. 3

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

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

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

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

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

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

Part I.

The Pronunciation of Church Latin.

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

The letters are divided into vowels and consonants :

Vowels.

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

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

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

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

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

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

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

Consecutive Vowels.

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

Chapter I. — The Language of the Chant. 5

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

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

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

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

Offert.

— **n?'FlrV^"^i-

ii4^_V

Lau- - - da. Eu- ge.

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

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

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

The metrical rhythm makes these cases easy to determine.

Part I.

Consonants.

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

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

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

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

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

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

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

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

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

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

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

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

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

Chapter I. — The Language of the Chant. 7

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

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

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

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

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

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

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

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

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

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

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

8 Part I.

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

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

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

The nature of the Latin Tonic Accent (^),

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

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

mu-

grave

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

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

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

Chapter I. — The Language of the Chant. 9

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

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

Rules for Latin Accentuation.

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

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

Filioque, vobtscum, hominesque, voUicresve.

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

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

/ . . / / f /

Et Tii in principio Domine, terram fundasti.

10 Part I.

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

super euni, post partum.

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

Deiim propter.

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

Deits qui fecit.

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

/ / /

qui vtilt venire post me.

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

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

tttreiiirando, henedicere.

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

/ / /

pater, mater, Dens.

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

f^ f.j - f

magnalia, filius, tenehit, Domine.

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

plaudtte.

Chapter 1. — The Language of the Chant. 11

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

circiimdata, etc.

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

prius, quam, et enim.

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

itaqiie.

Secondary Accents.

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

/// / /./ //

jiistificationes, consiihstantidlem, ommpotentem,

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

Logical Accent.

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

Ostende nobis Domine misericordiam tuani.

Pathetic or Expressive Accent.

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

12 Part I.

Divisions, Pauses, and Rhythm of Discourse.

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

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

We give the following Example :

1st Phrase

1st Member 2nd Member

12 3 1 2 3 4

|— I 1 "i I 1 V~\ ! I I I ! !

Tui sunt caeli, et tua est terra :

2st Phrase

1st Member 2nd Member

12 1 2 3 4 .5

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

orbem terrarum, et plenitiidinum ejus tu fondasti :

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

CHAPTER II.

NOTATION.

A. — Origin.

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

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

To such an end two simple signs sufficed :

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

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

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

i) Circumflex A — a raising-falling note.

2) Anticircumflex V — a falling-rising note.

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

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

14

Part 1.

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

elan.

The following eleven Accents were recognized by the Latin grammarians :

In Neumatic Notation.

I — Acute

/

Virga

2 — Grave

\

Grave or Punctum

3 — Circumflex

A

Clivis

4 — Anticircumflex

V

Podatus

5 — Long

-

Roman Sign — Episema

6 • — Breve

u

7 — Apostropha

5

Strophicus

8 — Hyphen

~VJ~

9 — Hypodiastole

_rk_

10 — Dasea

11 — Psile

1-1

Hi

Aspirations (Dasian Xotc

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

B.

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

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

The Acute accent became the Virga (/).

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

Chapter II. — Notation. 15

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

The Circumflex became the Clivis (/j)

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

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

i) Neums of three notes

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

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

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

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

and so on for larger groups.

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

C. — Diastematic Notation.

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

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

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

16

Part L

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

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

A. — Simple Notes.

Square Punctum

-.:ii=

Square Punctum

with Attached Ictus

Diamond-shaped Punctum

=~i=^=4i:

Diamond-shaped ^_

Punctum with " attached Ictus

Virga

Apostropha

Oriscus

Quilisma

^=1:

^ a

— i

n — ■

p

- 0

w n

^

n J

J d

y

^

f>

\^

[^

_ i^ _

^

#

_ '\

>

•

k.

n

— # —

'/

Chapter II.

Notation.

17

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

In the Solesmes Editions the Episemas are marked thus :

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

Exercise.

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

B. — Neums of two Notes.

Pes or Podatus

Clivis

\—i

35^^

ri:

^-

%

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

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

or

^-

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

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

18

Part I,

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

Examples.

Pes with dot

^=^

Pes with two dots

Pes with Episema

^

Clivis with dot

:^i=

J-4

*=t

Clivis with two dots p^

Clivis with Episema

Clivis with vertical --

Episema or Ictus Pi

mine

i^it

Exercice.

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

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

Chapter II. — Notation.

19

C. — Neums of three Notes.

Porrectus

=N<

N=^

Torculus

^— ^-

^

Scandicus Ji p] ^

i=5:i:^

^ # "^ — ^ 0 ' — ^-

Salicus

4==1

— ^i^ — — 0-0 —

Climacus 1»^ ♦

-«-«-- 1 0 •-#

:?zi:

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

:S:

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

r=f

f^-T-^--

Mzfi^==^zMz!L

^L^^=^^3=

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

20

Part I,

Exercise.

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

D. — Neums of Four Notes or more.

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

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

Porrectus Flexus

Scandicus Flexus

Salicus Flexus

^

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

Torculus Resupinus

Climacus Resupinus

%^

=:]=

c) These two terms may be used in conjunction :

Porrectus

Flexus

Resupinus

^

Chapter II. — Notation. 21

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

If there are two Puncta, we say Subbipunctis ;

^44

~.-:d-A-

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

Porrectus Subbipunctis ^^ ^ -

Scandicus Suhbipunctis g^» 3—^

iiizi:

If there are three Puncta, we say Subtripunctis

Pes Subtripunctis J"»

Porrectus Subtripuntis

Connection of Groups.

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

Groups may be formed in three different ways :

1. By graphic linking of the notes.

2. By the succession of diamond-shaped Puncta.

3. By the simple placing together of several groups.

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

In the simple linking of notes the connection is evident.

22 Part I

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

K ♦♦

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

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

or Scandicus Subbipunctus ■ — (^

;ir^-^-

Podatus and Clivis forming a ^w--

group »l —

Clivis and Podatus forming a group

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

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

Exercise.

ions

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

Liquescent neums.

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

Chapter II. — Notation.

23

The — — Podatus — H~

-i^-

Epiphonus, or becomes Podatus ~^

Liquescent y_

The Clivis

iE^^

Cephaiicus, or

Glivis

Liquescent

-i-

The Torculus

Torculus — JJ- Liquescent

— —^-tl

The Porrectus

zSe^e^:

Porrectus — P^- Liquescent — ' — ^-

t^E^

The Scandicus

-^^^.

Scandicus Liquescent

3E|^

The Climacus

Climacus ^"1 z:~^^"

Liquescent '^ — *-^-^-

or Ancus

Exercise.

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

Notes and Groups derived from the Apostropha.

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

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

Simple Apostropha Distropha

^

^ y

Tristropha

^ ^ ^

_^_^_^_

NO 758.

24 Part I.

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

Thus we have the Pressus Clivis :

•H-

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

The Gregorian Stave.

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

I -- ^

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

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

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

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

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

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

Chapter II. — Notation.

25

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

Doh Clef ^

<

<

Examples of Clefs on different lines with Solfeggio Names :

Do re mi fa

Do re mi fa sol la

i-M<-

■

-■-

_■_

- ■

-m-

■

■

■

t":

■

■

■

^ ■

' ■

Do ti la sol fa mi re do

Do ti la sol fa mi

Do re mi fa sol la ti do

5-1*.—-

Do ti la sol fa mi

Fa

sol

■ ■

la

ti

■

^^:

_■_

-■-

■

Fa sol la ti do re

l5-«-S

Fa mi re do ti la sol

Fa mi re do ti la

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

26 Part I.

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

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

i5 ■

Do

^^re

^_!l-'j„-A-^-J-^.-.-.-|i^-i—

Do

Re Accidentals.

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

a

Instead The^^ --

of urote |-

— ^SfiT^ — ^-fi—

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

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

S ;Vr^-i-'-

g a bb b^ c

Rhythmic Signs on the Stave.

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

a) Rhythmic Signs affecting the Notes.

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

Chapter II. — Notation. 27

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

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

h) Rhythmic Signs of Division :

12 3 4 5 5 1

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

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

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

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

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

Suggestions for Practice in Reading.

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

'' " 3rd " — Credo III ; Vidi aquam.

" " 2nd " — Asperges me (7th Mode)

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

" " " " — Offertory Veritas mea.

Solfeggio.

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

28 Part I.

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

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

Rules for Placing the Ictus.

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

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

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

2) The first note of the Pressus.

3) All notes bearing the Horizontal Episema. (Which

indicates lengthening).

h) Other places for the Ictus are :

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

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

Horizontal Episema).

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

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

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

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

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

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

Chapter II. — Notation. 29

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

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

require a different ruling.

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

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

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

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

is followed by a Single note.

6) The note immediately preceding the Quilisma.

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

The Treatment of Neums.

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

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

It may be a link between two more important tones

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

S

2=-3

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

30 Part I.

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

Or a link with another neum :

S

-■-■-

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

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

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

^

MM

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

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

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

(^) Or first note of Podatus.

Chapter II. — Notation.

31

S-i

:n

-ri

*%

X

^

■m;=^-K

*pi

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

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

=^-(^=

HP-

M

■ ■

tr«^

cae-

Re- demptor I- ra-

■* Strophicus + Pressus

+ +

etc.

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

6 "~"~'*1^

Gradual

Mode

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

g

-**«/

**./

./7

.^

v5.=DziK

;a

One Note before Quilisma.

Two notes before Quilisma. Both notes are lengthened.

32

Part II.

</?*^

/'.^

^=n-\-^

i=^

%

♦^i

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

«l

fl .1.1

^ ,

H

a m

•s- ■

J

♦-..

\^

. ^ :%*■

■^

Four notes Six notes

before Quilisma. before Quilisma.

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

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

■flrt-

t^^

Pm

di- em fe-stum ce- le- brantes

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

\— ; 7

I I

di- em fe-stum ce- le- brantes

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

CHAPTER III.

THE MODES — TONALITY.

The Nature of Gregorian Melody.

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

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

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

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

34 Part 1.

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

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

The Divisions of the Original Scale.

A — First Division of the Original Diatonic Scale.

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

ABCDEFGabcdefg

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

_»- _i_ _ _^

g -i '

^

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

Chapter III. — The Modes — Tonality.

35

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

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

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

Complete -— Scale ii-

Protus %"

Central 5th

■ r ^ ■

j Lower 4th

Upper 4th j

Deuterus

I Lower 4th

Central 5th i -■-

Upper 4th

Tritus

Central 5th

^ i

:^t=^

I Lower 41 li

I Upper 4th

Central sth i ^ -■-

fl

■ ■

ietrardus k

- ■

a

-^

Lower 4th

Up pes 4th

36

Pari 1.

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

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

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

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

Upper Chants

Lower Chants

Upper Chants

Lower

Chants

Protus Authentic

Protus Plagal

Deuteris Authentic

Deuteris'' Plagal

Mode

I

Mode II

Mode III

Mode

IV

Common 5th | _

• ■ 1

Protus

1 Upper 4th 1

Common 5th |

1^

n ■ ■

1 Lowe

___^

.) ■

r 4tli

i"

Common 5th ^ -■-

■ ° ° 1

. ■ ■ , !

X^) ' J _ 1 _

Deuterus '

*

1 Upper 4th 1

Common 5th |

H

n ■

. ■ °

1 Lower 4th

* Old Dominant

Chapter III. — The Modes — Tonality.

37

Upper Chants

Lower Chants

Upper Chants

Lower Chants

Tritus Authentic

Tritus Plagal

Tetrardus Authentic

Tetrardus Plagal

Mode

V

Mode

VI

Mode

VII

Mode

VIII

Common 5th | _

a B

i

-^-^^'— t

i i

— (

■) ■ ' i

Tritus '

') i 1

1 Upper 4th 1

Common 5th |

^ ■ "

/

.)-!

1 Lowe

■ (

r 4th

I

Common 5th | -■-

■

m °

. ■ ■ J L_

(■) " 1 I

p

! Upper 4th j

Tetrardus i

Common 5th |

^_

^ ■

"Tl

■ ■

«)

1 Lower 4th ,

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

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

Interior Division of Each Mode.

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

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

38 Part I.

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

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

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

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

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

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

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

Fifth Mode — " F or Fa; '' C or Doh.

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

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

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

They follow :

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

Fourth Mode — " E or Mi; " A or La.

Sixth Mode — '' F or Fa; " A or La.

Eighth Mode— " G or Sol; " C or Doh.

Chapter III. — The Modes — Tonality. 39

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

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

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

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

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

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

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

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

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

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

Transposed Modes.

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

40 Part J.

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

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

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

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

3rd et 4th- ? ?

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

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

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

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

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

Characteristics of the Different Modes.

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

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

intr. \k^-^—:itzlf^^^w^

I. J -1 i-l-ii i_._:_.■_S^^l .

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

Chapter III. — The Modes — Tonality.

41

+ ^— r^ M

i ■

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

etc.

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

£^-

-+-

^-l

♦r-B-

■^

Ky-ri- e

=F!

:l-v

-■— ■-

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

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

e- le- i- son.

t~-

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

5

Ant. 5 — I. G — ■-

-^

■\-

t-

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

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

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

t^^Tv

-+-

f«*

^^

tEb=?zr:;i

Ky- ri-

le- i-son. iij.

42

Part I

Typical Cadences of the First Mode are given below :

-■ — m-

!

-■ — *

a

-■— ■-

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

-i>— 11^— »^ — -tl — f\ , ■

;♦

=■—-■-

Is- ra- el.

e- le- i-son.

no-stri.

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

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

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

Celebrant

Choir

■^ '^ ■ s ■ ■

II. >_>■%,■■ ■. -.

■ ■ "■ ■ 1

■ ■ ■ '

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

Et in terra pax

■f "1 ■ ■ S

% , V ■

homi-ni-bus..,

n. <

■ ■ ■

V^

Pi-:

%-*!-

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

Chapter III. — The Modes — Tonality.

43

p-r

Sa-ba- oth.

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

^"^♦i

fcsl^-

sH^fi

t

f

^^*Mi

AUe- 111- ia. *

7^-

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

f.Ve-

ni Sancte Spi-

ri- tus, reple

etc.

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

II.

5b=xr^

:Pf^=r_?JJLl^n sTi

^-P^=t:

Co-

le-

Again.

ge-

runt

etc.

l5r

♦x^l

il-li- us, etc.

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

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

44 Part I,

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

(Jiixta morem Ronianiim.)

5

Hymn. ? ■-■ w^-^H^fw^ ^-^-" i P""!^

HI. i -^ — i r

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

■-^-f-

Intr. i ^ ^„,

III.

.1=^=^:

3=^::.;

S-!i.fc

t

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

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

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

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

Chapter III. — The Modes — Tonality.

45

5

III

i-'-'-

■ ■•

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

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

Following are a few characteristic Third Mode Cadences :

S—

-»♦

♦ ■•

— ?-N

i^

su- is. Ma-ri

- a Virgi-ne.

me-

u- ia.

^ ,

■ ■"■

. ■"■ ■

■ P.

■•-Vv, :

^: ?

■•

"■ ■• ■•

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

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

Hymn.

S

IV

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

t

Dicta pa-cis vi-

:15*-

xi

\

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

di-bus, etc.

** Ancient Dominant.

46

Part I,

Comm.

IV

=^!zri-"zX:^t

^E

-■— ■-

J" i.4

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

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

Resp. *-

IV —

:!=zp.

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

Me-di- a vi-ta

* in morte sii- mus : quem quae-

■ -

■ a

■ ■ ■ .- ■■■ ■* ■•

^^ ■■ ■ Pm Pbb ■•

;

■i "^

]♦ ■■• 1 ■■ ij ■■ gg

■ '

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

g

-■-- 5— ■ -l*^ p--

^

■i._v_^_p-.

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

San-

"I^^^J^

T-r

-^-U

;-fi^-t

n—^.W

■•■'♦■

cte

De- us. Sancte

-'^♦♦-S

for- tis, Sancte 1_

■ ■

'-\^~f*-\

mi-se-ri

-cors Salva-

tor.

ama-re morti

ne tra-

das

1

,

Fi.

nos. etc. Characteristic Cadences of the Fourth Mode :

IV

BH

!l>^'._J^^„

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

nit

Chapter III.

The Modes — Tonality.

47

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

V io"

•*-■

s-F-

p.

r!=3

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

^.

-■^♦--j

E^

a-p,

'■— ■-

fT=tZZZ

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

"35^=5^E^^^^

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

\^-

■ ■

gl6-ri- ae etc.

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

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

48

Part I,

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

Comm. J

V

.,_«.

•_^.

t

i^4i

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

^T^-

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

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

Grad. S

V

£— 7-lil^

■vil;

:1;i^:

;♦

O- mnes * de Sa- ba

Typical Cadences of the Fifth Mode :

etc.

SVf.:

:jVv«.-

-m—WFm—m-

fa- me.

me.

Domi- ne.

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

5

Ant. ?

VI — ■ — ■-

-f

■ ■

-*—m-

t-

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

Ant.

VI

-■—-■-

-■—■—■-

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

Chapter III. — The Modes — Tonality.

49

More modern are the Introit and Kyrie of the Requiem Mass

S_

Intr. ^-

VI —

-■ — ■-

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

I I I

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

^*^-?,

Domi- ne. etc.

h-n

•+-

-T=^^3

-♦t-«— =— ■— B^

r^il=^li^!=i^

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

le- i-son.

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

VI

£

-%^-

jus.

-a —

:ft?:

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

VI

■ ■ ■

^-•^

saecu- 16- rum.

"AvP.

m-

a-nes.

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

50

Part I,

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

Intr,

VII

g^i: ■■_

=13

■ ■•

^

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

AHe-lii-

ia. * Vj

-%-J-

i- J'' ^i-r— g-

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

M

-^-i-!-

Fm

lauda- bi- lis val- de, etc.

Familiar Cadences of the Seventh Mode are :

i — 1 ,r

-■-■-■-

^_^_.-.,--.

-?t-fl

•^

]US.

tu- ae ? e-

ni-

> 5

pn-g-i-r-R

sae- cu- la.

e-

le- i-son,

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

Chapter III. — The Modes — Tonality.

51

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

Ant.

VIII

Intr.

VIII

5

t=

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

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

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

■-T^/i-i'iir

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

VIII

5=,ti=K

1»» ■ ■

■^^tS

^3=^

S-iT*

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

— St— +

;♦

M

K -■

■ — ■-

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

M

H ■

^♦x-A--

•Ky-ri- e

e- le- i-son.

Characteristic Cadences of the Eighth Mode :

S-.:

-aH^-rsr

^v

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

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

rum saecu-la.

52

Part I.

Modulations {^),

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

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

S—

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

Kv- ri- e

le- i-son.

:^=^i=?^.=^

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

Ky- ri-

-%

^ S^

r-^.

le- i- son.

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

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

Chapter III. -^ The Modes — Tonality.

53

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

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

Intr. 0:>

-■—■--

-^^M-»r-h--«^

:?i^i

Sta- tu- it * e- i Do

— ^.

mi- nus te- stamentum

A

t^'

-■-a-

HHI— I

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

■-'!-♦♦-?--

-m—m-

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

t

cerdo-ti- i digni- tas in ae-

ter- num. T.P.Al-

\^

:N:

rn:-*

i!fl^H-i«

le- hi- ia, al-le-

lu- ia.

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

54

Part I.

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

1

Intr. 1^5- ^— iTi

VI -■■■ j.r^ ^— ^-^-

-■-■—■-

O-

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

■ ■

MV.

-^ ■—»♦■-—■ — ■-■— d--li-

jubi- la- te De-

o m voce

exsulta-ti-

nis.

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

I n

I St Mode

3rd Mode

'-Wifi

^— ?-* fi-'V

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

I isfMode I i

3rd Mode

^^^

i — I

--m — ■ — ■-

p=i

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

e=s=^

3rd Mode

f ist Mode

^^

-■-■-

1.—

X/A

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

Chapter III. — The Modes — Tonality.

55

3rd Mode

1 r

ist Mode

-■—-■-

^=^=

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

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

^

i

- ■

- ■ " - "

■• ■•

i

Se-cus de- ciirsus a

quarum

n

- ■

■ ■ " . "

■ ■' ■*

Planti- vit vi- ne- am

justo- rum

^ . .

. 1

■ ■ ■ ■ ■ ■ .

-■

■ ■ ■

■• ■• i

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

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

I ist Mode j

Ant.

VIII

S

=U

1

t

Omnes Sancti * quanta passi sunt tormen-ta,

I 8th Mode ]

1

■ ■

■ - ■ — ■ — ■

!

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

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

NO 758. — 3

56 Part I.

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

I G Minor' | T D Minor

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

VIII T r ■- T 1 -■

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

^ D Minor |

1

a ■ ~~

8th Mode

1

Gb- ,

a

M

■ n'^

■ ■ .

■ m

••

iii

%

t^

■ • ■•

«

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

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

Lightly and quickly

Li!'a_S-^_,

■ ■

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

fl - -

—

.. !

i-i

i .

-■-

■

— r-

-•N-

-■--

■

i

■•

■

■

■

■

■

■

1

«

_-_

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

very lightly

■ - - ■ - ■ ■ ■ . § .. J

i— ■ i— ■ — ■ — ■— I

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

i

i=:=r=^^^=f=|£5

,__.i,-i-!— i^— i^

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

(') Dom Joseph Gajard in Monographies Gregoriennes X.

CHAPTER IV.

RHYTHM 1.

The Nature of Rhythm.

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

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

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

.^^^^^K. .^^.^^^^o. .^.^.^.^.^«..

III II II

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

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

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

58 Part I.

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

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

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

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

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

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

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

The Composite Binary Beat has two forms :

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

■ ■

#

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

— m

Chapter IV. — Rhythm. 59

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

■* = •

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

■ . . - ^ ^ ^

■ ■ ■ — 0 0 0

h) The " contracted " form. :

. . . = J

c) The " mixed " form : *

-• . = J .^

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

The Rhythm of the Word.

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

c^

De- us Also the three syllable word :

Do- mi- nus

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

60 Part I.

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

^.

2 .• or ■■■ ■•

De- us De- us

Word of four syllables with Ternary Arsis :

Mul-ti-tii-do

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

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

The Rhythm of the Incise and Half Bar.

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

*i ■■■:■*

'

V ^b ^■■■■"

■ , '

B

' ■ . ■• .

Ado-ro te dev6-te, 1

1

la-tens De- i-tas. Quae sub

fl, ■ . ■

*\5 : ■ ■ ■

his fi-gu-ris, etc.

Chapter IV.

Rhythm.

61

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

bj

ffi=I

-V

Ky- ri-

le- i-son.

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

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

The Rhythm of the Whole Bar.

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

n <

Laudamus te.

(Lux ei origo.)

VIII

M=i=n

:5v:f

Ky- ri- e

e- le- i-son.

62

Part I.

(Alme Pater.)

-^^

3tzp

■ 1^ %iHi ■-HH

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

or it may be composed of two Incises :

(For the Sundays of Advent and Lent)

I— ^ -— -

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

Ky-ri- e With 3 members :

le- i-son.

■• ■

IV r

*♦]

g!-^

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

■ %

> ■•

Sa-ba- oth.

-■— ■-

Agnus De- i

•

, * qui tol-lis pecca-ta miindi :

S . ■ ■

■ ■ • ■ ■■ ■•

'

mi

i- se-re- re no- bis

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

Chapter lY. = Rhythm. 63

Composite Rhythm.

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

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

r

Arsis Thesis Arsis Thesis

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

Arsis Arsis Thesis Thesis

64

Part I,

m n n

Arsis Thesis Thesis Arsis Arsis Thesis Thesis

-.CJ3-

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

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

Chapter IV. — Rhythm. 65

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

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

The Rhythmic Ictus.

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

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

66 Part I.

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

c\^

_^-_, — ^ — _ — -± — ^

A-men. De- us.

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

Prep, beat

Associated Words.

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

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

" a) Rhythmic Words :

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

*^ f f f f

(^ Salus, honor, virtus, quoque.

» « » \

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

Chapter IV. — Rhythm. 67

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

1W^

syllable which carries the Ictus.

h) Time Words: ^qj^^

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

f f f f '<^

Salus, honor, virtus, quoque. ^^

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

Rhythm of Neums.

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

a) The Time Group :

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

5—1

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

■ ■ ■'

68

Part I.

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

Ant. |- VII r

■^:

I

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

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

Vi- di

quam

Chapter IV. — Rhythm. 69

Exercise.

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

h) Rhythmic Groups :

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

n ;; , ,h J , J^ j

2:

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

• 0

• 4

1%. iv. V%

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

i=ri^i=^»:

^^snrj;

=--7^

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

70

Part I.

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

Masculine and Feminine Cadences.

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

n

r-#-

Arsis

Thesis (Feminine Cadence)

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

Arsis

Thesis (Masculine Cadence)

Different Types of Incises.

a) Incises made up of Composite Rhythm by Juxtaposition :

Arsis Thesis Arsis Thesis Arsis Thesis

Arsis

Thesis

Arsis

Thesis

Arsis Thesis

Chapter IV. — Rhythm.

71

b) Incises made up of Composite Rhythm by Contraction :

V_

n n — •-# — 0-0- I I

Arsis Arsis

— 0 2 Arsis, one Thesis.

Thesis

0 one Arsis, two Theses.

Arsis Thesis Thesis

-0-0-

n

-0-0-

Arsis

Arsis

I Arsis

three elans, two Theses

Thesis

Thesis

Placing of the Rhythmic Ictus.

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

72 Part I.

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

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

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

Sea *

I ^-

■ 2 ■ i

■ ■ ■ - ■ - -•

% - ■ *

7 ■ - - _

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

Solvet saeclum in

■ ■ ••

......

fa-vil-la Teste, etc.

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

Chapter IV. — Rhythm. 73

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

The Mozarabic Tantum ergo is given somewhat the same treatment :

i_7 _ t~m — ■

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

ri

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

:-

■ ■

m

^— i-*::1v,

■ 7

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

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

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

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

* More recent form.

74 Part I.

Cre-do in lirum De- um.

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

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

Seq.

I

S

fci

>2 ■

■ 1 - , - a

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

■ ■

-■-

■

"K

:^z^±T^,^

7 1

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

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

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

Chapter IV. — Rhythm. 75

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

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

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

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

-s4n— — S-S+

Do- mi- ne.

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

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

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

g_+

5=1-5

. cum disci-pu-lis sii- is.

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

The Greater Rhythm.

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

* Consult. Part II, Chapter II.

76 Part I.

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

i '

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

ilJ?-trirJ=i=tzJJjS8zfcA

fcifc

incensum in conspectu tii- o, etc.

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

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

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

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

Chapter IV. — Rhythm. 77

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

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

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

Protasis | | Apodasis

5^ +

Intr. 1 ^_,_«-_^_^S-«

^-4

I — :: — =-5 fl ■ -*= ^ i-m m— I

— I^HVP"-*- ; ■

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

S

Apodasis ■+

■— ■-

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

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

78

Part I.

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

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

Ant.

VIII G

(A)

5

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

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

Ant. « ,

VIII

:-i.

iz^-R.^

■ ■

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

-■ — ■-

fc*^«

i::-+-

-«-—■-

■• ■•

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

Chapter IV. — Rhythm. 79

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

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

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

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

^:^&-

-■— ■-

e- jus ab extremis terrae.

80 Part I,

(B) ::=.==_ g

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

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

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

CHAPTER V.

CONDUCTING THE CHANT.

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

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

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

82 Part I.

Different Chironomies.

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

^ ^ — a ^ — 4

iS— . i

■

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

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

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

fe

?r"

0

1

.p

■

■

'

■• 1

% : m

■

'

'

■

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

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

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

Chapter V. — Conducting the Chant.

83

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

Arsis

Thesis

Arsis Thesis Arsis Thesis Arsis Thesis

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

Arsis

Arsis

Thesi

Arsis Thesis

Thesis

I 2

Arsis

123 Arsis

12 12

Thesis Thesis

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

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

84

Part I.

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

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

^-#

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

start of chant

Prep.

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

start of chant

Prep

Thesis

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

I-

lzm!z%=!zfl.

i-^"-rf

:t=

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

Chapter V. — Conducting the Chant. 85

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

-, ■_

^=^

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

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

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

Arses and Theses.

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

86 Part I.

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

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

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

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

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

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

Chapter V. — Conducting the Chant. 87

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

Hints to the Conductor.

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

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

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

N^ 758.-4

88 Part I.

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

CHAPTER VL

THE PSALMODY.

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

Construction of Hebrew Poetry.

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

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

90 Part I.

Most authorities distinguish three main kinds of paralleHsm :

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

PsaJm 2, verse 4.

Qui habitat in caelis irridebit eos *

et Dominus subsannabit eos.

again Psalm 113, I.

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

again Psalm i, verse 2.

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

again Psalm 24, verse I.

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

The examples are many.

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

Example :

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

(Proverbs XIV, I).

It is not rare in the Psalms ; example :

Psalm I, 6.

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

But the way of the ungodly shall perish ".

also Psalm 19, 8.

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

Chapter VI. — The Psahiiody. 91

also Psalm 44, 3.

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

Neither did their own arm save them :

But thy right hand, and thine arm,

and the light of thy countenance,

Because thou hadst favour unto them ".

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

Psalm 7 (Hebrews 2).

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

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

In Psalm 41, we find a comparison.

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

again Psalm 56, verse i.

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

The last stichos explains the first.

also Psalm 48, I.

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

answering the question " where ".

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

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

Ascribe unto Jehovah glory and strength.

Ascribe unto Jehovah the glory due unto his name ;

Worship Jehovah in holy array ".

92 Part I.

Three lines Synonymous.

Psalm 93, 3.

" The floods have lifted up, O Jehovah,

The floods have lifted up their voice;

The floods lift up their din ".

Two lines Synonymus, and the third supplementary.

Psalm 2, 2.

" The kings of the earth take their stand.

And rulers hold conclave together,

Against the Lord and against his anointed ".

Two lines Synonymus, and one Antithetic.

Psalm 54, 3.

" For strangers are risen up against me,

And violent men have sought my life :

They have not set God before their eyes ".

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

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

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

Chapter VI. — The Psahiiody. 93

In every Psalm Formula, we distinguish Six Elements :

a) Intonation.

b) Dominant (ist Half of Verse).

c) Flexa.

d) Mediant Cadence.

e) Caesura.

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

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

Psalm Tone V. ^

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

1 a \

b 1

r~d— 1 -

n

« a

■ .

m

■ ■ "

1

« ■

■ ■ (D) ■

■^n^.-!

■

<°>^r

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

(2) Introite in

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

(3) Scitote quo- niam Domi-

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

-ni /lb (see below)

Flexa (5)1 ' ^

Gloria Patri

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

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

saecu- 16- rum.A-men.

94 Part I.

1 b 1

1 b 1 1 ct i +

1 ^

B a a a a

ni^ ' n ■*

of U ■ 1

Flexa

V>>WX

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

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

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

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

The different Intonation Formulae follow :

>.

2 S

yllables

Tone II

Tone

V

Tone

VIII

^ Tones I and VI

-■-■-■-■-

3 Svllables

P

Tone

1

■

P

! I

y ■

Tone

■

— ■—■—■—-•—

F a

IV

ff - ■"

c , ■

■ B ■

Tone

■ ■ ■ ■

■ ■

i 'i-*-

VII

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

.

p .

mi- nus pro- pter vir qui

Tonus

?J5_J_^_

hnr tf-hi

Di- xit Cre- di- Be- a-

Con-fi-

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

Chapter VI.

The Psalmody.

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

Tone

F

Intonation

ft

«

■

Tone I

5

Intonation

Tone

VI

Tone

VIII

Tone

IV

g

Tone ? [

III =-- ^

On the same note

g

Tone II

Ascends a Third

,p i

> ,

m

■ ■

Tonus " Peregrin

Descends a whole Tone

Intonation

5"

Ascends a Fifth

Tone

VII

Ascends a Fourth

1^^

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

Tone II

feSEJHEJ

Magni- fi- cat

Tone I- VIII --

P

;

Magni- fi- cat

96 Part I,

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

.p

ff

m

m

%

i

*

■

*

Et Qui-

ex a

-sul re-

- ta- spe-

vit. xit.

The Dominant or Tenor.

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

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

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

— • Second Half of Verse, Sol.

The number of syllables to be sung on the Tenor varies

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

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

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

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

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

Tempo should be animated enough to carry the singers through

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

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

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

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

a slight ritard on approaching the Cadences is very effective,

with a gradual decrescendo at the Final Cadence.

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

Chapter VI. — The Psalmody. 97

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

Tones i, iv and vi

Tones ii, in, v and vin and

Tone VII

Tenor

Flexa

b ■■■■■■

■ D i

■ ■■■■■

/

■!■*■■■■■■

^^■■■■■'

/

i

_■ □_- .—

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

6- rum nan-ti-bus

The extra hollow note is to accomodate the Dactylic Cadence,

" sonantibus ".

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

Cadences and their Rhythm.

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

98 Part 1.

^ ^ : .

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

Tone I

has -

- 10

Tone II

))

I

Tone III

))

5

Tone IV

»

4

Tone V

))

I

Tone VI

»

I

Tone VII

»

5

Tone VIII

»

3

Peregrinus

»

I

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

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

Two kinds of letters are used to indicate Final Cadences :

;K

Capitals — ABCDEFG

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

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

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

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

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

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

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

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

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

Chapter VI. — The Psalmody.

99

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

Cadences of One Accent.

Spondaic Dactylic

/.

/

1 2

f

— Pater

1 2

Dominus

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

Cadences of Two Accents.

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

Cadences of Two Accents.

Spondaic — Dactylic —

Mixed — '

/ . /

/.. /,.

/.. /

/ . /

1 2 34

— corde meo.

12 8 4 5 6 / /

Pueri Dominum.

12 3 4 5

/ ; /

Domino meo.

12 3 4 5

Timet Dominum.

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

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

Part I.

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

\vhen this extra note would

"56" a

the Clivis.

>rEch of the Jollowins^ note :

the"

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

Tone I

Tone II

Pone III

Examples of Different Mediant Cadences.

2 Accents f

D6-mi- no me-

I Accent

iS-S-^-°-W

me- O (Spondee)

Fi- li- O (Dactyl)

2 Accents

e_--p-

f.

D6-mi- no me- o

Fi- li- o

g ' '

2 prep

notes

I Accent

* II / 1

!_,__

_

■

th-

Tone IV

*^

Do- mi- no me-

Chapter VI. — The Psalmody.

101

/

Tone V « ■■ " ■ "'

■

Tone VI

D6-mi- no me- o rs ■ T - T

or

H:

S

Tone VII i

Tone VIII

-T^

ve- ri- ta- te tii- a

in do-mo

lus

Tonus Peregriniis

-■ — ■-

t-i-

Is-ra- el de Ae- gypto

e^

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

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

102 Part I.

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

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

Preparatory Notes preceding Cadences.

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

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

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

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

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

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

Chapter VI. — The Psalmody.

103

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

Dominant or Tenor

Prep. 1 2

/ Med.

h

-■-

a ■-( a

■

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

Dominant or Tenor / Final

j — a— B—^—- B — ■—- «- -■

Domine... me fe- sti- na.

re- dempti- o.

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

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

5 ■ 5

i "^^

De- us

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

i

-

.

«

1 ■ ■ ■ ■ ■ J ■

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

-J -■ — ■ — ■ — ■—■—■- — ^-gS-

— fc — ■ —

:^

+-j

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

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

104

Part 1,

-■ — ■ — ■— ■ — ■--

=ib^F!=:i

ad adjuvandum me festi-na. etc.

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

-■— ■ ■ — ■ — ■ — ■—■—■-

-■— ■-

a— "—p— ■-*-?— ■

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

-■ — ■ — ■-

Hi .___J_^

ad adjuvandum me festi-na. etc.

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

Mediant

1 / 1

P BMBBaMa B. M a

■

■

k

•

■ ■

Cum invocarem exaudivit justiti- ae me- ae

Prep.

1 2

Final

:^zr:z:b

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

Chapter VI. — The Psahiiody.

105

TABLE OF PSALM TONES. Tone I.

Int. Dom.

a

Mediation

r /

Simple

1=1.-

■-•-■- , □ a ^ □

-•-—

1

l

f

-,a-l---i-rr

^^— -N

1

1'

Solemn

or Ornate

p

r

L-r?:i— isfi—iE.:

M

Dom.

'

lermination *

1 ' ' ■

—■-■-■--

. 1

s-o-

1^

""♦♦. .

\

r

-.-«»-■-

-.-

-r--|

■i~a~

%

"

♦♦

^^^

•

■

■

D P,-

1

•

1

/

--■ ■ ■

-.-

-r

-8 a

p.*

'

/

-■-».-

_..-___

.

So-

«•

1 "

1

/

1 I 1

■ 1 ■ 1 _

■ D

■■«.

1 1

1 1

/

-*-

1 _

■

■

■ □

■•

t

.

"*T:i

■' Q

1

--I-T-

r

-i-6~

.

-a^

i

■

1

/

—■-■-•-

-^

IT.I

—

1=E

-s.

Int. Dom.

Simple

Ornate

<1

^S

Tone II.

.Mediation

Dom. Termination

:^}-ll^:^

lfefei°""'^

* See Antiphonale Monasiiciim for other termination^.

106

Part I.

Tone III (Recent). *

Dom. Termination

Int. Dom. Mediation

5— r

_«_B_B_j-i_D-

_._

'"°"V

-HI-—

Simple " i ^

1

^ S— j:

-•-

i:^.-

-n^

Ornate ■. "

1

■ ■ ■- 1. 1

==

■•

.-.-. 1 -

-^:

-■•f-

«

,

/

-n , ^ -^

-1-

^

_.,::

.

_i —

/

->-

-J

_J

/

B_

1

'*~a'

"■•

1 r n

Tone IV.

Int. Dom. Mediation Dom. Termination

s

/

Simple ""S"

.-.-.-

-■-|-T-

.^_j_.l_c_L.i_

1

1 1

p

/

^ ■ • ■

-<_l J

■

-S o--«- 1

Ornate ■

■ ■ I

-T" ' ^

1 1

^ "*

/

■ - ■ > I ' 1

■ - ■ 1 ■ □ 1 «. 1

1

/

-V

■

° p.

_.!•-

Tone IV — Raised.

Dom. Termination

Int.

Dom. Mediation

r

/

-5-0-

-.—

C

Simple g-'-*-

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

..!._

-H--

/

■

::._i.__,.

-■-

.._'X_

_■_■_■!

-■--

_■_

—

-•—

— ; —

A

Ornate h^rll

■ ■ ■_L.V ' .1-1 1 ■ " I..-'

1— l-H — —

_^

f

A*

---1*

—

-•r

:^-

1

* Tone IIT Ancient found in Antiphoimle Monasticiim.

Chapter VI. — The Psalmody.

lo:

Tone V.

Int. Dom. Mediation

r

0

-

■ □ -• 1

Simole « , ■

/

■ .

■

_■____

.

Ornate * , "

— ■

Dom.

Termination

=:^^=EfeEM

Int. Dom.

Tone VI.

Mediation

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Part I.

Tone VIII.

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Chapter VI. — The Psalmody. 109

Interpretation of the Psalmody.

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

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

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

Singing the Psalms in English.

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

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

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

CHAPTER VII.

THE LITURGICAL RECITATIVES AND SOME OTHER CHANTS.

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

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

I. — The Tones of the Prayers.

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

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

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

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

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

Chapter VII. — The Liturgical Recitatives.

Ul

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

Example of the Festive " Or emus " :

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

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

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

112

Part I.

Flexa

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

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

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

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

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