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Sinfonia Cantata (Psalm
NIELS W. GADE.
2
116)
WILLIAM CARTER.
Placida
CHERUBINI.
The Crusaders
o
o
o
o
2
i
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(Sol-fa,
is.)
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Eve
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(Sol-fa,
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2
2
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o
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By the Waters of Babylon (Psalm
6
CH.
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M. E.
DOORLY.
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Lazarus
minor
ANTONIN DVORAK.
St.
Ludmila
Ditto (German and Bohemian Words)
Hymn
H.
The Ascension
The Epiphany
8
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Mass in B flat (Latin and English)
MYLES B. FOSTER.
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...
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"
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J.
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Tesu)
GRIMM.
G.
1
i
6
6
6
HALFORD.
The Paraclete
HANDEL.
ELLICOTT.
Elysium
GOUNOD.
DOSSERT.
F. G.
Ditto,
1
H.
P.
137)
FELICIEN DAVID.
in
N02NIA
CUSINS.
Voices)
GLUCK.
Voices)
Orpheus
W. H. CUMMINGS.
TeDeum
GLADSTONE.
F. E.
Palestine
G.
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is. 6d.)
...
...
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COWEN.
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Ruth
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gd.)
is.)
MICHAEL COSTA.
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(Sol-fa,
...
The Dream
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SIR
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117)
Alexander's Feast
'"
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The Passion
The Triumph of Time and Truth
""
.')]
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ear,
kind and degree of those impressions which the matter that goeth with
or
is
apt to leave, in men's minds, doth rather blemish and disgrace that
it."
Hooker's
it
leaveth,
we do than
iii.
The
original of this
book
is in
restrictions in
http://www.archive.org/details/cu31924022375491
PLAIN-SONG.
PLAIN-SONG.
CHAPTER
I.
INTRODUCTORY.
"This
is
which,
much
to direct
a Chant which excites the souls of the faithful to piety and devotion, and
be rightly and becomingly sung in the churches of God, is heard with greater satisand is deservedly more esteemed than aught else that is styled
1^
Decree of Benedict XIV. A.D. 1590.
if it
music."
Plain-Song
is
the
name
Church music.
species, going
it
hand
in
hand with
it
in
fifteenth,
sixteenth,
named
in Italian, canto
compost or
and
fit
difficult
chant figure.
le
in
The former
is
le
chant
comparatively easy
skilful
latter is
more
amateurs and of
professed musicians.
The
earliest
is
of the Greek
compounded of ad and
irpoe (pros)
>Srj
(ode).
ecclesiastical
all
pneumata
INTRODUCTORY.
Some
from
extant
MSS.
neumatic
ritual books.
Here is a specimen from
the Pere L. Lambiltotte's fac-Simile of the famous MS. in the
still
earlier
(See
p. 51.)
*9jVulenwr ok'"
"nef ftnef
s~
.-
may
Plain-Song then
in oratory
and poetical
and
to
its first
beginning
from these, step by step, have been developed the vast resources
-of
that
of the Canto
is,,
Fermo and
The
following
Table,
from
taken
Die
Sangerschule
S.
known
amount of
later additions,
since
it
was
notation of the
of interesting inquiry as
field
its
original characteristics in
set in order
by the
illustrious Pontiff
is still
from
whom
the
named.
p.
383,
and Ccfussemaker's
PLAIN -SONG.
Latin Names.
i.
Virga
A twig,
2.
Bivirga
Two
wand, or
together
a triverge
4.
Punctum
5.
Bipunctum
A double
6.
Tripunctum
A triple
7.
Subpunctum
The
8.
Apostropha
An
9.
Bistropha
bistrophe.
10.
Tristropha
tristrophe
n.
Flexa, Clivus
A bent
A
point or dot
point
triple point
Pedatus
apostrophe
note, a descent
A reclining
Flexa-resupina
a biverge
Three together
3. Trivirga
13.
verge...
A foot,
bent note
or a footed note
it.
INTRODUCTORY.
Notes before Eleventh
Century.
i.
ji)~
3-
;/;
5-
!J
'
PLAIN-SONG.
Explanation of the Word.
Latin Names.
15.
Pes flexus
16.
17.
Pes stratus
18.
Pes sinuosus
A winding or meandering
19.
...
...
bent foot
A reclining
foot.
The throat
21. Oriscua
23.
bent foot
prostrate foot
20. Gutturalis
22.
...
companion note
A
A
Tramea
(?)
Vel plica
(?)
Epiphonus
An
crossway, or crossing.
stride
epiphon,
i.e.
a sound upon
{i.e.
24. Scandicus
climber
25. Salicus
vaulter
skip-down
26.
Climacus
27.
Ancus
Bent
28. Quilisma
in the
..
tremolo, or a vibration, or
shake
...
(?)
INTRODUCTORY.
Notes before Eleventh
wentury.
1 6.
Corresponding Notes
Centuries.
in present use.
plain-song.
I.
formed
little
II. J7. The Biverge (Bivirga) (double Verge), where the Virga
appears doubled over the same syllable, stands for two whole
notes (i.e. breves) of the same pitch.
over
the
VI. *" or
short notes.
Gradicus ;
VII.
%",.
The
If the
if
followed
by one.
VIII. >. The Apostrophe (Apostropha) has the form of an
ordinary apostrophe, and serves generally as a shorter addition
to a preceding note.
"
chap.
S. Gall,
p. 8.
INTRODUCTORY.
X.
jjj.
The
Tristrophe (Tristropha),
g
a' triple
same
Apostrophe, and,
pitch.
XI. q or ff. The Flexa, also called the Clinus, Clivus, Clivis,
or Clinis, has the form of a half-circle opened at the bottom, and
means two notes, the first one higher and the second lower.
XII.
J>/>y.
The Flexa-strophica,
XVII. J*". The Prostrate-foot (Pes stratus). It is a conjunction of the Podatus and the Gutturalis (the same as No. 20), and
comprehends three notes a lower and two higher, the last of
the
same
pitch.
XXI. j S*. The Companion (Oriscus), nearly allied to the Apostrophe, is an elegant after-note, generally in the same degree of
the scale as the immediately preceding note.
XXII. /. The Tramea, also called Sinuosa, Cephalicus, and
later Plica descendens (descending Plica), consists of a chief note,
and then of a lower, elegant, and short connecting grace-note,
which unites the preceding note to that immediately following t
10
PLAIN-SONG.
In the twelfth century this neumatic note was represented something like the figure g, and in the later, square, musical writings
it has a square form, bending slightly towards the right, and is
furnished on both sides with a stroke in a downward direction [ Pi].
an upward direction.
XXIV.
XXV.
i.
The Vaulter
XXVII. f &. The Ancus (or, bent in the arm) is nearly allied
to the Tramea.
If it is represented with only one bow, its use
is just the same as the Tramea
but if it has a double bow on
the right side, it has a high principal note and two short descending ornamental notes.
;
INTRODUCTORY.
II
mensurate kind.
It will be explained, in this Primer, what are the various scales
and melodic forms of Plain-Song which have come down to us
from the earliest times through the middle ages what is the old?
notation now generally adopted for this kind of music and what
are the corresponding later forms in modern notation.
No previous knowledge of music, or of musical notation of
any kind, will be assumed to be possessed by the student, as, in
;
the systematic learning of music, Plain-Song ought both theoretically and practically to precede Measured music, not only as
being first in order of time, but as also in various ways, being
the true foundation of the more modern forms of music, and the
only rational explanation of some portions of its nomenclature.
CHAPTER
ELEMENTS OF SONG
"
Why,
Note
HOW
II.
ii.j.
The
ancient singers [of the Church] were not only so interested in sacred music as to be
very greatly delighted in it themselves, but gave great and solicitous attention that they might
teach others to sing. They therefore ingeniously invented certain figures, which, set apart to
each syllable of the words, might as appropriate signs denote each single impulsion of the vocal
sounds ; and as song proceeds in multiform ways, now with equal and anon with unequal steps,
now ascending but anon descending, on this account the aforesaid notes are both differently
shaped, and have divers names allotted to them." Extract from "John oj Muris;" Gerbert's
Scriptores Musicce, vol. iii.
11
The
may
be
briefly
i.
i.e.
is
continued,
how
3. Force, or
or gravity,
degree of loudness.
4. Quality,
same
ELEMENTS OF SONG.
Many terms
13
of
any composition
CHAPTER
III.
DURATION OF SOUNDS.
" The Ritual Song is not a monotonous composition, consisting of slow notes of equal length.
to be drawled out in a hard unappreciative manner, tiresome to the voice of the singer, and far
more tiresome to the ear of the listener. It abounds with melodies infinitely varied in their
rhythm, and peculiarly adapted to give increased force and emphasis to the words and sentiments
of the Liturgy." Magister Choralis, p. 45.
...
. .
..
..
in
and printing
L n S
>-
-|
Short.
equal to two
^\
or
r3
=
=
v^
z^Sreves
M M
MM
..
INI IMI
The
or Large
("), and
Semibreves
or
the Breve
(.
was subdivided
into
two
f.
DURATION OF SOUND.
15
it
thus
m Semiquaver,* Demisemiquaver,and#*Hemidemisemiquaver.
Each of these time-notes has also a corresponding sign of silence
called a Rest
^=
breve
thus
-S- Demisemiquaver
>
=|fc,
Long
==, Breve
=g=, Quaver
^,
Semi-
3E, Semiquaver
and Hemidemisemiquaver
^jjp .
None
P- 77-)
Any good
'
PLAIN-SONG.
l6
variety finds
its
parallel in the
Thus a
dotted
Minim \f
'
equal in duration to a
] is
or to three Crotchets
[f^f ]
flTT*^
Each
an d
this,
-,
is
is
first
dot.
Minim and
[f^f^f^
equal to oS~^f~"p
equal
to
f^J,
&c.
DURATION OF SOUND.
17
vening notes form measures of equal duration, and the first note
in each is the most marked or accented.
Subdivisions of these
measures may occur with other lesser accents, either of a duple
or quadruple character, by notes in every variety of order or
position, dividing the measures into two halves or four quarters,
or still shorter fractional portions and a threefold division also
may occur, each third portion capable again of a duple or a
triple subdivision.
Hence in this Cantus Mensurabilis (to use
;
its
I.
>
of
PLAIN-SONG.
l8
printed at Paris, a.d. 1519; and in our own day we are not
altogether secure from the same perverse tampering with the
time-notes of ancient melody.* This part of our subject can
scarcely be closed more appropriately nor with greater authority
than by translating from the " Complete Method of Plain-Song,"
by Felix Clement, chapel-master of the Sorbonne, Paris, some
admirable observations on this subject of Time and Rhythm
:
" 1. The first arises from the intrinsic value of the notes. The Binary, i.e.
dupie measure one down beat and one up must [usually] prevail in PlainSong. The Long is equal to two beats, the Breve to one, and the Semibreve to
half a beat. When the Long is followed by a Breve, the former note is to be
held only three quarters of its length, and the last quarter must be given to the
latter
"
The second
We
more than
all,
we commonly attain)
We
CHAPTER
IV.
OF PITCH.
" Touching musical harmony, whether by instrument or by
Pitch
c. 36,
41-43.
* From Siarovog, stretched (Th. Sue, tovoq, from riivia), referring originally
the tension of lute strings. (See Chappell's " History of Music," p. i2g.)
to,
20
PLAIN-SONG".
other arbitrary notes or characters, before explained as representing the duration of sounds, are placed, according to the pitch
required for each, upon some line or in some space between
lines, or above, or below a set of lines drawn parallel to each
other, and called a stave, symbolising the rising and falling by
definite steps (as it were) of the various sounds of the music*
Before this simple invention, however, the extreme dubiousness
as to the pitch of the sounds in the neuma notation had led to an
approximation to the more complete form of the stave, with its
definite lines and spaces, indicating the regular progressions ot
sounds in Diatonic Scales. This was the adoption first of a
single line, afterwards of two, a red line for the sound F, and a
yellow one for C, so that the neumes got a fixed notation, at
first for one, afterwards for those two sounds, the rest being
somewhat more surely to be interpreted than previously, as they
were placed below or above the single line at first, and then
between, below, or above those two lines a perfect fifth apart.
The step from these two to a fuller development of four stave
lines, and three spaces, with the two clefs C and F was both
rational, and of most obvious utility.
Most melodies in Plain-Song are of moderate extent from the
lowest to the highest sound. Hence four lines, serving, with the
spaces below, between, and above them, to represent nine different
diatonic sounds, are used as the Plain-Song Stave (or Staff),
thus,
Ledger-lines.
It Is desirable to take notice that (as far as they go) there is
no essential difference between the character of this old notation
* Guido Aretino says that to sing from the neumes without lines was drawing water from a well without a rope.
The Roman notation named the diatonic sounds of two octaves with the
A, B, C, D, E, F, G, H, I K, L, M, N, 6, P. Pere Lambillotte supposes that S. Gregory wrote these letters underneath the neumes, and thus
their pitch was definitely indicated ; but as the music became perfectly known,
the writers omitted the letters, regarding them as unnecessary from the widespread use and establishment of the Chant. There are many examples of this
double notation with letters and neumes in ancient MSS. now extant.
letters
OF PITCH.
21
who
and backwards
ABCDEFGab baGFEDCBA
C
thus,
ifc)
(marked thus,
and
),
on any
line of a stave, give their own names respectively to the particular line passing through the two thick slanting lines of each
-*jS F, -j
Guidonian gamut
Bian. Why,
:
am
past
my gamut
long ago.
re,
C fa
D
E
all
accord,
* One cliff
D the fifth note of the first hexachord
note of the second hexachord re. (See p. 24.)
;
sol ;
PLAIN-SONG.
22
DF
DED
DDCDEE
EFG
D EC D
F G a
queant laxis
i?<s-sonare fibris Mi - ra
gestorum
Fa-mu\i
GF[E]DD
GaG [F]E FGDa[D]GaFG a a
GF[E] D
C E D
Sol - ve polluti Z,bii re - atum.
tu - orum
Sancte Iohannes.
In Martini's " Storiadella Musica" (quoted in Novello's Edition
of Sir John Hawkins's " History," p. 163) these letters are placed
higher or lower, according to their pitch, after a manuscript
conjectured to be of the sixteenth century ; and the letters here
bracketed are omitted. I follow Gerbert's letters entirely, though
I find no other version exactly like it, nor in fact any two versions
The Ratisbon version spoils the story by
alike throughout.
beginning, not on C but on
C
Ut
Ratisbon.
(See p. 120.)
^*
m
Ut que
ant, &c.
OF PITCH.
Fa-mu-li
Sane
tu
te
so
na
o-rum Sol- ve
Io
Re
- is
han
23
fi-bris
Mi
pol-lu-ti
La
re
ra ges-to
bi
- i
rum
re-a-tum.
nes.
Ut,
strings,*
To make
lip.
The diagram at p.24, made partly from the " Magister Choralis,"
from Gerbert, from Sir John Hawkins, from Migne's " Encyclopedic," from the " TraitS du Plain-Chant," and partly from that
given by the Rev. N. A. Janssen in his "Vrais Principes du
Chant Gr6gorien," p. 17, is a tabular view of the system of the
scales generally adopted in the eleventh century, and commonly, though with doubtful historical accuracy, attributed to
Gui l'Aretin, or Guiarisen, or Guido Aretino, or Guy of Arezzo,
as he is variously called by different authors. This Arezzo, the
place of his birth, is an ancient episcopal .town of Tuscany, not
far from Florence, and is seated on a mountain fifteen miles west
of Citta di Castello, the capital of Umbria, on the Tiber.
This venerable man, to whom the science of music owes so
much, was a Benedictine monk in the monastery of Pomposa,
near Ravenna. The date of his birth is variously stated. It was
certainly early in the eleventh century and as we find in a
manuscript of his " Micrologus " that it was written in the
thirty-fourth year of his age, when John XX. was the Bishop of
Rome, and it is also recorded by his contemporary, Adam of
Bremen, that he was sent for, about the year 1067, by Herman,
Archbishop of Bremen, to correct the music of his see, we may
infer that he was born about 1011 a.d.
;
Of lute
or harp
or,
PLAIN-SONG.
24
letters are
of the organ
here called
Clefs, just as
Keys.']
the digitals
and the
Clef, -
'
==j
\f
f$
25
which may here be added the G Clef, very much used for all
kinds of voices in modern notation, and having its origin, like
the former two, in grotesque or ornamental changes of the
to
original letter:
Let the student carefully consider that the letter of the Clef
line on which its characteristic part is set in every
case and the rest of the lines and spaces are named in succession from it.
[N.B. The F Clef is, in the example, p. 24, set on the fourth line. The
names the
;
Clef
is
here set on the third line, and the G Clef on the second line of the
The time-notes are thus named as to their pitch after the line
five-line tave.
CHAPTER
V.
Dufour,
The two
p. zi.
PLAIN-SONG.
26
W
H
H
W
g
E
Iff
ho
(
*0 O
-O
^5
u o"8
<
H}
<*3
"8
to
to
cj
e>
XlQ ho
S S
ho
WJjQQ^KItotoiSiS
<u
IS
Ed
jjs
8
(
tn
w
Q
O
B,
(*5
05
to
w
z
o
H
.2
a
.2
J.S
-m ^
SB-
S'S
a'S
^ m
--j
a,
>>
S3
ho
to
C
cd
p
o
Q o&
'So
'u
"5b
.2
to
.2
3 J
to
S3
c
u
Xt
"is
C
u
3
a $
.2
to
S
s
<:
to
io
t^
oo
to
in
ffi
til
hfl
a!
<J
to
m O
^CD
OJ3"S
- g
S3
o.
s^
S3
US
as
13o
a,
S3
fcuD
n!
.2
3
.2
3
to
M
<
'^s
*
T3
a.
.2
'3
w
w
*-
^S
to
to
to*
W
S3
H
o>
o "
o -
J,
'* '*
<*
" K
'5
E
o
O U 8|s
o
fcua^
to
a
05
>
"i
w
aS u
to*
>
J>
<u
x>
o,
o
a.
o
<D
i-.
*a
u-S inM rt c
-1 ot u
H oH:
CTl
'I
0'J=
OF THE SCALES AND MODES, OR TONES.
Thus A
is
11
E
F
,,
1st
3rd
5th 11
7th
11
The
27
2nd
7th.
4th
6 'h
8th
nth.
Finals
PLAIN-SONG.
28
X.
IX.
3
m m
2T3
E*F G
b*
4
d
'^
5
e
be
La
XII. Pluperfect fourth.
Imperfect
i
F G
fifth.
i~]
'
b*
La
e*f
!.
b"c
9 f
234
gab
XIV.
"
XIII.
::
G
[N.B.
b*c
The
3T4
4
e
difference
consecutive notes in
where the fraction J
this
is
C
Do
acuteness
in
Table
printed to
is
Si
Si
and
called
gravity
3A4
5
b
'
C
Do
the interval of
Ambrosian Scales.
Thus, it has been told ua, originated the eight principal Ecclesiastical Scales, Modes, or Tones, as they are called.
History
* Mr. W. Chappell, in his most interesting " History of Music," treating of the
age of S. Ambrose and S. Augustine, takes no notice of what is termed
Ambrosian music, because, he writes, " it is not of so early a time," and he
gives us his reason^ adding that " The two systems, Ambrosian and Gregorian,
did not exist at the dates of their now supposed founders."
Great respect is
due to the learning and honest convictions of this author. At the same time,
whether this view be correct or not, it does not affect the well-known teachings
of the schools developed in the middle and subsequent ages, nor such of the
traditional melodies as they doubtless inherited from S. Ambrose and S. Gregory;
and the Plain-Song written according to their modal systems, and all along
bearing their time-honoured names. When the rest of his " History " appears
there will doubtless be a full explanation of the grounds of this statement.
:
29
moreover informs us that theorists of the eighth and ninth centuries, after considerable discussion and an adverse judgment first
given towards the close of the eighth century by Charlemagne to
their appeal for the use of more, were (after due inquiry and fuller
investigation) finally allowed by the emperor to add four more to the
well-established eight, thus making twelve Modes in all,
Each
of these twelve Modes, as may be seen in the foregoing Table, has
either a perfect Diapente, or fifth, below, and a conjunct* perfect
Diatessaron, or fourth, above in the same way as the four
Ambrosian Modes and is styled Authentic ; or a perfect fourth
below and a conjoint perfect fifth above, as in the four Modes
added by S. Gregory, and is called Plagal each of the latter
running (as stripes, plagce, do) side by side with one of the
former.
Each pair was considered as a wedded couple the
Authentic being manly, vigorous, and sublime, the Plagal feminine, gentle, and beautiful.
It will be seen that the pair standing in the eleventh and
twelfth place in the Table do not fulfil the conditions of having
a perfect fifth below and a perfect fourth above, and vice versa
for in the eleventh we have, from (6) the first note of the scale to
(/) the fifth, the objectionable interval of the imperfect fifth, and
the tritone between the fifth (/) and the octave (b), which irregu*
laritjes are inverted in the twelfth.
Passing over these two, then, as not fulfilling the requirements
of the ancient theorists, viz, that a true Mo'de musfbe formed
by the combination of a perfect Diapente, or pentachord, i.e. set
of five, and a perfect Diatessaron, or tetrachord, ix. set of four,
we take the last two, the thirteenth and fourteenth, as the true
eleventh and twelfth Modes; reckoning only twelve Modes in all,
as being actually used according to the taste and judgment of the
most famous masters of Plain-Song, in what Dr-. Adolph Marx
aptly styles this "deeply conceived " theory of modal arrangement.
There are, however, theorists who, to make the system com.plete, are unwilling entirely to ignore and pass over these two
" bastard Modes," as they have been called; and thus we find the
learned E. Duval (Chevalier de l'Order de St. Gr6goire le Grand,
Membre de l'Academie de Ste. Cecile a Rome), in his work on the
" Diatonic Accompaniment of the Plain-Song on the Organ," in
compliance with this view, introducing the entire number of
fourteen, and giving them names from the ancient Greek Modes ;
although he himself adheres to the number twelve as here stated,
PLAIN-SONG.
30
IV.
3^
Ab
oc
et
ab
cul
Communio.
XII.
'**-
me
tis
li
is
me,
da
par
BB!E
mun
ce
Do
ser
tu
It
would be thus
Mode
-H
Ab
oc
as follows
Phrygian.
It is plain
in
cul
zrft
-
tis
me
is.
Modes
are
1.
then that as no
-jg
occurs
m m
?g-
when
this
with the
Communion-antiphon
Clef, there is
the
is
read
no occasion
Clef,
and con-
8.
Lochrian.
31
n.Mixo.
Hypo-
14.
Ionian.
It is not at all obvious at first sight why there should be all
these twelve or fourteen Scales or Modes, several of which are, so
far as the range of their notes is concerned, identical with each
other
and although as we proceed we shall find abundant
explanation of this in other very curious details, yet as eight were
by some deemed sufficient, and as the earlier specimens of PlainSong are arranged only in these eight, it will not displease the
thoughtful student if we here state the reasons for the adoption
of the larger enumeration.
say then that there are twelve Modes for although for centuries past the ninth Mode has often been reduced and reckoned
as the first, the tenth as the second, the thirteenth as the fifth,
and the fourteenth as the sixth, it is nevertheless certain that,
in spite of this quasi transposition, the Modes thus said to be
transposed will always remain different from those to which they
are thus reduced.
Let us examine them side by side, and see whether, according
to the strict principles of our Plain-Song, the higher can be properly transposed into, and fitly represented by the lower-numbered Modes.
must premise that no alterations of the
natural notes, in perfect tune for the Diatonic Scales, can be made
by the use of the Chromatic Semitones (each one represented by
our modern Sharp [#] or Flat Q?]), as the intermediate sounds are
called which divide each of the five tones of the natural scale
into two Semitones.* Only B can, according to strict Plain-Song
Let it not be deemed superfluous
theories, he altered by a flat.
here to point out how this rigorous care for exact intonation, in
the olden times, accords with the most profound researches of
modern harmonists, and the highest cultivation of the musical
art and science, with regard to this delicate and minute accuracy
as to the melodial intervals.t
;
We
We
A Sharp [4] raises a note a semitone and a Flat [J?] lowers a note a semitone.
Natural [fc|] restores a note which has been sharpened or flattened to its
original pitch,
f It is due to any scientific reader to add to these remarks that it must nevertheless be allowed that these precisely accurate view6 as to Diatonic and Chromatic Semitones, the lesser and the greater tones, and the lesser and greater halftones are rather pushed aside by the rough-and-ready, more practical accom.
The human
well known) can, and do transpose the notes of the natural Diatonic Scales, with perfect accuracy, to any
higher or lower degree whatever, within their compass. Further it may be
admitted that, in our musical notation, transposed keys do professedly represent
voice,
violin class
(it is
PLAIN-SONG.
32
rs
-
tyj
A#
^2Z
A
C#
zz
Bb
Bt)
D
jpE
Dt?
go
Ml zz
z=n#zz:
Scale.
D[]
D#
fez
E?
Efcj
rj
J
F#
|ftrz
GJt
-r&-
22:
Gt?
Gfcj
at?
afc]
now come
Let us
first
and
33
sounds, there
fifth
fifth, sixth,
sixth.
123456?'
D EF
G
A..BC
Second Mode
..
..
||
Tenth
transposed
12
Tenth
. .
AB$ C
. .
..
G
7
G
..
. .
||
be
..
..
BC
||
43
78
D
d
..
56
EF
5 6
4
D EF
23
..
. .
8
. .
12 A3456D 7I2
Ef g
8
Fifth
Mode
F ..G
..
. .
B\\C
its
natural seat
Thirteenth
transposed
. .
Sixth Mode
Fourteenth Mode
Fourteenth
. .
G
. .
. .
ABp
. .
transposed
..
. .
34 u
..
||
EF G
G
EF G
\\
||
. .
A
A
EF
3
..
|j
..
45
be
78
Be
78
..
34
Thirteenth Mode in
..
. .
Ef
. .
Be
. .
BC
ABfy..
. .
||
. .
ef..
..EF.
g
g
further informs us that, in all the legible manuhe had been abie to consult, he found pieces of Plain-Song
He had discovered (as before
written in these last lour Modes.
mentioned) some professing to be in the imperfect twelfth Mode
but not one in the imperfect eleventh.
Now although, under the plea of simplifying the Gregorian
Chant, it has long been the custom to reduce the four last Modes
to an apparent conformity with the first eight, yet (as has been
shown) upon melodic grounds, and still more so from the requirements of harmonic accompaniment, this reduction may be considered to be erroneous. And though veneration for the work of
S. Ambrose and S. Gregory in arranging the Church Song of
their respective eras in the first four Authentic and first four
Plagal Modes may have prompted the course thus adopted in
M. Duval
scripts
PLAIN-SONG.
34
many books
suppose that
* See the " Magister Choralis," by Rev. Francis Xavier Haberl, Cathedral
Choirmaster, Ratisbon; translated by Rev. N. Donnelly; p. ix. Frederick
CHAPTER
'
VI.
'
It has already been stated that the Modes are arranged in pairs,
each pair consisting of an Authentic and of a Plagal octave of
notes.
In examining any specimens of Plain-Song, some
melodies will be found to consist of notes ranging between their
natural final note and its octave ; others are formed upon sounds
ranging from about four notes below their natural final to about
five notes, more or less, above this same final.
Thus the former
belong to an Authentic Mode, the latter to a Plagal Mode. It may
be seen in the Table of Modes at p. 26, that every pair of Modes
has one and the same final, or ending-note and each letter of
the first seven is the final of two Modes, thus
;
I.
III.
and
II.
have
as their
final.
PLAIN-SONG.
36
In the
four) or Tetrachord.
(right through all).
same way
the Octave
is
called the
Diapason
;.
Diatessaron, or Tetrachord,
not simply the interval of a
fourth, but these two extreme
notes and the two others coming
between them
.
,.
in the scale
123
32 z^:
123 E45
678
BCD
Gab
37
Fourth Mode.
~77~
4
ts
4th
ist
2-
-ZT
^C2Z
Final
Dominant
Mi
La
Si
Do
Re
Sixth Mode.
Mi
Mi
Fa
Sol
34123
12
this
zzz:
221
La
clef
Si
an octave lower.)
5
-&-
3Z
(See p. ig.)
4th
1st
8th
2Z
~^r-
6
a
Mi
Fa
Fa
Sol
La
Si
8th
C2-
Dominant
La
Final
32Z
Fa
Do
Eighth Mode.
123
i
S ^
8th
T3-
~r^-.
123 45678
DEF
G abc
>
<4
<
-?zr
Re
4th
1st
r~>
Mi
Fa
Sol
La
Sol
Si
Do
Final
Dominant
Sol
Do
Re
Tenth Mode.
123
i
S5*
12 34
TT3~
1 st
4th
8th
T2ra
-rzr-
EFGa
Mi Fa
La
Sol
La
Bcde
5
Si
Do
Final
Re
Dominant
Do
La
Mi
Imperfect 5th
ZZ2T
1
5
rj
I)
The
true Twelfth,
TT
Sol
La
-rzr
=*
-^Tl<=2. "^"
67
Re
Mi
Fa
1st
4th
8th
3T
-i^r
34
be
Do Do
Si
<^
-g
~sr
8
-
Sol
Do
Dominant
Mi
PLAIN-SONG.
38
First
23
i
1
234
1st
5th
8th
The
true Eleventh,
now numbered
Thirteenth Mode.
ist
5 th
8th
39
PLAIN-SONG.
40
is
Mode is
Mode is
Tenth Mode is
Sixth
Eighth
-----
Mode
is
it
F, a third below A.
A, a third below C.
A, a third below C.
C, a second below D.
C, a third below E.
E, a third below G.
<u
as
Harmony
of
in its
natural notes,
may
or
sung
many
to the
and more
striking
FINALS AND DOMINANTS OF THE CHURCH MODES.
The
will" be
Mode
The "Thirteenth" or last of the "Authentic Modes,'' answering to the " Modern Mode of C Major," transposed by the
USE OF THE EQUALLY TEMPERED DIVISION OF THE OCTAVE INTO
THIRTEEN SOUNDS EQUIDISTANT FROM EACH OTHER, EVERY SEMITONE
BEING NEARLY THE SAME AS THE TRUE DIATONIC SEMITONE.
The key
C has no
of
-3
gz
sharp.
rj
E has
-&&
5SE
3
FJf
c?^
has
321
32 P
six sharps.
Il&t
32Z
ifisS
g;
has
rs
<r>
five sharps.
H*jjL&
Cfl
a r>&
rj
m^
-T3-
-T3-
gr
fcl
3P~
32
es
g?
>
four sharps.
32"
g Z^
I
9
1^32!
N.B. Keys with sharps follow each other in a regular succession of perfect
above and perfect fourths below. It is sometimes convenient, to carry oh
this same sequence of keys with sharps, so as doubly to raise the altered notes;
thus in sharpening a second time it would be marked thus [x ] with a Double
1
fifths
%.
Sharp.]
of C major has no
sharp nor flat.
The key
has one
32:
Bt>
has two
"S?~
Et>
flats.
->TT-
*?**
flat,
-&-
32
1SE
~Sr
has three
flats.
PLAIN-SONG.
42
Ab has four
flats.
Dt?
_<s
has
five flats.
i&=
IeE
~S>~
~Sr
"S?
Gb has
*&*
I
51^
[N.B.
six flats.
~=>~
t*
_C2
IS2T
Cb has seven
m
SK
flats.
"?5~
Keys with
p.
iii.)
CHAPTER
VII.
We
We
The
this will be
ft
&
umnouiiui
They are
characteristics of the tones are not fanciful."
described by old authors, such as Guido, Adam of Fulda, &c,
as found in'Gerbert, and more fully in Cardinal Bona. Several
of our earliest English cathedral services are composed in this
Mode, as, e.g., Tallis and Bevin. The world-famous sequence,
" Dies Irse," has its second portion in this Tone and the beginning
in the next.
The longer compositions of Plain-Song often combine the two Modes of one Maneria, i.e. related pair.
Secundus Tristis.
This Mode
fury.
It
strikes
commands and
liveliness of its
threatening; it
it agrees
passages
* These English headings are the same as were given some twenty-eight
years ago, in my " Accompanying Harmonies to the Psalter Noted." They are
taken from independent sources and are only accidentally translations of the
Latin.
CHARACTERISTICS OF THE EIGHT PRINCIPAL MODES.
45
Noted,"
Hymn
23),
may
be cited
as
grand specimen of
Mode.
Quartus Harmonious.
The fourth Tone is known
Quintus LjETUs.
The
Fifth Gladdening.
a quartett for stringed instruments, written in this
Mode by one of the greatest of modern composers^ Beethoven
as a thanksgiving on his recovery from a severe illness. The first
semitone coming between the fourth and fifth sounds of the Scale,
by which it is distinguished from the thirteenth our modern
There
is
Mode, gives
major
hence
it
Sextus Devotus.
The low
PLAIN-SONG.
46
We
indeed
it
is
transposed
generally
to
lower
pitch.
(See
S.
te
"
in
his
I lift
this
it
happens that so many composers of Church chants have employed it, and consequently that the greatest number of Gregorian
melodies are written in this eighth Mode. It is characterised by
a pleasant and modest liveliness, tranquillity, and sweetness. It
accommodates itself to all subjects. The old writers consider it
The seventh
full of power, and manly
also suited to narrative.
and eighth Tones are often mixed, especially in long chants. The
famous canon of Tallis, sung to Bishop Ken's Evening Hymn, is
;
47
for Corpus Christi, " Graduate Romanum," and Mittit ad Virginem, in the " Hymnal Noted.")
I close this chapter with the lines of Adam de Fu}da on the
subject
Omnibus
Quintum da
The
The
third
is
CHAPTER
VIII.
'
1559:
this
same
Whereas
PLAIN-
now from
hence-
On which
Common
That
and singing was both prepared, and generally reproved by the existence of the documents from which this
compiled, and by the present practice of cathedrals, in which, though,
resting as it does almost entirely on tradition, much of the music has been lost
or disused, enough has been preserved to identify it with that of the Ancient
Church of England.
Previously to the Reformation there was properly but one use of singing in
England, viz. the Roman, though there were several of saying. It was accordingly this one use of singing, so far as it was necessary, and the new ritual,
which together constituted the one use of saying and singing, referred to in the
preface of our present as of all past revisions of the. Prayer-Book.
ceived,
work
is sufficiently
is
we
read
Plain-Song
is
rL,AlIN-SONU.
JO
worship abroad.
the
3.)
CHAPTER
'
IX.
OF THE LITANY.
" Archbishop Cranmer translated some of the fine old hymns from the Breviary, at the same
time that he was putting forth the Litany in English (1544). In a letter written to Henry VIII.
of October in that year he speaks of the suitable musical notation for that, as also
for other parts of the service : ' In mine opinion the song that shall be made thereunto would
not be full of notes, but as near as may be for every syllable a note so that it may be sung
as be in the Matins and Evensong, " Venite," the Hymns " Te Deum,
distinctly
" Benedictus," " Magnificat," " Nunc dimittis," and all the Psalms and Versieles and in the
Mass, " Gloria in excelsis," " Gloria Patri," the Creed, the Preface, the ." Pater noster," and
some [settings of the] " Sanctus " and " Agnus." As concerning the " Salve festa dies "
the Latin note, as I think, is sober and distinct enough wherefore I
[See Hymnal Noted, 79]
have travailed to make the verses in English, and have put the Latin note unto the same
* * * * for a proof, to see how English would do in sdng.' " Proctor on the " Booh 0/
on the 7th
Common Prayer"
'
p. 174.
The
It was published by royal authority in a.d. 1544', and set for singing,
note for note from the old- Plain^Song, and is still sung to the
same solemn and lovely chant in our cathedral and other choirs*
Various harmonised versions have, from the same date to the
present time, been set forth as by T. Berthelet, May 15, 1544,
re-published by Grafton, June 26, the same year; and some twenty
years afterwards by Tallis, with slight variations. The notes to
the Latin are strictly set to the English words according to the
known rules of Plain-Song, as, e. g.
:
Pa -
ter
de cce
- lis
De
CjJ-g4JE
O God
i
us mis-er-a-ble sinners.
CHAPTER
X.
is
to
The
and
is
few examples will show the manner in which these notes are
used.
Lorde, save
We have
all
" Benedicite
I-,
~f^l>
ye
Thy
peo
pie.
Our
trust
in
is
Thee.
:"
S7\
*
an
gels
of
the
of
.'
the
J=n
Lorde.
PLAIN-SONG.
54
This mark [ r7s] over a note is called a Pause, and shows that the note
it is to be prolonged
beyond its ordinary duration. In the square
Gregorian notation such notes with a pause are called nota coronata crowned
*
below
notes.
55
PL^IN-SONQ.
56
melody.
Benedictus, 5th Tone, 1st Ending.
p. 42.
Appendix
Festal.
II. p. 52.
* It is of no use to ignore nor to disguise the fact that several (if not many)
traditional uses preserved in our ancient choirs happily supply the omissions of
definite directions in our present Prayer-Book; e.g., the chanting and saying
of the Psalms in alternation verse and verse the ascription of thanks for the
Holy Gospel the Introits at Holy Communion the Offertory Anthems the
use of private secret prayers before and after the services the introduction
of hymns in occasional services, such as Baptism, Confirmation, Marriage, and
Burial of the Dead not to mention their very general use in the more frequent
Sunday services. And if no offence is taken in cases where such additions
are made with no warranty of Catholic custom, much less ought it to be taken
where such custom is all in their favour.
;
57
Magnificat, 1st Tone, 1st Ending. " Canticles Noted," 2nd Set, No. IV,
8th Tone, 1st Ending. " Canticles Noted," 2nd Set, No. V.
Nunc dimittis, 5th Tone, 1st Ending. " Canticles Noted," 2nd Set, No. XVI.
7th Tone, 4th Ending, ferial intonation. " Canticles Noted,"
Set, No. XVIII.
Benedicite, for the time of
2nd
RUBRIC.
:
:
RUBRIC.
so soon as the Priest doth receive the Holy Communion ; and when the Communion is
ended, then shall the Clerks sing the post-Communion.
Sentences of Holy Scripture, to be said or sung every day one, after the Holy Communion, called
Beginning
IT
the post-Communion.
These
munio
i.e.
PLAIN-SONG.
58
"
is
also noted,
and
at the prayer
for the soul of the departed the usual monotone of collects is indicated, and at the end there is the final cadence of the perfect
of the ancient Sarum use {i.e. the grave* accent), the Amen
answer being set to the chanting-note of the priest also in mono-
fifth
in
tone.
The " Psalms " follow, one verse of one being noted, as before
throughout the book, to the 8th Tone, 1st Ending B. The words
are " I am well pleased."
After the Lesson follows the lesser " litany " in monotone, except
at the end, which is thus
:
-/7\-
on
us.
is
jS
monotone with
'
""".
;
treated as an answer^-
-**==?-
But
de
li
ver
from
us
- vil.
,
A
?
-
11
men.
slaiju
Mctbtzkt.
CHAPTER
XI.
Webster.
In English, " Chant" and " Chanting" are terms now familiarly
used only to designate Plain-Song.
It is, however, to be regretted that this word " Chant," as applied by other nations
now, and in England formerly, to all kinds of song, has come
in our own day to be thus generally understood in a more
restricted sense for Plain-Song recitation only, and more particularly for those portions of the ancient chant which, either in
their original forms, or in their derivatives and imitations, as well
as in (what can only be fitly designated) their caricatures and
perversions, are still set to the prose Psalms and Canticles in divine
worship, and which are only a very small part of a far more
extended system of Plain-Song. As thus used the word does
not, as in other countries, include " all the various modes prescribed by authority, and handed down traditionally, in which the
human voice is to be modulated in the services of the Church,
from the simple monotone of the prayers to the most elaborated
forms of the antiphon and hymn," but, as has just been remarked
in other words, it means specially the short melodies sung to the
Psalms and Canticles in the English Church. These chants are
either " single," i.e. adapted to each single verse, as in the traditional Psalm and Canticle Tones of the Gregorian Ritual music
(from which either the form, or the substance, or both, of all the
rest are undoubtedly derived), or " double," i.e. adapted to a
couple of verses, and composed in this country since the middle
PLAIN-SONG.
6o
or chant
English Psalter.
6l
is
We
"
PLAIN-SONG.
62
gives the
same examples
(Being the
ist Alto.
2nd Alto.
Tenor.
m^r
ist Gregorian
Ending.
n Mediation.
*J
St
rr
-7T-
T^
Bass.
thus
zc
identical with that of our most ancient Sarum use, and of some
of the Continental uses as set, e.g., in the "Cologne Antiphonary;" an additional confirmation of the identity of our
modern form of chant with the earliest and purest forms of the
is
is
is
quoted as
"Quicunque
vult
(to
OF THE ENGLISH
WORD
" CHANT."
63
Canterbury Tune.
T. H. cix.
M
1st
CounterTenor.
zz
~w
Tenor.
Bass.
-iry-
~Z2L
Whosoever
The
22:
will
be
sa
/Before
ved;
'
is
still
following
~C
Dix-it
(i.e.
Do-mi-nus Do
Tenor.)
0-
!!
mi-no
me
se
de
me - is.
dex-tris
rallentando.
3=z
=H
rallentando.
sg ^
plain-song.
64
The
Imperial Tune.
a tempo.
Recitative.
65
their admirable fitness for religious worship, are beginning to be generally felt
PLAIN- SONG.
66
Let it never be forgotten that the men of those days were content
with the ancient melodies of the Plain- Song chant, which they
enriched with their immortal harmonies, and only added, one
here, and another there, a few other chants of their own, of
similar kind, and of very simple construction not pretty tunes,
but manly, vigorous tones, fit for the recitation of the words of
Divine Inspiration.
Nor is the Church of England the only reformed community
which founded their musical ritual upon the Gregorian PlainSong the musical system handed downthrough every age of the
Christian Church to our own. Lucas Lossius, a Lutheran divine
(born 1508), rector at the college at Lunenberg, printed at
Nuremberg in 1553, and at Wittenberg in 1561, for use in the
Lutheran communion, a famous selection of psalmody and other
sacred music of the ancient Church, in four books, the last of
"which contains the Psalms with their ferial antiphons. To this
work Melancthon wrote a preface.
These Reformers, together with Luther, were great upholders
of the use of the chant in divine worship.
The rage for turning
Creeds, Commandments, Psalms, and everything to be sung, into
metre, gradually banished the chant from Protestant communities
on the Continent (as it did, by the substitution of the old and new
versions of the " Singing Psalms," in the parish churches in
England), notwithstanding Luther's desire that everything not
involving what he cast off as errors of the Papacy should be
retained in his liturgy.
So earnestly was he bent on this, that he
kept for use in Latin whatever of this kind there was not time
nor ability to translate into the German vernacular.
Thus we find, in a thick volume of more than 1,050 pages,
entitled the "Neu Leipziger Gesangbuch" (a sort of Protestant
gradual and antiphonary in one), by Gottfried Vopelius, Cantor
of the School of S. Nicholas, with a preface by Dr. Georgius
Mcebius, Professor of Theology, printed at Leipsic, 1682, among
four-part tunes by J. H. Stein and others, to German words in
WORD
OF THE ENGLISH
Der
und
er
lo
67
-1ST
geg
Is
el.
t^
J.
^
^!:
er hat besucht
Gott
A.
tSM-
Denn
W^ r
$
w
" CHANT."
l-il
set
'
-T3-
m
Volck.
^
T=
3
WW
1
3
22:
* I H
Meine
-&-
^
I
5
seele er
-&-Hg|-
~^3~
let
^*
hebt
den
3E
Her
^^
jo.
m
mein Geist freuet
^JL
p
sich Gottes
meyn
J.
?g=g=
Und
ren:
/t\
. *
zzs:
^jr^^ =iwF
es
Hey
land
es-
J-4-Jd-
?&t
r~r ^
felt:
Tf
PLAIN-SONG.
68
The
"
Nunc
dimittis " in
f^t
leszst du deinen
Diener in Frieden
fah
ren
isz:
leszst du deinen )
Diener in Frieden
J
ren
~g~
Diener
Sg
du deinen \
Frieden
J
leszst
in
sa - get
hast.
fah
ren
Wie du ge -
sa
get
rJ rJ rJftd
Wie du
ge
sa
Herr nun
leszst du deinen 1
Diener in Frieden
J
fah
ren
Wie
du
ge
ist
sa
flsfr
hast.
JM E
get
hast.
get
hast.
5fe
=gz=
==t
EZZZZ
rJ'f> rj r*
ZZ
i
Herr nun
T
fah
Tone,
altered to suit
is
Wie du ge
3=
Herr nun
is
mediation
-r?-
Herr nun
German
69
lessly profaned.
corresponding bars.
IE
m 3jg
m
f
m&
retro.)
zzzz
J, J
2-
-321
iJE
I
(Per recte et
2Z
gg?
f*VI
-an.
!j
J-
i'
'
sy
-&-
PLAIN-SONG.
70
ft,
71
documents of
PLAIN-SONG.
72
brought out the ill-pointed " Laudes Diurnse" at the little chapel
where now stands the magnificent church of All Saints, Margaret
This work disregarded the accent of the
Street, in London.
English words the preface expressed a belief in the value of a
OF THE ENGLISH
good
WORD
" CHANT."
73
The "Anglican
my friend
PLAIN-SONG.
74
75
How
them
in
out
and
thy hand
heathen with
the
planted
||
planted
them
in
but thus
:
||
in the "
He
cast out the heathen also before them : caused their land to be divided
dwell In their
tents,
for an heritage and made Israel to
among them
or,
dwell
in their
tents
their
tents,
adopted by the " English Psalter" (Masters), the " Psalter Noted,"
the "Psalter Accented," Gray, Heathcote, Doran and Nottingham, S.P.C.K., the "Cathedral Psalter," and W. H. Monk.
The divergence of opinions as to the accents of the music may
be seen in the two modes of treatment in the two differently
PLAIN-SONG.
76
>
OF THE ENGLISH
WORD "CHANT."
77
The natural fondness for rhythm in the human mind must be referred to its
natural love of order, harmony, and symmetry ; . . . both prose and poetry are
indebted to it for a large share of their fascinating power. In music, rhythm is
a necessity. . . Of all forms of music no one so entirely depends upon rhythm
for its legitimate effect as the Gregorian.
PLAIN- SONG.
78
value
is
and hymns.
And
at p. 13,
Janssen (1845)
As
or
less fast,
to the
melody.
Isaac Vossius
qui
rhythmum ignoret.
Which,
For surely since all the power of music consists in rhythm, and without it all
song is confused and rude, it was altogether to be demonstrated, that that
power which can move our minds and affections does not lie in mere sound
simply considered, but that this efficacy is inheient well nigh in rhythm
alone and that it is moreover true, as we have already above admonished the
reader, that in musical matters rhythm is everything, nor can any one be
;
said to be a musician
who
is
ignorant of rhythm.
OF THE ENGLISH
WORD
" CHANT."
79
Again the Abbe Celeste Alix, in his " Cows Complet de Chant
Ecclesiastique " (1853), p. 77, cites a MS. of S. Gall, probably
of the ninth century, in which are these words, among other
admirable rules for good chanting:
Syllabas, verba,
pariter dimittamus.
metrum
in
medio
et in fine
versus
simul incipiamus et
And again
syllables, words,
For in the arrangement of almost all the Tones, the music by its melody
suppresses the syllables and sophisticates (i.e. renders dubious, or neutralises)
the accents of the words and this mostly in Psalmody ; and, therefore, if the
end of verses be musically put out of order, it is very often proper that some
infringement of the verbal accent should be allowed.
And this is no more than every arranger of the Psalter must feel
continually; the art really is to strike as fair a balance as possible
between the requirements of the verbal and of the musical accent.
From these considerations and extracts it is very evident that
to say that musical accent and rhythm do not exist in Gregorian
Plain-Song is absurd.
Hence we sum up the evidence as proving that the Gregorian
chants are melodious in form, just as much as the modern chants
which are derived from them and we conclude that consequently
the setting of the words to the notes of the chants, whether
ancient or modern, ought in both cases to be regulated by the
same general rules.
;
P.S. Since these pages were first sent to press, I have had the pleasure o\
receiving from my friend W. H. Monk, Esq., a copy of the " Psalter set to
Chants Ancient and Modern," before mentioned (pp. 61 and 75), just now
published (by W.. Clowes & Son, 13, Charing Cross), pointed entirely in
accordance with the principles here advocated, and first applied to general
use in my own " Canticles and Psalter Accented."
CHAPTER
XII.
HYMNS.
" Do you know what a hymn is t It is singing, with the praise of God. If yod praise God
and do not sing, you utter no hymn. If you sing, and praise not God, you utte,r no hymn. If
you praise anything which does not pertain to the praise of God, though in singing you praise,
you utter no hymn." S. Augustine on Psalm cxlviii.
HYMNS.
8l
whom
We
See
Novello.
82
PLAiN-SONG.
Milan, where the chant named after him, and the Iambic hymns
he wrote, first took root in the West and we have the testimony
;
We
We
were baptized, and anxiety for our past life vanished from us. Nor was
sated in those days with the wondrous sweetness of considering the depth of
Thy counsels concerning the salvation of mankind. How did I weep in Thy
hymns and canticles, touched to the quick by the voice of Thy sweet-attuned
Church I The voices flowed into mine ears, and Thy truth distilled into my
heart, whence the affections of my devotion overflowed, and tears ran down,
and happy was I therein. Not long had the church of Milan begun to use this
kind of consolation and exhortation, the brethren zealously joining with
harmony of voice and hearts
Then when the Empress Justina persecuted Thy servant Ambrose, and the
devout people kept watch in the church (ready to die with their bishop) , it was
first instituted that, after the manner of the Eastern churches, hymns and
psalms should be sung, lest the people should wax faint through the tediousness
of sorrow; and from that day to this the custom is retained, diverse (yea,
almost all) Thy congregations throughout other parts of the world following
( " Confessions of S. Augustine," ix. 6.)
herein."
I
We
Compare with
this
accompanying remarks,
the
German
p. 67.
the
HYMNS.
Holy
sing, in the
83
hymns composed
Sacrifice,
language by S. Ephraim"
in
the Syriac
been the
as "
S.
Long Metre,"
in the verse
as
||
as
Vision
of peace
in pr5-
||
-phBt's dream.
" In iambic, trochaic, and anapaestic verse two feet go to the measure ;" and
one foot answers to a measure in other kinds of verse, as, in Hymn 36, " Hymnal
Noted," v. 1, iambic dimeter
:
Th'
Bter-
-nal gifts
||
of Christ
the
King
II.
I.
two measures.
four feet ;
The Latin
Gloria
in
Hymn
laus et hoI
-nor tibl
sit
Ctli pile1
-rile
I
de-
-ells
4.5.6
Rex
ChrlstS Re-
is
prompslt H53
-demptor
-sannS pi4
-Urn.
i
Both are more suited to the Latin than to the English language, in spite of
Longfellow's wonderful mastery of the dactylic form in his " Evangeline," and?
" Courtship of Miles Standish."
PLAIN-SONG.
84"
The following Table of the feet of which prose and verse are equally composed will be useful to such as are not conversant with the prosodaic laws of
language
;
u
-
v,
"
o
u
\j
\j
Pyrrhic, as battlS.
Spondee, as amen.
Iambus, as behold.
Trochee, as holy.
Tribrach, as vSrilp.
Molossus, as good Lord Gvd,
Dactyl, as hSavSnlp.
Amphibrach, as created.
Amphimacer, as multiform.
Bacchic, as Incarnate.
Antibacchic, as outpouring.
(See Zumpt's Latin Grammar, translated by Rev. John Kehrick, where sixteen
other feet of four syllables each, compounded of these here given, may be seen
such as the choriambus, as r&ler 6f times, Sec.) Observe, however, that accent
in English (and also in Ecclesiastical Latin), especially in singing, overrules
quantity, so that the pyrrhic battle may be treated as a trochee, battle ; and
also that short syllables at the ends of lines and verses may, if convenient, be
considered long; so that such words as bittlS, stubbll, and spirits, may by
musical elongation become battle, stubble, and spirits.
(Compare with this
the quotations, &c, on p. 79.) A similar law causes the e mute at the close of
French words to be fully prolonged in singing. The accented and unaccented
parts of a foot are said to take the arsis and thesis, answering to the strong
and weak beats in niusic. " The arsis is either equal to the thesis or twice as
long," as in prophecy, where the first syllable has the acute accent, answering
to the arsis, and the second and third unaccented syllables answer to the
thesis, thus forming the foot called a dactyl [- u J], i.e. one length equal to
two short syllables ; but in prophet the arsis of the first is double the length 01
the thesis of the second short syllable, forming together the foot called a trochee.
* They are these following.
Those marked S.B. are used in our old Sarum
Breviary. Those in the Roman and Parisian Breviaries are also marked witl)
the initials of each. Those in italics are given in the "Hymnal Noted."
j
S.B.
SiB.
21
S.B.
S.B.
1.
3.
4.
7.
8.
Jam
Uluminans
Beside the above Saturday-evening Hymn, " O Lux beata Trinitas," admitted
to be his, it is thought probable that the other Vesper Hymns on the works of
Creation, through the several days of the week, are his also, though that foi
HYMNS.
The very
85
measure mixed
irregularly, without
any
rigid
hard and
fast line,
number
Chapter
III. p. 18.
86
PLAIN-SONG.
* To me most modern tunes are altogether what they are described by him
"unmusical, cold, nauseous;" and there are some others I utterly abhor, as
being so tainted with the natural expression of frivolous, or even corrupt
associations, that in their very essence they are wholly unsuitable for divine
worship; and (unless all moral and religious emotional power be denied to
music independent of words) they are an insult not only to the Divine Being
to whom they are sung, but to the right-minded worshippers who are forced
to hear them.
They are degrading both to those who sing them and to those
that love to hear them. If any plead in favour of their use that they attract
the ungodly, let them believe me that they repel the well-nurtured and holy,
HYMNS.
87
corrupt the religious feeling of the masses, undermine the just sense of what
is true in worship and chaste in Art, the handmaid of Religion ; they vulgarise
what they ought to refine, profane what they ought to hallow ; in fact, those
who use them with this intent are "doing evil that good may come;" and, as
in all other instances of a similar kind, they defeat the end for which they
are not afraid to sacrifice the true to the false, the comely to the uncomely.
If any deny that it is evil, I do not hesitate to say that they are too inartistic
to claim the right of expressing any opinion on the matter: the colour-blind
might as well claim to judge of painting, or be set to choose an altar-piece for a
church.
* Jubilus sonus quidem est significans cor parturire quod dicere non potest.
It is indeed a jubilant sound, signifying that the heart conceives what it is
unable to express. (S. Augustine on Ps. xxxii.)
88
PLAIN-SONG.
We
Church, " and those things which for our unworthiness we dare
not, and for our blindness we cannot ask," He would " vouchsafe
to give us."
I
and
b. xiii. c. 123.)
HYMNS.
by
'
89
Our modern hymnals have long been a standing proof of the difficulty of
writing good hymns. The best are some of the latest ; and they are the best
because they have caught something of the spirit of the hymns of the
mediaeval period solemn and majestic in the thoughts conveyed, and most
sweet in their musical cadence. A good hymn, apart from its accessory of
music, should be full of melody, so as to win its way to the heart of a people;
but it should convey at the same time grand and solemn thoughts, far removed
as well from familiarity as from severity of tone. Each hymn also should have
its own musical notation, so as to rest upon the memory complete in all its parts,
in its rhythm, its holy guidance of the thoughts, and its harmonic sympathy
with the world of sense.
CHAPTER
XIII.
EXERCISES.
A
"
single page of ruled paper, on which were noted the diatonic anj chroiaatic scales, the
intervals, thirds, fourths, &c, and passages of vocalisation, &c, occupied Porpora and a certain
young scholar, who had promised implicit obedience to his directions for five entire years.
In the sixth year the master still continued the same exercises, but with the addition of some
lessons in articulation, pronunciation, and declamation.
At the. end of this year, the 'pupil
who supposed himself still in the elementswas much surprised when his master said to him,
1
Go, my son, you have nothing more to learn ; you are the first singer of Italy, and of the
world.'
He spoke the truth, for this singer was Caffarelli." Dictionary of Musicians, and
Fetis's History of Music,
p. 184.
Although from
and
EXERCISES.
91
each individual, according to the apparent mode of producing it, and these
are termed Registers.
% " Speakers, Singers, and Stammerers," p. 42, by Frederick Helmore, Esq.
Masters & Co. See also his Treatise, " The Italian Registers."
" Speech in Song," p. 6g, by A. J. Ellis, Esq.
See Primer,
in
PLAIN-SONG.
92
The
exercise
first
is
on one sound, i.e. the practice of the monotone and at the same
time the use of the two clefs is to be impressed upon the pupil's
understanding and memory.
We have seen that since the eleventh century straight lines
have been used to indicate identity of pitch in the sounds
represented upon them by the other marks, which gradually
came to indicate the relative length to which these sounds were
to be prolonged
and a letter set at the beginning of the line
indicated the particular pitch at which they were to be sung.
We now take the C clef with its line, and set upon it time
marks, which must be sung to the syllable la first, and do
;
afterwards
:*
j_
j_
La' la
Do' do
la'
15
la
la
la'
15
do'
do
do
do
do'
do do
Thus represented
Recitative.
in
--
la
la
do' do * Do'
la
la
do do do do do
do'
basses,
iii
Song C clef.
The same exercise
.
La' la
Fa' fa
la'
la
la
la
la'
fa'
f5
fa
fa
fa'
15
fa
la
fa
la'
fa'
on
15 * La' la
fa * Fa' f5
15
f5
la
fa
15
fa
15
fa
la'
.
fa'
[N.B. The voice must be continuous till we come to the asterisk, which
the place to take breath, both here and whenever it occurs.]
is
*
C tuning-fork, in the absence of any accompanying instrument, will
give the sound of this clef as sung by women and children; men will sing
naturally an octave lower, which is the true sound indicated in all music by the
*.-*
The same
clef.
exercise
9
below
it,
thus
<ff)
**
may be
La,
Sol,
practised
la,
sol,
la,
clef
&c.
Let
the
pupil
fully
recognise
the
sol,&c.
connection of each clef with the line passing through its principal part. It is
said to stand upon this line, and so wherever it is placed on the four-line or on
the five-line stave, its name and sound are to be given to that line and to none
other, and all the other lines and spaces are to be named from it, as before
shown in Chapter IV. A teacher will accompany his pupil with sustained
chords on a piano, &c.
EXERCISES.
how many
surprising
It is
93
'H M
Do
si
Si
The same,
five
Fa mi * Mi
Do
si
si
--*-P-^-
do
Do
si
fa
si
clef
do do
and
do.
si
line
* Fa mi mi
fa
do do
Fa
H 1 II H
'
do *
Fa mi
fa fa
it
mi
fa
mi
fa
Now
whole tone
---Do
^
!
re do
do
re do
do
re
--
^
!!
The Fa
it
4t
do * Do
clef line with
re
Fa
sol
la
si
si
Do
it:
Fa
fa
la
sol
_1
?=
*
*
sol fa.
T
Do
do.
Fa
do
whom
are choirs who monotone correctly, some of the people of the congregation
systematically respond in discord with them, who nevertheless can sing and do
very little good teaching would soon remove
sing the hymn-tunes fairly well.
this nuisance.
:
t If practised on G, the F below must be sharp
Do
si
Si
fe* Fe
Sol
or, Sol
fa
Fa
Do
do
sol,
sol,
Sol-fa system.
Immovable Solmisation.
re
or Sol
la
&c.
&c.
Movable
* Re
do, &c.
* La
sol,
&c.
PLAIN-SONG.
94
The Do
-*
clef line
i
I
it
EXERCISES
2.
and
95
treble voices.
(See Chapter
La
si
do
YO
re
Plagal:
mi
fa
sol
La
la.
do
re
mi
fa
sol
la
do
re
si
(,
fa
la
sol
mi
re
do
si
la
sol
mi.
Hypo-Phrygian, transposed to A.
Si
6.
la.
si
5.
do
re
3.
4.
mi
fa
sol
Si
Plagal
la
sol
fa
si.
fa.
Fa mi
re
do
fa.
fa
mi
re
do.
PLAIN-SONG.
g5
7.
Mixo-Lydian Mode.
Sol
la
do
si
re
Authentic
mi
fa
sol,
Sol fa
mi
8.
Re mi
fa
sol
la
9.
Re do
re,
si
do
Plagal
to C.
la
si
sol
fa
la
sol.
mi
re..
iEolian Mode.
Authentic
10.
do
si
re
Hypo-jEolian Mode.
Plagal:
'
Jt
Mode.
Authentic
:-
An
Mode.
Plagal
EXERCISES.
97
needed in Plain-Song.
The
repetition of the
same
_4
occupying two degrees of the scale from the one to the other, are
called seconds to each other.
If the difference is a tone the
interval is a major second, if only half a tone it is a minor second.
In like manner two notes including from one to the other three
degrees of the stave are called major and minor thirds, thus:
Major
thirds.
W
Minor
thirds.
Pluperfect.
Perfect.
'
'
"1
IrV-^-^B
The perfect fourths include two tones and one half tone.
The fifths, containing three tones and one half tone, are also
all perfect, except one which is imperfect, and contains two
tones and two semitones, thus
:
Perfect Fifths.
3E
Do
sol
la
mi
si
fa
Imperfect Fifth.
do
sol
re
la
:
:
PLAIN-SONG.
98
ABC
.2.
1.
Semi- Tone.
Tone. Semi-
A Bt> C
1. 2. .3
tone.
tone.
Exercises.
Seconds ascending
Re
mi
mi
fa
fa
Seconds descending
sol
sol
la
la
si
si
2,
3.
2,
&c.
4.
3.
4!
3. &<:
Tritone.
do
do
re.
EXERCISES.
99
5>
4.
5.
4.
"Impt.1
5th.
&c.
Sol re
Fifths descending
si
mi
la
la
mi
si
re
fa
*",
3T "
fa
=H
sol
who
becomes
all
This mark [J or ^] is called a Guide, and shows what note follows, either
a change of the position of the clef, or, when placed at the end of a stave,
what note follows in the next stave.
*
*.n
"
CHAPTER
XIV.
sit
sonora,
sit
jucunda,
sit
decora, mentis
and especially
in Plain-Song,
t It
at Ratisbon, 1874,
1;
10
communion.
Some forms
102
plain-song.
Examples of Plain-Song
I.
in Detail,
with Explanations.
Neumes
i, 2, 3,
and
4.)
Ex.
1.
The
Apostles' Creed.
'
I
be-lieve
in
God
the
IO3
voice."
Both
f No artistic skill can ever give the true expression of devout prayer and
supplication without the true spirit and honest intention of the devout soul.
" Watch and pray " should be the precept ever kept in mind by the ministers
and ministrants of the Church. The distractions of artistic details in choirs
should be reduced to the minimum, if they cannot be got rid of altogether,
both by clerics and layics.
We all
need
this. alike.
PLAIN-SONG.
104
and
Neumes
(See
5, 11,
12.)
Ex.
3.
2.
Semi-Point.
Principal Point.
--Grant,
Ex.
&c,
4.
re-new-ed by Thy Ho
ly Spi-rit.
Ho
III.
ly
Ghost,
now
Principal Point.
(See
and
ver.
Neumes 26 and
27.)
Ex.
5.
(2.)
Ex.
6.
And
the
Spi-rit, e
Sarum use
fall
ver one
in
of a perfect
(3.)
with the
liv-eth
end.
H
A
^H
-
men.
fifth,
men.
There
(See
105
Neumes \\and
17.)
Ex.8.
* *
he
* * sing
ri -
un
tage for
e - ver
to the Lord * *
or reciting note.
is
It is
the
The Gospel
mer
cy.
- el.
fall
near akin to
Ex.
lov-ing
Is - ra
V.
g.
[un-to me.]pi
bring them
VI.
The Acute Accent consists of a fall of a minor third and an immediate return or rise of the same interval (Ex. 10).^ The Sarum
use made the descent by three notes in conjunct melody, and
then rose the minor third as at (a) in Ex. 16. There is also an
accent used at the ending of a lesson consisting of the Medial
Accent, with the addition of two notes, one the tone below it and
the last the same note; thus resembling the Clivis (11) and the
Podatus (14) of the Neumes, and as in Ex. 18 and 19.
Ex.
10.
follow- ed
- *
Thee
* *
un - to Mo-ses.
Both of these are of frequent occurrence in the " Sarum Antiphonafy and Gradual," and are used also in the reading of the
Prophets in Hebrew words, and when the punctum occurs at a
monosyllable or a word ending with an accented syllable.
io6
PLAIN- SONG.
Similar to this is an
second note of a verse
example, No. n, at (a);
and the Rising Moderate
Song
is
the
same
(a)
(*)
()
I07
Here
lor
in the Epistle
Ex.
13.
He
said
at
any time,
begotten Thee
&t
,,,,
rhou
art
.....
my
Ex. 14.
?-*
have
be
^-
Ex. 15.
Saying,
This
last is
Sarum.
Who is this ?
Saying,
Who
is
this
is
O God
un
Thy kingdom
to
in hea-ven
We
(a)
I.,
* * be-fore * * * *
or
II.,
Sarum,
in
Holy Com.
n~^ ff^*fl
-j^
Ghost, one God, world without end.
A - men
in the lower
being (as of old; exclusively appropriated to the highest
PLAIN-SONG.
io8
From
phonary
Ex.
the Bodleian
MS.
(Oxford)
17.
li -
be
[sic]
[sic]
Et os-ten-de
fa
ci-em tu-am et
[sic]
sal-vi
o -ra-ti
---me-us ad
te
spi-ri-
tu
tu
o.
The first form of the Moderate Accent and the Medial Accent
now still used in the verses and responses after the Creed
are
'f.
18.
Lord, shew
us.
^?.
And
grant us
Thy
sal-va-tion.
Terminal Accent.
^B
re-veal-ed
my
cause.
and so also
services,
Sarum
tog
with the Interrogative and Acute Accents for a final monosyllable in Guidetti's " Directorium," for the Tonus Le'ctionis.
Or thus, from the " Directorium," Tonus Capituli
Ex.
19.
3E
great
won- der
ly
We
^
- ing.
fall
Ex. 20:
He
The
is
:-
Ex. 21.
to-geth-.er in
great- ly
- ed Sol - o - mon's.
Sarum.
call
-^""-
"
is
C C A
-**
T~
walk?
man
we have made
this
man
to
this
[or C .
B]
VIII. (a).
!*
ye did
it
as did al
so your ru
lers.
*
sic
mo
thus a
J
See
Neume n.
no-syl
mo-no
la
syl
la- ble
must
be
est.
sung.
no
PLAIN-SONG.
Ex. 22.
'
save sin
to
ners
Of
a major sixth,
ra
ti -
num.
Dyce, in his " Book of Common Prayer with Plain Tune," gives
the same Grave Accent at the end of a verse from the Bible, but
uses the Sarum Acute Accent for a terminal monosyllable. He
also gives the Medial Accent at a comma, thus
:
Ex. 23.
When
the wick- ed
man
turn
eth a
<
way from
his
and
my
sin
is
live.
be
ev-er
fore
ac
is
know-ledge
wick - ed
ness that
my
trans-gres-sions,*
me.
Ex. 24.
3=
Say - ing
IX.
1
af
ter
me.
The Tone of the Gospel has three inflexions, viz. the Interrogative Accent (a) the Acute Accent at a period (b) ; and the
;
Gospel
Ill
(c).
Example from
Ex. 25.
* all
* *
the ci
Made
it
den
of Gal -i - lee
of thieves.
Ex. 26.
power
through the
of
the
Ho -
ly
Ghost
** shall not
pass
way.
This
those
first
There
is
requisites of all
The
eight
ferial
form
ancient
Tones
for the
in the Offices,
Sarum Antiphonarium,
or Ritual
music-book
for
all
f It is hardly necessary to remark that in all the foregoing and any future
similar exercises in which, to economise space, portions of the reciting words
and notes are omitted, they should be supplied by the student, in singing them
either from memory, or by reference to the texts thus partly quoted. See also
my " Fuller Directory of the Plain Song of the Holy Communion Service."
PLAIN-SONG.
112
How
all
how far a more general use of such means for enlivening
and varying our English services would tend both to the edification of those who can and do follow the Church path of daily
public prayer, and tend to make the habit of such devotion more
popular, this is not the place to discuss but as a book professing
to teach Plain-Song would be glaringly defective if it took no
notice of this most voluminous portion of Ritual music, I give
a few specimens, either in their original form, or set as they
might be sung in English, which it will be a good practice for
the student to sing, both with the sol-fa syllables and with the
to
words.f
give the Introit forms of the eight Tones
some other portions of that most
important of all our services, together with a sequence or two,
and close my Examples by a selection of hymns both from the
AH of these I recommend to the
Offices and Processionals.
diligent study of the student of Plain- Song.
Holy Communion
and
Exercise 27.
Lansdown MS.,
Museum,
copy printed at Paris a.d. 1519, and with Archbishop Laud's splendid MS., Bodleian Library, Oxford, at various
times from 1863 to 1868. (See my List of Authorities in the
Second Appendix to the "Ac. Har. to the Brief Directory," p. v.\)
collated with the
t I
The
[N.B.
Samm
"3
Antiphonary P. 97.
,
This does not profess to be a fac-simile of any one of the copies above
my other
works.]
Primus Tonus.
* A
De-i
Pri-mus To-nus
^a-^-ft^*-*
[secula] seculorum,
A-men.
u o u a
.
sic me-di-a-tur
M ^ 3^-3riMi=
e
et sic fi-ni-tur.
"
-l
e.u.o
e.
u .0. u
^m
u a
.
ra
so
lem
me
ni-ter sic
di
tur
et
sic
fi
ni
Secundus Tonus.
3P=
Se
cun
dum
si -
mi
Ps.
'
a*
le
est
Dix
- it
Or
"
huic.
Do
^* + =*-.
A
mi
nus*
me
Do-mi-no
Ps. Hear,
The
asterisks here, and in all similar cases, show where to breathe ; and
Of
if (as here) fully marked, the breath ought not to be taken elsewhere;
course it must be taken at any semicolon, colon, full-stop, whether an
asterisk be put or not.
" Venite." It was the first
J This explains Marbeck's choice of chant for the
form in his repertory. (See pp. 62 and 54.)
In the second, fifth, and eighth Psalm Tones a monosyllable, or final syllable
of a Hebrew word, is sung to this rising note, and the next note is omitted. In
final
accented syllable,
PLAIN-SONG.
^i" n - -in
Sede a dex-tris me-is.
Lord, be thou my helper.
Be-r.e-dic
=5=5=5
Mag-ni
Dominus De - us
tus
^Et
=-=3=
redempti
o-nem
plebis su-
se.
- fi
Is
SS
mmmJ
'
ni-mame-a Do-mi-num.,
cat a
cit
^B^J
1^",.
*==
e.u.o.u.a.
vit* et fe
e.u.o
e.
u. a.
e.
Tertius Tonus.
~^~~
Ter
-.
ti
I "
-^-^ "
H
'
" ^
e.u.o.u.a.e.
e.u.o
*
j.
es
di
II
+ ^
*-
" ^ *
est
* quod
"^
C~
haec
tf""
fac
TT
sunt
ta
SB
mm
iT ia
e.u.o.u.a.e.
H1 ^ 1 "-m"
e
u o
.
e.
^^
.
"5
[V]
e.u.o.u.a.e.
Dom-i
Ps. Dix-it
'
Mag-ni
nus Domi
no me-o:
me
a dex-tris
" 1 'V
an-i-mame-a Dorai-num. Be
ne
n.
Quinque pru
den
tes
vir
gi
nes
in
tra - ver
unt
ad
'(to
zdn
t~" ""'"*
as
- - ae.
i
-
^j*
nup - ti
su
^-
n
-
-^ ^
dictus*Dominus De-us
Quintus Tonus.
'
e.u.o.u.a.e.
se-de
'^ ^^
- fi-cat
^ ^~^
e.u.o.u.a..e.
+ ""^n"^
* A
e.u.o.u.a.e. e.u.o.u.
J-"h=H-H
Ps.
Dix -
it
Mag-ni
Dom -
-fi-
cat an
nus
- i
Be-ne-dic-tus
dex-tris
Domin-us De-ua
o-nem
me- is.
ple-bis su-aa.
Sextus Tonus.
3=^
Sex
ta
35=^i
=g=^
bor
a*
se
dit
su
-^-
fl
pu
per
te
um.
^^^^=^4
e.u.o.u
PLAIN-SONG.
Ps. Dix-
Dom-i
it
nus Dom-i
Mag-ni-fi-cat an
Is
ra
el
se
de
dex
me -is.
tris
qui - a vis -
no me- o:
ta
i -
us
Septimus Tonus.
^F^
Septem sunt
Spi-rit
us
an-te
thronum Dei
^PP
3
e.u.o.u.a.e
3*=
e.u.o.u.a.e.
e.u.o.u.a.e.
e.u.o.u.a
e.u.o.u.a.e.
e.
i3t:
e.u.o.u.a.e.
Ps. Dixit
^ - H-J^-"
Mag
.jSl
ni
fi-cat
a-nima
"1|w
Is-ia-el:
qui-a vi-si-ta-vit
=^5P
sunt
be
H"
'
ti
e.u.o.u.a.e,
t
B? any
Tones,
[6]
Octavus Tonus.
Oc - to
Be
mea Dominum.
et
fe-cit
ne
~=*^E
dic-tus
Domi
-nus Deus
^.m^-T^r
-_^
=^* ^r*^-^
tu - di
nes
.... * A
-T-~
Ps. Dixit
flat in
the
first, fifth,
and sixth
Magni-fi
De-us
1=
cat a
ra-el
Be-ne-dic
117
Antiphons.
Ancient as the alternate chanting of the Psalms in the Christian
it is believed that Antiphons, in the original
sense of the term, are entitled to even more venerable an antiquity.
The relation of Socrates, the Church historian, about the vision of
S. Ignatius (See Hooker's " Eccl. Pol." v. xxix. 2), and his introduction into the service on earth of that which he had heard in the
Church in heaven, more probably relates to this system than simply
to that of responsory chanting. An Antiphon, in the original sense
of the word, was the intercalation of some fragment, or verse,
between the verses of a Psalm and latterly between one Psalm
The
after some principal Canticle.
Psalter, as the main substance of all the
Il8
PLAIN-SONG.
June 34
Festival of S.
John
Baptist.
Second Vespers or Evensong of June 24, the First Vespers being the Evensong of the day preceding.
The
Secretly,
.
y.
IJ7.
praise.
O Lord make
it
was
in
Antiphon.
>
- ~*~~*
d
E
phet John
Psalm
'i
un
2.
Lord
til
Antiphon.
Bap
the
ex.
said
v
un
ll
fore
run
Tonus festivus,
m*
to
my
--pl
-as
- ri
The
- tist,
Dixit Dominus.
=3 -
" -
- li -
The
From
3rd Tone.
ner
III., 1st
-=
of
the Lord.
Ending.
=rS
'
Lord
Sit
thou on
make
my
right
hand
'
thine
e - ne - mies thy
foot - stool, &c.
(For the rest of the Psalm see " Psalter Accented.")
4th Tone.
Antiphon.
'
-ful, and in
the con - gre - ga-tion.
(See the other verses in the " Psalter Accented.")
se-cret-ly
3.
119
1st
120
PLAIN-SONG.
Psalm
Laudate Dominum.
cxvii.
'
'V
'
na-tions.
hea- then praise Him all ye
ye
(For the rest of the Psalm see " Psalter Accented.")
Capitulum (The
little
Is. xlix. 1.
Tonus
Capituli.
EXERCISES AND EXAMPLES.
for this
fr
is
he
whom
of
the Sa
^ mV
wo
viour saith
?3
" ri
born of
"
mm m
I2-I
^ ^-
Magnificat.
==5:
My
Can.
.
spi-
hath re
rit
joic
hath re
q
gard
mag - ni
doth
soul
ed
the Lord
fy
""
in
the
low
'
God my
Sa
He
For
viour.
-tf->
of
ness
li -
my
and
gua-fe jiS==S
'
v
ed
en. &c.
Antiphon.
The
child this
(as before).
Other Examples.
Antiphon, First Mode.
"
Mon
et
tes
om-ni-a
*
col - les,
et
lig
*I
na
sil -
^n
>
va - rum,
plau
dent,
-,r
De-o
lau-dem,
ma
ni-bus,
,-ai
122
plain-song.
Da
pa-
in
di
bus nos
li-us
qui-anonest
- tris,
tu
De-us
in
te
cit
-d
Do
ni-si
nostei
1~ ^E
g^-^
Qui
qui
s&
J-
sed
ha
P
n
-
* Non am
me,
tur
be
iu
bit
bu
^~
men
vi
Iat
di -
tse,
bris,
^r
T^
-
ne
mi-nus.
^=*
:1
Ex
S
gyp
vo
- to,
ca
Fi
vi
um
li -
me - um
,1
ve
ni
et,
ut
po
sal - vet,
pu
lum
su
um.
Mon-tes
et
et
runt
om
pra
nes
col
va
hu
les,
mi
di-rec-ta,
in
li
as
et
bun
pe
tur
ra
+^-^"min
et
vi
as
no
pla
li
nas.
tar
Ve
da
ni
re.
Do
AI
mi
le
lu
ne
ia
is
t Two Breves are, in some books, put together thus, to express the full
length of the Long, this being used only as a dotted Breve. The interpretation
hereafter given at " Filium " in the " Ex Mgypto " shows how indefinitely these
time-notes are treated ; and how much depends on the good taste and skill
of the cantor. (See p. 18, " Second Species of Rhythm.")
123
Ex
*=s=
d^=
it
ser
mo
in
ter
fra
tres
PLAIN-SONG.
124
iJllplgl rj
Mon-
i
5
et
kj
col-les* can
tes et
ni
ni
lig
na
sil
bus *
quo
lau-dem,*
o
Z2I
rum * plau
va
dent
am
ni-
ve
ni
3
Do-mi-nus #
in
+J-wh&-ez
W^L
-r-
Do-mi-na -tor
De
&
ta
(SI-
!S
I
9fei
-
om
ma
& d
reg-
num
a? -
ter -
- et,/
num *
-+-
Al
le
lu
ia,
* Al
_
-
"S3
C7
lu
ia.
le
This pitch (in the octave below) will suit bass, baritone, and
second tenor voices of men and altos, contraltos, and mezzosopranos can sing it as, it is here set. But for trebles and first
tenors a higher pitch will be more convenient for practice.
this is easily transposed a fourth higher,
By the use of the
;
&
thus
m
Mon- tes
et
col
- les,
&c.
5^
i
&
Da
Spa
&
cem
^
_
Do
mi
ne *
in
bus
di
nos
tris,
legato.
qui
j j rj_j_m
d-JJbcJTJ_
m^.
a
non
est
li
us
qui
pug
net pro
^
EXERCISES AND EXAMPLES.
!N
ni
tu
si
-&-
ru
r-J
bis,
125
De
us
nos
ter.
1|)
<=>
&
Qui
s6
*
qui
tur
ne
cit
be
am
bu
lat
ir
Z2=^=22=22 5t z2:
bit
lu
men
vi - tse,
=F
d' m
Do
ha
Sed
bris
I
gSI523
di
me
F^fc=l
te
ej-
zz:
p*pNon
("Vesperale Ratisbon."j
mi-nus.
I
9 M
C3
c*
g*
-zs
Ex
fN
to
gyp
vo
ve
cJ
ca
3m
Fi
- li
um me - um *
^d
SP
ni-et* ut
g^
^=>
pu - lum
po
su- um.
Methode," &c, par le P. J. Dufour, p. 44.)
vet
sal
("
qa=
22
Mon-tes
rJ rJ rJ
bun
ra
tu*
W- /j
S*
I
3
om
et
i
-
-r-
in
-7TJ .g
et
,\-&
<
vi
nes
col
^m
e-runt pra
ret
Ty^-~'
JZ21
va
rz
"T?
les
* hu
-rdr
in
?=E
Z2rz=t
di- rec
ta,
mi
&=&
pla-nas.*
^
-
<&**
as...pe-
et
as
22
Sit 32^:
<->.p ,)=,
-
- li -
Ve - ni
Do
:^^22
mi
ne
TnTl
tar - da - re. *
Al le - lu ia.
no - li
(" Methode Complete de Plain Chant," par Felix Clement, p. 80.
\
726
PLAIN-SONG.
i
5
^g^
Ex
1IE
it
dis
ci
non
I
3^
sed,
in
33i-.^
2==^:
et
mo *
ser
c-^
quod
1
s
i -
pu- lus
il
sus
fra
Je
it
gj
* non
mor
Non
mor
tur
tur,
ife3=g
c<,-
um
tres,
-*?=*
dix
ter
22t
rJ
Si
le
gy* g?
"j^~
r-J
vo
r-J
lo*
z2^Z
ma - ne
re
g^
do
ni
(Le P.
J.
am.
Dufour,
p. 54.)
iIS
An
ge
*TS
I
.
an
nun
- ti -
vo- bis
*ho
di
gg
P=^=
to
res,*
r>
>
ad pas
lus
vo -
bis
it:
r*^
W^f
-
sal
va
j2
-
tor
3
mun
- di.
^
-
a na
-?Tr3-T3
Al
tus
.*
est
^-H^H-
le -
lu - ia.
p. 4a.)
F and C
sharp.]
127
$
^
IS
~~rz-
Hsec
"it
cu
lo
p?
^fe
ho
ra
o
1
re
mi
ms
ca
rit
-y
mi
ni,
go
dix
^=2ze2=2
vo
bis.
Al
le
lu
in
As
^-j
ne
^m
J J
<
cum ve
^t ife
^=Z2==3=.
qui
ut
See p
rum
vo-bis,
==^
-I-
i
s
sum
tus
2ZZZZ
&&-.
-s*-
"for
ja.)
208.
my
" Manual.")
Sarum Table
Tonus
I.
Glo
ri -
Pa
u
Sic
ut
rat
et
- tri
Fi
Et
- li -
Spi
- ri -
tu
Sane
J^B
prin
in
pi
ci
cu
et
nunc,
to.
.h
sem
et
per,
^
Tonus
ut
.-
et
la
cu
lo
in
rat
prin
in
'-
ci
-'
pi
et
nunc,
men.
sem
et
-per,
sa?
cu
la
sse
cu
lo
rum.
II.
Sic
see
in
et
men.
it
is
accord
Paris, 1750,)
PLAIN-SONG.
128
Tonus
III.
==-=1
Glo
Pa
ri -
Fi
et
- tri,
et
o,
- li -
Spi
tu
- ri -
Sanc-to.
- Sic
Glo
ri -
Sic
ut
tri,
ci - pi
Fi
et
-m
-
Pa -
prin
in
rat
lit
- li -
Spi
et
o,
-m
t
rat
in
prin
ci -
pi
et
u,
sem
nunc, et
et
o,
ri -
tu
per,
Sane-
to.
W"=m-
nunc, et
sem - per,
itSI
et
cu
in
^~
la
see
cu
lo -
rum.
men.
Tonus VI.
Glo
-^
ri -
Pa -tri,
, ^*
et
Fi
- li -
o,
et
-=
Spi-ri-tu-
Sanc-to.
Tonus
Glo
rat
in
-*
Sic
ut
Pa -tri,
ri -
1$
Fi
et
in
Tonus
VIII.
ss
et
Glo
ri
^j^g
- ri -
tu
Sane
- i
prin
pi -
cu
ut
cu
Fi
et
- li -
et
o,
sem-per,
et
Spi
- ri
tu
^8
rum.
lo -
in
et
'
rat
S2e
prin
in
-to.
m_
la
nunc,
et
o,
ml
cu
pi
ci
Sanc-to,
--
la
sse
I
1
nunc,
et
o,
men.
"
Sic
Spi
et
o,
:gi
Pa - tri,
- li -
- ci
'
129
VII.
cu
rum.
lo
sem -per,
et
men.
The
--V
ill.
Glo
Ho
be
ry
As
Ghost ;
ly
Fa
the
to
the
be
Fa
to the
111
Ho
ly
Ghost
As
ev
er
shall
be:
and to
ther,
it
was
'vand
Son
the
to
the
the
be
in
ry
A
and
ther,
was
it
Glo
and
gin-ning,
is
V
and
to
the Son
now,
to
world with-out
V
end.
is
now,
men-
PLAIN-SONG.
13
Third Tone.
v
and
Glo
ry
be
Fa
the
to
ther,
Ho
and
ev
the
to
mi
As
was
it
be
the
in
gin- ning,
be:
now,
is
SSSBll
V
world with-out. end..
'
shall
er
and
Ghost
ly
m
r
'
Son
the
to
Fourth Tone.
y
Glo
be
ry
Ho
and
ev
Son
to the
to the
As
was
it
er
be
the
in
gin- ning,
be
shall
world
with
now,
is
'
'
V
and
'
and
ther,
Ghost
ly
Fa -
to the
out
end.
Fifth Tone.
V
and
'
Glo
be
ry
Fa
the
to
ly
Ghost
V
ev
and
was
it
be
the
S
the
to
ning,
now,
is
be:
gin
'
shall
er
+m-
in
u-'
V
and
'
Son
the
to
As
ther,
iii
Ho
end.
Sixth Tone.
Glo
be
ry
ii
to the
ly
Ghost
and
'-"
^" ^ *
raqF't1
Ho
Fa - ther,
to the
ev
er
and
to the
~*~
i
As
it
.was
in
~
and
Son
shall
be
world
with
out
v~"
.
end
is
~T
A
now,
*-
men.
I3.I'
PLAINtSONG.
132
Metrical Hymns.
As a specimen of the kind of expression suitable for the hymns,
I mark the following from the "Hymnal Noted," No. 10, First
Melody from the "Ancient Salisbury Hymnal":
Conditor alme Siderum.
Fourth Tone.
-r-
3t=m=^=m=
Cre
^ES
2.
Thy
And
hear
all,
m-
full
^E
3.
To
the Bride,
--'
^^
call.
ni- verse,
ru-in'd race.
z*=^-
4.
of grace,
they
"~ii~~^
^=^
Hast found the med'-cine,
in g light,
i-
ev'n-ing tide.
di-vine.
all
At whose dread Name, ma-jes-tic now, All knees must bend, all hearts must bow,
-*m-*And things ce - les- tial Thee shall own, And things ter-res-tial, Lord
=-==
5.
O Thou,Whose com-ing
is
us,
while
lone.
i5=*=S=
Preserve
'
we dwell be
F1
low,
From
raH
ev'
ry
in -suit
of the foe.
6.
To God the
free,
-=
'==-
_V
Fa-ther, as
is
To God
'33
ry be
meet,
The sforzato marks v are upon emphatic words more or less out of the
ordinary rule at p. 86. I intend the same strength of voice to be used between
the cres. and decres. marks as is put forth at the first cres. [-=] in each case.
8.
(Morning
Hymn
First
7.)
First Tone.
i.
V V
Je- su
-==.
the ve
ry thought
is
sweet
In that dear
^~_?*
m*~^
No word
2.
is
this
No name
is
heard more
of
are.
bliss:
=-
of
Hymn
Proper
for the Festivals of Martyrs.
Guidetti and Palestrina.)
Melody from
Eighth Tone.
1.
full
87 (or 80).
(Evening
meet:
gifts of
Christ
Andwhileduehymnsofpraisewepay,
away.
but on the
first
PLAIN-SONG.
34
des-pis'd,
The
It is by no means intended to teach an exaggerated expressiveness nor, indeed, do I mean that accomplished singers should
use these marks of expression with the literal accuracy of orchesIt is for the tyro I mark the
tral crescendo and decrescendo.
words thus for practice, and to obviate the hard, unfeeling way
in which untriined choristers too often shout their loudest from
beginning to the end of everything they have to sing. I believe,
however, that a moderate following of these marks of expression
will be more useful than any great variety of p, pp, and /, ff, &c.
Great and sudden changes, both of movement and of loud and
soft, in the same service, are contrary to the vigour and general
good {i.e. devotional) effect of Plain-Song.
Hymn
45.
in the
Second Mode.
notes,
it,
Coslestis
Urbs.
i.e.
i
Je-ru
sa-lem* thou Ci
tyblest,*Dear vision* of
ce
far
les
tial rest
-'-
Which
--="
* Pil'd
up with
liv
hymn
an
gel
forms of light.
135
must be
flat, i.e. it is
transposed.
Ninth Mode.
&c.
&c.
Third Tone.
3
Tantum
er
go sa
era-men
turn
Ve
ne
re
mur
cer
nu
i,
&c.
&c.
Pange lingua
M SS.
in
The following are stanzas of the hymn used at the Forty Hours' Adoration
Pange lingua gloriosi
Of the glorious Body telling,
Corporis mysterium,
Oh,
my tongue,
Sanguinisque pretiosi,
Quem in mundi pretium
Fructus ventris generosi,
Rex effudit gentium.
Given
Ex
in t acta
Virgine,
Et in mundo conversatus
Sparso verbi s^mine,
Sui moras incolatus
Miro clausit ordine.
In supremae nocte ccenae,
At the
Recumbens cum
fr at rib us,
Of a Virgin to proceed,
with man, in converse blending
Man
Till
completed
Moses' law
Cibis in legalibus,
Cibum
Se dat
turbas duodena;
suis minibus.
Verbum
caro,
Verbo carnem
panem verum,_
efticit
Tantum
ergo,
&c,
as follows.
in full
Word made
a Sacrament,
&c,
as follows.
PLAIN-SONG.
136
Tantum Ergo.
[N.B. The sign A is used to mark the musical accent, which, in the Ritual
hymns, is a main guide to the rhythm of the music. It requires an emphasis
of voice, which the singer must be careful to observe. The single crotchet
indicates a very short syllable. The notes which resemble minims have no
positive relative value as to time, nor are they intended to be of equal length
one with the other but they must be sung quicker or slower, according to the
prosody and musical accent of the verse. The accented notes are to be held on
longer than the unaccented ones, and the latter, when there are two or more to
a syllable, should be executed rather * more rabidly than a single note to a sylThe hymns require to be sung with animation.]
lable.
;
Tantum
er
Et an
ti -
s
Ancient
go
sa
era
men
=P2=
AAA
S
^
rites their
&=--
22
No
vo ce
dat
5^
ri
p SsS
To
1^22
new and no
bier
law
fi -
l\)
asl.
<=*
-
sign
rjr
-rz-
r->
f tfc
ni
to
ri,
A
=P
Wl
su
ing,
'um
de
fee
tu
i.
r~F3^
J=*
sen
ses' flaw.
W ~c-
Ge
Sen
-turn
men
137
fo.HjTQ.f Eg
AAA
Ge -
ni
g> 3
^t^
Y
'ii^'*!^
to
Laus
que
ju
et
To
ing
bi
la
ti -
o,
|""
EEfTKff'
-
the
Fa-ther and
the Son,
f:
^Vlld r^^g*
iTr^ -!Xn'ui 'i^P
n>(i
~g?~
Sa-lus,
ili
ho
nor,vir
tus quo
que
A_
et
Sit
be
ne
die
or
ti -
ni-son
I
Might ascribe we, vir -
tue, bless
ing,
And
- ter -
nal
be
^t
jfrrr-r
I
^^vffl^' ^
PLAIN-SONG.
138
Pro-ce
den
ab
A
- ti
W^^=1
s
Ho -
ly
Compar
A
u tro-que
A_
lau-da
sit
ri
3=5=^=2
^S=
- ti
o.
men.
qual laud
/T\
^Ur
<dC2-
Thee be done.
to
rt\
i^S
^^iss-yd^g.
"^
3=
rF
~?^
gs
^m
*W
SZ
tes
221221
TfT
for
;
The
God
Lord
de
- -clar
un
ed
- ^_
Thou
me,
to
?=*=*i
my
well
be
ed
lov
Son,
This
day
-*-*have
"
be
'
^=at
Ps.
Why do
and
got
50
ten
Thee.
1
V
the
why
hea
--
do
the
then
peo
so
fur
pie
im
ous
gine
rage
ly
to
geth
er
vain thing
139
in excelsis."
A rubric in the MS. directs the " Kyrie" with its verses to follow,
and " Gloria in excelsis," as may be seen in the " Missale ad usum
Sarum," Burntisland Edition, p. 50. (London C. J. Stewart.)
:
III.
v_
PLAIN-SONG.
140
Do-mi-ne
Fi
Do-mi-ne De
li
- us,
-ge
ni
Ag-nus De
ca
ta
Je
Fi
i,
Chria
su
te,
tns,
li
**-gw-^
"F
mun - di,
,
Qui
te
- ni -
mi
se
re
re
no
bis
ci
pe
*""~^Qui
tol
pec
lis
ca
mun
ta
di,
sus
Qui
se
h*=
de
pre
ca
ti
nem
nos
tram.
^=*Z
ad
dex - ter
ni
Quo
am
Pa
am
tu
rr^^
mi
tris,
so
se
re
sane
lus
des
re
no
tu
tus,
bis.
so
qDo
mi
^E
Spi
',g
nus.
Tu
so
lus
su
Je
ig
Chris
al
tis
te,
Cum
Sane
ri
In
tu,
,^
glo
mus,
si
=*==
^-
*=^=FiEs
-
lus
E
- ri -
De
Pa
tris.
The
Duo
Lau-des
I
Lansdowne MS.
will
Deo
di-cam per
sing
praises
to
sas
cu
God
for
(Two
la,
ev
is
as follows
qui
me
plas
er,
for
He
ma
hath
141
PLAIN-SONG.
142
^ Do
mi-nus dix
- it
ad
me
fi
li
us
me
H3
FF
ac cdcacccedc
Vi -de -runt
sa
cb
bi
lu
nes
fi
cb
om
cd
ta
re
De
ca
caeca accacbca
nes
ter
cbdef
la - te
De
d e c
ra;
nos
cbca
dc
tri
ju
cabcbaGabaG
om
FGF FacFaccaGFaGa GF
The following
melody quoted
now
V
PLAIN-SONG.
144
t
Ji
Na
-jS-
to
ca-nunt
la -
ba
^-^
Syl
in
om
"
ni
Do
j~^~jt~^
tim pneu-
ma
ta
mi
no
pi
per string-en
do
- q=^=E
ag
q *
or
mi- na.
gan
ca.
jiXERCJSES
=^=J<=
=
Con
frac
Pax
in
ter-ra
^
pe
ri
3Ct
1 ^
"
hos
"45
l-z azj^z^r p
^
cru
- tis
de
- lis
^
sunt im
ta
AND EXAMPLES.
ma
si -
or-di-a,
=^=
-
tur
om - ni - a,
dit
om - ni
a.
^B
^=k 5Et 1
(See "
Sarum
Missal," p. 588)
Chorus respondent.
Do - mi - nus
vo
The
be
Lord
bis -
cum. Et cum
spi
And with
thy
with you.
- ri .
Sacerdos.
tu
.
tu - o.
in
re
Let us
spi-rit.
mus.
pray.
pulpito,
more
Credo.
. -
rr
-*-^-k^
* m v^
cce-
li
et ter-rae, vi
si-bi - li-um
om-ni-um
ni- po-ten*tem,
-.
Fac-
to-
rem
i^
plain- Song.
146
Z+=-^--
d!!~H!E
sae
cu
la:
De-um
de
De
^ |
De-o
ve-rum de
ve-ro,
Lu-men de
o,
>
-"
Lu-mi-ne, De-um
Jl---
===
Pa-tri,
per quern
om
ni- a fac
ta
sunt,
tern
de
,
et
prop
ter
nos
tram sa
lu
scend
fc
Et
cum
dicat.
ex
- it
de
coe
Ma-ri-a Vir-gi
cum
- lis,
^
-
dicat.)
ne,
I47
*ta
1 ^
con-glo
et
sanc-tam
Con
tho
li-cam
et
or
fi-te -
bap
ex-pec-to re-sur-rec
'>^~T~
ven - tu
sae
ri
-am.
Ec-cle-si
"
u-num
tis-ma in re-mis-si
o - nem pec-ca-to-rum,
sal, Burntisland.)
II
cu - IK
- ti -
-- - ---
et
u-nam
Et
pro-phe-tas..
A-pos-to-li-cam
**-
et
= ----
- ri-fi-ca^tur.
Ca
eum Pa-tre
Offertorium.
do
mi
ni
quo
nit
Chorus.
^
Do - mi - nus
.
ve
Sacerdos.
The
am
ru
vo
Lord be
bis
with
cum
And
you.
spi
with
tu
tu
thy
spi
ri
.
sum
cor
up
your
da.
hearts.
Let us
rit..
="*-:
Lift
Priest.
o.
-
Answer.
Priest.
Sur
pa
cum. Et
Ha
We
be
lift
mus ad
Do
mi
them up
un
to
num.
the Lord.
Answer.
De - o
-
to our
nos-tro.
Dig
Lord God.
It
is
num et
jus-tum
est.
do.
PLAIN-SONG.
148
et
bi-que gra
- ti
sequum
est,
as a
ge
sa - lu - ta - re, nos
et
Domi-ne
re,
-fli-ter -
De
ne
us.
ti
bi
sem-per
ti -
"
"fa=^
<
Ver-bi myste
ri-um no - va
-**-1-|men-tis nos-trae o
vi-si-bi-li-ter
ra
pi
cu-
lux tu - a? cla-ri - ta
lis
mur. Et
i -
de
glo
- ri - as
tu
ca
a?
in - ful - sit
tis
mi-
ni-
li - ti -
mus,
si
-ne
ut
dum
-vi- si-
hym-num
thronis
fi -
ne
di
cen
tes.
" Sanctus," from " Sarum Printed Gradual." Collated with that
belonging to the Dean and Chapter of Salisbury. (Paris, 1528)
:
^^^^^
*^ft!
Sane
tus,
2'
tus,
Do-mi- ne
De
us
Sa- ba
glo
tus,
Sane
a^S
ra
i-iTH***a-5B
Sane
- li
et
ter
lipg**^
ri
tu
a.
san
na
....
in
ex
eel
sis"
149
S=
Be-ne- die- tus
qui
ve
nit
in
no
Agnus Dei
ex
in
eel
mi-ne
(in/estis duplicibus).
Ag- nus De
sis,
qui
i,
ca
ta
mun - di, mi - se
re
no
re
re
re
bis^
Do-mi-ni, O-
-1
De
Ag-nus
no-bis.
tol
lis
i,
Ag-nusDe
qui tol
pec-
- lis
qui
i,
tol
lis pec-ca - ta
mun -di, do - na no- bis pa-cem.
Durandus, Book IV., chap, xxxiv., of the Sanctus, says: "Moreover in this
concert of angels and men, the organs [instruments of music] do from time to
time add their harmony the which was introduced by David and Solomon, who
did cause hymns to be sung at the Sacrifice of the Lord, with the concert of
organs and other instruments of music, and the people also to join in chorus."
" Rationale Divinorum Officium," Neale and Webb's translation p. 07. Rivington.
:
Communio.
In splen -do
ri - bus
In the bright -ness of
sane
the
to - rum ex
saints from the
>.
an
fore
te
lu
the
day
Introitus.
fe
ci
^-tf^r
star
rum
ro
be-
.^ ge
te
womb
nu
be
got
Ei
te.
thee.
(Ad
II.
I.
PLAIN-SONG.
I50
We
The third, in our Metrical Songs or Odes in which Christian feeling has
ever delighted to find expression. ( Blum's " Annotated Book of Common Prayer,"
Introduction, p. lv.)
I end this chapter with a general direction, freely translated for
English use, from the " Directorium Chori," before mentioned,,
originally prepared by Guidetti, under the superintendence of
Palestrina, to whom he modestly assigned whatever of excellence
" Finally, it is to be observed that notwithstanding
it possesses.
the notation for festal and solemn days may sometimes be the
same as for ferial nevertheless the voice is to be sustained, and
ordered in saying and singing with greater or less gravity and
dignity, according to the greater or- less solemnity of the day.
And this must be carefully borne in mind, both by the minister
;
and choir
CHAPTER
XV.
CONCLUSION.
"Portia.
Music
hark I
How
v. 1.
" These same oft-recurring unusual harmonic tones are chiefly that which in conjunction
with the solemn movement, with the simplicity of the execution, with the associated religious
feeling, with the pious respect for hoary antiquity, and so many other venerable accessory
ideas and reminiscences gives to music of this species a peculiar charm, an attractive and,
and sometimes even an overpowering
as it were, mystical air of solemnity and sacredness,
effect, which is not usually realised from vocal music of other descriptions.'* See Bishop's
translation of Gottfried Weber's " Theory of Musical Composition," 586, vol. ii. p. 915.
Yes!
my
PLAIN-SONG.
I52
Temple
Why
may more
CONCLUSION.
153
PLAIN- SONG.
154
chant
1.
i.e.
unisons,
fifths,
This
is
filling in
inner parts.]
2.
in
immediate
succession.
4.
To
these
diatonic,
CONCLUSION.
I55
* Its first inversion, %, is more generally used by the best harmonists- (See
the Scales in Chapter XIII.)
+ The vastness of modern organs, and the immense skill of our principal
organists, have superinduced, in my opinion, a too liberal amount of accompaniment generally in all our Church music ; and this is detrimental to delicacy of
expression in the choirs, who, in attempting to assert a vocal balance of power,
shout more lustily than is at all compatible with refinement and good taste. Nor
are our modern composers free from question in this matter. Too often it seems
as if the voices are made to accompany the organ, rather than the organ the
Some of the most devotional music is that of the voices wholly unacvoices.
companied, or alternating with instrumental passages. Nevertheless, all honour
to our professional church musicians, whose services are most valuable; and no
one appreciates them more highly than I, who venture thus to criticise their
work, not to weaken, but to strengthen their claims On our respect and
gratitude.
156
PLAIN-SONG.
harmonies
to all believers."
INDEX.
B.
....
.....
ortus cardine
sol is
Accents
Accentus
Acute accent, the
Ad
PAGE
note 84
note 84
105, 109,
no
te levavi
46
82
Adeodatus
Adrian I.
mode
^Eolian
Amen,
choral
Amphibrach
Amphimacer.
Ancus
.
.
An tibacchic
....
(Heywood)
17,
.
note 84
note 84
6, 10
.82
.
.
60
60
note 73
note 84
Antioch, Council at
.
.80
Antiphons
117
Apostles' Creed, the
102
.
Apostropha
.
.
4, 8,
Apostrophe, see Apostropha.
Apostrophe, double, see Bistropha.
Apostrophe, triple, see Tristropha.
Aquinas, S. Thomas .
.88
.
Aretin, Gui 1', see Aretino, Guido.
.
....
cunque
vult.
Augustine, S.
Authentic modes
.
.
Basil, S.
46
61
22
16
81, 82, 83
Benedicite, the
57
79
72
87, 88
82
....
....
.
Bastard modes
Alypius
S.
26, 96
note 84, 133
.
note'84
Ambrose,
-50
PAd*
note 84
Bacchic
.
Bach's Passion Music
Baini
Baker, Rev. Sir H., Bt.
Barrett, W. A.
Bars
.
Tune
Batten's, Adrian,
Beethoven
45
Benedictus
Bennett, Alfred
.
Bent
foot, see
Berthelet,
2g
6z
.
.
Pes
53, 57
56, 68
.
.
.70
flexus.
Best,W.T
Bevin
Bind, the
52
74,75
44
.....
16
4, 8
Bird
46
Bis ternas horas explicans . note 84
Bistropha
4, 8
Bistrophe, see Bistropha.
Biverge, see Bivirga.
Bivirga
4, 8
Blessed is he that cometh .
57
Blunt, Rev. John Henry
.
.
89
Bodleian Library, Oxford . 108, 112
Bona, Cardinal .
44, 47
Book of Common Prayer Noted
(Marbeck)
56,
53,
57, 58, 71
Book of Common Prayer, the
.
138
Book of Common Prayer with
Plain-Tune (Dyce) 4g, 55, 57, 108
Book of Common Prayer with
Ritual Song (Redhead)
.
57
Booke of Common Praier, the
53
Boyce's Cathedral Music
15, 57, 93
Bremen, Adam of
.
.23
Breve, the
.
14, 16, 78
Brief Directory, Accompanying
Harmonies to the 45, 46, note 55, 56,
note 61, 76, note 106, 112, 153, 133
Bipunctum
.
.
i5
British
INDEX.
Museum,
PAGE
112
55, 7 1 -
T 34
the
Burns, James
Burton, Dr. .
note 8
Christian
Knowledge Society
Chromatic semitones
Church Modes (Spencer)
Church music
.
Cadence
Calvin
68
.
Canterbury Tune
Canticles and
.61
.63
Psalter Accented
61, note 79
Canticles Noted
Canto figurato
z,
Canto Gregoriano
Canto piano
57. '53
14,
50
z,
48
note 101
102
102, 104
102
102
Cantus capituli
Cantus collectarum
Cantus epistolae
Cantus evangelii
Cantus figuratus
2
Cantus Gregorianus
Cantus mensurabilis
r 53
2, 17
Cantus planus
2
Cantus prophetarum, the
102
Capone, Nicholas de
!54
Cardwell's Documentary Annals
of the Reformed Church of
England
48
Cathedral Chants of the Sixteenth,
Seventeenth, and Eighteenth
.
Centuries (Rimbault)
65
Cathedral Music, Boyce's, see
Boyce's Cathedral Music.
Cathedral Psalter Chants, the 7. 75
Cathedral Service, Tallis's, see
Tallis's Cathedral Service.
Celano, Thomas de
88
Cephalicus, see Tramea.
Chambers, J. D.
in
Chant, the English word
59
.
Chant compose, le
Chant figure, le .
Chapel Royal, S. James's
Chapels Royal
Chappell's History of Music
note
3,
note
ig,
7i
54> 6
note 28
Charles
Charles
51
I.
65
II.
78
65
Childe, Dr. W.
Service of the
.
.
(Jebb)
Christ Church Tune
Choral
43
Cleaver, W. J.
.
Clefs
Clefs, position of
Clefs, table of
Clement, Fl:x .
Clifford,
Rev.
Climacus
J.
PAGE
73
31
154
50
note 8s
....24
21
25
18, 57,
61,
78
62
6,
10
Cloveshoe, Council of
49, 100
note 7g
J 34
Cologne Antiphonary
Book
Prayer, Book of .
Prayer, New English
of
Common time
Common Tunes
(Clifford),
Communion Anthem
18
103
17
r7
132
82
.
.
....
Christi,
Sequence
54
57
48
17
61
Corpus
70
62
Common
Common
108
note 84
81
.
for
45
47
78
Chant Ec-
.79
clesiastique (Alix)
.
.
Coussemaker's Histoire de 1'Har-
.
note 3
-53,54, 60
57
6g
Cummings, W. H.
.15
note 54
note 90
Church
70
62
Dactyl
Danjou, M. F.
note 84
154.
INDEX.
PAGE
72
(Ger-
bert)
.
78
note 101
.15
71
note 84
Diapente
2g, 35
Diatessaron
29, 35
Diatonic Accompaniment of the
Plain-Song on the Organ
.
29
Diatonic progressions
.19
Diatonic scales
.31
Dictionary of Music, the
1 10
Dictionary of Musical Terms
22
Dictionary of Plain-Song
105
Dictionary of Theology (Blunt)
88
Dies iras
44, 88
Direct tone, the, see Tonus di-
....
....
....-39
.
rectus.
Cantorum
Dominant, the
100
Donkin, Professor
Donnelly, Rev M.
Doran, Rev J. W.
Doran and Nottingham
Dorian mode
Dot, the
Dotted notes
Double chants
Double point,
-17
74, 75
.26,
94
54
.16
.68,
.
13, 14, 15
69
124
16, 17, 18
29, 30, 33
49, 55, 57, 76, 108
E.
Eckhart
note 136
note 34
Bipunctum.
see
Dufour, P. J.
Duration
. 12,
Duval, E
Dyce, William
159
i6o
INDEX.
PAGE
Greatheed. Rev. S. S.
Greek modes
57, 58
.29
and Ravenshaw)
-74
....
Guidetti
17
log
16, 101,
44
.21
g,
H.
Haberl, Rev. Francis Xavier
Hamilton, Archdeacon
Hamilton, Bishop
Handel
Hanicq press, the
Harmonic division
Hawkins, Sir John
note 34
7i
7i
x 7.
45
3o
35
61
Hebrew Psalmody
Helmore, F.
note
Hemidemisemiquaver, the
Henry VIII. 's Prymer
Herman, Archbishop of Bremen
81
gi
15
52
23
Heywood, James
note 73
Hilary. S
83
Holy Communion, Sarum use in 104
Hooker
.81, note 117
.
....
.
Hosanna (Gibbons)
Hosanna in the highest
Hours, the
Hucbald
Hullah, Dr.
Illuminaus Altissimus
Imperfect fifths
Imperial Tune, the
In die nativitatis Domini
.
note
-65
.'
mode.
.
81
note 84
-97
.64
Intonation .
Introduction
Ionian
....
Musick
Introit
to the
(Playford)
.68
Skill
mode
Israel in
of
.
61
57
26, go
Egypt
78
J-
Jacopon
Jam
surgit
hora
.
88
note 84
tertia
Janes, Mr. ,
Janssen, Rev. N. A.
Jebb, Rev. Dr.
72
23.78 note log
,
70
133
81
100
23
87
Jumilhac,
Dom
45
46
note 84
....
73
57. 139
45
80
Seasons
HyDO-^Eolian mode
g5
K.
Hymns
Hymns Ancient and Modern
for the
26
g6
141
Injunctions, royal
.
48, 61
,
Interrogative accent, the 105, 107, 109
Intervals
97
Ken, Bishop
Humphries, Pelham
95
note 84
Hymnal Noted
g6
.....
....
Iambus
for the
Gutturalis
Hymns
Guido
Guidonian gamut
Horse
TAOB
gs
Hypo-Dorian mode
.
.
26,
Hypo-Iastian mode, set HypoIonian mode.
Hypo-Ionian mode
.
26,
Hypo-Lydian mode
.
.
26,
Hypo-Mixo-Lochrian mode
Hypo-Mixo- Lydian mode
26,
Hypo-Phrygian mode .
.
26,
note 85
26, g6
Lacedemonians, the
Lambert, John
.
44
153
Lambillotte, Pere L.
3,
INDEX.
PAGE
112, 138, 140, 14X
MS
Lansdowne,
Large, the .
*4
Laud, Archbishop (MS.)
112
Lauda Sion
46
Lauda Sion salvatorem
88
Laudes Diurnaa .
72.75
Lectionary tone, see Tonus lectionis.
Ledger
lines
.20
Lichfield Cathedral
.
.
.71
Litany, the
52
Litany, the (Tallis), see Tallis's
Litany.
Little hours, the .
.
Long, the .
.
.14
Longfellow
Lucas
Lowe, Edward
Lossius,
M.
Magister Choralis 23, note 34, 44, 77
Magnificat
.
57, 67
Magnificat verdeutsche, das
.
67
Major mode, the
.
.
39, 43
.
Major thirds
.
.
Maneria
.
.
.
Manual of Plain-Song .
Marbeck, John 17, 50, 53,
.
,
.97
.44
'56,
72
Marbeck's
Book
Prayer Noted
Maronites, the
Common
of
.
.53,
56, 57, 58
.
.82
161
l62
INDEX.
75
the
...
.75
72
Palestrina .
.
17, 50, 101, 153
Pange lingua gloriosi prselium 45, 135
Parker, Archbishop
.
note 85
Parker, J. H.
Parvse horse
52
Pause, the .
16,54
.46
Pedatus
Pentachord
Peregrine Tone, the,
4
29,33
see
Tonus
.74
Peregrinus.
Perfect fifths
Perfect fourths
Pes
Pes
Pes
Pes
Pes
Pes
97
97
...
flexus
.
flexus resupinus
flexus strophicus
4.
6,
6,
6,
6,9
....
....
stratus
5i
81
Jew
Phrygian mode
Pickering, William
26, 44, 95
55, 7 1
!2, 13, 19
Plagal modes
2g, 33, 36, 94, 95, go
Plain-Chant
Plain-Chant, Trajt< de, see TraitiS
de Plain-Chant.
Plain-Song notes, usual
Plain-Song of the English Book
of Common Prayer
.48
Plain-Song Reason Why (Walker)
note 100
Playford
61
.
'
Q--
6,
4,
80
,
97
104
45
Post Communion
57
Prastoxius, Michael
88
Pratique du Chant Grgorien
124
Prayer-Book Noted, the (Redhead) 72
Principal point, the
104
Processional anthems
57
Proses
87
Prosodaic marks
14, 16
...
12
Quicunque vult
Quilisma
Queen's accession, the
.
.15
...
.
57, 62
10
108
6,
.
.
R-
68
15
Redhead, Mr.
-57,
71
Reformation, the
.48
Reformers' sentiments as regards
the abolition of Plain-Song
4g
Reimann, M. Christian
.
67
Reinagle, Mr
yj
.
Podatus
Quality
Quaver, the
.2
....
6,9
Pitch
sinuosus
Petrus
.2
Prosodiai
.
.
.
.
Prostrate foot, see Pes stratus.
Prymer of Henry VIII.
.
.
52
Prymer of Salisbury use
,
.
52
Psalms, mode of chanting .
60
59,
Psalms and Chants (Hullah)
.
73
Psalter Accented, the .
.
75,13
Psalter and Canticles Accented,
the
73
Psalter and Canticles arranged
for Gregorian Chanting, the
(Doran and Nottingham).
.
74
Psalter Noted, the
17, 72, 74, 75, 76
Psalter pointed
and adapted
to the Ancient Ecclesiastical
Chant, the (Best)- .
.
Psalter set to Chants Ancient
and Modern (Monk)
.
note 79
Punctum
.
.
.
.
. 4, 8
Pustet, Frederick
17, note 34, gg, note 100
Pyrrhic
note 84
Rests
15
Rimbault, Dr.
.65, 71
Rising moderate accent, the 105,106
Robert, K. of France
.88
Rockstrow and Ravenshaw .
74
.
note 20
.51
Roman
notation
Romanus
Royal injunctions,
see Injunctions,
royal.
73
Rhythm
18,
77
INDEX.
S.
Sallcus
Salisbury Antiphonary, see
34
3.8
118
65
73
71
6. 10
Sarum
W.
Sarum Antiphonary
Sarum
Sarum
Scales
.....
.
Scales, examples of
Stainer, Dr
Stainer's Dictionary
57
72 75
in,
.
.88
22,
.
46
note 18
Stave
20
66
22
Stein, J.
Storia de la Musica (Martini's)
Strene note, the .
.
.53
113
107
.111
20, 25
.94
Scandicus
.
.
6, 10
School of Musical Composition 40, 154
Score
12
Seconds
.
.98
Semibreve, the
.
15, 16, 78
Semipoint, see Semitonic Accent.
Semiquaver, the
15
Semitones .
19,98
Semitonic Accent, the
104
Semivocalis, see Epiphonus.
Sequences .
87
Sequential ex Missalibus
note 88
Sequential in Solemnitate Cor.
Spondee
Stabat mater dolorosa
strophicus.
Strophica
Subpurictum
Suffrages and responses after
Creed
Supine bent foot, see Pes flexus
.
Psalter, the
....
.....
Antiphonary.
Sanctus
Sargent, Rev. H.
163
PAGE
note 84
note 84
10
8
4,
56
resupinus.
Syntagma Musicum
.88
poris Christi
.
Service,
cathedral
so called)
(technically
76
Sevenths
Sext
Sharp, the
Shaw, Rev. Moreton
Short Directions for the Performance of Cathedral Service
(Lowe)
Singing Psalms
.
....
52
31
72
65
66
T.
Table of modes
Tallis
26
.44
4. 5". 5*
Cathedral Service
Tallis's Litany
62
57
136
45 56, 66
66
82
108
29, 36
100
Tallis's
Tantum Ergo
Te Deum, Ambrosian
Te Deum, metrical
Te Deum, the
Terminal accent, the
Tetrachord
Theodore, Archbishop
....
....
....
....
81
note 84
.
8,
97
16
52
Time
Time and Tune (Hullah)
17.
18
.
.
164
Tremula
INDEX.
Quilisma)
(see also
....
Trent, Council of
Tribrach
Trigon
.
.
PAGE
10
.88
note 84
8
.17
Tripunctum
Trisagion, the
.
.
Tristropha
Tristrophe, see Tristropha.
Triverge, see Trivirga.
Trivirga
Trochee
Turle, Mr.
.
.
....
....
4,
4,
4,
.82
Vopelius, Gottfried
Vossius, Rev. Isaac
Vrais Principes du
gorien
56
88
4.8.9
154
66,67
78
Chant Gre
....
23
W.
note 84
73
V.
Vaulter, see Salicus.
Veni, Creator Spiritus .
Veni, Redemptor gentium
Veni, Sancte Spiritus ,
Venite, the .
.
Walker, Charles .
.
note 100
Wehrhan, Augustus
40, 154
Westminster Abbey
-73
Winding foot, see Pes sinuosus.
Wolverhampton, paper read at
Church Congress at
note 81
.
.
.
.
.
.86
note 84
.88
55,
56
FRANZ ABT.
Fays' Frolic (Female Voices)
(ditto) (Sol-fa,
Springtime
Summer
The Golden City
The Wishing Stone
The Water Fairies
The Silver Cloud
(ditto)
(ditto)
(ditto)
(ditto)
(ditto)
(ditto)
Minster Bells
2
6d.)
(Sol-fa, 6d.j
6
6
6
6
...
Mass, in
I
I
(Sol-fa, 4d.)
o
o
2
2
6
6
ASPA.
SIR W.
BETJEMANN.
6
o
Christmas Oratorio
Magnificat
God goeth up with shouting
God so loved the world
God's time is the best (Sol-fa, 6d.)
My Spirit was in heavinbss
light Everlasting
Bide with us
A Stronghold sure
Be not afraid (Sol-fa, 4d.)
Blessing, Glory, and Wisdom
1 WRESTLE AND PRAY (SOL-FA, 2d.)
.,
Thou Guide of Israel ...
Jesu, Priceless Treasure
When will God recall my spirit
Jesus, now will we praise Thee
o
o
i
z
o
o
o
o
o
o
z
z
i
i
o
o
O
z
i
1
i
o
6
4
o
o
o
o
o
6
6
6
o
LEONARD BARNES.
The Bridal Day
...
F.
J.
BARNETT.
2s.)
...
Ruins of Athens
...
o
o
BRADFORD.
J.
Harvest Cantata
The Song of Jubilee
Praise the Lord
W.
BRADSHAW.
F.
Gaspar Becerra
BRAHMS.
J.
A Song
of Destiny
CHARLES BRAUN.
Sigurd
J.
Daniel
Rudel
C.
BRIDGE.
J. F. BRIDGE.
RockofAges(LatinandEnglish)(Sol-fa,4c1.)
'
BoADICEA
Callirhoe (Sol-fa,
3
2
2
2
is. 6d.)
Nineveh
6
6
6
o
o
DUDLEY BUCK.
EDWARD BUNNETT.
Out of the Deep (Psalm
130)
W. BYRD.
Mass for Four Voices
BEETHOVEN.
The Praise of Music
Voices)
M. BOYCE.
E.
Mount Moriah
97)
4 o
BARNBY.
J.
(Sol-fa, gd.)
12/9/93-
...
BEXFIELD.
R.
JOSIAH BOOTH.
Matthew)
King (Psalm
STERNDALE BENNETT.
Israel Restored
Mass in B minor
Missa Brevis in A
is
is. 6d.)
W.
BACH.
Rebekah
<
G. R.
Stabat Mater
2
:
Peter
ASTORGA.
The Lord
...
Sol-fa
(S.
Gipsies
Endymion
The Passion
WILFRED BENDALL.
The Lady of Shalott (Female Voices)
The Legend of
ARMES.
E.
s. d.
...
ARGENT.
Hezekiah
St. John the Evangelist
St. Barnabas
The
Ditto
flat
P.
the Wilderness
KAREL BENDL.
Yule Tide
I.
in
Mass in C
Communion Service in C
I
Mass in D
6 The Choral Symphony
6
Ditto
(the Vocal Portion)
Ditto
6
Sol-fa
o
The Choral Fantasia (Sol-fa, 3d.)
A Calm Sea and a Prosperous Voyage ...
o Meek, as Thou livedst, hast Thou departed
THOMAS ANDERTON.
W.
B. AGUTTER.
Missa de Sancto Albano (English)
BEETHOVENcontinued.
d.
The
(in
F minor)
CARISSIMI.
Jephthah
...
...
ORATORIOS,
CARNELL.
F. D.
&c Continued.
ROBERT FRANZ.
Supplication
d.
GEORGE CARTER.
Sinponia Cantata (Psalm
s. d.
117)
NIELS W. GADE.
116)
Psyche
(Sol-fa,
is. 6d.)
WILLIAM CARTER.
Placida
CHERUBINI.
gd.)
ZlON
The Crusaders
(Sol-fa,
is.)
HENRY
The Two
MICHAEL COSTA.
SIR
The Dream
H. COWARD.
The Story of Bethany (Sol-fa, is.
F. H. COWEN.
St. John's Eve (Sol-fa, is. 6d.)
...
(Sol-fa,
J.
6
6
6
is. 6d.)
is. 6d.)
MAUDE CRAMENT.
O God
(Psalm
145)
...
Idyl)
W. CROTCH.
FELICIEN DAVID.
P.
Voices)
Bethany
in
DOSSERT.
F. G.
minor
ANTONfN DVORAK.
St.
Ludmila
Ditto (German and Bohemian Words)
Hymn
Salvator Mundi
Electra of Sophocles
.
ROSALIND
F.
8
3
6
2
GLUCK.
HERMANN GOETZ.
137)
...
NOJNIA
O
6
CH. GOUNOD.
Mors.et Vita (Latin or English)
Ditto,
Sol-fa (Latin and English)
The Redemption (English Words)
Sol-fa
,
50
2
2
The Paraclete
Ditt^o
Voices)
Sol-fa
...
GRIMM.
HALFORD.
HANDEL.
Ditto, NewEdition, edited by J. Barnby
Ditto, ditto, Sol-fa
6
6
Alceste
Sememe ...
The Passion
The Triumph of Time and Truth
(ditto)
O.
Jesu)
Alexander's Feast
Acis and Galatea
FOSTER.
ditto
C. H. GRAUN.
The Passion of Our Lord (Der Tod
Te Deum
J.
HENRY FARMER.
The Lady of the Isles
The Angels of the Bells (Female
G.
GOODHART.
A. M.
ELLICOTT.
Elysium
The Birth of Song
MYLES
Ditto
.(French Words)
Ditto
(German Words)
Messe Solennelle (St. Cecilia)
o Out of Darkness
Communion Service (Messe Solennelle)...
Troisieme Messe Solennelle
o
De Profundis (Psalm 130) (Latin Words)...
Ditto
(Out of Darkness)
o The
Seven Words of Our Saviour
Daughters
of
Jerusalem
6
Gallia (Sol-fa, 4d.)
EDWARDS.
J.
'
DYER.
A. E.
The Ascension
The Epiphany
H.
...
Voices)
is.)
GLADSTONE.
F. E.
Ditto,
M. E. DOORLY.
Lazarus
Mass
DIEMER.
H.
CUSINS.
Te Deum
GERNSHEIM.
FR.
Orpheus
W. H. CUMMINGS.
The Fairy Ring
G.
Philippi
Palestine
W.
MACHILL GARTH.
A. R. GAUL.
Joan of Arc (Sol-fa, is.)
Passion Service
Salamis.
W. CRESER.
Eudora (A Dramatic
The WildHuntsman
6d.)
A Song of Thanksgiving
Ruth
Advents,..
R.
...
2
2
ORATORIOS,
HAN DEL
continued.
Alexander Balus
Hercules
Athaliah
Esther
Susanna
.
First Mass in
o
o
o
o
3
3
Belshazzar
Messiah,
(Sol-fa,
Theodojba
The
d.
'
edited
by
HUMMEL.
s.
&c'. Continued.
V. Novell.o
is.)
Stabat Mater'
O
o
4
4
ILIFFE.
F.
Joshua"...
'
Deborah
Saul
Chandos Te Deum
Dettingen Te Deum
Utrecht Jubilate
O praise the Lord with one consent
(Sixth Chandos Anthem)
Coronation and Funeral Anthems. Cloth
God
The Year
David and Saul (Sol-fa,
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Voices)
e
6
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The Epiphany
OLIVER KING.
is.)
...
Sol-fa
2s.)
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3
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6
4
,..
...
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'
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I
1
..
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2
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6
6
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The Crusaders
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St.
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6
6
LISZT.
Thirteenth Psalm
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o
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Eric the Dane
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Dixit Dominus
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...
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137)
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The
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DR.
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s. d.
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o
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In exitu Israel
Dixit Dominus
I
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...
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6
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is.)
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O
HENRY SMART.
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o
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i
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Be merciful unto me
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Eric the Dane
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Fayre Pastorel
The Crusaders
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Nala and Damayanti
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Fair Melusina
Ctn T3ERELL.A
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37.
Dr. Bridge.
James Higgs.
Dr. Stone.
Dr. Bridge.
Rev. J. Troutbeck.
Rev. T. Helmore.
E. Prout.
is.)
E. Pauer.
is.)
The
Berthold Tours.
J. Curwen.
James Greenwood.
J.
Stainer.
27.
28.
Music
17.
18.
is.
6d. each.
is.)
2s.)
....
-
Dr. Bridge.
H. Brett.
Dr. Ritter.
Dr. Ritter.
James Higgs.
A. C.
White.
Dr. Sawyer.
Extemporization (Price 2s.)
H. A. Harding.
Analysis of Form (Price 2s.)
500 Fugue Subjects (Price $s.) - Arthur W.Marchant.
Hand Gymnastics (Price is. 64.) T. Ridley Prentice.
Musical Ornamentation (in tkePress) Ed.Dannreuther.
(to be continued.)
Any
of
the.
above
may
be
CO.