FROM THE LIBRARY OF 
 REV. LOUIS FITZGERALD BENSON, D. 
 
 BEQUEATHED BY HIM TO 
 THE LIBRARY OF 
 PRINCETON THEOLOGICAL SEMINARY 
 
I. 
 
MAGISTER CHORALIS. 
 
 A 
 
 THEORETICAL AM) PRACTICAL MAMAL 
 
 OF 
 
 GREGORIAN CHANT. 
 
APR 1 1933 
 
 MAGISTER CHORffi? 
 
 A THEORETICAL AND PRACTICAL MANUAL 
 
 OF 
 
 GREGORIAN CHANT 
 
 FOR THE USE OF 
 
 THE CLERGY, SEMINARISTS, ORGANISTS, 
 CHOIR-MASTERS, CHORISTERS &e. 
 
 REV. FRANCIS XAVIER HABERE, 
 
 CATHEDRAL CHOIR-MASTER, RATISBON, 
 TRANSLATED AND ENLARGED 
 
 (FROM THE FOURTH GERMAN EDITION) 
 
 REV. N. DONNELLY, 
 
 CATHEDRAL CHURCH OF THE IMMACULATE CONCEPTION DUBLIN. 
 
 RATISBON, NEW YORK & CINCINNATI, 
 
 FREDERICK PUSTET. 
 
 1877. 
 
 London: Burns & Oates,17,PortmanSt., PortmanSq.— R.Washbourne, 18a, Paternoster Row. 
 Dublin: M. H. Gill & Son, 50, Upper Sackville St. 
 
Entered, according to Act of Congress in the year 1877, 
 by ERWO S T E IN BACK, 
 of the firm of Fr. Pustet, 
 in the Office of Librarian of Congress at Washington, D. C. 
 
TO THE 
 
 VERY REV. MONSIGNOR KIRBY S. T. D. 
 
 RECTOR OF THE JRISH COLLEGE ROME 
 
 AS A SMALL TRIBUTE 
 
 OF AFFECTIONATE REGARD AND SINCERE GRATITUDE 
 FOR MANY PAST AND PRESENT FAVOURS 
 THIS LITTLE EFFORT 
 
 ON BEHALF 
 
 OF THE 
 
 SUBLIME CHANT OF THE CHURCH 
 IS RESPECTFULLY INSCRIBED 
 BY 
 
 The Translator. 
 
f 
 
 Digitized by the Internet Archive 
 in 2013 
 
 http://archive.org/details/choralisOOhabe 
 
APPROBATION. 
 
 59 Eccles Street Dublin. 
 
 It has afforded me great pleasure to learn that the 
 "Magister Choralis," or Manual of Plain-Chant of 
 Rev. Francis Xavier Haberl, has been translated from 
 German into English by the Rev. Nicholas Donnelly. 
 I recommend the use of this Manual most warmly to the 
 Catholic Clergy, and to all whose duty it is to study 
 the Gregorian Chant. The work is compiled from the 
 best sources, and has been approved of by the highest 
 authorities. It is calculated to introduce into our Churches 
 the correct system of Ecclesiastical Chant which has 
 been solemnly sanctioned by His Holiness, and which is 
 so well adapted to promote feelings of piety, and to 
 edify the faithful. 
 
 t PAUL CARD. CULLEN 
 
 AECHBISHOP OF DUBLIN. 
 
 Feb. 5th 1877. 
 
TRANSLATOR'S PREFACE. 
 
 The recent publication of the Choral Books by the 
 Sacred Congregation of Rites, has inaugurated a new era 
 in the history of Gregorian Chant. For the first time, 
 since the Antiphonarium of St. Gregory was chained to 
 St. Peter's altar, we have a genuine, complete, *) official 
 edition of the Choral Books. This edition 2 ) enjoys the 
 highest sanction, and is accompanied by a strong recom- 
 mendation from the Holy Father to all the Bishops of 
 the World, urging its immediate adoption; "ut exoptata 
 uniformitas in S. Liturgia, etiam in cantu obtinere 
 valeat." 8 ) 
 
 The Bishops of Ireland assembled in Synod at May- 
 nooth, 1875; considered this recommendation of the Holy 
 See, and passed the following enactment; {Cap. XIII. 
 de Eucliaristia art. 73) Libri vero chorales et liturgici 
 tmper Ratisbona a Pustet, Bibliopola Catholico, editi, in 
 missis et vesperis cantandis tarn in Seminariis quam JEc- 
 clesiis posthac quamprimum adhibeantiir. Hi nempe 
 libri a Smo. Duo. Pio IX. plurimum commendantur eo 
 quod in eis ad normam veteram manuscriptorum Ecclesice 
 Romance verus et genuinns cantus Gregoriamis tradatur, 
 
 ') The Graduale of Paul V. (of which the Ratisbon Gradual is a 
 reprint) was of course official as also the " Director ium Chori" of 
 Guidetti; but the Antip h onarium of Venice (Liechtenstein edition) though 
 accepted as correct and used generally was never officially recognised 
 till now. 
 
 2 ) Ratisbon, Fr. Pustet, 1871. 
 
 3 ) See article in "Irish Ecclesiastical Record," August 1875, "Notes 
 on Plain Chant &c." 
 
et "eo vet magis" ut addit idem Pontifex, "quod sit nobis 
 "maxime in votis > ut cum in cceteris qua ad sdcram 
 "liturgiam pertinent, turn etiam in cantu, una cunctis in 
 "locis et diocesibas, eademque ratio servetur, qua Bomana 
 u utitur Ecclesia," (JSp. Pit PP. IX. 30. Maji 1873.) 
 
 A somewhat similar decree was formulated by the 
 Synod of -Westminster in the year 1873; and in a recent 
 pastoral on Church Music, His Eminence, Card. Manning- 
 gives the result of a personal inquiry as to the authen- 
 ticity and authority of the Ratisbon books. 1 ) 
 
 But the new editions however splendidly brought 
 out and strongly recommended, will be of little use in 
 reviving a taste for true Ecclesiastical Chant, unless 
 those appointed to sing it are properly instructed. For 
 this a competent master is at all times necessary, and 
 a grammar or class-book which may be in the hands of 
 the pupils, and from which they may more readily un- 
 derstand the verbal instructions of the master. The Rev. 
 Francis Xavier HaberL, Choir-Master in Ratisbon Cathe- 
 dral, who had been charged by the Sacred Congregation 
 with the revising and editing of the new books, com- 
 piled for this purpose a grammar or manual, and entitled 
 it the "Magister Choralis." The 4 th edition appeared 
 shortly after the new r Choral Books had been published, 
 and the exercises, examples, Chants &c- were all taken 
 from them. Now that these books have been adopted 
 in England, Ireland, and in many Dioceses of the United 
 States of America, it struck me that an English version 
 
 ') "I think also it may be satisfactory to you to know that the 
 "edition of the Graduate published at Ratisbon, and sanctioned by the 
 '•Holy See, is founded upon the edition of Palestrina, and has been 
 "elaborately revised by a Commission in Rome. It is therefore of 
 "Roman origin, though printed elsewhere. This information T received 
 "from the late Secretary of the Congregation of Rites, Cardinal Bartolini. 
 "and from Mgr. Ricci, 'President of the Commission for the revision of 
 "the Graduate and Vesperale Bomanum" Cardinal Manning's Pastoral 
 on Church Music. See "Tablet" Jan. 27. 1877. 
 
XI 
 
 of this most useful and most complete manual would 
 prove acceptable. With the author's permission and under 
 his personal direction. — during a brief stay in Ratisbon 
 in the summer of 1875, — I commenced the task. How 
 I have accomplished it, is for my readers to judge. 
 
 I have scrupulously adhered to the order observed 
 in the German original, with the slight exception of sub- 
 dividing the chapter on the production of the voice, being 
 firmly persuaded that sufficient attention is not generally 
 devoted to this point ; but I did not add anything with- 
 out consulting the best local authorities I could command. 
 
 The Introduction also is more extended than in the 
 original, as I conceived a little more of the history of 
 music than what was contained in the concise chapter 
 of the author, might not be unwelcome; and I have 
 added a chapter for the consecration of the Holy Oils, 
 a function special to Cathedral Churches. Occasionally 
 through the work in some of the "Observations" and 
 foot-notes, reference is made to local uses or abuses, as 
 the case may be, with a view to calling attention to 
 them that they may be corrected in accordance with the 
 standard editions now procurable. 
 
 The music was revised note by note and compared 
 with the new choral Books, by the Author himself, who 
 also furnished me with any additions or improvements 
 which he thought well to introduce, and arranged that 
 the 5 th German edition and this English version should 
 appear simultaneously ; so that in reality it may be 
 termed a translation of the 5 th and latest edition. 
 
 I feel I must apologize for the actual translation in 
 many portions of the work. The technical terms and 
 phrases, so concise and expressive in German, are not 
 so readily turned into equally terse and flowing English; 
 and the little time I could snatch from other and more 
 pressing duties, left me unable to revise the work as 
 
XII 
 
 carefully as I could have wished, so that a certain stiff- 
 ness of style and questionable rhetoric will at times dis- 
 close itself, for which the Translator, and not the Author 
 is solely responsible. I can safely say however, that if 
 the translation is not always literal, it is never unfaith- 
 ful, aud the very limited proportions of original matter 
 here and there introduced, whilst they may serve to 
 elucidate points and technicalities with which we have 
 not been hitherto quite so familiar, leave untouched the 
 general principles and substantial teaching of the work, 
 which derive their force and character of authenticity 
 from the learning and ability of the original compiler. 
 As far as I am concerned, I may describe it, as Guidetti 
 described his first edition of the Directorhim Chori. but 
 with much more truth: "Opus quidem nullitis ingenii, 
 multarum tauten vh/iliarum." 
 
 If however it can in any way contribute to establish 
 a more intimate acquaintance with this interesting, but too 
 often neglected department of the liturgy, and help to 
 forward the growing taste for a dignified and devotional 
 rendering of the genuine music of the Church, it will have 
 fully attained the object intended by its publication. 
 
 Nicholas Donnelly, C. C. 
 Cathedral Dublin. 
 
 Feast of St. Agatha V. M. 
 5 th February 1877. 
 
TABLE OF CONTENTS. 
 
 Page 
 
 Translator's Preface. ...... IX 
 
 Introduction. . ..... 1 
 
 I. Definition of Gregorian Chant. .... 1 
 
 II. Its Origin and early History. .... 3 
 
 III. How we should esteem Plain-Chant. ... 14 
 
 IV. Division of the Book. ...... 20 
 
 PART I. 
 ELEMENTARY PRINCIPLES. 
 
 Chapter 
 
 1 st . Names of the Notes. — Construction of the Scale. . 23 
 
 2nd. Progression of the sounds of the Scale. — Intervals. . 33 
 
 3 d . Notation. — Clefs 37 
 
 4 th . Rhythm. — Accent. — Pauses. .... 44 
 
 &K The Voice 51 
 
 6 l \ Vocalization. — Articulation. * . . 58 
 
 7 th . Pronunciation (of Latin). - Accentuation. . . - 64 
 
 8 th . Exercises to strike the note. . . . .' 69 
 
 PART II. 
 SCIENCE OF PLAIN-CHANT. 
 
 SECTIO THEORETICA. 
 
 9th. The Church Modes or Tones 75 
 
 10^. Karnes and Classifications of the Church Tones. . . 79 
 
 11th Signs of the Tones 83 
 
 12»h Nature and characteristics of the 1 st , 2 nd , 3 d and 4 th Tones. 85 
 
 13th. Nature and characteristics of the 5th, 6th, 7th and 8th Tones. 88 
 
 14 fc h. Transposition. ....... 90 
 
 15 tb . On the use of the Diesis or j) in Gregorian Chant. . 95 
 
 SECTIO PRACTICA. 
 
 16t\ The Liturgical Books 99 
 
 17th. The Ecclesiastical Year and Calendar. ... 104 
 
 18th. Arrangement of the Missal (Gradual) and Breviary. . 109 
 
 THE HOLY SACRIFICE OF THE MASS. 
 
 19th. Introit. — Kyrie. — Gloria. . . . . Ill 
 20th. The Chants for the Prayers. . . , .118 
 
XIV 
 
 Chapter Pape 
 
 21 st . From the Epistle to the Preface. . . . .120 
 22° d . The Preface. — Solemn Intonation. . .133 
 
 23 d . The Preface. — Ferial Intonation. . . 144 
 
 24 th . The Pater noster. — Communio. .... 152 
 
 25 th . Ite Missa est. — Benedicamus Domino. . . . 157 
 
 THE DIVINE OFFICE. 
 
 26»». Psalmody. 161 
 
 27t h . The Psalms in Tono duplici et semiduplici. . . 168 
 
 28"i. Ferial Tones for the Psalms. — The Canticles. . . 173 
 29*K Matins. . - . . . . . .177 
 
 30tK Lauds and Benedicamus. ..... 189 
 
 31 st . Prime, Terce, Sext and None. . . . .195 
 
 32 nd . Vespers and Compline. ..... 200 
 
 SPECIAL FUNCTIONS. 
 
 33 d . The Asperges and the Litany of the Saints. . . 203 
 34 th . Blessing of Candles, Ashes, Palms, Paschal Candle and 
 
 Baptismal Font. ..... 207 
 
 35 th . Holy Thursday, Good Friday, and Easter Saturday ad 
 
 Missam. . . , . . ' . 219 
 
 36 th . Various Intonations. ...... 224 
 
 APPENDIX. 
 
 37th. The Organ in general 229 
 
 38th. The Organ in Plain-Chant 234 
 
 PART III. 
 PRACTICE OF PLAIN-CHANT. 
 
 I. GENERAL INSTRUCTIONS. 
 
 39th. To the Clergy and Clerical Students. ... 241 
 
 40th. To Choir Masters 246 
 
 41st. For Organists. . . . . . 2~~>2 
 
 42nd. F or Choristers. . . . . . 257 
 
 H. SPECIAL DIRECTIONS FOR CHANTING 
 
 a) recitative chant. 
 
 43 d . Psalms. Choral reading 260 
 
 b) modulated chant. 
 
 44th. Hymns, Sequences, Prefaces &c. . . . 264 
 
 c) chants in neumas or grouped notes. 
 
 45th. The Mass chants. Antiphons. Responsories &c. . . 271 
 
INDEX ALPHABETICUS 
 
 CANTIONUM LITURGICARUM SACERDOTIBUS ET CLERICIS 
 
 GONVENIENTIUM. 
 
 Absolutio in Officio Matutino, pag. 184. 
 Alleluja in Missa Sabbati sancti, 223. 
 Alma (Intonation), 202. 
 Asperges me, 204. 
 Ave Regina, 202. 
 
 Ave sanctum Chrisma (Oleum), 221. 
 Benedicamus in Missa, 159. 
 Benedicamus in Officio divino, 193. 
 
 Benedictio candel., cinerum, Palmarum, cerei Pasch., fontis Bapt., 207. 
 Hebdomadarii in Matutino, 185. 
 " Pontificalis, 225. 
 Canticorum toni, 175. 
 Capitulum in Officio, 190. 
 Confiteor, 155. 
 Credo, 132. 
 
 Deus in adjutorium, 178. 
 
 Domine labia mea, 177. 
 
 Dominus vobiscum, 120. 
 
 Ecce lignum crucis, 222. 
 
 Ego sum (Ant. ad Benedictus), 228. 
 
 Epistola, 126. 
 
 Evangelium, 129. 
 
 Exultabunt (Ant. in exequiis), 227. 
 
 Exultet jam Angelica turba, 210. 
 
 Flectamus genua, 122. 
 
 Gloria, Intonationes, 117. 
 
 Gloria, laus et honor, 209. 
 
 Humiliate capita vestra, 122. 
 
 Intervalla, 33. 
 
 Ite Missa est, Toni, 157. 
 
 Jube domne, 185. 
 
 Lamentationis Tonus, 187. 
 
 Lectionis Tonus, 186. 
 
 Lectionis Tonus extraordinarius, 187. 
 
 Litania de omnibus Sanctis, 205. 
 
 Lumen Christi, 210. 
 
 Martyrologium, 198. 
 
 Orationum Tonus ferialis, 121. 
 
 " festivus, 118. 
 
 " " simplex ferialis, 120. 
 
 " " in Parasceve, 123. 
 
XVI 
 
 Oremus, pag. 132. 
 
 Pange lingua, 224. 
 
 Passionis Tonus, 131. 
 
 Pater noster, Tonus ferialis, 153. 
 
 " " Tonus festivus, 153. 
 Pax Domini, 155. 
 
 Prsefationum cantus ferialis, Hi 
 Prsefatio ferialis de Apostolis, 150. 
 " " communis, 151. 
 
 " " de cruce, 146. 
 
 de B. V. Maria, 149. 
 " u in Missis Defunctorum, 151. 
 
 " " de Nativitate Domini, 144. 
 
 " " in Quadragesima, 145. 
 
 " " de Spiritu sancto, 149. 
 
 " " Temporis Paschalis, 147. 
 
 de Ss. Trinitate, 147. 
 Praefationum cantus festivus, 134. 
 Praefationum Tonus solemnis de Apostolis, 142. 
 " " " in Ascensione, 139. 
 
 " communis, 143. 
 de Cruce, 137. 
 " " " in Epiphania, 136. 
 
 de B. V. Maria, 141. 
 de Nativitate, 134. 
 in die Paschae, 138. 
 " " " in die Pentecostes, 139. 
 
 " " in Quadragesima, 136. 
 
 de Ss. Trinitate, 140. 
 
 Procedamus in pace, 20 Q . 
 Prophetiae Tonus, 218. 
 Psalmorum Toni ferialis, 173. 
 
 " festivi, 168. 
 Regina coeli, 203. 
 Requiescant in pace, 160. 
 Responsorium breve (in hor. canon.), 197 sequ. 
 Salve Regina, 203. 
 
 Si iniquitates (Ant, in exequiis), 227. 
 
 Sit nomen Domini (Ant. in exequiis), 228. 
 
 Te Deum laudamus, 189. 
 
 Tonus peregrinus, 172. 
 
 Veni Creator Spiritus, 225. 
 
 Veni sancte Spiritus (Ant.), 225. 
 
 Versiculorum Toni in Officio divino, 183. 
 
 " " " Commemoratione, 192. 
 
 " " " liebdomada sancta et Officio Defunct , 184. 
 
 Vespere autem Sabbati, 223. 
 Vidi aquam, 203. 
 
INTRODUCTION. 
 
 I. DEFINITION OF GREGORIAN CHANT. 
 
 Gregorian, 1 ) Roman, 2 ) or Choral 3 ) Chant, 4 ) may 
 be thus defined; a grave, diatonic, 5 ) unison mel- 
 ody, 6 ) set to the rhythm of the words, without 
 
 ') Pope St. Gregory the Great (A. D. 590—604) collected, arranged, 
 reformed and increased the Church melodies existing at his time, and 
 laboured to propagate this reform in Church Music throughout the 
 Western Church hence it is called Gregorian. 
 
 ') Rome first introduced it, and has ever since continued to use 
 it in her principal Churches. It is also called Roman Chant, to distin- 
 guish it from the Gallican, Ambrosian, &c. 
 
 3 ) Choral , because usually sung in choir (Presbyterium) , where 
 the clergy assembled to recite the Divine Office and assist at the Holy 
 Sacrifice. In Germany, this is the usual term lor designating Gregorian 
 Chant, so that wherever the word Choral occurs in a German programme 
 of Church Music, we must always understand Gregorian. 
 
 4 ) " The word chant sufficiently indicates that Gregorian music is 
 purely vocal. 
 
 *) Diatonic i. e. by tones. The succession of sounds in Gregorian 
 must be comprised within a scale of five tones and two semitones, 
 that is to say, a natural scale made up of two disjoined tetrachords, 
 so that in Gregorian the Chromatic or Enharmonic Scales have no 
 existence. 
 
 6 ) Melody is a succession of single notes or tones, rhythmically 
 arranged and producing an agreeable impression on the ear. Harmony 
 is the simultaneous sounding of different, but consonant tones or notes. 
 
 1 
 
2 
 
 strictly measured time, and used by the Church 1 ) 
 in her sacred functions. 
 
 Observation. Gregorian Chant is distinguished by 
 other appellations, especially since the discovery of Har- 
 mony in the 11 th century. It is called cantus firm us | [talice 
 canto feriho) i. e. tirm or fixed chant, in contradistinction 
 to the accompanying counterpointed 2 ) parts, which, after 
 the introduction of harmony, were constructed around the 
 Gregorian melody, usually given to the Tenor. Also, cantus 
 planus (Gallice et Anglice plain-chant) , because the Gre- 
 gorian melody in these many- voiced arrangements, was in- 
 dicated by long sustained notes, or breves or semi- 
 breves) of undetermined duration ; whereas the other parts 
 were broken up into various note figures, and more com- 
 plicated in construction. This latter appellation was so usual 
 in the 15 th century, that Joannes Tinctoris, a priest of 
 Flanders, and a great musical writer of that period, gives 
 the following definition "Cantus planus simplex est, qui sim- 
 pUcibus notis incerti valoris simpliciter est constilutus. cujus- 
 modi est Gregorianus" 
 
 ') This is included in the definition, in order to determine the end 
 and purpose of (xregorian Chant. It is the proper music of the Church. 
 The dignity of ecclesiastical functions, and the sacredness of the words 
 that are to be clothed in music, demand a peculiar and singular method 
 of chant which shall he exclusively the property of the Church, and 
 run no risk of being ever confounded with worldly or profane music. 
 This is one of the reasons why the Church at all periods has ever 
 maintained the 'Simplicity and dignity of Gregorian Song, and in her 
 Liturgical Books authorises no other. 
 
 *) Counterpoint literally signifies point against point — punchnn 
 contra putictum. In the infancy of harmony, musical notes or signs, 
 were simple points or dots, and in compositions of two or more parts, 
 these points were placed ovrr or against each other; hence counter- 
 point; — that is, the art of combining and arranging the consonant 
 intervals of the scale. Harmony has a more extended signification : it 
 has for its object the knowledge of concords and discords, and their 
 relation to the major and minor keys; it also implies the study of 
 the transitions from one key to another by appropriate modulations. 
 
3 
 
 H. ITS ORIGIN, AND EARLY HISTORY. 
 
 The earliest indication of Christian song, is found, 
 according to some authors, in the Gospel of St. Matthew 
 Cap. xxvi. ver. 30. a And a hymn being said, they ivent 
 out unto Mount Olivet:' Certain it is, that so far back 
 as Apostolic times, the singing of Psalms and Canticles 
 was a Christian practice. "Speaking to yourselves in 
 psalms, and hymns, and spiritual canticles, singing and 
 making melody in your hearts to the Lord" {Ep. to the 
 JEphes. cap.Y. ver. 19.) A similar advice was given to 
 the Colossians. The Pagan authors Lucianus and Pliny 
 the younger, bear witness to the custom. The latter in 
 a letter to Trajan A. D. 110, mentions the Christians 
 as meeting "on a certain day before daylight, and Sing** 
 ing by turns a hymn to Christ as to a God;" and a- 
 mongst early Christian writers we have St. Justin Mar- 
 tyr, in his Apologia ad Antoninum Pium : — St. Clement 
 of Alexandria, in Or at. ad Gentes, and Tertullian who 
 in chap. 30 th of his apology says : "As by the open- 
 ness of their demeanour, so by the cheerfulness of voice, 
 testified in singing their prayers, they declared that they 
 did not worship as men without hope, like the Gentiles Sc." 
 St. Ignatius cf Antioch, and later on St. Basil, are wit- 
 nesses for the Eastern Church. But it will not require 
 any authors to prove that the music of the early Christ- 
 ian Church must have been of the simplest. Previous to 
 the victory of Constantine over Maxentius, the Christians 
 had been subject to persecution, proscription and martyr- 
 dom, and were periodically condemned to silent prayer ; so 
 that no regular system of Ecclesiastical Chant could have 
 been well established. But it may be reasonably inferred, 
 that as the Psalms and Canticles of the old Testament 
 were retained in Christian worship, the very melodies of 
 
1 
 
 David and Solomon were adopted, and christianized by use. 
 Some authors deem it equally probable, that the music 
 of the hymns, which were first received in the Church, 
 wherever Paganism had prevailed, resembled that which 
 had been many ages used in the temple-worship of the 
 Greeks and Romans. Of this, the versification of those 
 hymns would appear to afford an indisputable proof, as 
 it by no means resembles that of the Psalms, or of any 
 other Hebrew poetry. Probably the opinion adopted by 
 Aug. Willi. Ambros is the correct one. "From the Musica 
 Sacra of the Hebrews, the music of Christianity derived 
 its sacredness. from the musical art of the Greeks, its 
 form, shape and beauty." 1 ) "The foundation of Chant."' 
 says the Prince Abbot Gerbert, "was the ancient music 
 of the Greeks . and it was constructed on the same 
 principles." 2 ) 
 
 Pope Damasus (A. 1). 367) is the first of the Pontiffs 
 who is recorded to have made special regulations for 
 the chanting of the Psalms, ordering that they should 
 all terminate with the "Gloria Patri dbc" But it wa> 
 not until the 4 th century of the Christian era had far 
 advanced, and definite hopes for the peace of the Church 
 had begun to be formed, and temples built, and Christ- 
 ianity professed openly, that a great and holy Bishop 
 of the Western Church undertook to reduce the art of 
 Church song to some kind of order, and fix it within 
 certain rules. In the latter part of this century St. 
 Ambrose Bishop of Milan, suffering under the persecution 
 of the Arian Empress Justina . appointed Psalms and 
 Hymns to be sung antiphonally , in order to console his 
 flock in their afflictions. And as he himself was well 
 
 ') Ambros. Geschichte der Musik. Vol. 1. pag. 190. 
 
 l ) " Fimdamentum cantus, erat antiquus cantus Grceconim . atque 
 iisdem insistebat principiis.'' Gerbert "De cahtu et musica Sacra." See 
 also Altieri's: "Saggio Storico Teorico-Pratico del canto Gregoriano o 
 liomano." Rome 1835. 
 
instructed in the art of Music, he introduced a system 
 of Church melody, in which he chose out of the fifteen 
 modes, or systems of tetrachords used hy the Greeks, four 
 series, or successions of tones (notes), and called them 
 simply, first, second, third and fourth. And from this 
 great Doctor of the Church, we have what is known in 
 history as the Amhrosian Chant. What the peculiar charm 
 of this chant was, it is not easy at this distance of time 
 to determine, for no trace remains of any system or 
 series of notes different from the Gregorian in any es- 
 sential feature , but that it had a charm , possibly due 
 to its extreme simplicity and metrical progression , is 
 evident from the Confessions of St. Augustine: "When 
 I remember the tears I shed at the Psalmody of the 
 Church, in the beginning of my recovered faith, and how 
 at this time I am moved not with the singing, but with 
 the things sung, when they are sung with a clear voice, 
 and suitable modulation, I acknowledge the great use of 
 this institution." {Confessions lib. x. 33. 50.) 
 
 To St. Gregory the Great however (A. D. 590^604) 
 it was reserved bv Providence to make almost perfect 
 the work commenced by St. Ambrose. He collected the 
 existing tunes or chants, improved them, added many 
 i new ones, and published an entire collection, with the 
 method of singing them, as fixed precepts for all Christ- 
 ian Churches. His Antiphonary, Antiphonarium 1 ) Cen- 
 tonem,, 2 ) was chained to the altar of St. Peter's, in order 
 that it might be referred to on all occasions, and be made 
 the means of correcting any changes which might casually 
 occur in the course of succeeding years. He established 
 
 ') Antiphonarium; — the book which contains the Antiphons. or 
 anthems. In a more extended sense, the collection of all the miisic 
 used in the Church's ritual. 
 
 2 ) "Centonem vocant carminis genus ex diversis carminum frag- 
 mentis, hinc atque Mine accersitis, contextum, quasique consutum." Vid. 
 Martini "Storia della Musica" Vol. 2. pag. 108. Note 33. 
 
6 
 
 a new system of scales, fresh names to the notes, as well 
 as new and simplified characters for writing music. 
 
 In his system of ^cales he retained the four already 
 mentioned of St. Ambrose, adding to them four others^ 
 which were produced by transposing those of St. Ambrose 
 a fourth lower; by this arrangement, the principal tone, or 
 key note, as it might be called, which formerly appeared 
 as the first or fundamental note, now, in the newly added 
 scales, appeared in the middle, or more properly as the 
 fourth of the succession; these additional four scales 
 being called played , to distinguish them from the four 
 more ancient, which received the name of authentic. 
 
 He made an important improvement by discarding 
 the tetrachord system of the Greeks, and founding in its 
 place the system of the octave, the only one which na- 
 ture indicates ; and another improvement no less import- 
 ant, in connexion with his system of the octave, was 
 the introduction of a most simple nomenclature of the 
 seven sounds of the scale, by means of the first seven 
 letters of the alphabet. His notation also, the ''neumata" 
 or "nota Montana" (points, curves or strokes), although 
 before the introduction of subsequently invented lines it 
 was very imperfect, and did not determine with certainty 
 the names of the notes or their distances from each 
 other, gave nevertheless an indication of the rising or 
 falling of the voice to the mind of the beholder, and 
 "was always more reasonable," as Kiesewetter writes, 
 "than those multitudes of arbitrary signs which con- 
 stituted the 1G20 straight, tumbling, oblique., mangled, 
 "mutilated, or distorted signs of the ancient Grecian 
 "semeiography»" 
 
 For the propagation of his reforms, he established 
 and endowed two singing schools in Rome, in which he 
 himself taught, and from which teachers of the Roman 
 Liturgical Chant were sent into France and England. 
 
i 
 
 John the Deacon wlio wrote his life says: "Though he 
 "had upon his hands all the affairs of the universal 
 "Church, and was still more burthened with distempers, 
 "yet he took time to examine the tones, measures, moods 
 "and notes most suitable to the majesty of the Church, 
 "and most proper to inspire devotion, and he formed 
 "that Ecclesiastical music so grave and edifying, which 
 "at present is called Gregorian Music. His bed from 
 "which, when sick, he strove to teach the singers, was 
 "preserved with great veneration in the palace of St. John 
 "Lateran, as also the whip, wherewith he threatened the 
 "young clerks and singing boys, when they made mis- 
 " takes or failed in their notes."' 1 ) 
 
 Thanks especially to the energy of Charlemagne, the 
 chant of St. Gregory was propagated over the entire 
 Western Church. In the commencement of the 9 th century 
 renowned schools nourished in various cloisters of France 
 and Germany; and by the time of St. Odo of Clugny 
 (879-942) the influence of his .reform was universal. 2 ) 
 
 The system which St. Gregory left behind him was 
 capable of being cultivated to the highest possible degree ; 
 and under tolerably favourable circumstances, there might 
 have been derived from it a perfect music. But as time 
 rolled on, St. Gregory's good system began to fall into 
 oblivion, and even his chants, handed down only tradi- 
 tionally by ear and memory, were in danger of degen- 
 erating and being lost. 3 ) The greatest obstacle to the 
 preservation of singing , in the purity of its original 
 precepts, was to be found in the want of a clear and 
 defined notation. The neumata exclusively introduced 
 
 ') Maimbourg "Histoire du Pontificat de St. Gregoire I er ? 
 
 2 ) "Cujus praecepta" speaking of St. Gregory, "in omnibus stu- 
 diosissime sancta observat Ecclesia." (Ap. Gerbert.) 
 
 3 ) Cantus per haec signa (neumata) nemo potest per se addiscere, 
 sed oportet ut aliunde audiatur, et longo usu discatur, et propter hoc 
 hujus cantus nomen us us accepit. (Gerbert Scrip, t. III. p. 202.) 
 
8 
 
 into the books of the ritual, were, previous to the intro- 
 duction of lines, most uncertain. They were points, little 
 hooks, strokes, and flourishes, in different shapes and 
 directions; these represented to the singer by their 
 position the height of tone, and by their shape the in- 
 flexion, i. e. the rising or falling of the voice. A spec- 
 imen , which I take from Padre Martini - History of 
 Music, will best explain their difficulty. 
 
 This kind of notation has one important defect, in- 
 asmuch as it is scarcely possible for the writer to put 
 down a mark so correctly, that the reader (singer) may 
 not take the sound of one or more notes higher or lower 
 than the one intended. And John Cottonius a Monk of 
 Triers (A. D. 1047) frequently quoted by Gerbert. wittily 
 says "that the same marks which Master Trudo sung as 
 "thirds, were sung as fourths by Master Albinus ; and 
 "Master Salomo in another place even asserts the fifths 
 "to be the notes meant, so that at last there were as 
 "many methods of singing as teachers of the art."* 
 This was in some degree remedied during the ninth and 
 tenth centuries, when a line was drawn parallel with the 
 words of the text: — as in the specimen we have just 
 given, which belongs to this period : — above and below 
 which the neumata or marks were inscribed. For this 
 improvement, as probably for the use of a second line, we 
 are indebted to Hucbald of St. Amand. a Flemish monk. 
 (A. I). 930) who also gets the credit of the first rude 
 attempt at counterpoint, called by him organum. 
 
 Such was the state of Church Music, when about a 
 century after Hucbald s death (A. J). 1020, or somewhat 
 
 7 
 
9 
 
 later), we hear of Guido of Arezzo,.a Benedictine 
 monk in the monastery at Pomposa, near Ravenna. This 
 venerable man saw more clearly than his predecessors 
 that Church singers were not to be formed after any 
 speculative theory ; but that it required for the pur- 
 pose a most simple and elementary theory, and a rea- 
 sonably practical method. He was at all events so fort- 
 unate as to invent such a method, and the reputation 
 of his performances reached the ears of Pope John the 
 nineteenth , who governed the Church from the year 
 1024 to 1033. This Pontiff invited Guido to Rome, and 
 gave him most honourable proofs of his satisfaction, after 
 having in one lesson, under his direction, advanced him- 
 self so far as to understand and sing a chant pre- 
 viously unknown to him, from the antiphonary brought by 
 Guido, and after the manner of notation which he had 
 invented. The singers of those days could scarcely have 
 accomplished the same task in the course of a lifetime. 
 He is the reputed author of the hexachord and solmi- 
 sation , having introduced the use of the syllables Ut. 
 Be. Mi. Fa. &c. But his greatest and most important 
 merit consisted in the improvement and appropriate ar- 
 rangement of notation. Some suppose him. to have been 
 the inventor of the notes in their present shape; but 
 this opinion is without foundation, as nothing beyond 
 the neumata and the Gregorian letters are mentioned 
 in his work. To the latter he was particularly partial, 
 and he declared them to be the best tone-characters ; 
 nevertheless he by no means repudiated the neumata, if 
 carefully written and properly applied: to which end he 
 added two other lines to the two coloured key lines for- 
 merly invented, thus making a stave of four lines, and 
 then taught the use, not only of the lines themselves, 
 but of the spaces between them , so that each neuma 
 (sign or mark) received its due place, which could not be 
 
10 
 
 changed or mistaken, and thus [ill ambiguity was removed. 
 Most authors, those in particular who wrote in the seven- 
 teenth century, and especially those of Italy, have re- 
 garded Guido as the restorer of music, whilst many of 
 them look upon him as the inventor of it; and they are 
 convinced that to him alone we are indebted for all we 
 know or can perform in reference to the art at the 
 present moment, Certain it is that in Gregorian Music, 
 Ik 1 rendered easy what previous to his time had been 
 most difficult . and , with the exception of the definite 
 shaping of the notes, which occurred about a century 
 later, the practical disuse of the hexachord and return 
 to the octave system , with a new sy liable Si for the 
 seventh degree of the scale, no change has been made 
 in it since his time; and as Guido left it, so it remains. 
 Previous to Guido's time and ever since, Gregorian Chant 
 has been the music of the Church, and for three cen- 
 turies after his time the only Music heard in the Church. L ) 
 and even though Palestrina by his wonderful application 
 of the principles of counterpoint succeeded in obtaining 
 a "locus standi" in the Church for polyphonous or figured 
 chant, yet the principle, that Gregorian is the proper li- 
 turgical music of the Church has never been surrendered. 
 Various versions of the liturgical Chants appeared from 
 time to time in different countries and different Dioceses, 
 but whilst the Teachers of these oftentimes conflicting 
 methods, strove with exemplary zeal to prove their own 
 
 ') "People are supposed to have a predilection for "mediaeval" 
 music, as they might have for old china, or the paintings of the pre- 
 Ratfaelite masters; and while those whose tastes lie in an opposite 
 direction shrug their shoulders with a good humoured "De gustibus 
 &C." the advocates of Plain-Song are too often content to rest their 
 advocacy on no higher grounds . . . The adoption of the modern style 
 in the service of the Church is not the development of crude germs, 
 as the man is the development of the infant, but the abandonment of 
 a matured and developed , and adoption of a deliberately proscribed, 
 system. It is not progress, but retrogression." See Preface to "The 
 Plain-Song Reason Why,'' by C. Walker. London. Novello. 
 
1 1 
 
 peculiar chants identical with the original strains of St. 
 Gregory , they never lost sight of the principle laid 
 down by St. Gregory himself, that the foundation of all 
 or any of their musical systems should be the "melody 
 of language." This principle was still vigorous even after 
 the 1 3 th century , when partly owing to the inartistic 
 methods of execution, and partly to the mannerisms of 
 the singers loading the chant with all manner of ex- 
 traneous ornamentation, abbreviations began to be intro- 
 duced, oftentimes more than was necessary or advisable. 
 Nevertheless these abbreviations went hand in hand with 
 the alterations in the Liturgy and the circumstances of 
 the times. 
 
 The Roman Church in particular, ever regarded 
 the Gregorian, as her peculiar chant. She claimed and 
 exercised the right to extend the alterations made by 
 her authority in the Missal and Breviary to Gregorian 
 Song, and never published the Liturgical Books without 
 it. Towards the end of the 16 th century, and when the 
 Council of Trent had become a thing of history , a new 
 zeal developed itself in Rome for establishing uniformity 
 in Liturgy and Chant; and in furtherance of this good 
 purpose, there appeared in 1582 the Directorium CJwri. 
 Cantus ecclesiasticus officii maj. foebd. 1587, Prcefationes 
 in cdntu firmo 1588; all by Guidetti under the auspices 
 of Gregory XIII. and Sixtus Y. ; then the Gradual e 
 Bomanum from the Medicaean printing offices in the 
 years 1614 and 1615, and the Bituale Bomanum 1614 
 both at the command of Paul V. The Hymns , which 
 Palestrina had published in the year 1589 were at the 
 request of Urban VIII. reprinted in 1644 with Gregorian 
 notation, and everywhere there was diffused abroad an 
 emulation in publishing in large or small editions the 
 Gregorian Music for the several functions of the Liturgy, 
 and facilitating its performance. 
 
12 
 
 During the present long and laborious Pontificate 
 various efforts have been made to bring out new and 
 authentic editions of the Plain-Chant Books. In 1848 
 the Abbe de Voght and E. Duval, edited with Epis- 
 copal sanction the Roman Gradual, Vesperal and other 
 books ; taking for the basis of the Gradual . the Med- 
 icaean edition published under Paul V. 1615, yet not 
 giving an exact reprint, as in the w Ordinarium 
 Missse" they followed the Antwerp editio Plantiniana 
 because better know r n in Belgium; and for the Vesper ale 
 the Venice edition of 1580. Meanwhile a commission 
 appointed by the Archbishops of Reims and Cambrai 
 were engaged on a similar work, following the Ms. of 
 Montpellier. — an Antiphonary of the 10 th century, noted 
 in neumes or signs. The Gradual issued by this com- 
 mission appeared in 1851, and the Antiphonarium at 
 a later date, printed by Jacques Lecoffre & Co. Paris. 
 Pere Lambillote S. J. based his researches on the Ms. 
 of St. Gall, an Antiphonary in neumatic notation of much 
 earlier date , supposed to be a copy of St. Gregory's 
 Antiphonarium Centonem that was kept chained to 
 St. Peter's altar. This edition appeared after the com- 
 pilers death in 1857. These various editions, though 
 highly commendable in a typographical sense , and 
 evidencing a zeal in the cause of true Church Music, 
 for which their editors and publishers were eulogised 
 in special briefs by His Holiness , yet did not tend to 
 promote that uniformity in the sacred chant, which 
 the Holy See was anxious to bring about. Wherefore 
 our most Holy Father resolved to have the whole sub- 
 ject reconsidered, and ordered the Sacred Congregation 
 of Rites to undertake the task. A commission of four 
 experts was established by the S. Congregation. The 
 Medicaean Edition of the Gradual A. D. 1615 was 
 adjudged to be the one of all others containing the 
 
13 
 
 "Cantum Gregorianum quern semper Romana Ecclesia re- 
 tinuit." The Liechtenstein edition of the Antiphonarium 
 (Venice 1580) was selected for the authentic Music of the 
 Divine office ; and Rev. Haherl. Domkapellmeister in Ratis- 
 bon, who revised every page as it was prepared, arranged, 
 according to Gregorian rules and tonality, the chant for 
 the New Feasts and Offices added since the 17 th century. 
 The publication of these works was entrusted to Herr 
 Frederick Pustet of Ratisbon, who enjoys a thirty years 
 privilegium , and has had commendatory Briefs and 
 the Cross of St. Gregory from the Pope, in recognition 
 of the truly magnificent style in which he has brought 
 them out. Already he has published the Graduale 
 Romanum, in Folio and in 8 V0 , the Vesperale in 
 8 V0 , the Directorium Chori in 8 V0 , the Ordo Exe- 
 quiarum in 8 V0 , the Officium Nativitatis D. N. J. C. 
 in 8 V0 , the Officium Hebdomadse Sanctse in 8 V0 , 
 Processionale Romanum, Benedictionale Roma- 
 num, Rituale Romanum &c. * The Antiphonarium 
 in Folio is in progress, and is almost the only work 
 now remaining to complete the series. 
 
 There can be little doubt that from the authority 
 which it enjoys, edited by. the S. Congregation, and re- 
 commended for adoption by the Pope to all Bishops of 
 the universal Church, ut exoptata imiformitas etiam in 
 cantu obtineri valeat , as well as from its superiority in 
 every sense; melody, accent &c. ; this edition of Ratis- 
 bon will displace all others and attain the end so much 
 desired by the Holy See. 
 
 It is now the official authorised edition for the use of 
 the entire Church, and as such adopted in Rome, Germany, 
 many parts of France, the United States of America, by 
 the Synod of Westminster 1873 for all England, and by 
 the Synod of Maynooth 1875 for all Ireland. 
 
14 
 
 III. HOW WE SHOULD ESTEEM PLAIN-CHANT. 
 
 The best praise' that can be bestowed on Gregorian 
 Chant, is. its history, which I have very cursorily sketched 
 in the preceding paragraph. Bound up as it has been 
 with the ceremonial of the Catholic Church, and per- 
 vading her whole liturgical existence, it becomes a wit- 
 ness to her unity. The language to which it is wedded, 
 is so sonorous and dignified: the place where it is heard 
 so holy : and the strain itself so simple, clear, and yet 
 so sublime, all this determines its purpose, makes it a 
 constituent part of the Church's ritual, and testifies to 
 the influence of the Holy Spirit, who is said to have 
 inspired its originator, St. Gregory the Great. "The 
 "Catholic knows its worth, when he goes to the most 
 "distant part of the glo~be, and finds there the service 
 "of the Church, even to the smallest detail, just as he 
 "left it at home." 1 ) But what is its intrinsic worth? "We , 
 "can scarce imagine," writes Ambros in his History of 
 Music, "a more expressive manner of singing, or one 
 Hh&t so thoroughly satisfies all the demands of the 
 "Liturgy." 2 ) The Protestant Herder says: "Go through 
 "the Ritual of the Roman and Greek Churches, you rind 
 "vast edifices, nay labyrinths of the musical and poetical 
 "spirit." 
 
 -The Choral (cantus gregorianus)" writes Witt in 
 his Musica Sacra (1868 pag. 90), "is the most finished 
 "and most sublime production of that Art-epoch, when 
 "Melodies were found, without having to think of their 
 "accompaniment or harmonization : it is an imperishable, 
 
 ') Culturhistorische Bilder aus dem Musikleben der Gegenwart, 
 von A. W. Ambros. 
 
 2 ) Ambroe. Vol. 2 ud . pag. K7. 
 
15 
 
 "unattainable master-piece of natural musical decla- 
 ration." The Council of Trent in few but decided 
 words, commanded the "teaching and cultivation of the 
 "chant in Diocesan seminaries and similar institutes." l ) 
 Thenceforward Home and several national and provincial 
 Councils enacted similar decrees. 2 ) Of Gregorian Chant 
 it may be safely said what Goethe remarks: "Music in 
 "its best sense stands little in need of novelty, as the 
 "older it is, and the more one is accustomed to it, the 
 "more impressive it becomes." No doubt Gregorian Chant 
 demands earnest and persevering study, but an appre- 
 ciation of it will not fail to grow up, for it rewards its 
 friends richly. "The Choral is not the work of individ- 
 uals, of this or that composer, it is the music of the 
 
 "Church The Priest who represents the heavenly 
 
 "bridegroom, entones the wedding song; and the friends 
 "of the bridegroom join in holy love and joy." 3 ) "The 
 "Gregorian is of quite a different artistic construction 
 "from modern music, it has melodies of a peculiar kind, 
 "that require peculiar treatment." 4 ) The prejudices that 
 have arisen against Gregorian Chant , originate either 
 through ignorance of its real nature and purpose , or 
 because of the way in which it is, alas ! too frequently 
 disfigured by a faulty rendering. Bad execution of 
 Gregorian Chant has beyond all doubt brought it into 
 disrepute ; whereas a man has but to work with perseve- 
 rance in learning its spirit and true form, to be forced 
 
 ') Cone Trid. Sess. XXIII, cap. 18 de Reformatione. 
 
 a ) The Roman Council of 1725, — the provincial Council of Bal- 
 timore 1837, — the plenary Council of Baltimore 186G, — the provin- 
 cial Council of Cologne 1860, — the national Synod of Thurles 1850, 
 — the national Synod of Westminster 1873, and the national Synod 
 of Maynooth 1875, all have decrees or recommendations bearing on 
 Hie same point. 
 
 3 ) Amberger, Pastoraltheologie II. vol. 228. 
 
 4 ) M. l'Abbe Cloet, Recueil de melodies liturgiques. Tom II. p. 24. 
 
1G 
 
 to acknowledge its sublimity and grandeur. Luther whilst 
 assailing most of the discipline as well as doctrine of 
 the Church , saw its beauty , and in a preface to a 
 book of popular devotions we read: — "Besides I have 
 "taken the beautiful music or song which belongs to 
 "Masses for the dead funerals , &c. , and have printed 
 "it in this book of music, and mean in time to take 
 "more. Of course. I have put other words to it. . . The 
 "song and the notes are very valuable; it were a shame 
 "that they should be lost. 11 
 
 Even the infamous Rousseau in his Lexicon Musician, 
 article "Plain-Chant," says: "It is a name that is 
 "given in the Roman Church at this day to the eccle- 
 siastical song. There remains to it enough of its former 
 "charms to be far preferable for the use to which 
 "it is destined, to the effeminate and theatrical, frothy 
 "and fiat pieces of music which are substituted for 
 "it in many churches , devoid of all gravity , taste 
 "and propriety , without a spark of respect for the 
 "place they dare thus to profane.' 1 Again (Did. de 
 Musique) he says, "So far from modifying the Plain- 
 " Chant by our modern music, I am persuaded that we 
 "should gain by transporting the old Gregorian modes 
 "into our modern compositions. r ! ) The London "Time^" 
 of February 24 th 1865 describing the obsequies of Car- 
 dinal Wiseman says "Unlike ordinary masses, it lacks 
 "the magnificent music of the Gloria and Credo, nor 
 "has it even those exquisitely touching lamentation* 
 "with which even very rigid Protestants are familiar as 
 "forming part of the beautiful service called Tenebrm* 
 "Nevertheless in spite of these great omissions, a Re- 
 "quiem Mass [in Gregorian Chant, remember], is one of 
 "the grandest services of the Roman Church, and abounds 
 
 ') See "Dublin Beview" July 1874. article "Plain-Chant." 
 
17 
 
 "in chants and hymns of such deep solemn pathos in 
 "their music, of such a mournful melody of woe, as no 
 u description can convey" Of the Dies Irce the writer 
 remarks : 
 
 u The magnificent chorale of this great song of fear 
 "and entreaty, was given in such a way . . . that there 
 "was a positive murmur among the congregation as its 
 "long, sad, wailing chorus closed at last in intervals of 
 ••melancholy sounds." Burney in Vol. II. of his great 
 history of music, says of Gregorian Music; — "It has be- 
 "come venerable from its antiquity, and the use to which 
 "it is solely appropriated; and its simplicity, and total 
 ''difference from secular music, precludes levity in the 
 "composition, and licentiousness in the performance." 
 Mr. Gautter in his Lectures on Ecclesiastical Music de- 
 livered at the Hanover Square Rooms London 1846, 
 declared Gregorian Song; to be "at once the simplest and 
 "sublimest strain ; it totally differs from secular music ; 
 "and it excludes difficulty and intricacy of composition, 
 "and carelessness in the performance. It is the best means 
 "for bringing into action the power of the voice, that 
 "noblest organ of the human frame. The Plain-Chant 
 "has been justly called 'the voice of the Church'; — 
 "it is the very perfection of speech." 
 
 But how did great Musicians value it? I need not 
 quote Palestrina, the Prince of Music. One need only look 
 through any of his numerous compositions to see, how 
 he always selected the melodies of the Chant as subjects 
 for contrapuntal effects, and so rendered his works im- 
 mortal. Let us take Sebastian Bach, who is deservedly 
 revered as the Parent and Founder of all that is good 
 and great in modern music, Just glance at some of his 
 best Chorales, and you will see the very number of the 
 (Gregorian) mode quoted, on which he constructed most 
 elaborate and beautiful harmonies. Mozart said: — "he 
 
 2 
 
18 
 
 "would give all his glory as a composer in such an age, 
 "for that of having been the writer of a single Preface." 
 Mehul in his Opera of "Joseph," Meyerbeer in the 
 "Huegenots," and Gounod, in at least one of his Operas, 
 have all introduced Gregorian Chant unisons with won- 
 derful effect, Mendelssohn was very fond of incorporating 
 it in his Chorales, notably in the strophe "Docti sacris 
 dtc" of his Lauda Sion, which is taken note for note 
 from the Gregorian Sequence. It is to be regretted that 
 Rossini did not do likewise when he sat down to write 
 his "Stabat Mater-" and he might have produced some- 
 thing more appropriate than a triumphal military march 
 to the affecting words, Oujus animam gementem; or than 
 a dance tune to the Sancta mater istud dgas x One of 
 the greatest musical composers .of the present day is 
 acknowledged to be Richard Wagner. No one that is 
 even remotely acquainted with any one of his works, will 
 accuse him of any very decided antipathy to instrumental 
 effects. Yet when he comes to speak of Gregorian, here 
 is what he says : '.'The human voice which is the proper 
 "renderer of the sacred text, and not instrumental or- 
 namentation, or I should say, that trivial fiddling which 
 " enters into most of our present Church music, should 
 "take the lead in the Church; and if ecclesiastical music 
 lt is ever to be restored to its original purity, vocal music 
 "must oust the instrumental, and occupy the place this 
 "has usurped." After so many testimonies both from 
 friends and foes, I will conclude this paragraph with just 
 one more, that of the Cistercian writer Mauritius Vogt. 1 ) 
 "These fixed, measured, emphatic, sublime, true, chaste, 
 "free-breathing, beautiful and truly holy melodies, have 
 "been composed by holy men. This song eschews the 
 "court of the Prince, and never enters the Concert Hall 
 
 ') In 'Tractatus Musieus" of P. Meinrad Spiess. cap. XV. p. 7<>. 
 
19 
 
 "or Music Saloon ; it ventures within the Holy of Holies 
 "and abides there. No one has ever sought to drive it 
 "from out of the Church of God, unless he did not be- 
 long to the Church of God. This kind of Music has ever 
 "commanded honour and esteem, because like a Queen, 
 "she sets up her throne in the Temples of the Most 
 "High, and with clear voice makes herself heard, when 
 "the preacher is silent in the Chancel. But if her sister, 
 "figured music, has anything to say, let her value the 
 "axiom : Musica debet esse honesta; l ) music must be 
 "appropriate, and must not disfigure the plain-chant; 
 u non debet de for mare cantum planum." 
 
 It is undoubtedly a healthy sign to see the giant 
 strides which the young society of St. Cecilia {Cdcilien- 
 Verein, founded in 1868), has made in Germany and 
 the United States of America, in its efforts to reform 
 Church music, and revive a taste for Plain-Chant; the 
 study of which is compulsory on its members, and the 
 very first of its Statutes. It is also a healthy sign that 
 the efforts of the Holy See in the same direction have 
 been ably seconded by private enterprise, and by public 
 enthusiasm, and that the truly splendid authorised edi- 
 tions of the Sacred Congregation of Rites printed by Herr 
 I'ustet of Ratisbon, have been so readily and so generally 
 adopted; thus conducing to uniformity "etiam in cantu" 
 and removing from us the reproach formerly addressed by 
 St. Paul to the Corinthians; "How is it then brethren? 
 "When you come together, every one of you hath a psalm, 
 "hath a doctrine, hath a revelation, hath a tongue, hath 
 "an interpretation." (1. Cor. xiv. v. 26.) And now that the 
 Church of Ireland, in the National* Synod of Maynooth, 
 imitating the action taken by the great Archbishop of 
 Armagh St. Malachy , as we read in his life by St. 
 
 1 ) Extravag. de vita et hon. Clericorum. Cap. Docta. 
 
 2* 
 
20 
 
 Bernard, has identified her Chant, as well as her Liturgy, 
 with that of Roine, it only remains for us to adopt the 
 advice of the Apogtle, given in the concluding words of 
 the verse above quoted; "let all things be done to edifi- 
 cation." Let the Clergy, the Laity, Seminarists. ( Organists, 
 Choir Masters, and all concerned, unite to study, cultivate 
 and popularize . that integral portion of the Church's 
 Liturgy ; — the Chant of St. Gregory. 
 
 IV. DIVISION OF THE BOOK. 
 
 In order to facilitate the study of the Principles 
 and Practice of Plain-Chant, the matter may be classi- 
 fied under the following heads. 
 
 PART I. ELEMENTARY PRINCIPLES. 
 
 Though this little book is not intended to be an 
 Instruction Book on the Art of Singing, yet as in many 
 points the same principles are applicable to Plain-Song, 
 which are used in teaching singing; in Part 1. we 
 will give explanations of Sounds, Intervals, Notes, Line-. 
 Clefs, Phythm, Voice, Pronunciation £c. in a word, every- 
 thing that is necessary for acquiring a knowledge of the 
 elements of Plain-Song. 
 
 PART II. SCIENCE OE PLAINiCHANT. 
 
 This heading will be sub-divided into two parts. - 
 a) Theoretical, - teaching the nature and characteris- 
 tics of the ancient Tones or Modes: h) Practical; — 
 in which we will explain the Ecclesiastical Calendar, the 
 
21 
 
 arrangement and use of the several Liturgical Books, 
 and the whole department of Gregorian Music. In 
 past times, Choral-Song was divided into Concentus and 
 Accent us. 
 
 Observation. Under the name Accentus, were classed 
 those portions of the Ritual Song chanted or intoned by 
 the officiating Priest, the Deacon, Sub-Deacon ^ or other 
 Sacred Ministers at the Altar ; in contradistinction to 
 Concentus which referred to all that should be sung 
 by the Assistants or by a special trained Choir. To the 
 Accentus belong, the Intonations of the Gloria and Credo, 
 the Preface, Pater noster, Gospel, Epistle, Collects and 
 Prayers, the Passion, Prophecies and Martyrology. To the 
 Concentus the Introit, Kyrie, Gloria and Credo (minus 
 the intonation), Gradual and Tract, Sequence, Offertory, 
 Sanctus, Agnus Dei, Communion, Antiphons, Responsories, 
 Hymns &c. 
 
 To follow the order indicated by the Sacred Liturgy, 
 and the arrangement of the Music in connection there- 
 with, the Chant incidental to the Holy Sacrifice of the 
 Mass will be first treated of ; then that of the Canonical 
 Hours ; and lastly, extraordinary Functions. 
 
 An Appendix to this part of the Book will treat 
 of the Organ, and contain special directions for accom- 
 panying Gregorian Chant. 
 
 Observation. The examples given in the body of 
 
 the wwk, will be taken, both for the Accentus, and 
 
 Concentus from the Official Editions published by Herr 
 Pustet of Ratisbon. 
 
 PART III. PRACTICE OF PLAIN-CHANT. 
 
 If Gregorian Chant is ever to revive and flourish, 
 constant, earnest, and attentive Practice of it must be 
 insisted on. A mere theoretical or scientific acquaintance 
 with it is not enough. 
 
22 
 
 Consequently, this section of the Hook will contain, 
 1 ,<; , general instructions on the manner of rendering 
 Plain-Chant, the spirit of Plain-Chant, and its intimate 
 connection with the Liturgy; 2 nd , particular directions 
 for the rendering of a) recitative Chant, such as we 
 have in the Psalms; h) modulated Chant, as in the 
 Hymns, Sequences &.c. ; and c) neumatized chant, as in 
 the Intrdfts, Graduals, Antiphons and Responsories. 
 
PART L 
 
 ELEMENTARY PRINCIPLES OF PLAIN-CHANT. 
 
 CHAPTER 1st. 
 NAMES OF THE NOTES. — CONSTRUCTION OF THE SCALE. 
 
 L Music 1 ) is the art of producing sounds in a cer- 
 tain order and connexion agreeable to the ear. It may be , 
 either vocal or instrumental, according as the sounds 
 are produced by the human voice, or by an instrument. 2 ) 
 
 Plain- Chant is essentially vocal music, a free 
 recitation or recitative , modified by certain musical in- 
 flections or accents. 
 
 All sounds make on the ear the impression of high 
 or, low, 3 ) long or short, loud or soft. 
 
 To represent or indicate the different musical 
 sounds according to their actiteness or gravity , a cor- 
 
 l ) Musica est scientia recte modulandi sono cantuque congrua. 
 Aurelianus Meom. (9 th century) in Gerbert. torn. I. 30. 
 
 r ) Music is also divided into Theoretical and Practical. As 
 a theory, it investigates the nature, properties, relations and effects 
 of sounds ; and prescribes the principles for regulating and determining 
 their different combinations. As an Art or Practice, it applies those 
 principles in musical composition, and directs its performance. In 
 reference to its specific purpose, it is styled, — Church- Music, 
 Chamber-Music, Concert, Dramatic, or Military Music. 
 
 3 ) By a high sound is meant, not a loud but an acute sound ; and 
 by a low, not a weak or whispering, but a grave deep, sound. 
 
24 
 
 responding order of names, or signs, — called notes, 
 — becomes necessary. 
 
 It is not quite certain whether St. Gregory was the 
 first' to indicate musical sounds by the Letters of the 
 Alphabet; 1 ) but it is well ascertained, that, at a very 
 early period , the first seven capital letters , and the 
 seven corresponding small letters, ABCDEFl. a b 
 c d e f g were used to designate, the different musical 
 sounds, and the compote; within which all Plain-Chant 
 melodies were comprised. This compass in modern nota- 
 
 St. Gregory took the entire Grecian scale, a com- 
 pass of fifteen different sounds, as the basis of his system. 
 But reflecting that the sounds after the 7 th of the system, 
 were but a repetition of those before it, in a higher 
 pitch , and that every septenary in progression was 
 precisely the same, he adopted the first seven letters of 
 the Alphabet as names for the sounds, using Capitals 
 for the first septenary, and small letters for the second. 
 
 ') The Greeks, the only people amongst the Ancients that seem 
 to have cultivated the science of Music, had a very elaborate and 
 complex system of notation. The number of characters required in the 
 old Greek semeiography may well excite our wonder; the reason is, 
 as Forkel very justly observes, "that they overlooked all similitude in 
 ''those things' whicli were to be marked, and gave separate signs to 
 "each of them, as if they were in themselves distinctly different." 
 The number of tone characters with which musicians were compelled 
 to burden their memory was no less than 1620. Boetius, (a Roman 
 Consul, author of "Latin Commentaries on the ancient Grecian Musical 
 Theorists" and beheaded in 524 at Rome) instead of the incredibly 
 difficult nomenclature ot the ancient Greek scales or notes; — such as 
 Proslambanomenos, — Paranete synemmenon, — Hyperbolceon diatonis, 
 d-c. dtc. — employed seventeen or eighteen letters; some say fifteen 
 from A to P; not with the intention of introducing a new nomen- 
 clature, but that he might abbreviate his work, and spare the patience 
 of his readers. This, perhaps, may have given St. Gregory the idea of 
 using alphabetical letters. 
 
 to 
 
 tion would be indicated thus 
 
25 
 
 This is called the system of the octave; the octave or 
 8 th sound being a repetition of the first. 
 
 To this scale of St. Gregory was subsequently added 
 a lowermost note designated by the Greek letter /' 
 (Gamma). Many writers place the introduction of this 
 note, and the extension of the scale upwards, almost a 
 century before the appearance of Guido d'Arezzo (born 
 1002). 1 ) 
 
 Observation. This venerable man, a native of Arezzo 
 in Tuscany, to whom the Science of Music owes so much, 
 was a Benedictine monk in the monastery of Pomposa near 
 Ravenna. His name is known wherever civilization has 
 extended, and it has enjoyed uninterrupted celebrity to 
 this day. All writers of Histories of Music, such as Padre 
 Martini, Dr. Burney, Sir John Hawkins, the Abbot Gerbert 
 and others , bear ample testimony to the services rendered 
 by this good religious not only to Plain -Chant, but to 
 Music in general. 
 
 Besides the addition of the Gamma, Guido extended 
 the scale upwards, from g, 2 ) where St. Gregory's scale 
 ended, to dd, and his immediate pupils added another 
 note, ee, so that Guidons scale or musical system reckons 
 21 sounds, thus : 
 
 rAB"C PTE FG aTHcd eTglia bbTcTdd and ee 
 
 graves. finales. acutae superacutae. excellentes. superadded. 
 
 1 ) Guido himself says r a modernis adjuncium. Vide Micrologics. 
 See also Angeloni, Kiesewetter, Ambros &c. 
 
 2 ) The first great octave of the scale (in German Grosse Bassoct.) 
 is written with capital letters, as in St. Gregory's scale; the second, 
 (Icleine Bassoct.) with small letters as a ; the third with small letters 
 doubled as aa or JJ. In Germany they express the latter octave by 
 a_ small letter with a single line or stroke above or below r , thus a or 
 ~a, and hence called the single-lined octave, — einmalgestrichene ; and 
 a fourth octave, as we have in modern music, is expressed in small 
 letters with two lines or strokes above or below, thus sl or a, and 
 called the double-lined octave, — zweimdlgestrichene. This system is 
 particularly convenient, since without making use of the stave we 
 know that J. is the first space in the bass, a the fifth line in the bass; 
 a the second space in the treble , and a or a the sixth line in the 
 treble, or first ledger line above. 
 
26 
 
 The note in the second septenary, and bb in the 
 third, (not the tirst B) may represent our b\ natural 
 {b durum or quadrattm), or ? i. e. b flat (b molle or 
 rotundum); hence the 21 sounds. 
 
 "The graves, {grave or deep), are so called from 
 "their low deep sound; the finales, [final), because every 
 "melody, (as we shall see further on when we come to 
 "speak of the Modes) terminates in one or other of 
 "them; the acutce, {acute or sharp), from their high acute 
 "sound; the super acutce , because still higher than the 
 "acute; and the excellentes , {excelling), because of the 
 "high pitch and fineness of their tone." 1 ) These sounds 
 had no fixed pitch, as in modern music; a for example 
 might be sounded as our c, provided only the half tone 
 which occurs between B-C, E-F, a-b, bJj-c, e-f, aa-bb, 
 bbi}-cc be retained in its proper place. 
 
 Guido himself, or Guido' s school has also the credit 
 of adopting the syllables used ever since in solmisation 
 or solfaing. They were the initial syllables of the words 
 contained in the first verse of the hymn sung on the 
 Feast of St. John the Baptist, written by Paul the Deacon 
 A. D. 774. 
 
 They are Ut. Re. Mi. Fa. Sol. La; and the verse is: 
 
 Ut queant laxis Famuli tuorum 
 
 Resonare fibris, Sol/£ polluti 
 
 Mi/*« gestorum La#// reatum, 
 
 Sancte Joannes. 
 
 The music to which this hymn was written was so 
 constructed, that each of the first six lines of the verse 
 began with a different note in regular order, ascending 
 from c to a, thus C D E F G a, as may be seen in the 
 Vesperale Bomanum, page 380. [Batisbon 1875.] 
 
 ') u Die Choralkompositionslehre vom 10.— 13. Jahrhundert," of 
 Father Utto Kornmuller in "Monatshefte fur Musikgeschicbte.'" 1872. 
 page 63. 
 
27 
 
 In this succession of six Tones, called thenceforward 
 a Hexachord, the half tone lies between the 3 d and 4 th 
 degree of the first septenary, E-F ; the same occurs in 
 the second septenary from c to aa. 
 
 Observation. There is some reason to suppose that 
 Guido taught with successful results, before he stumbled 
 upon the much-prized Ut. Re. Mi. Fa. Sol. La. a short men- 
 tion of which he makes in a single passage in one of his 
 later treatises, but without any further explanation, and 
 which he used rather as a means of help for pupils of 
 slow comprehension, and as a kind of example, than for 
 anything else, just as if other syllables might not have 
 answered as well. Sir John Hawkins in his History of 
 Music. Vol. III. gives the following ingenious explanation 
 of the discovery of the hexachord. "The scale as it stood 
 "in Guido's time, was not adapted for the reception of 6 
 "syllables, and therefore the application which he made of 
 "them does necessarily imply some previous improvement 
 "of the scale, either actually made by him, or which he 
 "had that time under consideration. It is pretty certain 
 "that this improvement could be no other than the con- 
 certing the ancient tetrachords into hexachords, which to 
 "begin with the tetrachord Hypaton, he effected in this 
 "manner. That tetrachord was terminated in the grave or 
 "deep sound, by Hypate Hypaton or b ; for though the 
 "Proslambanomenos A, carried the system a tone lower, it 
 "was always considered , as its name imports , acquisitus, 
 "supernumerary or redundant, the addition therefore of a 
 "tone below A , immediately converted the . Tetrachord 
 * "Hypaton into a Hexachord, and drove the semitone into 
 "a position which divided the Hexachord into two equal 
 "parts. This additional Tone he called /• gamma." And 
 as it corresponded with the first syllable Ut, the scale con- 
 structed thereon was called Gamma lit or Gamut a name 
 which it retains to this day. 
 
 This position of the half-tone between the 3 d and 4 th 
 degree is also verified in the scale or hexachord from 
 T to JEj G to e, g to ee, F to d, and / to dd, except 
 that in these two latter hexachords, the "6" and u bjb" 
 
28 
 
 must be understood to be "b fiat," and not "b natural," 
 in order to avoid the Tritonus or augmented fourth. 
 
 As all these hexachords are alike, differing only in 
 pitch, the use of the six syllables was not confined as 
 at present to the scale commencing with c. but was 
 extended to all the others, the semitone occurring be- 
 tween the third and fourth syllable, always being found 
 in any of the hexachords between the third and fourth 
 degrees. The syllables had therefore to be shifted at 
 each variation of the melodic modulation, and this was 
 called mutation. 1 ) A Table of the hexachords with the 
 mutations or shaftings, was made out by Ugolinus. which 
 we here subjoin. 
 
 e la 
 d la sol 
 
 c sol fa 
 
 b fa Jjmi 
 
 a la mi re 
 
 g sol re ut 
 
 f fa ut 
 
 e la mi 
 
 g Id la sol re 
 
 ^ ]c sol fa ut 
 
 b fa ft mi 
 
 a la mi re 
 G sol re ut 
 F fa ut 
 iE la mi 
 | D sol re 
 & jC fa ut 
 B mi 
 A re 
 
 r ut 
 
 2 ) The solmization of Plain-Chant is the same as that employed 
 iu modern music, and popularised by the Tonic Sol-Fa system. This 
 latter system may be used with advantage in the study of the inter- 
 vals, as Guido's 'system of mutations is practically the same as the 
 
29 
 
 Mi-Fa meant everywhere the position of the half- 
 note, or more properly the suhsemitonium modi, which 
 received at every such place the syllables Mi-Fa. 
 
 The three Hexachords beginning with l\ G, g, are 
 called Hexachorda dura, (hard), on account of the fcj, that 
 is b durum occurring in it; the two beginning with C 
 and c are called Hexachorda naturalia, (natural), because 
 neither a b or fc| occurs in them; and the two beginning 
 with F and f are called Hexachorda mollia, because of 
 the presence in both of the b molle or rotundum. From 
 these tables also were derived special names for the 
 notes of the scale according, to their situation. For in- 
 stance, if you wished to designate F in the first sep- 
 tenary; by reading across the page you would call it 
 F fa ut; if you meant d, you would call it d la sol re, 
 or c, c sol fa ut dec. Again G has the syllable sol in 
 the natural hexachord, re in the soft or molle hexachord, 
 and ut in the hexachord durum • b natural can be only 
 called mi., and b flat fa. These three hexachords may 
 be dove-tailed into one another in the following manner. 
 
 ut, re, mi, fa, sol, la. 
 r, A, I: , C, D, E. 
 
 ut, re, mi, fa, sol, la. 
 C, D, E, F, G, a. 
 
 ut, re, mi, fa, sol, la. 
 F, G, a, b, c, d etc. 
 
 If the compass of any Hexachord were exceeded, 
 and another commenced, the tones belonging to the new 
 Hexachord must be so designated that the syllables mi fa 
 may coincide with the position of the semitone, thus: 
 
 f g a^b c d e^f, g a b$ c d e fjt g 
 ut re mi fa (sol) ut re mi fa (sol) 
 
 ut re mi fa, ut re mi fa. 
 
 Tonic Sol-Fa modulator. See "The Standard Course of Lessons on 
 the Tonic Sol- Fa method" by John Cur wen. 
 
30 
 
 In this system of Mutation consisted the peculiar 
 use of the so-called Gmdonian hand. 
 
 Guido is supposed to have taught his pupils to find 
 and name the tones upon the hones of the hand . and 
 it was regarded at the time as a wonderful discovery, 
 that the Creator should have given to man exactly the 
 same numher of members in the hand a- there were 
 tones in the scale, according to the system of the great 
 master viz. nineteen. The twentieth tone e was only 
 added at a later period by Guido's pupils, in order to 
 eojnplete a seventh hexachopd, and not being able to 
 tind a place for it on the hand, they fixed it over the top 
 of the second finger whose highest member is called d. 
 
 Observation. This perhaps may be the proper place 
 to remark on the origin of our sign * or natural. In a 
 note found in the Appendix to Kiesewetter's work ,l I)ie 
 Geschichte der Musik," we find the following information 
 "on the origin of the German H, as name for the second 
 note of the alphabetical series." (It must be remembered 
 that in Germany b when natural is always indicated by 
 the letter h pronounced hah) "The B has also with the Ger- 
 "mans as many significations and employments as with the 
 "English, with the exception only that we never under- 
 "stand it to be H (English B natural or French Si). It 
 "appears that we were in some perplexity with regard to 
 "the appellation of the seventh note of the scale, and that 
 **the difference of the already existing signs b and * oc- 
 casioned the introduction of the H, because the sign ; in 
 "itself could be taken for H by drawing the stroke down- 
 "wards from the right side, in the same way that out of 
 - 1 we procure an h by the prolongation of the stroke to 
 "the right. It may be sufficient in this place, simply to 
 "remark that the name of the second note of the scale 
 "was twofold: one with a 7 called B rptundum, round and 
 "one with a b or h called B quadratum, squared which 
 k iast agrees with the // of the Germans, the H natural 
 "of the English and the Si of the French." 
 
31 
 
 For a long time this difficult and complicated Gui- 
 donian Solmisation or Solfisation, (according to Tinctoris) 
 continued in use, until with the extension of the Tone- 
 system below Gamma, and above ee, 1 ) and the discov- 
 ery of harmony, a new syllable Si was added 2 ) to de- 
 signate the seventh Tone of the succession. This syllable 
 when it expressed B natural was written Si } when 
 B flat, Sa or Za ; and so the octave system of St. 
 Gregory was re-established ; and Mutations abandoned. 
 Later still the Italians substituted Bo for Ut for euphony 
 sake ; but either syllable may be used. In Germany the 
 Ut is retained. 
 
 II. All possible musical sounds therefore, may be re- 
 duced to, and classed under, seven principal or foundation 
 sounds. These seven sounds may be repeated ascending 
 or descending in regular alphabetical order, thus: 
 
 iABCDEFG abc defg aa etc. 
 . la si Do re mi fa sol la si Do re mi fa sol la etc. 
 ' l. II. III. IV. V. VI. VII. I. II. III. IV. V. VI. VII. I etc. 
 each octave forming what is called a scale, (from scala, 
 a ladder). Of these seven sounds, five are whole tones, 
 and two are semi-tones: and every scale proceeding in 
 this regular manner is called diatonic, 3 ) that is ;, by 
 tones." 
 
 From B to C, (Si-Bo), and from E to F {mi-fa) the 
 distance or span is not so great, as from C to B, (Bo-Be). 
 
 ') This addition was made by Guillaume Du Fay, a singer in the 
 Papal Chapel in 1380. He died in 1432, and because* of this extension 
 of the scale and his masterly compositions, was reputed one of the 
 first of musicians of his time. 
 
 *) Some attribute the adoption of this syllable to Le Maire in 
 1H20. Janssen refers it to Henry Van de Putte (Erycius Puteanus) in 
 the 17 th century. 
 
 3 ) rovog (from mvtiv, to span). Every scale was called diurovog 
 by the Greeks, which from its commencing note to the octave counted 
 five whole tones, and two half-tones. 
 
Mi^Fa therefore and Si-Do are called natural (also 
 major) half-tones or semitones. l)o-R< . H<-Mi, 
 Fa-Sol, Sol-La, La-Si are five whole tones. 
 
 Observation. These five whole tones may, as in 
 modern music, be divided into semitones by means of the 
 so called musical accidents; — the diesis or sharp 
 represented thus jf; and the flat thus P. The diesis or 
 sharp raises the note to which it is prefixed, a {minor) 
 half-tone, and the note is then called c sharp. The bimol 
 or flat lowers the note a {minor) half-tone, and it is then 
 called J) flat, supposing D to be the note affected. These 
 subdivisions of the scale are called chromatic, they are 
 12 in number, and a scale proceeding through all of them 
 is called a chromatic scale. 
 
 Again, every whole tone is divisible into a major and 
 minor semitone. The semitone was called by Plato Li mm a, 1 ) 
 because imperfect, and not dividing the tone into two equal 
 parts; one part being greater than the other and called 
 apotome or major semitone, the remaining part diesis 
 or minor semitone. The whole tone is made up of 9 
 commas, of which 5 are found in apotome and 4 in 
 diesis. Thus from C to D we have c-c sharp, — diesis 
 or minor semitone, and c sharp — D, — apotome or 
 major semitone. From G to F descending we have G-G 
 flat, minor semitone, G flat — /'apotome, or major 
 semitone. This mathematically exact progression consti- 
 tutes the enharmonic scale; but practically in modern 
 music it exists only in name; as all semitones whether 
 affected by flats, sharps or naturals are considered equal 
 intervals. This practice may perhaps be traced to the re- 
 cently extended use of keyed instruments, organ, piano- 
 forte or harmonium; in which, in order to facilitate mo- 
 dulation, a system of tuning is adopted, whereby the odd 
 commas of the enharmonic progression , are distributed 
 equally over the entire scale; and hence it is called the 
 
 ') "Semitonium a Platone Limma vocatum eo quod non sit plenus 
 tonus sed imperfectus, neque dimidium toni, non enim in duas aequas 
 partes dividi potest, sed inaequales tantum, quaruin alter semitonium 
 majus seu apotome, alter semitonium minus seu diesis, quae ab 
 apotome superatur commate." Cottonius apud Gerbert. II. 238. 
 
33 
 
 equal temperament system. Stringed instruments however, 
 such as the violin, are tuned with mathematical precision, 
 and for this reason the violin is preferred for teaching 
 singing. 
 
 Plain-Chant admits the diatonic or natural semitone, 
 {mi-fa, si-do), and the limma or chromatic semitone in the 
 single case of the interval from La to Sa or Za; but al- 
 together excludes the diesis, and knows nothing of the 
 enharmonic scale. The sign X (St. Andrew's cross) raises 
 the note two minor semitones 8 A>, so that x F and g make 
 almost the same impression on the ear; in like manner V? 
 (double flat) lowers the note 4 /s of a whole tone, e. g. 
 w E = D. The sign \ (B quadratum) or natural removes 
 the effect of the single \ or t 7 , and restores the note to its 
 natural condition. 
 
 CHAPTER 2nd. 
 PROGRESSION OF THE SOUNDS OF THE SCALE. — INTERVALS. 
 
 "The sounds of the scale are connected in six dif- 
 ferent ways, viz: by a tone, a semitone, a major 
 "third, a minor third, a fourth and a fifth." 1 ) 
 
 Junguntur ad se invicem sex modis, tono, semitonio, 
 ditono, semiditono, diatessaron, diapente. Non aliter quam 
 his sex modis voces junctce concordant vel moventur. So 
 that to learn Gregorian Chant the student need only devote 
 his attention to these six simple progressions. "To these 
 "consonances two other species of progression are super- 
 added by some singers, viz, the diapente with a semi- 
 u tone, as from E to c {a minor sixth), and diapente 
 "with a tone, as from C to a (a major sixth). But as 
 "these and the octave are rarely met with, I have not 
 "reckoned them." 2 ) 
 
 ') Ita. Guido. Hucbald. Odo. Cottonius. See Article of Fr. Utto 
 Kornmiiller "Die Compositionslehre vom 10. bis 13. Jahrhundert" in 
 "Monatshefte filr Musikgeschichte" 4th year 1872. — 2 ) Ibid. 
 
 3 
 
u 
 
 An Interval is the distance, in acuteness or gravity, 
 between one sound and another. 
 
 A single sound, is not an interval, it is unison; 1 ) 
 an interval can only exist when two different sounds are 
 produced. 
 
 The intervals are named from the number of letters 
 which they include. Thus from A to B (including two 
 letters) is called a second; from A to C (including three 
 letters A B C) a third; from A to D a fourth and so 
 on, and the intervals may be counted ascending or de- 
 scending. The intervals used in Gregorian Chant are 
 as follows. 
 
 1 st . A Second. The distance from any given sound 
 to the next adjoining, above or below, is called the in- 
 terval of a second: as from A to B; — B to C or 
 descending; A to G; — G to F. There are two kinds 
 of 'second; — the major second, comprising a full tone, 
 as from C to D — (Do-Be); and the minor second, 
 where the natural diatonic semitone occurs as from JE 
 to F— (Mi-Fa) or B\ to C, — (Si-Do); or A to 
 B flat — (La-Za.) 
 
 Observation. The word Tone in Church music, has 
 many significations. In the original Greek (teweiv) the 
 word denotes tension, stretching, spanning or bracing, and 
 in this sense it is often used by physicians, as descriptive 
 of medicinal ' effects. But as a string when stretched is 
 easily made to sound, and the more it is stretched the 
 higher the sound it gives, so the word tone, rorog, was 
 naturally taken to signify sound. In this sense we have 
 been using it up to the present, when speaking of the 
 tones or sounds of the scale. But it has another mean- 
 ing, and expresses not only sounds, but the distance or 
 
 ') Unisonus quasi unus sonus;.. . non est modus neque cautus, 
 quia cautus est inflexio vocis, i.e. omnis cantus inflectit vocem variat 
 sonum. Ibid. 
 
35 
 
 interval between sounds. In this latter sense we use it 
 in the present chapter; so that Tones and Semitones, 
 when spoken of as Intervals, are not sounds, but the 
 di>tance between sounds; just as a mile, is not a place, 
 but the distance between two places. "Tonus for tern 
 so mint reddit respectu semitonii; et est spatii legitima mag- 
 nit it do a sono in sonum ratione 8:9 i.e. epog dousT Jerome 
 of Moravia, see Coussemaker. vol. 1. pag. 27. 
 
 2 nd . A Third. The distance from any sound to the 
 third degree from it is an interval of a t h i r d ; as : 
 A-C : B-B : : G-F : F-B. 
 
 There are tw r o kinds of thirds; major and minor. 
 A major third includes two whole tones as: 
 C-E (Do-mi); F-a (Fa-La); or descending B-G (Si-Sol). 
 
 A minor third includes one tone and a semitone, as: 
 G-bflat (Sol-Za); A-C (La-Bo) B-F (Re-Fa) B-B (Si-Be). 
 
 Anciently this twofold interval was called respectively 
 Di tonus and Se^midi tonus. 1 ) Too much importance 
 cannot be attached to the necessity of learning this in- 
 terval correctly, as it occurs most frequently, and once 
 a facility is acquired in striking with accuracy major and 
 minor thirds, the reading of Gregorian music presents 
 no difficulty. 
 
 3 d . A Fourth. The interval which includes two 
 tones and a semitone is called a fourth; thus Do -Fa, 
 (C-F) i. e. tone, tone, and semitone; or La-Re, (A-D) 
 i. e. tone, semitone, tone; or Si-Mi (Bi(-E) i. e. semi- 
 tone , tone, tone. Its ancient Grecian name was Dia- 
 tessaron. The interval known in modern music as the 
 augmented fourth, including three full tones, as from 
 Fa to Si (F to b natural) and called the Tritone, is not 
 
 ') "D it onus duos tonos in se continet. Semiditonus vocatur,. 
 quod non sit plenus ditonus; hujus sunt species duce; una tono et semi- 
 tonio, altera semitonio et tono constans, vel in metrica similitudine semi- 
 ditonus iambicus —) et trochaicus (— ^)." Engelbert apud Gerbert. 
 
 3* 
 
36 
 
 allowed in Gregorian; and it is to obviate this that the 
 b flat is introduced; — the only accidental admitted in 
 Plain-Chant. "Tritonus, constans tribus continuis tonis, 
 diatessaron non reputatnr." Guido. 
 
 4 th . The Fifth, (ancient name Diapente) includes 
 three full tones and a semitone; as: D-a (Re-La) i.e. 
 tone, semitone, tone, tone; or E-bi^ (Mi-Si) semitone, 
 tone, tone, tone; or F-c (Fa -Do) tone, tone, tone, semi- 
 tone; or G-d (Sol-Re) tone, tone, semitone, tone. This 
 interval is called the perfect fifth; to distinguish it 
 from what is known in modern music as the diminished 
 or false fifth; consisting of two tones and two semi- 
 tones, e. g. btj-f (Si -Fa). This is but the inversion of 
 the objectionable tritone, and consequently the b must 
 be lowered a semitone and so made to constitute a per- 
 fect fifth. 1 ) 
 
 5 th . The Octave (Diapason) includes five whole 
 tones and two semitones; which may be distributed in 
 seven different ways according to the letter with which 
 it is commenced. This will be seen more clearly, when 
 we come to speak of the modes. 
 
 Observation. The octave, like the Major and Minor 
 Sixth is seldom if ever encountered in Plain- Chant. "Hie 
 canendi modus," writes the Cistercian Engelbert in the 13 th 
 century, "rarissime in cavlu usitatus reperitur." Hucbald 
 tells ns that the octave received the name diapason, "de 
 omnibus" "t i rough all" because anciently the greatest num- 
 ber of strings on the lyre was eight. 
 
 ') "B — F, &5j — f, quae etsi 5 voces includunt, ab omnibus tamen 
 diapente speciebus secluduntur ; ista anomala species (minus diapente) 
 duobus tonis, totidemque scmitoniis completur , quce 2 semitonia juncta 
 (minora) non faciunt integrum tonum, sicque ad completionem diapente 
 comma cum semitonio deerit." Guido. Engelbert Hucbald etc. Apud 
 Gerbert. 
 
37 
 
 CHAPTER 3d. 
 
 NOTATION. - CLEFS. 
 
 I. Notes are signs which by their shape indicate . 
 the duration of a sound, and by their position the 
 names of the sounds and their respective gravity, or 
 acuteness. 
 
 1 st . Shape. Three shapes of notes are employed 
 in Gregorian music; a) * Jjj long a nota (long note); 
 b) n brevis (short note). Its time value is estimated by 
 the. syllable over which it is placed, and approaches 
 sometimes the longa, sometimes the semibrevis. c) The 
 semibrevis about half the duration of the brevis. 1 ) 
 
 In Gregorian however there is no such thing as strict 
 time. The music is entirely subordinated to the words. 
 
 2 nd . Position. If we consider for a moment the 
 difficulty of fixing on paper the height or depth of a 
 sound, the invention of means by which this could be 
 effected and properly represented without fear of mistake, 
 may be well regarded as a most ingenious contrivance. 
 
 ! ) In the Graduale Bomanum, ~ (Mediccean edition) the brevis is 
 placed over short syllables whenever they should be sung to one note; 
 e. g ^g^^fcz instead Eg^^E. The semi- 
 
 o-ra-ti- 6-nem o- ra- ti- 6-nem. 
 
 brevis is used as an embellishment or passing note, in groups of 
 
 notes or neumas descending, e.g. H-ifrN+H - M^- :| p . Jacovacci 
 
 De - um. 
 
 in 11 Palestrina, No. 3. anno 2 do says "Le note di passagio furono 
 usate nei buoni Coraji soltanto discendenti, e senza tornare indietro; 
 discendenti, perche accelerando il canto, la voce si abbandona e ab- 
 bandonandosi , le riesce piu facile il discendere che il salire; senza 
 tornare indietro, perche appunto sono note di passagio, e chi passa 
 
 rocede da un punto all altro direttamente, e chi torna indietro, prima 
 
 'arrivare ad un punto determinate, non passa." 
 
38 
 
 Previous to Guido's time the Netmce or Notce Romance 
 were simply written over the text, no lines or spaces 
 were in use, and it was left to the judgment or taste 
 of each teacher to interpret them in his own fashion. 
 See Introduction. Shortly before Guido two lines were 
 introduced, one coloured yellow to denote c, the other 
 coloured red to denote F. Guido added two more lines, 
 and so established the four line system, which prevails 
 in Gregorian to the present day. He placed the notes on 
 the lines, and between the spaces, and over and under 
 the four lines, and in this way he fixed the name and 
 position of each note of the Scale. If in the following 
 example we call the first note c, the names of the other 
 notes placed in regular succession on the lines and 
 spaces can be given without difficulty. 
 
 cdefgab^c 
 
 = 9=*z r*r- — =z= 
 
 ut re mi fa sol la si ut 
 
 In case the melody should extend higher or lower 
 than what may be contained within the four lines and 
 spaces, then recourse is had to what are called ledger 
 lines; thus a ] a ^ ^ 
 
 N " ^ d re 
 
 The lines are (minted upwards, likewise the spaces. 
 
 The traditional character of the old notation is so 
 worthy of respect, and its employment in the liturgical 
 books has been so steadfastly maintained for centuries, 
 that to change it into modern notation seems neither 
 necessary, useful, nor advisable. Four lines and three spe- 
 cies of notes are amply sufficient. Frequently it has been 
 proposed and in ' some places *) the proposal has been 
 
 ') ' Recueil de Messes et d'autres pieces de Chant, nouvelle edition 
 redigee et mise en notation musicale par l'abbe Gaillard Choriste de 
 
39 
 
 acted upon, to convert the Gregorian into modern no- 
 tation, and so facilitate its being taught to the masses; 
 but it should be remembered that the ==, ^ and , ot 
 modern notation, are tied down to a fixed measured time, 
 which is contrary to the very essence of Gregorian, de- 
 manding as it does free rythmical declamation, and where 
 as Witt says: "the Text is the master, the notes the 
 slaves"', 2 ) and again it has been proved by experience 
 that singers when exercised on four line music, acquire 
 more speedily a correct knowledge of the intervals, than 
 when using five ; and lastly in groupings of several notes 
 ascending or descending, the united smooth rendering 
 thereof is greatly facilitated. 
 
 Observation. A. Should a number of notes be clo- 
 sely bound together and attached to the same syllable, thus, 
 
 — VfrN^ ~~ ? ^ ne y are ^ en ca ^ e( ^ notae Hgatae (bound notes) 
 
 and are to be sung quickly but smoothly. We also meet 
 
 with notes of this shape :z£s^=:£*— . They are called notae 
 
 obliquae (oblique notes), also plica (transverse notes). They 
 are an abbreviated form of writing two notes, one being 
 on the line or space where the oblique note commences 
 and the other where it terminates: thus, in the example 
 
 given the oblique notes are instead of zzg^^^rj^z:. The 
 
 Folio Medicsean edition of the Gradual 1614, employs the 
 plica only descending, and never for a greater interval 
 than a third. The first note of the ligature is accented. 
 The new official Ratisbon edition employs it in precisely 
 the same way. 
 
 Observation. B. The Neumse have been mentioned 
 as the notation in use previous to the invention and adop- 
 tion of the note system just explained. Any dissertation 
 on the Neuma writing would he more of historical than 
 practical value , and archaeology has yet a great deal 
 
 la Catbedrale d'Annecy publiee par les soins de M. le Chanoine Poncet 
 Annecy 1851. 
 
 a ) Fliegende Blatter. October 1*75: 
 
40 
 
 to do, before it can throw every necessary light on this 
 antiquated and obscure note system. The Neuirwe or Neu- 
 mata consisted of points, little hooks, strokes and flourishes, 
 in different shapes and directions ; these represented to the 
 singer by their position the height of the tone, and by 
 their shape the inflexion. See example given in Introduc- 
 tion, page 8. The ambiguity of them as note signs cannot 
 be questioned for a moment. However the binding or 
 grouping of notes in the neuma system, was established 
 according to certain fundamental forms, which have sur- 
 vived the use of the little hooks and flourishes themselves 
 and are still employed. When a syllable is noted with n { 
 virga, it receives an Accent (te) , and is sustained longer 
 than a syllable noted with the * punclum (in) ; \ is called 
 dims, the first note accented (pater). Climacus is a name 
 given to note groupings such as the following: (Dominus) 
 or i*V« : * s called scandicus, and lor cuius. Several 
 other signs were in use for artistically trained singers ; 
 such as may be heard at present in the Papal Chapel 
 when the Solo voices adopt certain embellishments and 
 mannerisms, intoning the Introit or the Antiphons. These 
 note-groupings are as it were the elements of Gregorian 
 song, as words are the elements of speech, and on their 
 equitable distribution depends the beauty of the melody, 
 as the charm of speech depends upon the prudent use of 
 long and short words. 
 
 The word neuma has yet another signification from its 
 greek root nvevna a breath or breathing , and indicates a 
 grouping of several notes, as many as can be sung together 
 in one breath, and therefore set to one syllable or one 
 vowel; or as Joannes Tinctoris remarks "Neuma is a song 
 or chant which hangs on to the end of a word, without a 
 word." Such Neumas are constantly met in the Gradual* 
 with their Alleluias, the neuma been sung to the final vowel 
 a of the Alleluia, as it were in token of highest jubilee 
 approaching to a shout, and hence they are also called 
 Jubilationes. 1 ) The Neuma? were very lengthened in some 
 of the old Choral books. A Council held at Reims in 15 64 
 
 ') "Jubilus Sonus quidem est significans cor parturire quod dicere 
 non potest." (St. Augustine in Psal. xxxii.) 
 
41 
 
 forbade the undue lengthening of the neumce and in the 
 Medicsean edition (reprinted in Ratisbon) they were much 
 abbreviated. Strange, that the Reims and Cambrai Gradual, 
 published by Lecoffre of Paris, should be the only one to 
 reestablish them in all their pristine prolixity. 
 
 II. Clefs. The lines of themselves do not fix im- 
 movably the positions of the several notes of the scale, 
 nor does the stave of four (or even five) lines, comprise 
 the whole compass of the human voice. Wherefore some 
 conventional sign becomes necessary to determine in each 
 melody the position of the semitones of the diatonic 
 scale, for these being once determined, it is easy to find 
 the rest. This conventional sign is called a Clef, (from 
 the Latin word clavis or French word clef, a key,) be- 
 cause fixing the position of the semitones in a piece, it 
 discloses and expounds the whole piece. 
 
 Previous to Guido, as has been already stated, there 
 were in use two lines, on, between, under, and over which 
 the several notes of the scale, were placed. One was 
 coloured red, and denoted F, for the grave hexachord, 
 that is to say all Neumce written on that line were to 
 be considered F or fa; the other yellow, or sometimes 
 green, denoting c, for the acute hexachord. These two 
 lines served all the purpose of clefs, for every one could 
 understand that in the interstice between them, were to 
 be found the notes a, b; although these three notes in 
 relation to one another had no fixed position, but had 
 to be guessed from the peculiar formation of the cor- 
 responding neuma. Later on they placed the letters F 
 and C at the beginning of these lines and so rendered 
 the different colouring unnecessary. When Guido how- 
 ever added two more lines he placed the neumce both 
 on the lines and in the spaces, retaining the use of the 
 alphabetical letters F and C on the two original lines, 
 in order to fix the position of the semitones. 
 
42 
 
 Subsequently when the square black notes, displaced 
 the points or dots hitherto in use, the clef letters F and 
 C assumed a conformation or shape somewhat analogous 
 to the notes employed, and F was represented by the 
 sign V, and C by the sign fc. However as the system 
 of Mutations still prevailed, and the introduction of the 
 b molle constantly changed the names of the notes (See 
 Chap. 1 st ); so to the figure 1 denoting F, they added 
 the C sign fc, and thus obtained the compound sign 
 which continued to denote F or F fa at, in the nomen- 
 clature of the Mutation system. The C sign remained 
 unaltered (in fact it is only a squared formation of the 
 letter C). So that we have in Gregorian or Plain-Chant, 
 two clefs, and only two: 
 
 the C or Do clef = 
 
 the F or Fa clef = 
 The Do Clef may be placed on any line; the Fa Clef 
 is usually on the 2 nd , 3 d or 4 th line. 
 
 C or Do clef. F or Fa clef. 
 
 All notes placed on the line where the Do clef is 
 found are called Do ; and wiiere the Fa clef, Fa e. g. 
 cGehad cfaeg 
 
 FGagcEDC FEDCab 
 
 These Clefs being movable from line to line, do 
 not indicate the pitchy but only the position of the semi- 
 tones. Even in the course of a melody they often change 
 position and one is substituted for the other, as in the 
 Grad. Bom. pag. 21*. 
 
43 
 
 ^-g rt-^-^^j ^^:|^= ^J^Mz± or pag. 172: 
 mi -se- re -re no -bis. Qui tol - lis etc. 
 
 mi -hi Si quis etc 
 
 This shifting and changing of the Clefs, is practised, 
 in order to keep the melody within the compass of the 
 four line stave, and obviate the necessity of employing 
 ledger lines , which are rarely met with in Gregorian. 
 In these sudden changes of Clef it will be enough to 
 remember that Fa and Bo both indicate the position of 
 their respective neighbouring semitones Mi and Si, and 
 both are the uppermost note of exactly similar tetrachords, 
 Fa. Mi, Be, Bo, when sung being in every respect simi- 
 lar to Bo, Si-La, Sol. The little sign like a note ■, (also 
 written EEz^ltzz:) found at the end of lines, and before 
 a change of clef, if such occur in the middle of a line, 
 is used to indicate the succeeding note; and is therefore 
 called a custos, watchman, guide or direct. 
 
 To sum up the substance of these two chapters, the 
 primary elements of Plain-Chant and its system of no- 
 tation may be thus briefly enumerated: 
 
 a) A Diatonic octave Scale, comprising live tones 
 and two semitones. 
 
 b) Notes indicating the sounds of the scale, shaped 
 in three different ways, * longa; o brevis; ♦ semibrevis 
 to express duration; and placed one above the other on 
 a stave of four lines (both on lines and in the spaces) 
 to determine their exact acuteness or gravity. 
 
 c) Two clefs Fa and Bo to fix the position of the 
 semitones of the scale; and 
 
 d) a Guide employed at the end of a line, or be- 
 fore a change of Clef to indicate the next succeeding note. 
 
CHAPTER 4th. 
 RHYTHM. — ACCENT. — PAUSES. 
 
 I. Rhythm, in general ((jvfhuoc from Qstp to flow) 
 means a smooth flowing progression , varied and main- 
 tained according to certain determined divisions of Time. 
 It is measure; even-measure as well as (mathemat- 
 ically) equal -measure. Rhythm can be imagined with- 
 out words, and may be indicated by notes or tones, one 
 sustained longer than the other, or sounded with varying 
 force and emphasis: and this is musical rhythm. The 
 natural fondness for rhythm, in the human mind, must 
 be referred to its natural love of order, harmony, and 
 symmetry. We trace it in the regular pulsations of the 
 nerves. 1 ) as well as in the ever varying, but regular 
 waves of emotion that disclose the ceaseless activity of 
 the soul. Even in children, the sense of rhythm is de- 
 veloped earlier than that of melody, and both Poetry 
 and Prose are indebted to it for a large share of their 
 fascinating power. In Music. Rhythm is a necessity. 
 
 How strange it is , that in the face of this law of 
 nature all idea of rhythmical movement in Gregorian 
 chant should be so generally lost sight of. Of all forms 
 of Music, no one so entirely depends upon rhythm for 
 its legitimate effect as Gregorian. And yet in most of the 
 Grammars and Manuals of Plain-Chant in use amongst 
 us, whilst we have chapters explanatory of the Notes, 
 and Intervals and Clefs and Tones cvc, scarcely a line 
 is to be found on rhythm. This deficiency may perhaps 
 to some extent account for the bad and ineffective rend- 
 
 ') ''Universim igitur rhythmus tribus hisce sensibus percipitur. 
 Visu, ut in saltatione; Audita., ut in cantu: Tactu, ut artcriarum 
 pulsus. At qui in Musica considerntur, a duobus; visu nimirum et au- 
 dita." Aristides Quintilianus lib. X. dc Musica, apud Martini. 
 
45 
 
 ering of Plain-Chant that so often offends our ears, and 
 gives ground for the charge so often made against it, 
 that it is devoid of Melody, a barbarism adapted for 
 ruder ages but intolerable in the present advanced state 
 of musical science. 
 
 The rhythm of poetry is susceptible of the same 
 exact divisions of time , as the rhythm of dancing and 
 music; but rhetorical rhythm is satisfied with a pleas- 
 ing cadence of syllables — an approximation to the rhythm 
 of verse, particularly at the beginning and the end of 
 periods. Whether it be poetry or prose that we are 
 called upon to sing in the notes of St. Gregory, we shall 
 find the rhythm or swing of the melody, closely bound 
 up with the euphony of the language to which it is 
 wedded ; the musical melodies are as it were constructed 
 on the melody of the language itself, — the language 
 being simply clothed in musical sounds ; so that the fun- 
 damental rule for understanding Gregorian melody and 
 singing it effectively is: — "Sing the words with 
 notes, as you would speak them without notes." 
 u Good singing is good accentuation" wrote Adam of Fulda, 
 as we read in Gerbert, u Dc cantu et Musica sacra." 
 
 One of the first requisites therefore for good sing- 
 ing of Gregorian Chant, is a knowledge of the Latin 
 tongue , of its peculiarities , its prosody, its scansion ; *) 
 in a word Gregorian Chant demands "faultless, clear, 
 scientific pronunciation." For we again assert that 
 the Ritual Song is not a monotonous composition, con- 
 sisting of slow notes of equal length, to be drawled out 
 in a hard unappreciative manner, tiresome to the voice 
 
 ') A fixed measure and determined number of alternating long and 
 short syllables is called Metre. The science which teaches the reltiive 
 length of syllables, and correct accentuation is Prosody. The enumera- 
 tion of the metrical syllables, their abbreviation (cesura), punctuation 
 etc. is Scansion. 
 
46 
 
 of tlie singer, and far more tiresome to the ear of the 
 listener. It abounds with melodies infinitely varied in 
 their rhythm, and peculiarly adapted to give increased 
 force and emphasis to the words and sentiments of the 
 Liturgy. The length and emphasis proper for each note 
 therefore, whether it be the nota longa or brer is. can 
 only be determined by a consideration of the meaning 
 of the words, and the character of the musical phrase 
 of which it forms a . part. So that the nota longa only 
 expresses longer duration than the hrevis, because coup- 
 led with a syllable demanding emphasis , and being 
 at the same time a leading note of the melody, or 
 of the scale on which the melody is based. This co- 
 incidence of the verbal accent with the musical ictus, 
 and a distribution of notes so that they run easily 
 with the words, constitutes good rhythmical progression. 
 Therefore, when a syllable is thus rendered prominent 
 by an intensified and emphatic effort of the voice it is 
 said to be accented. This accent has a great duty 
 to perform in Gregorian. Through the proper use of it, 
 the main features of the melody are distinguished from 
 the less important, and words or syllables of consequence 
 are conspicuously brought to the front. 
 
 Here it must be borne in mind that it is not the 
 number of notes placed over a syllable, that makes the 
 syllable long or shoit or accented, but rather their 
 stronger or weaker intonation. Hence we often find in 
 such words as Dominus . quite a group of notes over 
 the short syllable mi, and but one or two perhaps over 
 the accented syllable Do. In this and similar instances 
 the group of notes over the short syllable, should be 
 sung quickly but smoothly and witli a thesis 1 ) or depres- 
 
 ') Arsis and Thesis. Latine elcvatio and depressio; an elevation or 
 depression of the voice in marking the accented and unaccented syl- 
 lables. Also the rise and fall of the melodic movement. 
 
47 
 
 sion of the voice ; while the single note (if there be but 
 one) over the syllable Do should be delivered with em- 
 phasis and power. Accent therefore is not the relative 
 duration of a note, "it is not even the strength of it," 
 says Dr. Witt, 2 ) "but it is a spiritualizing of the voice, 
 a veritable surrendering of the whole power of the soul 
 to a sound w r hich from the soul must receive its pecu- 
 liar character and vitality." In consequence of this free- 
 dom of rhythm in Gregorian Chant, the dispositions of 
 the singer are at once made manifest, his devotion or 
 distraction, his earnestness or indifference. Hence it has 
 been said with truth. "To sing Gregorian one must 
 have a musical ear, a technical knowledge of it, and fair 
 appreciation of it; to sing it well he must understand 
 the Liturgy and the Latin language; to sing it per- 
 fectly, he must be holy." (Flieg. Blatter Sept. 1875.) 
 The rules which the author of a Choral unci Liturgie" 
 lays down appear so important that a few of them may 
 be briefly enumerated here. 1 st . "In Gregorian Chant 
 there are no long and short syllables in the sense of 
 Prosody, but only accented and unaccented." — 
 2 nd . "The notes have no determined Time-value , and 
 never serve to indicate the .duration of the sound, but 
 only to guide the modulation of the voice." From 
 these two rules we may gather how faulty is that method 
 of singing which measures out to each note and syllable 
 equal value (Isotony). The ear is offended with the speaker 
 who would recite the syllables and words of his speech 
 with equal speed or sluggishness, and experience proves 
 that nothing is so tiresome to listen to as monotonous, 
 isotonous chant. 
 
 Observation. 1st. a few examples of the Accent 
 in Plain-Chant may serve to illustrate the preceeding par- 
 
 2 ) "Fliegende Blatter.*' Oct. 1875. 
 
48 
 
 agraph. In some editions of the Vesperal we find the Hymn 
 of the Holy Ghost notated and sung as follows: 
 
 Ve - ni ere - a - tor spi - ri - tus. 
 
 Let us contrast this with the correct version of the 
 "Vesper ale Romanum" Ratisbon 1875 Page 212, and the 
 ictus or musical accent indicated by the mark a correctly 
 placed. 
 
 A A 
 
 Ve - ni ere - a - tor spi - ri - tus. 
 
 Again in the edition of the Officium et Missa Defun- 
 ctorum generally used throughout Ireland Ci Dublinii Ricardi 
 Coyne MDCCCXLI" we find the first verse of the Dies 
 Irae thus 
 
 Di-es i-rae Di-es il-la sol -vet sae-clum in 
 
 fa-vil-la Tes-te Da-vid cum Sy-bil-la. 
 
 In the Ratisbon "Graduate" Page 48* 8™ edition, and 
 in the "Exequiale Romanum" of the same publishers we 
 find the accents placed thus 
 
 Di-es i-rae Di-es il-la Sol -vet sae-clum in fa-vil-la 
 
 A 
 
 Tes-te Da-vid cum Sy-bil-la. 
 
 In the 1 st we have unmistakeable traces of Gallican 
 origin from the accent being placed on the final syllables, 
 as the French do to the present day; while in the latter 
 the requirements and nature of the language are respected. 
 This matter will be better and more fully illustrated when 
 we come to treat of the Practice of Plain-Chant. 
 
49 
 
 Observation. 2 nd . Hitherto we have-spoken of rhythm 
 as even measure, but it may also be considered as mathe- 
 matically equal measure. A certain note of fixed {time) 
 value is taken as a standard of unity, which may be di- 
 vided and subdivided; and in all those divisions and sub- 
 divisions the value of this unit must be fully expressed. 
 These time-sections are now indicated by short perpen- 
 dicular lines drawn across the stave called Bars. This is 
 the system of Time in modern music. The Harmonists of 
 the middle ages used no bars (i. e. perpendicular lines) but 
 left the duration of the notes to be determined by the 
 united effect of the voices and free rhythm of the text. 
 When measured music l ) came into use, it at once appeared 
 how unreasonable and unscientific it would be to tie down 
 the free rhythm of Plain-Chant in the fetters of strictly 
 measured Time Bars. So that in Gregorian w T e have no 
 measured time and no Bars, in the modern sense. 
 
 II. Rhythmical progression essentially requires Pau- 
 ses, and both the physical and mental powers of the singer 
 demand time to gather fresh strength, (to take breath). 
 
 In even measured Rhythm such as we have in 
 Plain-Chant, the Pauses are partly left to the feeling 
 or just discretion of the singer, (never to caprice or 
 necessity, from want of breath); but the meaning of the 
 phrase should never be altered by the Pauses, nor the 
 word so broken up that it becomes difficult to the hearer 
 to join together its constituent syllables. Generally speak- 
 ing the Pauses or places for taking breath are marked 
 in the ritual Books, 2 ) as follows: 1) is either a 
 
 breathing mark, useful especially in large choirs wiiere 
 there are many singers, in order that all may begin and 
 end the words together; or it serves to divide the 
 
 ') Cantus mensurabilis. Franco of Cologne. 
 
 2 ) The Folio edition of the Grad. Rom. has only the perpendicular 
 lines (No. 2) as breathing marks, but it is understood that at every 
 punctuation mark in the Text breath should be taken. 
 
 4 
 
50 
 
 phrase into members and sections. 1 ) 2) This last object 
 is more generally attained by the simple perpendicular 
 line drawn right across the stave, thus Epi; which also 
 marks off the melodic and rhythmical members of a mu- 
 sical phrase. This mark is never to be confounded with 
 the bar in modern music, there being no measured 
 time in Gregorian and consequently no time bars. 2 ) 
 3) This, the double bar, is the sign used to de- 
 
 note the close or termination of the entire phrase or 
 section. 
 
 In old Choral Books, especially in Manuscripts, after 
 eacli word there is found the =ci semis a spirt urn, to the 
 end that a singer unacquainted with the Latin tongue 
 might not in singing run the words into one another. 
 It is however superfluous, even in such a supposition to 
 be always pausing. Nevertheless, though this sign is no 
 longer used, the words, even monosyllables, should be 
 audibly sounded distinct from each other. Let the follow- 
 ing rule for the Pauses be observed: '-According to the 
 importance of the word, or the sentiment, or the solem- 
 nity of the occasion, or the dignity of the persons present, 
 or the place where Gregorian is to be sung, the Pauses 
 may be of varied duration; they must always be natural, 
 and should never be mathematically timed."' Pauses 
 are in singing, what the comma, semi-colon, colon and 
 full-stop are in reading. When a comma occurs in the ' 
 mediation or ending , it may be disi egarded ; while on 
 the other hand . when a great many syllables have to 
 be sung to one reciting note, and there is no comma, 
 
 ') In the Octavo edition of the Grad. Rom. these pauses are more 
 than sufficiently indicated 
 
 J ) In Introits, and antiphons this sign marks off the portion to 
 be intoned (the first word or two). It is only to be treated as a 
 breathing mark when the Antiphon is repeated. 
 
51 
 
 a pause will sometimes have to be made in order to 
 take breath. 
 
 Attention to this point, the management of the 
 breath, cannot be too much insisted on, because if we 
 do not draw breath where we ought, we shall be obliged 
 to do so where we ought not, and thus produce ludi- 
 crous effects. 
 
 CHAPTER 5th. 
 THE VOICE. 
 
 I. The theoretical knowledge absolutely requisite for 
 a singer of Plain-Chant is neither very extensive nor 
 burthensome, as the preceding chapters testify. 
 
 But the art of singing, or the art of playing 
 upon the most exquisite musical instrument that can be 
 conceived, the human voice, is not so generally un- 
 derstood, or so easily acquired. For it should be known 
 "that with the organ of the voice, we may not only 
 produce a pleasing tone and melody to charm the ear, 
 but more than that, we can coin the musical sounds into 
 articulate speech, that may be appreciated by the under- 
 standing ; and still more than this , we can throw into 
 our performance feeling, that will reach the heart, and 
 make others feel as we feel." *) 
 
 To fully acquire the art of singing, and the correct 
 management of the voice, a competent master is nec- 
 essary, and constant practice of solfeggios &c. However 
 a few theoretical rules may be here given, which if 
 carefully applied will render material service. 
 
 l ) Parish Choir. Vol. II. Page 43. Article " Village Lectures on 
 Psalmody." 
 
 4* 
 
52 
 
 Observation. The human voice may be said to 
 belong to that class of musical instruments called reeds, 
 in which a current of air is employed to throw a tongue, 
 or the edges of a membrane into vibration. Take for 
 example a trumpet. 1 ) The reed, or vibrating portion of 
 the trumpet, is formed by the lips of the player, which 
 are tightly pressed against the mouth-piece of the instru- 
 ment, and formed into a narrow slit; through which slit 
 the air is blown from the mouth, setting its edges in vi- 
 bration in its course. The tube of the trumpet only serves 
 to modify and give character to the sounds generated by 
 the lips; — and the sound which they produce is raised 
 in' pitch by narrowing and shortening the aperture between 
 them, or by increasing the tension of the edges of the slit. 
 Now just such an instrument is the human voice. It con- 
 sists of four parts, which we will arrange in the order in 
 which they exist, placed one over another ; — thus : 
 
 Mouth 
 
 (a cavity to modify and vary the character of the sounds 
 as the tube in the trumpet), 
 Reed 
 
 (whose vibration produces sound), 
 a? 
 
 © CD 3 
 
 CD M* 
 
 CD B CD 
 CD 
 
 Bellows or wind chest 
 (to hold air, and force it through the windpipe). 
 To commence with the lowermost part. In the wind- 
 chest, — commonly called the lungs, we have a provis- 
 ion for three things, — viz : first, for holding a good supply 
 
 l ) Though we select a trumpet as an example of a reed, we are 
 aware that it is not classed amongst reed instruments, but the manner 
 ol blowing it is quite similar to the manner in which a reed is set in 
 vibration. 
 
53 
 
 of air, i. e. breath; secondly, for sending it upwards with 
 proper force; and thirdly for the chest itself to act as a 
 sounding-board to the voice, and make it reverberate 
 more loudly. The next part of the apparatus is the wind- 
 pipe, or air- tube, a thing of beautiful mechanism, elastic, 
 so that it can be made longer or shorter, and furnished 
 moreover with a contrivance for increasing or decreasing 
 its diameter. Immediately above the windpipe we meet 
 the reed, called by anatomists the larynx, or organ of 
 the voice. Its framework is composed of five principal 
 cartilages, which are capable of being moved on each other 
 in various directions by muscles, so as to act upon two 
 elastic cords, or little strings of highly elastic tissue, one 
 on either side, passing from the front to the back of the 
 tube, and enveloped by the membrane which lines it. 
 
 They are called the vocal ligaments, or vocal 
 cords and it is only this portion of the larynx, which 
 forms the reed, generating the voice. The aperture be- 
 tween these little strings, allowing the air to pass from 
 the lungs, is called the glottis. It opens into a small 
 cavity which serves all the purpose of the mouth piece of 
 a trumpet, giving the little strings room to vibrate freely; 
 and this cavity is terminated above by another pair of 
 cords or strings, not quite so elastic, and more apart from 
 each other than the inferior pair. They are called by 
 anatomists the false vocal cords, but have no share 
 whatever in the production of the voice. 
 
 Now w r hen we are merely breathing quietly, these 
 true vocal cords lie back, and do not interrupt the 
 current of air that is always passing upwards and down- 
 wards between them; but when we begin to speak, and 
 still more when we begin to sing, these vocal cords are 
 brought near together, so as to narrow the air passage or 
 glottis into a slit; they are tightened by the action of the 
 surrounding muscles; and the air breathed upwards from 
 the lungs, being obstructed by this narrow slit, throws the 
 edges of it into vibration , and this vibration we recog- 
 nise as the human voice. 
 
 The other portions of the throat and mouth, the uvula, 
 the palate, the walls of the mouth, the tongue, the teeth 
 and the lips do good service in modifying and improving 
 
54 
 
 * 
 
 the quality of the tone, and are essential for articulation ; 
 but the voice itself is produced by the simple but beautiful 
 mechanism which we have just attempted to describe. The 
 strength or power of a voice depends not only on the 
 dimensions or muscular activity of the larynx but much 
 more on the easy working of the lungs and breathing 
 organs; whilst the cavities of the mouth and nose also 
 contribute to its resonance. The acuteness or gravity 
 of a voice is regulated by the size of the larynx, which is 
 larger and wider in deep voices. The good quality of 
 the voice, depends on the symmetrical, well-arched con- 
 struction of the organs that serve to produce it; and its 
 flexibility on the general healthiness of the larynx and 
 elasticity of its muscles. 
 
 1) To sing with power we must have a copious 
 supply of air — breath — always ready at hand. The 
 chest and the muscles below it should be kept perma- 
 nently expanded, and guarded against all weakening in- 
 fluences. The drawing in of the breath should be quick, 
 the breathing it forth slow and without violence. The 
 throat should not be tightely muffled, the head erect, 
 not thrown back nor yet bent forward. Constant singing 
 in a sitting position injures the voice. 
 
 2) A full, clear metallic tone, depends princi- 
 pally on good physical organization, nevertheless, a dull- 
 toned voice may be much improved, by a judicious ma- 
 nagement of the breath. 
 
 3) The so-called guttural tone, or singing from the 
 upper part of the throat, arises from the tongue being 
 drawn upwards and backwards ; or from the voice being 
 exercised too soon, and too vehemently on the higher 
 notes of the scale; in either case, the current of air pro- 
 ceeding from the lungs does not pass out freely through 
 the opening of the mouth, but is retained in the roof 
 or cavities thereof. 
 
 4) In low notes many persons violently press down 
 the larynx, so that the air passage, or glottis sensibly 
 
55 
 
 quivers, and produces what the Germans call Gur gel- 
 ton. Facility in low notes depends exclusively on the 
 greater diameter of the larynx. No one should try to 
 sing them if he cannot, do so with ease, nor needlessly 
 force the available tones of his voice ; otherwise harsh- 
 ness of voice, and serious detriment to its metallic timbre, 
 power and firmness, will be the undesirable results. 
 
 5) The closing up of the nostrils gives the voice 
 a peculiar twang, called the Nasal sound; although the 
 fault , is not that we then sing through the nose , but 
 that the nasal exit for the voice is closed up. 
 
 6) To open the mouth too widely is another fault. 
 On the other hand the mouth should be well open and 
 freely open ; just so much as to allow the index-finger, or 
 at most the thumb to fit between the two rows of teeth. 
 
 7) The use of the head voice (Falsetto) is very 
 fatiguing, and if continued for any length of time injures 
 the voice organs. The chest voice is the most natural, 
 and sufficiently extensive in its compass. 
 
 Observation. The average compass of the voice is 
 two octaves, 15 notes, but in different parts of the scale 
 in different persons ; neither are those 15 notes on any one 
 voice equal in quality or power. In the average voices of 
 men there is a middle or mean compass, of about 8 notes, 
 which come easily, and can be sung and rolled out round 
 and clear; above these follow closely the high notes, which 
 require a greater effort and more breathing power, and 
 sound sharp and shrill; under the middle voice come the 
 low notes which are deep and proportionately toneless 
 (klanglos), except with deep contralti and bassi profondi. 
 In men's voices we often meet with instances, where when 
 the voice has been raised to a certain height, at which it is 
 felt that the production of tone requires considerable effort, 
 a change suddenly occurs; and they can go on with less 
 effort producing a new and higher series of notes, of new 
 and peculiar character. This is called falsetto or head 
 voice, in contradistinction to the natural chest voice. 
 
56 
 
 By these appellations however we are not to under- 
 stand that one kind of tone is produced in the chest and 
 the other in the head. Both kinds are produced by the 
 reed; the difference being that in the fuller notes of the 
 chest voice, the whole substance which bounds the slit 
 vibrates; while it is only the thinnest possible edge that 
 vibrates in the falsetto. These falsetto notes are very un- 
 like the chest notes either in power or quality; if uncul- 
 tivated they sound wailingly and effeminate, and it is only 
 by constant culture they can be brought to resemble in 
 strength or character the other tones of the voice, so that 
 the use of it is not to be encouraged. These different stages 
 of the compass of average voices are called Registers, 
 Chest, Middle, and Falsetto Register respectively ; and 
 great attention should be paid to the producing of those 
 notes where the transition from one register of the voice 
 to another occurs, so as to render this transition as easy 
 as possible and equalize the voice throughout its entire 
 compass. 
 
 8) The progression of two notes must be so accom- 
 plished, that one can be clearly distinguished from the 
 other, and 3 et no gap or break appear between them. 
 This is called portando la voce. The immediate pro- 
 gression of several notes presupposes a proportionate and 
 judicious supply of breath. To begin the progression 
 gently , and . then with increasing power continue up to 
 the natural degree of strength, and on the return or 
 descending journey allow the voice gradually to cease 
 sounding , strengthens and consolidates the voice , and 
 endows it with the desirable facility of singing loud or 
 soft, piano or forte on each degree of the natural high 
 or low register. 
 
 9) In singing two notes successively (especially if it 
 be a distant interval) according to the method so-called 
 of "Portamento divocef that horribly bad habit of sliding 
 through all or most of the intervening tones should be 
 carefully avoided. Affectation and vulgar mannerisms are 
 easily detected in this method of singing. Good singing 
 
demands a certain mobility and elasticity of Tone, but 
 this is very different from the sliding or howling we 
 have just adverted to. 
 
 10) When the voice commences to change or crack, 
 (in boys) all attempts at singing must be laid aside for 
 at least two years, and then only by degrees, and 
 cantiously a few exercises in the new voice may be 
 essayed, until the organ of the voice gets strong and 
 attains a sufficient degree of firmness. u The old fasioned 
 notion that from Soprani come Bass voices , and from 
 Alti, Tenors, has already produced a multitude of harsh 
 rough Basses, and disagreeable Tenors." 1 ) 
 
 Observation. The voices of boys resemble very near- 
 ly those of women, but in males a remarkable change takes 
 place at puberty, when the voice is said to crack. The 
 change from the shrill treble of the boy, to the fuller and 
 rounder tone of the man is sometimes perfected almost 
 suddenly; but in most cases it is for sometime in progress, 
 wavering between the two extremes, deep and manly during 
 quiet enunciation, but when any exertion is used, suddenly 
 starting up again to the shrill tones of boyhood. This 
 change occurs generally about the 16 th or 17* year, some- 
 times earlier; and many are of opinion that boys so affected 
 should abstain from singing for two or more years. Cer- 
 tain it is that the greatest precaution should be adopted, 
 if the voice is to be preserved. 
 
 1 1) By continued exercise a very weak voice may 
 be strengthened, and a limited compass or uncertain in- 
 tonation be extended and secured. Easy and judicious 
 vocal exercises if they be practised daily, build up the 
 voice organs, and give them flexibility, persistance and 
 power. u Men ? s throats are like fire-arms; they are good 
 and useful as long as they are kept polished; otherwise 
 they become rusty." 2 ) 
 
 *) A. B. Marx. Die Musik des 19. Jahrhundprts. 
 
 2 ) Mattheson in his Patriot. Hamburgh 1728. Page 84. 
 
58 
 
 12) With regard to the care of the voice, it 
 may be observed. 1 st . When singing. Any voice is 
 improved by moderate and well ordered energy, and 
 weakened by irregular singing, and too much forcing. 
 You should never sing so as to be completely fatigued. 
 Those notes which require an effort should be touched 
 very seldom. One should never sing when in a great 
 heat, or after much fatigue, nor immediately after eating, 
 nor in an overheated or too cold apartment. Should the 
 voice organs be unhealthy, or suffering from inflamma- 
 tion, catarrh, or cough &c. ; then the person so affected 
 should not attempt to sing. The same remark applies 
 to boys when their voices commence to change. 
 
 2 nd . When not singing. We should be always 
 moderate in eating and drinking ; excess in the last men- 
 tioned particular is very injurious to the voice ; avoid 
 fatty meats, oily substances, all strong spirituous drinks, 
 and pungent spices. Too ' much snuff- taking leaves it 
 toneless and without resonance. The singer should be 
 warmly clothed, yet not overclad, and avoid great ex- 
 tremes of temperature. Draughts of cold air, North and 
 East winds injuriously affect the voice. Playing wind 
 instruments, should be avoided. They tighten the chest, 
 and rob the voice of a great part of its power. 
 
 CHAPTER 6th. 
 
 VOCALIZATION. - ARTICULATION. 
 
 I. Take a tuning fork ; make it vibrate by a gentle 
 tap ; then press the end firmly against a table, against 
 a whole pane of glass, against a cracked pane, against 
 a book, in succession. Notice that the tone derives a 
 difference in character from each of these substances 
 
 ♦ 
 
59 
 
 which it sets vibrating along with it. This experiment 
 will suffice to show that the quality, (or as it is tech- 
 nically called the timbre) of the voice, is modified and 
 varied by every change in the shape, size, quality, and 
 degree of elasticity of those parts which are connected 
 with it, and which vibrate along with it. So that we 
 cannot make any alteration whatever in the mouth or 
 features without producing some corresponding change in 
 the voice. 1 ) But pure tone must be formed in the 
 larynx, and not in the upper parts of the throat, as is 
 too commonly done. To acquire purity and steadiness 
 of tone, vocalization is absolutely necessary, and con- 
 stant exercise in the same ; i. e. sounding up and down 
 the notes of the diatonic scale, to each of the five vowels 
 A. E. I. 0. U. The first and most important exercise in 
 vocalization is to produce the vowel A clear and steady 
 on each degree of the scale. Stand upright, with the 
 head held up in an easy attitude ; — fill the lungs ; — 
 let the jaw drop, and the tongue lie as flat and motion- 
 less as possible. Keep the lips away from the teeth, and 
 the corners of the mouth open. Then vocalize; i. e. sound 
 the vowel A ; — (pronounced ah as in Father, charm, 
 and such words). The mouth should be moderately open, 
 not too much so, which would have the effect of throw- 
 ing the tongue too much forward, and thereby depriving 
 the larynx of that support to its muscles, which is na- 
 turally given by the back of the tongue being held against 
 it, and the tone losing firmness, becomes cracked and 
 tremulous. All the notes of the scale should be sounded 
 to this vowel ; being careful to breathe after each note, 
 and not to change the posture of the body nor move 
 the features, lips, or jaws, in the least. The only parts 
 
 *) Of course the natural form or shape of the mouth will modify 
 the tone. 
 
_ 60 
 
 that are to move, are the edges of the vocal aperture, 
 and other parts in the larynx, which gradually become 
 tighter and tighter, as the sound rises in pitch. This 
 exercise should be frequently employed as it ensures the 
 production of pure tone. "By this open vowel,*' writes 
 Herr Xauenburgh "the position of the mouth and tongue 
 is at once regulated, the tone comes out instantaneously, 
 without foreign admixture, and strikes on the right place 
 in the cavity of the mouth." l ) It is the most easily 
 produced, and the parent of all the other vowel sounds ; 
 the other vowel sounds being produced' in fact, by making 
 the mouth more narrow than it is whilst A is being 
 uttered. 
 
 Then for the 2 nd vowel, bring the lips together into 
 a transverse slit, and let the tip of the tongue touch 
 the base of the under row of teeth, and you produce 
 the sound of E: — pronounced as a in baby , or fate. 
 Go up and down on this vowel, as when sounding A; 
 here again being careful to preserve the positions of the 
 mouth and features once they are fixed. In Exercise 
 X° 3 , you contract the transverse slit of the lips still 
 more, and let the tip of the tongue touch, no longer the 
 base, but the upper edge of the same under row of teeth, 
 and you produce I ; pronounced as ee in Bee. This vowel 
 in the upper notes of the scale easily becomes shrill 
 and piercing {spitz). 2 ) 
 
 For N° 4 you bring the mouth into a decided oval 
 shape . with the lips braced , resembling the shape of 
 the vowel itself 0; and you sound 0. Practice on the 
 vowel 0. enriches the tone . and throws the voice for-* 
 ward. Lastly, contract the aperture of the lips rather 
 
 ') "Daily Sing- Studies for all Voices." Breiikopf & Hartel, Leipsic. 
 
 -) In sounding the lower notes to this vowel, more tone is pro- 
 cured by allowing the tongue to assume a concave form like the hollow 
 of a spoon. 
 
61 
 
 more, diminish their tension by raising the lower jaw 
 slightly, push them forward and then open, and you have 
 the 5 th vowel U, sounded as double oo in goose. 
 
 Observation. We here give the simple vowel sound. 
 ThQ englisk method of sounding this vowel, as in you, is 
 diphthongal, and may be divided, if sounded slowly, into 
 e -u. The simple sound as in soon, is much preferable, in 
 Latin universally adopted, (if we except perhaps France) 
 and one that will tend to eliminate that vulgarity in pro- 
 nunciation, with which our ears are painfully familiarized. 
 
 In vocalizing therefore, A is the parent sound, most 
 naturally and most easily produced. E and I are found 
 by contracting the aperture of the mouth transversely: 
 and II, by contracting it circularly. In each of these 
 cases however there is one and the same sound produced 
 in the larynx; it only becomes altered in its passage 
 out of the mouth. This can be proved by sounding the 
 five vowels , one after the other , and without taking 
 breath ; which may be best done in the following order : 
 I. E. A. 0. U. In this experiment the throat remains 
 unaltered whilst the month changes its shape. When 
 singing up or down the scale to any one vowel, the 
 mouth remains unaltered, whilst the throat keeps moving, 
 tightening or relaxing according as we ascend or descend 
 the scale. 1 ) 
 
 Double vowels such as a-i, a-u, e-i, e-u; ae, oe &c, 
 are sometimes sounded separately, and sometimes to- 
 gether. (See, next Chap.) In the latter case they are 
 called Diphthongs and then the last vowel is slurred, 
 and the stress laid on the first. Exercises on singing 
 the Diphthongs should therefore be resorted to, in order 
 to enable the voice to sing them in an easy flowing 
 
 x ) Padre Martini Vol. 3. Page 432. quoting from Vossius says u esser 
 vasta e sonora la vocale A, grave ed elegante I'E , debole V J , vasta la 
 lettera 0, e con qualche ragione magnifica ; le due vocali I e If si fanno 
 di jper se stesse conoscere, oscure, e di suon bujo." 
 
62 
 
 manner. Before quitting the subject of vowel sounds, it 
 becomes most necessary to caution students at the outset 
 against the pernicious habit of aspirating vowels; i. e. 
 putting an h before them. Nothing can be more bar- 
 barous than when singing Amen to a group of notes, to 
 sing it as if it were written A-me-hen. 
 
 II. The sounds of articulate speech, are, as all must 
 know, divided into vowels, and consonants. Vowels 
 are the open sounds, and produced as we have just seen, 
 when the mouth is open more or less. Consonants are 
 produced by interrupting the vowel sounds, at some part 
 or other of their passage outwards. Vowel sounds there- 
 fore may be sustained as long as you like, as long as 
 your breath holds out; consonants on the contrary, 
 should be pronounced decidedly and clearly, but as 
 quickly as possible. Therefore when singing, never dwell 
 upon a consonant; — sing the vowel, dwell on it, and 
 bite it off, as it were, with the consonant. It is only 
 that tone which proceeds straight outwards from the 
 throat, which is at all musical. Such is the tone of 
 the vowels. Those sounds, on the contrary, which are 
 produced by closing any part of the mouth , (as in 
 the case of consonants, which are mere interruptions 
 to tone,) are unmusical. They are hissings, or explo- 
 sions, or vibrations of the tongue, necessary enough to 
 separate the vowels one from another, but in themselves 
 destitute of musical quality, and most unpleasant to the 
 ear. Therefore again, when singing any syllable to any 
 note, and especially any long note, single out the vowel, 
 and sing on it. Let the consonant be heard, by all 
 means, at the beginning or at the end as the case 
 may be, but do not dwell on it. Too often we hear the 
 word Kyrie sung, as if it were written Ky-ur-ri-e; and 
 Miserere, as if it were Mi-se-re-ir-re. Another bad habit 
 is that of putting a consonant where it does not exist, 
 
63 
 
 or where there is no need whatever for it. Thus we 
 sometimes hear namavit, for amavit; mmater for mater; 
 nregi for regi; and more commonly still, nor emus , or 
 gnoremus for oremus. In a language so rich in vowels 
 as the Latin language, and thereby so well adapted for 
 singing, it is only increasing the difficulties of the voice 
 to be adding on consonants where even orthography for- 
 bids them. 
 
 Again each word of the text must be clearly and 
 distinctly enunciated. No syllables should be glided over, 
 nor should final syllables be tacked on to the next word, 
 as for example, e tin scecula, for et in scecula; Kyrieleison, 
 for Kyrie eleison. Whenever there is a comma, observe 
 it; in other cases pronounce the final consonant clearly, 
 and make the slightest possible, almost an imperceptible 
 break in the tone, before the next vowel. For the third 
 time let it be stated; — Sing the vowel, let the con- 
 sonant just be heard. So that in the word Sanctus, the 
 first syllable of which is usually sung to a long note 
 even in modern music, let that first syllable be Sa- and the 
 second, -nctus; and not San-ctus, or still worse Sang-tus. 
 
 From the articulation of syllables to the articulation 
 of complete words or phrases of a sentence, the transi- 
 tion is not difficult. All that need be remembered is to 
 manage the breath well, to adapt the power of the voice 
 to the dimensions of the building in which it is to be 
 heard, and to utter the words distinctly. He is a good 
 speaker who declaims well, who has a distinct utterance, 
 speaking slowly and with a clear voice , distinguishing 
 the important from the less important passages of his 
 speech, and knowing when to raise or lower his voice, so 
 as to bring out the sense and meaning of his words and 
 phrases. We have said it already, at least in equivalent 
 terms ; — that Word and Tone are related. The Word 
 puts meaning into the Tone, and the Tone throws 
 
64 
 
 warmth and life into the Word. Miisic is the language 
 of the feelings, as ivords are the language of the un- 
 derstand t ng. 
 
 CHAPTER 7th. 
 
 PRONUNCIATION (of Latin). - ACCENTUATION. 
 
 I. The Latin language has the vowels a, e, i, o, 
 u (v), (#); and the Diphthongs ae, oe, au and eu. (A has 
 ¥*. always the one sound Pater, as a in the English word 
 cjf 'father.) E is pronounced as a in gate or say when be- 
 r~ fore a, i, o and u; before consonants in general as e in 
 met. I and Y are prononuced as ee in seen. as o in no, 
 and U under all circumstances, and in all cases, as oo in 
 goose. The vowel y is taken from the Greek alphabet and 
 found in such words as Kyrie, hyssopo, Babylon, bitty- 
 rum, coenomyia and sounded as I. The Diphthongs ae and 
 oe, as in sae-cu-lum, coe-lum, are pronounced as the vowel 
 E itself, i. e. as a in the English word say. The Diph- 
 thong eu is only met with in the words heu, eheu, ecu, 
 seu, neu , neuter and neutiquam, and the Greek words 
 Eu-ge and Euphrates, and then the first vowel is made 
 the more prominent. But in all other words as De-us, 
 me-us, re-us, o-le-um, fer-re-us , the two vowels are 
 sounded apart. Ei is a Diphthong in the word hei, in 
 all other words , the vowels are sounded separately, 
 therefore ele-ison, de-inde, de-itas, di-e-i; ui is a diph- 
 thong in kmc and cut, in which the stress is laid on the 
 first vowel and the second slurred. They should never 
 be pronounced as the English words pike or shy. Those 
 vowels are separate in Spi-ri-ta-i, gt'-nu-i. vo-hi-i dtc. 
 Au is always a Diphthong, and to be pronounced as ou 
 in the English word house. Sometimes when the vowels 
 
65 
 
 should be sounded separately, this is indicated by two 
 little dots placed over the last vowel, called puncta 
 diareseos , which distinguish them from other words 
 of identical spelling; thus aer, aeris (to distinguish it 
 from aeris), Israel}) V, v in early Latin is often written 
 for U; as in vnvm for unum; and is then pronounced 
 of course as the vowel U: but when used as a con- 
 sonant in such words as Veritas, vox, silva dc. it is 
 pronounced as our English v in voice. The Consonants 
 are b, c, d, f, g, h, (k), 1, m, n, 2 ) p, q, r, s, t, x, (z); 
 and for them the general rule is: Pronounce them as 
 they are written. The exceptions are l 3t with regard 
 to the letter c. 3 ) C before e, i, y, ae, oe and eu, should 
 be pronounced as ch in cheese or child; before other 
 vowels and all consonants as k. Therefore the words 
 ce-drus, ci-ha-vit, Cy-re-ne, cae-sus, coe-lum, ceu, should 
 be sounded as if written tsche-drus, tschi-ba-vit &c. When 
 however c comes before h itself, it is pronounced as k, 
 e. g. chirotheca will be Jcirotheca. Sc before the same 
 
 ') In this word Israel, and in all such words not of Latin origin, 
 the puncta diareseos, are deemed superfluous, and are consequently 
 omitted. To this class belong the Hebrew names, Mi-sa-el, Gelbo-e, 
 Ephra-im &c. 
 
 2 ) These are three consonants (I, m, n) that singers have most 
 reason to be careful of; for there is a great tendency to prolong them, 
 and if so the vowel is sacrificed, and the tone infallibly becomes nasal. 
 
 3 ) We prefer adopting the Italian pronunciation of the Latin for 
 many reasons; 1 st because it is the pronunciation adopted at the 
 fountain head, Rome; 2 nd because it is spreading very rapidly, and in 
 England and the United States is all but universal ; lastly, because 
 it is more musical. The soft c before e and t, is decidedly better 
 adapted for vocalization than the hissing consonant s into which c is 
 converted in countries outside of Italy. The Germans affect a com- 
 promise and pronounce the c as an z, e. g. zedrus, zibavit. However 
 the rules laid down here lor the pronunciation of this letter, whether 
 in its simple form or in composition, need not be adhered to by those 
 accustomed to another pronunciation, except in so far as they may 
 wish to promote uniformity. But we would be anxious to insist on the 
 Italian pronunciation of U in all cases, and without exception, for it 
 is a matter of the greatest importance in singing Latin. 
 
 5 
 
66 
 
 vowels is sounded as sh in should; thus descendit, read 
 as if deshendit. Sch is to be separated: Pas-cha, s-chola. 
 Xc, before e, i, y, &c. is as gsh in egg-shell: thus 
 excelsis, should be pronounced as if written eggskelsis. 
 Double cc, before the vowels mentioned is pronounced 
 as tc, e. g. Ec-ce, pronounced JEtsche. The 2 nd exception 
 is with regard to the letter j, when used as a consonant 
 in the words Juda, Jerusalem, jam, juxta &c. it is to be 
 pronounced as y in the word you; or indeed we may say 
 it is still to be considered as the same vowel i, only 
 written in that lengthened form j before another vowel 
 and when commencing a syllable. Therefore the words 
 shall be Yuda, Yerusalem, Yesus &c. G is always soft be- 
 fore e and i as ge-nu-i. K is usually sounded as hard c . 
 X and Z are double consonants, and to be treated as 
 cs and ds, Z occurs only in foreign words. 
 
 When a vowel follows the syllable ti , this syllable 
 is to be pronounced as if zi e. g. o-ti-um, gra-ti-as, ju- 
 sU-ti-a, are equal to, o-zi-um. gra-zi(dsi)-as, yu-sti-zi-a. 
 Except from this rule foreign names such as Aegypti-i, 
 and when another t, s or x comes immediately before 
 this syllable; therefore, ostium, mixtio. Qu } gu and su, 
 are sounded as Jew, gw and sw, when they form one 
 syllable with the following vowel; thus, quan-do, san- 
 guis, ma-vis; but when they form a distinct syllable as 
 in sH-um , they are pronounced according to the rules 
 already given. Sequutus and loquutus, are but different 
 ways of writing secutus and locutus , and are to be 
 sounded accordingly. 
 
 When two vowels come together, one at the end of 
 a word, and the other commencing the following word, 
 w r e meet with the so-called Hiatus, or break. In Poetry, 
 the rule is. elide the first vowel. In the Christmas Hymn 
 for instance. Jesu I led emptor, whether reading or singing 
 it. we must say, antoriginem, and not ante origin* ni. 
 
67 
 
 In the new official edition (Batisbon) of the Vesperal, 
 this is indicated by the sign ^ placed where the hiatus 
 occurs. In the Directorium chori (same edition) page [42], 
 milteT angelorum = millangelorum, or supernce^et = su- 
 pernet. 1 ) In Prose however the rule laid down in the 
 preceding chapter holds good; i. e. the final syllables 
 of words must never be absorbed into the first syllable 
 of the next word. Consequently it will be Kyrie e-le-i-son, 
 and not Kyrieleison. 2 ) Double vowels in the middle or 
 beginning of words are to be uttered separately, thus 
 de-esse, e-le-emosyna. au-di-it, A-aron. 
 
 The division of words into their constituent syllables 
 is sufficiently indicated ' in the new liturgical books by 
 hyphens placed between each syllable. However a few 
 leading rules may be here given for general use: 1 st . A 
 consonant coming between two vowels , belongs to the 
 latter vowel, as pa-ter> lau-do. 2 nd . Consonants which 
 commence a Latin or Greek word together , remain 
 together when forming the inner syllable of a word ; e. g. 
 pa-tris, e-sca, i-gnis, o-mnis, scri-ptns, pastor, ho-spes ; 
 on the other hand man-da-vit , Sm^tus (although in 
 singing the n must not be allowed to interfere with the a) 
 re-dem-ptio. Double consonants are pronounced saparate-, 
 ly: e.g. pos-ses-si-6-nem. Compound words are divided 
 into their component parts, sus-ee-pit. tam-quam. 
 
 II. The production of pure tone by vocalization, the 
 correct articulation of vowels and consonants, and their 
 real power or sound, may be called the elements of song; 
 now we come to speak of the manner in which these 
 elements should be put together to constitute good sing- 
 
 ') In the Hymn U A Solis ortus" we have in the 6 th strophe to 
 sing pastest for pastus est. 
 
 2 ) This insufficient pronounciation of the word is unfortunately 
 very common. Also the le-i : is made one syllable and pronounced as the 
 English lie, which is wrong; the e and i should be sounded separately. 
 
 5* 
 
68 
 
 ing. It has been already pointed out in Chap. 4. that 
 singing is not merely the mechanical utterance of words 
 to a certain time; but an art, and a high art, because 
 dealing with noble and exalted sentiments. We pointed 
 out in that Chapter what a very important role is as- 
 signed to rhythm and accent in Gregorian Chant ; and 
 as a general rule we may lay down , that , in singing, 
 the natural accent of syllables in words , of words in 
 clauses, and of clauses in sentences ought to be preserved. 
 But how are we to know this natural accent. In words 
 of more than two syllables, the new Edition of the Ritual 
 Books marks the accented syllable with a little stroke, 
 thus , re-di-me. So that we need only give rules for 
 monosyllables, and dissyllables. Monosyllables are always 
 accented. In dissyllables the accent falls (unless other- 
 wise marked) on the first syllable; thus: md-ter, ho-mo. 
 Hebrew names such as Sion, Juda dtc. have the accent 
 on the last syllable ; and this is the reason why in the 
 mediation of the Psalms, as we shall afterwards see, the 
 voice is inflected upwards, as with monosyllables. 
 
 A complete dissertation on long and short syllables y 
 their relations to each other in composition, and the 
 difference between Quantity and Accent , would be out 
 of place here. As a general rule however , it may be" 
 stated, that the syllable, which immediately follows an 
 accented syllable, is shorter than the syllable next com- 
 ing on. Thus in the word ho-mi-nes ; ho is accented, mi 
 is short, nes not quite so short. A vowel followed im- 
 mediately by another vowel, is, as a rule, short: e. g. 
 proprio, omnia. In the Recitation of Psalms, Lessons, 
 Prayers etc. we should carefully distinguish the reading 
 from the musical accent. In reading, all the rules for 
 pronunciation, and accentuation should be faithfully ad- 
 hered to. In singing, the voice must give still greater 
 emphasis to the accented syllable, and the other syllables 
 
69 
 
 should follow humbly and quietly in its train. A strong ac- 
 centuation of the syllable mi in hominibus, demands pre- 
 paratory voice power on the preceeding syllable ho; and 
 ni and'Zws fall in respectively as weaker and less weak 
 echoes. The accents of words of many syllables, take 
 precedence of dissyllabic accents, and serve as it were 
 the purpose of distance posts in the recitation. Even in 
 English a continuous succession of monosyllables and 
 dissyllables becomes tiresome. Let the text of the Credo 
 serve as an example, where the weightest accents are 
 laid on the syllables Pa, ten, cto, Fi ge &c. He who 
 reads and accentuates well, and is gifted with a good 
 voice and sufficient technical knowledge, must sing 
 Gregorian effectively. 
 
 CHAPTER 8th. 
 
 EXERCISES TO STRIKE THE NOTE. 
 
 Striking the note, or the strike in singing, means 
 good Intonation; 1 ) that is to say a facility of hitting 
 the exact note of the scale you wish to sing, decidedly, 
 in tune, and without any preparatory sliding up to it. 
 The "good attack" as M. Fetis calls it; or "that 
 vigorous shock of the glottis," as Garcia describes 
 it, should become a habit of the singer. The voice should 
 always have a bold decided opening, as well as a dis- 
 tinct close. Each note should be like a newly cut coin. 
 Nothing can be more injurious to the good effect of 
 singing than an uncertain, timid, groping for the note; 
 
 l ) Tinctoris in his u Definitoriuiir" writes: "Intonatio est debita 
 cantus inchoatio." 
 
70 
 
 or sliding up to a distant interval, and then only reach- 
 ing it with exhausted breath, and out of tune. Intonation 
 must be decided, and true. For this purpose regulate 
 the pitch of the voice, according to the compass of the 
 music to be sung. Choose neither too high nor too low 
 a tone to commence with, but one that lies securely in 
 the middle register of the voice. When a long recitation 
 must be sung to the one note, let the pitch be a me- 
 dium pitch, for if high, the voice becomes disagreeably 
 shrill and strident, if low, inaudible. 
 
 An ear for music may be acquired or a defective 
 ear considerably improved, by industrious practice of the 
 simpler intervals, and with the assistance of an instru- 
 ment, (Violin or Pianoforte). 
 
 We are said to sing flat when the voice falls a 
 little from the true tone of the note; false when we 
 differ a complete semitone from the note to be sung; 
 and incorrectly when we strike a different note al- 
 together from the one indicated. 
 
 The following exercises in the different intervals of 
 the scale, may be practised on the vowel sounds, on the 
 letters of the alphabet, on the syllables of Guido, or on 
 words, and should be repeated again and again, until the 
 student acquires steadiness and purity of Intonation. 1 ) 
 
 I. 
 
 defgahcdchagfed 
 
 re mi fa sol la si at re at si la sol fa mi re 
 Be - a - tus vir qui ti-met Do - mi-num, be - ne - di - ce - tur. 
 
 l ) Quintillian says: "Phonascis et oratoribus, necessaria est exerci- 
 tatio qua omnia convalescunt." 
 
71 
 
 II. Seconds. 
 
 aha hch cdc ded efe 
 
 la si la si ut si ut re ut re mi re mi fa mi 
 
 G16-ri - a, Ky-ri-e, im-pi-us, vo-lun-ias, D6-mi-nus, 
 
 h c d " c d e 
 
 f g i gag ahc 
 
 ^^^^^^ 
 
 fa sol fa sol la sol la si ut si ut re ut re mi 
 
 vm-cu-la, be - a-tus, sae-cu-lum, fer-re-us, P6-mi-nus, 
 
 def efg lga gab ahc 
 
 re mi fa mi fa sol fa sol la 
 ha-be-mus, si-de-ra, lau-da-te, 
 
 sol la sa sol si ut 
 16-que- re, Ga-briel, 
 
 51= 
 
 in. 
 
 h c d h 
 *=fcdl 
 
 si ut re 
 An - ge - lus. 
 
 IV. Thirds. 
 
 e g e 
 
 f g a h c d e 
 
 si ut re mi fa sol la si ut re mi 
 
 in ae-ter-num. 
 
 c d e 
 
 Df - li-gam te Do - mi - ne 
 
 h g h 
 
 mi sol mi fa la fa sol mi sol la ut la si sol si 
 Se-cun-dum, ex -eel -sis, la-bi-a, pro-ba-sti, ho-mi-num, 
 
 d h d c a c 
 
 re si re ut la ut si re si 
 
 h d h 
 
 ut mi ut re si re ut la ut si re si la ut 
 ft - li - us, pu - ri- tas, Ma - ri - a, Sal -va- tor. Sal - ve, 
 
 g 
 
 f 
 
 g 
 
 d f 
 
 si sol fa la sol mi 
 san-cta, pa-rens, De-us, 
 
 re fa mi ut re si 
 po-tens, cle-mens, pi - a, 
 
e f 
 
 e f 
 
 re mi /a mi re mi 
 ful-gu-ris, 6-mni-a. 
 
 e d c h 
 
 g 
 
 /"a soZ la si ut re mi fa 
 Ex - au - di 1)6 - mi - ne ju - sti- 
 
 f e d c. 
 
 — ^— m ZjJl — 
 
 mi re ut si la sol 
 - ti - am me - am, in - ten 
 
 VI. Fourths. 
 
 c f e 
 
 fa mi re ut. 
 de D6-mi-ne. 
 
 f b a 
 
 ut fa mi re sol fa mi la sol fa sa la sol 
 In - ten - de , 16 - qui-tur, vo - la - vit , a-scen- dit , con- 
 
 cb adc hed cfe dac b 
 
 m 
 
 ut sa la re ut si mi re ut fa mi re la ut sa 
 - spe-ctus, o - de-runt, a - nri-cus, gra - ti - as, de - bi-tum, in" 
 
 g d f 
 
 VII. 
 
 fa la 
 no-cens, 
 
 e f g 
 
 sol re fa mi ut fa 
 te - ne-brae, Cre - a - tor, 
 
 mi fa sol fa mi re ut si 
 que vo - lu - it fe - cit in coe-lo 
 
 la 
 
 sol la si ut re 
 0- mni - a quae-cum- 
 
 g f e d 
 
 sol fa mi re. 
 et in ter-ra. 
 
 VIII. Fifths, and mixed Intervals. 
 
 dfgad efga 
 
 mm, 
 
 re fa sol la re mi fa sol la mi 
 Re-dem - pti - 6 -nem, glo - ri - ti - ca-mus, 
 
 fa ut ut fa 
 tran -si - e-runt, 
 
73 
 
 ghadg acea chcdf 
 
 sol si la re sol la id mi la id si id re fa 
 
 for - ti - tu - di - nem, o - cu - 16-rum, Do-nec po-nam i - 
 
 edchacfegc 
 
 mi re ut si la ut fa mi sol ut. 
 - ni-mf-cos tu-os; non de - re -lin-quas. 
 
 Observation. The best exercises for ear-improve- 
 ment, recitation, pronunciation, and intervals, are as ex- 
 perience teaches, the Psalm-Tones; then, for beginners, 
 the Anthems of the B. V. M. for the four seasons, as in 
 the Directoriurn Chori, then the Chants of the Mass, (espe- 
 cially the Credo) in the Ordinarium Missce , and Graduate 
 Romanum. 
 
 Here we subjoin a setting of all the Intervals ac- 
 cording to a quaint old form. 1 ) 
 
 — =-- W — ■ — s — *— w— w — ^- 
 
 Ter ter-ni sunt mo-di, qui -bus o-mnis can-ti-le-na 
 From 3x3 (9 without unison) Intervals is every song 
 
 con-te - xi - tur, scf-li-cet: U - m'-so-nus, Se - mi - to - ni - um, 
 constructed, namely: Unison, minor second {\ Ton), 
 
 To - nus, Se - mi - di - to-nus, Di - to - nus, Di - a - tes-saron, 
 fulltone, minor Third, major Third, Fourth, 
 
 ') In Coussemacker, Script. Tom. 111. pag. 425; also in 1 st and 3 d 
 vol. several similar combinations are found. The example here given 
 is also found in Glarean and Gerbert. 
 
74 
 
 Di-a-pente, Se-mi- to-ni-um cum di - a-pente, To-nus cum 
 Fifth, minor Sixth major 
 
 ft-tt — w 
 
 di - a -pente, ad haec mo-dus di- a -pa -son. Si quern 
 Sixth, then the Octave. Who wishes 
 
 de - le - ctat can-tus hos mo-dos es-se cog-n6-scat. 
 to enjoy song, must know these Intervals. 
 
 ') In Coussemacker the following sentence is also put to music in 
 different Intervals. "Cumque tarn paucis clausulis tota armonia for- 
 metur, utilissimum est, eas alte memorise commendare, nec prius ab 
 hujus modi studio quiescere, donee vocum intervallis agnitis harmonia 
 totius facillime queat comprehendere notitiam." In other words "prac- 
 tice a little, zealously and continuously, and you will learn to strike 
 the notes securely." 
 
PART II. 
 
 SCIENCE OF PLAIN-CHANT. 
 
 (SECTIO THEORETICA.) 
 
 CHAPTER 9th. 
 
 THE CHURCH MODES OR TONES. 
 
 In Chapter 4 th it was shown how all elementary 
 musical sounds , proceed in a certain natural order ; 
 starting from any one sound, taken as first, and going 
 to the eight or octave, which, is but a repercussion of 
 the first in a different pitch. So that there may be as 
 many (Diatonic) scales, as there are different sounds in 
 the scale itself; i. e. seven. Moreover each scale is di- 
 visible into two integral, constituent parts, a fifth and 
 a fourth: — diatessaron and diapente. Now, when the 
 sounds of any one of these seven scales; — thus divis- 
 ible into fifths and fourths;— are so disposed in the course 
 of a melody or musical phrase, that all of them, ascend- 
 ing or descending, bear a fixed relation to one principal 
 or fundamental sound; the melody so constructed is 
 said to be in a Church mode, or tone. 1 ) Ugolinus 
 
 ') It cannot be too frequently or too clearly stated that there is 
 a wide essential difference between the Church Modes or Gamuts, and 
 the so-called Keys of modern music. In the seven scales of the Dia- 
 tonic genus, the order of the tones and semitones, depends upon the 
 first sound of the series; whereas in modern music, the different keys, 
 major or minor, are but transpositions of the same progression 01 
 sounds, into a higher or lower pitch. 
 
76 
 
 (died A. D. 1626) writes "Tropus, tonus sine modus est 
 quamplurium vocum ex diapente ac diatessaron ordinatis 
 speciebus debite conjunct arum in acumine et gravitate 
 distantium per arsin et thesin congrua neumarum forma 
 constitutarum conveniens disposition *) 
 
 The modality or tonality of a scale depends upon 
 the character of the pentachord and tetrachord ; — dia- 
 pente or diatessaron; — which it comprises, and this 
 character is determined by the position of the semitone. 
 
 There are four combinations of fifths (yentacliords), 
 and three of fourths (tetrachords) to be distinguished. 
 From D to a, and from a to e, we find the mi -fa, or 
 semitone between the 2 nd and 3 d degree. From E to bij, 
 it comes between the 1 st and 2 nd degree; from F to c, 
 between the 4 th and 5 th ; and from G to d, and c to g, 
 between the 3 d and 4 th . Similarly in the fourths, the 
 semitone lies from A to D , and D to G , between the 
 2 nd and 3 d ; from Bi) to E, and E to a, between the 
 1 st and 2 nd ; and from C to F, and G to c between the 
 3 d and 4 th degrees. 
 
 The most ancient musical theorists speak of 8 modes 
 only, which were constructed on the sounds represented 
 by D, E, F, G; and so constructed that each scale had 
 two methods of progression. 1 st . The scales beginning 
 with D, E, F, G and proceeding by a fifth, and then 
 a fourth; called authentic. 2 ) 2 nd . When the fourth 
 
 ') We already alluded to the various significations of the word 
 tone in Church Music. Here it signifies a scale or gamut or system of 
 sounds. However the correct Latin name was modus, in contradistinction 
 to tonus, denoting certam fixed forms of the mode such as the Psalm- 
 tunes. This was customary up to the 15 th century. The notions were 
 altered, so that, e. g. in Tinctoris the word modus designated the time 
 notation of a chant, and toyius the key or scale on which the chant was 
 constructed. Toni also indicate the "8 fixed forms of the Psalm tunes, 
 Gloria Patri etc. and modi the keys or gamuts of the antiphonal chants. 
 
 2 ) ai/#£j'7/;c, principal, original, because they furnish the funda- 
 mental tone of the other modes. They were also called Ambrosian, 
 because these alone were used by St. Ambrose (A.D.397) in his Liturgy. 
 
i i 
 
 instead of being uppermost as in the authentic scales 
 is placed under the fifth; whereby the compass is al- 
 tered, and the fundamental tone becomes the fourth in 
 this new octave series ; though still fundamental. Such 
 scales or modes are called plagal. 1 ) 
 
 Synopsis of the 8 Modes. 
 
 I. Modus authenticus. II. Modus plagalis. 
 
 DEFGa ahcd AHCD DEFGa 
 
 Fifth. Fourth. Fourth. Fifth. 
 
 III. Modus authent. IV. Modus plagal. 
 
 EFGah hcde HCDEEFGah 
 
 "^Fifth. Fourth. Fourth. Fifth 
 
 V. Modus authent. VI. Modus plagal. 
 
 FGahc cdef .CDEFFGahc 
 
 Fifth. Fourth. Fourth. Fifth. 
 
 VII. Modus authent. VIII. Modus plagal. 
 
 Gahcd defg DEFGGahcd 
 
 Fifth. Fourth. Fourth. Fifth. 
 
 After the 12 th century the Gregorian system of 
 scales was extended still further , and modes authentic 
 and plagal were constructed on a, &^ # and c, 2 ) divided 
 
 ') TiXdyioi, obliqui. laterales, or collateral modes; also called dis~ 
 cipuli, or pupils, in contradistinction to the authentic called magistri. 
 
 ') Glareanus (1488-1563) in his Dodecachordon treats of 12 modes. 
 The scale forsooth in which the diminished fifth or tritone (bt|-f, f-bfc|) 
 occurred, was not usually employed for the construction of chants 
 or melodies , and hence it comes that , what are theoretically the 13 th 
 and 14 th modes, are counted practically as 11 th and 12 th . 
 
78 
 
 in the same manner into fifths and fourths. So that in 
 this extension, or increasing of the number of scales or 
 modes, the principle was not altered. 
 
 IX. Modus authent. X. Modus plagal. 
 
 alicde efga EFGa ahcde 
 
 Fifth. Fourth. Fourth. Fifth. 
 
 XL Modus authent. XII. Modus plagal. 
 
 hcdef f g a h F G a h hcdef 
 
 False Fifth. ' Tritone. Tritone. False Fifth. 
 
 XIII. Modus authent. XIV. Modus plagal. 
 
 cdefg gah"c Gahc cdef'g 
 
 Fifth. Fourth. Fourth. Fifth. X ) 
 
 On closer examination we find that the 9 th mode, 
 over steps the boundaries or compass of Gregorian song, 
 extending to g (commencing a 3 d octave) ; therefore it is 
 but seldom and thus used. After the 12 th century the 
 10 th mode was frequently employed. The 11 th and 12 th 
 have in their respective fifths, two semitones, and in 
 their fourths, not even one; and were therefore adopted 
 only in a few melodic forms, where these false relations 
 
 ') The well known decision of Charlemagne "octo toni sufficere 
 videntur;" "eight tones appear to be sufficient:" shows 1 st that even in 
 his time attempts were made to increase the number of the Gregorian 
 gamuts or systems; but secondly, that reference is made to peculiar 
 fixed intonations of the Psalms, "toni psalmorum for at that time it 
 would appear that a distinction was drawn between tonus and modus. 
 Jerome of Moravia at all events in the 13 th century charges Guido. 
 with having used the words tonus and modus carelessly and without dis- 
 crimination. See Coussemaker Tom. I. page 74 <fec. In modern usage, 
 the terms are convertible and we use the word Tone not only to 
 indicate the Psalm tunes, but also the modes of the Antiphons. Introits, 
 Responsories &c. and write over them Tonus I., Tonus II. &c. 
 
79 
 
 of the fifth and fourth could be easily avoided. The 13 th 
 mode has become most common, and in the lower octave 
 
 runs thus g w -n-W^-W^"=-^=^ ; corresponding 
 
 exactly with our modern scale of C major. The 14 tk 
 mode because of its similarity with the 7 th , is scarcely 
 ever to be met with. For practical purposes therefore 
 we may reckon only the 9 th , 10 th and 13 th in addition 
 to the eight original modes. 
 
 CHAPTER 10th. 
 
 NAMES AND CLASSIFICATIONS OF THE CHURCH TONES. 
 
 Henceforth we will call the Church scales: Tones. 
 I. The eight (14) Church tones, are as we have said 
 divided into two classes, authentic and plagal. Nu- 
 merically arranged they are called primus, secundus, 
 tertius, quartus &c: i. e. first, second, third, fourth. The 
 superadded Grecian appellations, which have been uni- 
 versally employed since Glarean's time (A. D. 1563), 
 were familiar to the earliest writers, and differ but little 
 from the titles used by Jerome of Moravia, John de 
 Muris, Ugolinus &c. They are as follows. 
 
 Modi authentici. Modi plagales. 
 
 /. Dorius. 111. Phrygius. II. Hypodorius}) IV. Hypophrygias. 
 V. Lydhis. VII. Mixolyd. VI. Hypolydius. VIII. Hypomixolyd. 
 IX. Aollus. (XI. Hyperaol) X. Hypoaolius. (XII. Hyperpfu yg) 
 
 (XIII.) XI. Jonicus. (XIV.) XII. Hypoionicus. 1 ) 
 
 ') wio, under, because the fourth in plagal-scales comes under 
 the fundamental tone, or tonic. 
 
 2 ) Some of the old writers considered the numbering of the modes 
 as 1 st , 2 nd , 3 d &c. incorrect; and preferred calling them; protus authen- 
 tus, plagius protus, or scale of re authentic, scale of re plagal &c. In 
 the treatises on Music attributed to St. Bernard, we find the systems 
 or scales called manerice. 
 
80 
 
 II. On comparing the authentic with the plagal, (by 
 looking at the synopsis already given) we find the follow- 
 ing differences. 
 
 1) The authentic have the fifth below, and the 
 fourth above. In the Plagal modes the fourth is below, 
 and the fifth above. Both fourths and fifths are alike in 
 each pair of modes, but their relative position different. 
 
 2) The authentic mode and its corresponding plagal 
 together have a compass (ambitus) or range of eleven 
 notes, of which five are common to both, and three not 
 common. 
 
 3) The 1 st and 8 th ; 2 nd and 9 th ; 3 d and 10 th ; 4 th 
 and (11 th ); 5 th and (12 th ); 6 th and 11* (13 th ); 7 th and 
 12 th (14 th ) have exactly similar scales, but by reason of 
 the different position of the semitone, and of the fourths 
 and fifths, they are easily distinguishable. In the l 8t , 
 3 d , 5 th , 7 th 9 th (11 th ) and 11 th (13 th ) the fourth follows 
 the fifth. In the Tones marked with even numbers, i. e. 
 the plagal, the fifth follows the fourth. 
 
 4) The first note of each authentic and its cor- 
 responding plagal scale, is called the fundamental note 
 (tonus fundamentalis) , or Tonica , because the melody 
 is built up and constructed upon it* It is also , and 
 more commonly called the Final, finalis, because every 
 authentic and plagal melody when regular, ends with 
 it. The Finals therefore, as we shall call them, or 
 fundamental notes of each tone, are as follows : 
 
 I & II III & IV Y & YI YII & YIII IX & X 
 
 D, re E, mi F, fa F, fa G, sol a, la 
 
 (XI & XII) XI & XII (XIII & XIV) 
 
 b. st c, ut 
 
81 
 
 So that there are fourteen (12) tones, and but seven 
 finals; each authentic tone and its relative plagal, being 
 constructed on the same final. In the plagal scales, 
 the final comes fourth in the series , in the authentic 
 scales it is first. A Tone is said to be regular (re- 
 gularis), when the phrase or melody closes with its re- 
 gular final; if it end on any other note it is called 
 irregular, irregularis . 
 
 These irregular finals are also called Confinal 
 notes, and are often met with in the endings of Psalm 
 tunes, and in the divisions or sections of Responsories, 
 Graduals and Tracts. 
 
 5) The range or compass of the authentic and pla- 
 gal modi, and the peculiar relations of each note of 
 these different octave species when actually employed, 
 give rise to another classification. 
 
 The Tone for instance is called: 
 
 1. Perfect, Tonus perfectus , if , in authentic 
 modes, the melody ranges to the octave: or — in plagal 
 modes, to the fifth above and the fourth below the final. 
 Examples: the Communio u JEcce Virgo" page 11; Introit 
 " Miser ebitur" p. 427; Offertorium "Benedictus es" p. 72 
 of the Octavo official edition of the Graduate Romanum 
 (Eatisbon 1870). Here the rule is borne out: (i Omnis 
 cantilence legalis ascensus et descensus per diapason con- 
 struitur." *) 
 
 2. Imperfect, Tonus imperfecttis, when in authen- 
 tic tones, the octave from the final is not reached, or 
 in plagal tones the fourth below the final. The Anti- 
 phons, especially of the small canonical hours, the La- 
 mentations of Holy Week (YI. Toni), and several smaller 
 
 *) Gerbert, Script. Tom. II. p. 58. 
 
 6 
 
82 
 
 forms of chant, such as the Intonations of the Psalms, 
 (which however, are made perfect by the Antiphon to 
 which they are united), belong to this class. 
 
 3. More than perfect, or superfluous {Tonus 
 plusquamperfectus or super abundans), when the authen- 
 tic mode contains a note below its final, or above its 
 octave: or when the p la gal mode ranges downwards 
 more than a fourth from its final. 
 
 4. Mixed ( Tonus mixbus), when the natural range, 
 {ambitus) of a mode, is exceeded hy more than one 
 note, so that the authentic and its corresponding plagal 
 may be said to run into one another, of this we have 
 examples in the Te Deum, in the Sequences Lauda Sion, 
 Dies Irm, Vent Sancte Spiritus &c. In case the plagal 
 Tone preponderates , it is specially marked in the new 
 (Ratisbon) editions of the Ritual Books: e.g. page 328 
 of the Gradual e (8 V0 ) : we have the Offertory "Oravi" 
 Ton. IV. and III.; page 437 Gradual: "Vindica Domine" 
 Ton. VI. and V. 
 
 5. The Tone is called communis perfectus . if the 
 authentic tone ranges to the fourth below the final (and 
 thereby becomes plagal) or the plagal to the octave above 
 the final (and so becomes authentic). The melody, then 
 comprises the eleven notes of the authentic and its plagal 
 united. We have an example of this in the Master Se- 
 quence ( 'Victima> Paschali" page 232, and in the Anti- 
 phon "Cum appropinquaret" for the Procession of Palm- 
 Sunday page 172. 
 
83 
 
 CHAPTER 11th. 
 
 SIGNS OF THE TONES. 
 
 In order to know to which Tone any given Chant 
 belongs, certain signs or marks are necessary. The surest 
 and most general sign is the final. The next charac- 
 teristic mark to determine the Tone will be its range, 
 ambitus. This shows to what scale the melody belongs, 
 whether such scale be fully or only partially employed; 
 and serves also to mark the difference between perfect 
 and imperfect Tones. (See preceding Chapter.) The 
 third mark or sign to indicate the Tone of a Gregorian 
 melody, is the Dominant, 1 ) also called the Tenor. In 
 the annexed Table the Finals and Dominants of the 12 
 (14) Tones are shown together. 
 
 Toni. 
 
 Final. 
 
 Domin. 
 
 Toni. 
 
 Final. 
 
 Domin. j 
 
 L 
 
 D 
 
 a 
 
 VIII. 
 
 G 
 
 c 
 
 II. 
 
 D 
 
 F 
 
 IX. 
 
 a 
 
 e 
 
 III. 
 
 E 
 
 c 
 
 X. 
 
 a 
 
 c 
 
 IV. 
 
 E 
 
 a 
 
 (XI. 
 
 b5 
 
 g) 
 
 V. 
 
 F 
 
 c 
 
 (XII. 
 
 blj 
 
 e[d]) 
 
 VI. 
 
 F 
 
 a 
 
 (XIII.) XI. 
 
 c 
 
 g 
 
 VII. 
 
 G 
 
 d 
 
 (XIV.) XII. 
 
 c 
 
 e 
 
 To distinguish therefore the plagal from the authentic 
 tone ; — as both have the same final ; — we must see 
 if the melody ranges downwards more than one note 
 below the final ; and observe which note may be the 
 Dominant, i. e. on which note is the body of the words 
 sung or recited. In more florid compositions this will 
 be less apparent , but it will be always found that in 
 
 ') The student must be careful to distinguish between the Dom- 
 inant in Gregorian; and the Dominant in modern music which is al- 
 ways a 5 th above the tonic. In Gregorian it varies. 
 
 6* 
 
84 
 
 singing in any particular mode, the voice always has a 
 tendency to attach itself to the Dominant. 
 
 Finals and Dominants one with another give what 
 is called the Repercussion, i.e. the Interval which in 
 each Tone may be inverted. According to the Table 
 given above , the Repercussion in each Tone , is : 
 I. Toni re-la, II. re-fa, III. mi-id, IV. mi-la, V. fa-ut, 
 VI. fa-la, VII. sol-re, VIII. sol-ut, IX. la-mi, X. la-ut, 
 (XL) si-sol, (XII.) si-mi (re), (XIII.) XL tit-sol, 
 (XIV.) XII. tit- mi. 
 
 Again, in the authentic Tones the melody goes 
 to the Final by degrees; in the plagal tones often- 
 times by skips i. e. more or less distant intervals. Lastly, 
 each Tone , has certain notes, or note-groupings , with 
 which the chant usually begins ; and as a Rule, it may 
 be observed , that in authentic Tones the Chant never 
 begins with an Interval reaching from the final to the 
 fifth, or in p la gals to the fourth. In the construction 
 of the middle cadences, (sections of the musical compo- 
 sition indicated with punctuation marks , ; : &c.) the 
 rule is observed, to make them, in authentic tones, on 
 the final, the fifth, or intermediate notes, and in plagals, 
 never to go beyond the fourth. For the eight Church 
 Tones most in use. we may enumerate the initial notes 
 or Intonations, as follows : 
 
 Ton. L: C, D, F, G, (E, a). Ton. V.: F, G, a, c. 
 Ton. II.: A, C, D, F. Ton. VI. : Q (1), E), F, (a). 
 
 Ton. III.: E, F, G, a (c). Ton. VII.: G, b% c, d. 
 Ton. VI. : C, D, E, F, G, a. Ton. VIII.: C, D, F, G, a, c. 
 
 For all practical purposes, singers of Gregorian Chant 
 have but to glance at the book and the number of the 
 Tone will be found printed in all the new editions. 
 
85 
 
 CHAPTER 12th. 
 NATURE AND CHARACTERISTICS OF THE 1 th , 2 d , 3 th AND 4 th TONES. 
 
 There is one fundamental law in Gregorian Chant 
 which must be observed in all the Tones, to wit: "The 
 immediate progression of an augmented fourth (Tri- 
 tontis) or a diminished fifth is not allowable in Gre- 
 gorian, and such Intervals when met with must be made 
 perfect, by placing a b before the si;' 1 and so depress- 
 ing it a semitone. 
 
 This Rule observed in the composition of Chants in 
 each of the Gregorian systems or Gamuts, renders the 
 remarks about to follow deserving of attention. They 
 are mostly gathered from the definitions collected and 
 published by Father Utto Kornmuller 0. S. B. 1 ) 
 
 The scale or gamut of the 1 st Tone, (doric) is made 
 up of the first 2 ) species of fifth {diapente) and the first 
 species of fourth (diatessaron) (See Synopsis p. 77.); 
 it may proceed from its final to an octave ascending, and 
 a major (or minor) third descending; it seldom ascends 
 to e, it descends to C, but very rarely to B. s ) B flat 
 must be used whenever the Tritone is to be avoided, or 
 when the melody does not go above si: Example: 
 The "Ite Missa est" on Semidoubles (See Directorium 
 chori page 7 8) and the Communio u JEcce virgo" (Grad. 
 Romanum page 11). 
 
 ') Monatshefte fur Musikgeschichte. 4 th year, 1872, page 70. 
 
 3 J "Quod dictum est, ilium habere primam speciem diatessaron, 
 intellige, non quod ibi prima ejus species exordiatur, sed quod forma 
 et similitudo illius primae, quae inferius (A) est, hie sub earum chor- 
 darum dispositione contineatur, tono scilicet et semitonio et tono." 
 Berno von Eeichenau. 12 th century. 
 
 3 ) "Ille est regula autentum primae maneriae seu moduli deter- 
 minans, terminatur in D vel a, et constituitur ex prima specie diapente 
 D-a, et prima specie diatessaron a-d. Ejus diapason {ambitus leg i- 
 timus) est D-d; licentialiter ascendit sed raro ad e, et descendit ad C, 
 rarissime vero ad B." St. Bernard. 
 
86 
 
 The phrase J)-a-b-a. recurs times without number 
 in Chants of the 1 st tone. Nevertheless in the Hymn, 
 
 Ave Maris stella, the third note — ^r— * is not to 
 
 A - ve 
 
 be sung as b flat, as the melody immediately proceeds 
 to the octave. 
 
 Examples for the different Tones, are in abundance 
 in the Gradual 'e and Director turn chori: and the diligent 
 student should analyse them and study their peculiarities 
 The Chants of the first Tone are joyous , festive , and 
 majestic. l ) 
 
 The Second Tone (hgpodoric) or 1st Plagal, is also 
 made up of the 1 st species of fifth, and 1 st species of 
 fourth. ''Est hie tonus regula plagalem primae maneriae 
 determinant; finem facit in D vel a." 2 ) It has for its 
 final D ; its fifth from D to a ; and fourth D to A de- 
 scending, and thus forms its octave 
 
 A B; CD.EFGa. 
 
 It sometimes goes down to r gamma, but seldom; 
 (see Offertory "Dextera Domini" page 61. Grad. Bom.) 
 It often ascends to the 9 th .- bflat; but never to the 10th 
 or 11 th , c or d. In case the Chant proceeds upwards to 
 a sixth from the final, then the si takes the accidental 
 bflat before it, and must be sung as za\ — see the sewn 
 Antiphons beginning with , preceding the Office of 
 Christmas Day. 
 
 The character of the 2 nd Tone is grave and mourn- 
 ful, "severe cum majestate tonat." 
 
 The 3 d Tone (jphrygian) is constructed from the 2 nd 
 species of Diapente, (semitone, tone, tone, tone) and 2 nd 
 
 ') These characteristics of the Tones are not fanciful. The different 
 position of the semitone in each of the scales, and the different combina- 
 tions of intervals give each Tone a peculiar character. The character- 
 istics we give here are taken from old writers such as Guido, Adam 
 of Fulda &c. as found in Gerbert, and more fully in Cardinal Bona. 
 
 5 ) St. lernard. 
 
87 
 
 species of Diatessaron (semitone, tone, tone). It lias E 
 for its final, and its legitimate range is to the octave 
 e acutum. It may descend to D ; and sometimes even 
 to C; e.g. Offertory, "Lauda" (Grad. Bom. page 257.) 
 sed abusive , writes Odo of Clung. TSi or b natural 
 as the fifth from the final , is o frequent occurrence ; 
 "maxiwne autem ideo , quia ad acutissimam ejus, i. e. e 
 diatessaron reddit." But as this fifth has three tones 
 in succession, the interval is met with ascending or de- 
 scending oftener in skips., than with the intermediate 
 notes : "potius saliendo quam gradiendo vadit " The 3 d 
 tone is imperious, threatening and characterised by ve- 
 hement passion. "Tertius indignatur et acerbo insultat" 
 For examples the following may be taken ; the Introits; 
 In nomine Jesu and 8acerdot.es tui Domine, (Grad. Bom. 
 pages 190 and 47) and the Hymns: Deus tuorum, and 
 Te Joseph celebrent (Vesper ale Bomanum pages [12] 
 and 325). 
 
 The fourth Tone (hgpophrggian) is similarly con- 
 structed from the 2 nd species of fifth and fourth. Its final 
 is E or bfe and legitimate range BCDEFGa bb. The 
 Chants of this Tone seldom descend to the fourth below 
 B, and the want of this . half-tone is generally supplied 
 by extending the upper part of the scale to c; so that 
 its actual ambitus, or range, is from to c. The si 
 above the final is very often changed into za by pre- 
 fixing the b flat, as in the Hymn " Virginis Proles'" (Dir. 
 chori page [34]), and the Invitatorium "Venite" p. 16*. 
 
 The fourth tone is known as bland sweet and at- 
 tractive, "quasi aduiatur et cdlicit" 
 
ss 
 
 CHAPTER 13th. 
 
 NATURE AND CHARACTERISTICS OF THE 5 th , 6 th , 7 th & 8 th TONES. 
 
 The Fifth Tone (Lydian) takes the third species 
 of fifth and fourth. Its Final is F or c and its range 
 F-f. The characteristic note of this tone is the si or b£|, 
 which need only be changed into za or b flat when sung 
 with F or fa, in order to avoid the Tritone. This ht 
 natural, gives the fifth tone a spirited majestic and joyful 
 character, hence it is called the tonus d elect abilis, Icetus, 
 jubilans. This tone is not to be confounded with the 
 transposed Ionian mode having a b flat in the signature. 
 
 The fifth and fourth in the sixth Tone (hypolydian) 
 are the same as those used in its authentic fifth Tone. 
 Its Final is F, descending to the fourth below, and forms 
 the octave scale thus : 
 
 C D E F G a tj c. 
 It may ascend to d, and by degrees, not by skips 
 descend from F to C. 
 
 The low pitch of this Tone, and the frequently re- 
 curring b flat (to avoid the Tritone) give it the character 
 of tenderness and quiet devotion "Sextus lachrymatur 
 et plorat" 
 
 The Seventh Tone (mixolydian) comprises the 4th 
 species of Diapente or fifth, and the 1 st species of Dia- 
 tessaron or fourth. Its final is G; and its range G a 
 5 c d e f g. The si or 6Jj is natural to it, and espe- 
 cially the progression G a t|. If a Chant in this Tone 
 should not ascend to the octave from the final, compen- 
 sation is frequently made by descending a full tone 
 below the final. Sometimes we meet with endings on G, 
 when b flat has been frequently used in the piece. In 
 such cases the 7 th Tone becomes like the 1 st and it will 
 
89 
 
 be then always better to place b flat in the signature 
 and treat it as a transposed tone. 
 
 The seventh tone breathes majesty boldness and joy: 
 "imitate progreditur et imperiose" See the Introit "Puer 
 natus" (Grad.Rom. page 30). The Antiphon "Exaudi nos" 
 page 73 conveys the impression of strong emotion. 
 
 The eighth Tone (hypomixolydian) has the same 
 species of fifth and fourth as the 7 tn . It ranges upwards 
 to e, and descends to C. 
 
 The scale of the eighth Tone is like the first. D E 
 F G a \ c d ; but the melodic phrases and the Finals 
 are different in both. The b flat, is not used in the eighth 
 Tone so frequently as in the 1 st ; and should any piece 
 have it recurring very often and not irregularly , then 
 it were better to treat it as the 2 nd Tone transposed, 
 having a normal b flat in the signature , as e. g. the 
 Hymn "Quern terra, pontus" (Dir. cliori page [48]). 
 
 The greatest number of Gregorian melodies are 
 written in the eighth tone. 1 ) The old writers consider it 
 full of power and manly ; also the tonus narrativus. The 
 7 th and 8 th tones are often , especially in long chants, 
 mixed ; e. g. the "Lauda Sion" 
 
 Observation. As has been already observed, Chants 
 in the 9 th mode, _on account of its overstepping the con- 
 ventional limits, g, of the Gregorian system, are seldom 
 met with; they often appear transposed into the 1st Tone 
 with a normal bflat. We frequently meet in the Graduate 
 the 10 th or hypotiolian tone, made up of the 2 nd species of 
 fourth and first of fifth e. g. "Hodie sc/etis" (Grad. Rom.) 
 p. 23, "Tecum principium" p. 25, "Requiem ceternam" p. 47*. 
 The 13 th or Jonic mode (XI) is composed of the 4* h species 
 
 ') Probably because most composers of Church Chants wished as 
 far as possible to follow the example of St. Gregory, who commenced 
 his Antiphonarium with the Ad te levavi in the 8 th Tone. 
 
90 
 
 of Diapente and third of Diatessaron; and because of its 
 fifth being g , it still more closely resembles our modern 
 scale of C major, than the 6 th Tone. In the harmonic com- 
 positions of the old Masters the Jonic and its plagal the 
 Hypojonic Tones were much employed, especially trans- 
 posed to E with b flat in the signature. In Gregorian books 
 it is seldom met, as nearly all chants in this mode are 
 marked as belonging to the 5 th Tone. In some editions of 
 the Gregorian books (Mettenleiter's Enchiridion page 71) 
 there is found a Salve Regina clearly belonging to the 
 XI. Tone. The Sanctus, Benedictus, and Agnus Dei of the 
 Missa de B. M. p. 22* and the Missa p. 33*; as well as 
 several chants in the Gradual, especially in the Ordinarium 
 Misses, are in the 11th Tone transposed an octave lower, 
 ranging from C to c. The Antiphons Alma Bedemptoris 
 [Dir. chori p. 60) and the solemn Jte missa est {Graduate 
 Romanum p. 12) are transposed a fifth lower with b flat 
 normal. The Antiphons Are Regina and Regina Ceeli can 
 also be considered as the Hypoaolian mode, transposed a 
 fifth lower and b flat in the signature. 
 
 CHAPTER 14 th. 
 
 TRANSPOSITION. 
 
 Every Tone (modus) of the so-called Sy sterna re- 
 gular e, or durum, (because none of the seven diatonic 
 scales include a bmolle or flat), may be transposed; 
 i. e. raised a fourth higher, or depressed a fifth lower, 
 by establishing one b immediately after the Clef, (as 
 we say in modern music, in the signature:) and this 
 alteration in pitch of the entire scale, is called the 
 Sy sterna transpositum, or molle. The 1 st Tone, for 
 example, transposed a 4 th higher will run thus: Gab 
 c d e f g : the relative position of the tones and semi- 
 tones remaining unaltered. The notes of these transposed 
 
91 
 
 scales are called "tuoni finti"\ and the Chant so trans- 
 posed Musica flcta. 1 ) 
 
 In Gregorian Chant however this kind of transpo- 
 sition does not often occur. But it is sometimes met 
 with especially in Chants of the I, 2 ) II, XIII (XI) and 
 XIV (XII) modes. And whenever a flat is thus estab- 
 lished in the signature, that is an indication that the 
 tone has been transposed. 
 
 But as all voices have not the same compass, and 
 Gregorian is essentially Unison Chant, some arrangement 
 of pitch becomes necessary, in order to bring the range 
 of the several Tones within the compass af average 
 voices. This perhaps will be better understood, by dis- 
 playing the extended (2 octave) scale of St. Gregory, 
 and then each Tone in its natural place taken out of 
 that scale. The letters in large type mark the finals 
 and dominants of the Tones , and the circumflex lines 
 
 the position of the semitone's. 
 
 Scale of 
 St. Gregory. 
 
 r 
 
 A 
 
 B 
 
 C 
 
 D 
 
 E 
 
 F 
 
 G 
 
 a 
 
 b 
 
 c 
 
 d 
 
 e 
 
 f 
 
 g 
 
 1 st Tone. 
 
 
 
 
 
 n 
 
 e 
 
 > 
 
 G 
 
 a 
 
 tf 
 
 c 
 
 d 
 
 
 
 
 
 
 A 
 
 if 
 
 
 jD 
 
 E 
 
 
 G 
 
 a 
 
 
 
 
 
 
 
 1 3'i ' „ 
 
 
 
 
 
 
 £ 
 
 ~F 
 
 G 
 
 a 
 
 b 
 
 c 
 
 d 
 
 e 
 
 
 
 4 th „ 
 
 
 
 B 
 
 
 D 
 
 K 
 
 
 G 
 
 a 
 
 b 
 
 
 
 
 
 
 5 th „ 
 
 
 
 
 
 
 
 JP 
 
 G 
 
 a 
 
 b" 
 
 c 
 
 d 
 
 e 
 
 
 
 6 th „ 
 
 
 
 
 C 
 
 D 
 
 E 
 
 ~> 
 
 G 
 
 a 
 
 
 c 
 
 
 
 
 
 7 th „ 
 
 
 
 
 
 
 
 
 G 
 
 a 
 
 \ 
 
 c 
 
 d 
 
 e 
 
 
 g 
 
 8* „ 
 
 
 
 
 
 D 
 
 E 
 
 ~F 
 
 G 
 
 a 
 
 b 
 
 c 
 
 d 
 
 
 
 
 •) This is not the only signification of Musica ficta; it is also 
 used in contrapuntal harmony but in a different sense. 
 
 2 ) In the third line of the verses of the Hymn Jesu Bedemptor 
 ( Vesp. Bom. page 85) several versions place a flat before e-mi. The 
 reason of this is that it is the first Tone transposed, and the t> there 
 is instead of si, (b+) to avoid the otherwise occurring Tritone. 
 
92 
 
 It will be seen from the above schema that only 
 two tones, the 1 st and 8 th , lie easily within the compass 
 of the generality of voices, i. e. from D to d. So that 
 it seldom becomes necessary to transpose or alter the 
 pitch of the 1 st or the 8 th Tone. They may be sung 
 or played as written. But the 2 nd Tone, and the 7 th 
 proceed to the opposite extremes of the extended scale 
 and run too low in one instance, too high in the other. 
 A medium pitch therefore should be selected so as to 
 render all the Tones available for all classes of voices. 
 A general rule is to select La or a the dominant of the 
 1 st Tone, as a common dominant for all the Tones. For 
 example in the 2 nd Tone the dominant is Fa, give that 
 the same pitch as La in the 1 st and you thus raise the 
 whole scale a major third, its lowest note being then C 
 instead of A ; and similarly with the other Tones. Another 
 rule is to leave the 1 st and 8 th Tones untouched ; to 
 raise the 2 nd Tone a major third, or even a fourth. 
 Lower the 3 d by one Tone, or better still, if the Chant 
 does not go up to e leave it untransposed. In the 
 4 th Tone- if the Chant does not go down to B, it may 
 be sung in the natural pitch , otherwise it may be 
 raise a Tone. The 5 th is to be transposed a 3 d lower. 
 The 6 th a Tone higher; and the 7 th a major third or 
 fourth lower. 
 
 However the annexed Table will facilitate all pos- 
 sible transpositions with the aid of an instrument and 
 make them easier and more secure. It gives the num- 
 ber of sharps or jiats to be used in each transposition, 
 the Finals, Dominants of all, and the under fourths of 
 the Plagal Tones. 
 
 The attention of Organists is specially called to this 
 Table; as a careful study of it, and practical applica- 
 tion, will soon facilitate the otherwise difficult task of 
 transposing Gregorian melodies. 
 
93 
 
 Transpositions of the eight Tones. 
 
 Authentic. Plagal. 
 
 
 Final. 
 
 n„,„ Number of 
 SET (t or bin the 
 inant ' Signature. 
 
 Final. 
 
 Dom- 
 inant, 
 
 it„h^^ Number of 
 fnnwh Sorb in the 
 fourth ' 'signature. 
 
 
 ec 
 
 I* 
 
 IZ 
 
 5 
 
 8w 
 
 5 S 
 *C o 
 
 v a 
 
 E 
 F 
 Fg 
 
 bfa 
 
 c 
 
 *« 
 
 1 ft 
 
 3b 
 
 *§ 
 
 E 
 
 F(F ft) 
 G(Gft) 
 a 
 
 G 
 
 a b (a) 
 b (bb) 
 c 
 
 c ft 
 
 C (Cft) 
 
 D (Djj) 
 E 
 
 r ft 
 3 b (4 ft) 
 
 ib (6 J) 
 
 i— < ° 
 P§ 
 
 §*? 
 
 ■ a- 
 
 Ft 
 D 
 
 eg 
 
 G 
 
 E(E b) 
 D 
 
 d 
 b 
 a 
 
 2 S 
 2 b 
 
 ■J 
 
 F(Fft) 
 G(Gfc 
 
 b (b \) 
 c(c ft) 
 
 C (Cjf) 
 D(D jj) 
 
 5 b (2 ft) 
 3 b (4ft) 
 
 a s 
 
 as 
 *3 
 
 O Ci 
 
 3 ~- 
 
 3» 
 
 A 
 fl 
 
 bfcf (b flat) 
 a 
 
 9 If 
 
 oft (2 b) 
 
 E(E b) 
 G(Gb) 
 a (a b) 
 
 Gf{(G) 
 btf(bflat) 
 cft(c) 
 
 B (B D) 
 D (D b) 
 E (Eb) 
 
 oft (2 k) 
 2 jj (5 b) 
 4 ff (3 b) 
 
 ■d 
 
 £i 
 
 ft g 
 
 F(Fjf) 
 E(E b) 
 D(D b) 
 C 
 
 c (eft) 
 b^(bflat) 
 a (a b) 
 G 
 
 2 b (5 ft) 
 
 3 ft (4 b) 
 1 ft (6 b) 
 
 i b 
 
 atab) 
 F(F|) 
 E(E b) 
 D 
 
 d,(d b) 
 b (b t|) 
 a (a b) 
 G 
 
 E (E b) 
 C (Cft) 
 Bft(Bflat) 
 A 
 
 2 j| (5 b) 
 
 2 b (5 ft) 
 
 3 ft (4 b) 
 1« 
 
 pi 
 
 r-i ^ 
 
 With the assistance of this Table we can not only 
 restore a transposed tone to its natural position, but 
 raise it or lower by degrees, diatonic or chromatic, ac- 
 cording to the requirements of the voices engaged. For 
 example a Chant in the VII. Tone must be reduced a 
 minor Third. The Final of the 7 tQ Tone is G ; and the 
 Dominant d\ therefore transpose the final a minor third 
 lower, and it becomes E, and the Dominant &t|; and 3ft 
 / c and g occur in the signature. On the other hand 
 a Chant closes in F, it has 5 b (b, e and a flat) in the 
 signature, and a flat the Dominant To what Tone does 
 it belong? I look to my Table and find it belongs to 
 the 2 nd which has D for a final, F for Dominant, and 
 A for the under fourth. 
 
94 
 
 Observation. Of course it should be borne in mind 
 that this Table is only meant to be of service where the 
 pitch is taken from a keyed instrument such as an organ, 
 Harmonium or Pianoforte, on which chromatic intervals 
 {black keys) are found as well as Diatonic (white keys). And 
 again Organists and accompanyists of Plain-Chant, not 
 thoroughly acquainted with its principles or the nature of 
 its Modes, should be careful not to confound the signatures 
 rendered necessary by these several transpositions, with 
 the like signatures of modern music. For instance, if a 
 Chant of the 1st Tone be transposed, so as to require 2 ft 
 in the signature ; the accompanyist should never regard it 
 as in the Key of D major, or its relative minor. If he do 
 so, he will alter the whole character of the melody. In 
 the Little Book "Cantica Sacra" of Hauber and Ett, the 
 accompaniment to the 1st Tone for Vespers is arranged 
 with 2 ft in the signature. That does not mean that we are 
 to play in the Key of D major or b« minor; but simply, 
 that the 1 st Tone has been transposed a note higher, hav- 
 ing E for its final, and b\ for its Dominant, instead of D 
 and a respectively ; and the sharps are placed to preserve 
 the original position of the semitones. In the accompani- 
 ments to the "Ordinarium Missce" arranged by Dr. Witt, 
 the Kyrie in Masses of the B. V. M. is written with two 
 sharps in the signature. Therefore you will say, it is in 
 the key of D, or perhaps b\ minor, especially as I find a 
 b in the final chord. It is in neither one key nor the other. 
 I look to the final and I find it to be E, I look for the 
 dominant or prevailing note and I discover it to be b\. 
 I then look to the table and ascertain this arrangement 
 to be the 1st transposition of the 1st Tone. Consequently 
 the semitones fall between the 2nd and 3d degrees and 6'th 
 and 7th. The Gloria of the same mass is written in 3 sharps, 
 it ends on E, has b» for a dominant, therefore it is the 
 2 nd transposition downwards of the 7 th Tone and neither 
 the Key of A major, nor Fi minor. P'rom this it may be 
 readily concluded that the accompaniment of Plain-Chant 
 is a very different science from that of accompanying music 
 in the modern major and minor modes. 
 
 Where the Plain-Chant is unaccompanied or no in- 
 strument at hand, then the transposition should be re- 
 
95 
 
 gulated by the previous rules. Transposition also takes 
 place by substituting the fa clef , for the £ Do clef 
 or vice versa. 
 
 CHAPTER 15th. 
 
 ON THE USE OF THE DIESIS OR it IN GREGORIAN CHANT. 
 
 The word Diesis has had several significations in 
 the course of time. The Greeks used it to designate 
 the half of the Limma, enharmonic diesis. In a some- 
 what analogous sense the musical Theorists of the 12 th 
 and 13 th centuries, call diesis every Interval, which by 
 mathematical calculation does not make up an exact half- 
 tone. 1 ) John de Muris (1300 — 1370) calls the minor 
 semitone diesis u Semitonium minus vocatur diesis." This 
 signification of it was generally, established in the 16 th 
 century and thence to our time, so that every raising of 
 the Tone by # and a (this last sign was written # even 
 up to the 17 tn century) was named Diesis. 2 ) 
 
 Except i? before Si to avoid the Tritone, no 
 other accident, and no other indication of the 
 
 ') "Cum aliquis tonus bipartite propter aliquam consonantiam co- 
 lorandam, prima pars toni, sic aivisi, si per ascensum tit, major est, 
 et vocatur chroma, pars vero, quae restat, diesis dicitur." Marchet- 
 tus de Padua (1300). 
 
 2 ) The Italians even still say ut diesis, and the French ut dieze. 
 The English use the word sharp. The Germans when they wish to 
 designate the sharpening or flattering of a note, instead of saying 
 Aflat, Cflat, D sharp or F sharp they add a syllable is or es or as. to 
 the letter expressing the note affected by a musical accident and thus 
 they have for, 
 
 English: A sharp, B sharp, C sharp, D sharp, E sharp, F sharp, G. sharp. 
 German: Ais, His, Cis, Dis, Eis, Fis, Gis. 
 
 English: A flat. B flat, C flat, D flat, E flat, F flat, G flat. 
 German: As, B, Ces, Des, Es, Fes, Ges. 
 
_ 96 
 
 raising or lowering of the Tone, is allowable 
 in Gregorian. 
 
 Consequently the sign £ does not exist in pure Gre- 
 gorian Chant. The sign : restoring the Si. when pre- 
 viously lowered by the ? prefixed to it. to its natural 
 sound, is usually marked in modem editions, but it is 
 not essential, as. if no Tritone occurs, it should be al- 
 ways understood that Si is to be sung natural. 
 
 Many authors rely on certain passages in Gerbert 
 Script, and de cant a et nuts, sacra, to uphold the use 
 of the diesis, and chromatic closes in Plain-Chant. Ab- 
 stracting however from the obscurity and ambiguity of 
 these passages, both Gerbert. and Coussemacker Tom. II. 
 p. 293. especially, bring forward witnesses for the con- 
 trary, who to say the least of them, are fully as clear 
 and of as great authority as the defenders of the Diesis. 
 These are Begino con Prim (A. D. 910) in Gerbert, 
 Tom. I. p. 232. Odo of Clang, 1 ) HucbcUd &c. Moreover, 
 the passage from Aurelian. quoted by Gerbert. in which 
 the diesis is denned, says nothing about its use in the dia- 
 tonic music of the Church. Elias Salomonis (A. D. 1274), 
 quoted also by Gerbert writes "In G nan dicitur fa, sed 
 recompensatur re" r) that is to say. you cannot construct 
 
 ") S. Odo says of it "minis delicate, vitiosa, inaxime lasciviens, 
 quod magis corrigi. quam imitari oportet:' 
 
 -) Ambros in his History of Music is also of opinion that it was 
 much later, when forsooth Gregorian Chant and tigured Music were 
 mixed up. and the latter got the upper hand, that the $ was used 
 with C and F (VII. and VIII. Tones and even more frequently: any- 
 one that knows the History of Plain Song must admit the same. In 
 the II. vol. p. 155 [Geschichte der Mustk) he writes. "So long as Gre- 
 gorian Chant, the pure choral Song, was rendered in unison, it is well 
 established that none other but the tixed Tones of each Church Mode 
 according to the strict Diatonic system were adopted: as soon however 
 as they commenced to sing in parts, the difficulties of a strict dia- 
 tonic chant began to be felt, and it had to seek the assistance of Me- 
 dium Tones.** And again in page 51. "The harmonic relations of To- 
 nality in the modern sense . have got the mastery over our melodic 
 treatment: the Gregorian was independent of them.*' 
 
97 
 
 a Hexachord (See Table of Hexachords in Chap. 1.) on D, 
 because tlien it would run thus ^ f e JJi ^ but you must 
 begin a Tone under G, and say | f h a ') 
 
 Padre Martini (A. D. 1784) whose work on Music 
 has earned a world-wide reputation, writes. "The Cantus 
 "firmus is, according to the testimony of the earliest 
 "authors, purely Diatonic. Consequently it receives no 
 "colouring from the so-called musical accidents jf and 
 "except when the latter is used from F upwards to avoid 
 "theTritone, and downwards to avoid the diminished fifth." 
 Baini in his Memorie Storico-Critiche of Palestrina Vol. 
 II. pag. 122. complains, that in some of the editions of 
 the Choral books capricious alterations had been intro- 
 duced , leaving nothing but a mere skeleton of the an- 
 cient chant. "Some," he says "dreamt of putting b molle 
 "before e (mi) : and then they should either contradict 
 "themselves, or else place it also before a (la)) and so 
 "the very nature of Gregorian Chant becomes completely 
 "altered; others scattered b molls, and b quaclros (t)), 
 "and even jf (dieses) recklessly about and thus destroyed 
 "almost every vestige of the ancient mode." 
 
 If recourse is had to the masters of the middle ages, 
 who in the polyphonous treatment of the Gregorian me- 
 lodies frequently use the accidental semitones, it must 
 be borne in mind that they never undertook the con- 
 struction or arrangement of the entire melody; (and 
 
 ') Herr Schlecht, in a very closely reasoned paper published 
 in the Monatshefte fur Musikgescliichte, 1872. tries to elicit authority 
 for the Diesis from a passage in Guido's Micrologus, where speaking 
 of irregular transpositions, he enumerates amongst the blunderers, those 
 who "quasdam subductiones faciunt, in trito, quae dieses appellantur." 
 But Herr Haberl in the 4** edition of the "Magister Choralis" published 
 1873, says in a foot note, page 52. that he examined the most ancient 
 exemplars of Guido's Micrologus in the Vatican Library, in Florence 
 and Bologna, compared them with Gerbert's version, and found that 
 this sentence was originaly a marginal gloss inserted at least two cen- 
 turies later, which subsequently found its way into the text. 
 
 7 
 
98 
 
 therefore do not furnish the true version of the Gregorian 
 Chant, as such) but only extracted melodic phrases from 
 It. on which to establish their polyphonous compositions. 
 These very compositions themselves furnish undeniable 
 proofs that, even in their time, Gregorian was regarded 
 as strictly Diatonic; for they usually give the Gregorian 
 melody or as we would call it, the subject,' — marked 
 cantus firmUSf — to the Tenor, or some dther leading 
 voice, and leave it there untouched. Then the harmonic 
 and contrapuntal effects had to be arranged around that 
 in such a manner, as that the full tone might be ex- 
 pressed in those places where the defenders of the Diesis 
 would now seek to introduce a semitone. 1 ) 
 
 The reproach of unmusical taste, or unscientific de- 
 velopment of the same, cannot fairly be urged against 
 the supporters of the pure Diatonic system ; for if some 
 passages sound hard or even rugged, the fault may be 
 traced either to their bad rendering of it to a disregard 
 of the Rhythm, or an injudicious organ accompaniment. 
 
 Louis Schneider 2 ) (A. D. 1864) writing to Herr Ober- 
 hoffer in Luxembourg said "One thing I must impress 
 "upon you; i. e. to banish for ever and aye the Diesis 
 "from Gregorian Chant, and fly the cross (the sign $ 
 "in German is called Kreuz, cross.) as the Devil would. 
 "All that has ever been said or may yet be said in its 
 "justification is vain, a delusion and a snare. Between 
 "music external to the Church, and Liturgical Chant there 
 "is and must be an impassable barrier, as great a dis- 
 "tinction as there is between Heaven and Earth, between 
 
 1 ) These remarks can be proved by examples. The Proske Library 
 in Ratisbon will furnish rich materials to any one that wishes to study 
 this point closely. See also. Witt. Musica Sacra. 1868. page 33 &c. 
 
 2 ) Schneider was a very clever contrapuntist. His rules for har- 
 monising Gregorian are most valuable. They were published in 1806 
 (Frankfbrt-Hammacher) and styled "Gregorianische Choralgesange"' &c. 
 
99 
 
 "a secular banquet, and the Last Supper. I beseech 
 "of you never to be offended with the simple, 
 "earnest, strictly diatonic, proscribed, poor 
 "garment of Christ, the liturgical Song." 
 
 SECTIO PRACTICA. 
 
 CHAPTER 
 THE LITURGICAL BOOKS. 
 
 The Books of the Liturgy , in which the several 
 sections of Ecclesiastical Chant may be found, are as 
 follows : 
 
 1. The Roman Missal, — Missale Romanum, or 
 Mass Book, containing all the Lessons, Gospels, Prayers 
 &c. and the Canon of the Mass ; — in a word, all that 
 is to be read or sung in the celebration of the Holy 
 Sacrifice. The portions of the Liturgy set to musical 
 notation in the Missal, are those that appertain to the 
 Celebrant, or sacred ministers; classed under the generic 
 term Accentus , to distinguish them from the portions 
 to be chanted by the choir, called Concentus. 
 
 In furtherance of the Decree of the Council of Trent, 
 (24th session,) the sainted Pontiff Pius V., by a Bull dated 
 July 24th 1570, ordered, that in the celebration of Mass, 
 whether read or solemnly chanted, no other Missal should 
 be used, except the one corrected, amended, and restored 
 to its pristine dignity, by his authority. "Mandantes omni- 
 bus et singulis.... ut missam juxta ritnm, modum, ac formam, 
 quae per missale hoc, a nobis nunc traditur , decantent ac 
 leg ant." The Title of this Missal is as follows: "Missale 
 Romanum, ex Decreto Sacrosancti Concilii Tridentini resti- 
 tutum, Pit V. Pont. Max. jussu editum. Romae. Apud haere- 
 des Rartholomaei Faletti, Joannem Yariscum et socios." Then 
 
 7* 
 
100 
 
 on the last page we find the date, MDLXX. The correct- 
 ion of the Missal was entrusted by Pius V. to Giovanni 
 Bernardino Scotti, Cardinal of Trani, and Thomas Goldwell 
 Bishop of St. Asaphs, to whom was added the priest Gio- 
 vanni Guidetti a pupil of Palestrina, who was intimately 
 acquainted with the manuscripts of the Vatican Library 
 and the archives of the Basilica and inserted the old tra- 
 ditional chants of the Preface, Pater iwster, Exultet, Gloria 
 &c. in the square black notation then in general use. 
 
 Under Sixtus V. a revised edition of this Missal ap- 
 peared : Venetiis apud Juntas 1589, and apud Jo. Ant. Pam~ 
 pagettum (Melch. Sessa) 1589. Under Clement VIII. 1604 
 a third improved edition; under Urban VIII. 1634 a fourth, 
 and another under Innocent XL 1677. Modern editions are 
 reprints of those of St. Pius, Clem. VIII. and Urban VIII. 
 
 2. The Eoman Gradual, — Graduale Romanum, 
 
 contains the chants of the Concentus, or those portions 
 of the Liturgy of the Mass not to be sung by the Ce- 
 lebrant or sacred ministers, but by the Choir. Hence 
 in it, we have the Introits, Graduate, Alleluias, Tracts, 
 Sequences, Offertories and Communions of the entire Ec- 
 clesiastical year, and those proper to the several Festi- 
 vals. The name Gradual was originally given to the 
 Chant which followed the Epistle, from the fact, as some 
 suppose, 1 ) that whilst it was being sung, the Deacon 
 stood on the steps (ad gradus) of the Ambo or pulpit, 
 preparing to sing the Gospel. The name was subsequently 
 extended to the Book containing all the Chants used in 
 the celebration of the Holy Sacrifice. 
 
 Pope Gregory XIII. on the termination of the Jubilee 
 year 1575, charged Palestrina 2 ) with the duty of revising 
 and correcting the Graduale, so as to bring it into ac- 
 cordance with the corrected and amended Missal. He 
 
 •) Vide Otto Kornniuller "Lexikon der kirchhchen Tonkunst" under 
 the word ''Graduale." 
 
 7 ) Giovanni Pierluigi da Palestrina. born 1524, died on the Feast 
 of the Purification 2 nd of February 1594, in the arms of his confessor 
 St. Philip Neri; justly styled the "Prince of Music.'* 
 
101 
 
 worked at this arduous task for several years, but had 
 only completed the revision of that portion called the 
 "Prop riu m de Tempore" before his death. Whilst Palestrina, 
 assisted by his pupil Guidetti, were thus engaged, there 
 appeared in 1580, published at Venice by Peter Liechten- 
 stein a Patrician of Cologne two folio volumes , one being 
 the Antiphonary, and the other, the Graduale; both 
 corrected and noted in conformity with the new Roman 
 Missal and Breviary of St. Pius V. The editor is unknown, 
 and the authority by which it was issued is equally un- 
 known, but the prolonged neumas, and superabundant notes, 
 which Palestrina was commanded to reduce, were preserved 
 in this edition. It was not until the year 1615, under Pope 
 Paul V. that a regular official edition of the Gradual was 
 issued from the Medicaean printing offices in Rome. Baini 
 supposes Raggiero Giovanelli, — who succeeded Palestrina 
 as Chapel Master to the Vatican Basilica, — to have su- 
 perintended its publication, and pronounces it to be the 
 best. By order of Pius IX., this same edition, enriched with 
 chants for the new festivals, has been reproduced in splendid 
 form by HerrPustet of Ratisbon, and strongly recommended 
 by His Holiness and the Sacred Congregation of Rites, it 
 is being gradually introduced into every country. The other 
 editions of the Gradual deserving special mention, are Ant- 
 werp, 1599. Ingolstadt, 1618. Venice 1652. Mechlin 1848, 
 and the Reims and Cambray edition published by Lecoffre 
 of Paris. 
 
 3. The Pontlflcale Romanum, a book containing 
 the several functions proper to a Bishop. 
 
 The edition under Clement VIII. 1596 serves as a 
 standard for all subsequent issues; such as Antwerp. 1627 
 and 1663. Rome 1646. 1658. 1752. Venice 1770. 1772. 
 1786; and the recent edition of the Propaganda print- 
 ing office. 
 
 The Ceremoniale Episcoporum serves a like pur- 
 pose and contains most of the decrees of the Sacred Con- 
 gregation, appertaining to Episcopal functions. Recently 
 a Commentarhtm by Aloisio Proto , has been published by 
 Pustet, containing several recent decrees of the Sacrecl 
 Congregation. 
 
102 
 
 4. The Rituale Romanum, — or Roman Ritual, 
 for the administration of the Sacraments , the burial 
 service &c. 
 
 It was first edited under Paul V. 1614, and enlarged by 
 Benedict XIV. The most recent edition of the Roman Ritual 
 has been published, with the approbation of the Sacred 
 Congregation of Rites, by Herr Pustet of Ratisbon 1872. 
 
 Several portions of the Ritual are extracted there- 
 from, and published separately for greater convenience; 
 such as the Processionale Romanum; of which anew 
 edition has just appeared (Ratisbon). Before the reform 
 of the Liturgical Books, the Sacerdotale, or Liber 
 Sacerdotalis, {Yenetiis per Melch Sessas et Petrurn de 
 Ravanis socios 1523, and Yenetiis, Petri Liechtenstein Agri/j- 
 pinensis 1567) was found useful but has now become ob- 
 solete. The extract, however, that will be found most ge- 
 nerally in demand, is the Exequiale Romanum, or 
 Ordo Ex e qui arum, containing the Mass and Office of 
 the Dead, and the ceremony of Interment, published in 
 1872 by Herr Pustet, with' the approval of the Sacred 
 Congregation. 
 
 5. The Antiphonarium Romanum, — or Roman 
 Antiphonary, contains all the chants for the several 
 portions of the Divine Office ; — the Antiphons at Matins, 
 Lauds , Vespers ; the Invitatories , Responses , Psalm- 
 tones, &c. just as the Graduale contains the Chants for 
 the Mass. 
 
 The old editions are: Antwerp. 1573, 1611; lngolstadt 
 1630; Yenetiis 1503, 1554, 1580, 1645, 1652, 1695, 1701. 
 The new official edition about to be published in Folio by 
 Herr Pustet, will be a reprint with the addition of the new 
 offices, of the Liechtenstein edition. Baini, speaking of the 
 reform of the Liturgical Books entrusted to Palestrina, 
 says of the Antiphonaries then in use, that they did not 
 suffer much from the transcriptions of the amanuenses. 
 The antiphons, he says, were almost all intact, as also the 
 hymns; and the Psalm tones alike in all the manuscripts; 
 so that the correction of it was more a re-setting of the 
 words of the amended Breviary, than a profound effort of 
 
103 
 
 musical scholarship, and for that reason the Liechtenstein 
 edition, which appeared with the amended text, while Pa- 
 lestrina was engaged on the Gradual, served all the pur- 
 poses of Gregory XIII s reform, and is regarded as a stan- 
 dard edition. In the new Ratisbon edition, the 2nd vol. con- 
 taining that portion of the Office in most general use; — 
 i.e. Vespers, will appear first. (Already an octavo edition 
 has been published; — Vesperale Romanum.) The 1st ml. 
 containing Matins, Lauds, &c. will follow. This latter por- 
 tion of the Office is rarely heard now, except in cloisters, 
 and on the Vigil of Christmas, and during Holy Week. For 
 this reason separate editions of the Officium Nativita- 
 tisD.N. J. C. in 8vo y andOfficium majoris Hebdomadae, 
 have been issued by the indefatigable publishing firm in 
 Ratisbon. 
 
 6. In the Psalterium Romanum chorale, — we 
 
 have the Psalms of the Officium de tempore, for the 
 week; as also the Hymns for the entire year, and the 
 Officium Defunctorum. 1 ) In many instances the Hymns 
 were published separately on large folio sheets. 2 ) 
 
 7. The Direct orium Chori, the standard text book 
 for all the Intonations , for Priests , sacred Ministers, 
 Chanters &c. 
 
 Giovanni Guidetti brought it out in 1582, under the 
 following title. "Direct or ium chori ad usnm sacro-sanctae 
 basilicae Vaticanae, et aliarum cathedralium et collegiatarum 
 ecclesiarum collection opera Joh. Giudetti Bononiensis, ejus- 
 dem Vaticanae basilicae clerici beneficiati, et SS. I). N. Gre- 
 gorii XIII, capellani, per mis su Superiorum, Romae ap. Rob. 
 Granjou. Parisien. 1582!' It was the first result of the united 
 labours of Palestrina and Guidetti. The reception which 
 this l 8t edition met with, by reason of its clear method, 
 correct notation, and general usefulness, soon necessitated 
 
 1 ) The noteworthy editions are; Antwerp, 1609, 1611, 1664; Rome, 
 1678; Salzburgh 1683; Venice 1606, 1656, 1751 &c. 
 
 2 ) Such editions are found in Venice, 1644, 1675, 1724; Antwerp, 
 1644; Salzburgh 1684. The harmonised {counterpoint) work of Palestrina 
 "Hymni totius anni" &c. Romae 1589, and that of Vittoria 1581, were 
 of the greatest service in correcting the music of the Hymns themselves. 
 
104: 
 
 two other editions, one in 1589, and another in 1600. 
 In this Hand book or Manual, with which every Eccle- 
 siastical Student should be provided, we have all the in- 
 tonations of Psalms for the entire year, for the several 
 Venite exultemus, Ver sides, Epistles, Gospels, Te Deum, 
 Prayers, Litanies, Gloria, Ite miss a est &c. The new edition 
 issued by Pustet contains moreover the text of all the 
 psalms in full, the melodies of the Hymns for the year, 
 and the chants for the new Feasts. This Book we consider 
 to be almost indispensable, and certainly most useful. 
 
 Both the Director turn chori, and the Officii/ in major is 
 Ilebdomadae, just issued by Pustet, are faithful reprints of 
 Guidetti ; the only alteration being the disuse of the notae 
 coronalae, and the adoption of the simpler forms, — the 
 lorn/ a, brer is and semibrevis. See foot note. 
 
 CHAPTER Htii. 
 
 THE ECCLESIASTICAL YEAR AND CALENDAR. 
 
 I. The Ecclesiastical year, is divided into three 
 principal seasons, and all days and hours of these sea- 
 sons, are a proximate or remote, anterior or posterior 
 celebration of the three great central festivals; Christ- 
 mas, Easter and Pentecost. The most proximate 
 anterior celebration is the Vigil, which is only found 
 with the older festivals, and not with those of compa- 
 ratively recent date: (such as Corpus Christi, and the 
 Feast of St. Joseph &c.) The most proximate posterior 
 
 l ) D. Gio Francesco Massani re-published the Virectorium with 
 slight additions, Rome 160i, Nicolo Stamegna in lfiGo, with several 
 additions; and after various other editions D. Francesco Pelichiari. ot 
 Monte Cassino, and master of Gregorian Chant to the German College 
 in Borne, published in 1737 the most recent up to the present time, 
 in which lie abolished the square notes with the semicircle and dot 
 over them, and retained only the longa , breve and semibreve. 
 
105 
 
 celebration is the octave, which closes on the eighth 
 day after the Festival. 
 
 The remote anterior and posterior celebrations of 
 the three central Feasts, are the Sundays with their 
 intervening Ferias, or Week-days. What the octave 
 is to the Festival, the Feria is to the preceding Sunday. 
 If the latter be ranked high so also are the subsequent 
 Feriae; and hence we have feriae majores and minores. 
 To the first-mentioned belong, the feriae (or iveek-days) 
 of Advent and Lent ; the Wednesdays, Fridays and Satur- 
 days of Quarter tense, and the Rogation days. 
 
 Between the three great central festivals, other Feasts 
 of bur Blessed Lord, of the Blessed Virgin and of the Saints 
 and Angels are inserted during the course of the year. 
 
 The Ecclesiastical year begins with the 1 st Sunday 
 of Advent. In the week following the 3 d Sunday we 
 have the 1 st Quarter tense; and after the 4 th Sunday 
 the Vigil of Christmas, then the Feast of Christmas, and 
 a succession of Feasts with Octaves. The octave day of 
 Christmas is the 1 st of January; — feast of the Circum- 
 cision of our Lord. On the 6 th of January we celebrate 
 the Epiphania Domini, or his manifestation to the Gen- 
 tiles ; and then follows the closing of the first great fest- 
 ival with the Sundays after Epiphany (Dom. post Epiph.) ; 
 the number of which is regulated b; the time of Easter ; 
 it is sometimes more, sometimes less, but never can ex- 
 ceed six. 
 
 The remote preparation for the Festival of Easter 
 commences with Septuagesima Sunday. (70 th dag before 
 Easter) it includes Sexagesima, Quinquagesima and con- 
 tinues up to Ash- Wednesday, (Feria IV. Cinerum) when 
 the Church enters on the 40 days Fast (Quadragesima). 
 Between the 1 st and 2 nd Sunday of Lent, we meet the 2 nd 
 Quarter-tense. After four Sundays, Passion-tide follows 
 commencing with Passion-Sunday (Dominica Passionis)\ 
 
106 
 
 the week following being called Passion-week, and then 
 Palm-Sunday {Dominica Palmarum) , commencing Holy 
 Week {Hebdomadas major); during which, Holy Thurs- 
 day {Feria V. in Coena Domini), Good Friday {Feria VI. 
 in Parasceve), and Holy Saturday {Sabbatum Sanctum) 
 are specially solemnized. Easter (Pascha) has its octave, 
 which closes on Low Sunday {Dominica in albis), and 
 then 4 Sundays follow. After the 4 th Sunday (or 5 th 
 after Easter), we meet the Rogation days, and Ascension 
 Thursday, and on the 50 th day after Easter; — Whit- 
 Sunday or Pentecost {Dominica Pentecostes) i; for which 
 the days from Ascension day to the Vigil , including 
 Sunday within the Octave (Domiu. infra Octavam Avcen- 
 sionis\ serve as an immediate preparation. 
 
 The Octave of Pentecost includes the 3 d Quarter tense, 
 and closes on Trinity Sunday {Festum SS. Trinitatis). 
 On the Thursday immediately following Trinity Sunday, 
 the Church celebrates the Feast of Corpus Christi {Festum 
 SS. Corp. Christi), or Feast of the Most Holy Sacrament. 
 which has an Octave, and then follow the Sundays after 
 Pentecost, in regular succession to the number of 23; 
 {the 4 th Quarter tense occurring in Sej)tember). Should 
 there be more than 24 Sundays, between Pentecost and 
 Advent, then after the 23 d Sunday, are inserted such 
 Sundays after Epiphany, as could not be celebrated in 
 their proper season, by reason of the proximity, of Easter; 
 commencing with the 3 d Sunday after Epiphany, if there 
 be 28; with the 4 th if only 27; and soforth. " The last 
 Sunday after Pentecost (marked XXIV and ultima) 
 terminates the Ecclesiastical year. 
 
 The Festivals or Feasts occurring between these 
 three central Feasts, have not all the same rank or dig- 
 nity , and consequently are not celebrated with equal 
 solemnity. The Liturgy classifies them as simples 
 {simplicia), semidoubles (semiduplicia). and doubles; 
 
107 
 
 the last mentioned are again divided into doubles of 
 the 1 st class (dupl. I. classis) and doubles of the 2 nd 
 class {dupl. II. classis), greater doubles and lesser 
 doubles (d/uplicia major a et minora). The lesser doubles 
 are marked in the calendar with the abbreviated word 
 dupl. (duplex) ; the others are specially indicated. 
 
 Every country or Diocese has moreover certain na- 
 tional or local Feasts, which are indicated in the Calendar 
 specially, and quoted as from the Office proper to such 
 country or Diocese ; e.g. ex proprio Hibernice, ex proprio 
 Anglim &C; (from the proper of Ireland, or from the 
 proper of England, &c.) 
 
 II. The Ecclesiastical Calendar, or " Ordo re- 
 cti a ndi officium divinum Missamque celebrandi;" is a 
 book necessary for every priest, that he may know the 
 Office and Mass to be said every day in the year. We 
 would also add, that wherever the music in the Church 
 is conducted according to the requirements of the Liturgy; 
 (and there is no place where such ought not to be the 
 case) every Organist or Choir Master , should likewise 
 be provided with it, and familiarized with its use. On 
 the Continent of Europe, each Diocese has its own spe- 
 cial Calendar or Ordo; but in Ireland, England and 
 Scotland, and the United States of America, a general 
 Ordo for the whole country is compiled each year ; those 
 feasts which are specially celebrated in particular dio- 
 ceses or localities, being indicated in smaller type. More- 
 over, as Organists and Choir Masters are not generally 
 conversant with the Latin language and Latin termino- 
 logy; editions in English of the Ordo are published in 
 Dublin, 1 ) London 2 ) and New York, thus removing all ex- 
 
 1 ) Irish Catholic Directory, Almanac and Registry; with the com- 
 plete Ordo in English. A. D. 1876. Dublin, John Mullany 1 Parliament 
 Street. 
 
 2 ) The Catholic Directory Ecclesiastical Register and Almanac. 
 1876. London, Burns & Oates. 
 
10S 
 
 cuse from those, who should study to have the Music 
 of the Church, conformable to the Church's spirit and 
 Liturgy. t 
 
 The Ecclesiastical Calendar begins with the civil year 
 on the 1 st of January (the date of the Sunday of Ad- 
 vent, the proper commencement of the Ecclesiastical year, 
 being variable). The order of Feasts is regulated by the 
 time of Easter; for, according as Easter occurs, Septua- 
 geshna Sunday, Ash Wednesday, Ascension Thursday, 
 Pentecost, Corpus Christi, and the 1 st Sunday of Advent, 
 are determined. These Feasts consequently are styled 
 movable Feasts (Festa mobilia). The several Direc- 
 tories or Ordos published, whether in Latin or English, 
 use abbreviations to indicate the rank of the Feast, the 
 Office, to be said whether proper or common, the colour 
 of the vestments &c. : a key to which abbreviations is 
 generally found at the beginning or end of the book. 
 By way of example, let us take Mullaay's Directory for 
 1876 and at the top of Page 49, we rind. April 2."). 
 Tuesday. — St. Mark the Evang.: (Evangelist) doub., 
 2 nd cl. (double of the 2 nd class) 11. nn. prop, (lessons in 
 the nocturns proper). In Mass Protejisti me Deus (prop.): 
 — (i.e. the Mass is to be found in the Missal or Gradual 
 amongst the Proper of Saints), creed, pref. (preface) of 
 apostles. In 2 nd vesp. (vesj)ers) com. of. foil, (commemo- 
 ration of the following feast: — i. e. SS. Cletus and Mar- 
 cellinus). Then towards the right hand margin of the 
 page, we meet the letter R which stands for rttbrum (red) 
 indicating the colour of the vestments to be worn. An 
 Alphabetical list at the end of this book will furnish an 
 explanation of most of the contractions used in the Latin 
 or Knuiish Directories. 
 
109 
 
 CHAPTER 18th. 
 
 ARRANGEMENT OF THE MISSAL (GRADUAL) AND BREVIARY. 
 
 I: The Missale Romanum is divided into six prin- 
 cipal sections ; so also the Graduate Romanum, namely : 
 1) Proprium de Tempore contains the Masses for all 
 Feasts, Sundays and Ferias of the regular Ecclesiastical 
 year (tempus) from the 1 st Sunday of Advent to the last 
 after Pentecost. Between Easter Saturday and Easter 
 Sunday, the 2) Ordo Missce with the Canon of the Mass 
 is inserted. 1 ) 3) The Proprium Missarum de Sanctis, or 
 special formulas for the Feasts of the B. V. M. the Saints, 
 Angels &c. ; from the 29 th of September (Vigil of St. 
 Andrew the Apostle), to the 26 th of November, Feast of 
 St. Peter of Alexandria. As most Feasts of Saints, even 
 to the smallest Prayers and versicles, have fixed formulas 
 in common; so the 4 th section contains the Commune San- 
 ctorum, or Common of Saints, which is thus subdivided. 
 
 a) In Vigilia unius Apostoli (on the Vigil of an Apostle). 
 
 b) Commune unius Martyris Pontificis (common of a Mar- 
 tyr who was also Bishop) ; with two different formulas ; 
 
 c) Commune unius Martyris non Pontificis (common of a 
 Martyr not a Bishop , with two forms) ; d) Commune 
 Martyrum tempore Paschali. De uno Martyre (Feast of 
 one Martyr in Pascjial time, i. e. from Low Sunday to 
 Pentecost) ; e) Be pluribus Martyribus temp. Pasch. (of 
 many martyrs in Paschal time) ; f) Commune plurium 
 Martyrum extra temp. Paschale (of many martyrs outside 
 of Paschal time); g) Commune Confessoris et Pontificis 
 (common of a Confessor and Bishop, with two different 
 
 ') Ordo Missae indicates that portion of the Liturgy of the Mass 
 which is unchangeable. In the Graduate the regular Chants for the 
 Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei (Credo) are found 
 at the end of the volume under the title "Ordinarium Missae." 
 
110 , 
 
 Masses) ; h) Commune Boctorum (Common of Doctors) ; 
 i) Commune, Conf. non Pontificis (Common of a Confessor 
 not a Bishop, with two Masses) ; k) Missa pro Abbatibus 
 (a Mass for Abbots) ; 1) Commune Virginum. Pro Virgins 
 et Martyre (for a Virgin and Martyr, three Masses); 
 m) Pro Virgine iantum (for a Virgin only, two formulas) ; 
 n) Commune non Virginum. Pro una Mart, non Virg. 
 (for a Martyr not a Virgin) ; o) Pro nee Virg. nee Mart. 
 (for neither Virgin nor Martyr, e. g. holy widows) ; p) In 
 Anniversario Bedicationis Ecclesice (the anniversary of 
 the Dedication of a Church). 
 
 Then follows the 5 th section, the Votive Masses 1 ) 
 (Missce votivce)\ first for each day of the week: — for 
 Monday in honour of the Holy Trinity, or for the Dead; 2 ) 
 for Tuesday in honour of the Holy Angels ; for Wednes- 
 day in honour of the Holy Apostles SS. Peter and Paul: 
 for Thursday, in honour of the Blessed Sacrament; for 
 Friday, in honour of the Holy Cross or Passion of our 
 Saviour ; and for Saturday in honour of the Blessed Virgin ; 
 this last with 5 different formulas according to the dif- 
 ferent seasons of the Ecclesiastical year. 3 ) After these 
 come 13 Votive Masses for particular objects, e.g. the 
 election of a Pope, for the Sick, for Peace, for a Bride 
 and Bridegroom &c. The 6 th section finally, embraces 
 the Festivals for particular places (Festa pro aliquibus 
 locis), which are not celebrated by the universal Church, 
 going from the 7 th of December, to the 29 th of November. 
 As an Appendix or Supplement to the Missal or Gra- 
 dual, we meet in the end, the proper for each Diocese 
 
 ') " Votive masses, are so called, because celebrated for some spe- 
 cial purpose of impetration, thanksgiving or praise.'" Amberger Pasto- 
 raltheologie, II. Bd. p. 241. 
 
 2 ) The Missa pro Defunctis is found in the Missal last of all the 
 Votive masses, and in the Gradual at the end of the Ordinar. Missae. 
 
 3 ) From Advent to Christmas, from Christmas to the Purification, 
 from the Purification (Feb. 2 ad ) to Easter, from Easter to Pentecost, 
 from Pentecost to Advent. 
 
Ill 
 
 or country , e.g. Proprium Hibernim , containing the 
 Masses for the Irish Saints, whose Feasts may not be 
 solemnized by the Church at large, but who are spec- 
 ially honoured in Ireland. 
 
 II. The Breviary, and also the Birectorium Chori 
 and the extract for Vespers ( Vesper ale Bomanum) have 
 exactly the same arrangement as the Missal. Before the 
 Proprium cle Tempore (and instead of the Or do and 
 Canon in the Missal), we find the Psalterium Bomanum 
 dispositiim per Hebdomadam or Psalms, portioned out 
 to each day of the week ; and instead of the 5 th section 
 of the Missal (the votive masses), we have in the Bre- 
 viary, the Office of the B. V. M., the Office for the Bead, 
 the Litany of the Saints &c. Each day has its own 
 Matins, Lauds, and canonical hours: Prime, Terce, Sext 
 and None, Vespers and Complin. These several portions 
 of the Divine Office will be more fully explained in 
 subsequent chapters. At the end of the Birectorium 
 Chori, the fixed Chants and Intonations for the Psalms, 
 Versicles &c. are collected together under the rubric 
 u Commune Birectorii." 
 
 THE HOLY SACRIFICE OF THE MASS. 
 
 CHAPTER 19th. 
 
 INTRO IT. - KYRIE. - GLORJA. 
 
 The highest and most solemn act of the Catholic 
 Liturgy, ("Isi'tog" and "I'^yov" "public work") is, un- 
 questionably, the Most Holy Sacrifice of the Mass. 
 It is the very centre point of her worship, and every 
 
112 
 
 thing else is subordinate^ grouped around it. Hence 
 every movement in its celebration , whether private or 
 solemn , is carefully provided for by a code of rules, 
 called rubrics, which have all the force of law, and bind 
 under sin. Music or singing, is in no sense essential to 
 the Holy Sacrifice as such; and for chant or music, during 
 the celebration of private or Low Mass, the Liturgy 
 makes no provision. 1 ) But for the solemn 2 ) celebration 
 of Mass , singing is indispensable . and the rubrics do 
 not allow such solemn celebration, where the Chant is 
 not adequately provided for. Again, the Chant which 
 should accompany the solemn celebration of the Holy 
 Sacrifice, is essentially an alternated or antiphonal chant, 
 in imitation, as Witt says (Fliegende Blatter an. II. N° 
 3 and 4) of the Seraphim crying one to another, and 
 saying, "Holy, Holy, Holy, the Lord God of Hosts, all 
 the earth is full of his glory." (Isais cap. vi.) The Cele- 
 brant intones the Gloria or Credo, and the Choir an- 
 swers him and sings the remainder of the Text. So that 
 the Celebrant who sings the Gloria , Preface , &c. the 
 Deacon who sings the Gospel, the Subdeacon who sings 
 the Epistle and the Choir singing its part, are all quid 
 unum et idem, one and the same, liturgically con- 
 sidered ; and all should combine to carry out the repeated 
 injunction of the Sacred Congregation of Rites, that Mass 
 should be said or sung, prout jacet in Missali; — as 
 it is found in the Missal ; nor is it lawful for the Cele- 
 
 ') The custom prevailing in most parts of Ireland and elsewhere, 
 of having Music or singing, whether congregational, or by a trained 
 Choir, during Low Mass on Sundays and Festivals, is not contemplated 
 by the Liturgy. Nevertheless it is not a custom to be condemned, pro- 
 vided the music be of a character calculated to edify the faithful and 
 help devotion, and not, as too often is the case, "a cheap concert at 
 one end of the Church, while Mass is being celebrated at the other." 
 
 2 ) Solemn Mass is of two kinds, viz: the Missa Cantata, without 
 Deacon or Subdeacon. where the Celebrant alone sings the Accenius; 
 and solemn High Mass, with the sacred ministers. 
 
113 
 
 brant, Deacon, Subdeacon or Choir, to omit or abbrev- 
 iate any portion of the Sacred Rite. 1 ) 
 
 In tjie Missal, the commencement of Mass is, — 
 I. The Int roit, {Introitus, entrance), — and not the 
 Kyrie. 2 ) The Introit is an antiphonal 3 ) Chant, compris- 
 ing an Antiphon, one verse of a Psalm, and the Doxo- 
 logy or Gloria Patrif) after which the Antiphon is re- 
 peated. 5 ) At Easter, and during Paschal Time, the 
 antiphon of the Introit is terminated by a double Alle- 
 luia; which will be found, with a suitable modulation 
 for each mode, at pages 70* and 71* of the Gradual 
 (8 W edition), and pages 113* and seqq., Vol.11, of the 
 Folio edition. 
 
 Observation I. The Introit was introduced into the 
 Liturgy by Pope Celestine I. (A. D.432) who ordered that 
 the Psalms of David should be sung antiphonally before 
 Mass. St. Gregory the Great ordered one Psalm to be 
 sung whilst the Sacred ministers were proceeding from 
 the Sacristy, and entering the Pr'esbyterium; (hence Introi- 
 tus) and that one verse of such Psalm should be selected 
 
 ') In a "communicated" article of the Catholic Church Music pe- 
 riodical "Cecilia" {Fischer. Bros. New York) 3<* year N°. 3; the follow- 
 ing remarks occur. "An ordinary organist assisted by a few singers 
 of moderate abilities and immoderate pretensions, can have things 
 pretty much their own way. The priest, the congregation and the 
 Mass itself, are all subordinate to them. The Introit, Gradual, Offertory 
 and other essential parts of the Mass are entirely ignored, while the 
 Kyrie, Gloria &c. are brought out in a carnival of harmony ... Is not 
 this in direct opposition to the spirit of the Church." 
 
 2 ) The Sacred Congregation of Rites declared the omission of the 
 Introit by the choir, to be an abuse that should be removed. "Abusus 
 quod in Missis cum cantu praetermittatur cantus Introitus &c. . . . tolla- 
 tur." S. R. C. 11. Sept. 1847. 
 
 3 ) i. e. To be chanted alternately by two choirs, or two divisions 
 of a choir. 
 
 4 ) During Passion Time, i. e. from Passion Sunday to Holy Thurs- 
 day inclusive, and in Masses of the Dead, the Gloria Patri is omitted. 
 
 5 ) We are not supposing the presence of an organ. The rule in 
 this latter case will be given further on. 
 
 8 
 
114 
 
 to serve as an Antiphon and be sung before and after the 
 Psalm, as at Vespers; such Psalm and Antiphon being se- 
 lected, as would seem most appropriate to the Feast cele- 
 brated. Since the 8 th century, if not earlier, tht custom 
 prevails to sing 1st the Antiphon, 2 nd one verse, instead of 
 the entire Psalm, 3 d the Gloria Patri and then repeat the 
 Antiphon. As e. g. in the Introit for Is* Sunday of Advent, 
 we have for Antiphon "Ad te levari" \ consisting of the two 
 first verses of the 24 th Psalm : then the Psalm-verse, being 
 the 4 th of the same Psalm, and finally the Gloria Patri, with 
 the Antiphon repeated. In the commencement the Anti- 
 phons were selected from the Psalms, later on some were 
 taken from other appropriate portions of Scripture, and some 
 again such as "Salve sancta parens" (Sedulius), and "Gau- 
 dearnus omnes in Domino" belong not to Scripture. In the 
 Missal (and Gradual) there is a special Introit for every 
 day and every Feast in the year, except for Holy Satur- 
 day and the High Mass of the Vigil of Pentecost. On these 
 days as the Litany of the Saints is chanted whilst pro- 
 ceeding from the Baptismal Font to the Altar, the Con- 
 cluding Kyries of the Litany serve as the Kyries of the 
 Mass, and no Introit, in the usual sense, is provided. 
 
 On Ferias {week-days) and simple Feasts (simplicia) 
 one Chorister 1 ) intones the Introit and sings alone up to 
 the 1 st upright line or bar drawn across the stave 
 on semidoubles and Sundays (when the Mass is of the 
 Sunday, and not the Feast of a Saint &c.) two chor- 
 isters chant the Intonation; on Feasts of greater rank 
 and solemnity, three or four intone the first word: 
 and then the entire Choir falls in, and sings the Anti- 
 
 phon right through till they meet the double bar, =; 
 
 and the Psalm verse indicated by the red letters Ps. 
 preceding. The first half of this verse down to the 
 colon; and of the Gloria Patri, is sung by one or more 
 choristers as above directed; the full choir responding 
 
 ') Vide the Directions for using the Gradual printed in the com- 
 mencement of the new Ratisbon edition. 
 
115 
 
 with the remaining half. The time for commencing to 
 sing the Introit is when the Celebrant has reached the 
 Altar steps and commences Mass; 1 ) and the music of 
 the Introit should be Gregorian, even when the other 
 portions of the Mass are sung to harmonised music. 2 ) 
 
 II. The Introit is followed immediately by the Kyrie 
 (ter — i.e. three times repeated), Christe iter) and Kyrie 
 Iter). In the Missa de B. M. V. the triple Kyrie and 
 Christe have the melodies varied. 
 
 Observation II. The Introduction of the Kyrie elei- 
 son from the Greek into the Latin Liturgy is attributed 
 by some to Pope Sylvester, by others to Pope Damasus. 
 The number of repetitions was different at different periods, 
 it was finally settled in the Roman Liturgy that the re- 
 petitions should be nine in number. Kyrie thrice, in ho- 
 nour of God the Father; Christe thrice in honour of God 
 the Son; and Kyrie again thrice in honour of the Holy 
 Spirit. The melody of the first Kyrie is generally identi- 
 cal with that of the Ite Missa Est, or Benedicamus prescri- 
 bed for same day or Feast. After the 12* h century the 
 custom grew of interpolating other words between the 
 Kyries; as in a Missal printed in Paris A. D. 1519 we 
 have "Kyrie eleison Pater infantium; Kyrie eleison Refector 
 lactentium and also in a Missal published in 1631, but it 
 is accompanied by the following rubric tC nullo modo sunt 
 de ordinario sen usu Romano." These interpolations were 
 called Tropes, but since the corrected Missal of Pius V. 
 they have never been tolerated. 
 
 Observation IK. In the Graduate Romanum under 
 the rubric Ordinarium Missae, we find the regularly re- 
 
 l ) Cum vero Episcopus pervenerit ante infimum gradum altaris . 
 cessat sonitus organorum, et chorus incipit Introitum. Cerem. Episc. 
 Lib. II. cap. VIII. 
 
 *) Sometimes harmonised arrangements are met with for the words 
 of some Introits, but such are very few; and it is more in keeping 
 with the spirit of the Church that this portion at least of the Liturgy 
 should be sung in Plain-Chant. It is no excuse on the part of the 
 Choir to say the}' do'nt know Plain-Chant; no Church choir, properly 
 so called, should be ignorant of it. 
 
 8* 
 
116 
 
 curring chants for the Kyrie, Gloria, Credo, Sanctus, Bene- 
 dict us and Agnus Dei, arranged according to the rank or 
 character of the Ecclesiastical Seasons and Feasts; follow- 
 ing the same order that the lie Missa Est, and Henedica- 
 mus Domino preserve in the Missal: in all, 13 Masses or 
 Mass Chants, and the Mass for the Dead. As Easter is 
 the greatest festival, the first in order is the Mass to be 
 used on week days from Holy Saturday to Saturday in 
 albis (inclusive). Then the Gregorian Mass for the most 
 solemn Festivals (festa solemnia). Every Choir-Master who 
 has the object of the Liturgy at heart, should become ac- 
 quainted with and understand the Directory, or Ordo; and 
 learn from it the rank or solemnity of the Feast, so as to 
 choose the Mass specially appointed for it. The third Mass 
 is for festivals of high rank, though not the highest (festa 
 duplicia), which as occasion suits, may be varied with the 
 fourth. The fifth and sixth Masses are exclusively for 
 Festivals of the B. V. M.; which may be either solemnia, 
 duplicia, or semiduplicia. The Ordo for each year and lo- 
 cality determines the rank of each. 
 
 If on any Sunday throughout the year (except the 
 Sundays of Lent and Advent) the Office and Mass be of 
 the Sunday, and not of the B. V. M. or any Saint; then 
 the seventh Mass (in Dominicis infra annum) is to be sung. 
 
 On Feasts of Saints (semidoubles), the eighth Mass is 
 used. On semidoubles (ferias) within Octaves, (not Octaves 
 of theB.V. M.), and when the office is, de die infra Octa- 
 vam, the ninth Mass is employed. The tenth Mass is 
 for simple Festivals (ritu simplici). In the present arrange- 
 ment of the Calendar they occur very seldom. 
 
 On Ferias (work-days) throughout the year,, except 
 during Advent and Lent, the eleventh Mass is used. On 
 the Sundays of Advent and Lent (Septuagesima to Quin- 
 quagesima not included), the twelfth Mass; and on the 
 Ferias of Advent and Lent the thirteenth. 
 
 Then comes the Mass for the Dead (pro Defunctis) 
 which is given entire, from the Introit to the Responsorium 
 Libera. 
 
 III. The Gloria, or Hymn of the Angels, is then 
 intoned by the Priest, if the rubric prescribe it. The 
 
117 
 
 Priest sings the words "Gloria in excelsis Deo" and the 
 Choir take up immediately with the words "Et in terra 
 pax" 1 ) and sing all*) the words right through to the end. 
 
 The following are the various Intonations to be used 
 by the Celebrant according to the rank of the Festival. . 
 
 Toni "Gloria." 
 
 1.) In Festis solemnibus et duplicibus. 
 cdf e f g e 
 
 G16-ri-a in ex-cel-sis De - o. 
 
 In this Intonation there is a fall of a semitone from 
 the syllable a to in; consequently it is a mistake to 
 sing in to the note fa. 
 
 2.) In Missis B. Maries (also in Votive Masses of 
 the B.V. M. on Christmas Day, Corpus Christi, and dur- 
 ing their octaves). 
 
 gagfg g a h^c ag efg 
 
 G16 - ri-a in ex-cel-sis De - o. 
 
 The full tone Sol-fa (#-/), and the Semitone mi-fa 
 (e-/) should be well fixed on the ear. 
 
 S.) In Dominicis festis semicluplicibus, et infra Octavas, 
 quce non stmt B. Marim. 
 
 dgfefg fe d e w f e d 
 
 G16 -ri-a in ex-cel-sis De-o. 
 
 l ) It is consequently unrubrical for the choir to repeat the words 
 Gloria &c, though in most modern concerted masses, this is con- 
 stantly done. 
 
 l ) S. B. C. 5. Julii 1631; 11. Sept. 1847 &c. 
 
118 
 
 4.) In Festis simplicibus. 1 ) 
 ega 
 
 zi g— rfz±=tqnlzz-Jt «=J «_— " qc 
 
 J - B zzdzzzz=^3=z:ld!3E 
 
 G16-ri-a in ex- eel -sis De-o. 
 
 The minor third mi-sol (e-g) should never be sung 
 as if major (e-g if). The Gloria is not sung on the Sun- 
 days of Lent and Advent. 
 
 CHAPTER 20th. 
 
 THE CHANTS FOR THE PRAYERS. 
 
 The Directorium Chori sets forth very clearly the 
 several chants for the Prayers under the rubric Toni 
 orationum; however we think it well to be most explicit 
 on this point, as it is too often overlooked. The prayers 
 may be sung in three ways in Tonus festivus, simplex 
 ferialis, and ferialis. 
 
 I. Tonus festivus. 
 
 The Prayers should be sung in Festive tone, quando 
 officium est duplex, vel semiduplex, vel de Dominica in 
 Matutinis, Missis 2 ) et Vesperis. His exceptis sem- 
 per dicuntur in Tono feriali. 
 
 This festive tone is monotonic admitting of two in- 
 flections or "Accents;" the 1 st fa-mi -re-fa called the 
 punctum principale; the 2 nd fa -mi, called the semi pun- 
 ctum. The punctum principale is employed at that break 
 in the prayer, where the sense of the words marks off 
 
 \) This is also used in Votive Masses de Angelis, in masses pro 
 parvulis defunctis, and on the Ferias of Paschal time, when de ea. 
 Baini mentions that the praxis in the Pontifical chapel is, on all oc- 
 casions, to use the solemn intonation, N° 1. 
 
 2 ) Etiam in Laudibus et Missis votivis solemnibus (ob causam 
 gravem et publicam, et frequentiam popidi). 
 
 9 
 
119 
 
 a section or clause; in other words, where a colon or 
 semicolon occurs ; or sometimes in the new editions of 
 Liturgical Books, where even a comma completes the 
 clause. This inflection should always be sung with em- 
 phasis, and rather slowly. 
 
 The second inflection the semipmetum, is used in the 
 second part or section of the prayer, usually indicated 
 by a semicolon or comma. When a prayer is so short 
 that both inflections cannot be introduced without destroy- 
 ing the sense, the semipunctum is omitted. The semi- 
 punctum should never be sung before the punctum in 
 the body of the prayer; the punctum always comes first; 
 e. g. In the Prayer Deus, qui nos conspicis, on the Feast 
 of St. Calixtus, 14. October, the punctum principale falls 
 on the word deficere, and then the semipunctum is not 
 used. The same occurs on the 29 th of Nov. and elsewhere. 
 
 The punctum and semipunctum are used only once 
 in each prayer, however many the clauses. This rule 
 should be especially borne in mind, in the protracted 
 prayers of some new Feasts. At the close of the prayer, 
 the accented syllable, {not the final syllable) of the last 
 word, should be held out, by dwelling on the vowel ; and 
 a shcrt pause made between it and the closing formula. 
 
 When the prayer closes with Per Dominum , and 
 Per eundem Dominum, the semipunctum comes first, 
 and falls on tuum, the punctum principale last, on Sancti 
 Beus. In the conclusion Qui tecum vivit, or Qui vivis, 
 the semipunctum is altogether omitted , and only the 
 punctum used on Sancti Dens. 
 
 If several prayers are to be sung sub unica conclu- 
 sione , each one has its punctum, and semipunctum at 
 the places indicated. 
 
 The response Amen should be sung on one and 
 the same note, ="zE*EE 
 A-men. 
 
120 
 
 Examples of prayers in the Festive tone. 
 (In ritu dupl. aut semidupl.) 
 
 Dominus vobiscum, is always, and in all cases 
 to be sun^ thus. 
 
 Kf. Dominus vobiscum. R. Et cum spi-ri-tu tu-o. 
 
 O-re-mus. De-us,»qui ko-di-er-nam di-em A-po-sto-16-rum 
 
 _F E PF _ 
 
 tu-6-rum Pe-tri et Pau-li marty-ri-o con-se-cra-sti : 
 
 F E 
 
 da Ec-cle-si-ae tu-ae e-6-rum in 6-mnibus sequi prreceptum; 
 
 per quos re-li-gi-6-nis sumpsit ex-6r-di-um. Per D6-minum 
 
 F E 
 
 -iff — ■ — ■ — ■ ■ 
 
 nostrum Jesum Christum Fi-li-um tuum: 1 ) Qui tecum vi.vit 
 
 m 
 
 et regnat in u-ni-ta-te Spi-ri-tus sancti De-us, per 
 
 6-mni-a sae-cu-la sae-cu-16-rum. Amen. 
 
 II. Tonus simplex ferialis. 
 
 The prayers in this tone also called Tonus ferialis 
 missm, are sung without any inflection whatever, and are 
 purely monotonic. Where a pmctum or semipmctum 
 would be used in the festive tone, here a pausa or su- 
 Bpirium is substituted. There is no need of giving an 
 
121 
 
 example of this intonation as all the syllables are sung 
 to the same note. The Tonus simplex ferialis is used: 
 1) in Festis simplicibus and diebus ferialibus; 2) in 
 Missis Defunctorum ; 3) for all the prayers at the bless- 
 ing of Candles and Palms (Candlemas Bay and Palm- 
 Sunday), which close with, Qui tecum vivit, Per Domi- 
 nion nostrum &c, or clausula major ; 4) for the prayer 
 Dens a quo et Judas, on Good Friday, as well as the 
 omnipotens immediately following , and the Libera nos 
 after the Pater noster; 5) for the prayers that occur 
 before the Mass on Holy Saturday and Vigil of Pente- 
 cost, at the end of the Prophecies, and at the blessing 
 of the Water; 1 ) 6) for all the prayers of the Officium 
 Defunctorum , of the Litanies, Processions &c. if they 
 terminate with the clausula major ; as for example, on 
 All Souls Day, and the Rogation Days. 
 
 HI. Tonus ferialis. 
 
 In this form of Intonation , all the words of the 
 Prayer are, as in the previous case, sung to one note, 
 except the last word and the ending or close; 2 ) where 
 the voice falls a minor Third. 
 
 Example of the Tonus ferialis. 
 
 
 S 
 
 
 
 
 
 
 Concede , misericors Deus , fragilitati nostrae praesidium : | 
 ut qui sanctae Dei Genitricis memoriam agimus, | inter- 
 ces-si-6-ms ejus au-xi-li-o | a no-stris in-i-qui-ta-ti-bus 
 
 
 ■■ ♦ » . ♦ ■ » q — a V " 1-1-^ 
 
 re-sur-gamus. Per e-un-dem Chri-stum D6-minum nostrum. 
 
 l ) The prayers at the blessing of the fire are simply read, not 
 chanted. 
 
 *) The ending of prayers in these cases, where the ferial in- 
 tonation should be used, is always : Per Christum Dominum nostrum, 
 or Per eundem Christum Dominum nostrum, or Qui vivis et regnas in 
 scecula sceculorum, and is called the clausula minor. 
 
122 
 
 This Intonation is used: 1) With the prayers sung 
 after the four Anthews of theB.V. M. 2) For the prayer 
 Dirigere at Prime. 3) In the Office of the Dead, at Ve- 
 spers [Matins), Lauds, Libera, when the clausula minor 
 is annexed. 4) For the prayers after the Litanies with 
 clausula minor. 5) At the Asperges or Vidi aquam on 
 Sundays. 6) After the Mandatum on Holy Thursdays. 
 7) Before and after the blessing of the candles, (Feast 
 of the Purification) ashes, and Palms when the prayers 
 close with the clausula minor; and at Benediction, or 
 expositio SS. Sacramenti, out of Mass time, when the 
 prayers are terminated by the clausula minor. When 
 several prayers are sung in succession in Tono feriali, 
 then this inflection of the minor Third is only made on 
 the last word of the last prayer. 
 
 Observation I. Before the 7 Prayers of Good Friday, 
 after the Prophecies on Holy Saturday, at the blessing of 
 candles on the 2 n <* of February (if after Septuagesima), 
 and in the Masses of Quarter tense extra tempus pasch. 
 the following is sung by the Celebrant, Deacon and Sub- 
 deacon. 
 
 Sacerdos. Diaconus. Subdiaconus. 
 
 D CD A C D ED A CD 
 
 O - re-mus Fle-ctamus ge-nu-a: Le-va-te. 
 
 The full tone D-C, and the minor third A-C, should 
 be well practised; and the fourth (r-C) should never be 
 sung. 
 
 Observation II. At the ratio super populum, (can- 
 tata Post-communione in missa de feria temp. Quadrag.) the 
 Deacon sings after the Oremus of the Celebrant. 
 
 Hu-mi-li- a-te ca-pi-ta vestra De-o. 
 
 Observation III. On Good Friday the prayers com- 
 mencing with Oremus, are sung to a peculiar intonation, 
 
123 
 
 which in some Missals is only noted for the first, but here 
 we give all in full. 
 
 a 
 
 I. Oratio. F 
 
 E D E 
 
 
 
 ■ B n N 
 
 
 
 
 
 O-re-mus, delectissimi nobis | pro Ecclesia sancta De-i 
 
 n-n- 
 
 ut e-am Deus et D6minus noster | pacificare, | Q ^ Q ^ er 
 adunare, | et custodire dignetur toto 
 
 -I- 
 
 rarum: sub-ji-ci-ens ei prin-ci-pa-tus , et po-te-sta-tes : 
 
 A 
 
 I S — M- 
 
 q£=fc= 
 
 detque nobis quietam et tranquillam vi-tam de-gen -ti-bus, 
 
 Mzjb=zlLMz:>.Wzig 
 
 glorificare Deum Patrem o-mnipoten-tem. O-re-mus &c. 
 
 See Observation I. 
 
 The prayer immediately following is then sung in Tono simplici 
 feriali, on the one note D. 
 
 II. Oratio. 
 
 O-re-mus et pro beati'ssimo Papa no-stro N... ut De-us 
 
 5g 
 
 4 
 
 et Dnus noster, | qui elegit eum in drdine E-pi-sco-pa-tus, 
 
 -1 
 
 ====== ===i=n^=^ ^ 
 
 salvum atque incolumem custodiat Ecclesiae suae sanctae, 
 E C 
 
 3£— 
 
 :*=» 
 
 ad regendum populum san-ctum De-i. Oremus &c. as above. 
 
124 
 
 III. Oratio. 
 
 O-re-mus et pro 6m-ni-bus E -pi'-sco-pis, Pres-by - te-ris, 
 
 Diaeonibus, | Subdiaconibus , Acolythis , I Exorcistis, 
 Le-cto -ri-bus, I O-sti-a-ri-is, Con-fes-so-ri-bus, I 
 
 Virgi-ni-bus, Vf-du-is, et pro omni po-pu-lo san-cto De-i. 
 
 O-re-mus &c. as above. 
 
 IV. Oratio pro Eomano Imperatore ob sublatum Romanum im- 
 perium non amplius recitetur, nec qiiidquam aliud ejus loco substitua- 
 tur. S. R. C. U. Mart. 1861. 
 
 V. Oratio. 
 
 qt — I — q 
 
 O-re-mus et pro catechumenis nostris : ut Deus et Dnus 
 
 noster, adaperiat aures prae-cor-di-6-rum i-pso-rum: 
 
 ja-nu-amque mi-se-ri-cor-di-ae; ut per lavacrum regenera- 
 
 ti6nis | accepta remissione omnium pecca-to-rum , et ipsi 
 
 3£E 
 
 inveniantur in Cbristo Jesu D6-mi-no no-stro. Oremus &c. 
 
 as above. 
 
 VI. Oratio. 
 
 O-re-mus, dilectissimi nobis, I Deum Patrem o-mni-po- 
 
125 
 
 tentem: ut cun-ctis mun-dum purget er-ro-ri-bus : morbos 
 
 — 1 — □ 
 
 au-fe-rat; fa-mem de-pel-lat: a-pe-ri-at car-ce-res, 
 
 ilF 
 
 vin-cu-la dis-sol-vat, pe - re-gri-nan-ti-bus re-di-tum, in-fir- 
 
 . J. 
 
 4 
 
 — _!__. 
 
 man-ti-bus sa-ni-ta-tem: na-vi-gan-ti-bus por-tum sa-lu-tis 
 
 in - dul - ge - at. 
 VH. Oratio. 
 
 Oremus &c. as above. 
 
 O-re-mus pro haereticis et schis-ma-ti-cis : ut Deus et 
 
 : i_ 
 
 Dominus noster | eruat eos ab erroribus u-ni-ver-sis, 
 
 11= 
 
 et ad sanctam matrem Ecclesiam 
 Cath61icam, | atque Apost61icam revo-ca-re di-gne-tur. 
 
 Oremus &c. as above. 
 
 VIII. Oratio. 
 
 - re-mus et pro per-fi-dis Ju-dae-is : ut Deus et Dnus 
 
 noster | auferat velamen de c6r-di-bus e - 6-rum ; ut et 
 
 ipsi agnoscant Jesum Christum D6-mi-num nostrum. 
 
 Oremus &c. as above. 
 
126 
 
 IX. Oratio. 
 
 - re-mus et pro pa-ga-nis: ut Deus omnipotens aiiferat 
 
 iniquitatem a c6r-di-bus e-6-rum; ut re-Ii-ctis i - d6 -lis 
 
 su-is, con-vertan-tur ad De-um vi-vum et ve-rum, | 
 et u-ni-cum Fi-li-um e-jus Je-sum Chri-stum | 
 
 4 -1 3P- 
 
 De-um et D6-mi-num no-strum. Oremus &c. as above. 
 
 CHAPTER 21st. 
 
 FROM THE EPISTLE TO THE PREFACE. 
 
 I. The Epistle is sung on one note without any 
 change or inflection; except, before a mark of interro- 
 gation, where the accentas interrogativus is introduced. 
 This inflection is made by falling a semitone, and then 
 returning to the reciting note. If the sentence close with 
 a monosyllable, the inflection is made on it; if with a 
 word of many syllables, the voice falls the semitone on 
 the accented syllable of such word; e. g. 
 
 Tonus Epistolse. 
 
 Le-cti-o ii-bri sa-pi-en-ti-ae. Quis est hie et laudabi- 
 
 Quid igitur 
 
127 
 
 Interrogatio. 
 
 mus e-um? Dedit illi coram praecepta, et legem vitae 
 lex? 
 
 Finis, slowly and ivell sustained. 
 et dis -ci -plf-nae. 
 
 II. After the Epistle or Lesson, comes the Gradual. 
 This for the most part is sung to a prolonged melody, 
 and frequently touches the extreme limits of the Gre- 
 gorian compass. Two chanters intone the Gradual, that 
 is, sing the first word or words until they meet the bar 
 or line drawn across the stave =|=: ; then the full choir 
 joins in and sings down to the f or Gradual-verse, which 
 is sung by the chanters only. Should the Gradual be 
 followed; as is mostly the case, by two Alleluias and 
 a verse of a psalm; then the, Chanters sing the first 
 Alleluia down to the neuma 1 ) or sign zipz; the Choir 
 repeats the same Alleluia, and continues the neuma fol- 
 lowing,, but only on the vowel a. Then the Chanters 
 intone the verse down to the sign =f=, and the Choir 
 continues it to the end ; — the Chanters repeat the Al- 
 leluia to the neuma; the choir falls in and sings the 
 neuma only, on the vowel a. From Septuagesima, in- 
 stead of the double Alleluia and verse, the Tract should 
 be sung; each verse of which is intoned by the Chan- 
 ters, and continued by the Choir. 
 
 In Paschal Time the Gradual is omitted, and only 
 the Alleluias and verse sung, in the manner just de- 
 scribed; but in Paschal time, the verse is followed by 
 
 ') We have already explained the various significations of the 
 word neuma. Here it is used for the group of notes sung to the final 
 vowel of the word Alleluia, by way of prolonged jubilation. 
 
128 
 
 a new special Alleluia and a second verse. This special 
 Alleluia is intoned by the Chanters down to the neuma, 
 or sign E|E, the Choir does not repeat it but vocalizes 
 the neuma to the vowel a ; then the chanters intone the 
 verse as before, and the special Alleluia is repeated 
 with neuma. 
 
 The Alleluia and verse 1 ) differ in the character of 
 the melody, and mostly in the modus, from the Gra- 
 dual to which they may be annexed. 
 
 Observation. In Masses for the Dead there is a 
 Gradual and Tract; both of which strictly speaking should 
 be sung. The Sacred Congregation of Rites in an answer 
 dated the 11. Sept. 1847. says: "Vel non celebrandas Missas 
 defunctorum vel canenda esse omnia, quae precationem suf- 
 fragii respiciant." This would imply that at least the I s * 
 verse of the Gradual, which is per modum suffragii, and 
 the entire of the Tract or Absolve should be sung. How- 
 ever the praxis in the Papal Chapel, and in the Roman 
 Basilicas, is to omit the Gradual and sing only the Tract 
 or Absolve. 
 
 "The last syllable of the last Alleluia by being 
 "broken up into several notes , is held out in a long 
 "protracted chant Tins prolongation of the Alleluia 
 
 x ) "Before the correction of the Gregorian Chant under Pius V., 
 great confusion prevailed as to the method of singing the Alleluia and 
 verse. St. Gregory appears to have left it to the good will of the 
 singers, and in the writings of this immortal Pontiff, we meet the 
 words: Alleluia et Versus quale volueris." Lambillote , Aesthet. p. 33. 
 The 1 st Ordo Romanns says: "In quotidianis diebus, si voluerint can- 
 tores, tantum prima pars dicatur." (The Alleluias in the older Litur- 
 gies were joined with several verses, and continued until the cere- 
 monies preceeding the singing of the Gospel had ended. Even still in 
 Pontifical Masses, this custom is observed, and the 5 th Ordo Bomanus 
 says: "Episcopus annuit magistro scholce , quando a cantoribus Gra- 
 duate vel Alleluia repetere debeat.") On account of this practice it may 
 be inferred as a practical rule, that according to circumstances, one 
 or more verses oi the Gradual, Alleluia, Tract or Sequence may be 
 sung as many as can be sung until the Deacon is ready to sing the 
 Gospel. In a Missa cantata; — without Deacon or Subdeacon;— the 
 singing of the Gradual &c., may be omitted altogether. 
 
129 
 
 "was called Sequence.... Later on however, words 
 "appropriate to the Festival were supplied to this pro- 
 "tracted chant, to which the name Sequence was re- 
 stricted By degrees every Sunday and Festival 
 
 "had its proper Sequence, until the correction of the 
 "Missal, when only four were retained in use." *) 
 
 The Sequences in earlier times were also called 
 Prosce; most of them were composed by Notker Bal- 
 bulus (AD. 912). Pre-tridentine Missals have as many 
 as one hundred such; however, the general Reform of 
 the Missal ordered by Pius V., eliminated all but the 
 five 2 ) best and most beautiful. 
 
 These truly divine poems, the works of most holy 
 men, are wedded to equally divine melodies. As a rule, 
 each verse has its own special melody, or in some in- 
 stances two verses are sung to the same notes. 
 
 III. The Gospel admits of three inflections; 1) be- 
 fore a mark of interrogation', 2) before a full stop, 
 and 3) at the termination. 
 
 Before a mark of interrogation, the voice falls from 
 the reciting note, half a tone, Do-Si, and returns imme- 
 diately to the same note; before a period or full stop, 
 it falls a minor third, — Do-La, and returns at once to 
 the reciting note Do, without any intermediate Si. The 
 accented syllable before a period is always sung on the 
 
 ') Amberger, Pastoraltheologie. II. Vol. p. 97. 
 
 s ) These five are: Victinue Paschali Laudes, of Wipo (11 th century) 
 for Easter; Veni Sancte Spiritus, (11 th cent. [?]) for Pentecost. Lauda 
 Sion, of St. Thomas of Aquin (13 th century) for Corpus Christi; and the 
 Stabat mater dolorosa of Jacopone (end of 13 fcl1 cent.) for the Seven 
 Dolours of the B. V. M. The Sequence Dies Irce may not be classed 
 with the above; it is a speciality of the Mass for the Dead. As the 
 last verse of the Dies Irce contains a prayer for the departed , it 
 must always be sung. The descriptive or dramatic verses may be 
 omitted. Schubiger's work: "Die Sdngerschule von St. Gotten? affords 
 a great deal of information regarding the Sequences. 
 
 9 
 
130 
 
 tonus currens, or reciting note, and the minor third 
 should never he made on a short syllable, it usually 
 occurs on the fourth syllable before the period. Towards 
 the termination of the Gospel, about the fourth or sixth 
 last syllable, l ) the voice falls the minor third, and then 
 returns to the reciting note, but with an intermediate Si, 
 and these notes should be sung slowly and impressively. 
 
 Tonus Evangelii. 
 
 ^^^^ ^^^ 
 
 t. D6-mi-nus vo-bi's-cum. Et cum Spi-ri- tu tu - o. 
 
 — w # ♦ w — ■— J— ~- 
 
 Sequentia sancti Evangelii se-cun-dum Mat - thae-um. 
 
 Jo - an-nem, 
 
 G16ria 
 
 Initium. Interrogatio. 
 
 se-cun-dum Mar -cum. Quid er-go e-rit no-bis? 
 
 " Lu - cam. Nonne decern mundati sunt ? 
 
 ti - bi Do - mi - ne. 
 
 Mediatio communis. 
 
 Hi autem qui por-ta-bant stete-runt. Hie autem dixit: 
 Mediatio in monosyllabis. alio Finalis. 
 
 Quia Pro-phe-ta est. Et vitam aeternam pos- si -de -bit. 
 
 Et qui se humiliat ex- al-tabi-tur. 
 Non potest meus esse disci-pulus. 
 
 *) The Direct. Chori remarks: non fit depressio vocis a fa ad re 
 (here it is Do-La, same interval as Fa-Be, F-D) ante 6 syllabam.... 
 ncc post quartam. 
 
131 
 
 Observation. The Passion of our Lord, according 
 to the four Evangelists, is sung in Holy Week in a pe- 
 culiar manner. Three Priests or Deacons, 1 ) divide the 
 Text between them in such a way, that one chants the 
 words spoken by Our Saviour, another the narrative of 
 the Evangelist, and the third the words spoken by other 
 individuals, such as Peter, Pilate &c. the Jews or the Sy- 
 nagogue. In the Missal these three divisions are marked 
 thus, X (Chrislus), E (Evang e lis ta), T (Turba), or f {Chris his), 
 C (canto?- or chronista), S (succentor or synagoga), or S 
 (Salvator), E (Evangelista), Ch (Chorus), or finally B (vox 
 bassa, Christus), M (v. media, Evang.), A (v. alia, the Turba). 
 Those passages in which a multitude or number of indi- 
 viduals are represented speaking, may be sung by a spe- 
 cial choir to the harmonised arrangements of Vittoria, or 
 Suriano, &c. 
 
 William Durandus Bishop of Menda, who died in Rome 
 on the 1st of November 1296, in his Rationale Divin. Offic. 
 lib. 2. cap. de fer. 2. post Dominic, in ramis palmarum, te- 
 stifies that even at that remote period, u non legitur tota 
 passio sab tono evangelii, sed cantus verborum Christi dul- 
 cius moderantur ; evang elistae verba in tono evangelii pro- 
 feruntur ; verba vero impiissimorum judaeoram clamose , et 
 cum asperitate vocis." (See Baini, Vol. II. page I JO.) 
 
 The Tonus passionis varied in different countries. 
 However the Roman method, compiled by Guidetti, now 
 prevails universally. 2 ) 
 
 h a 
 
 E. Passi-o D6-mi-ni nostri Je-su Christi se-cundum Mattbae-um. 
 Ch. Tu di - - cis. S. Cruci-fi-ga - - - tur. 
 
 l ) Or the Celebrant as Christus, Deacon and Subdeacon the other 
 parts. If however the Passion be not sung by the Priest and sacred 
 ministers at the altar, then ordinarily speaking, a Subdeacon cannot 
 take the part of the Turba, still less that of the Evangelist, because 
 he cannot use the stole. 
 
 l ) A very useful edition of the four passions in full was brought 
 out in Rome 1838 by Alfieri "Cantus passionis." This has been re- 
 produced by Pustet in Katisbon. 
 
 9* 
 
132 
 
 IV. After the Gospel the Celebrant intones the Credo 
 in unum Deum, if the Rubric should prescribe it. and 
 the choir answers, commencing with the word Patrem. 
 
 The official edition of the Gradual contains, besides 
 the first form of chanting the Credo , usually found in 
 most Graduals , three others written in the same Tone 
 or Mode. (IV.) Any one of these can be selected by the 
 Choir. The intonation of the Credo is as follows: 
 
 G E F ED Ga a 
 
 Credo in u-nura De-um. 
 
 The choir immediately follows with the words Patrem 
 omnipotentem, and sings all the words v ) without abbre- 
 viation to the end. 
 
 V. As soon as the Credo is terminated, the Cele- 
 brant sings Bominus vobiscum, and the Choir responds. 
 The Celebrant then introduces the Offertory by Ore- 
 rnus, as follows : 
 
 _-pz=q~-=zrz=z=q=lt: q q=ibzi=q=qd-L 
 
 t. Dominus vobi'scum. Et'cum Spiri-tu tu-o. Sac. O-remus. 
 
 The Offertory consists of an extract from the 
 Psalms or some other portion of Scripture, and all the 
 Offertories assigned to each day and Feast are contained 
 in the Graduale. Like the Introit, it is intoned by 1, 2 or 
 3 and 4 Chanters according to circumstances, and then 
 continued to the end by the full choir. In Paschal Time an 
 Alleluia is added, which if not printed after the Offertory 
 of the day, may be found at the end of the Gradualr. 
 
 '•) What we already advanced when speaking of the Gloria, holds 
 equally tor the Credo. The Sacred Congregation, and innumerable 
 Provincial and Diocesan Councils have published Decrees against all 
 abbreviation in the Credo. See Smcddink. 2 ad year Ccccilia, Be Herdt &&• 
 
133 
 
 Observation. A custom very generally prevails of 
 singing a Motett instead of the Offertory, or after the Of- 
 fertory and before the Preface. The first mentioned prac- 
 tice is not allowable, as the Offertory prescribed for the 
 day should be sung and may not be substituted. If time 
 however permit, it is allowable after the Offertory either 
 to repeat it, or to sing a Motett suitable to the Festival. 
 Thus, if it be a Feast of the B. Sacrament, an Salutaris 
 or Ave verum &c, if of the B. V. M. an Ave Maria, Alma 
 Virgo &c; but we fail to see the appropriateness of the 
 "Quis est homo" on Christmas Day, or of the Inflammatus 
 on Easter Sunday. 
 
 CHAPTER 22nd. 
 THE PREFACE. — SOLEMN INTONATION. 
 
 The Preface, as its name indicates, is an intro- 
 duction to the Canon of the Mass. It commences with 
 an antiphonal chant between Priest and People (choir). 
 Both Text and Melody are of very ancient date. Pope 
 Gelasius is reputed by some writers to be the author. 
 Baini quotes a manuscript in the Vallicellian Library, 
 dating from 1075, in which the melodies are precisely 
 the same as we sing at the present day. 
 
 The Intonation or Chant of the Preface is of two 
 kinds: Solemn (cant us solemnis or festivus), and Ferial 
 (cantus ferialis). 
 
 The Missal contains 1 1 Prefaces, differing somewhat 
 in Text, according to the character of the season or 
 Festival ; viz. for Christmas, Epiphany, Lent, Passion- 
 tide , Easter, Ascension, Pentecost and Trinity (which 
 serves also for Sundays throughout the year), for Feasts 
 of the B. V. M., of the Apostles, and the Prcefatio com- 
 munis or Preface generally used, when no special pre- 
 face is prescribed. 
 
134 
 
 We give here the Chant for all 1 ) the Prefaces, in 
 so far as the Text varies. The learner should be care- 
 ful to sing the first interval, a minor third (A-C, La-Do) 
 correctly; and the recurring full tone from D to C, 
 should not be diminished by sharpening the C. 
 
 The Celebrant should also be careful not to intone 
 the Per omnia , at too high a pitch ; as by reason of 
 the continous ascent of the melody (II. Tone) it reaches 
 to a minor sixth from the initial note A ; and if this 
 be taken too high, the falling and weakening of the 
 voice during the course of the Chant, will lead to un- 
 tunefulness and precipitation; neither should he make the 
 first interval a fourth G-C, as is too commonly done. 
 The accented syllables should be specially attended to. 
 
 1. De Nativitate. 
 
 From Christmas to Epiphany (except the Octave Bay of St. John the 
 Evangelist), on the Purification, on Corpus Christi, and during its 
 Octave (if no Festival occur having a proper Preface), on the Feast of 
 the Transfiguration, and of the Holy Name, the following Preface is sung. 
 
 A CD E 
 
 Per 6-mni-a sae-cu-la sae-cu-16-rum. I£. A-men. Dominus 
 
 def e de do 
 
 vo-biscum. Ijfc. Et cum spf-ri-tu tu-o. t. Sur-sum eor-da. 
 
 e def e e de dc e d dc e def e 
 
 $. Ha-be-mus ad D6-mi-num. Hr. Gra-ti-as a - ga - mus T)6- 
 
 ') The Prefaces for the blessing of Palms, and of the Baptismal 
 Font, can be learned from the missal. The Prefaces given here are 
 taken from the most recent Roman edition of the Missal approved 
 of by the Sacred Congregation of Rites; and are a faithful reprint 
 of the work compiled by Guidetti: Cantus Prafationum. Pomcc. Jac. 
 Tomer it. 1588. 
 
135 
 
 mi -no De - o nostro. Ijfc. Dignum, et ju-stum est 
 
 Vfe — ♦ ♦ — ■ — ♦ — W 
 
 3F 
 
 Ve-re 
 
 d: 
 
 di gnum et justum est , ae-quum et sa - lu - ta - re , nos 
 
 ti - bi semper , et u - bi-que gra-ti - as a - ge - re , D6-mi-ne 
 
 * 
 
 sancte, Pa-ter o-mnipotens , ae-ter-ne De-us. Qui-a 
 
 d e e e e e 
 
 per in-car-na-ti Verbi my - ste - ri-um , no-va men-tis nostrae 
 
 6-cu-lis lux tu-ae cla-ri-ta-tis in-ful-sit: ut ,dum vi-si- 
 
 bi-li-ter Deum co-gno-sci-mus, per hunc in in-vi-si-bi - 
 
 li-um a-mo-rem ra-pi-a-mur. Et i-de-o cum Ange 
 
 lis et Ar-chan-ge-lis, cum Thronis , et Do-mi-na-ti - 6 - 
 ni-bus, cumque o-mni mi-H-ti-a coe-le-stis ex - er - ci-tus, 
 
 hymnum glo-ri-ae tu-ae ca-ni-mus, si-ne li-ne di-centes. 
 
136 
 
 2. De Epiphania. 
 
 On the Feast of the Epiphany and during the Octave. 
 
 Per <5mnia &c. Vere dignum et justum est, aequum et salutare, 
 nos tibi semper et ubique gratias agere, Domine sancte, Pater omnf- 
 potens (as at page 134.) 
 
 ?t:=^— q-^nj^ - H - 3.t-W— q — q T-=d=3= 
 
 ae-ter-ne De-us. Quia, cum u-ni-ge-ni-tus tu-us in 
 
 substan-ti-a nostra? mor-ta-li-ta-tis ap-pa-ru-it, no-va 
 
 i— ^-w-w- 
 
 nos immorta-li-ta-tis suae lu-ce re-pa-ra-vit. Et i-de-o 
 cum Angelis <fcc. (See page 135.) 
 
 3. In Quadragesima. 
 
 From the 1 st Sunday of Lent (Bom. I. Quadrag.J, to Passion-Sunday, 
 the following Preface is sung on all Feasts (duplex and semiduplex), 
 which*have no proper Preface: 
 
 Per omnia &c. Vere dignum et justum est. aequum et salutare, 
 nos tibi semper et ubique gratias agere: Domine sancte, Pater omni- 
 potens (see page 134.) 
 
 ae-ter-ne De-us. Qui cor-po-ra-li je-ju-ni-o vi - ti - a 
 
 comprimis, mentem e-le-vas, vir-tu-tem lar-gi-ris , et prae- 
 
 mi-a: Per Christum D6-mi-num no-strum. Per quern ma- 
 
 je-sta-tem tu-am lau-dant An-ge-li, ad-6rant Do-mi-na-ti 
 
13' 
 
 6-nes, tremunt po - te-sta-tes. Coeli, coe-lorumque vir - 
 
 r-W-»-*— ♦ — ♦ -~ 
 
 tu-tes , ac be - a - ta Se - raphim, so - ci - a ex - ul- ta - ti - 
 6 - ne con - ee - lebrant. Cum qui-bus et no-stras vo-ces, 
 
 ut ad-mi't-ti ju-be-as, de-pre-ca-mur , sup-pli-ci con-fes 
 si - 6 - ne di-cen-tes. 
 
 4. De Criice. 
 
 On Passion and Palm-Sunday, on Holy Thursday, and on all Feasts, 
 (duplex and semid.) not having a special Preface, which may be cele- 
 brated during this time; also on the Feasts of the Holy Cross, of the 
 Sacred Heart, and of the Precious Blood, the following is sung: 
 
 Per 6mnia &c. Vere dignum et justum est , aequum et salutare, 
 nos tibi semper et ubi'que gratias agere, Domine sancte, Pater omni- 
 potens (see page 134.) 
 
 ae-ter-ne De-us. Qui sa-lu-tem hu-ma-ni ge-ne-ris in 
 li-gno Crucis consti-tu - i-sti: ut un-de mors o-ri-e - 
 ba-tur, in -de vi - ta re-sur-ge-ret : et qui in li-gno 
 
138 
 
 vin-ce-bat, in ligno quoque vin-ce - re-tor : Per Chri-stum 
 
 D6-minum no-strum. Per quern ma-je-sta-tem tuam &c. 
 
 (See page 135.) 
 
 5. In Die Paschse. 
 
 From Easter Saturday to Saturday in albis, on Sundays till Ascension, 
 and on all Feasts (dupl. and semid.j during this time, not having a 
 proper Preface, the following is sung: 
 
 Per omnia &c. (see page 134 ) 
 
 Ve-re di-gnum et ju-stum est, aequum et sa-lu-ta-re 
 
 1 ♦ ■ 
 
 Te quidem D6-mi-ne o-mni tem-po-re, sed in hac po-tis 
 
 si-mum di - e 1 ) glo - ri - 6 - si - us prae-di - ca - re , cum Pascha 
 
 no-strum im-mo-la-tus est Chri-stus. I-pse e-nim ve-rus 
 est Agnus, qui abs-tu-lit pec-ca-ta man - di. Qui 
 
 mortem no-stram mo-ri-en-do de-stru-xit, et vi-tam re-sur- 
 
 n m n—=| : [=-h — ,■ ♦ ■ - : 
 
 gen-do re- pa-ra-vit. Et i - de-o &c. (See page 135 ) 
 
 l ) Sabbato s.: in hac potissimum node; per Oct. Pasehae, ut supra; 
 Dom. in Albis ac deinceps : in hue potissimum gloriosius . . . 
 
139 
 
 6. De Ascensione. 
 
 From Ascension Thursday to the Vigil of Pentecost (exclusive) and on 
 all intervening Feasts, not having a special Preface, the following is sung: 
 
 Per omnia &c. Vere dignum et justum est , aequum et salutare 
 nos tibi semper et ubi'que gratias agere, D6mine sancte, Pater omni- 
 potens (see page 134.) 
 
 — rr~" 
 
 ae-ter-ne De - us , per Chri-stum D6-mi-num no-strum. 
 :ff=A=— i: 1- — ^=—^=~^——=z : — | , q=: 
 
 Qui post resur-re-cti-6-nem suam 6-mnibus di-sci-pu-lis su-is 
 
 w — I — ■ - m -+—m — ♦ — ♦— 
 
 ma-ni-festus ap-pa-ru-it, et ipsis cernen-ti-bus est e-le 
 
 va-tus in coe-lum, ut nos di-vi-ni-ta-tis su-ae tri-bu-e-ret 
 
 ♦ -m 
 
 es - se par - ti - ci-pes. Et i - de - o (fee. 
 
 7. De Pentecoste. 
 
 From the Vigil of Pentecost to the following Saturday, (inclusive): 
 
 Per omnia &c. Vere dignum et justum est, aequum et salutare, 
 nos tibi semper et ubique gratias agere: Domine sancte, Pater omni- 
 potens (see page 134) 
 
 ae-ter-ne De-us, per Christum Dd-mi-num no-strum. Qui 
 
 ascendens super omnes coelos, sedensque ad dexteram tu-am 
 
 promfssum Spi'-ritum sanctum ho-di-er-na di-e in fi-li-os 
 
HO 
 
 a - do-pti - 6 - nis ef - fu - dit- Qua-pro-pter pro - fu - sis 
 . | | | i 
 
 gau-di-is, to-tus in or-be terrarum mundus ex-sul-tat. 
 Sed et supernae vir-tu-tes at-que an-ge-li-cae Potesta-tes, 
 
 hymnum glo-ri-ae tu-ae con-cinunt, si-ne fi - ne di-cen-tes. 
 
 8. De Ss. Trinitate. 
 
 On Trinity Sunday, and on all Sundays throughout tht year not 
 having a special Preface. 
 
 Per omnia &c. Vere dignum et justum est, aequum et salutare, 
 nos tibi semper et ubique gratias agere: Domine sancte Pater omnf- 
 potens (see page 134.) 
 
 ae-ter-ne De-us. Qui cum u-ni-ge-ni- to Fi-li-o tu-o, 
 
 et Spi-ri-tu san-cto, u-nus es De-us, u-nus es 
 
 
 
 
 
 
 -* — ♦— ♦— 
 
 D6-mi-nus 
 
 non in u 
 
 1 
 
 : iri-us sin-gu-la-ri-ta- te per-so-nae, 
 
 
 
 
 sed in u 
 
 -iri-us Tri 
 
 -ni-ta-te sub-stan-ti-ae. Quod e-nim 
 
 
 
 de tu-a 
 
 glo-ri-a. 
 
 re-ve-lan-te te cre-di-mus, hoc de 
 
141 
 
 FMi-o tu - o, hoc de Spi'-ri-tu sancto, si-ne dif-fe - 
 
 ren-ti-a dis-cre-ti - 6 - nis sen-ti-mus. Ut in confes-si-6-ne 
 
 ve-rae, sempi-teraaeque De - i - ta-tis , et in per - so - nis 
 h — ! J\ . — — 6 i 1 
 
 pro-pri - e-tas, et in es-sen-ti - a u-ni-tas, et in 
 
 U 
 
 ma-je-sta-te ad-o-re-tur ae-qua-litas. Quam laudant Ange-li 
 
 at-que Archan-ge - li, Cherubim quoque ac Se-ra-phim: qui 
 
 non cessant cla-ma-re quo-ti-di-e, u-na vo-ce di-cen-tes. 
 
 9. In Festis B. Mariae. 
 
 On all Feasts of the B. V. M. (except the Purification, when the Pre- 
 face of the Nativity is used) and during their Octaves, and on other 
 Feasts, falling within these Octaves, that have no special Preface: 
 
 Per omnia &c. Vere dignum et justum est, aequum et salutare. 
 nos tibi semper et ubique gratias agere, Domine sancte, Pater omni- 
 potens (see page 134.) 
 
 ae-ter-ne De-us. Et te in 1 ) 
 
 * be - a - tae 
 
 *) On the Feast of the Annunciation, insert : in Annuntiatione, on 
 that of the Visitation: in Visitations, on the Assumption: in Assum- 
 ptions on the Nativity: in Nativitate, on the Presentation: in Presen- 
 tation, on the Immaculate Conception: in Conceptione Immaculata, on 
 
112 
 
 Ma-ri-ae semper Vir-gi-nis col-lau-da-re, be-ne-di-ce-re 
 et prae-di - ca - re. Quae et U - ni - ge - ni-tum tuum 
 san-cti Spi - ri-tus ob - um-bra - ti - 6 - ne con -ce- pit 
 
 -♦- ♦-W -■ — w — * — ■ — ■ — ■ - j — n — ♦— ~ 
 
 et vir-gi-ni-ta-tis glo-ri-a per-ma-nen-te , lu-men 
 
 ae-ternum mundo ef - fu - dit, Je-sum Chi'istum Do - mi-num 
 
 nostrum. Per quern ma-je-sta-tem tu-am &c. (See p. 135.) 
 
 10. De Apostolis. 
 
 On Feasts of Apostles and Evangelists (except the Feast of St. John, 
 Fvang.J and during their octaves, and on Feasts within these Octaves not 
 having a proper Preface: 
 
 Per omnia &c. (See p. 134.) 
 
 Ve-re dignum et ju-stum est, sequum et sa-lu-ta-re. 
 
 ■ -♦ -■ ♦— H -»- H ■— y^— zm-u- 
 
 Te D6-mi-ne sup-ph'-ci-ter ex-o-ra-re, ut gregem tuum 
 
 the Feast ad Nives, of her name, and de Mercede: in Festivitate: on 
 the Seven Dolours : in Transfixione, on the Feast of Mount Carmel : in 
 Commemoratione, and on Rosary Sunday: in Solemnitate. 
 
pa-stor ae-ter-ne non de-se-ras: sed per be-a-tos A-po - 
 
 4 
 
 4 
 
 sto-los tu-os, con-ti-nu-a pro-te-cti-6 -ne cu-sto-di-as. 
 
 Ut i-i's-dem re-cto-ri-bus gu-ber-ne-tur, quos 6-pe-ris 
 
 £ 4 
 
 tu-i vi-ca-ri'-os e - i-dem con-tu - li - sti, prae-es-se 
 
 s -1 
 
 pa-sto-res. Et i - de-o (See p. 135.) 
 
 11. Praefatio communis. 
 
 On all Feasts and during their Octaves, and on all Semidoubles having 
 no special Preface. 
 
 Per omnia &c. (See p. 134.) 
 
 ■1§ — 2~ * — * — ♦ — ♦ — — 
 
 
 -P— 
 
 
 -+l = 1 1 
 
 Ve-re dignum et justum est, 
 
 IT 
 
 aequum et sa 
 
 -lu-ta-re, nos 
 
 
 
 
 
 if T "I 1 
 
 
 
 
 ti-bi semper, et u - M-que gra-ti-as a-ge- 
 
 re , D6-mi-ne 
 
 • 5 — i—flH— 
 
 4~ J -J q 4~ 
 
 — ■ 
 
 
 
 sancte, Pater o-mnfpotens, 
 -k 4 
 
 ae-ter-ne De - us : 
 
 per Christum 
 
 D6-minum no'strum. Per quern majestatem tuam &c. 
 
 (See p. 135.) 
 
144 
 
 CHAPTER 23d. 
 THE PREFACE. - FERIAL INTONATION. 
 
 1. De Nativitate Domini. 
 
 For all Votive Masses of the Most Holy Sacrament and of the Sacred 
 Name; also prescribed by the Sacred Congregation since 1868, for Vo- 
 tive Masses on Thursdays throughout the year. 
 
 Per 6-mni-a sae-cu-la sae-cu-16-rum. Amen. T. Dominus 
 
 f e de dc . 
 
 vo - bis-cum. Et cum SpM-tn tu-o. t. Sursum cor-da. 
 
 e f e dc f e . e 
 
 Ha-bemus ad D6-mi-num t. Grati-as a-gamus D6-mi-no 
 
 De-o nostro. t. Dignum, et justum est. Ve-re dignum, 
 
 et ju-stum est, sequum et sa-lu-ta-re, nos ti-bi semper, 
 
 % 
 
 et u-bi'-que gra-ti-as a-ge-re, D6-mi-ne sancte, Pater 
 
 o-mnipotens, ae-ter-ne De-us. Qui-a per in-car-na-ti Verbi 
 my-ste-ri-um no-va mentis nostrae 6-cu-Iis lux tu-ae cla-ri - 
 
145 
 
 ta-tis in-ful-sit: ut dum vi-si-bi'-li-ter Deum cognoscimus 
 
 
 1 1 
 
 
 
 
 
 per hunc in in-vi-si-bi-lium a-morem [ra-pi-a-mur. Et i-de-o 
 
 
 
 
 ■ ! * ■ ■ * H-» H - 
 
 cum Ange-lis et Archange-lis, 
 
 cumThronis et Do-mi-na-ti-6 - 
 
 8 5 " -3: 
 
 
 
 
 
 
 - nibus, cumque o-mni mi-h'-ti-a coe-lestis ex-er-ci-tus, hy- 
 
 mnum glo-ri-ae tu-ae ca-ni-mus, si-ne fi-ne di-cen-tes. 
 
 2. In Quadragesima. 
 
 On all Ferial days: from Ash-Wednesday till Saturday before Passion- 
 Sunday (inclusive). 
 
 Per omnia saecula &c. Vere dignum &c. (See p. 144). 
 
 T| . ■ ♦ . ♦ ^ .-f 
 
 ^ -i I - 
 
 -< 
 
 
 Pa-ter omni-potens, aetei 
 
 '£=5 • ■ «' * *3 ? 
 
 — -■- 
 
 neDeus. Qui 
 
 -J 
 
 corpo-ra-li je-ju-ni-o 
 
 — H — 4 A—ta—^-,—- . 
 
 vi-ti-a comprimis, m( 
 ife=^=n=4-= d: 
 
 sntem e-levas, 
 
 
 ar-tu-tem largi-ris, et ■ 
 
 praemia: per Christum Dominum nostrum. 
 
 . : J 
 
 -JL_~i _ . 
 Per qnem majestatem 
 
 
 
 
 tu-am lau-dant An-ge-li, ad-6rant Do-mi-na-ti-6-nes, tremunt 
 
 10 
 
146 
 
 Po-te-states. Coe-li coe-loriim-que Vir-tu-tes, ac be-a-ta 
 Sc-ra-phim so-ei- a ex-sul-ta-ti-6-ne con-ce le-brant. Cum 
 quibus et nostras vo-ces. ut admft-ti jubeas, de-pre-camur, 
 
 ^ — — =r 
 
 sup-pli-ci con-fes-si-6-ne di-centes. 
 # 
 
 3. De Cruee. 
 
 On Ferial days from Passion Sunday till Holy Thursday, (exclusive) 
 and in Votive Masses of the Holy Cross. 1 ) 
 
 Per omnia &c. Vere dignum &c. (See p. 144.) 
 
 ae-ter-ne De-us. Qui sa-lutem hu-ma-ni ge-ne-ris in 
 
 li-gno crucis consti-tu - i-sti: ut un-de mors o-ri-e-ba-tur, 
 
 in-de vi-ta re-sur-ge-ret : et qui in ligno vin-cebat, in 
 
 li-gno quoque vince-retur: per Christum Dominum nostrum. 
 
 Per quern majestatem &c (See p. 145.) 
 
 l ) Here we must be understood to speak of private Votive-Masses ; 
 as -when solemn, both the Prayers and the Preface should be sung in 
 tono festivo. 
 
147 
 
 4. Tempore Paschali. 
 
 On Ferial days and Feasts "ritu simplici" from Low Sunday till 
 Ascension Thursday: 
 
 Per omnia &c. (See" p. 144.) 
 
 iil— w — ♦^ :zz a ~ =I i 3= : I^j EiEiS^ii^N^^wHii^Ei 1 ^ 
 
 Ve-re dignum, et justum est, aequum et sa-lu-ta-re: Te 
 
 i i 
 
 quidem D6mi-ne omni tempo-re, sed in hoc po-tis-si-mum 
 glo-ri-6 -si- us praedi-ca-re, cum Pascha nostrum im-mo-la-tus 
 
 est Christus. I-pse e-nim ve-rus est Agnus, qui abstu-lit 
 pecca-ta mundi. Qui mortem nostram mo-ri-en-do destru-xit, 
 
 et vitam re-surgendo re-pa-ra-vit. Et i-de-o &c. 
 
 5. De Ss. Trinitate. 
 
 To be sung in private Votive Masses of the Holy Trinity. 
 
 Per omnia &c. Vere dignum et justum est, aequum et salutare, 
 nos tibi semper et ubique gratias agere, Domine sancte, Pater omni- 
 potens. (See p. 144.) 
 
 i i 
 
 ae-ter-ne De-us. Qui cum u-ni-ge-ni-to Fi-li-o tu - o, 
 
 et Spi-ri-tu Sancto, u-nus es De-us, u-nus es D<5minus: 
 
 10* 
 
148 
 
 non in u-m'-us sin-gu-la-ri-ta-te per-so-nae, sed in 
 u-ni-us Tri-ni-ta-te substanti-ae. Quod e-nim de tu-a 
 glo-ri-a re -ve-lan-te te cre-dimus, hoc de Fi-li-o tuo, 
 
 i i 
 
 hoc de Spi-ri-tu Sancto, si-ne dif-fe-ren-ti-a dis-cre-ti- 6 - 
 nis senti'mus. Ut in con-fes-si -6-ne verae. sem-pi-ternae - 
 
 que De-i-ta-tis, et in per-sonis propn-e-tas, et in 
 es-sen-ti-a u-ni-tas et in ma-je-sta-te ad-o-re-tur 
 ae-qua-li-tas. Quam laudant An-ge-li, atque Archange-li, 
 Cherubim 'quoque ac Se-raphim : qui non cessant clama-re 
 
 ^^^g^^ ^^T = j p^fe 
 
 quo-tl-di-e, u-na vo-ce di-cen-tes. 
 
149 
 
 6. De Spiritu Sancto. 
 
 In Votive Masses of the Holy Ghost. 
 Per omnia &c. Vere dignum &c. (as p. 144.) 
 
 ae-ter-ne De-us: per Christum D6-mi-num nostrum. Qui 
 
 as-cendens su-per o-mnes coelos, sedensque ad dex-te-ram 
 
 tu-am, pro-mis-sum Spi'-ritum Sanctum in fi-li-os ad-o- 
 
 - J J — — f— J — 4 - 
 
 pti-6-nis ef-fu-dit. Quapropter profu-sis gau-di-is, to-tus 
 
 in or-be ter-rarum mundus ex-sultat. Sed et supernae 
 
 I 
 
 Vir-tu-tes, at-que an-ge-li-cae Po-te-sta-tes, hymnum glo - 
 
 ri-ae tu-ae con-cinunt, si-ne fi-ne di-cen-tes. 
 
 7. De Beata Maria. 
 
 In Votive Masses of the B. V. M. 
 Per omnia &c. Vere dignum &c. (See p. 144.) 
 
 ae-ter-ne De-us. Et te in ve-ne-ra-ti-6-ne be-a-tae 
 
 Ma-ri-ae semper Vi'r-gi-nis col-lau-da-re , be-ne-di'-ce-re 
 
150 
 
 I 
 
 
 :— a — ■ — 
 
 _ m -i -i 
 
 
 
 et praedi-ca-re. 
 
 Quae et u-ni-ge-nitum tu-um sancti 
 
 l 
 
 n 
 
 ■ 
 
 
 
 
 
 Spf-ri-tus obumbra 
 
 -ti-6-ne con-ce-pit: 
 
 et vir-gf-ni-ta-tis 
 
 3 
 
 
 
 
 • 
 
 gld-ri-a permanente, lumen aeternum mundo ef-fu-dit, 
 
 5_ i _«__5_N-__w- l -._n_ N _5§_ ll _5 
 
 Jesum Christum Dominum nostrum. Per quern &c. (as p. 136.) 
 
 8. De Apostolis. 
 
 In Votive Masses of Apostles. 
 Per omnia &c. (See p. 144.) 
 
 
 
 
 Ve-re dignum et ju-stura 
 
 est , aequum et 
 
 sa-lu-ta-re: 
 
 
 
 -■ — ■ 
 
 Te D6-mi-ne supph'-ci-ter 
 
 ex-o-ra-re, ut 
 
 gregem tuum 
 
 pa-stor aeter-ne non de-se-ras: sed per be-a-tos A-po-stolos 
 j _j i 
 
 tu-os, con-tf-nu-a pro-te-cti-6-ne cu-sto-di-as. Ut i-i's- 
 
 dem re-ctoribus gubernetur, quos operis tu-i vi-ca-ri-os 
 . > _ \ _ -J _j — 
 
 e-i-dem con-tu-K-sti praees-se pa-stores. Et i-de-o &c. 
 
 (See p. 145). 
 
151 
 
 9. Praefatio communis. 
 
 On Simple Feasts on Ferial days having no special Preface, and in 
 Masses for the Dead. 
 
 Per omnia saecula &c. (See p. 144.) 
 
 Ve-re dignum et justum est, aequum et sa-lu-ta-re, 
 
 nos ti-bi semper et u-bique gra-ti-as agere: D6-mi-ne 
 
 sancte, Pa-ter o-mnipotens, ae-ter-ne De-us, per Christum 
 
 Dominum nostrum. Per quern maje-statem tuam lau-dant 
 Angeli, ad-6rant Do-mi-na-ti-6-nes, tremunt Po-te-states. 
 Coe-li, coe-lorumque Vir-tu-tes, ac be-a-ta Se-ra-phim, 
 
 J- 
 
 :q 
 
 so-ci-a ex-sul-ta-ti-6-ne con-ce-le-brant. Cum quibus et 
 nostras voces ut ad-mi't-ti ju-be-as, de-precamur suppli-ci 
 
 con-fes-si - 6 - ne di-centes. 
 
 The Sanctus, which is selected according to the 
 season, or rank of the Festival (see p. 115. Observ. TIT) 
 
152 
 
 immediately follows the Preface. During the Elevation 
 nothing should be sung : — "silet chorus et adorat cum 
 aliis." The Organ however may play ; yet in such a way 
 as not to distract, but rather help the devotion of the 
 adoring faithful. "Orgarmm vera, si habetur, cum omni 
 tunc melodia et gravitate pulsandum est." ( Car em. Episc. 
 lib. II. cap. viii. n. 70.) 
 
 After the Elevation the Benedictus should be 
 sung : — u Cantari debet post elevationem." (S. R. C. 12. 
 Nov. 1831.) This rule certainly holds for Pontifical 
 Masses, and for others, De Herdt says it is a praise- 
 worthy custom ; — "laudabilis." However if the Sanctus 
 and Benedictus should both be sung before the Elevation, 
 then it is allowed, after the Elevation, to sing the Tan- 
 turn ergo, or other portion of a Hymn or Antiphon to 
 the Blessed Sacrament ; provided however the words be 
 not altered. 1 ) 
 
 CHAPTER 24th. 
 
 THE PATER NOSTER. — COMMUNION. 
 
 I. There are tivo intonations of the Pater noster, 
 one solemn, the other ferial. 2 ) 
 
 ') See Kornmuller "Die Musik beim liturg. Hochamte" In some 
 places it is customary in Masses for the Dead to sing after the Ele- 
 vation the "Pie Jesu" or "0 Sahttaris" the latter with words different 
 from those of the authorised hymn. This appears unrubrical, and many 
 rubricians are of opinion that* the permission quoted above, does not 
 apply to Masses for the Dead, where nothing should be added to the 
 liturgical text. 
 
 ■) In the P>ull: "Quo primum temp." Pius V. remarks (14 th July 
 1570): "Quare abusus est, in 31issa cantata legere tantum. qua juxta 
 ritum, modum et normam Missalis cantari debent, uti fit, quando Epistola 
 vcl Prafatio abrumpitur, canius Pater noster omittitur vet truncatur d'C." 
 
153 
 
 1. Tonus festivus. 
 A C D E 
 
 Per 6-mni-a sae-cu-la sae-cu-16-rum. A-men. O-re-mus: 
 
 C D E 
 
 Praeceptis sa-lu-ta-ribus m6-ni-ti, et di-vi-na in-sti-tu-ti - 
 , , Extendit x manus. 
 
 .-\ 1 , 1 -n 1 
 
 W-N- H j— W- h W-W— nH-»- M -4l = - r -H— 
 
 6-ne forma -ti, au-de-mus di-ce-re. Pa-ter noster, qui 
 es in coelis: Sancti-fi-ce- tur no-men tuum: Ad-ve-ni-at 
 
 regnum tu-um: Fi-at vo-luntas tu-a, si-cut in coe-lo, 
 et in ter-ra. Panem nostrum quoti-di -anum da no-bis 
 ho-di-e. Et di-mit-te nobis de-bi-ta nostra, si-cut et 
 nos di-mit-timus de-bi-to-ribus nostris. Et ne nos in-du - 
 
 cas in ten-ta-ti-6-nem. Sed H-be-ra nos a ma-lo. 
 
 2. Tonus ferialis. 
 
 To be used on simple Feasts, ferials, and in Masses for the Dead. 2 ) 
 
 Per 6-mni-a sae-cu-la sae-cu - 16-rum. A-men. Oremus: 
 
 l ) Also in Votive Masses, of a private not solemn character. 
 
154 
 
 Prae-ce-ptis sa-lu-ta-ri-bus mo-ni-ti, et di-vf-na in-sti - 
 
 Extendit manus. 
 
 tu-ti-6-ne for-ma-ti, au-de-mus di'-ce-re. Pa-ter 
 no-ster, qui es in coelis: Sancti-fi-ce-tur no-men tu-um: 
 
 Ad-ve-ni-at regnum tuum: Fi-at vo-lun-tas tu-a, si-cut 
 in coe-lo et in ter-ra. Pa-nem nostrum quoti-di-a- 
 
 num da no-bis ho-di-e: Et di-mft-te no-bis de-bi-ta no - 
 
 stra, si-cut et nos di-mit-timus de-bi-to-ri-bus no-stris. 
 
 Et ne nos in-ducas in ten-ta-ti - 6-nem. Sed li-be-ra 
 
 nos a ma - lo. 
 
 Tlie Pater noster is immediately followed by a short 
 prayer, recited submissa voce by the Celebrant, and then 
 
 Dexter a tenens particulam super Co f ice, sinistra Calicew, dicit: 
 
 Per 6-mni-a sae-cu-la «ae-cu-lo-rum. A-men. 
 
155 
 
 Cam ips(t particula signal ler super Calicem, dicetis : 
 
 
 
 * 
 
 . ■ N i ** W" -ife N N-~ 
 
 
 Pax f D6-mi-ni 
 
 sit f 
 
 sem-per vo-bis-fcum. Et cum 
 
 I? 
 
 
 
 
 Spi'-ri-tu tu - o. 
 
 II. The Agnus Dei is repeated three times , con- 
 cluding the third time with Dona nobis paceni, instead 
 of Miserere nobis. In Gregorian Chant, each repetition 
 has a melody of its own, which differs according to the 
 class of the Festival. (See Observation III. p. 115.) 
 
 Immediately after the communion of the chalice — 
 sumptio sanguinis, and before the first ablution, the 
 Gommunio should be commenced by the Choir. This is 
 a short antiphon or Psalm-verse, peculiar to the festival, 
 like the Introit and Offertory, and it is intoned and sung 
 according to the same rules, (p. 114.) In Paschal time 
 an Alleluia is added, which if it do not occur in the 
 text, will be found at the end of the Graduate p. 72* 
 (S vo edition). 
 
 Observation. Si Communio in Missa solemni distri- 
 buitur, Diaconus se conslituit in Cornu Epistolae vel etiam 
 descendit in planum ad cornu Epistolae, ubi, versus cele- 
 brantem profunde inclinatus alia voce dicit: 
 
 Ton. V. 
 
 
 a_ - 
 
 
 
 Conffteor I 
 
 -i *— : 
 
 )eo omni-po-ten - ti , 
 
 beatae Mariae 
 
 - 5_ ♦ -i 
 
 semper 
 
 
 1- 
 
 
 
 Vir-gi-ni beato Michaeli Arch-an - ge - lo , beato 
 
 Joanni Bapti'-stae, Sanctis Apostolis Petro et Paulo, 
 
156 
 
 Omnibus Sanctis et ti-bi, Pa-ter 
 
 quia peccavi ni 
 
 ♦— ■ 
 
 mis co-gi-ta-ti- 6-ne verbo et 6-pe-re; me-a cul-pa, 
 
 M-m—m 
 
 ==q: 
 
 me-a cul-pa, me-a ma - xi-ma cul-pa. Ideo precor bed - 
 
 m 
 
 tarn Man'am semper Vir-gi-nem, beatum Michaelem 
 
 ■W — N — r — =- , 
 
 - — | — 
 
 — 
 
 Arch-an - ge-lum, beatum Joannem Ba-pti'stam, sanctos 
 
 Apostolos Petrum et Paulum , omnes Sanctos. et te 
 
 :E[=jL— ■ ■=^-A-j?H : 
 
 pa-ter, orare pro me ad Dominum Deum nostrum. — l ) 
 
 . . . Diaconus respondet "Amen." Nan impedit, quominas in 
 numerosa Communionis distribuUone c ante tar Ps. aul hymn, 
 de ss. Sacr. ad populum excitandam , morendvm et laetifi- 
 candum. 
 
 ') This form of chant is also employed when the Confiteor is sung 
 at Pontifical Mass, where an Indulgence is proclaimed. 
 
157 
 
 CHAPTER 25th. 
 
 ITE MISSA EST. — BENEDICAMUS DOMINO. 
 
 After the Prayer, called the Post-Communion, and 
 the Dominus vobiscum immediately following, have been 
 chanted by the Celebrant; the Celebrant, (in Missa 
 cantata,) or the Deacon, (in Missa solemni,) sings the 
 Ite Missa est, or Benedicamus Domino, to one or other 
 of the following formulas; the Choir to answer Deo gra- 
 tias in the same notes. 1 ) 
 
 1. From Easter Saturday to Low Sunday (exclusive). Tonus VIII. 
 g a_ g f g a a gchag f ga a g 
 
 I-te Mis-sa est, al-le-lu-ja, al-le - lu - ja. 
 De-o gra-ti-as, "« " 
 
 2. In Festis Splemnibus. 
 fLecdcab c ogagf ^ Mod. XIII. transp. 
 
 I - te e e e e Missa est. 
 
 De - o o o o o gra-ti - as. 
 
 According to the Acta Fphemerides T. III. p. 367. 
 6. Sept. 1781. the following Feasts are to be classed 
 under the head of Festa solemnia: NativitasD.N.J.C, 
 Fpiphania, Pascha, Ascensio Dni, Pentecoste, Solemnitas 
 Corporis Christi, F. Ss. App. Petri et Pauli, Assumptio 
 B. M. V., F. Omnium Sanctorum, F. tituli vel patrocinii. 
 Hence it follows that this solemn intonation, 1ST 2, (of 
 comparatively recent adoption) is to be employed only 
 on the Epiphany, the Ascension, Pentecost Sunday Mon- 
 day and Tuesday, Ss. Peter and Paul, All Saints, De- 
 
 "Laudandus est mos, quo chorus eodem tono respondet Deo ara- 
 Has." Vid. Grad. Rom. J 
 
158 
 
 dication of the Church, as well as on all Feasts of the 
 1 st class, in solemn Votive Masses, and on the Feast of 
 the Patron Saint (when not de Beata). Christmas Day. 
 Corpus Christi. and the Assumption, have the formula 
 de Beata, and Easter the form X° 1. 
 
 On account of the number of notes in this Intona- 
 tion, it should be sung very smoothly, not drawlingly, 
 and care should be taken not to commence it too high. 
 Sufficient attention to the rhythm, breathing marks, &c; 
 and avoidance of all ostentation or affectation, will ren- 
 der tills chant solemn and dignified. 
 
 3. In Festis Duplicibus. Ton. I. 
 
 agachaga agfde ega deg f ede fed • 
 
 I - te e e Missa est. 
 
 De - o o o gra-ti - as. 
 
 This form serves for Feasts of the Apostles, 1 ) and 
 Feasts which are dupl. II. classis, (majm et minus.) 2 ) 
 The several phrases should be smoothly and pleasingly 
 sung . and not drawled out in separate notes , of equal 
 time-value. 
 
 4. In Missis Beata? Maria?, in Oct. Corp. Clir. et Nativ. Dni. 3 ) Ton. I-U. 
 dfga d cd fg f ed 
 
 I - te e Mis-sa est. 
 
 De - o o gra-ti -as. 
 
 ') Ss. Peter and Paul is a double of the 1 st class, and has the 
 solemn Itt Missa est. N° 2. 
 
 2 ) But Feasts of the B. V. M., de Ss. Nomine Jesu, and others of 
 the II. classis, or lower rank use the Ite Missa est d* Beata, when 
 the Preface is of the Nativity or de Beata. 
 
 3 ) From what has been already said it is clear when this form de 
 Beata should be used. On the Sunday however within the Octave of 
 the Immaculate Conception N' 8 should be employed. 
 
159 
 
 The minor third d-f should never be sung as a 
 fourth, and the full tone e-d (instead of c#-d) should 
 be carefully attended to. 
 
 5. In Dominicis infra annum, in fest. semidupl, et infra Octavas, 
 quae non sunt beatse Maria?. Ton. I. 
 
 abaga d fgabagfe d cd 
 
 I - te e Mis-sa est. 
 
 I)e - o o gra-ti - as. 
 
 6. From Septuag. to Quinquag. inclusive: 
 
 4p= p_,_d_a^ — 
 
 Be-ne-di-camus Do - mi -no. 
 De - - - o o gra-ti- as. 
 
 7. In Festis simplicibus. et Feriis temp. Paschali. 
 ga c ch. a h 
 
 I - te Mis-sa est. 
 De - o gra-ti -as. 
 
 8. In Dominicis Adv. et Quadrag. (Advent- and Lent-Sundays.) 
 
 Be-ne-di -ca-mus Do - - o - mi -no. 
 De - - - o o gra - ti - as. 
 
 9. In Feriis per Annum. 1 ) 
 a fa gfede 
 
 Be - ne-di - ca-mus Do - mi-no. 
 
 De-o gra-ti -as. 
 
 ') E. g. the 3 Rogation days , and private Votive Masses not oc- 
 curring in Lent or Advent. 
 
160 
 
 10. In Feriis Adv. et Quadrag. 
 
 a f 
 
 Be-ne-di-ca-mus D6-mi-no. 
 De - o gra-ti-as. 
 
 11. In Missa Vigiliae Nat. Dni, in Festo Ss. Innocentium, et in Missis 
 Votivis pro re gravi, quando non 1 ) dicitur Gloria in excelsis. 
 
 Be-ne-di-ca-mus Do o o mi-no. 
 
 De - o o gra-ti-as. 
 
 12. In Missis Defunctorum. 2 ) 
 Re-qui-escant in pa-ce. A-men. 
 
 ') In Votive Masses with a Gloria, the intonation of the Ite Missa 
 est, is regulated by the Gloria: N°ll therefore is used only in solemn 
 Votive Masses, which are celebrated in purple vestments, e.g. de 
 Passione Domini, ad tollendum schisma &c. 
 
 2 ) Etiamsi tantum pro uno celebratum fuisset, dicitur in Plurali: 
 Bequiescant. 
 
THE DIVINE OFFICE. 
 
 CHAPTER 26th. 
 PSALMODY. 
 
 1. By Psalmody we understand the practice of sing- 
 ing the Psalms to certain simple melodies or chants ; — 
 "a recitation in a musical tone of voice, with a slight 
 "inflection or change of tone at certain fixed points." 1 ) 
 
 All the Psalms, (with a partial exception for the 
 1 1 3 th " In exitu Israel") are sung to eight different me- 
 lodies or chants, corresponding to the first eight Gre- 
 gorian modes ; and these chants are called Psalm- 
 Tones, Toni Psalmorum. • 
 
 Every Psalm or group of Psalms , is accompanied 
 by an A n tip h on, which is a verse, taken sometimes 
 from the Psalm itself , sometimes from other sources, 
 always suitable to the Festival, and serving as an intro- 
 duction to the Psalm. The music of the antiphon is more 
 elaborate than the Psalm-Tone, being a regular melodic 
 composition with one or more notes to every syllable, 
 and invariably complete, i. e. ending on the final of its 
 mode ; so that the antiphon governs the Psalm ; — the 
 mode of the former determining the tone of the latter. 
 
 Observation. The words antiphonai and antiphon 
 require perhaps some further explanation. The custom of 
 singing Psalms is most ancient in the Church. The Epistles 
 of St. Paul bear witness to it. St. Ignatius Bishop of An- 
 
 l ) St. Augustine relates that in Alexandria under St. Athanasius, 
 such was the simplicity of the chant employed, that "it was more like 
 speaking than singing." 
 
 11 
 
162 
 
 tioch, the third from St. Peter, is said to have had a vision 
 of angels, and hearing them sing the praises of God in 
 alternate choirs, he enjoined upon the church of Antioch 
 this method of singing the Psalms. 
 
 In St. Basil's time (A. D. 371) this custom was uni- 
 versal throughout the Eastern Church, and he describes 
 the people " rising before day, and going to the Church, 
 "where having made their confessions and prayers, they 
 "proceeded to the singing of Psalms;" — and he adds, 
 "that in this holy exercise, the choir being divided into two 
 "parts, they mutually answered each other" (avzupauovotv 
 (xkhjloig). The word antiphonal comes from the Greek word 
 avvicpiovr h compounded of avn, opposite, and <fa)voc;, a sonnet; 
 and means the reciprocal chant of two choirs singing al- 
 ternately. In the course of time however the word anU- 
 phon was applied exclusively to that particular verse, which 
 was to be sung before and after each Psalm; originating 
 probably from the custom of having the Psalm sung by a 
 select body of voices, whilst the multitude answered now 
 and then with a particular verse which served as a burden 
 or chorus. The Text of the 135th Psalm "Confitemini $c" 
 with the constantly recurring "qnoniam in ceternum #c." 
 will help to give an idea of this practice. "The Antiphons 
 "seem to be to the Psalms, what the mysteries of the 
 "Rosary are to the Paters and Aves, furnishing appropriate 
 "matter for meditation during the religious exercises which 
 "follow them. They give a distinctive colouring to the 
 
 "Psalms It is not within the province of the writer 
 
 "to enter into a full description of the antiphonal system, 
 "with its inexhaustible store of beauties, but enough has 
 "been said to shew how sadly mutilated the Vespers of 
 "any festival must be when the words of the antiphons 
 "are suppressed, or rapidly recited on a monotone. The 
 "choral music of the Catholic Church once subjected to 
 "unauthorised curtailment, becomes unintelligible, not to 
 "say ridiculous." 1 ) 
 
 2. The following few remarks on Psalm-Tones and 
 their construction will be sufficient for the Theory. In 
 
 l ) See Introduction to "Organ accompaniments to the Antiphons 
 ot the Roman Vesperar by John Lambert. London, 18. r >l. 
 
168 
 
 the 3 d Part of this book , when we come to speak of 
 the Practice of Plain-Chant, a few rules will be given 
 for chanting the Psalms, which if observed in practice 
 cannot fail to prove useful. 
 
 a) The Antiphon which accompanies every Psalm, 
 or group of Psalms, must, on a Double, — Fest. Dwpl. — 
 be sung both before and after the Psalm. 1 ) On Fes- 
 tivals of inferior rank , Semidoubles Sc. only the two 
 first words are sung before the Psalm, and the entire 
 Antiphon after. 
 
 b) Every verse of a Psalm is divided into two parts, 
 the point of division being indicated by a colon: or 
 asterisk *. The first member of each Psalm-Tone, i. e. 
 down to the asterisk, is always the same; the second 
 member has in the 1 st , 3 d , 4 th , 7 th and 8 th Tones various 
 endings, which are called the Terminatio or Differentia, 
 and in English the "ending," or "final cadence." 
 
 c) The Intonation of the first verse of the Psalm 
 may be either solemn, (on great festivals) or ferial 
 (on lesser festivals or Ferias). 
 
 d) In the solemn Intonation, only the first verse 
 is sung with the little melodic phrase or inflection at 
 the beginning, (called on this account the initium or 
 inchoatio), in all the subsequent verses it is omitted. 
 
 e) In the Choral Books we find at the end of each 
 antiphon, the second member or "ending" of the corre- 
 sponding Psalm-Tone indicated in notes ; and frequently 
 under the notes we meet the letters E V V A E. 
 These are the vowels of the closing words seculOrVLm 
 AmQn, as every Psalm is regularly terminated by the 
 Gloria Patri. 
 
 ') When the Organ accompanies , a short interlude after each 
 Psalm will allow some one of the choristers to read the Antiphon 
 after the Psalm in a low voice, a practice permitted by the Rubric. 
 Vide Ccerem. Episc. lib. II. cap. 1. n. 8. 
 
 11* 
 
104 
 
 f) As the mode of the Antiplion determines the tone 
 of the Psalm. — the psalm-tone in truth dovetailing with 
 the music of the antiphon, — it becomes necessary to 
 keep in mind the final note of the Antiphon . and the 
 initial note of the Psalm, in order that the progression 
 may be natural and easy. The following Table will show 
 the relative positions of these notes in each of the eight 
 Tones; the round white note representing the final of 
 the antiphon, and the square black note the initial of 
 the Psalm. 1 ) 
 
 I. Tonus. II. Tonus. III. Tonus. IV. Tonus. 
 
 DFDC E G E a 
 
 V. Tonus. VI. Tonus. VII. Tonus. VIII. Tonus. 
 
 F F F F G c G g 
 
 This Table serves for the Canticles, and the festive 
 Psalm-Tones, — Toni Psalmorum festivi. For the Toni 
 Psalmorum feriales., we append another Table, which 
 gives the final of the Antiphon, and the first note 
 of the Differentia or ending of the Psalm-Tone. This 
 note is also the Dominant or reciting note. 
 
 I. Tonus. II. Tonus. III. Tonus. IV. Tonus. 
 
 Da D F Ec E a 
 
 V. Tonus. VX Tonus. VII. Tonus. VIII. Tonus. 
 
 FcFa Gd Gc 
 
 ') These final and initial notes will also prove useful in the In- 
 troits: but not with the Gloria Patri in the responses to the Noctures. 
 
165 
 
 g) If the first half of the Psalm-verse end with a 
 monosyllable or Hebrew proper name, then in the 2 nd , 
 4 th , 5 th , 6 th and 8 th Tones the last note is omitted. 
 Such words for instance, as tu, sum, Israel, usquequo, 
 David, Jacob. Jerusalem, Sion, dec. come under this rule; 
 but Juda is an exception. This incomplete cadence is 
 called intonatio in pausa correpta. e. g. 
 
 Ton. v. 
 
 Cre-di-di propter quod lo-cutus sum * 
 
 h) Should the first words of the antiphon be iden- 
 tical with the first words of the Psalm, the latter are 
 not repeated on semidoubles and simples. For example 
 in the Vespers for Sunday, the Antiphon begins with the 
 opening words of the 109 th psalm Dixit Dominus: the 
 psalm consequently will commence with Domino meo. 
 
 Observation. When a number of choristers, or a 
 community are singing the Psalms, all should commence 
 and end together, take breath in the same place, and sing 
 the inflections of the mediation and ending to the same 
 syllables. Most of the words are of course sung to the 
 reciting or Dominant note, and so far no rule is requisite 
 beyond the universal rule of pronouncing the words clearly, 
 minding the punctuation, and in long verses where a comma 
 may not occur, taking breath together at some convenient 
 point, so as not to interfere with the sense. 1 ) But the 
 difficulty of laying down a uniform rule for adapting the 
 syllables of the ever-varying words to the notes of the 
 same mediation and ending, so as to preserve musical 
 rhythm and correct verbal accentuation, is not so easily 
 surmounted. The various schemes proposed by many able 
 writers on the Chant and Psalmody may be classed 
 under two heads, the syllabic, and the accentual. In the 
 
 ') In the new choral books the breathing places are marked by 
 a perpendicular line | drawn between the words where breath is to 
 be taken. 
 
166 
 
 syllabic arrangement, as many syllables are told off from 
 each member of the verse as there are notes in the me- 
 diation or ending; in other words, a note for a syllable. 
 The radical defect in this system is, that in many verses 
 the verbal accent must be sacrificed to the musical and 
 vice versa. The Mechlin editors adopted the accentual ar- 
 rangement, by which the ^accented notes are invariably 
 apportioned to the emphatic or accented syllables, these 
 syllables being printed in capital letters. This arrangement 
 is theoretically the most perfect, but practically in conse- 
 quence of the number of rules it involves regarding the 
 treatment of short or unimportant syllables, and the ne- 
 cessity of having the entire Psalter printed eight times 
 over so that it may be pointed for each of the eight tones, 
 it does not fully satisfy all requirements. The editor of 
 the new Choral Books published at Ratisbon, and of the 
 Magister choralis; — of which this present manual is little 
 else than a translation ; — when asked which system he 
 followed in pointing the Psalms for chanting, replied, that 
 he followed neither; because in his opinion the number of 
 rules to be observed in both systems tended to enslave 
 the chant, and deprive it of that elasticity and freedom 
 which is one of its characteristic beauties. 
 
 The principle which he applied in the Graduate Rom., 
 Antiph. Rom., Director ium Chori, and in pointing the Psalms, 
 was, "Singe, icie da sprichst," i.e. "Sing as you speak." 
 Take a Psalm, read it aloud, minding the punctuation, and 
 giving to every syllable its just pronunciation and emphasis, 
 read it as though you felt and understood it. Then lift up 
 your voice, and recite the same Psalm in any musical tone 
 that suits you, — say G. Then sing it to the Psalm-tone, 
 introducing the notes of the mediation and ending, so as 
 not to alter the emphasis and accentuation you observed 
 when reading, and that, after a little practice, will be 
 faultless chanting. It should always be borne in mind, 
 that the text is the mistress, the note the slave. 1 ) 
 The words must govern the music, and not the music the 
 words. We must treat the notes, not as a rigid and un- 
 
 ') In the Preface to an ancient collection of Sarum hymns we 
 read " Dominam, i. e. Hteram. ancillari; ancillam, i. e. notam domivari, 
 tarn a jure, quam a ratione est penitus alienum." 
 
167 
 
 alterable fetter, but as a light elastic drapery that ought 
 to adapt itself to the words. 
 
 In accordance with this principle, in some of the new 
 choral Books (Exeqniale Rom., Officium Nativitatis D. N. J. C. 
 and Officium Majoris Hebdomadal) the syllables where the 
 mediation or ending commences, are printed in larger type; 
 but for general use and answering all requirements, a very 
 simple method of pointing the Psalms has been adopted 
 by Rev. F. X. Haberl, and used in the Vesperale Romanum, 
 and in a little Book containing the Vesper Psalms only, 
 entitled Psalmi Vesper arum?) Over the syllables of the 
 mediation and ending in each verse there are figures going 
 from 1 to 8, indicating the 8 Psalm-Tones. On whatever 
 syllable the figure 1, 2 or 3 &c. is found, there the in- 
 flection for mediation or ending begins in the Is*, 2 nd or 
 3 d Tone, as the case may be. There are however three 
 exceptions, a) In the third and fourth ending of the 3 d 
 Psalm-tone, the inflection does not fall on the syllable over 
 which the figure 3 is placed, but ' i the syllable imme- 
 diately preceding, b) In the third ending of the 4 th Tone, 
 the inflection falls only on the last syllable, c) This method 
 of figuring is not applicable in the mediation to the ferial 
 form of the 1 st Tone. In the 6 th Tone, the neuma g, a, 
 in the ending may be sung to two syllables, if necessary. 
 By way of example we give here in full the 109 th Psalm. 
 The figures 5-8, 4-8 united by a dash, comprise the inter- 
 vening figures 6. 7. or 5. 6. 7. The mark I/ 3 , VIII/ 2 &c. 
 stands for 1st Tone, 3 d ending, 8 th Tone, 2 nd ending; <#c. 
 
 1 37 4 6 258 4 15-8 2:* 
 
 1. Dixit Domi-nus D6-mi-no me-o: * sede a dex-tris meis. 
 
 1 $47 6 258 4-8 1 
 
 2. Donee ponam in - i - mi-cos tu-os, * scabellum pe-dum tu-6-rum. 
 
 1 3 7 4 »> 2 5 8 
 
 3. Virgam virtutis tuae | emfttet D6-mi-nus ex Si-on: dominare 
 
 4-8 1 2 3 
 
 in medio inimi-co-rum tu-6-rum. 
 
 1 3 4 7 
 
 4. Tecum principiiam in die virtutis tuae, | in splendo-ri-bus 
 
 6 258 4-8 1 2 3 
 
 san-cto-rum: * ex utero ante lu-ci-fe-rum ge-nui te. 
 
 ') Published by Fr. Pustet, Ratisbon. This method of figuring the 
 Psalms is also found in the Cantica Sacra of Hauber and Ett, re-edited 
 by Witt. • 
 
16S 
 
 1 347 6 2 5s 
 
 5. Juravit Dominus et non poe-ni - te - bit e-um: * Tu es sa- 
 
 4 15-8 2 3 
 
 cerdos in aeternum | secundum 6r-di-nem Mel-ehisedeeh. 
 
 1 ! 114 7 6 2 58 4 1 5-8 23 
 
 G. Dominus a dex-tris tu-is: * confregit in die irae su-ae reges. 
 
 137 4 6 258 
 
 7. Judicabit in nationibus, 1 im -pie -bit ru-i-nas: * conquassabit 
 
 4-8 1 2 3 . 
 
 capita in ter-ra mul-torum. 
 
 1 3 4 7 6 2 5 8 4 1 5-8 23 
 
 8. De torrente in vi-a bi-bet: * propterea ex-al - ta • bit caput. 
 
 1 3 7 4 6 2 5 8 1 4-8 2 3 
 
 9. Gloria Pa-tri, et Fi-lio, * et Spi-ri-tu-i sancto. 
 
 1 3 4 7 6 258 
 
 10. Sicut erat in principio, I et nunc, et sem-per. * et in saecula 
 
 4 15-S 2 3 
 
 sac-cu - 16 - rum. Amen . 
 
 CHAPTER 27th. 
 
 THE PSALMS IN TONO DUPLICI ET SEMIDUPLICI. 
 
 I. The following Psalm-Tones are used: l stl y on all 
 Feasts of the 1 st and 2 nd class (majora) , throughout 
 the entire Divine Office; 2 nd1 )' in festis dupUcibus, 
 Dominicis et festis semidupNcibus. at Matins. Lauds 
 and Vespers only. 
 
 Observation. The white note — before the initium 
 represents the final of the Antiphon : the black h is the 
 reciting note or Dominant of the Tone. 
 
 Initium. 
 
 Tonus I. T^=^^^ 
 
 1. Di-xit I)6-mi-nus D6-mi-no 
 Mediatio. , Finalis 1. j 
 
 m e-o: * Se-de a dex-tris me -is. Se-de a de-xtris 
 
169 
 
 Finalis 2. , Finalis 3. 
 
 ■m—m- 
 
 me -is. Se-de a dex-tris me -is. Se-de a dex- 
 
 Finalis 4. Finalis 5. 
 
 tris me -is. Se-de a dex-tris me-is. 
 
 2. Vers, j^^^^^^^^^^^ ^^g j^^^g 
 Do -nee po-nam i-ni- mi-cos tu-os, * scabellum 
 
 pe-dum tu - 6 -rum. 
 
 Inithim. Mediatio. 
 
 Tonus n. t^i^S^^EBEE^ 
 
 J 
 
 1. Di-xit D6-mi-nus D6-mi-no me-o: * 
 Finalis. 
 
 se-de a dex-tris me-is. 
 2. Vers. ^^^'£H-E ^E^ qS^J^N^|bEjjEA^- 
 
 s 
 
 Donee ponam inimi'cos tu-os, * sca-bel-lum pe-dum 
 Intonatio in pausa correpta. 
 
 tu-6-rum. Ps. 131. 1. Me-men-to D6-mi-ne Da-vid: (fee. 
 
 Initium. 
 
 Tonus III. S^E^E^3^^^iEEE^5^^iE 
 
 = 3 
 
 1. Di-xit D6-minus D6-mi-no 
 Mediatio. Finalis 1. 
 
 me-o: * se-de a dex-tris me-is. Se-de a dextris 
 
no 
 
 Finalis 1. Finalis 3. Finalis 4. 
 
 s s 
 
 me-is. Se-de a dextris me -is. Se-de a dex-tris rae-is. 
 2. Vers. z\ _ 
 
 3 
 
 Donee ponam ini - mi - cos tu-os, &c. 
 
 Initium. 
 
 Tonus IV. 
 
 
 — w — »— x — 
 
 
 iT i 
 
 1. Di-xit D6-mi-nus 
 
 D6mi-no 
 
 Mediatio. 
 
 Finalis 1. 
 
 
 
 —Mr- ■ — B — pi — N p,— — j| ■-■ — 
 
 -y M—* : 
 
 M ^ 
 
 me-o: * 
 
 4 
 
 se-de a dex-tris me-is. Se-de 
 
 4 
 
 a dex-tris 
 
 Finalis 2. 
 
 Finalis 3. 
 
 
 
 — m — ■ ■ — ■ — ■ — n— M — h 
 
 
 me-is. Se - de a dex-tris me-is. 
 
 2. Vers. T pEggg jEEE^ 
 
 Donee ponam inimicos tu-os, * sea-bel-lum pedum 
 Intonatio in pausa correpta. , 
 
 3 r j * 
 
 tu - 6-rum. Cre-di-di propter quod lo-cu-tus sum. &c. 
 
 Initium. 
 
 Tonus V. :^==^^^1|=h^5^^^^ 
 
 1. Di-xit D6-mi-nus D6mi-no 
 
 Mediatio. Finalis. 
 
 t 
 
 S 5 
 
 me-o: * se-de a dex-tris me-is. 
 
 2. Vers. J: 
 
 Do-nec po-nam i-ni-mi-cos tu-os, <fcc. 
 
171 
 
 lntonatio in pausa correpta. 
 
 D6-mi-ne proba-sti me et co-gno-vi-sti me. 
 
 Initium. 
 
 Tonus VI. ^^EaE^^gEifci g^-Mzz^-wi 
 
 "fT n 6 
 
 1. Di-xit D6-mi-nus D6mi-no 
 
 Mediatio. Finalis. 
 
 6 
 
 me-o: * se-de a dex-tris me-is. 
 
 2. Vers. vtg_ 
 
 Donee ponam inimi'-cos tu-os, &c 
 lntonatio in pausa correpta. 
 
 Cre-di-di propter quod lo-cu-tus sum, &c. 
 
 Initium. M 
 
 Tonus VII. y=rpE f}F^Fggg *=^fe^ 
 
 7 
 
 1. Di-xit D6-minus D6-mi-no 
 
 Mediatio. Finalis 1. 
 
 me-o: se-de a dex-tris me-is. Se-de a dextris 
 Finalis 2. Finalis 3. 
 
 7 7 
 
 me-is. Se-de a dex-tris me-is. Se-de a dextris 
 
 Finalis 4. Finalis 5. 
 
 me-is. Se-de a dex-tris me-is. 
 
 2. Vers. - ^J 1 f = ^ilz:r-N^:W=W3 
 
 Donee ponam inimicos tuos, * scabellum pedum tuorum. 
 
172 
 
 Initium. 
 
 Tonus VIII. 
 
 1. Di-xit D6-minus D6-mi-no 
 Mediatio. Finalis 1. Finalis 2. 
 
 8 9 9 
 
 me-o: * se-de a dextris me-is. Se-de a dextris me-is. 
 
 Donee ponam inimi'cos tu - os. &c. 
 Intonatio in pausa correpta. 
 
 s 
 
 Memento D6-mi-ne David, * et o-ranis mansu-e-tu-dinis ejus. 
 
 II. For the 113 th Psalm In exitu Israel, there is a 
 special chant constructed from a combination of the 1 st 
 and 8 th modes, and called Tonus mixtus, (also peregri- 
 nus 1 ), irregularis. This irregular tone is only used with 
 this Psalm when the Antiphon Nos qui vivimus accom- 
 panies it; on other occasions, when this antiphon does 
 not occur, such as the Sundays in Advent, the Epiphany, 
 Easter, Pentecost and Trinity Sundays and on the Sun- 
 days during Paschal Time , this Psalm is sung in the 
 Tone corresponding to the Antiphon. 
 
 The first verse of the Tonus peregrinus and its 
 accompanying Antiphon are as follows : 
 
 Nos qui vf-vi-mus. In ex-i-tu I-sra-el de Ae-gypto 
 do-mus Jacob de po-pu-lo bar-ba-ro. 
 
 ') According to Gerbert the Tonus peregrinus came from France 
 where the Roman Singers, sent there in the 9 th and 10 th centuries, 
 heard it, and brought it back with them to Rome. 
 
173 
 
 Nos qui vf-vi-mus be- ne-di'-ci-mus D6-mi-no. 
 
 The 28 remaining verses are sung in the following 
 simpler style. 
 
 Fa-cta est Ju-dae-a san-cti-fi - ca - ti - o e - jus, * 
 
 l^zzW -»3W— Nn w— ft — fc,^j^^-r=zz== -.z=r_= 
 
 I-sra-el po-te-stas e - jus- 
 
 CHAPTER 28th. 
 
 FERIAL TONES FOR THE PSALMS; - THE CANTICLES. 
 
 I. The Tonus ferialis is employed: 1 st on minor 
 Doubles, in Festis dupl. minoribus (i. e. on all Feasts 
 which are not of the 1 st or 2 nd class, major a), and 
 on Sundays and semidoubles, at Prime, Terce, Sext, 
 None and Compline. 2 nd in Festis simplicibus et in 
 Feriis throughout the entire office, and in the Office 
 for the Dead. 
 
 Observation. As the Festive and Ferial Tones for 
 the Psalms differ only in the Initium and partly in the 
 mediatio, whilst the endings remain the same, it will be 
 only necessary here to give the first member of the verse. 
 All the verses are sung alike. The Intonatio in pausa 
 correpta in the prescribed Tones, will be the same as in 
 preceding Chapter; the Initium only is ferial. 
 
 Initium. Mediatio. 
 
 I. Tonus. ^^Ff^pE5E^OE^^iEi^p= 
 
 1. Di-xit D6minus Domi-no me-o: * &c. 
 
 5 Finales. 
 
174 
 
 Initium. Mediatio. 
 
 II. Tonus. fes =fcft# ^at=jfr=fc d^^BBgEgS 
 
 1. Di-xit Dominus Domino me-o: * &c. 
 Initium. Mediatio. 
 
 III. Tonus. ^ ^^j E^ 3E§^teEEg!^SEii^ g= 
 
 1. Di-xit D6-minus D6mino me-o: * &c. 
 
 4 Finales. 
 
 Initium. Mediatio. 
 
 IV. Tonus. ^^^lrt=?E^5=~T^^=^= 
 
 1. Dixit Dominus Domino me-o: * &c. 
 
 5 Finales. 
 
 Initium. Mediatio. 
 
 V. Tonus. ^^E-I^-Em^i^iz^^^ 
 
 1. Di-xit D6-minus D6-mi-no me-o: * &c. 
 Initium. Mediatio. 
 
 VI. Tonus. 5 S^jf Fp ^^j=fc=q^5^3E= 
 
 1. Dixit Dominus Domino meo : * &c. 
 Initium. y Mediatio. 
 
 VII. Tonus. e^±=1^="=^===~3e= 
 
 1. Di-xit Dominus Domino meo:* &c. 
 
 .5 Finales. 
 
 Initium. Mediatio. 
 
 VIII. Tonus. 5^S^^|=5==fE5=~^E= 
 
 1. Dixit Dominus Domino meo: : 
 2 Finales. 
 
 II. In the Canticle of Zachary: — the Benedicts, 
 and in that of the B.V. M.; — the Magnificat, every verse 
 should be sung in the solemn form used for the into- 
 nation, even in Ferial offices and the Office for the 
 Dead: "inchoantur et decantantur usque ad ultimum 
 
175 
 
 versum solemnitef, etiam in officio feriali vel Defuncto- 
 rum." (Direct. Chori page 37*.) *) 
 
 The first verse of the Magnificat has not enough 
 of syllables for the usual Psalm chants and is intoned 
 in each mode as under; the second and following verses, 
 and the first and all the verses of the Benedictus are 
 sung according to the chants in preceding chapter. 
 
 Initium. Mediatio. Fin. 1. 
 
 L TonUS. r,-g=z=^zM^ giq^ii^ z+±*t^^^*X^ 
 
 1. Magnificat anima mea Dominum. 
 
 1. Ee-ne-dictus D6-mi-nus De-us I - sra- el; * &c. 
 
 2. Et ex-sul-ta - - vit Spi-ritus me - us; * &c. 
 
 Initium. Mediatio. Finalis. 
 
 II. Tonus. ^^S^^j|£^3^^£^E£^S 
 
 Magnificat * anima me-a Dominum. 
 
 j"jg— - — ■^"iT 11 1 ^ — ■ — ■ — ♦— — 7=1 
 
 1. Be - ne - dictus D6-mi-nus De - us I - sra-el ; * &c. 
 
 Initium. Mediatio. Fin. 1. 
 
 III. Tonus. : : ^i55i : : iVE^^5^^g3jEvg 
 
 Magnificat * anima mea D6-minum. 
 
 ip— W~w ~q=z=q zlzi^^' m - ♦— — :fc 
 
 h Be-ne-di-ctus Dominus De-us I -sra-el; * &c. 
 
 2. Et ex-sul-ta - vit Spiritus me - us ; * &c. 
 
 ! ) Where a custom (consuetudo) exists, the cantica may be sung 
 in ferial form when the office is ferial. S. R. C. 9. Maji, 1857. Act. 
 Ephem. Tom. III. p. 587. 
 
176 
 
 Initium. Mediatio. Fin. 1. 
 
 IV. Tonus. ttEE$&3 5S &l^^aB55^& 
 
 1 1 n 
 
 Magnificat * anima mea D6minum. 
 
 1. Be-ne -di'ctus D6-mi-nus De-us I-sra-el * &c. 
 
 2. Et ex-sul-ta - vit spf-ri-tus me-us &c. 
 
 Initium. Mediatio. Fin. 
 
 V. Tonus. ^E^a^^ SFyff^^EEiSBpEa E 
 
 Magni-ficat * anima me*a D6-minum. 
 Initium. Mediatio. Fin. 
 
 VI. Tonus. i^^^^^^^^^fcNEtS 
 
 Tr if 
 
 Magnificat * anima mea Dominum. 
 
 i 
 
 1. Be-ne - di - ctus Dominus Deus I-sra-el: * 
 
 2. Et ex - sultavit spf-ri-tus meus &c. 
 
 Initium. Mediatio. Fin. 1. 
 
 VII. Tonus. ^^^^S^S ^=*d^S ^± ^ 
 
 Ma-gni-ficat * anima mea Dominum. 
 
 1. Be-ne - di'ctus Dominus De-us I-sra-el; * &c. 
 
 2. Et ex - sul-ta-vit Spi'ritus me - us; * <fec. 
 
 Initium. Mediatio. Fin. 1. 
 
 VIII. Tonus. E^pag^ ^OI-j E pSEiEgE^ 
 
 Magnificat :i: anima mea Dominum. 
 
 1. Be - ne - di'ctus D6-mi-nus De-us I - sra-el; * Ac. 
 
177 
 
 CHAPTER 29th. 
 MATINS. 
 
 1. Every Office has seven parts or hours (horce), 
 viz, Matins and Lauds, Prime, Terce, Sext, None, Vespers, 
 and Compline. The first part, Matins (hora matutina) 
 or morning prayer, to which Lauds is always joined, 
 was originally called "vigilioe noeturnae" because recited 
 in three parts during the night, as the Romans were 
 accustomed to divide the night into three watches. Later 
 on when the recitation of the office was confined (as a 
 duty) to the Clergy, these three parts were united, and 
 Lauds or vigilice matutince joined with it, so as to make 
 one important hour of prayer. 
 
 Matins begins with a Pater, Ave and Credo said in 
 silence, then the verse, Domine labia mea &c. y chanted 
 aloud, and then the introductory supplication Deus in 
 adjutorium dtc. After this comes immediately the Invi- 
 tatorium with the 94 th Psalm, Venite exsultemus. The 
 Hymn, and the 3 Nocturns follow, (each Nocturn consists 
 of 3 Psalms with their antiphons, of a versicle and re- 
 sponse, and of 3 Lessons with their Besponsoria) ; and 
 all is closed (except in Ferial offices, the Offices on Fast 
 days, and the Office for the Dead) with the "TeDeumf 
 then Lauds are intoned. In both festive and ferial 
 Matins we commence the chant with 
 
 V=Z ±=m=rz=z^=z=^=. 
 
 Hebdomad. Do-mi-ne, la-bi-a me -a a-pe-ri-es. 
 Chorus. Et os meum | annuntiabit laudem tuam. 
 
 2. The Deus in adjutorium has a festive and a 
 ferial intonation. 1 ) The festive intonation is as follows: 
 
 l ) Also in Lauds, in the Korce minores, and in Vesper and Compline 
 it has these festive and ferial intonations. In the Office of Holy Week, 
 
 12 
 
ITS 
 
 a) In Festo dupl. et semid. ad omnes horas. 
 Hebdomad. 
 
 De-us, in ad-ju-to - ri-um me-um in-ten-de. 
 Chorus. 
 
 Domine, ad adjuvandnm me fe-sti-na. Gloria Patri. et Filio. 
 
 et Spi-n'-tu-i san-cto; sicut erat in principio, | et nunc, 
 
 et semper, | et in saecula saeculorum. Amen. Al-le-lu-ja. 
 
 From Septuagesima Sunday until Thursday in Holy 
 Week . instead of the Alleluia the following should he 
 
 i 
 
 Laus tibi Domine. rex aeternae gloriae. 
 
 The ferial intonation for Matins is as follows 
 b) In Festo simplici et Feriis ad Matut. 
 
 Hebdomad. ^1 
 
 Deus in adjutorium meum intende. 
 
 3 
 
 Chorus. 
 
 Do-mi-ne, ad ad-ju-van-dum me fe-stl-na. G16-ri-a 
 
 Pa-tri, et Fi'-li-o. et Spi-ri-tir- i saneto: Sic- ut e-rat in 
 
 and of the Epiphany, the Office begins with the Antiphons and Psalms, 
 and in the Office of the Dead with the Inritatorium, if three Xocturns 
 are to be said. 
 
179 
 
 -|g— ■ W ■ — — ■ — ■I-av- 
 
 princf-pi-o, et nunc, et seni-per, et in sae-cu-la sae-cu- 
 16 -rum. A-men. Al - le - hi - ja. 
 
 c) In festo simplici et Feriis ad Laudes et ad reliquas horas. 
 
 3= 
 
 T. De-us in ad - ju - to - ri - urn me - urn in-ten-de. 
 
 Chorus responds as at b\ 
 
 3. Then follows the Invitatorium. This is a short 
 verse adapted to the Office, and so called because it is a 
 sort of invitation or encouragement to the work of praise 
 which immediately follows. *) It generally closes with the 
 words "Venite adoremus" It is divided into two parts 
 by an asterisk *, and the entire verse or latter part 
 is sung antiphonally i. e. alternately with every two 
 verses of the 94 th Psalm, d Venite exultemus Domino" 
 In the Office de Tempore it is found in the Proprium 
 de Tempore; for the Feasts of Saints it is taken from 
 the Proprium Sanctorum, or if there be no Proper, from 
 the Commune Sanctorum; on the feasts of Virgins, from 
 the Commune Virginum, on that of an Apostle, from the 
 Commune Apostolorum , (if no special one he provided 
 in the Proprium de Sanctis.) 
 
 On the feast of the Epiphany, on the three last days 
 of Holy Week, 2 ) and in ordinary Offices for the dead 
 (except all Souls Day, and all days when three Xocturns 
 are to be sung), the Invitatory and 94 th Psalm are 
 
 ') The Invitatorium is supposed to have been introduced by Pope 
 Damasus, or certainly by St. Gregory. 
 
 *) The reason given for there being no Invitatory on the Epiphany, 
 is, that the Oftice of the Epiphany is of older date than the Invita- 
 tory; and as the Liturgy of Holy Week is all of a mournful character, 
 the joyful summons of the Invitatory is considered out of place. 
 
 12* 
 
180 
 
 omitted. In Paschal time, (from Easter Sunday till Satur- 
 day after Pentecost,) an Alleluia is joined on to the 
 Invitatorium. The 94 th Psalm (as indeed ordinarily speak- 
 ing every Psalm) closes with the Gloria Patri, except 
 in the Gfficium de Tempore (Sundays or Ferias) from 
 Passion Sunday to Thursday in Holy Week. In Offic. 
 Defunct, the Requiem ceternam dc. is sung instead, of 
 the Gloria Patri. Should the Invitatorium be taken from 
 the 94 th Psalm, (as on Ferias) then the same words in 
 the Psalm are not repeated. 
 
 The ten different melodies for the Invitatory-Psalm, 
 are found in the Antiphonarium and JDirectorium Ghori: 
 for the 8 Tones given in full, for the 4 th T<?ne in 
 three forms, for the 6 th Tone in two. 1 ) The Gantores 2 ) 
 sing first the entire Invitatorium, the choir repeats it. 
 Then the psalm "Venite" is sung by the Gantores, whilst 
 tiie choir repeats after each division of the Psalm (two 
 verses) the entire Invitatorium, or the latter part of it. 
 We give as examples the Christmas, Easter and Requiem 
 Invitatories. The figures 11* &c. indicate the pages of 
 the Direct. Ghori whence these examples are taken. 
 
 1. Chri-stus na - tus est no - - bis: * Ve - ni-te 
 
 ad - o - re - mus. Ps. Ve - ni - te , ex-sulte-mus Do-mi-no , fa- 
 Ton. IV. pag. 11* 
 
 ') The 8 th Tone is not found in the Commune Directorii, as it 
 only occurs once in the year, in the 3 d Nocturn of the Feast of the 
 Epiphany. 
 
 2 ) Fuller information for the full ceremonial in solemn vespers, 
 when the ministers in cope, as Cantores, must give the Intonations 
 to the officiating dignitary, Vicarius, Canonicus or Episcopus in a 
 determined order, may be" obtained from the several liturgical books, 
 and in a short form from Schneider's Manuale Clericorum. 
 
181 
 
 2. Sur-re-xit Do - mi-nus ve - re, * Al - le - lu - ja. 
 
 _-t 
 
 .Jp t B— i /W_A_y_Dr_ 
 
 
 Ve- 
 
 ■ni-te, ex-sul-te-mus D6-mi-no, &c. 
 
 Ton. VI. pag. 25*. 
 
 %m 
 
 — H " N-^-W ~2 
 
 
 3. Re 
 
 -gem, cu-i 6-mni-a vi-vunt,* Ve-ni 
 
 -te ad - o - re-mus. 
 
 ^— r 
 
 
 ^ 
 
 H 
 
 Ps. Ve - ni-te , ex-sul-te-mus D6-mi-no, &c. Ton. VI. p. 22*. 
 
 4. In Officium de Dominica et die solemni the 
 Chanters intone the first words of the Hymn to the 
 officiating priest or Hebdomadarius , who repeats them. 
 If the Office is not solemn or de Dominica, the choir 
 intones the Hymn. The Hymn is taken on certain feasts, 
 from the Proper of the Feast, or from the Psalterium 
 disposition per Hebdomadam, the Propr. de Tempore, or 
 the Commune Sanctorum. On the three days preceding 
 Easter, during the octave following, on the Feast of the 
 Epiphany, {at Matins only) and in the Office for the 
 Dead, the Hymn is omitted. — The last strophe of 
 the Hymn is often varied according to the season. This 
 alteration is generally noted in the Calendar, (and in 
 Direct. Chori) and applies to all the parts of the Office. 
 In the Hymn Iste Confessor the words meruit supremos 
 laudis honor es in the 1 st strophe, should he sung instead 
 of meruit beat as seamier e sedes, when it is not the day 
 of the saint's death, and when indicated in the Calendar 
 or Ordo by MS or mut. 3. vers. 
 
 5. The Hymn is immediately followed by the Nocturns 
 Qwrce nocturnce) three or one. All Festivals ritu dupl. 
 et semidupl. (except Easter and Pentecost) and all Sun- 
 days have three Nocturns. Festa simplicia, ferias and 
 
182 
 
 vigils and Easter and Pentecost with their octaves have 
 but one Nocturn. 
 
 The Nocturns consist of Antiphons, 1 ) Psalms, 2 ) 
 a Versicle (f) and Response (H), the Absolutio and 
 Benedict io, the Lessons and their llesponsoria. 
 
 In Dominica et die solemni one Chanter intones the 
 first words of the first Antiphon at Matins to the Heb- 
 dbmadarius, who repeats it. When the Office is not dt 
 Dominica or solemn then the officiating Priest alone in- 
 tones. In Festo duplici the choir sings the remaining 
 words of the antiphon to the end. 
 
 Two Chanters then intone the first verse of the first 
 Psalm; 3 ) on Vigils, in Quarter-tense and on the Ferias 
 of Advent and Lent, only one chanter intones the Psalm. 
 When the 1 st Psalm with its antiphon is sung through, 
 then in Festis et ferns one chanter intones the initial 
 words of the other antiphons to the Canons or clergy 
 assisting in choir according to their seniority and rank. 
 The Canon or other in choir repeats the intonation. The 
 ether Psalms are intoned in order by the chanters in 
 the same way as the first. It is only when the Psalm 
 is immediately followed by an antiphon. that the next 
 psalm is intoned by the chanters; if several psalms follow 
 on without an antiphon, only the first is intoned by 
 the chanters. 
 
 ') According to the season and rank of the Festival these should 
 be sung (in ritudupl.,) both before and after the Psalm; on festivals 
 of lower rank only a few words (as far as the asterisk) are intoned 
 before the psalm/ Paschal time each Nocturn has only the first 
 antiphon with Alleluia for all the Psalms, except on the Ascension 
 and Pentecost with their octaves. 
 
 2 ) The 1 st Noct. de Dominica has 12 Psalms (4 for each antiphon) 
 the 2 nd and 3 a Nocturns have 3 Psalms and Antiphons. The Ferias have 
 1 Noct. with 12 Psalms and 6 antiphons; the festa dupl and scniidupl. 
 have 3 Nocturns with each 3 Psalms and antiphons; the festa simplicia 
 and Vigils have the antiphons and psalms of the Feria occurring, that 
 is (i antiphons and 12 psalms. 
 
 3 ) When the Organ is played this verse should be intoned without 
 accompaniment. 
 
183 
 
 Observation. On the three last days of Holy Week 
 the Gloria Patri is omitted at the close of each Psalm. 
 Consequently for the last member of the last verse, a 
 special ending is prescribed to be used for every Psalm 
 without distinction, namely: 
 
 ^E^-jEfES^=E3EE E. G. Ps. 23., V. Ton, 10. Vers: 
 
 Mediatio. 
 
 Quis est iste Rex glo - ri - ae ? * Dominus virtutum ipse 
 
 est Rex glo - ri - ae. 
 
 . And so in all Tones and on all linal verses. 
 
 6. in Dominica et die solemni two or more chanters 
 sing the Versicle; in Feriis et festis non solemnibus 
 two of the music-choir; on Vigils, in Quarter-tense, and 
 on the Ferias of Advent and Lent, only one of the 
 music-choir. 
 
 Toni Versieulorum. 
 
 a) In Festo Duplici. ahchaga 
 
 t. Constitues eos principes j super omnem terrain, a, a - m. 1 ) 
 Memo-res erunt | nominis tui Domine, e, e. 
 
 b) In Festo Semiduplici. 
 
 t. Di-ri-ga-tur D6-mi-ne I oratio me -a, a. 
 
 1^. Sicut incensum | in conspectu tu-o, o. 
 
 Angelis suis mandavit de te, e. 
 
 I£. Ut custodiant te in omnibus viis tu - is, i - s. 
 
 *) Should the word end with a consonant, the vowel should have 
 the neuma , ami* the consonant be only pronounced at the very end, 
 and then quickly. 
 
184 
 
 This method of singing the versicles and responses, 
 is also to be adopted for the versicle and response after 
 the Responsoria brevia in the minor hours on all Fes- 
 tivals (ritu solemni to semid. inclusive.) 
 
 c) In Festo Simpl. et diebus ferialibus per totum ofticium. 
 
 t. Domine in coelo | misericordia tu-a. 
 
 1£. Et Veritas tua 1 usque ad nu-be - s. 
 
 Observation. In Matins and Lauds for the three 
 last days of Holy Week, and in Vespers, Matins and Lauds 
 of the Office for the Dead, the versicles are sung as follows: 
 
 t. Avertantur re-tror-sum | et e-ru - be -scant. 
 ^. Qui cogitant mi-hi ma - la. 
 
 A porta infe - ri. 
 
 Erue, B6mine, ani - - mas e - 6 - rum. ') 
 
 7. After the Vers, and Resp. the officiating Priest 
 sings : 
 
 Pa-ter noster. secreto. t. Et ne nos inducas in tentati-6-nem. 
 
 Chorus. 1^. Scd libera nos a ma-lo. 
 
 Hebdomad. Absolutio. 
 
 Exaudi Domine Jesu Christi | preces servorum tuorum, | 
 
 Ipsius pietas et miseri 
 
 A vmculis pecca 
 
 et mi-se-re-re no-bis qui cum Patre et Spiritu sancto I 
 cordi - a nos adjuvet, qui cum Patre et Spiritu sancto | 
 to-rum nostrorum absolvat nos | omnipotens 
 
 ') In 1. Noct. Offic. Defunct, this response remains in the plural, 
 even though the Office be pro uno Defuncto. 
 
185 
 
 vivis et regnas 
 vivit et regnat 
 
 in saecula saecu-16-rum. 
 in saecula saecu-16-rum. 
 et misericors Dominus. 
 
 Chorus. Iji. Amen. 
 
 Then a minister choro assistens goes to the Lectern 
 
 or reading desk and sings: 1 i =MirJ:rzj !rzg =ii Mr* y^-^-r- 
 
 Ju-be domne benedicere. 
 The Hebdomad arhis answers with the Benedictio. Of 
 the 12 customary blessings, we give here only a few 
 as the chant is alike for all. 
 
 Eli 
 
 Benedictio 
 Deus pa 
 Evange 
 Per evange 
 
 1 — N- 
 
 ne per - petua, 
 ter o-mnipotens, 
 li - ca lectio 
 li - ca dicta 
 
 benedicat nos Pater ae - ter-nus. 
 
 sit nobis propitius et clemens. 
 
 sit nobis salus et pro > - te-ctio. 
 
 deleantur nostra de li - eta. 
 
 A-men. 
 
 In ritu simplici, feriali and in Offic. B. V. M. and 
 in Sabbato the Absolutiones and Benedictiones are sung 
 as follows: 
 
 Absolutio. 
 
 Precibus et meritis B. M. semper V., | et omnium 
 Sanctorum | perducat nos Dominus — 
 
 ! — m — *■ 
 
 i — h- m — 2=3 — ■ — ■ — 3E : 
 
 ad re-gna coe-16-rum. fy. A-men. 
 
186 
 
 Benedictio. 
 
 Nos cum prole pia i benedi'cat Virgo Ma-n'-a. 3. A-men. 
 
 8. The Lector (minister clioro assistens) sings the 
 Lesson in the following manner : 
 
 Tonus Lectionis. 
 
 De Acti-bus A-po-sto-16-rum. Petrus autem et Joannes 
 
 Sic dicimr Punctum. 
 
 ascendebant in templum | ad horam orationis no-nam ..." 
 
 Sic die. Monosvllabum 
 
 Intuens autem in eum Petrus cum Joanne dixit: re-spi-ce 
 
 Sic regulariter finitur Lectio. 
 
 in nos. — Quid ergo erit no-bis? Tu au-tem D6-mi-ne 
 
 = ^ I= li ^ :i » I= ^ir := r ii — N — m ~ ■ '—J L 
 
 mi - se. - re - re no - bis. De - gra - ti - as. 
 
 Observation. The Lessons in Offic. Defunct, and on 
 the three last days of Holy Week, have no Abwhitw, Be- 
 nedictio or Tu autem Domine at the end. The Reader be- 
 gins the lesson after the Pater noster (recited in silence), 
 he uses the punctuation noted in the above example, but 
 does not close with the fall to the fifth, or with a dif- 
 ferent phrase, but on the reciting note sung somewhat 
 slower and more solemnly ; e. g. 
 
 ') In the 9 th Lesson on Christmas Day (and in all similar in- 
 stances) -where on the words factum est, the 'acccntus acut«s and inter- 
 rogate seem to come in collision, the interrogatio should be sung on 
 est, and the acceutus acutus be allowed to drop out. 
 
187 
 
 Finis. 
 
 
 
 
 
 - 5 5 5r 
 
 
 -1 
 
 
 -1 4 
 
 
 Vi-si-;a-ti - o tu-a cu-sto - di-vit Spi'-ri-tum me-um. 
 
 The first Nocturn of the three last clays in Holy Week 
 has for Lessons the so called "Lamentations" of the 
 Prophet Jeremias, and they are sung to peculiarly solemn 
 and affecting melodies. 1 ) We give a portion of one here as 
 a specimen. The 9 Lamentations are given in full in the 
 official Direct. C/wri and in Officio majoris Hebdomadw. 
 
 Tonus Lamentationis. 
 De Lamen-ta-ti - 6-ne Je-re-nri-ae Pro-phe - tae. Hcth. * 
 
 Co-gi-ta-vit Domi-nus dissipare murum fi'-liae Si-on : tetendit 
 
 fum'culum su-um, et non ayertit manum su-am a per-di-ti-6-ne: 
 hi- xit-que ante mura-le , et murus pa-ri-ter dissi-pa - tns est etc. 
 
 ') These "touching elegies," as Card. Wiseman calls them, when 
 well sung, form one of the most striking features of the solemn Oftice 
 of Tenebrce. At Guidetti's time, as Baini tells us (Vol. II. pag. 103 
 Memorie Storico-Critiche) the Lamentations were not usually sung in 
 Plain-Chant but in figured chant or read; and a manuscript in the 
 Vallicellian library containing the three Lamentations of the o* 1 day, 
 was the only one Baini knew that could have furnished Guidetti with 
 an idea of the old chant "for them. Some changes were made, but so 
 judiciously, that Baini suspects Palestrina to have had a share in them. 
 The figured music for the Lamentations of Carpentrasso, introduced in 
 the Pontificate of Leo X, held their ground in the Papal Chapel to 
 the end of Greg. XIII s reign. But no sooner had Sixtus V. ascended 
 the throne than he ordered that the 2 nd and 3 d Lamentation on each 
 evening should be sung in Plain-Chant; whilst the first might be in 
 figured chant, but not that of Carpentrasso which he did not relish, 
 and the genius of Palestrina was not slow to correspond with the 
 Pontiff's wishes and produce his incomparable arrangements. In the 
 preface to the Plain-Chant lamentations Guidetti says "prasertim cum 
 sanctitas vestra lamentationes , quas ego ad musicam rationem restitue- 
 ram, in pontificio sacello voluerit decantari." 
 
1SS 
 
 Even Lamentation concludes with: 
 Je - ru-sa-lem, Je - ru-sa-lem, con-ver-te-re ad D6-minum 
 De-um tu - urn. 
 
 9. Every Lesson is followed by its Responsoriuni, 1 ) 
 or Response, which consists of three parts. The first 
 part is the response properly so called : the 2 nd part 
 begins with a versicle; in the third part, the second 
 half of the response , or first from the asterisk ::: is 
 repeated. 
 
 Should the Office have three Xocturns. then the 3 d 
 response of the 1 st and 2 nd Xoct., and the 2 nd of the 
 3 d Xocturn (except in Passiontide) have a Gloria Patri, 
 after the versicle, and when this is sung, the second 
 half of the responsorium should be repeated. "When the 
 Office has only one Xocturn, then the Gloria Patri is 
 attached to the 2 nd response. 
 
 If however the "Te Deum" is not said, then the 
 Gloria Patri is attached to the 3 d response of the 3 d , 
 or only nocturn. as the case may be. 
 
 Observation. Any alterations in this order of the 
 Responses in the Matins of Christmas. Easter, Passiontide, 
 Holy Week &c. are clearly indicated in the Choral books. 
 
 ') The responsoria are not to be confounded with the short response 
 in answer to the versicle, of which we spoke in parag 6. of this chapter. 
 Thev are of greater length both as to words and music. The ancient 
 ritualists are not agreed about the reason of the name: some saying 
 thev were so called because one singing, the whole choir did answer 
 them: while others sav thev had their name, because they answered 
 to the lessons. Baini tells us that the Besponsoria were amongst those 
 portions of the Chant that required cutting down because of the length 
 of the neumce. 
 
189 
 
 It may be added, that in Festis solemnibus et Do- 
 minicis privilegiatis, the officiating priest, — hebdomada- v 
 riiis, — sings the ninth Lesson. 
 
 10. In Festis solemnibus et Dominicis the Chanter 
 gives the Intonation of the "Te Deam" to the Hebdo- 
 madarius, who repeats it. If the feast be not solemn 
 or a Sunday, then the Chanters in medio cJwri intone 
 it themselves. 
 
 Intonatio Hymni Ss. Ambrosii et Augustini. 
 
 e ga Ton. IIZ. et IV. 
 
 Te De-urn lau - dd -mus. 
 
 The extended compass of this Hymn comprises the 
 eight degrees of the scale, from C to c. 
 
 CHAPTER 30th. 
 LAUDS AND BENEDICAMUS. 
 
 I. The officiating priest begins Lauds with the Deus 
 in adjiitorium, intoned as at page 178. 
 
 In Offic. de Dominica, the Antiphons are found in 
 the psaltery (psalterium disposition per hebdomad am), 1 ) 
 on Feasts of Saints they are taken from the Proper or 
 Common of Saints as noted in the Directory, on Feasts 
 of our Lord from the Proprium de Tempore, and on 
 Ferias from the Psaltery. 2 ) During Paschal time an 
 
 ') The three first psalms have only one antiphon. The Sundays of 
 Advent and Lent (Septuag., Sexagesima and Quinquag. included) have 
 special antiphons and psalms; also Low Sunday. 
 
 *) The 6 ferias preceeding Christmas, and the ferias of Holy, Easter 
 and Whitsun-weeks, have special offices in the Propr. de Tempore. 
 
190 
 
 Alleluia is added to each antiphon. The Psalms at 
 Lauds are, for all Feasjts and ordinary days, except 
 from Septuagesima to Palm Sunday, and the Ferias and 
 Vigils, (but not those of Easter week.) the following five: 
 1) Ps. 92. 2) Ps. 99. 3) Pss. 62 and 66, joined so as 
 to count as one, 4) Canticum trium puerorum, 5) Pss. 
 148, 149, 150, all sung as one. 
 
 In Dominica aid die solemni the Chanter gives the 
 officiating priest the first Antiphon. On other occasions 
 the officiating priest himself intones it. 
 
 After the Intonation 1 ) of the Antiphon, two or more 
 chanters, according to the dignity of the Feast, intone 
 the Psalm as prescribed. 
 
 In diebus festivis et ferialibus the Chanter gives the 
 first words of the remaining antiphons to the Canons or 
 assistant clergy in the order of seniority or rank. 
 
 When the Psalms are ended, and the last antiphon 
 sung, then the officiating priest sings the "Little Chapter," 
 — Capitulum, 2 ) which is generally the same for Lauds, 
 Yespers and Terce. 
 
 Tonus Capituli. 
 
 Beatus vir , qui inventus est sine macula , et qui post 
 aurum non abiit , nec speravit in pecunia et thesauris. 
 Quis est hie, et laudabimus 
 
 e - um i 
 
 Fecit enim mirabilia in vi-ta su - a. Ijfc. De-o gra-ti-as. 
 
 ') If the Feast be a duplex, the Psalm is not intoned until the 
 whole antiphon is sung through by the choir. 
 
 2 ) From Holy Thursday till Saturday before Low Sunday, and in 
 the Office for the Dead there is no capitulum. 
 
191 
 
 Should the last be a word of one syllable, as in the 
 Cap. Epiph. Domini : Surge ittuminare, — on the 3 d Sun- 
 day of Advent , — on the Ascension &c. ; then it ends 
 with the accentus acutus as in the Little Chapter at 
 Prime: Begi scemlorum, as follows: 
 
 Su-per te or-ta est. In sae-cu-la sae-cu-16-rum. A-men. 
 
 The Response Deo Gratias remains always the same. 
 
 In Dominica et die solemni the Chanter gives the 
 iirst words of the Hymn 1 ) to the officiating priest, 
 who repeats them. On other occasions he himself in- 
 tones them. 
 
 The Hymn is followed by a versicle and response 
 sung as at page 183; in Paschal time an Alleluia is 
 added. TheAntiphon for the Benedictus, in Dominica 
 et die solemni is given by the Chanter to the officiating 
 priest; otherwise he intones it himself. The Benedictus 
 is intoned by one or more chanters according to the 
 dignity of the Festival, but always solemniter (see 
 Page 174), and sung in alternate choirs to the end. 
 
 When the singing of the Antiphon is concluded, the 
 officiating priest sings Dominus vobiscum, and then the 
 Prayer (see Pages 118, 119 and 120). 
 
 The Preces when prescribed are sung alternately 
 by the officiating priest and the choir, after the manner 
 of the versicles in commemorations (Toni versiculorum 
 in commemoratione) which we are just about to give. 
 
 In Commemorations 2 ) the versicle in Dominica 
 et die solemni should be intoned by two or more 
 
 ') When there is no capitulum, there is no hymn: the last strophe 
 is often varied according to the .season. (See above, page 181.) 
 
 a ) A Commemoration occurs when two or more Feasts fall on 
 the one day. As only one office can be recited completely, the feast 
 
192 
 
 chanters, at other times a binis musicis vel ah mo. The 
 versicles and responses to the Preces, Commemorationes, 
 Antiphons of the B. V. M., before the Oratio Ss. Sacra- 
 menti, at Processions, Benedictions, and on other such 
 occasions, are sung as follows. 
 
 Toni Versiculorum in Commemorat. &e. 
 
 
 
 
 : 1 ♦ 
 
 t. Ora pro nobis J sancta Dei Ge - ni - trix. 
 
 Ut digni efficiamur | promissionibus Chri - sti. 
 
 In a monosyllabic ending of the versicle the accen- 
 tus acutus is employed, as follows : 
 
 t. Fiat misericordia tua D6mi-ne super nos. 
 Quemadmodum speravimus in te. 
 
 t. Angelis suis Deus man-da-vit de te. 
 
 The Tone of the Prayers in Commemorations is the 
 same as that for the principal prayer. 
 
 II. After the Prayer and prescribed commemorations 
 the officiating priest sings i Dominus vobiscum. In Do- 
 minica et die solemni, the Benedicamus Domino is sung 
 by two or more chanters, on other occas^ns by two or 
 even one of the choir, — a binis musicis vel ab uno, — 
 to one or other of the following chants: 
 
 of higher rank takes precedence, and the other feasts are commemo- 
 rated in Lauds and Vespers. To this class also belong the SufJ'ragia 
 Sanctorum which are found in the Direct, and Breviary before Com- 
 pline, and except on duplicia and infra Octavas should, at certain 
 seasons of the year, notified in the Directory, always be said. 
 
193 
 
 Torti Benedicamus pro Officio. 
 
 1. In Festo solemni. 
 
 Be-ne-di-camus Do - o o - o-o - mino. 
 
 De - - o o o o gra - ti-as. 
 
 2. De beata Yirgine. 1 ) 
 
 Be - ne -di - ea-mus Do - mi -no. 
 De - o gra ti-as. 
 
 3. De Apostolis, et in Festis Duplicibus. 
 
 Be-ne-di - ca - mus Do - o - - o mi-no. 
 
 De - o o o . gra-ti-as. 
 
 4. In Dominicis, (etiam Adventus et Quadrag.) Semidupl. et infra 
 
 Octav., quae non sunt B. M. V. 
 
 Be-ne-di-ca-mus Do - - mi -no. 
 De - o gra - - ti-as. 
 
 5. A Vesp. Sabbati saneti usque ad Vesp. sequentis Sabb. exclus. 
 
 Be-ne-di-ca-mus D6-mi-no, al-le-M-ja, al-le - lii - ja. 
 ]£. De-o gra-ti-as, al-le-lu-ja, al-le - lu - ja. 
 
 ' i Et in vesper is Feria VI., quando fit seq. Sabbato off. de B.V.M. 
 also during the octaves of Christmas and Corpus Christi, and on all 
 Feasts where the Hymn closes with Jesu tibi sit gloria. 
 
 13 
 
194 
 
 fi. In Festis simplicibus ad Matutin. Laudes et Vesper, 
 e d e dc ha cdfed 
 
 3E 
 
 Be-ne-di - ca-mus Do - mi -no. 
 IjEr. De - o gra - ti - as. 
 
 In Feriali Officio per totum annum ad Vesp., Matut. et Laudes. 
 
 Be - ne- di - ca - mus D6-mi-no. 
 De - o gr6 - ti - as. 
 
 8. In Officio Defunctorum. 
 
 Re-qui-e -scant in pa-ce. fy. A-men. 
 
 The above eight chants are used at the close of 
 Matins, Lauds and Vespers only. 
 
 The following Benedicamus is employed at Prime. 
 Terce, Sext, None and Compline, as well in Festis so- 
 lemnibus, duplic. as in semidupL simplic. ac Ferns. 
 
 9. In horis minoribus ac Completorio. 
 
 Be-ne-di-ca-mus Do -mi -no. 
 I£. De - o gra - ti - as. 
 
 The Benedicamus is followed immediately by Fide- 
 
 c a 
 
 Hum animce per misericordiam Del requiescant m pa-ce. 
 
 a c 
 
 A-men. If an Antiphon of the B.V. M. should terminate 
 
 Lauds then the officiating priest, after & Pater noster in 
 
 c a 
 
 silence, sings: Bominus det nobis suam pa-cem. R. Ft 
 
 a c 
 
 vitam mternam. A-men. in the tone of a versicle. The 
 
195 
 
 entire Office is closed by Bivinum anxilium maneat sem- 
 j)er nobiscum which the officiating priest chants in a sub- 
 dued voice, and the choir answers Amen on the same 
 note and in the same subdued voice. 
 
 CHAPTER 3 1st. 
 
 PRIME. TERCE. SEXT AND NONE. 
 
 I. At Prime, after the preparatory Pater, Ave and 
 'Credo, said in silence, the officiating priest sings Deus 
 in adjutoriwn as at page 178. The Hymns at Prime. 
 Terce, Sext and None have (according to the season) 
 different melodies, and are generally sung to the same 
 melody as the Hymn at Matins or Lauds, if the latter 
 be in the same metre. 
 
 Observation. This general rule is set forth in the 
 Direct. C/iori as follows: In the Offic. de Temp, in Advent 
 and Lent (in Domin. el Feriis) the melody of the Hymn 
 for Lauds is employed. In Passiontide, that of the Vexttla 
 Regis. At Christmas and during its octave, the melody of 
 the Jesu Redemptor answers; on the Epiphany and within 
 its octave the Crudelis Herodes. At Easter and during its 
 octave, and on all Feasts occurring within that period, 
 even though the Office be not de Tempore, the Ad regias 
 gives the chant ; on the Ascension and during its octave, 
 the Salulis humance; on Pentecost and during its octave 
 the Jam Christus; *) and on Trinity Sunday , the Jam sol 
 recedit. On Corpus Christi , and on all Feasts of the 
 B. V. M. with their octaves, and whenever the hymns 
 should close with Jesu tibi sit gloria, the hymn Quern terra 
 furnishes the chant: on the Feast of the Transfiguration, 
 the Salutis humance , and on All Saints , the Placat e 
 Christe. On Feasts of Apostles and Evangelists, and in 
 
 ') The Hymn at Terce during the octave of Pentecost is the Veni 
 Creator Sjririius, which of course has its own special chant. 
 
 13* 
 
190 
 
 dtiplicibus, when the hymns of the minor hours are not 
 written in the same metre as those at Lauds or Matins; 
 as for example, on the feasts of St. John the Baptist, 
 Dedicatio S. Michaelis, the Angels guardian, Dedication of 
 a Church &c. and during their octaves, the melody of the 
 Alter na Cliristi munera is always adopted, also in Comm. 
 plurim. Marly nun sub rilu duplici. Within the octave 
 however of a Feast de Comm. plur. Martyr, or when it is 
 only a semidouble, the Hymns at the minor hours are 
 chanted to the melody of the Rex glortose Martyrum. The 
 same melody answers in the Oftice of Comm. Co/if. Pont., 
 and non Pont., Virg. and non Yirg. whether doubles or semi- 
 doubles. For the most part the chants of the Hymns are 
 specially given in the Directorlum. 
 
 The Hymn Jam lucis at Prime is omitted on the 
 three last days of Holy Week, and in Easter week. The 
 Antiphon before the Psalms is merely intoned, (first 
 word or two) and is generally the 1 st antiphon of Lauds. 
 On Sundays, Ferias and Vigils, it is found in the Fsal- 
 terium or Propr. de Tempore, on principal Feasts in the 
 Propr. de Temp, and on Feasts of Saints in the Propr. 
 or Commune Sanctorum . 
 
 The Intonation of the Antiphon is given by the of- 
 ficiating priest; the Psalms are intoned and continued by 
 the Choir, after the chant given in Chapters 27 or 28. 
 
 The Psalms at Prime vary according to the season 
 or rank of the Office. On Sundays and Ferias, now one. 
 now another Psalm, is added to the 53 d and the two 
 sections of the 118 th , which are invariably sung. 
 
 The officiating priest sings the Capitulum as at 
 page 190. The Besponsoria brevia, or short responses 
 with the versicle that immediately follows, should at 
 all the minor hours be sung by two chanters of the 
 capella musicorum ; on Vigils, Advent. Lent and Quarter- 
 tense Ferias by one only. 
 
 The melody of the Responsorium breve is at all the 
 minor hours of the Ecclesiastical year usually the same. 
 
197 
 
 the difference of text sometimes making slight altera- 
 tions ; this melody is found in extenso in the Dir. cJwri. 
 
 Toni "Responsorii brevis." 
 
 op '• < A • * 1 5 
 
 6 
 
 -tig — ■— ■ — ■ 
 
 Chri-sti fi-li De-i vi - vi, * Mi - se - re -re nobis. 
 The choir repeats the entire Responsorium. 
 
 a _ ab _g f_£j S _g a _ 
 
 H^=^£3£^J«=W="-t^^ii£^^ Choir: Miserere nobis. 
 T. Qui se-des ad de-xteram Patris. 
 
 G16-ri-a Pa-tri, et Fi-li-o et Spi-ri-tu-i san-cto. 
 
 Chorus: Christe Fili Dei vivi, miserere nobis, t. Exsurge Christe 
 adjuva nos. I£. Et libera nos propter nomen tuum. (As at pages 183 
 or 184 b ')or c.) 
 
 In Paschal time and on . several feasts during the 
 year two Alleluias are added, and then the chant runs 
 as follows: 
 
 Chri-ste Fi-li De-i vi-vi. mi-se-i e-re no-bis. * Al-le- 
 
 y{s H~irj "V ~^ ■ Chorus repetit Bespons. 
 
 lu-ja, al-le -lu-ja. 
 
 n^r^_^Z^~|T=^izrWz:i~W— ^ Choir: Alleluja, alleluja. 
 
 t. Qui sur-re-xi'-sti a mor-tu-is. 
 
 G16-ri-a Pa-tri, et Fi-li- o. et Spi-n'-tu"-i sancto. 
 Chorus: Christe Fili Dei vivi miserere nobis, * alleluja, alleluja. 
 Vers, with Alleluia (p. 183, b), in fest. simpl. et diebas fer. e) p. 184). 
 
 ') This versicle (after the Resp. br.) is chanted as at page 183 b), in 
 fest. solemn, dupl. et semidupl, in fest. simp, et feriis as at c) page 184. 
 
198 
 
 Then the officiating priest sings the Prcccs if pre- 
 scribed, in the ordinary versicle-tone. page 192. Domi- 
 nus coliseum and the prayer Domine Deus as at page 120 
 or 121; Dominas voiiscum and Benedicamus Domino as 
 at page 194, N° 9. 
 
 After the Benedicamus (and its response) Deo grg,- 
 Has, the Martyrology is read in choir. 1 ) The reader 
 without asking the blessing, reads the martyrology for 
 the day immediately following 2 ) in the Tone of a 
 Lesson; see page 186. 
 
 Ca-lendis Ja-nu- a -ri - i, lu-na pri-ma Circumcisio Do- 
 
 mini nostri Jesu Christi, | et Octava Nativitatis e-jus-dem. 
 
 SGG 
 
 page 196. 
 
 On monosyllables, thus: EEEzz=*^r~r^i 
 
 a-de-pta est. 
 
 At the close he adds: Et alibi aliornm plurimorum 
 Ss. Marti/ram et Confessorum atque sanctarum 
 
 Vfr-gi-num. Chorus: De-'o gra-ti-as. 
 
 In Vigilia Nat. Domini 2 ) the reader ascends a fourth 
 when he comes to the words "In Bethlehem;" thus: 
 
 i — 
 
 In Bethlehem Judae nascitur ex Maria Virgine lactus ho-mo. 
 
 Tlien louder, — solemniori modo, et in tono Pas- 
 sionis, he sings the following passage: 
 
 ') On the three last days of Holy Week there is no Martyrology. 
 a j For the special rite of this portion of the office on this day- 
 see in the Martyrology itself. 
 
199 
 
 Nativitas Domini nostri Je-su Christi secundum car-nem. 
 
 For the concluding sentences he returns to the Tonus 
 Lectionis as in the beginning. 
 
 After the Martyrology the officiating piiest sings, 
 alternately with the Choir, in versicle- tone (p. 192): 
 Pretiosa, then Sancta Maria (in ton. fer. p. 121), Beus 
 W adjutorium in versicle-tone , the prayer Dirigere as 
 at p. 121. The Lectio brevis as at p. 186. 
 
 II. Terce, Sext, and None after a preparatory 
 Pater and Ave in silence, begin with Beus in adjuto- 
 rium as at page 178. Each hour has its own special 
 Hymn, the melody of which will be varied according 
 to season , (see Observation in the present chapter). 
 The Antiphon for Terce is usually the second of Lauds, 
 for Sext the third, for None the fifth. For the Sun- 
 days from Septuagesima untill Holy Week, there are 
 special antiphons for the minor hours, indicated in the 
 Propr. de Temp. ; on all other Sundays and Ferias they 
 are found in the Psalterium. The Psalms in all Offices 
 are for each hour the same, namely three portions of 
 the 118 th Psalm, each portion closing with a Gloria 
 Patri. The first verse of each portion should, according 
 to the rank of the festival, be intoned. The chant for 
 the Besp. br. is the same as that for Prime, unless a 
 special Besp. be indicated in the Psalterium. 
 
 Observation. In many places the solemn celebration 
 of None is customary on Ascension Day and Pentecost 
 Sunday. The rules already given are applicable here, but 
 the antiphon and Besp. br. is as follows: 
 
 Ant. in Ascens. Ton. VIII. Fin. 1. 
 
 Vi-den-ti-bus il - lis. Ps. 118. Mirabi'lia testimonia. 
 
200 
 
 Ant. in Pcntec. Ton. VIII. Fin. 2. 
 
 
 
 
 Lo-que-bantur. Ps 118. Mirabilia testimonia. 
 
 
 JResp. br. 
 
 
 ^ [ _ y— tr— I — c; A ■ H— 
 
 In Ascens. Ascendo ad Patrem me-um. et Pa-trem vestrum, * 
 In Pentec. Repleti sunt omnes Spi-ri-tu san-cto, * 
 
 1 
 
 fc— *-J*J* B J--g< H-TF# — 
 
 jr ■ 
 
 Al-le-lu-ja, al-le-lu-ja. Ascendo or Repleti 
 Al-le-lu-ja, al-le-lu-ja. mp U AscenQ0 or ne P leu ' 
 
 I 1 
 
 ■ 
 
 iS— K=i[=z*^m4=m-»-Z-—*-- — — 
 
 It- — - J 
 
 De-um meum , et Deum vestrum. Repet. Alleluja, alleluja. 
 t. Et C03 - - perunt lo-qui. u 
 
 Then Gloria Patri, see page 197. Repeat Ascendo or 
 Repleti. V. Dominus in coelo, Alleluia, or Loquebdntur &c. 
 as at page 183. b. Dominus vobiscum, the Prayer as at 
 page 120. Then Dominus vobiscum, Benedieamus Domino, 
 as at page 194. 9. Terce, Sext and None are closed with 
 Fidelium animce, as at page 194. 
 
 CHAPTER 32d. 
 
 VESPERS AND COMPLINE. 
 
 I. Most Feasts have two Vespers, the first on 
 the Vigil, and the second on the evening of the Feast. 
 The Directory or Ordo must be consulted in order to 
 know the Vespers for each Feast. If they be 1st Vespers 
 of the following day, then the Ordo say-. Vespem de 
 ' sequent i (Vespers of the following): if Vespers of the day 
 itself, they are described: In II.Yesp. (in 2 nd vespers); 
 
201 
 
 if finally the Vespers be divided, i. e. the first portion 
 be given to the Office of the Feast being celebrated, 
 and the 2 nd portion to the Feast of the following day, 
 then the direction is: Vesp. a capitulo d? sequenti; i.e. 
 vespers from the Little Chapter of the following: the 
 Capitidum or Little Chapter being the point of division. 
 The Vespers are arranged in the same way as Lauds, 
 namely 5 antiphons , 5 Psalms (which vary with the 
 Feast), the Little Chapter, Hymn, Versicle and Response 
 and the Magnificat instead of the Benedictus. Then the 
 Prayer and Commemorations. 
 
 After the Priest has recited in silence the prepar- 
 atory prayer, he intones Deus in adjutorium as at p. 178. 
 The Choir answers with Domine ad ad/juvandum do. . . 
 Alleluia (from Septwagesima till Easter "Laus tibi Do- 
 mine" etc instead of the Alleluia). Then follow the 
 
 5 Antiphons and Psalms. If the Feast be of higher rank 
 than a semi-duplex, the entire antiphon should be sung 
 both before and after the Psalm ; l ) if of a semi-double or 
 any lower rank, only the first word or two is intoned 
 before the Psalm, and the entire Antiphon is sung after. 
 The Antiphons should in all cases be commenced by one 
 or two Chanters, and then continued by the full choir. 
 In the same way with regard to the Psalms, the first 
 verse of each Psalm should be intoned by the Cantores, 2 ) 
 and then sung through alternately by both sides of the 
 choir. As soon as the 5 th Psalm and its Antiphon are 
 concluded the Priest sings the Little Chapter as at p. 190, 
 the choir answering Deo Gr alias , and then the Hymn 
 is sung. The same ceremony is observed in the in- 
 
 ') When the Organ accompanies, the antiphon after the Psalm 
 may be recited submissa voce on the reciting note of the mode; the 
 organ continuing to play. 
 
 *) When the Organ" is played the 1 st verse of each Psalm should 
 be intoned without accompaniment. 
 
202 
 
 tonation of the Hymn as at Lauds. After the Hymn 
 comes the versicle and response as at page 183; and 
 then the Antiphon before the Magnificat. The Magnificat 
 is intoned by the Chanters, as at p. 175 or 176, and 
 sung through by both sides of the choir alternately; the 
 solemn intonation (or initium) being observed with each 
 verse. The Magnificat concluded, its antiphon is repeated, 
 and then the Priest sings Dominus vobiscam and the 
 Prayer (as at page 120). If any Commemorations or 
 the Preces be prescribed, the same order is observed 
 with regard to them as already described in Lauds. 
 After the last Prayer follows Dominus vobiscum; — 
 Benedicamus Domino (see p. 192 — 193), Fidelium ani- 
 mce Sc. on one note and in a subdued voice. 
 
 II. Completorium or Compline is usually joined 
 to Vespers, and is almost invariable. The official Direct. 
 Chori gives Compline in its entirety, antiphons and psalms. 
 The melody of the Hymn varies according to the rule 
 given in Observation, page 195. The Confiteor before 
 the Psalms, should be recited, not sung, by the offic- 
 iating Priest and Choir. The Responsoria brevia, have 
 a special chant given in the Direct. Chori. The Canticle 
 Nunc Dimittis is always in the 3 d Tone 1 5t ending, and 
 is intoned in the same way as the Psalms and sung to 
 the end. The Preces, if prescribed are sung as indicated 
 at p. 192, the prayer Visita as at p. 120 or 121, and' 
 Benedicamus page 194, N° 9. After the Benedicamus 
 the dignior Chori sings Benedicat et custodiat nos omni- 
 potens et misericors Dominus. 1$. Amen. 
 
 Then follows immediately one of the Anthems of the 
 13. V. M. according to the season. 
 
 From Advent till Candlemas exclusive. Till Holy Thursday. 
 
203 
 
 From Easter to Trinity Sunday exclusive. From Trinity till Advent. 
 
 Re-gi-na coe-li. Sal-ve. 
 The Chant for these Anthems is given in full in the 
 Direct. Chori p. 60* — 64*. The Prayers after the Au- 
 thems are sung in Tono feriali p. 121. Divinum auxilium 
 maneat semper nobiscum. R. Amen, is recited in a low 
 tone of voice, on one note and without any inflection. 
 
 SPECIAL FUNCTIONS. 
 
 CHAPTER 33d. 
 
 THE ASPERGES AND THE LJTANY OF THE SAINTS. 
 
 I. On all Sundays throughout the year Holy Water 
 is sprinkled on the altar, choir and congregation, be- 
 fore the principal Mass. The Celebrant intones : l ) 
 
 Infra Tempus Paschale. 
 
 From Easter until Trinity Sunday exclusive. 
 ga afag gag g 
 
 :fe=zrnLi~ z^zzirz The Choir follows after with: Egret 
 :pn&!LL%_H-N*pl-W:iit: ^n> n t em . Grad. Rom. or Ord, Misscc p. 2*. 
 Yi - di a - quam. 
 
 Sac. ft. Ostende nobis Domine misericordiam tuam, Al-le-lu-ja. 
 Chor. Et salutare tuum da nobis, Al-le-lu-ja. 
 
 Sac. Hf. Domine exaudi orationem meam. 
 Chor. Et clamor meus ad te veniat. 
 
 Sac. ft. Dominus vobiscum. 
 
 Chor. fy. Et cum spiritu tuo. Oratio in tono fer. p. 121. 
 
 ') Sacerdos, inclinatione aut genuflexione facta, flectit utroque genu 
 super intimum gradum altaris, accipit aspersorium, et incipiens cantare 
 antiphonam Asperges vel Vidi aquam, cantando ter aspergit altare &c. 
 
204 
 
 Extra Tempus Paschale. 
 
 r^mzCzz^^zzr^linic The Choir continues with: Bomine hys- 
 z *^k— tj^ti * s6po, as in page 1* of the Grad. Horn, or 
 
 A - sper-ges me. Grdinarium Missce. 
 
 Should the Celebrant commence the intonation of 
 the Asperges with d for the first note (d, e, | g, f;}, e, | 
 fj}, g, | a.) the choir can easily continue in the same 
 pitch with , c, d, &c. ; should he however choose a 
 higher note, then, on account of the high range of the 
 piece, it being in the 7 th Tone, a transposition becomes 
 necessary, either to the original setting, or that commen- 
 cing with d. On Passion and Palm-Sundays the Gloria 
 Patri is omitted, and the Antiphon repeated immediately 
 after the f. Miserere. Versicle (without Alleluia), &c. 
 and Prayer as with Vidi aquam. 
 
 II. On the Feast of St. Mark, and on the Ro- 
 gation Days, (the three days immediately preceding 
 Ascension Thursday) the Litany of the Saints should be 
 sung as in the Directorium Chori, p. [63]. l ) On Easter 
 Saturday and the Vigil of Pentecost the beginning and 
 end of the Litany differ in a few notes from the chant 
 prescribed for Rogation week ; on these two days more- 
 over several invocations are omitted and the order of 
 the Virgins is changed. 2 ) The Litany for these two oc- 
 casions will be found at page 224 of the Gradualelto- 
 
 x ) Duo cantores litanias cantare incipiunt, ceteris singulos versus 
 eadem voce respondentibus. If there be a custom of singing the Litany 
 divided, (thus, Cantores: Sancta Maria, Chorus: Ora pro nobis, or Can- 
 tores one entire invocation with its Response, and the Choir the follow- 
 ing one in like manner) this is tolerated. But the rule for the 
 repetition of each verse and Response by the choir, remains. S. R. C. 
 1G. Sept, 1865. 
 
 2 ) On these two days it is not allowed to curtail the singing of 
 the Litany; each invocation and response must be sung in full by the 
 chanters, and repeated by the choir. 
 
205 
 
 manum (S vo ). We subjoin here a few of the invocations 
 for sake of practice. Special attention is directed to the 
 minor third d, b£, and not b flat as is commonly heard 
 at the word Beus (in Pater de ccelis Bens) and all si- 
 milarly inflected words. 
 
 I. On Easter Saturday and Vigil of Pentecost. 
 
 e a 
 
 Ky-ri - e e- le - i-son. Chri-ste e - le - i - son. Ky-ri - e 
 a ga f 
 
 e-le- i-son. Chri-ste au-di nos. Chri-ste ex-au-di nos. 
 
 c 
 
 Pater de coelis 
 
 d h h a h c 
 De-us, Mi- se -re- re no-bis. 
 
 O-ra pro no-bis. 
 O-rate pro no-bis. 
 
 m 
 
 Sancta Ma - - ri - a , 
 Omnes sancti Do - ctores, 
 
 Omnes Sancti, et Sanctae De-i, In-ter-ce-di-te pro no-bis. 
 
 Pro -pi - ti - us e - sto , Par - ce no - bis D6-mi-ne. 
 
 Pro -pi - ti - us e - sto , Ex - au - di nos D6-mi-ne. 
 
 Ab o-mni ma - lo, Li - be - ra nos D6-mi-ne. 
 
 In di - e iu - di - cii, " " " " " 
 
 Pcc-ca - to -res , * Te ro-ga-mus au-di nos. 
 
206 
 
 1—3. A -gnus Pe-i, qui tol-lis pec-cfl-ta mundi, 
 c d e 
 
 1. par-ce no -bis D6-mi-ne. 
 
 2. ex - an - di nos Do - mi - ne. 
 
 3. mi - se - re - re no - bis. 
 
 Chri-ste au - di nos. Chri-ste ex-au-di nos. 
 
 At this point the Choir begins immediately the Kyrie 
 of the Mass ; on Easter Saturday at p. 6* of the Grad. 
 Bom.; on the Vigil of Pentecost at page 9*. 
 
 2. At the Procession on St. Mark's day, the Rogation days, and 
 on other occasions. 
 
 Before the Procession the Eitual prescribes the An- 
 tiphon Exurge Domine. 1 ) 
 
 c h a h a g a 
 
 Ky-ri-e e-le-i-son. Christe e-le-i-son. Ky-ri-e e-le- 
 a ga f g a 
 
 i-son. Christe au-di nos. Christe ex-au-di nos. 
 
 Pater de ccelis. Sanda Maria. PropUius esto. Pecca- 
 tores. Agnus Dei &C. 2 ) as above under N°l, and as in 
 
 ') See the Bit Bom. page 225. and Grad. Bom. page 379. 
 
 ') On the occasion of the canonization of the Japanese Martyrs 
 8 June 1862, the Times correspondent thus describes the chanting of 
 the Litanv. (Times June 16.) f 'The Papal singers chanted the Kyrie. 
 eleison, and the words were taken up and passed from wave to wave 
 of this vast sea. and the Litanv of the Saints was sung by thousands, 
 producing such a bodv of sound as I had never heard before, and 
 
207 
 
 the Direct. Chori p. [63] &c. Then follows Ghriste audi 
 nos y Christe exaudi nos, Kyrie eleison, Christe eleison, as 
 above under N° 2, and at the close: 
 
 Ky-ri-e e - le - i - son. 
 
 The Psalm Deus in adjutorium is sung alternately 
 in Tono feriali (Ton. VI.); the Verse and Kesp. as at 
 page 192. 
 
 If the Prayers conclude with the clcmsida majori 
 or longer ending, then they are sung in Tono simpl. 
 fer. page 120; if with the clausula minori or shorter 
 ending, in Tono feriali, page 121. After the Dominus 
 vobiscum the two Chanters sing 
 
 t. Exaudiat nos omm'potens et mi-se-ricors Dominus. 1$. A - men. 
 
 f. Et fidelium animm is recited in a low voice, and 
 its response Amen on the same note. 
 
 CHAPTER 34th. 
 
 BLESSING OF CANDLES, ASHES, PALMS. PASCHAL CANDLE 
 AND BAPTISMAL FONT. 
 
 I. The five Prayers at the Blessing of the Candles 
 on the Feast of the Purification (Febr. 2 nd ) are all 
 sung in tono simplici feriali page 120. During the 
 distribution of the candles, the choir sings: Lumen ad 
 revelationem (Grad. Rom. page 378). 
 
 electrifying every one who had the slightest feeling." (See Prose and 
 Verse by the Rev. Dr. Murray of Maynooth College. Appendix p. 130.) 
 
208 
 
 Before the Procession : Exsurge Domine is sung, 
 (Grad. Bam. p. 379). The Priest then sings the Prayer 
 Exaiidi ws, (if after Septuagesima with a previous Fle- 
 cktrnus genua &c. p. 122) in tono ferial 7. p. 121 and the 
 Deacon turning to the people sings, in versicle-tone: 
 
 Chor. 
 
 t. Proce-damus in pa-ce. In no-mi-ne Christi. A-men. 
 
 During the Procession the Choir sings the Antiphon: 
 Adorna ihalamum or Besponsum accepit; when re-enter- 
 ing the Church, Obtulerunt pro eo: Grad. Horn. p. 380 — 
 383, Bit. Bom. p. 245—248. 
 
 II. On Ash-Wednesday before the blessing of the 
 ashes the choir sings the antiphon: Exaudi nos, with 
 the Psalm-verse Sal ram me fac, Gloria Patri &c. and 
 then repeats the Antiphon (Grad. Bom. p. 73). 
 
 The four prayers which follow are sung in tono fe- 
 rial 7. p. 122. Whilst the ashes are being distributed, 
 the choir sings the Antiphon: Immutemur habit a , or 
 Inter vestibulnm, and at the close: Umendemus in melius 
 with the y. Adjuva nos and Gloria Patri {Grad. Bom. 
 p. 73 — 76). The Prayer after the distribution is sung 
 in Tono ferial i, p. 122. 
 
 III. Alter the Asperges, on Palm Sunday the Bless- 
 ing of the Palms commences with the Antiphon Hosanna 
 filio David (Grad. Bom. page 107 or Ojficium majoris 
 Hebdomada? p. 2). The Prayer. Bens quern diligere is 
 sung by the Priest, in tono simplici feriali. p. 121. 2. 
 Then comes the Epistle as at p. 126. As a Gradual, 
 the Choir sings Collegerunt Pontifices or In monte Oliveti 
 (Graduate Bom. p. 16$ and 169, or Officium majoris 
 Hebdomads p. 3 and 5) and then the Deacon follows 
 with the Gospel more eonsueto. p. 130. The Prater Auge 
 
209 
 
 fid em in tono simpl. fer. page 120. The Preface in 
 tono feriali. The Choir sings Sanctus and Benedictus to 
 a chant identical with that of the Missa pro Defunctis 
 (see Grad.Rom. p. 170). Of the six Prayers which now 
 follow, the fourth : Beus qui per Olivce ramum is sung 
 as at page 121. the others in tono simpl. fer. p. 120. 
 Dining the Distribution of Palms the Choir sings : Pveri 
 Hebrceorum (Grad. Bom. p. 171 or Offic. maj. Hebdom. 
 p. 12). The Prayer Omnipotens in tono feriali p. 121. 
 
 When the Procession is about to move the Deacon 
 sings: Procedamus in pace, p. 208. The Choir during 
 the procession sings one or other of the Antiphons: Cum 
 appropinquaret , Cum audisset popidus , Ante sex dies, 
 Occurrunt turbm, Cum angelis, Turba midta, {Grad. Bom. 
 p. 172-177. Bit. Bom. p. 248-252; Offic. maj. Hebd. p. 
 13-18). On the return of the Procession, two or four 
 chanters enter the Church and sing the first two verses 
 of the Hymn: Gloria I a us. The Celebrant and Pro- 
 cession who remain outside, repeat it. The Chanters 
 then sing the five following Strophes, 1 ) the procession 
 answering after each strophe with the words Gloria laus, 
 as follows : 
 
 G16ri-a, laus, et honor, ti-bi sit, Rex Giriste, Redemptor: 
 
 cu - i pu - e - ri - le de-cus prom-psit Ho - san - na pi-um. 
 
 When the Subdeacon knocks at the door with the foot 
 of the Cross, the door is opened and the Procession enters 
 the Church, singing Ingrediente Domino. 
 
 ■) Omnes, eel partim, prout videbitur. 
 
 14 
 
210 
 
 [V. At the Blessing of the Fire l ) on Easter Satur- 
 day, the 5 grains of incense to be tixed in the Paschal 
 candle are also blessed. The Deacon who is charged 
 with the benedictio cerei Paschalis, enters the Chinch with 
 the procession, bearing the triple candle, and sings three 
 times during the procession, each time raising his voice : 
 
 m 
 
 Lu-men Chri-sti. Chorus. De-o gra-ti-as. 
 
 The Chant for the Blessing of the Paschal Candle 
 called the prceconium pa$chale or Exultet: it has a 
 m eat similarity with the chant of the Preface, and per- 
 haps surpasses it in beaut v and simplicity. We ^ive it 
 in full. 2 ) 
 
 Ex-til -tet jam An-ge-li-ca tur-ba cce-16-rum: ex-sul-tent 
 
 — I — 
 
 di-vi-na my-ste -ri-a: et pro tan-ti Re-gis vi-cto-ri-a 
 
 £=33=5 
 
 tu-ba in -so-net sa-lu- ta -ris. Gau-de-at et tel-lus tan-tis 
 
 i-ra-di-a-ta ful-go-ri-bus: et ae-ter-ni Re-gis splendore 
 
 l ) The Prayers at the Blessing of the Fire are only recited not 
 sung; see foot note page 121. 
 
 *) Baini in Vol. 2. of his Memorie Storico-Critiche page 93 in the 
 note, cites a most ancient manuscript of the 9 th century preserved in 
 the library of Monte Cassino, and containing the chant of the Ej uJtet 
 note for note as we give it here. It was composed by Landulph who 
 was Bishop of Capua A. D. 851. 
 
211 
 
 il-lu-stra-ta, to-tf-us or-bis se sen-ti-at a - mi-sis-se 
 
 ica-li - ginem. Lae-te-tur et mater Ec cle-si- a, tan-ti 
 lu-mi-nis ad-or-na-ta ful-go - ri : bus: et magnis po-pu-16-rum 
 vo-ci-bus haec au-la re-sul-tet. Qua-pro-pter a l-stan- 
 
 re 
 
 tes vos, fra-tres ca-ris si-mi. ad tarn mi-ram hu-jus san-eti 
 lu-mi-nis cla-ri - ta- tern, u-na me-eum, quae-so, De-i o-mni- 
 po-ten-tis mi -se-ri-cor-di-am in-vo-ca - te. Ut qui me 
 
 -Si — ♦— w-m — 
 
 
 
 
 U J J— 
 
 
 
 
 non me-is me-ri-tis in-tra Le-vi-ta-rum numerum dig-na- ' 
 - ? 1 — ♦— "n— WH — I 1 1 1 — m — P— " n— > 
 
 tus est ag-gre-ga - re: lu-mi nissu-i cla-ri -ta-tem in-fun - 
 dens, Ce-re-i hu-jus laudem im-ple-re per - fi - ci -at. 
 Per Do - minum no-strum Je-sum Christum Fi -li-um su - urn : 
 
212 
 
 qui cum e-o vi-vit et reg-nat in u - ni-ta - te Spi-ri-tus 
 
 ft G ^ ft ll 
 
 san-cti De-us. Per d-mni-a sae-cu-la sae cu-I6-rum. 
 S a 11 , , i _ _ 
 
 A-men. X v . Do-mi-ncs vo bis-cum. Etcum Spi-n-tu tu-o. 
 c h ah ag c h 
 
 t. Sur-sum cor-da. 5- Ha-bemus ad D6-mi-num. t. Gra-ti-as 
 
 a-ga-musr6-mi-no Be-o nostro. Tjt. Dignnm et justum est. 
 
 j ^jp^ i ^* — ♦ — w — ♦ — a r F r ^»- b— ♦-T^i ;== T i::r i=^ 1^ 
 5 q 1 c — 5 q q 
 
 Ve-re di-gnum et ju-stum est, in-vi - si-bi-lem Pe-um Pa-trem 
 o-mni-po-ten-tcm, P'i-li-umque e-jus u- ni-ge-nitnm, Do- 
 
 
 
 
 1 
 — ■- 
 
 ♦ ■ ■ ■ ■ U-tb, 
 
 
 -1 
 
 
 1 _L 
 
 mi-num nostrum Je-sum Christum, to -to cordis ac men-tis 
 
 af - fe - cl u, et vo-cis mi -ni-ste-ri - o per - so - na - re. 
 Qui pro no-bis ae-ter-no Pa-tri, A-dae de-bi-tum sol-vit: 
 et ve-te-ris pi-a-eu-li cau-ti - 6-nem pi-o cru-6 - re 
 
213 
 
 de ter-sit, Haec sunt e-nim fe-sta Pa-scha-li- a, in qui- 
 
 bus ve-rus il-le A-grius oc-cl- di-tur, cu-jus san-gui-ne po 
 
 acdch 
 
 stes fi - de-li-um con-se-cran-tur. Haec nox est, in qua 
 
 pri-mum pa-tres nostros, fi- li-os I-sra-el, e-du-ctos de 
 Ae-gyp-to, Ma - re ru-brum sic-co ve-sti'-gi - o tran-si - re 
 
 fe-ci 
 
 - sti. Haec i - 
 
 gi-tur nox est, quae pec-ca-to-rum te-ne - 
 
 
 
 
 
 bras, 
 
 co-lumnae il - 
 
 lu-mi-na-ti - 6 - ne pur-ga-vit. Haec nox 
 
 
 
 — ♦ - ♦ - N — ■ — W — 
 
 — ■ — ■ — 
 
 "1 
 
 est, quae ho-di - e per u - ni-ver-sum mundum, in Chri-sto 
 
 ^ — _. 
 
 cre-den-tes, a vf-ti-is sae-cu-li, et ca-h'-gi-ne pec- 
 
 ca-t6-rum se-gre-ga-tos, red - dit gra-ti-ae, so-ci-at 
 san - cti-ta - ti. Haec nox est, in qua de-stru-ctis vin-cu-lis 
 
214 
 
 mor-tis. Chri-stus ab in-fe-ris vi-ctor a-scen-dit. Ni-hil 
 e-nim no-bis na-sci pro-fu-it. ni-si re-di-nii pro-fu-fs - 
 
 set. 
 
 mi-ra cir-ea nos tu-ae pi-e-ta-tis di-gna - 
 
 ti - o! in -ae-sti-ma-bi-lis di - le-cti-o ca - ri - ta -tis : 
 
 ut servum re-di'-me-res. Fi-li-um tra -di-df-sti! cer-te 
 
 toft 
 
 ne-ees-sa-ri-um A-dae pee-ca-tum. quod Chri-sti mor-te de- 
 
 al^ 
 
 le -turn est! fe-lix cul-pa, quae ta-lem, ac tan-turn 
 me-ru-it ha-bs-re Re-dem-pto-rem! ve-re be-a-ta 
 
 mm 
 
 — ^ u 
 
 I 
 
 nox. quae so-la me-ru-it sci-re tem-pus et ho-ram, in qua 
 
 Cliristus ab in-fe-ris re- snr-re -xit ! Haec nox est, de qua 
 scri-r»tum est : Et nox si-cut di-es il- lu-mi - na - bi-tur: 
 
215 
 
 Et nox il-lu-mi-na-ti-o me-a in de-li - ci-is me- is. 
 
 m 
 
 — ■ — ♦ 
 
 Hu-jus i-gi-tur san-cti-fi-ca-ti- o no-ctis, fu - gat sce-le 
 
 ra, cul-pas la -vat: et red-dit in-no-centi-am la-psis, et 
 
 moe-stis lae-ti-tiam. Fu-gat 6-di-a, concor-di-am 
 
 pa -rat, et cur -vat im-pe-ri-a. 1 ) In hu-jus i-gi-tur 
 
 no-ctis gra-ti-a, su-sci-pe sancte Pa-ter, in-cen-si hu-jus 
 
 sa-cri-fi-ci-um ve-sper-ti'-num: quod ti-bi in hac Ce-re-i 
 
 ob-la-ti - 6-ne so-le-mni, per mi-nistrorum manus de o- 
 
 pe-ri-bus a-pum sa-crosancta red-dit Ec-cle-si-a. 
 
 Sed jam co-lumnaa hujus praeco-ni-a no-vi-mus, quam in 
 
 ') Hie Diaconus infigit quinque grana incensi benedicti in Cereo in 
 
 modum Cruris, hoc or dine: 425 
 
 3 
 
216 
 
 ho-n6rem De-i ru-ti-lans i-gnis ac-cen-dit. 1 ) Qui li-cet 
 sit di-vf-sus in par-tes, mu-tu-a-ti ta-men lu-mi-nis de- 
 
 tri-men-ta non no-vit. A- li-tur e-nim li-quanti-bus ce- 
 ris, quas in substanti-am pre-ti - 6-sae hu-jus lam-pa-dis, 
 a -pis ma -ter _ e - du - xit. 7 ) ve-re be-a-ta nox, 
 
 quae ex-po-li - a -vit Ae - gy - pti-os , di - ta - vit He-braeos ! 
 
 Nox, in qua ter-re-nis coe - le-sti-a, hu-ma-nis di-vi-na 
 
 jun-guntur. 0- ramus er-go te D6-mi-ne: ut Ce-re-us 
 i - ste in ho-no-rem tu - i no-mi-nis con-se - cra-tus , ad no- 
 
 ctis hu-jus ca-li-gi-nem de-stru-end \m, in-de-fi-ci-ens per- 
 
 l ) Hie Diaconns accendit Cereum cum una ex tribus candeUs in 
 arundine positis. 
 
 ') Hie deeenduntur lampades. 
 
217 
 
 se-ve-ret. Et in o-do-rem su-a-vi-ta-tis ac - ce-ptus 
 
 su-pernis lu-mi-na-ri-bus mi-sce-a- tur. Flammase-jus 
 
 lu-ci-fer ma-tu-ti -nus in-ve-ni-at. II -le, inquam, lu- 
 
 JfcrlA 
 
 :-i- far_i=tr "-»=>f 
 
 ci-fer , qui ne - scit oc - ca - sum. II - le , qui in-gressus ab 
 
 in - fe- ris hu-ma-no ge- ne -ri se - re - nus il - lu - xit. Pre- 
 
 camur er-go te D6-mi-ne: ut nos fa-mu-los tu-os, om- 
 
 nemque elerum, et de-vo-ti's-si-mum po-pu-lum, u-na 
 
 cum be -a- tis- si-mo Fa-pa no-stro N. 
 
 et An-ti-sti-te, 
 
 no-stro N. 
 
 qui-e-te temporum con-ces-sa in his 
 
 Pascha-libus gau-di- is , as - si-du - a pro-te-cti - 6 - ne re- 
 
 ge-re. gu-ber-na-re, et conser-va-re di-gne-ris . . . ') Per 
 
 2 ) Oratio "Bespice cum omni populo suo" in fine Prceconii 
 
 Paschalis Sabbato Sancto, ob sublatum Bomanorum imperuim, non am- 
 plius recitetur. S. B. C. U. Mart 1861. 
 
218 
 
 e-undern Dominum nostrum Je-sum Christum Ff-li-um tu-um: 
 
 Z E — ^-HiP"^ 3 ! 1 ^ — ♦— H ^— ■ — — mz— 77. 
 
 X=±=l=l= 1 i=r=^z=qz=i=:q qzzBzg: 
 
 Qui tecum vi-vit et regnat in u-ni-ta-te Spi'-ri-tus san-cti 
 
 De-us: per 6-mni-a sae-cu-la sae-cu - 16-rum. J£. A-men. 
 
 The Blessing of the Paschal Candle is followed im- 
 mediately by the 12 Prophecies which are sung in the 
 Tone of a Lesson ; thus : 
 
 Punctum. Mouusyllaba 
 
 In princfpio creavit Deus coe-lum et ter-ram. Dixi'tque 
 
 Dixit ad 
 
 et accentus acutus. Interrc-gatio. 
 
 
 
 
 " M ■ ~ 
 
 
 AV 
 
 
 Deus : 
 
 
 fi-at lux. 
 
 Quid vis, ti-li? Requievit 
 
 
 eum: 
 
 Abraham, 
 
 A-braham. 
 
 
 
 
 
 
 
 Sio finitur Prophetia. 
 
 
 - 
 
 i — 
 
 
 
 — r~^NN= 
 
 
 die septimo ab uni verso opere, quod pa-trarat. 
 
 Each Prophecy 1 ) is followed by Or emits, Flectamus 
 genua and a Prayer in tono simpl. fer. p. 120. After the 
 4 th , 8 th and 11 th Prophecies and before the Oremus, the 
 Choir sings a Tractus, (see Grad. Rom. p. 219-223). 
 
 Observation. The six Prophecies with their Prayers 
 are sung in the same manner on the Vigil of Pentecost; 
 the Choir singing a Tract after the 2 nd , 3 d and 4&. 
 
 V. In the Procession to the Baptismal Font the 
 Tract Slant cervus is sung by the Choir. The two Prayers 
 
 ') At the end of the 12 th Prophecy Oremus only and then the 
 Frayer in tono simpl. fer. 
 
210 
 
 before the Preface, as at page 120. The Preface is in 
 the same Chant as the Preface at the Mass. Towards 
 the end of the Blessing , the following is sung by the 
 Priest three times, raising the voice each time : 
 
 Pescendat in hanc ple-ni-tudinem fontis, vir-tns Spf-ritus sancti. 
 
 The last note but one (e) serves as the first note for 
 the repetition. Returning from the Font to the Altar 
 two Chanters intone the Litany of the Saints in the 
 curtailed form, (see Grad. Bom. p. 224) the Choir re- 
 peating in full each invocation and response. The same 
 takes place on the Vigil of' Pentecost. 
 
 CHAPTER 35th. 
 
 HOLY THURSDAY. GOOD FRIDAY. AND EASTER SATURDAY 
 AD MISSAM. 
 
 I. Mass on Holy Thursday has little special about 
 it 1 ) except in Cathedral Churches, where the Bishop con- 
 secrates the Holy Oils. Twelve Priests, seven Deacons 
 and seven Subdeacons assist the Bishop. The Mass pro- 
 ceeds more consueto up to that part of the Canon where 
 we meet the words "Per quern ha^c omnia, Domine. 
 semper bona creas," exclusive. The Bishop having 
 assumed his mitre proceeds to the table prepared, and 
 seats himself at it, facing the altar. Then the Arch- 
 deacon sings, alta voce in tono lectionis : 
 
 ') The Organ is played at the Kyrie and Gloria, and at the latter 
 the bells are rung-, after which both Organ and Bells remain silent till 
 the Gloria on Easter Saturday. 
 
220 
 
 - le - urn in - fir - mo-rum. 
 
 One of the Subdeacons with two acolytes retires to 
 the Sacristy and brings the Oil of the Sick, which when 
 consecrated is brought back in the same manner to the 
 Sacristy. Then the Bishop having washed his hand-, 
 ascends the Altar and resumes the Mass at the words 
 Per quern (fx. and continues it up to the communion of 
 the Chalice. Having administered Holy Communion to the 
 Deacon, 2 ) Subdeacon and assistant Clergy, and placed in 
 a vase specially prepared, the host consecrated for the 
 ceremonies of the following day, he resumes his place at 
 the table, and tho Archdeacon sings in tono lectionis: 
 
 - le - urn ad Sanctum Chrisma. 
 And immediately adds in the same tone: 
 
 :p=zqz=^zzi^= :zz=q=JL=±:=: 
 
 - le - urn Ca - te - chu-me- no-rum. 
 
 The Bishop then puts incense in the thurible and 
 blesses it more solito. Then the 12 priests. Deacons 
 and Subdeacons with the Acolytes and other ministers 
 go processionally to the Sacristy and bring, cum omm 
 decore et reverentia the Oil of Chrism and the Oil of 
 Catechumens. Returning to the altar they proceed in the 
 following order; 1 st the Thurifer, then one Subdeacon bear- 
 ing the cross between two Acolytes with lighted candles, 
 then two Chanters, chanting the verses "0 Bedemptor." 
 
 To n. II. _ 
 
 Re-demptor, su - me car-men te- met con - ci-nen-ti-um. 
 
 s ) The Deacon standing at the Epistle side sings the Confiteor, as 
 at page 155. 
 
The choir repeats the same verse, and the Chanters 
 continue the following verses as in Offic. maj.Hebd. p. 257; 
 the Choir repeating after each, the verse u O Bedemptor" 
 as above. The Bishop then proceeds with the Blessing 
 of the Chrism, as in the Ponttf. Bom. and Off. maj. Hebd. 
 p. 259 et seqq. When the Blessing is completed, first 
 the Bishop, and then the twelve priests in order, salute 
 the consecrated Chrism saying : 
 
 A-ve san-ctum Chrisma. 
 
 This is sung three times by each, the voice being raised 
 at every repetition. After the third salutation each one 
 reverently kisses the edge of the vase containing the 
 Holy Chrism, and retires to his place. 
 
 The same ceremony is observed with the Oil of 
 Catechumens, the consecration of which immediately fol- 
 lows, except that instead of the word chrisma the word 
 oleum is substituted : 
 
 A - ve san- ctum 6 - le - am. 
 
 Then the consecrated oils are brought back to the 
 Sacristy with the same ceremony as before, the chanters 
 continuing the verses Ut novetur seams ? and the choir 
 answering each verse, with "0 Bedemptor" as before. 
 Mass is then brought to a conclusion and preparations 
 are made for bringing the consecrated Host to the Altar 
 or Chapel prepared for its reception. The Pange lingua 
 is sung during the Procession. 
 
 II. On Good Friday a Lector reads the Prophecy 
 H&c dicit Dominus, as at page 219; the choir singing 
 the Tract Dom'me audivi which follows. The Celebrant 
 says Oremus, Flectamus genua dx. p. 122, the Prayer 
 
Deu$j a quo (p. 120) in ton. simpl. fer. The Subdeacon 
 sings, in Epistle tone, tlie lesson In diebus Mis: and 
 as soon as the Choir has concluded the Tract Eripe me, 
 the Passion according to St. John is sung as on Palm- 
 Sunday. From the words Post hcec autem the Deacon 
 of the Mass sings the remainder in the usual Gospel 
 tone. ([>. 130.) The Priest then sings the nine prayers 
 as at pages 123 <S:c. 
 
 The Prayers concluded, the Priest at the unveiling 
 of the cross intones the Antiphon Ecce lignum alone; 
 from in quo salus the ministers join him, and the choir 
 answers with Venite adoremus, as follows: . 
 
 Ton. VI. 
 
 Sac. f de fe dc Sac. cum ministris. 
 
 Ec-ce li - gnum cru - cis, in quo sa - lus mun - di 
 
 pe - pen - dit. Chor. R. Ve - nl - te ad-o - re - mus. 
 
 This Antiphon is sung three times, the voice being 
 raised a tone higher at each repetition. During the ado- 
 ration of the Cross, the Choir sings the reproaches 
 {Improper id) Popule mens, and then the Hymn Crux 
 ti<l<'lis. During the Procession of the Blessed Sacrament 
 from the altar of reposition, the Hymn Vexilla Regis 
 prodeunt is sung. 
 
 After the Orate fratres the Celebrant sings: Ore- 
 mas . prceceptis salutaribus .... in tono feriali (p. 153). 
 He says Amen in a low voice, and then" sings in ferial 
 tone without Oremus (page 120) Libera nos, the Choir 
 answering Amen. 
 
 III. On Easter Saturday, the Chanters, when the 
 Litany is ended, intone Kyrie Qleison; (see Gratf. Bom. 
 
223 
 
 p. 6*, Ordinarium Missae, p. 3*). The Gloria is solemn. 1 ) 
 The Prayer in tono festivo (p. 120). After the Epistle 
 the Celebrant sings: 
 
 Al-le - - - - lu-ja. 
 
 This he sings three times, commencing a tone higher 
 each time, and the Choir repeats it after him, each time 
 in the same tone. 
 
 After the 3 d repetition of the Alleluia, the Choir 
 continues with Confitemini and the Tract Laudate Do- 
 minum. After the Communion of the Priest, Vespers, 
 which on this day are united to the Mass , are com- 
 menced. The Choir intones the Antiphon Alleluia and 
 the Psalm Laudate Dominum, then repeats the Antiphon. 
 There is no Little Chapter, Hymn, or Yersicle, but the 
 Celebrant then intones the Antiphon of the Magnificat, 
 as follows: 
 
 Ye-spe-re au-tem Sab - ba-ti. 
 
 The Choir begins at qua lucescit . . . and sings the 
 Magnificat 8 th Tone, 1 st ending. As soon as the Anti- 
 phon is repeated, the Celebrant sings Bominus vobiscum, 
 Or emus dc. in tono festivo (p. 120), Dominus vobiscum, 
 and then the Deacon Ite missa est , Alleluia, Alleluia 
 (p. 157, N° 1). 
 
 *) The Organ is played and the bells are rung. 
 
224 
 
 CHAPTER 36th. 
 VARIOUS INTONATIONS. 
 
 1. Hymni coram Ss. Sacramento ex Rit. Rom. 
 
 Ton. I. 
 
 a) Pange lingua glo-ri - 6 - si. 
 
 Ton. I. 
 
 4r-»-M — N-«-N-f-«- =! - 5 — 1 y - c 
 
 b) Sa-cris so - le-mni-is jun-cta sint gaudi-a. 
 
 Ton. VIII. 
 
 c) Verbum su,-pernum prodi-ens. 
 
 d) Ae-ter - ne Rex al - tis-si-me. 
 
 Ton. IV. 
 
 e) Sa-lu - tis hu-ma-nae sa-tor. 
 
 2. The Devotion known as the "Forty Hours 
 Adoration" 1 ) extends over three days. On the First 
 Day, there is the Mass of Exposition. After Mass 
 a Procession is formed, during which the Hymn Pange 
 lingua (intoned as above) is sung alternately by the 
 Choir, and by those taking part in the Procession. When 
 the Procession is over and the Blessed Sacrament placed 
 on the throne prepared for it, the Litany of the Saints, 
 as on St. Mark's day, page 206, is chanted, with the 
 Prayers &c. ; concluding with Exaudiat nos dx. and 
 Fidelium animce dtc. On the Second day there is a 
 
 ') For the full ceremonial of the "Forty Hours Adoration" see 
 "Manualc Sac. Ceremoniarum &c" by the V. Rev. Mgr. Forde. S. T. D. 
 Ecc. Met. Dublin. Canonic. Dublini apud Jac. Duffy. 7. Wellington 
 Quay. MDCCCLVI. 
 
225 
 
 solemn Votive Mass pro Pace at a side altar, but with- 
 out Gloria or Credo ; and on the third day the Solemn 
 Mass of Reposition is celebrated at the principal altar 
 coram SSmo. On the third day the Litanies are sung 
 before the Procession, but only up to the verse Domine 
 exaudi &c. inclusive; then the Procession takes place, 
 and after the Procession, (the concluding verses of the 
 Hymn u Tantum ergo" and "Genitori" being sung at 
 the Altar, and the chanters at the end of the Hymn 
 adding "Panem, de ccelo" &c.) the Celebrant sings the 
 Prayers as on the day of Exposition, all concluding with 
 Benediction of the Most Holy Sacrament. 
 
 3. Invocatio S. Spiritus. 
 
 g e f d 
 
 Antiph. Ve-ni sancte Spi - ri-tus. Hymn. Ve-ni Cre-a-tor 
 
 Spi'-ri-tus. Enritte Spfritum tuum, et creabun-tur 
 Et renovabis faciem ter-rae. 
 Oratio: Deus, qui corda, as at page 120. 
 
 4. Benedictio Pontificalis. 
 
 The Pontifical Blessing is given by a Bishop in two 
 forms ; one, when a sermon is preached within the Mass 
 and an Indulgence published. In this case the Preacher 
 having concluded his sermon, remains in the pulpit, and 
 the Deacon going to the foot of the Bishop's throne 
 sings the Confiteor as at page 155; genuflecting at the 
 words Tibi Pater and Te Pater. 
 
 After the Confiteor, the Preacher publishes the In- 
 dulgence in the form prescribed in the Ceremoniale JEpisc. 
 cap. XXV. Then the Bishop sings in tono simpl. fer. 
 the words : Precious et meritis Beatce Marine semper Vir- 
 
 15 
 
22(> 
 
 ginis, Beati Michaelis Archangel! , Beat? Joannis Baptist a, 
 Sanctorum Apostolorum Petri et Pauli, et omnium San- 
 ctorum, misereatur vestri Omnipotent Bern, et dimissis 
 peccatis vestri s, p^r ducat vos ad vitam ceternam. 
 
 To which the Choir answers on one note 
 
 A-men. 
 
 Then the Bishop continues, "Indulgenticm, absolutio- 
 nem, et remissionem peccatorum vestrorum, tribuat robis 
 omnipotens, et misericors BominusT 
 
 Choir answers : zji-iMiz±r:j]E 
 A-men. 
 
 Then assuming the mitre, the Bishop blesses the 
 people more consueto, saying: — "Et benedictio Bei 
 ■omnipotentis Pa f tris, et Fi f Hi, et Spirit us f Sancti 
 desceridat super vos, et maneat semper." 
 
 Choir answers : ^Ez?Ezr^§E 
 A-men. 
 
 The second form is when presiding at Solemn Mass 
 the Bishop gives the Blessing at the end of Mass. thus: 
 
 t. Sit no-men Domini be-ne - di - ctum. 
 Ex hoc nunc us-que in sae-cu- lum. 
 
 #\ Adjutorium nostrum in nomine Do - mini. 
 I£. Qui fecit ccelum et ter - ram. 
 
 Benedicat vos o-mnf-po-tens De-us. Pa -ter. et 
 
 -g — W ~ ] — * — ■ — j-h — ■ — ■ — 
 
 Fi-li-us, et Spi'-ri-tus san-ctus. 1$. A-men. 
 
227 
 
 5. In Exequiis. 
 
 As the new Exequiale Bomanum gives in full all 
 the chants and Intonations to be used in the Office and 
 Mass for the Dead, we give here only those words that 
 may have to be intoned by the officiating Priest. 
 
 Parochus. Cautores. 
 Ant. Si i - ni-qui-ta-tes. Ps. 129. De profundis ciamavi 
 
 ad te D6-mi-ne: Domine, exaudi vocem me-am. VII ; . 
 
 Si i - ni-qui-ta-tes ob-ser-va-ve-ris D6-mi-ne, D6-mi-ne. 
 
 quis su-sti-ne-bit V 
 Parochus. Cantores. 
 
 Ant. Ex-sul-tabunt D6mi-no. Ps. 50. Mi- se- re- re me-i. De-us. 
 
 secundum magnam misericor-di-am tu-am. J/ x . 
 
 The Chanters intone the Resp. Subvenjte, the Clergy 
 (Choir) answer. The Prayers which conclude with Per 
 Christum Dominum nostrum, or Qui vivis et reffrias in 
 scecula saccular urn. should be sung in Tono ferial 7 p. 121, 
 the others in simpl.fer. p. 120. After the Libera me, 
 
 Domine, the Priest sings : i§_ gj^gL— and 
 
 Pa-tor noster secreto, 
 15* 
 
22S 
 
 after the Incensation and Aspersion : V. Et ne nos indu- 
 
 c a c a 
 
 cas in tentatio-nem. JR. Seel libera nos a nta-lo. V. A 
 
 c a c a 
 
 porta in-feri. JR. Erue, Domine, animam ejus. V. JRe- 
 
 c a c c 
 
 quiescat in peice. JR. Amen. V. Domine. exaudi oreitio- 
 
 c a c a 
 
 nem meant. R. Et clamor mens eul te veniat. V. Do- 
 minus vobiscum dc. 
 
 After the Blessing of the grave the Priest intones: 
 
 Cantores. 
 
 Ant. E-go sum. Cant. Bene-dictus D6-mi-nus De-us I-sra-el: * 
 
 i§=< 
 
 quia visitavit , et fecit redemptidnem ple-bis su-ae. II. 
 Iii exequiis parmlorum, he sings: 
 
 Cantores. 
 
 Ant. Sit nomen D6mi-ni. Ps. 112. Laudate, pueri, Dominum. 
 
 lau-da-te nornen D6-mi-ni. II. 
 
A P P1 I B I X. 
 
 CHAPTER 37th. 
 
 THE ORGAN IN GENERAL. 
 
 I. For centuries past the Organ has become so 
 domesticated in the Church, that it is now regarded as 
 almost indispensable. It is true indeed that Church de- 
 crees bearing on music, do little more than tolerate 
 this instrument, 1 ) and at certain seasons and occasions 
 formally prohibit it ; the Chant being the only music 
 prescribed in the Liturgy. Nevertheless the organ is re- 
 cognised and its use sanctioned in sustaining the Chant ; 
 and it must be admitted that the majesty and solemn 
 grandeur of its tones justify its employment in religious 
 worship. Even those who hold that Plain-Chant should 
 never be accompanied, must nevertheless be desirous that 
 the Preludes, Interludes and Postludes permitted 
 on the Organ, should be of a grave, devotional character, 
 and not out of keeping with the Chant itself; "non 
 dehet deformare cantum planum?' How few Organists 
 seem to comprehend this principle! How few again are 
 thoroughly instructed in the nature, construction, or im- 
 portance of the instrument! Many plead the wretched 
 condition or insufficient size of their instrument as an 
 excuse for a very indifferent performance. No doubt 
 
 l ) "Hoc solo instnimento utitur Ecclesia in diversis cantibus, et in 
 2)rosis, in sequentiis , et in hymnis , propter abusum histrionum ejectis 
 aliis communiter instrumentis" Aegid. Lamorensis apud Gerbert. Scrip. 
 Tom. II. p. 388. The Cmrem. Episc. decrees i( nec alia instruments 
 musicalia, prater ipsum organum addantur." Lib- 1. cap. 28. N° 11. It 
 must be remembered that the organ has never been admitted into the 
 Papal Chapel. 
 
230 
 
 many organs are sadly neglected, and allowed to fall 
 into disrepair; but it is a mistake to imagine that good 
 Organ-playing can only be obtained on an instrument 
 of imposing dimensions. The really clever Organist will 
 be speedily discovered on a small chancel-organ of four 
 stops ; whilst Organs of eight and twelve stops allow of 
 numerous and effective combinations, if the Organist only 
 takes the trouble to study carefully the nature and con- 
 struction of his instrument. It is also necessary for those 
 who have to manage Organs, to be able to remedy the 
 more trivial accidents which will occur from time to time 
 in the most carefully constructed instruments , and to 
 suggest to the Organ Builder such alterations or im- 
 provements as may tend to balance the tone more evenly, 
 and enhance the value of the instrument as a work of 
 art. Every organ , no matter how small . should have 
 the so-called long pjedal, i. e. a full octave of Pedal 
 pipes from c to c (or to g if the Organ be what is 
 called a G Organ). Where this is wanting, it can be 
 added on without much expense. The mixture stops should 
 not be too shrill, 1 ) but yet powerful and sonorous. A 
 4-foot stop can be used without coupling it to an 8-foot, 
 if the piece be transposed an Octave lower. The larger 
 the Organ is , and the more numerous the stops , the 
 more varied are its tone-resources and post ble combi- 
 nations, and the more imperative does the duty of the 
 Organist become, to study well the mechanism and the 
 arrangement, the Tone-power and general effectiveness 
 of the instrument entrusted to him. 
 
 Several valuable works have been compiled on the 
 Organ, its Construction &c; which to the diligent stu- 
 dent will prove most useful. Most of them indeed are in 
 
 \) In old Organs we often meet with exceedingly shrill Mixtures 
 and Fifth?, which if remodelled would furnish good material for more 
 
 solid "small" work. 
 
231 
 
 German.' such as : Becker, ') Heinricli, 2 ) Jacobs, 8 ) Bidder, 4 ) 
 Seidell) ScJdimbach. 6 ) But Topfer's exposition in his 
 "Lehrbuch der Orgelkunst" (4 vols. Weimar, Vogt) ; as 
 well as in the smaller work : Die Orgel Sc. (Erfurt, 
 Korner) is considered of the greatest usefulness and im- 
 portance. For English readers "The Organ, its History 
 and Construction" by Edward J. Hopkins, Organist of 
 the Temple Church, London, will be found invaluable. 
 (Cocks & Co. London.) 
 
 XI. This instrument is so complicated in construc- 
 tion, and presents so many difficulties in the just em- 
 ployment of its varied resources, that constant, earnest 
 persevering study is of paramount necessity. The skilful 
 organist should be able not only to execute faultlessly 
 whatever music may be placed before him, but moreover 
 to improvise, or create music, guided by the well- 
 established principles of a good school and the rules of 
 composition , and not exclusively by his own peculiar 
 fancy or musical taste. But to do this well, he must be 
 a thorough master of the theory of music, he must be 
 gifted with fair natural talent, and have acquired good 
 executive ability by patient and well-ordered practice. 
 Anyone acquainted with the biographies of great Musi- 
 cians, cannot but remember, with what care and fore- 
 thought such masters of the instrument as Sebastian 
 Bach, Handel, Albrechtsberger and others, prepared them- 
 
 L ) Rathschlage fur Organisten .... Leipzig, Schubert. 
 
 ') Orgellehre, Structur und Erhaltung. Glogau, Flemming. 
 
 3 ) Prakt. Anleitung zur Erlangung der Kenntniss der Orgelregister 
 etc., nebst einer Anleitung zum Stimmen der Zungenwerke. Muhllieim, 
 Bagel. Amongst the most recent works of this nature, we may cite: 
 Sattler, die Orgel nach den neuesten Grundsatzen der OrgelbaukunsU 
 Langensalza, Gressler. Schmals, funf Recensionen Tiber verschiedene 
 neuere Orgeln. Hamburg, Griming. Schubert, die Orgel, ihr Bau 
 ihre Geschichte und Behandlung. Leipzig, Merseburger. 
 
 '') Katechismus der Orgel. Leipzig, Weber. 
 
 b ) Die Orgel und ihr Bau. Breslau, Leuckart. Verv good ! 
 
 6 ) Ueber Structur &c der Orgel. Leipzig, Breiticopf & Hartel... 
 Good but dear. 
 
2 3 2 
 
 selves when about to perform on it ; and what minute 
 attention they bestowed even on the most insignificant 
 of their compositions. With such memories to haunt him, 
 no organist should be tempted to regard the momentary 
 fancies of an oftentimes untutored taste, as subjects on 
 which to expend the multiplied and varied resources of 
 the King of instruments. 
 
 Chr. Fr. Schubart 1 ) remarks with truth -that as the 
 "Organ is the first of instruments, so is the Organist 
 "the first of musicians. The management of the Organ 
 "is exceptionally difficult, and whosoever undertakes to 
 "study it, should possess good intellectual and physical 
 "abilities. Amongst these I would reckon Genius and 
 "Application. One that has not a natural talent for 
 "the instrument can never become a clever organist; and 
 "one who relies solely on his talent, and takes no pains 
 "to educate it. or neglects to study the peculiarities of the 
 "instrument, must always remain a naturalist." Every 
 C atholic organist should understand Harmony, Thorough- 
 Bass, Counterpoint. Fugue (or at least Imitation) so as 
 to be able to guide himself in modulations, suitable 
 transpositions, and pedal work: for all this is indis- 
 pensable in the accompaniment of Plain-Chant. 
 
 By playing from memory . at first short and easy 
 pieces . then more difficult compositions for the Organ, 
 his talent for improvisation will be developed, his imag- 
 ination enlivened, his memory well exercised, his taste 
 improved, and a correct musical comprehension of uni- 
 formity and style gradually but securely acquired. From 
 the innumerable works compiled on the Theory and 
 Practice of Organ-playing, we select the following as the 
 best known and most useful. Albrechtsberger, 2 ) Cheru- 
 
 ') Ideen zu einer Aesthetik der Tonkunst Wien 1806. p. 280. 
 -) Collected writings on Thorough-Bass. Harmony and Composition 
 for self-instruction. XoveJlo Ewer d Co. 1855. 
 
233 
 
 bini, ') Dehn, 2 ) Herzog, 3 ) Hohmann, 4 ) Marx, 5 ) Oberhoffer, 6 ) 
 Richter, 7 ) Ritter, 8 ) Schiitze, 9 ) Dr. Crotch, Organ fugues, 
 C. H. Rinck's Organ School edited by Best, and Henry 
 Smart's works. Many of those works are exclusively for 
 practical Organ-playing, but are of little use to Catholic 
 Organists except so far as they furnish manual and pedal 
 exercises. Amongst works suitable for Catholic purposes 
 we may enumerate Albrechtsberger, 10 ) Bach, 11 ) Becker, 
 C. F. 12 ) Brosig, 13 ) Oberhoffer, Hesse, 14 ) Kothe 15 ) and 
 Ett. 16 ) 
 
 ') Theorie des Contrapunctes und der Fuge. Leipzig, Kistner, 
 ~) Theor.-prakt. Harmonielekre. Berlin, Schlesinger. 
 
 3 ) Orgelschule. Erlangen, Deichert. 
 
 4 ) Lehrb. d. rnus. Komposition , Harmonie und Generalbasslehre. 
 Niirnberg, Schmid. 
 
 5 ) Compositionslehre. Leipzig, Breitkopf & Hartel. 
 
 6 ) Die Schule des kath. Organisten. 2 Theile. Trier, Lintz. We 
 understand, this very useful work is being translated into English by 
 the author's son, at present Organist in the Catholic Church, York. 
 To this class ot useful works for Catholic Organists belong "die Be- 
 handlung der Orgel," bv B. Mettenleiter. Regensburg, Pustet ; and the 
 "prakt. Orgelschule 5 ' by B. Braun. Grmund, Schmid. 
 
 7 ) Lehrbuch der Fuge, des Oontrapunkts, der Harmonie. Leipzig, 
 Breitkopf & Hartel. 
 
 8 ) Die Kunst des Orgelspiels. 3 parts, a very useful book, also 
 his Handbook for harmony. 
 
 9 ) Prakt. Orgelschule. Leipzig, Arnold. 
 
 10 ) Six Fugues for the Organ. Vienna, Haslinger. 
 
 ") The "well-tempered Clavier," and especially his compositions 
 edited by Chrysander. Leipzig, Peters. Above and beyond all, Sebastian 
 Bach remains" the grand model for all organ players ; and his works 
 are an inexhaustible mine of Taste, Thought and manner of grasping 
 the subject. 
 
 ") The "Organ archives" edited together with Ritters work is de- 
 serving of special mention. 48 pieces from different epochs. Leipzig,Friese. 
 
 l3 ) A Catholic Organist of great distinction. 
 
 u ) His works to be had mostly from Leukart in Breslau. 
 
 l5 ) Handbuch fur Organisten. Breslau, Leuckart, A very useful, 
 practical work, to be highly recommended. 
 
 Cadenzen, Versetten, Praludien und Fugen fur Orgel, 2 nd im- 
 proved edition. A most useful, and one might add necessary work for 
 all Catholic organists. 
 
234 
 
 CHAPTER 38th. 
 THE ORGAN IN PLAIN-CHANT. 
 
 "As Plain-Chant is pure melody; and was invented 
 "and composed without harmonic accompaniment, without 
 "time and with free recitation of the text; so any har- 
 "monic accompaniment to it is an evil." Thus writes 
 Dr. Franz Witt. 1 ) He would indeed except the simple 
 antiphonal chants, such as the Responses and Psalm- 
 Tones, which do not belong to the scientific chant proper, 
 and are for the most part only a recitation of the text 
 upon one note, with certain cadences and melodic pas- 
 sages, according to fixed rules at the commas, full-stops, 
 etc. But for the scientific chant itself, he regards "any 
 "harmonic accompaniment, even if it be by the first artist 
 "in the world, as the greatest misfortune: in fact its 
 "death." "Twenty years practical experience" he adds, 
 "has convinced me, that singers who always sing Plain- 
 " Chant accompanied are quite incapable of singing it with 
 "proper feeling .... An Organ accompaniment, tliQugh 
 "liked by almost everybody, is and must be monotonous; 
 "a proper change of the registers, the perpetual accen- 
 tuation and non-accentuation, the crescendo and dimi- 
 u nuendo, with which the text should be declaimed, cannot 
 " by any possibility be managed on an organ. — The 
 "countless embellishments (the neumce on short syllables, 
 "20 or more notes, in old books. 160 to 200 notes on 
 "one short syllable) which resemble the arabesques round 
 "the initial letters in ancient illuminated Missals, and 
 "which must be treated with the same delicacy, become 
 "quite unmeaning with any accompaniment; moreover 
 "everything else becomes, to say the least of it, coarse, 
 
 17 ) See Preface to "Orqanwn comitans ad Ordinarium Miss<e" trans- 
 lated by H. S. Butterfield, Author of "The Reform of Church-Music 
 in Ger-many &c." (Tablet.) 
 
"colourless and spiritless, and a want of spirit and of ex- 
 pressiveness, or singing every thing alike, as people say, 
 "kills any music, any melodic outpouring of the soul." L ) 
 
 Nevertheless as the Organ proves so useful, and 
 oftentimes indispensable in sustaining the voices, espec- 
 ially in weak or insufficiently-trained choirs, this "evil" 
 must be tolerated, provided however that the accompa- 
 niment be regulated by the principles and peculiarities 
 of the Chant itself, and not by the laws of modern 
 harmonisation. The first thing to be borne in mind is. 
 that the Gregorian modes are totally different from our 
 modern major and minor modes , and any attempt to 
 harmonize them according to the rules of modern har- 
 mony, will infallibly destroy the Chant, In the modern 
 modes, for instance, certain notes have a'peculiar affinity 
 or attraction towards others ; such as the dominant and 
 sub-dominant and the leading-note of the key, and mo- 
 dern music is harmonized upon a consideration of such 
 affinities or attractions ; but in Church modes these af- 
 finities have no existence ; so that to clothe them with 
 harmonies creating anticipations which are inconsistent 
 with the progress of the melody, must necessarily destroy 
 their distinctive character. The peculiar tonality of the 
 Gregorian Modes, as we have elsewhere observed. (See 
 Chap. 9) arises from the varied disposition of the inter- 
 vals of the scale. The 1 st and 2 nd modes, for instance, 
 are treated by some harmonists, as if they were the 
 modern scale of D minor; from which however they 
 differ in two important particulars. In the first place, 
 the Gregorian mode, being purely diatonic, has the sity 
 not b; and in the second place, it has the do always 
 
 ') The esteemed author of Loss and Gain makes one of bis char- 
 acters say, with reference to harmonized Gregorian music, that "it is 
 a mixture of two things, each good in itself, and incongruous together." 
 ''It's a mixture of the first and second courses at table." — "It's like 
 the architecture of the fagade at Milan, half Gothic, half Grecian. 
 
23G 
 
 never J; so that, if the Organist harmonises either of 
 these modes as in the scale of I) minor, he will con- 
 stantly introduce chords in the accompaniment which will 
 prepare the car of the singer for notes the very opposite 
 of those which he is required to sing. On the same prin- 
 ciple such harmonists would treat the 3 d and 4 th modes, 
 as in the key of E major: the 5 th and th modes, as 
 in Y major: and the 7 th and 8 th as G major, all which 
 treatments would he wrong. The fundamental rule for 
 accompanying Gregorian Chant, is. that the "Harmony 
 of the Church Modes, should on no account alter 
 or interfere with the melody; the melody must in 
 all cases and under all circumstances predominate, and 
 the accompaniment be. as far as the laws of harmony per- 
 mit, strictly diatonic. The construction of cadences in 
 the accompaniment of Plain-Chant is subject to the 
 same rule.'' "Nothing is more simple," writes M. Danjou 
 (Revue de Musique for Bee. 1847 and Jan. 1848) "or 
 more easy than the accompaniment of the Church-Song, 
 if the rules of counterpoint laid down by the Masters of the 
 middle ages are followed ; but on the contrary nothing 
 more complicated, more difficult or more uncertain, than 
 the attempt of assimilating modern harmony with the 
 ancient tonality." The modern mode- close with the chord 
 of the dominant leading into the chord of the tonic; not 
 so the old modes. Modern modes have a leading or sen- 
 sible note: in the old modes you would search for it in 
 vain. In modern pieces of music the close of each period 
 and of the entire piece must be made with the chord of 
 the Tonic; in Gregorian Modes this is not necessary. 1 ) 
 
 ') J. G. Mettenleiter in his organ accompaniment to the Enchi- 
 ridion Chorale was guided by the same principles. "The organ accom- 
 paniment employs only those harmonic progressions which are by na- 
 ture purely diatonic, and Which are constructed on and bound up 
 with the theoretical rules, and elaborated praxis of the great masters 
 of counterpoint of the 15 th and l&b and first half of the 17 th centuries. 
 
As a general rule it may be stated that "all the 
 notes of each diatonic scale maybe employed in 
 the construction of chords, but the closing cliord 
 should be constructed on the final of the mode."" 
 
 Observation. The great need of having some sys- 
 tematic method of harmony for Plain-Chant, has given rise 
 to various schemes, especially of late years. In Rome the 
 Chant is never accompanied, et hoc laudo; in France the 
 cantus firmus is usually given to the Pedal in the organ, 
 or to a deep bass wind instrument; and the harmonies con- 
 structed thereon, oftentimes meaningless and unconnected, 
 make the Chant itself heavy and wearisome. F. A. Gevaert 
 and the Abbe van Damme, two Belgian virtuosi, lay down 
 as a fundamental law, that the accompaniment should be 
 strictly diatonic, and that no note should appear in the 
 accompaniment that does not exist in the melody. This 
 system, in melodies of a small range, say five notes, would 
 reduce the possible chords to a very limited number. The 
 late Father Schneider of Ebingen would harmonise Plain- 
 Chant without any diesis or flat (fi or t 7 ) appearing even 
 in the cadences. J. G. Mettenleiter gave to each note of 
 the melody a distinct chord, mostly however according to 
 the laws of two-part counterpoint {iiota contra notarti) ; — 
 a system which demands great executive ability on the 
 part of the organist, so as to keep on with the melody in 
 this endless succession of chords, and produces decided 
 monotony, for most of the chords and chord-relations of 
 the same kind will be constantly recurring. Dr. Witt fi- 
 nally in his organ accompaniment to the "Ordinarium Missce" 
 adopts the diatonic system, but with perfect harmonic 
 closes, not overlooking however the rhythmical movement 
 of the Chant; and to this end he allows connected notes, 
 and neumas or phrases that must be sung rapidly and 
 together, to be accompanied by held-doicn chords, a change 
 being made to a new chord when some important note in 
 the passage demands it. "The advantages of this theory," 
 
 Their progression is as a rule confined to the diatonic triad and 
 its first inversion: but by the application of ties on certain notes of 
 the cliord, it prepares the most surprising dissonances, resolves them 
 m the most pleasing manner and allows them to pass into perfect and 
 effective consonances." 
 
238 
 
 he says in the Preface, "are fourfold; a) the accompani- 
 ment is easier to play because many notes have not a 
 "distinct chord; b) it suits the simplicity of the Chant bet- 
 ter, and therefore is less monotonous; c) in the melodies 
 "themselves all the notes are not of equal importance 
 "(accented)', many are 'passing notes/ and this is decisive 
 "for my theory; and lastly, it allows the melody to be 
 "more prominent, for a melody over a held-down chord 
 • stands forth much more boldly, and is therefore more 
 "effective."' A choice between these different systems. — 
 all diatonic however, — is of course a matter of taste: 
 The experienced author of the "Magister Choralis," 
 after testing all of them, selected Witt's system as the 
 best, and on the same principles prepared the organ ac- 
 companiments to the new official edition of the "Graduate 
 Romanum" now published by Pustet. A perusal of the 
 Preface to Witt's "Onganum comitans" will repay the in- 
 terested inquirer. AVe would again beg leave to caution 
 Organists w r ho may use these published accompaniments, 
 against a mistake not unfrequently made, that of regard- 
 ing the flats or sharps in the beginning of the stave, as 
 the signature of our modern keys. Their presence only 
 indicate that the pitch has been transposed, and they are 
 placed there to preserve the original position of the semi- 
 tones of the mode, and not to indicate a key. 
 
 The accompaniment should be generally speaking, a 
 four-part one, in close or extended harmony. In large 
 • choirs where there is a considerable number of singers and 
 the church itself of considerable size, the accompaniment 
 should if possible, be all through in extended harmony. 
 At the right time and place it may become five. >ix and 
 eight-part, and the good Organist will exercise his judg- 
 ment in employing the resources of his instrument, and 
 always with the view of rendering the performance of the 
 Chant effective. It is self-evident on the other hand that an 
 immoderate number of notes and douhled-chords produces 
 a bad effect, and that excursions up and down the man- 
 uals, variations, appoggiatura$ and other such modulation-, 
 should never be permitted to obscure or interrupt the chant. 
 
239 
 
 The Preludes should have a reference to the Chant 
 coming on, and serve as an introduction to it; one or 
 more ideas from the Introit for instance, might form the 
 subject of the Prelude, which should close on the final 
 of the mode in which the Chant begins. This requirement 
 is in no way preposterous, as the Preludes in Catholic 
 Church-service, can never be so long as to create airy 
 embarrassment to a skilled organist. The Organist must 
 take Masters for his models, study their compositions, 
 be not ashamed to play from the copy, and try in writ- 
 ing, to work out short organ passages in the old Gre- 
 gorian modes. l ) The least that may be expected from 
 an Organist who has to accompany Plain-Chant, is that 
 at all events, in the last 10 to 12 bars of his Pre- 
 lude he should employ a strict Church style, and 
 so introduce his singers to the holy function in 
 which they are to take an active part. 
 
 The Interludes, wiiere they are introduced with 
 judgment and taste, should for a still stronger reason 
 be invested with the character of the Church Tones. 
 Operatic Overtures , military Marches , Fantasias and 
 Ariettas, favourite pieces with so many Organists, are 
 scarcely the character of interludes that would fit well 
 after the Gradual or Offertory in an Old Gregorian Tone. 
 
 The Postludes should put the seal on the sublimity 
 and dignity of the Chant that preceded, and not draw 
 off the singers or hearers to another train of thought. 
 
 4 ) Franz Commer published (Trautwein in Berlin) a collection of 
 Organ-pieces from the 16 th and 17 th centuries. Father Schmidt, Ka- 
 pellmeister in Minister, is the compiler of another collection; also 
 Riegd "Praxis Organoedi and Kothe : " ' Orgelstiicke in den alten Kirchen- 
 tonarten (Begensburg , Pustet). In Herzog's "das kirchliche OrgelspieV 
 you will find in the Appendix very pretty short and long pieces and 
 modulations in the old Church Modes. A most practical method for 
 acquiring a facility of playing in the old modes, would be to study 
 the scores of the "Musica Divina," especially the 3 d vol., or other si- 
 milar works of the old masters, and write out for one"s self, short 
 and striking passages, transpose them if necessary, and then play them. 
 
240 
 
 When several pieces in different modes follow one an- 
 other; e.g. the Antiphons at Vespers &c, care should 
 be taken to modulate naturally into the new mode, so 
 as to mark its distinctive character. It will be there- 
 fore necessary for the Organist by free transposition 
 to be able to give the Chants in different pitches ac- 
 cording as circumstances may require. For thi< purpose 
 exercises in reading the different clefs and the system 
 of transpositions (as in Chapters 3 d and 14 th ) become 
 absolutely necessary, until the player is no longer em- 
 barrassed by them. Above all it can never be too often 
 stated, that conscientious practice, steady self-criticism, 
 zealous working out of the old models, coupled with un- 
 interrupted theoretical study, must form the distinctive 
 qualifications of a good Catholic Organist. 1 ) 
 
 We may close this chapter with a short quotation 
 from the musical historian Ambros. 2 ) "The innate vital 
 "power of these chants is so great, that even without 
 "any harmonization, they can be made available for 
 "the most intense expression, and nothing is required out- 
 "side themselves to mark their great importance; whilst 
 "on the other hand, for the richest and most artistic 
 "harmonic treatment, they furnish inexhaustible matter, 
 "and their accumulation through the course of centuries 
 "form a treasure, of which art has now the benefit. Music 
 "has waxed strong in the mighty vitality of (h'egorian 
 "Chant; she has been formed out of its melodies, from 
 "the first rude attempts of the Organum, of Diaphony, 
 "and Faux Bourdons, down to her highest perfection 
 "in the Palestrina style." 
 
 la these old compositions there is a rich collection of pieces, in Which 
 the parts do not cross each other too often, and which thereby be- 
 come most useful for the organ. 
 
 ') Anyone -who does not feel thoroughly competent to accompany 
 Plain Chant, should not attempt it. He would do more harm than good. 
 
 2 ) Gcschichte der Musik. Vol. 2. p. 67. 
 
PART III. 
 
 PRACTICE OF PLAIN- CHANT. 
 
 I. GENERAL INSTRUCTIONS. 
 
 CHAPTER 39th. 
 
 TO THE CLERGY AND CLERICAL STUDENTS. 
 
 The zeal and industry with which the Clergy in the 
 earlier ages cultivated the Chant, is a matter of history. *) 
 From the same source we may learn, how the Church, 
 not only adopted the words of Ecclesiasticus, cap. 44. 5. 
 ("Laudevnus vivos gloriosos et parent es nostros in genera- 
 tions sua . . . in peritia sua requirentes modos musicos, et 
 narrantes carmina script ur arum") as suitably describing 
 the characteristic virtues of many amongst her Saints; 
 (In Comm. Conf. Pont.) but 'also embellished her entire 
 Ritual, and brightened it up with the songs of holy and 
 enlightened men: and Bishops, Priests and Clerics vied 
 with each other in rendering in a worthy manner the 
 splendid melodies of St. Gregory; and Councils encour- 
 aged the conscientious study of the same. 2 ) 
 
 ') Laicus in ecclesiis non debet recitare , nec Alleluia dicer e, sed 
 psalmos iantum sine Alleluia. Theod. of Canterbury. See Gerbert. T. I. 
 p. 243. 
 
 2 ) 8th Council of Toledo, Can. 6. Council of Trent, Sess.23. can. 18, 
 de reformatione. Council of Rome (1725) and numerous National and 
 Provincial Synods and Pastoral Addresses. The National Synod of 
 Thurles in the Chap, de Eucharistia, can. 38, says : "Nullus cantus nisi 
 gravis, et ecclesiasticus, in Ecclesiis adhibeatur. Bectores Seminariorum 
 
 16 . 
 
242 
 
 "If then," writes Jannsen. "we address ourselves to 
 the Clergy first, we do so under the firm persuasion 
 that the study of Plain-Chant and its good execution 
 depend principally upon them,.'.-. But it is. alas! too 
 true, that man} amongst them, through carelessness or 
 want of knowledge in this matter, furnish the hest pos- 
 sible reasons for its decay and depreciation. We are 
 forced to say with Cardinal Bona "Ut fateor quod res 
 est, pudet me plerosque eeclesiasiicos vivos totius vita 
 cursu in cantu versari, ipsum vevo cantum, quod turpe 
 est, ignorare" (Be cantu eecL HI- N° l.) 1 ) Stein, 
 who in his excellent little book") extends the duties of 
 the Priest as Master in his Church, also to the depart- 
 ment of Church Music, mentions, that formerly musical 
 culture was especially to be met with amongst the Clergy, 
 and that the greater and better portion were only turned 
 away from it when the degenerate style of Church-Music 
 was first introduced, but with unpardonable carelessness 
 they remained inactive. "But for this indifference the 
 ignorance we have now to deplore would never have he- 
 come so great or so universal.*" 3 ) 
 
 curent, prapositis etiam prcemiis, ut alumni in Cantu gravi et eccle- 
 siastico bene instituantur" See Preface tor the Synod of Maynooth. 
 The Council of Laodicea (in the 4 th century) decrees: "Non oportet 
 nisi canonicos cantor es qui suygestum ascendant , et ex diphtera seu 
 membrana canunt, ahum quemlibet in Ecclesia psallere" 
 
 ' » Methode (les vrais principes) du Chant Gregorien. H. Dessain, 
 Maiines. 
 
 -) Die katholisclie Kirchenmusik nach Hirer Bestimmung and ihrer 
 dermaligen Beschaff'enheit. Koln. Bachem. 
 
 3 ) May we venture to hope, that by reason of the greater inter- 
 est awakened amongst the Clergv. and their deep penetration, the 
 words of Fr. Rollens in his dent ache Choralgesang in der katholischen 
 Kirche p. ISO may have lost their force. "Instruction in Gregorian 
 Chant is mostly entrusted to men. who are utterly ignorant of its 
 principles, and who fail to command the attention of their pupils, 
 whereby the Singing Lesson becomes an hour's recreation and amuse- 
 ment. The Teacher is satisfied if his pupils can sing the collects and 
 the Preface tolerably, or intone thef'Gloria? or "IteMissa est:" a feat 
 however which he can get few to accomplish. "Sunt etiam plerique 
 
243 
 
 He therefore counsels scientific instruction in singing, 
 at as early an age as possible; and if at all feasible, 
 in the Pianoforte and Organ, for those who aspire to the 
 Sacred Ministry. "If in early life the education of the 
 future Priest does not embrace the science of music and 
 its practical application, later on, when he enters the 
 Ecclesiastical Seminary, and is engrossed by other and 
 more important studies . this instruction can no longer 
 be efficiently imparted. Here it will be too late to be- 
 gin the musical education of a young man; too late even 
 to direct him in the proper rendering of the simple 
 liturgical Chants of the Altar/' ProJcsch: 1 ) "The Priest 
 himself in his Church, must be a Singer, even if he 
 only have to sing at the Altar: for he has the super- 
 vision of the Church Music, of the popular chants, and 
 of the Organ-playing . . . .' : Antony: "If however many 
 persons seek to excuse themselves on the ground, that 
 in the matter of musical capabilities* nature has treated 
 them after the manner of a step-mother , and conse- 
 quently they do not know their errors in singing, nor 
 how to correct them; they are bound nevertheless to 
 avail themselves of external aid, in order to work out, 
 what they, left to themselves, are not in a position to 
 do; for it is written: {James iv. 17) Scienti igitur bonum 
 facere, et non facienti, peccatum est illi." Amberger: 3 ) 
 
 Clerici vel Monachi, qui artem Musicse jucundissimae neque sciunt, ne- 
 que scire volunt, et, quod gravius est, scientes refutant et abhorrent, 
 et quod si aliquis musicus eos de cantu, quern vel non rite vel incom- 
 posite proferunt, compellat, impudenter irati obstrepunt, nec veritati 
 adquiescere volunt, suumque errorem suo conamine defendant." Guido 
 ot Arezzo, sec Gerbert Scriptores T. II. p. 51. One would think these 
 words were written in -the t 9 th century instead of the 11 th so well do 
 they describe the present condition of affairs. 
 
 l ) Aphorismen fiber katholische Kirchenmusik. Prai. Bellmann. 
 
 *) Archaolog. liturg. Lchrbuch des gregorianischen Kircliengesanges. 
 Munster, Coppenrath. 
 
 3 ) Pastoraltheologie, II. vol. From page 216 to 234 the writer enu- 
 merates various motives to encourage the study of Liturgical Song. The 
 
 16* 
 
244 
 
 "AYliosoever enters the domain of Liturgy, is as much 
 bound to learn Gregorian Chant and to sing, ac- 
 cording to the mind of the Church, as he is to be a 
 faithful observer of the Rubrics." "Even though 
 every one may not be able to produce or to appreciate 
 that wonderful unison of Tone, and those most tender 
 movements of the heart of the Church, yet it is the 
 duty of every one, with holy joy, to set value on the 
 songs of the Church, and not to put them aside with in- 
 difference; to try and understand their truth, their beauty 
 and their power, and not through neglect of necessary 
 practice, or through clumsy rendering of them, deprive 
 them of all feeling. Everyone should try and feel 
 more and more the beauty of Plain-Chant, in 
 order that he may sing it with devotion." "Let no 
 man say: — the people understand very little about it — ; 
 you sing in the name of the Church, to the honour of 
 her eternal Spouse ; but you must also be persuaded that 
 through this elevating chant, the hearts of the faithful 
 are effectually reached." 
 
 On the other hand the following remarks are wor- 
 thy of the Cleric's attention: "The Singer should be 
 a man of prayer:" St. Bernard: 1 ) Sunt quidam voce 
 dissoluti, qui vocis suce modulatione glofiantur, nec tan- 
 turn gaudent de dono gratice, sed etiam alios spernuni. 
 Tumentes elaiidne aliud cantant, quam Jibri habeant, 
 tanta est levitas vocis, forsitan et mentis, Cantant ut 
 pldeeant populo mag is quam Deo. Si sic cantos, ut ab 
 
 pastoral letter of the Bishop of Katisbon, on the question of Chureh- 
 Music, must also be mentioned here. C. Sew Meister writes in his 
 costly work li das katholische deutschc Kirchenlied" : The Chant of the 
 Church is an essential part of public worship; its history is 
 a portion of Church history; the knowledge of it, in an histor- 
 ical and liturgic.tl point of view, is part of theological science.'" 
 See also Durandus, Rationale divinorum officiorum, Lib. II. De can- 
 tore, de psalm ista &c. 
 
 ') See Bona, Div. Psalmodia. cap. XVII , de canto Ecclesias. §i v. 
 
245 
 
 uliis laudem queer as, vocem tuam vendis , et facis cam 
 non tuam, sed suam. Vivos decet virili voce cantare, et 
 non ' more fcemineo tinnulis vel falsis vocibus vehit Jiis- 
 trionicam imitari lasciviam. The expression "castigatio 
 vocis" when the Amict is given in the ordination- of a 
 Sub-deacon may also be understood in this sense. Instit. 
 Patr. : Nee voluMUtate nimia confundenda quce dicimus, 
 qua et distincMo- peril et affectus . . . cui contr avium est 
 vitium nimice tarditatis. — Jerome of Moravia: 1 ^ Nun- 
 quam cantus nimis basse incipiatur, quod est ululare , 
 nee nimis alte, quod est clamare; sed mediate, quod est 
 cantare. — Bona: Beceptum a majoribus can turn in- 
 tegrum oportet, et UUbatum custodire. ne si semel ab- 
 errare coeperimus a semitis antiquis , quas posuerunt 
 Patres nostri, paulathn inconsidtis emtationibus religio- 
 liis integritas destruatur. 
 
 Denique damnati sunt illi, qui parcerites vocibus 
 suis rapinam faciant in holocaustis , qui vitulos scilicet 
 labiorum suorum Domino redder e negligentes, vel dolo- 
 rem capitis vel stomachi debilitatem, vel exiUtatem vocis 
 pr attendant ad excusandas excusationes in peccatis : cum 
 revera totum in eis sibi vindicent mentis evagatio, dis- 
 tractio cordis, carnis inertia, et propria salutis incuria. 
 Non enim consider ant , quod, qui a communi labor e se 
 subtrahunt, communi etiam retributione carebant, et qui 
 JLcclesiam servitute, proximum mdificatione, Angelos Ice- 
 titia, sanctos gloria, Deum cultu defraudant , ipsi quo- 
 que Dei gratia, sanctorum suffragiis, Angelorum custo- 
 dia , proximi adjutorio , JEcclesice benefiens se reddunt 
 indignos. Eis enim, qui legitime canunt , et sapienter 
 psallant (inquit Bupertus Abbas) remuneratio vel pre- 
 mium erit carmen ceternum. 
 
 ') In Coussemacker, Script. 
 
246 
 
 CHAPTER 40th. 
 TO CHOIR-MASTERS. 
 
 The Choir-Master or Conductor is the very soul of 
 the Choir, animating and governing it. On him devolves 
 the duty of teaching his Choristers Gregorian Chant, and 
 securing by every means within his reach, that its simple 
 but heavenly melodies be rendered in a becoming and 
 edifying manner. This pre-supposes a thorough knowl- 
 edge, theoretical and practical, of the Ancient Modes 
 and Melodies, for the soul must have a body: but no 
 knowledge howsoever extensive, if unaccompanied by a 
 just esteem of the Chant itself, and of the honourable 
 position it occupies in the Church" s Liturgy, will ensure 
 its being worthily rendered . for the body without the 
 spirit is dead. Here however we encounter the first great 
 obstacle to the proper teaching and rendering of Plain- 
 Chant: for, most Catholic Choir-Masters, whilst thorough- 
 ly well grounded in the principles of modern music, and 
 conversant with the manifold and marvellous adaptabi- 
 lities of the major and minor mode: — (which date only 
 from the latter half of the 17 th century:) — carry their 
 researches no farther back, and when you speak to them 
 of Gregorian Chant, they turn away from you with a 
 contemptuous shrug of the shoulders, as if you broached 
 a subject utterly out of joint with all correct notions of 
 music or things musical. We therefore venture to enu- 
 merate what may be regarded as the necessary qual- 
 ifications of a Catho'ic Choir- Master. 
 
 lj He should have a knowledge of the Latin tongue, 
 as the Liturgical text is all written in that language. 1 ) 
 Without a fair knowledge of Latin . he cannot under- 
 
 ) We specially recommend "The Catholics Latin Instructor'" by 
 Rev. E. Caswall London. Burns & Oates. 
 
247 
 
 stand the sentiments conveyed in the words, and there- 
 fore cannot give the just expression to these words, or 
 to the melody in which they are clothed ; for it should 
 he ever remembered , that in Ecclesiastical Chant the 
 "text is the master, the notes the slaves." If however 
 any Conductor he not acquainted with Latin . a trans- 
 lation will be of some assistance, although it may not 
 give the precise meaning of every word. It is also de- 
 sirable, as we have remarked in a previous chapter, that 
 he should understand and know how to use the Eccle- 
 siastical Calendar, or Directorium (Ordo) ; in order that 
 he may find the Chants prescribed for the day or sea- 
 son, and regulate their performance in accordance with 
 the requirements of the rubric. The conscientious Choir- 
 Master would moreover be careful to teach his singers 
 the meaning of the words they are called upon to sing, 
 and explain the mutual relations of Word and Tone. 
 
 2) The Liturgy is so beautiful in itself, and conveys 
 so clearly the mind of the Church in her various sol- 
 emnities throughout the year, that no Catholic who ob- 
 serves it closely and strives to understand it , can fail 
 to be influenced by that peculiar spirit which animates 
 the Church herself, and gives force and meaning to the 
 several functions of her public worship. Now the Catholic 
 Choir-Master who seeks to discharge his duty faithfully, 
 must allow this spirit to take possession of him ; he must 
 as it were live with the Church, and enter into her feel- 
 ings ; — weep with her in her sorrow and exult in her 
 joy ; — otherwise he can never realize for himself or 
 those under him, the meaning of the occasion which she 
 solemnizes, or of the words which she employs. No 
 matter how great his musical talents otherwise may be, 
 the Choir-Master who cannot identify his way of thinking 
 with that of the Church, as expressed in her Liturgy, 
 and who fancies that he adequately discharges his duty 
 
248 
 
 by merely making music whilst a religious function is 
 being gone through, is deficient in one of the most im- 
 portant qualifications for his position. 
 
 3) The particular occasion or Festival, 1 ) also serves 
 to determine the style of Intonation, the rhythmic move- 
 ment, and the more or less solemn delivery of the Chant. 
 On High Festivals, even the Psalm-Tones are more elab- 
 orate in their inflections, and approximate to the melodic 
 Chants of the Graduate or Antiphonarium ; whereas 
 on simple Feasts and Ferias, they are throughout, little 
 more than a reciting monotone sung more rapidly and 
 at a lower pitch. On these latter occasions the melodies 
 themselves should not be sung so slowly or with all that 
 solemnity which is expected on the great Festivals. In 
 Requiem Masses, the voice should be subdued, yet clear, 
 pitched in a quiet tone, but not comfortless. 
 
 4) The Tone of each piece, its compass and pecu- 
 liarities, should be carefully explained, in order that the 
 special character of each of the modi may be clearly 
 understood and conveyed; and the Singers should be 
 trained to strike unwonted intervals with accuracy and 
 without hesitation, and to master the melodic or rhyth- 
 mical difficulties which may occur in a piece. 
 
 5) A clear understanding should exist between the 
 Organist and Choir-Master, as regards the pitch of each 
 piece. As high and low voices unite to sing Plain-Chant, 
 the pitch should be so regulated, i. e. transposed, as 
 that the entire piece can be sung by all with equal power 
 and without any extraordinary effort. The division of 
 the choir into two sections, such as Chanters and full 
 
 ') The Institut. Patr. distinguishes three classes of Festivals. On 
 great occasions one should sing with his whole heart, and soul, and 
 voice; on Sundays and Feasts of Saints more quietly: on ordinary 
 days, the manner of chanting should be so regulated', that all may 
 sing carefully and devotionally . without straining of the voice, with 
 feeling and without fault (cum aff'ectu absque defectu). 
 
249 
 
 Choir, or Boys and Men, or upper (Soprano and Tenor) 
 voices and under (Alto and Bass) voices, so that the sev- 
 eral periods of the melody may be sung alternately, and 
 occasional emphatic passages be delivered by all united, 
 varies the Chant and renders it easy and animated, whilst 
 it obviates many difficulties which in the continuous 
 chant of a piece by the full choir are unavoidable. 
 
 6) The Choir-Master should be thoroughly acquainted 
 with the power and capabilities of his Singers, and only 
 allow those to sing, who are sufficiently instructed in the 
 Principles and Practice of Plain-Chant, and are possessed 
 of sound tuneful voices, and a good distinct pronuncia- 
 tion. The flippant saying: "for Plain-Chant any voice is 
 good enough," betrays not only gross ignorance and con- 
 tempt of art, but also unpardonable irreverence towards 
 the consecrated Chant of the Catholic Church. Young 
 fresh voices when singing up the scale, and especially 
 when the higher notes are touched are in danger of 
 going out of tune; this should not be allowed, and it 
 is the duty of the Master, quietly and without delay 
 (by a stronger or quicker delivery of the voice) to bring 
 them back to the normal tone. 
 
 7) The quantity (i. e. length or brevity) of the 
 syllables must be specially attended to, for the regular 
 alternation of the rhetorical rhythm, and absolute free- 
 dom in delivery , unfettered by any bar-measurement, 
 form the grand features of Gregorian Chant. The long 
 and short notes should never be subjected to any law 
 of a mechanical metronome. We recommend Chapters 
 3 d and 4 th of this Manual to the careful perusal of 
 Choir-Masters. 1 ) Steady and marked motions of the hand 
 
 ') Rev. F. X. Haberl in the "Mag. chordlis" states it as the re- 
 sult of his own experience, that a choir of from 15 to 20 mixed 
 voices can sing with greater ease, swing, and unity, from one copy 
 of the Folio edition of the Grad. Bomanum than from ten copies of 
 
250 
 
 should direct the Singers to bind together the several 
 note-groupings, the Words and Phrases in alternate 
 slower and quicker enunciation and with stronger or 
 weaker accent into one perfect whole. 1 ) 
 
 8) The subdivision too of the piece into Phrases, 
 Periods and Sections depends in a great measure on 
 the Conductor. The breathing places are indicated by 
 the words and the perpendicular lines or bars drawn 
 across the stave, while for Pauses the double lines 
 mark the natural place. The Syllables of the same word 
 should never be separated. If however such a number 
 of notes must be sung to one syllable as to necessitate 
 a rest for breathing, then the Choir-Master should be- 
 fore hand mark a suitable place in the neuma , where 
 the entire choir may take a short, almost imperceptible 
 breath. A wise discretion in regulating the speed of the 
 movement, is another desirable qualification in a Choir- 
 Master. Where there is a small number of choristers he 
 should be on the alert to prevent too great haste, and 
 where a large number, too great a tendency to drawl. 
 Where these two faults are not guarded against, the 
 clear distinct pronunciation of the words and the pure 
 just intonation of the notes suffer ; and when such el- 
 ements are wanting , Gregorian Chant becomes contem- 
 ptible, indeed ridiculous. As a rule the style of singing 
 Plain-Chant, should be lively, crisp, fresh, at times 
 
 the octavo edition; and then adds; "our forefathers made no blunder, 
 when after the discovery of printing they had the Choral Books pub- 
 lished in Folio." 
 
 ') A writer in the 'Tablet** of Sept. 1876. giving a reason for 
 the excellence of the Plain-Chant singing in Ratisbon Cathedral says 
 that "every note is led by the conductor's baton, and thus expression 
 is gained by emphasis being placed upon certain notes and passages. 
 No comparative value as to time is given to the notes themselves , but 
 the length of time they are sustained, and the force with which they 
 are sung, are made entirely subservient to the meaning of the words, 
 as interpreted by the conductor of the choir." W. H. Brewer. 
 
251 
 
 very animated, always with an easy rhythmic swing 
 throughout, and not that wretched habit of slow, lum- 
 bering, tedious drawling, which has already earned such 
 a bad name for Liturgical Music, and in which the voices 
 are certain, as the piece advances, to sing out of tune. 
 
 9) The Conductor should also determine the degree 
 of strength or weakness of the note and the increasing 
 or decreasing of the voice in the several members or 
 phrases. The effects of piano, forte and crescendo are 
 not to be overlooked or neglected in Plain-Chant, al- 
 though no uniform rule can be established, and still less 
 should these marks of expression be printed in the Choral 
 Books; the words and the occasion exercising so great 
 an influence on the expression of the Chant. Short de- 
 scending passages diminish in power of tone as they 
 descend, whilst the tone should be increased in ascend- 
 ing scales ; the more distant intervals should be entoned 
 securely ; Unison, Major Thirds and Fifths demand more 
 power and expression, than the Semitones, Minor Thirds. 
 Fourths &c. 
 
 10) From all that has been said it is evident that 
 conscientious and persevering practice is of paramount 
 importance. Where the Choir-Master does not exercise 
 his Choristers by continual practice , and keep them 
 alive to the sanctity and importance of the duty they 
 discharge, but trusts everything to chance, and to 
 his long experience and acquaintance with the subject 
 matter no blessing or good result can be expected from 
 Gregorian Chant rendered by such a choir. More than 
 any other kind of Music, Plain-Chant should be deeply, 
 attentively studied , and again and again rehearsed , if 
 its performance is intended to be effective; for "Gre- 
 gorian Chant is a matter of no easy acquirement, as the 
 large schools of past centuries and the examples of 
 learned and holy men can testify, but it demands ear- 
 
252 
 
 nest and profound study." J ) One or two special or 
 general rehearsals , will never enable a Choir to prove 
 itself effective , in the different pieces to be chanted 
 during the various religious functions. These rehear- 
 sals, special and general, must be regular and constantly 
 recurring, and must embrace not only the younger or 
 less instructed members of the Choir, but also, in large 
 choirs ; the individual members, and the Chants should 
 be repeated again and again until even those who are 
 accustomed to trust to their neighbours, and thereby 
 become such an unpleasant drag both on Conductor and 
 Choir, are made thoroughly sure of their work. A good 
 elementary uninterrupted method of instruction is the 
 forerunner of a good, natural, easy, certain, worthy and 
 edifying Chant. Ant Ccesar, aut nihil! 
 
 CHAPTER 41st. 
 
 FOR ORGANISTS. 
 
 The observations of the last chapter are also ap- 
 plicable to Organists, especially when the two functions 
 of Choir-Master and Organist are united in the one per- 
 son, as is most frequently the case. A glance, moreover, 
 at the remarks made on the Organ and its employment in 
 Plain-Chant, in the Appendix to the 2 nd part, will clearly 
 establish the difference that exists, 1 st between a Pianist 
 and an Organist, 2 ndl y between a right skilful Organist 
 in a general sense and one whose duty it is to accom- 
 pany the Chant. The Organist, in a Plain-Chant Choir, 
 should lead the singers, facilitate the delivery of the 
 
 l j Amberger, I c p. 232. 
 
Chant for them, and by a clear, steady and correct 
 playing of the Plain-Chant melody, regulate and control 
 its movement, 
 
 The employment of the Organ in the several por- 
 tions of the Liturgy, and at the various seasons of the 
 year, is regulated by formal Decrees of the Church bear- 
 ing on the subject; 1 ) and the sacredness of the functions 
 and sublim-ty of the text which it is called on to ac- 
 company, should influence the style of playing to be 
 adopted. 
 
 1) The accentus of the Celebrant and Sacred Min- 
 isters at the Altar should never be accompanied, and 
 during the Elevation the greatest silence and devotion 
 should prevail. 2 ) 
 
 2) The use of the Organ is forbidden during Ad- 
 vent and Lent, (from Ash -Wednesday to the Gloria 
 of Holy Saturday) at Mass, or at the Divine Office, 
 when de Tempore. From this rule we must except the 
 3 d Sunday of Advent (called Gaudete Sunday), 3 ) and the 
 4 th Sunday (Laetare) of Lent; on which occasions, as 
 also on Festivals celebrated ritu dupl. or semidupl. dur- 
 ing these penitential seasons , at solemn votive masses, 
 
 # and at the Kyrie and Gloria of Holy Thursday, the 
 Organ is allowed to play. 
 
 3) The alternate Chants of the Kyrie, Gloria, San- 
 ctus and Agnus Dei may be omitted by the singers and 
 only played on the Organ, but then the words omitted 
 
 ') Bened. XIV. Bullar. magn. Cone. Mediol. I. : Organo tantum in 
 ecclesiis locus sit; tibice , covnua, et vdiqua musica instrumenta exclu- 
 dantur. 
 
 5 ) The Ceremoniale Episcoporum (from the beginning of the 17 tk 
 century) and several Provincial Councils speak no doubt of a quiet 
 and devotional playing of the Organ during the Elevation, and in Rome, 
 except in the Sixtine, this practice is universal, and therefore may be 
 tolerated. Nevertheless the silence of the Organ at that solemn moment 
 is commanded in several decrees both anterior and subsequent to that 
 edition of the Ceremoniale. 
 
 3 ) When the Vigil of Christmas falls on Sunday the Organ is played. 
 
254 
 
 should be recited by one of the singers mediocri voce. 
 This permission however does not extend to the Credo, 
 the entire of which must be snug. 1 ) The Tract, Se- 
 quence, Offertory and Communion may also be recited 
 in the manner described, when the Organ plays; but 
 the Introit should be sung entire (minus the repetition 
 Avhich may be recited) as also the Gradual, or at least 
 a portion of it. 2 ) In Vespers the Antiphons need not 
 be sung after the Psalms, but only recited; they 
 should always be sung before. The alternate verses of 
 the Hymn may be recited in the same manner. 
 
 4) With regard to the Mass for the Dead, there 
 is a Decree forbidding the use of the Organ on these 
 occasions. Nevertheless Alfieri, Regnier, and other ru- 
 bricists rely on another decree authorising its use, and 
 on the prevailing practice at Rome and many other 
 places. The decree is found in a Commentarium to the 
 Caeremoniale compiled by Aloysius Proto of Xaples, and 
 recently published by Pustet ; it runs thus : Organi pul- 
 satio sono mcesto, et lugubri permitti potest in Missis 
 defunctorum, etsi renuat Ordinariiis. Die 31. Hart. 1629. 
 Savonm. n. 807. — However we may fairly infer that 
 it is only allowed in Missis Defimctorum as a support 
 to the voices, especially in weak choirs, and not as an 
 independent instrument. 
 
 5) Where the custom prevails of substituting the 
 music of the Organ for the Chant of the Deo Gratius 
 after the Ite Missa est, this practice may be continued, 
 according to a decree of the Sacred Congregation of 
 Rites. (11. Sep. 1847, in Angelopol, ad 6.) Nevertheless 
 the practice of singing the response is more to be en- 
 couraged. (See foot-note p. 157.) 
 
 ') (Uim dititur symbohtm in Missa non est intermiscendum organum, 
 sed Hind per chorutn cantu inteUigibili proferatur. (Car.Ep.lib.l.N* 10.) 
 •) See foot-note page 128. 
 
255 
 
 G) The Organist should employ and vary the stops 
 on his instrument according to circumstances, and take 
 special care that the delivery of the Chant may be en- 
 riched with all that light and shade, which the text 
 demands, and a well-played instrument can impart. The 
 Office of the Organ, — that of handmaid and guide to the 
 Chant, — precludes that bad taste which would have good 
 Organ-playing consist in a confused noisy jumble of 
 melody and harmony with every stop drawn out; because 
 such a disproportion of sound between the voices and 
 the instrument intended to support them , renders the 
 hearing and understanding of the words utterly impos- 
 sible. The judicious Organist "clothes the Chant, some- 
 times with lightest breathings and the most gentle 
 "lisping, sometimes with grave, majestic tones, that go 
 "on increasing in power and fashion themselves to har- 
 " monies , whose united sound grows louder and fuller, 
 "until the chanting of God's praises becomes like a head- 
 long mountain torrent that carries all before it, and 
 "consoles and lifts up the heart of the devout Christian." 1 ) 
 
 7) Just intonation depends lor the most part on 
 the Organist. When the Celebrant at the Altar intones, 
 it is much to be desired that his intonation should ac- 
 cord with that of the choir, so that Priest and People, 
 Pastor and flock may praise God in unison. To this end 
 the Organist should close his Prelude or Interlude on 
 the note on which the Celebrant should commence , or 
 by drawing a very soft stop, he may just touch the re- 
 quired note, and the Priest, if he have a fair musical 
 ear, will have little difficulty in catching it up. 
 
 8) It is undeniable indeed that no amount of effort 
 or no mechanical appliance as yet discovered, will enable 
 a piped or keyed instrument, such as the Organ, to give 
 
 l ) Smeddink. II. Jahrgang. Caecilia. p. 25. 
 
256 
 
 the verbal accent, as the human voice alone can; and 
 many rhythmical melodic progressions, call up strange 
 and unfriendly chords, which to a modern musician seem 
 illegitimate , and have thereby originated those various 
 systems of harmonising Plain-Chant . that we have al- 
 ready spoken of. However these and similar difficulties 
 should not dishearten the young Organist . but rather 
 urge him to greater study and more intimate acquain- 
 tance with the nature and characteristics of the Church 
 modes and of mediaeval harmony, that he may be enabled 
 on comparison, to see how very different it is from har- 
 mony in the modern acceptation of the term. All that is 
 to be desired is, that the worshippers in every Catholic 
 Church may be able to realize the truth of Cardinal 
 - Bona*s words: 1 ) "The harmonious tones of the Organ 
 "rejoice the sorrowing hearts of men. and remind them 
 "of the joys of the heavenly city, they spur on the tepid, 
 "they comfort the fervent, they call the just to love, 
 -and sinners to repentance." But to attain this desirable 
 end the Catholic Organist must also keep before Ins eyes 
 the warning of the same pious and learned Cardinal : 
 "The playing of the Organ must be earnest and appro- 
 priate, so that it may not. by its agreeableness, draw 
 "to itself and monopolize the whole attention of the soul, 
 "but rather furnish motives and an opportunity, for me- 
 ditating on the words that are being sung, and thereby 
 promote "feelings of true devotion. 55 
 
 ') Bona. div. psalm, c. 17. % 2. ad finero. 
 
257 
 
 CHAPTER 42nd. 
 
 FOR CHORISTERS. 
 
 The system of musical training to be adopted , in a 
 Plain-Chant choir, differs in many respects from that 
 usually followed in the case of harmonized Church-Music. 
 The rhythm of Gregorian Chant, so closely allied as it is 
 with the verbal accent, and the treasure of melody in which 
 it is so rich; — melody however, which to a singer trained 
 only in modern music often seems uncouth and unma- 
 nageable — ; furnish, for every class of voice, exercises 
 of such difficulty, that even a well-trained chorister, at 
 the first attempt, and without special instruction or close 
 study of the Gregorian Tone-system, will certainly fail 
 to render them effectively. Gregorian Chant requires, be- 
 sides good distinct pronunciation, a clear understanding 
 of the subject , a quick apprehension of its treatment, 
 and a carefully cultivated voice. Whosoever therefore 
 is called upon to sing Gregorian, should in the first instance 
 be properly trained by a competent teacher, at least in 
 those places where such teachers might be reasonably 
 expected to be found ; such as Cathedral Churches and 
 Ecclesiastical seminaries. *) And he who can sing Plain- 
 Chant well, tunefully, and faultlessly, will be able to 
 sing any kind of Church-Music that may be placed be- 
 fore him. 2 ) 
 
 We will here set forth in -one short paragraph the 
 qualifications of a good Plain-Chant Chorister. "He must 
 
 ') The Council of Trent commanded that the Chant should be 
 taught in all Ecclesiastical Seminaries. Several National and Provincial 
 Synods (including Thurles and Maynooth) re-iterate this command ; in 
 many places but these Decrees are allowed to remain a dead letter, 
 for want of competent teachers. 
 
 % ) The Domlapellmeister of Katisbon (Rev. F. X. Haberl) makes 
 it a rule to commence the musical education of his boys with Plain- 
 Chant. 
 
 17 
 
253 
 
 obey implicitly and attentively every hint, word, wish 
 and direction of the Choir-Master or Conductor, even 
 when they may be in opposition to his own bet- 
 ter judgment." This blind obedience, easy enough to 
 a true musician, should not spring merely from a love of 
 order, but above all from a deep feeling of humility. 
 "In chanting," says St. Ambrose, "moderation is the 
 first rule; let the tone be so adjusted, that the hearer 
 may not be offended by too loud a voice." 1 ) A genuine 
 feeling of reverence for the Lord's house, will never be 
 content with having what is prescribed carefully sung; 
 but will strive, both in rehearsals 2 ) and performance, to 
 express the meaning, importance, and liturgical raison 
 d'etre of the Chant itself, and make clear the end and 
 spirit of the Church in each of her solemn functions.* 
 " Who can repeat the wonderful song of the Church, and 
 not be moved by it? Hence whosoever undertakes to 
 sing Ecclesiastical Chants, must study to know and un- 
 derstand what are the feelings and sentiments, which on 
 her various Festivals, should come as it were from the 
 very heart of the Church, pass through the heart and 
 mouth of the Chanter into' the hearts of all, and enkindle 
 in all a flame of uniform love. It is only thus that Gre- 
 gorian Chant can produce its legitimate effect."' i 
 
 All that is necessary for an earnest and effective 
 rendering of Plain-Chant is, a heart full of faith, a feel- 
 ing of joyful hope, 4 ) a recollected mind, 5 ) a spirit of 
 
 ') Ambrosius de Of fie. rainist. L. I. c. 18. 
 
 2 ) "The first requisite," says an old theoretician , Jerome of Mo- 
 ravia quoted by Gousscmackcr^ "is, that what is to be sung should be 
 clearly understood by all, beforehand." 
 
 3 ) Ambcrger, loc. cit p. 231. 
 
 4 ) "Notes are good tor nothing that come not from a joyful heart. 
 Melancholy people may have good voices, but they can never sing well.* 1 
 Jerome of Moravia. 
 
 5 ) "Whilst singing think of nothing else but what you are engaged 
 at." Bernhard. 
 
259 
 
 devotion, earnest prayer, 1 ) and the good intention of 
 doing all for the greater honour and glory of God. 2 ) 
 
 "The Church has just reason to complain of those, 
 who with unpardonable levity, putting aside all the rules 
 of the Chant, alter and modify the Tones at pleasure, 
 substitute the weakness and agreeableness of the semi- 
 tone for the power and earnestness of the full-tone, who 
 make no distinction between long and short notes , or 
 study not to give their voices a character of devotional 
 tenderness and overlook the intrinsic worth of the Chant 
 itself, dragging it on lazily, as if it were a stone of 
 great weight; now precipitating it in unbecoming haste, 
 and again vulgarising it by painful shouting, or by vi- 
 tiated or imperfect pronunciation of the vowels, or by 
 the adoption of various other faulty mannerisms." 3 ) 
 
 "Bossuet's funeral orations when declaimed by a 
 good orator terrify and inspire one, but when uttered 
 by an indifferent reader, not only produce no effect, but 
 engender coldness and indifference. So is it with 
 Plain-Chant." 4 ) 
 
 '"Speaking to yourselves in psalms and hymns and 
 spiritual canticles, singing and making melody in your 
 hearts to the Lord" (Ephesians V. 19.) 
 
 1 ) In the beginning of an old Psalterium (now the property of the 
 Kreisbibliothek in Passau) written in the monastery of Seeon A. D. 1434, 
 we find the following prayer for Choristers. Deus omnipotens redemptor 
 mundi, qui pro salute humani generis in hunc mundum venisti, pecca- 
 tores redimere pretioso sanguine tuo: exaudi orationem meam, per quam 
 ego indignus peccator te deprecor, ut psalmi, quos cantabo, digne inter- 
 cedant apud te pro peccatis meis. Creator mundi, cunctipotens Deus, 
 spes ardentibus, gloria resurgentibus, suppliciter per hos psalmos clemen- 
 tiam tuam imploro, quos pro salute vivorum sive defunctorum decantabo, 
 ut per eos a perpetuis eripias tormentis et prcemium ceternce beatitudinis 
 concedas. Per Christum Dominum nostrum. Amen. 
 
 2 ) "If you seek the edification of your hearers when you sing, the 
 more you shun vanity, the more you will edify them." Bona centum. 
 
 3 ) Amberger, loc. cit. p. 233. 
 
 4 ) Cloet, Recueil de Melodies, Tom. II. p. 30* 
 
 17 
 
260 
 
 n. SPECIAL DIRECTIONS FOR CHANTING 
 
 a) recitative Chant. 1 ) 
 
 CHAPTER 43d. 
 PSALMS. CHORAL READING. 
 
 I. What we have said in the 4 th . 5 th , G th and 7 th 
 Chapters must now be recalled to mind. A good reader 
 is careful , not only to pronounce his words with due 
 consideration for the vowels and consonants, but also to 
 group those words together as the context may require, 
 and perceptibly distinguish the important syllables, words 
 and phrases of a sentence. Psalm-singing is little more. 
 Good chanting means good reading. 2 ) 
 
 The Poetry of the Psalms is most simple yet most 
 sublime ; the loftiest sentiments are conveyed in concise 
 forms of words, but every word is pregnant with meaning 
 and capable of receiving the most varied expression. It 
 would not be easy to find more suitable melodies where- 
 with to invest those words, than the eight Gregorian Tones 
 with their various endings prescribed by the Church. 
 Sometimes indeed when we hear Vespers sung, we re- 
 alize the truth of Mendelssohn's words: "You cannot 
 conceive how tiresome and monotonous the effect is. and 
 hoiv harshly and mechanically they chant through the 
 Psalms. They sing with the accent of a number of men 
 quarrelling violently, and it sounds as if they ivcre shout- 
 
 ') Wo take this partition of the different styles of Chant from 
 the work of ClojSt mentioned in last chapter (Tom. I. p. 40*). with 
 the reserve however that the border line between recitative and modu- 
 lated Chant docs not appear to be clearly detincd, as both come under 
 the general laws of Rhythm- 
 
 a ) The practice in many places . especially in Germany, when 
 teaching the P.-alm-Chants is, to have the pupils read every verse sev- 
 eral times over, in order that they may secure the accented syllables, 
 the pauses, and the grouping of the words. 
 
261 
 
 Ing out furiously one against another!' (Letters from 
 Italy &c. p. 169.) But this method of chanting we need 
 hardly say , is against the spirit and the wish of the 
 Church, and should be attributed to inattention, ignor- 
 ance of the language, carelessness in pronunciation, im- 
 perfect training or deplorable indifference and indevotion. 
 "The voice of the Psalmist should not be harsh or un- 
 tuneful, but clear, sweet, and true; Tone and Melody 
 should correspond to the sacredness of the service, and 
 in the modulation of the voice, christian simplicity, and 
 not the art of the theatre, should prevail." *) Would that 
 every man, whose duty it is to sing Psalms, repeated 
 to himself with the Royal Psalmist : {( I tvill sing praise 
 to Thee in the sight of thy angels" 2 ) and considered 
 as addressed to himself alone, those words, Psallite sa- 
 pient er ; then indeed the many eulogiums lavished by 
 the Holy Fathers and the Church on the Psalm-Chants 
 would appear reasonable , and just , and the counsel 
 of St. James the Apostle come to be understood: "Is 
 any one of you sad? Let him jyray. Is he cheerful in 
 mind? let him sing" (James, cap. V. v. 13.) 
 
 Baini in the Preface to his Tentamen gives some 
 useful hints for a devotional and edifying rendering of 
 the Psalm-Tones. "The perfection," he says, "of these 
 "chants depends on the combined efforts of all engaged, 
 "but especially on the Basses who should pronounce the 
 "words gently but distinctly and with due regard to 
 "correct intonation, the relative length of the syllables, 
 "and the meaning of the words." 
 
 The Initium must always be solemn and slow, the 
 mediatio distinct, with the syllables judiciously distrib- 
 uted amongst the several notes of the inflection ; in the 
 Finalis the accented syllable should receive greater 
 
 1 ) Isidore of Seville, de eccl. offic. 
 
 2 ) Psalm 137. v. 1. 
 
2G2 
 
 power and duration of tone , and all should be careful 
 not to do violence to the text , or unduly prolong the 
 final syllables. 
 
 Good chanting is in truth an art in itself, and can- 
 not be acquired all in a moment. Industrious practice, 
 constant attention to the rules of the language, and an 
 earnest spirit of harmonious cooperation on the part of 
 the choristers are indispensable requisites. 
 
 In f est is solemnibus et duplicibus two Chanters in- 
 tone the first verse; (always unaccompanied;) in festis 
 semidupl. and others of lower rank, on ] y one Chanter. 
 The remaining verses of the Psalm are sung by alter- 
 nate sides of the Choir, but without the Initium. The 
 words in each verse should be carefully and distinctly 
 enunciated ; the recitation moderately slow r and rhythmi- 
 cal. One side of the choir should not begin a verse 
 until the previous verse has been concluded by the other; 
 and a perceptible pause should be made at the asterisk 
 in the middle of the verse, so that all may begin the 
 second portion together. If half of the verse, whether 
 before or after the asterisk , be very long, then it is 
 the duty of the choir-master to indicate one or more 
 breathing places , so that all the words may be sung 
 evenly and together. Except the first, all the verses 
 of a Psalm may be accompanied by the Organ. The 
 same rules hold for the Canticles {Magnificat and Be- 
 nedict us ;) except that in these the words are sung more 
 solemnly and slowly (tracHus), and the Initium is em- 
 ployed with each verse. 
 
 II. The 'manner of chanting the Prayers , Lessons, 
 Gospels etc. according to the Roman Rite, may be classed 
 amongst the most effective arrangements of Gregorian 
 Chant, because of its extreme simplicity, suitability and 
 variety. Old theoreticians styled this manner of chanting 
 choraliter lecfere, or choral reading, and in their sev- 
 
263 
 
 eral treatises give special directions for the correct rhyth- 
 mical rendering of the same. The notes are so few 1 ) 
 and the inflections so simple that they do not call for 
 much attention; but it is of the utmost importance that 
 the pronunciation, expression and rhythmical declama- 
 tion of the text should be carefully practised. In pro- 
 fane music there is an axiom : "Recitative is the real 
 test of a good singer;" in like manner choral reading, 
 which so closely resembles recitative, demands great 
 earnestness and distinctness. Heavy cumbersome chant- 
 ing, unseemly jerking of the words, an affected tone of 
 voice, nasal effects, long drawling of final syllables and 
 little grace notes and unauthorised flourishes , are all 
 evils to be avoided. 
 
 The reading of the Office of the Dead may perhaps 
 be classed under the head of choral reading; and in 
 many places faults without number are painfully apparent 
 in the manner of going through this solemn and essent- 
 ially impressive function. Where time is limited, it would 
 be far preferable to use the permission of the Rubric, and 
 read but one nocturn with Lauds ; than to run through 
 the entire office at express speed, with the pauses at the 
 asterisks disregarded, one side never waiting for the 
 other to have concluded its verse, a want of uniformity 
 in tone, and no apparent effort to combine except on the 
 final syllables, giving them an emphasis and prominence 
 that utterly destroys the rhythm of the verse and violates 
 the elementary rules of prosody. We never could see 
 what reason there was for saying: u In terra cfeserta et 
 
 invia et inaquoSB,] when both prosody, rhythm and good 
 
 l ) "De aequalibus quidem vocibus nihil aliud dicendum, nisi quod 
 communis vocis impetu proferantur, in modum soluta oratione legen- 
 ds." Script. T. I. p. 104. Accentu regulantur qusecumque simplici lit- 
 tera hoc est sine nota, describuntur, ut sunt Lectiones &c. (Martyrolog. 
 Usuardi ed. 1490 ad calcem.) 
 
264 
 
 choral reading would require inaq&osa. "The rules 
 of rhythm must be observed, even if they were never 
 indicated, just as the laws of language would be observed 
 even if there were no grammar. As the grammar presup- 
 poses the language, and not the language the grammar, 
 so also rhythmical rules owe their existence to the ele- 
 ments of rhythm implanted in man by the Creator, and 
 not vice versa." *) A good system of securing an effective 
 reading of the Office, is for two or more of the select 
 choir to lead the rest on either side, and give the proper 
 swing to the words and carefully observe the pauses. 2 ) 
 
 b) modulated Chaut. 
 CHAPTER 44th. 
 HYMNS. SEQUENCES, PREFACES &c. 
 
 By modulated chant we understand the changing 
 or modulating of notes on the several syllables of the 
 text ; for the most part only one note is apportioned 
 to each syllable, and seldom more than three. For this 
 reason modulated Plain-Chant, if we exclude the ac- 
 cent us which appertains to the Celebrant or Sacred Min- 
 isters, is justly esteemed the specially popular chant for 
 the masses ; and in countries where the Latin language 
 is fairly understood, as in Italy and Spain, the Hymns, 
 Psalms, Litanies, Sequences fcc. are to the present day 
 sung with wonderful effect by the congregation. 3 ) 
 
 ') Choral und Liturgie. p. 101. Note. 
 
 *) Moderatores chori qui choro didasculi vocari solent constituant 
 pausarios, qui signo aliquo pausas faciant, vel indicent, versusque pra- 
 cipittntcs cohibeant. (Bonartius de horis canonicis lib. III. c. XX.) 
 
 3 ) Augustinus Confess, lib. X. writes " Primitiva ccclesia ita psal- 
 Jebat, ut modico flexu vocis faceret resonare psallentem, ita ut pronun- 
 tianti vicinior esset quam canenti." 
 
265^ 
 
 I. In the Hymns we must distinguish those which are 
 strictly metrical from the unmetrical or prose hymns. 
 In the first , the melody and its rendering are guided 
 hy the metre of the verse and the laws of language 
 and accent; in the latter, the melodic phrases are divided 
 according to the grammatical construction of the text, 
 and therefore present less difficulty than the former. 
 "As regards their musical construction, they are models 
 of devotional feeling expressed in music ; their melody 
 goes hand in hand with the sublime movement of the 
 poetry, and serves the more on that account to expound 
 the word. The older hymns have as a rule a note for 
 each syllable , and only at the end of each portion of 
 the context is a neuma or group of notes to be met 
 with. The strophes should be sung by alternate sides 
 of the choir." l ) The last strophe may be sung by the 
 entire choir. 
 
 A light, easy, free rhythmical swing, corresponding 
 to the Festival and the Text is recommended. The alter- 
 nate strophes may be recited when the Organ is played. 2 ) 
 The first and last strophe, as also the strophe where a 
 genuflexion is prescribed, (e. g. crux ave &c.) should 
 always be sung. 
 
 To the class of unmetrical hymns belong chiefly the 
 Gloria and Te Beum. The Gloria should be sung right 
 through, from the intonation of the Priest 3 ) to the end, 
 without prelude or interlude. The several phrases 
 may be sung, a) alternately by two sides of the choir, 
 
 ') Father Utto Kornmiilier, Lexikon der kirchlichen Tonkunst. p. 215. 
 
 2 ) Quod si hymnus cantatur a musicis vel alternatim ab organo, 
 tunc cantores legunt mediocri voce ea verba , qiice a musicis seu ab Or- 
 gano cantantur. (Caerew. JEp. Lib. I. 20.) 
 
 3 ) "After the ravishing, seraphic, vocal interweaving of a Palestrina 
 Kyrie, the simple Gloria in excelsis Deo, escapes from the mouth of 
 the Celebrant with a tone of majestic grandeur and jubilation, worthy 
 of proclaiming the glory of the Most High/' Ambros. Geschichte der 
 Musik. II. vol. p. 68. 
 
266 
 
 or, b) by the Chanters and the entire choir; or c) in 
 divided choirs for some phrases and all united at some 
 others; the division of the choir being so arranged as 
 to give a Tenor and Bass for Chanters, or Soprano and 
 Alto as Soloists, or Soprano, Alto. Tenor and Bass as 
 a Quartett. and then the entire choir. The point of 
 alternation is determined by the close of the sentence. 
 By a steady intonation., and adoption of the antiphonat 
 method just indicated, the soul-stirring melody of this 
 angelic hymn will acquire still greater expression and 
 fire. But care should be taken not to multiply without 
 reason these alternations, and the greatest industry should 
 be employed in the execution . to keep closely bound 
 together the several melodic phrases of the Chant. 
 
 "The Te Deum" according to Baini "may be sung 
 "in two ways : either alternately by the Chanters and 
 "full choir, or alternately by the Chanters and Congre- 
 gation. — or choir against choir." *) The same method 
 in a word, may be adopted as in the case of the Gloria. 
 At the words: Pleni sunt cwli and Te ergo qu<esumus } 
 the divided choirs unite and sing the former phrase 
 fortissimo; the latter softly, slowly and with great ex- 
 pression. At the closing words : In te Domine all unite 
 again, and bring this solemn Hymn of Praise and thanks- 
 giving to an end, as if with one heart and voice. In 
 both the Gloria and Te Deum the Organ may accom- 
 
 ') In Rome it is the universal custom on occasions of public 
 thanksgiving, to sing all the phrases of the "Te Deum" to the same 
 melody (that of the 2 ad phrase Te ceternum &c). This makes it easy 
 for the congregation to join. Wherefore whilst preserving the author- 
 ised Chant of the Antiphonarium for the end of Matins when sung in 
 Choir; Fr. X. Haberl, the editor under the S.R. C. of the new choral 
 books, in the Organ accompaniment to the VespercUe, has arranged the 
 Te Deum according to this simpler chant, and made an application to 
 the Sacred Congregation for formal approbation of the same. As soon 
 as the Decree arrives from Rome, this form will be found in the Organ 
 book just alluded to, and in the new (8 vo ) edition of the Gradualc 
 Bom. which are now going through the press. 
 
267 
 
 pany all the sentences after the Intonation, and a wide 
 field is opened up to the clever organist, by judicious 
 light and shade, simple or complex harmonies, and the 
 prudent use of louder or softer stops , to introduce 
 variety into these simple, elevating, incomparably beauti- 
 ful hymns of praise, and to keep both choir and con- 
 gregation firmly united in bonds of heartfelt devotion. 
 
 2. The Melodies of the 5 sequences (see Chap. 
 21 st p. 129) are so simple in their progression, as to 
 form a striking contrast with the more elaborate and 
 extended settings of the Gradual, Alleluia or Tract 
 which precedes them. As a rule there is a note for each 
 syllable, and this measured rhythm secures even in weak 
 and imperfectly trained choirs an effective rendering. 
 The antiphonal method of singing already described 
 may be adopted here also , the close of each strophe 
 marking the point of alternation. 
 
 3. The solemn intonation of the Credo by the Ce- 
 lebrant is followed immediately by the remaining words 
 of this great Act of Faith, which may be sung by all 
 together or alternately; as in the case of the Gloria 
 but no word should be omitted. The melody is pecu- 
 liarly suitable for a united congregational rendering by 
 all who take part even in the most crowded religious 
 solemnity. If it be sung without accompaniment, then 
 it should be accelerated a little ; we prefer a swinging, 
 well-accented, unaccompanied rendering of the Credo, to 
 the best and cleverest Organ-accompaniment. 
 
 4. The Preface is introduced by an antiphonal chant 
 between Priest and Choir. In the Introductory Chapter 
 we have registered Mozart's well authenticated estima- 
 tion of this most beautiful chant. Dr. Bom. Mettenleiter 
 in his Aphorisms on Gregorian Chant, l ) says with regard 
 
 x ) In Pastor bonus, a supplement to a Swiss Art journal. 10. Aug. 1861. 
 
268 
 
 to the Preface and Pater noster : "The Chants of the 
 Prcefatio and Pater noster are the most sublime that 
 have ever been or can be produced. A thousand times 
 have we both sung them and heard them sung; and it 
 we live to hear them a thousand times more, we will 
 never grow the least tired of them; on the contrary, at 
 each hearing, we catch something previously unheard, 
 we discover a new beauty, the feeling of God's presence 
 strikes us more forcibly, the breathings of the Holy 
 Spirit become more and more distinctly audible . . . and 
 yet but four notes are employed to produce all these 
 effects. Who can fail to recognize the omnipotent hand 
 of God in this simple work, when he compares it with 
 the innumerable means at the service of man not pro- 
 ducing one tithe of such an effect. The melody is as 
 much God's work, as the language itself. The Angels and 
 Saints understand it. we are barely able to stammer it. 
 The solving of this mystery too, will form a portion of 
 our happiness in heaven. A well cultivated musical ear 
 will undoubtedly be able to make more, out of the words; 
 but it is the Spirit, which at all times, but here most 
 especially, vivifies the letter, and pleads for us and asks 
 for us with unspeakable groanings." The Choir should 
 answer the Priest in just intonation and in a firm united 
 body of tone expressive of both text and melody. The 
 Organ may accompany the responses, but not the 
 Chant of the Priest. 
 
 Equally beautiful if not still richer forms of melody 
 are given to that incomparable song of triumph the 
 Exultet jam Angelica of Holy Saturday ; "as joyous yet 
 as dignified a piece of declamatory music, if I may so 
 speak, as is anywhere to be found." l ) After the Chant 
 of the Pater noster which closely resembles the Preface, 
 
 l ) Card. Wiseman "Four Lectures on the Ceremonies of Holy Week" 
 p. 70. 
 
269 
 
 the Agnus Dei is sung by the Choir, united or divided, 
 and repeated three times, the third repetition closing 
 with Dona nobis pacem instead of Miserere nobis. 
 
 5. The Litanies are especially suited for large 
 choirs, or congregational singing. There are but three 
 formally approved of by the Church , viz : De omnibus 
 Sanctis, Litanice Lauretance, and de Ss. Nomine Jesu,l) 
 the Chants for which are found in the new official Di- 
 rectorium Chori. One or more Chanters distinctly and 
 carefully sing the invocations, to each of which the 
 Choir or Congregation answer, and if possible without ac- 
 companiment. (See Chap. 33 d p. 204.) The Responses in 
 the Mass or during the divine Office, follow the same 
 rules of clear united intonation, distinct enunciation and 
 well modulated delivery. We would direct special atten- 
 tion to the immense superiority in regard of effect, of re- 
 sponding Amen on one note e|e=~§]E j instead of the 
 
 A-men _^ 
 
 too common practice , of singing ipiziwz^Mzr^p- 
 
 A-men. 
 
 We cannot conclude this chapter without giving the 
 most useful observations of the editor of "Choral mid 
 Liturgie" "The effect of a prolonged syllable is 
 essentially different from that of an accented syllable; 
 the latter expresses its power more to the ear of the 
 hearer, than in the mouth of the singer; with the pro- 
 longed syllable it is quite the reverse; the accented 
 syllable is better understood than heard, the prolonged 
 more heard than understood. The Gregorian note should 
 not exercise the slightest influence , on the length or 
 brevity, force or weakness of the syllable placed under 
 
 ') This last-mentioned Litany is only approved of for certain places, 
 viz ; for all Germany, and for such Dioceses, where the Ordinary may 
 have received from Rome formal permission, and the correct text as 
 revised by the S. R. C. This permission exists for the Diocese of Dublin, 
 and other Dioceses in Ireland. 
 
270 
 
 it: on the contrary it rather receives from the syllable 
 it- duration and precise determination; the text is here 
 supreme, and the notes must acknowledge its supremacy, 
 not vice versa .... The sense should not be interfered 
 with by pauses, nor the word divided or broken up . . . 
 Every pause is introduced or prepared by a more or 
 less remarkable prolongation of the note immediately 
 preceding it, so that sometimes, instead of an interruption 
 of the Chant, only a gentle expiring of one note and a 
 leading up to the next takes place, and at other times 
 these gentle breathings end i;i a gradual cessation of sound. 
 In order to prepare the ear (at the close of a musical 
 idea) for the approaching end, the last accented syllable 
 should be delivered with a greater impulse of the voice... 
 
 thus : Bow* nus vobisca--m. and not Dominus VObiscu--m } 
 To these universal and natural rules may be added a 
 supernatural element, which is of the highest importance 
 in the rhythmical delivery of the chant, i.e.: the Ac- 
 cent of the Holy Spirit, which in the sacred Chants 
 of the Church breathes into us with unspeakable »sigh- 
 ings; — the Accent of Faith which gives power to our 
 voice, to pour through the ear into the hearts of men 
 the mysteries of truth with irresistible force; the Ac- 
 cent of humble self-conciousness and firm confidence in 
 God; the Accent of that all absorbing joyful feeling of 
 devotion and thankfulness, which pours over those sacred 
 melodies such a mysterious heavenly enamel, as to cover 
 their earthliness and supernaturalize them, which changes 
 sinful men into penitents, and prepares them to join in 
 those heavenly choirs where they shall sing the praises 
 of God for ever and ever." 
 
271 
 
 c) Chants in nenmas or grouped notes. 
 
 CHAPTER 45th. 
 
 THE MASS CHANTS, ANTIPHONS. RESPONSORIES &c. 
 
 In the more elaborate Chants of the Mass and 
 Office such as the Introits, Graduals, Offertories, Com- 
 munions, Antiphons and Responsories, the principles laid 
 down in the preceding chapter hold good: "Pothis con- 
 sider andas est sensus quam modidatio" i. e. The Text 
 is supreme, and the Chant must be a free reci- 
 tation. In reply to the question: "how should neumas 
 or groups of notes and such like extended musical forms 
 be sung, how should they be kept together, and how 
 distributed over the text, so that the recitative character 
 or the chant may remain, and the sense and concord of 
 the text be not altered?" we must again have recourse 
 to the rules laid down in "CJwral und Liturgie." *) and 
 answer : 
 
 I. "The Jubilations, which are all musical forms 
 without an underlying text, should not be sung as if 
 they were independent phrases and merely musical or- 
 naments altogether separated from any textual portion 
 of the piece ; they are rather a re-inforcing of the me- 
 lodic accent, and are ornaments which should be closely 
 bound up with the same, in a subordinate sense how- 
 ever." "Therefore it is not without reason that we find 
 jubilations employed on the gentle sighs of a Kyrie, on 
 the sublime words of the Sanctus and above all on the 
 syllables of the joyful and triumphant Alleluia." 
 
 II. "The singer in chanting the Jubilations should 
 always be guided by the meaning of the words to which 
 they are joined, he should keep himself impressed with 
 
 ') Loc. tit. p. 121 and sequ. 2 ) See foot-note p. 127. 
 
272 
 
 that meaning, and so sustain the musical formula that 
 it may assume a decided shape/" "The words of the 
 text to which short or long note-groupings are annexed 
 must receive such a re-inforced accent and marked ex- 
 pression, that all the notes which follow immediately 
 may appear . as it were . to flow from them and fall 
 easily on the ear." 
 
 III. "The elements of neumatic periods, i. e. the 
 determined neumas or forms, should according to their 
 structure , be kept apart , be distinguished from each 
 other, or brought into 'close union, just as the syllable-, 
 words, phrases and sentences of a discourse."* 
 
 IV. "Even in the jubilations the notes have no time- 
 value and only serve to indicate the modulation of the 
 voice.*" The simple notes h ♦ J are as the vowels in syl- 
 lables, and their duration depends on the vowel over which 
 they are placed. (See Chap. 7*.) All ascending Neumas 
 (igiz Podatus, Sccmdicus &c, see Chap. 3 d p. 40.) 
 require an increased force of expression {crescendo) until 
 the highest note is reached. All descending neumas 
 
 ("*b~ Clicus. and E*?$^E CUmacus. see page 40) a cor- 
 responding decrescendo. by a gradual diminution of tone- 
 power. The union of ascending and descending neumas 
 Tor&dus, see p. 40) is to be rendered partly 
 as Podatus and partly as Cliuus. "However, in con- 
 sequence of the concussion of these contrary forces, the 
 accents should not be marked with the same strength 
 as in each of these note-groupings when separate; the 
 impulse of the voice should rather be diffused on both 
 sides over each note, so that all as nearly as possible 
 may receive the same accentuation." l ) . 
 
 ') The management of the accent in the Neutna called Torculus 
 has some analogy with compound words in English or other modern 
 
273 
 
 "Too much accent on the principal note will render 
 the Chant affected and unworthy, on the other hand too 
 little will make it drawling and monotonous. Moreover 
 the character and progression of the piece, and the voice 
 power available, must essentially control the amount of 
 emphasis to be given to the higher notes, or the amount 
 of decrescendo to be employed so as to bring about a 
 graceful and smooth execution. Good accentuation and 
 a certain sacredness and unction 1 ) in the delivery, com- 
 pensate for the absence of much voice power, but not 
 vice versa; above all however it is naturalness which 
 invests the performance with a character of devout mo- 
 deration and discreet piety." 
 
 Before concluding we think it well to give an illu- 
 stration of. the principles advanced in the preceding 
 paragraphs. We select an Alleluia with its correspond- 
 ing verse, and give it in modern musical notation, not 
 that we prefer this method of writing the Chant, but 
 that we may make as clear as possible on paper, for 
 such as are not well acquainted with Plain-Chant, what 
 could be much better explained , by word of mouth. 
 We take this Allleuia and Verse from the 12 th Sunday 
 after Pentecost (Grad. Bom. p. 319). The fundamental 
 idea of this particular piece is the prayer of a soul 
 who in her distress calls on God for assistance against 
 her enemies, (the Introit begins with Deus hi adjidorium 
 meum intende) and who through her persevering prayer 
 has begun to feel a joyous confidence in her helper. 
 The Gradual runs thus: "I will bless the Lord at all 
 
 languages; e. g. water, and carrier have distinct accents when spoken 
 separately; in the compound form water-carrier, though the accents 
 are not altered, still there is a perceptible difference in accentuation. 
 
 •) Cicero writes "aurium qiioddam admirabile judicium, quo indir 
 cantur in vocis cantibus varietas sonorum, intervalla, distinctio et vocis 
 genera midta." 
 
 18 
 
times, his praise shall be always in my mouth. In the 
 Lord shall ray soul be praised; let the meek hear and re- 
 joice.*' (Ps. 33.) Then follows the Alleluia with the verse 
 
 "Domine, Deus salutis mem , in die clamavi' et 
 Lord, the God of my salvation in the day I have cried and in 
 node coram te," 
 
 the night before thee. 
 
 For the expression of this assurance the 3 d mode is 
 selected, of which one of the characteristics is strong 
 feeling (See p. 87). — If the Gradual immediately pre- 
 ceding^ which is in the 7 th mode, be transposed down- 
 wards a minor third, commencing with e, f\ &c, and 
 closing with f%, e the pitch of both pieces is equalized, 
 and the character of the Alleluia {e, g, f) whilst dis- 
 tinguishable from the Gradual seems to blend with it. 
 
 In Gregorian notation it is as follows : 
 
 Ton. III. 
 
 Al-le - - lii - ja. t. Do - mi- 
 
 ne De - us sa - lu - tis me - as , in di - e 
 
 cla-ma-vi et no - cte co - ram te. Alleluja, ut supra. 
 
 According to the principles just laid down , the 
 manner in which this should be sung may be thus ex- 
 pressed in modern notation. The Chanters first sing the 
 Alleluia and the full choir repeats. 
 
275 
 
 i 
 
 The Choir subjoins this Neuma: 
 
 a: 
 
 et no 
 
 cte co 
 
 ram 
 
 If the neumatized Chants (Introitus, Graduale, Alle- 
 luia, Tr actus, Offertorium, Communio, AnUphonm, llc- 
 sponsoria &c), were but rendered in this manner with 
 due regard to the meaning of the words and their con- 
 text, to the modulation of the voice, and just pronun- 
 ciation of the syllables, in a word, according to the rules 
 laid down, then indeed would the prediction of Card. 
 Bona 1 ) be verified: "Nos autem generibus musicce jugi- 
 ter exerceamur, in concordia vocum et morum laudes di- 
 vinas in hoc exilio decantantes, donee mereamur divince 
 musicce consortes fieri, et ad consummatissimos cum San- 
 ctis Angelis Hymnos elevari" 
 
 ) Be divina Psalmodia, cap. XVII. §. V. 5. 
 
 O. A. M. D. G. 
 
 18* 
 
ALPHABETICAL LIST AND TRANSLATION 
 
 OF THE 
 
 ABBREVIATIONS AND LATIN WORDS WHICH OCCUR IN THE 
 ECCLESIASTICAL CALENDAR AND CHORAL BOOKS. 
 
 (The numbers after the words refer (o the Page of this manual where 
 they happen to occur.) 
 
 A. 
 
 A. When placed before the Day of the 
 Week is the Dominical Letter as 
 e. g. A. Dom. 18. post Pent, which 
 changes every year with the letters 
 B to G. For instance if G be the 
 Dominical Letter for the year then 
 a, falls on Monday. (Fer. 2.), b, 
 on Tuesday (Fer. 3.) &cC In Leap 
 year there are two Dominical Let- 
 ters, e. g. G. F. 
 
 A. == alius, white, is placed on 
 the right hand of the page, and 
 indicates the colour of the Vest- 
 ments to be used (Color Paramen- 
 torum). 
 
 a = (ab before a vowel) from, of, 
 e. g. Vesp. a cap.; see p. 201. 
 
 Abb. = Abbas, an Abbot, see p. 1 10. 
 
 absque = without. 
 
 ac = and. 
 
 ad = at, to. unto. 
 
 add. = additur or adduntur (e.g. 
 2 Alleluia) when 2 Alleluias are 
 to be added on in Paschal time; 
 see p. 1 13. 
 
 adultus = an adult. 
 
 Adv. = Adventus, Advent 
 
 aestiva pars = the summer part or 
 :} i volume of the Roman Breviary. 
 
 al. = alias, otherwise. 
 
 I a. 1. — aliquibus locis , in some 
 places; see page 110. 
 
 alius, alii &c. = another person. 
 
 alternatim = alternately, antiplio- 
 nally; see page 113. 
 
 Ang. = Anrjelus, an Angel ; Angeli 
 Custodes, the Angels Guardian.*.; 
 
 Anniversarius = the Anniversary, 
 or Annual Commemoration. 
 
 Annuntiatio B. M. V. = Annun- 
 ciation of the B. V. M. 
 
 annus = year. 
 
 ante == before; antea, previously. 
 
 antequam = sooner than, before. 
 
 Ant. = Antiplwyia, Antiphon ; see 
 page 161. 
 
 Ap. or App. = Apostolus or Apo- 
 stoli; an Apostle, or Apostles. 
 
 apparet = appears. 
 
 appositus — applied, added on. 
 
 apud = at. with. 
 
 Arch. = Archangelus, Archangel. 
 
 Ascensio = the Ascension. 
 
 Assuniptio B. M. V. = the Assum- 
 ption of the Blessed Virgin Mary. 
 
 at = but. 
 
 atque = and. 
 
 Aug. = Augustus, the month of 
 
 August, 
 aut = or. 
 
 autumnalis pars = the Autumn 
 quarter, or 4 th vol. of the Breviary 
 
277 
 
 B. 
 
 B. Dominical Letter; see A. 
 
 B. before proper names, = Beatus, 
 Blessed, e. g. B. M. V. the Blessed 
 Virgin Mary. 
 
 Bno or Benedo = Benedictio, Bless- 
 ing; see also p. 185. 
 
 Bened. = Benedictus, the Canticle 
 of Zachary; see page 191. 
 
 bis = twice. 
 
 bissextilis annus = Leap year. 
 Brev. = Breviarium, the Breviary; 
 see page 111. 
 
 B. r. or Br.rec. = Breviarium recens, 
 a recent edition of the Breviary. 
 
 br. = brevis, short; brerior, shorter; 
 brevissimus, the shortest. 
 
 c. 
 
 C. Dominical Letter; see A. 
 calce, e. g. in calce = at the end. 
 Campanum = Bell. 
 
 Candela = Candle. 
 
 Cant. =? Canticum, Canticle. 
 
 cant. = cantatur, it is sung; Missa 
 cantata a Mass that is sung. 
 
 cap. = capitulum, little Chapter; a 
 short Lesson from the Breviary 
 which is read or chanted at all the 
 hours from Lauds to Vespers (both 
 included) immediately after the 
 Psalms and before the Hymn. See 
 pages 190. and 201. 
 
 caput = the beginning, Head,Chapter. 
 
 Cathedra = Chair, Throne, Cathe- 
 dralis Ecclesia, the Cathedral or 
 Bishop's Church, where the Bishop's 
 throne is set up. 
 
 cessat = ceases. 
 
 Chr. = Christus. 
 
 Cin. = e. g. Cinerum dies, Ash- 
 Wednesday; see page 105. 
 
 circa — about. 
 
 Circumcisio = Circumcision. 
 
 cl. = cZ<7SSi's, Rank or Class, see p. 107. 
 
 Collegiata ecclesia — a church en- 
 dowed with canonical benefices. 
 
 com. = commemoratio , a comme- 
 moration; see page 191. 
 
 Comm. = Commune, the Common; 
 see page 109. 
 
 Compl. = Completorium, Compline, 
 see page 201. 
 
 concio = a sermon. 
 
 Conceptio B. M. V. = Immaculate 
 Conception of the B. V. M. 
 
 cf. = confer, compare. 
 
 concordat = agrees. 
 
 C. or Confessor = a Confessor. 
 
 C. P. = Confessor Bontifex, a Con- 
 fessor and Bishop. 
 
 C. non P. = Confessor non Pon- 
 tifex, a Confessor not a Bishop. 
 
 conj. = conjungitur, is joined. 
 
 consuetudo = custom. 
 
 0. M. = conventualis Missa, the 
 conventual Mass which is only cel- 
 ebrated in Cathedral and Collegiate 
 Churches, and in some religious 
 communities. 
 
 coram = before, in presence of; 
 e. g. coram Sanctissimo Sacra- 
 mento, in presence of the Blessed 
 Sacrament; coram Episcopo , in 
 presence of the Bishop. 
 
 Cordis Jesu — the Sacred Heart of 
 Jesus. 
 
 Corpus = the body, Corpus Christi, 
 
 Feast of Christ's body, 
 eras = to-morrow, also crastinus, 
 
 the day following. 
 Cr. = Credo; the Creed. 
 Crux = the Cross, 
 cujus = whose; cui, to whom, 
 cum = with; e. g. cum Oct., with 
 
 an Octave, 
 curr. = current ; e. g. Off. currens, 
 
 the Office occurring. 
 
 D. 
 
 D. , Dominical Letter; see A. 
 
 de = of, e. g. Vesp. de sequ., Ve- 
 spers of the following; see p. 200, 
 
 Dedic. = Dedicatio = Dedication, 
 (of a Church). 
 
 deest or desunt = wanting. 
 
 Def. — Befunctus, the deceased. 
 
 dein or deinde = then, after that. 
 
 deinceps = thenceforth. 
 
 die. = dicitur or dicuntur, is said 
 or are said; e.g. die. Credo, the 
 Credo is said. 
 
278 
 
 dies — day; e. g. de 4 die infra 
 Oct., of 'the 4 th day within the 
 Octave. 
 
 d. f. = dies fixus, fixed day, to in- 
 dicate the regular day on which 
 the Feast should be celebrated, if 
 it had not been transferred. 
 
 distributio = division. 
 
 D. = Doctor Ecclesice; Doctor of 
 the Church, see page 110. 
 
 Dom. = Dominica, Sunday; see 
 page 105. 
 
 Dims or Dni = Dominus or Do- 
 mini, the Lord, e. g. D. N. J. C. = 
 Domini Nostri Jesu Christi. 
 
 dum = during, whilst. 
 
 duo = two; duodecim, twelve. 
 
 dupl. = duplex, a double; see p. 107. 
 
 E. 
 
 E. , Dominical Letter, see A. 
 
 ea -— de ea indicates that there is 
 no Feast of a Saint Ac, to be ce- 
 lebrated, and that the Offtcium of 
 the day (from the Proprium de 
 Tempore, and Psalterium) is to 
 be recited; e. g. Fer. 4 de ea, 
 Wednesday; see page 105. 
 
 Eccl. = ecclesia, the Church. 
 
 ed. = editio, edition. 
 
 ei = to him. 
 
 ejus = his or its: e. g. ejus loco, 
 in its stead. 
 
 ejusdem, see idem. 
 
 elev. = elevatio Ss. Sacram. = the 
 Elevation of the conseerated ele- 
 ments in the Holy Sacrifice. 
 
 eo = de eo {sabbato), of Saturday; 
 see above ea. 
 
 Epiph. = Epiphania Domini, the 
 Epiphany of our Lord; 6 th of Jan. 
 
 E. or Ep. = Episcopus, Bishop; 
 in union with C. = Ep. Con- 
 fessor, Ep. M. — Episc. Martyr. 
 
 Epist. = Epistola; the Epistle or 
 Lesson, see page 126. 
 
 erat = was; esset, would or should 
 be 
 
 est = is. 
 
 et = and; et — et, both — and. 
 etiam = also; etiamsi, although. 
 
 Ev. = Evangelium, the Gospel; see 
 page 129. Evangelista, Evangelist, 
 ex = from, out of. 
 excepto = excepted, 
 excl. — exclusive, exclusive of. 
 exinde = from thenceforth, 
 extra = outside of. 
 
 F. 
 
 F. , Dominical Letter, see A. 
 
 facit = makes ; facto = being made. 
 Fer. = feria, week-day. 
 Fest = festum, a Feast or Festival- 
 day. 
 
 fin. = finis, the end; finito, being 
 ended. 
 
 fit = is done, is made; fieri potest, 
 
 may be done, 
 fixus = fixed, determined; seed,/ 1 . 
 f. = fuit, was. 
 
 G. 
 
 G. , Dominical Letter; see A. 
 generale = general, e. g. manda- 
 
 tum generale, a general, or uni- 
 versal command. 
 
 genuflexio = a genuflexion, a bend- 
 ing of the knee. 
 
 Gl. = the Gloria. 
 
 Grad. == Graduale , the Gradual, 
 i. e. the Book containing all the 
 Mass Chants; or the special Chant 
 which comes alter the Epistle; see 
 pages. 100 and 127. Psalmi Gra- 
 duales are Psalms 119^ to 133 d . 
 
 gravis = grave, important; e. g. 
 pro re gravi, on an important oc- 
 casion. ■ 
 
 H. 
 
 hac, hccc, hanc, has, harum &c, the 
 several cuse-endings of the demon- 
 strative pronoun hie, this or he. 
 
 hebd. = hebdomas , week, major, 
 the great (or Holy) Week. 
 
 heri = yesterday. 
 
 best. = hesterna dies, yesterday. 
 
 hie = this (a pronoun). 
 
 hiemalis pars = the winter quarter, 
 or l«t vol. of the Breviary. 
 
279 
 
 hodie = to-day; hodiernus, this day. 
 hon. = honor; e. g. in honorem, 
 
 in honour or. 
 hora = hour. 
 
 hnjus, huic, hunc , case-endings of 
 hie. 
 
 Hymn. = hymnus, the Hymn. 
 
 I i. • 
 
 Ibi and ibidem — there , in the 
 
 same place. 
 Id. — that. 
 
 idem = tho same ; with the case- 
 endings ejusdem, eidem, eundem, 
 eodem, iidem, iisdem &c. 
 
 igitur = wherefore. 
 
 ii = these, the same (from is); 
 iidem, the same (plural). 
 
 ille = that (demonstrative pronoun): 
 he, she, it (personal pronoun) with 
 the case-endings iUuts, Mi, ilium, 
 Mo. iUorum, Mis &c. 
 
 Immac. = immacidata, immaculate. 
 
 immediate = immediately. 
 
 in = in j (ivith accusative) , into, 
 unto. to. upon, for, according to \ 
 {with ablative) in. within, among, 
 on, with, by. at. 
 
 incipit, or incipiunt = begins, or 
 they begin. 
 
 inclinat = inclines, bows: inclinatio. 
 an inclination. 
 
 incl. = inclusive, included. 
 
 indutus = clad. 
 
 indulgentia = an indulgence. 
 
 infirmus = sick. 
 
 infra = within or below; ut infra, 
 as below. 
 
 initium = the beginning. 
 
 Innoc. = Innocentes, the Holy In- 
 nocents. 
 
 integer = entire, the whole. 
 
 inter = between, under. 
 
 intra = between, within. 
 
 Intr. = Introitus, the Introit, see 
 page 113. 
 
 Inventio = the finding; e. g. In- 
 ventio S. Cruris, the finding of 
 the Holy Cross. 
 
 Invit. = Invitatorium, the Invita- 
 tory; see page 179. 
 
 ipse — he himself, with the case- 
 endings ipsius, ipsi, ipsum, ipso, 
 ipso rum, ipsis, ij)sos dfce. 
 
 itaque = wherefore. 
 
 item = likewise. 
 
 ■ J. 
 
 jacet = lies, is found, 
 jam = now, already. 
 Jan. = Janudrius , the month of 
 January. 
 
 J. T. = Jesutibi and indicates the 
 strophe of those Hymns of similar 
 metre, which on certain occasions 
 is to be sung instead of the last 
 strophe : 
 
 Jesu tibi sit gloria, 
 Qui natus es de Virgine, 
 Cum Patre et almo Spiritu, • 
 In sempiterna scecula. 
 jubet = orders, commands. 
 Jul. = Julius, July.^ 
 Jun. = Junius, June, 
 jun. = junior, the younger, 
 jungitur = is joined; juncto being 
 joined. 
 
 jure = justly, with reason, 
 jussu = by order of. 
 juvat = helps, 
 juxta — nigh, according to. 
 
 K. 
 
 Kalendarium == Calendar. 
 Kal. — KalendcB, the first day of 
 the Month. 
 
 L. 
 
 Lamentatio = Lamentation; see 
 p. 187. 
 
 Land. = Laudes, Lauds; seep. 189. 
 
 laudabilis = praiseworthy, 
 
 L. or LI. == Lectio, Lectiones, the 
 
 Lesson or Lessons; see p. 186. 
 legitur = is read. 
 lib. = ad libitum, at pleasure. 
 Lib. = Liber, Book, 
 liber = free. 
 
 licet ess is allowed, although. 
 Lit. = Litania, the Litany, 
 locus = a place, 
 lux =? light. 
 
280 
 
 M. 
 
 Magis — more. 
 
 Magn. == Magnificat. 
 
 magnus == great. 
 
 major = greater; c.g.'dupl. majus, 
 a greater double; see p. 107. 
 
 mane = in the morning. 
 
 manus = the hand. 
 
 M. or Mm. = Martyr or Martyres. 
 
 Martyrologium = the Martyrology ; 
 see p. 198. 
 
 Mat. = Matutinum, Matins. 
 
 maximus = the greatest. 
 
 M. S. mut. 3. Vers. m. t. v. or (in the 
 Irish Directory) f, indicates that 
 the third line of the 1 st strophe of 
 the Iste Confessor is changed; see 
 p. 181. 
 
 Missa = Mass; Missdle, Massbook, 
 
 Missal. 
 M. C. see C. M. 
 
 minor = lesser; minus, e.g. dupl. 
 
 min., lesser double; see p. 107. 
 mob. = mobiliafesta, movable feasts, 
 modus = the manner, 
 more, e. g. solito — in the usual way. 
 mors = death; mortuus, dead, 
 mutator = is changed; see above 
 
 M. S. 
 
 N. 
 
 Nam = for. 
 
 Nat. = Nativitas, Birth, 
 ne = lest. 
 
 nec, neque or neve = nor, and not. 
 
 or not; nec — nec, neither — nor. 
 nemo = no person, 
 n. = niger, black (colour of the 
 
 vestments), 
 nihil = nothing, 
 nisi = unless. 
 
 Noct. = Nocturnes, Nocturns; see 
 p. 182. 
 
 nocte = in the night, by night, 
 nomen = name; nominis (genitive 
 
 case) of the name, 
 non = not, e. g. C. n. P. Confessor 
 
 not Bishop. 
 Non. = Nona (a minor hour) ; see 
 
 p. 199. 
 nondum — not yet. 
 non n till i = some. 
 
 nonnnnquam = sometimes. 
 
 not. = notatur, it is indicated or 
 
 noted, 
 novus = new. 
 nullus = no one, none, 
 nura = whether, 
 numerus = number, 
 nunquam = never, 
 nupt. = nugtice, marriage. 
 
 0. 
 
 ob = on account of. 
 
 obitus dies = day of death. 
 
 observatur = is observed; obser- 
 vandum est, to be observed. 
 
 Oct. = Octava, the Octave ; see p. 105. 
 
 Off. = Officium, the Office, and com- 
 prises all the Chants and Prayers 
 to be gone through in the Holy 
 Sacrifice and the Divine Office ; 
 Officium divinum specially indi- 
 cates the office of the Breviary, 
 and does not include the Mass. 
 
 omittitur = is omitted ; omisso, 
 being omitted. 
 
 omn. = omnis, all, every one; om- 
 nes, omnia, all. 
 
 or. = oratio, Prayer. 
 
 Org. = Organum, the Organ. 
 
 P. 
 
 Pag. = pagina, the page. 
 
 Palm. = Falmce, e. g. Born. Pal- 
 marum, Palm-Sunday. 
 
 Pp. = Papa, the Pope. 
 
 Parochus = the Parish Priest ; pa- 
 rochialis, parochial. 
 
 pars = part; partim, partly. 
 
 parvulus = an infant. 
 
 Pass. == -passio, the Passion; e. g. 
 Bom. Passionis , Passion-Sunday. 
 
 Pasch. = Pascha, Easter: pascha- 
 lis, Paschal. 
 
 Patronus = the Patron, Patron Saint. 
 
 Patroc. = Patrocinium, the Patro- 
 nage. 
 
 Pentec. = Pentecoste , Pentecost, 
 
 Whit-Sunday, 
 per = through, during, 
 permissu = by permission of; per- 
 
 mittitur, it is allowed. 
 
281 
 
 Plag. e. g. Fest. 5. Plag. = Feast 
 
 of the five wounds. 
 Plan. plic. = Planetce plicatce, 
 
 folded chasubles, such as are worn 
 
 by the Deacon and Subdeacon in 
 
 Lent and Advent, 
 plures == many ; plurium, of many ; 
 
 pluribus, to many, 
 plurimi = very many, most people, 
 plus — quam = more — than, 
 pomeridianus = in the afternoon, 
 ponitur = is placed ; positus, being 
 
 placed. 
 
 Pont, or P. = Pontifex, a Bishop ; 
 Pont. Sup. or Summits, the chief- 
 Bishop, the Pope. 
 
 post = after; postea, afterwards; 
 postquam, after that. 
 
 Postcommunio = the Post -Com- 
 munion or Prayers before the Ite 
 missa est. 
 
 prse = before. 
 
 praecedens = preceding; e. g. comm. 
 praced., Commemoration of the 
 preceding. 
 
 prseceptum = precept; prcecipit, 
 command?. 
 
 prseparatio = preparation. 
 
 Praefatio — the Preface. 
 
 Propositus = the Superior; prcepo- 
 nitur, is preferred or placed before. 
 
 praescriptum — a rule or decree. 
 
 pries. = prcesens, present. 
 
 praeter — besides, except, in addi- 
 tion to ; prceterea, moreover. 
 
 praeteritus = past, gone by. 
 
 Prima Prime, (a minor hour); 
 see p. 195. 
 
 primus = the first; primum, first 
 or firstly. 
 
 prior == earlier, higher. 
 
 priv. = privata; e. g. Missa pri- 
 vates, private or low Mass, to dis- 
 tinguish it from Solemn Mass or 
 Missa cantata. 
 
 prius = first, beforehand; prius- 
 quam, before that. 
 
 pro = for, instead of. 
 
 procul = far, distant. 
 
 prohibetur = is forbidden. 
 
 prope = near, close by; proprior, 
 nearer ;proximus, the nearest, next. 
 
 Proph. = Proplieta or Prophetia, 
 a Prophet or Prophecy. 
 
 propr. = proprius, peculiar; Pro- 
 prium Diocesis, the Proper or 
 Special Office of the Diocese; see 
 p. 107. 
 
 prout = according as. 
 
 Ps. = Psalms; Psalt. = Psalterium, 
 the Psaltery or first portion of the 
 Breviary down to Compline. 
 
 publ. ss publicus, public. 
 
 publicatio = publication, announ- 
 cement. 
 
 pulsatur — is played; e. g. Orga- 
 num or Campanum pulsatur, the 
 Organ is played, or the Bell is rung. 
 
 Purif. = Purificatio B. M. V. = 
 Candlemass Day, the Purification 
 of the B. V. M. 
 
 Q. 
 
 Quadr. — Quadragesima, Lent, 
 quaeritur = is asked; qucestio, a 
 
 question, 
 quam, see tarn or qui; also as. 
 qua n do = when, 
 quare — why, wherefore, 
 quatuor — four. 
 
 que at the end of a word = and. 
 
 qui, who, #w<£,who {feminine), quod, 
 what; with the case-endings cujus, 
 of whom, cui, to whom, quern, quam, 
 whom, quo , by whom, quorum, 
 quarum, of whom (plur.), quibus, 
 quos, quas &c. 
 
 quia == because. 
 
 quicumque = whosoever. 
 
 quidam = a certain person. 
 
 quilibet == whoever, anyone. 
 
 quinque = five; quinquies , five 
 times. 
 
 Quinquag. = Quinquagesima (Sun- 
 day). 
 
 quod == that; see also qui. 
 
 quoque = also. 
 
 quoniam = because, since. 
 
 quotannis == annually. 
 
 quotidie = daily. 
 
 quoties or quotiescumque = as 
 
 often as. 
 quum = as, since. 
 
282 
 
 R. 
 
 Rec. = recens . new ; rccentior, 
 newer. 
 
 Reg. = Begum , of Kings ; e. g. 
 
 Lib. I.Reg., 1 st book of Kings, 
 rel = reliqua &c; the rest, what 
 
 remains, 
 reperitur = is found, 
 rep. = repetitur, is repeated ; repetit, 
 
 he repeals; repetitio, a repetition. 
 Requ. = Requiem, a Mass for the 
 
 Dead. 
 
 1$. or Resp. — Responsorium, Re- 
 sponsory, or Response ; 1$. br. see 
 p. 197. 
 
 Res. = Resurrectio, Resurrection, 
 ritus = rile or form of a function; 
 
 also rank of a festival, ritudupl. 
 
 or semid.; "Rituale," Ritual. 
 Rog. = Rogat.; e.g. Fer.II.-Ro- 
 
 gationum , Monday in Rogation 
 
 week. 
 
 r. = rubrics, red, (colour of the 
 vestments). 
 
 s. 
 
 Sabb. = Sabbatum, Saturday, 
 sacer = sacred, holy. 
 Sac. = sacerdos, a Priest, 
 saepe — often. 
 
 S. = Sanctus, holy, Saint; Ss. — 
 Sancti {plur.), Saints, or Sanctis- 
 simum, the Most Holy. 
 
 Sc. = scilicet, forsooth, namely. 
 
 scire = to know. 
 
 Scr, = scriptura, the Scriptures; 
 scriptus, written. 
 
 S. O. = scriptura occurrens , the 
 sciipture Lessons of the l st ftocturn 
 in Matins prescribed for that day. 
 
 se = himself. 
 
 Seer. = Seer eta , the Secrets or 
 Prayers read by the Priest before 
 the Preface. 
 
 secreto = silently, in secret. 
 
 secundum == according to. 
 
 secundus = the second. 
 
 sed = but. 
 
 sem. = semiduplex, a semidouble; 
 
 see p. 106. 
 semper = always. 
 
 septem = seven; septimus, (he 
 seventh. 
 
 sepultura = sepulture, burial, 
 sequ. = sequens , the following; 
 
 see p. 200; sequitur, follows. 
 Sequ. = Sequentia, the Sequence; 
 
 see p. 129. 
 sero = late, towards evening, 
 servatur = is observed 
 seu or sire = or, whether, 
 sex = six; sextus, the sixth; Sexta, 
 
 Sext, see p. 199. 
 si = if. 
 
 sibi = to himself, 
 sic = so. thus, 
 sicut = as, as also, 
 silent = remain silent; e.g. silent 
 Organa, the Organ remains silent, 
 similis = like. 
 
 simpl. = simplex, simple; see p. 106. 
 sine = without, 
 singuli = each, every one. 
 sive = see seu. 
 
 Soc. = socius, a companion, socii, 
 
 companions. 
 Sol = the Sun. 
 sol. — solemnis, solemn, 
 solet = is usual, 
 stat = stands, is to be found, 
 sub = under, 
 subito = immediately, 
 suffr. = stiff ragia: see page 192. 
 
 Foot-Note. 
 sum = lam; est, he is; sunt, they 
 
 are; erat, he was; erant, they 
 
 were. 
 
 sumitur = is taken. 
 
 super = above. 
 
 superfuit = remained over. 
 
 Suppl. = sitpplementum .-, the sup- 
 plement, (to the Breviary or Missal). 
 
 supra = above, over. 
 
 suus = his, sua, hers, suam, suum, 
 sui, suo, suorum &c. 
 
 T. 
 
 Tacet = is silent. 
 
 talis = such a one ; taliter, in such 
 
 a manner, 
 tarn = so ; tarn — tarn, as well — 
 
 as also. 
 
283 
 
 tamquam = as: tarn — quam. as 
 
 well — as also, 
 tantus = so great, so much, 
 tenet = holds, 
 ter (hrice. ' 
 
 terra. — terminator, is concluded, 
 tertius = ihe third. 
 Tert. = Tertia, Terce; see p. 195. 
 thuriferarins = the thtirifer . or 
 
 incense bearer, 
 tollitur = is removed, taken away, 
 tot — so many: toties = so often, 
 tot. = totus, totius, totum rf*c. all, 
 
 complete. 
 
 Tr. - Tractus, the Tract ; see p. 1 28. 
 Transfig. — Transfiguratio, Trans- 
 figuration 
 
 Transl. = translatio, a translation 
 or transference of a Fest. 
 
 tres, tria, trium tfc = three. 
 
 Triduum = a 3-days Festival or 
 Devotion: triduum sacrum, the 
 sacred Triduum. or 3 last davs of 
 Holy Week. 
 
 Trin. = Trinitas, the Trinity. 
 
 turn — then, thereupon ; tum — quum, 
 then — as well as. 
 
 tunc = then. 
 
 U. 
 
 0. = in many Directories or Ordos 
 this letter is put for vl = violaceus, 
 violet (the colour of the vestments). 
 
 ubi = where. 
 
 ubicumque = wherever. 
 
 nbiqne = everywhere. 
 
 ult. = idtimus, the last. 
 
 ultra = beyond, farther, in excess of. 
 
 unacuni = together with. 
 
 unicus = one only, singular. 
 
 unns = one. 
 
 usque (ad) = up to. as far as. 
 usns = custom. 
 
 uterque = both; e. g. in utrisque 
 Vesperis, in both l s t and 2 nd Ve- 
 spers. 
 
 utrum = whether (in interrogations). 
 
 V. 
 
 vacat = falls out, is wanting. 
 
 vadit — goes. 
 
 valde = very. 
 
 valet == serves, is available. 
 
 variatur = is changed. 
 
 varius = different. 
 
 vel = or: velut. as if. 
 
 Yen. = Venerabilis. Venerable. 
 
 verbum = word. 
 
 Verna pars == Spring Quarter, or 
 
 2 nd vol. of the Breviary, 
 vero = but. nevertheless, 
 y. = Versus or Versiculus: Vv. = 
 
 Versicidi: see JRespons. 
 verus = true. 
 Vesp. = Vesper a. Vespers, 
 vespere = in the evening, 
 vestis = a garment. 
 Vid. = Vidua, a Widow, 
 vide = see. 
 videtur = it seems. 
 Vig. = Vigilia, the Vigil, 
 viginti - twenty, 
 vl. = violaceus, violet. 
 V. == Virgo, a Virgin. 
 y. = viridis, green (colour of the 
 
 vestments). 
 Visitatio = Visitation 
 yitandus = to be avoided, 
 vivus = living, 
 vix = scarcely. 
 
 Totum = a vow: votiva, votive. 
 Yiiln. = vubiera, wounds. 
 
ERRATA CORRIGE. 
 
 Page 8, last line For 1020, read 1002. 
 " 16, line 6; For Masses for the dead funerals &c. ; read Masses 
 
 for the dead, funerals &c. 
 " 39, "6; " rythmical; read rhythmical. 
 " 45, in foot-note; For reltiive; read relative. 
 " 57, line 7; For cantiously; read cautiously. 
 " 68, " 17; " Juda; read Jacob. 
 
 76, in foot-note, line 5; For The notions; read Then notions. 
 " 78, line 13, omit the words "and thus." 
 " 87, u 6, For o; read of. 
 " 92, " 23, " For raise; read raised. 
 
 " 113, last foot-note; insert after "case;" as to the repetition of 
 
 the Antiphon. 
 " 128, line 9, For preceeding; read preceding. 
 
 "173, " 5, " =W£ht; read 
 
 e-jus e-jus 
 " 177, " 18, " 3 Psalms; read the Psalms. 
 
Publisher: Frederick Pustet inRatisbon, New York & Cincinnati. 
 
 GREGORIAN SINGING. 
 
 COLLECTION OF CHORAL BOOKS 
 
 PUBLISHED BY ORDER OF 
 
 HIS HOLINESS POPE PIUS IX. 
 
 AND WITH THE AID OF 
 
 THE SACRED CONGREGATION OF RITES. 
 
 In order that unity, which is so much required in execut- 
 ing Liturgical singing, may be obtained, His Holiness Pius IX. 
 has desired that an Official edition of books of Ecclesiastical 
 Singing for the use of the whole Catholic Church be published. 
 
 The most valued version of the Gregorian Chant, sancti- 
 fied by the tradition of Rome, was revised and completed by 
 a special commission formed by the Sacred Congregation of 
 Rites, and then published by Frederick Pustet in Ratisbon, 
 under the guidance of the same commission. 
 
 It is evident, that no other Choral books can claim the 
 authenticity, which belongs to this edition. This only has ob- 
 tained the exclusive privilege of being not only approved by 
 the Holy See, but also of being published by the Sacred Con- 
 gregation of Rites, » car ante Ss. Rituum Congregatione.« His 
 Holiness recommends it in words sufficiently strong to gain 
 over those whose preferences are for other editions. We 
 give here an extract from a Brief addressed May 30 th 1873 
 to the Publisher: 
 
 u Atque adeo hanc ipsam dicti Gradualis Romani editio- 
 u nem, tuis sumptibus ac laboribus exaratam, Reverendissimis 
 "locorum Ordinariis, iisque omnibus, quibus Musices sacrse 
 "cura est, magnopere commendamus; eo vel magis, quod sit Nobis 
 u maxime in votis, ut, cum in ceteris, quae ad sacram Liturgiam 
 tl pertinent, turn etiam in cantu, una, cunctis in locis ac Dioece- 
 "sibus. eademque ratio servetur, qua Romana utitur Ecclesia. 
 u Interea, dum te, dilecte fili, etiam atque etiam in Domino 
 "hortamur, ut pergas tenere istam viam, quam instituisti, et 
 "laudum tuarum vestigiis insistere, aliud hoc tuse operositatis 
 u argumentum expectamus , ut, quae adhuc edenda tibi super- 
 u sunt de Gregoriano Cantu volumina, quibus inchoata olim a 
 
Publisher: Frederick Pustet in Ratisbon, New York & Cincinnati. 
 
 u fel. mem. Paulo PP. V. Praedecessore Nostro perficitur editio, 
 "tandem in lucem proferas. QuiB it I alacrius preestare re/is, 
 "jura omnia et privilegia, qua? ob ecclesiasticorum Ulnar urn 
 u a te peractas etlitiones, ab hac Sancta Sede, per Sacrorum 
 u Rituum Congregationem, concessit tibi fuerunt., Msec Nostris 
 u Liter is con fir mamas , iter unique, si opus f tier it, elargimur; 
 u ac simul benevolentiae Nostras certissimum pignus &c." 
 
 Their Lordships the Archbishops and Bishops of England and 
 
 Ireland adopted these Official Choral books for their Dioceses 
 and recommended their common use. In the Acta et Decreta 
 Concilii Provincial^ Westmonaster. IV. we read: (Decret. XIII.) 
 
 "Quoad determinatam hujus cantus ecclesiastici l'ormam, 
 "renovamus Primi Concilii Westmonasteriensis Decretum: 'Ut 
 "unilbrmitas introducatur, volumus et ubique, sed maxime in 
 "collegiis, ubicumque in Missa et in Officiis adhibetur Cantus 
 "Planus, seu Gregorianus, Cantus Romanus solus adhibeatur.' . . . 
 
 "Cum vero hucusque vix aut ne vix quidem genuinum 
 "Romani Cantus exemplar obtineri potuerit, nunc benignitate 
 "Ss. D. N. PII Papas IX. unicuique praesto est. Quapropter, 
 u obsecundantes votis Sanctitatis Suae, illam nominatim Romani 
 "Cantus edilionem qua* modo Ratisbonte editur tamquam nor- 
 "mam adoptamus, ut sensim sine sensu in nostris dioecesibus 
 "expptata uniformitas in cantu obtineri valeat. Ita demum 
 u fiet id quod Summus Pontifex se maxime in votis habere 
 "testatur, 'ut cum in caeteris quae ad sacram Liturgiam perti- 
 u nent, turn etiam in cantu, una, cunctis in locis ac dioecesibus, 
 u eademque ratio servetur qua Romana utitur Ecclesia/ 
 
 The decrees of the Synod of their Lordships the Archbishops 
 and Bishops of Ireland at Maynooth (1875) contain the follow- 
 ing woi\ls : (Decretum XIII.) 
 
 "Libri vero chorales et liturgici nuper Ratisbonce a Pustet, 
 "Bibliopola Catholic o, editi in missis et vesperis cantandis taut 
 u i?i Seminariis quam Ecclesiis post/tac quamprimum adhibean~ 
 u lttr. Hi nempe libri a Smo. D. PIO IX. plurhnum commen- 
 "dantur eo quod in eis ad normam veterum manuscriptorum 
 "Ecclesiae Romanae verus et genuinus cantus Gregorianus tra- 
 "datur et 'eo vel magis, ut addit idem Pontifex, quod sit nobis 
 "maxime in votis, ut cum in caeteris quae ad sacram liturgiam 
 "pertinent, tarn etiam in cantu, una, cunctis in locis et dice- 
 "cesibus, eademque ratio servetur, qua Romana utitur Ecclesia.' 
 
Publisher; Frederick Pustet in Ratisbon, New York & Cincinnati. 
 
 Finally, we cite a passage of a Pastoral Letter, adressecl 
 by His Eminence the Cardinal -Archbishop of Westminster, 
 
 January 1877: 
 
 "I think also it may be satisfactory to you to know that 
 "the edition of the Graduate published at Ratisbon, and sanc- 
 tioned by the Holy See, has been elaborately revised by 
 "a commission in Rome. It is therefore of Roman origin, 
 "though printed elsewhere. This information I received from 
 "the late secretary of the Congregation of Rites, Cardinal 
 "Bartolini, and irom Mgr. Ricci, president of the commission 
 "for the revision of the Graduate and Vesperale Romanum" 
 
 We give here below, a complete list of those works al- 
 ready published, and of those that have yet to appear. 
 
 I. Graduate de Tempore et de Sanctis juxta ritum S. 
 Roman* Ecclesise &c. Sub Auspiciis S. D. N. 
 Pii Papae IX. Curante S. Rit. Congr. Cum Privil. 
 Second edition. 8°. Red and black. 
 
 Proprium pro Anglia. 
 " pro Hibernia. 
 
 — — In imperial folio. 'Red and black. 
 
 No. I. white paper, titled in Chromo. 
 
 No. II. best handmade paper, titled in Chromo. 
 
 No. III. extra strong handmade paper, titled in Chromo. 
 
 Extracted, and sold separately from "Graduale Romanum 11 : 
 
 A. Ordinarium Missae &o. sive Cantiones Missse communes pro diversitate 
 
 Temporis et Festorum per annum excerptae ex Graduali Romano 
 quod curavit S. Rituum Congregatio &c. Editio augmentata tertia. 
 8°. Red and black. 
 
 — — In imperial folio. Red and black. 
 
 No. I. white glazed paper. 
 No. II. best handmade paper. 
 
 B. Officiiun Defunctorum unacum Missa et Absolutione eorumdem et 
 
 Ordo Exsequiarum pro Adultis et Parvulis. Ex Rituali , Missali, 
 Graduali et Breviario Rom. prsevia Approbat. Congreg. S. Rituum 
 adcurate depromptus et pro majori canentium praesertim commoditate 
 apte dispositus. 8°. Red and black. 
 
 C. Processionale Romanum e Rituali Romano depromptus , additis quae 
 
 similia in Missali et Pontificali Romano habentur &c. , pro majori- 
 canentium praesertim commoditate apte disposita. Cum Approb. 8°. 
 Red and black. 
 
 To be liacT from all booksellers. 
 
Publisher : Frederick Pustet in Ratisbon, New York & Cincinnati. 
 
 II. Directorium Chori ad usuin omnium Ecclesiarum, 
 in quibus Officium Divinum juxta Ritum S. Rom. Ecclesiae 
 cantari solet. Sub Auspiciis S. D. N. Pii Papae IX. 
 Curante S. Rituum Congr egatione. Cum Privilegio. 
 8°. Red and black. 
 
 III. Antiphoiiarium Romanum. In folio. 
 
 This work is still in press to appear in 1878; the second 
 volume which owing to its importance and great usefulness will be 
 first published, contains: The Little Hours of the Roman Psalter, 
 the Proper of Seasons, the Proper and Common of Saints; the first 
 volume contains all the Matins of the Roman Breviary , i. e. Invita- 
 torium, Hymns, Antiphons, Psalms and Responses. 
 
 Besides this folio edition , the Congregation of Rites has allowed 
 the publication in parts (8vo size) of Offices most frequently in use — 
 the list is appended. 
 
 A. Vesperale Romanum juxta Ordinem Breviarii Romani oum cantu emen- 
 
 dato editum sub Auspiciis Sanctissimi Domini Nostri Pii Papae IX. 
 curante Sacr. Rituum Congr. Cum Privilegio. 8°. Red and black. 
 
 Proprium pro Anglia. 
 " pro Hibernia. 
 
 B. Officium Hebdomads Sanctae a Dominica in Palmis usque ad Sabba- 
 
 tum in Albis juxta Ordinem Breviarii, Missalis et Pontificalis Romani. 
 Cum Cantu emendato editum sub Auspiciis Sanctissimi Domini Nostri 
 Pii Papae IX. Curante Sacr. Rituum Congregations Cum Privilegio. 
 8°. Red and black. 
 
 C. Cantus Passionis D. N. J. Chr. seoundum quatuor Evangelistas , de- 
 
 promptus ex Officio Hebdomadse Sanctse, quod curavit Sacr. Rituum 
 Congregatio et divisus in tribus fasoiculis quorum primus con- 
 tinet verba Chronistaa, secundus partem Christi, tertiUS 
 partes Synagogse. Secundo fasciculo adjiciuntur L amen tati ones 
 Tridui Sacri et tertio additur Prseconium Paschale Sabbati Sancti. 
 In folio. (Still in press to appear in summer 1877.) 
 
 D. Officium Nativitatis D. N. J. Chr. &c. Cum Cantu ex Antiphonario 
 
 Romano. Curante S. Rituum Congreg. 8°. Red and black. 
 
 To be had from all booksellers. 
 
Second Joyful Mystery.