Textbook of Gregorian Chant (1930) - MusicaSacra

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34 Part Two. the original scales were four in number, after the division there were henceforth eight Gregorian tones, divided into four authentic or primitive tones and four plagal or derived ones. The first are designated by the odd figures 13 5 7, the second by the even 2 468. ! I4> (0 Upper Range Lower Range Ancient Terminology Authentic Protus Plagal Protus Upper . Authentic Range j Deuterus Lower Range Plagal Deuterus Upper i Authentic Range ! Tritus Lower Range Plagal Tritus Modern Terminology First Mode Second Mode fcz Third Mode Fourth Mode Fifth Mode Sixth Mode m a G • i - • Q "" m a - . *A 1 "•XT" Q r 1 L t • | i _J Q * I a r 1
CO p u 1t . r 1 Upper Range Lower Range Chapter I. — Gregorian Tonality. 35 Ancient. Terminology Authentic Tritus Plagal Tritus Modern Terminology Seventh Mode Eighth Mode g i * m • 1 • ° a Q The eight tones are distinguished by their tonic, their dominant, and their ambitus or the compass of notes which they cover. ~ . a . f First mode. Tome or final re j Second mo — mi — Third mode. Fourth mode. Fifth mode. Sixth mode. . f Seventh mode. soi \ Eighth mode. In the authentic mode the dominant is a fifth above the tonic. The third mode is exceptional, because here the dominant has insensibly passed from si to do on account of the instability of the si which may be either natural or flat, and also on account of the attraction exerted over it by the higher note. In certain pieces of this mode, however, the si often plays the part of a dominant even now. In the plagal modes the dominant is three notes lower than in the corresponding authentic mode, the eighth mode being an exception to this rule for the same reason as the third. Dominant, First mode, la. ( Third mode, (si) do. Second mode,/tf. \ Fourth mode, /a. Fifth mode, do. \ Seventh mode, re. Sixth mode, la. \ Eighth mode, (si) do. The compass of each mode is clearly seen in the above table of scales. The melodies are not strictly compelled to move only within the narrow limits of their modal octave; they may pass one note
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 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: Deuterus Tritus \ \ Tetrardus \ Cha
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
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Page 85 and 86: Chapter III. — Rhythm. 69 The tra
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Page 89 and 90: Chapter III. — Rhythm. 73 the mel
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Page 93 and 94: Chapter III. — Rhythm. 77 nothing
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Page 97 and 98: Chapter IV. — Rhythm of Words and
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Chapter IV. — Rhythm of Words and
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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
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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
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TONIC, TORCULUS, TRANSPOSED MODES,
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