HAROLD

B.

LEE UBRARY

&RIGHAM YOUNG UNIVERSITY

nOVO, UTAH

AW

109?

r\

Uo

(^

Primer of Plainsong
WITH PRACTICAL EXERCISES
ACCORDING TO THE SOLESMES METHOD
(Editions with

and without Rhythmic Signs)

BY A CHOIRMASTER.

^&=

SOCIETY OF SAINT JOHN THE EVANGELIST DESCLEE, LEFEBVRE & Go,

Publishers to the Holy See

&

Printers to the S. Congr. of Rites.

ROME.

TOURN AI
1906.

(Belgium)

APPROBATION OF THIS EDITION.

testify that the

present English edition

is

a correct and

true translation (and the only authorised one) of the Solfege

populaire (Tapres les principes des Benedidins de Solesmes, Par un Direcieur de Maitrise, of which I am sole proprietor, and I have conceded the printing and sale of it to Messrs. Desclee, Lefebvre & Co, of Tournai.

^$*j
Publisher.
St Laurent-sur-Sevre,

Vendee,
France.

Aku'i
->-

.,

BRIGHAM

"

l
.

i-t'JSL

PREFACE.

The Motu Proprio of Nov. 22nd. 1905 has given a new importance to the question of Gregorian
Chant; and every body knows that an international Commission, appointed by our Holy Father Pope Pius X., in which the Solesmes Benedictine Fathers have an important place, is now preparing an official
edition, called the Vatican Edition.

This papal decision brings about the unity of chant which was so much wished for, but at the same time leaves free scope to the interpretation of
the melodies.

Now, among the methods which are actually in use, we prefer the method of the Benedictines but if
:

no lack of books which purport to give the teaching of these renowned masters, some are too scientific and are made for perfect plainchantists, while the others, of a more modest turn, suppose a perfect knowledge of the notation. In order to meet a want felt by many choirmasters,
there
is

we

offered to the public a Solfege populaire, intended

for those

who have no

notions of plain chant,

and

cannot even read Latin. Masters of Gregorian art gave

it

much

praise

and the rapidity with which the first French edition was sold is an evident proof that it was much wanted. We hope that it will also be appreciated by English choirmasters.
it first

when

came

out,

It is

divided into three parts.

PREFACE.

The
which
It is

First part contains the preliminary notions

it is

absolutely indispensable to know.

taken for the most part, and often word for word, from the Preface of the Liber Usualis, which
the Solesmes Fathers have kindly allowed us to

reproduce.

In this

new

edition,

we have

also taken
x
(

into account the notation without rhythmic signs,

and given the

rules of interpretation according to

the principles admitted

by

all

gregorianists.

All that seemed too scientific or too technical

has been carefully avoided, and we have added practical advice for the training of the voice. The Second Part, which is the chief one, is entirely

composed of

exercises,

in

which,

dealing

separately with the

successively study

higher and lower notes,

we

single notes, formulae

of two

and three notes, and compound neums. The Third Part contains the pronunciation of Latin, and some elementary notions of accentuation; the Rules for Psalmody, and the Psalms which are usually sung on Sundays, with the tonic and melodic accents accurately marked practical
:

The

introduction of rhythmic signs into

some

editions

of the Vatican Kyriale has been the cause of violent polemics

France, Italy, Germany and England. cannot be denied that the opportuneness and place of some of these signs may be called into question this is the business of professional gregorianists. But we are firmly persuaded that all chorimasters will subscribe to the following judgment, grounded on daily expein
It
:

rience for several years

The use of rhythmic signs ?nakes it much easier for choirs to sing well together, without any danger of introducing the modem measure i?ito the chant.

PREFACE.

advice for the application of the words to the melothe analysis of a rhythmical melody, with a dy;

transcription in

modern notation

the manner of

rendering a piece without rhythmic signs. At the end of the book will be found progressive
exercises on the various intervals, thirds, fourths

and
It

fifths,

Dom

taken from the Solesmes editions. is a pleasant duty to offer our thanks to A. Mocquereau, who had the kindness to
this

examine

book, and to the plainchantists have favoured us with their criticisms.

who

Blessed be God!

The Author

TABLE OF CONTENTS.
PART
I,

Preliminary Notions.
I.

First elements of Plainsong

it

Names, Forms and Values of the Notes and III. Notes on some of the preceding signs IV. Pauses. Morse vocis, Breathing. V. Binary and ternary subdivisions. VI. Rhythmic notation I. Rhythmic signs II. Rhythmic touches or ictus
II.
.

chief

Neums

J 5 17

19

20
21 21

22

VII. General hints for correct singing

VIII. Exercises to learn

how

to hold the sounds

24 26

PART

II.

Solfeggio.
Practical Suggestions.

CHAPTER
Seconds II. Thirds
I.

I.

Exercises in the

Do

clef,

4th line

28

29

III.

Fourths
clef,

IV. Fifths

34 38 40
line

V.

Do

2nd

43

CHAPTER
I.

II.

Exercises in the

Do

clef

3rd li?ie

Seconds II. Thirds III. Fourths

IV. Fifths

44 44 47 5
53

CHAPTER
I.

III.

Seconds II. Thirds III. Fourths

IV. Fifths

.......
Exercises in the

Fa

clef

56 56 60

64 67

CHAPTER

I.

IV. Accidentals

and compound Neums

.

Exercises on the note Si.

69 70
7i

II. Exercises

III. Exercises

on Sip on Si v.

73

TABLE OF CONTENTS.

PART
CHAPTER
I.
I.

III.

How

to read Latin

The Roman pronuntiation I. The Vowels II. The Consonants

Accentuation (Tonic accent) I. Place of the accent
II. Value of the accent III.

74 74 74 75
76

II.

The secondary
II.

accent

76 76 76
77 77

CHAPTER
I.

Psalmody

General rules for singing Psalms II. Accented Psalms

.80

Sunday Vespers.
Ps. 109. Dixit Ps. Ps.

Ps.

Dominus no. Confitebor in. Beatus vir 112. Laudate pueri

80 80
81
8i

Ps. 113. In exitu

81

Magnificat

82

Common of Apostles, Martyrs and Confessors.

Ps. 116.

Laudate

Dominum

83

Ps. 115. Credidi Ps. 125. In convertendo

Ps. 138.
Ps. 131.

-83
84 84
85

Domine probasti me Memento

Feasts of Our Lady.

Ps. 121. Laetatus
Ps. 126. Nisi Ps. 147.

Common of Virgins and Holy women.

sum Dominus Lauda Jerusalem

Psalms for Compline.

.86
87
87

Ps. 4.

Cum

invocarem

...

....

Ps. 30. In te
Ps. 90.
Ps. 133.

Domine

87 88 88

Qui habitat Ecce nunc

89

Nunc

dimittis

89

IO

TABLE OF CONTENTS.
Special Psalms for certain Feasts.
Ps. 129.

De

profundis

89

Ps. 127. Beati

omnes
quoniam

Ps. 137. Confitebor... Ps. 45.

90 90
90 9i

Deus noster

Ps. 50. Miserere

Ps. 132.

....
.

Ecce quam bonum

92

CHAPTER
signs
I.

III.

Application of the text to a melody with rhythmic

Practical rules

92 92
93 94 94 96

II.

Analysis of a melody with rhythmic signs

Transcription into modern notation IV. How to sing .a melody without rhythmic signs
III.

V. Progressive exercises with and without rhythmic signs

PART

I.

Preliminary Notions.
I.

First elements of Plainsong.

Notes are the signs used to represent do (or ut), re, mi, fa, sol, 7 notes
:

The Notes. The

la, si.

the sounds. There are

The Forms
value.

notes have various forms

of the Notes. In Gregorian Chant the ( ^ ) which all have the same

We

lay dow?i as a principle that all notes are equal.

The Stave. The notes are placed on four parallel and horizontal lines which are called the Stave ; they may be on the lines or in the spaces between the lines.

Stave

Notes on the stave

If these four lines

added

are not sufficient, leger lines are above or under the stave.

The
-

lines

and spaces are counted from the

lowest.

4th line

3d space

3rd line

2nd
1st

line
line

2nd space is^ space

Clefs. To show the names of the notes, signs are placed at the beginning of the stave which are called
Clefs.

The


12
I.

FIRST

ELEMENTS OF PLA1NSONG.
:

There are two

clef
(ifc\
;

clefs

the do (or ut) clef (jY and the fa

the notes on the lines where they are placed

are called do ox fa.

Dot
do

Dof
4th line

-*

Dogclef,

*clef,

clef,

do

3rd line

do

2nd

line

Fa

Fa ^ -*jj

sometimes
clef,

3rd line

/z

clef,

4th line

The scale. The scale is the series of the seven notes, followed with the first repeated
:

do,

re,

mi,

fa, sol, la, si,

do.

Intervals.
sounds.

An

interval

is

the distance between two

The

and two smaller ones called

:

scale contains 5 intervals nearly equal called tones, semi-tones.

sol-la: la-si.

The tones are do-re: re-mi: fa-sol: The semi-tones are mi-fa; si-do.
:

^=r
Do
re

mi

fa

sol

la

si

do.

Do

si

la

sol

fa

mi

re

do.

semi-tone

semi-tone

semi-tone

semi-tone

An
1.

interval

is

called
i.

the distance E from any given sound to the next I " adjoining d
e.
:

a second,

re>

re

mi

mi

fa

it includes three degrees. (A degree is the place of a note in the scale)

2.

a third, when

ZZ ?tt=*
1

d"o mi>

re

fa>

mi sol

I.

'-

FIRST ELEMENTS OF PLAINSONG.

it

13

3.

a fourth, when

a
fifth,
:

includes E

four degrees

Z
do
fa.

re

sol,

mi

la.

4.

when

it

includes l

five degrees

Z
do
sol,

re

la,

mi

si.

Sixth and the Octave^ are seldom used in Plainsong; the seventh is never used.
intervals, the

Two

Accidentals. All the notes of the scale are invariable and cannot be modified, except si, which may be lowered which is a semi-tone; it is then preceded by the sign
|?

called a flat.

which when lowered by the

sign
if

The

called a natural restores the si flat to its natural tone.

is

si.

si flat.

si natural.

The influence of the flat extends only to the word or to the bar in which it occurs; if it is at the signature, the
note si
ral
fc[

is

lowered throughout the piece, unless a natuis

occurs.

The sharp | which raises the note a semi-tone admitted in Plainsong.

not

The Bars. The divisions of the melody are marked by means of bars, the length of which varies with the importance of the pause
:

a little note placed at the end of each line to indicate the note which begins the next line. It should not be sung.
is

The

Guide. This

The Modes. The

character
its
it

mode of a derives from its scale intervals. (Dom Kienle.)

melody and the

is

the special

disposition of

14

i.

FIRST ELEMENTS OF PLAINSONG.

There are 8 modes in Plainsong, marked in noted books with one of the figures i, 2, 3, 4, 5, 6, 7, 8, at the
beginning of the piece.
are divided into two classes 4 are called authentic (primitive) 1, 3, 5, 7 ; and 4 are called plagal (secondary)
:
:

They

2, 4, 6, 8.

The modes
nants.

are distinguished by their finals

and domi-

The Final
the
first

(or tonic) is the last note of a piece, of the scale in which the piece is written.

and

The Dominant

(or reciting note)

most prominent note in a melody. the middle of the scale in each mode.

with the final, the It generally occupies

is,

The

Finals and Dominants of each

Mode.
2nd Mode.

mode

are

1 st

3rd Mode.

\
Re
-

4th Mode.

\
Mi

r- la.

la.

Re

fa.

Mi

do.

5th
1
i

Mode.
.
E

6th

Mode.

7th Mode.
E i

8th
i

Mode.

Fa -do.

Fa

la.

Sol

re.

Sol

do.

The

first

note

is

the Final,

and the 2nd the Dominant

::

II.

NAMES,

FORxMS

AND VALUES OF THE NOTES.

of the

II.

Names,

Forms and Values Notes and chief Neums.

Punctum
or Square Note
X

Names

Punctum
or Diamond Note

Virga

Forms

Musical
Value

gum
T=t
5

^
2
Glivis

m
Porrectus

Names

Oriscus Quilisma Pes or Podatus

Forms

=
7

J=

fa-sol, fa- la

la-sol, sol-fa, do- la-si, la-fa-sol,

6
b-

Musical Value

is
Torculus

mz
Salicus

mm
Climacus

Names
Forms

*3E
9

10

Scandicus

3CX
12

11

Musical
Value.

flexus

mi mm ^SP
Scandicus
flexus

Names

Porrectus

Salicus flexus

Forms
13

fti

7^^

is

Musical
Value

^-m^m

m wm

14

*+**

: :

l6

II.

NAMES, FORMS AND VALUES OF THE NOTES

Torculus
resupinus

Names

Glimacus
resupinus

Podatus
subbipunctis

Names

Scandicus
subbipunctis

Liquescent Liquescent Liquescent Podatus Clivis Climacus

Forms

gfl%

20
21

35:

K
22

Musical Value

is

19 ra

g
Pressus

S5
X

^i
ram
;

Forms

*nn

ft

gs gs 23
1

Musical
[

Value

^jj

jju^iu^ox^
Tristropha
**-

Names:
Forms

Apostropha

Bistropha

Musical
Value
24

25

M*

tsj^:
26

inn

III.

NOTES

ON SOME OF THE PRECEDING

SIGNS.

l*J

that

From the preceding Table it may be seen Note. compound Neums (12 to 19; 23, 25 and 26) should
v. g.

be divided into groups of two or three notes,

s

Ni

i
-* =*

I
:

should be subdivided as follows

*=fF=3

j-a
Musical value

BBjfl ^J^ ^l
j
ji
1

^a

III.

1-4.
(
)

Notes on some of the preceding signs. The Punctum, square or diamond,

either

shows a note which

is

relatively lower.

note is never used by itself; it is always group including a virga (see 2, climacus 55 ) or a preceding neum (see 18, Podatus subbipunctis 35. )

The diamond

part of a

3.

is

The Virga
relatively
is
it is

which

higher.

(3) shows a note It is often

fS

H
tt

doubled, and

which case
24.
it

there called bivirga, in represented by a crotchet

\$
),

The Apostropha ()
.)

may be
4.

is never found alone, repeated twice (25, distropha, or three

times (26, tristropfta,

is a kind of at the end which found apostropha is of a group, most frequently between two torculi.

The Oriscus ()

5.

The Quilisma. This

is

note
N

indented and lightly sung always preceded and followed by one or more

659.

l8

III.

NOTES
Its

ON SOME OF THE PRECEDING

is
:

SIGNS.

the same as that of other notes, but it has a retrospective effect its execution is always prepared for by a slight ritardando of the note or group which precedes it. In modern notation this is indicated
notes.

duration

placed above such notes. When a group it is the first note of the group which is the more lengthened and emphasized thus the first note of a podatns or clivis may be looked upon as doubled, e. g. sub throno Dei below

by the

little

line

precedes the quilisma,

TT\
et

X^
su- per
su- per

m
sub thro-

no De-

p^r!^r:=ttU=i
et

sub thro-

no De-

I 3" I 5Flexus. Means "bent", and is added to neums which have an acute ending (porrectus, scandicus), to show that the pitch afterwards descends, or is bent in a downward direction.

16-17.

Resupinus. Means " rising again", because

is

a neum, ending with a fall (torcuius, climacus), by a note rising to a higher pitch.
18-19.

followed

note of which

Subpunctis. Applied to a neum the last is followed by diamond notes. If there are
it

two diamond notes, the neum

there are three,
20-22.
is

is called subbipunctis called subtripunctis, etc.

; if

Liquescent notes. These notes are smaller

than the others. They occur in conjunction with certain combinations of vowels, as au-tem, e-]\is; or of consonants, as om-nis. The liquescent note loses part of its strength, but not of its duration.

when two notes meet on the same pitch. The two notes in juxtaposition combine in practice, only making one, of double length, with a strong
23.
is

Pressus. This

ictus.

,u

IV.

PAUSES,

MORAE

VOCIS, BREATHING.

19

IV,

Pauses,

Morae

vocis, Breathing.

Since all single notes, whatever their shape or their position in a group, are represented in modern notation by a quaver, double notes of the gregorian notation (distropha, oriscus and preceding note, pressus) are represented by crotchets, and triple notes (tristropha) by dotted crotchets. In reality the length and stress of each note in syllabic chant are the same as the length and stress of but the average value of a the corresponding syllable syllable may be reckoned as a quaver. Nevertheless, this reckoning of notes and syllables is often modified by their position in the textual or musical phrase, especially at the end of phrases, incisa, and all These divisions are rhythmical divisions in general. marked by a lengthening of the final note or notes (morae vocis, as it was called by the ancients), and pauses propor tioned to the importance of the rhythmical divisions. The following signs are used to distinguish the incisa, phrases and sentences, and to mark the morae vocis.
:

1.

The

quarter bar.
:

With

this

sign,

breathing is optional the time required should be taken from the value of the preceding note.
2.

The
The

half bar. Zl|

Here breathing

is,

as a

rule, necessary, the

time required to be taken, as before,

from the value of the preceding note.

full bar.

Here the

last

neum should

be

slightly lengthened, and a full breath taken, of the value of one note, which is marked by a half rest ? in
:

modern

notation.

s
...

i\
ho-san-na
-

tu-

tu-

ho-sanna

20

BINARY AND TERNARY SUBDIVISIONS.

4-

The double bar

when

is

used at the end of

the lengthening should be more considerable; marks the end of the verses sung by alternate choirs, and in the old books the close of the intonation and the place where the choir are to continue a melody
pieces,
it

also

already begun.

The asterisk (*) now marks the close of the 5. intonation and the commencement of the choir, and the double asterisk (**) shows when the two choirs are to join together after singing alternately.
6.

The blank spaces

syllable

same

mark the morae

between the neums on the vocis. The preceding note

should be lengthened.

t.

r*-

\
"\
e-

jjj

_
g
i

a-

-.

Ky-ri- e

|^^^^
Ky-ri-

^^^^^
le- i-son.

e-

le- i-son,

V.
"It
that

Binary and
is

ternary subdivisions.
fundamental and general law

acknowledged

as a

all rhythmic movements are either binary or ternary" (Abbe Ant. Lhoumeau.) The same law applies to Gregorian chant. Each binary

or ternary subdivision or rhythmic movement begins with a slight impulse of the voice, which should not be a lengthening.

The
1.

following notes receive that rhythmic touch

:

The first note of each group

s
5

fcWi
*

Asper-ges

me

Vi-di

aquam

VI.
2.

RHYTHMIC

NOTATION.

21

The middle note of groups which contain more

"\
coe*

than three notes. Thus

h
Rex

should be subdivided

"*p

lestis

Rex
S-

cce-

lestis

6
8

.*
TS
i

should be subdivided

[SZj

jj

Agnus De-

Agnus De-

(i)

VI.

Rhythmic

notation.

In order to make the rendering of the Gregorian melodies easier to choirs, the Solesmes Benedictines have devised rhythmic signs by means of which the rhythm may be rendered in a precise way and without hesitation.

i.

Rhythmic
(

signs.

i.

A dot
e

after a note

"'

!}"

doubles that note or

nearly so.

3vs
it

2.

The

shows that
This podatus
3.

must be
line

little line above or below a note slightly lengthened.

fi

little

may extend
?

over a whole

clivis

(% J

or

(j).

The comma "

is

the sign of a breathing

rapidly taken from the length of the preceding note.

D. Pothier, Mtlodies grigoriennes.

p.

183 et 184.

22
4.
left

PART

I.

The
side of a

episema

is

little

squnre note,

diamond note, and on the right to mark the rhythmic subdivisions

stroke placed on the side of a

:

b-j

ivi-y^r

by
e-

Ky-ri- e

le-i-son.

$^Lt-i
Ky-rie

^$^Ji&^^m
e\6- i-son.
is

5.
6.

The oriscus () The strophicus

2.

written

*.

is

written

m m.

Rhythmic
:

touches or

ictus.
i.

The
slight

following notes receive the rhythmic touch,

e.

impulse of the voice

1. All square notes with an episema or supplementary stroke (^ ).

tail

These notes must not be mistaken of which is longer.

for a virga (5) the

Cre-ator alme siderum

Beware
2.

of'lengthening the

marked
:

notes.

All first notes of

groups

Ez^znn=z=zz
5k
9|C

555
Jt;
S(C

Asper-ges

me
(p. 16,

Vi-di

aquam

Except a) Pressus
of &podatus or of a

<r//V/i

n 23). When the second note forms & pressus with the following

VI.

RHYTHMIC
on
1

NOTATION.

23

group, the ictus

first
:

falls

this

second note instead of the

.*

35x
hosanna
b) Salicus.

In this group
is

(,)

the ictus

is

on the second

note,

which

marked by a space

after the first note.

neum should not be mistaken for the scandicus (See the table of neums, p. 15, n os 10 and n).
This
3.

All

diamond notes with the episema,

:

whether they are

a) in the middle of a group

* *

gS

-3|

!i_ !_
lestis

The

syllable

^
:

g-

should be sung

Rex
) at the

cae-

end of a group

S-^r-r
de4.

alba-bor

All culminating virgas

whether
in the

a)

middle of a group

I/>)

vH
et

>
:

super

or at the end of a group

omni>o- tens

24
5.

PART

I.

The

first

note of the pressus. This

(2.

from what was said above of that group

Exception

follows
a):

S^B^
sanctus
6. All dotted notes, doubled by a dot.

i.

e.

the value of which

is

^E*-*^
Ky-ri- e

N.-B. Blank spaces in the rythmic notation never lengthening of the preceding note.

mark a

VII. General Hints for correct singing.

In order to sing well, the following points should be observed.
Correct breathing. Breathing should be abdominal, i. e. when a full breath is taken, not only the chest and ribs, but the abdomen should be enlarged and expanded. Draw in quickly, but gently and without noise, as great a quantity of air as possible, and then expire it evenly and gradually.
1.

Correct opening of the mouth. 2. before you give out a sound.

Open your mouth

as far

To open
as the
first

it

correctly, put your

thumb edgewise

and keep the teeth in the same position as long as you sing on the same vowel, in order not to alter the sound of that vowel. You
joint

between your

teeth,

thus avoid saying Ky-ur-ri-e for Kyrie, Mi-se re-ir-re for Miserere.
will
.

3.

arms, or

Correct position of the body. Do not fold your bow your head, or lean forward when you sing;

VII.

GENERAL

HINTS FOR CORRECT SINGING.

25

but hold your head erect, bring your chest forward, and, as far as possible, stand upright.
4.

Strike
time.

each note boldly

and

clearly, but gently at

the

same

Avoid
it

sliding

pitch,

or preceding

from a lower with an obscure nasal sound, or

to the note

up

with a consonant or a diphthong.

Exercise ; After drawing in a great quantity of air, open your mouth as said above (2) and sing to the vowel 0, striking each note sharply and evenly
:

p E T^r^T^-r^^^^^ a
O (short)

should also avoid what is called "portamento di e. sliding through all or most of the intervening tones between two notes.
voce"
i.

You

not strain your voice; avoid throaty or nasal You will avoid the former defect by being careful not to contract the muscles of your throat; to avoid the other, the tongue should not touch the palate, but be kept in the lower part of the mouth.
5.

Do

sound production.

What

boys should do to train their voices and sing well

rules.

A. Observe the preceding

B. Develop the head register of the voice, which should be used above G on the second line of the treble staff, or at least above A soft singing ought to be insisted upon.
:

C. Strive to bridge over the break between the head

and chest
00,
first

registers.

To

obtain

this,

sing to the syllable

piano,

then

mezzo forte

and

forte.

Avoid
how

shouting.

D. Go through frequent

exercises in order to learn

to hold the sounds, as will be said presently.

E. Practise vocalization, i. e. sing an exercise to the various vowels a, o, u, e, i, in order to obtain purity of tone; this will naturally lead to the singing of the words.


26

PART

I.

VIII.

Exercises to learn how

to hold the sounds.

N.-B. The sign t^ which is called a pause or hold^ means that a note may be prolonged according to the
will of the singer or

of the conductor.

The
is

teacher should

mark by some

sign

when each note

to
i.

be struck.

utter the sound,

Take a deep breath (see p. 24), and then softly and hold it for some time with the same intensity, and then pass on to another.

j-j

.
1

1
1

a
1

u
1

TS
..
1
.

a
C

>
1

u, etc.

2. Take a deep breath as above, and then strike the note sharply and clearly, but not harshly, and hold it decrescendO) e. decreasing the volume of sound.
i.

H^-

EXERCISES TO LEARN
^~
1 E
1

HOW TO HOLD THE SOUNDS.

>~
i
1

2J

>-

^^

'

u, etc.

3.

Take a deep
i.

breath,

softly, first increasing,

and then give out the note and then decreasing the volume of
first

sound,
do.

e.

hold the note

crescendo,

and

then decrescen-

Be

careful to

keep

in tune.

-< >~
E i

-0

-< :>

^>~

-<:=-

^>~

-<>-

e^

0-

"^^

^^

-<>-

-<>-

. 1

*
1

u, etc.

These exercises may be varied

way.

indefinitely.

N.-B. The vowels should be pronounced

in the Italian

PART

II.

Solfeggio.
Practical suggestions
:

The following exercises should be sung in the i. movement proper to Gregorian chant, e. at the rate of deliberate recitation or reading. The proper value of
i.

each note, cither by itself or and 152 of the metronome.

2.
i.

in a group,

is

between 132

After singing the notes of an

sing
it

exercise, vocalize

it,

e.

to

one vowel sound, taking each of the vowels

a, o, u, e,

i,

in turn.

The abreviation ral above the last neum of a 3. piece indicates that the movement should be slower, in Do not exaggerate order to mark the end of the piece. this slakening, but keep it in proportion with the preceding tempo.
should be sung decrescendo, ^r== It is aganist nature to sing be. them crescendo -===zZ or even with uniform intensity
4.

All final notes

however short they may

J b :

aV M -!^
p

l*

11

*_*. Avoid

^Sfe:r
^5
De-o
grati-as.
I.

De-o

gra-

ti-as.

CHAPTER
Exercises
in the

Do

clef,

4th

line.

do

re

mi

fa

sol

la

si

do

re

mi.

I.

SECONDS.

29

I.

Seconds
Notes.
x

1-.

Lower

The notes are single when they are by themselves ; when united to others they form what is called musical formula, groups, or neums.
Punctum

A
Single notes

Virga

The virga is not longer than the punctum, N.-B. and should not be prolonged.
1
1 I

Do,

re,

mi,

fa,

sol,

la,

sol,

fa,

mi,

2
1 5

Do.

'
1 1

Mi.
Fa.

re,

do.

(2)

M
1
1

Re.

>

>

''

--3

---
i

Sol.

Fa.

Mi.

Re.

1 i

1
1

Do.
Do.

*
1

.
a.

Mi.

Re.

Fa.

1 give separate exercises for the lower and higher notes in order not to strain the voices, as the pitch may then be lowered at will. 2 A dot (* ) after a note doubles that note.

We

PART

II.

CHAPTER
3=5^
La.

I.

6Mi.
Sol.

Fa.

Mi.

Sol.

4
Re.
Fa.

Do.

Mi.

B
or musical formulae of two notes.

Podatus

Neums

m
to another very
:

&

Clivis

Notes.

tf)

The

in the clivis should

lower note in the podatus, the higher be sung first.

first

b) Give a slight impulse to the without lengthening it.

c) Sing smoothly.

note of each neum,

legato,

i.

e.

pass from one

neum

M, mi
1
\

d)

The

letters

F, fa

under the stave mean L, la O, sol

D, do
S,
si.

R,

re

^a
5

r,

z
>-

r E=;
s

4
M. O. O.
M.

i
-J

D. M. M. D.
rail.

R. F.
.

F. R.

R. F. F.

R.

-a

pa
m

"

^^s
R. F.

ft

D. M. M. D.
I

D. M. D. M.

R. F.

M. O. M. O.

5=C*=s:
F.
L.

*-a-P.
F.

Z!Z|5_4_^
F.

F.

rail.

>

L.

L.

F.

L.

O.

M. O. M.

R.

F.

R.

fr-2-fi
M. D. M. D.

I.

SECONDS.

c
or musical formulae of three notes.

Neums

3it_

Climacus

Jjj

~NT~
Notes,
a)

Porrectus

X-^=
(

The diamond

notes in the climacus

35

ar e

not shorter than the others.

b) In the porrectus ( |5j ) the two ends of the stroke represent the first and second notes.
-c) Give a slight impulse to the without lengthening it.
first

note of each group,

d) Sing legato, as above.

There is another group of three notes, the salicus ( i^ ), which is distinguished from the scandicus (J?) by a space between the first and second notes.
e)

But as
in

in the salicus the impulse

it

is

on the second
r^_

note,
*

we take no account of
which the impulse note of each group.
1

in following exercises,

is

always on the

first

gbjE

*^

J
R.

IN
F.

M.
R. O.

*-*
M.
L.
rail.

D.

*-JL-H-i
O.
F.

-8-

3v
F.

t=s
M.
R.

O.

M.

M.


32
L.

PART
II.

CHAPTER

I.

rail.

^^n^^-^ny-^-^^^iv-i^ MO.
F.

i^

O.

F.

M.

F.

M.

R.
rail.

ss=s
L.

H
F.

ST
O.

N~St3fl
F.

O.

M.

F.

M.

R.

4
K8
R.

Nfr
M.

S=^=S==:
M.
F.

S3=*e:
F.

%
L.

E
O.
F.
la
si

R.

M.

O.

F.
rail.

izq

g
O.

^-"-MST^V
M.
F.

W
R.

F.

M.

8 2.

Higher

Notes.

Sol

re

1
5

Sol.

La.

""""*"
1

* * .,.,
--
"
"
-

do

mi

re

do

si

la

sol.

-.'
1

Si.

Do.

"

Re.

Do.

2
i

'
Si.

La.
.
1
1

ill
Si.

"1
'

Sol.

Sol.

La.

Do.

I.

SECONDS.
_>_t-T-'-^--r-^-g->-^
Mi.
Si.

33

'

'

'

..

Si.

Re.

Do.

Re.

birr^T
La.

Sol.

i a

Do.

Si.

B
E^-a
O. S.
S.

^-fr-^=J:
L. D.

l=$
R.
R.
L.

pi

D.

S.

D. D.

rail.

>

K-r
o. s.

-p.

^i^=pizs=?izi=*=! lzjrztzzl
L. D.

s.

L.

O. S.
r*
I-

O.
r*

S.

R.

S.

6-a

-ft-8-3
t

i|

'

-i-f'-r-izj

D. M. D.
rail.

M. D. M.

R.

S.

R.

D. L. D.

fr

S- r
S.

S.

O.

A
O.

J 2-l
F.
S.

a=8=H;
L.

-J-A
S.

'

O.

D.

L.

R.

i ; J
D.
S.

a F- H
;
;

M.

R.

D.

R.

D.

S.

D.

659.

34

PART

II.

CHAPTER

I.

rail.

A
S.

Jr
L.

*r
S.

A-*Hv
L.

_gJfo-4.

St
D.

O.

L.

M.
-=

R.

rail.

v
R.

\ k
D.
S.

"'
I

Is

y-f^
L.

K " w
O.
L.

D.

S.

O.

h8
L.

"
S.

hL^l
L.

W=HS.

S*
D.
R. D.

D.

S.

j*
M.

jj

arfzrj z
D.
rail.

-w-

X
D.
S.

*t^4
L.

R.

R.

D.

S.

V-a M
S.

L.

O.

II.

Thirds.
Notes.

i.

Lower
A

=-

"i

'
D. M.

fc

^_h

I"'
R. F.

M. O.

=*
F. L.

O. M,

L. F.

i
II.

THIRDS.
2

35

1 1 "

F.
% E

R.

M. D.

M. D.

"
a .

O.
,

" ~r

F. R.
1 i

M.

L. F.

1 "

"

'
M. O.

'

.'

J
'

F. L.
1 i

R. F.

M. D.

B
-8ft^=^=3=^

1=JC
rail.

1E=Z

B
t

r-_3

j-f*

..

r^r-a-T-H-xJ ^p>
a

nrfrrirJ
rail.

m-f^~Y\

r.

5
!

fl

a i

p,

'

-J-ft-3-p

.-=

ra//.

^=* ^=^
1

4=C A

ir

See above,

p. 31,

notes ^ and d.

36

PART

II.

CHAPTER

H
I.

rail.

A fi ft a a-jt; gpaza
rail.

a
"
:

4s

r~\ ntt
j S
,
<|

"

J
!

&

is

J-J^-H-!
I
..

_p V-%,
%,
-

-M-S

'

ra//.

:1v=%r-"

?~~ .;~~

'

2.

Higher
A
-

Notes.

xl

d
S.

o.

s. i

g_._l_._l_

L. D.

!_-

R.

!z___z^Tz_Zii:^
R.
S.

D. M.

M. D.
a

H-r
D. L.

S.

3
O.
B
1

S.
-a

O.
.

fa
D. L.

R.

S.

M.

D
_-

D. M.
i

S.

R.

L. D.

o.

s.

II.

THIRDS.
"

37

Ifc

if

; "

'

^
,

f*~ r
,
|

i.

.
,

ra//.

i=S=^=|n
3

^M

"

ff '%"
a

;
1

t=fc=?=Ci=f=at=s

r<7//.

?=
2
5

Jb

ft

=t
rail.

*=*=^
.

>-

r//.

fctoz
j-.a 1% i%-'"Is

3_H

';

is

-T-i

\
j
1

,s

rwff.

-k

V-gH 5
8

r-c


38

PART
III.
i.

II.

CHAPTER

I.

Fourths. Lower Notes.

l

_
-

"

P
q

41

4H-

*I

. ' . ' .

i_ 1a

-_

fc

-a

m-

^=^2=^=% Mifr .'

IE
i

'

\ I

S w
ft

ra//.

>

fh

>

.a

=n=J
is

here only

1 The interval fa-si % called Tritone or augmeiited fourth for practice.


III.

FOURTHS.
d
r*
"

39

t=F^T 3^7=2==^=^=^=*

raft,

II

n '

flr-HI

flF
rail.

il

fa
//.

-fc3==tq

Jl

A.^Zfat-j,-^^^^-^-^
ra//.

g^
-

'
I

fsr[^

sr E:|: SiSr^
Notes.

2.

Higher
A
-^
-^-8

ft-

s-.-s-.-8

^J

"

9"

m-

8-r

?EE^
ft

M-

i
ft-

4o

PART

II.

CHAPTER
B

I.

L^
!

.--3=g^ 3*

^Jb^qfep
j
1 *

*= =^=F =3=S=J
I

rail.

=
rw//.

t^-f.

..

TL

fj g
c

*=*=*=

**//.

bj.

5 A

ju+LMUJUu
ffl//.

^j

a"-

3
IV.

-jSrNF^

Fifths.
Notes.

i.

Lower
A

'

IV.

FIFTHS.
i
, i
.

41

>

'I
'

B
1
* 1 , 3

PL lb

1
J
rail.

3
'

pl

'

r_ lh

n
g

M
i
'

>-

B
*

2
3 1

\
3

"
PL
f*
i
rt
!

1 . l
fl

-.3

B
-

(L
rail.

'

ru

>-

fl

*'

pl rim

a
ii

a
. L

'

n
: -

V 12 k
?

c
1
P p
rtf//.

>-

2
f

r^//.

>-

Pi

P
.
.
'
r

J"

j l J

r,

JL *i

..-. --/*>
t
i

3
J
*

"^

A
4

'
!i

'
3

J1

is

In

A J ^
1

*
3*
rail.

>a

*
pB

"'*

N
.

"i

A %
*
'

ai

'

,'
'

L-^-te-

..

42

PART
2.

II.

CHAPTER

I.

Higher
A
a

Notes.

1
P

'
i
1

"

"
1

. B

..->

-.

"

'

"

1
i

*
"

"-

".
ii
*
.

'

2
? i

"*"
I i
. .

.
"*"
i

"""

"*""""

..

JO V
J

.:

J=^=j=*z^=J

ra//.

E^^3FFf* Tir r 7i-frr^~g

rail.

kcb

B3^Fts4=^=t3 t==

V.

THE DO CLEF ON THE 2ND

LINE.

43

rail.

rail.

i
p.

j.

ba=HhL44JU

V,

fc*=Ffi=*
rail.

tB^J
NV.

3S=5

The Do clef on the 2nd line,

si,

Sol,

la,

do,

re,

mi,

fa,

sol,

la.

Simplification. The pieces may be read as written with the do clef on the 4th line, and si

if
(7

they were troughout.

Thus

the semi-tones occupy the

same

places.

ttr

\
Clef 2nd line Clef 4U1 line
:

Sol,

la,

si,

do,
fa,

re,
sol,

mi,
la,

fa,

sol.

Do,

re,

mi,

sir

do.

semi-tone

semi-tone

N.-B.
line there
tion, thus

If in a piece written with the

is
:

do
I?

clef

on the 2nd

a si

(?,

there must be a

mi

in the transposi-

=
\

5=3=^
la-si

Transposition
. .

i~
:

3=3=^
re-mi y
semi-tone

semi-tone


44

PART

II.

CHAPTER

II.

CHAPTER
Practice of the

II.

Do

clef,

3rd

line,

Fa,

sol,

la,

si,

do,

re,

mi,

fa,

sol.

I.

1.

Seconds. Lower Notes.

Fa,
sol,
la,
si,

do,
si,

la,

sol,

fa.

Fa.

Sol.

La.

Si.

La.

Sol.

Fa.

2
-

La.

"

Fa.

La.

Sol.

Si.

Do.

_^^ __4-___ -^-; j

Si.

Sol.

Fa.

La.

rail.

^=ZiZZtI
F.

L.

L.

O.

S.

S.

F.

L.

L.

*
45

I.

SECONDS.
fr

S.
s

M
D.
L.
rail.

'"H

F.

L.

O.

U>
D.
L.

f D.

O.

P*
S.

ft r~i~n
L.

S.

A
\

J
M.

H
L.

v
O.

.a

is
S.

^
L.

is
D.
rail.

F.

O.

BM

J
L.
S.

*J
L.

n
L.

^*.Mv*
F.

O.

O.
rail.

ta=%=33
D.
S.

tog M
S.

X-J^
L.

L.

L.

O.

O.

F.
r?//.

6=t* >&
D.
S.

>t
S.

hfl

a
O.

'-*-f*-=pi5 -wL.

L.

0.

F.

4
c-=
f^j

L.

+
^sa-

M
L.
S.

L.
rail.

F.

0.

F.

O.

O.

hv^
D.
S.

wL.

25=* w
O.
L.

O.

46

PART
2.

II.

CHAPTER

II.

Higer
fa,

Notes.

Do,

re,

mi,

sol,

fa,

mi,

re,

do.

g+-*-*-*Do.
Re.

Mi.
Fa.

Mi.
Re.

Do.

2
'
i

JU
Re.
1
:

* 1

Do.

Mi.
,

jjl>
Re.

_-

Do.

B a

T
F.

rtf//.

Bi

3=2
M.

D. M.

M.

R.

F.

D. M.

2
g-a-=a:
D. M. D.
R. F.

R.

M. O. M.

O. M, O.

>
F.

P*

;
II

R. F.

M. D. M.

II.

THIRDS.
c

47

h-s-nE?V-S
D.
S.

a .

X
O. rail

M.

R.

D.

F.

M.

R.

* * H
F.

-t-^-Jz^^i
M.
R.

3S=3 1ZZ2
R.
D.

M.

F.

M.

R.
rail.

3
O.

=Hj

5=K=SI
If.

*=tas
M.
R.

F.

F.

M.
HH*

R.

D.

t3*
D.
R.

Wf-=-J*
D.
R.

J-"-M=f=
M.
F.

i=

M.

R.

M.
rail.

M
I

1*

"
R.

hi
D.

'-l

% *
R.

F.

M.

R.

M.

D.

S.

II.

i.

Thirds.
Notes.

Lower
A

>

|*

,.
....

L.

"

-"*

'

.'


48

II.

PART

CHAPTER

II.

-t

HI

fr.

'

i^F^

i
;-*///.

j=3=*=s====)==^=j

*z^Fi=3=^il -%-J_^_HzFi^
S
rail.

3_p^-rr~t~ft~8

' r

taazzzig
c

rs=zi=a^=s=i

rfl//.

Tf.- /i-5l_t_i!ti;^-j^3
mil.

^-A-^-A
1
J

fl3

\ V

,V

*'

\ V

^.Ir
=

^ CK
3v
1=3

1ft 3-v-

ir

~T~Ts

1 ftr

ra//.

3v^_.'_*
2.
i

Higher Notes.
^
a

g-

-i

B.

*
II.

A
49
Hi

THIRDS.
=-

41

P=-

-*

*-*-*-

"

B
1

* ea^i
i

a 8

*L

..

i-ff^

-ffc"T-.

.--

P-

'

,
1

2
5

m
i

^
i

,
.

Tpp~*~p*1 L~* Pi'* ' ^

ik

a -

p
'

rail.

>~

i i

9 a

y
*

m//.
,

J:

2
3t

ra//.

^ / g -y^.jumi; A
r<z//.

^^
'

1
C

"'*

\ \

("Vy- ^Ti q -J
i

jj V.
r*//.

^v^f*-^-- h is
,

is

^r;

659.

PART

II.

CHAPTER

II.

III.

t.

Fourths,
Notes.

Lower

=-=-

1irH
a

r-s

<

e^zJ

41

41

*-1

i-

Ml

B
'- <-

3=P#:
rail.

r*

'"
,.
i

r.

r g==fl

p.

IzCi ,=I

-N_s-

hi F-

3-fi-S-^
r*//.

jh

t ^

II

ii

iirnr^irail.

rail.

^^zfaz z^z^^ii^d^^iaz^
j

III.

FOURTHS.

5'

r^i^-t-j an^-i-Nuis^^rtd
rail.

rs [n

fsj

2.

Higher
".

Notes.

i#

"

"

- ?-^

-i

E E

'

*
*

-"^-.
1

--

! 1

.
.

. 1

2
i 5
1

. "

"

HH
I
C
"

-tt-

*"
i c

HH

-* a 1

*
1

I i

. B -

..

n
PART
II.

n
II.

CHAPTER
B

* 3=^=

F^F=t=3==S

-^r^J
ra//.

^-i-^ir-T-fk-,-!

J&i

>

fW-a P^=:=3

5-ir-J

nr3~i"^%-fa-r
|A
n.

HT
rail.
.

*'*

"

n.

'

rail.

ji

fl

fl

ji

bzfc;

rail.

a EE^H^EEaEJ tfc*
i

^3

'
.

rarrin^-rN-Nn

IV.

FIFTHS.

53

IV.
i.

Fifths.
Notes.

Lower
A
.

*
a

*. _
B

".

i a

"

<

"

"

2
"

."

"
I i
1

--

"
"

'
1

" 'la
"

_
3

"

."

_.
ft
3
1

B
1
1

'...
ft
PI

fl

aft

1 J

'

1
I

rail.

>

'

Eft ft

'
ft

3 3

2 El
.

ft

3 -

all
-
1

ft ft

9 3
a.

J
<

rail.

>1

E 6

a
ft

a
S

a
I
i

a
i

'

JUL

54

PART

II.

CHAPTER
c

II.

1
E
.__.,

rail.
ft
1

>
E
i

2
n
:
:

rail.
r

>
.

m
L

1 Ji

*'

"L Jl '**"'

PI

i
: .

JL J. JL

3
P

1*

J ^
5

>

s i-t

n
is

% "
"I

'
iJ

N
"

^
1\

1
I

*
hh

r.

% "

SI
2.

i_l

Is
'

m 1

hJ

Higher
A
'
I

Notes.

1
a

g5 i-

E i

1
-

Si
6

-_=

-___
a .

'-

'

r^

i-

-.-

n
IV.

FIFTHS.

55

B
|
l

,iu.
rail.

iM.ii 1t T.-, 1t

i1t

,*t\

p^h^^
rail.

rtrr

5ztl

feEEEEE
rail.
rail.

B
s

^fc^^om^^a
fa; v

>-

=^=^

fe s
?

line

* J
out.

*=

clef,
si,

>//.

Note. Pieces
could be sung as

written with the <& clef

if

on the 3rd
5/
I?

written in the/a

with

through-

The

semi-tones are then in the same places.

Mi,

fa,

sol,

la,

do,

re,

mi.

semi-tone

semi-tone

5^

PART
Transposition.

II.

CHAPTER
-

III.

J *
.

w_si

La,

do,

re,

mi,

fa,

sol,

la.

semi-tone

semi -tone

CHAPTER

III
clef.

Practice of the Fa

La,

si,

do,

re,

mi,

fa,

sol,

la,

si,

do,

I.

i.

Seconds. Lower Notes.

fa,

La,

si,

do,

re,

mi,

sol,

fa,

mi,

re,

do,

si,

la.

1
B*

La.

? %

.
Si.

a
Si.

Re.

'

Do.

I
1
i

Mi.

Fa.

! *
Do.

*
Mi.

i
1
,

_--
-

i
I
.

Re.

p
1

La.

a
I.

SECONDS.

57

^===P
La.

Do.

Si.

Re.
^

Do.

Mi.

<--Re.
Fa.

i
Mi.

et c
Fa.

Sol.

Re.

1
Do.

5
Si.

-.
La.

A
Do.

Mi.

Re.

B
1 *
a
1

p. "*

L.

'

a *
S.

>
'

>

p r-

i "

r
'

I ' |
i

L. D. D.

R. R.

S.

D. M. M. D.
rail.

R. F. F.

R.

>
P *

L.

2
1

! ^

^ r*

a
a
r

S.

'

Pi *

i-

D. M. M. D.
ti
a

S.

R. R.

L. D. D.

L. D. L. D.

"

'
(h
r

P r-

*
a

*
i
Pi i

Pi

"

*
a

S.

R. S. R.
r*

D. M. D. M.

R. F. R. F.

M. O. M. O.

i*

h
F.

%
F.

,.

Pi r-

Pi r"

h
R.

i
S.

fc

.ll .<

O. M. 0. M.
rail.

R,

R.

M. D. M. D.

R. S.

>
a#

J %
Pi Pi

P Pi

D. L. D. L.

3=*3=5=
L.

ggbs
S.

-j
D.

g \
F.

R.

D.

M.

R.

M.

*
58

PART

II.

CHAPTER

III.

i a
R.

H
O.

is
F.

*
I

ft
M.

J
R.

^
O.
rail.

.
I

*
R.

j
D.

is
F.

Vi-J-^r
D.
S.

35=
S.

aSzft^ N
O.
F.

M.

L.

R,

M.
rail.

<=&
F.

*s hi
M.
R.

*'

H
M.

is
R.

mv
D.

",'

'Is'

i; -wD. S.

<- H=s=n.ds=s
O.
F.

tft
R,

M
M.

H=Na:
R.
D.

M.
rail.
;

F.

M.

^=S
R.

>5=^=W
S.

MM
R.

D.

D.

R.

D.

M.

R,

*
M.
F.

>a
M.

*5==j&
O.
F.

35
M.

St
R.

M.
rail

4^
-N-

35
D.
% 2.
S.

M.

R.

D.

Higher

la,
si [7

Notes.

Re.

nn,

fa,

sol,

la,

sol,

fa,

mi,

re.

* ,1
!
1

>

Re.

Mi.

Fa.

Sol.

3 tf

" im

.-._..

I.

y
SECONDS.
59

"
Fa.

'
Mi.

->

|-l

La.

Sol.

3 "
Re!

.1 ""

.
1

-*

T
1

Re.

C
li

a
"

ill..
La.
a

".
Fa.
Si.

"'
a -

J
1 1

'

Mi.

Sol.

1
i

I
|

Fa.

Sol.
>

Fa.

La.

! %
,Mi.

'

>

'

.-!
Re.

-*

Iji
Fa.

Sol.

B
1-5-

R. F.

F.

M. O. O

F. L.

L.

M. O. O.

rail.

2
8 8

^~

V& > <l^r>l^

f" ~Pr
a

8
1

r'

"

\=$=\
F.

R. F. F.

R. F. R.

M. O. M.

L.

F.

.-T^HTfr-TTTC t- P'
L.
F.

o.

s.

o.
rail.

s.

o.

s.

L.

O. M.

O.

F.

R. F.

as
R.

,a

%
F.

i=? lz *
M.
R.
O.

J
M.

15
L.

D.

F.

^
60

PART

II.

CHAPTER
O.
L.

III.

F.

S.

F.

O.

^3*
F.

M<
ft-j-n *
M.
R.

Is
L.

sa
O.

M.

F.

M.

S.

rail.

^is
L.

NJ

"
I

i*.

3
O.
F.

M
M.

*-*
F.

M
R.

O.

M.

N B
L.

'

aagg
L.

st

W- S3=jS=?:
O.
F.

O.
rail.

O.

M.

SS=W
M.
Vfi

H
R.
F.

St=z=3t
R.

W
M.

-AF.

W=^
M.

M.

R.

4-t*-- 1*
F.

m"*
O.
L.

'
si
O.

^s-*-w*
L.

O.

O.

^
L.

rail. 2

gfc r|-V-* zff4 4t

O.
F.

to
M.
R.

O.

F.

M.

F.

II.
i.

Thirds.
Notes.

Lower
A

i 1
a

a
'

*
a

'

I
a.

J '

a *

a "

"

a*

J
'

1 1


II.

THIRDS.
-

6l

<

=-

! %

- ''
--=--

"

B1
a

"

*
a
a*
J

a 5

-"1

*
!

a
_

*-*^4=&

t-k

nzftz3dkz!
rail.

gzfa

=^ ^j^dT'-r; *3
1

i^, ^'.
1

1 ^

tm

--j-j

to.
1*

-^^HV
fr

z!tzr!=a
>

U^^^^
rw//.

rail.

'ft t-ft-i

zzzz^zz^^tztejiz^zzzz.

PART

II.

CHAPTER

III.

rail.

^r

=: :==:

fi

7L
1'Clll.

i:

t\ \
;
is

\ y\\:\
\
be
f'

^ -1%
-3*

1t

J ^viv

3v-v^z4=^

<_j

i4 v-

H-jj_^_|_% __gzz=n
._.
1
r?//.

&-H-.*=^=l. *-V-k
2.

Higher
A

Notes.

*'
P %
m
m

*'"*
,

1
1

'

-k*

b "

"
.

i
1
'

,_.__._*__._

-rT-y^fc^v^^zlzJ

i~

P %
la

T.

'
1
..

,i

U
*
I

ai

%
P *
*
-

"""
1

1
j

J "

"

II.

THIRDS.

63

e *! ^
1

'

!
|

n Hi

r~rt

|-s
1

Ht

'

p 3-..

pi
T"

rail.

>..

2
-

"
'

"

"

Pi r-

Pi

1!

P.
|

,'

p Pb

a "

% ^

"

p
'

P !

1
'

r<7//.

>.

P ^

1
I

Ik

% ^

PI

'

Ik

P.

i!

_ P PE /

d"

fc.

-*r -

*-A -

13

k 1
iP

m//. >-

*k

P^

P.

..

^
j

rail.

Jl

A A

ft"

a a-HHSrail.

"*
la

'

H^

5 S E

5\

sa

..

P~iP'

K=td
S

^-^-li^^t^prj^^iir-

n gg
I

g -^T=
r//.

^-^n-^-^tzHzKB

8-'-

1'Hn-^


64

PART

II.

CHAPTER

III.

III.

Fourths.
Lower Notes.

1.

F "

" "" ! _ .'" "

m

"

"
"
I

I
'

%
if

"

"

"

"

J J

11
"

'"

rf

%
P 1

*
. i
B

1 %

fl

__
a

B
.1 1p

%
'

'

i.

.--_..
i

pi
'

Ti

r-

%
* *

rail >-

F 1

F.
"

r*

>

a %

> %

pJ

III.

FOURTHS.
-ft-

65

^=3=; EbsrfeEBES
^Hra

rail.

1UUzb
A A

- \

inn
Jl

3F*
rail.

V
1

* f-7*
;<?//.

A
ac=3

n,

^Pto^S^
a

s==o
rail.

j 5

^J-^v^ ^>y^-f
>
f

2.

Higher
A

Notes.

E *

? %
*

'
.

M
1

1
1

f %

"

la
r

2
F *
.

"

"'
1

"

"

I
1

'

F %
N
659.

66
-s-

PART

II.

CHAPTER
-

M
4=

III.

<

'-

Jl

B
-

to* b*=*
I
P-iT-* g

J=^=s:

ri r^=s
ra//.

^-%-^-ir-i-V-i-l

*=f^
_
i_

3=Z=3= Hz&zizzztzS-r^r^^^

*-JL_tf_i_J

j^

^^n^^^d
ra//.

3E^^E5E^^3
^i^E5^z^-^^i=5g=^:pg=

^^^^l^^bNz^SbN^p^:

"

67

IV.

FIFTHS.

IV.

i.

Fifths.
Notes.

Lower

2a

"

JL^-*
-

'

.T^i

JP

J J

? %

1
1

'

! *

ft

Ik

te

E^^S^SH^
rail.
7W//.

B
3

a-HI

^ '"

L
J

It

..

^3

'

in^s^

-1L

-i-

k-

L-

^*n^=t

68

PART

II.

CHAPTER

III.

c
rail.

>
1 1

2
H
F
-

rail.

*-

hrft

At-

Jl

JWt=&
*=*=%=
rail.

1=2 ts=z=$

*-H-

>Jr

'

*>

Jy
A

'

n j

2.

Higher Notes.

% ! %

.
. -

*
"

.*
|

"

'

"

a
i

"
1

'

! %

'

B
I

,_

j
i

ll

2 ! *
.

*
B.
I

"

"

.'

iK
.!

i!-*_

nMMl,

a
HI

'

i
th

fc

'

ACCIDENTALS AND COMPOUND NEUMS.

69

ihHW
<"-

3
ii

fr
J
.-

=
1

^=l3=r-t

nr//.

3ir

<-hr=

..

1=^ '-Jd
11
ra//.

^"r^rft^-^tVH^
1

^-^ujuaih
l.
u
-

'- V

r//.

4rri X-

,. >

'

i >

In =b
i
1

N
..
1

'

is
rail.

^-^r

>

sa

j-

5 3

CHAPTER
Accidentals and
Notes.
)

IV.

compound neums.
ty)

Read
page

again the remarks on the flat

13.
p. 17.

and

the natural

(fcf)

Read

again the note


7o

=
PART
II.

z
IV.

CHAPTER

i.

Exercises

on the Note SI

(140)

'

rail.

(195)

ii

-a

_
a

i-

3 {140)

ih^zhtc^^
4
(342)

hi

mI*

. H

*-*-F
5 a
(838)
m I

i~
6

m -

(247)

i^zz-X^-T^
r

Kj

jga

=fl

*<-*^

*v

HUH

fr j

i*-pir-

M
'

777
*'
p

gft >~>=i-ii=tiiz!zz

i-i

-*

>:

'i

7 (412)
a

tr r^

rav
zisualis

The

figures

edit. 1903)

between brackets refer to the Solesmes Liber from which these melodies are taken.

ACCIDENTALS AND COMPOUND NEU.MS.

7<

C .'fl/

rnffr

8(219)

-^W a M^-^IWL^!

^frj-nr"^*=^'9
(489)
'
f

-^iv^=n
8

ff"'*tg^i

e-'^

> **-*
y
*wi .^

^ztaztej:

g-^jji
4

*fw^
5M

r-i, r>

'
r.-

10 (445)

h-f

b^A
.

j
i

j ./M^iv^ir^ ^s
tt7//.

s=3

"lyirn

'

-^*

a:

"-*1-

Na s
,

2.

Exercises
s-

on SI

(?.

1 (402)

2 f

^
I

-==-

*=

(439)

i.

=za rsrT^^wAL^|^y.-^ 3tf

iF3

>

-*-H

Hy1<|M

Ar^jL

E g^Ar g 5 g
!

8:

72

PART

II.

CHAPTER IV.
rail.

(510)
a
a

=^7-^=t
.

35

r~A l^-^i - *
4

P*

4( 5 9S)

Sirs

fer^^-^^f^=^f^f=^^Jf!^
5(17

h
6
(136)
|

rH

gH-iAr-f-|

la.

1-6

*-|V

ST8~rTfeTi %~8~i;

hcrtt

(500)

8-

s-

^~ ^ *'bJ H *bJ % S
'

s-j*

i %-=

l (

=-!

8* la j -S-l !j-j- rt"i r;-I

l
g-

^^
8
(143)
rail.

^WHr-^-^V^
T'fi-F=3
J-3

*-*

a
ra/7.

*tr-ry*-is3z&
10 (288)

^!r^-rt=^

^Ss

<-,^-p.-^x^iv^^3^
i

i.

. 8

ACCIDENTALS AND COMPOUND NEUMS.

^M

sl

>\ 4

ifcj

eH fjp^

73

:
!

p^

1=3

<-frr^^=3wfr:
3.

Exercises
-

on SI

ij.

K13S)
8 . : b

J 1^-^TT V4 fdd'fr-f^V "" >i

i

. - a>

,2(697)

ra//.

(262)

*r^f*-A v 4
(623)

tfA^ ;

*,,

^t3 j3ese j
>-<i//.

Hh

tt^ a 5^^

g 3Bg
g
.

5 (603) taggjj .H."

V gtg j=]fe
ra//.

s>

(495)

.*]>.. ,3

->^-

PART

III.

CHAPTER

I.

How to
I.

read Latin.

The Roman pronunciation. The Vowels.

i.
It is

A is pronounced like a mfather. E has no exact equivalent in English.

sented by the sound of a in fare, or of

best repre-

e in met.

M and
inter,

(E
I

are
is

pronounced

like

e.

,.

always equivalent to "the English ee;

e.

g.

pronounce een-tair.

like o in for.
is

U
Y

always to be pronounced like oo in cool;

e.

g.

cultum, pronounce
is

cool-toom.
/'.

equivalent to
is

ough in plough. EU, when a diphthong, is to be pronounced like AU, changing the sound of A into that of E. Euge and heu are practically the only two words where you will have to pronounce these letters as a diphthong. Everywhere else the two vowels make two separate syllables, e. g. Deus,

AU

pronounced

like

pronounce day-OOS.

1 When AU and EU are sung to a group, the sound of the be uttered on the last note.

should

(137)

^*~frfl

"

should be sung

Ji

au-

tern

a-

u- tern

should be sung

Eu- ge

E- u- ge

i.

the roman
2.

pronunciation.

75

The
in

Consonants.
the following
list

The

letters

not

named

are to be

pronounced as

in English.

C before English K.

a, o, u, or a

consonant,

is

equivalent to the

before
:

e, ae, oe,

i,

is

pronounced

like ch in churchy

e. g.

feceritis

cesium
dicite

= fecheritis. = chselum. = dichite.

u,

CH
G

is

always as K.
or a consonant, except #, as in the

G before a, o, English govern.

before
e,
ce^

ce,

/,

is

soft,

as

in the

English word

general.

GN have the softened sound given to these letters in French, something like n followed by the consonantal sound of y as in new ; thus the pronunciation of ?nag?ius might be represented by mannuce.
t

H
tives.

is

pronounced

like
it

In other cases

k in mihi% mihil and its derivashould not be pronounced.

is

always pronounced \\key in yes.

:

Thus

= Yesus. = Yam. Jam

Jesus
e,

SC, before

^,

ce,

/,

as sh.

Thus

descendit

crescendo

= deshendit. = creshendo.
s,

TI, before a vowel and after a consonant, except,

is

x,

/,

pronounced

si.

Thus

dilectio

dilecsio.

infantium

= infansium.
is

TI, between two vowels,

pronounced

tsi.

Thus

\patientia
petiit

patsiensia.

petsiit.

76

PART

III.

CHAPTER

I.

TH

is
:

always like T.

Thus thesaurus = tesaurus. Z is pronounced like dz. Thus Zelus = Dzelus.

:

II,

Accentuation,
of the Accent.
first

In

latin

a stress

words of several syllables, one of these receives or impulse which is called tonic accent,

i.

Place

In words of two syllables, the accented, e. g.

i.

syllable is

pater, mater, edits, tuum.

2.

In words
is

accent

more than two syllables, the tonic always marked in liturgical books, e. g. Dbminus, factor em, divites.
of
last syllable is

3.

The

never accented.

2.

Value

of the Accent.

The accented
3.

syllable should not be lengthened.

The

Secondary Accent.

Besides the tonic accent, long words in latin as in all languages have secondary accents which are placed on every alternate syllable both before and after the tonic
accent.

Before
S.

After

T.

T.

S.

mi-si- ri-cor-di-a

Do-mi-mis,

21

12

In words accented on the antepenultimate (last syllable but two), the secondary accent is placed on the last syllable when it is not immediately followed by an accented syllable
:

but

Dbmimis Dbminus

et

Deus.

tecum.

I.

GENERAL RULES FOR SINGING PSALMS.

77

Exercise : Read one of the following Psalms (p. 80), exaggerating the tonic accent, and then sing it according to the Rules of Psalmody.

CHAPTER
I.

II.

Psalmody.

General rules for singing Psalms.

We

The rules for Psalmody are to be found in the Petit Traite de Psalmodie by the Benedictines of Solesmes, J and in the <lPsalmi cum notispro Vesperis et Officios give here only some general rules.

The Psalms Each Verse

in the liturgical

are divided into verses.

parts,

consists of two distinct books by an asterisk (*).

marked

The Intonation is a musical phrase at the beginning of a psalm, which is not repeated after the first verse, except in the Canticles Magnificat and Benedictus.

To sing an intonation well, the rule without exception is One syllable to each note or group, whatever may be the quantity of the syllable.
:

Intonation

1st

Mode

E \
\

3rd

Mode

7th

Mode h-fSS
Di- xit
Con-fi-

D6- mi-nus
te-

bor

Be- aG161

tus vir

ri-

a Pa-tri
the
title

An

English translation
"

may be had under

of " Rules for

Psalmody,

78

PART

III,

CHAPTER

II.

The Tenor
the verse
is

or Reciting

Note

is

the note to which

sung.
Finals.

The Cadences are called Mediations and The Mediation is the musical phrase
pause marked by the asterisk (*)
the verse.

before the

after the first part of

The
verse.

Final

is

the musical phrase at the end of the

These Cadences have one or two accents. The Cadences of two accents are the Mediations
:

of the i st, 3rd and 7th 7th Modes.

Modes

the Finals of the 5th and

All the other

Cadences have one accent.

Cadences of one accent.

Tenor
g
ft*

Mediation
1

8
Do- miDefectio

r?Q,ftl-n
ft

no
tenu-

meit

me
ni

Magna opera
Tenor

D6- miFinal

J
1

/
'
'
1 D

is

se-de

ante luci-

fe-

rum

manet

in sse-

dexgecu-

tris

mei

nu-

te
li

lum

sae-cu-

Cadences of two accents.

Tenor
_i

Mediation

I
Defectiet

> B

/
3

te-

nuturet

it

me
tus
li-

non
a

sum
Pa-tri

baFi-

Glori-


I.

79
Final

GENERAL RULES FOR SINGING PSALMS.

Tenor
I

di-li-

/
D
1 D

is

sede a

abundantia
et

dexgene-jus

tris
ti-

mebus
sae-cu-

te
la.

semini

in

proper rendering of the cadences. To sing the mediation correctly, slightly lengthen the movement after the last accent, and then make a
for the

Rules

pause of the same value as the lengthened

syllables.

To
as for

sing the final correctly, lengthen the movement the mediation, and make a pause of the same value
syllable; then

as the last

begin the following verse or

antiphon.
IntonationTenor or reciting note Mediation
rail.

Pause equiva"ilent in
~
rail,

value

-to the length-

ened syllables*

35
Di- xit Do-

mi-nus D6-mi-no

me

(me-

o)

Tenor.

Final rail.

-!f

P * U

Begin the folloiving verse or the antiphon

immediately.

rail.

fe^g
se-de

U
is.

dextris

me-

Do-nec

psalmody should be anieach half-verse to be sung in one breath. If the half verse is too long, the sign of theyfe* (f) marks a slight pause.
of the
mated enough
to allow of

The movement

So

PART

III.

CHAPTER

II.

II.

Accented

Psalms,
et

PSALM
Dixit

109.

nunc,

semper, *

et

in

ssecula saeculorum.

D6minus Domino
*

Amen.
psalm
Confitebor
in toto

mdo
meis.
tiios,

sede

ddxtris

110.
tibi

Donee ponam inimfcos

* scabellum

Domine
:

pedum
emit-

cdrde

mo

tuorum.

consilio
virtiitis tiiae

justorum,

et

* in con*
:

Virgam
tet

Dominus
in

ex

Sion *

gregations Magna opera Domini

in

dominare

medio inimicd- exquisita

tes djus.

dmnes volunta-

rum tuorum.

principium in die Confessio et magnificentia virtiitis nine in splendoribus dpus djus; * et justitia jus sanctorum * ex utero ante manet in saeculum sabculi. luciferum genui te. Memoriam fecit mirabiJuravit D6minus, et non lium suorum, f misericors et * tu es miserator Dominus: * escam poenit^bit um sacerdos in aeternum, secun- dedit tim^ntibus se. dum ordinem MelchiseMemor erit in speculum dech. testamdnti sui * virtiitem
:

Tecum

Dominus
is,

a dextris tiicon fregit in die irae

in
:

suae reges.
Judicabit

6perum suorum annuntiabit pdpulo siio. Ut det illis haireditatem nationibus gentium * opera manuum
:

implebit rufnas * conquas- ejus Veritas et judicium. Fidelia omnia mandata sabit capita in terra multdrum. ejus t confirmata in saecuDe torrente in via bi- lum sseculi * facta in veri* propterea exaltabit tate et aequitate. bet
:
: :

caput.

Redemptionem

misit

pd-

Gloria Patri, et Filio, * pulo suo:*mandavit in aeteret Spirftui Sancto. num testam^ntum siium.
Sicut erat in principio, et

Sanctum

et terribile

nd-

N.-B. In Ihe following Psalms, the syllables which correspond to the melodic accents of the mediations and finals, are printed in bolder type.

1,

II.

ACCENTED PSALMS.

8l

men
tiae

initium sapiendjus PSALM 112. tfmor Domini. Laudate piieri DdmiIntellectus b6nus omni* num laudate ndmen bus faci&itibus eum * lauDomini. datio ejus manet in saeculum Sit ndmen Domini beneSaeculi. dictum, * ex hoc mine et PSALM III. usque in saeculum. Beatus vi'r qui timet Do A solis oitu usque ad minum; * in mandatis ejus occasum, * laudabile ndmen Domini. volet nimis.
: :

P6tens in terra
djus
:

erit

semen

* generatio rectorum

benedicdtur.
:

super gentes Dominus, * coslos gloria ejus.

Excelsus

omnes
et

super

Quis sicut Dominus Deus Gloria et divitiae in domo * et justitia ejus ma- noster, qui in altis habitat, * ejus net in saeculum saeculi. et humilia respicit in coelo Exortum est in tenebris et in terra. Siiscitans a terra fnolumen rectis * misericors pem, * et de stercore eriet miserator et Justus.
|

Juoindus homo qui mise- gens pauperem. Ut collocet eum retur et commodat, t disponet sermones siios in judicio * quia in aeternum non
:

cum
princisteri-

principibus,

cum
facit

pibus pdpuli

siii.

COmmov^bitur. In memoria
:

Qui habitare
aeterna
erit

Justus non timebit. Paratum cor ejus sperare

in

lem in domo, * matrem * ab auditione mala filiorum laetantem.

psalm
113.

Domino,
:

confirmatum

commo6st cor djus vebitur donee despiciat ini- pulo barbaro.

mfcos
bus
:

* non

In exitu Israel de pto, * domus Jacob

^Egyde pd-

siios.

Dispersit,

dedit

pauperi-

Facta est Judaea sanctificatio jus, * Israel pot^stas

ejus.

f justitia ejus
:

manet

in

Saeculum saeculi

* cornu
\

Mare
!

vidit et fugit

*
:

ejus exaltabitur in gloria.

tur, t

Jordanis conversus est

re-

Peccator videbit, et irasce- trorsum. Montes exultaverunt ut dentibus siiis fremet et * et cdlles sicut * arietes, pecdesiderium tabescet agni ovium. catorum peribit.
:

No

fi

59.

82

PART Quid
est tibi
* et til

III,

CHAPTER

II.

fugisti?

mare quod ciunt 6a * et Jordanis, quia confidunt in dis.

:
:

dmnes qui

protector edrum est. Domus Aaron speravit in A facie Domini mota est Domino * adjiitor eorum t^rra, * a facie Dei Jacob. et protector edrum est. Qui timent Dominum speQui convertit petram in * * Stagna aquarum, et riipem raverunt in Ddmino in fdntes aquarum. adjiitor edrum et protector Non nobis Domine, non edrum est. Ddminus memor fiiit ndnobis * sed nomini tiio da * et benedfxit nobis. gldriam. stri Super misericdrdia tiia et Benedixit ddmui Israel: * * nequando benedixit ddmui Aaron. veritate tiia dicant gentes libi est Dus Benedixit dmnibus qui timent Ddminum, * pusillis edrum?
et
:

conversus 6s retrdrsum. M6ntes exultastis sicut arfetes, * et colles sicut agni dvium.

Domus Israel speravit in Domino * adjiitor eorum

Deus aiitem ndster in C&lo * 6mnia quseciimque

:

cum
vos
:

majdribus.

Adjiciat
fflios

Ddminus super
et

vdluit fecit.

* super vos,
vdstros.

super

Simulacragentium argn-

tum

et

aiirum, * opera
et

ma-

nuum hdminum.
Os habent
tur
:

nonloquen-

dculos habent et videbunt.

dient

non

Benedicti vds a Ddmi* qui fecit caelum et terram. Coelum caeh Ddmino, * terram aiitem dedit ffliis
no,

Aures habent et non au- hdminum. * nares habent et non Non mortui laudabunt te odorabunt. Ddmine * neque dmnes Manus habent et non pal- qui descendunt in internum. pabunt; f pedes habent, et Sed nos qui vivimus, be* non nedicimus Ddmino,* ex hoc non ambulabunt clamabunt in giitture siio. mine et usque in saecu:

Similes

illis

fiant qui fa-

lum.

CANTICLE OF THE
Magnificat * anima

B. V.

M.

ma

Et

exultavit

spiritus

Do minum.

meus*in Deosalutarimdo.

II.

ACCENTED

PSALMS.

83

Dep6suit potntes Quia respexit humilitatem de * ecce enim sde, * et exaltavit humiex h6c beatam me dicent les.
ancillae suae
:

omnes generationes.
Quia pdtens
fecit
:

Esurientes
:

mihi magna qui nis * * et sanctum inanes. est

a
ti-

et

divites

impl^vit bodimfsit

ndmen
Et

djus.

misericordia ejus progenie in progenies *

mdntibus 6um.
:

Suscepit Israel piierum Siium, * recordatus misericordiae suae.

Sicut locutus est ad patres Fcit potentiam in bra* Abraham et semini ndstros, chio siio * dispersit superdjus in saecula. bos mente cordis sui.

COMMON OF APOSTLES, MARTYRS AND CONFESSORS.

I.

VESPERS.
80.

I.

Dixit

Dominus, /.
vir,

3.

Beatus

/. 81,

2.

Confitebor

tibi,

/. 80.

4.

Laudate

pderi, p. 81.
est

psalm
:

116.

Qu6niam confirmata
super
6]\is
:

Laudate D6minum omnes * laudate eum gdntes

nos

misericordia

*
in

et Veritas

D6mini

6mnes

populi.
II.

manet
VESPERS.

aetdrnum.

FOR APOSTLES.
I.

Dixit

D6minus, /,
115.

80.

2.

Laudate

pueri, /. 81

Quid retribuam Domipro 6mnibus quae reCredidi, propter quod lotribuit mihi? * ego autem cutus sum
no,
:

psalm

Calicem salutaris accfpiam et nomen Domini Ego dixi in exc^ssu * m6o Omnis homo men- invocabo. dax. Vota mea Domino redhumiliatus
:

sum

nimis.

84

PART

III.

CHAPTER

II.

dam coram omni pdpulo

ejus
:

psalm

138.

* pretiosa in conspectu

COgnovisti me * tit cognoejus visti sessionem meam et reO Domine quia ego sdr- surrectionem mam. vus tlius * ego servus tiius, Intellexisti cogitationes
:

Domini
:

mors

sanctorum

Domine

probasti

me

et

et filius ancillae tiiae.

Dirupfsti vincula mea tibi sacrificabo hostiam lau:

meas de longe

* semitam

meam

et

funiculum

meum

dis, et

nomen Domini

investigasti.

invo-

cabo.

Vota mea D6mino reddam in conspectu omnis populi ejus, * in atriis

domus
Jeru-

Domini,
salem.

in

medio

tlii

Et omnes vias meas praevidlsti * quia non est sermo in lingua mea. Ecce Domine tu cognovisti omnia novissima et antfqua * tu formasti me, et
: :

tiiam. Mirabilis facta est scientia In convertendo Dominus * facti tiia ex me * confortata est, captivitatem Sion siimus sicut consolati. et non potero ad earn. Quo fbo a spiritu tlio? * Tunc repletum est gaudio os nostrum * et lingua no- et quo a facie tiia fiigiam? Si ascendero in caelum, tu stra exsultatione. Tunc dicent inter gen- lllic es * si descendero in
:

psalm

posuisti super

me manuum

125.

tes * Magnincavit Dominus internum, ades. Si siimpsero pennas meas facere cum eis. Magnincavit Dominus fa- diliiculo. * et habitavero in cere nobiscum * facti sii- extremis maris
: :

mus

laetantes.

Etenim

illuc
:

manus

tiia

* et tenebit Converte Domine captivi- dediicet me * tatem ndstram, sicut tdr- me dextera tiia. Et dixi Forsitan tenebrae rens in Austro.
:

Qui seminant
tent.

in

lacri-

conculcabunt me
illuminatio

* et

nox

mis, * in exsultatione

me-

mea

in

deliciis

meis.
rabiintur a

Eiintes fbant et flebant, * mittentes semina sua.

Quia tenebrae non obscute, f et nox sicut

:

Venientes autem venient dies illuminabitur

cum

exsultatidne/*portantes
siios.

tenebrce ejus, ita et

djus.

* sicut liimen

manipulos

II.

ACCENTED PSALMS.
exsurrexi,
et

tu possedisti rdnes * suscepisti me de utero matris meae. Confitebor tibi quia terri* biliter magnificatus es

Quia
:

adhuc

sum

mos

tdcum.
Si occideris

* tores declinate a
:

viri

Deus peccasanguinum
:

me

mirabilia 6pera

tiia,

et

anima
ne

Quia
:

dicitis in cogitatio-

mea cogndscit

nimis.
fecisti

* accipient in vanitate

Non

est

occultatum

meum

a
:

te,

quod

os civitates tiias. Nonne qui in

occulto

* et substantia

mea
vide-

in inferioribus tdrrae.

oderunt te Domine, oderam? * et super inimicos tiios tabescd-

Imperfectum
runt oculi
tiio
tui, t

meum
et

bam?
lllos

in libro

omnes scribdntur:*dies formabuntur, et nemo in 6\s. Mihi autem nimis honorificati siint amici tiii Dus * nimis confortatus est principatus eorum. Dinumerabo eos, et super arenam multiplicabiintur: *
:

Perfecto odio oderam * et inimici facti sunt

:

mihi.

Proba
cor
et

me
:

meum
est
:

Deus, et scfto * interroga me,

cognosce sdmitas mas. Et vide, si via iniquitatis

* et deduc in via aetdrna.

in

me

me

FOR MARTYRS.
As
p. 83.

in the

I.

Vespers, except the last Ps. Credidi, as above.

FOR CONFESSORS BISHOPS.

As
in the
I.

Vespers, except the last Ps. as follows.

Et requiem temp6ribus meis donee inveniam loMemento Domine Da* tabernacuvid, * et 6mnis mansuetii- cum Domino, lum Deo Jacob. dinis djus * Ecce audivimus dam in Sicut juravit Domino, Ephrata * invenimus earn v6tum vovit Do Jacob
131.
: :

psalm

Si introiero in tabernacu-

in

campis
:

silvae.

Introibimus in tabernaculum ddmus mae, * si ascenlum djus * adorabimus in dero in lectum strati mdi steterunt pddes Si dedero somnum oculis 16co ubi mis, * et palpebris meis ejus. dormitationem. Surge D6mine in requiem
:

86

PART

III.

CHAPTER
:

II.

Quoniam elegit Dominus tiiam, * tu et area sanctificationis tiiae. Sfon * elegit earn in habiSacerdotes tiii induantur tationem sibi. * et sancti tui Haec requies mea in saejustftiam culum saeculi * hie habitaexsiiltent. Propter David sdrvum bo qu6niam elegi dam. Viduam ejus benedicens tlium, * non avertas faciem benedfeam * pauperes ejus Christi tui.
:
:

Juravit Dominus David saturabo panibus. veritatem, et non frustrabiSacerd6tes ejus

tur
tiii

induam

dam * de friictu ventris ponam super sedem

:

tiiam.
Si

custodierint

filii

tiii

* et sancti ejus salutari exsultatione exsultabunt. Illuc prodiicam cdrnu David, * paravi lucernam
:

testamdntum meum, f
testimdnia docebo eos

et

mea
:

hsec,

quae
in

Chrfsto meo. Inimicos ejus induam con* super ipsum fusione

:

Et

filii

eorum usque

auterri efflorebit sanctificatio

saeculum, * sedebunt super mea.

sedem

tiiam.

FOR A CONFESSOR, NOT A BISHOP.

As
in the
I.

Vespers.

FEASTS OF OUR LADY.

COMMON OF VIRGINS

AND HOLY WOMEN.

I.

Dixit

Dominus,/.
121.

80.

2.

Laudate

piled, /. 81

psalm

Illuc
tribus,

enim
tribus

Laetatus siim in his quae * In dodicta sunt mini

:

Domini

ascenderunt *
:

testimonium Israel ad confi-

ibimus. Stantes erant pedes ndstri, * in atriis tiiis Jerusalem.

quae aedifica* ciijus partur ut civitas ticipate ejus in idipsum.
:

mum

Domini

tendum ndmini Domini. Quia illic sederunt sedes

in judicio, *
sedes

super

Jerusalem,

David. Rogate quae ad pacem Siint Jerusalem * et abun:

domum

dantia diligentibus

te.

II.

ACCENTED
:

PSALMS.
siiis in

S7

Fiat pax in virtiite

et

tua * qutur inimicis

ta.

por-

abundantia
Propter

in

tiirribus

tiiis.

psalm
fratres

147.

meos

et
j
:

prdximos meos, * loquebar

Lauda Jerusalem Ddmi-

num
gfon.

* lduda

D ^ um
:

pacem de
Propter

tlium

te

domum Domini

D6i
tlbi.

nostri, * quaesivi

Quoniam confortavit seras bona portarum tuarum * bene|

dixit

filiis tiiis

in

te.

psalm

126.

Qui

posuit
:

fines

tlios

ddmum,
Nisi

Nisi Dominussedificaverit * in vanum labora-

pacem
satiat

et

adipe frumenti

te.

verunt qui aedlficant 6am.

Qui emittit el6quium * velociter Siium terrae

:

Dominus

custodierit

ciirrit

civitatem, * frustra vigilat qui custddit 6am.

s6rmo

6jus.

Vanum

est

vobis
:

Qui dat nivem sicut la* nebulam sicut cineante rem spargit.

nam

siirgite Mittit crystallum siiam man- sicut bucc6Uas * ante faqui postquam sederitis, ducatis panem doloris. ciem frigoris ejus quis SUSCum dederit dilectis siiis tinebit? somnum * ecce haereditas Emittet verbum siium, et merces, fru- liquefaciet 6a * flabit spiD6mini, filii ctus v6ntris. ritus ejus, et fluent aquas. Sicut sagittae in manu Qui anniintiat verbum * ita filii pot6ntis excus- Siium Jacob * justitias et
:

liicem surgere

SOrum.
:
1

judicia

sua
:

Israel.

Non fecit taliter 6mni Beatus vir qui implevit * et judicia stia desiderium siium ex ipsis * nationi non confundetur cum lo- non manifestavit eis.
1

PSALMS FOR COMPLINE.

Cum
Miser6re m6i, * invocarem exaudivit orationem m6am.
justftiae

PSALM

4.

et

exaudi

me Deus

m6ae

*
:

in tribulati6nedilatastimihi.

Filii hominum usquequo gravi cdrde? * ut quid dili-

*
88
gitis

PART

III.

--

CHAPTER

II.

vanitatem et quseritis quern absconddrunt mihi: qu6niam tu es protector mendacium?

quoniam miri- mdus. Dominus sanctum In manus tuas commendo Siium, * Dominus exaudiet spiritum meum * redemime cum clamavero ad um. sti me Domine Deus veriEt
scitote
ficavit
:

Care

Irascimini, et nolite pec- tatis. * quae dicitis in cordibus vestris, in cubilibus

:

PSALM

90.

vestris

compungimini.
et

in adjut6rio * in protectione Altissimi,

Qui habitat
caeli

Sacrificate sacrificium ju-

sperate in no. * Miilti dicunt

stitiae,

Domi:

Dei

commorabitur.

Quis

Dicet

Domino Susceptor
:

ostendit nobis

Deus meus spemeum Signatum est super nos rabo in um. lumen vultus tui Domine * Quoniam ipse liberavit dedisti laetitiam in corde me de laqueo venantium, * meo. et a verbo aspero.
:

bona?

meus

es

tii

et

refugium

frumenti, vini et Scapulis siiis obumbrabit * multiplicati sunt. olei siii * et sub pennis 6jus tibi In pace in idipsum *
friictu
:

d6rmiam et requiescam. Qu6niam tu Domine singulariter in spe * constituisti

sperabis.

Sciito circiimdabit te Ve-

me.

psalm

30.
I

In te Domine speravi, non * daemonio meridiano. confundar in aeternum in justitia tiia libera me. Cadent a latere tuo mille, Inclina ad me aurem et decern millia a dextris ad te autem non aptiiam, * accelera ut eruas tiiis
:
'

* non timebis a jus timore noctiirno. sagitta volante in die, a neg6tio perambulante in * ab inciirsu, et t^nebris
ritas
:

me. Esto mihi

propinquabit.

in

Deum

proI

Venimtamen
:
;

oculis

tilis

tectdrem et in domum refii- considerabis * et retribugii, * ut salvum me facias. tidnem peccatdrum vid^bis.

Quoniam

fortitudo

mea
:

Qu6niam
:

tu es

D6mine

* Altissimum et refiigium meum es tu mea et propter n6men tiium de- posuisti refugium tiium. duces me et eniitries me. Non accedet ad te ma* et flagellum non Educes me de laqueo hoc lum
:

* spes

II.

ACCENTED

PSALMS.

89

appropinquabit tabernaculo
tiio.

Qudniam
mandavit de
stodiant te in
tuis.

Angelis siiis * ut cute mini

:

psalm 133. Ecce mine benedfeite D6minum, * omnes srvi Do:

6mnibus

vfis
|

Qui
I

statis

in

mini, * in atriis

domo D6ddmus Di
extollite

In
te
:

manibus

* ne forte

portabunt nostri, oflendas ad In noctibus

!

ma-

lapidem pedem tiium. nus vestras in sancta, * et Super aspidem et basili- benedicite Dominum. scum ambulabis * et conBenedicat te Dominus culcabis leonem et dracd- ex Sfon, * qui fecit caelum nem. et terram.
I

Quoniam
liberabo

in
:

me

speravit,

dum

* protegam

exaudiam um * cum ipso salutare tiium. sum in tribulatione eripiam Quod parasti * ante faeum et glorificabo um. ciem omnium populorum
:
:

eum, quoniam cogndvit notiium Domine, * secundum men meum. verbum tuum in pace Clamabit ad me, et ego Quia viderunt oculi m&\ *
:

CANTICLE OF SIMEON. Nunc dimittis servum

Longitudine

pl^bo
illi

dum

dierum reLiimen ad revelationem * et ostendam gdntium, * et gl6riam plebis

tiise Israel.

salutare

meum.

SPECIAL PSALMS SUNG ON CERTAIN FEASTS.

PSALM 129.
est
:

* et propter legem tiiam

De profiindis clamavi ad sustinui te Ddmine. Sustinuit anima mea in te Domine * Domine exauverbo 6jus * speravit anidi vdeem meam. Fiant aures tiiae inten- ma ma in Domino.
:

A custddia matutina usdentes, * in vdeem depreca* speret que ad noctem tionis meae. Si iniquitates observave- Israel in Domino.
:

ris

Ddmine

Dcmine, quis
te propitiatio

Quia

apud
:

Ddminum
* et copiosa

sustin^bit?

misericdrdia

Quia apud

apud um red^mptio.

9Q

PART
omnibus

III.

CHAPTER

II.

Et ipse r^dimet Israel, * multiplicabis

ex
ejus.

in

anima
tibi

mea

iniquitatibus

virtutem. Confiteantur

Domine
:

psalm
Beati

127.

omnes reges
:

terrae

* quia

audierunt omnia verba oris

Ddminum,
Lab6res
quia
es, et

6mnes qui timent tui

* qui ambulant

in viis djus.

manuum tuarum
:

Et cantent in viis Domini * quoniam magna est

:

manducabis
bene

* beatus

tibi 6rit.

gloria Domini. Quoniam excelsus D6mi* nus, et humflia respicit

:

Uxor tua
tiiae.

sicut vitis

abunI

dans, * in lateribus
Filii
tiii

et alta a

ddmus

Si

longe cogndscit. ambulavero in me-

sicut novellae olij

varum, *
tiiae.

dio tribulatidnis, vivificabis me * et super iram inimi:

in circuitu

mensae corum meorum

I

extendisti

manum
fecit

tiiam, et

salvum

benedicdtur ho* mo qui timet Ddminum. Benedicat tibi Dominus * et videas bona ex Sion
sic
:

Ecce

me

dextera

tiia.

me

Dominus retribuet pro * Domine misericordia

:

tiia in

saeculum

Jerusalem
vitae tiiae.

omnibus diebus nuum

, i

tuarum

ne
45.

opera madespf-

cias.

Et videas filios filiorum tuorum, * pacem super

Israel.
I

psalm

Deus noster refiigium,

:
I

et

virtus * adjiitor in tribulapsalm 137. tionibus, quae inven^runt Confitebor tibi Domine nos nimis. * qu6in toto corde meo Propterea non timebimus niam audisti verba oris mei. dura turbabitur terra * et In conspectu Angel6rum transferentur montes in cor * adorabo maris. psallam tibi ad templum sanctum tiium, Sonuerunt, et turbatae sunt conturbati et confitebor nomini tiio. aquae eorum Super misericordia tiia et sunt montes in fortitudine
:

veritate tiia *
:

quoniam ma-

djus.

gnificasti

Fliiminis impetus laetificat super omne nomen * sanctifisanctum tiium. civitatem Dei In quaciimque die invo- cavit tabemaculum suum * Altissimus. cavero te, exaudi me: :

II.

ACCENTED PSALMS.
non
ris in

91
tiiis,

Deus

in

medio
:

ejus,

sermonibus

et vin-

COmmov^bitur

* adjuvabit cas cum judicaris. earn Deus mane diluculo. Ecce enim in iniquitatiConturbatae sunt gentes, bus concdptus sum * et in * peccatis concepit me et inclinata sunt rgna mater
:

dedit v6cem siiam, mdta est mda. trra. Ecce enim veritatem dileDominus virtiitum nobfs- xfsti * incerta et occulta * susceptor n6ster sapientiae tiiae manifestasti cum mihi. Dus Jacob. Venite, et videte 6pera Asperges me hyss6po et prodigia p6suit D6mini, quae mundabor * lavabis me, * auferens et super nivem dealbabor. Super t^rram
:
:

Auditui meo dabis gauusque ad ffnem tdrrae. Arcum conteret, et con- dium et laetltiam * et exsul* et scuta tabunt ossa humiliata. fringet arma
bella
:
:

comburet

secundum miignam miseripal conffrma me. cdrdiam tiiam. iniquos Docebo Et secundum multittidi: :

Averte faciem tiiam a pecigni. Vacate, et videte quoniam catis meis * et omnes iniego sum Deus * exaltabor quitates mas dle. Cor miindum crea in me in terra. * et spiritum rectum noDeus Dominus virtiitum * susceptor n6ster innova in visc^ribus meis. biscum Ne projfcias me a facie D6us Jacob. * et spiritum sanctum tlia psalm 50. tiium ne auferas a me. Redde mihi laetitiam saluMiserere mi Deus, * taris tlii * et spiritu princi:
|
i]

vfas

nem miserationum tuarum/* tiias * et impii ad te convertentur. dele iniquitatem mam. Libera me de sanguinibus Amplius lava meab iniqui* et a peccato Deus, Deus saliitis mae * tate mea
:
:

mdo miinda Quoniam

me.
:

et exsultabit lingua

mea

jus-

iniquitatem tftiam tiiam. Domine labia meam 6go cognosco * et

peccatum meum contra est semper.

Tibi
soli

me

ries

et os

ma apemeum annuntiiam.
voluisse sacrilitique

tiabit

coram

te feci

peccavi,et malum * ut justiflce- ficium,

:

laudem Qu6niam si

dedfssem

*
:

92

PART

III.

CHAPTER
Ecce

III.

holocaustis
ris.

non delectabe-

psalm

132.
et

Sacrificium

Deo
:

spiritus

quam bonum,
in

contribulatus

* cor contri-

quam jucundum,*habitare
linum
Sicut

tum

et

humiliatum Deusnon fratres

despicies.

Benigne fac D6mine in pite, bdnavoluntate tiiaSion:* ut barbam, barbam Aaron. Quod descendit in oram aedificentur miiri Jerusalem. sacrifiacceptabis vestimenti Tunc ejus, * sicut ros

ung-uentum in ca* quod descendit in

cium justitioe oblationes et Hermon, qui descendit in holocausta * tunc impo- montem Sfon. Quoniam fllic mandavit nent super altare tiium vftu:

los.

Miserere mei Deus

serere
7/1 it.

* mi- et vitam lum.

Dominus benedictionem, * usque in saecu-

CHAPTER
to a

III.

Application of the text

melody with rhythmic

I.

signs.

Practical Hints.
text attentively,
incisa,

Read the giving due prominence the accented Carefully notice the phrases, and bars breathing. Observe the rhythmic added the Find out the notes which receive an Sing the taking the preceding account. Then the words. In doing so the following Notes and neumes which should be adhered
1.

to

syllables.

2.

for

3.

signs

to

notes.

4.

ictus (p. 22).

5.

notes,

rules into

6.

sing

rules

to.

a)

are grouped together in the writing should not be separated in the singing; they should not however be mixed up
together, but distinguished

one from the other.

b) ac-

II.

ANALYSIS OF A MELODY WITH RHYTHMIC SIGNS.

93

c) the cented syllables should be introduced softly; rhythmic ictus should not be prolonged or struck harshly; d) the Golden Rule should be observed: Never breathe before pronouncing a new syllable in a word

already begun.
Speed. The movement of Plainsong ought to N. B. It should be be that of deliberate recitation or reading. an animated movement as far removed from drawling as from hurrying. A chant should always keep its proper movement, whatever may be the degree of the feast.

II.

Analysis of a melody with

rhythmic signs.
take the following Sanctus, and apply these
4
5

Let us
rules.

e. g.

23

+ir6

7 8 9 10 11 12 13

14

15 16 17 18

19

20 21
1

22

+
.

jyi^n,
San23 24
25 26

..

r \ 32m
r
ctus,

ctus,
27

San-

San-

ctus,

Dominus

-r

De-

us Saba- oth.

a)

Read

the text, giving due prominence to the accents

Sanctus, Sanctus, Sanctus,

b)

Dominus Deus Sabaoth.

Note the phrases, incisa, bars for breathing There is only one sentence, divided into four phrases
6,

by the quarters of bar

c)

14, 20.
to the notes
:

Rhythmic
:

signs

added

The dots The marks The The The The

5, 13, 19, 26.

of subdivision or episemata 3,
:

9,

12, 17, 21.

d) Notes which receive the ictus

dotted notes
first
first

5,

13, 19, 26.

;

note of the podatus

7,

10, 22, 25.

note of the

clivis

4, 18, 24.
.-8,

culminating note of the climacus

11, 23.

94

PART

III.

CHAPTER
:

III.

The The The

In
e)

first

note of the torculus

i,

15.
16.
9,

first

note of the pressus

: 2,

notes

marked with the episema .3.

ictus.

12, 17, 21.

all,

23 cases of

Sing the notes according

to these indications.
(p. 92,

f) Sing the words as indicated above

Ill,

6).

The same melody transcribed

into
1

modern
56

notation.
10
11 12

23

789
San25

131415

1617

J8

San1920
21

ctus,
23

ctus,
26
27

San-

22

24

g 3E

#^3
^g
us Sa-baoth.

ctus D6-mi-nus De-

23 dots above the notes mark the 23 notes which receive the ictus or rhythmic touch. They should receive a slight impulse of the voice, without being prolonged.

N. B.

The

IV.

How to sing a melody without

rhythmic
signs.

We
ad

take as an example Sanctus n 3 from the Cantus libitum in the Vatican Kyriale.
1

2 3

10

12 13

8.

\^s
Sanctus,

i
Sanctus,

35

Sanctus Domi- nus

De- us

14 15 16 17 18 19 20

izbzs ZZiTP
Saba- oth.

IV.

HOW TO

SING

WITHOUT RHYTHMIC
to find out

SIGNS.

95

In
1.

this

melody we have
vocis or
:

The morce

long notes, which are marked

here we have only quarter bars a) by the bars (p. 19) and a double bar. The notes lengthened on account of
these bars are n os 4, or nearly so.
6,

11,

20; they should be doubled

b) by the blank spaces (p. 20). n 15, which should be doubled.

We

find only note

2. The binary or ternary subdivisions\ which are determined

:

a)

by double or

triple

notes (strophicus).
1).

We

have only one strophicus (n

b) by formulae of two notes (podatus or clivis, p. 15), or of three notes (scandicus, climacus, torculus, p. 15).

We
c)

find the groups

2, 3, 5, 8,

10, 13, 14, 18, 19.

by the middle notes of formula of more than three

(p. 21).

notes

This is the case of note n 17, which divides into two the group of four notes n 17.

N. B.

The

single notes

n08

7,

9,

12, rhythmically

belong to the preceding group, but they are strong on account of the tonic accent.

The following transcription into modern notation will show the rhythm more perfectly. (The asterisks above the notes mark the rhythmic divisions).

8.

^ 1^^^ P^r
~

123

789
1

10

11

ep
nus

San-

ctus, *
18

San-ctus,
20

Sanctus D6-mi-

12 13

14

t6 15 16

17

19

+^m

De- us Sa-

ba-

oth.


96

PART

III.

CHAPTER

III.

V.

Progressive exercises with and

without rhythmic signs.

I.

Do clef 4th line. Thirds.

:

1.

A.
1

Edition with rhythmic signs.

l=E5

(116)

=t=
h

T^r-i

Veni- et
g

Do minus,
:

* -

et

non
;

tarda-bit,
,

et illuminabit

- t

i=3

abscondi-ta tenebra-rum, et mani-festabit se

rail.

ad omnes

-^

(140)

__

t
5

s
ia.

gentes, alle-lu-

Ori-e-tur*
rail.

in

di-ebus Domini

abun-

Hc

(295)
8

pfej^

danti-a pacis
s

et dominabi-tur.

Ze-lus

domus

tu-as

-_-4.
1

comedit me,

etopprobri-a

exprobranti-um

ti-bi

ceci-

b
r." B .

rail.

>

(615)
s

derunt super me.

Cum palma
"T"
-*

* ad regna pervenerunt

-i

*tH
PL
1

\f^\
<

sancti,
1

coro- nas decoris meru--erunt de

manu De-

i.

i.

e.

the Solesmes Liber Usualts, 1903.

PROGRESSIVE EXERCISES.
B.

97
1

Edition without rhythmic signs.

1

(14*)

btt >.
Sans

1-

s
s

fc*
Sanctus

--

#.

ctus, * Sanctus,

Dominus Deto

us Sa-

*
6
(17*)
:

vari-

ba-oth. Pleni sunt

cae-li

et terra

glo-

a tu-a.

3=*=3
rail.

z-i,

T*
* qui
tollis

*
55
peccata mundi
:

4
mi-sere- re

Agnus De-

(i9*)

\
no-

J=K
i
bis.

2.

J
-

Qui
"-

tol-lis

pecca-ta mundi,

suscipe depre-

==3
ca-ti-

'+T

onem

nostram.

Fourths.

A.
l
E

Edition with rhythmic signs.

i8

(198)

-8

Domino

i=3

Mari- a et flumina

* benedici-te

hymnum

di-

S-T
r
l<

^
""'
f

2
1

(413)
"

P-T^-

ci-te fontes
1

Domino,

alle-lu-ia.

Scimus Christum surreby Messrs. Desclee, Lefebvre

&

i. e. the Vatican Kyriale, published Co., 8voed.

N 659.

1
98
1 I

PART

III.

CHAPTER
.

III.

rail.

>

Rex,

-5-Hi-

'

*-*- Jh

xisse

a mortu- is vere
(579)

tu nobis victor

mise-re-re.

3
s

gas
At Jesus con versus, *
et videns

j^=-T-^3
e-am, di-xit
:

Confide

4
*

(590)

r -

j-

Hi

t
salvam

i
rr~rf>
fe-cit,
* -
'

"

a-j

fi-li- a,

fides tu-a te

alle-lu- ia.

Lux

per-

.-a-*p*
petu-a

%-s-A

7TT
et asterni-tas

* lucebit Sanctis tu- is D6mi-ne,

t
temporum,
B.
alle-lu- ia.

Edition without rythmic signs.

t

S
E

(13*)

*-*-*

*
6

--a-v
mi-se- re-re nobis.
.

Qui se-des ad dexteram

Pa-tris,

Quo-

(.7*)
''
' '

S
ni-am tu solus sanctus.
;yz//.

'

k
H-

'

San- ctus,* Sanctus,

San-ctus

>-

lS
Pleni sunt caeli

Dominus De-us Sa-ba-oth.

et terra glo-

V.
rail.

PROGRESSIVE
7
i
(18*)

EXERCISES.

99

til
ri-

4
V-'-pr
Et
in terra

+-

to
a
tu- a.
rail.

S=!
bonae

pax ho- mi-ni-bus

>

^&
3.

vo-lunta-tis.

Fifths.

A.
1

Edition with rhythmic signs.

(1223)

4=3
Stabat Mater dolo-rosa
rail.

Juxta crucem lacrymosa,

Dum

>-

^94)
ii

.__

\
pendebat
Fi-li-us.

^=^=n
allelu-ia
- *
:

Regina

caeli

laetare,

t
isti

Qui-a quern meru"6-i"

portare,

alle-lii-ia

Resurrexit,

sicut dixit,

alle-lii-ia

Ora pro

nobis

De-um,

alle-lii- ia.

(584)

==_
f.

a*
Exsiiltet orbis gaudi-is,

a-

Cae-lum

resiiltet

laudi-bus
rail.

b:--~
""

'

'1\

'"

II

\ .
Apostolorum
glo-ri-

f\

"li

*
1

.*

am

Tellus et astra concinunt.


IOO

PART

III.

CHAPTER

III.

B.

Edition without rhythmic signs.

rail.

4
S

(8*)

,T1y-L^ 33 as EfflEizjEEaE
!*

ir
dL

ar 4r

&
i-son.
rail.

Christe

e-le-

5(9*)

*
Domine De-us, Rex
cae-lestis,

M==3 V-

>
-

De-us Pater omnipo-

tens.

6(12*)

e* *
Ky-ri- e
'

t
*
rall.>

**

(l8)

^K
=*r-*H

*i

" z*
-'

-r

-*

35
Kyri-

e-le- i-son.
rw//.

b=B r
e-

>-1S

le- i-son.

II.

Do clef 3rd line. Thirds.

:

1.

A.
I

Edition with rhythmic signs.

I

(757)
.

nr-^-t-]
Genti- urn,

-*-=
I)

=3
'

Lumen * ad

reve-la-ti-

onem

et glo-ri-

am

pie-

V.
rail.

PROGRESSIVE 2 (632) >

C

EXERCISES.

IO!

"

fl'

**^

bis tii-ae Isra-el.

Sacerdo-tes D6-i

*benedi-ci-te D6-

T
6

4HHH
servi D6-mini

minum

hymnum tdi-ci-te De- o,

allelu- ia.

3
5

(427)
,%

w'm

'

p^.
clausis,

3=3
ingressus

Post di-es 6c-to

*janu-is

Dominus

*~
6
-

4
E

(294)

-4Hh

H-

^-i
ter,

dixit 6-

is

Pax

v6bis,

alle-lu-ia, alle-lu- ia.

Pa-

1=*
si

J-ftr

non potest

hie ca- lix

transi-re, ni-si

bibam il-lum

E* w
fi-

at vo-liintas tu- a.

B.

Edition without rhythmic signs.

m//.

5
C
al

(4*)

^ /
A
II

rail.

3>> >, ..
*

Ky-ri- e

e- le- i-son. iff. Chri-ste

^^ *^F
e16- i-son.
i .t-s

6(7*)
6-r
>
1_

'

it

"L. tt
:

*ri

Agnus De- i, * qui

t61lis

pecca-ta

mundi

mi-se-re-

T
102
rail.

PART

III.

CHAPTER
1

III.

7 (2 2*) > A iy\ ^ ^ k.i i'n'-MN

>
i

p >a
i

V\ V 'Y-r-i -+
.-.
1

re no- bis.

Ky-ri- e
rail.

**

\^&=&a
'
-

e-

le- i-son.

2.

Fourths.
--

A.
1
6

Edition with rhythmic signs.

Z

(128)

r*
* Rex pa-ci-ficus >

Magni-ficatus est

super omnes reges

2
i

(145)
1-'

t
u-niversse terrae.

f* et
exsiiltet terra

Laetentur

caeli,

S^-

1-

>
=5:
i

(554)

ante fa-ci-em D6mi-ni quoni-am ve-nit.

I

Cum
HI

vocatus

fi

j-

T-fr

-d

fu-e-ris

* ad nupti-as,

reciimbe

in

novissimo loco;

*
ut di-cat tibi qui te

*
invi-tavit
:

Ami-ce,

ascende

supe-

*
ri-

*
a

us

et e-rit tibi glo-ri-

coram simul discumbenti-

*
V.

PROGRESSIVE
4
(436)

EXERCISES.

103

V
bus,

*-

=s
vi-rum

alle-lii- ia.

Jacob autem* g-nu-it Joseph

g n\.
ri-

jTizniLl g
ae,

.J

g^

Ma-

de qua natus est Jerail.

sus qui

vo-ca-tur

p'

h-^-r.
Chri-stus

* >

'

VN

alle-hi-ia,

alle-lu-

ia.

B.

Edition without rhythmic signs.

5(2*)
6

fcttgiaor Vi-di aquam

rjpnr~T
*
egre- di-

-**

*
6

j-fcA

n
a
3
i,

entem de templo,
(24*)

8-^

^S
dex- tro,

SE M^l*
allehiia

i
Agnus D*

la- te-re

t
qui

*
Is
t61lis

J > 33

iv

*a

'

^%
mi-serail.

M-=J
r-re

pec-ca-ta miindi

n6bis.

(29*)
!

r^^vi
Ky-ri- e

>M -ru^
h

>

k-F*

**

e-

le- i-son.


io4

PART

III.

CHAPTER

III.

3.

Fifths.
**//.>-

A.
1

Edition with rhythmic signs,

(1223)

2
i

(491)

"

3
Sit laus plena, sit
rail.

'

Alie-lu-ia,

alle-lu-ia,

alle-lu-ia.

t&
3
s

*
Sit juciinda, sit

*
jubi-la-ti-o.

so-nora,

decora

Mentis

(649)

e-jus,

Be-atus

ille

servus

* quern cum vene-ritDominus

(853)

H
et pulsave-rit

H=3:

t-t

1=3=3

janu-am, invene-rit vi-gi-lantem.

I

Quam
SS3*:

^
E
3

v 'S
.

S* f*
do

T he

magna
,af

*multi-tii-

dulc6di-nis tu- ae

Domine.
B.

Edition without rhythmic signs.

.
1

(5*)

n r~T-*"i

rail.
1

nr -*

H=s=-=3

Domine De-us, Rex

cae-lestis,

De- us Pa-ter omni-potens.


V.

PROGRESSIVE
I

EXERCISES.

105

6(6*)
t

j^V
terra

1'-*
ri-a tii-a.
I

Ple-ni sunt cae1 I

li

et
a
fb

glo-

Hosanna
1

rj

_ i **-

gg

*s

Do-

in excelsis.

Bene-dictus qui ve-nit

in no-

mine
.

h-imini.

^
Ho9 "

,.

EEEi h
sis.

>

(33*)

sanna
1*
'

in excl-

Qui s6des ad dxteram

_ %

1 -

Patris,

mi-se re-re nobis.

III.

1.

Fa Thirds.

clef.

Edition with rhythmic signs.

1
1!

(106)
a -

%
Cre- ator alme siderum,

1
1

^Et^rna lux credenti- um, Jesu,

rail.

=T
Redemptor 6mni-um

'

Intende vo-tis suppli-cum.

(196)

#*

*E=
in

ttJg
* ploratus et

Vox

Rama

audi-ta

est,

u-lu-la-tus,

^
io6

PART

III.

CHAPTER
3

III.

mP

lb

m *

a "

.... *
1
I !

(588)
1

0 ^

3
p

"

r-

Rachel plorans

fi-li-

os
i

sii- os.

In ve-lamento
^

! %

* "

P
'

*clama-

_ ^
P"

"a

bant sancti tu-i Domine,

>I"

al-le-

lii-ia,

alle-lu- ia, alle-

4
! "

75 8)
.

'

]*

a*

]*

lu- ia.

Exsiirge D6mi-ne, * adjuva

rail.

nos,

et libera

^
*
urn.

.P

'

"a*
nos propter

Wi

a
tii-

nomen

B.

Edition without rhythmic signs.

*
fl

(44*)

?r
peccata miindi
:

T
mi-se-rere

Agnus Derail.

i,

* qui

t611is

>
.
[I

6
jj

(S3*)
t-

^->

T=i
Sanctus

nobis.

Sanctus,* Sanctus,

Dominus De- us
rail.

>-

f.

*
(54*)

t
cse-li

-**

S=3et terra
glo-ri-

Saba-oth. Pleni sunt

a tu-a.

;=
Sanctus, * Sanctus,

r^
Sanctus

Dominus D6- us Saba-oth.

'

! 1

*
V.

I07
1

PROGRESSIVE EXERCISES.

fl

H* 'S
Hosanna
8

Pleni sunt cae-li

et
*

terra glo-ri-a tu-a.

in

p %

r1

a *

1
ft r

ii
'

p.

_ % %
'

excel-sis.

Benedictus qui ve-nit

rail.

in

nomi-ne Domini.

>

%f

M*

"S

m
f

A P, g t*

Hosanna

in excel-sis.

Fourths.
A.
1

Edition 'with rhythmic signs.

,

(650)

7-3

M
m

.-_ -=^
co-lentes
-

Quern
laudant

Iste confessor

Domini

pi- e

<

m\

popu-li per orbem,

Hac
.P

di- e lae-tus

meru-

it

be-a-tas
-41

>
ml

(128)
a
1

-i

"

-Ft
Le-vate capi- ta vestra
:

scandere

se-des.

* ecce

(153)

'

-^

?
Genu-it pu-erpera

appropinquat redempti-o vestra.

"-g

-fs

aeter-num,

=J *
et gaudi-

Rigem,*

cu-

nomen

a matris ha-

jo8

PART

III.

CHAPTER
_ %
_.

III.

%
bens

cum

virgini-ta-tis

hono-re

nee primam simi-lem

>-

(198)

f.

1=5

5
nee habere sequentem,

*
alle-lu- ia.

r=a
Ante

vi-sa est,

#
lu-ci-

1 -*et

~-T*r%ante saecu-la,
rail.

ferum geni-tus, *

Domi- nus
>-

t*V
Salvator noster hodi- e

r
mundo apparu- it.

B.

Edition without rhythmic signs.

rail.

(39*)

>

(43*)
1

fcfadbp
G16-ri-

3 VI
De-o.
rail.

*-A-

x
7
(82*)

in excelsis

San-ctus, * Sanctus,

>-

TC"..
Sanctus
2ate.

T ^=Cw

r-

-g-3-^-r^
Laudamus

Dominus De-us Saba-oth.

%M h

g^i^^vSS:
Bene-di- cimus
te.

3.

Fifths.

A.
1

Edition with rhythmic signs.

'

ft
<

(872)

X=5
Ut que-ant
laxis

3-r
Mi-ra gesto-rum

resonare

fibris

.
V.

PROGRESSIVE EXERCISES.
; ; |

109

ia

famu-li tu- 6-rum, 5-

Solve

pollii-ti

labi-

re-atum, San-

(804)

fc:
cte Jo-annes.

;
Fac

.' %
pi- e flere, Cru-ci-fixo

me tecum
rall.

con-

>

(66)

tf-^I

3
do-lre,

S * Hi
mus
\

Donee ego
r//.

vixero.

Be-ne-di-ca-

*m at t
Dob

(470)

*TTr*srTT
Alle-

=&sP

mino.

lu-ia,

-M-3^;

<

-^i y*:
i

B.

Edition without rhythmic signs.

a

(40*)

*"=

2TZ

ft-u

iv

?~>

Sanctus, * Sanctus,

Sanctus Dominus

De- us Saba-oth.
=:

** 35=5
Pie- ni

s
li

=w
et ter- ra
glo-ri-

r*~i
tu-a.

sunt cae-

Hosan-

iP *-+x-^ittrTZ
na
in ex- celsis.

=3

n^
in

Benedictus qui ve-nit

no-mi-

no

PART

III.

CHAPTER
.

III.

rail.

i
jjg
--

gg

pcjc \
J

6
.

(44*)

gft

j
j

ne D6mi-ni.

Hosanna

in ex- crisis.
H

Hosanna
*

*% liw
in excelsis.

zxz

gg
//. >-

IS

zX^

Benedictus qui ve-nit

in

nomine D6-

>-

7 (44*)

*
-8-

r A i
sis.

4
i=S3*: *

2=J5

mi-ni.

Hosanna

in

excel-

Agnus De-

i,

<_!
qui

&

g n=3
:

t61- lis

pecca- ta miindi

mi- se- re-re nobis.

CHANT GREGORIEN
Editions de solesmes
En attendant l'achevement de l'edition vaticane du Graduel et de Antiphonaire qui vient de commencer par le KYRIALE, les livres de Chant gregorien deja edites sous la direction des Benedictins de Solesmes
I

sont les seuls qui puissent completer le Kyriale. Seuls ils sont reconnus conformes aux differents Motn proprio du Souverain Pontife et approuves par la Congregation des Rites. Ges livres completent le Kyriale pour les parties propres de la Messe, ainsi que pour les Vepres. Ils sont done tres utiles, et meme indispensables non-seulement la ou le chant de Solesmes a deja 6te adopte, mais partout ou Ton veut des maintenant se mettre a lapplication complete du Plain-Chant restaure et approuve.

Nous livrerons sur demande des Paroissiens, Liber usual is et Manucls ou les pages comprenant le Kyriale ou Ordinaire de la Messe
sont remplacees par la partie correspondante du Kyriale Vatican, edition

rythmee.

[N 566] Paroissien Romain contenant la Messe et TOffice pour les ( Notation gngorienne. ) Un vol. in- 1 Dimanches et Fetes doubles. de 1280 pages.

[N 567] Liber usualis Missae et

cibus.

Le Liber usualis se differencie

en

Officii pro Dominicis et Festis dupli-

du Paroissien Romain en ce

que

les titres, rubriques, etc. sont

latin.

Prix du Paroissien n j66 et du Liber usualis n

Toile, ornements a froid, tranche
j

567

Broche,

frs.

4-50

rouge

5-50

Dos mouton

imitation chagrin noir, plats toile, tranche rouge . 6-00 . Pegamoid, tranche rouge. . . 6-25 Basane racine, tranche marbree . 6-25

chagrin noir, imitation 6-75 tranche rouge 7-10 . . Le meme, tranche doree . 8-50 Chagrin noir veritable, tr. rouge .8-85 . Le meme, tranche doree . ier choix, tr. dor6e. . 9-50 Chagrin noir
.

Mouton

....

[N 562] Manuel de la Messe et des Offices extrait du Paroissien et des Varia Preces de Solesmes, 350 p. in- 18. ( Notation grigorienne. ) Broche : 1-50; cartonne, dos toile, 2-10; pleine toile, tranche rouge,
titre

dore sur plat, 2-50.

[N 572]

precedent, mais en notation mnsicale moderne, : 2-25; cartonne, dos toile, 3-00; pleine toile, tranche rouge, titre dore sur plat, 3-75.

Le meme que
in- 12.

392 pages

le

Broche

[N 563] Manuale Missae et Officiorum.

Reproduction exacte du 562, mais avec les rubriques et explications en latin. ( Notation gr^ <rorienne.) Memes prix qu'au N 562.

[N 573] Le 376 pages

meme que le
in1

2.

Memes prix qu'au N 572.

precedent, mais en notation musicale

modeme

[N 573 ANG.]
remplacant

Le meme,
la

avec une preface

preface en latin.

Memes
frs

lie

iS pages en anglais,

prix.

Toile anglaise, 3-10. [N 562A] Messes des principales Fetes. Appendice au Manuel (Notation grcdes Offices N 562. 40 pages Messe de goricnne.) Broche, 0-35. precedent, mais en notation mnsicale mo[N 572 a] Le meme que Broche, 0-50. derne; appendice au Manuel N 572. 50 Appendix Missae fN 563A] Missae in praecipuis Festis. rum Solesmensis Manualis N 563. 40 pages. (Notation gregorienne.) Broche, 0-35. precedent, mais en notation mnsicale [N 573A] Le meme que Broche, 0-50. deme; appendice au Manuel N 573. 50
in- 18

[N 581] A Manual of Gregorian Chant compiled from the Solesmes Books and from ancient Manuscripts. (Notation gregorienne.) Un vol.
de 440 pages.
et

la

in- 18.

le

p. in- 12.

et Ofiicio-

le

nio-

p. in- 12.

Les Messes des principales Fetes se demandent frquemment reliies avec les Manuels correspondants. Le prix total est celui des deux brochures augment^ du prix
de
la reliure

du Manuel.

[N 570] Office et Messes de la Nativite de N. S. J. C. selon le Missel et le Breviaire Romains. 48 pages in- 18. (Notation gregorienne.)

Broche, 0-50.

[N 571] Officium et Missae Nativitatis Domini. Reproduction du precedent; texte latin, 48 pages in- 1 8. (Notation gregorienne.)
Broche, 0-50.

[N 578] Officium Majoris Hebdomadae juxta Missale

186 pages 120 pages
in- 18. ( Notation

gregorienne.

[N 601] Psalmi
in1

cum

8.

notis Officiorum ( Notation gregorienne. )

[N 605] Psalmi in notis pro Off. Hebd. (Notation mnsicale 711 ode me. ) Broche, 0-75.

Hebdomadae Sanctae. Broche, 0-75. Sanct. 116 pages in-18.

Broche,

et

Brev.

Rom.

1-25.

[N 579] Office de la Semaine Sainte. (Notation gregorienne.) Reproduction exacte du N 578, mais avec les rubriques et explications en
francais.

196 pages in-18. Broche,

1-25.

[N 580] Office abrege de la Semaine Sainte,

144 pages in-18. ( Notation gregorienne. )

Broche,

texte latin et francais. 1-00.

[N 582] Kyriale seu Ordinarium Missarum,

in-8.

extrait

du Gradualc. 80 p;

(Notation gregorienneJ,wrec points rythmiques. cartonne, dos toile, 2-00.

Broche,

1-25.

[N 582B]

Le meme,

sans points.

Memes

prix.

Variae Preces ex liturgia turn hodiema turn antiqua collects aul usu receptae. Broche, 3-00. 280 pages in-8 (Notation gregorienne.)

[N 589] Psaumes notes des Vepres et de rOftice, pour tons les Dimanches et Fetes doubles, precede d un petit Trait e de Psalmodie. 200 pages in-18. ( Notation grigorienne,) Broche, 1-00.
?

[N 589B] Le
( Notation

meme sans le Traiti de Psalmodic. grtgorienne* ) Broche, 0-80.

160 page.-,

in- 18.

[NT 590] Psalmi

et

in notis pro Vesperis et Officio in omnibus Dominicis Festis duplicibus, juxta ritum Romanum simul ac Monasticum. 160 pages in- 1 8. (Notation grcgorienne. ) Broche, 0-80.
in-18.

[N 598] Petit Traite de Psalmodie. 40 pages

Broche, 0-30.

Le meme

en

ilalien,

en anglais, en allemand, en espagnol. Broche, 0-50.

[N 593] Officium pro Defunctis cum Missa et Absolutione nee non Exsequiarum Ordine, rit Romain avec points rythmiqnes. 102 pages
in-8 u
.

( Notation grcgorienne. )

[N 593B]

Le meme,

sans points.

Broche, 0-75. Broche, 0-75.

Broche, 0-75.
rit

[N 594] Officium pro Defunctis cum Missa et Absolution nee non Exsequiarum Ordine, rit Monastique avec points rythmiqnes. 96 pages in-8 (Notation gregoricjine.) Broche, 0-75.

[N 594B]

Le meme,
les

sans points.

[N 599] Officium Defunctorum,

avec tons

signes rythmiqnes. )

Broche,
)

Romain.

in -8

(Notation musical

1-00.

[N 566B] Chants des Hymnes, Antiennes et Repons brefs des Petites Heures, supplement au Paroissien Romain N 566.
150 pages in-18.
( Notation grSgorienne.

Broche,

1-20.

[N 567B]

Le meme,

texte latin, supplement au Liber usaalis

(

150 pages in-18.

Notation grtgorienne.)

Broche,

567.

1-20.

[N 592] Ritus Consecrationis Ecclesiae juxta Pontificale

cum cantugregoriano.

126 pages \n-i%.( Notation gn?g. ) Broche,o-75.

Romanum

[N 592A],Prieres et Ceremonies de la Consecration ou Dedicace d'une Eglise scion le Pontifical Romain, texte latin-francais avec chant. Broche, 1-25. 230 pages in-18. ( Notation gregorienne. )

[N 61 5P] Officium pro Defunctis cum Missa et Absolutione nee non Exsequiarum ordine, in-4 (28x19^) grands caracteres, impression
,

avec encadrement, beau papier teinte. (Notation Relie forte toile, tranche grcgoriennc avec points rythmiques. ) rouge, 4-50: relie peau, 6-00.

en rouge

et noir

|N 615]

Le meme

(sans paints rythmiqnes).

Memes

prix.

[N 64B] Rituale

Romanum, in-4 (28 > 19^), riche impression en grands caracteres en rouge et noir avec encadrements, beau papier Relie de fr. 12 a 44 francs, teinte. ( Notation gr-Jgoricnnc).

[N 616]

The Solesmes Transcriptions into modern musical Notation explained by the Rev. Dom. A. Mocquereau O. S. B. Prior 28 pages of Solesmes and Editor of the Paleographie musicale >>. Broche, 0-40. in- 1 2.

Messes diverses
a)

se vendant separement

Notation grigorienne.
0-5C O-IO O-IO 0-20 O-IO O-IO francais. O-IO
0-15 O-IO

603. N 2222. o 226l. No 2264. No 2270. N 2288.

Ofticium et Missa S. Gregorii PP. (in-8 n ) 36 pages Sacra: Columnar Flagellat. D. N. J. C. in- 18, in-8 L

Pro Pace (in- 18) S. Angela? Merici, Virginis (in- 18) In Festo S. Joannis Berchmans (in- 18)
.

In Pnesentatione B.

No
No No N No No

2285.

La Messe
(in1

dite

M. V. (in- 18) Royah de H. du Mont

.

(in- 18)

N 2285B Les Messes du 2 e

8)

francais
latin

et

du 6 e ton de H. du Mont
.

2286.

La Messe
(in-

dite

Rayah de H. du Mont
2 e et

....
(in-18)
.

latin

No 2286 B Les Messes du

18)

du 6 e ton de H. du Mont.
0-15 O-IO O-IO 0-15 O-IO 0-20

2292 2294 2295 2271 N 2299 N 2305

Feria V. in Ccena Domini (in-18, in-8*)

Te Deum
.

(in-8)

2307 N 2308 N 2310

No *3"

No

2318.

Feria sexta post Pascha (in-18) Immac. Conceptions B. M. V. (in-18) In Festo S. Vincentii a Paulo (in-18) En l'honneur de la Ste Vierge i Imperatrix Reginarum. 2 Rosa vernans. 3 Salve Virga florens. 4 Tota pulchra es. 4 pages in -8 Missa de Angelis (in-18) Lectiones primi Nocturni in Nativitate Domini (in-8) In Festo Sanctis M. N. Coletae (in-8) Missa Apparitionis B. M. V. Immaculate (in-18) Sequences pour la Fete de Flmmaculee Conception 2. Gratulare plebs I. Ad honorem Messiae. (in- 12) modesta. 3. Maria: conceptio.
:

......
.

0-10 0-15 0-15 O-IO O-IO

b) Notation musica/e.

No

2266. Messe *'Magne Deus" (in- 12) N 2296. Immac. Conceptionis B. M. V.

c

No N No
N N
N N N N N N

2268. 2267. 2269. 2272.

N
N

No N

2273. 2274. 2275. 2276. 2277. 2278. 2283. 2284. 2290. 2289. 2280. 2281.

In Nativitate Domini, 2 messes (in- 12) In Epiphania Domini (in- 12) Dominica Resurrectionis (in- 12) In Ascensione Domini (in- 12) Dominica Pentecostes (in- 12) In Solemnitate Corporis Christi (in- 12) SS. Apostolorum (in- 12) In Festo Assumptions B. Mariae V. (in- 12) In Festo Omnium Sanctorum (in -12) In Festo Dedicationis Ecclesiae (in- 12)

.... .... .... ....

(in- 12)

Pro Pace (in- 12) Pro Defunctis cu/u Libera (in- 12) Pro Defunctis et Ordo Exsequiarum (in- 12) Vesperce in Festis B. M. V. per annum (in- 1 2) Missa Votiva de SS. Eucharistiae Sacramento (in- 12) Les 3 Messes du i er 2 e et 6 e ton de H. du Mont
(in- 12)

francais
,

.....

0-15 O-IO 0-15 O-IO O-IO O-IO O-IO O-IO O-IO O-IO O-IO 0-15 O-IO 0-25 0-30 0-30 O-IO
0-2;

N 2282. Les 3 Messes du

(in1

2)

cr
,
.

2 C cl 6 e ton dc II.

du Mont
Q-25 0-20 o-i5 O-IO O-IO O-IO 0-15 O-IO
:

latin

N 2287. Requiem Mass.

(in- 121

N N N

2298. 2300. 2301. N u 2302. N 2303. N 2304. N 2319.

In Festo SS. Cordis Jesu (in- 12) In Festo S. Patritii ;in-i2) Feria V. in Coena Domini (in- 12) Missa de Angelis (in- 12) In Festo SS. Nominis Jesus (in- 12) In Solemnitate SS. Rosarii in- 12
.

Sequences pour
1.

la

Marine concepiio. CHEZ LES MfeMES 6DITEURS.

modesta.
3.

Ad honorem

Fete de l'lmmaculee Conception Messia?. 2. Gratulare plebs

(in- 12)

0-15

DIVERS. (Chant

Gregorien.)
8,

[N 379] Les Melodies gregoriennes, d'apres

R. Pere Dom Joseph Pothier; grand in Broche, 10-00.

la tradition, par Edition de luxe.

lc

[N 380]

Le meme,

petit in-8 (20

13).

Broche,

5-00.

Le Melodie gregoriane
piccolo.

Broche,

secondo

la tradizione.

Testo italiano in-S

5-00.

[N 407]

Der Gregorianische Choral,

seine urspriingliche Gestalt unci

geschichtliche Ueberlieferung von

Dom

Joseph Pothier, Benedikti-

ner der Abtei Solesmes, iibersetzt von P. Ambrosius der Beuroner Congregation. 1 vol. petit in -8. Broche frs 4-25 En demi toile frs 500.
:

Kienle

aus

Manuel a [N 382] Theorie et pratique du Chant gregorien. l'usage des Seminaires, des Ecoles normales et des Maitrises, par Dom Amdroise Kienle, traduit de l'allemand par Dom Laurent Broche, 3-50. Janssens.

[N 415]

Le Chant gregorien, sa genese et son developpement, in-8 ", par Dom Laurent Janssens. Broche, 060. [N 465] Le Plain-Chant, histoire et theorie par Tabbe Soullier
D. C. D.
J.

vol. petit in-8

de vi 1-330 pages.

[N 418] Cours abrege et pratique du in- 18 de 120 pages. Broche, 0-50.

Broche, 4-00. Plain-Chant. volume

1

[N 381] Etude sur le Chant gregorien, par Thiery, petit in -8 de 825 pages. Broche, 10-00.

fort

volume

Broche, 3-00. Cantus varii Fr. Minorum. In-8 de xxxiv-376 pages. Broche, 6-00.
Grassi-Landi. Armenia
e

melodia mttsicah.

Vesperarum
in-8

liber juxta ritum sacri Ordinis Praedicatorum. Petit de 896 pages en rouge et noir avec cadre rouge. Papier de FlollamU. Broche, frs. 12-00.

Proprium Sanctorum

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Repertoire des melodies gregroriennes transcrites en notation musicale avec accompagnement pour Orgue ou Harmonium, par Giulio Bas.
Prix dc Pabonmment
:

6 frs

par a nine
:

Liste des fascicules deja publies

lere
1.

SERIE
7.

2.

3.

4.
5.

6.

Missa Missa Missa Missa Missa Missa

Epiphanise Domini.
Purificationis B.

M.

8.

Dominicae Paschalis, Ascensionis Domini.

Pentecostes.
in

9.

10. 11.

Missa Ss. Apost. Petri el Pauli. Missa Assumptions B. M. Missa Nativitatis B. M. Missa Omnium Sanctorum. Missa Immaculate Conceptio-

Festo Corporis Do12.

ns

B.
(3

M.
a
)

mini.

Missa

Nativitatis

Domini.

2e
1

SERIE
In Nativ. S. Joannis Baptists. In Festo SS. Rosarii. 10 11. Missa Defunctorum. 9 12. In Nativitate Domini (Missa
7. 8.

2.

B.
3.

In Festo S. Joseph Sponsi M. V.

in Albis.
cle

Dominica
5-

6.

Festum

2
3.

Missa

Angelis.

SS. Cordis Jesu.

in nocte).

3e
1

SERIE
7

Vidi aquam Asperges Modus respondendi in

8
et

Festis Duplicibus III. (1) 9. In Missis B. Marie Vir-

Missa.
schali.

In

Missa tempore PaFestis Solemni10

1ms
6.

I.

11 12.
II,

ginia Dominicis infra annum. In Festis Semiduplicibus I.

...

In Festis SolemnibusII. In Festis Duplicibus I. In

Dominicis Advcntus Ouadragesimre. Credo I,

IV. (2)

4^
Antiphonce, Psalmi
1.

SERIE
et

Hymni

ad Vesperas.

In Kpipbania Domini. 4 5. In Purificatione B. 3 M. V. Dominica Paschae. In Ascensione Domini. In Festo Pentecostes. 8 7 9. In Solemnitate Corporis Christ i. In Festo Ss.

sumptione B. M. V.
10

In

11

Nativitate B.
12.

M. V.

In

Festo
-

Omnium

Sanctorum.

ImmaculaUe B. M. V. Domini.
se

In Festo Conceptionis

In Nativitate

Ap. Petri

et Pauli.

In As-

N. B. Les fascicules
(jj In Festis
(-.:)

vendent separemenl.
second*.' scric

Duplicibus

II

)
S

Credo

III.

Missa dc Angelis dcja publics dans la

[N6io] Methode elementaire de Chant gregorien par D. Pierre Bastien O. S. B. 156 p. in- 1 8, (deuxieme edition revue ct augments.)

Broche,

1-00.

[N 586] Origine et developpement du Chant liturgique jusqu'a la fin du moyen age, par Pierre Wagner, Directeur de l'Academie Grcgorienne a Fribourg, Suisse, traduit de l'allemand par TAbbe Bour, Prix 5-00. 1 vol. in-8 de 338 pages.

[N 604] Introduction a l'execution du chant gregorien d'apres les principes des Benedictins de Solesmes, par Ad. Duclos, Chanoine titulaire de la Cathedrale de Bruges. 1 vol. in-8 de 80 pages.

Broche,

fr.

1-25.

[N 618]
sur les

Sa
frs.

Saintete Pie
la

Motu proprio
de
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titulaire

Musique religieuse. Commentaire connexes, par Ad. Duclos, Chanoine Cathedrale de Bruges. 1 vol. petit in-8 de 142 pages.
et les pieces

X et la

Prix

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1.

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:

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Douze Tantum Ergo,

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