Pulse Beginners Rhythm Solfeggio092410a
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Maria de BelemThe Pulse of Music
A Beginner’s Guide
To Singing
Gregorian Chant
Notation, Rhythm
and
Solfeggio
The first chapter was originally published in 2008 as
A Beginner’s Guide To Reading Gregorian Chant Notation
Noel Jones, AAGO
Ellen Doll Jones, CAGO • Editor
ISBN: 1453692762
©2010 Frog Music Press
Singing
Gregorian Chant Notation
The notes of chant,
how they appear on the page
and what they mean.
This
little book
is dedicated to
staff and
all the members of
The Church Music Association
of
America
for all the good that they do.
Table Of Contents
1 Quilisma........................................ 101
Reading Chant Notation Salicus............................................105
Punctum............................................5 Counting........................................108
Punctum Mora...............................12 Instant Chironomy........................112
Staff................................................ 18 Punctum Mora..............................114
Divisions - Pauses........................... 20 Learning Chant............................ 117
DO Clef.......................................... 22 Chant Samples........................121-132
Torculus.......................................... 46 3
Virga.............................................. 48 Solfeggio........................................ 139
Podatus............................................ 50 Punctum........................................ 143
Clivis............................................... 52 Staff..............................................145
Punctum Inclinatum..................... 54 Clef................................................152
Porrectus......................................... 56 Leaps.............................................159
Liquescent...................................... 58 Singing Chant Melodies.............164
Horizontal Episema......................60 Clivis..............................................165
Vertical Episema & Ictus............. 62 Virga.............................................167
FA Clef........................................... 64 Punctum Inclinatum....................169
Quilisma......................................... 66 Torculus......................................... 171
Flat & Natural............................. 68 Podatus........................................... 173
Custos.............................................. 69 Stropha..........................................175
Chant Samples..........................71-72 Porrectus........................................179
Quilisma.........................................181
2 Flat................................................. 183
Chant Rhythm............................... 75 Decorations...................................185
Lengthened Chant Notes............ 82 Measure Divisions.......................187
Dot.................................................. 88 Liquescent.....................................188
Horizontal Episema...................... 92 Custos.............................................192
Counting In Chant........................97 Chant Samples.........190-191,194-196
1
The Musica Sacra website at www.musicasacra.com has a long
list of chant book resources that may be downloaded on the
internet. They also are publishing and reprinting books on the
subject. Their “An Idiot’s Guide to Square Notes” by Arlene
Oost-Zinner and Jeffrey Tucker is not to be missed.
This short book is an effort to quickly outline and explain the
simple system of writing and reading chant. Prior to organiza-
tion of the writing of chant into this form there were squiggled
signs above words that were the first attempts to preserve the
oral tradition of sung chant.
We hope that this book serves to answer questions, give you con-
fidence and encourages you to study further the music of the
Church.
2
A Brief Overview of Chant Notation
• The foundation of modern written music notation
• Easier to read than modern notation
• Takes less space on the page than modern notation.
• Chant is made up of small groupings of organized notes
• Each group has a different and consistent purpose
• Music staff covers just the range of the human voice
• There are only four lines in the staff
• Notes are always directly above the vowel that is sung
• There are only two clef signs
• There is only one sign, a flat. that alters the pitch of a note
• All chant may be written with the same note, a neume
• Neume groupings organize notes over their word syllables
3
Sample
5f==0p=-2p=3p=2p=3p=2p=3p=2p=3p=4p=5p=3p=3p=2p=2p-2p=3p-3p==
1. An Alleluia written using the basic chant neume, a simple
note for each pitch.
Al-le - - - - - - -- - -lu- - - - - - - - - - - ia------
2. This Alleluia using chant neumes that clearly show the
grouping of pitches above the syllable being sung, as well as
5f=0p=23P-2p32R3P=-2p34P-35x5v3p-3L2l=223P.3.2.=-
interpretation...
Alle- lu- ia
[Title]
3 The same Alleluia using in modern notation. Note the
Score amount of space this takes, a major issue when writing on
expensive vellum in medieval times. Chant notation is com-
[Composer]
pact and to the point.
& œ œ œ œ œ œ ˙ œ ˙ ˙
œ œ œ œ œ
Al - le - lu - ia.
∑ ∑ ∑ ∑ ∑ ∑
2
&
p
4
Neumes - Notes
Lord
A-men
Ho-san-na
One Pulse
One Syllable
[one part of a word]
Name: Punctum
5
=3p-================================
Lord
=3p- =3p-============================
A- men
=333p===-=3p-=-==3p======================
Ho - san - na
The punctum is the only note needed to write out any chant.
As we study we will find that the additional neumes and
neume groupings that we are learning either:
1. Serve to tie a group of neumes together over one syllable
2. Indicate how to sing the neume
p=p
6
Length
Lord
A-men
Ho-san-na
Two Pulses
Two Syllables
7
===================================
Lord
3p===3p================================
A - men
33p=====3p=====3p======================
Ho - san - na
A space between nuemes over one word tells us that each
one is sung to a different syllable of the word.
pp
8
Length
Lord
A-me
Ho-san-na
Two Pulses
One Syllable
9
=3p-3p-================================
Lord
=3p- =3p-3p-============================
A- men
=333p====3p-3p-==3p======================
Ho - san - na
Two neumes almost touching lengthen the amount of time
the syllable below is sung by the number of neumes above.
Chant notes are sung to an equal pulse, so distinctions we
make in modern music notation of whole notes, half notes,
eighth notes, sixteenth notes and their equivalent rests are
not needed. In modern music the neume might be a q note,
two neumes close together a h note.
ppp
10
Length
- -
Lord
A-men
Ho-san-na
Three Pulses
One Syllable
11
3p-3p-3p===================================
Lord
3p-3p-3p==3p-3p-3p===============================
A- men
33p====3p-3p-3p==3p======================
Ho - san - na
This indicates the vowel is sung on one pitch for three pulses
in what might be a dotted half-note in modern notation.
p.
12
Decorations
Lord
A-men
Ho-san-na
Two Pulses
One Syllable
Also, when placed at the end of a chant means:
It is then called a Punctum Mora
13
=3p4.=====================================
Lord
=3p===3p.==================================
A - men
=333p=====3p=====3p.=======================
Ho - san - na
The dot indicates that this neume is interpreted in a special
manner. This is the first “interpretation” chant sign we
study. They may be called decorations.
This tells us to lengthen the neume to two pulses.
However, at the end of a chant this dot also means to soften
the singing of the neume
p1p
14
Pitch
Lord
A-men
Ho-san-na
Two Pulses
One Syllable
15
=3p4p=====================================
Lord
=3p4p==4p3p=================================
A - men
=4p33p===3p-===3p.============================
Ho - san - na
Two notes touching are both sung to the same syllable.
They are always sung in order from left to right.
p=1p=2p
16
Pitch
Lord
A-men
Ho-san-na
Three Pulses
Three Syllables
17
=========================================
Lord
=========================================
A - men
=3p====4p=====5p============================
Ho - san - na
Three notes not touching are sung in the direction they are
arranged...rising or falling in pitch.
18
======
Pitch
Lord
A-men
Ho-san-na
No Pulses
No Syllables
Name: Staff
19
=========================================
Lord
=========================================
A - men
=========================================
Ho - san - na
Each note is placed n a Staff. The Staff covers the natural
range of the human voice, 9 pitches up and down. Notes may
be placed on the spaces between lines and on the lines.
Occasionally an extra short line may be drawn in above or
below the staff for permit the writing of a chant that goes
beyond the usual range of the voice.
20
===+==;==|===
Pauses
Lord
A-men
Ho-san-na
Quarter Line, No Break
Half and Full Line May Permit Breath
21
========+================================
Lord
==================;=======================
A - men
=========================|================
Ho - san - na
The pauses serve to break up the long lines of chant to make
them easier to read and understand. The simple one cutting
across one line has that purpose alone. The next two cutting
through two lines or all four may also indicate that this is a
place where a breath may be taken.
7d======
22
Pitch
Lord
A-men
Ho-san-na
Name: DO Clef
23
=77d====7p===================================
Lord
=5d====5p====5p- -==-=-=================-=======
A - men
=3d====3p====3p====3p=========================
Ho - san - na
The DO may appear on just these three lines.
All the neumes above are the same pitch, DO.
This makes it possible to keep the notes of the melody cene-
tered on the four lines and three spaces of the staff.
24
7d==0p=1p==
Pitch
RE
DO
25
=7d===0p====================================
Lord
=7d===0p===1p================================
A - men
=7d===0p==1p==1p==============================
Ho san na
The first two intervals are DO and RE.
7d==0p=1p=2p=3p=
26
Pitch
FA
MI
RE
DO
27
=7d===0p=====================================
Lord
=7d===0p===1p=================================
A - men
=7d===0p==1p==2p===============================
Ho san na
This is half of an octave stretching from DO to DO. These
neumes are evenly spaced in pitch until you reach the fourth.
FA is half the pitch difference that you hear between DO,
RE and MI.
This interval, the Perfect Fourth, in the building block of the
octave.
Sing DO RE MI and then feel the urge to end on FA. MI
“leads” you to FA. It’s called a Leading Tone.
28
7d==3p=2p=1p=0p=
Pitch
FA
MI
RE
DO
29
=7d==3p======================================
Lord
=7d===3p==2p==================================
A - men
=7d===3p==2p==1p===============================
Ho san na
Singing down the scale of notes the effect of the FA - MI
half-step is not as pronounced to the ear.
Composers of chant write whole-steps and half-steps in 8 dif-
ferent patterns called modes.
• Modern music uses only two modes commonly - that we call Major
and Minor. Heavy emphasis on the TI DO is common, rarely do sec-
tions of pieces and endings ever not follow the TI DO pattern.
30
7d==7p=6p=5p=4p==
Pitch
DO
TI
LA
SO
31
=7d===7p======================================
Lord
=7d==7p==6p====================================
A - men
=7d==7p==6p==5p=================================
Ho san na
The second half of the octave is the second interval of four
pitches that are stacked on top of the first set. to make an 8
note scale.
The Leading Tone here is TI. It’s effect is not as pronouced
here either as this is a descending scale.
32
7d==44p=5p=6p=7p==
Pitch
DO
TI
LA
SO
33
=7d==4p======================================
Lord
=7d===4p==5p==================================
A - men
=7d===4p==5p==6p===============================
Ho san na
Here you will feel the pull from TI to resolve up to DO.
7d==0p===
34
Pitch
DO
35
=7d===0p=====================================
Lord
=7d===0p===0p=================================
A - men
=7d===0p==0p==0p===============================
Ho san na
Count down eighth positions [lines and spaces] of the staff
from the DO Clef to find another DO an octave [8 notes]
lower.
36
7d=7p-6p-5p-4p-3p-2p-1p-0p-
Pitch
DO
TI
LA
SO
FA
MI
RE
DO
37
=7d==7p======================================
Lord
=7d======6p==5p===============================
A - men
=7d==============4p==3p==2p=======================
Ho san na
A full octave of pitches descending.
38
7d0p-1p-2p-3p-4p-5p-6p-7p=
Pitch
DO
TI
LA
SO
FA
MI
RE
DO
39
=7d===4p======================================
Lord
=7d===5p==6p================================
A - men
=7d===7p=================
Ho san na
There are 8 Modes...that are used when writing chant melo-
dies. Instead of ending on DO as many modern melodies do,
chant melodies may begin and end on any note of the scale.
Some think this gives chant its “floating” character, as it is
not bound to the modern major/minor tonality.
Music written from the time of Bach on all tends to only be
in only two of the modes, what moderns call the Major and
Minor.
40
7d=p1p==
Pitch
2
1
Lord
A-men
Ho-san-na
Two Pulses
One Syllable
41
=7d=0p1p======================================
Lord
=7d=1p2p==2p1p==================================
A - men
=7d=1p2p===3p4p==3p2p=============================
Ho - san - na
We review...two neumes sung on one syllable.
42
7d=p=1p=
Pitch
Lord
A-men
Ho-san-na
Two Pulses
Two Syllables
43
=7d========================================
Lord
=7d==0p==1p==================================
A - men
=7d==1p==2p==================================
Ho san na
We review...one neume sung per one syllable.
The pulses that are the sung notes remain constant like the
ticking of a clock.
In some editions space between neumes has a meaning. For more infor-
mation about this, research Morea Vocis.
44
7dp=1p=2p=
Pitch
Lord
A-men
Ho-san-na
Three Pulses
Three Syllables
45
=7d=========================================
Lord
=7d=========================================
A - men
=7d==0p==1p==2p================================
Ho san na
46
7d=p1p0p==
Pitch
Lord
A-men
Ho-san-na
Three Pulses
One Syllable
Name: Torculus
47
=7d==0p1p0p===================================
Lord
=7d==0p1p0p==00.p.================================
A - men
=7d===0p1p0p==1p2p1p==0p.========================-- -
Ho - san - na
The Torculus is one of the common neume arrangments that
you will fin. When you see it, glance down, read the syl-
lable, and then look up and sing the three neumes above it.
These neume combinations are like common road signs that
trigger a response in the brain.
48
7d=3v=
Pitch
Lord
A-men
Ho-san-na
One Pulse
One Syllable
Name: Virga
49
=7d==3v=====================================
Lord
=7d========================================
A - men
=7d========================================
Ho - san - na
Note how the line on the Virga leads your eye.
It tells us the next neume we sing will be lower in pitch than
this one.
50
7d=02P=
Pitch
2
1
Lord
A-men
Ho-san-na
Two Pulses
One Syllable
Name: Podatus
51
=7d==02P==========================-===========
Lord
=7d===02P==1p.=================================
A - men
=7d===02P====24P===4p.===========================
Ho - san - na
A line connects the two notes in this note configuration
called Podatus or foot.
The lower note is sung first followed by the upper.
So our brain will understand we sing the same syllable on
two notes, one lower and the next higher every time we see
a Podatus. Podatus is “foot” in Latin.
52
7d=10C=
Pitch
1
2
Lord
A-men
Ho-san-na
Two Pulses
One Syllable
Name: Clivis
53
=7d==1c0p=========================-========-==
Lord
=7d===1c0p=5c4p================================
A - men
=7d===1c0p===3c2p===4c3p=========================
Ho - san - na
The Clivis starts with a vertical line that leads our eye to a
higher pitch, almost always followed by a lower pitch.
54
7d=7p6n5n
Pitch
Lord
A-men
Ho-san-na
Three Pulses
One Syllable
Name: Punctum Inclinatum
55
=7d===7p6n5n========================-==========
Lord
=7d===7p6n5n=4p================================
A - men
=7d===7p6n5n==6p5n4n==5p.==========================-
Ho - san - na
The Inclinatum is a dead give-away that we are singing
more than one pitch on a syllable.
As you may have already discovered, while all of the forms
of neumes we have seen could be represented by individual
neumes strung across a page, the clumping of them in struc-
tured forms gives us a heads up and simplifies the reading of
chant.
56
7d=35X5p53x3p4p==35X53R4P=
======
Pitch
1
3
2
Lord
A-men
Ho-san-na
Three Pulses
One Syllable
Name: Porrectus
57
=7d===75X75R6P======================-===========
Lord
=7d====75X75R6P-6p-6p5n4n=3p.=====================-====
A - - - - - - - men
=7d====75X75R6P=46X64R5P=5p======================-===
Ho - san - na
For some the most difficult of neumes to read, it’s simply an
easy way to write a group of three neumes that follow a
pitch pattern of high, low and back to mid.
The grey notes on the left page shows the same notes that
are in the Porrectus that follows it.
It was easier for those writing chant to write without lifting
the pen from the score than three neumes. And it clearly
defines a unique yet common musical pitch pattern.
58
7d==1k15x5K==
Pitch
Lord
A-men
Ho-san-na
Two Pulses
One Syllable
Name: Liquescent
59
=7d=============================-=====-=====
Lord
=7d========================================
A - men
=7d==1p===1p15x5K=====5P============================
Ho - san - na
The tiny note of the Liquescent is always a consonant
that may resonate when sung....quietly.
Think Sa Ahn. Say it, let your tongue flip to the roof of
your mouth to make the soft AHN sound.
60
7d=3pH==
Modern Decoration
Lord
A-men
Ho-san-na
A Lengthened Pulse
One Syllable
Name: Horizontal Episema
61
=7d===4pH3p2p==================================
Lord
=7d==3pH===3p================================
A - men
=7d==1p===1pH-2p==2p=============================
Ho - san - na
Emphasis, usually thought to be stretching of the neume in
time.
Just one of the additions made to more modern chant nota-
tion to more fully guide us in the interpretation of chant.
These signs were created and added to chant in response to
a desire to try and write down the musical things that were
sung and passed down as tradition.
62
7d=3pI==
Modern Decoration
Lord
A-men
Ho-san-na
Indicates initial note of 2 or 3 note group
Name: Vertical Episema
63
=7d===2p-3p-4p-5pi-5p-3pI-4p-3p========================--
Lord
=7d==7v6n5n4pi-4p-4p3p-3p.============================--
A - men
=7d==1p-2pp=2pi=3p=2p=3p=-3p=3p=3.=====================
Ho - san - na
Just one of the additions made to chant notation to more
fully explain interpretation.
The Monks of the Abbey of Solesmes were charged with the
mission of further editing chant to assist those singing in un-
derstanding the underlying rhythm...groups of two and three
neumes, that are the heart and soul of chant. They used the
vertical mark shown to point out the Ictus.
-
64
7d-7p-=6p============
-5p-4p-3p- =f==3p
Pitch
DO
TI
LA
SO
FA FA
Do and Fa Clefs Center melody on Staff
Name: FA Clef
65
f=5p-4p-3p-2p=d=2p-1p-0p
Pitch
FA
MI
RE
DO DO
TI
LA
66
7d==3p4q5p=
Pitch
Lord
A-men
Ho-san-na
One Syllable
Name: Quilisma
67
=7d===2p-3q4p================================--
Lord
=7d==-7p6q5p=5p.================================--
A - men
=7d==4p===4p3q2p==2p.===========================
Ho - san - na
It is generally accepted that the squiggle indicates that the
note prior to it is sung as a lengthened note.
68
7d=6p=6b’6p=6a’6p==
Pitch
TI TE TI
Flat lowers TI one-half step to TE
Natural resets it back to TI.
It only appears on the pitch TI.
Name: Flat & Natural
69
7d=======3u
Pitch
Lord
A-men
Ho-san-na
Silent - Not Sung
Indicates First Note coming up to be sung
on next Lower Staff
Name: Custos
70
Definitions
Clivis Higher note comes first in group of two
Custos Indicates next pitch on next staff.
Divisions Ends of phrases and lines where breaths may be taken.
DO Clef Shows location of DO on Staff.
FA Clef Shows location of FA on Staff
Flat Pitch of TI is lowered to TE, a half-step.
Ictus First “lift” note in groups of two or three.
Inclinatum A note that is leaning rather than straight.
Natural Raises Flatted TE back up to TI.
Neumes Notes
Podatus “Foot”, the basic neume or note.
Porrectus High note then lower note and high note
Punctum “Point”, a single note or neume
Inclinatum A note that is leaning rather than straight.
Punctum Mora A note that is longer and dies away.
Quilisma Three notes, first lengthened.
Repercussive The same syllable sung more than once on same pitch
Staff Four Lines
Torculus Opposite of Porrectus
Virga Descending notes
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These two sample chant pages are used with permission of the
Church Music Association of America. They are pages from The
Parish Book of Chant. We highly recommond this book for your
schola, choir and congregation.
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Vist the CMAA website at: www.musicasacra.com.
Singing
Gregorian Chant Rhythm
==4p.==
==5pH==
=3p4q5p==
==2p====4i35P=
All notes in chant are sung in the same flowing motion.
We explore the four ways in which the flow is temporarily
suspended and the way this is notated in the music.
74
68
I’m before the dot,
before the quilisma,
above the vertical episema in a salicus,
above or below the horizontal episema,
and anywhere at the director’s discretion.
Who am I?
I’m the “Note That May Be Lengthened.
75
Chant Rhythm
C
hant was passed down by word of mouth. All notes are sung at
the same even speed until the director of the schola indicates a
note that is to be held for a longer length than a normal note.
For centuries there was no clear way to indicate these holds These held
notes are what constitute the rhythm of chant.
These are moments of suspension of time.
The practice of marking notes on a staff of four lines has long been the
standard. in chant This tells what pitches to sing, but not how long to
hold the notes that are commonly stretched.
Different systems were tried, but none caught on. Some were vague,
some were so exact that they caused chant to be sung in a metric, un-
natural manner.
It is not clear why a simple system was not adopted. There is conjecture
that this was a way of withholding information, as a form of job secu-
rity. Only people in the know were able to lead the chants and indicate
which notes were lengthened.
The monks of Solesmes came up with a system that some feel is overly
restrictive. Recently some are shifting to thinking that this was not a
move to restrict the performance of chant but instead to free up the hold
others had on chant, and to make singing of it accesible.
pppppp
76
Rhythm
Notes in chant are not all
sung one after the other
like a clock ticking.
77
7d=p=0p=4p=4p=5p=5p=4p=3p=3p=2p=2p=1p=1p=p===
Chant was memorized and passed down from one generation
to the next, totally unwritten for many years. Then church
fathers decided it was time to get it on vellum and eventu-
ally, on paper.
Chant notation shows only the order of the pitches to be
sung.
The above is a very familiar folk song.
By looking at these notes, someone who had never heard this
song would sing:
TwinkletwinklelittlestarhowIwonderwhatyouare.
All in a row, like a clock ticking.
78
7d=p====0p===4p==4p==5p=5p==4p====
Twinkle, twinkle, little star
7d=3p===3p=2p=2p===1p====1p===p===
how I wonder what you are.
Sing this.
79
7d=p====0p===4p==4p==5p=5p==4p====
Twinkle, twinkle, little star
7d=3p===3p=2p=2p===1p====1p===p===
how I wonder what you are.
We can tell you exactly how you have sung this.
Without hearing you sing it.
80
7d=p====0p===4p==4p==5p=5p==4p====
Twinkle, twinkle, little star
7d=3p===3p=2p=2p===1p====1p===p===
how I wonder what you are.
You stretched two notes, held them longer than other notes.
That’s rhythm.
Why did you sing it that way? Because that’s the tradition.
Gregorian Chant has its own traditions of held notes, but un-
til the early 1900’s, there was no general agreement on how
to show this on paper.
81
7d=p====0p===4p==4p==5p=5p==4p====
Twinkle, twinkle, little star
7d=3p===3p=2p=2p===1p====1p==p===
how I wonder what you are
Gregorian Chant was the first written music.
In chant, all notes are sung without pause, to a regular pace
like drops of water.
But some notes are stretched out, lengthened. There are
now four common ways to show this.
82
Lengthened chant notes.
==4p.==
==5pH==
=3p4q5p==
====4i==2p35P=
83
Dot
7d=p====0p===4p==4p==5p=5p==4p====
Twinkle, twinkle, little star
7d=3p===3p=2p=2p===1p====1p===p===
how I wonder what you are.
How can we indicate which note is to be lengthened?
Scribing two notes close together?
7d=p====0p===4p==4p==5p=5p==4p’4p===
Twinkle, twinkle, little star
7d=3p===3p=2p=2p===1p====1p==0p’p====
how I wonder what you are.
This does not work, as the practice when singing chant is to
pulse repeated notes on the same syllable. Here you would
get: “ah-ahr.”
84
Dot
7d=p====0p===4p==4p==5p=5p==4p===
Twinkle, twinkle, little star
7d=3p===3p=2p=2p===1p====1p===p==
how I wonder what you are.
Note that there is a period at the end of the above sentence.
85
Dot
7d=p====0p===4p==4p==5p=5p==4p====
Twinkle, twinkle, little star
7d=3p===3p=2p=2p===1p====1p===p.===
how I wonder what you are.
Let’s put a period after the last note.
Hold that note twice as long as a normal note.
86
Dot
7d=p====0p===4p==4p==5p=5p==4p.===
Twinkle, twinkle, little star
7d=3p===3p=2p=2p===1p====1p===p.===
how I wonder what you are.
And let’s add a period, or dot, at the end of the first line,
where singers always hold the note when singing this folk
tune.
Hold the note exactly the length of two regular notes.
87
Dot
7d=p====0p===4p==4p==5p=5p==4p.===
Twinkle, twinkle, little star
7d=3p===3p=2p=2p===1p====1p===p.===
how I wonder what you are.
This is one of the simple ways that the rhythms, the length-
ening of a note or groups of notes, are communicated when
writing chant music.
The dot doubles the length of a note.
The length of the other three “hold” signs is determined by
the director.
88
Dot
7d==4p.===
Dot doubles the length of the note which precedes it.
89
Dot
7d=p====0p===4p==4p==5p=5p==4p.===
Twinkle, twinkle, little star
7d=3p===3p=2p=2p===1p====1p===p.===
how I wonder what you are.
Signs that alter the length of a note in chant are always in
the same place in relation to the note it affects.
The dot is always after the note that is affects.
.
90
Samples
5d===15P==4p- 13x3p13x1p=2p=3p=-2p==1p.===
.
Ky- ri- e, e- le- i- son
5d==56P==5p==4p46x6p5p-5p==3p=1p=2p=2p.==
.
de ma-nu pecca-toris.
7d==1p=2p=3p==4p=1p=-3p=2p=2p.===
.
fu- it vol-un-tas e- o-rum.
5f==3p-=5p-=5p==35x5p4p==3p==’+-45P==4p=3L2l===3p==4p==3p.=
Be- a- ti om- nes, * qui ti- ment Dominum.
It is a good to mark, above the staff, all notes that are to be
lengthened.
91
Dot
- -=4p.===
Some chant music will show a dot after the last note, some
will not. Most last notes will be lengthened, dot or not.
A bit of history:
It is universally understood that the last note of a chant
should be lengthened.
But French monks, in their versions of chant books, decided
to use the dot to indicate a lengthening of the last note, and
any other note that is traditionally lengthened in singing.
The dot designating the “hold” was created.
92
Horizontal Episema
7d==5pH=
7d==5ph=
or
Horizontal Episema lengthens the note below or above it.
93
Horizontal Episema - Expressive Time Alterations
7d=p====0p===4p==4p==5pH=5p==4p.===
Twinkle, twinkle, little star,
Playing for opera singers is tough work because opera singers
hold some notes out longer than they are written.
They do this to emphaze the word they are singing or the
beauty of the note.
Chant is also sung this way.
Sing the line above and hold “lit” as long as you like.
It is entirely up to the singer when chanting alone, and to the
director when a group is singing, how long this note will be
held and sung.
94
Horizontal Episema - Expressive Time Alterations
7d=p====0p===4p==4p==5pH=5p==4p.===
Twinkle, twinkle, little star,
How long this note will be held and sung?
We do not know how long it will be held, but we can predict
how it might be sung.
It’s an expressive device, so you can expect that that it will
also either:
1. Get louder.
2. Get Softer.
3. Bloom the sound, later called a Messa di Voce.
4. Stay the same - but this is not as common as 1 and 2.
95
Horizontal Episema - Expressive Time Alterations
7d=p====0p===4p==4p==5pH=5p==4p.===
Twinkle, twinkle, little star,
When a note marked with a horizontal episema is sung,
time is suspended for a moment, as if a grandfather clock
suddenly hesitates in the middle of the night.
This is a stretching of the length of the singing of the note.
Often, cellists do this when playing chords under a melody
note, since it takes time to get across all the strings and
then play the melody note on the highest string.
The next note immediately returns to the original tempo.
All four signs that lengthen chant notes suspend time.
96
Horizontal Episema - Expressive Time Alterations
7d=pH====0p===4ph==4p==5pH=5p==4p.===
Twinkle, twinkle, little star,
Here the singer pauses on two notes. It is very common to
find Horizontal Episemas scattered throughout Chant scores.
They affect only the note that they are placed above or
below, as shown above.
These held notes step out of time, giving chant much of its
timeless character.
97
Counting in Chant
Modern music
Modern music is built on repeated patterns that are consis-
tent throughout a piece of music.
12341234 123123123 or
4/4 and 3/4 time are the most common time signatures for
modern music.
Chant
Chant does not emphasis the first beat. And the pattern of
notes is quite different.
12121212312123
Chant can, and will, alternate 1-2 and 1-2-3 note patterns.
98
Counting in Chant
7d=pH====0p===4ph==4p==5pH=5p==4p.===
Twinkle, twinkle, little star,
Chant is made up entirely of groups of two or three notes.
7d=pH===0p==4ph===4p===5pH===5p==4p.=====
one two one two one two one two
You will find that at some rehearsals you will sing the notes
with “one”, “two” and “three” instead of the words.
How do you verbally count a lengthened note?
99
Horizontal Episema - Expressive Time Alterations
7d=pH===0p==4ph=======4p===5pH=======5p===4p.=====
one two o------ne two o-----ne two one two
When singing counted numbers for chant, you stretch the
sound of the word out to the full length of the note.
one two o-----------ne two o------ne two one two.
Time, the clicking of the clock, is suspended for a moment.
Avoid falling into the trap of counting ONE two or one two three, with
a downbeat. Chant is not counted or sung in this manner. Rather one
leads to two and two to three. A technique to avoid falling into this trap
is to sing and say one with a W. Wone. Emphasis the sound of the “W”,
and your chanting will be smooth as you lean forward in movement.
Keeping chant moving is very important. The more it moves, the more
expressive can be the sound of the notes that suspend time. Always go
strictly back into time after a suspended moment.
100
Samples
.. E
E .
E ‘ ‘
E . .E E .
Any notes under or over a horizontal episema are held.
101
Quilisma
7d===4q===
7d===3p4q5p====
As used:
Quilisma lengthens the note before it.
102
Quilisma - Expressive Time Alterations
7d===4q================3p4q5p====
Quilisma Quilisma in use.
o------ne two three
The squiggly Quilisma tells you to lengthen the note
before it, then to sing the Quilisma note and all follow-
ing notes at tempo.
[all assignment of counts depends upon
the count pattern of the chant]
103
Quilisma - Expressive Time Alterations
7d===4q================3p4q5p====
Quilisma Quilisma in use.
Only the dot will lengthen a note exactly to twice the length
of a normal note.
All other signs that indicate the lengthening of a note, in-
cluding the Quilisma, only tell the singer that this note may
be lengthened. You must watch the leader of the group to
determine how long the note will be.
However, the larger the singing group, especially newer
groups just learning chant, the more the chance that extend-
ed length notes will be exactly double length, just like dotted
notes.
Still, be sensitive to the gestures of the director. Always fol-
low the director carefully.
A Squiggle “ m ”is used to mark the Quilisma.
104
Samples
. . m E m
Score [Title]
[Composer]
Below is a transcription of this chant in modern notation.
&œ œ ˙ œ ˙ ˙ œ œ œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙ œ œ
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
3
&
∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑ ∑
12
&
21
& ∑ ∑ m
∑ ∑
..
∑ ∑ ∑ m ∑ ..
∑
∑ ∑
30
& E . . .
..
105
Salicus
Salicus
7d====4i==2p35P==
A Vertical Episema lengthens the note above it.
It is always the second note of an
ascending three note neume group.
106
Salicus
7d==2p===3i35P==
Ictus or Salicus?
Caution:
The vertical line, called a Vertical Episema, is used frequently to
indicate the “ictus”. The “ictus” serves to assist the conductor in lead-
ing the choir using what is called Chironomy, a method of conducting
unique to chant. The Ictus designates a note that is a “1”.
The only time that the vertical episema line indicates a lengthening is
when it appears below the second note of three note neume, made up
of a single neume followed by a podatus, two neumes that are con-
nected by a vertical line. Only the second neume, directly about the
vertical episema, is lengthened.
7d==2p===3i35P== 7d==2pi35P== 7d==2p35P== 7d==2p====3i=35P==
Salicus No Salicus No Salicus No Salicus
Ictus No Ictus Ictus
107
Samples
Only the three groupings in boxes are examples of the Salicus
in this chant.
A small vertical line under a neume that is not part of an
ascending three note group is a silent indication of the group-
ing of notes into groups of 2 and 3.
An “S” can now join our markings “Q” , “.“ and “E”.
108
Counting
The matter of counting chant can be complex.
We can give you a simple introduction.
This chant will be our example.
109
Counting
Starting at the end.
121 2 1 2 1 2 3 1 2 12
To determine the suggested counting, start at the end and
count backwards to the first Ictus. (the vertical episema mark
when it is not being a Salicus) The Salicus is rare, so you will
find that most vertical markings are the Ictus.
The Ictus is always a 1.
The dotted note is counted 1-2.
Other lengthened notes, the Quilisma, the Salicus and Hori-
zontal Episema count as single note, but when speaking the
numbers or singing them you stretch it out saying TW--------
--------O instead of TWO for example.
This preserves the numeric structure of the chant.
110
Counting
Starting at the end.
121 2 1 2 1 2 3 1 2 12
The fifth note has an Ictus. This is an indication that this
note is always a “1”.
There is a rule that you never, ever move an Ictus hat is
printed in the music.
Some phrases can start on 2 after a half or full line observed
as a rest.
So now speak the numbers of this one in rhythm, even as a
clock.
111
Counting
1 2 3 1 2 1 21 2 1 2 1 2 1 2 1 2 12 1 2 1 2 1 2 3 1 2 12
Or
1 2 3 1 2 1 23 1 2 3 1 2 1 2 12
The exact numbering is up to the director.
Note that the numbers always follow the rule that the Ictus is
always a 1.
The numbers determine exactly how the conductor shapes
the patterns being conducted using Chironomy.
112
Instant Chironomy on Two Pages
8 Conducting Chant.
x x
Thesis Arsis
Chironomy is the art of conducting chant in connected circles
and arcs, small for groupings of 1 2, and larger for groupings
of 1 2 3. Waves of motion.
You sing at the x.
Facing the director, the Arsis is on the right, Thesis on your
left. Arsis for impulse or lift, Thesis for rest or fall.
1. A circle, for 1 2, is enlarged for 123.
2. The Arsis and Thesis may be repeated.
3. The Thesis is a loop or multiple arcs off to your left.
4. The hand moves back to your right for the next Arsis.
Chant conducting is always horizontal and level, patterns go-
ing left and right only. Modern conducting which is
up and down, left and right. MODERN
CHIRONOMY
8
113
Instant Chironomy on Two Pages
Conducting Lengthened Notes.
The traffic light is out and a policeman is waving people
through an intersection.
He’s making a gesture in a circle that tells us “C’mon,
c’mon!.”, just as the circles in Chironomy move chant forward
in stream of flowing notes.
But then, the gesture changes, telling you to stop, to suspend
moving forward, and wait in anticipation of moving on.
That’s exactly how a conductor conducts lengthened notes.
During this suspension of movement, the manner the conduc-
tor holds you back will also tell you how to sing the suspended
note.
114
Punctum Mora
Starting at the end.
121 2 1 2 1 2 3 1 2 12
When a dot is not just a dot.
When a dot appears on the last note it means the note is
longer, and also tells you to let it die away as you sing it.
In that instance it is called a Punctum Mora, the Dying Note.
This appears quite often.
Sing it: >
115
Punctum Mora
Starting at the end.
121 2 1 2 1 2 3 1 2 12
Variants
Some directors will see the two final notes as notated above,
and add a dot to the second note from the end, to match the
one that is already there.
Sometimes they will mark it in your score. Sometimes they
will just conduct it and expect you to follow them.
Often directors will ritard the end of a chant.
Always follow the conductor. It is considered bad form by
some to question the director’s decision to lengthen notes.
Aside from the dot, other lengthenings are up to the direc-
tor’s discretion as far as placement and duration.
116
Interpretation
Let’s repeat: It is considered bad form by some to question
the director’s decision to lengthen notes.
Why? Consider the following chant:
. E
.. e e E e ..
Look carefully and you will find that the suggested notations
made above the chant staff warn of markings in the printed
score. In addition we have made other markings which indi-
cate more lengthened notes, additional dots or lower case “e”
markings for horizontal episemas.
A director may choose to do this or sing it as printed.
Follow the director.
117
Learning Chant
In a rehearsal of a new chant you may sing it first as:
At first: NUH
Followed by: NAH
Or using Solfeggio:
SO TI TI LA DO TI LA SO DO DO DO DO DO LA TI
Once you know the melody, then the words may be added.
It is almost always best to learn the melody without the text.
118
Learning Chant
Adding the words.
I am the wheat of Christ;
may I be ground by the teeth of beasts,
that I may be found pure bread.
Adding the words to a learned melody can be an astonishing
thing. In this case, the Latin words are a bit familiar, but to
read the translation the first time can be a revelation.
119
Learning Chant
Breathing.
These are a few of the instructions that may be given to the
cantor singing “sum” at the end of the first phrase.
1. Decrescendo and breathe.
2. Decrescendo and do not breathe, and go on.
3. Crescendo on “sum” and breathe.
4. Crescendo on “sum” without breathing and go on.
The schola may be asked to do the same on “lar”.
It seems impossible for a schola to sing all of this in one
breath, but staggered breathing solves the problem. Just be
sure not to breath in the usual places.
Some directors insert breaths, others do not. Like the length
of a held note, placing breaths is part of the musical interpre-
tation of the director.
120
Appendix
The following pages of chant are taken from The Parish
Book of Chant, published by the Church Music Association of
American. They are included here with the permission of the
CMAA.
This is a book that you should have in your library. Samples
of Marian chants printed here are but a small part of what
is included. It is an excellent book for a Schola to own.
Visit the website of the CMAA for more information and
many books of chant and about chant for downloading and
purchase.
www.musicasacra.com
Please, consider joining this organization as a member.
121
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122
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Singing
Gregorian Chant Solfeggio
Guido d’Arezzo devised a simple system that now uses Do,
Re Mi..., to teach the 8 notes of the chant scale. This system
The Harmonic Hand of Guido D’Arezzo, Sacerdotale Juxta S.Romanae Ecclesiae,
creates a firm(Venice
tonalPetri basis foralsosinging
Rabani) 1554, chant
known as the and
Guidonian Hand sight reading.
134
5d===37P==7p==36x6p5p=-6p=52x5p4p=4p=+=-2p=35P=5p=5p=
To learn to sing chant is to abandon the modern rule that
melodies are restricted to beginning and ending on one of
the three same notes, and always the same note in the bass.
Chant starts and ends on any note of the 8 note scale and
this is onr thing that makes chant sound different.
People who ‘do not like chant’ are often people who are so
used to hearing modern music going where they expect it
to tonally that they unable to get their ears around modal
melodies that free us from the limited pattern of modern
major and minor melodies.
135
A Brief Overview of Chant Notation
• The foundation of modern written music notation
• Easier to read than modern notation
• Takes less space on the page than modern notation.
• Chant is made up of small groupings of organized notes
• Each group has a different and consistent purpose
• Music staff covers just the range of the human voice
• There are only four lines in the staff
• Notes are always directly above the vowel that is sung
• There are only two clef signs
• There is only one sign that changes the pitch of a note
• All chant may be written with the same note, a neume.
• The Neume groupings organize all of those notes.
136
Using the Audio Teaching Files
Download them from our website:
www.basicchantcom
137
Understanding the Sound of Chant
Some Initial Theory
1. Chant uses only 8 notes of the modern 12 note scale.
2. Chant limits the leaps from note to note to small ones.
3. Chant sounds different because it rarely stops and starts on
the notes that are always used in modern music.
4. The simple do, re, mi names for the 8 notes are all that
you have to learn to sing chant.
5. Chant is made up of set patterns of notes that are strung
together to make melody.
6. Once you learn the 8 notes and can sing them, master the
short leaps from note to note and learn the little patterns,
there is no chant that you cannot sing.
Mastery of chant takes but a little time and study.
This chapter teaches you all you need to know to begin sing-
ing chant using solfeggio and to begin to pursue mastery of
chant.
Solfeggio names the 8 pitches used in Gregorian Chant.
138
The Lesson Plan
To sing chant you need to be able to:
1. Sing from one note to its neighboring notes, called singing
the interval of a second - the second note.
2. Sing from one note to the third note above and below it,
the interval of a third.
This is what we cover first. You will be learning to sing 8
notes and the notes above and below them.
Once you have mastered steps 1 and 2 above, the rest will be
easy because you then will already know all the notes you
are going to sing and the additional intervals will be simple to
add to your repertoire.
The Building Blocks of Chant
Sixth Fifth Fourth Third Second Note Second Third Fourth Fifth Sixth
Fifth Fourth Third Second Note Second Third Fourth Fifth
Fourth Third Second Note Second Third Fourth
Third Second Note Second Third
Second Note Second
Note
139
1. Chant is sung using 8 notes of the musical scale.
2. These are notes you already know:
Do
Ti
La
So
Fa
Mi
Re
Do
3. The movie, The Sound Of Music, has made these 8 notes
famous.
4. Chant is therefore a very good starting ground for singers.
To get ready to sing chant, begin by singing the following
notes from the lowest to the highest, and then back down.
Sing from the left to the right:
Mi
Re Re
Do Do
140
1. Once you are comfortable singing Do, Re, Mi up and
down, add Fa to the scale.
Fa
Mi
Re
Do
2. Sing Do, Re, Mi, Fa, then take a breath and sing back
down the scale, Fa, Mi, Re, Do.
3. You may have noticed that there is something different
about singing up to Fa. Many musicians are unaware of the
reason behind this and just accept it as part of making music.
4. If we were to lay out the distance between the notes you
are singing you would see this:
Do~~Re~~Mi~Fa
5. The distance between Do, Re and Mi, is wider than the
distance between Mi and Fa.
141
1. Certain notes are consonant and others dissonant to the
ear.
2. The consonant ones are 4 and 5 notes from Do.
3. Fa is consonant so it lets the ear relax.
4. Re and Mi are dissonant to Do and do not give the arrival
feeling that Fa does.
5. This four note pattern is mirrored starting on So.
6. Ti is a leading tone and the next note or key on the piano
is Do again, just at a higher pitch.
7. Note on the piano keyboard below the special note “Te”.
Te
Do Re Mi Fa So La Ti
8. Here you can see all 8 notes you sing in chant.
Most chants can be sung using the pitch of the piano keys as shown above. Iit can
be useful to pick out melodies at a piano keyboard. However, some chant groups are
more comfortable at other pitch levels for some chants, so you may hear people talking
about “starting on B” or some other piano pitch at times. This is common. Chant uses
“Floating Do. “Fixed Do” is always C and involves 17 pitch names instead of 8 and is
a modern convention, useful when singing later music. Fixed Do is a newer invention.
142
1. Some people view the 8 notes of the scale like this, in order
from bottom to top on a staircase.
do
ti
la
so
fa
mi
re
do
2. This is not quite accurate, because our scale of 8 notes has
resting places, like landings on a staircase.
do
ti
la
so
fa
mi
re
do
3. This is most noticeable when going up the scale, just like
landings are when climbing stairs.
143
1. The Neume
2. On the next page you will learn the basic note that is the
foundation of all chant notes.
3. With this note all melodies of chant can be written.
4. Additional note groupings based on this note are con-
structed to represent common melodic elements and to save
space.
‘Paper’
Chant began when ‘paper’ was made of animal skins Monks
used to joke that a certain chant was three cows or a short
chant, one squirrel.
It’s true. And this was an expensive material to make.
For that reason, anything that could be done to save space
when writing saved money.
Chant neume groupings save space and key the brain to
ready to sing the notes they represent.
2p
144
1. The Punctum
2. Monks drew chant notes with a wide nibbed pen. They
would put the pen nib on the paper and drag it to the right
to create a neume which we call a note in modern music.*
3. As you can see, they often curved the note up and down
a bit. This can help the eye to see the notes against the
straight lines of the staff.
4. The staff is like a map. The melody is laid out on the
===
staff, Low notes at the bottom, rising to the highest at the
top.
*Keep this paragraph in mind for when we reach the Porrec-
tius Neume Group.
145
1. The music staff is a map. The melody is laid out on the
staff, Low notes at the bottom, rising to the highest at the
7d=========
top.
Fa
Mi
Re
Do
2. The four basic notes you know are laid out on the staff.
There are four lines and five spaces that are used to write
out melodies to be sung.
3. If you sing your musical scale up and down here’s how it
looks in Gregorian Chant notation:
7d=0p==1p==2p==3p==3p==2p==1p==0p==
Sing, from left to right:
Do Re Mi Fa Fa Mi Re Do
146
1. Any melody that you are going to sing in chant may be
written using just the simple note, or neume, that you have
just sung, using the four line staff.
2. Now we begin training your voice and your ear to sing
chant:
7d==0p==1p==0p==1p==0p=
3. Sing, from left to right:
Do Re Do Re Do
4. Now, from left to right, sing Do and Re following the
7d==0p==1p==0p==1p==0p==1p==0p==1p
notes.
Do Re Do Re Do Re Do Re
7d=0p==1p==0p==1p==0p==1p==0p==1p
5. From left to right, sing Amen following the notes.
A--men, A-men, A-men, A-men,
147
1. Once again any melody that you are going to sing in chant
may be written using just the simple note, or neume, that you
have just sung, using the four line staff.
7d=0p==1p==1p==0p==0p==1p==1p==0p
2. Sing, from left to right:
Do Re Re Do Do Re Re Do
7d=0p==1p==1p==0p==0p==1p==1p==0p
3. Now, from left to right, sing Amen following the notes.
A--men A--men A--men A--men
148
1. Exercise: Sing, from left to right, pausing and breathing at
===;-- -
the line:
7d-=0p=1p=0p=;0p=0p=1p=1p=;=0p=1p=0p=1p=;0p=1p=1p=p=
do re do do do re re do re do re do re re do
7d-=-0p=1p=2p;=2p=1p=0p;=p=1p=2p=2p=2p;=2p=1p=0p=0p=0p=
2. Exercise: Sing, extending to Mi
do re mi mi re do do re mi mi mi mi re do do do
7d-0p=1p=0p=1p=2p=-2p=1p=0p=1p=0p
do re do re mi mi re do re do
Note that there is no pause or breath when singing this
group.
149
7d- =0p=1p=2p=-0p=2p====
1. Exercise: Sing, from left to right:
do re mi do mi
7d-=-0p=1p=;=1p=2p=1p=0p=1p;=1p=1p=0p=1p=
2. Exercise: Centered on Re
do re re mi re do re re re do re
7d-0p=2p=-2p=p=1p=2p=1p=2p=
3. Exercise: Centered on Mi
do mi mi do re mi re mi
7d-0p=12P==-2p-2p===0p=1p=2p=2p.==
4. Example
do re mi mi...*
* “....” always indicates to continue singing the Solfeggio from memory.
150
1. Exercise: Sing, extending to fa
7d-=0p=1p=2p=3p=3p=2p=1p=0p=
do re mi fa fa mi re do
7d- =0p=1p=2p=3p-;=2p=1p=2p=-3p=-2p=1p-=0p=
2. Exercise: Sing and fill in missing solfege
do re mi fa mi re __ __ __ __ __
7d-=0p=1p=2p=3p=1p=-2p=3p=
3. Exercise: Sing and fill in missing solfege
do re mi fa __ __ __
7d-0p=11p=2p=3p=2p=1p=2p=1p=0p
4. Example
do re mi fa..
151
7d-=0p=1p=2p=3p=2p=1p=0p=
1. Clefs show where Do is
do re mi fa mi re do
2. Always find Do counting from the Clef using Solfege - do ti
la so fa me re do...
3. Starting up at the Do Clef, count down lines and spaces.
When you reach 8, you will be on the low Do that starts this
melody.
4. Do repeats every 8 notes, just lower or higher in pitch. All
8 notes of the scale do this.
5. Clefs move Do to keep the melody within the range of the
staff. Here is the exact same melody with a Fa Clef. Count
f=2p=3p=4p=5p=4p=3p=2p=
down four lines and spaces from the Fa clef to find Do.
do re mi fa mi re do
6. The two examples of chant above should sound exactly
alike when sung. The clef and its position on the staff is
picked to keep the notes centered on the staff.
Start clef line and count down using Solfege to find the
the first note: do ti la so fa mi re do; using the Fa clef count
down fa mi re do to locate do as needed.
152
1. Clef - Show where Do is on the staff, continued.
There are only two clefs, and they are only placed on upper-
lines, never on a space.
Here are the only lines that can hold a clef.
7d=7p- =5d=5p 3d=3p= and the Fa Clef: f=2p= 7f=4p==
do do do do do
5. Always look at the Clef and count down to find Do, 8
down from the Do clef, 4 from the Fa clef.
7d=3p= 5d=1p 3d=0p f=5p= 7f=7p
and the Fa Clef:
fa fa fa fa fa
153
7d-=0p=1p=2p=3p=4p=3p=2p=1p=0p==
1. Exercise: Sing, extending to So, pause and hreath at
do re mi fa so fa mi re do
7d- =0p=1p=2p=1p=2p=3p=4p=2p=3p==
2. Exercise: Sing and fill in missing solfege
do re mi re mi __ so__ fa
5f=2p=3p=4p==5p==4p=3p=2p===
3. Exercise: Sing and fill in missing solfege - note the Clef
do __ __ fa __ __ __
5f=2p=3p=4p===5p=6p=5p=-4p=5p=6p====
4. Exercise: Sing and fill in missing solfege - note the Clef
do __ __ fa __ __ __ __ __
154
7d-=0p=1p=2p=-3p=4p=3p=2p=4p
1. Exercise: Sing, extending to So
do re mi fa so fa mi so
7d- =0p=1p=2p=3p=4p=2p=3p=4p=3p=2p=
2. Exercise: Sing and fill in missing solfege
do re mi fa so mi fa __ __ __
7d-=1p=0p=1p=-2p=3p-=2p=1p=-1p=0p=1p=
3. Exercise: Sing and fill in missing solfege
re do __ __ __ __ __ __ __ __
This chant, and many others, starts on Re and ends on Re.
[To find the pitch Re. start by singing Do then Re softly to yourself,
then sing Re in a regular tone of voice. Use this technique from Do
upward or Do downward as needed to get started.]
155
7d-=0p=1p=2p=3p=4p=5p=4p=3p=4p=5p=
1. Exercise: Sing, extending to La
do re mi fa so la so fa so la
7d- =0p=1p=2p=3p=4p=3p=-4p=-5p=-5p=4p=3p===
2. Exercise: Sing and fill in missing solfege
--
do re mi fa __ __ __ __ __ __ __
7d-=1p=0p=1p=-1p=2p=3p=4p=5p=
3. Exercise: Sing and fill in missing solfege
re do __ __ __ __ __ la
7d-0p=2p=4p=4p=4p=5p=4p.==3p=2p=1p=0p=0p.==
4. Example
do mi so....
156
7d-=0p=1p=2p=3p=4p- 5p=6p-;-6p=5p=4p=5p=6p-5p=4p=
1. Exercise: Sing, extending to Ti
do re mi fa so la ti ti la so la ti la so
7d- =0p=1p=2p=3p=;=3p=4p=5p=6p=5p=4p===
2. Exercise: Sing.
do re mi fa fa so la ti la so
7d-=4p=-5p=6p=5p=4p=5p=4p==
3. Exercise: Sing and fill in missing solfege and sing.
so la __ __ __ __ __
7d-4p=4p=45P=5p.==5p=5p=5p=4p=5p=3p=4p=5p.==4p=5p=6p=4p=5p4p=4p.==
4. Example
so...
157
7d-=0p=1p=2p=3p=4p-+-4p=5p=6p=7p=6p=5p=4p=
1. Exercise: Sing, extending to Do
do re mi fa so so la ti do ti la so
7d==7p=6p=5p=6p=7p=5p=4p.==
2. Exercise: Fill in missing solfege and sing.
do ti __ ti __ __ __
7d==4p’4p=2p=0p=1p=0p=0p=+=0p=2p=4p’4p=5p=4p.=
3. Example:
.
so mi do re....
=5p=7p=7p=6p=5p=4p=5p.==44p.===
158
4. Example:
7d==0p=2p=4p=4p=4p=5p=4p.==+=3p=2p=1p=0p=0p.==0u
do mi so...
7d==0p=2p=4p=4p=4p=5p=4p.==+=3p=2p=1p=0p=0p.==4u145
do mi so...
7d==4p=4p=5p=6p=7p=7p=6p=4p.=+=5p=4p=3p=2p=1p.==2u
so so la...
7d==2p=4p=3p=2p=1p=0p=1p.==+=2p=0p=1p=0p=p.===||
mi so fa...
159
1. Leaps
Modern music calls for all kinds of huge leaps from note to
note, while chant is very restrictive with all all leaps limited
to 5, sometimes 6, notes or less.
However, one leap for you to master is the octave....8 notes.
Not to sing it in chanting, but to use as a reference to find
notes.
7d-=0p=7p=
do do
2. Being able to sing this leap, which is easy since it it the
exact same note just higher, makes it possible for you to find
notes in the range Do Ti La So by singing high Do than softly
singing down to the note you start singing on.
7d-=0p=7p=6p=5p=4p=
[do] do ti la so
160
1. Exercise: Sing, extending to Do
7d-=0p=7p-6p-5p-6p-7p==
[do]do ti la ti do
2. Exercise: Fourths
7d-=0p- 7p-6p- 5p-=4p-7p-4p- ;-7p=6p-5p-4p-3p-6p-3p-;-5p=4p=3p=2p=5p=2p=
[do] do ti la so do so... ti fa la....
7d-=4p=3p=2p=1p=4p=1p=|==3p-2p-1p-0p-3p-0p’==
so fa... fa....
161
1. Singing more than one note on a word.
Chant can be syllabic, meaning each syllable has one note, or
melismatic, 2 or more notes to a syllable.
For example:
7d==0p=1p=
Syllabic
do re
A-men.
7d==0p1p2p3p2p1p==0p==
Melismatic
do re...
A - - - - - - men
Still, when singing the notes using solfege, you continue to
sing the note name for each note. Use the Solfege everytime
you learn a new chant.
162
==0p1p2p3p2p1p=0p==
1. Singing more than one note on a word.
Chant notes grouped closely together only serve one syllable.
It’s a simple system and is as clear as the different shapes of
traffic signs - a triangle sign means danger, for example.
Chant neume groupings tell you what to sing.
In chant, you look at the syllable you are going to sing then
up at the note or notes you will sing it to.
The patterns of notes are consistent every time the same
group sign appears.
We sing notes in chant from the left to the right at all times.
Chant has simple rules and signs that it uses to direct the eye
in the direction of the melody.
163
1. Singing Chant Melodies.
7d==0p1p2p3p2p==0p==
do re...
A - - - - - - men
To learn and sing this you must follow a simple process.
1. Take a pencil to use as a pointer.
2. Find the Clef with the pencil point.
3. Using the pencil point, count down by lines and spaces to
identify the first note. In this case it is Do.
4. Using the pencil, touch each note and say its name.
5. Do the same thing, singing each note with its name.
6. Then sing it using the word Amen.
Do this process with every new chant you learn.
Solfege First.
Words Second.
164
1. Singing Chant Melodies.
2. Introducing the first chant neume grouping:
7d==0p1p2p-30x3p2p==0p==
do re...
A - - - - - - men
3. This is sung and sounds just like the Amen on the opposite
page.
4. On the next page you will find an explanation and on the
following page examples from the chant repertoire.
5. All chant examples that follow are found in The Parish
Book Of Chant. Get your copy at www.musicasacra.com
165
1. Clivis - Stick
2.The Clivis changes this:
7d=3p2p- ==--1p
fa mi...
A - - - men
7d==03x3p2p===1p=
3. Into this:
fa mi...
A - - - men
4. The small line on the first punctum leads your eye up to
the first note you are going to sing.
166
5f==2p=3p=4p=5p25x 4p=3p==
do re...
7d-=- 3p==3p==30x3p2p==4p=52x5p4p==3p=3p==
A-do-ra-mus Te PBC Pg. 58*
fa fa fa mi...
magnam glø- ri- am tu-am PBC Pg. 58
7d==85x8p7p==63x6p5p==5p===
re do...
ni po- tens PBC Pg. 52
7d===5p=4p=3p=5p=4p=30x3p2p==2p===
la so...
Tu so- lus Al-tis-si- mus, PBC Pg. 62
The neume groupings you are learning make singing chant
melodies easy to sing as you learn their sound.
*PBC is The Parish Book Of Chant
167
1. Virga -Tailed Note
7d=3p-2p- ==--1p
2.The Virga changes this:
fa mi...
A - - - - - men
7d===3p30x-2p====1p=
3. Into this:
fa mi...
A - - - -men
4. The small line on the first punctum here indicates that it is
the first of a group of notes and is at times followed by one
or more Punctum Inclinatum - leaning notes - that you will
learn next.
168
These small signs were developed over centuries and are part
of a tried and true system of musical notation.
Learning them will, like practicing a phrase at the piano,
creates little pathways in your brain that make the action of
reading the music notation automatic.
These little notations already take this:
7d=3p-2p- 1p
fa...
Domine
and here below tells you, without even looking at the words
you are to sing that they cannot be Do-mi-ne but instead
must be a two syllable word like Amen.
The line added to the neume indicates that this neume is the
first of two notes that will be sung to one vowel.
7d===3p30x-2p===1p=
fa...
A - - - - men.
169
1. Punctum Inclincatum - Leaning Note
2.The square Punctum is inclined to create a punctum inclina-
7d=3p2p1p==0p==
tum changing this:
fa mi...
A - - - men
7d=3p30x-2n1n==0p==
3. Into this:
fa mi...
A - - - men
4. The small line on the first punctum tells you that it is part
of a group sung to a single vowel.
5. The triangular notes, the inclined punctum, tell your brain
that you are going to sing a descending row of notes on the
vowel A.
6. The notes in chant are arranged to show the direction of
the melody.
7, Use your pencil to follow and learn the notes, writing in
the solfege as needed.
170
7d===7p=- 7p=7p==7p=- -6p=7p74x-6n5n4n==
do...
Laus ti-bi, Chri-ste
7d- -7p=7p=7p=7p=7p=7p=7p=||=7p=7p=-7p74x-6n5n=6p=7p=7p=||
do...
Ky-ri- e e- lé- i-son Ky-ri- e e- lé- i-son*
7d===6p==6p63x-5n4n-5p==3p30x-2n1n==3p==1p===
ti ti la...
7d===5p==3p==4p41x-3n2n=4p==
A- do- ra- mus te.
la fa...
Dona no - bis
Remember, start out by finding Do, use it to determine the
first note pitch and then sing the solfege.
171
1.Torculus - twist
2.Two Punctum sung from left to right:
In single neumes:
7d1p=2p=1p=1p==
re...
A - - - men
7d1p2p1p=1p==
3. Becomes:
re...
A - - - men
4. It may also include higher notes in the middle:
7d- 1p13x3p13x1p==1p/=
re fa...
A - - - men
172
5d==5p=5p=6p7p6p=56P==
do...
7d==1p=5p=3p===7p74x’6n5n4n===5p=4p=3p03x 2p=1p==3p=4p5p4p=2p===
Alle-lú- ia, PBC P.156
re la fa...
5d==6p=5p=4p=5p==6p7p6p=;=4p=5p=6p7p6p=5p6p5p===
Al-le-lú- ia resur- ré- xit Dómi- nus PBC P.155
re do ti...
7d==6p63x’5n4n==14x4p42x2p==4p5p=4p5p4p==34P55p52x’4n3n4p=4p3p===
fi-li- o Da- vid: bene- di- ctus PBC P. 46
ti la...
la- ta perman- si- sti PBC P. 124
5d===37P88p85x==7p==7p==6p-6p63x 5p=6p=
la mi...
Ple- ni sunt cae - li PBC P. 47
173
1. Podatus
2.Two Punctum joined with a line, sung lowest note first then
the higher note. In neumes:
7d1p-3p==0p==
re...
A - - - men
7d=13P==0p==
3. Into this:
re...
A - - - men
up to the high note.
4. The order is always –> low note then ^|
174
5d===2p==35P=5p===
so...
5d===37P==7p==36x6p5p=-6p=52x5p4p=4p=+=-2p=35P=5p=5p==
Qui tollis PBC P. 47
la...
5d===4p=2p=4p=6p63x 5p=6p63x 5p==46P-6p64x5n3n3p==||
Cum San-cto Spi-ri- tu in gló-ri-a PBC P. 47
ti so...
5d===23P-5p52x==5p=5p=4p=5p=6p=4p=6p63x’5n4n=4p==||
Glo-ri-fi-ca- mus te. PBC P. 46
so...
Gló- ri- a in excélsis De- o PBC P. 47
5d===37P88p85x==7p==7p==6p-6p63x 5p=6p=
la mi...
Ple- ni sunt cae - li PBC P. 47
175
1. Stropha - Repeated Notes
2.Two or more notes on the same pitch on the same vowel:
7d==5p-5p-5p-==
la...
a
2. The “a” would be sung the length of three notes, with a
slight pulse in the sound for each of them., but without an
audible break.
3. It is also referred to as a repercussion.
176
Not repeated notes - since repeated notes are for different
5d==24P==3p=30x3p2p=01P2p20x-2p02x 1p- - 2p=4p=45P=5p=5p=5p25x 4p=5p6p64x4p-4p=2p=5u
syllables:
so ti...
Agnus De-i qui tollis pecca-ta mun- di PBC P.70
5f==52x
5p = =6p 7p 6p = =23P =5p
25x 3p
53x = 5p52x - 4p 5p2p
52x - 5p - 5p -5p
25x 3p
53x = ==
Repeated notes on the same syllable.
fa...
- ia PBC P.85
These are very common in Alleluias which can be very florid
with lots of notes, on one syllable, what we call melismatic.
177
1. Porrectus: What can be a confusing neume group.
2. The Porrectus is the only neueme grouping that can easily
confuse, since the reason for its existence is not quite as prac-
tical for music reading as other chant note groupings are.
3. It consists of a wide line that swoops from the first note
that is sung down to the next note, often crossing lines and
spaces in the process.
4. This can confuse people since the mind says that since the
wide line looks like a stretched neume it must mean that you
sing every note it covers. This is totally incorrect.
5. You sing the note on the line or space it begins on and the
second note where the line ends.
178
1. Developed because it looks pretty and is easy for the per-
son drawing the chant to use to connect two notes when one
is higher than the other.
53R
2. To understand this you must ignore the fact that this looks
like a slide. Never slide from one note to another when you
see this. Here are the notes it is telling you to sing, using
black solid punctum on a staff with the Porrectus in grey.
5p53R1=-=3p=7
3. It has that little preparatory line that tells you to sing the
upper note first, then follow the line as it curves down and
sing the lower note that the end of it is centered on.
====52x53R====
179
1. Porrectus - stretched out
2. A visual way to write two notes.
In neumes:
7d==7p5p==6p4p==5p3p==4p2p
do la ti...
Be- ne- dic- tus
7d=74x75R===63x64R==52x53R==41x42R=
3. Into this:
do la ti...
Be- ne- dic- tus
4. More notes often follow on the same syllable.
5. Remember, the voice does not slide but steps from one note
to the next.
7d==3p43R4P-=5p=== is the same as 7d=3p4p3p4p- 5p===
180
5d==5p6p5p==41x43R53X5P=3p35x5p4p=20X21R13x3P==34P5p53X-4n3n2n-0p=1p=2p=|
do re...
Chri- ste e- le- i- son PBC P46
This is the first full phrase of chant that we use as an ex-
ample.
You are close now to having a command of the reading of
chant notation. Remember to use your pencil point to follow
the notes.
5d=5p=5p=6p=6p=8p=74X75R6P==6p==5p===
do...
vi-si- bi-li-um o- mni-um PBC P. 77
7d==3p43R4P-=5p===
x
fa so...
De- o PBC P. 473
181
1. Quilisma
2. Indicates note before it is held.
In neumes:
7d==3p4p5p
fa...
Pax
7d=3p4q5p
3. Into this:
fa...
Pax
4. Sung unevenly. First note held longer then back to tempo
on the squiggled note.
182
7d==2p3q4p41x-3n2n- 12P==
mi...
A- men. PBC P. 68
7d==4p=3p=31X3p2p=01P==1p2q3p31x1p==1p===
so...
do-na no--bis pa- cem. PBC P. 69
7d=- 6p=6p=6p’6p64x-5n4n=4p=4p24x 3p==23P4q5p=- 4p24x 3p==
ti...
Hosanna in ex- cel- sis. PBC P. 70
7d=- 15P==53X5p4p=24X4p3p4q5p4p-4p42X-3n2n==
re...
A- men. PBC P. 70
7d=1p23P-13X3p2p-3p4q5p4p’35P’5p’5p- 56P’5n3n-3p13X 2p-45P-23P-2n1n-3p4q5p-5p53X 4p2p25x5p53x3p-42X4p3p-13X3p2p-=
re...
Al- le- lu- ia. PBC P. 85
183
1. flat
2. There is only one note that can be lowered in pitch using
a flat sign:
7d=6b
Flat
7d==6a
3. Ii can be cancelled by the Natural.
Natural
4. The Flat only appears on Ti, turning it into Te.
5. The flat, if it is placed before the first note in the chant,
applies to the entire chant.
6. Otherwise it applies only to the word that is being sung.
The next Ti that appears in a new word is not sung to the
flat Te pitch.
184
7d==4p=5p=6p=5p=4p=5p=6b6p=5p=4p=5p=6a6p=5p=4p==
so la ti la so la te la so la ti la so
5d=4b=5p53X’-3n2n1n=-4p42X’3n2n=2p02X 1p=
do... te..
A- men. PBC P. 53
7d=-5p=6b’5p53X 4p’6p64X’5n4n’4p=3p6b’46P=4p=5p=
la la so te...
Chri-ste e- lé- i- son PBC P. 55183
7d=-6b’56P=35X5p4p=35X5p51x1p- -+==6b3p45P6p64X’5n4n’ 13X3p’2n1n=0p=1p=1p=||
la te...
Ky- ri- e e- le- i- son.
7d===5p4p=-8p86X-78P’7n5n4n’5p==+=6b3p45P6p64X’5n4n13X3p’2n1n=0p=1p=1p=||
la so re...
Chri- ste e- le- i- son. PBC P.58
185
Review of Decorations:
1. Decorations - sometimes appear in chant music.
2. These are modern signs that have been added to some
chant editions.
__
3. One very obvious sign is a over a note or group of
notes. When you see that they are lengthened.
4. Next is a vertical line that French monks use to delineate
groupings of notes - in groups of two and three.
5. A dot after a note doubles its length. It is also said that
the note should soften, as if dying away. So this is called a
dying note or punctum mora.
6. Of these only the horizontal line and dot affect the sound
of the chant by lengthening the note.
7. The vertical line is used by some to emphasize the flow of
the notes by a slight accent.
8. Chant Interpretation - always soften at the end of lines.
It’s elegant, it’s expected...and so important the French in-
vented the punctum mora to remind you.
186
7d==1p==2p=3pH=2p=-1p===
Note lengthened.
[horizontal episema]
7d==1pI==2p=3pI=2p=-1p===
Note grouping.
[vertical episema]
7d==1p==2p=3p=2p.=-1p.===
Dotted note lengthened and dying.
[punctum mora]
187
1. Measure Divisions
2. The first one is merely a place marker.
4. The rest of them indicate a possible breath.
5. The meaning of breath in chant:
The fast catch-breath has no place in chant.
Breaths should be long.
Silence is a very important part of music making.
When you come to a breath marking, stop, collect yourself,
take a long breath and begin singing.
On some florid chants, especially alleluias, one vowel may
be sung to so many notes that you can not sing all the notes
without stopping for a breath. This is permitted and expect-
ed. One reason is that in the Alleluia people know what the
word is, so stopping during the singing of the vowel does not
confuse the meaning of the word to them. But some condu-
tors will instruct you to stagger breathing.
Always follow the conductors instruetions.
7d=1p23P-13X3p2p-3p4q5p4p’35P’5p’5p- 56P’5n3n-3p13X 2p.+-45P-23P-2n1n.-3p4q5p-53X5p4p2p25x5p53x3p-42X4p3p-13X3p2p.-
This chant appeared earlier.
re...
A- le- lu- ia. PBC P. 85
188
7d==============+====
Placemarker
7d===============;==
Possible Breath
7d=================|
Possible Breath
7d==================||
Possible Breath
189
1. Liquescent
2. To sing a one of these notes you close off the sound.
7d====1k15x5K======
3. See the chants on the next two pages - a hint: the 4th note
in the third Alleluia is a Liquescent as well as the second note
in the fourth Alleluia. The Sanctus on the following page
also has Liquescents.
Additional notes about the page of Alleluias:
The Roman numeral at the beginning of each chant is the
number that is the Mode, the scale pattern, of the melody in
the chant.
This is determined by the last note and the range of the
melody notes.
Each of these Alleluias is followed by a line of music without
words. This is the melody for the psalm verse to be sung to
the Alleluia. The hollow punctum is there so that the middle
of the psalm sentence may be sung to that note, one word or
many,
The dash above corresponds to a dash placed above the
printed out words of the verse, indicating the words that are
sung to this section of the melody.
These are excellent sources of practice material for singing
chant with solfeggio.
Vvvdv fv hv hv hv jv ¦v hb.v ]v hv hv190
hv gv hv fv £v dbmvz}ccxvzbxc
Xvzbdzb zbfbv bv vîuhzuÏgztfbMvzb[vz6b.vbjkjb.vRD zíyÎfz6b.vghÎÍdzhzhzyÎ>fÃv6fb,vzb}v xxc
Xvvdv fv hv hv hv jv ¦v hb.v ]v hv hv hv gv dv ¤v fb,vz}ccxxxbb
Bbbv zb dÞFTvbvÎvb\vHUz^ß%ztfbMvz[v\vHUz^ß%ztÍdbmvYG z%Þ$#zèfgfzrdbmvbz}bxxxc
Bvvhv YG v hv hv hv gv hvvjv ¦v hb.v ]v hv hv hv gv hv jv gv £v dbmvz}cc
VbzsRD vz bzërdzfÃvhgvzb YF zãhzhv zHUz^zÞ$zrdbmz zvb{zvz YG zRD z#@NvfÃYzygvdÎÍhfztfzrdbmzv}bxx
Vvvdv fv hv hv hv jv ¦v hb.v ]v hv hv hv gv hv fv £v dbmvz}ccxvzbxc
XzvdbvbvbYF v v bygv zbfvzvbgb,cb}191czzbzdzb vbYF v v ygvbz fbvz gb,z z }b xxbbv b
Bzbfv zbÍTv bhb.v z\v8z&à^%z6bzÞ$#vzb ghßgvzb gv bfb,v v}v bv \vkv b 8b/vHU8b/vzb\v8z&à^%z6bzÞ$#bõ
Bzzvb ghßgv gbv bfb,v vz}vbv vfv bIH vb\vkzkIb/vbz b\v8z&à^%z6bzÞ$#vbvghßgvb gbv bfb,v v}vzbv bfbv bIH vb ø
Bbb\vkzkIb/vzb [vbz\fbIH zkIb/vz b\v8z&à^%z6bzÞ$#vzb ghßgbvb gbv bfb,v v}xxxxvzb
Vzb zhzyÎfbzv zbvbsbmc[cz RSÖ zhzHUv vhb.vz b[zbvzhzyÎfbzv vzbsbmv z[zbvbfv zÜsv vfcv zhzHUvbvhb.z bzö
VvzvhÅvKOzá&^v zuhvzb hb.czb]zv vàhzb |vgvz|vfYG v v|v6z%zÝ#zbvbfvb vzRD v vzêsdêsv bsbmv z[v bsbv zrdvbvYDØ zb ö
Vvzîhjîhvbzhb.v b]zvhÅvKOzá&^zb zv b|vFT6z6z%zÝ#vb zfvzb vRD bv zêsdêsvzb sbmv b]zbvsvbvrdzb zbDYØ vbz bàhvb v z hbv vHUb ö
Vzzb hb.vzb[z sv v zbrdzbvzDYØ v zbhcvHUv zhv zhb.v b]vz bhÅvKOzá&^bzv vz|vFT6z6z%zÝ#bvb fb bzvzRD vzbvzêsdêsv bsbmvzb}
192
1. The Custos - The End
2. Not the end of the chant, but the sign at the end of a line
of chant that continues on.
3. The Custos show you the next pitch you are going to sing
on the next line.
4. You do not sing this little note-shaped object, but just use it
to know what the next note is going to be.
==========3u
193
Reference Sheet
Liquescent ====k15x5K==
Clefs ===5f== ===7d===
Punctum ==4p====
Punctum Inclinatum ==5n4n3n====
Punctum Mora ==4p.====
Podatus ==25P=
Porrectus ==25x52R==
Pressus ==4p5p4p====
Flat =6b- - - - ===
Quilis ==3p4q5p===
Horizontal Episema ===4ph==
Custos ========4u
Vzvdbv Þfv bhvbvuhv vb zIJ zokvzbzuhb<> z b}bzvbzàhvzbvzbhbvbzÞfvbvbdvzb v bÜsv b dz bz bfbvbzv v dbmv vbsbmv b{bz bÜszbó
Vzz b dbvzb Þfb Vbbvhbvsbv|zbvjfb.vYG b vzbhb.v 7b}z^%bvzhbv.zãl9v&z à^bk%bzvhbvjbhájb<vzb[b|z b 6hzv$bÝ#v@zájtvfb zbkÝdvbvzbdzvjb.vzsbvm zvhbz.v}z }vbzvbzvbãlvfb vzbk4vz#bvÜ@u!hzsvmb÷ò
194
fa
VzVzz|sIJ bvFTb6vbz.vubh7vz^bv%bzhhb.vb.vzz}b[bv|zzb6hzv$Ý#z@bàhztvfbvzfzbvÝdvbzebsdzvbzRD zsvbmvhbbvvzzb}uhvb<>vzbvb[zãlbvvbIJ bbkvvbvozk9vz*á&bzvklzÑhbjb.vb.vb|bvozÑhbhz7b.vb.vb}FT6zbb.vvb[àhb|vzzb6vz$vÝ#@hztvfbbôó
fa
VbVbbzb Ýdb4vz#@bdbbvvzzbbvsRDbmvvbvz b}dbvvzbbszbmvb ãlvb{vkbÜsvv9vz*á&vzkbdlbvÑhb.zzÞfb[vzb obhkbzz9b z*vá&z ájzkvlzÑhb bh.vvb|zvboÑhIJz7zob.vkFTv6zb.zuhz[b<>vb b|}z b6zbz$|Ý#z6@zz$tÝ#f@b zv5Ýdz$v#b bvdbzeb ssbNMbmzb}}
fa
BbVbzFTvzàhyvÎfzgbhzb vzbÞfvb,vdbv [bzsb vbvz vÝdbvzb zfwvabvnm vzbd[bmvz vzbfsYGbm zi}Ðhb6z %àh$vzbvzhtbvfM<vbzvzbÞf{vzbv\bdvYF zÐvÜsIvb vbuvhb dvbhvz.Þfvzøbó
fa
BbVbbzdkbvbzv\bsbmvubhz b{vzbvÜsvbtfbdzgv6fbvz4ÞfzÜ@v!bfhYGvzbivÐhz6jb%.v$zvb hzb.vtbf}bvbvfbz ,lv zv]b8vz&bv^bvfzvjzb.vzIH bvzbhvb.z kb }/v vbzãlvzbÎkbIvbvájbzvkbz/vhzbv bzIJ vzùb÷
BbVz\bz u9h*b<>zá&}bk zbvbuàhvb<>vzh[vzbk4vz#\@zbvuRDhv zYG bvsbmvz6}%v$zb Üszfvb, vdzv] fvbfzbvàhzbv vzb jvzwbvazbvhb.vbf}v bz YGzàhvvbjhzbivÐhkz6vz%b $zãlb vzbtkfvbM< vzbIJ]bzô÷
VbBzzzbjfbb.vv zIHb hbzb.vbvbzz8{zz^bvß%àhzkvbvbvvbbhkvb/vzvvbzvzvÞfzvKObvvzb z\dvv9zv*á&vzkvbÜsbvbvuhbdb<>vvbzv[fbzvvzbàhvvbz dvbmvbvzbzbhzsvbmvzÞfz}vzbvvbbzhbbvàhvvzhbkbvzKOzbbÞfvvbkb vvzdzbkvb/zvzszbbm]bzóø
VbBvvvbÝdbkvbvbv\vbKOfzb9zvz*bdzà^bmvzjzbbvzzsbtbmvfbzv{z[bbvvzzsYG vvbbvzvRD zbvrdzvbvbvzhéwvavzfuYGhzizb ÐhvzIJ6vz%$vv zobtkfvbM<vzbu}hvxxxxcv
z hb.vzb }vbzvbàhbz vhvbz bÞfvb vzdb z Üsb ób
Vvzbdvbz zfzb vzàhvzb bjbzvbzhb.vzb [bzvzIJ v bzokvbv zbvzjb.vbvz hb.vbz }bzvzãlvbvzkzb vzájvbvb zbkvbvbuhvbvbz ájvbv zbkvb÷
Bz zb T
F zt f b v z Y
G b v v v
b ì f g ì f v f b v
,
z [ b v z b f v b z v
zb w a v z b s
Ü b v zb a v zb R
S v v b ì f g ì f v b f b v
, b { b v zb f b v zYG zb ö
Bvvbkbvb\vKOz9z*zà^zjzbvzbtfvz[bvzYG vbzvzbrdvbvéwavfYG ziÐhz6z%$v btfbM<vzb }xxxxcvb
195
BzzbFTztfbvzYG bv v vbìfgìfv fb,v z[bvzbfv bzv zb wav zbÜsbv zbavzb RS v v bìfgìfv bfb,v b{bvzbfbv zYG zb ö
fa
Bbbvhz b\vGUzà^%zhvbvzìfgìfvb fb,vb}b vzfv vzbIH v b v zb8z^ß%bkb vb kb/v bz[b v bkvzb vÎYvb bÞfvbv zbgvbvz fb vzbYG vb ô
Bzbz ìfgìfbvzb fb,v {bvfvbvYG v zhvb\b GUzà^%zhvzb ìfgìfbvbfb,vzb}vbz FTztfvzYG v v vìfgìfvbzfb,v zb[bz zbfvbvzbv b zbwab ò
BbbvbÜsz zbvazvbzRS vzbv vìfgìfbvb fb,v b{v fzbvzYG bv bzhvzb\b GUzà^%zhvbvzbìfgìfbvb fb,vzb }xxxvb
Vz|bszfYG v hb.vb7z^%zhb.v9z&à^%zhjhb<v [v|v6z$Ý#@ztfvzbvbÝdbv zdv zbsbmvz}bxxcvv
fa
The Kyrie, Sanctus, Agnus Dei and Ita Missa Est from
the Missa de Angelis for Solfege practice.
196
B\vHUv zygv zyÎÌsbm.vbz [bz\zfYG 7z^%z4z#@bvzb‚abvbz sv zsbmczv}v v vz bygv zb9b/zvKOz*zà^%vhb.z bz [bô
La...
Bz\zfYG 7z^%z4z#@bv b‚avbz sv zsbmcv}v z \vHUvbvygv yÎÌsbm.vbvzb [vz\zfYG 7z^%z4z#@v b‚avbz svzb vbsbmv v}vzbò
BbvzsrÌsv zWA v zsbmvzb5b,vzFTz$zÜ@!zsbmvzb [b \z fYG 7z^%z4z#@v b‚avz szb vbsbmv z}xxxzb v v v b
Xvzb FÙUcygbv HUv zbygcÞfcbgbv hcbvzbgb,cbfb,v }vzbvbÝdcbfcv gv zygv zbfbvzbô
XzbzFÙUv zjvBzzbyzgbv vbHUzv zv[bvjzbjyvgbvzbgÞfbcvz íhbgvcbvjvhcbjb.vzgbz,c}vzfb,v vb}zlvbzvzrIJ vbvzhbgv zíhvyvgbjvzvzbfjb,v. zv}zv}bz fv vzvFTzgbõz bö
So...
XbBvbz HUìtfvbjvzÝdjv vbzgfbvcz íhvzbdbmvjb}v vzjb.vÝdvz }zbfv vzgvzgvyzgHUvvbzjfzjb,vzbv}bvgvbvzÞfIHbv vbghbv vbhuvÏg 6zbáj%v$#zbmvhc}xxv
bzYG zß%$zgztfb, }z ób
XbbzÜdv zfvXbbgvzbzbhzàhvb vvzbgz vzbzrvdbÞfvvbv[vzbbgvvz bfzvfb,vv [zbyzgdvz b[z vbvÞfcv vzbÞfzcdv zbbf[xbvzb YF v zrhdvvzbzgzhvb.vzbvygvczygvbvfb,vÞfbvvbfvb,vbvb}bgbbôzö
XzXzb zzFÙUb HUvvbzyzbjgbb.vvz vHUzc]v vzbyájgvvbvzbzjfzbb,vv bzz[âkbvv vßgcvzbjbvvhvzàhvzbgvbb,vhvvbvzfbb,vygzb[vbbzfvb,vzdvb vzzbFTbßgcv fvvzbßgbdvzbvzbzgbvFTbvvzbYF zgcb,vzb bv]bbyzgájzbvvzzbbvRD jz bbôb÷
XvXzzbzfjb,cz7z^}vß%vbbzvgzbvFÙUvvzztbyfgvvzzgHUHUcv yyggb,.vvzb]zfbvb,vzbßg[vvzjßgvvbvIJzhbvbvzájzvßgvvzbfvvzbhzvbdbmvbvy[gvbvrfdbz,vbvzz[gbhhgvcv zbvzbfgbHU,cbvzyzfgb,zbvb}bzrdzôb ô
197
Bvzhv àhv vzhv bhcvzsvbvzÞfv bdv bsvz[vzhcvzbvàhv zjv zbgv z hvzvzv âkz zbjv zhb.vb {zö
La...
Bzbzhv bvz ájv zkv v zblvzbvzkvbvbàhv v zbkvbvb7z^ß%vz[bvzbhvbvbàhv v zjvbvzgv v vbdbv zbßgbv zhv bhb.vz }zö
Bzzb hjhz b z bYG b,.v }
BzbÜsv vbdvzbvfv v bgv zbÞfv bdv zsbmvz {zbvÞfvb vzgbv hvbvhvbvzbßgvzbzfv zdbmvz {bz àhv zsv bdzbõ
Noel Jones, AAGO
Noel Jones first sang chant in a choir of men and boys and followed that
up by chanting daily masses before he was a teenager in a small town in
Ohio.
Summer studies with Benedictine monks took him further along
the chant path prior to his leaving for New York City where he directed
Catholic choirs and was organist at the Church Center for the United
Nations as well as accompanist for the United Nations Singers. Later in
Germany he was organist for the English masses at the DOM Cathedral
in Frankfurt.
Picking up work as a chor-repetiteur in Germany he was in-
volved in vocal coaching as well as a musical direction in Frankfurt, Ber-
lin, Hamburg, Bremen and Munich. Of the three Broadway musicals he
led there, he conducted two recordings and the European premiere of
one. Having experience setting translations to scores, he was engaged to
do so in Germany, the United States and eventually Italy, where he set
the Italian text for Sir William Walton’s opera The Bear. He also served
as chor repetiteur and rehearsal conductor for that performance under
the supervision of Sir William.
During this time he played for masses at Il Duomo in Barga, Italy,
as well as producing and conducting the town’s annual San Cristoforo
Day celebration concert in the 11th century church.
Working as a church organ designer , he eventually located in
Tennessee, where he joined the staff of a Catholic church as director of
music involved in returning church music to chant and polyphony. He
along with Mary C. Weaver have founded Musicam Sacram, a Church
Music Association of America chapter in East Tennessee.
He has been a participant in the Church Music Association of
America Colloquium.
Index
Chironomy...............................................................................112
Clef................................................................................................152
Clivis.......................................................................................52,165
Counting In Chant...................................................................97
Counting....................................................................................108
Custos................................................................................. 69, 192
Decorations.............................................................................185
Divisions - Pauses....................................................................20
DO Clef........................................................................................22
Dot...................................................................................................88
FA Clef...........................................................................................64
Flat & Natural................................................................. 68, 183
Horizontal Episema........................................................ 60, 92
Ictus.................................................................................................62
Lengthened Chant Notes...................................................82
Liquescent......................................................................... 58, 188
Measure Divisions................................................................ 187
Podatus.......................................................................................173
Porrectus........................................................................... 56, 179
Punctum............................................................................. 51, 143
Punctum Mora............................................................... 12, 114
Punctum Mora.......................................................................114
Punctum Inclinatum..................................................... 54, 169
Quilisma...................................................................66, 101, 181
Salicus..........................................................................................105
Solfeggio.....................................................................................139
Staff....................................................................................... 18, 145
Stropha.......................................................................................175
Podatus..........................................................................................50
Torculus....................................................................................46, 1
Vertical Episema.......................................................................62
Virga..................................................................................... 48, 167
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