Textbook of Gregorian Chant (1930) - MusicaSacra

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22 Part One. Epiphany Hymn for Lauds, verse one, line two: Major Bethlem cui contigit Hymn for the Dedication of Churches, last verse, third line : cui laus potestas gloria The metrical rhythm makes these cases very easy to determine. / used as a semi-vowel, see J below. Consonants. These, as their very name implies, can only be pronounced in contact with another element, e. g. the vowels. They must be articulated with a certain crispness and energy, as otherwise the words will become unintelligible and the reading weak and nerveless. C is soft before e, ae, oe, i, y; that is before the sounds of e and i. It is pronounced like the English ch (tch) in the word cherish. Exs. Sacerdos = sachairdos: caelum = chayloom; Caecilia = chaycheeleea. CC before the same sounds = tch. Ecce = etchay. SC before the same sounds = sh : Descendit = deshendeet. Otherwise SC is hard as in the English word scan. But for these exceptions C is always hard like the English k. Exs. Caritas, siccum, scandalum^ and Ch is hard like k before every vowel, even e and / G is soft before the sounds of e and i (e, ae, oe, i, y) as in the English word generous. Exs. Genitori, Regina. In every other case it is hard, as in the English go. Exs. Galea, gladius, gloria. GN has the French sound heard in the word agneau to which the nearest English equivalent would be N followed by Y. Ex. Magnificat = Ma-nyi-ficat. H is pronounced as K in mihi (meekee) and nihil (neekeel) and the compounds of nihil. (These two words were formerly written michi, nichil). In all other cases H is mute (never aspirated). Ex. hi = ee. / or the semi-vowel / is always pronounced like the English Y9 but it must be uttered in one enunciation with the following vowel. The two sounds form only one syllable. Exs. Jam or iam, Allelu-ja or Allelu-iay Jesus or fesus} Jo-annem or Io-annem. It is naturally the vowel following the/ which plays the predominating part in the syllable, and the neums are sung on it when they occur with this type of syllable.
Lesson XII. 23 R. Care must be taken never to omit this sound, as is done in cultivated English, when it occurs with another consonant. Practise sounding the r in carnis and martyr, rolling it on the tongue, to avoid saying cam's and mater. S is always hard or dental as in the English words yes, isolated essence. Never pronounce it like a Z. Ti before a vowel and preceded by any other letter but S, T, or X is pronounced as tsi\ Exs. Gratia = gratsia : patientia = patsientsia; but modestia = modestia. Otherwise T as in English, except that 77/ always = T. Ex. Thesaurus = tesaurus. X has the same sound as in English, but XC (before e, ae, oe, i, y;) presents a certain amount of difficulty as it is not a pure Italian sound. The X being practically equivalent to CS or KS9 the C which follows this X combines with the 5 sound which ends the compound X = KSC. It was noted above that SC before the sounds of e and i is pronounced sh; XC thus equals ksh : Exs. Excelsis =s ekshelsis; excessus = ekshessus. Before every other vowel XC has the ordinary hard sound of the letters composing it : XC = KSC. Ex. Excussorum. Y see Vowels. Z is pronounced as dz. Example. Zizania = dzi-dza-nia. All the rest of the consonants, viz. B, D, F, K, L, M, N, P, Q and V are pronounced as in English. N. B. — Double consonants must both be clearly sounded. Ex. Latin bello = bel-lo, not the English bellow. The letters are united to form syllables. In uttering these care must be taken not to separate one part of a syllable in order to join it on to another, as if, for example, one were to say jubil-atio instead of jubi-latio. (/; Just as each vowel must keep its own timbre and each consonant its own sound, so each syllable must be given its own proper value. Doubtless in reading or recitation, or even in the singing of the psalms, there is no absolute equality between all the syllables : each carries its own weight in virtue of its composition and the place occupied by the accent in the word to which it belongs. But this variation in the length and weight of different syllables must never go so far as to sacrifice any one of them entirely or even lead to hurrying over any one excessively. The syllables composed of a single vowel must be watched particularly: fil/V, #?rum, gaud/V, gaud/a, and indeed all the weak (') See Note page 24.
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 and 32: I 1 L | 2. 4- i • i a. t. Lesson
Page 33 and 34: a. a. a.t. tf Lesson X. Lesson X. a
Page 35 and 36: Lesson XII. 19 The interval cf a se
Page 37: Lesson XII. 21 N. B. In this type o
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
Page 85 and 86: Chapter III. — Rhythm. 69 The tra
Page 87 and 88: 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
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Chapter IV. — Rhythm of Words and
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Page 101 and 102:
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Chapter V, — Special Execution of
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Chapter V. — Special Execution of
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Chapter VI. — The Rhythmic Suppor
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Chapter VI- — The Rhythmic Suppor
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The Rhythm of Sections and Members.
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i Chapter Protasis a B • s '— E
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Chapter VIII, — The Rhythm of the
Page 131 and 132:
Chapter VIII. — The Rhythm of the
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Chapter IX. — Conducting the Chan
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Chapter IX- — Conducting the Chan
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Chapter X. — Practical Examples.
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tide nobis... omy. I # X e-» V- am
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v Chapter X, — Practical Examples
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Chapter I. — Hymns. 139 tonic acc
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Chapter II. — The Common Tones. 1
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Chapter II• — The Common Tones.
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Chapter III. — Liturgical Recitat
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Chapter III- — Liturgical Recitat
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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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Historical Survey, Ecclesiastical L
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Historical Survey. Ecclesiastical L
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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
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Ecclesiastical Legislation. 211 VI.
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Ecclesiastical Legislation. compete
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BIVIRGA, BLESSINGS, CADENCE, CANTIL
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ICTIC, IMPULSION, SECTION, INTERVAL
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PLAGAL, PODATUS, PORRECTUS, POSTICT
Page 239:
TONIC, TORCULUS, TRANSPOSED MODES,
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