Chants of the Vatican Graduale - MusicaSacra

Structure and Expressiveness of the Variable Mass-Chants 3
In the first, second, third, sixth, seventh, and eighth modes, the
final cadence begins with the fifth syllable from the end; in the fourth
mode with the fourth syllable from the end.
1.
2.
3.
6.
7.
8.
4.
a
f c
f d
c
a
aca
9
ccb
9
def
cc b
a
9
fd
ag
fd
d
ga
of
f a
f c
cb
aa
fff
ec
b
9
ccc
a
a
d
ded
ga
f ag
9
e
jubi~ld - te De - o Ja - cob
Here there is simple enumeration of syllables, with no reference to
the word-accent. The text is subordinatd to the melodic rhythm, and
according to Quintilian (A.D. 118), the syllables must then be lengthened
or shortened to fit the pattern of the melody. Occasionally, in the
Vatican edition, the sixth and eighth modes form exceptions when the
verse closes with a dactylic rhythm, as is instanced in the Introit In
medio:
f ff 9 fd f\H (/) /
Do- mi- ni tu- o Al\tis- si- me;
and in the Introit of the Sunday after Christmas:
3 2
cc b ga cb\d a g
fortitudinem et prae\cin-xit se.
In both cases, therefore, there is one accent with three preparatory notes;
this makes the rhythm of the eighth mode somewhat uneven.
Some modes have variant final cadences. These effect an artistic
linking of the psalm-verse with the repetition of the antiphon. The ancients
had a nice sense for the propriety of such a device. Occasionally
the cadence suggests the beginning of the antiphon.
The eighth mode closes with the extended cadence c cc b ga cb a
gadffg when the antiphon rises from a lower note, as for instance on
Palm Sunday:
d fg g gag
Do- mi- ne.