Textbook of Gregorian Chant (1930) - MusicaSacra

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xiv. Introduction. song ", 1 she does so in such an austere and purified fashion that, as was remarked at the outset of this essay, we need re-education to comprehend it. In Holy Week all the anguish pf the Passion finds utterance in the subtle, elusive meanderings of some Lesson or Responsory of strongly Old Testament colouring, and, later on, even the rapturous triumph of Easter itself will scarce persuade the chant to quit her crooning peace. The true reason for the perfect artistic equipoise of Gregorian music is to be sought for in the spiritual order. As regards " expression " the melodies move in a world of supernatural enchantment where earthly values are ignored or forgotten; God's fairyland where all things are contained within the hortus conclusus of His will. Here one may smile indeed, but to laugh would be almost an outrage, since we are always in a sense before the crucifix; here the tears may come, but they must never fall so thick as to blind us to the glory of the Resurrection vision. A modern art critic, 2 with almost inspired imaginative insight, has said that Perugino painted his great* crucifixion in Florence after picturing it through the medium of the Mass, without cries or crowds or bloodshed, but as a liturgical act; certainly the spacious sobriety and restraint of the early Italian artists finds its exact counterpart in Gregorian music. Conclusion. It would probably be idle to speculate what the future has in store for the chant. Will a later day give back to the Church the vast multitude of singers needed to do full justice to certain of the plainsong melodies? Recent Gregorian congresses in the New World would seem to promise great things in this direction. Certain it is that the musical fashion of today is set towards rhythm and melody rather than towards more complex harmonisation. The universal interest in folk music, the revival of old instruments associated with the name of Arnold Dolmetsch; these are symptoms of a widespread change in taste. Whatever may be its ultimate outcome, the Church's chant of prayer and serenity is safe. Unlike all the other arts in this particular respect, it can never be debased to any lower usage; it remains narrower in scope but more virginal than all the rest Those who accomplish the work of liturgical praise, whether in the cloister or in the world, know that they sing to God and not to man, and that by fidelity to the Church's old music they are rehearsing for the New Song of heaven. THE TRANSLATOR. 1 JUSTINE WARD, op. cit. Preface, p. i. 7 MAURICE HEWLETT, "Earthwork out of Tuscany ".
CONTENTS. PREFACE v. INTRODUCTION vj. PART ONE. LESSON I. Definition of Music and Gregorian Chant. The Notes and their Names. The ordinary Note and its Modifications. The Clef. The Guide. The Comma. The Bar-Lines i LESSON II. The Diatonic Scale. Tones and Semitones. The Flat. The Natural. The Chromatic Scale 4 LESSON III. The Interval. Conjunct and Disjunct Intervals. Intervals of a Second : major and minor. Exercises 5 LESSON IV. Perfect Production of the Notes. Singing Exercises at Intervals of a Second 6 LESSON V. Neums. Neums of two, three and four Notes. Special Neums. Exercises 8 LESSON VI. Voice-Production : Rules. Vocalisation : Rules : Exercises IO LESSON VII. Smoothness of Rendering. Hints. Rules. Exercises . 12 LESSON VIII. Intervals of a Third : major and minor. Exercises . 14 LESSON IX. Interval of a Fourth : Perfect and Augmented. Exercises 15 LESSON X. Interval of a Fifth : Perfect and Diminished. Exercises . 17 LESSON XL Intervals of a Sixth : a Seventh and an Octave . . .18 LESSON XII. Importance of Good Reading. Rules for the Roman Pronunciation of Latin. Vowels, Consonants, Syllables. . . 19 LESSON XIII. Accentuation. Tonic Accent. Principal and Secondary Accents 25 LESSON XIV. Phrasing. Grouping and Dividing. Words : Sections: Members : the Phrase. Phraseological Accents. Exercises . . 26 CHAPTER I. PART TWO. Gregorian Tonality. Its importance. The fundamental Scale. Constituent Elements of Tone. Melodic Extension. Tones and Semitones. Tonics. Dominants : their Importance. Complete Table of Modes. Tonic and Dominant of each Mode. Transposed Tones : Mixed Tones. Modulations : Changes of Mode. Gregorian Modulation is rich and varied. Exercises . . . 30 CHAPTER II. Singing the Psalms. Their Tonality. Psalmody. The Parts composing a Verse. Table of the Eight Tones. The Dominant and the Final. Method of adapting the Text. Fixed Cadences : variable Cadences. Cadences of one Accent : Cadences of two Accents. The sole Rule. Intonation : Tenor : Flex : Mediant : Termination. Tonus Peregrinus. Solemn Mediants. Tonus *' in directum." Remarks. Choice of Pitch 46
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