Please handle this volume with care, rhe University of Connecticut Libraries, Storrs «>, ^•i%, W ^# mus, stx MT 860.H96 Greaorian chant for the teacher, t 3 T153 ODfiSTSfiD 5 Music MT F9f MiJStC UBKAKT ONIV'£fiSIT> OF CONNECTICyi STORRS, CONNECTlCyi Gregorian Chant for The Teacher, the Choir, and the School BY EDMUND G. HURLEY ORGANIST AND CHOIRMASTER OF THE CHURCH OF ST. PAUL THE APOSTLE, NEW YORK CITY MUSIC LIBRARY UNIVERSITY OF CONNECTICUJ STORRS. CONNECTICUT ^^ New York: G. SCHIR^TER 1907 -b Copyright, 1907, BY G. SCHIRMER / / 67^- 18794 stanhope press F. H. GILSON COMPAN' BOSTON, U. S. A. PREFACE On the feast of St. Cecilia, November 22, 1903, His Holiness, Pope Pius X., issued a Motu Propria on sacred music, in which we find the following words con- cerning the Gregorian Chant : " The Gregorian Chant has always been regarded as the supreme model for sacred music The ancient traditional Gregorian chant must, therefore, be largely restored to the function of public worship, and everybody must take for certain that an ecclesiastical function loses nothing of its solemnity when it is accompanied by no other music but this Special efforts are to be made to restore the use of Gregorian chant by the people Whenever then it is desired to employ the high voices of sopranos and contraltos, these parts must be taken by boys, according to the most ancient usage of the Church In seminaries of clerics and in ecclesiastical institutions, let the above-mentioned traditional Gregorian chant be cultivated by all with diligence and love, accord- ing to the Tridentine prescriptions, and let the superiors be liberal of encourage- ment and praise toward their young subjects Let care be taken to restore, at least in the principal churches, the ancient Sc/wlce Cantorum, as has been done with excellent fruit in a great many places. It is not difficult for a zealous clergy to institute such Scholce even in the minor and country churches We do therefore publish, motu propria and with certain knowledge, our present Instruction^ to which, as to a juridical code of sacred music, we will, with the fulness of our Apostolic Authority, that the force of law be given, and we do by our present handwriting impose its scrupulous observance on all." Commenting on this subject the Apostolic Delegate, Archbishop Diomede Falconio, says : * " After this formal declaration issued about two years ago, what would one be led to think of some pastors who have not, as yet, made a single move toward the desired reform ? . . . . What is the cause of this aberration ? .... It is said that it is difficult to follow out our Holy Father's instructions." The present little work is published in the hope that it will remove some, at least, of the difficulties which beset the pastor or choirmaster who is anxious but unable to carry out the instructions of the Holy Father. Great care has been taken throughout the work to have the explanations and instructions written in such a manner as to bring them within the comprehension of those who are to * Introduction to Manual of Church Music, Rev. W. J. Finn, C.S.P. iv PREFACE sing the chant. The book is self-contained, having sufficient material in its copious exercises and examples to train up a choir without needing to place other books in the hands of the singers, which is always an inconvenience. The only exception to this rule is Chap. XV. As this chapter is explanatory of the notation used in the new Vatican edition of the liturgical music-books, the student is supposed to have the Gregorian notation edition of the new Kyriale before him. The proper time for this is after Chap. VI has been mastered. As a guide to the use of the Kyriale we suggest the following order in which the various pieces may be studied : Kyrie : XII, XI, VIII, IV, IX, etc. Gloria : XV, X, VIII, IV, I, II, etc. Credo : I, III, IV. SanctHS : XVIII, XIII, VIII, IX, XVII, IV, etc. Agmis Dei: XVIII, IV, XVII, IX, etc. While it is, of course, proper to have the whole Mass sung according to the rite of the feast, this rule may be relaxed in the case of a new choir, and the easier settings learned first. When you start your new choir class, don't waste time in trying the voices of the boys. Get as many as you are able to handle easily, and start them all on the first exercises. Boys may be taken as soon as they are able to read. You will soon find out whether you have any one whose ear is deficient, by his not be- ing able to follow the tune. You may have some boys who try to sing an octave below. These, and those whose ears seem to be defective, should be taken out of the main class and worked with separately for a time before you rinally decide whether you will retain them or not. The choir should have a comfortable practice room — one which is used for no other purpose. Besides the seats, coat and hat hooks, book closets, etc., you should have a blackboard and a grand or square piano, which should be always kept ifi good order. An upright piano is not suitable, because the teacher, when using it, must necessarily turn his back to the class. As Gregorian chant can be sung intelligently from its own notation only, don't get editions of the chant books in modern notation. If you do so, you will have to teach your singers to attach to the various signs meanings which do not belong to them ; and when you come to the study of modern music, all this work will have to be undone. Don't send your new choir into the church before it is properly prepared for the work expected of it. The time required for the preliminary training will, of course, depend a great deal upon the quality of your raw material. At any rate, PREFACE V you must not expect too much at first. If you have had a professional quartette, you will find that the individual singers have probably spent years in study before they came into your choir ; and if you have had a mixed chorus, you must bear in mind that girls generally get more opportunities for musical culture than boys ; moreover, the voices of girls and women come, as it were, ready made, and you can go on with their training without having very much to undo. With boys, the case is very different. Their voices have almost invariably been spoiled by their habitual shouting and loud talking generally, and must be made oi^er before you may hope for any good result. The musical equipment of the choir before it enters upon its duties in the church should include at least the following, all thoroughly learned and well sung: Two complete Masses ; the Asperges ox Vidi aquam ; \}L\.t Responses iox'^x^ Mass (including the proper chants for the Deo gratias as given in the missal) ; one set of Vespers * with the antiphons and hymn, which may be used every Sunday until the proper Vespers can be sung; the Responses for Vespers; the Antiphon of B. V. M. for the current season; the Tantiim ergo and some other pieces for Benediction ; and the Requiem Mass. The Proper of the Mass may be recited on one tone by two of the singers accompanied by the organ ; but as soon as the singers are able, it should be sung to its proper chants, of which the Introits are generally the easiest and should be introduced first, then the Communions, the Offertories, and last of all the Graduals. None of these chants present any greater difficulties than are to be found in some of the Kyries. Don't commence the study of modern music until your singers are able to read chant quite fluently; for having learned all about the intervals, staff, etc., they will find very little difficulty with the measured notes. Don't let any one sing by ear. Insist from the very first on having every note read and understood, and in a very short time your choir will be able to read almost any ordinary music at first sight. Don't be in a hurry to start singing in parts before you have a good repertoire of unison chant. You may then harmonize the responses. After these are learned, you may harmonize the Gloria Patri at the Introit, the melodies of which are given in this book, commencing at page 41. These should be used even when the Introit is recited. Get a good book of English hymns set in four-part harmony. The hymns may be used for processionals and recessionals, in non-liturgical services, and in assisting the congregational singing. Edmund G. Hurley. * This may be either the Vespers of the Holy Name of Jesus, or the common of B. V. M., but not the common Vespers of Sunday. TABLE OF CONTENTS CHAPTER PAGK Preface iii I. On Musical Sounds, Pitch, and the Staff i II, The Modern Major Scale ; First Step in Choir-training ; Voice- training 2 III. Second Step ; the Clefs : Voice-training 6 IV. Third Step, completing the Scale ; Bars ; the Guide ; Changes of Clef 9 V. Fourth Step: Singing Words to the Chant; Pronunciation; One, Two, and More Notes to One Syllable ; Fourth Step : Voice-training 1 1 VI. Fifth Step : On the Use of the Flat ; the Natural ; Exercises and Examples ; Changes of Clef ; More Difficult Examples of Chant i8 VII. The Voice ; Registers of the Voice ; Choir-training Exercises 27 VIII. On the Gregorian Modes ; Authentic and Plagal ; Diagram of First Eight Modes 35 IX. On the Characteristics of the Gregorian Modes 38 X. On the Six Transposed Modes 47 XI. On Psalmody ; Psalm-tone (Intonation, First Reciting-note, Media- tion, Second Reciting-note, Termination) ; Festival and Ferial Tones 50 XII. On the Rendition of Chant ; Neums ; Chant-Dialects 57 XIII. On the Accentuation of the Neums; their Growth and Derivation 61 XIV. The Accentuation of the Modes 66 XV. Notation of the Vatican Edition of the Liturgical Chant Book 73 CHAPTER I. Musical sounds differ from each other in Pitch, in Duration, in Force, and in Quality. By the pitch of a sound is meant, whether it be a higJi or a low sound ; that is, whether it be the result of a higher or a lower number of vibrations in a given time. A Note is a character which represents a musical sound. We can see a note and Jiear a sound. The pitch of a sound is shown by the position of the note representing it on a set of four or five lines ; for instance, * or o. -^ In each of these examples the first note represents a lozver sound than the second. The set of lines upon which the notes are placed is called a Staff. Four lines are used for the Gregorian staff, and five for the Modern. The pitch of sounds may be absolute or relative. The letters A, B, C, D, E, F, and G, are used to denote the absolute pitch of sounds, and the syllables Do, Re, Mi, Fa, Sol, La, and Ti, or the numbers i, 2, 3, 4, 5, 6, and 7, the relative pitch. The absolute pitch of a sound is determined by the number of vibra- tions in a given time which are necessary to produce that sound ; thus. Mid- dle C on the piano is produced by a string making 256 vibrations in a second. ( This is what is called Mathematical pitch. The pitch in common use is somewhat higher, namely, 261 vibrations, and is called International pitch.) Relative pitch is determined by the proportion existing among a series of seven sounds which we call a scale. The Gregorian Notation deals with Relative pitch only, and does not show Absolute pitch, ~~" " Various scales have been used at different times. Gregorian Music ■uses fourteen, and Modern Music two. If we arrange the numbers or sylla- bles representing the scale around a circle having twelve equal divisions like a clock-dial, we shall find that we can construct all scales, both ancient and modern, bv taking each number in succession as the point of departure. (I) GREGORIAN CHANT. For example, if we take i or Do for our point of departure, we have the Modern Major Scale; if we take 2, or Re, we have the Dorian, or First Gregorian Mode ; etc. CHAPTER II. The scale selected for our first illustration is the most familiar one, the Modern Major Diatonic Scale. This scale consists of a sound called the Tonic, or Keynote, and six other sounds ; each of which bears a certain fixed relation to the keynote. If we sing or play these seven sounds in succession, the ear is not satisfied until another sound is added. This sound is a higher replicate of the Keynote, and is the beginning of another similar series. The vibration-rate of this eighth sound is exactly double that of the keynote. These eight sounds are named by the syllables Do, Re, Mi, Fa, Sol, La, Ti, Do' ; or by the figures i, 2, 3, 4, 5, 6, 7, 8. The pupil should accustom himself to use both figures and syllable- names in reading the notes, before singing them ; as it cannot be too strongly impressed upon the mind that the syllables do, re, mi, etc., mean nothing more than the figures i, 2, 3. The names of the scale-notes should now be thoroughly learned, both by figures and syllables. After the class has read and memorized the names, both forwards and backwards, the teacher will call out the syllables at random, and the pupils must give the figure corresponding to the syllable called. The teacher will then reverse the method, calling the figure, the pupils answering with the syllable. GREGORIAN CHANT. 3 Fig. 2. Do' — 8 or I The Modern Major Scale consists of eight sounds differ- '■^ "■ 7 [iig from each other in pitch, of which the i st and 2d, 2d and l- ^ 3d, 4th and 5th, 5th and 6th, and 6th and 7th, are separated by the interval called a Whole Tone ; and the 3d and 4th, and 7th Sol — 5 and 8th, by the interval called a Semitone. The semitone is , the smallest interval used in melody. Mi 3 The intervals of the scale must now be learned. The teacher should draw diagram Fig. 3 on the black- "■^ ^ board and point on it the names of the notes of each exercise, j)q . J singing them softly as he points ; the class meanwhile listening attentively. The class must then imitate the teacher's pattern as he points out the names again. This plan should be pursued with all the other diagrams introducing new sounds. The teacher should not sing with the class. The pattern should always be imitated softly, thereby rendering any mistake easier of cor- ifection. FIRST STEP. Sounds used are Do, Mi and Sol. Fig. 3- 1 . Do is E. 2. do sol do mi mi Mi 3. 4. - ^^^^^^ ^^ ^^ do mi sol do 5. —9~ P P .. ..^ - * ■ ■ 9 9 P P * ' 9 do mi 6. 9 do sol P P P P P P • • 1] ^d'o"^'" . P —9- 9 P P 9 7. ' • *. • p 9 9 P 9 -1 -- • • • ^ II 9 9 __ __ 1 P P • !l # 9 9 9 9 9 9 8. ^ __p P P P P_. do M P mi do mi sol P. ._ P • - •- ^. • 9 P P p p rr p • . • •- n»-» p-p-p 9 p '1 p # 1 4 GREGORIAN CHANT. In the foregoing exercises three lines are used , and do is placed on the first line, in the first space , and in the space below the first line. ' Always remember that when do is on a line, mi and sol will be on the two ' lines above; and when do is in a space, mi and sol will be in the two spaces above. _ Fig. 4. 9. D is D. » m - 1>0' m m — - -0 — m • — ^ • ^ ^ • A _ , do mi Sol p p sol do' — 10. m ^0 1 ! Ml • - r 0- — 0- 11 - • 1 m Jj' "o do 1 1. m -# — m —0— li • « m i> 11 - • ^ • 9 do 12. I \ - • -# m 11 . ^ • • II ... p y do w « « m m -1 i m M" -0 • -• — __^^_JJ 13. m 9 m m m m m —0— I ^ • ^ • » m m -0—^ do « _. « 9 -0 — 0~ It m m 9 -u « m i 9 0- m 11 ■ m # — # — #— L_ -0. ^ 14. 15 ' i 1 ^' 1 ^ 1 It' « * 9 # 1 L Ti do mi sol do' cfo i II « « • ^ ^ # • _ # « • 4P ^1 j GREGORIAN CHANT. 16. -9 #- 1 -1 • ^ 9 9 • # 9 , * s 9 1 ' 9 do — # 9 9 9 t'^ 9 9 9 9 9 9 9 9 9 v ! 17, 9 9- 9 ii m m m r • • 9 9 9 9 • • « 9 \ 9 9 9 9 do •-9 9 9 A M ^ ^ W^ P 9 9 9 9 9 9 9 9 •_#! 9 •.. Jj In these exercises the upper do^ is used. Remember, when lower do is on a line, upper do^ is in a space, and vice versa. Fig. 5- 1 8. Do is G. Do- — V ==^ 9 # =^^P ^=^=^ # - — ^ 3 •-^^ =^i±P^=^» • =bzz= ^~T =^ Sol do sol| do Ml - ^ ^ -• — 9 — =Z=IZZ^ — • 9 -9 9 9 9 Do 9 9 ^ P" 20. Do is G. Sol, ^ •• Eit3 , — ^ ^ — _ — ^ ^_ • 9 9- :=dj sol, ::^1 i^izdj 21. Do is A. ill — * p j= J g iz — g_ J I do sol I do — •- 9 r 9 9 •- E=^^^ 6 GREGORIAN CHANT. 22. Do is A. JZm m do sol, do - 9 9 9 9 9 9 ~ * * P " -9 1-" In these exercises the new sound introduced is low So/. VOICE-TRAINING EXERCISES. Exercises i to 8, on page 3, should now be sung in the keys from F by semitones up to Bi? for Sopranos and Tenors, and by semitones from Ep down to A for Altos and Basses. Do not use the syllables in this exercise. Vocalize on vowel-sounds : a ( as in fatJier), e (as in obey ), i (as in police), o (as in^^?), ( u as 00 in goose). Be careful that the vowel chosen is not changed in the course of each exercise. These voice-training exercises must be sung very softly. Consult Chap. VII, ''Voice-Training Exercises." CHAPTER HI. SECOND STEP. New Sounds Re and Ti. Fig. 6. 23. Do is G Mil — F^ =F^ — m — • — , - -==n' re' — -• " • — h » 9 • h ^ ' -^ • 9 • Hi ti, ^^ do re do ti Sol ti ^ I 24. Do is G. -9~ Mi — re — 25. Do is A. •zzi^-di t~ =^=^=^=^^=^=^ ^^ -^^^^^^ ^=^^ ^E-^i 'I Sol do ^z=mi=i=:~~i=zjr^^—^ ^ ^=^-^^=^9=^^ GREGORIAN CHANT. 7 26. Do is F. : r-# — # -- -• •- ^ -# #- -• •- 27. Do is F. '^ i^EE^_^-EEfEE^^Ed do ■=fl ^^=^^ ^^i^,= i=^^=g=»=,^^^ 28. Do is G. 'znl do :dj In the foregoing exercises the places of the notes have been indicated by their names. In Gregorian Chant the names of the notes are determined by characters called c/e/s. There are two of these clefs, the Z> b ^^i^^ "^ stem ( which may be on either side of the note and may extend either upwards or downwards); the square without a stem ■ ; and the diamond ♦ . Of these, the note with a stem is the longest and the diamond the shortest. None of them, however. GREGORIAN CHANT. has an absolute time-value. The note with the stem is used to mark the accent of the word or of the musical phrase, and is therefore sung a Httk louder as well as a little longer than the other notes. The lengths of the notes depend entirely upon the zvords to ivhich they are set. For example : IS' 29. 3 D6 - mi - nus 30. Do is F. vo - bis - cum. Et Spi - ri - tu tu o. ^--■^ ■-♦-■-■- -^ -♦-■- ---i- I —-V G16-ri-a Pa-tri, et Fi-li-o, et Spi-n'-tu-i San-cto. AMe-lu 31. Do is F. _|_ _ — — .^^ — _l__^ — «— ■ _ ■^^EIt: qiHiq- -♦— »- q" A-gnus De - i, qui tol-lis pec-ca-ta mun-di, do - na e - is re - qui-em sempiternam. 32. Do is A. -1 Al -^ - lu - ia. Pa - scha no-strum im-mo -la d»iis5^^ ■q: tus est Chri-stus. S !♦»■- ■^♦« '"5^=? Al - le - lu - ia. These exercises should be sol-fa'd carefully ; but the words need not be- attempted as yet. VOICE-TRAINING EXERCISES. SECOND STEP. Exercises 23, 24 and 25 are to be repeated as voice-training exercises,, using different vowel-sounds and consonants. ( Ex. 23, repeated.) a = ah. La la la la la la la la la la la la la Lee lee lee lee lee lee lee lee lee lee lee lee lee Loo loo loo loo loo loo loo loo loo loo loo loo loo Law law law law law law law law law law law law law Lay lay lay lay lay lay lay lay lay la)'^ lay lay lay GREGORIAN CHANT. ^se also the consonants D, B, F, H, K, M, N, P, T, etc., instead of L. See lat all the consonants are pronounced clearly and very decisively. These iree exercises are to be used for all voices together, in the keys from Ei? by smitones up to B. The Sopranos and Tenors continue up to F. Altos nd Basses rest; or they may sing the octave below. Exercise 27 is to be ung in the same manner by the Altos and Basses, repeating by semitones from ' down to Bb. Altos need not begin below D, which takes them down to A. t is not necessary at each practice hour to sing all the syllables at each itch. One syllable at each pitch is sufficient. When the class is familiar nth the exercise, the teacher should give the pitch and then call out the yllable he wishes to be sung. CHAPTER IV. THIRD STEP. New Sounds: Fa, La and Ti, Completing the Scale, '-ig. 8. 33. V[i' - ■e' — i — a — >ol _ a __ fL\ - e — )o _ i| - a, >ol, $1 r -\ "T~ n-- -1- — w -p— t» -■- ■"" -r"- — ■ — -■"- — ■— ■ - H ^ ■ 34. "■ -^ N H ■ ^ |j ■ ■ !_■ ■ m ■ ■ -■- ■-■ ■ ■ ■ . ■ ■ ■ -■- ___JJ 35. Do is Ei?. ^— o- -■—■—■' ■-RrilzM^ 36. Do is F or G. Re-qui-em ee - ter - nam do - na e - is, D6 - - mi - ne, GREGORIAN CHANT. — I — et lux per - pe - tu - a lu - ce - at 37. Do is A or BJ?. li: Ve - ni ere - a - tor spi - ri - tus, men - tes tu - 6 - rum vi - si - ta, im - pie su - pe'r - na gra - ti - a quae tu ere - a - sti pe'e - to - ra. Bars are lines drawn perpendicularly through the staff, and are used ii Gregorian Music to mark the pauses for breathing. Bars are of three kinds The Short Bar [~ , which marks a hardly perceptible rest ; thi Long Bar , ' . which marks a longer rest ; and the Double-bai _d, which marks the end of a section or the end of a piece. dj The Guide, |^ or '|, is a mark placed at the end of each line of music t< show the name of the first note on the next line It sometimes happens that in the course of a piece, the clef is placeq on a line higher or lower than that on which it was placed at the beginning thereby extending the compass of the staff. The guide is always used befor< such a change of clef. 38. ( iVot to be sung.) bg= ^' ■ .^^Ju^^ rf do re mi fa sol ti la mi la In this example the Do-c\Qi is placed on the third line. After the thin note the clef is changed to the second line. Before the change of clef, th( guide is placed upon the space which would be occupied by fa, showing that to be the name of the next note. The other changes can be easily understood. By means of these changes of clef the compass of the staff is increased to seven lines. GREGORIAN CHANT. ii The following piece illustrates the change of clef and the use of the rarious bars. 39. ri^:z*zzfz:ffis:.-^=:*Ti:I.^tti A - sper - ges me, Do - mi - ne, hys - s6 - po et ^ _■ ^, ■— h^ ^ ^ ^ *- -■ 1^ mun - da - bor : la - va - bis me, et su - per ni - vem de - al - bii - bor. ( Psalm ) Mi - se - re' - re etc. CHAPTER V. FOURTH STEP. Singing Words to the Chant. The pronunciation of Latin differs from that of English chiefly in the 'owel-sounds : a is pronounced as a in far. e is pronounced as e in obey when it ends a syllable. e is pronounced as e in check when followed by a consonant. i is pronounced as i' in police in an accented syllable and as i in It in n unaccented syllable. o is always pronounced as o in note when it ends a syllable and as o in 'bey when it does not. u is always pronounced as u in rule. The consonants are pronounced as they are written, except the follow- ig: c before e, i, ae, oe, eu, and y, as s — cedrus, cibo, caecus, co^li, ceu. c before all other letters is pronounced as k : caro, charitas, claritas, ogito, etc. j is pronounced as i. GREGORIAN CHANT. ti before a vowel is pronounced as s ; if, however, it is preceded by s, t, or X, it is pronounced as t. qu is pronounced as kw. gu is pronounced as goo. su is pronounced as soo. A word has as many syllables as it has vowels. Words of one syllable which are nouns or pronouns are accented ; all other monosyllables are unaccented. Words of two syllables are accented on the /r.?/ ( Hebrevv words are accented on the last ). In words of more than two syllables th( accent is generally marked in the Chant Books. EXERCISE IN PRONUNCIATION. (a as a in far.) a, ab, ad, da, alma, caro, dare, ea, fame, habent, mane, nares, pate; ramos', salve, tamen, vale, animas, barbaro, charitas, eamus, famulis, gratia hdbita's, Idbiis, mdneat, natalis, oravit, pdtria, radium, tdlia, sdnitas, vanitas adoravit, castitatis, decordvit, elevdtis, ferebdmus, habitdvit, manducdndc labordvit, paldtium, saturdvit, transedmus, vanitdtem. ( e as e in obey.) de, se, te, bene, ceu, dele, felix, gere, hei, Jesu, legis, meo, nemo, pene, regr tecum, veni, zekis, benedic, debitas, flebiles, genuit, memores, oremus, petnt, regere, sedibus, tenuit, venient, celebremus, defecerunt, emendemus, sedebi tis, veneremus. i (e as e in check.) I et, ex, es, sed, carnes, dextris, festo, gemm^, fluent, dicent, inter, sermo, super,' lumen, nomen, excessu, c61ebrent, nescietis, rectis, semper, tentatio- nem, venter. ("1 as in police.) ibi, ei, cives, dico, finem, gigas, hiems, minor, nivem, pie, vives, siti, tibi, viam. (i as in it.) in, inde, ait, bibit, ignis, illi, imminentibus, indnis, infi'nitas, infirmitdtis. (6 as in n5te.) bono, coram, dono, domo, doceo, eo, foveo, homo, loco, moneo, novo, pona rogo, sono, volo. ( o as in obey.) ^ con, coctus, cognomen, collo, commendo, commodat, conceptio, confirm GREGORIAN CHANT. 13 doctus, fontis, forma, horresco, hortus, longe, mollio, mortalitas, noctis, non, noster, occi'do, occasum, offense, omnis, solli'citi, somnium, torrens. ( u as in rule.) currus, ducem, fugo, gusto, huic, jucundus, latum, murus, nuntius, obscurus, pugnus, pulchrum, quaciimque, rubrum, sumus, tumulus, uno, unus, vulpium. In using these exercises, take the one and two-syllable words from each section at first; then the longer words can be used later. The following pieces may now be practised. They should be practised thoroughly with the names of the notes, before being sung to words. 40. One Note to a Syllable. ^=*-i '^' —\- :p ^h- :1: ~-^- ^ »-h— h Cre-a - tor al - nise si - de - rum a - ter - na lux cre-den - ti - um. ^ Je - su re-demp-tor 6m -ni - um, in- ten - de vo - tis sup - pli-cum. 41. ^^^^ -p! :t ~-T Te lu - cis an - te t^r - mi-num re - rum Cre-a - tor p6s - ci-mus, fl Ut pro tu - a cle - m^n - ti - a sis prae - sul et cu - st6 - di - a 42. ^^ — ■ B ■- i^E^^=E^^0E^=:t] I - ste con - fes - sor D6 - mi - ni co - le'n - tes quem pi - e HB^EE? t- itini^t :t ti lau - dant p6 - pu - li per or - bem. Hac di - e lae - tus -I* — -\ — -\- ■ ■ — i — I ■ ■ — ^? :jj m^ su - pre lau dis ho no res. j^ GREGORIAN CHANT. 43. Two Notes to a Syllable. Ad re - gi - as a - gni da - pes sto - lis a - mi- ctum can- di - dis. — -■— ■■ , * ^ h - 1 i — *— ' i-i Post trail - si -turn ma- lis ru - bri Chri - sto ca-na- mus in- cly - ti. In putting the words to the music, some difficulty will be found in sing- ing two or more sounds to a syllable. The following is the method of over- coming this difficulty. After the exercise has been learned by the sol-fa syllables, take the words by syllables and proceed thus ( Ex. 43) : Sing the first two notes s-/, and immediately afterwards sing them to the syllable "ad." Proceed thus with the whole of the first line : .s--/ "ad," c/'- /* "re," /- .y " gi," ^'- / "as," c/'- r' "a,"c/'-/-/ ["gni da-pes "|| Now take the notes for two syllables, thus: sl-d^t "ad re-," /s-d^t "gi-as." <'/'/•'-(-/' " a-gni," etc. Then take the whole line: si iPt /s d^t <•/';■' d^ t /"ad re gi-as a-gni da-pes." Proceed thus with the whole exercise. This method should be used in all cases. Another difficulty which singers of Chant sometimes have is inability to count at all times the right number of notes when a considerable number are to be sung to one syllable ; for example : ( From Plx. 36.) ^'^-^i^^^-^-W^^^^m^t^^^ :^^qi tlt^-z^B-JI^'r^^'trfziTi! — I 111 - ce-at e - is. Al - le' - lu - ia. Sing the examples first to the syllables, then count the notes while sing- ing, and afterwards, sing to words; thus : 44. ,_ — ■- ^ — ■ ■ . J- \\ -t--"-'="- ■ ^ M k ^ -JJ I m »i .s" }n r m d r 1)1 r d r rd I St time 2 I 2345 G 7 8 1234 5 6 13 2d time 3 ce - a - - t e - - - - is 3d time GREGORIAN CHANT. In a long" run it may sometimes be necessary to divide thus : 45. ( Ave Maria : Fourth Sunday of Advent.) ifslslfsfmrfslsflss 2123456789101234567 3 a ---------------- ve 46. ( Christus factus est : Gradual of Holy Thursday.) j^- — ■— -4,- - - ^-7ZZI:I:^^z^ ij^ Ji] / c/ / ta s f I s d I f s I s sf 123 1234512345 6 ^5^ no =~^1 47. Two Notes to One Syllable. ^ -^ — -^ *" — "-tr-^ -■ -■ ■■L:":^i.-.._":d^H-JJ Hoc est prje - ce - ptum me - um. Ma- j6 -rem cha - ri - ta - tem. Qui me con - fe's - sus fu - e - rit co - ram ho - mi - ni - bus, con - fi - te - bor et e - go e - um co - ram Pa - tre me - o. 48. > — -I ■ 1 \ \\- — -!- - J 1 ■»--■ — l-i- Ec - ce sa - cer - dos ma - gnus qui in di - e - bus* su - is plii - cu - it De - o et in - ven - tus est ju - stus. 49. Three Notes to One Syllable. :p: •-■ — I f- D6 - mi - ne sal - va nos pe - ri - mus I'm - pe - ra i6 GREGORIAN CHANT. :1: E ;i et fac De - us tran - quil - li - ta - tem. Al - le - lii - ia. 50. -1J5. ■■■ II _ !-♦- ■% — ■- ■■ "fl— 1 ■ -♦- ■■ «-■■- m< -V .-.■^ -♦- -■-t=^H -■4^- D6 - mi-nus fir - ma- men - turn me - um et re - f u - gi -um me - um . N -■— ■- _♦: -"- _»_ «■■ ■ 1 1 ■ ■ ~J — \] ■( s ■■ y-krf-H ■■ ■ — p* "1" " et li-be-ra - tor me - us, De - us me - us ad - ju - tor me - us. 51 ^Z3J ^=^ ^^=^4=^Ai=^=^^^=^=^ Tri - stes e - rant a - p6 - sto - li de Chri - sti a - cer-bo f u - ne - re, 1 1 n ■ Xi :tt :1==p: quern mor - te cru -de - lis - si - ma ser - vi ne - ca - rant I'm - pi - i. 52. Do is B or C. 1 a pH *—u :1= I - ste con-fessor D6-mi-ni co-len-tes quem pi-e laudant p6-pu-liperorbem. S :t ^ Hac di - e Ite - tus me'-ru - it be - a - tus scan - de - re se - des. 53. Do is D. -^ — a tf ■ — ^ -B^ ^^-^it O sa - lu - ta - ris ho - sti - a, quai coe - li pan - dis 6 - sti-um : |1 . __ :-.z.-^=z =F~::r^ -r-, :jzzzr:=^-q] Bel - la pre-munt ho - sti - li - a : da ro - bur fer au - xi - li - um. 54. Re is E. 1*---^-— -^~ — ^^^ - -■- -♦'-■-FPa a^ ^■-■■- ---■■ — ♦-iTr"- -■ — ■-■■h hi 1 ^■- ♦-■■ It:: ■:^- c'LmhEz:^ G16 - ri - a ti - bi Tri - ni-tas ae - qua - lis u - na De - i-tas, et an - te GREGORIAN CHANT. 17 j — ♦-■— ■1--=^=g--^iL-.g 'A=±=^--^^^^=id-_iz=i~-jr:ii 6 - mni - a s£e - cu - la, et nunc et in per - pe - tu - um. 55. Do is G. ■q' 1 1 ■-■■ ♦ — ■. -■— ■-!- J=^rt Os ju - sti me - di - ta :1= et lin - gua e - jus lo-que - tur ju - di - ci - um lex De-i e - jus in cor - de ip-si - us. 56. Fa is G. Je - su dul - cis me - m6 - ri - a, dans ve - ra cor - di gau-di-a, sed su - per mel et 6 - mni - a e - jus dul - cis prai - sen - ti - a. FOURTH STEP. Voice-Training. When these pieces are thoroughly known, they may be used as voice- raining exercises by vocalizing on the various vowel-sounds at various pitches. rhe method of doing this should be as follows. Taking the last exercise, * Jesu dulcis," as an example, we find that by taking the sound G for fa, the iiece is in the scale of D major. The compass of the piece is therefore one )ctave, from D to d. All the voices may sing it from the key of B7 by semitones up to E ( B7, BjJ, C, D1?, D, E!?, E ), the Tenors and Sopranos :ontinuing- up to Aj?, and the Basses and Altos downwards to G. In vocalizing these examples, take o/ie syllable for each separate note ind one syllable for eacJi group, thus : ^ -H- ■t ^3] la la la la la la la la ti ti ti ti ti ti ti ti 12 345678 koo koo koo koo koo koo koo koo, etc. i8 GREGORIAN CHANT. CHAPTER VI. FIFTH STEP. On the Use of the Flat. The Flat ( I? ) is a mark placed before a note to tell us that we must smg a sound a semitone lower than that indicated by the note. In Grego- rian Chant the use of the flat is restricted to the note //. When a phrase occurs in the course of a piece, of which /^z and ti are respectively the lowest and highest sounds, the unmelodious relation of the Tritone ( so called because between the sounds fa and // there are three whole \.o\\Q.%,fa- sol, sol-la, la-ti) is established ; to avoid which, a sound a semitone lower than //, called ta, must be sung inste ad. This is indicated by the flat ( •} ) placed before//. ' ^7M^ T K Y^.f T" The Trit6tie y^ , ■"* | * | is avoided by singing j"^ , a-«-^-|-' « f-s — 1— L__i JL.^»-1-Ja-^ 1 A Tritone is either expressed or implied. It is expressed, when both fa and ti are written as in the above example ; and implied, when the/^? is omitted, but the leading notes of the phrase in which the // occurs are contained in the compass of a chord of which fa would form a part : Occasionally passages are met with which contain an expTessedTx'\\.QVi^\ and yet the // is not flatted ; thus, in the Landa Sion : In hy-mnis et can- ti - cis. The reason why the ti is not flatted in this case is because the ear has]' become so impressed with the sounds of the chord Do-Mi-Sol, which have been sung before, that the notes // and/^, though they be the highest and j lowest notes of the phrase, are considered only as passijig-noit?,. Sing the whole strophe : 57. Lau-da, Si - on, Sal-va - t6 - rem, Lau-da du - ceni et pa - sto -rem, GREGORIAN CHANT. 19 ^=i jEZZP In hy - mnis et can - ti - cis. Flat the // in the last line, and all the brightness and vigor of the melody will be lost. When the flat is placed at the beginning of a piece immediately after the clef, ever)' ti is flatted. The rule for such pieces is to call the flatted note/"^?, as we do in mod- ern music. 58. 1^7 n'^r ~w i»_«_ r« ^■■■b ' A- A- '1: jrzB- d r f f f ni rm r f ni f s 1 s Re - qui- em ai - ter - nam do - na e - is. Do - mi - ne. The Natural f ^ ) is used to cancel the effect of the flat i§a=f' .Do :»-:-.-rt. mi-ne. Pro pa I!' ■iPi*-!— ♦"■-^« -=\- 3 tri-bus tu Fig. 9. fa' — Mi' — re' _ Exercises on the Flat and Natural. /■TS rTN ta Do' ti laT Sol :P- F»^i :i«Li. 1=t: -H- :t: fa - 5 -. ■ti2-:^-^=i=f:=i2i ta, Mi. re — - Do — la' — It* >Hi ■ 1=1- -zit: ^■Z^EiL^' Sol. 20 GREGORIAN CHANT. Examples Showing the Use of the Flat and Natural. 59. Ec - ce VI - di-mus e - - um non ha-ben-tem spe- ci - em, ne-quede-c6 - - rem; a-spec-tus e - jus in e =t]: o non est, hie pec - ca - ta no-stra por - ta - vit, et pro no - bis do - - let : i - pse au - tem vul - ne - ra - tus est ' j*-" — ■ — ■— ■—^ — ^-—* ■ "Ht — ■*— ■ — j"^ — I- ttt pro-pter i - ni -qui - ta - tes no - stras : Cu - jus li - v6 - re sa - na - ti su - - mus. y . Ve - re Ian - gu6-res no - stros i - pse fZw!iiEE:!!=F^-i3!5: -1-^^-^^i---"^^-1-- "^-^r =' =g=g^-^g^^^~- .-^ ! tu - lit, et do - 16 - res no - stros i - pse por - ta - vit. 60. Qua-reer-go ru- brum est in - du -men-tum tu-um, et ve - sti-men-ta tu - a sic - ut cal-can -ti -um in t6r- cu - Id - ri ? 61. ^ ' ^ — ^ ■ -B»a -^- B^p-^-B^i^- »-a-"'- -^iL- ■-4=H-^ O ad-mi - ra - bi- le com-mer -ci - um ! Cre-a-tor ge'-ne-ris hu - ma -ni, ^ =1 GREGORIAN CHANT Hi" ■ 21 a - ni - ma- turn cor-pus su- mens, de Vi'r-gi-ne na - sci cli - gna - tus est et pro-ce-dens ho - mo si - ne se-mi-ne, lar-gi'-tus est no -bis r.t -H- jBizs: su - am De - i - ta - tern. 62. ^^^ ♦-■ l-'^q" ■^-J^^~t=ii^:*=*-- . :1=1 ::^- '1: --il: Ye-nit Je - sus cum dis - ci- pu-lis su - is in vil-lam, qux- di - ci-tur ^^==F=. -C:^-3 ■zzi~» ■: reth- se - ma - ni, et di - xit il - lis : Se - de - te hie, do -nee va- dam ^^^=^^n il - luc et o - rem. 63. E^E=, ^=d- -^==P^«-----_. -■-^=— F t« '1' -■— B-^a ■-■ i^=- Ho - di - e com-ple -ti sunt Di - es Pen -te - c6 -stes. Al - le - lu-ia ! '^- :1: ■-■ — ■-♦-»B-i-|^ H(') - di-e Spi- ri-tus Sane - tus in i -gne dis-ci' - pu-lis ap - pa- ru-it i=_zidz=izd- H- F!2 ■■ ■ -1 et tribu-it e-is Cha-ris - ma-tum Do-na, mi - sit e - os in u-ni-ver - mun-dum pre-di - ca - ri et te - sti - ti - ca - ri qui ere- di - de - rit :--1- :[== ^m — ♦- r-zt: et bap-ti - za - tus fii - e - lit sal - \U!- rit. A] - Ic' - lu-ia ! ^ GREGORIAN CHAxNT. Examples with the Flat at the Beginning. In these pieces the flat marks the place oi fa, thus : ( "^ ■- fr^^-^ ■ ■ .11 f ni r d f n\ r cl y^ They may be sung' also in the ordinary way, giving the flat its name as // flat 64. Al - - - ma Re-demp-t6 - ris Ma -ter, qua per - vi - a coe - li, por - ta ma - nes, et stel - la ma - ris, suc-cur-re >^- •msr^t^~~ ~-- — ilr'«z»"-»=":b r ca-den-ti, sur-ge-re qui cu -rat p6-pu-lo:tu qua;ge-nu-i ■- sti, na-tu >^^-" — '-■■"i hja """ ■■-■—"— ■■ ■ ■. ,' T ^-«-h ra mi - ran-te, tu - urn sanc-tum Ge - ni - to - rem, Vir - go pri - us ^ ^ — " — I ^♦♦-■— -■■ ifhi««-«-*-»j- ««-«-1 -^ ^:^: ac po - ste - ri-us, Ga-bri-e - lis ab o -re. Su -mens il-lud A - ve, :^=i=ai:t"5i-»i=ii:^J pec - ca - 16 - rum mi-se - re - re. 65. j^^i^r-'— 'zznizjzt'zigzzizizzzJTizr^zz: ___ =z£zz= Chri-ste, san - cto-rum de - cus An- ge - 16 - rum, gen - tis hu-ma - nas Sa- tor j^jzzzzzy3=:ii±z ^* 7:«±'i:^:*=z:*iz»-^- iz^zijbrzjz et Re-dem-ptor, cde -li-tum no - bis tri'-bu-as be - a - tas scan - de - re se - des. GREGORIAN CHANT. 23 66. le - i - son. Ky - ri - e e 67. Sane - tus, Sane -tus, Sane - tus,D6-mi -nus De -us Sa - ba-oth. '^l — 1 -~^-^~ --H- ^i=»" -it i^ti-^*^ pie - ni sunt coe - li et ter - ra gl6 - ri - a tu - a. Ho - san-na 68. p. in ex - eel - sis. — I- :zt Lo - que' - bar de tes - ti - mo - ni - is tu - is in eon-spec - tu .— P-' :p: ^-- re - gum et non eon - fun - de' - bar et me - di - ta - bar in man-da - tis t:: tu - is quai di - le - xi ni - mis :q^ :dj Examples Showing Changes of Clef. 69. ■ — ■ - ,1 Al,- Mip- 1^ =jzd^j=zizb 1- 3 vos o-mnes,qui tran - si - tis per vi - am, at - ten - di - te et vi - de - te si est do - lor si - eut do - lor me -us. 70. :1: ^^ "^^- O par In - ge - ni - to, Chri - ste De - us, Pa - tri In 24 GREGORIAN CHANT. -^'- :1 fans ! quern te - ne-ris, con - ju - ge cum sa -cro, niul- cet Vir - go ?^ :^=i^i=t-=Ez=j: :t Pa-rens et co - lit 6 - scu - lis da cu - nas pro - pe si - ste - re.| 71. :P- -F n-v-^^^-^^=^ ^_--a— _ — i 1 ■ — m — ♦- ---^-^i^ 1 ♦ * — I — "a-^ — a ■ 1 JaM^^^a— ♦— ■ ^---' Sal - ve, Re - gi - na, ma - ter mi - se - ri - cor di - ae. ^ ^'::i^-^-.-X.-^^^¥^ :1— Fr ♦♦■-■-tt"Bi: — ^ vi - ta, dul - ce' - do, et spes no -stra, sal - ve. Ad te cla -I — ■ -■— 1 ■■^-a-Li-BH ma - mus, e'x - u - les fi - li - i E - va;. Ad te su-spi- ra *i=. -f- -■— B,^ -■^£eJ mus, ge - men-tes et flen - tes, in hac la - cry- ma - rum val - le. j A . B ^— ■-■-■1 ■ _ , E - ja er - go ad-vo- ca - ta no - stra, il-los tu - os mi-se J P — ■ — *■ * i -F n - cor des 6 - cu - los ad nos con - ver ii=i^-tt ^-'-^ -=B=^/!zr*zz?'- m'-T=- te. Et Je - sum be - ne - di - ctum fru-ctum ven ^^^^£^~^ti^^=^E;^E^=i=^^ H^itm: tris tu i, no - bis post hoc ex - i - li - um o i GREGORIAN CHANT. -'5 ^ sten - de. O cle - mens, o pi - a, o dul 3t^M 1?^: cis Vir - go Ma - ri - a ! Sometimes, instead of changing the clef, a small line called a /^^^r-line is added to the staff for the purpose of extending its compass. 72. :p: sziztBZiiiiiiil: :^=^: -■-■-■-h ■. 1= Ex-ul - ta-vit cor me - um in Do - mi-no, et ex -al -ta-tum est cornu meum ~-Ji- dJ in De - o me-o, qui - a lae - ta - ta sum in sa-lu-ta-ri tu - o. The following are some of the more difficult specimens of Chant : 73. i^=^=i= -4 ti=i=i?q=!=?iia=ie 1"^=^- De - si - de - ri - um cor - dis e - jus tri - bu - i - sti e et vo-lun-ta - te la - bi- 6 - rum e - jus non frau-da - sti e - um. ^=i! -♦ — ■- ■-I- :^- t --t ^- 1^. Quo - ni - am prae-ve- nf - sti e - um in be - ne - di - cti - 6 J^— ♦— ■— P l-ll ^— ni - bus dul - ce' di - nis. 26 GREGORIAN CHANT. 74. i5-?^^"^!"^5:^£:-t^*:^^^=^tSs^-^E?E*^^ A - - - ve Ma - ri - a, gra - ti - a pie - na, DcS - mi-nus te - cum, be - ne - di - eta tu in mil - li - e' - ri-bus, etbe-ne-di - - ctus fru - ctus ven - tris tu - i. Al - le' - lu - ia, al - le' - lu - ia. 75. H6-di - e sci - e' - tis, qui - a ve - ni-et Do - mi-nus, A ^ ■*♦-■ F« — ■■♦*■ — \-m — ■-■^♦^■♦-a T— " et sal- va - - bit nos : et m-' Jie Y'/d-X-^x/ - bi - tis j glo - ri-am e - - jus. Y. Quire-gis Is-ra- el, in - te'u de: qui de -du - cis, vel-ut o - \em, Jo - seph : qui se - des su -per Che' - ru-bim, ap - pa - re co-ram E - phra-im, Ben - ja - min, et Ma - nas - se. GREGORIAN CHANT. 27 CHAPTER Vn. VOICE-TRAINING EXERCISES. The human voice, as an instrument of music, is classed among the ileeds''. The various musical instruments are divided into different classes, e have the "Stringed instruments" played by means of a bow (in this Lss is included the whole violin family ), stringed instruments played in other ys, as the pianoforte, the harp, the guitar, and so forth ; the " Wood- nd," which includes the flutes, oboes, bassoons, clarinets, saxophones ; and 3 "Brass," which includes the horns, trumpets, cornets, trombones, etc. A reed-instrument, such as the clarinet or oboe, consists of a pipe, some- nes cylindrical in section (as the clarinet) and sometimes conical ( as the oe) ; which pipe can be shortened by means of holes bored in its sides, le column of air contained in the tube is set in vibration by a "reed." lis, in the clarinet, consists of a thin piece of cane, held in a clamp and cover- r a hole in the mouthpiece. In the oboe the reed is double, and in vibrating e edges of the two reeds strike together. The human voice is an instru- ct of the double free reed class ; in place of the two pieces of cane are two ^mbranes which are known as the "Vocal Cords," which are not really rds at all, but more like a pair of lips, capable of closing entirely the open- l in the " Larynx," which is the vocal instrument. When we sing we use these vocal cords to approach each other, and force air through between em from the lungs. The pressure of the air and the elasticity of the cords ;ernately overcome one another and the result is a vibration of the vocal cords, the first chapter we learned that the speed of the vibrations determines e pitch. The rate of vibration of the vocal cords is, or should be, abso- tely under the control of the singer. When he wishes to sing a sound, he ^consciously fixes the tension of the cords to gi\e the number of vibrations quired for the sound he wishes to produce. The raiv material oi sound, if we may so call it, is projected into the "pipe " ;onsisting of the cavities of the mouth d.wd. pharynx), and finally emerges as formed musical tone through the lips and nostrils. It is formed into eech, or song-speech, by means of the tongue, teeth, lips and palate. In ng-speech the pitch of the sounds formed by the vocal cords is made to 28 GREGORIAN CHANT. conform to the degrees of the musical scale ; whereas, in ordinary speed is not. When we wJiisper, the column of air passes through the Glottis ( opening between the vocal cords ) without setting the cords in vibrat We can ivhisper a melody. In this case we form the melody by enlarg or decreasing the size of the vocal cavity by means of the tongue ; lips. When we nearly close the lips, leaving a small orifice only, we form mouth into an instrument of the "flute " class. The result is what is knc as " whistling." If we sing a musical tone at our ordinary speakmg-'^\\.Q\\, vocal cords are neither very tight nor very loose in tension. We can, greater or less effort, sing tones which are higher or lower by increasing relaxing the tension. C ] [\^| ^ - THE REGISTERS OF THE VOICE. On e.xamining the voice of a boy who has a fairly good ear and a reas ably good tone, we shall find that if we start him singing a scale commenc at his natural speaking-pitch he will experience increasing difficulty in p ducing the tones as he ascends ; to overcome which he will use grea effort, thereby causing his voice to become harsh and strident. This n be tried with the scale of C or D. If we start him with a higher sound, ) F or G, and let him sing, not tJie scale, but the chord-notes d, ni, s, cP : -I -h ^— with his former strident tone, but his voice will most likely " crack "int( much softer,^//// tone. This tone is the tone of one of the ;//>/r/- registi of the voice, and can be easily imitated by a Bass or Tenor who tries to si what is commonly known as "falsetto." A register of the voice consists of a number of tones produced by t same mechanism. The vocal cords, in construction, are muscular ligamen with an outside covering of mucous membrane. When we sing at the ordina pitch of our speaking-voice, the muscular portion of each cord is brought w forward, making the edges round and firm. Hence the fuller, rounder to of the voice thus produced. When we ascend in the scale, the tension the cords is increased, until at last we arrive at a limit, and can go no high< This limit may be modified by cultivation, or misuse, of the voice. Boys, account of their habitual tendency to shout, nearly always have this regis! forced too high. This accounts for the strident quality of so many bo ~<5f- Z.\ he will not be able to sing the two upper to] I GREGORIAN CHANT. !9- voices ; the unnecessary effort which they use in singing in this manner tires their muscles, and they sing flat in spite of naturally good ears. It is this habit of forcing up the lower register which makes a boy's voice appear different from a girl's. There is no natural difference whatever between the two voices. If girls habitually shout, as they sometimes must to make themselves heard above the din of machinery in workshops and other places, they acquire the strident dojy-woice, and it is found upon examination that the lower register has been forced upwards several semitones. If, on the other hand, boys are brought up in such a manner that loud shouting is the exception rather than the rule of their lives, their lower register will be found generally to be about normal. The upper limit of the lower register of the human voice is in the neighborhood of F or G ( the first space and second line of the Treble staff), their vibration-rates being 348 and 391^ respectively. This sound is a mod- erately /oza sound for the Soprano, a middle sound for the Alto, quite a high sound for the Tenor, and generally above the ordinary compass of the Bass voice. When we use the middle register of the voice, the muscular part of the vocal cords is retracted, leaving the edges thin and loose. In ascending with this register we come to a limit as before ; but it is not so apparent in some voices as in others. The tones of the middle register can be made to over- lap the tones of the lower register considerably. The following experiment may be tried. Ask the boys to sing the following two sounds without any break between the sounds and tell them you want them to be particular to give the " boy's " voice : to Jiold on to the last sound and to notice Jiow it feels in the tliroat : After which ask them t<^ sing the following, but with a gii'l' s voice ; holding the last sound as before, and ^rv /TV making no break between the sounds: frV) I" '■^,^^~ \ ^ \ h ^^" ^^'^^^ or find that the second sound approached from heloiv feels like a high sound ; while the same sound approached from above, feels like a low sound, because less effort is required to produce it and it really is a comparatively low sound in the middle register. 30 GREGORIAN CHANT. The Head or Upper Register extends to the top of the voice. There is sometimes a bad break between the middle and head-registers, but not nearly so often as between the lower and middle. Contrary to tJie general opinion, all voices have these three registers; but the upper registers are generally unavailable in men's voices on account of the dissimilarity in tone and the consequent difficulty in blending them. The following are the characteristics of the various voices. The Soprano : — Lozver register not very strong, the break between the lower and middle registers is generally very ma; ked ; middle and upper reg- isters full and strong ; break between middle and upper registers generally hardly perceptible. The Alto : — Lozver and middle registers \'ery full and strong. Break between lower and middle not nearly so strongly marked as in the Soprano ; in many cases it can be detected with difficulty. High register wq-slV. Break between middle and high strongly marked. The Tenor : — Ordinarily, the Tenor voice consists of lozver register only, though in most Tenors the middle register may be developed, provided that the tone is not too dissimilar. All Tenors should, however, cultivate the middle register. The Bass. The compass of the Bass voice lies entirely within the lozver register. The Three Registers of the Human Voice. Lower register. Middle register. Upper register. — V~^- ^ H- __i_to: -4- Choir-Training. In commencing the training of the voices for the Choir we take it for granted that the boys are entirely untrained. As, at first, the}' sing only the principal notes of the scale, D — M — S, these must be used for the first training exercises as set forth in Chapter II. The other exercises met with from time to time are taken from the material which has been learned under the " step," and are to be used as directed. As a general rule, all the voice-training exercises are to be sung z'ery softly at first. GREGORIAN CHANT. Exercises for the Middle Register. 33 /TS ( Boys Only ) /TV iT\ /TS a^iEs=p=iEiEi=^i=i^^ and down by semitones to ztJ :;j Sing on vowel sound;^ ah, 00 and ee. W-0-^0 (^ t^^fLFi^ tr- /rs :3 and down by semitones to ^=^^^ :^^=dl etc. i i^=i /T\ >,*-P •— ^— ^ 1— l«— •-^ ££E »— ^ -p-#-^-r i^s: It and down by semitones to L /L - ^J — J — ^ A--^ • id—^ etc. GREGORIAN CHANT. rrs •^ • # •^ A-\ — \ — I — ^.^ — I— I— K-H- down to A. /T\ ^^L---#-^-#--^^t-^-#-^#-a ^— s-»-P#^ir— f2=^-^ _^_. down to B!?. For Blending the Lower and Middle Registers. l--J>N.; ■M=^gA -1^ L^ f- -1^- a GO a GO a OG a GG a The notes with the stems down are to be taken on the lower register ; those with the stems up, on the middle. Sing also in FJi and G upwards, and in E and EJ? downwards. s:/ I V^ I Vi/ ^" v^l/ 'j S^ I VA» / Jf?==- / />=- / p>- / jf? -# *•- ;^; •#^ f-p- -J — I — \ -Jg^TL-^l E, Ei? and D. ?*t^ pfT ' P f J * ^ fi "^ e!», E, Dk c. rjj ^ GREGORIAN CHANT. 33 if j— J— 1— J — -I- i^ m 1 -»- T^l- ♦^ In B and B!?. •# •# U^ -^# ^-w -&~ ^lE^l -b GREGORIAN CHANT. 41 -(S>- t The Sixth. EE^ =1- :^-=X :t^t: :f= The following specimens include a characteristic piece ; the Psalm-tone and the solemn Gloria Patri used at the Introit of each mode. -; First Mode. Fjmlyl^e; Dominant, Zfcr; Compass, i^^ to 7?^'/ Principal Chord"'Re-Fa-La-Ri'* . The melodies are constructed on the Minor chord Ke-Fa-'La and the Major chord Fa-La-Dd^; consequently, the music will vary in character as either one or the other chord is used. Character of the Mode, GRAVE and SOLEMN. 76. -3!^i!!=*nr L^ ■■ ?^. :M= Sta - tu - it e - i Do J§ mi-nus te - sta-men-tum pa Hi ■' CIS, ^t- "♦~~B" -5 :t '^. q; XK et pri'n - ci - pern fe - cit e - urn : ut sit il ti - i di - sni-tas in oe - ter - num. F ^ sa - cer - do Th j,^ i ^^^^z.'^E^^^^^ Di-xit Do - mi-nus Do - mi - no me - o, se - de a dex - tris me - is. ■^ :1: :(:it:JL::!!:1: -■— ■■ rt GI6 - ri - a Pa - tri, et Ff - li - o, et Spi - ri - tu - i San - etc. ^^ t=. -X :j: ipiiiiit^; -a. — ■■-f-H- Sic - ut e - rat in prin - ci' - pi - o, et nunc, et sem - per, 42 W^^i^i— GREGORIAN CHANT. -I— -i' et in see- cu-la sae - cu-l6-rum. xA. - men. /r' Second Mode. ^ Einal, i^^; Dominant, /vz ; Compass, La^to La ; Princi- pal Chord, Lai-Re-Fa-La. The melodies are included principally in the Minor Chord Re-Fa-Ka. Character of the Mode, MOURNFUL. 78. 4^ :J=F: -■ ■—♦- ■-1-1 :?5=Sf:="^-^rt^EK Im-pro-pe - ri-um ex-pe - eta - vit cor me - urn, et mi - se :1=^5' ri - am -X :1' -^^^ et su - sti - nu-i, qui si - mul me - cum con-tri -sta - re' - tur, et non fu - it: con-so-lan-tem me quse-si - vi, etnonin-ve - r tD 79. HH^ — jl :»z^iS^ ::z^=s4tf^ -% E -P "f. P6 - pu - le me - us, quid fe - ci ti - bi ? aut in ^s. — jj quo 80. con - tri - sta - vi te ? re - spdn - de mi - hi. !^=^-T-;.!='!^:rrrf!=Siz^5^^?^^=!rP5^« !■!-:» t .^. G16 - ri - a Patri, et Fi'lio, et Spi - ri - tu- i Sane -to. Si -cut erat in prin-cipio, ::tj et nunc, et sem - per, et in soecula sa-cu-lo- rum. A - men. -5^—^ gq-zj'z^-izi- H^ 8 1 . Psalm Tone. ^?Ei^ ==i: -♦— ■- :t- --■X De pro-fundis clamavi ad te, Do - mi-ne : Domine exaudi vo-ce m me - am. GREGORIAN CHANT. 43 Third Mode. Final, Mi ; Dominant, Do^; Compass, Mi to Mi^; Prin- :ipal Chord, Mi-Sol-Do\ \ Character, BRILLIANT and COMMANDING. 82. ^ -■ ♦— ■ E^:E^5^^^55t=3K=p^»: ^ J ^ =b±:::=3 — ■— K- i=d=z^-:7pzjz In n6 - mi - ne Je - su o - mne ge - nu He - eta - tur, ^ — a — «■ — ♦ — ■ — — « -fj- — * — . ^ 1 — I — i- q»i- coe - le - sti - um, ter - re - stri - um. et in - fer - no - rum et o - mnis li'n-gua con - fi - te - a - tur, qui - a D6-mi-nus =■— ■ _ wrmr — 'm \ ■■--■h — « — ■■ — --i — ■ — ■ — ■-■»-■ M H * 1 1 — I — *3 1 — -♦ — ■ — -*-h- B«-| "■ -- ♦♦"♦y — , 1 1 Je - sus Chri - stus in gl6 - ri - a est De - i Pa - tris. 83. ___ 1 — ^ 1 1 Si"-] - P^ ^ ^^ ^^■— ■- h"' ♦-■^ a _zrjrftjj G16 - ria Patri, etFilio, et Spi-ri-tu- i San-cto. Sic - ut erat in principio, et nunc, et sem - per, et in ssecula sse - cu-16-rum. A - men. 84. Psalm-tone. ^ V ■ ^ ♦ ■ ■■ ■ ■ i ^ l^^_ . J '^^^ _ i"i ■ ■ ' ■ ■ 1 ^j*^.m_JJ Lau-da - te, pii - e - ri, D6-nii-num. Lau - date no - men Do - mi - ni. Fourth Mode. Final, Mi; Dominant, La; Compass, Ti^ to Ti ; Princi- •al chords, Re-Fa-La and Do-Mi-La. Character of the Mode, MYSTICAL. I 44 GREGORIAN CHANT. et noil est qui pos - sit re - si - ste - re vo- km - ta - ti tu - ae ;^=^^^=^=^i-,^^==^ tu e - nim fe - ci - sti 6 - mni - a, cce-Ium et ter - ram, et u - ni - ve'r - sa, quae coe - li am - bi - tu con - ti - ne'n - tur : ^ =1= H ■■— ,^h-=l--,— ~m Do - mi - nus u - ni - ver - so - rum tu es. | i 86. , [I I^ Zl IL ip -"-j^ Gld- ri - a Patri, et Fi'lio, et Spi - ri - tu - i San-cto. Sic - ut erat in principio, et nunc, et sem-per, Et in specula see- cu - 16-rum. A-men. 87. Psalm-tone. idz^z:^E;::^^i^^"=:^z:----Ji Lau - da Je - rii - sa - lem T36 - mi-num. Lauda Deum tu - um, Si - on. Fifth Mode. Final, Fa ; Dominant IJo^; Compass, Fa to Fa' ; Princi- pal Chord, Fa- La -Do'. ^^ Character of the Mode, JOYFUL. 88. ^--^ ( ^^— — ■, — ♦ — ■ — -"i^a-^^aai^^^P-a— ■ — -i*^^^^^^^li" — -■^♦^— iJ -1^ — ■ — * —\-m ■ — ■- ■ - 1 — l- i- Fi - li - ae re - gum in ho - no - re tu - o, a - sti - tit re - gf - na a dex - tris tu - is GREGORIAN CHANT. 45 ^■HrTiini,=zi=z^zi«% in ve - sti - tu de - au - ra - to, cir - ciim-da - ta va - ri - e - ta - te. 89. -h -■ =:J^~a-«^-^^ G16-ri-a Patri, et Filio, et Spin'tui San-cto. Sic-ut erat in princi'pio, et nunc, et sem-per, et in saecula siecu-16-ium. A-men. 00. Psalm-tone. "a- ^ =-=J: =E ^— I*— i|-»z«jl Lau-date Dominum, omnes gen - tes. Laudate euni, o - nines p6 - pu-li. Sixth Mode. Final, Fa; Dominant, La: Compass, Bo to Do' ; Princi- al Chord, /^^-'-/vz-Zrt ( practically, So/^-Bo-A/i ). Character of the Mode, DEVOTIONAL. 91 lit: PL^i5^iia^=:-^5-^.^i*t^ li-hi in De - um pro-tec-t6-reni, et in lo-cum re - fu - gi - i, -" — »--[ — a^ — ♦— a-j-a^H — ^^^ — h — " — ■h *«— a -k i- ut sal-vum me fa - ci-as: qu6 - ni-am fir- ma-men-tum me - um, i ^ ""— ^a ^ —\^ m — a — - - - -aa ■ i- et re - fu - gi-um me-um es tu : et pro-pter no-men tu - um •^ raiz-Vr^a-i=i:z-.W :fl dux mi - hi e - ris, et e - nu - tri - es me. 92. G16 - ri - a Patri, et Fflio, et Spi-ri - tu - i Sanc-to. Sic - ut erat in princi'pio, 46 GREGORIAN CHANT. I t- "» — ■' --q: 4^ et nunc, et seni - per, et in sse - cu - la sae - cu - 16 - rum. A-men. 93. Psalm-tone 't t- =5 -♦— ■- Lae - ta-tus sum in his quae dicta sunt mi - hi; in domum D6-mi-ni i - bi-mus. Seventh Mode. Final, So/; Dominant, Re; Compass, So/ to So/*' Principal chord, So/-Ti~Re^-Fa'. These sounds form the Chord known a the CJiord of t/ie Dominant ScventJi. Character of the Mode, EXPECTANT, HOPEFUL. 94. .^.^^ A ■ ■-■■■ ZS_"Td Di - ci - te : pu- sil - la ni-mes, con - for - ta et no - li - te ti-me t^^>!"4^: :^- ec - ce De-us no- ster ve - ni-et. et sal - va 95. bit nos. G16 - ri-a Pa-tri, et Fi-li-o, et Spi-ri - tu-iSan-cto, Sic - ut e-rat fE-^S V- ^i-n-^t^:-'^: ^ in princi - pi-o, et luinc.etsem-per. et in SEe-cu-!a SEe - cii-lo-rum. A ■ MEN, 96. !q ":|: '^J^E^^^^:^. =^-^^ Me-me'n-to D6-mi-ne Da-vid: et o-mnis man-su-e-tu - di-nis e -jus. Eighth Mode. Final, So/ ; Dominant, Do''; Compass, Re to Re\- Prin cipal Chord, Mi-So/-Do\ GREGORIAN CHANT. Character of the Mode, JUBILANT. 47 97. Al- le lu - ia. ♦ — ■— ■ — ■■■n "jl-" — I — 4- ^4 t» .gq ♦ ■-■'♦^^ ^^jp .^. Con - fi - t6 - mi - ni Do -1^ ♦^- ■ mi -no, qu6 - ni-am bo - nus : — =!■ -^- ■q: qu6 - ni-am in sse. - cu-lum mi - se - ri - cor - di - a e jus. 98. wBaz t --t :p: ■q- G16 - ri - a Pa - tri, et Fi - li - o, et Spi - ri - tu - i San-cto. ■ — ■—■—■-—■■ — ■--■■ — ■-(-■ ■ — ■—■—■-I- Sic -Lit e - rat in prin-ci -pi - o, et nunc, et sem-per, et in S£e-cu-la sae - cu - 1(5 - rum. A-men, 99. ^^^:^^ ■ ^ ii Lau- da - te Do - mi-num, o-mnesgen-tes. Lau-da - te e - um, o-mnes p6 - pu- li. I CHAPTER X. ON THE SIX TRANSPOSED MODES. The six Transposed Modes are the Ninth, Tenth, Eleventh, Twelfth, 'hirteenth, and Fourteenth. In the following diagram these modes are com- ared side by side with the modes which are used in their stead. It will be sen that the Fa of the original mode becomes Ta in the transposed mode, 'he uneven numbers are the Authentic, and the even the Plagal, modes, 'he Finals and Dominants are printed in larger letters. I 48 gth. la' -sol' -fa' Mi' -re'- -do' -ti La ISt. re' do' ta La sol fa mi Re loth. 2d. mi' re' Do' ti- La- sol- GREGORIAN CHANT, nth. 3d. 12th. 4th. —mi' ti' la' kol' -fa' mi' re' do' ti -re' -do'- ta la sol fa- mi i-fa' Mi' re' do' Ti ta -La sol- fa Mi 13th. do" -ti' la' -Sol' fa' mi' re' Do'"^ Ua 5th. fa' mi' re' -Do' ta la sol Fa -fa- mi sol fa- -re-i -do- ta, 14th. sol' fa' Mi' re' Do' ti- la sol 6th. do'- ta- La- sol- Fa- mi re do —la sol -Fa -mi -Re do — ta, -la, The following are specimens of the transposed modes. It will be nc ticed that <'?// the ffs are flat tedT' ~^ ^~~~~~ Ninth Mode, Transposed to First. Gau - de - a - mus o - mnes in R :U ^ mi -no, di - em fe-stum :^5:^: d- ce - le - bran - tes sub ho - no A y ^. m- -— ■— B^-a — ■— « ■— ♦■ — I — _"'^"nr re be - a - tae Ma - ri -ad de cu - jus As-sum-pti-(') So - le-mni id li - um De Tenth ^■■y— ♦— «r"-«q^ Fi - ne - te 0- ■■■- ■■?**5^ o-au-dent an ge - li, I — Vi'r -gi-nis : li, et col-lau - dant lode, Not Transposed. I ^,~^_- ♦^ .-[§i:!^.^:i^it3."'dH: ♦;^-,3-.,-t.j^^^^ Do - mi-ne re-fu 2:i-um fa ctus es bis GREGORIAN CHANT. 49 a ge-ne-ra - ti - 6 - - ne et pro - ge - ni - e. y. Pri - us-quam mon-tes fi - e-rent, aut for- ma - re - tur ter - ra et or - bis : a s^ - cu - lo, et us - que in see - cu-lum ^-« — ■ —m^^^ — ■■■-■ — ^ tu es De - us. Twelfth Mode, Transposed to Fourth. 102. S^ZZ ■— ■■■--■^♦■'— Fin"— i^-ii"*^-— "iB— j"-^--" — ■■•♦♦■-i, — "3^ ■ — ■ ■ — "" 1 -^"-h-^ — '■"^'■— ■■'-■■-fr ■-^ — «,- ■-- Al - le - III - ia, al - le' - lu - ia. f. E - mi't - te Spi - ri-tumtu - um, et ere - a - bun - tur : et re-no-va-bis fa - ci-em ter - ra;. [Thirteenth Mode, Transposed to Fifth. 103. Al - le - lu - ia. al - le - - lu - ia. Fac nos in - no-cu-am, Jo - seph,de-cur - re -re vi - tarn : sit - que tu - o 1^_ sem - per tu - ta pa - tro - ci - ni - o. Al - le lu - ia. I so 104 GREGORIAN CHANT. Fourteenth Mode, Transposed to Sixth. ^ ■ — r ■ ■■ ■^ ■ I ■ I ■— "n**! ^-^tj- Pa nem coe li de - dit e - is : pa - nem An - ge - 16 ^t; rum man-du - ca - vit ho z= f-" ijj CHAPTER XL ON PSALMODY. To secure a proper method of chanting the Psalms ( Psahnody ) is one of the greatest difficulties of the choirmaster. Each of the Eight Modes has its own Psalm-tone, and each Psalm-tone requires a different division of. the words. The verses of the Psalms consist of two parts separated by an asterisk. A Psalm-tone consists of five parts : ( i ) the Intonation, which consists of two or three notes leading up to ( 2 ) the First Re citing-note, which is fol- lowed by a melodic phrase called (3) the Mediation, and (4) the Second Reciting-note, which is followed by ( 5 ) the Termination, or Ending. In fitting the words of the Psalm-verse to the Psalm-tone, the words terminating at the asterisk belong to the Intonation, First Reciting-note, and Mediation ; and the words following the asterisk, to the Second Reciting- note and the Termination. If all the Psalm-tones were made on the same model, and all the verses of the Psalms had the same accentuation of the words assigned to the Mediation and Termination, our task would be easy ; but, unfortunately, such is not the case. The examples on page 5 i exhibit the Eight Psalm-tones with one termination to each. The Intonation is used for the first verse only of the Psalm, and for every verse of the Magnificat and Benedictus. From this example it will be seen that we must have, for the Mediation, one pointing for the Second, Fifth and Eighth Tone ; another for the Third, Fourth and Seventh ; one for the First and one for the Sixth ; making in all four different pointings. For the Termination, three different pointings are given here, and for the last ending of the P^ourth Tone another is required. GREGORIAN CHANT. 5* Intonation, ist Recit.-note. Mediation. 2d Recit.-note. Termination. St. ^ :^ Con- fi - Id. d. Con - fi- Con-fi - ^th. th. Con-fi Con - fi th. ■^ ■ Con - fi th. -$i-« ■■: Con -fi 1th. I ?^^if Con - fi tebor tibi, D6mine, in to-l to cor-de me - o tebor tibi, Domine, in toto corde tebor tibi, Domine, in toto te-bor tibi, Domine, in toto tebor tibi, Domine, in toto corde tebor tibi, Domine, in toto cor - tebor tibi, Domine, in toto tebor tibi, Domine. in toto corde cor - de me - o: '-^' cor-de me - o ; de me - o cor - de me - o : in consi'lio justorum et congre - in consiUo justorum et congrega - in consiHo justorum et congrega - in consilio et justorum et con in consilio justorum et congre - in consilio justorum et congre in consilio justorum et congre - in consilio justorum et congre - ^^¥ ga- ti- 6 - ne. ti- o - ne. ti - o - ne. gre-ga-ti-o-ne. 2.a - ti - o-ne. ^- ga - ti - o- ne. d: sra-ti - o-ne. ^^^ ga - ti - o - ne. 52 GREGORIAN CHANT. I As it is absolutely necessary that the choir be provided with a pointecJ edition of the Psalms, separate from the Vesperale or Antiphonarium, we will not enter into any discussion of the various nictJiods which have been put forth from time to time. Whatever method is adopted, it will be explained in the Preface of the work in question In teaching the chanting of the Psalms, the teacher should hrst read the Psalm through word by word ; the class immediately repeating each | word after him, taking care that all pronounce the word together, thus: — \ €on-fi-te-bor : con-fi-te-bor ; ti-bi : ti-bi ; D6-ini-iic : Do-mi-ne ; etc. : After this the teacher should read two or three words at a time, the; class repeating thus : — cojifitebor tibi Domine : confitebor tibi Domine ; in toto : ■ in toto; cort/e nieo : corde meo ; in con-si-li-o ju-sto-ruin : in con-si-li-o ju-sto- rum; et con-gre-ga-ti-6-ne: et con-gre-ga-ti-o-ne. . The whole Psalm should then be sung upon one sound, for instance, G or A, takhig care that every word is pronounced correctly, distinctly, and slowly. After this it may be sung to one of the easier tones (Eighth Tone, ist ending; or Sixth Tone). In chanting the Psalms the same rate of speed should be maintained throughout each verse : that is to say, the very common error of singing the mediations and terminations slowly, and the recited parts quickly, should be avoided. There are two ways of singing the Gregorian Psalm-tones, the Festival and the Ferial. The Festival is used on Doubles and Semi-doubles, and the Ferial on Simples and Ferias. As the ordinary choir has generally to sing on Sundays and Holydays, besides Holy week and at Funerals, the following rules are given for ordi- nary use : — The Festival Tone is used on all Sundays and Holydays throughout the year ; at the Office of the Tenebrae and at the Office of the Dead ( Ma- tins, Lauds and Vespers ) on All Souls' day, and at funerals when the body \ is present ; also on the third, seventh and thirtieth day, and the anniversary. The Ferial Tone is used for Compline ; for the Psalm Deus in adjutorium after the Litany of the Saints ; and a few other occasions of minor importance. The following are the Eight Tones, Festival and Ferial, with their endings. FIRST TONE; Festival. Int. 1st ending". p , ., ^^-■i2B- ■— ■■_i«r[E["iiiz:i-:-B":-B_- T! Pri-mus tonus sic incipitur et sic me - di - a - tur et sic fi - ni - tur. GREGORIAN CHANT. .. 2d ending. 3d ending. 4th ending. 5th ending. ; sic fi - ni - tur. sic fi - ni - tur. sic ft - ni - tur. sic fi - ni - tur. The following endings are also found in the Solesmes editions : sic fi- ni - tur. sic h -ni'-tur. FIRST TONE : Ferial. ±t=r, "11 ', ^ * ' * ■ *~T| The endings are the same as the Festival. Primus Tonus etc. me- di - a - tur. In the Ferial tone the Intonation is omitted. This rule applies to all the Tones. As there is only one word in the first part of the first \-erse of the Magnificat, it is sung as follows : — L Mag-ni - fi-cat anima me - a Do - mi-num, (The Intonation is used for every verse of the Magnificat and Benedic- tus.) Et ex - ul - ta - vit spi - ri - tus me - us. Et e - re - xit Th^Second Tone has only one ending : 4? B-V -F« -♦"-« — ■ — ♦ — ■ — ■ — ■— ff- :M= tzzzzzirij'jj Di - xit Do - mi -nus. Do -mi -no me - o: Se -de a dex-tris me - is. When the first part of the Psalm-verse ends with a monosyllable or a Hebrew proper name, the last note of the mediation is omitted. zzzz— ■— ]: Per diem sol non uret te. Adjiciat Dominus super vos. Qucjniam elegit Dominus Si - on. Ecce audivimus earn in Ephra - ta. This is known as the risiui; i)i flection. ^4 GREGORIAN CHANT. The Ferial of the Second Tone is the same as the Festival, excepting that the intonation is omitted. The Solemn Intonation for the Canticles, Magnificat and Benedictus : -S§iz=iziqii=z:FFii^i==,,,==i:==j -^— ■■— ^ [t "— ■— B— ♦-«-jj Ma-s'ii-ficat anima me- a D6-mi-num, et exultd - vit spf - ri - tus me - us. Be -nedictus D6mi-nus, De - us I - srael. The second part of the verse is sung like the ordinary Psalm. The Third Tone has four endings : 1st ending. r"j±irJz:ztqZ_ ^-j— — ■■-_— tt^ z :-:— --z:r5--tz=""r1j Di - xit 1)6 - mi - nus, Do - mi - no me - o : Se - de a dex - tris me - is, 2d ending. 3d ending. 4th ending. dex - tris me - is. dex - tris me - is. dex - tris me - is. Omit the Intonation for the Ferial Tone. fl Ma-gni - fi - cat a - ni -ma me - a 1)6 - mi-num, et exultavit spf - ri-tus me - us. The Fourth Tone has three endings : 1st ending. Lau-da Je - ru - sa-lem Do - mi-num: Lau- da De - um tu - um, Si - on. 2d ending. 3d ending. tu-um, Si - on. tu - um, Si - on. GREGORIAN CHANT. 55 The rule for monosyllables and Hebrew proper names, given under the heading of the Second Tone, applies to this tone also. 5=? azp Gloridse enim magnifi - ca - tus est. Ascend^runt p6puli et i - ra - ti sunt. Convertere Ddmine us - que quo. voluntate tu - a Si -on. Omit the Intonation for the Ferial Tone. -»-ffii — ♦- ■ — B «-* - aM^^^H^^a— ,»-■—■-■-,— ♦ -■-^— «-41 Ma - gni - fi -cat a - ni - ma me - a D6-mi-num, et ex - ul- ta-vit spi -ri-tus me - us. The Fifth Tone has one ending : S"^:=:1 — ■— ■ — ;r=^l,="ii:--:i;z:ii3ff«— ■ — a-za — a__-:i::iT| Lau-da - te pii - e - ri D6 - mi-num.Lau -da - te no - men Do - mi-ni. The rule for monosyllables and Hebrew proper names, given under the heading of the Second Tone, applies to this tone also. Omit the Intonation for the Ferial Tone. The Magnificat is sung thus : Ma-gni - fi - cat a - ni -ma me - a Do - mi-num,et ex - ul - ta - vit spf - ri-tus me-us. The Sixth Tone has one ending: :Ffi=:iri=-i__._..fl Sex- tus tonus sic incipitur, et sic me-di - a - tur, at -que sic fi - nf-tur. Omit the intonation for the Ferial Tone. The intonation of the Magnificat is the same as that of the First Tone ; but in some editions it is given as below : — — -^^^ ' j-M \^ ■■ ♦ ^ ^ — m^^ Ma- gni- fi - cat anima me - a Do - mi-num, et ex - ul - ta - vit. 56 GREGORIAN CHANT. The Seventh Tone has five endinos 1st ending. 2d ending. Di-xit D(5minus,D6-mi-no me - o : Sede a dex-tris me - is. Sede a dex-tris me-is. 3d ending. 4th ending. 5th ending. Sede a dex-tris me - is. Sede a dex-tris me- is. Sede a dex - tris me - is. The Ferial Tone is as follows : 3 :'^i:j Eripe me Domine ab ho - mi- ne ma - lo. The intonations for the Magnificat are two, as follows : Festal. ^^^-'- — hr* 1 * ■— ♦ ■■-h^f- -* -■ ■='^^ Ma -gni'-ficat anima me - a Do - mi-num, et ex - ultavit spi - ri-tus me - us. Solemn. Ma - gni'-ficat anima me- a Do -mi-num, et ex - ul - ta - vit, ( etc.) The Eighth Tone has two endings : I St ending. 2d ending. Di -xit D6-mi-nus, Domino me - o ; Sede a dex-tris me- is. Sede a dex-tris me -is. Omit the intonation for the Ferial Tone. The intonation for the Magnificat is the same as for the Second Tone, which see. The Perigrine Tone is used for the " In exitu Israel," in the Common Sunday Vespers, when the antiphon is " Nos qui vivimus." In exitu I - sra- el de ^-gyp - to, Domus Jacob de p6-pu - lo bar-ba - ro. This is sometimes called the " Irregular Tone," because it has a different reciting-note for each part. GREGORIAN CHANT. 57 CHAPTER XII. ON THE RENDITION OF CHANT. As the notes oi Chant have no definite vakie of their own, but are tirely dependent upon the words, it may be supposed that we will give a proper rendition of Chant if we sing the notes with proper regard for the accent and quantity of the syllables to which they are set, and understand and give proper expression to the words of the piece. Such will be the case in pieces which have but one note to a syllable ; but, as we have seen, there are many pieces in which the syllables are set to groups of notes. These note- groups are called pueuvics (anglicised into ;/^//;^;zj-), though this name would seem to belong more properly to the assemblage of note-groups sung on one brcatJi. These various ncmns were represented in the old Mss. by various fanciful signs, instead of the notes now in use. A few such signs are still retained in modern music : thus we have the tuni^ the trill, the mordent ; and students of Bach and the other old masters will recall several others. There is ample evidence to show that the meaning of these neums was exceedingly obscure: thus, ihe podatus (a lower followed by a higher note), and the clivis ( a higher followed by a lower note ), might mean an)' interval from a semitone to a perfect fifth. The same uncertainty existed with regard to the other neums ; for it must be remembered that for several hundreds of years these neums were not looked upon as being composed of separate definite sounds, but were regarded as twists or inflections of the voice, and their interpretation depended a good deal upon the singer. In these old times there were very few books of chant, and as these few were exceedingly valuable the singers did not use them, but learned their chant by ear. One book stood in the middle of the choir for the use of the director, who most probably regarded the figures of the neums as pictures of the various portions of the melody, and reproduced the forms of these pictures before the singers with his hands in much the same way as a modern conductor beats the figures representing the various time-signatures, thus helping the singers to remember the various chants. There is very little doubt that with each succeeding generation of singers sHght changes crept in. It is only upon this supposition that we can account for the many variations 58 GREGORIAN CHANT. of the chant which are found in various countries and which, for want of better name, may be called Chant Dialects. Guido d'Arezzo was the first tc< discover that these neums were not merely twists or inflections of the voice ' but could be resolved into several separate sounds. He invented ( i. e., com-, pleted ) the staff, and so made it possible to learn Chant in three months, a;; task which before his time required from seven to ten years. Of course, his- interpretation of the neums was in accordance with the particular dialect o\ chant which he had learned by ear in his youth. As an example of the variations which thus crept into the chant, we give the tune of the hymm " Pange Lingua" as it appears in the four chant books best known in this country, namely, the Montreal, the Ratisbon, the Solesmes, and the Mechlin-. Two of these, the Montreal and the Ratisbon, give the melody in the First mode, and the other two place it in the Third. In these examples we see not only four totally different interpretations of the neums, but also two dif- ferent readings of the intervals of the tune. Montreal. 4? Ratisbon. --^: Mechlin. ??=-: Solesmes. "1: ii q: _!-■ Pan - ge lin - gua glo - ri - 6 - si cor - po - ris my - ste - ri - um, ^-i~---^5— -=i-^^- ■ ■ - -^.^^ — ^- _- — x^ — ■ — _ _ — _ — — n ^^ J — \—^ — *^^— 1 — ^ ■ — ._■ — ! — y — ^a — — fl 1 1 , 1^^ ' A ' • ^ ' ^ ■ -i^^ ■" -^ _i^ 1 ^— li ■ ■ ^ ■ ■ ■ ■ ♦ a— ■ ■ - ■,■!!. gui - ni - sque pre - ti - 6 - si, quern in mun - di pr6 - ti um, GREGORIAN CHANT. 59 fruc - tus ven - tris ge - ne - ro - si Rex ef - fii - dit gen - ti -um. This is one of the best -known melodies in chant, and yet notice the dif- ference between the first two and the second two variations. In the first and second examples set in the First mode, the melodies are nearly alike as long as the words have a note to a syllable ; but when the neums are employed, how different are the ideas of the editors as to what the neums really mean and how they are to be set to the words. In the second two variations, the melody is a whole tone higher, being set in the Third vcvode, and the variations, •both in the melody and in the use of the neums, are even greater than in the first two. This is not a solitary example. We can find hundreds of others. The following are the forms of the neums with their names and approxi- mate rendition in modern notes. Podatus. ±Kti=td1 — I- d— * -\ ■^^ fast - er, de - lay, o - bey, o - bey. Clivis. :fii 7--^ r H^ -^ s -^ -p- --^fl -j\z. d IS IS ^ -J V rm ^ J J J • ^ IW ^ • • ^—^- L^- •~Tl fast - er, de - lay,great-er,great-er. Porrectus. ::^=tii:^=t V-T^-'^ 1= ^-^ -N-J :nA ^^^ ■^~:^ Ky - ri - e, mer - ci- f ul, pu - ri- fy. 6o GREGORIAN CHANT. Torculus. 54 ■-h- ^i=^:£t:5 t: :t ■^-=i: di -vine- ly, a-cute -ly, se-rene- ly, se-rene-ly. Scandicus. fcrJ^f-^:^" Climacus. '♦-i-B^- t1^*- =E£=E^^ $:jj sem -i-tone, vo - cal-ly, 'mon-o-tone, ter - ri-ble. ^-^ 4 ^-^h --4S i^zr^W for - ci-ble, vo - cal-ly, fol-low-ing,fear-ful-ly. Neums Formed by the Union of Two of the Above: . The words under the modern notes give an approximate idea of the wa); in which each group should be sung. Sing the English word, and ther vocalize the neum to the syllable to which it is set. Porrectus flexus. Torculus resupinus. -N — N \ -\ — I ^ i^* — ^ ob - ser - va - tion, re - cre-a - tion. '■^'^ 1^|-H- :Jt^^,d -t :t,*_ J in - ten si - fy, Je - ru sa -lem. Scandicus flexus. szzmlzzp. -> ¥ i-firtit^cji Climacus resupinus. fc-fe"-? — ^iE-^ -iR #?^^ ttd R:=^P I'^t^. pe-ri-me - tral. pen - i - ten - tial. -■dS-H^-H— ^=^^1=-:^ •-^z ri - a-ble, us - u - al - ly. GREGORIAN CHANT. 6t CHAPTER XIII. ON THE ACCENTUATION OF THE NEUMS. It is very probable that the origm of these neums may be traced to the habits of some singers who, not content with singing what is written, inter- ject other sounds which do not belong to the piece, but which, by constant repetition, gradually become incorporated into it. This was, of course, much more likely to happen when musical notation was extreniely _Qbacure and singing by ear was the rule, than it would be now ; but even now numberless instances could be quoted where changes in the original comjDOsition intro- duced by singers have become the accepted \'ersion. To illustrate this growth of the neums we give a so-called plain-chant, Tantum ergo, from the Solesmes Liber usualis, and the original tune as written by Samuel Webbe : ^. mrd. :ti: r=.==p i-tii^ tt=zrt=tzzif:i:b[:iz:^ :t= Pl^ ^ =q=:-Tzri- p: ■-d. ~Pi ■HPZt -H — a 62 GREGORIAN CHANT. The derivation and growth of the neum are here very plainly seen. We also see the development of the neum in the Solemn chant for the Preface, as contrasted with the Ferial chant : Ferial. A- :1: :Pi :t1: Ve - re di - gnum et ju - stum est ae - quam et sa - lu - ta - re, etc. ■^ Solemn. H \- ^-My-^ ^zzy Per Chri - stum D6 - mi-num no-strum. ^ HH^ — ■ And in the Ferial, Festal, and Solemn Psalm-tones : f: -"=1- ji^E^:^^^^ 5 ]zziizn: !■**■ ■-■■ :q=i:zq:=. ni^5=..=5=^ -■_■_ 1: -A-- ■«^^5^^ jizion iif Tz5r :1 Mi - se - re-re me - i, De-us, secundum magnam miseric6r - di-am tu- am. It is quite evident from these examples that the neums were considered^ as ornamental forms, or turns upon one note, which were supposed to give greater solemnity to the chant. We have many proofs of this. There are the solemn and the simple Te Deum, one with the neums more developed than the other ; and the Ferial, Semi-double and Solemn Ordinaries of the Mass are distinguished from one another by the number and extent of the neums. It is sometimes taught that the first note of every neum should be the accented note, and that the various notes of the neums should be as long as any other notes of the piece. Both these ideas are erroneous. As GREGORIAN CHANT. 63 we have seen, the neums, being but developments of single notes, should take up very little more time than the notes they represent ; for in each neum there is generally one note which is salient in that neum because of its position in tJie scale of the mode. There is also an old rule, " Plures chordae dum una nota propertur"; as it is clearly impossible to sing two or three notes as "one note," the meaning of this rule must be, to singjthe sounds, of each neum as nearly as possible in thejV';;// it takes to sing one no te. The idea that the neums must be accented on the. first note only is absurd, because this rule would make the sJiapes of the groups govern the accentua- lion of the melody, rather than the musical value of the sounds of which the melody is made up. We need only examine the Tantum ergo quoted in this chapter. If wc accent the first note of each neum, we make ni>u^fa/se musical accents. In the example of the Psalm Miserere ( Solemn Chant ), the accent should fall on the note re on the third syllable of the first word, and not on do, the first note of the neum ; in niei the accent is ow fa, the last note of the neum, because it is evident that/iz is the principal note. It does not matter which view we take of the melodies of this chant. Whether we consider \.\\& ferial as a simplification of the solemn, or the solemn an amplification of the ferial, the rule holds good in either case. In a syllabic chant (a note to each syllable ) the accentuation of the notes is governed entirely by the accentuation of the words. In a chant in which neums occur, the accentuation is governed by the accent of the words and also by the musical accent of the mode. We have seen in Chapter IX, on Ithe Characteristics of the Modes, how each sound of the scale has certain tende}icies depending upon whether it be in the minor or major mode. Each of the Gregorian modes is constructed upon similar principles, some of its sounds being sounds of rest, and others sounds of progression ; and it is the proper observance of the tendencies of the various sounds that consti- tutes nutsical accent. A neum placed on an accented syllable will, as a whole, receive a greater force of accent than one placed on an unaccented syllable : I — "-H- ^--j— ^a— ■ — "^ [ ■ ■ ^ ■-■-■-ji- Kx - ul - tet or - bis gau-di - is Coe-lum re - sul - tet lau - di-bus. 64 GREGORIAN CHANT. 4^ — J — I 1 — 'm-\-m-\~ 1 F m^m—u — ■ — \] a - pos-to - l6-rum g\6 -ri - am tel - lus et a - stra con - ci -nimt. In the word Exult et the neum on /// will take a heavy accent, because the accent of the word and the musical accent coincide. The same rule applies to the hrst s)'llable of orhis, Idudibus, telliis, dstni and concinant; and to the second syllable of resultet and the fourth of apostolSnim. The remaining neums are sung lightly ; a slight accent only being given to the salient notes of the mode. Of these we will now speak more in detail. On analyzing the chord formed by the sounds d-vi-s, we find that the sounds d-m form a major third, and the sounds in-s a minor third. There are two other major thirds in the scale :/-/ and J*--/*. As a major third is always made up of tivo zvhole tones superposed, it follows that these three major thirds d-m, /"-/and s-t are alike in construction ; consequently, if either the third /-/ or s-t govern the melody for the time being, it is treated actual!)- as if it were a d-ni chord. This fact is taken advantage of in modern music in making new keys ; the/-/ and the .v-/ thirds becoming the d-ni or tonic third of the subdominant and dominant keys respectively. With the minor chords the case is different. A minor third is always made uj) of a tone and a semitone. In some thirds the semitone is the upper member and in others it is the lower. The model minor third is l-d, because it is the minor third of the minor iomc chord of the minor mode. The third r-f is built in the same manner, of a tone with a semitone above it. The other minor thirds, m-s and /-/', are built with the semitone as the lower mem- ber, and they are really only ct)mplementary thirds; their office being that of upper minor third to a major chord. These complementary minor thirds always have a /i^?///;/^ semitone ; the others have a rising semitone. In a musical passage whose compass is a third, the first and third will have preference for accent in ascending pas- sages ; thus d r m — d r m; mfs — m f s; and not d r m, mf s, etc. The middle note will have preference for accent in descending jmssages ■m r d, s f m, etc. In a melody whose compass is a fifth, the fifth may be considered as an enlarged third ; the middle note having preference for accent in descending, and the first and fifth in ascending passages. Passages of a fourth are GREGORIAN CHANT. 65 treated in chant as a third with an extra note either above or below ; thus : s I d\ d r f, r m s, mf I, are thirds with an extra note helozu, while /, d r, /, r m, m s I, are thirds with an extra note above. We have seen already how an extra note is allowed for, both above and below the scale of the mode. We now see that we may have an extra note above and below a third. We may have an extra note also above and below a fifth. These extra notes always have a preference for accent. These rules are illustrated below. Thirds. ^ =— ■=P =1zzti :t=:-=Jt:t=-: -■H-i :Pi zizz:H=zy: ^^ 5th with extra note ZJj below and above. Ky - ri - e le-i-son. gau-de- a - mus. I 4th ■■""■" =F. ■T :f t ^^. 4th. nzrzrj: ■— d 4th. 3d. 5th. 3d. 4th. ^=^~t -fl rH 3cl. 66 GREGORIAN CHANT. It must be borne in mind that these rules of accentuation are the laws of musical truth. Musicians compose their melodies and observe these rules, consciously or unconsciously, and make the meaning of what they write apparent, to us who sing, by the position of the bars, which in modern music mark the accent. In Gregorian Chant our position is very much the same as if we had to discover the accentuation of a piece of modern music which had neither bars nor any other means of finding the accent; but in this case the work would be comparatively easy, because we should only have to count the notes off in twos or threes; whereas in Chant, which has no time- rhythm, we must; as we have seen, find the accentuation of each individual phrase. We will now study the accentuation of each Mode in detail. CHAPTER XIV. The Accentuation of the Modes. THE FIRST MODE. - The compass of the First Mode is from re to r^'; extra notes, do below, mi above, and ta. The principal notes are re, fa, la and ?r'. The melodies are found in the fifth re-la, built up of the minor third re-fa ( rising semi- tone ) and the major third fa-la; and in the fifth fa-do\ built up of the major third /^-/rt and the minor third la-do^ with the falling semitone ta. When ti is not flat, it is a rising semitone in the minor third ti-re^ of the major chord s t r'. 105. 1 A -H>-||l Ro ra XA '-W-'- te de XA per ^ 1^ ^1 XA I A A A :^i::ifi-; :^:-i t et bes plu - ant ju stum pe - n GREGORIAN CHANT. 6r XA 4 4^: A4 -H — AX A 1 tur ter et ger - mi - net sal va - to rem. Re' The essential notes of the piece which may be considered as the DoU fundamental notes of the 'neums are marked A. The word Rorate Ti T ^-^^ shows the lower fifth with the two extra notes do and ta. 'Gsli I "La desiiper, are included in the major chord sol-ti-irK Et nitbes Sol pluant jHStiim, are in the major chord f-l-d\ which, having the ti — Fa flatted, is exactly like the chord do-vii-sol. The influence of Mi this chord continues as far as the first note of term. The remain- — Re der of the piece, commencing with \.\\e first note of terra, is in the do ' minor chord re -fa- /a, with the extra note do. Notice also the treatment of the groups made up of fourths. Th£ notes marked x are accented as musical 2iCce.n\.s, because they are all /<2://£/^ notes, and this ten- dency must be brought out rather prominently. THE SECOND MODE. — La The compass of the Second Mode is from /«, to la; being derived Sol from the first tone, its Final is re. Its principal chord is re -fa-la. — Fa^ The melodies within this compass are treated exactly like the melo- Mi dies of the corresponding compass in the first mode. The lower — Re I fourth is generally used thus : /<■?, do re-re do la^, a minor third with j)o an extra note. The extra notes sol^ ( below the lowest note ) and ta Ti, ( above the highest ) are seldom used. In the following piece all the La, peculiarities of the mode are shown : 106. pen - ti J^ i-qi et ■? di xe q-zi runt, 63 GREGORIAN CHANT. 107. - -jK ■ — ■ q; t. -q^ Quid fa - ci - mus qui - a hie ho - mo I 3 3 1 14 I I 3 "ijszz^izzi: , — __ — a—- — P H^ — * H« — ■■ WT — Mj a« I— *■ — I , ■- ^H- ■5 ii: mul - ta si - gna fa - cit? si di - mi't - ti - mus e - um, sic ' l2«"^ 1 1 4 1 3 Jm'4 ■■ — ■«- — 1 ■- — ■■i-. -- 4^4 mnes ere - dent in um :±l'-: ■^ jf et -■■h*« ent Ro ma :^ et :1" tol ' 3 I 14 ! ! 4 ^1 lent no - strum lo cum et gen tem. On the words " Collegerunt pontifices " we have all the lower notes of the Second Mode. Notice what an important part the fourths play in this mode: l\ d r, rfs, l^t^dr, drf, d m f, f I ta. THE THIRD MODE. Mi' Re' Do' The compass of the Third Mode is from mi to w/'. Its Domi- nant is day Its principal notes are nii-sol-do\ an inversion of the j: j major chord ; built up of the minor third i)ii-soI with the fallijig J semitone, and of Xh the second inversion of the Q}c\oxdi oi fa- la- do. Ti is ~ nearly always flatted. The phrases of the mode are found in the lower fourth do -re -fa, the 'h{X\\ fa - la - do\ and the fourth fa- Sol Fai ta. Mi ! _^ Re 110-1 3 ~i r _5 ] I 3 1 ! r " ! 5 Do ^ i-S a^a — «-^F« J^^;i=ii=Jc3z==_-t^-.zzirg-_rz;£T|^?jr.-".-^::|: Di - cit Do - mi - nus, e - go c6 - gi -to co - gi - ta - I I 5 ^ zil=±1iz^^tl»iKriiihi»iz:,^=iz^^.»:zr«i^»"Mi«=i ti-iz^ — ?z^i"z="r^ I"""— ^ j Jz ti - 6 - nes Pa - cis et non af - flic - ti - 6 - nis — 1 — *■—■—* — ■ — ■— J-l r^ — I — ■-}-■ — ■— ^— I- in - vo - ca - bi - tis me, et e - go ex - au -di - am vos et re - du 4 lis I 5 I -t-H 1 fl ■ 1 r. cam cap-ti - vi - ta - tern ve - stram de cunc-tis lo - cis. THE SEVENTH MODE. Sol' The comjjass of the Seventh Mode is from sol to sol^; its principal — Fa', chord is sol -ti - ye^-fa\ known in modern music as the chord of the "^^ Dominant Seventh. Its principal phrases are contained in the fifth — Re' I sol-7-e\ in the fourth do^-fa\ and in the fourth ir^-soP. Do'r — Ti ' La I I 1 1 1 . 5 I ! 4 I 4 ^ O - cu - li 6 - mni -um in te spe - rant, D6 - mi - 72 GREGORIAN CHANT. :--i— :j: ne : et tu das il - lis e - scam in te'ni - I 4 I I ,4 II 4 L 4 KL-=z;iP^i=ii=i-j=:ii"qii=izr— 1=^[^ :1 po - re op - por - tii - no. ^^- y. A - pe - ris tu ma - num tu - am : et im - pies o - ume a - ni - mal be - ne - di - cti - 6 THE EIGHTH MODE. Re' I The compass of the Eighth Mode is from re to ;r'. Being Do' derived from the Seventh Mode, its Final is so/. Its principal '^^ ' phrases are contained in the fourth re -sol, in the third fa- la, in I-a I the fourth sol - do\ and in the fourth la-rc\ SoK Fa Mi- J^ Re __ 1 12. 1 1 — fl — \ -I" ■ — O - mnes gen - tes quas-ciim-que fe - ci - sti, ve - ni - ent, - i I 4 i ^^^'•z'TV^E'l^-^^- - et a - do - ra-bunt co -ram te, 13(3- mi - ne, et glo-ri - fi - ca - bunt ^ I 4, \) : i'l -^^-^:^ii'^^^E^i^^^i. \i no-men tu - um ; qu6 -ni - am ma- gnus es tu, et fa -ci- ens mi - GREGORIAN CHANT. 73 ^^=i^=^^'^^^i^^-^^^^E^=^i ra - bi - li - a : tu es De - us so - lus, al - le - lu CHAPTER XV. The Notation of the Vatican Edition of the Liturgical Chant Book. In the Motu Proprio of November, 1903, His Holiness Pope Pius X ordered the restoration of the Gregorian Chant to its legitimate place in the services of the Church ; and in furtherance of this object he directed that a typical edition of the Liturgical Chant Books be issued from the Vatican press. The "Kyriale," that portion of the " Graduale '' containing the Ordinary of the Mass, is the only one which has, as yet, appeared. The Sacred Congregation of Rites has issued a decree, a copy of which will be found in the Kyriale, which " declares and ordains that the aforesaid edition be con- sidered by all persons as the Standard or Norm"; thus apparently super- seding all others. As there are several peculiarities in the notation used, a few words of explanation are necessary. It will be noticed that the Fa-clef is seldom used ; the small bars are placed at the top of the staff ; leger-lines are used instead of changing the clef ; and the ilat is formed differently from the mod- ern flat. All these peculiarities may be observed in the Gloria of Mass II. In the " Asperges me" [Page 1] we find over the first and last sylla- bles of the word asperges and in several other places a character built up of tw(j notes, one placed above the other. This is the form given to the poda- tiis, and the lower note is sung first. Over the second syllable of seciindiini and over in ( scecula ) the second note is made exceedingly small. This is the epiphonus, or liquescent form of tho. podatns. It is used when the sylla- ble ends with a consonant, or when a syllable ending with a vowel is followed by a syllable commencing with a vowel. In the " Vidi aquam " [Page 2] we find over the words templo-&Xi(\. pervenit a similiar character, but reversed; this is the ceplialicus or clivis liquescens, and over the third syllable of the last alleluia but one we find the torenlus liqueseens. The use of these liquescent neums is to enable us to pronounce the words properly ! The heavy oblique line with a note above it, to the right, is \.\\q poirectns. The obUque line stands 74 GREGORIAN CHANT. for two notes only, one at the beginning and the other at the end of the line; so that the first three examples over the words dextro and alleluia are d'^ s I, If s, and d^ / /, respectively. Over the last syllable of the first Kyrie in Mass I we find a podatus and a clmiacus; the double-note formed by the meeting of these two neums is called 2.p7-essus. Examples will also be found over the last syllable of the second and third Kyrie. Over the first syllable of templo, latere, aqua, and salve in the " Vidi aquam," we find a character formed of two notes close together bb, the bistropJia; and in the " Asperges" over the first syllable of Amen we find abb, the tristropJia. The single note before the bistropha over teniplo, latere, and salvi is called the apostropJia. In the Solesmes edition these notes appear as diamond notes of a somewhat modified form. In the "Asperges," over the first syllable oi Domine, we find a group of three notes, the second of which is denticulated at the top and bottom. This group is called the quilisma. There is another note which, however, is very seldom used ; it is called the oriscus, and its place is after a neum on the same degree as the last note of the neum. Examples will be found in Mass I, last note of {glorificamus) te, and in the " Benedictus '" of the same Mass over the second syllable of excelsis. Learned treatises explanatory of this notation have appeared from time to time, from which, up to date, we gather the following information. A. says : "All the notes have the same duration^ " All the notes have approximately the same duration." " A theme composed of equally long notes is conceivable. " B. says : "The different tones are to be sung equally long." "Much less can we favor the practice of giving all the notes exactly thej same duration." " In neumatic songs where the melody is quite independent of the text! there can be no objection to giving the notes the same length. But inj syllabic chants where the text still has great influence it will be well toJ yield somewhat to the present, though, perhaps, vitiated taste by discarding strict equality of tone-duration." "Though the tones are of equal duration,'' etc. C. says : "Though the notes have the same form, it must not be supposed that GREGORIAN CHANT. 75 ey have the same value. On the contrary, the value of the single notes is ;ry variable, and is determined by the length of the syllables to which they e joined." The very latest word is : " The notes are of the same length, the tones e not always of the same length." They all seem to agree, however, that the note with a steAi is not a iger or a louder ( accented ) note, but only a higher one. As the argu- snt is rather amusing, we quote it : " The acute accent of speech when ■itten as a musical note naturally assumes the form of an upward gesture the hand ; the grave accent, that of a downward gesture. The one sig- fies a raising of the voice, and the other a lowering thereof They ew a red line The punctum at once took its place upon the line above or below it ; its position was clear from the first. Not so with the rga; placed upon a line, its position w^as quite indefinite. In order to termine its position, they simply put a dot at the top of the bar ; the vir- ' and /';/;/c/'<:7 then appeared on the line as in the relation of higher and ver notes. The virga, therefore, is not long ; but it is a relatively high te." Now, in the first place, w^e do not write musical notes to represent eech. The essential difference between speech and song is that in song 2 sounds have a definite pitch, and in speech they have not. Secondly, as natter of fact a speaker naturally brings his hand dozvn when he wishes to iphasize a word. Thirdly, in oratory, to raise or to lower the voice does t necessarily mean to raise or lower the pitch in a musical sense ; but to eak louder or softer. To sum up : The vij-ga represents the acute accent speech ; the acute accent of speech is louder but not necessarily higher ; d as the acute accent of Latin ( the tonic accent ) is long in quantity, the -ga must represent a longer ( quantity ) and louder ( accent ) tone, — as has vays been taught in Plain-chant. The oriscHS, apostropJia, bistropJia, tristropha and quilisvia are characters lose meaning is absolutely unknown. They represented some trick of vocal- a, or ornamental group of some kind, which could be learned only from a ing teacher. At present we are told to sing the ' oricns and apostropJia e any other single note, the bistropha twice the length, and the tristropJia ■ee times the length of a single note ; and the first note of the quilisma is be somewhat lengthened and the second note shortened. INDEX Absolute Pitch Accentuation of Modes Accentuation of Neums Apostropha Authentic Mode Bars Bistropha Cephalicus Chant, Dialects of Rendition of Characteristics of Modes Chord of Dominant Seventh Major Minor Clefs Changes of Climacus Clivis Cords, Vocal Dialects of Chant Dominant Seventh-chord Epiphonus Final Flat Signature Growth of Neums Guide Inflection, Rising International Pitch Interval Intonation Irregular Tone Larynx Latin, Pronunciation of Exercises in Legato Leger-line Major Chord I Mathematical Pitch 66 Mediation 6i Melody 74 Minor Chord 36 Modes, Accentuation of . 10 Authentic 74 Characteristics of 73 Gregorian 58 Plagal 57 Table of First Eight 38 Transposed 46 Motu proprio 36 Natural 41 Neums, Definition of 7 Accentuation of 10, 23 Growth of 60 Notes, Definition of 59 Reciting 27 Shapes of 58 rise us 38 Perigrine Tone 46 Pitch 73 Plagal Mode 36 Pneumae 18 Podatus 22 Porrectus 62 Pressus 10 Pronunciation, Latin 53 Exercises in I Psalmody 3 Psalm tones. Ferial 50 Festal 56 Table of 27 Quilisma II Reciting-note 1-. 13 Registers of Voice 34 Relative Pitch 25 Rendition of Chant 36 Rising Inflection 76 INDEX 77 Scale Scandicus Semitone Signature, Flat Staccato Staff Steps in Choir-training, First Second Third Fourth Fifth 60 34 Table of First Eight Modes Transposed Modes. Termination Tone, Irregular Torculus Tritone Tristropha Vatican Edition Vocal Cords Voice, Registers of Voice-training Exercises PAGE 37 48 50 56 60 18 74 73 27 28 6, S, 17,27 3I' 32r 33