AN APPLIED COURSE IN

IAN CHANT

C URCH

U SIC I A N S BOO K S ELF No.2

AN

p

I D COURS

IN

R.EGORI

N CH

T

Translated and edited from the official course syllabus of the Gregorian Institute of Paris

by

Joseph Robert

GREGORIAN INSTITUTE OF AMERICA

2132

Avenue

Toledo Ohio

S olesmes rhythmic signs oj proprietors,

Desclee and Compcmy, Tournai, Belgium

Copyright 1956 by GREGORIAN INSTITUTE OF AMERICA Printed in U.S.A.

International Copyright Secured

TRANSLATOR'S PREFACE

following presentation of the elements of Gregorian

method of Solesmes that used in teaching at

Gregorian Institute of Paris, official teaching center for Solesmes.

emphasis stem a long practical experience

this method. and represent a distribution of the

and learnable

course.

may be exand difficulty.

of study never fails to leave

CONTENTS

Translator's Preface _ _ _ _..... 1

INTROD1JCTION _ _ _ 00 •••• _..... 5

Art in Prayer - Gregorian Chant in the Liturgy - Fruits of the Study of Chant - Legislation of the Church regarding Chant - History of the Chant -- Period of Growth - The Golden Age - The Notations - Age of Decadence - Restoration of the Melodies - Restoration of the Rhythm - Restoration' of the Modality

CHAPTER ONE - A Graded Study of Gregorian N otation.i.L.. 12

The Staff - Clefs - Fundamental Neurnes and Their Origins - Special Neumes - The Simple Beat - The Episemas and Dots - The Podatus, Clivis, Bivirga, Distropha, Torculus, Porrectus, Trivirga, Tristropha, Climacus, Scandicus, Salicus, Liquescents, Resupinus and Flexus Neumes, Sub-punctis Neumes, Pressus, The Repercussion, Quilisma, Oriscus, Neumes treated like the Salicus, Disaggregate (Praepunctus) Neumes - The Bars - Rests - The Flat - Mode Numbers - Custos or Guide - Asterisks - Letters - The Titles and Chronological Indications in the Kyriale

CHAPTER TvVO - Basic Notions on the Compound Beat and the

81

Formation of the Compound Beat -- Rules for the Placing of the Ictus - Oral Exercises -

THREE ~ The Study of Rhythm _.......................... 86

Classification of the Arts - Matter and Form - Matter in Gregorian Chant - Matter and Form in Gregorian Chant - Musical Rhythm - Definition of Rhythm - Rhythm and the Physical Variations of Matter - The Phonetic Order - The Melodic Order - The Dynamic Order - The Quantitative Order - The fundamental Rhythmic Cell - The Ictus in the Fundamental Rhythmic Cell

- The Compound BeaL _ _ .. .-_ _ _ .

Formation of the Compound Beat - The Binary Beat - The Double Function of the Ictus - Definition of the Compound Beat - The Ternary Beat - The Compound Beat and the Fundamental Rhythmic Cell - Interaction of the Compound Beat and the Fundamental Rhythmic Cell

FIVE - A Brief Examination of Gregorian Modality 120

Definition of the Mode - The Tone - The Major and Minor Mode in Modern Music - The Gregorian Modes - Protus - Deuterus - Tritus - Tetrardus - The Modal Characteristics _. Authentic Modes - Plagal Modes - Secondary Finals - Transposition - A Chart for Transposition - Practical Exercises

SIX -- The Latin 1N ord _ _ _ _ ., _ _ 134

Monosyllables _- Polysyllables - Accents - Atonal Syllables - Paroxytonics - Proparoxytonics - Secondary Accents - The Absorbing of Monosyllables - Conclusions

SEVEN -

137

Psalms and Canticles - The Verse and Half-verse - The Tones and Formulas - The Antiphon - The Intonation - The Mediant - The Termination - The Tenor or Dominant - The Second, Fifth, Sixth and Eighth Tones - The Flex - Cadences - The Preparatory Syllables -- Epenthesis - Determination of the Elements of the Cadence - The Application of Psalmody to Unpointed Texts

OF MUSICAL

INTRODUCTION

Gregorian Chant in the Liturgy

Gregorian chant is that form of sung prayer which the Catholic has officially adopted for Western Christianity of the Roman

the

Gregorian

Gregorian chant the text supplies man with the food necessary mind; the music provides him with the substance which his

needs. Thus both contribute the complete fulfillment of

UU.B'~" being his relationship with God." (Le Gtiennant)

can in this hardly draw a, distinction except by

abstraction; church music is not an accessory or an exterior ornament.

very life of the prayer taking its complete ; it linked

words to the thought, the thought to the soul and

Holy Spirit." (Father Sertillanges Priere et

JJlusiq~te, 12)

the

Gregorian Chant

"The study of Gregorian chant will bring us to experience abund-

ant and very pure artistic pleasures, will obtain us very appre-

ciable spiritual i'ruits a remarkable means aposiolate to

extent that we have the deep desire of responding to the

unshes of the Popes )j (Canon

Legislation of Motu Proprio of St. Letter of St. Pius X to

on

Chant-Main Sources

X given the 22nd of November, 1903. Respighi, Cardinal Vicar of

.... "VJlU'V, December 8, 1903,

Motu Proprio of St. Pius on Vatican Edition, April 25, 1904. Decree of the Sacred Congregation of Rites on the model Vatican U.UJ.VH, April 8, 1908.

-5-

CHANT

"Divini Cultus " of Pius XI, December 20, 1928.

Encyclical "Mediator Dei" of Pius XII, November 20, 1947.

Letter of Eminence Cardinal Pizzardo to the Ordinaries, on

the subject of the teaching of sacred music Seminaries, August 15,

1949.

(See also Klarmann Gregorian Ohant Textbook for a discussion of the main pontifical texts.)

History

Gregorian Chant

The History of Gregorian chant may be divided into four principal periods:

" Period of [ormation: from the beginning of the Church, in

particular, from the end of the persecutions (313 A.D.) to Saint

Gregory the Great (590 A.D.) .

• , 2) Period of highest development with

and of diffusion the thirteenth century.

melody and the rhythm.

"3) Period of decadence from the thirteenth to the middle of the

St. Gregory the Great The notation of the

nineteenth century.

"4) Period

restoration

the middle of the nineteenth een-

tury to our time."

(Canon Condray)

First Period

Catholic was constituted in

beginning by elements stemming various sources whose separate roles are very difficult to determine. What can be seen, however, is that the contributions of the synagogue were evidently very important and that the early Christians certainly used the Jewish psalms and canticles in their assemblies. Then, as the Christian communities multiplied among the Greeks, the Latins, in Asia Minor, Africa, and elsewhere, new elements came to blend with the primitive melodies which were thus enriched by the contact with these diverse civilizations.

-6-

same time that the chant was developing, the forms of the

at time" the liturgies," . , , began to be

by little the initiative of the Bishops, In the

they were use about the great centers ac-

such as Milan, Constantinople and Rome. But the time came concern for unity obliged the Roman Pontiffs (St. Damasins,

century) to direct these tendencies, and thus it was that step by step the development progressed up to St. Gregory the Great.

Second Period

Gregory I, whom history has entitled "the Great", was born Rome about 543 A.D. and occupied the throne of Peter from 590 to 604.

" Gregory was admirably prepared for musical work by his

patrician education, his monastic vocation, the dignity of Abbot, one of the offices of which is organization and presiding over the Liturgy, and lastly by his musical genius." It is certain that St. Gregory himself composed or caused to be composed a certain number of pieces, but his role was, more than anything else;

"to collect, choose, and give an order to the pieces and to assign to each its place in the liturgical cycle to form the repertoire or the ,,-'-.l. ... '-' .... ""'- antiphonary ;

reform and bring to perfection the chants which he found in

use;

u to !oood the Schola Canto rum, an advanced school for church music.'

(Canon Coudray)

was from this foundation that was born what we call the Roman School, and it is because of the excellence of the work accomplished by Gregory I that the liturgical chant of Latin Christianity has since been known as Gregorian chant.

This chant then spread to England (Galliean School) and to a great extent throughout France with Pepin the Short and Charlemagne. During the reign of the latter, the deacons Petrus and Romanus, sent by Pope Adrian, founded the two famous schools of Metz and St. Gall. There was also the Ambrosian School which existed, moreover, before St. Gregory, and the Mozarabic School.

-7-~

beyond

Neumaiic notation or neume-accenis, (ehironomic , stem-

ming mainly from two signs borrowed Latin grammar: the

acute accent and the grave accent, combined different ways and

placed above literary text This was a very imperfect melodic notation, since the absence of the staff (thus " " notation) made it impossible to indicate the intervals which the voice was to sing but it was a notation very rich indications of the expressive pieces.

Alphabetic notation, borrowed from the Greeks, in which notes

la, si, do, re, mi, fa, sol were respectively indicated the

A, B, C, E, F and G. This was a more precise notation in regard

to the intervals, but inadequate as to the unity of the neums.

Bilingual or double notation: neumatic and alphabetic.

Diastematic notation (indicating intervals), using the which were gradually increased to the number of four, which today forms the Gregorian staff, neumes are transferred to the staff. There they lose in graphic perfection to the point of attaining the geometric and rigid form of typography. primitive accents have become "points" which can be located with precision on the staff (neume-points) ,

VVhlle with

diastematic

preCISIOn was assured, this development was a reduction, an impoverishment. rhythmic details disappeared and this deformation changed Gregorian chant by undermining it at the very sources of the life which animated it.

was, fact, beginning, oral, like

the moment scribes had fixed

the melody "in campo aperto;" they added to it the rhythmic indications. "To attain this end, regional schools were established whose influence was considerable. Whether by modifying the graphic form of the neume-aecents or by adding to them complementary signs or letters whose meaning was known, these schools succeeded in determining the length. the brevity or even the expressive character of certain groups or of certain notes, Moreover, the comparative studies

undertaken on prove that with means sometimes quite

different, but every case uniform within each school, the masters

of the traditional

IS these restored.

Solesmes signs have

Third Period - Causes

Decadence

Gradual abandoning of the rhythmic traditions i

2) The more and more marked influence of the new polyphony;

3) The arbitrary attributing of unequal durations to the various forms of notes as a consequence of a lack of knowledge of the origins of Gregorian notation'

The abbreviation of the melodies and 'the tendency to

execute them a heavy, wooden manner;

5) The Renaissance, with its misunderstanding of everything medieval;

The complete misunderstanding, from the end of the fourth century, of the Latin tonic accent of the ecclesiastic period, (Canon Condray)

AU thi~ in 1614, to the edition which is called "Medicean,"

because it was produced by the printers of the Medicis at Rome, which was the point of departure for a multitude of abridged editions in Gregorian chant became unrecognizable.

Fourth Period - Restoration

The restoration of Gregorian chant, the beginning of which was marked by the re-establishment of the Roman liturgy in France in the wake of the efforts of Dom Gueranger, is characterized by the return

was mostly Benedictines

of Solesmes, This restoration may be viewed from three different aspects: melodic and rhythmic firstly, then modal.

(a) M eiodic Restoration

In 1847, discovery of the bilingual manuscript of Montpellier by Danjou, organist in Paris;

In 1848, Father Lambillotte restores a very

of St. attributed to the deacon Romanus himself;

manuscript

-9-

U_LHA'"~"lVH of "Remo-Cambresienne" edition which

constituted an attempt of restoration deemed, however, insufficient by

Lambillotte who refused take the Commission

charged with is preparation;

In 1856, Dom Jausions, on the order of Dom Gueranger, Abbot of

Solesmes, begins the study of the manuscripts France;

In 1880, Dom J. Pothier of Solesmes Abbey publishes his famous work" Les melodies gregoriennes d'apres la tradition," then

In 1883, the

(for

and

In 1891, the Liber Antiphonarius (for the Office);

In 1889, Dom Moequereau, disciple of Dom Pothier, launches the famous Solesmes publication, the Paleographic MtiSicale, in which he "defends the work of restoration of Dom Pothier, reproduces the manuscripts photographically to permit the scholarly world to follow the work of restoration, and succeeds in destroying on scientific and artistic grounds the reputation of the Medicean edition, the privilege for which had been renewed for Pustet of Ratisbon, the publisher, in 1873." (Canon Condray)

1890, Dom Moeqnereau founds the studio of "musical paleography" in which Dom Gajard was to become his principal assistant;

In 1903, St. Pius X confides to a special Commission, set at

Rome, the editing of an official edition based on the work Solesmes, This edition, called the ,! Vatican,' appeared in 1907 for the Gradual and in 1912 for the

_A decree of the Sacred Congregation of Rites, April 11, 1911,

Solesmes to the Vatican edition with rhythmic signs

is form that is gen-

erally used, although in certain areas the pure Vatican text is ad-

hered that without additions of any sort.

(b) Rhythmic Restoration

After the work of Canon Gontier in 1859 and that of Dom Pothier, Dom Moequereau issued his important work, Le N ombre Musical Gregorien of which the two volumes published, the first in 1908, the second in 1927, study the rhythm of the melody, the rhythm of the l~atin word and lastly the between the melody and the Latin text.

-10-

RESTORATION

The influence of the Solesmes School and the spreading of its

of made, few years, great

strides, largely of the creation of Schools among which we

can only a few: The Pontifical Institute of Sacred M'tlSic at Rome (1910), Pius X School of New York and, in France, the Gregorian Institute of Paris (1923). To the latter are affiliated the greater part of the provincial schools which have since been founded. The Gregorian Institute of America was founded in

The Director of the Gregorian Institute of Paris, Dr. Auguste Le Guennant, is at present in the course of publishing a Precis de rythmique gregorienne in which, reaffirming the thesis of Dom Mocquereau, he shows its perfect agreement with the laws which govern the interpre-

tation of music all its forms.

Dom Gajard has published, for his part, several monographs, a series of articles in the Reoue Gregorienne, a brochure, Notions sur rythmique gregorienne and, in 1951, The Method of Solesmes.

(c) M adal Restoration

Lastly, in the domain of modality, research prepared

by Dom Sergent, begun by Dom Desroequettes, are continued principally by M. Henri Potiron, professor at the Gregorian Institute of

Paris, intimate connection with Solesmes.

GRADED STUDY OF GREGORIAl\T NOTATION

1. Gregorian notation, such as it appears in out modern editions, reproduces the Gothic notation of diastematic manuscripts of the

fourteenth fifteenth centuries.

2. The notes are arranged on a staff

lines:

name of the notes is determined

two kinds

clef:

C clef:

on

second,

or fourth line,

The F

on

third

lines,

This clef nomenclature recalls the C and ~-, clefs which derive from the alphabetical notation.

4. Reading in either of these clefs will be found quite easy through

an exact

rapid evaluation of the

-12-

5. The notes, ALL EQUAL IN LENGTH, in spite of their differ-

are

neumes,

'I'he word "neume" comes from the Greek and means "sign."

6. Fundamental neumes : the virga i and the punctum II •

In the diamond-shaped form the punctum is never found except

as a part of a group or larger unit. cannot stand alone.

of Neumes

neumes originated in the grammatical accents of

Latin

language.

accent The grave accent

became the virga ~

became punctum II

Thus there is a difference between the neume elements of a melorder.

7. Special neumes. These are never [ound alone on separate syllabes, and, for that reason, are not placed among the fundamental neumes :

The

which gave to

strophicus (Distropha tristropha

family and

The Oriscus :

which is nothing hut an apostropha added to a preceding element, and the transcription of which in the Vatican edition is either a punctum or a virga ;

'1'he Quilisma.:

the origin of which IS unknown.

-13-

Each of these signs, transcribed conventionally by the

eighth-note of modern notation, corresponds a sign of which

IS

ONE SIMPLE BEA'rl

Since Gregorian chant is made up of a succession of simple beats, it follows that their movement is regular or isochronic, provided that no supplementary sign is interposed to alter this length.

S. These supplementary signs are principally:

Episema

which indicates a slight broadening of the note or group which is affected by it (an expressive sign rather than a quantitative one).

The Mora Dot

"

which doubles the note (quantitative sign). Thus the dotted note is transcribed, conventionally, of course, as a quarter-note in modern notation.

N eumatie Combinations

9. For two different sounds, regardless ther-

the interval between

cue»

an ascending neume composed of a punctum and a virga

a descending neume composed of a a

Podatus

10. For two identical sounds:

Bivirga Distropha

made up of two VIrga combined (Strophicus family) made up of two apostrophas, actually printed as two punetums in combination

1. For examples of transcription into modern eighth-notes, see pages 99 through 102. See also the Schema on the back cover.

-14-

NEIJMES

following selections nam-

Vesper Hymn of the F'irst Sunday of Advent

I~i

Ii! I III III

III

--.-------

RE- A-TOR alrne sf-de-rum, .IE-terna lux cre-denti- urn,

je-su, Redernptor ornni- urn, lntende yo-tis suppli-cum. 2. Qui

--~-4~'_~~I~__ -

~,---~=--=,IIlI_-=IIII,----,I'--IlIIIiI--"'lI!I! I!II-I!_~r!-il-- ~-I

'l! III ---~~.i-'- I .1!I_Ji!l __ ~

~------- ----------

daemonis ne

Amo-ris

~C III !I-lI1--~~- I!I~ ·-:;:II---'IiIl~-=--=-IIII ilI_l=j

i IIlI III ~ j'-It--=:jj III -

---~=---~----- -~----:r----------

factus es, 3. Commu-ne qui mundi

ne-fas Ut expi-

ad em-cern E Virgi-nis sacra-ri- 0 Inta._!-~

~ Ii! ~ __ ~~__Ei--fi-f--;f~~ 'II ~I

primum sonat, Et coe-li-tes et Tremente curvantur genu,

5. Te depre-camur, ultirnae Magnum di- e- i

Armis su-

t=----;-;- III --+ Ii-Ill III III II III~[ i iii-rc=-i-1

~ IllI I ~-- --iij-------

----------------------- . r-------

pernae gra-ti- ae De-fende nos ab hostibus. 6. Virtus, laus,

-15·-

gI6-ri- a De- 0 Patri cum Fl- Ii- 0,

sirnul

In

saeculorum saecu-la.

A-men.

Anthem of the Blessed Virgin in Eastertide

VI.

R

Egi-na cae-li * laeta-re, alle-Iu-ia:

a quem me-

ru- isti porta-re, alle-Iu- ia : Re-surre-xit, sic-ut di-xit, alle-

h-i___.___.---t------------;3---

--iIlI--~---iII---!LIli-i-.--!ii-i'i-----;--- ---------.--

____ ~_I---L--·-.... ~----II-- ==--=--==

lti-Ia O-ra pro no-bis De- urn, alle-Iu- ia.

Antiphon of Sunday Compline

Ant. C . ---li--;-:--

vnr, -~-r.__;___L_ .. ~-;-~~r-~-------:-~fi 1m I ill

I-SERERE rni-hi

et

o-ra- ti- onern me- am.

T. Pasch. C f----i;l-~

Ant. =~ Ii!~_--~-~~~=*==--------L-LE-LU-IA, ai-le-hi- ia, al-le-hi- ia,

Antiphon of Sunday Compline

nos dorrni- entes:

-16-

tit vi-gl-Iernus cum

et

escarnus in pa-ce.

G ------,-,r---~-----~---~---------------

__ Iil __ ~_~

____ -=m_.~~.~ ~

T. P. Alle- hi-ia,

Short Responsory of Sunday Compline

During the Year:

VI. ~-----i---II =: l-r~ ~~i----i--. --R~

Iii Iii fill = --~- -iD-----~ ~iC

N manus tu- as Do-mi-ne, *' Cornrnendo spl-ri- tum me- urn.

~=====-R II Iii G-= Iii ill t---~-:~-~-==-~=J

-I!!---III~IIII- - -== !!~~--=i~-~~~-==-==u:=

In manus. y. Rede-misti nos Domi-ne, De- us ve-ri- hi-tis.

C ::-::-t-----+---~--+----------

iii =~~---It--~I 7 Iii h~------=--IIi--=--i

---'----I!ir--' =:H------____j_~---~~ ~ II __i _1I!=t=

* Cornrnendo. V. GI6-ri- a Patri, et Fi-li- 0, et Spi-ri-tu- i

Sancto.

In manus.

Advent:

N manus tu- as D6mi-ne,:t: Cornmendo spi- ri-tum me- urn .

.JL,. ~= - _t- - !II=:=n=i ,_ __ ~----- __ . -Ii-- =:tt=i=J__'~--I~--III-~;---=rt=

In manus. y. Redernisti nos Domi-ne, De- us ve-ri- ta-tis.

~ iI_ iii-mj-.Iii Iii~ il :--1Ill III Fill f- 111---. !Ill !II 0

__ 1_ I

* ~. Glo-ri- a Patri, et li- 0, et Spi-rf-tu- i

GREGORIAN CHANT

~=-~~-~ ~ ~ ~ g

______ . __l_ __

----- -------

In manus tu- as,

During Easieriide:

VI. I"-C-------------t---- ~

-il-Il--iliIll-llllll---illlll-llllil---=iIII'---fIlII i---1I!I1~-IIII11--IIIIII---IIIII-lIllli--=1iII II!

-"--------- ,----

N manus ttl- as Domi-ne, commendo spi-rt-tum me-

_C_III_O Ill_=fi __ 1I! _ii-'--_'_..::;:__:__~_iB_· _LJ.__!II __ II_£j~~ !ill ~

alle-lu-ia. In manus. yr. Redemisti nos

urn : * ABe- Iu-

~ ~ .. ~:_. *j.-.~; ,i II ;:j

Domi-ne, De- usve-ri-ta-tis, * AlIe-lll-la, alle-lu-ia. Y/. G16-

In manus.

ri- ~ Patri, et Fi- Ii- 0, et Spi-ri-tu- i Sancto.

Vesper Hymn of the First Sunday of Lent

(first verse only)

-------------------+

II. ~ 111 iII------~--I-~-~~--l-

A -~--I-II!i---I-~-i-~-~-----iII I--.-iiij-e-l i

--;:01, b~--nfg~-~6ndi- tor, Nostras pre- ces cum fle-ti-bus,

~-=~ ~ III ~--:~~:_~~=~r.-~_ 1ii·11 .

In hoc sacra je-jti-ni- 0 Fu-sas quadra-ge-na- ri- o.

-18-

NElll.IES

for

.-.---- . h-rt--------

: 11: 1m r~~~- iI %__!_ __ !I1_~~--T-a---~

-------,-------.-------1---------

V-ClS Cre- a- tor optirne, Lu-cem di- e- rum pro-fe-rens,

: II = II ~~ 11 ~ ••• ~ ~1t III = ill R • ~--::=~

-.----f----------------- ------

Primordi- is Ill- cis novae Mundi pa-rans o-riginern: 2. Qui ma-

L .... -lfI:::---~~- . __ ~!iI.__I!i'-::;-_=__

L __ , iii ~ ~ t, ¥ __ ~~~_. I_~ t=1II ~J

ne juncturn vespe-r] Di- em vo-ca- ri praeci-pis : Il-Ia bi- tur

VIn.

te-trum cha- os, Audi pre-ces cum fle-ti-bus. 3. Ne mens gra-

hr-~ - ·-l

;-~~~ iii ~'t. =~ ~-m-~~ II ~::!!__~

--r- -~

va- ta crimi-ne, Vi-tae sit ex- sul rmine-re, Dum nil per-enne

c6-g!- tat, Se-seque cui-pis n-Ii-gat. 4. Coe-leste pul- set osti-

;==-+==~~-i--i--L ~ iii -~~~--- ~+~

~t+. .-"i I iii III' I I!II ~ ~.

_:__ +__ , 0-

urn, Vi- ta- le tol- lat praemi- urn: Vi-tertius ornne no-xi- urn,

I=~ "'-. ill i~l- -~-m=ri-- !11 ~=-=--=-~-rt-j- ~-l --+ +_a___.,+-----Ili --~--~-------f-il---

____ L-_ I Ill. !Ill r+- t_' _

que cornpar Uni-ce, Cum Spi-ri- tu Pa- nidi- to, Regnans per 0-

I i-~== ~:==a-----------===

-----IiI-iii. i-~' --------------------

-----1-,-- ----

mne saecu-lum. A-men.

-19-

for the Feast of the Holy Family

H.

lux be- a-ta

Et summa spes mor-ta-

li- urn : Je-su, 0 cui domesti- ca

Ani- sit orto ca- ri-

tas :

Kyrie XVI (except for the final invocation)

For

sounds, regardless of the intervals

VIrga, punctum

Porrecitls

Virga, punctum, virga

Three virgas combined

UIllI (Strophicus family) three apostrophas, actually printed as three

turns in combination

-20-

selections nam-

Compline Hymn during Pentecost

I. iIl --.---l_~-----il---=--llI!f--iII;;:~,'!Ii:------:--;---j

iii ill ~ I- ~ I ;'t'

T ~----liIi III

E lu-cis ante terrninum, Re- rum ere- a- tor, poscimus,

Ut

~ ill "1 em 1lI!~.11 ~

II! I"' I i!I I

pro tu- a dementi- a, Sis prae-sul et custo-di- a. 2. Procul

~ --II!!~-IIIl---!l'

i -=---II!! • ~ 1-111 III 111'1

_------iIII-I!I----~---------l--il!

ill iii

re-ce-dant sornni- a, Et nocti- um phantasrna-ta: Hosternque

~----+--------I11."-11 --

ilI_R~~_!Ii !Ii-=~'~~~~ -b-------~::-----_mlll

-'--=:Ii'------r-r,~-~ ~ ~ III III f II i

compri-me, Ne an- tur corpo-ra. 3. De- 0 Patri

nostrum

ill sit gJ6-ri- a,

_~--,,;;:--!-_t- -11- _--~-!»-IlI~--. ~--f--I-IlI-dJ--r, '--h--I-; :1 i ==========

Et

a rnortu-is Surre-xit,

ac

to, in sae-cu-Io- rum saecu-la. A-men.

the

Intr.; e--------VI. ""---------_-;;:-;;; ~'-----------":'-----'=:===----l-~

I J 1lI1l111i III .___~~-~--IlI!.I!i.IlI---=~I!i.IlI.IlI--IlI-.IlI~~~~hF._'ilI~-'~

N me- dl- 0 * Eccle- si- ae a-pe- ru- it os e- jus:

£

+----------.--

et imple- vit e- urn Dornl- nus spf-ri- tu sa- pi- end- ae,

-21-

et in- tel- lectus: 5tO- lam g16- ri- ae

it e- urn.

~ ; ~ ... ~.II.£ .. R i: .. · II I r. I • .bo "-j

T. P. Alle- hi- ia, al-le- Jd- ia. Ps. Bonum est confi-te-ri

Domi-no: * et psalle- re norni-ni tu- 0

Alnssime. G16- ri- a

~_: iii! ---1+:;; II-a-=~ :=r.I'---'I-£-III-"'-; Iii +-tt;' jj---~----

Patri. E u 0 11 a e.

!nt: ... E-----+-----------~-----

I. ===:t;;. ~ j j ".~ m ;ti •• ~~

u- srus '* ut palma flo-re- bit,

IlIi III

sic-ut cedrus

I I ~~ ~~ 12 ~~ j
= Iii :: III ~ = I
II1II iii !II
.
Lf-ba-ni multipli- ca- bi- tur: planta- tus in dorno in a- is

X but not Cum someto)
VIn. ~ Ii
rill ~ ~ III' 1\ ~
III ! iii III iii III Iii ~
G , III II
I
to-RI- A in excels is De- o. Et in terra pax ho-mi- ni-bus bonae vo-lunta- tis. Laudamus teo Be-ne-di-cimus teo

NEUMES

Ado-ramus teo

e = ~ II

propter magnarn g16- ri- am tu- am. Dorni- ne De- us, Rex coe-

lestis, De- us Pa ter ornnf- po-tens, Domi-ne Fi-Ii u-ni-geni-te ~·-lii-llll--lii-' IIII-·-ri r-1-1li-~-IIi-

l1li •• "

us, Agnus De- i, Fi-li- us Patris.

je-su Christe. Domi-ne

~ii · ~. ~ :.; · ~ ~ ..... o· II • J ~ •

Qui to l-lis pecca-ta rnundi, mi-se- re- re no-bis. Qui to l-lis pee-

ca- fa mun-di, sus- dope depre-ca-ti- onem nostram, Qui se-des

-- 23 ,_

or more,

same

direction

one

Scandicus

two

the salieus

vir,

Gloria, IX from Glorificanws te on, omitting suseipe and the entire phrase and the entire phrase Cum somcio.

VII,

in ter-ra pax

ni- bus bonae vo-lunta- tis. Landa- mus teo

Be-ne- di-ci-

mus teo Ado- ra- lnus teo

Glo-ri- fi-ca- mus teo Grit- tl- as <1-

gimus ti-bi propter magnam g16- ri- am tu- am. Domi-ne

De- us, Rex coe- lestis, De- us Pa- ter ornnf-po- tens. Domine

o-nem

nostram. Qui sedes ad dexte-ram

re no-bis.

-25-

GREGORIAN CHANT

tissirnus, je-su Chri- ste, Cum Sancto Spf-ri-tu, in g16-ri- a

De- i Pa- tris. A- men.

Agnus IX (second invocation only)

mun- di: do-na

:1'01'

E lu- cis ante terrni-num, Re-rum ere- a- tor, poscirnus,

I III III III -,/i- ~--e--!II!i--;m.--:~--, ----n--I

I iii. __ -=~_ mJ II! r. ~'-+j~-m

~. l1li I

--------_ .. _-========--== 1-=

Ut pro tu- a de- menti- a,

Sis

et custo- di- a.

-26-

THREE,-NOTE NEUMES

~~~_~~~-j--1i!~~~ ~~'---IIl--iIl -f-l'%a'1l!l--=-m -Inil!ll--,-:-r+I_1I! -~

------+----~~~ ,

re- cedant sornni- a, Et nocti- urn phantasrna-ta : Ho-

iI II III iii"i~ 1Il=--iiIflli----:::---II ----1

!ii_I iIII ~_. =_~_i"1-J~-IlI-IiI-~--r.--III- il!I~~

2. Pro-cuI

sternque nostrum c6mprime, Ne pollu- antur carpo-ra. 3, Je-

}.~-=-~.~ · oj . ~. "I~

de Vir-gi-ne, Cum Patrz

su, ti- bi sit gJo- ri- a, Qui na-tus es

~ IIJ~,... ~ llII J\i;

i_ ~i!I ~ __ =-*~~ -_-=-111 +t-~_ ~ 1m ;--:P-rAm::IT

________________ 3_, _===0:_

et alma Spi- ri- tu,

In sernpl- terna sae-cu-la,

A-men.

Vesper Hymn of the Epiphany

rn, ~. ~ i!l5 ill III l1li]

- :--1---- iii

___,~ __ _J: __ ~a;- Bll___ --- _

RUDE-LIS He-redes, De- urn Regern ve-ni- re quid times?

;--=~~~---~f--_.::_1l--::----1I 3 :__~

_. ----+~_~~-L III ~-r ill :---.

___ ~L.--'~-II! l1li. I ill

~ r • ,

Non e- ri-pit rnor-ta-Ii- a, Qui regna dat coe-lesti- a. 2. l-bant

t __ 111 --- _L:=:;j~P~~ III ill' I III ~

!II ~ __ ~rlll iIII-:--~ ill fl!!l ==:f-----

Ma-gi, quam vi-de- rant, Stellam sequentes praevi- am: Lumen re-

G-~----- ~

~ * IlII ~ .. r---~------ ------::.-1-

~"'-~~~--I\I-·-~-~Ii . .:_____~ .----;-~

quf- runt himi- ne : De- um fa-tentur rruine-re. 3. La-vacra pu-ri

I t ~- ~ "'m =_!II~~ __ =1-fi-~--II;;;---Gil __ ~~---. --I-'---=± ---~ _~_j

gurgi- tis Coelestis Agnus atti-git : Pecca- ta, quae non de-tu-

-2.7-

lit,

~ ~ __ -=j~_:-1iII fiIl=~~-----=-------:;;:--~_~~ fA ~ * r&!~- Fs 4t~

--- ---- rill --II!---f-

Aquae ru-bescunt hydri- ae : Vi-rnimque [ussa ftinde- re, Mu-ta-

G-3~-------~~

--=------ ----=-----~ 1fI----l

_. ---_!I- __ ~~-- --------liI---- II! III III

I fI • _-II--~----+_IIiI.- II· . _

vit undrz o-ri-gi-nem. 5. je-su, ti-bi sit gI6-ri- a, Qui appa-ru;-~---~I----~~--liI----ilI-~----.---·-----+~---;II!i-=--- -00- --~-~- =~ ~

-+ I--------~- ~ !II ---t----=m::---lli--"

----------. , 1\1 -------r---

1- sti gentibus, Cum Pa-tre et alma SPI- ri- tu, In sempi-

;~----====-.~- ==8-·-----------"-

___ .JII&,!_~_ -Ii!----

.. _--' _I I!I_:_ _~~..;.- _

Nos

ae:

tern a saecu-la.

A-men.

Communion of the Vigil of Christmas (taking only neumes of two or three notes)

~mm.~ _r-------

I.

E- VE-LA- BI-TIJR * g16- ri- a D6- mi-ni: et vi-

~=s; 1;_ ... t.r.~. I ~'~':'~; •. 1 rtl', I! i!.~

de- bit o-rnnis ca- ro sa-In- tel- re De-

nostri,

17. The So-called H Liquescent" Neumes

Certain neumes end with note-heads markedly smaller than those normally used. These are found sometimes at the junction of two vowels forming a diphthong (autem, ejus), sometimes of certain consonants (omnes, sasctus, ezcelsis) or before certain other consonants perra, melle "cibavit").

-28-

of their clarity

Liquescent Podatus (Ep~phonus)

Liquescent Clivis {Cephalicue):

Liquescent Tonulus

Liquescent Climacus (Ancus) Liquescent

18. Reading

Name the neumes

following:

Gloria XIII (omitting Jes« (lhriste and Amen.)

I.

I ; II~ I I =----=~--II-=III-r-III-=-,-.i -~ JH--IIII--jr---llll--!llll----l}; m-~~~

A in excelsis De- o. Et in terra pax hornf- nibus

LO-Rl-

bonae vo-lunta- tis. Laudamus teo Bene-df-clmus teo

0-

ramus teo

fi-camus teo

u-ni- ge-n i- te

i, Ff- Ji- us

-29-

siisci-pe depre-ca-ti- o-nem nostram.

so-Ius Domi-nus. Tu so-Ius Altis-simus, Ie- su Chrlste.

~-.----~-- __ -- __ ~ ~ ~ I~~~·A+ U-

I men.

Sancto Spi-

19. Developed N eumes

t t Resupinus'} (turning back upward) neumes are those which, normally ending a downward movement (toreulus, climaens), rise again on one extra note in an upward direction, the interval not being important in this regard.

Usually, not absolutely, the added note falls on the next high-

est stepwise note in relationship the note the basic neume :

Climacus resupinus

T oroulus resupimu:

The toreulus resupinus most often takes this latter form ilI~

is not

be

the porreetua: *

-30-

DEVELOPED NEUMES

neumes are those which, normally ending are deflected back-

not being

consequence.

Porrectus flexu«

Scandicus flexus

21. "Sub-punctis" neumes are those which, normally ending

an upward movement, (podatns, scandieus, salicus, porrectus ) carry a "tail" descending punetums, stepwise or otherwise, all having the diamond-shape form.

Podatus subbipunctis

Scandicus subtripunctis

22. Reading exercise. N arne the neumes III the following:

Vidi Aquamt

Alleluia only) 1

Ant. VIII.

------~If_

",,-C +1 ... rt-ill;~;:---;;;;iJiiIl;;;---;;;;III-::-' ---;;; -1IIl;-- ---I1!+-= ~~-A!l~I---,-.II-i1;i---!~ ~ J\. I

I-DI

a-quam * egre-

en-tern de tern- plo,

IIi::iii \1-- -iFl-lll-lli=J

III ~ Ip;fi ~: 1 = ~---"'--

alle- hi- ia: (;t omnes, ad

_________ L i!! I II!l J!ii I--

; ~ ~ ~ III' I !I!lr~ ~ I' ~?t'~if;IT~~

quos perve-nit a- qua i-sta, sal- vi fa- cti

et di-

cent, al-le- 111-

al- le-

ia. Ps,117.

terni-ni

1. In this and other examples throughout the book the entire only a small part of it is now being considered, as this will later phases of study.

is given, even though sight-reading material for

GREGORIAN

;:r!i"fi ~ ~o II~~~--- II' II ~ r~ ==:q

cor- di- a e- jus. Gld- ri- a Pa-tri, et Fi- li- 0, et Spi- rf- tu- i

~ ~~= ~ ~ m ~ ~ II m' -1-fJAl-Ili-I--------;;-~

Sancto, 'i' Sic- ut e-rat in

0, et nunc, et semper, et

in saecu-la saecu- lo-rum. Amen.

Offertory of Ash Wednesday (first phrase only)

iii II in-i-

sus-

stl me. nee de--

eta- stl

mi-cos me-

os su- per

ne

clarna-vi

et sa- na-

sti me.

-32-

NEUMES

Gloria I (intonation only)

i I

IV. 1iI"'_"-~·····~··········~·······························~···········~"".;'nll~~·-·····"Jl·""· .. ···""" fll~~·····················~·········~·-·

III ill II1il II!I $11 ill" "If til III I'l

LO-RI- A in excel-sis

o.

Et in ter- ra pax ho-mf-

Ado-ramus teo

camus teo

Gni-ti- as a-glmus hi

propter magnam g16-

De- us

te

Je- su Chrlste.

Agnus De-

siiscl-pe depre-ca- ti-

se-

-33-

so-Ius sanctus. Tu so-Ius 06- mi-nus. Tu so-Ius Altfssimus,

Cum Sancto Spi- ri-

in gI6-ri- a De-

A- men.

Kyrie Xl

I.

II

l~ l-son,

e

* e-

Introit of the Vigil of Christmas

Inti'. VI.

-34-

ct rna- ne

g16- ri- am

et ple-!1i~ tudo e-jus: * orbis ter-

ra-rum, et u-niver-si qui ha-bl- tant in e- o. GJ6-ri- a

Introit of Christmas, Midnight Mass

0- MI- NUS *

us es

e ge- nu-

re fremu- e-runt gentes: * et popu-li me-di- ta- ti

i II ~ 0 II ~ II rt III II
~ ;pm;;. f'!m r\i h'
III
ni- a? a Patri, E u 0 u a e. --35-

Communion of St. John (December

x- 1- IT * sermo inter fra- tres,

disci-pu-lus H-Ie

non mo-rt- tur . et non di- xit Je-sus: Non mo- ri- tur:

Blended neumes

Certain neumes a pressus, that is to say, a fusion into a

single sound, by the junction of two notes belonging to two different neumes which fall together at unison and over the emission of a single syllable:

(1) The

~

"'''-''''''''''i',-" pressus, a punctum before the regular elivis

Agnus XII

-GNUS De- l, 'i'

to 1- lis pecca- ta mundi: rni- S8-

~ __ r'ii!--",=,-. _1iiI_" '_Ilii_·,.J"I)_I-;;~;--,.~~~~ l • ---;J:;;jJ

I

A-gnus De- i, * tollis pecca-ta mundi : mi-se-

re- re nobis

~ I II ~ 1*. ~.
III III IIIJ
Q I
re-re no-bis. Agnus De- i, * tol- lis pecca- ta mundi:

-36-

XVIU

Introit of

( alter

et re-

stra: per

SUe- urn super nos, et

au-

tern,

(2)

pressus of

of two types

or

any

Reading exercise: Find

In

examples given below:

Asperqe« me I (ad lib.)

Ant. VII.

-SPERGES me, *

hysso-po, et mundabor: la-va-

Somcius X (Intonation)

ANCTUS, * San-ctus, Sanctus Dornl-nus

us Sa-ba- oth,

in nemi-ne Domi-

He-san-

-38-

Introit for

re- fu-gi- i, ut salvurn me fa-ci- as: quoni- am firmamen-

tum me- urn, et

urn rne- urn es

two neumes

at least two notes

each:

pressus :

Kyrie IV

• I

e-

le- i-son. iij. Chri-ste

iij. Ky- ri- e

e-

Ie- i-son.

• I'

Ky-ri- e

*

** e- le- i-son.

XII

Somctue If

ter- ra

40-

<i.

Ho-sanna

in ex-celsis. Be-ne-dictus qui ve- nit

Somctus Xl (except for the word terra)

sunt coe- Ii

Mass XVII

~. le- i-son.

v. ~ :!i~ Ii"' ISrt I ~ i: ~=~. ;t.~d

S ~ ;.: ~ g" - , t

AN-crus, * San- ctus, San- ctus Domi-nus De- us Sa- ba- oth.

;~lI!H;tb:-;;;;-fIl +.:-6 J-!-. -t.b'*,;;:-~ .-m=;== =:;:i~=II===: ;:f\'A=:J~~h~IIII~. -+-I.~_J-_ffi_

Ple- ni sunt coe- Ii et ter- ra glo-rl- a tu- a. Ho- san-

v.

A-gnus De-

Introit

Sexagesima Sunday

x- SURGE, * qua- re cbdormls Domine? exsrir- ge, et ne

fl- nern: qua- re fa-ci- em tu- am a-vertis, obli-

nem nostrarn?

annun-

Introit of the

Mass

GREGORIAN CHANT

cet

sa-lem; * exaudi o-ra-ti- o-nem me- am, ad te ornnis ca-ro

ni- et,

25. Non-blended N eumes : Repercussion

What is the repercussion of a sound ~ It is simply the repetition of it, that is, the distinction of it from the sound which immediately precedes it.

IS,

apply, of course, except to successive sounds, that

present no melodic lie at the unison

grouped on the same syllable .

. on

It follows that the repercussion and the pressus are diametrically opposed.

Wherever a pressus comes, there can be no repercussion, and vice versa.

In

to make a distinction,

possible error, between

_pressus a

passage one finds a number of notes at the unison, UNLESS THE GROUP OF THESE NOTES TOGETHER TAKES THE FOHM OF

A TRISTHOPHA, the passage contains several repercussions,

least one, and possibly

Ii.

-44-

Ictic repercussion

N on-ictie repercussion

Offertory

urn omnes re- ges ter$ rae, 0- mnes gen- tes

Offertory of the COITLl1lon of a Virgin

*

hone- re tu-

Ll- AE re--

0, &1- sti- tit

na

a dex- tris tu-

is in vesn- tu de-

circiimda-

Offertory- of the Holy Innocents

O~rt,~----------~~h~~=------~----'----'~--~------~ n.

-NIMA * no-

stra, sic- ut pas- ser,

est

de

o

ve- nan-

laque-

us contrf- tus

et

110S

Ii- be-

of Advent

O«~~----------------------··~HH~--~-----.------VllL ~,~~~--~~~=--+~._----~~~~-=-~~----

VE * Ma-rl-

<I, gra-

te-

cum: be-ne-

eta tu

in mu-

e- ri- bus, et be-ne-

ctus ven-

Alleluia of the Dedication of a Church

*

~. Ad-a-

et confi-te-

-47-

neumes a at

lable (when, paleographically, these two

, the repercussion helps in even more, in this repercussion, could easily get lost

re~

somerepercusone of the three

or following categories:

et vo-ca-

nomen

pre-

48

REPERCUSSION

Introit of the Third Sunday of Lent (omit word me)

- CU-LI me- i * sem- per ad D6- mi-num,

qui- a

ipse e-vel-

de laque- 0 pedes me-

ce

(US

er pau-

per sum e- go. Ps. Ad te Domi-ne Ie-

e-rube-

E IJ 0 II a e.

mam me- am: De- us me- us, in te

-49-

of the Second

of Advent

Off~rt. ~~ _ _:_-~!'!i!HI,---ilHIHIii-~_-"'I,-----=-~.....,;ii-HF---i!HlH1liN--f1"."....-I H!.

E- US * tu

COH- ver- tens vi- vi- f1-

his

tur if! te :

ostende

00-

ne,

Introit of the

Mass of Christmas (at ei vocabitur)

u- ER * na- ius est no-

urn super

me- rum e-

nomen e-

Il- a fe-

E u o u a

Tract of Sexagesima Sunday (at words eam and tui)

ter- ram, et con- turbasti e-

cti * tu~

note or two notes

group

--52-

very

blended elivis, quilismatic seandieus and porrectus, or in holding strictly to paleographic indications, elivis, qnilisma-torculus resupinus, forming a group.

Gloria IV (at word te following Glorificamus)

IV.

in terra pax ho-ml-

~-~-+

~~_.~=~-_-.~-_-_-_a~~_-I~- __ ~ __ t~~_· ~~~,~~_.~I~l-L~~~~~~'~

rnus ti-bi rna-guam

G----i--- +-

II 1\ = Ill. ~. ~ •• Iii! ~:. ~+--- i

_ ..... _-- ~~. f\i .~~ ill~. I Ill.

coe-lestis, us ter omnf- po-tens. Fi-Ji

~ ~ ~ ~._---~e'i==! .__---i-""---"IiI!;_. ---i; ~ ~ ~ II L =

I . III!

ge-ni- tc su Chri- ste. Domi-ne De- us, Agm.ls

~~~;~,~

ri- am tu- am.

us,

etc,

li- us tris.

-53-

IV,

s

;

III Iii Iii • : = )~ r:r;
I r- Iii- II·
sunt coe-Ii et ter-ra gld-ri- a tu- a. ba-

I

oth. Ple-ni

Ho-

sanna in excel-

sis. Be-ne-dictus qui ve- nit

in

nornl- ne Dorni- ni, Ho-

sanna in excel-

sis.

Kyrie XV (final phrase)

Y-RI- E '" e- le- i-son. Ky-ri- e

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

e- le- i-son.

Christe

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

e- Ie- i-son, Ky-ri- e

e-

h~- i-son. Ky-ri- e * e-

le- i-son.

-54-

Alleluia, of

(end of vocalise)

L-U::W- lA,

di-

mus

stel-lam e-

jus in O-ri- en-

teo

cum mune-

ri-bus ad-

mi-num.

Introit of the Fourth Sunday of Advent (at desuper )

m~ ~~~--~~~~~~~~~--~~~--_.ft---I,

ORA- IE * COe- li de- SIl- per, et nu- bes plu- ant

stum : ape- ri- a- tur ter- fa, et germinet Sal- va-

to- rem. Ps. Coe-li enarrant

am De- i: * et ope-ra

,

manu- urn e- jus anrninti- at

GREGORIAN CHANT

The oriscus is an apostropha added to

either at the unison with this final generally

punctum

note the

a neume, of a

or added to this neume on the note lying one step higher than the final

note of the neume, usually the form of a virga

*

the former ease, a long note is thus formed by this addition, ., giving the impression of a delicate release of an extended final noten (P, Carraz) and this must not be confused with the pressus, the per-

formance of which, many instances, calls for a slight intensity.

'I'he second case, that of orisons on the step above the final

note of the neume the form a , is not always easily recog-

nized by the student, but if he will remember that this is an oriseus when this final virga stands as the last element of the seandieus as

here, but that it merely a virga when it is followed by

diamond-shaped punctums, will soon learn to make a distinction

between them.

33. To avoid an confusion between the termspressus and oriseus, let us recall that:

The Pressus

The pressus is not one note, but rather a combination of two notes

The pressus always is formed of two notes at the unison

The pressus is always followed by at least one note belonging to the same group as its second note

The first note of the pressus is always ictic

The Oriseus

The oriscus is one note

The oriseus is not necessarily at the unison with the preceding note

The oriseus is never followed by another note

The oriseus itself is never ictic; in every case it is the preceding note which receives the ictus. and in the case of the oriseus on the next step above, Solesmes has put a vertical episema on the preceding note

56 --

34. Thus the expression which is often used, "oriscus group," is

the not form in re-

3;). Locate the oriscus and other neumes

the following:

Oriscus at the unison Kyrie IX

I.

ill

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

Ky- ri- e

ste

ste

e- Ie- i-son.

ri- e

e- Ie- i-son.

e

*

**

e-Ie- i- son.

Samciue Xl at terra (See p. 41)

Communion of Epiphany

et ve- ni-

-57-

011 next

Introit of the Third Sunday of Advent

fuk. ~--------'_'----------~~~--------------~--'~

L

TE '* in

sol-lf> d- ti si-

of the Feast. of St. Basil

ser-

vum me- urn:

o

sancto me-

o

un-xl *

e- urn.

Vesper Hymn of the Ascension

IV ;---~ ~=-~~:__-·--~=r-

. ~_~-=-IlfI-I-II-~_. I -~-::-~~ ~-.:--~- : i

S A-LU- TIS humanae Sa-tor, je-su 110- urn,

C - rr--

--t-----t- ~' -,

----Jt;;--i-i-;;-+-Ii!----tIIl-Ft---s-J---.-~ '--I

~ ~ ~-~~-----Hl---- ,_--==- __ ..w__ __

Orbis red empti Condi-tor, Et casta lux arnan-ti- urn,

-;-==-=-;.I--:~:!III-I'Wr-=-1i! --IIIl-rI;---l--. ~~~: II ~1

es clernen-ti- a, Ut nostra fer-res crlmi-na, Mor-

2. Qua vi- ctus

---~--=..-- .. ~ -I~ ~~ff Ii! )1J

---- f'Ili iii ~_lLilI_'____ ~----~ ~-- .. --

tern sub- f- res A rnorte nos ut tol-le-res I 3. Pernim

III·

I IlfI

pis in-fernum cha- os, Vinctis ca-te-nas detra-his: Victor tri-

iimpho ndhi-Ii,

Ad

Patris se-des, 4. Te co- gat

-,59-

CHANT

Di- tes be- a- to hi-mi-ne. s. Tu dux ad astra, et se-

po-res,

~ -~ -~

Ill. _

r\mi!lllllil l ~~l!Itl

.----'- ~1iI~j-i-lll-F'i iii ~.; ,

Sis me-ta nostris cordi-bus, Sis lacri-rna-rum gaudi- urn,

mi- ta,

~ [--~

III =111 ----

==---a;~--;___'_'!:_ -~-I-;- .---------

Sis dulce vi-tae praerni- urn. A-men.

Communion of the Third Sunday of Advent

et

no-If- te time- re: ec-ce De- us noster ve-ni-

et salva- bit nos.

Alleluia of the Fourth Sunday of Advent

c - 1Il_1--~

In. __ eAr 1iI~_ ilH-l::::'_F4-H!!-f'l:::-::::---=-Ilo~---=---1

-Il!l ~---------=---~~~-~~l~~~~~~--H--

L- LE-LU- lA. *

-60-

'to Ve- ni, Do-mi- ne,

et no-li

tar- da-

re: re-

lJt~ ~. r- b .... I1IIf\IUI!~. I bjrtf\un~' ~I :

~ 4ml1ll~. -·~I--a-~A~~~O--~~~~-_=~- __ ~_~~~~~~_~~_-_4_-~~~

xa

Cb!i~rt~ lUI ~ I ~ 1 ~ -+- ~~ J

._-,-[l~1i __:!1II:!.:!iIli.p~i!Itii--. ~liIII~~~,~'~::II",_.~. -:;;!~.,Iil~. 11Ji~&:::-iI'h._. -::~:-III .-.~~Ii--"IiII.1iII -i~~-

no- ra * ple- tu-

• ~ ~. Ii-.-L!.------

... . ~

ae,

(See Table, page

Kyrie XVI

Kyrie Xl ad libitum,

--61-

** e- le- i-son.

Agn1ls III

IV.

lis pecca- ta

mun- di:

pecca-

ta mun- di : mi-

III J1illll Ill' R .11 ,+. = X ~
r'\l 1I.£l~
se- re- re nobis. Agnus De- i, '" qui mun- di:

Anthem of the Blessed

from Purification to Holy W eek (Solemn

Ange-lo- rum; Sal- ve ra-

salve porta, Ex qua mun- do

-62-

spe-ci- 6- sa: Va-

Ie, 0 val-de de-co-ra, Et pro 00- bis

III !!!. i iii lIi\iIIl\! II·H===

i, '~~. ~

,+ sturn * ex-o-

ra,

Gradual of the Second Sunday of Advent

ve- runt

te- stamen-tum

sl.I-per

ci- a.

GREGORIAN CHANT

Communion of Christmas, Day Mass

re De-

nostri,

EXCEPTIONS

Anthem of the Blessed Virgin from Advent to the the word Alma)

v.

L-

rna * Redempto-ris Ma- ter, qure per-

---~~------+-. ------~~-~-4-~-. --------, ~~=~-111~.--------~---- -~--A---r--~-~------~-J-Sl--rf~-.--- -----, -~-..:.-.__.-r-~I

------~----iIII--~---jJ-~.·~--~-----~-·II!I--

vi- a cee-li

Por-ta rna- nes, Et stel- la rna-

sue-

ij---__:_- -~------+-------~--'---'---'3I-~--~"'~

+--·--~·-----iII___B!-IIiI---wlfj,--------- --~~--~

~_\'l __ I~~~---.---·--- ---.!.-~IIll--~~IfI-iiiIlHli~- ---.-

------~-m-- .. -.-----------,~--~ ----

curre caden- ti cu- rat pcpu-Io : Tu quae

rem: Vir- go us ac paste- ri- us, Gabri- e- lis

-------+ '. ------------·-----n

;i5--=--~--::-----. -iij----- --:---t---III-1i"'-1!1-------- -H

~~=-=-==~Il---II!I-~:t~--~-;--m--t-~T---l==1=~-.~~

ab 0- re

il-lud Ave, * pecca-to-rum rni-se-re- reo.

-64-

SALICUS FORMS

36. N eumes sirnilar to the salicus

In the following formula, that of a podatus of a

fifth or fourth, ietic on its second note by a

the next highest note, we have the representation, according to Moequreau, of the contraction of two podatus, which should thus be given an expressive lengthening on the ictic note, at least equal to that which is applied to the ietic note of the salieus,

See:

Introit of the Feast of All Saints (Intonation only)

AUDE- A-MUS * ornnes in D6- mi- no, di- em festum

ce-Ie- brantes sub hono- re Sancto-rurn omni- urn: de quo-

rum so-lemni-ta- te gaudent An- ge- ii, et col-lau-
; I ~
~: II ;
~ ~ =~~*. ~ I III III IiII iii ~-j
- III III
H- um De- i. Exsulta-te [usti in t =: I = III ; A 11 = II III III II
rlll III
I iii! iI~1i iii
IiII
no: * re-ctos de-cet col- lauda-ti- o. G16-ri- a Patri, _c 111_:_ -:._~ 1!!i_lun~l~illE._--===------

E U 0 u a e.

--65-

GREGORIAN

after Pentecost

A

* D6- rni- ne, S~IS-

te,

ut

prophe-tae tu-

fide- les in-ve- ni- antur : exau- di pre-

ces servi tu-

i, et

tu-

ae Is- ra- el,

l----j-l!!lIl---6ItIilJ--ilIiiiI---II!I--1IIiI --6Itfl---l!!~~1111 __'II--f;l~ -Ji-±J ~ i~J

-------_--------------

Ps. Lae-ta-tus sum in

quae dicta sunt mi- hi: * in dornum

G_- _1II_4t= _ _:.-=II;:-::IiIJ';";iI!tHI-. -. -+1 r-;- II! I!II 111111111 1t=

--~IiIl~-~-----------~_--~1 ._U__

mus. E 11 0 U a e.

ni

Offertory of the Second Sunday after Epiphany

o~~ C • b~ ./1; ~.! .... 1'" ~1 i1~.ri1 ;. ~

iii

Ij-Bi-LA- TE '" De- 0 u- ni- ver- sa ter- ra:

-66-

SALICUS

te

o

u- ni- ver- sa ter-

ra:

psalrnum di-

ci- te 116-

mi- ni e-

ve-ni- te, et audi- te, et narra-bo vo- bis,

0-

mnes qui ti- me- tis

um, quanta fe- cit

nus a-

ni- mae me-

ae,

al-le-

c --------

=-~~ ~d'f-l--~ --------------------

IU- ia.

Antiphon of Second Vespers of the Annunciation

Ant.

I.

-ve Ma- rl- a, * gra-ti- a Dominus te-cum :

; mI ~-~ --~--Il ; III 1m Ill' ~ --- -

---- r'il• ___l!II--,

--.-----~-----flI---,----l!II-.-1l!J-- --------

tu in mu-Ii- e-ribus. E u 0 u a e.

GREGORIAN CHANT

Vesper Hymn for Corpus Christi

IV.

h -;;=_----I---------- 3~~~_j__!~~~ ~ II i 9 iI~

_~--_--------!-----~:-l---

Acris 501- emni- is juncta sint gaudi- a, Et ex

~:" -f ~ --; ," r' .-=-~_~_:~

, iIIi

prae-cordi- is so-nent praeco-ni- a : Re-ce-dant ve-te-ra, no-va

~ -m- '_~i~- ~---=--3t~. ,

----',--iIl--r- l' ";' 1!~'-~-i!IiI!I_ .. I--~~ .. -++

_____ ~ I~~ III

,

sint omni- a, Corda, vo-ces et a-pe-fa.

Sonciue I (at pleni)

s

ANCTUS, * Sanctus,

Sanctus

us Sa-ba-

rl- 11 tu- a.

in

Ple-ni sunt coe- ll et terra glo-

ex-celsis, Bene- dfctus qui ve- nit in no- mi- fie Do-mi-ni.

Ho- sauna in ex-cel- sis.

a

the word

r ,

1. Ant. ------~-----------1Il- ----

H. D t-- 1IIj~---ii, = , . I 1iI-~--'--~~+--~rl --I---~---- l!--""--II---m'---i=t- ---, ~--f------j--~--

A_II! id II

NTE lu-cf- fe-rum ge-ni-tus, * et ante saecu-la,

~ ; ~-----il~~-JI ~--I- 1I-~1I! __ !lI__._~~-1iI 1iiI'~

~ __J__-,,-i _, i I iii ::I!!i~ ill l1li0 11_

\111- -

nus Salva-tor noster hodi- e mundo apparu- it. E U 0 u a e,

Introit of the Twenty-First Sunday after Pentecost (at -non)

futt.~--------------4---------------------------

IV.

iii ~_~ ill IH~ :,. oJ u-ni- versa sunt po-

N vo- Iunta-te tu- a, * Domi- ne,

si- tao !l]

et non est qui pos- sit re- sf- ste- re vo- lun-

ta-ti

tu- ae: til e- nim

coeL_

!!!---i!l!ii-§!; i!l1t--'IIl~----ll!i~---1I11I11--'----liI!-1iI! ~{",-,,-I11"'-AI\;;;--j;=!---1!l1I11--1~ • ~ J

f-il ~ ~~~.

sti ornni- a,

lurn et terram, et u- nl-versa quae coe- li ambi-tu

~--=100 ~ ... ~,...I ~M • ... ~ ~ ~ r. to I .~~SJ

conti- ncntur: mi-nus u-ni -verso-rum til

~;~=-IiI-IiI- iii III elll 3 &I = :J_p-~-=--J

es. Be- a- ti irnma-cu-la- ti in vi- a: * qui ambu-lant

CHANT

in le-ge

E U 0 U a e~

37. Disaggregate neumes

These include groups of at least three notes (as reference, see below, the Offertory of the Twenty-Third Sunday After Pentecost), of different pitches, preceded by a punctum which is lower than its first note and separate from

This punctum ordinarily coincides (see Gradual of Sexagesima, Nomen, Deus, given below) with the emission of a new syllable and receives the rhythmic ictus preference over the group which follows. Moreover, it receives a slight broadening of an expressive nature which equals that given to the note preceding the quilisma, It can be doubled in certain cases, must not be as a general rule.

Off1Ie_rt. ;_~=_,:,~IUHl! ----j---- -* ;., ~ ~ _ - - =JJ

_ ..rllli~ ~_~_"IiI4.4!-m_I-_- _- _- .J--Il.~;:"I-'-' ~i!I---liilr::.-liI-+0'=---J....r~--==--I!·~~-j=!!I-,.:--~-dfil~k: .m --ilIIIII--l!IIiIHiII~ -~_:

III i

E pro-fun-

dis * clama-

vi

ad

te,

Dorni- ne :

D6- mi-ne

ex- au- di o-ra- ti- 6-

nern me- am:

de pro-fun-

dis cla-

rna- vi ad

Domi- ne,

Gl'sd. ~--------------------I.--~----l

1,

CI-' ANT

tes

am no-

men

--70-

rnus

super omnem

ter-

ram,

us, po-ne

Actually,

on the isolated

This group:

l1l1I

is a soandieus flexus of " process of

separation has a rhythmic have here one of

modifications of the usual graphic form the neumes to which we

alluded on page 5 and which the copyists of the manuscripts used to indicate the rhythm,

Thus we do not use the expression "Praepunctis-neume" this

categorizing, since does not indicate the unity of the real neume to which the isolated element belongs. We call to the reader's atten-

however that term disaggregate IS uncommon in English,

and although can be twisted to apply to neume in question, we

~71--

GREGORIA1~ CHANT

would prefer to maintain III

English it can as neume unit as any

other terminology. objection to the term stems

use the language the Solesmes scholars. The

placement of the adjective after the noun in French precludes the useful English manner of making a unified idea of the adjective-

noun combination by placing the adjective first. may seem some-

what involved to the student, and such over terminology

may seem to be an exaggeration of detail, but in reality it is founded on experience with providing student terminology for chant study over many years. Often very tiny factors can cause major misunderstandings.

Our solution to this point of terminology is this: in this volume, we shall use the term "disaggregate" with the understanding that

it is synonymous with praepunctis. suggest this latter term

be generally used, with an explanation the meaning as given above

wherever it is used in

See V"idi Aquam (p. 31) at dexiro and dicent. Compare this with the words monte and poteet of the Responsory In monte of Holy Thursday (below) and with the word Domine in the Tract of the Third Sunday of Lent (p, 73).

Reap. a-I---=t. .. -=~-~-m r~;J~ VIII. -m-T~--i--.JL-+!!·:_::--_=t--- ----

----=_.!._---------------._--

N men- te *' 0- H- Ve- ti 0- fa- vit

fll~--!II------d-~-i-l--fl--=~-~+=N J

ij !Ii1 ,~~t .Jill." • ~

---t-"'-"-+-~--I!l-~ - ----- ~ -~

___ =_l-_!!!. ! _-==-r===-_. ~ __ -_. _I '-- __

ad

Pa-

trem : Pa-

5i fi- e-ri pot-

est,

transe- at a me

ca- lix 1-

~-_=-=-i=------_ill-ill:;;- ~ ~

iii - Ildt. i"i"* • •

-.----~-,...-I___A_,..._I!!---. -t ~. Ii--""'~

--------' ~+'!!..~-~-----~----.--,----~-~~ -

----------------------------

dem promptus

est, ca- ro autem in-

fir- rna.

1. The Revue Gregorienne (1951, Nos. 5 and 6 and 1952, No.1) carried a documented study on the "desaareaation neumatique." One may refer to this article, but without trying to see such disaggregare neurnes everywhere in the Vatican Edition after reading it! The general indications given here will be enough for the moment. See the note on the final page or this chapter.

-72--

DISAGGREGATE NEUMES

yr. la- te, ct o-ra- ut non intre-tis

I • ~~O\! ~ .~. 3I _

in ten- ta- ti- 0-

nem.

* Spi- ri-tus,

,t

D te le- va-vi * 0- cu-Ios

me-

os, qui ha- hi- tas in coe-

lis.

in rna-

domi-no-

l. Et sic- ut

ni-bus do-

su-ae:

l. 1-

urn no- strum,

110-

-73-

GREGORIAN CHANT

~--~~--,~~--~~~-~-----+~~~ II

mi- se- re- re * nobis.

See also the following examples:

Introit of the First Sunday of Advent (at expectant)

D te le-va-vi * a- nirnam me- am:

De-us me-

us

te confi- do, non e- ru- be-scam: neque

ir-

te

mi-ne, demonstra mi-hi: * et semi- tas tu- as e-do-ce me.

-74-

DISAGGREGATE NEUMES

Tract Absolve of the

Mass

Tract. VIII.

Bs61- ve,

* D6- mi-ne,

a-nimas omni- urn

~--III-I-~-+-!IHfII-!t-~-rt-=-~-R.--!lt d---II1------!il-----f-II-~ifi~-IlI- --.e-~--1-i

I -;-111. -t!--~-~m-=--

--------

fi-de-Ii- urn de-functo- rum

ab omni vin-

cu-Io de-Ii- cto- rum. y. Et gra-ti- a tu- a il-lis

~I--'~--~-- ~~~_ }====-==-=- +-=-~

~--~ Il_~ ~~ -a-I!l-~-~I!I------!!-I!"-~--

----------- ---------------

succurren- te, me-reo antur e-vade-re ju-

~-----~~-111-~---. ~ -~-1II-I!!-!ft-A--~

= III III II! =-~-+~----+:!~~ --~------~-j

==--=---===--=--=--==---==--='1--= =~-=---=--=--=--=---=

di- d- urn ulti- 6- nis. y. Et In-cis aeter-

;-~~1t-~----;;;-:j--+-=~-i~--+1

- l'i-~t-Il11Ii- i-~iilllii!l--~.--. --II1---r--~ _;-j

-_ -~--~. -----f----~-!i---~_;----~~

-------------------

nae be- a-ti- ttl- di- ne * per-fru- 1.

~t-~--. I ~i------~---·---------m-' ~~~_!l!!_~~~~-;-I =---===-_-=---=

------_----_._---- -----------

CHANT

SIGNS

In Gregorian chant the bars are not bars of measure. They are really signs of musical punctuation, and, as such, correspond with certain breaks calling for breathing, to a greater or lesser extent ing to the case at hand. (See the English-language Gregorian Review of May-June, 1954, p. 33)

The quarter-bar generally indicates the end of an incise de-

termines a slight respiration which takes an optional character, but which, in any case, must be taken from the value of the preceding note.

----+---

generally end of a and

for an obligatory breath, also taken from the value of the preceding note.

f~tll bar indicates the end of a phrase is expressed by

a slight broadening of the movement. The note which precedes this bar and which is always dotted is held for its full two counts.

note (one count) after bar in question,

which follows this bar carries no ictus:

one eighth the note

is taken on a rest equal to a quarter-

~""-76

THE

two counts) before the bar, should on an ictus

note which follows the

THEREFORE:

At every full bar there will be one ictus which falls on the silent rest. After the full bar, the movement is picked up again a tempo.

The double bar indicates the end of a period, expressed by a retard proportional to the importance and the character of the piece being sung. This double bar also indicates the places antiphonal pieces where there is a change of

--~~

---=ij

The comma , is only an optional sign for breathing taken from the preceding note.

The minimtt1n pause sets apart in certain cases two

or two parts of the same incise, is indicated by a horizontal episma which in this case calls for a cadence of wholly secondary important, without breath.

-------------f--

= Ii'

I!iI ,

ti-bi unum, M6-y-si unum,

39. The flat is the chromatic alteration used in Gregorian

notation, and affects, when used, the note B, or ti.

"The B-flat holds good:

"1) up to a natural sign: the Gradual of the Seventeenth Sun-

day after Pentecost, at the word Domini, the nat of the first syllable is cancelled by the natural of the last,

--77 --

GREGORIAN CHA_NT

to the

in the Communion of the Fourth

ra after B-flat of

ne

"3) 'up to a sign of subdivision: (a bar, half-bar or quarter-bar) in the Alleluia of the First Sunday of Advent at the word tuum, the quarter-bar eliminates the effect of the B-flat on the same syllable." (P. Carras)

tu-

urn

See the following examples for use of the flat:

Gradual of the Feast of the Holy Trinity

ENE- DI- CTUS es, * Domi-ne,

qui in-

tu- e- rls

a- bys- 50S, et se- des su-

ctus es 06-

mi-

ne, in firmarnen- to

-78 --

coe-

li, et Iaudabl-Jis * in sae-cu-la,

40. The number placed at the beginning of a In-

dicates the mode of its final cadence, and in pieces accompanied by psalmody, the psalm tone which follows the piece.

41. The quide-note;

a) when placed just to right of at the beginning of

the line indicates the dominant of the mode (in certain editions only) ;

b) when placed at the end of the staff, indicates the note comes at the beginning of the following line;

c) when placed before a change of clef in the course certain

pieces, indicates the pitch of the first note to be sung under the new

clef.

42. The asterisk or star indicates:

a) the end of the intonation by a soloist or group of cantors;

b) the point at which the choir joins in the singing of the end of the ornate versets ;

the points of alternation the two choirs

Iismas (for example, the Kyrie of Mass IX) ;

developed me-

d) the rest at the mediant

psalmody.

The double asterisk indicates the place at which the whole choir

sings together after the alternation the two groups noted above.

The letters 1) i,j signify that the fragment which precedes them is to be sung two or three times successively (according to the number of these letters, which are the Roman numerals for such repetitions) .

e u 0 u. a e represent vowels of the words

amen, at the of psalms or Vesper antiphons,

-·-79--

GREGORIAN CHANT

to show the adaptation of these versets,

to the termination of the

These are remnants of accretions of words introduced to the long melismas (ornamental vocalises) of the Kyries so named, called for this reason "stuffed Kyries ' which were very much in favor in the middle ages. These are also known as tropes. The best. known is the Kyrie "Fans banitatis. JJ

The reason given for this practice was that the people remembered the long vocalises of the Kyries with difficulty; therefore they were reduced to a syllabism which had no small influence on the decadence of the original rhythm and, consequently, on that of the whole body of chant itself.

Chronological indications. These numerals giving indications such as fourteenth century, eleventh century, etc. (XIV c., XI c.) at the upper right corner of each piece the Kyriale, do not refer to the time of composition of the piece in question, but only to the date

the manuscripts from which the version reproduced by the Vatican Edition has been taken.

's note: Therefore these numbers can aid us two ways.

'I'hey can, firstly, tell us how late the sources are for the pieces as they now appear, thus warning us against assuming that research is definitive in the case of those with only late sources, and secondly, they can tell us which of the pieces have the oldest tradition according to well-established manuscript sources. Many of these numbers are out-of-date, of course, as regards recent research and studies.l

N.B.

This "Graded Study of Gregorian Notation" cannot be considered to be A set forth paleographic studies which there can be no question of undertaking in

limits of this volume. It is enough at this stage of study that the student be to read the text of the Vatican edition such as it is today practical use, the indispensable indications for a unified execution, correctly and esthetically carried out. The student may be given to understand from this point, however, that the Vatican transcription contains a number of errors: there are false distrophas, pressus, scan dieus, etc., only trained persons can uncover after reference to the manuscripts.

-80-

CHAPTER

BASIC NOTIONS ON THE COMPOUND BEAT AND THE ICTUS

Throughout the entire musical phrase, regardless of what form it may take, the rhythmic combinations, even the most complex, may be always reduced in final analysis to binary and ternary qroupvnqs.

44. In the musical forms of rhythm known as measured music, these groupings usually proceed by regular binary or regular ternary movement.

those forms of rhythm called free, particular that of

Gregorian chant, these groupings follow one another or-

der, thus creating a very supple line.

On the basis of this

freedom there must be no conelu-

sions made rashly as to the caprice or arbitrariness of the performance. Regardless of whether the rhythmic organization of music be measured or free, it obeys certain fundamental axioms which we shall not go into at this

What is important for us now, keeping everything aligned on a strictly practical plane, is this:

46. Each of these binary or ternary divisions forms what is known in Gregorian chant as a compound beat, a little measure, made up of two or three simple beats (whether distinctly heard or not). The first simple beat "little measure" carries the rhythmic ictus for which the sign, when it must be indicated, is the vertical episema of Solesmes :

The ictus does not call for necessarily the lengthening or

emphasis of the or which it effects, simply

fies function of note or syllable rhythm

it

measure

which it

.n a

to modern notation, using as a the eighth note for each sim-

beat, one will obtain a succession (regular or irregular) of 2/8

01' 3/8 measures, and the bar of each measure placed imme-

diately before the ictic note of each of them, of we

have just

the preparatory studies of a piece, the measure as it is modern (two or three-beat patterns), and it is necessary that this operation of grouping the simple beats become progressively automatic, making only one unified process with the reading of the melody itself.

(Therefore it will now be better understood that we made certain allusions in earlier paragraphs regarding certain neumes and repercussions).

RULES

IN ORNATE CHANTS

DISTRIBUTION OF

ICTUSES

The

notes

are marked with a vertical episema ;

2) are long, regardless of their formation:

a) dotted notes,

b) first note of distrophas or tristrophas such as are

found in the edition,

first note of the pressus, the note immediately preceding

the initial of disaggregate neumes,

are followed or

are the melodic groups,

come at the middle areas of these groups or at the end.

These rules, which permit of no exceptions, take effect preferential order given above (Rule 1 sets aside Rule 2; Rule 2 sets aside Rule 3, etc.).

it should

Every ictus not located by the application of one of the rules noted above has its place determined dby deduction," that is, by binary or ternary subdivision of the simple beats falling between two known ictuses.

N,B, The place of the ictus 'which will be studied later on.

syllabic chants follows special rules

Oral exercise of counting:

Before beginning the following exercises, re-read page 76 the paragraphs regarding the meaning of the bars, because of the rests which must be introduced in the counting at the full bars.

Work the following pieces out

the following manner:

1) sing the syllable names of the notes (sol-fa system) while beating the measure,

2) sing the count (one-two, one-two-three) to the correct pitches while beating the measure.

General 1

* Antiphon ljliserere of Compline

""Hymn Te lucis (Pentecost and Blessed Virgin) "Gtori« and Agnus IX

'* Asperqes -me

*Gloria XIII (omitting Jes« Chrisie and Amen) *Kyrie Xl

*Commllnion E,r;iit Sermo

Benedicamus of First Vespers of Solemn Feasts Gloria, V

1. Compositions marked with an asterisk Index. Compositions not so marked are in material,

be found in this book through consultation of the Liber Usualis ; they are given as additional

--83-

*8anctus and

*8l1nctus and Agnus X'Vl I

Repercussions

"'Introit Oc'uli mei (omitting intonation, words in me, and the psalm.) "'Offertory Ad te Domine (omitting meus.)

"'Offertory" Deus tu conuertens

Quilisma

"Gloria 11' "Sanctu.sV

Orisous

At the umson

the step above

*KY1'ie IX "8anctus XI

"'Alleluia: Vidimu.~ stella'm, *Hymn Balutis humanae Bator

$I< Alleluia: Veni Domine "Introit Puer nai-us est *ljommunion Viderunt mnnes "'Communion ill emenio

*Kyrie xi a,d libitum *Agnus III

Neumes similar to the salieus

"Introit Boraie

*Introit Da "'Offertorv *Hymn Sacris Solemni«

"Samcius I

Disaggregate (Praepunctis] neumes

*V,idi aq1wm

*Introit Ad ie levavi

WRITTEN EXERCISES

The student should transcriptions and neumatie analysis

and counting tables according to the following examples. He shon

work with utmost clarity and precision his script) and shouul

thoroughly examine his for care and accuracy.

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N eumaiic analysis and counting. Vidi aquam excerpts:

Syllables

N E U ME S

for the ictus

Counting

podatus punctum

a

la-

punction + podatus (pressus)

te- punctum

1'8 elivis

dex- disaggrcgate torcnlus resupinus

tro, doubly dotted eli vis

al- punctum

le- toreulus resupinus

lu- podatus

porreetus

ia doubly dotted clivis

I- - - ------ - ----------- -- ------- - - -- - - - ---

om- quilismatic scandieus, followed by

an oriseus on the next step above

nes punctum

.... ,.,. ...... _=.__ ... """"==="""_"-"""'''__=>o _ _,.,.., _ ...... .",.. __ """ .... ""' .. ,.","""''''''' __ .... .,.,...

a- distropha

clivis (ietic repercussion)

qua podatus

etc.

--~ ----------------------.-----

Tramscription snio modern notation:

1-2

3

1-2-1

2

1-2

1-2 1-2 1-2-1-2 3 1-2-1-2 1-2

1-2 1-2-1-2

1-2-1 2 1

1-2 1-2 1-2

3

2- deduction

3

2( e) deduction 2 - 2

3- deduction 3

3

2 - 2

... --.-------~

2-(3)-1

._

1

..... _-_ .... """"-_ ..... ...,,,,.. ....

2 (3)

-- - --- ~-- __j

~¥

nostrum

_,---11 ~J

nostrum

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THE STUDY OF RHYTHM

PRELIMIN ARIES

A. Classification of the Arts

53. The arts are divided into two groups:

a) the arts of repose which are: arehi tecture

sculpture

painting

b) the arts of movement which are: music

poetry

dance

54. The arts of repose are developed space;

that of music, as well as poetry, time; that of dance in both space and time.

55. The laws which govern the arts of repose, immobile by definition, are obviously different from those which control the arts of movement. Both, however, are subject to a definite order, which results from the application to each of them of precise rules whose ensemble constitutes, for each form of art, what we call its technique.

B. Order and Proportion

the Arts

56. As a consequence of the order which, in fitting the details to

the whole, gives them both their proper character esthetic

value, the arts are thus brought under the influence of we call

rhythm, that the principle under the action of which the order and

roles of the established, as as the of parts

the whole.

As a result, the rhythm, taken its general sense, is ~tniversal

and acts on things in the domain art, in time as in space. (LeGuennant, Precis of Gregorian Rhythmics, Nos. to 52 and corresponding notes.)

Nevertheless, the actually accepted sense,

really is applied to arts of movement: music, poetry dance

(Precis of Gregorian Rhythmics, 52).

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arts we perceive dral, for example), and if we wish to arrive at an understanding of their structure, we must call upon the methods of analysis, that is, the system of seeing the whole in its separate elements order to

fulfill our over-all perception by knowledge of the finer points.

D. The Arts of Movement

58. The arts of on other are familiar to us

from the outset in an analytical type of contact. Each detail is recorded on our consciousness it our intelligence which, aided by memory, then makes as an after-function the vitally necessary work of recomposition and coordination of the various separate aspects perceived by our senses: the ear, if it is a matter of music or poetry; the eye, if the subject is UU.uvG.

59. Every work of

is made up

two elements:

a) matter, differing according to the arts and endowed with certain qualities which are proper to it as matter, but which amounts to nothing in itself, esthetically speaking;

b) and form, it, too, differing according to the arts . , . and even infinitely variable within each particular art ... which results from the means employed by the artist to adapt the potentialities of matter to a determined aim, according to the ideal he conceives (Precis of Gregorian Rhythmics, introduction, paragraph two.)

60. Thus it is same.

form can vary whereas matter rernams the

Here is a very simple example which we shall bOrFOW from the art of music in order to demonstrate

1. The operation of this recomposrtion is, precisely the same whether or not the

musical work or poem instead of being heard, as generally the case, is merely read.

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GREGORIAN

If we take these notes as the matter, we can present them sev-

among

P F

Obviously, in changing form

theme changes

character.

AN IMPORTANT NOTE: should be noted at this point with

utmost concentration that musical rhythm firstly and primarily regullates equal or unequal beats (that is, values of similar or dissimilar length), and that the pitches (that is, the purely melodic elements of the form) are here of a lesser importance in a certain sense. (See Precis of Gregorian Rhythmics, Nos. 91 to 94.)

two following examples, differing melodically, are absolutely the same rhythmically:

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their

form is this:

2

4

Melodic and rhythmic form are thus two separate things, not

necessarily opposed to one another, but quite distinct. (Precis, No. 95.)

This, moreover, is why study of the beat in musical rhythmics

is of exceptional importance.

Here are the definitions which the student must hear constantly in mind:

DEFINITION OF THE BEAT IN GENERAL:

The IS In

taken its generally sense, signifies a

duration, applied to the emission of a soumd or a

Depending on whether the divisions of length are more or less widely spaced in relationship to each other. . . we have thousands

of examples to go the beats flow along at various speeds.

The metronome illustrates principle.

Under this subject then come two specific definitions:

divisible

THE COMPOUND

IS

the

rhytfHnic beat either the arsie or thetic phase of any rhythm

it is the arsis and thesis of a simple monoictie

however simple may be, be considered as

rhythmic beats. It is not the structure of the beat which we are con-

sidering, hut simply the role of this beat the rhythmic

Thus a beat becomes "rhythmic" at the moment that one assigns it a function (arsis or thesis) in the greater rhythm of the incise.

Matter in Gregorian

61. rare (the vocalises, for exam-

ple) Gregorian chant is made up the permanent association a

melody and drawn along in the same movement.

The matter in this case

two one

other verbal (the vowels bles).

thus the sound which is presented under

( elements the melodic line),

a part in the formation of

62. The ) may

between sounds (or sylla-

of phenomenon:

The quantitative includes the

length; this the most important;

which sity (loudness or softness) ;

all

of inien-

ous intervals) ;

Fo:rm

Chant

63. is important to note that these variations above, being of a

physical order, belong to matter as such.

these will

give it its form.

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of things clearer, we anything

purely 'musical

MUSICAL RHYTHM

64. Since music is an art of movement, rhythm has as its object the establishing of a definite order, a precise order, between the aspects of this movement.

65.

then, is

movement?

Movement, bility,

the

of repose and irrrrno-

b) A movement ordinarily takes place between two periods repose and begins with an impulse,

possible must one

repose.

We call

impulse AR,SIS

the repose THESISl

c) The movement is neither the arsis alone, nor thesis alone,

but the two in intimate dependence upon each other, such a fashion that the thesis is the natural result of the arsis and that since the movement has two aspects, both are indispensable to its existence as a movement (Precis of Gregorian Rhythmics,

No. 140).

rhythm is essentially, therefore, by the rela-

tionship of an initial impuJs€ a final repose. It is the constant

mark of any rhythmic form, or, in other terms, the principle in virtue

L These two terms are borrowed from the Greeks, We use them with simply their initials

to designate (cePCJU7 {J[CirJ ) in our examples the phases of rhythm:

Capital letters: A €I when the arses and theses are compound; Small letters: a {) when the arses and theses are elementary,

The student should note that many printed books use the Roman letters A and T and their lower case counterparts a and t because of the difficulties sometimes encountered in securing Greek type for printing,

--91 ~.

GREGORIAN

enJoys as such the perfec-

an existe

tion: indispensable to any regulated 80.)

A rhythm thus a synthesis (Precis, No. 57), that is, a unit, a

group made up of at least one arsis progressing to a thesis on which it

fulfilled terminated:

It is well to note immediate.

this relationship is not necessarily direct or

67. In the rhythms we call simple, we go directly and transition from the initial impulse to the final repose:

68. In the rhythms we call compound, on the contrary, a certain

of intermediate phases between the initial impulse and

final repose. These phases can be either the development of the initial

impulse or the preparation of final repose:

any case, two main supports, the two focal points of the movement considered in its synthesis, or, if one prefers, in its perfect state, (Precis Gregorian Rhythmics, No, 81 to 84 and 149 to 153)

Let us draw some comparisons:

which falls to the ground a muddy

completes a simple (or rhythm).

1. The word is taken here in its etymological "sense: COIT1Dleted. terminated, including

all that is necessary to it.

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MOVEMENT

ball which, on the contrary, bounces after being thrown, carries

vVe may also borrow a comparison from the arts of repose and say that a simple rhythm can be expressed in a bridge of one arch, and

a compound rhythm by a with several arches,

B. Classification of the Rhythmic Forms 70. Rhythm thus has only two forms of existence:

it is simple or it is compound

A rhythm is called suwple when it has a single arsis and a single thesis, regardless of the internal organization of this arsis or this thesis:

Simple rhythms:

one arsie OR

A rhythm is called compound it more

more than one thesis, ormore than one of each:

Compound rhythms ;"

C. Musical Movement

It is very important that we understand the specific nature of musical movement.

We have said previously that movement was the disrupting of repose, of immobility.

'* For the use of capital and lower case letters in these examples, see the footnote, Page 91.

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GR,EGORIAN

are in the habit of thinking of movement only in terms of

operations of transfer, space, the change

of location of a moveable are to

us through our senses, and particular by signt (movements from

place to place in full view): a man walking, a running on its track, a bouncing ball, the swing of a pendulum, the. undulation of the waves of the sea, etc.

72. In reality, this notion of movement is too narrow, and ancient scholars, who perceived things more accurately than we on this point, considered that there was movement whenever a change of any kind whatsoever occurred in the world about them. Aristoxenus of Tarentum (Fourth century B.C.) wrote in this regard:

"The voice moves when it sings, just as does the body when it walks or dances".

Dom Mocquereau, moreover, in commenting on this text adds:

"Movement in sound fulfills all the conditions of a true movement, which is, definitely, nothing more nor less than the passing from one note to another, from a short note to a long, etc .... "

73. Musical movement is thus areal movement, although it is analogous in comparison with movements from place to place (Precis, Nos. 64 to 67) because it is the result of the variations which take place in a matter which, although invisible, imponderable and measureless, is none-the-less in existence (it is the air in vibration), since it reaches us through the sense of hearing.

Nevertheless, musical movement, because of its very intangibility, is a subtle affair, and it is impossible to understand it fully, and particularly to feel it, without comparing it with bodily movements and gestures. This is the very principle of Solesmes chironomy which we shall adapt without further ado to some practical exercises.

It follows, then, that the terms used to express the various phases of musical movement (impulse, repose; beginning point, ending point, ete.) are quite logical and cannot give rise to any confusion.

RHYTHM AND THE PHYSICAL VARIATIONS OF MATTER

75. Musical movement is thus the result of the changes, the variations, which are produced in the physical matter of sound, and which we have grouped in four categories of phenomena (See No. 62).

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VARIANTS OF MATTER

76. Rhythm, in turn, enters into this movement in order to assign

to to changes a

77. To assign functions, to organize a movement is nothing more nor less than to give a role of precise nature to each of the elements which make it up, whether this be in creating (composing) it or In actually re-creating it in performance. ( Precis No. 80, p. 28)

The whole rhythmic problem centers on this idea.

I. Rhythm

78. In Gregorian chant phonetic variations ought to be considered as the least important, as the word-rhythm (in recto tono recitations, for example) rests primarily on the relationship between accented syllables which are relatively strong and non-accented syllables which are weak. (Precis No. 86 and following. See also Note I, p. 28)

Rhythm and the melodic order

79. Rhythm does not necessarily have to have melody either for mere existence or for existence in perfect form. Primitive cultures (which often exhibit a highly developed rhythmic sense) organize noises and not tones. Certain orchestral instruments do the same thing (drum, triangle, cymbal, ete.)

If, for example, we

the following combination over and over:

we get a series of perfectly defined rhythms in which the character of impulse belongs to the eighth-notes, which have more active feeling than the quarters. This rhythm is the basis of the themes of the first movement of Beethoven's Fifth Symphony.

If we add a melody to a rhythm originally made up of simple blows or noises, the rhythm becomes musical, but since the melody is

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GREGORIAN

not really essential this explains why one rhythm can be adapted

to which are :1

~

_----

Practically, then) we should think of the rhythm as independent from the melody. This does not mean to say that there are not certain cases when the melodic form blends completely with but we are concerned at this point merely with the independence of the two.

HI. Rhythm the

What we are prone to call "accent" is the stress of a sound (or group of sounds) which gives an intensive value superior to

of the sounds (or group of sounds) around it.

Solfege treatises sometimes give the impression this accent

has a set place locating on the first beat of the measure, This is reference to What we call the strong beat. Unfortunately, this theory of the strong beat is contradicted by facts. Although it does apply to compositions of exclusively metric character, there is no support for its existence in a large number of cases where the rhythmic organization is and remains independent of the restriction effected by the measure bars.

81. In reality, the more the forms of art are raised in the esthetic scale of values, the more the accent tends to escape the tyranny of the Gregorian chant would precede the ictic note it were to be expressed in modern notation. See chapter one, No. 47)

It follows, therefore, that the intensity, which is nothing else than the culminating point, the pole of a current of accentuation which covers the whole rhythmic form while giving it life, belongs actually neither to the arsis nor the thesis.

1. This is a good point at which to recall the important remark which follows No. 60 relative

to the independence of the form in regard to the melodic form.

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INTENSITY

82. In the following example, the pole is placed on the arsis :

major Mozart)

In this case, on the contrary, the pole falls on the thesis: (Unfinished Symphony of Shubert)

Here, finally, is a fragment which the accent fans alternately on the thesis and the arsis : (F major Sonata of Beethoven)

The placement of the pole depends on exclusively musical conditions, for example, according to whether the same rhythm is presented legato or staccato:

~. -=:::::::::::t_ ~ -=::::::::_J

In a sung text it can also depend on the of the language, as

can be seen from an examination of the following rhythm which remains the same in spite of the placement of the tonic accent in the languages used, (This tonic accent is given in capital letters).

DO - mi- nus

the SAY - io ur

-=:::::::::::' :=:::::::==-

Lord our GOD

~1

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