Chants of the Vatican Graduale - MusicaSacra

The Assumption of the Blessed Virgin Mary 429
The melody over Alleluia, exclusive of its jubilus, has two sections,
the first of which reaches its climax on the pressus and recurs in the
second member of the jubilus. In chant practice the two sections should
be taken successively as shown in the following scheme:
cd efgdag g
All- e lu...and
cd efgdag g
The second section is further developed in the first member of the
jubilus, which in turn has two members that are well rounded off by the
climacus. The second member of the jubilus is an abbreviated form of
all which precedes.
The tone material for the first part of the verse as well as the energetic
accents over est and Ma-(ria) are taken from the melody of the first
part of Alleluia. This first phrase moves quietly, is almost narrative.
Groups of two notes should be sung over est and -ria in. The melody
here has a strong cadencing tendency and is more effective than in the
original. Beginning with gaudet, the exuberant joy of the angel choirs
again makes itself felt. The melodic figure over exercitus is identical with
that over Alleluia; its arrangement differs somewhat, since, on account
of the "i" in the latter word, a liquescent climacus is placed between the
two vowels. The choir will experience some difficulty setting in with
Angelorum. The jubilus of Alleluia recurs over -16-. A little discrepancy
arises here. According to a so-called "golden rule" it is neither allowed
to retard nor to pause before the various syllables of the same word,
consequently neither before -rum. On the last note of the corresponding
torculus resupinus in the jubilus of the Alleluia, however, a mora vocis
was made. In order to reconcile both renditions, Revue (24, 149 ff.) suggests
that this retarding in the jubilus be made light and short (cf. also
Revue, 11, 165 ff.).
Although the Alleluia Angelus Domini of Easter Monday and Verbo
Domini of the Wednesday of Pentecost Week are quite similar to the
present melody, they are nevertheless assigned to the eighth mode because
of their close on g. They really belong to the fifth mode, as does the
Alleluia of today.
OFFERTORY
1. Assumpta est Maria in caelum: 1. Mary hath been taken up into
2. gaudent Angeli, 3. collaudantes heaven: 2. the Angels rejoice, 3. and
benedicunt Dominum. blessing God, praise him with one