Alternatim Practice in 17th-Century Spain: The Integration of Organ Versets and Plainchant in

Psalms and Canticles

Author(s): Bernadette Nelson
Source: Early Music, Vol. 22, No. 2, Iberian Discoveries II (May, 1994), pp. 239-256+258-259
Published by: Oxford University Press
Stable URL: http://www.jstor.org/stable/3128137
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Alternatim
Q~int6porE.lami.
i I.
- ----.t.-----mg---
'Organo.Magtii
ficat
BernadetteNelsonholdsa Senior
ResearchFellowshipfrom the
VicenteCaiada BlanchFoundation
(London)and is a seniormemberof
St Catherine'sCollege,Oxford.She is
co-directorof A CapellaPortuguesa.
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BernadetteNelson
practice in 17th-centurySpain
The integrationof organversetsand plainchant
in psalmsand canticles
he most common function of the organ in liturgical worship in
17th-century Spain and Portugal was to alternate with plain-
chant-in particularwith the versesof psalms, canticlesand hymns of
the liturgical Offices, and with items of the Mass Ordinary.'Most
sources of 17th-centuryIberian organ music include music designed
specifically for this purpose, with alternatim versets for the psalms
and canticles forming the bulk of material.A large number of these
versets include thematic referencesto the individual psalm tones, and
may also reflect their inherent bipartite structure. However,there is
no further indication of how in practice such versets were alternated
with chant; moreover,particularlywith those versets that contain no
obvious thematic referencesto the psalm tones, the actual sung pitch
of a psalm tone is not immediatelyapparent.
The problems involved in regulatingthe pitch of the reciting notes
of psalm tones, whether sung by voices alone or in alternation with
organ music, were frequently discussed by Spanish theorists from
Bermudo (Declaraci6n, 1555) onwards. The choice of pitch for a recit-
ing note of the psalm tones was clearly no haphazard affair; thus,
when the organ was used, questions of co-ordination (pitch espe-
cially) would have been a challengeto uninformed choirs.2
Apparently as a ready solution to this problem, the organist and
theorist Pablo Nassarre (d 1730) strongly advocates that when alter-
nating with plainchant the organist should include thematic refer-
ences to the chant in his music. This practice, he says, would ensure
not only that the pitch (la cuerda)3of a mode was maintained while
the choir rested,but also that the choir would be able to start the fol-
lowing verse securely.
... y el organistatocandosobreel CantoLlanoel Versoque le pertenece,mantiene
la cuerdamientrasdescansael Coro,y llama la atencionpara entraren ella con
firmezael Versosiguiente.
Por esta razon deven aplicarselos Organistascientificosen no apartarsedel
CantoLlanoen todoquantotocanalternativamente con el Coro.4
The organistplays the appropriateverse based on the plainchant,maintaining
EARLY MUSIC MAY 1994 239
thepitchwhilstthechoirrests,andclearlyindicatesit [the organwas thereforeone of the most 'essential'in-
pitch]sothatthechoirmayentersecurely inthefollowing strumentsusedin the church
owingto its complete
verse.
Forthisreason'scientific' dedication to 'divineworship': in its capacityof al-
organistsshouldbe careful
notto departfromtheplainchant whichis ternating
in everything with plainchant-thusforming,ashe put
playedalternatelywiththechoir. it, a separate 'choir'-the organwas used for ex-
the same purposesas a voice or voices pro-
This passagedoes not pretendto elucidatethe actly
claiming sacred texts and 'paying the divine
problem.The cruxof the matter-the questionof It is nevertheless,that in an
how such organ music helped to 'maintainthe praises'.8 interesting,
alternatimperformance of strophicchants(suchas
pitch'-can only reallybe understoodafteran ex- and canticles),where,in principle,
aminationboth of the practicalsourcesthemselves hymns,psalms
alternateverseswere given to the voices and the
andof furtherrecommendations or instructionsto
the prescriptivetexts stipulatethat there
the organistfoundin a fewkeytreatisespublished organ,
werea fewversesduringwhich(evidentlyfor reli-
in Spainduringthe firsthalfof the 18thcentury.
reasons)the organwasnot permittedto play.
Thisarticlewill examinejusthow in practiceor- gious These included the first verse and those which
ganmusicwassuccessfullyintegratedwiththe per- referredto the
formanceof psalmsandcanticles;asevidenceit will Holy Trinity(such as the Lesser
For
Doxology). example:
drawon a repertoryof 17th-century organversets
in sourcesin Barcelona,Madridand Felanitz(Ma- El 6rgano no comienza Himno, Cdntico o Salmo sino el
verso;tampocoha de tanierningan versode Gloria
jorca),5as well as the writingsof Nassarre(Escuela segundo
Patri ...9
mzsica,1723-4),FranciscoValls(Mapaarm6nico,
1742)6and Antonio Martiny Coll (Artede canto The organ does not begin [a] hymn, canticleor psalm, but
[playsat]thesecondverse;neithershouldit playanyverse
llano (Madrid,2/1719)).Of particularsignificance of [the]GloriaPatri...
are the instructionsin Martin y Coll's treatise
which neatly summarizeand illustratehow the Sincethe organnormallysubstitutedforthe sec-
organshouldalternatewith the psalmtones (both ond and subsequenteven-numberedverses (ex-
in a performanceof the psalmsand of the cant- cludingtheconcludingLesserDoxology)of a psalm
icles),thus providinga keyto the interpretation of or canticle,the pitch of the sequenceas a whole
extantorganversets,includingthose containedin wouldclearlyhaveto be givenby the organbefore-
sourcescompiledby Martiny Coll himselfin the hand:
early18thcentury.(Thischapterwill be described ... en los Psalmos,y Hymnos,de las Horas,quandose canta
below.)Consideration will alsobe madeof psalm- con el Organo:esteha de comenfarantes queel cantor,para
tone scales in transpositionand how, in modal dar el puntofixo; que puede darlecon mas propriedad,que
transpositionin general,individualcharacteristics dichocantor.'o
of each mode (or psalm tone) were bound to In the psalms and hymns of the Hours, when one is
disintegrate. singing with the organ:this [the organ] must begin before
the cantor, to give the fixed pitch, [for it] can give it with
more accuracythan the said cantor.
The role of the organ
A numberof Spanishlegislativetexts (normallyin As psalmsand canticlesof the Officesare pre-
the form of ceremonials)containusefulinforma- cededby a Properantiphon,the pitchwouldprob-
tion regardingthe organist'sparticipation and role ably have been given at the start of the antiphon (to
in a celebration of the liturgy-particularly on provide the cantor with his note for the intona-
those occasions when he was requiredto substitute tion), but perhaps also at the start of the verses
for items of plainchant.7Accordingto Nassarrethe themselves. While just a single note on the organ

240 EARLY MUSIC MAY 1994

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would normally suffice for the cantor's intonation
of the antiphon, the introduction to a psalm or
canticle sequence itself would probably require a
verset based on the appropriatepsalm tone, or per-
haps just a few chords. In some organ sources many
sequences of versets for the psalm tones (juegos)
were indeed preceded by a single verset called an
entrada;it is likely that the entradawas played be-
fore the first (sung) verse of a psalm (or canticle).
(See ex.4a, below.)"
Evidently the organist was to confer with the
main cantor before any alternatim performanceof
chant and organ music in order to match the pitch
and general style of the chant sequence to be per-
formed. The style may have varied accordingto the
particular function of the chant and the impor-
tance of the liturgicaloccasion, involving questions
of tempo and varying melodic formations of the
psalm tones. The cantor had the overall responsi-
bility for setting the 'tone' (i.e. 'manner') of any
chant sequence: it was from the way in which the
first verse was sung that the style of performingthe
entire sequence of verses could be gauged. Cerone,
for instance, refers to the contrast in the perfor-
mance of plainchant on ferial and solemn days:on
the former occasions it was to be sung rapidly and
in a detached manner, whereas on the latter it was
to be sung with greaterbreadth and 'gravity',with
some notes sung legato."'Such concerns were also
applicableto the organist:
ElOrganista hadetenercuitaconlasolemnidad quesecele-
bra,y la horadeloficioqueesparaq no seademasiado de
breve,niprolijo.13
Theorganistmusttakeaccountof thedegreeof solemnity
whichis beingcelebrated andof whichOfficeHourit is so
asto be neithertoo briefnortoo prolix.
Psalm tones: melodic formulae and pitch
Therewere clearlydivergingpatternsin performing
psalm tones;14this solemnity may also have been
recognizedby the very opening melodic formula of
the psalm tone chosen by the cantor-at the in-
tonation in particular,and sometimes at the medi-
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ation. From Cerone'saccount in El melopeoy mae-
stro (Naples, 1613)one learns how the psalm tones
were ideally to be varied, both in format and in
melodic elaboration, accordingto their use in con-
junction with either the psalms on both ferial and
solemn days, or with the canticles on days in these
two festal categories.'5These variations may be
summarized as follows. On ferial days both the
psalms and the canticleswere to be intoned directly
on the reciting note, exclusive of any intoning for-
mula. On solemn or 'festive' days, however, each
verse of both the psalms and canticleswas to be in-
toned with the special formula characteristic of
each tone; furthermore,Cerone statesthat the close
of the mediation was to be more elaborate, with
that of the canticles featuring a particularlydeco-
rated cadential phrase. (As distinct from the medi-
ation in solemn psalms, this phrase in the canticles
resembled that of Introit verses-a practice which
Bermudo more than half a century earlier had
recognized as being a peculiarly 'Spanish' trait.)'6
Cerone also advocatesthat the verses of the solemn
canticles must be intoned in the same way as those
for the Introit, and not like those for solemn
psalms. (He deplored the latter practice,which was
apparently exercised in some regions of Italy.)'7
However,it is evident that no absolute rule could be
enforced with regard to psalm-tone performance,
and different practices must have persisted. Nas-
sarre,for instance, describesthreeways of perform-
ing the canticles:first, the practice of providing the
first verse only with the intoning formula; second,
on more important feasts, that of providing all
verses with the intonation; and, third, on especially
important feasts, the inclusion not only of the in-
tonation for each verse but also of a more elaborate
mediation.'8 (He makes no mention of the simple
tones for the canticles.)
In addition to deciding upon the actual melodic
structure of the psalm tone (or, as Bermudo put it,
upon when to use the 'solemn' and 'simple' intona-
tions)'9 the cantor was also assigned the task of
regulating the pitch of the reciting note. Coll
states that the 'tenor' note (represented in his
EARLY MUSIC MAY 1994 241
 terminology in this context by saeculorum)20 of
each tone must be the same, neither lowered nor
raised:
En las entonacionesde los Psalmos;ya sean de Visperas,
'
Laudes, Maytines,se ha de llevarla cuerdafixa, para que organ for the Psalms,Hymns, Responses,Kyries,Sanctus,
todoslos tonos,tenganel saeculorum,en vn mismopunto,y
entonaci6n,sin baxarse,ni subirse.21
For the intonations of the Psalms, be they of Vespers,
Lauds or Matins, one must keep a fixed pitch for all the
tones,keepingthesaeculorum
on one [andthe] samenote
andintonation,withoutlowering[it] norraising[it].
Then, taking a as the pitch for the reciting note of
the Ist tone, he describes how this note must also
serve as the reciting note for the remaining tones,
reiteratingthe dictum 'that the cantor neither low-
ers nor raises the saeculorum'."By extension, the
same principle would surely apply when singing
these chants in alternationwith the organ.
El Cantordeue aduertiral Organistadel tono que se ha de
cantar,y adonde le ha de dar en el Organoa los Psalmos,
Hymnos, Responsos,Kyries, Santis, [sic] etc. ... y con
Organo,b sin el, tengael Cantorcuerdafixa, por dondesiem-
pre entone los fabordonesy Antiphonas:de manera que
ningunose cantemas alto vn dia que otro.23
The cantor should tell the organist which 'tone' is to be
sung, and whereit [the pitch] shouldbe given on the
etc. ... and with the organ, or without it, the cantor keeps
a fixedpitchin referenceto whichhe alwaysintonesthe
and Antiphons,in such a waythat no one
fabordones24
singshigherone daythantheother.
The function of the organ was thus clearly to
provide the singers with a 'fixed pitch' from which
could be gauged the appropriate reciting note or
(solemn) intonation of the particularpsalm. How
precisely was this achieved? For instance, despite
Nassarre'smaxim that organ music should always
include thematic referencesto the chant with which
it was alternating in order to 'maintain the pitch',
organ versets vary considerablyas to the extent to
which they referto the psalm-tone formulae. In ac-
tual fact, as implicit in Nassarre'sstatement, it was
the last chord of an organ versetwhich determined
the 'fixed pitch',and it was from this chord that the

Ex.1 Organversetin the Ist tone (Barcelona,Bibliotecade Catalunya,M.387,f.lov)

r rl l ,
,!
6

S, rI

SEARL MUSIC MY 1994

242 EARLY MUSIC MAY 1994

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singers were to pitch the reciting note of the psalm singing is lower or higher than the final of the said chant.
tone in question. An examination and analysis of Thustheyenterthisnumberof noteslowerorhigherfrom
wheretheorganfinishes.
organ versets designed for integration with the
psalms and canticles reveals that the root of this Before analysing how this was actually done in
final chord almost invariablyequals the last note of practice,and how 'with the organ or without it, the
the differentia or principal saeculorum formula25 cantor keeps a fixed pitch',the essentialchord struc-
peculiar to a psalm tone. This may be seen, for ex- tures of organ versetsbased on the psalm tones may
ample, in the verset (in the Ist tone) shown in ex.l, be considered. In addition to providing a 'fixed
in which the psalm tone appearsas a cantus firmus pitch' (determined by the last chord) for the suc-
in the top part (at the correct pitch). ceeding plainchant verses, an organ verset would
In modal theory (particularlyin discussions re- usually include a medial cadence representingthe
lating to playingthe psalm tones on the organ), this close at the mediation (see ex.i, bar 7). The root of
note (the root) became the so-called 'final' of the the resolved chord at that half-way point would be
psalm tone in question.26 The application of the that of the reciting note (tenor). Thus, regardlessof
termfinal in this context is not to be confused with whether or not the psalm tone itself is sung to a
the standarduse of the term (as infinalis) in modal 'simple' or 'solemn' melodic formula, and under
theory, for it was this final which provided the ap- the premise that a verset will usually be based on
propriatehexachordalname (called signo in Span- the 'principal' saeculorum or differentia, versets
ish sources) to which the music as a whole could be based on the psalm tones in their untransposed
assigned. It also reflected any transpositions: the positions may be reduced to the scheme given in
'modes' of psalm-tone versets were frequently table 1.
qualified by the hexachordalname (signo) given to
the position of the final. For instance, 'Versosde 20 Tablei Harmonicoutlinesof organversets
tono por Elami'were versets in the 2nd tone trans-
ToneFinal Signo Reciting
Mediation
FinalInterval
between
posed up one tone from their 'natural'or 'regular' note chord chordfinalchordand
pitch of D la sol re (with the reciting note on f) to note
reciting
end on the chord of E major (the last note of the
1 d D la sol re a a d 5th
saeculorumformula, with the reciting note on g). d D la sol re F d
2 f 3rd
Thesefinals, however,were not necessarilycompat- 3 a A la mi re c' C a 3rd
ible with the final of a mode per se.27 4 e E la mi a a e 4th
It was the cantor'sor choir director'sresponsibil- 5 a A la mi re c' C a 3rd
6 f F fa ut a a/Ft F 3rd
ity to ensure that the singers entered at the correct
7 a A la mi re d' e a 4th
interval afterthe organ finished playing: 8 g G sol re ut c' C G 4th
Losque rigenlos cantosen los choros:estenavisados,que en T.P.* d Dlasolre a&g F d 5th
la psalmodia,o canticossimplestomendondeel organodexa.
Note The lower and upper case lettersused for the chords of the medi-
En todolo demas,oyendodondeel tai~edordexa:tengancon- ation and at the end of the psalm tone (final chord) indicatewhetherthese
syderacionquantospuntosestamas baxo,o masalto elpunto are formedwith either a minor or major3rd respectively.In theory, acci-
dentalsare not used in untransposedtones; in practice,however,the
primerode lo que cantan:que elfinal del dichocanto. Pues resolvedchord at a cadence is almost invariablymajor.
tantos puntos abaxaran, o subiran de adonde el organo * For a discussion of the scale-formationof the
5th psalm tone, see
dexo.28 Nelson, Theintegrationof Spanishand Portugueseorganmusic,pp.265-71.
t Althoughplainchantsourcesvaryas to whetherthe last note of the
Thosewho directthe chantsin choirsareadvisedthatin mediation in the 6th tone remainson the tenor (a) or falls tof (the first
psalmodyor in the 'simple'canticles,theyshouldpickup note of the solemn intonation formula),organ versetsalmost invariably
fromwheretheorganleaves(off).In alltheresttheymust incorporatea medial cadenceon a (usuallywith a major3rd in the chord).
f T.P. = tonusperegrinus.The two recitingnotes denoted on this table
listen(out)forwherethe organistleaves(off),takinginto (a and g) correspondto the firstand second halvesof the psalm tone
account the number of notes by which what they are respectively.

EARLY MUSIC MAY 1994 243

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Alternatim practice and transposition
The impracticability(for the voices) of performing
psalm tones at the 'written pitch' associated with
each one is self-evident; owing to their diversityof
pitch-the reciting notes spreadbetweenfand d'
it was necessaryto transpose them to a comparable
range. Valls,implying that the main object was not
to strain or tire the voices in any way, provides the
following summary of arguments in favour of
transposing the modes when performing on the
organ:
en la iglesiael Organo,
Haviendointroducido fue necessaria
delostonos,paraqueel Coro,sinfatigarse
la transportacion
pudiessecantarel CantoLlano;pues sin ella algunosTonos
porbaxos,y los maspor muyaltos,no eranpracticables,
y,
acomodandose
assise dispusoquelos Organistas a*la con-
viencia de las vozes,que componenel Coro, transportassen
losDiapasonesde los mas de ellos,assien lasMissas,comoen
la Psalmodia
... 29
Havingintroducedthe organintothe church,it wasnec-
essaryto transposethe tonesso thatthe choircouldsing
withouttiringitself.Forwithoutit [transposi-
plainchant
tion], sometonesfor beingtoo low andothersfor being
too high, were not feasible;it is advisedthereforethat
organistsaccommodate themselves fortheconvenience of
thosemakingup the choir,transposing of
the 'diapasons'
mostof them[thetones],in Massesjustasin psalmody.
The choice of pitch for the reciting note of the
psalm tones, when performing these in alternation
with the organ, was clearlyone to be regulatedac-
cording to both the needs of the choir and the pitch
and tuning of the organ itself. For instance,
Bermudo in his Declaraci6ndescribes the extent to
which such instruments varied in size and (there-
fore) pitch.30Moreover,the organs of this period as
a whole were tuned according to some kind of
mean-tone temperament. Descriptions and illus-
trations of these keyboards,their system of tuning,
and the problems encountered in transposing the
modes also formed the basis of lengthy discussions
in severaltreatises in 17th- and 18th-centurySpain:
particularlyinformative are Cerone'sEl melopeoy
maestro (1613) and Nassarre's Escuela mtisica
(1723-4).
There are obvious limitations imposed by a key-
244 EARLY MUSIC MAY 1994
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board whose black notes were tuned so that no
'enharmonic' option was available to any one of
them (in a diatonic system). (In the terminology
used in these treatises the 'flat' notes (E6 and Bb)
were referredto as fa and the sharpened ones (C#,
F#and G#) as mi-they could not be interchanged:
'None of the black notes which arefa can be mi, and
that which is mi cannot be fa.')3'There were thus
only a limited number of signos to which a mode
could be transferred. Nassarre, for instance, ex-
plains in some depth that there were about five
transpositions theoreticallypossible in each of the
modes.32The psalm tones, however,were subject to
slightly different criteria (see below). There is im-
portant evidence that at least two organs at Alcalk
de Henares (where Martin y Coll trained as organ-
ist) were built to include accidentalsover and above
the normal number found on instruments of the
period. The organ built by J.de Hechevarriain 1670
in the church of San Diego where Coll was organist
in the last decades of the 17thcentury,included Dbs
in addition to D#s and A s.33Instruments of this
type would therefore make availablean increasing
number of transpositions, including, for instance
(with the availabilityof Ab), the transferenceof the
1st (Dorian) mode to the signo of Ffa ut-a trans-
position which Bermudo had recognized as being
particularlydesirable, but which was not feasible
on the instruments of his time.34
Owing to an evident consistency in both practi-
cal and theoreticalsources regardingtransposition,
a hypothesis emerges that by the mid-17th century
at least there may well have been a (certain) unifor-
mity in the size and tuning of Spanishorgans. From
practical evidence, for instance, we learn that the
majority of organ versets in the eight main tones
designed for alternationwith the psalm tones were
normally transposed from their regular positions.
In table 2 an aggregateof chordal schemes forming
a large proportion of psalm-tone versets in the
principal sources of 17th-century Spanish organ
music is represented.(Informationhere is confined
to the signo of each psalm tone and to the pitch of
the reciting tone .)
 Table 2 Psalm tones, signos and recitingnotes for 17th-centurySpanishorgan versets

Sources Tones*
1 2 3 4 5 6 7 8
Sr Sr Sr Sr Sr Sr Sr Sr

Barcelona,Bibliotecade Catalunya
M.387 Da E g E g E a E g F a Dg Dg
G bb C g G c'

M.729 D a E g E g E a E g F a Dg Dg

M.751.21 D a E g E g E a E g F a E a Dg

Madrid,BibliotecaNacional
M.1357 D a G bb E g E a E g F a E a D g
2,3&5
Eg
M.1358 Da E g E g E a E g F a E a Dg
Gbb Cg Ad Gc'
F bb

M.1359 D a E g E g E a E g F a E a Dg
Dg

Felanitz
Mssl&2 D a E g E g E a E g F a E a Dg
G bb G c'
* S = signo(hexachordalname); r = recitingtone

As table 2 shows, it is evident that, while the Ist, En el Organo:elprimertono,quarto,sexto,septimo,y octavo

4th and 6th tones remained at their regularor, ac- irregular, tienensu cuerda,o entonacionen A.la mi re.El
to 'natural' segundo, tercero,
quinto y en G.solreut:y paraque
octavo,
cording Spanish terminology, pitches,
la cuerdafixa en el Organo,es precisoobservarlo
each of the other five tones was almost invariably vaya
mismoquequedadicho,quandosecantasinel ...35
transposed. Furthermore,while the untransposed
tones retained their 'natural'pitch for the reciting The 1st,4th, 6th and irregular8th [i.e. tonusperegrinus]
note on a, at least one of the alternativesignosin the tonesarepitchedat, or areintonedon A la mi re on the
the and8th [tones]on G sol reut. In
transposed tones provided for a reciting note on g. organ; 2nd,3rd,5th
orderthat a fixedpitchis kept [whensinging]with the
The priority therefore was clearly to ensure that a
organ,it is necessaryto observethe sameas thatwhichI
more or less uniform pitch for the recitingnotes (as havesaidwhenone
singswithoutit.
recommended) could be retained.
In accordancewith this evidence, Martin y Coll Valls, likewise, states that it was normally the
states that, apropos his recommendation to the 2nd, 3rd, 5th, 7th and 8th tones that were trans-
cantor that he should regulatethe pitch of the recit- posed on the organ; for each one of these tones he
ing notes-'keeping the saeculorumon one and the presents two possibilities-at least one of these, as
same note'-(see above), the priority of transposi- may be gauged from the signos he specifies, pro-
tion lay in placing these (reciting) notes on either a vides for a reciting note on g.36
(A la mi re) or g (G sol re ut). An even more precise indication of how organ

EARLY MUSIC MAY 1994 245

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 i.d.i
Libuo.Sgeu 9
ArtedeCanto
Llaisl

Finis.Vi asta as Domine

demonftra
S....... .. "-" fumin his,qu~ di6tafunt
Organo.La.tatus

mihi & femias tu. as e do ce m -- -- -- -

CAPITULODEZIM mihi: in domum
Domini i
. bimus,
Quintopor mi.
HAZS MMIFSTACION DE R E.la
,DONDE . tonoscotel
los;ocho Organo: .•
•E
fide•lentona4 .Se•drao.n
. .--O .
-LbroCPrim;aero, cd4=-Fr
COM- A.t_
•.i,
p:i....
P-algos-onCapi.udodc.xjnoqtoarto.
el. elpriderftono, oqnarto, ix-. meus:ad te de luce vigio.
Organo.Deus,Deus
fF.elieno,
toetanro
tanl, Orgpo,.
cofa el
PmiJmosonetonatorxs,y
algun; empero quinto,
ton,:tcrcero,
,taqrto,y:.. Quinto vr.
porC.folfa
f(e imo,y oUlovo,fie
seg. tanfportan ,y
foncomofcfieuenf

O
o---...•-.--L.. Oano.DeusDeusmeus:idtedeluce vigilo.
Organo.LaudatePu e. riDominum
Septim"
. .-

..auac de vigilo.
D::j'~~ . "--brg
-'gano:DCu,,Deusincus:iadte lute Sev
j
,.._aa .",'

1 AntonioMartiny Coll,Artedecantollano,book2, chap.10, pp.93-6(London,BritishLibrary).Collshowstrans-

positionsfor the organof the 2nd,3rd,5th,7thand 8th (ferial)psalmtones,followedby transpositionsof the 2nd,
3rd,5th,7thand 8th (solemn)psalmtones,inclusiveof intonationformulae.

versetsand the psalm tones were integratedin prac-
tice is also provided in Martiny Coll'sArte de canto
llano. Coll illustrates each of the transposed
tones-both for their use on 'ferial' and 'solemn'
occasions-together with their respective finals,
which he marksorgano.The transpositionshe gives
for the 'simple' (or ferial) psalm tones (exclusive,
therefore,of the intonation) are as shown in illus.1,
pp.93(bottom)-95(top). (The qualifications of
signo which he omits in the 2nd, 3rd and 7th tones
should read por E la mi, and, for the 8th tone for-
mula, por D la sol re.)
If the organ were to play the final as a single note
(as indicated in these examples), there would
be relativelyfew problems for the cantor or choir
to gauge the reciting note of the psalm. However,
when (as in practice) this note actually forms
the root of a chord, in which in all probabilitythere
is a major 3rd, then problems in pitching the
reciting note are more exacting. With tones such
as the Ist and 6th (using the ferial psalm-tone
formula) problemsdo not arisebecause the reciting
note (a) forms part of the triad formed by the
last chord of the verset (either with the root on d or,
in the 6th tone, on f). However, in those tones
using the E la mi transposition, the contrast of
'tonality' between the last chord of the saeculorum
(an 'E major' chord) and the reciting note on g
is quite marked. As an illustration of alternatim
procedure in the ferial psalms, ex.2 shows the first
few verses of Psalm 112, Laudatepueri, in the 2nd
tone (por E la mi) set in chant alternating with
cantus firmus versets from Madrid M.1359. This
sequence shows how the final chords in each of the

246 EARLY MUSIC MAY 1994

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 VigbroSigrndo. A4 A-CifntoiJno;
punto
gepdtmi parE.lami. porC.folfaVrt
Quintr
baio, Q-i•nt6

Deusries: adte deluct -vigi9.

Organi.Deui ficar. Organo.
OrganoMigni Magnificat.-

Gloria-.-Patr,& Fi lio,
,Organo., .Organo GO i
Cptimo punto-axO;

Glo ri a.
Organo

Para dichositonos
comcngar enedOrganoparalos Orgo. G ri a.
Canticos-, y'diasfolemnes.
. . o.

: -- -.Organo. a.
Glo.ri
Organo.Magni ficat.

Magni
fitcax
Origano.

versets,with their major3rds,clasheswith the recit-
ing tone.
Coll's illustrations of the solemn tones (with
intonation) show how the problems of co-ordina-
tion are perhaps even more marked (illus.1, PP.95
(bottom)-96). Again, this is particularlytrue with
the E la mi transposition, for, with the solemn in-
tonation of the 2nd and 3rd tones beginning on d
and leading to a recitingnote on g, there is, in terms
of modern tonality,a strong feel of dominant-tonic
in G major. Furthermore,in the 5th tone por E la
mi, the final chord on E (major) is strongly juxta-
posed with the solemn intonation which begins on
a 'C major'broken triad.
In ex.4, which shows alternatimversetsin the 5th
tone (por E la mi), the start of the sequence-a
Magnificat-is introducedby an entradasetting the
tonality and serving as a reminder of the psalm-
tone formula (which appearsas a cantus firmus in
the bass). These particularversets also highlight the
contrast between the 'C major' opening of the
psalm tone and the 'E minor' saeculorumformula.
Psalm-tone transposition on the organ
When transposing modes and psalm tones on the
organ from their 'natural'positions to transposed
('accidental')37ones, it was vital, in theory, that the
inherent diapas6n(octave scale) of each one should
remain intact. Theorists were fully awarethat there
was a danger that organists might become relaxed
about this, particularlywhen the modes (or psalm
tones in this case) shareda common signo (see table
2). Bermudo, among others, was anxious to remind
musicians that they should observe this ideal:

EARLY MUSIC MAY 1994 247

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 Ex.2 Alternatim versets in the 2nd ferial psalm tone transposed to final on E la mi
(Madrid, Biblioteca Nacional, M.1359, PP.130-31)

(a)

v. 1 Lau - da - te pu - e - ri Do- mi- num: lau - da - te no- men Do - mi - ni

(b)

o o7 o

131

v. 3 Asolisortuusquead oc - ca-sum, laudabile no-men Do- mi - ni.

(d)

SAL'U- --MY199 _

248 EARLY MUSIC MAY 1994

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 12 # #

pHf

(e)

v. 5 Quis sicut Dominus Deus noster, qui in altis ha - bi - tat, et humilia respicitin caelo et in ter - ra?

(f)
(h)

(I aIII I

12

EARLY MUSIC MAY 1994 249

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Ex.2(h)cont.
7A.

_" I
-I

13

. 10 e ---
• .-- -------

(d)

v. 9 Gloria Patri, et Fi - i - , et Spiritu - i sanc -to.

v. 9 GloriaPatri, et Fi li o, et Spiritu-i sanc -to.e

v. 10 Sicut erat in principio, et nunc, et sem-per, et in saecula saecu -lo-rum A-men.

En todoslos modosque he dichoaversede mudar,o salir de cussed at length in several treatises. Particularly
sus letras finales; se entiende, que los tahedoreshan de relevant is the chapter in Nassarre'sEscuelami~sica
guardarlos diapassonesde los dichos modos taifendoacci- entitled 'De los terminos, por donde se puede
dentalmente.3s
transportarlos ocho tonos accidentalmente en el
Forall the modesthat I havesaidshouldbe moved,or
organo'.39Nassarre describes in detail the scale-
takenaway[i.e. transposed]fromtheirfinalletters[i.e. formations
(diapasones) of the psalm tones and
signosin untransposed positions],it is [to be] understood outlines the encounteredwhen transpos-
thatthe [organ]playersshouldkeepthe diapasonsof the problems
said modes (when) playing'accidentally' [i.e. in trans- ing these to different signos.As alreadymentioned,
position]. these scales were formed by taking the last note (the
psalm-tonefinal) of the principalsaeculorumas the
Theoretical ideals were constantly challenged in first of a new octave scale;this scale ultimately may
practice, particularlywhen, with the availabilityof have little in common with that of its associated
'new' accidentals on the organ, the increasing modal species.
demands of tonal considerations came into play. So, when psalm tones shared a common signo,
Thus, as shown above, it is clear that with the E la and unless the organ verset overtly referredto the
mi transposition, for instance, which was used for psalm tone itself, how were the tones in composed
at least four different tones, the distinctions ideally music to be distinguished from each other? This
to be made between the tones were bound to dis- point was often debated,especiallyin the context of
integrate. how in practice the 2nd, 3rd and 5th psalm tones,
The question of the properties of modal scales, when transposed to E la mi, not only shared
particularly in their transposed positions, is dis- an identical chordal structure, but also in effect

250 EARLY MUSIC MAY 1994

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partook of a common diapas6n or psalm-tone tone lost the whole tone between the 5th and 6th
scale. In these tones por E la mi the reciting note is degrees and utilized the same scale as the 3rd and
on g and the final (the end of the saeculorum)is on 5th tones (ex.3c).
e. Nassarre describes how these three psalm tones As may be observed in table 2, versets for differ-
should be played at the same pitch: ent psalm tones transposed to E la mi were often
this period. Sets of versets
Digo,quesiemprequelosPsalmosse cantarenalternativa- amalgamated during
mente con el Organo,deve el Organistasiemprequefuere with a dual-modal function, serving for the 2nd
tercero,o quinto tono, tocar por la misma cuerda que se and 3rd tones, were quite common. In Madrid
cantael segundo.40 there are even examples of 'Versosde 20, 30 y
M.1357
I say,thatprovidedthatthe psalmsare sungalternately 50 por Elami' but, surprisingly perhaps, none for
with the organ,wheneverthese are in the 3rd and 5th the 3rd tone alone.41(All these versets are notated
tones,the organistshouldplayat the samepitch[asthat] with just one sharp (F#)in the key signature.) How-
at whichthe2ndis sung.
ever, none of these versets include thematic refer-
However, the use of the same diapas6n (scale) for ences to the psalm tones.
the 2nd tone as for the 3rd and 5th was one of the Although in essence the 5th tone-particularly
anomalies they recognized. Strictly speaking, the in its E la mi transposition-shared the same prop-
intervalbetween the 5th and 6th degrees in the 2nd erties as the 2nd and 3rd tones, it was sometimes
psalm tone is a whole tone, ratherthan the half tone also given the signo C sol fa ut. These two signa-
in the other two psalm tones. In other words, the tures-E la mi and C sol fa ut-were designed not
diapas6nof the 3rd and 5th psalm tones in its 'nat- so much to provide for alternative pitches of re-
ural' (untransposed) position, starting on a, is as citing notes (as might be expected) as to accom-
shown in ex.3a,while that of the 2nd tone, starting modate for either one of the two melodic interpret-
on d, forms the scale shown in ex.3b. In practice, ations of the saeculorum-por B or por Bmol-i.e.
when transposing these scales to E la mi, the 2nd in accordancewith either the cantusdurusor cantus

Ex.3 (a) Psalm-tonescalefor the 3rdand 5thtones in regularposition;

(b) psalm-tonescaleof the 2ndtone in regularposition;(c) psalm-tone
scalesof the 3rd,5thand 2ndtones transposedto E la mi
(a)
Tone3 -& H

[saeculorum.Amen] final

Tone 5
(cantus
durus)
[saeculorum.Amen] final

(b)

Tone2 & 1 H
- -M
[saeculorum.Amen] final

(c)
Tones &
,,
2,3&5 V- 0 I

final on E la mi

EARLY MUSIC MAY 1994 251

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 Ex.4 Alternatim organ versets in the 5th solemn tone transposed to final on E la mi
(Barcelona, Biblioteca de Catalunya, M.387, ff.53r-53v)

(a)
Entrada

7
_~1 1, 1-

K- I

(b)

v. 1 Mag- ni - fi -cat a -ni-ma me- a Do-mi-num

(c)

6
iA

252 EARLY MUSIC MAY 1994

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 11

A
ro o

(d)

v.3 Qui - a respexit humilitatem ancillae su - ae: ecce enim ex hoc beatam me dicent omnes ge - ne - ra - ti - o - nes

JIM P

16 r- oro00

(e)

(0)

v. 5 Et mi -se - ricordiaejus a progenie in pro-ge - ni - es ti men-ti-bus e-um.

etc.

EARLY MUSIC MAY 1994 253

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 mollisscales;the question of whether or not the 5th
Cutr Msc
tone should be sung with a B?or a B?was also a con-
troversialissue at the time. As shown in illus.i, Coll
presentsboth versions.42
LA SEU D'URGELL Organ versets in all these tones transposed to a
August 21 - 29, 1994 common final on E la mi in the sources virtuallyall
transgressany of the strict boundaries theoretically
XIVEARLY
MUSIC
COURSE defined by the psalm-tone scales or keys: not only
INCATALONIA do they freelyuse C# (strictly,accordingto theoret-
ical ideals, only compatible with the 2nd tone) but
ANDANDORRA the 'new' D#accidentalwas a frequentoccurrenceat
Director: Roma Escalas the final cadences.
Martin y Coll's chapter on psalm-tone trans-
?
position on the organ clearly illustrateshow those
re
psalm tones normally transposed in perfor-
"i mance-the 2nd, 3rd, 5th, 7th and 8th-were to be
notated and performedboth accordingto their fer-
ial and solemn functions (see illus.i). As demon-
strated in table 2, Coll's recommendations for
transposition correspond with practical evidence;
Jordi Albareda Vocal technique these also include alternative pitches for the 7th
Montserrat Figueras Vocal interpretation
Jean Pierre Canihac Cornet tone-por E la mi (with one sharpin the 'key signa-
Roma Escalas Recorder ture') and por D la sol re (with one flat). (The term
Daniel Lassalle Sackbut 'punto baxo' with the second of Coll's examples in
Josep Borras Curtal and baroque bassoon the 7th tone, por D la sol re,was often used to indi-
Rolf Lislevand Lute and vihuela
Manfredo Kraemer Baroque violin cate a downward transposition by one tone from
Jordi Savall Viola da gamba the normal pitch of a tone or mode.) This con-
Guido Morini Harpsichord
formity between practiceand theory gives us an in-
VOCAL AND INSTRUMENTAL ENSEMBLE dication of the extent to which organs in Spain dur-
Jordi Savall, conductor
ing the 17thcentury must have correspondedin size
Those who are interested in taking (and thereforepitch).
part in the vocal ensemble, should Nevertheless,it is clear that the individual char-
send a curriculum and audio material
acteristics of each of the psalm tones during this
CONCERTSWILLBE HELDIN ANDORRAAND
LA SEUD'URGELLDURINGTHECOURSE period gradually disintegrated, particularlywhen
these were assigned a common pitch in the organ
Registrationdeadline:July15, 1994 music. Although the majority of versets for the
Informationand registration: psalm tones are carefully grouped according to
Area de Musica.Departamentde Cultura
Portalde SantaMadrona6-8 each of the eight tones in the sources, their realiza-
08001BARCELONA tion in figured music gradually resulted, in prac-
Tel. (34-3) 412 56 40 - FAX (34-3) 412 19 58
tice, in the fusion of many of these. Further evid-
Generalitat Govern ence for this gradual evolution occurs in the
de Catalunya Andorra
11
Departament NDl"II
Conselleria 17th-centuryLibrode cyfrapreservedin Oporto-a
de Cultura d'Educaci6 i source of organ music by both Spanish and Portu-
Cultura
guese composers.43In the introductorymaterialthe

254 EARLY MUSIC MAY 1994

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editor divides the eight tones into three groups, presenting short to A. Martin y Coll, Arte de canto llano
(Madrid, 2/1719), book 1, chap. 16, p.58.
cadential formulae for each of these-one in the major, one in the
11 Versets with this inscription
minor, and one in phrygianvein for the 4th tone. These are then no- occur in two Barcelona manuscripts
tated in each one of the possible 12keys on an equallytuned keyboard. (M.387 and M.1oll) and are invariably
These formulae, he writes, are to serve as referencesto the organistfor constructed on a cantus firmus of the
solemn psalm tone formula placed in
modal transposition for the Magnificats, psalms, hymns and the bass line. See Nelson, The integra-
responses.44The corpus of this particular manuscript, however, not tion of Spanish and Portugueseorgan
music, p.328.
only contains organ music written in the eight modes or tones, but
also includes versets with a dual-modal function such as described 12 P. Cerone, El melopeoy maestro
(Naples, 1613;facs edn, 1969), i, book 5,
above (versosde 20 e 30 tom).45 chap. 20, p.422: 'Los feriales cantan
de presto sueltos y desatados: y los
solennes van mas de espacio, y con
Although the gradual transferenceto tonality and equal tempera- mas gravedad;usando algunas notas
T ment was clearly a constant challenge to modal integrity, the ligadas.'
demands of the liturgy and the constant use of chant necessarilydic- 13 CeremonialMonastico (Salamanca,
tated the continued use of modal forms and scales;and organ music 1635),par. 1, sec. 2, chap. 6, p.63.
continued to be written to suit each of the ecclesiasticalmodes and 14 Bermudo, Declaraci6n,book 2,
chap. 14, f.[24]: 'Cada yglesia tenga su
psalm tones well into the 18thcentury. modo en entonar los psalmos, y su
canto distincto.'
15 Cerone, El melopeoy maestro,i,
book 3, chap. 41-5, PP-353-7.For fur-
1 See B. Nelson, The integration of M.1359,anthologies of organ music ther analysis and discussion of these
Spanish and Portugueseorgan music compiled by FrayAntonio Martin y chapters in El melopeo,see Nelson, The
within the liturgyfrom the latter half of Coll in 1706, 1707and 1708. Felanitz
integrationof Spanish and Portuguese
the sixteenth to the eighteenthcentury (Majorca), Mss 1 and 2 (copied in the organ music, pp.216-31.
(DPhil diss., Oxford U., 1986). 17th and early 18th centuries), import-
ant sources of music by Cabanilles. For 16 Bermudo, Declaraci6n,book 2,
2 For instance, Bermudo describes a
further information about these and chap. 15, f.[241v. See also Nassarre,
common mistake made by choirs when Escuela masica, i, book 2, chap. 17,
other organ sources of the period see
pitching the chant verses in an alterna- p.187.
tim performance (with organ) of the J. M. Llorens Cister6, Literatura
2nd solemn Magnificattone: Juan organisticadel siglo XVII (Saragossa, 17 Cerone, El melopeoy maestro, i,
Bermudo, Declaraci6n de instrumentos [1981]),and Nelson, The integrationof book 3, chap. 45, P-357.
musicales(Osuna, 1555),facsimile, ed. Spanish and Portugueseorgan music, 18 Nassarre, Escuelamasica, i, book 2,
M. S. Kastner, Documenta Musicolog- PP. 561-4, 572, 576-7. chap. 17, pp.186-7.
ica, xi (Kassel, 1957),book 4, chap. 41, 6 MS autograph, Madrid, Biblioteca 19 Bermudo, Declaraci6n,book 2,
f.85v. See also Nelson, The integration Nacional, M.lo71. chap. 14, f.23v.
of Spanish and Portugueseorgan music,
7 See Nelson, The integrationof 20 The term saeculorumwas more
pp.253-4, and an article in preparation.
Spanish and Portugueseorgan music, commonly used to refer to the differen-
3 The term la cuerda ('string') is often tiae of the psalm tones.
used in Spanish theory for 'pitch'. pp.148-57.
Other terms for 'pitch' include punto. 8 See Nassarre, Escuelamasica, ii, 21 Coll, Arte de canto llano, book 1,
book 4, chap. 11, p.437. In this passage, chap. 16, p.56.
4 Pablo Nassarre, Escuela masica,
segun la prdctica moderna, 2 vols. Nassarre is contrasting the role of the 22 Coll, Arte de canto llano, p.56:
(Saragossa, 1723-4), facsimile, ed. L. G. organ to that of other instruments 'que jamas baxe, ni suba el cantor
Siemens Hernandez (Saragossa, 1980), (string and wind) used in church el saeculorum'.
ii, book 4, chap. 19, p.481. which was generally to accompany
23 [Artede canto llano] (n.p., n.d.),
vocal polyphony.
5 Barcelona, Biblioteca de Catalunya: chap. 1, p.9. (This is a fragment of an
M.387 (copied c.1698);M.729 (copied 9 Estatutosdel Cabildo de la Seo unidentified printed treatise in the
c.168o); M.751.21(copied c.1688), all Biblioteca Nacional, Madrid.)
(Saragossa, 1607), chap. 27 'Del oficio
containing organ music by Cabanilles y obligacion del organista'. Source, 24 In this particular context the term
and other composers associated with P. CalahorraMartinez, La masica en
Valencia and Barcelona. Madrid, Bib- fabord6n is used to describe a psalm
Zaragoza en los siglosXVI y XVII, i tone. For further information on the
lioteca Nacional: M.1357,M.1358and (Saragossa, 1977), p.23. fabord6n in Spain and Portugal see

EARLY MUSIC MAY 1994 255

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 Nelson, The integrationof Spanish and
Portugueseorgan music, pp.279-311,and
RENAISSANCE article in preparation.
RECORDERS 25 Although the treatises exemplify the
various differentiae(the saeculorums)
by of each psalm tone (usually in con-
CARL nection with an explanation of how
" HANSON these are used to match the mode of a
Proper antiphon), illustrations of the
Specializingin psalm tones as such usually comprise
ajter
instrumnnts just one saeculorumformula for each
PRAETORIUS tone-hence in this context 'principal
saeculorum'.
VIRDUNG &
GANASSI 26 'Todas las entonaciones de los
Psalmos tienen finales propios ...
Mersenne& Verona
Nassarre, Escuelamasica, i, book 2,
o flutes chap 17,p.184. The idea of using the
last note of a psalm-tone differentiaas
a final distinguished from the regular
series (ending on d, e, f and g) was first
??-
??
'''
"' defined by Pietro Aaron. See H. S.
Particulars Powers, 'Mode', ?III, 3, New Grove,
availabhl
xii, p.404.
23 The Crescent
Hippcrholmc,Halifax 27 It may however be borne in mind
West Yorkshire,UK that the term final (also finis) in Span-
IIx3 8NQ ish plainchant theory alone (outside
the context of performance with the
organ) was also used as an equivalent
to the use of the term finalis.
28 Bermudo, Declaraci6n, book 4,
chap 46, f.86. In this context Bermudo
Mark Stevenson is referring to the ferial psalm tones
(see above).
29 Valls, Mapa arm6nico, chap. 5, ?3,
f.31v.
i
::::::
.'.
30 Bermudo, Declaraci6n,book 4,
chap. 41, f.85v. See also Nelson, The
integration of Spanish and Portuguese
:
organ music, pp.243-4.
31 Bermudo, Declaraci6n,book 4,
-: ---iii:i-
chap. 34, f.76v: 'Ninguna de las teclas
que fuere fa, puede ser mi; y la que es
mi, no puede ser fa.' See also Cerone,
El melopeoy maestro,ii, book 16, chap.
26, p.927.
32 See Nassarre, Escuela mutsica,i,
book 3, chap. 17:'De los terminos, por
donde se pueden transportarlos ocho
Copperfield tonos accidentalmente en el Organo',
20 Pratt Street
PP.323-30, and chap. 15:'Del conoci-
Soham, Cambs CB7 5BH miento de los ocho tonos naturales
Phone-FAX en Canto de Organo, assi para lo que
0353 721000 se canta, como para el Organo',
pp.307-15.
256 EARLY MUSIC MAY 1994
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33 See P. Williams, The European
organ, 1450-1850(London, 1966,
R/1978), p.251.
34 See Bermudo, Declaraci6n,book 4,
chap. 52, f.89v.
35 Coll, Arte de canto llano, book 1,
chap. 16, p.57.
36 Valls, Mapa arm6nico, chap. 5, ?3,
ff.31r-31v.For a fuller consideration of
Valls's recommendations, see Nelson,
The integrationof Spanish and Portu-
guese organ music, pp.259-78.
37 The term 'accidental' was used to
denote a (modal) transposition: 'Todos
los modos que salen de las quatro letras
finales ... son dichos accidentales.'
(Bermudo, Declaraci6n,book 4, chap.
26, f.73v.)
38 Bermudo, Declaraci6n,book 4,
chap. 44, f.85v.
39 'Concerning the positions to which
the eight tones can be transposed on
the organ.' (See above, n.32.)
40 Nassarre, Escuelamulsica,i, book 2,
chap. 17, p.188. In this instance, Nas-
sarre is deliberately distinguishing
between psalm tones and modes.
41 Madrid, Biblioteca Nacional,
M.1357,pp.28-31.
42 See Nelson, The integrationof Span-
ish and Portugueseorgan music, pp.215,
265-71. It may also be noted that, in
illustrating just the cantus durus ver-
sion of the 5th psalm tone in his chap-
ter on antiphons and psalm tones,
Nassarre also refers to a version of this
psalm tone (the saeculorumformula)
apparently practised in some religious
orders in Spain in which the last notes
of the saeculorum descend to f-the
proper final of the 5th mode, yet the
irregular ending for the 5th psalm tone.
Thus, although in theory versets in the
5th tone with the signo C solfa ut end
on this modal final (transposed down
a 4th to c), they do not however make
allowance for the cantus durus scale of
the 5th tone.
43 Oporto, Biblioteca PuiblicaMunici-
pal, M.42 (formerly M.1577).
44 See Nelson, The integrationof
Spanish and Portugueseorgan music,
p.247-8.
45 Oporto, Biblioteca PriblicaMunici-
pal, M.42, ff.12v-13v,25v-26v, 101-2.
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AMA ~? e

258 EARLY MUSIC MAY 1994

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re

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'.?~P~ Titian, Venus and the organist

(Madrid, Museo del Prado).
Titian was court painter to
the Emperor Charles V and
.S!
subsequently to his son, Philip
II, to whom the organist in
this painting bears a striking
resemblance.

EARLY MUSIC MAY 1994 259

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