Textbook of Gregorian Chant (1930) - MusicaSacra

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16 Part One. Perfect Fourth. lone tone senii-t. tone semi-t. tone semi-t. tone tone When the interval of a fourth takes in three successive tones it becomes what is called an augmented fourth or tritone. I. p k mi k a. m i - • a. m • • i 11- hr-_ * a. t. t. i 1 a* i 1 m I - • t Augmented Fourth. tone tone tone • " • a. t.t. -• " 1 L a. t. • • . • t. "• 1 1 1 1 m " ' 1 ' " • 1 • . I I t. t. a. t. I
a. a. a.t. tf Lesson X. Lesson X. a. t. 1.1. Interval of a Fifth: perfect and diminished. Exercises. The interval of a fifth is made up of five consecutive degrees of the scale. Three tones and a semitone contribute to the formation of this interval. Perfect Fifth. \ tone tone s.-t. tone .a- tone s.-t. tone tone The diminished fifth contains two tones and two semitones. Diminished Fifth. I j _ s.-t. tone tone s.-t. The diminished fifth was unknown to the earliest Gregorian chant, but it was sometimes used in less ancient compositions. I k z. (Li- ft i a. t. ' •• 1 •* 1• 1 • •-= i • • • TT" -J ft! = a. • 1 " • 1 i • a • ? • t. •• 17 i i '
Page 1: TEXT BOOK OF GREGORIAN CHANT ACCORD
Page 4 and 5: INTRODUCTION. Preface, introduction
Page 6 and 7: viij. Introduction. could ever be g
Page 8 and 9: Introduction. mystical body of Chri
Page 10 and 11: xij. Introduction. " return to anti
Page 12 and 13: xiv. Introduction. song ", 1 she do
Page 14 and 15: xvj. Contents. CHAPTER III. Rhythm.
Page 17 and 18: PART ONE. Lesson I. Definition of M
Page 19 and 20: Lesson I. Examples of clefs on diff
Page 21 and 22: Lesson III. In the Vatican Edition
Page 23 and 24: I. I b p b g 2. • b a. arsis arsi
Page 25 and 26: Lesson V. B) NEUMS OF THREE NOTES.
Page 27 and 28: Lesson VI. In order to sing correct
Page 29 and 30: Lesson VII. 13 without drawling, th
Page 31: I 1 L | 2. 4- i • i a. t. Lesson
Page 35 and 36: Lesson XII. 19 The interval cf a se
Page 37 and 38: Lesson XII. 21 N. B. In this type o
Page 39 and 40: Lesson XII. 23 R. Care must be take
Page 41 and 42: Lesson XIII. 25 by aspiration (mise
Page 43 and 44: Lesson XIV. 27 Phraseological Accen
Page 45 and 46: Lesson XIV. 29 Redempti6nem-mfsit p
Page 47 and 48: Chapter I. — Gregorian Tonality.
Page 49 and 50: Deuterus Tritus \ \ Tetrardus \ Cha
Page 51 and 52: CO p u 1t . r 1 Upper Range Lower R
Page 53 and 54: Tritus Mode V and VI Chapter I. —
Page 63 and 64: Chapter II, — The Singing of the
Page 65 and 66: f 1 Int. Chapter II. — The Singin
Page 67 and 68: Chapter IT. — The Singing of the
Page 69 and 70: Chapter II. — The Singing of the
Page 81 and 82: Chapter III. — Rhythm. 65 diction
Page 83 and 84:
Chapter III. — Rhythm. 67 which a
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Chapter III. — Rhythm. 69 The tra
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Chapter III. — Rhythm. 71 Instead
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Chapter III. — Rhythm. 73 the mel
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Chapter III. — Rhythm. 75 Having
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Chapter III. — Rhythm. 77 nothing
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Chapter III. — Rhythm. 79 of the
Page 97 and 98:
Chapter IV. — Rhythm of Words and
Page 99 and 100:
Page 101 and 102:
Page 103 and 104:
Page 105 and 106:
Page 107 and 108:
Chapter V, — Special Execution of
Page 109 and 110:
Chapter V. — Special Execution of
Page 111 and 112:
Chapter VI. — The Rhythmic Suppor
Page 113 and 114:
Page 115 and 116:
Page 117 and 118:
Page 119 and 120:
Page 121 and 122:
Page 123 and 124:
Chapter VI- — The Rhythmic Suppor
Page 125 and 126:
The Rhythm of Sections and Members.
Page 127 and 128:
i Chapter Protasis a B • s '— E
Page 129 and 130:
Chapter VIII, — The Rhythm of the
Page 131 and 132:
Chapter VIII. — The Rhythm of the
Page 133 and 134:
Chapter IX. — Conducting the Chan
Page 135 and 136:
Page 137 and 138:
Page 139 and 140:
Chapter IX- — Conducting the Chan
Page 141 and 142:
Chapter X. — Practical Examples.
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Page 145 and 146:
Page 147 and 148:
Page 149 and 150:
tide nobis... omy. I # X e-» V- am
Page 151 and 152:
Page 153 and 154:
v Chapter X, — Practical Examples
Page 155 and 156:
Page 157 and 158:
Chapter I. — Hymns. 139 tonic acc
Page 159 and 160:
Chapter II. — The Common Tones. 1
Page 161 and 162:
Chapter II• — The Common Tones.
Page 163 and 164:
Chapter III. — Liturgical Recitat
Page 165 and 166:
Chapter III- — Liturgical Recitat
Page 167 and 168:
Chapter III. — Liturgical Recitat
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Chapter IYr — Accompaniment. 151
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Chapter IV- — Accompaniment. 153
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^ Chapter IV. — Accompaniment. 15
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Chapter IV. — Accompaniment. 157
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Page 179 and 180:
Page 181 and 182:
Historical Survey, Ecclesiastical L
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Historical Survey. Ecclesiastical L
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Page 187 and 188:
Page 189 and 190:
Page 191 and 192:
Page 193 and 194:
Page 195 and 196:
Ecclesiastical Legislation. 177 for
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Ecclesiastical Legislation. 179 REG
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Ecclesiastical Legislation. 181 tak
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Ecclesiastical Legislation. 183 lic
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Ecclesiastical Legislation. 185 and
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Ecclesiastical Legislation. 187 hea
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Ecclesiastical Legislation. 189 to
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Ecclesiastical Legislation. 191 gor
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Ecclesiastical Legislation. 193 II.
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Ecclesiastical Legislation. 195 by
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Ecclesiastical Legislation. 197 up
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Ecclesiastical Legislation. 199 ren
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Ecclesiastical Legislation. 201 cat
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Ecclesiastical Legislation. 203 Thi
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Ecclesiastical Legislation. 205 in
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Ecclesiastical Legislation. 20*3 Th
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Ecclesiastical Legislation. 209 We
Page 229 and 230:
Ecclesiastical Legislation. 211 VI.
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Ecclesiastical Legislation. compete
Page 233 and 234:
BIVIRGA, BLESSINGS, CADENCE, CANTIL
Page 235 and 236:
ICTIC, IMPULSION, SECTION, INTERVAL
Page 237 and 238:
PLAGAL, PODATUS, PORRECTUS, POSTICT
Page 239:
TONIC, TORCULUS, TRANSPOSED MODES,
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