Basic Gregorian Chant (1960).pdf

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THE
CHURCH
MUSICIANS
BOOKSHELF
NO.4
SERIES II
BASIC GREGORIAN CHANT
AND
SIGHT READING
MOVABLE DO EDITION
By
Sister Mary Demetria, B.V.M.
Pllblished
by
GREGORIAN
2I 32
INSTITUTE
Ave n u e
•
OF
T ole d
AMERICA
0
J
e
f
fer
II
on
2,
0 h
i
0
ACKNOWLEDGMENTS
For kind permission to use copyrighted material, acknowledgment
is hereby made to the following:
Messrs. Rushworth and Dreaper Ltd., 11 Islington, Liverpool,
England, for freely quoting Lessons 33-37 (pp. 75-90) from Gajard,
Dom Joseph,
The Rhythm of Plainsong.
The Gregorian Institute of America for method of chant conducting
for Lessons 38 and 39, from
The Technique of Gregorian Chironomy,
by J. Robert Carroll; for lessons in Psalmody (pages 99-100) from
The Catholic Choirmaster Course,
by Very Rev. Msgr. Joseph
T. Kush, S.T.B.; from
An Applied Course In Gregorian Chant,
translated from the French by J. Robert Carroll.
Solesmes rhythmic signs used with the permission of the proprietors,
Desclee and Company, Tournai, Belgium
Copyright 1960 by
GREGORIAN INSTITUTE OF AMERICA
International Copyright Secured
Printed in U.S.A.
CONTENTS
CHAPTER ONE
RUDIMENTS OF MODERN MUSIC
Basic Chant Theory
Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
1.
2.
Tone. Note values. Clefs........................
Intervals, Scale Formulas. . . . . . . . . . . . . . . . . . . . . . . . . .
Scale Signatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chant notation ..................................
Study of Intervals-Gregorian Clef System ..........
Singing Scales from Gregorian Staff, from Transcrip-
tions to Modern Staff, and from Transpositions. .
Whole and Half-tone Drills . . . . . . . . . . . . . . . . . . . . . . . .
Basic Rhythm Exercises ..........................
Rhythm of the Latin Word. . . . .. . .. . . . ... . .. . . . . ..
The Use of Talla in Rhythm ......................
The Character of the Ictus ........................
8
10
11
12
15
17
19
22
23
25
29
3.
4.
5.
6.
7.
8.
9.
10.
11.
CHAPTER TWO
SIMPLE NEUMES
Solfege Exercises: Major and Minor Seconds. The
Podatus and the Clivis ........................
Lesson 13. Rules for Transcribing Chant to Modern Notation. . . .
Lesson 14. Solfege on Major and Minor Thirds. Chants With
Two-note Neumes ............................
Lesson 15. Solfege on Interval of a Fourth. Three-note Neumes.
Rules Relating to Rests at the Full and Double Bar
Lesson 16. Additional Three-note Neumes.
Solfege Exercises.
Interval of a Fifth ............................
Lesson 17. Chants With Two- and Three-note Neumes. Solfege
on Intervalic Equivalents ......................
Lesson 12.
32
34
35
38
41
44
3
CHAPTER THREE
AUGMENTED AND SPECIAL NEUMES
Lesson 18.
Lesson 19.
Lesson 20.
Lesson 21.
Lesson 22.
Lesson 23.
Lesson 24.
The Porrectus Flexus. Solfege on Two Types of Minor
Third. . . . . . . . . . . . . . . . . . . ... . . . . . . . . . . . . . . . . ..
The Scandicus Flexus. Solfege in Transpositions of
Minor Thirds ................................
Resupinus Groups. Solfege Drills for Intonation ....
The Torculus Resupinus. Solfege Drills on the Fa Clef
The Subpunctis Groups.
Solfege on Various Clef
Changes ....................................
Scandicus and Subbipunctis Groups. The Role of the
Ictus in Rhythm. Solfege ....................
Various Compound Neumes. Solfege ..............
48
49
51
54
56
58
59
CHAPTER FOUR
NEUMES WITH SPECIAL TREATMENT AS A POINT OF
INTERPRETATION
Lesson 25.
Lesson 26.
Lesson 27.
Lesson 18.
Lesson
Lesson
Lesson
Lesson
19.
30.
31.
32.
The Pressus. Eight Gregorian Modal Scales. Solfege
Exercises on the Protus Modal Pattern .......... 62
The Oriscus. Solfege Exercises on the Deuterus Modal
Pattern. . . . .. . . . . .. . . . . . . . . . . . . . . . . . . . . . . . . .. 66
The Salicus. Solfege Exercises on the Tritus Modal
Pattern. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 67
The Praepunctis or Disaggregate Neume. Solfege Exer-
cises on the Tetrardus Modal Pattern .......... 68
The Strophicus Groups. Distropha and Bivirga . . . . .. 69
The Tristropha and Trivirga.. .... ........ .. . . .. .... 70
Rules For Placing the Ictus. Analysis of Neumes .... 72
Common Rhythmic Problems Involving Deductive Plac-
ing of the Ictus .............................. 74
4
CHAPTER FIVE
RHYTHM AND CHIRONOMY
Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
Lesson
33.
34.
35.
36.
37.
38.
39.
Rhythm In General ..............................
Further Rhythmic Analyses . . . . . . . . . . . . . . . . . . . . . . ..
Elementary Rhythm ..............................
Compound Time ................................
Composite Rhythm ..............................
Chant Conducting.... . . .. . . . . . . . . .. . . . . .. .. . . . . ..
Written Chironomy ..............................
76
78
79
80
82
84
86
CHAPTER SIX
PSALMODY
Lesson 40. Introduction to Psalmody. . . . . . . . . . . . . . . . . . . . . . . . ..
Lesson 41. The Elements of a Psalm-tone. . . . . • . . . . . . . . . . . . . . ..
Lesson 42. Syllables of Preparation ..........................
Lesson 43. Exercises In Psalm Singing. Latin Pronunciation ....
Lesson 44. Singing Psalms With Unpointed Texts ..............
Lesson 45. Exercises In Setting a Latin Text to a Psalm-tone ....
88
89
92
92
96
96
5

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