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Published by Frederick Pustet, Ratisbon and to

be had of all booksellers:

#^ KTRIflLE ^

SEU

^ ORblNflRlUn niSSfE SI

JUXTA EDITIONEM VATICANAM

A SS. pp. PIO X EVULGATAM.

^^= Gregorian notation, 8vo., in two Editions: z^=

In black print only, and in red and black print.

^^^ KT^iSLIE ^^

SEU

1^ ORblNflRlUn niss?E <^

JDXTA EDITIONEM VATICANAM

In modern Notation on a Staff of 5 lines with rh} tlimical Pointing.

Arranged by

Dr. F. X. Mathias, Organist of Strasburg Minster.

o o o o With approbation of the Bishop of Ratisbon. o o o o

IV and 96 pp., small 8vo.

The same publisher has in preparation:

A large -folio edition of the new Vatican Kyriale,

in red and black print.

A very short, but clear Method of teaching Gregorian

Chant by means of cards in large-folio, in red and black

print, to be mounted and hung on walls or black-board.

Specimen of the Kyriale in modern.Notation by 9\. Hatliias. ORDINAEIUM MISS^.

In Dominicis ad Aspersionem Aquae benedlctse. EXTRA TEMPUS PASCHALE.

Ant. VII

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Repet. Ant. Asp^rges me. e In Dominica de Passione et in Dominica Palmarum non dicitur Gloria Patri, sed post Psalnium Miserere repetitur i/m- ntedinte Antiphona Asperges me.

A NEW SCi

7^./ Keierencc \'-^\\

^ o

OF

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laiy

GREGORIAN CHANT

BY

THE REV. DOM DOMINIC JOHNER, O. S. B.

OF BEURON ABBEY

(FROM THE GERMAN)

CUM PERMISSU SUPERIORUM

/ A

RATISBON, ROME, NEW YORK & CINCINNATI FR. PUSTET

TYPOGRAPHER TO THE HOLY SEE AND TO THE CONOR. OF S. RITES

1906

HX.

2(oO

Imprimi permittitur.

Beuronae, die 2. Februarii 1906.

t Placidus Archiabbas.

Imprimatur.

Ratisbonae, die 24. Martii 1906.

Dr. Fr. X. Leitner,

Vic. gen.

Translated by H. S. Butterfield and revised by the author.

Introductory.

This New School of Gregorian Chant is intended for practical purposes in the wide domain of ecclesiastical music, and by no means as an Academy solely for savants and professional musicians. Indeed, it is one of its most important and congenial tasks to elevate to a higher level those whose capacities are inconsiderable or but moderate, and to enable them to render Gregorian chants in a worthy manner and, so far as possible, in a really artistic style; more especially, however, to train them for their highly important duties in connection with the lit- urgy, and to enkindle their enthusiasm for it. Although in practice we have usually to deal with persons who possess little or no ability, yet it was necessary to consider those who are more advanced and capable of being devel- oped, and at least to point out to such the path leading to excellence, so that, if God has bestowed upon them the talent and the will, they may do their best to follow it. For though Gregorian sung in a simple and devotional manner, let us say, by little children, may greatly please us, still its full beauty and the perfection of its varied forms can only be displayed when it is treated as artistic music. Consequently, the divisions of this work into Preparatory School, Normal School, and High School are not to be viewed as intended for three distinct Classes. On the contrary, at the commencement of the instruction

IV Introductory.

and during the course of it the teacher should select from later Chapters, according to his forces and the time available, whatever may help to enliven the instruction or to elucidate points touched upon in a previous lesson. In an instructional work it is necessary to summarise to a considerable extent, and an intelligent teacher will make as good progress, or better perhaps, if he deals separately with some of the topics, anticipating or holding over this or that. For example, the preliminary Vocal Exercises in Appendix III. may suitably be interrupted by remarks concerning the contents and divisions of the Gregorian books, the Latin language, the Church Modes, the neums; or something can be gleaned from the Chapter on Liturgy, from the History of Plain Chant, and the like. In this way the teacher prevents the lesson from becoming dry and wearisome, the intelligence of the singers is quickened and their interest maintained. More- over, the somewhat complicated subject being sub-divided is more easily mastered. Literature calculated to assist those who desire to investigate certain points more closely has been indicated in footnotes.

Choir-singers are seldom good singers, that is to say, they do not often possess the knowledge and practi- cal experience indispensable for the methodical use of the human voice. That is probably the main reason why the results of strenuous efforts are at times so unsatis- factory, and why we have to complain of the manifold difficulties connected with the cultivation of plain chant and church music generally. Chapter III. in the Preparatory School, and the Vocal Exercises in Appendix III., are therefore specially recommended for instructional purposes. Thoroughness in training the voices is the only way to

Introductory. V

secure accuracy, firmness and uniformity in rendering the choral chants, just as it is always the foundation for a well-executed, vigorous, fluent solo. An hour judiciously employed in this manner will be well repaid. Later on it saves much time, and, in addition, prevents many disappointments, misunderstandings and mistakes.

In order that the beginner may thoroughly master all the details connected with the rhythm, and may be en- abled to phrase the melodies properly, the notes which are to be accentuated are clearly indicated in the Normal School over the various groups of notes. It stands to reason that the importance and strength of the accentuation must be very different in different places, and that it must always be effected quietly and very smoothly, espe- cially at closing cadences. Hence, the final notes, even when an accent is placed over them in the book, must always be delivered softly and gently, dying away softly and gently. Beginners can use these signs as means to help them to read and practise the music, just as a pianist at first gladly avails himself of fmgering-exercises. More advanced pupils can test their method of execution by means of these signs, dispensing with them when in a position to do so.

The chief portion of the task naturally fell to the Chapters included in the Preparatory and Normal School, the object being to inculcate therein the correct method of rendering the chant; consequently, the matter for the High School could be arranged more in the form of hints and suggestions. In the Chapter on the Artistic Value of Plain Chant the purpose was to demonstrate in as lucid a manner as possible the principles that are carried out in the ancient melodies. Whoever has dipped into the

VI Introductory.

rich treasury of the melodies in the Kyrlale and Graduate, will, with the help of the characteristic phrases here brought to notice, be in a position to discover for himself most instructive illustrations, and to appreciate more and more the advantages of the traditional melodies both as regards their forms and contents. With regard to the Chapter on Organ Accompaniment, it is taken for granted that the organist has sufficient skill as an executant and harmonist. The examples given do not in any way pretend to exhibit the only correct method of accompanying plain chant, and they will not suit everyone; they are, in fact, merely offered as an attempt to surround the melody with harmonies in keeping with its character, and all in the same style, forming an accompaniment which, it is hoped, will be found of some interest from a musical point of view. The attention of Organists who require to have the music before them is called to the Accom- paniment to the Kyrlale by Dr. F. X. Mathias, lately published by Mr. Fr. Pustet.

The author of the New School is of opinion that the theory of equal measure for the plain chant notes, using this term in its accepted sense as equivalent to time- value, is not only the one that can be best defended from an historical point of view, but he also recognises in this interpretation the only possible method of rendering these expressive chants in a natural and logical manner, satis- fying all the requirements of art, and in accordance with the convictions of those who have formed correct opinions on the subject. Nevertheless it would not be right to look upon this equal measure of the notes as the vital and essential point in the Gregorian rhythmic system, for it is not of itself the form-giving principle for the

Introductory. VII

rhythm. The rules laid down in the book are the results either of generally accepted conclusions or of experiences gained by practical work and close attention to minute details, day by day. Where opinions differ on this or that point, as, for example, in regard to the importance of the qiiilisma, the retention of the mediatio correpta in psalmody, the New School allows perfect freedom. But no one should give up the whole system and decline to have anything to do with the restoration of the chant owing to the fact that certain questions of minor import- ance are still awaiting settlement. If in future one is only to take something in hand provided that both learned and unlearned are in perfect agreement, well, one would simply have to give up everything. Or, in other domains where something great has been achieved, has complete unity been attained in theory and practice? Even as regards the performance of the contrapuntal works of the Old Masters, the mode of conducting Beethoven's symphonies, or of rendering his sonatas compositions which have long been the common property of the edu- cated world and also as regards the artistic conception of Wagner's musical dramas, there are to this day various personal views, indeed, distinct opinions of various schools of thought; and it will ever be so, and the world will not cease to enjoy these masterpieces and to derive from them food for the mind. Moreover, just because we choose to worry about the settlement of theoretical, histo- rical or purely personal questions, it would be unreason- able to deprive ourselves of the pleasure of labouring on behalf of the restoration of the chant, to say nothing of losing the many beauties revealed in the ancient melo- dies. Those who have to instruct many must first learn

VIII Introductory.

from many, and that which is for the benefit of all has a claim to the help of all, and needs the help of all. Hence the author of the New School begs those who are interested in Gregorian chant not to be merely sympathetic friends, but also advisers and promoters when circum- stances permit. Author and publisher will be grateful for any suggestions, and will do all in their power to improve the School, in order, with the blessing of God, to cooperate more effectually in the great work of the restoration of Gregorian chant, in accordance with the intentions of our holy Father Pius X., for the honour and benefit of holy Church.

A word of sincere thanks is due in this place to the Reverend Fathers of Solesmes for their kind permission to use the "white note" employed by them in psalmody; likewise to the Rev. Dom Gregory Bockeler, O. S. B., of Maria-Laach, who undertook the preparation of Chapter III. for the Preparatory School, and the Vocal Exercises in Appendix III.; also to the Very Rev. Dom Raphael Moli- tor, 0. S. B., Prior of St. Joseph's Abbey, Coesfeld, who contributed the greater, and more valuable, part of the Chapters for the High School, besides evincing in various other ways his keen interest in the efforts to bring the task to a happy conclusion.

Beuron, near Sigmaringen, Feast of the Purification, 1906.

D.J.

Contents.

Page

Introductory .... Ill

Preparatory School.

Chapter I. What is Gregorian Chant? Comparison with

hymn-tunes and national songs. Definition and name. 1 4

Chapter II. A. Remarks concerning Latin. Pronunciation. Division of syllables and words. Correct accentua- tion. Rhythm. Delivery in accordance with the sense. Tone of voice. Recitation. B. Concerning High Mass and Vespers: The Gregorian books. Order of the chants. Liturgical regulations . . 4 14

Chapter III. Voice Production Points of most importance. A. In general: Position of the body. Position of the mouth. Breathing. B. Tone Production: Attack of the tone. Faults in the tone and remedies: throaty tone, nasal tone, palatal tone. Vocal exercises, hints. Release of the tone before syllables, words and pauses 14 20

Normal School.

Part I. Principles.

Chapter IV. Plain Chant Notation. Notes generally used. Staff. Equal time-value of the notes. Names of notes. Clefs. Ledger lines. Custos. Signs for pauses. Virga equal in time-value to the punctum. It is not for accentuated syllables only. Objections . . 21 27

Chapter V. Church Modes. Definition. Authentic and plagal. Tables. Transposition. Characteristics of the Modes 27—32

Chapter VI. Neums. Names and Definition. Neums with 2, 3, 4, 5 notes. Liquescent neums. Principal and secondary accents on neums 32 38

X Contents.

Page

Chapter VII. Plain Chaiit Rhythm. Preliminary remarks. Rhythmical fundamental forms. Rhythm of plain chant is free (rhythm of speech). Rhythmical accent in syllabic and melismatic chants. Single notes over unaccentuated and accentuated syllables at beginning of a melody or after a pause. Pressus and qui- lisma. Pauses and mora vocis. Masculine caesuras. Regula aurea. Supplementary remarks. Treatment of the text in plain chant 39—56

Part II. Different Species of Plain Chant.

Chapter VIII. Psalmody. A. Constituent parts of the psalm- tone: Intonation, dominant, mediation, final. "Seconda- ry syllable." Preparation note. B. On practising the psalm-tones. The eight psalm - tones (simple and solemn forms, Magnificat). Tonus peregrinus, me- diatio correpta. C. On rendering the psalms. Importance of the intonation, of the verbal accents. Subordination of the verbal accents to the musical accents of the cadences (flex). Pauses between verses and half-verses. Pitch of the dominant. D. Sec- ondary accents in the cadences for all the Vesper psalms 56 76

Chapter IX. The Antiphons. Divisions: Antiphons with 2, 3, 4 members, and without developed divisions. Their melodic proportion. Their musical expression. On selecting the pitch of the dominant. Deus in adjutorium 76 85

Chapter X. The Hymns. Rhythm of their melodies: a) The metrical accent determines rhythm of the melody (Iambic and Trochaic measure); b) or the verbal accent preponderates (Asclepiadic measure); c) or attention is paid to the verbal accent only (Sapphic measure). Elision. Amen at end of hymns. Reci- tation of hymns. Versicle and response . . . 85 92

Chapter XI. The Ordinary Mass Chants: a) Kyrie eleison: historical, musical construction, mode of rendering, recitation, tropes; b) Gloria: historical, musical con- struction, mode of rendering; c) Credo: historical,

Contents. XI

Page

character of the melody, mode of rendering; d) San- ctus and Benedictus : musical construction, mode of rendering; e) Agnus Dei: historical, musical con- struction, mode of rendering 93 102

Chapter XII. The Variable Mass Chants. General remarks. The various chants: a) Introitus: Constituent parts, division , characteristics of the melodies , mode of rendering; b) Graduale : Name, typical melody in Mode II.; specimens showing beauty and richness of the melodies, mode of rendering; c) Alleluja: characteristics, mode of rendering, the "numerous notes" of the Neuma, relation of the Alleluja to its Neuma, typical melodies; d) Tractus: Name, exam- ples ; e) Sequentia : In general ; sequences for Easter, Pentecost , Corpus Christi , Seven Dolours of the B. V. M., in Mass for the Dead, liturgical rules; f) Offertorium : historical, characteristics of the melo- dies; various examples; g) Communio: historical, characteristics 102 119

Chapter XIII. Chants and Intonations of the Priest: a) Gloria and Credo; b) the Prayers, forms for: a) so- lemn, 1^) simple, •;) semi-solemn; c) Epistle and Les- sons, Little Chapter; d) Gospel; e) Preface and Pater noster, solemn and simple forms, form for the prayers on Good Friday, faults in chanting, how to chant; f) Ite and Benedicamus for High Mass and Benedi- camus for Vespers ; g) other Intonations : for Asper- ges, for Antiphons B. V. M., for Good Friday and Holy Saturday, at burials 119 141

High School.

Chapter XIV. Liturgy and Plain Chant. Liturgy as the centre of Christendom, opus Dei, homage of the crea- ture, the communing of Christ with the Church. Liturgical chant necessarily antiphonal. The honour and glory of God its object. Comprehension of the liturgy a necessity. Gregorian chant the liturgical chant of the Church. Popular hymns and liturgical chants for Christmas, Lent, Easter. Effect of litur- gical chant 142—152

XII Contents.

Page

Chapter XV. Artistic Value of Plain Chant. A. Theory of form. I. Structure of plain chant melody, a) Melodic forms. Antiphonal chant: psalmody, antiphony, re- frain, responsory. Importance of antiphonal chant, b) Construction of periods. Free periods mostly ad- here closely to divisions of text. Symmetry. Equili- sation of the members according to tonal position (parallelism , inversion). Symmetry of the closes (rhyme-endings). II. Inner Development, a) Repeti- tion: 1. Of a motive that has just appeared, with further development. 2. Return to a previous motive with development. 3. Mere repetition of a motive. 4. Repetition transposed. Extended repetition, b) Imita- tion in the strict sense: 1. Direct motion with trans- position. 2. Contrary motion. 3. Prolongation and abbreviation. 4. Purely melodic imitation, c) The climax as a natural and effective principle. Magnificat- antiphon for 2"«* Vespers, Christmas Day. d) Contrary motion, e) Purely rhythmic imitation . . . 153—173

B. Musical Contents (capability of expression). To suit the religious life and particularly the liturgical life. Examples of melodies: Palm Sunday (Intro- itus, Offertorium, Communio). Communio Quinque prudentes, Offertorium for the Immac. Concept, of the B. V. M 173—184

Chapter XVI. Mode of Rendering. A. Necessity for a good rendering. B. Preliminaries : I. Study text and melody. Examples of dynamical treatment. II. Pray whilst you sing. C. Means in detail: tempo for anti- phonal chants, intonations, etc.; pauses, marks of expression, formation of closes, pitch . . . 184 201

Chapter XVII. Organ Accompaniment. Object of an ac- companiment for plain chant. Written or printed, accompaniment; or improvised from the melody. Conditions necessary for a good accompaniment. 1. Choice of harmony. II. Attention to the rhythmic progression of the melody. III. Discreet execution. Examples: Intr., Lcetare; Offert., Assumpta; Commu- nio, Qwoc? dico vobis; Grad., Propter veritatem; Al- leluja, Assumpta. Conclusion . . . 201 227

Contents. XIII

Page

Appendix I. Short History of Gregorian Chant, a) Organ- ising activity of St, Gregory the Great on behalf of the church chant, b) Diffusion and period of per- fection to the beginning of the 13'^ century. Schools, theoretical treatises, efforts to show the intervals clearly in the notation; famous choristers, composers of plain chant, and theorists, c) Decadence of the ancient melodies down to 1850. d) Revival of the ancient melodies 228 240

Appendix II. The Ecclesiastical Calendar. Explanation of Latin words and abbreviations, for the convenience of choirmasters, organists, and singers . 241 245

Appendix III. Vocal Exercises 246—284

Index 285—296

-^^{gi

Preparatory School.

Chapter I. What is Gregorian Chant?

1. In order to reply briefly to this question we ask first of all: What is our ordinary national song or our popular hymn tune?

This can be seen from the following melody:

I

I

m

^

5

1/

A - ve Ma - ri - a, gra - ti - a pie - na,

i

Sweet Dich

^^

Mo-ther most gra-cious, We pray thee to help us, 0 ii - ber uns Ar - me In Gna - den er - bar - me, Auf

n k 1

V r '

.

,

,

VL^ J

.

1

1

rm r

r^ '

1

le: \ u

-^ ^

^ # .

L ^=^ 1

Vir-gin bright, Our soul's de-light, uns, o Frau , vom Him - mel schau.

Looking at the musical construction of this devout hymn we perceive that it is written in a certain key G major; that there is a definite order in the movement

of the melody

/^ time; that it has three members

(periods) of equal length, each consisting of four bars, that the first period is under the influence of G major harmony, the second under that of D major harmony, the third, like the first, under that of G major harmony. 2. We find the same plan in most of the national songs and hymn tunes in use at the present time. The greater number of them are in the modern modes (24 keys),

Dom Johner, New School of Gregorian Chant. 1

Chapter I.

and in time; their members (periods) are symmetrically constructed so that the various parts exactly correspond to one another^ and their melodies are formed on^ and greatly influenced by, a harmonic foundation which is either actually added or more or less in the mind of the composer.

"Time" is brought about when the accented or "good" note recurs at intervals of the same duration; hence in ^,4 time after the expiration of three beats, in *\ time after the expiration of two or four beats.

The keys are recognised by the signatures (G major, one ^, F major, one 'i^, and so on).

3. Now try the following Gregorian melody:

^

^

=h:

^m

-&^

ve Ma - ri -

a,

gra - ti

:^:

a pie - na.

^-^i

1

nus te - cum: be - ne - di - eta tu

i^-^5

m mu - li - e

ri - bus.

Observing this more closely one perceives that

a) The accented note occurs at different distances, therefore with more freedom than in time, and in fact time is absent.

b) The melody belongs to none of the 24 keys fami- liar to us.

c) Periods (sub-divisions) of the melody are there certainly, but they do not correspond to one another as regards length or construction.

d) Harmony or the succession of chords seems to have affected the melodic progression only to a trifling extent.

Chapter I. 3

Nevertheless this melody likewise has a definite mode, a movement properly arranged with certain time-values and distinct members. It belongs in point of fact to the 1st Gregorian mode, the movement is in free rhythm (in contradistinction to time), and it is divided into two un- equal halves with three against two subordinate members.

4. The melodies of the Gregorian chant therefore differ in many respects from our ordinary national songs and hymn tunes, as also from modern art songs. But it is precisely in this difference that an advantage worth noticing consists. We gain an art of a special kind, an independent art, richly endowed with its own means of expression. Still, the general laws relating to music of course hold good in Gregorian as in other music, though their ap- plication results in different forms and effects. A thorough know- ledge consequently of Gregorian chant helps one to a thorough knowledge of music, and the old masters rightly viewed the study of Gregorian as simply a part of the study of music.

5. To the question, what is Gregorian? one must therefore give a reply something like this:

By Gregorian we understand the solo and unison choral chants of the Catholic Church whose melodies move in one of the eight Church modes, without time, but with definite time- values, and distinct divisions.

It is a peculiarity of Gregorian that

a) The various time-values are never formed, like modern music and its forerunner, miisica mensu- rata, by division into V2; ^U> ^k> Vie and so on, but by combination of the time-unit, and thus we have two, three and more units (■ ■, ■, and so on);

b) As sung at the' present day, beyond the simple c: it has no sign of alteration of the note, and therefore it is strictly diatonic.

H. What has hitherto been said about the Gregorian (Chant holds good also in regard to the Ambrosian (Mila-

r

4 Chapter II.

nese) chant/) which is sometimes more elaborate and sometimes simpler than Gregorian; likewise for the Mo- zarabic chant (formerly in vogue in Spain). All these go back to one source and are very closely related. Further concerning this, together with information in regard to the later reforms, see Appendix I.

7. Gregorian chant has other appellations, viz., caji- tus choralis, choral chant (German, Choral), cantus planus or simplex, or firmiis, simple or unchanged chant (in contra- distinction to measured harmonised music), plain chanty plain song; in French, plain-chant; in Italian, canto fermo.

Chapter II.

A) Remarks concerning Latin; B) Concerning High Mass and Vespers,

A.

8. The text to which the Gregorian melodies are set is in the language of the Church, i. e., the Latin language. It is called the language of the Church because it is em- ployed in the Catholic Church officially in all her litur- gical functions.

Hence, in order to sing Gregorian well we must in the first place know how Latin should be pronounced and enunciated.

Pronunciation: this differs from English in the following respects:

a. Vowels: a has always the open sound as a in the English word father; ^ as a in say when before a, e, i, and ii; before consonants in general as em met, /and

1) In regard to the relationship of the Gregorian chant to the Ambrosian, see Mitteilungen aus dem Benediktiner- and Cisterzienserorden, 1884 Heft 2, 3, 4. Paleographie musicale (Toumai, Descl6e) V. and VI.

Chapter II. 5-

y as ee in seen ; o as o in Jio, and u always as oo in goose; the diphthongs ae and of {sceculum, calum) as the vowel f, i. e., as a in say; eii is only met with in the words heu, eheii, sen, neu, neuter and jieiitiqiiam, and the Greek words euge and Euphrates, and the first vowel is made the more prominent; in all other words (Deus, reus, etc.) the two vowels are sounded apart; ei is a diphthong in hei, in all other words it is sounded separately (ele- ison, de-inde, etc.); w/ is a dissylable in huic and cui and stress is laid on the first vowel and the second slurred: they should never be pronounced as the words pike or sky; those vowels are separate in Spi-ri-tu-i, ge-nu-i, etc. Au is always a diphthong pronounced as ou in house. Sometimes when the vowels are sounded separately two dots are placed over the last vowel (diaeresis) to distinguish them from other words of identical spelling.

l>. Consonants: pronounce them as in English with the following exceptions : c before e, i, y, ae, oe and eu as ch in cheese, ce-drus, ci-bd-vit = tsche-^rw5, tschiba- ■vit), before other vowels and all consonants as k. When however c comes before h, it is pronounced as k, e. g. chiroteca should be kirotheca, sc before the same vowels is sounded as sh in should; sch is to be separated, pas-cha, scho-la; xc before e, i, y, etc., is as gsh in egg-shell {ex- cel-sis thus, eggshelsis) ; double cc, before the vowels men- tioned, as tc fec-ce == etsche). The letter j when used as a consonant fJuda, Jerusalem, etc.) is pronounced as y in you; g is always soft before e and / fgenuij; x and s are to be treated as cs and ds. When a vowel follows the syllable //, this syllable is to be pronounced as if zi (otium, gratias = o-zi-um, gra-zi-as), exceptions are foreign names (JEgypti-i) and when another t, s qx x comes imme- diately before this syllable {ostium, mixtio). Qu, gu and su = kw, gw and sw, when they form one syllable with the following vowel {quan-do, san-guisj; when they form

6 Chapter IK

a distinct syllable as in su-um they are pronounced ac- cording to the rules given above, ^)

9. Correct Division of Syllables and Words. Lacking this the recitation would be unintelligible or mis- understood.

a. Syllables. A consonant between two vowels be- longs to the vowel following it. Therefore do not pronounce thus^ bo7i-ce, tib-i, but bo-nce, ti-bi, gl6-ri-a.

Consonants which commence a Latin (or Greek) word together belong to the following syllable (pa-tris, a-gnus).

Make the division particularly clear when two similar vowels occur together (//7/7, ??idnu-umj; also when an m or n occur between two vowels; in this way the unpleas- ant nasal colouring of the first vowel is avoided^ (no-men, A-men, ho-no-re , se-nes). Guard against pronouncing a broad e, e. g., say-nes instead of se-nes. Pronounce the e as you would in the first syllable of "elder".

[i. Words. Beware of uniting two words together, therefore read and sing, sub Pontio, not siipontio, quia apud, not quiapud, Patri et, not Patret, dona eis, not doneis, De omnis, not Deomnis.

10. Correct Accentuation. This is generally in- dicated in the Gregorian books as regards words of more than two syllables by a sign over the vowel (accent): Magni-ficat. Words of two syllables are always accen- tuated on the first syllable. Accentuation means strength- ening the tone-) (originally elevating the tone), but not necessarily prolonging or sustaining it (cf. Domintis destituo).

The accent is not usually given on capital letters; observe, if there be no accent on a word of more than

1) The above rules are taken for this English edition from Dr. Haberi's Ma- gister Choralis, English ed. (F. Pustet).

2) Cf. Dr. Miihlenbein: Ober Choralgesang (Paulinusdruckerei, Trier, 1900).

Chapter U. 7

two syllables the last syllable but two (antepenultimate) IS to be accentuated: Omnia, omnia.

11. Rhythm. This means order in the movement. This order is brought about by the accents; they should be sufficiently prominent, but the accented syllable should not be prolonged (sustained): Dixit Dominus Domino meo.

So long as dissyllabic and trisyllabic words follow one another the rhythm presents no difficulty, but when words of more syllables or monosyllables occur the reader is in danger of hurrying or slurring over some of the syllables, or he unduly emphasises the accent, or his recitation becomes unsteady or jerking, and thus the proper order of the movement is interfered with. There- fore do not omit to employ secondary accents. A sequence f of syllables like this : Archiepiscopus Constantinopolitanus must have several secondary accents in addition to the prin- cipal accents, otherwise the supporting points will be want- ing. Read therefore : archiepiscopus Cdnstantinopolitdnus.

"As rhythm is necessarily either binary or ternary, a word which consists of more than three syllables must have a secondary accent on one or two syllables in addition to the tonic accent (prin- cipal accent)" (TineP).

"One of three syllables following one another must have a principal or a secondary accent, in other words between two ictus (accents) there cannot be less than one and not more than two middle syllables (unaccentuated syllables)" (Gevaert'O-

If an unaccentuated syllable follows a word accen- tuated on the antepenultimate, the last syllable of the word receives a secondary accent ( ' ) : Dominus ex Sion, Do- minus magnificus.

If two or three unaccented syllables follow a word of more than one syllable, the first of them usually re- ceives a secondary accent: gloriam de te, Domine dd-

1) Le chant gregorien (MaHnes, Dessain, 1890) p. 12.

2) Gevaert: Histoire et theorie de la musique de I'antiquite (Gand, Anoot- Broeckmann) Tome II. p. 94, mentioned by Tinel 1. c.

8 Chapter II.

ordnde, pdlma multiplicdbitur ; the same when the un- accented syllables are at the beginning of the sentence: benedicimiis, glorificdmus.

Longer words must have several secondary accents: opportiinitdtibiis, consubstdntidlem , tribuldtione , deprecd- tionem, cojiglorificdtur.

Take particular care not to slur middle syllables, otherwise the rhythm suffers, and if several persons are reciting together uniformity is prevented: requiem, not requem; su-d-vis, not svavis; tentati-6-7iem , not teritatyo- nem; sce-cii-lum, not sceclum; fi-li-iis, not filyus; o-cu-li, not ocli, reconcili-d-tio, not reconcilyatyo.

Do not pronounce what are properly vowels as con- sonants: not meyiis, Kyriye, but me-us, Kyri-e.

Here are two examples of rhythm to show how the text should be declaimed when the usual reading takes place:

Statuit') ei Dominus testam^ntum pads i et^) principem f^cit 6um

rit.

lit sit illi sacerd6tii dignitas in aeternum.

Justus^) ut palma florebit sicut cedrus Libani miiltiplicabiturj

;j 3 ^T^ ^T^ 2 :j 4 3

plantatus in domo Domini J in atriis domus Dei nostri.

12. Delivery in accordance with the Sense. Pay particular attention to the punctuation; make suitable pauses when necessary; give the accent rather more emphasis before a pause; lead up to the longer pauses at the last accent with a slight ritardando, but avoid separating the words in such a way as to spoil the sense.

Hence, do not read thus: semini \ ejus m scecula, dispersit \ superbos \ mente cordis sui; in die ires | suce reges; Deus in adjutorium \ meum intefide.

1) Introit from the Common of a Confessor and Bishop.

2) The syllable with I below it after a pause means an up-beat.

3) Introit from the Common of a Confessor not a Bishop.

Chapter II. Q

13. Tone of Voice. Whatever is to be read is not simply to be "said off"; on the contrary, the words must be delivered with a soft attack, at a suit- able pitch (not too low, f ^, g, a k or a, according to the reader's voice), expressively and solemnly. Beware, however, of closing every single sentence with a ritar- dando, for this makes the reading monotonous and heavy, weakening the effect of the needful ritardando at the close. The latter should never begin too soon; usually 2 4 words suffice to mark the close sufficiently. Without this ritar- dando of just the last words the listener never gets the impression of a satisfying and properly prepared close. Therefore do not begin the ritard. too soon, but on the other hand do not cut off the voice abruptly. This also holds good for the epistle and gospel at High Mass.

For practice read the Credo and particularly the Vesper psalms; by this means the chanting of the psalms is very greatly improved (steady, even flow of the words, neither hesitating nor hurrying). If the words to be read are under the notes, attention is to be paid only to the punctuation of the text, not to the signs for pauses in the melody.

This solemn reading on a sustained tone at the same pitch is usually called reciting, recitation (recitare, recto tono canere, \. e., straight away, the voice not rising or falling.

B) Concerning High Mass and Vespers.')

a) Gregorian Books for High Mass and Vespers.

14. The chants for Mass are contained in the Gra- duate (partly also in the Missal); the chants for Vespers are contained in the Vesperate, Antiphonale. The Graduate

1) Literature relating to Mass and Vespers: Duchesne: Origine du culte Chretien Paris, 3rd ed., 1903 Dupoux: Les chants de la Messe, in Tribune de Saint Gervais 1903, pp. 129 seq. Gueranger: The Liturgical Year, DufF>', Dublin.

10 Chapter II.

takes its name from the most elaborate of the Mass chants; the Graduate (see p. 105); the Antiphonale, from its principal contents, i. e., the antiphons (see p. 75).

15. Graduate and Vesperale are each divided into four sections:

a) Proprliim de Tempore: this includes the Sundays and weel<- days of the ecclesiastical year, most of the feasts of our Lord and the feasts of saints which occur between Christ- mas and the Epiphany.

b) Proprium de Sanctis: this includes some of the more modern feasts of our Lord and feasts of the B. V. M. and saints.

c) Commune Sanctorum: this contains Masses and Vespers for the following classes of saints: Apostles {Graduate for the Vigils of these feasts), Martyrs out of Paschal time (Grad. for a Martyr and Bishop^ Martyr Pontifex; for a martyr not a Bishop, Martyr non Pontifex; for many Martyrs); one and many Martyrs during Paschal time (T. P.), a Bishop (Ponti- fex), Confessor [Confessor non Pontifex) [Grad.: Abbot], Virgins and Martyrs (Virg. et Martyr), Virgins only {nee Virg. nee Martyr), also Mass and Vespers for the feast of the Dedication of a Church, and Vespers for feasts of the B. V. M.

d) In an Appendix: (1) in the Vesperate, the psalm tones, Bene- dicamus Domino, feasts of our Lord and of saints which are not celebrated everywhere, votive Vespers; (2) in the Graduate, the same feasts, various votive Masses, Masses for the Dead and in particular the invariable Mass chants (Ordinarium Missae).

ji) Order of the Chants at High Mass and Vespers.

16. As regards the chants at Mass see pp. 93 seq. The order for Vespers is as follows:

After Pater noster and Ave Maria in silence the priest intones Deus in adjutorium (on a or b [^ perhaps); the choir then sings Domine ad adjuvandum (see pp. 84, 85). The priest intones the first antiphon, which is continued by the choir; Hereupon the cantor intones in the mode of the antiphon the first verse of the first psalm , which is then sung through by two choirs alternately. This being con- cluded the whole of the antiphon is repeated without being again intoned. The cantor now intones the second antiphon and so on till the five antiphons and psalms have been sung. If the feast is a semi-duplex, simplex or feria (in the ecclesiastical Calendar shown thus: sd., simpl. ov feria after the indication of the feast),

Chapter II. H

each antiphon is only intoned the first time (sung as far as the sign * or ] ), and then the psalm immediately follows, after which the whole antiphon is sung through. After the repetition of the fifth antiphon the priest sings the Capitulum (Little Chapter) (see p. 125), if possible on the dominant of the psalms, the choir an- swering Deo gratias with the same close as that used by the priest.

The priest now intones the hymn, which is continued by one side of the choir; the second verse is sung by the other side, and this alternate singing is continued till the last verse which is sung by both sides of the choir.

Then the versicle is sung by the priest or cantors (2—4), the response = F^. by the choir (see pp. 91, 92), either on the dominant note of the psalms, or if the Magnificat is sung at a higher pitch on the dominant thereof. Then follows the antiphon before the Magnificat, intoned by the priest ; hereupon the cantor intones, or 2 4 cantors intone, the Magnificat which is sung in the solemn form (sustained notes), the initium (see pp. 61 seq) being used with each verse. The antiphon having been repeated, the priest sings Dominus vobiscum (choir, Et cum spiritu tuo) and the collect for the day. One or more commemorations often follow (see below); after the last Dofninus vobiscum, etc., Benedicamus Domino is sung; by the cantors (or assistants), the choir answering Deo gratias (see pp. 139 seq). The priest sings on a rather lower note. Fide Hum animce per misericordiam Dei requiescant in pace ("May the souls of the faithful departed through the mercy of God rest in peace"), the choir answering Amen on the same note. After Pater noster in silence the priest sings Dominus det nobis suam pacem ("May the Lord grant us his peace"), again on one note, as likewise the choir when they sing the I^. : Et vitam ceternam, Amen ("And life eternal, Amen").

Then follows one of the four antiphons