MT 860 B61 1904ABI COKN£LL UNIVERaxy LIBRARIES HHACA. N. Y. 14853 Music Libra I CORNELL UNIVERSITY LIBRARY 3 1924 062 544 1 62 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924062544162 Production Note Cornell University Library pro- duced this volume to replace the irreparably deteriorated original. It was scanned using Xerox soft- ware and equipment at 600 dots per inch resolution and com- pressed prior to storage using CCITT Group 4 compression. The digital data were used to create Cornell's replacement volume on paper that meets the ANSI Stand- ard Z39. 48-1984. The production of this volume was supported in part by the Commission on Pres- ervation and Access and the Xerox Corporation. Digital file copy- right by Cornell University Library 1991. CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE A Complete and Practical Method of the Solesmes Plain Chant From the German OF THE REV. P. SUITBERTUS BIRKLE, O.S.B. With the authorization of the authoir Adapted and Edited BT A. LEMAISTRE NEW YORK JOSEPH F. WAGNER SHiW 496|itat REMIGIUS LAFORT, S.T.L. ) Censor Lihrorum ^ SImpriniatuc + JOANNES M. FARLEY, D.D. Archiepiscopus Mew York, November 30, 1904 Copyright, 1904, by Joseph F. Wagner, New York CONTENTS. Page Preface 7 Introduction ii FIRST PART. THE ELEMENTS OF PLAIN CHANT. Chapter I.— NOTATION 13 1. Notes 13 2. The Staff 17 3. The Clefs 17 ^. Custos (Guide) .... 18 5. Accidentals ....... 18 Chapter II.— THE INTERVALS .... 19 1. Seconds ........ 19 2. Thirds 21 3. Fourths . . ..... 23 4. Fifths 24 The Singing of the Intervals: (a) Tone Formation ...... 25 (6) Vowels 26 (c) Consonants ....... 26 (d) Accent 27 Chapter III.— THE MODES 27 SECOND PART. THE MELODIES OF PLAIN CHANT. Plain Chant Melody . . . . . . .31 I. MUSICAL FORM IN GENERAL. Chapter I.— ELEMENTS CONSTITUTING THE MUSICAL FORM OF CHANT . 32 (fl) The Melodic Element 33 ti) The Rhythmic Element 33 (iT) The Dynamic Element 34 3 4 CONTENTS. Page Chapter 1.— ELEMENTS— Continued: 1. The Accent as a Melodic Element in Plain Chant 34 (a) The Tonic Accent .... 34. (6) The Logic Accent • • . • 35 (c) The Pathetic Accent .... 35 2. The Pauses as Form Building Elements of Plain Chant 37 Chapter II.— THE LAWS OF PLAIN CHANT FORMS 38 Practical Conclusions from the Observations made . 43 I. Accents ........ 43 3. Pauses 4& 3. Note Duration 47 II. APPLIED MUSICAL FORM. Practical Application of the Fundamental Laws . 50 A. SCHEMATIC CHANT. Types of Schematic Chant ..... 51 I. SCHEMATIC MELODIES. 1. THE LITURGICAL RECITATIVES . . 52 (a) The Epistle 52 (6) The Oration 54 (c) The Chapter 56 ((/) The Lessons ....... 57 (e) The Gospel 5^ (/) Preface and Pater Noster .... 61 {£■) Versicula 66 2. THE PSALMODY 68 Introductory Remarks ...... 65 (a) The Ordinary Psalm Chants ... 69 I. General Principles ..... 69 The Intonation 69 The Dominant, or Psalm, Tone . 70 The Final (Cadence) 71 Cadences with One Accent ... 71 Final with Double Accents • • • 73 CONTENTS. 5 Page THE PSALMODY— Continued: 2. The Different Psalm Tones ... 74 The First Tone 74 The Second Tone 77 The Third Tone 78 The Fourth Tone 8r The Fifth Tone 82 The Sixth Tone 83 The Seventh Tone 84 The Eighth Tone 87 The Tonus Peregrinus ..... 89 3. Rules Governing the Rendering of Psalm Chants ....... 90 (6) Some Examples of Richer Psalmody . . 93 II. SCHEMATIC, OR METRICAL, TEXTS. HYMNS Their History The Different Kinds of Hymns . (a) The Iambic Verse Metre (d) The Trochaic Verse Metre . (c) The Sapphic Verse Metre . (d) The Asclepiad Verse Metre The Elision 2. TROPES AND SEQUENCES 95 95 96 97 100 lOI 102 103 105 B. INDEPENDENT CHANTS. The Independent Chants 106 1. SIMPLE CHANTS 107 Practical Conclusions . . . . . .114 2. FLORID CHANTS 118 First Grade 118 Second Grade 128 Third Grade 131 3. VERY FLORID, or MELISMATIC, CHANTS. 136 APPENDIX 147 PREFACE. The end kept in view while compiling this " Method of Plain Chant '' was to put into the hands of clergymen, organists, and choirmasters a book of practical instructions on Plain Chant in as concise a form as consistent with clearness and completeness. The history of Plain Chant is omitted, as well as rubrical precepts which may be learned from the official liturgical books, as Missale, Vesperale, etc. On the other hand, we have striven to unveil the art anc beauty of Gregorian melodies, convinced that the love and employment of these venerable and magnificent Chants will only return with their proper comprehension. This endeavor may be traced in our treatment of the subject. We thought, for instance, that we could render no better service to Plain Chant than to place it upon the basis of the universal laws of art, and laws of musical art in particular. By pointing out the presence and dominion of the supreme laws of beauty and art in Gregorian melodies, they are proven to be art productions. The recognition of this fact will excite feeling and reverence — two things which are indispensable in the dignified and artistically correct rendering. Apart from its manner of treating the subject, this Method has nothing new to offer. It is based upon well-known Plain Chant hand-books by authorities such as Don PothieRj Kienle, TiNEL, Wagner, Haberl, etc. Particular assistance was rendered us in our work by a book which appeared a few years ago in Italy, " Mctodo compilato di Canto Gregoriano (Ravegnani) ," which, on ac- count of its practical arrangement, has found in Italy a wide circulation. We have taken from this work many of our practical examples. In deference to the best authorities upon the subject, we 7 8 A PRACTICAL METHOD OF PLAIN CHANT. have taken the so-called Solesmes school of Plain Chant for our aim and model, that particular Chant which in our days has been stamped as the genuine and official version by the express sanction and recommendation of our Holy Father, Pius X. With regard to the restoration of Plain Chant in our churches we may at this place be permitted to devote a few words to the establishment of Plain Chant Church Choirs. In the first place, we must not lose sight of the fact that the correct singing of Plain Chant is difficult, more difficult than the singing of ordinary figured music. It is, therefore, not subservient to the end to be obtained if clergymen would initiate the introduction of Plain Chant by summarily dismissing their salaried singers, where such had been previously engaged, and by entrusting the sing- ing of the Chant to volunteers, often ignorant of the art of singing, of music, and especially of Chant. The logical and unavoidable consequence will be, in such instances, that the ensuing performances get everybody concerned heartily disgusted, and indifference and ignorance will be responsible for another failure and defeat of Plain Chant. Great is the opposition, and powerful the prejudice, against Plain Chant. And, strange to say, much of the prejudice is due to the misdirected efforts of just the adherers to the stricter style of church music. In their enthusiasm they often attempted difficult music of the Palestrina style with a handful of untrained singers, pos- sibly even performed with them Masses a capella, a thing which even large bodies of well trained singers hesitate to do, and the result was failure and vituperation. Plain Chant receiving at the hands of some reformers the same in- judicious treatment, it naturally partook of the failure. The question may here be asked: Is Plain Chant suc- cessfully introduced anywhere in our times? PREFACE. 9 Yes; it is. As an instance, let us mention the Arch- diocese of Cologne, where, in most churches. Plain Chant is sung to the exclusion of every other kind of music. And since it is there successfully used, it will be of interest to know that, as a rule, paid singers (men) are there employed to sing the Plain Chant. By singing it con- stantly these men naturally become very efficient in the rendering of Chant, a thing very difficult to accomplish with the uncertain and unreliable quantity of volunteer singers. It is almost incomprehensible with what bother, strife, and with what abominable sort of church music some clergymen are willing to put up, in order to save the necessity of a comparatively small appropriation. A most laudable ambition to make the holy service impressive is manifested by the purchase of fine statues, etc., but church music, vastly more essential in divine service than statues, is too often left to the tender mercies of untrained and indifferent singers gathered by chance. It would probably surprise these same clergymen to learn with what a small stipend they could secure good and steady singers. But what about churches not able to make expenditures for Plain Chant choirs? True, there will be difficulties in the beginning. But gradually the good old institute of Cantors will be revived. The fact that women, often insufficiently instructed, have largely monopolized organists' positions in small churches, a fact which, by the way, has not by any means improved their standard of church music, has much to do with it that men able and in a position to undertake such places are now rare. The law of supply and demand will take care that, as soon as there will be openings for men in that direction, there will soon be men to takethe places. And once the requirements of these places include the singing of Plain Chant, the applicants will have this requirement. 10 A PRACTICAL METHOD OF PLAIN CHANT. As to boys' choirs, they are difficult to establish, and more difficult to maintain. In large parishes only will it be feasible to make use of them. A thing much to be de- sired, however, is music instruction in parish schools, whereby a good foundation may be laid for the proper rendering of church music. We shall feel amply rewarded for our labors if our work aids in the reestablishing of the Church's own and so emi- nently appropriate music, an object so ardently desired and advocated by her present Supreme Ruler on earth. INTRODUCTION. The aim of this Plain Chant method is, in the first place, to enable the student to execute well and cor- rectly a Plain Chant melody. To this end it must, above all things, teach him the fundamental prin- ciples of Plain Chant. It must enable him to read these venerable melodies, to sing them, to understand them, or, what is equivalent to this end, it must make him acquainted with the Notation, the Intervals, and the Musical Modes. Still, a Plain Chant method that would do all this would but take the student half way ; it would only have accomplished half its task. While it might have taught him to sing a melody correctly, this would not be sufficient. The chorister who would rest there would, perhaps, sing his Offertorium or Gr-'vduale correctly, but he would still be far from a truly artistic rendering. For such rendering there is required more than the mere mechanical singing of a given melody ; a beautiful, artistic chanting must, above all, take care that the pulsating life em- bodied in the melody receives expression. If the student wishes to learn the really beautiful, artistic chant, then he must search for the life and soul of the melody, so as to reproduce it by his execution of the same. What, however, lends to Plain Chant melody, or, in general, to any musical composition, its soul, its life, its peculiar character ? It is the form, the con- struction of its separate pieces, the manner of join- ing the separate parts. These, therefore, the singer must know to ascertain, if he wishes to accomplish 12 A PRACTICAL METHOD OF PLAIN CHANT. his task perfectly. A Plain Chant method, there- fore, if it wishes to make of the student a perfect chanter, must show to him the manner in which the form of a Plain Chant melody may be analyzed, i. e., it must impart information on the construction of Plain Chant. Our Method, for this reason, offers, following the elementary instruction, an exhaustive chapter on the construction of Plain Chant melodies. FIRST PART. The Elements of Plain Chant. Chapter I. — Notation. The reading of Gregorian Chant requires a knowledge, if only a general one, of the following five points : the notes, the staff, the clef, accidentals, custos (guide). /. The Notes. The signs which serve for the representation of a Plain Chant melody are numerous. Yet they all lead back to a fundamental note from which its different variations have proceeded, to the quadrata. This note may appear either alone or in connection with others. As a single note it has a twofold form — the Punc- tum and the Virga. The Punctum often takes the form of the Diamond. (a) Punctum. (b) Virga: (c) Diamond: — » 13 14 A PRACTICAL METHOD OF PLAIN CHANT. A combination of notes produces Neums, or groups of notes. The groups of notes have differ- ent names, according to the number of notes in a group, and according to the character of the com- bination. I. Groups of Two Notes are : (a) The Podatiis: -a (b) The Clivis: The Podatus is a combination of a lower and a higher note. The characteristic of this figure is that the lower note is always to be sounded first, for instance : -a- -3 — 1— r -*r in modern notation : * ^^-^^^i^ * In transcribing the Gregorian notes into modern nota- tion we do not intend to give an equivalent of tlie Neums, as a perfectly true transcription is often impossible ; we only add it to give to those to whom Gregorian notation is entirely foreign, an illustration as to how the Neums ought to be read. NOTATION. 15 The Clivis is a descending sequence. The higher note, therefore, precedes the lower, e. g., ^ ^ In modern notation : * ^^^=i^3=^^ 2. Groups of Three Notes are : (a) The Tor cuius, a combination of three notes, of which the middle one is higher than the two others, e. g.. A ^ In modern notation: (b) The Porrectus, a figure of three notes, of which the middle note is the lowest, e. g.. In modern notation : (c) The Climacus, an extended clivis or descend- ing note figure of three notes, e. g.. "^^^^^m i6 A PRACTICAL METHOD OF PLAIN CHANT. (d) The Scandicus, an enlargement of the Po- datus, an ascending note figure of three notes, as: I- ?^ ^^^Sl 3. Groups of More than Three Notes, though in theory they are classified by terms, are practically made up from the figures already mentioned. We consider it, therefore, unnecessary to speak further of such larger groups of notes. It may suffice to give a few examples :* tte -|«K~ Jts 4. Ornamental Notes, as used in the latest plain song books, may in a similar manner be traced to fundamental groups, as for instance : h d iT- Cephalicus Epiphonus i EP 3t:s: :£3: Quilisma The Strophicus: originally sung vibratim or tremolo ; it is now usual to sustain the one same sound for the value of a group of the same number of notes. * The practical rendition we will meet with later. NOTATION. n II. The Staff. The staff of Plain Chant is distinguished from that of the modern note system by containing one line less. The melodies seldom exceed an octave. When a melody goes a third or more above or be- low the staff, leger lines are used. The Pauses are indicated by double bars, bars and half bars in the staff. It is obvious that the half bar indicates a short pause, the bar, however, a good one. The double bar indicates the end of a melody. We shall see later of what great value the pauses are. ///. The Clefs. Two clefs are used in Gregorian Notation, the Do (C) clef i^ and the Fa (F) clef The latter is distinguishable from the former by the little note placed before it.* It is to be observed that the clef of the Plain Chant Notation has the peculiarity of changing its position. * The interval from clef line to the note immediately be- low is always a half tone. The other half tone is, in the C clef, from the upper Third to the Fourth, and in the F clef from the upper Fourth to the Fifth. i8 A PRACTICAL METHOD OF PLAIN CHANT. Exercises in reading of melodies in various clefs, from the Gradual, will quickly remove any difficulty in that regard. IV. Custos [Guide.) At the end of the staff line a small note is generally found indicating the first note of the following line. It is called Custos or Guide. This guide is not sung — it is there only to inform the singer of the interval between the last and the first notes of successive lines. The guide is also used in the middle of a line whenever the clef changes. An example is found in the Antiphon of the procession on- Palm Sunday. h Inz-i- i-r. ^"^^^ Et addu cite mihi. Si quis vos -i— i— i«- K ?^;=r*: ^-«Sa-.Sa- inter-ro-ga- ve- rit etc. est. Sol- ven- tes V. Accidentals. As far as Accidentals are concerned, the Plain Chant is much simpler than our modern music. Above all it has no %. The only Accidental ad- mitted in Plain Chant is si (b) flat. In some Plain Chant books the •> is repeated whenever the note is to be lowered ; in others it retains its effect up to the next bar. THE INTERVALS. 19 Chapter II. — The Intervals. After the student, as a result of the above explana- tions, has learned to read the Gregorian melodies, his next task is to learn to sing them, i. e., to find out the Intervals indicated by the notes. The fol- lowing vocal exercises should enable him to do this : /. Seconds. do si la sol fa mi re do do re mi fa sol la si do l-^^~ — =- 1 1 ^~*~n 11) " ■ , 1 • ' ■ ■ . ' ' . ■ ' ^ c&agfedc cdefgabc «=:do -=:sl -ccia -- si =>- la s- sol :»- fa =— mi =- re =- do : cy. a... a ^do 5- re =— ihi>- fa5- sol=^ la=- si =~ do=- ■ - ■ ■ - ■ ■ 1 — »•— • ■ ■ ■ a . . . a . ■d) f^iT -£:=^ -=>■ -=:=- -<:=- -^>' -o- -<=" G •• ■ ■ _^ ~ ■■ «■ ■ ■ 20 A PRACTICAL METHOD OF PLAIN CHANT. , do si si la la sol sol fa fa ml mi re ej ^^y^E^^fe a-a-.-.. a a... a a. I'astor; prinpeps; se-de; magna; pn-er; Je-sus;' re do do re re mi ml fa fa sol sol la la si 31 Lfe-cit; semper; fa-cit; sri-tas;| ml re do do re mi re mi fa mi fa sol fa sol la I famn-Ii; be-d-te: gd-nu-i; spi-ri-tus; ere- d- tor- sol la si ' la si do grd-ti- a; si-de-ra do si la la St do b si la sol sol la si g) a a a... Ad-dsto; ' o-rdmus; vo-lilntas; qac&sumns; la sol fa fa sol la la sol fa mi k^^-ri- e; sEfe-cu-ltfm; laudimus te. THE INTERVALS. 3t ml fa sol la sol fa mi re re ml fa sol fa mi A) a a a a... In gl6-rl- a; vo-Iunt£-tis ; sulsstdnti* a; in-i« re do do re ml re do do m(- cos; mansu* e- ti!- di-nem. . 2. Thirds. Major I2 Third. — do>ini fa-la sol-si Minor Third. C ^ «; re- fa mi- sol. la- do si- re do si la do la si -la sol si sol la sol iia la Ta ^:i E a a a a a... Pa-tens es De-us; gri-ti-a plena; Ddmiuos- tecum; soffa mi sol ml fa ml re fa re do re ml do ml I de-vo-ti- ) Vowels. 1. The vowels should sound full, and must from beginning to end have the same shading. 2. We should not sing : " da " or " nda " instead of '■ a." 3. The pitch ought not to influence the shading of the vowels. 4. Do not sing Kyrieleison, but Kyrie-eleison. Separate the vowels, and let each one be heard dis- tinctly, not gratia, sapientia, but grati-a, sapi-enti-a. 5. Attention should be given to bind the notes, not to tear them apart. (f) Consonants. I. These give force and energy to the word. Vowels are the souls of the words ; consonants are their physical life. Those, therefore, who in sing- ing do not carefully articulate the consonants will 1 mi MODIIS. 27 not render a lively, brisk chant. Hence we must not sing to-lis peccata, but tollis peccata. At the same time we do not wish to say that the con- sonants should in any way influence the sound of the vowels. The consonants are to be regarded only as various interruptions of the vowel sounds. As such the more energetically they are pronounced the greater is their effectiveness ; by a sharp cutting off of the vowels, they will gain sound and life. 2. Whenever one word ends with the same con- sonant with which the following word begins, then there is danger of their running into one another, as sedesapientiae instead of sedes-sapientiae. (a) Accent. It is of the utmost importance that the accented syllables of words should be properly emphasized in singing. Chapter III. — The Modes. To the elements of Plain Chant belong finally the Plain Chant scales or modes. Plain Chant scales are radically different from our modern scales. We have in Plain Chant as many different scales as there are final notes of the natural scale. There are, however, only four final notes in Plain Chant: re, mi, fa, sol. Therefore, there are four funda- mental scales or modes. In forming these scales, no change is made in the sequence of intervals (whole and half tones) in the natural {do) scale, from which the new scale is formed, and thus the position of the semitones, and with that, the melodic peculiarity, is different 28 A PRACTICAL METHOD OF PLAIN CHANT. in each one of these scales. Hence a melody of the scale of re differs peculiarly from one of the key of mi, fa, etc. By analyzing the scales in their two constituent parts, the fourth and fifth, Plain Chant finds the means of forming four other modes, respectively, to divide each of the above mentioned fundamental modes into tvi^o modes. Let us, for example, take the fourth, la — re, out of the doric scale and place it below, instead of above, the remaining fifth, re — la; there will then be the scale la — la. As a matter of fact, we have in both cases the same intervals of the scale re — re, only they are dififerently placed. The new scale is perceived to be a different arrangement of the first, and the melodies formed upon it show their origin plainly by having their final not in la, but, like the chant of the first scale, in re. The recital note, of which we shall learn more below, is, however, dif- ferent. The four fundamental tones are called Authentic (original) tones, and the four derived scales are termed Plagal. As a rule, the Plain Chant tones do not appear under their proper names, but are indicated by numbers placed at the beginning of a Chant: I. (doric), II. (hypodoric). III. (phrygic), IV. (hypophrygic), V. (lydic), VI. (hypolydic), VII. (mixolydic), VIII. (hypomixolydic). Two notes are of particular importance in every mode, the Final and the Dominant; the latter also called recital note. The Final is the concluding note of a composition (and the first note of the authentic scales). The Dominant (recital note), on the other hand, is the THE MODES. 39 note about which the melody is grouped for its greater part. The psalm-tone of a mode is sung on its Dominant, or reciting note. The following table will show the modes, their finals and reciting notes : Fifths Fourth. * ■ a ■ 1 ■ • 11 - ■ ■ II Fin. re Dom. U n. Fin. re Dom. fa Fourth. Fifth. m. Fifth, Fourth; ,\ . ■ ■ ' II - • ■ • M Fin mi Fin. Dom. do IV. mi Dom. \^ tf - • " II * - ■ - II ■ II Fourth. Fifth. V Fifth Fourth.. rb Fin. fa Dom. do VI. Fin. fa Dom. la Fourth. Fifth. VII. Fifth„ Fourth. [V- Fin. sol Dom. re- VIII. Fin. sol Dom. do Fourth. Fifth. When a melody ranges through the whole com- pass of its scale, or even exceeds it by a note, it is 30 A PRACTICAL METHOD OF PLAIN CHANT. called Perfect ; in the other case Imperfect. It may happen that a melody moves through the combined compass of an authentic and the corresponding plagal scale. A melody of this kind is called a mixed mode. SECOND PART. The Melodies of Plain Chant. The matter which we have so far considered is not Plain Chant, properly speaking. Modes, scales, intervals are dead matters. Plain Chant melody, however, breathes life. The element which infuses life and expression in the tones is form or melody ; it is the soul of Chant, or of any piece of music. Although a simple scale has form, too, yet it is not life-giving melody. A beautiful, artistic and perfect melody alone gives life. In order that a number of tones should present artistic form, they must unite themselves to a con- nected whole. The task of musical form, there- fore, is to unite its individual sounds and to inspire them with a common thought. Hence we can de- fine the form of a piece of music as the rules which unite the single parts of melody to a harmonious or organic whole. An instruction on the form of Chant must accord- ingly show the laws after which the small and smallest parts of Plain Chant melody are united to a musical composition. It must first of all ex- amine these parts separately, and afterward inquire into the laws by which they are united, both, at first in a general sense, and also in application to the various kinds of Plain Chant. Is the knowledge of musical form necessary for the singing of Plain Chant ? In order to sing Chant monotonously and indifferently, we certainly do not 31 32 A PRACTICAL METHOD OF PLAIN CHANT. require knowledge of form, but in order to impress an audience by living, soulful song, it is absolutely necessary to understand the life of melody. With- out this knowledge the singer will not succeed in in- spiring his hearers. He can, at most, weary them by a spiritless drawling of the Chant, or, by false pathos, move them to an indulgent smile. We will restrict ourselves in the following to the most essential, and shall deal with musical form only in so far as it promotes the proper rendering of Chant. I. MUSICAL FORM IN GENERAL. Chapter I. — Elements Constituting the Musical Form of Chant. Every piece of music consists of certain parts, different as to each other, so-called motifs. For the formation of a motif, three different points are to be considered. (a) Melodic: the absolute and relative pitch. (b) Rhythmic: the absolute and relative dura- tion. (c) Dynamic: the absolute and relative accent. In any one of these characteristics the motifs must be distinguished one from another if they are to form an organic whole, i. e., an entirety com- posed of various parts. We say, in any one of these characteristics. For even there where the pitch is the same, a harmonic result may ensue (e. g., roll of the drum). Again, a theme composed of equally long notes is conceivable.* * See J. S. Bach, Wohltemp. Clav., II. Prelude and fugue in G major; I. Prelude in C minor, etc. MUSICAL FORM. 33 The question before us now is : Does Plain Chant make use of all these three elements in its motifs ? (a) The Melodic Element. The melodic moment has the same signification in Chant as in modern music. It can vary its melodic sequence by the changing of intervals, or by altering the direction of its movement, or also by doing both at the same time, for instance : E- -t Hi a- Ky- ri- e Ky- ri- e The first two notes form a motif. The two fol- lowing notes of the first example are the same motif, but in diminished intervals, the next two following notes offer the inverting and contracting of the motifs at the same time, and so do the two last notes. The second example shows : Motif, inver- sion, inversion and increasing of the interval. {h) The Rhythmic Element. The second point, the Rhythmic, has no considera- tion in Chant, i. e., the notes of a Plain Chant motif do not vary in duration, because they do not lay claim to any absolute values in their relation to each other. The reason of this deviation of the Chant from modern music is a twofold one. In the first instance. Plain Chant is chiefly declamation, and more a matter of accent than of long and short notes; secondly, the Chant originated at a period when, in musical performance of any kind, length 34 A PRACTICAL METHOD OF PLAIN CHAXT. and brevity of syllables were entirely subordinated to accent. (c) The Dynamic Element. The Chant makes a very extended use of the third — the dynamic element, the accent. It receives thereby an abundance of life and a nature utterly different from modern music. Plain Chant does not hesitate to alter the relation of the stronger and weaker parts of a motif. This alteration is rather a chief means to distinguish and to unite motifs, i. e., THE CHIEF CHARACTERISTIC OF THE MUSICAL FORM OF A Plain Chant composition. For this reason it is also of the greatest importance to find in each instance the accented and unaccented parts of a melody. The importance of accent in Plain Chant makes it necessary to deal at least briefly with the various forms of accent and of pauses, which latter are in- timately connected with the accents. I. The Accent as a Melodic Element in Plain Chant. The accents of Plain Chant are the same as those of fine and flowing oratory. In oratory, as in Plain Chant, we distinguish a threefold accent, the ionic, the logic, and the pathetic. (a) The Tonic Accent. — Every word having a meaning of itself forms a positive whole. In its pronunciation we indicate the coherence of its com- ponent syllables, by laying stress upon a particular THE ACCENT. 35 syllable, around which the others group themselves, and appear, as it were, subordinate to it. This em- phasis takes place by strengthening this syllable by the tonic accent. Every word, that has a meaning of its own, receives this tonic accent : Father, Paradise. Prepositions of one syllable {ad adjuvandum, per omnia), conjunctions of one syllable at the begin- ning of a sentence (et, sed), and certain affixed syllables (ipsemr^, hujusc^, fiWoqxie) have no ac- cent ; these latter, however, shift the accent in the word to which they are appended. When we say every independent word has a tonic accent, we do not wish to indicate that a longer word may not have several accents, a chief accent and one or more lesser accents, as, Oninipotcntcm, Consubstantidlem — a fact from which we shall later draw important conclusions. (b) The Logic Accent (emphasis of a sentence). — What the tonic accent is to the word the logic accent is to the sentence. Every sentence contains some word in which centers the idea expressed in the sentence. This word is the pith and centre of gravity about which the other words group. The dominating importance of this word is emphasized in speech by giving it an accent stronger than to the others. This sort of accent is called the logic ac- cent. Logic accent is, therefore, nothing else but a strong word accent placed on the most essential word of a sentence. Naturally there may be more than one essential word in a sentence entitled to this particular accent, for instance: The ship received serious injury in the terrible tornado. (c) The pathetic accent is that kind of emphasis which seeks to represent the mood of the orator, for 36 A PRACTICAL METHOD OF PLAIN CHANT. instance, joy or sorrow, which the subject under discussion causes in the speaker. The Chanter should beware of exaggerating the pathetic accent. The Chant is an unartificial, un- stilted song which will not bear affectation and undue pathos. The pathetic accent is frequently identical with dynamic variation. In this sense the Chanter, of course, must observe the pathetic accent. What we would like to exclude by our warning above is the exaggerated expression of a subjective feeling which the text produces in the singer, and to which he en- deavors to give vent by a theatrical tremolo or other painful or ridiculous mannerisms. These three varieties of accents explained above are known in Plain Chant. The following example will show the tonic and logic accent : a * :^=i=^ quinque ta- !e'n- ta tradidi- sti mi'hi,. Every word in this example has its tonic accent. Considering the idea expressed in the sentence, the principal logic accent must be placed upon the word quinque. The word tradidisti should be given a sub- ordinate logic accent. The strongest accent, there- fore, is placed upon the first note, a weaker accent upon tradidisti, and finally two wholly subordinate word accents upon talent a and mihi. The reason why the accentuation must take place just in this manner will be made plain later on : we only demon- strate here the existence of these various accents. THE PAUSES. 37 2. The Pauses as Form Building Elements of Plain Chant. Next to the accent, the Pauses appear as a form building element in Plain Chant, or, rather, they sup- port the accent. The domain of a chief accent is separated from that of its neighbor by a pause, quite the same as in speech. Who could understand an orator who would de- liver his speech in the following manner: Gloria- inexcelsisdeo ? If an orator wishes to be understood, he must separate the single words from one another by brief, almost imperceptible pauses ; for only thus can the audience distinguish the individual words. Still more, small sentences, which of themselves have a definite sense, must be more perceptibly separated from one another. And finally there must be placed at the end of a whole sentence, or of a connected group of sentences, a corresponding long pause. There are, therefore, in Plain Chant three kinds of pauses : A word pause, a sentence pause, and a period pause. The first is trifling, barely perceptible. It must never be employed to draw breath, no more than the speaker in the above example would make a stop after Gloria in order to breathe. The second pause is somewhat longer, as we would make a pause after Deo in the sentence: Gloria in excelsis Deo, et in terra pax hominibus. If the necessity is present, the singer may draw breath on such a pause. The third pause, at the end of a musical period, should be long. It should really be a rest. 38 A PRACTICAL METHOD OF PLAIN CHANT. The following example may demonstrate the dif- ferent character and value of pauses : 112 13 I - - - - i J ■ • ■ • , ■ ( * • • ■ ■ ' I Ecce Dciminus ndster 1 2 cum virtii-te vdni- et, 1 2 et 3 K . ' • • t * •■••■• ■ . » - - - i 1 .. V .. '.a .•_: . • illuminabit dcu-los servdrum tu-drum, alle-!u-ia. The figure i indicates the first kind of pause, word pause ; 2, the second, the sentence pause ; 3, the third, the period, or end pause. In this ex- ample the syllables of the text and the musical syl- lables cover each other. The manner of ascertain- ing musical syllables will occupy our attention later on. Chapter II. — The Laws of Plain Chant Forms. This paragraph leads us to the intrinsical char- acter of Plain Chant. After having, in the fore- going chapters, learned to know the constituent ele- ments of Plain Chant, form, melody, and sound, it now remains to consider upon which principles these elements are united to a musical composition. The importance of this knowledge to the singer of Plain Chant must be apparent. While without the knowl- edge of these principles he would have to follow blindly the guidance of some one else, he is by an acquaintance with them placed in a position to ren- der an account to himself about his chanting, to PLAIN CHAXT FORMS. 39 analyze for himself new chants, to recognize their construction, and thus be enabled to render them properly and impressively. Are there reaUy laws of musical form in Plain Chant? Is the arrangement and grouping of the motifs of Plain Chart done according to a definite code of laws ? In modern music such laws exist. There the construction of a composition, from the simplest motif of two bars up to the magnificent sonata, takes place according to fixed rules and reg- ulations, just as poetry is set to fixed metres. \\'e must not seek such fixed rules and metres in Chant. Plain Chant is not a conventional form of art, but a free art, like the art of oratory. A com- parison with oratory has been used in an inquiry into the constituent elements of Plain Chant form. A comparison with it will now throw light upon the art of putting these elements together. Plain Chant is a solemn recitation, moving along in beau- tiful modulation and perfectly regulated rhythm. In order that an oratorical discourse should be perfect and gratifying, it is not sufficient that it be of intrinsical worth — it must also be satisfac- tory in its exterior form. It is impossible to es' tablish rules for this outward form. In fact, as in pieces of oratory, it assumes different shapes, and does not allow of being pressed into a schedule. Yet so much is certain — this exterior form is due to a certain sequence of single words, to the vari- ation of accented and unaccented syllables. The rising or falling of the voice has very little to do with it. In oratory, if it is to be euphonic, this alter- nation of accented and unaccented syllables must be present. 40 A PRACTICAL METHOD OF PLAIN CHANT. This fundamental law of oratorical rhythm or euphony is also the first law of Plain Chant. The same as there, so the unity and harmony in Plain Chant arise from a constant variation of strong and weak syllables. (a) The first law of Plain Chant form may be put into the following words : Plain Chant is composed of groups or motifs of tzvo or three notes. Its exe- cution is governed by the rule : Every second or third note following an accent must receive a nevu accent. . f \ » » ■V r » » •' • • . ■ ■ ■ ■■■«•' • ■•■.■■ ■ ■ • ■ • ■ • « ■ ■ ■ G.ori- a in excelsis Deo Et in terra pax hominibus * • . ■ , ■ " ■ ■ ■ 1 ■ i bon.^ vo;iin-ta-us. This example begins with a word of three parts : gloria. The following word, in, is, according to our dynamic rules, not entitled to an accent, but for the sake of euphony, it must be given one, unless a pause taking the place of an accent is made after gloria, so that the following two syllables become, as it were, the last two parts of a three part group, of which the first part is the accent supplied by the pause. This manner of welding the motifs into one another, of abbreviating them, occurs also in modern music. In Plain Chant it is frequent. IMany groups would not admit of explanation but for this supposition. (b) The second law that is operative in the pro- duction of musical form in Plain Chant is : The PLAIN CHANT FORMS. 41 union of tzi'o and three part motifs is a free one, i. e., it does not take place according to rules or schedules. This law alsc receives its justification from oratory, the sister art of Plain Chant. One example from oratory may here be given: temporal mores! sendtiis hdce intelligit; consul videt: hie tamen vivit. Villi? imiuo zero ctiam in sendtiim vcnit, and so forth. This part from Cicero's first speech against Catilina shows the following groups of accents or motifs (no notice being taken of the anacrusis) : — 3 (tempora) — 2 (mores) — 2. 2. 3. — 2. 2. — 3. 2. — 2. — 2. 2. 3. 2. 2. 3. In the same manner follow each other in Plain Chant two and three part groups in unconstrained succession. Here is an example : £- 2 3 2 J^ f\ f, " • Nos au- tem E 2 3 3 3 2 af^ A H ^a A '■ ve. Through this second law Plain Chant in nowise ceases to be an art. True, if mathematical symmetry, as it appears in poetry or in modern music, is con- sidered necessary for art form, then Plain Chant is not an art. But is mathematical symmetry an indispensable quality of true art? Certainly not. It would be false to let art first begin there, where the baton reigns with the regularity of a pendulum, or there where the verse metre with inexorable 42 A PRACTICAL METHOD OF PLAIN CHAXT. severity governs the words. Is not an architectural structure, founded upon the golden rule, far more beautiful and artistic than the mathematical division into equal parts? However, since all art must rest upon certain laws, so also must laws govern in such cases — laws more generative than the law of sym- metry. As a fact, the supreme law in art is human nature given by the Creator. God has implanted in our nature certain laws according to which we instinct- ively pronounce things true, good, or beautiful. Thus every man admits that twice two is four, that God is good, that the song of a nightingale is delightful. These laws, present in man's nature, are the supreme laws of art. Symmetry, etc., whereby man modifies these fundamental laws, are only true laws of art as far as they grow out of those first principles, and do not cancel them. If, therefore, we say that Plain Chant admits of no other laws but those funda- mental ones for its formation, we do not in any way exclude Plain Chant from the ranks of art ; this fact rather gives it preference over measured music, as it secures for oratory a higher place than for poetry. It remains, therefore, only to specify more closely the fundamental laws which must be taken into con- sideration for the formation of Plain Chant melody, and to show what limitations these laws impose upon the Chant. This is done by the third principle or law of Plain Chant forms, which is : (c) The single parts of a motif must be arranged in due proportion. There must exist a beautiful symmetry, not so much between the single parts of a melody — although even this is very often found. ACCENTS. 43 as in the above example, Nos autem 3. 2. . . 3. . . 2. 3, but rather between text and melody, or, really, between thought, text, and melody, i. e., the melody must keep pace with the text, and the latter with the thought. In other words, the melody must grow forth from the text, and this must be entirely gov- erned by the thought. We shall quote further on examples of this harmonious relation of melody, text, and thought. Practical Conclusions from the Observations Made. An examination of musical forms so far has shown us the elements of Plain Chant form and how they are joined. They have enabled the student to recognize the component parts of a melody and the process of its composition. It remains that he chant according to this knowl- edge, i. e., that he strive in his chanting to give ex- pression to the separate motifs, and he will be en- abled to do this by the proper treatment of accents, pauses, and note duration. I. Accents. Both the tonic as well as the logic accent of a melody is to be expressed in chanting. The tonic accent is easily recognized. In syllabic songs (one note to one syllable) it falls together with the ac- cented syllable. In ornate chants it will be deter- mined by groups. The tonic accent in groups is placed as follows : 44 A PRACTICAL METHOD OF PLAIN CHANT. Podatus: a = j^ Clivis: F" = /*! Climacus: V» = J" J Scandicus: J! = i"*!^ Tor cuius: A = jTj' Porrectus: hS = JT^ Longer note groups receive, according to the first law of Plain Chant form, a subordinate accented note in addition to the principal accent, e. g., f t .'♦.» = /J^ /7] etc. This additional accent must be subordinate to the principal accent of the group, i. e., it should be weaker than that. From our previous explanation it will be clear that the logic accent is given expression by treat- ing the ordinary zvord accent more lightly, and giv- ing to the most important note a stronger accent, ACCENTS. 45 thus emphasizing the same over the ordinary word accent, for instance : E Hoc est praeceptmn meum. Estole fortes in belle. The first of these examples deserves particular at- tention owing to a peculiarity of its own, which is of importance in explaining many chant melodies. The distribution of the accents lets the first group — hoc est prae — appear to have a five part motif. Yet this is only so in appearance. The measure is three time, but the second and third parts are each divided in two notes. As the length of the notes does not come into consideration, the motif will appear clear enough if the principal accent is strongly empha- sized, the accents of the subdivision, however, less perceptibly. Plain Chant not seldom makes use of this means to bring out the logic accent, namely, by previous or by subsequent subdivisions. An in- teresting example of this kind is the first Antiphon from the Vespers of St. Lucia. e-i-^i-^'— '— ■ '-''^f^a Oraa- te sancta Lu- ci- The logic accent belongs here undoubtedly upon the word Lucia* Were there but one note each * In note groups the logic accent can never fall upon an unaccented note, as little as the logic accent of a spoken sentence can fall upon an unaccented syllable. 46 A PRACTICAL METHOD OF PLAIN CHANT. upon the syllables " ci" and "a," the natural pro- nunciation of Lucia would be rendered very simple. The way, however, in which the notes are parceled in this example necessitates a certain compulsion of the accent to its right place, i. e., the ac- cent on Li'icia must be strengthened, made very prominent, so as to render it as the logical accent. Frequently Plain Chant attains the same end by the opposite means, i. e., by a piling of notes on the syllable which should receive the logic accent, as in the following example : 6 ^ ^fe t-j- g-^ - ^ Dico au- tem vo- bis a- mi- cis me- is. Here the logic accents are characterized by a massing of notes upon VO bis and a MI cis. In every instance the singer must let the logic accent be clearly distinguished, and the longer the sentence, the stronger must be the accent. 2. Pauses. Not less exact than for accent are the rules con- cerning Pauses contained in the stated laws. The zvord pause is to be observed after every motif, i. e., every motif must be separated from the following one a barely perceptible intermission. Care must be taken not to exaggerate these pauses, for as little as the individual words of a logic sen- tence may be disrupted in oratory, so little may the musical words of the motif lose their connection. A very brief extension of the last note of the motif suf- PAUSES. 47 fices as a rule. The non-observance of this rule leads frequently to an entirely false rendering, for instance, -iP-N- % I- te I- . . te The following is an incorrect rendering: ^^^E^ 0-m 1— H~ The sentence pause limits the sphere of the logic accent. It must produce an actual separation of the sentences, which is attained sometimes by a per- ceptible extension of the last notes, or also by the actual interruption of the melody. The period pause marks the conclusion of a com- position, or of an important division. It will be pre- ceded by a marked stretching of the last notes. But this brings us to the chapter of note values. J. Note Duration. The principle which we declared above : all notes of Plain Chant are approximately of equal value, is adhered to. The pauses, however, effect a modifica- tion of the same. It is, for instance, quite unnatural to pass suddenly from motion to repose. Motion, rather, should slacken at first, and only then cease altogether. According to this generally recognized tenet the following rules are established : I. Xotes immediately preceding a pause are to be somewhat lengthened. 48 A PRACTICAL METHOD OF PLAIN CHANT. 2. This applies especially to such notes that con- clude a melody, or distinct parts of the same. The note upon which the slower time is to begin is not always the same. For (a) in syllabic songs it will begin on the last accented syllable : -V V di- le-xe-runl te ni'-mis; be- ne-di-cunt Domi-num. ^^^^^^. di le- xe- runt te ni'-mis; be- ne- di- Tit. g^^^i cunu D6- mi- nu (b) If the last syllable is sung to a group of notes, then the retarding will be put off to the last syllable and these notes will be lengthened. I 1-=:*: ?^=c^z4 4h conspectu \u- o e- jus (c) If there are several groups of notes on the last syllable, a very trifling ritardando on the group preceding the final notes often serves to introduce the final ritardando. In general, this rule may be so expressed: The last motif before the end of a composition or di- visiori is to be retarded. The shapes of the notes have nothing to do with their duration. Neither the diamond shaped notes NOTE DURATION. 49 nor the so-called ornamental notes indicate a shorter duration. The latter serve mostly (the so-called liquescent always) to facilitate the pronunciation of syllables, where consonants meet, also of diph- thongs. Here are a few examples : I Cephalicus Epipho n us tiztt: -^- 3: ^-F Omnes. Pau-lus. in tlirono. gaude-te. alle- lii-ra. A n c u s I^V J<: 1335 -*n— r. for- tes. Ver-biim. JUS. i=^„ ^^S O- G fl- ail- de- te i i — ^p^^- ^5=:4j: -m-g- -P^Z"' J- us. Pa- his. The Quilisma seems to have indicated a sort of Tremolo : 1=^^ i ^1 In most cases it may be treated as a simple note. Many desire that the note preceding the Quilisma should be somewhat lengthened, whereby a similar effect would be attained as by a slight tremolo of the voice. so A PRACTICAL METHOD OF PLAIN CHANT. II. APPLIED MUSICAL FORM. Three laws, as we have learned, govern the con- struction of a Plain Chant melody. Wherever any one of these laws and its effects in a melody is lack- ing, there we have not a true and genuine Plain Chant melody. If, for instance, there is lacking the succession of two and three part motifs, there will not be a musical composition according to the rules of art. If, again, in a melody the free variation of these motifs is not present, there will result mensurated music. Finally, if a melody is not proportioned to the text or fitted to the thought, it may, in so far as it may be proportioned to another text, be called Plain Chant, but it is not a proper Plain Chant melody for the text to which it is set. Whence, we must ask, comes then the variety of melodies in Plain Chant if they all are the result of the three laws mentioned ? A Gradual sounds quite different from an Introitiis, an Offertory is unlike a Psalm Chant, and a Preface or a Pater Nostcr is characteristically dissimilar to a Hyiimus, and yet all of them are Plain Chant melodies, i. e., musical forms constructed according to these three laws. This difference is due again to certain fixed laws. It is not accidental that this Rcsponsorium, this Alleluia, is so entirely different from that Com- inunio, etc. A difference of this sort is proper to the nature of these Chants, and for this reason there must be certain established laws according to which various species of Plains Chant songs can be formed. But these laws are not additional ones to the three SCHEMATIC CHANT. 51 above mentioned laws, nor do they differ from them ; they are nothing but a modified appHcation of the same. They represent the practical application of the fundamental laws. In the following paragraph we will show to the student the application and the Plain Chant forms as used in practice. We will show how the three fundamental laws of Plain Chant are manifest in the various kinds of Chant. There are two great groups of Plain Chant songs which first of all are to be distinguished from the point of view of applied form, namely: Schematic Chant, where text or melody is bound to a certain scheme, and Free Chant, where both text and melody may develop freely and unconstrainedly. For both these groups of Chants the applied rules of form will be demonstrated in the following. A. SCHEMATIC CHANT. As the word " schematic " indicates, we now take up such Chants which are composed according to a certain scheme. Since, however, such a scheme can be just as well used for the melody as for the text, there are, therefore, two great types of Sche- matic Chant: one which forms the melody accord- ing to scheme and the other one in which the text is subject to such restriction. To the first group may be classed the Liturgical Recitative and the Fsalms, to the latter the Hymns. 52 A PRACTICAL METHOD OF PLAIN CHANT. I. Schematic Melodies. I. The Liturgical Recitatives. This simplest form of Plain Chant is Httle differ- ent from a recitation of the text. Hence in its com- position are regarded almost only the rules of ora- torical euphony, and the chanter has but to consider the laws above mentioned in order to emphasize the words, sentences, periods of his rendering, bj' strictly observing the rules of accents and pauses. To Liturgical Recitatives belong : Epistle, Oration, Chapter, Lesson, Gospel, Preface, Pater Noster, etc. Ihe latter already begin to deviate in their form more or less considerably from simple recitation. They form the connection between Recitation and sa mo y. ^^^ ^^^ Epistle. The Epistle is recited on one note {recto tono), excepting the question. An example will demon- strate rule and exception. In Fest. B. M. V. Temp. Adventus. E- t^ Lectjo Irsa-i-w ProphetJE. In diebus illis: rail. locutus est. (recto tono) dicens : (recto tono) et De-o . taU. rail. 6— i- me- o? (recto tono) et e- li- gere bonum LITURGICAL RECITATIVES. 53 Lecti-o I- sa- i- « Prophets. iigl P=t?=t3: In di- e- bus il-lis lo-cu-tus est. di-cens- i^=iiei5^Jp3^iJ^ qum molest) estis et l)e-o me- o? rail. ^ i=*=rcr? — ^ — 01 t?-t;3p=:i?=t3i et e- li- "e-re bo-niim. The simple recitation upon the same tone elevation is a form of song. Yet it becomes so only by the proper delivery, i. e., when the separate motifs* of the text really are distinguished, when the accents, word as well as sentence accents, stand in proper relation, when the pauses are properly introduced and observed, as shown in the example. All this can only be easily done if the tone on which the Epistle is sung is a convenient one. As a rule, it should be sung a minor third, or a tone lower than the oration. * We understand by text motifs here and in the fol- lowing two or three text syllables, which by the tie of a common accent are joined together. 54 A PRACTICAL METHOD OF PLAIN CHANT. {i>) The Oration. The oration tone is threefold : 1. The ferial tone without any inflection of the voice. (It comes into use on Ferial days, simple feasts, in Masses for the dead, and always in the little office of the day ; it is also prescribed in the Missal for certain other occasions.) 2. The solemn tone is distinguished from the ferial only by a final cadence upon the last text motif, i. e. : In Off. Parv. B. M. V .« --- .-_-' '■ ! ' ti (T, Dominus vobiscura: I^, Et cum Soiri-tu tu- o- O-r^-mns. Fa-mii- Id- rum ^ -^- ' — :!=Ez -r|-rfl — --- tuorum intercessidne sal- ve- mur.l two part perfrui lae- ti- ti- a. Jthreepart (This tone is used : after the antiphons at Vespers, after Litanies, before the Sacramental Benediction, at the blessing of ashes and palms, at the Asperges me, at funerals, absolutions, and so forth ; at all sol- emn orations outside the Alass and the regular office. ) 3. The festival tone is divided melodically in three parts. The first part begins upon the dominant or psalm tone, and goes recto tono to the middle cadence, the end of which is generally marked in the text by a colon. LITURGICAL RECITATIVES. 55 In Assumpt. B. M. V. *- 0-remus, Famul<5-rum tudnim quJ et trajis-R-gu-ra-tus fa-cta et rr : . 1 ■ * ■ 1 1 est an- te e- : os.^ sunt al. ba si- i cut nix. E li- se U- : num. (Fi- li- 1 A- i bra- hamj <5 S 4 3 t^ t I -»-!-*- i a^ - gat. a mor- tu- is re- sur-- (non potes t me- us ,es- se di- SCI- pu- lus.) LITURGICAL RECITATIVES. 6r (/) Preface and Pater Noster. Preface and Pater Noster have a ferial and a solemn tone. The Rubrics of the ^lissal prescribe when the former or the latter is to be used. The musical construction will be illustrated by the fol- lowing examples : Preface. Ferial Tone. « * ^^ iC ■ r ™ 1 — — • 1 ■ ■ : ■ ■ 1 ■ Vcre dignum pastor et sa- se-ter- ne « lu- non « ta. re de- se- ras ^ ^v 1 1 1 . 1 ■ ■ ■ ■ ■ ■ ■ ■ ■ '"■■ m ■ ■ per Christum Do- mi- num no- • strum, ex- sul- ta- ti- o- ne ■con-_ ce- Je- brant This Preface shows, besides its simple intonation, a cadence in the middle and one at the end of every sentence. Both consist of two preparatory notes and a complete musical motif (either two or three part). The preparatory notes (indicated by a*) are syl- labic, sung to one syllable, whether the same is ac- cented or not. The motif, however, begins upon the last accented syllable. The note followed in the fol- lowing example by the dotted line is used only for a three part motif. 62 A PRACTICAL METHOD OF PLAIN CHANT. Solemn Tone. Ve- re nos ti- Dd-mi- Per quern a- dd- Coe-li Cam qui- digtinm et u-u e se-u et bi semper et u-i-e ne Sancte a-e o-i-o-e x- majestdtem tu- am rant Do- mi- ccelonlmqnei-il-eacbe-. _ bns et o-a o-e u a-i-i li-e asl de- sa- grd l^r- lau- na- lu- as ne dant ti- ta pre- ta- a- De- An- 6- Se-I ca- ge- ge- ra- re us li nes phim mnr » « ■ « t^ -N . ■ ^ ■ ■ ■ ■ ■ _ _ ■ 3 . _ ■ > 3 per Chri- stum tre- Dd- munt mi- Po- num. te- no- sid- strum, tes. s<5- cia e« u- ■ a ti- 0- ne con- c6- le- brant. siip- pli^ Cl 0- e Sl- 6- fie di- cen- tes: In these two examples it will be seen that, while the intonation is the same in both, the solemn tone is in other respects different from the ferial. The middle cadence consists of two complete, two or three part, motifs, and the final cadence of one motif introduced by three preparatory notes. LITURGICAL RECITATIVES. 63 The Pater Noster. Ferial Tone. » « >■ ^ — • ! ■ ^ ■ _ • ■ • et di-vi- na in- sti- \x^ li- 6. •ne for- ma- ti Pater 110- ster qui- es in coe- lis ad- ve- ni« at re- gnum tu- um fi- at vo- lun- tas tu- a Panem-no- ^trurn quo- ti- di- d- nun et dinn't- te no-bi$ de- bi- ta no- stra » « - - • ■ ■ T a au- de- miis di- '■■ ce- re Sane- li- fi- cd« tur no- men tu- i um si- cut in coe- : lo et in ter-: ra da no-. bis h<5- ; di- e .i ■ ■ : sicut et nos dimittinius debi- td- ri- bus no- ; stris ^" ■ ■ * ■ ■ ■ ■ ■ ■ • ■ - fm ■ • . ^ . et ne nos in- du-cas in ten- ta- ti- 6- i nenii This Chant is almost alike to the ferial preface, only the last two final cadences being different, or, strictly speaking, only the one preceding the last, the concluding one deviating only melodically. 64 A PRACTICAL METHOD OF PLAIN CHANT. Solemn Tone. ig , . ■ ■ ■ r^ ■ ■ 3! ■—J ■ ■ ■ 1 ■ ■ 1 ■ ■ r- J ^ ^ ,. ■ ■ Ordmus, Praeceptissa-lu-ta-ri-bus ni(5ni-ti: ^ "* ■f 1i ■■■■■■. « ^ ■ (' ■ ■ ' ■ et di- 4r vf-na in-sti-tu-ti- noster ^- ne for- ma- ti _ ■ ■ . - ■ Pa- qtii. ■es in coe- lis, »f m S 1 • • a _ , ■ 1 ■ adv^ni- at .re- gnum tu- um. Jf 1& ■ ■ ■ ■ ■ fiat vo- Wn- tas tu- a ■f _ - "' TS « ■ « ■ " ■ ■ ^ ■ _ : / ■ ~ ' ; ■ ■ Pa- nem nostium quoti-di-anum .. TIO- bis hodi- e _ ■ « • ■ ■ ■ ^ " • ■ ■ €t di-mit-te no-bis de- bi- ta no- stra a) a) a) LITURGICAL RECITATIVES. 65 sanctio fi- &:• cut tn ■ ■ ■ — « » SI- cut e o 1- 1- 1- u e- 1 e e o i ■& &\ !*) 9 * : . _ ■ . -ii* ^— • — " S" alt* ge- mus di-ce re. ' - ' m ■ : ■ r» s ce- coe- tur lo no- et men in tu- ter- um: i la i ■ 1 1 ■ ' ■ t(5- ri- bus nci- stris:; i ' _ _ _ " ■ % • ten- la- ti- <5- iieni.l 1 cj b) In the solemn tone the middle cadence is always ihe same: two preparatory notes and one motif. A slight deviation is shown in the second cadence. The final cadence has several forms. Form c consists of two preparatory notes (groups, in fact) and one motif ; h has three or even four preparatory notes. 66 A PRACTICAL METHOD OF PLAIX CHANT. In similar manner the Exultct of Holy Saturday- admits of analvzation. (s) Versicula. For the sake of completeness we give the Ver- sicula: Ferial r ■P •■■■■■■■■■■ _ *k ■■■■■• Solemn ■P ■■■■■■■■■■■ _ _ % '^ ■ I *> > I V Festival ■P >■■■■■■■■■■ ^ % Vi 3% :s •♦ lustnm ' dedUxit Ddmiaus per vias rec- ta s. The ferial tone is used: (a) On commemorations •after the feast or day's oration, at Lauds as well as at Vespers; (b) At the little office; (c) After the Antiphons of the B. V. M. ; (d) After Litanies ; (e) At the Sacramental Benediction; (f) At the Aspcrges me. The solemn tone is used on Sundays and Semi- duplex or Duplex Feasts after the Hymns of Lauds and Vespers. The festival tone, finally, is employed on high fes- tivals. In the Tenebrae of Holy Week, as well as in the services for the departed, the versicula have a melody of their own. LITURGICAL RECITATIVES. 67 A-ver-tantur retrorsum et e- A por- E- ru- e a- ni- mas ru- be- scant ta in- fe- ri e- o- rum The lessons of the offices corresponding thereto receive the same endings. The ecclesiastical office of the day begins with the verse, Deiis in adjntorinin viciim intende, etc. (the service for the poor souls and of the three last days of Holy Week excepted). This can have three different melodies : Ferial r - r e— ——'—-•— _^— — •— --»— a j , Solemn * ■ ■ ■ ■■■-- _ ^ _ ^ ■ • • * ■ * 1 Festiva! ■ ■ 1 » . '=3 _ ■ 1 • • • * \ ■ s I De-r.s in ad-iu- to- ri-um me- um in- ten- tie.. The ferial tone proceeds simply recto tono up to the Alleluia; the solemn tone has the cadence in each verse : the festival tone, in addition to the cadence, repeats the intonation for each of the subsequent verses. At the end of the last verse the festival tone has its own concluding form: l^^ — 1 -55 — 1 j" ■ ■ ■ Ese- ci- lo- rum. A- men. 68 A PRACTICAL METHOD OF PLAIN CHANT. At the end of the verse an Alleluia or Lans tibi Doinine, rex aeternae gloriae is added in the fol- lowing manner : Ferial and Solemn « - — - • r' -^ E ■ * ■ ■ ....'.. ' - ' '"ry : . . 1 S " ■ • ■ J 1 — . " ■ 1 . .1 : ■ 1 K Al- le- lii- ia. Laus ti-bi Dd-rai-ne, rex ae-ter. nae gl<5- ri- k. Festival ■..■ » Al-le-ld-ia. Laus tibi Ddmine rex se-ter-nse glo-ri- se. 2. The Psalmody. Introductory Remarks. 1. The following part, treating of Psalmody, de- mands special interest, and a persistent, thorough study, because, firstly, on account of the abuses and the blundering which are so frequent in the chanting of Psalms, and, secondly, on account of the important position of the same in Catholic Liturg)-. There is, indeed, no strictly liturgical service in which not some Psalm or Psalms are sung. And, furthermore, apart from the dignity and sublimity of the chant- ing of the ecclesiastical office, the Psalms, as expres- sions of the highest lyric sentiments of soul and mind, are entitled to a most careful, almost scrupu- lous treatment. Truly applicable is here the maxim, " Corrnptio optimi pessima." 2. The Psalm consists, as far as the text is con- cerned, of several verses, each of them divided in PSALM CHANTS. 69 two halves by the asterisk (*). The verses are chanted alternately by two choirs or by precentor and choir. Musically we distinguish eight different melodies, or tones, corresponding to the eight modes of the Gregorian Chant. To this is added, as ninth tone, the so-called " tonus peregrinus," or the foreign tone. Each of these tones has three parts: i. The Intonation or Introduction ; 2. The Dominant, or Psalm tone; 3. The Cadence or Final. These three parts vary with the different kinds of Psalmody. According to the office the Psalm Chants assume different forms. In the office of the day, for instance, it takes other form than in the Introitus of the ]\Iass, and this again is quite different from the Psalm tone of the Tractits or of the Respon- soria of the Nocturns. In the following the several ways of Psalm chanting will be considered, treat- ing in detail, however, only the ordinary Psalmody. (a) The Ordinary Psalm Chants. I. General Principles. The Intonation. Intonation is that part of the Chant with which the Psalm begins. It consists of two or three single notes or groups. The groups must be treated like single notes, i. e., they must not be torn asunder to be given to several syllables. Intonation notes, like preparatory notes, have no regard for accent. If the Intonation is two-syllabic, it is sung to two-text syllables; if it consists of three single notes, three syllables must be given to it. 70 A PRACTICAL METHOD OF PLAIN CHANT. two syllabic k , ^ , s • Crd-di". "di three syllabic ■E ■ * ■ * ■ Con- fi- te- bor o J- — , ■ Cre'- di- di ■P I ^» ■ ■ ■ Con-fi- te'- bor The performance of the first example offers a shght difficulty, there being danger of a false ac- centuation of crcdidi. This is avoided by an en- deavor to sing the two notes of the second syllable very lightly and closely joined. Practice will ren- der this not only possible, but easy. The Intonation differs in the single Psalm tones. Six of the tones have a two-syllabic Intonation ; in the remainder it comprises three syllables. The In- tonation so far dealt with is the solemn. It takes place only at the beginning of the first verse of a Psalm. The following verses are chanted without the Intonation. The following three Chants form exceptions to this rule : The Magnificat, the Bcne- dictus, and the Nunc diinittis; in chanting these, each verse begins with the solemn Intonation. T/ie Dominant, or Psalm 'Tone. The note upon which the Psalm is recited is the Dominant, or Psalm Tone, of the mode or scale upon which the tone is based, as we have learned in an earlier chapter. (Sec page 28.) The only exception is the tonus p.rc^riiius. PSALM CHANTS. n In the singing of a Psalm care should be taken that the pitch is not taken too high. On an average it should be o or fc Hat. B will in many cases, be too high, especially where boys are among the chanters, or men who have not an extended range of voice. It is the choirmaster's duty to find a pitch suited to all chanters. A good chant on the Psalm tone will be produced if the rules of declamation, as already dealt with, are ob- served. The Final {Cadence). Each Psalm tone has its own middle and final cadence. The proper performing of these cadences is the most difficult part of the chanting of Psalms. The difficulty is found in the proper adaptation of the text syllables to the notes of the cadence. The following is the rule of the Benedictines of Solesmes,. which, in consequence of its scientific principle, de- serves preference over all other theories. Accord- ing to them, the cadences are subject to the accent, the fundamental principle of Plain Chant Rhythm. The final can extend itself over the sphere of one or two accents. A few general remarks about both kinds are here necessary. We will show the practical rendering later on. Cadences with One Accent. These always begin upon the last accent, be it a chief or subordinate accent. If the last text motif is three syllabic, then the second and third syllables receive the same notes : 72 A PRACTICAL METHOD OF PLAIN CHANT. pe-Jes no- stri ■^y-^ tri-bus 'd<5- mi-v ni '-^4-i---l- et Fi- li- Frequently the cadence is preceded by one or more notes whose mission it is to introduce or prepare the same. We have already found such preparatory notes in treating of the Liturgical Recitative, but psalmody is their particular field. They have nothing to do with the rhythm, but are used entirely for the beautifying and smoothing of the melody. They are for this reason not governed by accent, but must be divided singly upon individual syllables. In the examples we indicate them again with the as- terisk (*). De-um tn> nm Si- on. e- jus vo- let ni- mis. \- * • • ■ t • ' ■ ■ cla- md- ve- ro ad te. cla-ma- ve- ro ad e- nm PSALM CHANTS. 73 Hebraic words are generally treated like Latin words. r I — » ■ ■ — , — i — 1 — ■ — p- •fc Dd-mi-ne ex Da- Si- on It has been maintained that abbreviated cadences be employed for Hebraic words, yet this custom be- comes more and more obsolete : E- r ex Si- su-per OD vos Owing to the cadence, it may happen that an un- accented syllable receives a subordinate accent, ac- cording to the first fundamental law of general form, for instance : ge- nu- I te pa- tem de te Final with Double Accents. A final composed of two cadences has a double accent. The rule in dividing the syllables is the same as in the finals of one accent. The last but one accented syllable begins the final. This may be the fourth, fifth, or sixth syllable from the end, according as the concluding text motifs are two part, two and three part, or three part. 74 A PRACTICAL METHOD OF PLAIN CHANT. In do- mo e- jui = » _S_I- -I- E- ri- Ti- - Sxcu-lo' - gens pdii- pe- rem, mor Do- 'mi- ni; rum. A- •• men. 2. The Different Psalm Tones. The First Tone. Its intonation comprises two notes (the second being a group). The middle cadence comprises two accents ; the final only one. Cadence. Intoil. » Dom. 4 f 3 2 » X s , _- _ b ■ _ _ ^ _ , ■ ■ ' Di-.xit D6-mi-nus i- ni- D(5-mi- Glo- ri- a D6- ; mi- mi- 1 nus : Pa- ; tri no cos ex et me- tu- Si- Fi- li- o: os: on: 9 Dom. SX' cu- li . U 1 i . ~ I : — ^_; ■ ' — ■ :V The Magnificat receives the same intonation as a Psalm. In its first verse the middle cadence is omitted on account of want of text. The follow- ing verses begin, as remarked above, with the in- tonation of the first, and have the regular cadence. » , ' f E , ''■ ■ _ ■ . s ■ ■ : • Ma-gni- Qui- a H- cat fe- cit mi-hi ma-gna qui po-tens : est: * All these finals are preceded by the two preparatory notes. 76 A PRACTICAL METHOD OF PLAIN CHANT. t « » » _ ■ 9 ■ ^ r^ &- ni- ma et sanctnm se->ni- ni e- et Spi- ri- me- no' jus tu- a men in i D<5- mi- e- sa6- cu- San- num. jus. la. cto. In a solemn Magnificat a richer middle cadence comes into use. 1X3 riHtizt Qui- a fe- cit mi- hi ma- gna qui pd- tens est. We shall quote for each tone examples of render- ing in which offense to the rules is illustrated and its correction shown : Incorrect : Di')- mi- nus ex. Si- on. Correct : i --trK: ^mi Di'mii- nus ^i- on. PSALM TONES. The Second Tone. n IlUOIl. Dom. •■< » I Dom. l! ■ ■ ™ I • • o: os: Oi-xit 1)(5- iiUnus . . . i- ni- mi-cos Gloria Patri et me- tu- Fi- li- se- de a dex- pe-duin sx-cu- ot Spi-ri-tu- 3 : '■ :- -1 1 W^ • ^ ■ ^ tris me- IS. tu- 0- rum. nu- 1 Te. cem de Tl". linn SLU- cu- li. ' San- etc.. It will be unnecessary in these and the following Psalm tones to repeat the explanation of the con- stituent parts. They are indicated by a bar in the examples given. The Magnificat shows in the in- tonation of its first verse {only) a slight deviation from the regular intonation of this tone. f f. ■^ ■ _ ■ - * l J ~ — u * 4 Ma- gni- fi- cat cit •■ , . qui pd- lens est: if ■ ^ « ■ ■ Qui- a fe- 78 A PRACTICAL METHOD OF PLAIN CHANT. « f -I_ - ... ^ <- _ - _ _ _ ■ '- ' ' ■ ' ■■ ■ a- m- ma me- et san-ctiim no-_ se- mi- ni t- juS et Spi- n'-tu- a men in r D6- e- San- mi- cu- num. jus. la. ClO. On feast days the following middle cadences are admissible : «• » «■ i- -•— « — ■ — •- It-: -j- -!- Qui-n fe- fit mi-lii tiiii- x"" ij'" po- teii5 est. Examples. Incorrect : ' fee- *=4s==^ii*= ~* > ~* — »~ Laii- (la- te pii- e- ri Correct : 1^ -* — ■"■ Lau- da- te tsi::=:t5=:rlS=:ts: -» — * — i<- pu- e- n The Third Tone. Inton, Dora. 5 — r — ■ — ■ — I — •— ■— — ■— ■ r» — •- ■ ■ Di-xit D6-mi- nus Do-mi- no me- o: I- ni- mi- cos tu- os: Pa-tri- et Fi-. li- PSALM TONES. 79 Dom. f— • — ■ — ■ — »-- .— ■ :-• «. 1 f* ■ ■ .86- de a dex- tris me- is. itca- be'f lum pe-duin tii- 0- rum. Iut cf- fe- rumge- nu- i Te. pa- cem de Te, >n Sie- cu- lum sa- cu- li. et Spi- ri- tu- i San- cto. OTHER FINAL FORMS: ■ . _- _ • 9 ^ tX' cu- lunot EX- cu- li. • t A »- ss« cu- lum sse- cu- li. cu- lum SX' cu- li. sse- cu- lum sse- cu- li. 8o A PRACTICAL METHOD OF PLAIN CHANT. Magnificat. I . * ■ f ■ 3 k ■ ■ Margni- Qui-,a fi- cat fe- cit mi- hi ma- gna qui p6- tens est': • * f t . ■ ■ • ^ i- ni- ma me- a Do- mi- num. et san-ctiim no- men e- JUS. se- mi- ni e- JUS in sab- cu- u. et Spi-ri- tu- 1 San> cto. Incorrect : Correct : Incorrect : Correct : 1^ Examples. Lau- da- te pii- C' ri l^^ip?^^^ Lau- da- te pil- e- ri 1^^ S qui ti- met Do- mi-num , . qui ti- met D6- mi« nam PSALM TONES. The Fourth Tone. 8i • Inton. Dom. « « f ■^ k - ^ . . . ^ ■ _ _ i ■ * o: Di- xit D6-mi-nusDd- mi- no me« 1- nir fei- cos tu- os: GIo- ri- a Pa- tri ef Fi- li- 1 Dom. « « » » ■ ■ 1 ■ ■ • ■ ' ■ 1 se- de a dex- tris me- is. sca-bel-luni pe- dum tu- o- -Tum. lu- ci- fe- rnm R^- na- i Te. lo-que- bar pa- cem de Te. in si- cu- lum sae- cu- li. > J- ■ , ■ ■ ■ ■ ■ _. . : ■ . Di- xit Do- mi-nus D6-mi- i- ni- nii- Glo- ri- a Pa- tri no qps et me- tii- Fi- li- 0: os: • Dom. « • » 1 a ■ ''■ m 1 ■ " se- de a dex- tris me- is. sca-bel-lum pe'-' dum tu- 0- rum. lu- ci- fe- rumj RC- nu- i Te. lo-que-bar: pa- cem dc i Te, in sx- cu- luin sx- i CU- li. et Spi-ri- tu- « San- \ cto. 84 A PRACTICAL METHOD OF PLAIN CHANT. Magnificat: t » f G ji . - _ , 9 ■ -<»- Ma-gni- Qui- a fi- cat fe- cit.. qui pa- tens est: a- ni- ma et san-ctum s^- mi- ni e- et Spirri- e * » f I _ _ 3 ■ me- a D6- mi- num. no- men e- JUS. JUS in sab- cu- la. tu- I San- cto. Examples. Incorrect : *=*•: $^=^ . qui 26- di- fi- cant Correct ^i -t^-h-t ^ : 3C3trr: tsr^ cant qui se- di- fi- The Seventh Tone. am Int. Dom. t 4 .■ 3 * a 1 4 , i -■ ' ■ ■ - ■ " • % ■ , i ■ • : Pi-xit . Ddminus i- ni- Glo-ri- a Dd-I mi- Pa- mi- tri no cos et me- t'u- . Fi- li- o: OS: PSALM TONES. 85 Dom, » 4 3 f 1 I a • a ■ ■ a a , ■■ , i f. se- de a dex- tris me- i is. sca-bel-lum pe- diim tu- 6- \ rum. lu- ci- fe- nun ge- nu- 1 Te. lo-que-bar pa- cem de : Te. . . . m sse- cu- lum . sae- i cu- li. et Spi- ri- tu- i San-; cto. Other Final Forms: f f a. ^ v.: • ' 1 a :— ^ — j , . . sse- cu- luin sse- cu-. li. 3- t Ef ... . sae- cw lum sse- cu- li. 4 \ , , sx- cu- lum sae- cu- li. 5 h , . . sx- cu- lura sae- cu-. li. 86 A PRACTICAL METHOD OF PLAIN CHANT. Magnificat: ■ : . - f ^* I r * ■ ■ ■ ■ ~ m 1 \ • i ' [a-gni- ni- a fi- cat fe-cit mi-hi ma- gna qui p6- tens est: a- ni- ma et san-ctum se- mi- ni et Spi- me- no- e- ri- jus tu- men in i Do- e- sae- San- jus. la. j cto. Incorrect : * Examples. — g^^g=g'33 5={^ ... in splen- d(5- ri- bus san- ctd* rum. Correct : [5^^Mi^3 =t . . in ' splen-d<5- ri- bus san- ctd- rum. * Irregular intonation. PSALM TONES. 87 The Eighth Tone. Inion, 1 — ^ Dom. ■ i 1. ■ . Dom. -• — ■ — ■ ■ Di-xit Dd- minus Domino m^-i 0: se-de a Do- irii- nus ex Si- i on: i- rii-mi'-co- lu-d-fe-rum lo-que-bar . , . Pa-tri et Fi- \ li- sje- et Spi-ri- I * e t i ■ _ • ■ • : • ■ • ■ , dex- tds me- is. rum tu- 6- rum. ge- nu- i Te. pa- cem de Te. cu- lum sse- ' cu- li. tu- i San- cto. Other Final Forms: in SX' en- lum sse- ca« li. 88 A PRACTICAL METHOD OF PLAIN CHANT. Magnificat: * _ ■ , ^ E - 1 ■ « - • Ma-gni- fi- cat cit . . qui pd-tens est: a- ni-ma et san-ctura ■ • • ®* et Spi- ri- G ■ Qui- a fe- 'f4- — ■ — It ^^ me- no- jus tn-. a men in i D(5k e- sae- San- mi- cu- num. jus. la, cto. On feast days a solemn form of this tone is em- ployed, the melody of which is similar to the second tone : • * • y P '■ . ^ » ■ — ■ — •- ■*- Qni-a fe- cit mi-bi -ma- gna qui pd-tens est. PSALM TONES. Examples. Incorrect : '■^^^ *=^2tj: De- p6- su- It Correct : ^ :l3t De- p6- SU' Incorrect : i ^5Sp^M^5^?^^S 89 mi- se- n- Correct : c<5r- di- sn- se ^^}i4JMM mi- se- ri- c(5r- di' su- s T,^^ Tonus Peregrinus. » Inton. Dom. ti f • 5 b» - _ _ ' b« : , ^ ■ In ex- i- tu is- ra- el de AL- D6-mi- ni mo- ta est spe-l 1 rn- ve- runt in 6-4 gyp- ter- Dd- mi- Dom. ■ll^- to Ij . . de p6- pu- ra : 11 a fa- ci- e De- no : 1! et pro-te-ctor I et Spi- ri- tn- -• — lo bar- ba- Ja. 6- rum San m ro. cob. est. cto. go A PRACTICAL METHOD OF PLAIN CHANT. Examples. Incorrect : |ii^z^ipiiii=l . . . de pd- pu- lo Correct : bar- ba- ro. , . . de p6- pu- lo b.ir- ba- ro. Incorrect : Correct : i :ts=:ts: -^ — »- l!}=T=^f . . . non no- bis 1)6- mi- ne. non no- bis Dei- mi- ne. 3. Rules Governing the Rendering of Psalm Chant. In conclusion of our present subject, we will give a few general rules and hints concerning move- ment and pauses in psalmody. I. The movement of the Psalm Chant should be brisk and lively. Chant in general requires a moderately quick tempo, and this is of particular importance in psalmody. For the good singing, therefore, of the Psalms, it is necessary that it should flow evenly from beginning to end. All tarrying on syllables, every hurrying of the same, is a death blow to the rhythm of psalmody. Furthermore, the laws of declamation and of di- vision of syllables are to be strictly observed. RENDERIXG OF PSALM CHANT. 91 2. The length of the pauses must be fixed and evenly observed, for only thus can a choir start the various verses, etc., in common and firmly. ^^'e give herewith rules for the various pauses : (a) The pauses within the first half verse corre- spond to the neums pauses. They must, therefore, be brief, only long enough to draw breath, illustrated in the following manner : Fi- de- li- a oui-ni- a man-aa- ta e- jus -*_*_*! con-fir- ma- ta etc. Explanation : The eighths are used to indicate the length of the single syllable. After ejus is made a pause within the first half verse. In preparation for the same, the last note (the last rhythmic mem- ber) is lengthened. The pause should have equal length with the last syllable ( — jus). (b) The pauses between half verses are sentence pauses. Their length is determined by the dura- tion of the last rhythmic member. These longer pauses require also a greater preparation. The same is attained by the lengthening of the last accent and the final syllable, illustrated here : irfsi^ir^^nfcprts !i^g*=ir»-|rc|=j=fi#=|jJ:q -r-->-y- || Dominus Do- mi- no me- o: se- de a. 92 A PRACTICAL METHOD OF PLAIN CHANT. If the last rhythmic member is three part, then the accented syllable will not be extended, because the accented syllable, combined with the following weak syllable, produces the same effect as lengthening of the first. , Je rii- sa- lem Di5-jni-iiura;"j lauda Deum.. The same applies to a double note placed upon the first syllable of the last rhythmic member. ^^^1 :D±t£ Dd-mi- no liie- se- de a . . (c) The pause at the end of a verse has again the duration of the last syllable. Regarding its prepara- tion, the same rules apply as in case of the other pauses. -^L4_^I lau-da-te no E^!^ men Do- RICHER PSALMODY. 93 Zii-l^^Jl^A- m a—ltZ Sit no-men Dd- mi- ni *:rMi: isr i - * ^- * ■ V ' ^ e^ u o u a, Doctor. V . . (b) Some Examples of Richer Psalmody. I. The Psalm verses of the Introit take richer melodic forms, but in rhythm they do not deviate from ordinary psalmody. An examole will show this. Inton. Dom. » n t .a ■ ■ '• ■ 3 ■ y 1 1 7.5 fm ' ■ J ' ■ Can-ta- te D6-mi-no can- ti- cum no-vum : Inton. Dom. 's ^ f ~^ S n i ■ ■ iT ■ _ _ 111 -■ . Pi .- qui- a mi-ra" bi- li- a fe- cit. ^ These letters, used in the Liturgical books, are the vowels of the words: Saeculorum. Amen. 94 A PRACTICAL METHOD OF PLAIN CHANT. 2. The psalmody of the Responsoria is shown in the following examples : I. Part. » Inton. Dom. ■ ■ ■ ■ _ ^P•^ ■ ■ a ■ ■ ■ « Be. Con-gre-ga- a- tus ve- Glo-ri- es runt a SimoD Barjona 1 qui- a ca-ro et saiiguis Jnonre- i-ni- f '^ ^^ ^- 1 ^ 5 , . _ , - tj. IV ■ i " " — ve- qui- la- ta- tri vit tern et Fi- ti- si- li- bi. bi. o. II. Part (taken from another piece). Tnt. Dom. :^=z^3 et de- lictum.me- iim coram me est _sein- per ti-t>i Cadence ■^=^ :3v43- li pec- SCHEMATIC TEXTS. 3. Psalmody of the Tractus. 95 ^ Intdn. 2 r 3 f 4 Dom. 5 rS: Cadence »7 8 m J^a ii- ^^: adjil- et vo-;luntd tor et pro-tector. factas est nibi in bi-d- sa- rum hl- tem jas We omit to give here an elaborate instruction on the rendering of these Chants ; the rules of execution are the same as in the richer melodies, of which we shall speak in another chapter. The examples will serve to make clear to the student that elaborate Chants are erected upon the simple basis of Psalm Chant, and that the simple laws of psalmody govern entire musical compositions in Chant, such, indeed, which to outward appearance have nothing what- ever to do with Psalm Chant. II. Schematic, or Metrical, Texts. I. Hymns. Their History. The origin of the ecclesiastical hymns can be traced to the end of the fourth century, when the rhythm of Latin speech no longer counted with length or brevity of syllables. The only rhythmic element then recognized in metrical and prose com- position was the accent. 96 A PRACTICAL METHOD OF PLAIN CHANT. As the faithful of former centuries wrote poetry, so did they sing. And their hymns we must sing the way they sang them, otherwise we do violence to the traditional Chant. We must observe the rhythm of the ancients, which is none other than the regular return of accent. The Hymnus differs from other Chants only so far that in it a regular return of the accent, according to set rules of poetry, takes place, while other Chant melodies, as mentioned before, move along unbound by metre. Both, however, lose their specific character by a lengthening of the ac- cented syllables. The Different Kinds of Hymns. 1. Considered from the musical standpoint, the hymns may be divided into syllabic and neumatic chants. In the former one syllable to one note ; in the latter, neums or groups of notes to the syllable. To the neumatic hymns must also be classed some ecclesiastical compositions, which, though appearing under other names, are in reality hymns, as, for in- stance the introit : Salve sancta parens, the antiphon : Hie vir despicicns mitndum, Alma Redemptoris mater, etc. The execution of these latter and similar neumatic chants offers no particular difficulty. They are treated like a prose text set to music, and as such sung. The tonic accent only claims consideration — the metrical is disregarded in the rendering. 2. From the metrical point of view, we may dis- tinguish four great groups of ecclesiastical hymns corresponding to the four Latin metres : the iam- bic, the trochaic, the sapphic, and asclepiadic. In the following the construction of the verses, SCHEMATIC TEXTS. 97 according to the traditional metres, will be demon- strated, the metrical chief and subordinate accents being marked. In the syllabic hymns, the melody is entirely governed by the metrical accent. This analyzing of the verse metres should enable the student to obtain a perfect understanding of the construction and rendering of hymns. (a) The Iambic Verse Metre. This simplest and, therefore, also most fre- quently used, of verse metres consists of four (to six) line verses. Each verse consists of eight (to twelve) syllables. The construction of the four line verse is as follows : Creator alme sideriim, / Aeterna lux credentiumji t f Jesu Redemptor omnium, Intende votis supplicum.. That the unaccented syllable does not always cor- respond with a weak syllable is apparent from the second verse : Actcrna, etc. It occurs that instead of one short syllable there are two : ^^±. w — ^. .i- — — Pretium pependit saeculi. With reference to the rendering of these hymns,, we have already remarked that the notes are all of g8 A PRACTICAL METHOD OF PLAIN CHAXT. equal value as regards their duration. Only the tone strength is different, determined by the fact whether a note is sung upon a strong or weak syllable. The accents, furthermore, are not equally strong. The chief accent is upon the sixth syllable, the other ac- cents are subordinate. This must be observed in singing. Another requisite of good chanting of hymns is the strict observance of pauses. In verses consist- ing of lines of eight syllables, each two lines should be joined in singing. Only after each second line should a pause be made, equal in duration to the last syllable. In order, however, to mark a distinc- tion between the two first lines, the last note of the first line is somewhat lengthened. Therefore, the verse mentioned above appears in its rendering somewhat like this : f * f^^^?gis^*^ii Cre-a-tor aim" sMerum K/.rna lux crerZ/wtiuin. ^I^^^g^^^g^j: JesuRedemptor omnium In/ljwde votis j2^=is|i -* — « — r- ^ i :&: 3^; Quod-cdm-que' in or- be ne- xi- bus re- =rz3=::=i :fs: vin- xe- ris. About the meeting of two vowels, see page 103. loo A PRACTICAL METHOD OF PLAIN CHANT. {b) The Trochaic Verse Metre. Trochacus means the succession of a long and short, of an accented and an unaccented syllable ( — ^-^). Each line of this verse metre consists of four, or three, such trochees ; therefore of eight, or six, syllables (the last syllable may be omitted). The number of lines belonging to a verse varies. The ordinary verse has six lines. The line of eight syllables has the chief accent upon the seventh syllable. In the line of six syl- lables the chief accent is on the fifth svllable. ±i:ds: Pan-ge lin - gna glo - ri - o ■< si Cor- i=*: ^^'=MEE£Ejle! ii=: po - ris my - ste - ri - um y i=4J: -m -■ p San - gui-nis . que pi:e«ti • <> - si, Quern in 1^ ^-t. h- -.Mz :=|: !^ tnuii" di pre - ti - urn As hymns of this metre may be mentioned : (a) Stabat mater dolorosa Juxta cn'iccin lacryuwsa. Dniii pcndcbat Filius. SCHEMATIC TEXTS. loi (b) Lattda Sion Salratorem. (c) Dies irae dies ilia. (d) Vcni Sancti Spiritt'is Et C'lnitte coelitus As example of a line of six syllables in this metre we quote the following hymn : Ave maris stclla, Dei Mater aUna Atque semper Virgo Fcli.v coeli porta {c) The Sapphic Verse Metre. Without entering minutely into the construction of this metre, we will give here the rhythm of the same. Iste confessor, Domhii colentes Quern pie laudant populi per oj-bem Hac die Isetus meruit beaias Scandere sedes., The first three lines contain two accents, the chief accent upon the tenth, the subordinate accent upon the fourth syllable. In the last line there is an ac- cent only on the first syllable. Following the fifth syllable in the first three lines there is a pause with its corresponding preparation. Breathing should, however, not take place here. The rendering of this hymnus would accordingly be as follows : 102 A PRACTICAL METHOD OF PLAIN CHANT. ^ ^^- *I^= nt#- \^^ £; -•-«-#- -• — #• * ste con-fes-sor Do-mi- ni co-len- tes m^^^^^^ I Quern pi- e lau-dant - po-pu- li per 6r-bem : fe^^^S^E^ I hac di- e" Is- tus me- ru- it be- a- tfts fS34x= e3^;eI tf=£ ~B — ^ Scan- df- re se- des- Other hymns of the same metre are : Bella dum late — Christe sanctorum — Gloriain sdcrae — Oinnis expcrtem — Saepe dum Christi — Sedibus cdeli — Ut queant laxis. {d) The Asclepiad Verse Metre. We limit ourselves here also to the demonstration of the rhvthm : Custodes hominum psallimus angelos, Naturae fragili quos Pater addidit CcElestis comites, insidiantibus __ ^ .^_^ _j_ Ke succumberet hostibiis. SCHEMATIC TEXTS. 103 The first three Hnes have three accents each — a weak accent upon the second and seventh syllable and the chief accent upon the tenth. The first half of the line concludes with the sixth syllable, which must be noticeable in the chanting. In the last verse the chief accent must be placed upon the sixth syl- lable. i P£^^^=e=5?5^1i Cu-std-des hd-nii-num psiil-Ii-mus an-ge-los, ^^pS=^^ ^m Na- tu- rse fra- gi- 1* quos Pa-ter ad* di- dit ; ^^^^^^^^^. CcE - le- stis cd-mi-tes in- si- di- an- ti- bus fiz3sp4i=^ 31 Ne sue- cum- be- ret hd- sii-bus. Other hymns of this metre are : Sacris solemniis — Te Joseph celebrent — Festivis resonent — Martinae celebri. The Elision. In classical Latin poetry the custom prevails to drop the last vowel of a word if the following word commences with a vowel. The necessity of following 104 A PRACTICAL METHOD OF PLAIN CHANT. this custom in chanting has not yet been shown. In many cases it even appears entirely inadmissible. We would give to chanters the following advice : The eliminated vowel should be quickly pronounced, so that it seems to unite with the following vowel, somewhat in this manner : ^^zg^^j )ni-quce in If there is a note group over the vowel following, then the eliminated preceding vowel should be sung on the first note of this group, as : -^ Cum Pa- tre et i p^ 3r-«— • Cum .Pa- fre" et Occasionally the poet uses two short syllables in place of a long one. In this case both syllables are suna: on the same note. dig'i-tus di- gi- tus The AMEN at the end of hymns, while the same formula of notes, differs in the various tones, owing to a shifting of whole and half tones : SCHEMATIC TEXTS. 105 I. and II. Tone. III. and IV. Tone. A- men. men. V. and Yl. Tone. VII. and VIII. Tone. i p=s z — 2 — e; '. — 0-*^ — _ — • — ■ t 2. Tropes and Sequences. To the poetical texts of Liturgical Chants should be classed also certain small verses, which for the paraphrasing or explaining are inserted in a text and distributed upon the notes of the same. These verses are called Tropes. In the middle ages they were the order of the day in all kinds of ornate Chants, in Introits, Kyrie, Offertory, Communion. The fol- lowing example will illustrate the formation of the tropes. The melody is taken from the Alleluia for the feast of St. John. (May 6.) io6 A PRACTICAL METHOD OF PLAIN CHANT. E— ; —, 1 1 ■ A- -.•-'' Justus Johannes et di- le-ctus ger- men o-do-ris p i a« - - ""■■_■ ■"" J • ■ • 1 . i^. ., ' ! palmam pu-do- ris semper te-ne-bit si-cut li-li-um e— n • _ ■ -. _» U can- do- re de al- ba-tum ecc. Here should also the sequences be mentioned : Liturgical Chants, which, though not possessing any of the usual metrical forms, have, nevertheless, a certain symmetry in their lines. Their execution requires no particular direction. If divided into real verses, they follow the laws of the hymn (Lauda Sion, for instance). In the other case they are treated like prose chants. B. INDEPENDENT CHANTS. In the Chants dealt with so far, the melodv was bound to certain definite forms, which it could not overstep. In the liturgical recitatives, for example, the modulations are unalterably prescribed ; the psalmody again has its invariable intonations and final forms; in the hymns, finally, the verse metre SIMPLE CHAXTS. 107 sets limits to the text, and therewith also to its melody. Entirely different from all these are the inde- pendent chants, which will now claim our at- tention. Like their text, their melody also proceeds free from restraint. The melody, with which alone we concern ourselves, is solely a product of the joint operation of our three laws of musical form in Plain Chant. This will be demonstrated to the stu- dent in this chapter. An examination of the Gradual, or Antiphona- rium, will show the existence of three great classes of independent chants, namely, such of simple, Horid, and very Horid melodies, i. e., those in which to the syllable is given a single note, or a group, or nciims (a combination of groups). We shall now give our attention to each of these classes of Chant, and will show the construction first of the simple, then of the florid and finally of the very florid chants. For the simple melodies, the words syllabic chants are now widely used. The florid melodies are also called melismatic chants. I. Simple Chants. To these belong melodies that usually give a single note to each text syllable. We say usually, for the chant does not cease to be simple if in the course of a melody there appears exceptionally a short group of notes to a syllable. The melodies of the Gloria and Credo, for instance, are numbered among the simple melodies. To explain the con- struction of melodies of this class, we select the Gloria in festis simplicibus. io8 A PRACTICAL METHOD OF PLAIN CHANT. Glori-a in excel-sis De-o. Et in terra paxihpminibus \- IjonK volun-tatis. Laudamus te. Bene-di-cimus te , . . ■ ■ — 1 « « J=t Gratias agi-mus ti-bi propter magnam gloriam tuam. \ Domtne Deus, Rex coelestis, Deus Pater omnipotens . . Qui toUis peccata mundi, snscipe deprecationem nostram g- Qui sedes ad dexteram Patris, mi-se-re-re no- bis. \r -.1 Tu solus Al-tissi-raus, Jesu Christe. CumSanctoSpirixu, ^^-^^.^c in glo ria Dei Patris. This dignified and serene melody consists of not more than three melodic motifs, closely related to each other, viz. : SIMPLE CHAXTS. 109 The first is by its upward course a bright, Hvely movement. The second motif increases the force of the first one by ascending to si. The third finally forms by its descending course a quiet, finishing phrase. In but few places, however, do these motifs re- appear in their fundamental form. They suffer numerous changes. These are of a twofold kind, viz., melodic and dynamic. (The rhythmic element is, as already mentioned, not considered.) Thus, for instance, are these motifs seen to accept the fol- lowing forms : ! ' ' i ■- II . -■ * ■ a Glo- ri- a. Et in ter-ra. i . . . . I| .. . ■ . 1 . . . II ■ ■ ~ ""I"* ~~l 1 -1 Pax ho-mi-ni-bus. A-gi-mtit ti-bi. Suscipe. Rex coe-le- stis. Spi-ri-tu. u, a. 1 n n 1 - ! ■ — ■ — J— • — s »— • — = : — s • 3 S !_ S__ ! In excelsis Deo. Lau-damu5 te. Be- ne- Bon% volun-tatis. ^— «-i-i-^H^ '' ■ -' » II ~i •_■ di-cimus te, Tu solus AUis-simus, no A PRACTICAL METHOD OF PLAIN CHAXT. Not less important are the dynamic alterations of the motifs : I Glo-ri- a. Et in terra. Qui toUis. Gra-ti-as. Qui sedes. Pax ho-mi-ni-bus., Agimus_ti-bi. Agnils Dei. U- ni- ge- ni- te,. Rex cne-lestis. E In ex- eel-sis Deo.^ Laudamus te, Glo-ri-am tuam. Bo-iise ' vo-lun-tatis.i What are the laws of the forming and varying of motifs? A glance at the melody will show that the first motif occurs generally at the beginning of a sen- tence, the second in the middle, the third at the end. This construction is not accidental, but conditioned by the laws of proportion between text and melody. For this is the usual course of a sentence: the be- ginning is a rising of the thought, the middle is its climax, the end is its letting off. If, therefore, the melody corresponds with these moods, we must admit that it is formed according to a law of pro- portion between text and melody. Sometimes a motif is omitted, according to re- quirements of the text, as in the intonation (always referring to the Gloria example above) ; sometimes SIMPLE CHANTS. in even two, as in Laiidamxis tc, etc. Sometimes the melody begins with the last m.otif : ~m~T Bomine Deus, Rex coelestis, Deas Pater ompipotenS Domine Fi- li, u- ni-geni-te Jesu Chri r-.ste . The melody thus receives variation. But even in this variation the text plays its part. A contempla- tion of the two texts in the foregoing example will show the propriety of pauses after Doininc Dens and Domine Fili. Both expressions, Domine Deus and Domine Fili contain a complete idea — they are, in a way, a sentence. The melody expresses this by giving them the final motif. Only once we find the second motif, the climax motif, used as the end motif upon the words Jesu Christ e (see page io8), as if the composer, by giving to them the climax motif, wished to express that in these words are contained our supreme strength, our life. The joining of the motifs is thus governed by the text. It is the text likewise which varies the motif in the melodic and dynamic sense (accent). It is easily seen how the melodic variation depends upon the text. It consists in omitting or adding notes according to the requirements of the text. The matter is not so apparent in regard to the dynamic variation (shifting of the accent) of the motif. We have so far placed the accent of the melody corresponding with the word accent, but how is the correctness of this proceeding proved? If a melody is specially composed for a certain text, the correctness would be plainly obvious. For, 112 A PRACTICAL METHOD OF PLAIN CHANT. if no special reason exists, then the melody would certainly not deprive the text of its accents. An analysis of the melody, however, will prove the cor- rectness of placing its accent with the word accents in all cases. First of all we must state that the motifs in their simplest form have no defined accent. The first motif consists, for instance, in some places of three, in others of four notes. ' I I -_- ' .V . * ' - ■ ■ 0~ The two other motifs are, in regard to the num- ber of tlieir notes, still more changeable : F 1 « » . ■ According to the laws of general musical form, ex- plained in our first chapters, every melody, however small, consists of three or two part motifs. Have the melodies under consideration of themselves the forms of two or three part motifs, or do thev receive the same from the text ? In the first case they would govern the text, in the second case they are sub- ordinate to the text. We must positively deny that they have this organic form of themselves. They receive it from the text. Let us in this connection consider the motifs in their varied forms. Thev are manifestly equally good and equally satisfactory, viz.: SIMPLE CHANTS. "3 * p ' f t f t f f t , ■ ■ -J-^?-.. ■ • ■ • ••lj«" ' ■■ ■ • ■ > 'i • :■— li — ._•_ t^- If we then in a certain case prefer one form to another, we must be so induced by a good reason, and this reason can only be found in the application of the motif to a certain text. That the motif in itself contains no organic structure, but receives it from the underlaid text is apparent from the treatment of the motifs. Accord- ing to the principle of alteration of two and three part motifs, our three principal motifs may be repre- sented as follows: -^ 1^ i-P^ No matter how we may view these motifs, their original structure will be destroyed as soon as a note is added or taken away. By adding a note, a two part motif will be one three part, a three part will be made two motifs ; for instance, the motif * The forms given above occur very often in Plain Chant, e. g. H^l^^^S^fSiE^ etc. 114 A PRACTICAL METHOD OF PLAIN CHANT. would in the initial appearance of the first motif result into ■ * — ■ ^ and if the third motif is the addition thereto of one or two notes would have as result the following transformations : ' "-fc— »-r 1— H-l --^r the second motif, however, must, through omission of notes, receive an equally changed form : Now all these variations are really present in our Gloria. Consequently, this one composition proves that the three original motifs, which are the melodic foundation of the entire piece, have of themselves no definite structure, but change the same by addi- tion and omission of notes. Since, however, notes are only added or omitted according to the require- ments of the text, it is the text, therefore, which determines the dynamic structure of the motif. The text, therefore, dominates everything — in in- dependent, i. e., not metrical chants, the construc- tion, the melodic, and dynamic alteration of motifs, or, briefly, the entire melody. Practical Conclusions. If the text furnishes the laws of composition, it also furnishes the rules of a good execution. The SIMPLE CHANTS. 115 singer of Plain Chant must, therefore, above all things, understand his text, or, at least, be able to read it, i. e., he must know which of the syllables have accents (chief and subordinate accents) and which are unaccented. He will in syllabic (non- metrical) chants never err if he observes the word accents. The first verse sung by the choir, Et in terra pax honunibits, offers occasion to complete our instruc- tion on accents, and to speak of an apparent ex- ception to the rules above expounded. The first two syllables, " et in," offend against the alterna- tion required by the laws of accented and weak syl- lables. They form a motif for themselves, for the following syllable /cr(ra) belongs to a new motif. We would consequently have here a motif composed of two weak syllables. We have met with similar cases in the chapter on Psalmody, as, for instance: In splcndoribtts sanctorum. There we established the rule that a weak syllable, in consequence of its position be- tween other weak syllables, receives a subordinate accent. In the case now before us this rule will also apply. We should, therefore, have to sing, ct in terra, etc. If the student desires to acquire artistic render- ing, he must study the fundamental motifs of a melody, and present them to the audience as grow- ing forth from a fundamental thought. A melody performed in this manner will appeal to us, while a disconnected series of more or less similar groups of notes will weary. Furthermore, the chanter can also give expression to the melodic and dynamic alterations ; at the same ii6 A PRACTICAL METHOD OF PLAIN CHANT. time he should avoid all exaggeration. For, instead of giving the Chant life and freshness, which is always the aim of a change in the motif, an ex- aggeration might easily bring in question the recog- nition of the fundamental motif, and thus destroy unity, the first requisite of melody. If the student, furthermore, also observes that which we have learned in the first part about ac- cents, pauses, and note duration, then his chant will be perfect — he will delight his hearers, and the sacred word will penetrate their hearts. As a fitting conclusion of this chapter, we will reproduce the Gloria, which we have made the basis of our examination and study, and will transcribe it in modern notes, fully annotated with accents and time marks, showing how it is sung according to the rules which we have just learned. fefc P-^ li—m—i^-m — ^ tn:is ZiZZM. ±^-Z^^ Glo-ri- a in, ex-cel-sis De- o. Et in ter-ra r ril. t5=zts=4i=3=^:t5=:ts: :t5: X pax ho- mi- r.i- bus bo- nae yor lun- ta- tis. f ril. t \ Lau-da- mus te. Be- ne- i,di- ci- mus te ^^.?J^J^*^- Gra- ti- as a- gi- mus ti- bi propter- magnam SIMPLE CHAXTS. "7 glo- ri-.im tii-am. Do-mi- ne De-ns. Rex ccelestis. P t t ril. f :=ti«zncE^=M:r^its=a=|;:=:-ts=:r— «e-:»z ^ f_ — — I — « _ De-US Pa-ter om-ni-po- tens . . . Qui tol-lijjpfiP ca- ti- o-nem nostram. Qui se-cles ad dex-teram i ::=|: :f.=^: Pa- tris mi-se-re-re no- Ijis , Til so- lus Al- tis- si- mus Je- su Chri-ste. Cum Sanc-to t ril. Spi- n- tu. in ;;;Io-n- a De- i Pa- tii*.. * In this and similar places, which are simple recitations, the movement should not be permitted to quicken. ii8 A PRACTICAL METHOD OF PLAIN CHANT. 1. Florid Chants. Under this name we gather those Chants in which, in place of the single notes in syllabic Chant, note groups appear. They are distinguishable by sim- plicity from the very florid or melismatic Chants to be treated later on. While in melismatic Chants the text syllable is often set to a number of note groups, there are in the melodies that now claim our atten- tion mostly only single two or three part groups. Now and then, however, there is found upon one or other of the syllables an extended group. It is difficult to define the limits of the florid class of Chant, for frequently note groups are distributed so sparingly throughout the melody that they would appear to be syllabic. On the other hand, these florid Chants once in a while reach over into very florid or melismatic Chants. On account of these deviations, we consider it profitable to analyze several examples of florid Chants. We select, therefore, a simple florid melody, another properly florid, and finally one reaching over into the melismatic Chants. First Grade. The Gloria from the Angels' Alass. 1 ^ 2 ■ . . ' ' . ■ - ■ • -« » • -• ^ ■ • . •■•.'< Glo-ri- a in e.Kcel-si5 De-o. Et in terra pax hommibus 3 bonae volun-ta-tis Laudamus te Benedi-ci-mus te FLORID CHANTS. 119 :a=iz;:i: -K 8 . II . A-do-raraus te Glo-ri- ficaipus te Grati-as agimus tibi J: propter inagnamglori-am tuam: Deus Pater omnipotens. iS ot without design do we select the above melody. In it is consummated very gradually the transition of syllabic Chant into the florid. At the beginning purely syllabic, the melody places upon " Landa- viiis te" the first group of notes. " Bcncdicimus tc," and " Adoramus te," have each already two of them. In the verse, " Dens Pater omnipotens," groups are present in greater number than single notes. Just this changing in a melody from one kind of Chant into another is suited to disclose to us the wa)' to treat the florid melodies, as it grants us a glance into the workings of the composer's mind. Like the example of syllabic Chant given in the pre- ceding chapter, so also is the one given now — at least in its syllabic parts — a connected melody growing out of few fundamental thoughts or motifs. The three motifs which we find in our example marked I, 2, 3, are easy to recognize: 1 2 - 3 E ■ ■ 1 ■ • • ' ■ ■ • • '1 • ■ ].''■■ .._ .•.._■ 1 The further analysis of the syllabic parts of the I20 A PRACTICAL METHOD OF PLAIN CHAXT. melody we leave to the student, as they offer nothing new. We shall proceed to those verses which contain note groups. The first question to be asked here is : Are these verses organic, i. e., melodic phrases derived from common motifs, or have they each a different root? The melody just cited leaves no doubt concerning the answer to the question. The relationship of the melodies of the verses is too apparent to be over- looked. Let us compare, for instance, the melody of the intonation with that of the Adoramus te, and this again with Laiidamus te. They are obviously similar melodies, arising from the same fundamental root, joined into one harmonious piece. If this were not so, we should have to deny en- tirely a unity of melody, because if we took away the florid parts, there remain only a few verses, which certainly are not capable of representing a fundamental idea in the composition, being over- whelmed by the many florid melody parts. What, however, definitely determines this ques- tion is the reciprocal change from one kind into the other. The intonation and the first verse are purely syllabic. Verses two, three, and four are florid ; verse five again syllabic. The sixth verse brings in its first half a group ; the second half, on the contrary, is purely syllabic. In the now fol- lowing verse, " Domine Dens," there is joined to the first purely syllabic half a florid mixed melody, " Deus Pater omnipotens," etc. All these compari- sons let us infer that the melody parts which con- tain groups are not a heterogeneous growth on the melodic tree, but that they arise out of a common root, like the syllabic motifs. FLORID CHANTS. How is this transformation of the simple motif into the florid melody accomplished ? This is the second and the principal question which we have to answer to enter into the real nature of the florid melodies. Let us begin with the first group upon " Laudamns te." 6- iHv Lau- da- mns -le. This melody evidently is similar to the first motif. With the note group omitted it appears thus : 6- which is simply a variation of the motif No. means of omitting a note. by h -<•)- If we add to it the first note of the group {Climaciis) then we have the complete four note motif No. I transposed to the major fourth, with alteration of one note. I: The principle of the motif remains, therefore, if we insert the first and most important note of the group. Consequently, the two other notes of the group do not necessarily belong to the melodic thought of this verse, which could very well be : s La«- da- jmis .te. 122 A PRACTICAL METHOD OF PLAIN CHANT. Yet so as to animate the descending line of the melody, the composer adds the two other notes of the Climacus. This will demonstrate that they are simply ornamental notes. In the following verses also they prove themselves to be so. The fundamental thought of the third verse : g ■— ;=?— p. Be-ne- di- ci- imis te is the following melody : ~ — • = i S-— F Be- ne- di- ci- mus te In this form the melody is easily recognized as partly inverting motif No. 3, just as the one now following may be led in its simplest form to motif No. I : E- A- do- ra-mus te Thus all verses, even the most florid of our ex- ample, may be led back to the fundamental motifs. So in this additional example of a florid melody : 3 .^ f _ • • a i _ " I .-f . — ! -—?•-. ■ ■ __,_■ iJeus'. Pater ;om-ni^Ilntclls^ \l)?us^Pater .oitl-ni-potens. These examples show sufficiently that nothing essential is wanting in a melody if we represent the note groups of the florid parts by their chief note. Therefore, groups are nothing but ornamental notes, joined to a certain note of the melody. FLORID CHANTS. 123 It would, therefore, be quite wrong if one would adjudge to these unessential notes the same impor- tance* which is due to the notes of the actual motif. If we, therefore, examine the structure of a Chant composition, we consider above all things the funda- mental motifs required by the text, i. e., we must seek the principle which is the foundation and essence of mixed Chant ; we must discover the syllabic melody which is the basis for ornamentation and florid forms. The syllabic basis supplies the great con- tour of the Chants. In second line, then, we shall have to examine the groups, for though they do not disturb the chief forms of Chant composition, yet they form small elements of their own. We give an example in the following analysis : I rj^iHii Lau-da- mus te. Bene-di-ci-mus te. Adoramus te. ■g . . i[ ■ J r ,-8 f , -i+ i 3: Tu solus Altis-si-mus, Jesu Christe. Cum Sancto Spiritu, y > 3=^ -A-^ in glo-ri- a De- i Pa-tris. * It is not here a question of the length of the notes, but of their logical and formative importance. 124 A PRACTICAL METHOD OF PLAIN CHANT. The upper ties indicate chief parts of the melody ; the lower ones show the subdivisions formed by groups. The former as well as the latter receive their accent as in the example given. The chief ac- cents are those marked in the upper line, the weaker ones those of the lower line. How is the law of alternating two and three part groups still existent in this kind of melodic form? It receives recog- nition in a double manner in the chief motif, and again in the subordinate motif. " Laudamus te," for instance consists, as the tie indicates, of an anacrusis and a three part motif " damns ie," the first note of which is ornamented. The large ties, omitting the ornamental notes, show the re- quired alternation of two and three part motifs. The small ties also comprise two and three part groups. We must judge each note only by its position in the melodic phrase. The notes of the chief motifs and those of the subordinate motifs have structurally nothing to do with one another. The one, however, like the other, obeys in its limitations 'the general law of alternate two and three part motifs. In this way it may occur that a single note is placed between two or three part groups. In re- lation to this single note the groups represent but other single notes of the chief motif. Indeed, a single note of this kind may, if it appears on the accented time of the motif, be of greater importance than a group. Thus, for instance, is the single note on the syllable De of the following example of greater moment than the following three part group on i. To what errors a neglect of subordinate motif may lead is shown in the same example. The word " Dei " has a single note and a three part group : FLORID CHANTS. 125 6- ;— , p» ■ "V ■ These four notes are connected neither with the preceding nor with the following notes — they stand by themselves. As, however, every motif in Plain Chant is either two or three part, these four notes, by mere mechanical counting, will appear as two two part motifs. In fact, some theorists want them sung like this : De- i A rendering of this kind is utterly and entirely opposed to the laws of group formation. If the composer had such execution in mind, why did he not write : F De- i." If the groups are to stand for something definite, then they must not be distorted at liberty.* Others, also ignorant of the difference between chief and subordinate motifs, want these and sim- ilar phrases sung in the following manner : ^H De- * We may quote no less an authority than St. Bernard in condemnation of such disintegration of groups, since he impressed upon the copyists of Chant books the necessity to reproduce exactly the note groups, because negligence upon this point would render the Chant indiscernible. (Quoted from Dom Pothier.) 126 A PRACTICAL METHOD OF PLAIN CHANT. They would, therefore, lengthen the first note so that it would receive double the value of each of the group notes, and thus receive the character of a two part motif in the one note. These have evi- dently quite forgotten that a simple extension of a note does not change a motif. Who would say, for instance, that a two part motif, by slackening before a pause, is changed into a three part motif ? Even if it be granted that the lengthening of a single note makes of it a motif, we could not recom- mend the last quoted rendering, as it defines the duration of the notes too much. Choral notes have no mathematically measurable value, just as little as the syllables in the delivery of a recitation, though they are approximately similar. Now the cases in which single notes would have to be length- ened according to such practice are so numerous, that there could be no idea of an equal duration of Plain Chant notes. And for this reason we would not advise any one to view as whole motives such single notes that apparently do not fit in a phrase. How simply, however, is this question solved by the principle of subordinate motifs. " Dei " is a two part motif, the last note of which is divided The Torcnlits on i is then nothing but the second part of the motif. Considered in itself it presents a complete three part motif. As such it has nothing to do with the syllable " Dc." The word " Dcus " has two accents, the chief accent upon " De " and a subordinate accent on the first note of the syllable " us." The first one may be compared to the logic accent of a sentence, the other to an ordinary tonic accent inside the sentence. At any rate the word receives in florid chants the importance of a musical FLORID CHANTS. 127 sentence ; the text syllable, on the other hand, that of a musical word. According: to this theory the result is the follow- ing rendering of our example : Lan- da- mus tp, I3e-ne-di- ci- n>us te. ^ rii. — m m _i — I 1_^ , — i p ^_ — ^ »-#- Tu so- his Al- tis-si- mus Je- su Christe, Cum Sane- to X Tit. -JX.2- -A-rz-jsr. :£?= Spi- ri- tu, do- De- i Pa- tris. 128 A PRACTICAL METHOD OF PLAIN CHANT. We must not overlook the beautiful melody that forms the basis of this florid Chant : I ^7-7 [ . "1 •■ •• • '•• ,, •• ■ • " ' t ■ Tu solus Al- tis-simus, Jesu Christe Cum Sancto 2 1 and 2 3 • • . . ■ , , • • ■ 1 ■ ■ ■ Spi-ri-tu. in glori-a De-i Patris. Second Grade. Florid Chants of this grade offer frequently some little difficulty in finding the chief motifs. As, how- ever, the knowledge of the same is absolutely nec- essary for a correct conception of the melody, we will give an analysis of a Chant of this grade. The J- -Ti-l- \T Glo- ri-a in ex-cel-sis De- o Et in ten ra pax esuc^ ::^--r ho- mi- hi-bus bo-nae vo-lun-ta- tis. Lau-3a-mu3 te. Be-ne-di- ci-mus te Grati-as a- gimus ti- bi FLORID CHANTS. 129 student will be shown the way how to treat similar melodies. As the example will show, the first note of a group may generally be accepted as a note of the chief motif, a rule which greatly facilitates the tracing of fundamental simple melodies, which are the basis even of the most florid Chants. :3=X propter magnam glo- ri-ani. In- am. Our first task will be to find the melodic funda- mental motifs. This florid melody is a variation of the motifs of the Intonation. Glo-ri- a in excel-sis I)e-o The following verse brings each motif twice. ■ " . i [T Et in ter-ra pax homi-ni-bus bonae volun-ta- tis The two subsequent verses are easily recognized as variations of the second motif. The last phrase offers an example of the great capabilities of trans- 130 A PRACTICAL METHOD OF PLAIN CHAXT. formation possessed by Plain Chant motifs. It is a repetition of the second motif: Gratias a-gi-mus ti-bi propter magnam glori-ani tuam Through this dissection we arrive at the gen- eral contour of the melody, which must not be torn asunder by the ornamental work. The chief accents, or, as it were, the logic accent of the melodic phrases, have thus been traced. They coincide, ac- cording to the laws of pure syllabic Chants, to which we reduced the florid melody, with the word accent of the text. A further task will be to determine also the melodic subordinate accents, or the accents of the subordinate motifs. The Intonation offers no difficulty in this regard. Only the word " Deo " has two groups. The first corresponds to the accented, the second to the weak time. The note on the syllable " Dc " receives, therefore, a stronger accent than the one on "o." Et in terra pax hominibus consists of a two-syl- lable accent, two two-part and one three-part motifs. The first motif terra * is divided on its ac- Et in ter- ra pax ho- mi- ni-bus * Melodically this sentence has only two parts. This struggle between the melodic and the dynamic element of Chant produces often, as in this case, a fine fusion of the melodic parts. fLORID CHAXTS. 131 cented as well as on its weak time. The note on the syllable '" ra " receives, therefore, an accent, but this must remain subordinate to the accent of the Scandicus placed upon the syllable " tcr." Only thus can the relation of the two motifs be expressed. No rule can be given as to which of the syllables are given note groups, and which of them receive only a single note. Sometimes it is the accented syllable ; at other times all the syllables, accented or unac- cented. Then, again, it is an unaccented syllable on which groups are found. The Intonation offers an example of the first kind ; G/oria, cxcclsh, voluntatis, tibi, etc. Of the second kind we find: terra, (Bene) dicimus, Deo. The last kind, groups on unaccented syllables, we refer to: Gratio.?, propter mag«fl/;!. There is, therefore, no preference of syllables in the ornamentation. It depends entirely on the com- poser's judgment. A fine proportion of the melody parts which he attempts is more easily felt than ac- counted for. Third Grade. As an example of this class of florid Chants we will quote an Agnus Dei. ...J, . 7- il^ •n S 1^ • ::5*;=5-! — .f^i: Agnus De-i, qui tol- lis pec-cn- tn mun-di IS ML- se- re-re no-bis. do- na D-obis pa-cem. 132 A PRACTICAL METHOD OF PLAIN CHANT. Here the contrast to the simple Chants of the first grade is already great. With few exceptions all syllables have note groups instead of single notes. The word tollis, indeed, has two groups upon its first syllable. How is this explained? As said above, in florid Chants, the syllable becomes a com- plete musical word, with accented and weak times. Now, as there are text words of two or three syl- lables, so there are, too, musical words, or phrases, which are composed of two or three notes. These naturally only receive one accent. On the other hand there are words containing more than four syllables. They have, then, as a rule, two accents : a weaker and a stronger one. Correspondingly there are also musical words of four or six syllables, or notes. Tollis offers an example of six notes syllable, and the syllable niuiidi, or miserere, are set to four syl- lable musical words. This, however, is not the only explanation. We have now in these Chants approached the m^lismatic melodies, wherefore we do not censure those who consider the note groups upon tollis and inundi as perfect A' cuius (such as we shall find in the follow- ing grade) : For practice in dissecting Chants, we give addi- tionally some complete Chants: Commune Doctorum. » » f > L — • — ^— • — ■**-! ■«-■ — I In me- di-o Eu-elc-si- tc 'a- pc- ruir ds e-jiis : FLORID CHANTS. 133 «==^y~.:j:iti;ii:.- ip.- « _ t— ^_j:_^_.,i._.j— ^ e: tm-piL-- vit iim Dumiiiua spi-ri- cu sa- v- f ' > > J , A 4—— J-^^ en- ti- ?e et i rS f, — n- tel- lec-tus: stolam gldri-,*? -A- in-du-it e- um. This Introit develops from one single motif, which rises in rich variation from the simplest form of the Intonation to the joyful et implevit eiim Doininns: F md In me-di-o_ ec-cle-si- K aperu-it os ejus, et implevit -• — I — ■— i •— •- etiiii Dominus. spiri-di sapi-entire eti'ntellectus stolam a\h- ri-se in-dii-it e- um. IM A PRACTICAL METHOD OF PLAIN CHAXT. Observe also the melodic rliymes at the end of the melodic sentences, -which are suppressed almost in- tentionally within the composition. In other in- stances, however, the musical rhyme contained in the chief motif will appear still more clearly in the subordinate motifs. As example we give: Salve Sancta Parens. Introitjs. •f 3EEGEEi=^^E=z= it— — K- Sal-ve san-cta pa-rens, e- ni- xa puer-pe- ra ?l:z5 >S-N IV .3: ' M^. '1% 15 Re- gem ; qui coe-lum terrain- que re- git -: — i* ^M-%^ -t- in sse-cu-la sae- cu- lo- rum. This melody again has its concluding rhymes in the chief motifs. a' — ._.^ _ __ — ^ t n ■ ■ ■ ■ " ■ »»•», , ••■ •■ These concluding rhymes are expressed in the subordinate motifs in the following manner: !-!C-fe :4iss-v Re- gem (ssecu) lo- rum FLORID CHANTS. 135 The syllables terra;;; and regit offer occasion for a further remark. Up to this we have only met with musical words of not more than double accent : on these syllables we have musical words with one chief and two subordinate accents similar, as in the word: Dominationibus. Quite evident, further- 'more, is the thematic construction of this Chant, in the beginning of the melodic sentences as well as at the end. We conclude this part with the following melody, truly classical in every respect : f^ "ii^ After a double repetition of the same sentence the melody returns in the fourth sentence again to the motif of the Jubilus in its third form. This also is repeated : Jubilus. r^iT^v,, Liztis=:zljt:t!t=::t.:5v!=fi: rlo- - - ri- - o. The melody of the word " iiica " has the same source as that of " gloria." After a short introduc- tion, of four notes, begins the peculiar, gradually downward bound movement of the second half of the Jubilus motif, which returns in various forms, until, in the last sentence, it goes back once more to the first motif of the Jubilus and concludes with a musical rhvme on the word " cantabo.'' \ iij'TB:^^\=^X^ :^ Thus the entire composition lias its basis and orig-in in the simple and dignified Alleluia, and in its variety and unity it puts to shame many modern musical works of art. MELISMATIC CHANTS. MS ^lost effectively, however, it defends Plain Chant against the reproach that in it there are no high forms of art. On the contrary, it may well serve as a model to our modern composers, and demonstrate to them how they may create great things with simple means. We should exceed the limits of this Method if we were to enter further upon the theory of Plain Chant. We believe that the student who has faithfully followed our instruction and who has diligently studied our analyses, who has given un- tiring scrutiny to our examples and has looked for other examples in the liturgical books, is now quali- fied to analyze the melodies of Plain Chant and to enter into their meaning. Above all, how-ever, the student will have been enabled by our instructions to sing Plain Chant melodies with correctness and understanding, in an impressive and effective manner, which, after all, has been the chief aim of this work. We shall feel fully rewarded if it contributes to some extent to the rehabilitation of our Church's own, beautiful music. The additional demonstrations offered in the here following appendix will be of some practical value. APPENDIX. For the practice of singing Plain Chant we add the following frequently occurring melodies : I. Gloria. On feast days. ^ -v^ Glo-ri- a in ex-ceisis De- o On feasts of B. V. U. -1--S- IB 4- Glo- ri- a in ex-cel- sis De- o On Sundays of the year. < :> ' ^ ■ Glorri- a in ex- eel- sis De- o On semi-double feasts, either the preceding melodies are taken or the following: t t t. Jb -i— *- :^ U: GIo- ri- a in ex- eel- sis De- o 147 148 A PRACTICAL METHOD OF PLAIN CHANT. On simple-x feasts. J ^~r-^ ; p ■ ■ GIq- ri- a in ex- eel- sis De- o II. ItE }iIlSS.\ EST. On higfh festivals. »:5r iZIj^J T^ _»Z!i.S-V I- te Benedicaimis Do- De- o i • missa esf mino. gra-ti- as From Holy Saturday to first Sunday after Easter. { jCV^^ • i ■ • ■ I- te missa est ) Be-ne- di- en- mtis Domi- no > alleluja al-le- ]u-ja. De-o gra- ti- - - as j On ordinary feast days. IN: '^r*- > ' ■■ ' ifl 3% I-te Benedi-ca-mus Do- Deo missa est.- mi- no. gra- ti- SIS. APPENDIX. On feasts of B. V. AI. 149 > > ^ > \ ?"** ^ 1.,^^ ] ' ■ ^ h^LL-' ■ ."I I- te^ mis-sa est. De- o gra- ti- as. Be-ue- di- ca- mus :5^;3: Do- - mi- no. On the Sundays of the year. u, ^ ^35= :;=3 I-te De-D missa est. gra-ti- as. Be-ne- di- ca-mus, fi-tn Do- - mi- no. On simplex feasts and feria days. i 5==»t ■ ■ : ■ 3 ' -!-4« I- te mis-sa est; Bene.- dicamus Do- mi-no. De-o gra- ti- as. De-o gra- ti- as. ISO A PRACTICAL METHOD OF PLAIN CHANT. On Sundays of Advent and Lent. :fe5 -:3:n:zvc Be-ne-di-ca-miis Do- mi-no. :^:S:li^ ti^ S- z*:]5±z± De- o gra- ti- as. In Masses for the dead. -8— f Ue-qui-e- scant in pa- ce. A-men.