Textbook of Gregorian Chant (1930) - MusicaSacra
Textbook of Gregorian Chant (1930) - MusicaSacra
Textbook of Gregorian Chant (1930) - MusicaSacra
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PART TWO<br />
CHAPTER I.<br />
<strong>Gregorian</strong> Tonality,<br />
Its Importance. The fundamental Scale.. Constituent Elements <strong>of</strong><br />
Tone. Melodic Extension. Tones and Semitones. Tonics.<br />
Dominants : their Importance. Complete Table <strong>of</strong> Modes.<br />
Tonic and Dominant <strong>of</strong> each Mode. Transposed Tones. Mixed<br />
Tones. Modulations; Changes <strong>of</strong> Mode. <strong>Gregorian</strong> Modulation<br />
rich and varied. Exercises.<br />
A thorough acquaintance with the modes is <strong>of</strong> the greatest<br />
importance in plainsong as well as in figured music. In our own<br />
day, especially, when returning to the old modality in order to<br />
gain variety for modern compositions and to endow those destined<br />
for liturgical functions with a more religious character, it becomes<br />
necessary to define exactly what is meant by <strong>Gregorian</strong> tonality.<br />
We shall not study theory in this matter, except in so far as it is<br />
necessary for practice, thus keeping within the limits suited to a<br />
textbook.<br />
It must be remembered, to begin with, that the diatonic scale,<br />
the only one used in plainsong, is taken from the following long<br />
range <strong>of</strong> sounds :<br />
A B C D E F G a b c d e f g<br />
to which the ancients added<br />
sake <strong>of</strong> completeness.<br />
extra note at each end for the
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