Singing Monastic Vespers: a 4-part Webinar Dom Benedict Andersen, OSB Priest-monk of Silverstream Priory County Meath, Ireland CenacleOSB.org Dr. Jennifer Donelson-Nowicka Associate Professor and Director of Sacred Music St. Joseph’s Seminary (Dunwoodie), New York JenniferDonelson.com Sponsored by the Sacred Arts Guild of Alberta – Alane Boudreau, moderator
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Singing Monastic Vespers Webinar - Jennifer Donelson
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Singing Monastic Vespers:a 4-part Webinar
Dom Benedict Andersen, OSB Priest-monk of Silverstream Priory
County Meath, Ireland CenacleOSB.org
Dr. Jennifer Donelson-Nowicka Associate Professor and Director of Sacred Music
St. Joseph’s Seminary (Dunwoodie), New York JenniferDonelson.com
Sponsored by the Sacred Arts Guild of Alberta – Alane Boudreau, moderator
How to sing different feasts and seasons after the webinar ends
Overview
Today
5:00-5:40
Spiritual reflection
Overview of the Structure of Vespers
Some Preliminary Resources
More will be shared in the 4th session of the webinar
How Psalm Tones Work
Singing Psalm Tone 2, 8G, and 7c2
Some Spiritual Considerations
Rule of Saint Benedict, chapter 19: Psallite sapienter — Cum tremore — In conspectu Angelorum (Ps. 46, Ps. 2, Ps. 137)
The context of Temple worship: cosmic, model of creation
“Lights to divide the day and the night” (Gen. 1:14): Day four, the menorah
“The light shines in the darkness … “In him was life, and the life was the light of men … The Word was made flesh and pitched his tent among us” (Jn. 1)
“He camest, Bridegroom of the Bride / As drew the world toward eventide…” (Creator alme siderum)
“My prayer as incense … the lifting up of my hands, an evening sacrifice” (Ps. 140)
“The Theotokos, the Mother of the Light” (Byzantine Orthros): Mary/Cross/Incarnation
Monastic Vespers: Structure
The Opening Versicles
“Deus in adjutorium meum intende …”
“Gloria Patri” and “Sicut erat”
“Alleluia”
or when forbidden, in its place: “Laus tibi Domine Rex æternæ gloriæ”
Pater, Ave
According to a longstanding tradition, before the hour begins, the Pater and Ave are said silently.
PATER noster, qui es in cælis : sanctificétur nomen tuum : advéniat regnum tuum : fiat volúntas tua, sicut in cælo, et in terra. Panem nostrum quotidiánum da nobis hodie : et dimítte nobis débita nostra, sicut et nos dimíttimus debitóribus nostris : et ne nos indúcas in tentatiónem : sed líbera nos a malo. Amen.
AVE María, grátia plena, Dóminus tecum : benedícta tu in muliéribus, et benedíctus fructus ventris tui Jesus. Sancta María, Mater Dei, ora pro nobis peccatóribus, nunc et in hora mortis nostræ. Amen.
A large sign of the cross is slowly made on oneself.
A profound bow is made whenever the doxology is recited.
Our Father, Hail Mary
According to a longstanding tradition, before the hour begins, the Pater and Ave are said silently.
Our Father, who art in heaven, Hallowed be thy name. Thy kingdom come. Thy will be done on earth as it is in heaven. Give us this day our daily bread, and forgive us our trespasses, as we forgive those who trespass against us, and lead us not into temptation, but deliver us from evil.
Hail Mary, full of grace, the Lord is with thee. Blessed art thou amongst women, and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen.
Opening Versicle
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A large sign of the cross is slowly made on oneself.
A profound bow is made whenever the doxology is recited.
Monastic Vespers: Structure
Four psalms with 1 or 4 antiphon(s):
Psalms are usually as given for the day of the week
But certain feasts have special psalms, as the rubrics indicate
Antiphons are for the weekday, or else common or proper
Psalmodia
Psalmus 109
Donec ponam inimícos tuos, * scabéllum pedum tuórum. Virgam virtútis tuæ emíttet Dóminus ex Sion: * domináre in médio inimicórum tuórum. Tecum princípium in die virtútis tuæ in splendóribus sanctórum: * ex útero ante lucíferum génui te. Jurávit Dóminus, et non pœnitébit eum: * Tu es sacérdos in ætérnum secúndum órdinem Melchísedech. Dóminus a dextris tuis, * confrégit in die iræ suæ reges. Judicábit in natiónibus, implébit ruínas: * conquassábit cápita in terra multórum. De torrénte in via bibet: * proptérea exaltábit caput. Glória Patri, et Fílio, * et Spirítui Sancto. Sicut erat in princípio, et nunc, et semper, * et in sǽcula sæculórum. Amen.
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Psalmody
Psalm 109
Until I make thy enemies * thy footstool. The Lord will send forth the sceptre of thy power out of Sion: * rule thou in the midst of thy enemies. With thee is the principality in the day of thy strength: in the brightness of the saints: * from the womb before the day star I begot thee. The Lord hath sworn, and he will not repent: * Thou art a priest for ever according to the order of Melchisedech. The Lord at thy right hand * hath broken kings in the day of his wrath. He shall judge among nations, he shall fill ruins: * he shall crush the heads in the land of many. He shall drink of the torrent in the way: * therefore shall he lift up the head. Glory to the Father, and to the Son, * and to the Holy Spirit. As it was in the beginning, is now, * and will be forever. Amen.
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Monastic Vespers: Structure
Chapter (Capitulum), short Scripture reading: seasonal, common, or proper
Answered by “Deo gratias”
Short Respond: seasonal, common, or proper
For First Vespers of great feasts, sometimes a Long Responsory from Matins is sung in its place. This is at the discretion of the superior or choirmaster.
Antiphon as appointed for the weekday; otherwise, common or proper
Magnificat John 16:20
Luke 1:46-55
Quia respéxit humilitátem ancíllæ suæ: * ecce enim ex hoc beátam me dicent omnes generatiónes. Quia fecit mihi magna qui potens est: * et sanctum nomen ejus. Et misericórdia ejus a progénie in progénies * timéntibus eum. Fecit poténtiam in bráchio suo: * dispérsit supérbos mente cordis sui.
For he hath regarded : the lowliness of his handmaiden: * For behold, from henceforth : all generations shall call me blessed. For he that is mighty hath magnified me: * and holy is his Name. And his mercy is on them that fear him: * throughout all generations.
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English text adapted from Evensong of the Anglican Ordinariate (Book of Common Prayer)
℣. May the souls of the faithful, through the mercy of God, rest in peace. ℟. Amen.
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℣. Divínum auxílium máneat semper nobíscum. ℟. Et cum frátribus nostris abséntibus. Amen.
℣. May the divine assistance remain always with us. ℟. And with our absent brethren. Amen.
According to a longstanding tradition, after the hour ends, the Pater is said silently.
PATER noster, qui es in cælis : sanctificétur nomen tuum : advéniat regnum tuum : fiat volúntas tua, sicut in cælo, et in terra. Panem nostrum quotidiánum da nobis hodie : et dimítte nobis débita nostra, sicut et nos dimíttimus debitóribus nostris : et ne nos indúcas in tentatiónem : sed líbera nos a malo. Amen.
Our Father, who art in heaven, Hallowed be thy name. Thy kingdom come. Thy will be done on earth as it is in heaven. Give us this day our daily bread, and forgive us our trespasses, as we forgive those who trespass against us, and lead us not into temptation, but deliver us from evil.
32
Personnel Suggestions for Domestic Celebration
All on your own
One person always leads (begins the Office, intones antiphons and psalms, sings the Chapter, leads the responsory, sings the collect, etc.)
Different roles divvied up (officiant, two cantors)
Officiant: opening, intones first psalm antiphon and Magnificat antiphon, Chapter, Kyrie and Pater, Collect, “Fidelium” & “Divinum auxilium”
One cantor, or two taking different parts: other antiphons, beginning psalms and Magnificat, Short Respond, Versicle, “Benedicamus”
Comparison of Vespers Structures
Monastic (1963) Opening versicles Four psalms with 1 or 4 antiphon(s): Chapter Short Respond Hymn Versicle and Response Magnificat with antiphon Kyrie/Christe/Kyrie eleison Pater noster “Domine exaudi,” “Oremus,” and Collect of the day Commemorations “Domine exaudi” “Benedicamus Domino” “Fidelium animæ” and “Divinum auxilium”
Roman (1960) Opening versicles Five psalms with 1 or 5 antiphon(s) Chapter No Short Respond Hymn Versicle and Response Magnificat with antiphon Kyrie/Christe/Kyrie eleison Pater noster, preces “Domine exaudi,” “Oremus,” and Collect of the day Commemorations “Domine exaudi” “Benedicamus Domino” “Fidelium animæ” and “Divinum auxilium”
Roman (1971/75/85) Introductory verse Hymn Two psalms with their antiphons One canticle with its antiphon Lectio Brevis Responsory Magnificat with antiphon Intercessions Pater noster “Oremus,” and Collect of the day (“Concluding Prayer”) “Dominus vobiscum,” blessing, and dismissal (if priest or deacon present), otherwise “Dóminus nos benedícat, et ab omni malo deféndat, et ad vitam perdúcat ætérnam.”
Some Preliminary Resources
DivinumOfficium.com
BarrouxChant.com
Antiphonale Monasticum (1934), available as free, public domain PDF
Le Barroux’s Ordo for 2020 (directions for each day)
Chart of Psalm tones (not including those added in the Antiphonal Monasticum)
If it is La, Ti, or Do, it is considered a transposed version of Re, Mi, or Sol
Dominant: the pole around which a large number of pitches lie, and which serves as a counter to the final, a feeling of “away from home,” often the recitation tone in a Psalm tone
Range: where the pitches for a piece lie in relationship to the final
Authentic – final towards the bottom of the range
Plagal – final in the middle of the range
Gregorian ModesDominant (up 5th)
Mode # Final Mode # Dominant (up 3rd)
La 1 Re 2 Fa
Do (Ti) 3 Mi 4 La*
Do 5 Fa 6 La
Re 7 Sol 8 Do
Structure of a Psalm Tone
Inchoatio/ Intontation
Tenor/ Recitation
Tone
Mediatio/ Mediant *
Tenor/ Recitation
ToneTerminatio/ Termination
Inchoatio/ Intontation
Tenor/ Recitation
Tone
Mediatio/ Mediant *
Tenor/ Recitation
ToneTerminatio/ Termination
Flexa/ Flex †
Tenor/ Recitation
Tone
Some rules to start…
Does it have 1 accent in the mediant & termination—or 2?
White notes are only used if there are 2 unaccented syllables following the accent; ignore if there’s only 1
Flex are only used when you see a dagger (†) in the text, and they change pitch after the last accent right before the dagger; if there’s no dagger, ignore that part of the tone
Psalm tones are music for the Latin language; adaptation to English can follow the Latin accentuation when possible, but at other times it is an artistic decision of how to scan the line and point it
Practicing (non-Monastic) Mode 2 Psalm Tone
1 accent at mediant, 1 at termination
Pitch goes up on mediant accent
Pitch goes down one syllable before termination accent
No multi-note neumes
This is different from the monastic version of this tone…
OFFICE PSALM TONES from the Liber usualis, with various termination formulae
intonation flex mediation
I BvvfvvGYvvhvvhvvxhvv¥vvgz<vv[vvhvvhv\v xjvv¦vvhvvxgvv¦vvhz.vv]vvhvvhvvhvv D Bvvgvvfvvx GYvv¥vv5z$#@bNv} or Bvvgvvfvvxgvv¥vv5z$#@bNv} D2 Bvvgvvfvv¥vvtf}vvszmvv} f Bvvgvvfvvx GYvv¥vvtfzM,vv} g Bvvgvvfvvx GYvv¥vvgz<vv} g2 Bvvgvvfvvxgvv¥vvghgz<vv} g3 Bvvgvvfvvxgvv¥vvgz,vv} a Bvvgvvfvvxgvv¦vvhz.vv} a2 Bvvgvvfvvxgvv¥vvGYz,.vv} a3 Bvvgvvfvvx GYvv¥vvGYz,.vv}
II Xvvdvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvxjvv¦vvhz.vv]vvhvvhvvhvvgvvxdvv¤vvfb,vv} III BvvgvvHIvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvzlvv¨vvkvv¨vvuh }vvkz/vv]vvkvvkvvkvv
b Bvvhvvxkvv¨vvjb.vv} a Bvvhvvxkvv¨vvuhz<.vv} a2 BvvijvvHUvvxhvv¥vvGYz<.vv} g BvvijvvHUvvxhvv¥vvgz<vv} g2 Bvvhvvkvvjvvxhvv¥vvgz<vv}
IV BvvhvvGYvvhvvhvvx xhvv¥vvgz,vv[vvhvvhvvgvvhvvxjvv¦vvhz.vv]vvhvvhvvhvv g Bvvxhvv¥vvgz,vv} E Bvvgvvhvvuhvv¥vvtf }vvdzmvv}
IV alt VvvjvvHUvvjvvjvvxjvv¦vvhz.vv[vvjvvjvvhvvjvvxkvv§vvjz.vv]vvjvvjvvjvv c Vvvxjvv¦vvhz.vv} A Vvvhvvjvvkvvxhvv¤vvfz,vbb} A* Vvvhvvjvvkvvxhvv¤vvFTbM<vv} d Vvvhvvjvvkvvxhvv§vvjz.vv}
cf. LU p. 730
V Vvvsvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvhvvhvvxjvv¦vvhz.vv]vvhvvhvvhvv xjvv¥vvgvvxhvv¤vvfz,vv} VI BvvfvvGYvvhvvhvvxhvv¥vvgz<vv[vvhvvhv\v xjvv¦vvhvvxgvv¦vvhz.vv]vvhvvhvvhvvfvvGYvvxgvv¤vvfz,vv} VI alt BvvfvvGYvvhvvhvvxhvv¥vvgz,vv[vvhvvhvvhvvgvvxhvv¤vvfz,vv]vvhvvhvvhvvfvvGYvvxgvv¤vvfz,vv} VII VvvygvvHUvvjvvjvv xjvv¦vvhz.vv[vvjvvjvvzlvv¨vvkvvxjvv¨vvkz/vv]vvjvvjvvjvv
a Vvvx xkvv§vvjvvxhvv¦vvtfzM,vv} b Vvvxkvv§vvjvvxhvv¦vvgb,zv} c Vvvx xkvv§vvjvvxhvv¦vvGYz,.vv} c2 Vvvxkvv§vvjvvxhvv¦vvuhb<>zv} d Vvvxkvv§vvjvvxhvv¦vvGUb,.zv}
VIII Bvvgvvhvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvkvvkvvzlvv¨vvkz/vv]vvkvvkvvkvv G Bvvjvvkvvxhvv¥vvgz,vv} G* Bvvjvvkvvxhvv¥vvGYz.,vv} c Bvvhvvkvvzlvv¨vvkz/vv}
et miserátor Dóminus: * escam dedit timéntibus se.
Memor erit in saéculum testaménti sui: *
virtútem óperum suórum annuntiábit pópulo suo:
Ut det illis hereditátem géntium: *
ópera mánuum ejus véritas, et judícium.
OFFICE PSALM TONES from the Liber usualis, with various termination formulae
intonation flex mediation
I BvvfvvGYvvhvvhvvxhvv¥vvgz<vv[vvhvvhv\v xjvv¦vvhvvxgvv¦vvhz.vv]vvhvvhvvhvv D Bvvgvvfvvx GYvv¥vv5z$#@bNv} or Bvvgvvfvvxgvv¥vv5z$#@bNv} D2 Bvvgvvfvv¥vvtf}vvszmvv} f Bvvgvvfvvx GYvv¥vvtfzM,vv} g Bvvgvvfvvx GYvv¥vvgz<vv} g2 Bvvgvvfvvxgvv¥vvghgz<vv} g3 Bvvgvvfvvxgvv¥vvgz,vv} a Bvvgvvfvvxgvv¦vvhz.vv} a2 Bvvgvvfvvxgvv¥vvGYz,.vv} a3 Bvvgvvfvvx GYvv¥vvGYz,.vv}
II Xvvdvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvxjvv¦vvhz.vv]vvhvvhvvhvvgvvxdvv¤vvfb,vv} III BvvgvvHIvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvzlvv¨vvkvv¨vvuh }vvkz/vv]vvkvvkvvkvv
b Bvvhvvxkvv¨vvjb.vv} a Bvvhvvxkvv¨vvuhz<.vv} a2 BvvijvvHUvvxhvv¥vvGYz<.vv} g BvvijvvHUvvxhvv¥vvgz<vv} g2 Bvvhvvkvvjvvxhvv¥vvgz<vv}
IV BvvhvvGYvvhvvhvvx xhvv¥vvgz,vv[vvhvvhvvgvvhvvxjvv¦vvhz.vv]vvhvvhvvhvv g Bvvxhvv¥vvgz,vv} E Bvvgvvhvvuhvv¥vvtf }vvdzmvv}
IV alt VvvjvvHUvvjvvjvvxjvv¦vvhz.vv[vvjvvjvvhvvjvvxkvv§vvjz.vv]vvjvvjvvjvv c Vvvxjvv¦vvhz.vv} A Vvvhvvjvvkvvxhvv¤vvfz,vbb} A* Vvvhvvjvvkvvxhvv¤vvFTbM<vv} d Vvvhvvjvvkvvxhvv§vvjz.vv}
cf. LU p. 730
V Vvvsvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvhvvhvvxjvv¦vvhz.vv]vvhvvhvvhvv xjvv¥vvgvvxhvv¤vvfz,vv} VI BvvfvvGYvvhvvhvvxhvv¥vvgz<vv[vvhvvhv\v xjvv¦vvhvvxgvv¦vvhz.vv]vvhvvhvvhvvfvvGYvvxgvv¤vvfz,vv} VI alt BvvfvvGYvvhvvhvvxhvv¥vvgz,vv[vvhvvhvvhvvgvvxhvv¤vvfz,vv]vvhvvhvvhvvfvvGYvvxgvv¤vvfz,vv} VII VvvygvvHUvvjvvjvv xjvv¦vvhz.vv[vvjvvjvvzlvv¨vvkvvxjvv¨vvkz/vv]vvjvvjvvjvv
a Vvvx xkvv§vvjvvxhvv¦vvtfzM,vv} b Vvvxkvv§vvjvvxhvv¦vvgb,zv} c Vvvx xkvv§vvjvvxhvv¦vvGYz,.vv} c2 Vvvxkvv§vvjvvxhvv¦vvuhb<>zv} d Vvvxkvv§vvjvvxhvv¦vvGUb,.zv}
VIII Bvvgvvhvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvkvvkvvzlvv¨vvkz/vv]vvkvvkvvkvv G Bvvjvvkvvxhvv¥vvgz,vv} G* Bvvjvvkvvxhvv¥vvGYz.,vv} c Bvvhvvkvvzlvv¨vvkz/vv}
OFFICE PSALM TONES from the Liber usualis, with various termination formulae
intonation flex mediation
I BvvfvvGYvvhvvhvvxhvv¥vvgz<vv[vvhvvhv\v xjvv¦vvhvvxgvv¦vvhz.vv]vvhvvhvvhvv D Bvvgvvfvvx GYvv¥vv5z$#@bNv} or Bvvgvvfvvxgvv¥vv5z$#@bNv} D2 Bvvgvvfvv¥vvtf}vvszmvv} f Bvvgvvfvvx GYvv¥vvtfzM,vv} g Bvvgvvfvvx GYvv¥vvgz<vv} g2 Bvvgvvfvvxgvv¥vvghgz<vv} g3 Bvvgvvfvvxgvv¥vvgz,vv} a Bvvgvvfvvxgvv¦vvhz.vv} a2 Bvvgvvfvvxgvv¥vvGYz,.vv} a3 Bvvgvvfvvx GYvv¥vvGYz,.vv}
II Xvvdvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvxjvv¦vvhz.vv]vvhvvhvvhvvgvvxdvv¤vvfb,vv} III BvvgvvHIvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvzlvv¨vvkvv¨vvuh }vvkz/vv]vvkvvkvvkvv
b Bvvhvvxkvv¨vvjb.vv} a Bvvhvvxkvv¨vvuhz<.vv} a2 BvvijvvHUvvxhvv¥vvGYz<.vv} g BvvijvvHUvvxhvv¥vvgz<vv} g2 Bvvhvvkvvjvvxhvv¥vvgz<vv}
IV BvvhvvGYvvhvvhvvx xhvv¥vvgz,vv[vvhvvhvvgvvhvvxjvv¦vvhz.vv]vvhvvhvvhvv g Bvvxhvv¥vvgz,vv} E Bvvgvvhvvuhvv¥vvtf }vvdzmvv}
IV alt VvvjvvHUvvjvvjvvxjvv¦vvhz.vv[vvjvvjvvhvvjvvxkvv§vvjz.vv]vvjvvjvvjvv c Vvvxjvv¦vvhz.vv} A Vvvhvvjvvkvvxhvv¤vvfz,vbb} A* Vvvhvvjvvkvvxhvv¤vvFTbM<vv} d Vvvhvvjvvkvvxhvv§vvjz.vv}
cf. LU p. 730
V Vvvsvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvhvvhvvxjvv¦vvhz.vv]vvhvvhvvhvv xjvv¥vvgvvxhvv¤vvfz,vv} VI BvvfvvGYvvhvvhvvxhvv¥vvgz<vv[vvhvvhv\v xjvv¦vvhvvxgvv¦vvhz.vv]vvhvvhvvhvvfvvGYvvxgvv¤vvfz,vv} VI alt BvvfvvGYvvhvvhvvxhvv¥vvgz,vv[vvhvvhvvhvvgvvxhvv¤vvfz,vv]vvhvvhvvhvvfvvGYvvxgvv¤vvfz,vv} VII VvvygvvHUvvjvvjvv xjvv¦vvhz.vv[vvjvvjvvzlvv¨vvkvvxjvv¨vvkz/vv]vvjvvjvvjvv
a Vvvx xkvv§vvjvvxhvv¦vvtfzM,vv} b Vvvxkvv§vvjvvxhvv¦vvgb,zv} c Vvvx xkvv§vvjvvxhvv¦vvGYz,.vv} c2 Vvvxkvv§vvjvvxhvv¦vvuhb<>zv} d Vvvxkvv§vvjvvxhvv¦vvGUb,.zv}
VIII Bvvgvvhvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvkvvkvvzlvv¨vvkz/vv]vvkvvkvvkvv G Bvvjvvkvvxhvv¥vvgz,vv} G* Bvvjvvkvvxhvv¥vvGYz.,vv} c Bvvhvvkvvzlvv¨vvkz/vv}
OFFICE PSALM TONES from the Liber usualis, with various termination formulae
intonation flex mediation
I BvvfvvGYvvhvvhvvxhvv¥vvgz<vv[vvhvvhv\v xjvv¦vvhvvxgvv¦vvhz.vv]vvhvvhvvhvv D Bvvgvvfvvx GYvv¥vv5z$#@bNv} or Bvvgvvfvvxgvv¥vv5z$#@bNv} D2 Bvvgvvfvv¥vvtf}vvszmvv} f Bvvgvvfvvx GYvv¥vvtfzM,vv} g Bvvgvvfvvx GYvv¥vvgz<vv} g2 Bvvgvvfvvxgvv¥vvghgz<vv} g3 Bvvgvvfvvxgvv¥vvgz,vv} a Bvvgvvfvvxgvv¦vvhz.vv} a2 Bvvgvvfvvxgvv¥vvGYz,.vv} a3 Bvvgvvfvvx GYvv¥vvGYz,.vv}
II Xvvdvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvxjvv¦vvhz.vv]vvhvvhvvhvvgvvxdvv¤vvfb,vv} III BvvgvvHIvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvzlvv¨vvkvv¨vvuh }vvkz/vv]vvkvvkvvkvv
b Bvvhvvxkvv¨vvjb.vv} a Bvvhvvxkvv¨vvuhz<.vv} a2 BvvijvvHUvvxhvv¥vvGYz<.vv} g BvvijvvHUvvxhvv¥vvgz<vv} g2 Bvvhvvkvvjvvxhvv¥vvgz<vv}
IV BvvhvvGYvvhvvhvvx xhvv¥vvgz,vv[vvhvvhvvgvvhvvxjvv¦vvhz.vv]vvhvvhvvhvv g Bvvxhvv¥vvgz,vv} E Bvvgvvhvvuhvv¥vvtf }vvdzmvv}
IV alt VvvjvvHUvvjvvjvvxjvv¦vvhz.vv[vvjvvjvvhvvjvvxkvv§vvjz.vv]vvjvvjvvjvv c Vvvxjvv¦vvhz.vv} A Vvvhvvjvvkvvxhvv¤vvfz,vbb} A* Vvvhvvjvvkvvxhvv¤vvFTbM<vv} d Vvvhvvjvvkvvxhvv§vvjz.vv}
cf. LU p. 730
V Vvvsvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvhvvhvvxjvv¦vvhz.vv]vvhvvhvvhvv xjvv¥vvgvvxhvv¤vvfz,vv} VI BvvfvvGYvvhvvhvvxhvv¥vvgz<vv[vvhvvhv\v xjvv¦vvhvvxgvv¦vvhz.vv]vvhvvhvvhvvfvvGYvvxgvv¤vvfz,vv} VI alt BvvfvvGYvvhvvhvvxhvv¥vvgz,vv[vvhvvhvvhvvgvvxhvv¤vvfz,vv]vvhvvhvvhvvfvvGYvvxgvv¤vvfz,vv} VII VvvygvvHUvvjvvjvv xjvv¦vvhz.vv[vvjvvjvvzlvv¨vvkvvxjvv¨vvkz/vv]vvjvvjvvjvv
a Vvvx xkvv§vvjvvxhvv¦vvtfzM,vv} b Vvvxkvv§vvjvvxhvv¦vvgb,zv} c Vvvx xkvv§vvjvvxhvv¦vvGYz,.vv} c2 Vvvxkvv§vvjvvxhvv¦vvuhb<>zv} d Vvvxkvv§vvjvvxhvv¦vvGUb,.zv}
VIII Bvvgvvhvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvkvvkvvzlvv¨vvkz/vv]vvkvvkvvkvv G Bvvjvvkvvxhvv¥vvgz,vv} G* Bvvjvvkvvxhvv¥vvGYz.,vv} c Bvvhvvkvvzlvv¨vvkz/vv}
Memóriam fecit mirabílium suórum, † miséricors et miserátor Dóminus: * escam dedit timéntibus se.
Memor erit in sǽculum testaménti sui: *
virtútem óperum suórum annuntiábit
pópulo suo:
Ut det illis hereditátem géntium: *
ópera mánuum ejus véritas, et judícium.
OFFICE PSALM TONES from the Liber usualis, with various termination formulae
intonation flex mediation
I BvvfvvGYvvhvvhvvxhvv¥vvgz<vv[vvhvvhv\v xjvv¦vvhvvxgvv¦vvhz.vv]vvhvvhvvhvv D Bvvgvvfvvx GYvv¥vv5z$#@bNv} or Bvvgvvfvvxgvv¥vv5z$#@bNv} D2 Bvvgvvfvv¥vvtf}vvszmvv} f Bvvgvvfvvx GYvv¥vvtfzM,vv} g Bvvgvvfvvx GYvv¥vvgz<vv} g2 Bvvgvvfvvxgvv¥vvghgz<vv} g3 Bvvgvvfvvxgvv¥vvgz,vv} a Bvvgvvfvvxgvv¦vvhz.vv} a2 Bvvgvvfvvxgvv¥vvGYz,.vv} a3 Bvvgvvfvvx GYvv¥vvGYz,.vv}
II Xvvdvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvxjvv¦vvhz.vv]vvhvvhvvhvvgvvxdvv¤vvfb,vv} III BvvgvvHIvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvzlvv¨vvkvv¨vvuh }vvkz/vv]vvkvvkvvkvv
b Bvvhvvxkvv¨vvjb.vv} a Bvvhvvxkvv¨vvuhz<.vv} a2 BvvijvvHUvvxhvv¥vvGYz<.vv} g BvvijvvHUvvxhvv¥vvgz<vv} g2 Bvvhvvkvvjvvxhvv¥vvgz<vv}
IV BvvhvvGYvvhvvhvvx xhvv¥vvgz,vv[vvhvvhvvgvvhvvxjvv¦vvhz.vv]vvhvvhvvhvv g Bvvxhvv¥vvgz,vv} E Bvvgvvhvvuhvv¥vvtf }vvdzmvv}
IV alt VvvjvvHUvvjvvjvvxjvv¦vvhz.vv[vvjvvjvvhvvjvvxkvv§vvjz.vv]vvjvvjvvjvv c Vvvxjvv¦vvhz.vv} A Vvvhvvjvvkvvxhvv¤vvfz,vbb} A* Vvvhvvjvvkvvxhvv¤vvFTbM<vv} d Vvvhvvjvvkvvxhvv§vvjz.vv}
cf. LU p. 730
V Vvvsvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvhvvhvvxjvv¦vvhz.vv]vvhvvhvvhvv xjvv¥vvgvvxhvv¤vvfz,vv} VI BvvfvvGYvvhvvhvvxhvv¥vvgz<vv[vvhvvhv\v xjvv¦vvhvvxgvv¦vvhz.vv]vvhvvhvvhvvfvvGYvvxgvv¤vvfz,vv} VI alt BvvfvvGYvvhvvhvvxhvv¥vvgz,vv[vvhvvhvvhvvgvvxhvv¤vvfz,vv]vvhvvhvvhvvfvvGYvvxgvv¤vvfz,vv} VII VvvygvvHUvvjvvjvv xjvv¦vvhz.vv[vvjvvjvvzlvv¨vvkvvxjvv¨vvkz/vv]vvjvvjvvjvv
a Vvvx xkvv§vvjvvxhvv¦vvtfzM,vv} b Vvvxkvv§vvjvvxhvv¦vvgb,zv} c Vvvx xkvv§vvjvvxhvv¦vvGYz,.vv} c2 Vvvxkvv§vvjvvxhvv¦vvuhb<>zv} d Vvvxkvv§vvjvvxhvv¦vvGUb,.zv}
VIII Bvvgvvhvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvkvvkvvzlvv¨vvkz/vv]vvkvvkvvkvv G Bvvjvvkvvxhvv¥vvgz,vv} G* Bvvjvvkvvxhvv¥vvGYz.,vv} c Bvvhvvkvvzlvv¨vvkz/vv}
OFFICE PSALM TONES from the Liber usualis, with various termination formulae
intonation flex mediation
I BvvfvvGYvvhvvhvvxhvv¥vvgz<vv[vvhvvhv\v xjvv¦vvhvvxgvv¦vvhz.vv]vvhvvhvvhvv D Bvvgvvfvvx GYvv¥vv5z$#@bNv} or Bvvgvvfvvxgvv¥vv5z$#@bNv} D2 Bvvgvvfvv¥vvtf}vvszmvv} f Bvvgvvfvvx GYvv¥vvtfzM,vv} g Bvvgvvfvvx GYvv¥vvgz<vv} g2 Bvvgvvfvvxgvv¥vvghgz<vv} g3 Bvvgvvfvvxgvv¥vvgz,vv} a Bvvgvvfvvxgvv¦vvhz.vv} a2 Bvvgvvfvvxgvv¥vvGYz,.vv} a3 Bvvgvvfvvx GYvv¥vvGYz,.vv}
II Xvvdvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvxjvv¦vvhz.vv]vvhvvhvvhvvgvvxdvv¤vvfb,vv} III BvvgvvHIvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvzlvv¨vvkvv¨vvuh }vvkz/vv]vvkvvkvvkvv
b Bvvhvvxkvv¨vvjb.vv} a Bvvhvvxkvv¨vvuhz<.vv} a2 BvvijvvHUvvxhvv¥vvGYz<.vv} g BvvijvvHUvvxhvv¥vvgz<vv} g2 Bvvhvvkvvjvvxhvv¥vvgz<vv}
IV BvvhvvGYvvhvvhvvx xhvv¥vvgz,vv[vvhvvhvvgvvhvvxjvv¦vvhz.vv]vvhvvhvvhvv g Bvvxhvv¥vvgz,vv} E Bvvgvvhvvuhvv¥vvtf }vvdzmvv}
IV alt VvvjvvHUvvjvvjvvxjvv¦vvhz.vv[vvjvvjvvhvvjvvxkvv§vvjz.vv]vvjvvjvvjvv c Vvvxjvv¦vvhz.vv} A Vvvhvvjvvkvvxhvv¤vvfz,vbb} A* Vvvhvvjvvkvvxhvv¤vvFTbM<vv} d Vvvhvvjvvkvvxhvv§vvjz.vv}
cf. LU p. 730
V Vvvsvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvhvvhvvxjvv¦vvhz.vv]vvhvvhvvhvv xjvv¥vvgvvxhvv¤vvfz,vv} VI BvvfvvGYvvhvvhvvxhvv¥vvgz<vv[vvhvvhv\v xjvv¦vvhvvxgvv¦vvhz.vv]vvhvvhvvhvvfvvGYvvxgvv¤vvfz,vv} VI alt BvvfvvGYvvhvvhvvxhvv¥vvgz,vv[vvhvvhvvhvvgvvxhvv¤vvfz,vv]vvhvvhvvhvvfvvGYvvxgvv¤vvfz,vv} VII VvvygvvHUvvjvvjvv xjvv¦vvhz.vv[vvjvvjvvzlvv¨vvkvvxjvv¨vvkz/vv]vvjvvjvvjvv
a Vvvx xkvv§vvjvvxhvv¦vvtfzM,vv} b Vvvxkvv§vvjvvxhvv¦vvgb,zv} c Vvvx xkvv§vvjvvxhvv¦vvGYz,.vv} c2 Vvvxkvv§vvjvvxhvv¦vvuhb<>zv} d Vvvxkvv§vvjvvxhvv¦vvGUb,.zv}
VIII Bvvgvvhvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvkvvkvvzlvv¨vvkz/vv]vvkvvkvvkvv G Bvvjvvkvvxhvv¥vvgz,vv} G* Bvvjvvkvvxhvv¥vvGYz.,vv} c Bvvhvvkvvzlvv¨vvkz/vv}
Pitch changes with 2 notes 1 syllable before mediant accents
Pitch changes 2 syllables termination accent
Multi-note neumes on intonation
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Practicing Solemn Mode 8 Psalm Tone with G Ending
Quia respéxit humilitátem ancíllæ suæ: * ecce enim ex hoc beátam me dicent omnes generatiónes. Quia fecit mihi magna qui potens est: * et sanctum nomen ejus. Et misericórdia ejus a progénie in progénies * timéntibus eum. Fecit poténtiam in bráchio suo: * dispérsit supérbos mente cordis sui.
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A few more points
Vocal energy and good breath support should move the line along until the mediant and termination
Sing at the speed of speech on the recitation tone, and at a slower pace when the pitch is changing
Wait | Breathe | Sing
Psalms begin on the recitation tone after the 1st verse (no intonation), while the Gospel canticle (in this case, the Magnificat) begins with the intonation on each verse
Online Classes This Summer Through St. Joseph’s Seminary (Dunwoodie), New York
Principles of Sacred Music
History of sacred music, study of Church legislation, in-depth discussion of practical issues surrounding sacred music programs. Asynchronous on-line June 1–July 26 + live online July 27 and 28 from 9:00 a.m. to 5:00 p.m. Fulfills course requirements for the St. Cecilia Academy certification. Taught by Dr. Jennifer Donelson-Nowicka.
Principles of Chant
Introduction to Gregorian chant, vocal and rehearsal techniques for choirs, and development of conducting skills. July 13–17, 9:00 a.m. to 6:00 p.m. Fulfills course requirements for the St. Cecilia Academy certification. Taught by Dr. Jennifer Donelson-Nowicka.
Teaching Gregorian Chant to Children
Pedagogical techniques for teachers with special emphasis on the Ward method of teaching chant. July 20–24, 9:00 a.m. to 6:00 p.m. Taught by Dr. Jennifer Donelson-Nowicka.
Conducting and Group Vocal Pedagogy for the Parish Music Director
Strategies and practice in conducting and teaching healthy vocal production to amateur singers. July 29–31, 9:00 a.m. to 6:00 p.m. Taught by Dr. Timothy McDonnell.
Introduction to the Organ for Pianists
Essential knowledge and practice with registration, good technique, pedaling, hymn- and service-playing, and appropriate repertoire. August 3–7, 9:00 a.m. to 12:00 p.m. and 3:00-6:00 p.m. Taught by Dr. Crista Miller.