Gregorian Chant & Early Sacred Music: a layman's lexicon for the parish musician

Date of first publishing: December 28, 2023 with 103 entries

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Welcome, reader!

I have always held that there are three major obstacles to learning how to sing Gregorian chant:

1. the notation

2. the Latin language

3. the modality

Actually, there is a fourth major obstacle: terminology.

Real answers for real musicians

This lexicon is the product of years of teaching in the field, and is the direct result of real questions asked by our students here at the International Chant Academy. What makes this lexicon unique:

• It's meant for musicians of all faiths. Those matters relating to particular faith traditions are treated with as much objectivity as possible.

• This body of music does not exist in a vacuum or on a page. It lives in the liturgy. Even if you perhaps aren't interested in liturgy, the books you read and the forums you frequent reference it a lot. The terms provided here will help you to navigate these sources with greater ease.

• Certain sensitive subjects are treated (e.g. Solesmes Method and the Second Vatican Council). It can be a challenge trying to understand the source of a hot button topic. We've done some of the footwork for you here.

• This is not meant to be an academic work. It's a layman's guide, created to address real questions by real musicians. Wording is kept as simple as possible.

New terms and definitions will be added in an ongoing basis. If you'd like to stay abreast with new entries as they are added, please join our mailing list and be sure to check "subscribe to weekly emails".

I promise, we won't spam you. And we will never share your information with anyone else.

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How to use this lexicon

1. This is a reference resource. You probably won't want to read it from A-Z. Start with the entries in big text for context. If you have time and want to go deeper, check out the related terms suggested in each entry.

2. You'll need to be familiar with basic musical terms like staff, scale, legato and fundamental.

3. If you run into a term you don't understand in the definition, check to see if it has its own entry in this lexicon. Chances are high that your quest will be rewarded!

4. Favorite this page in your browser or add it to your Facebook saved items for easy access the next time you have a question.

5. Check back periodically for new terms. (At 103 entries, this lexicon is only just getting started!)

Pronunciation for many of these terms will hopefully be added at a later date (if anyone is a whiz in this area, please reach out!). For now, you may refer to the Parish Book of Chant PDF for a Latin pronunciation guide (you can find it on pages 314-315).

Visual images for some entries will be added as appropriate, so that you can see an example "in the wild", so to speak.

Lastly, if you would like to suggest an edit or request a term be added to this lexicon, please do not hesitate to reach out. I'd love to hear from you.

Angela Rocchio

info@chantacademy.com

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KEY

D = database, book, or other document

H = historically related

L = liturgical term

M = musical term

Entries in large text are critical terms which have been used in the definitions of many other entries.

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* / asterisk (M)

1. Marks the end of a chant incipit, and the beginning of the schola's entrance. Here the asterisk does not indicate a pause (although it may coincide with a pause). See also incipit.

2. In the alleluia chant, see * ij.

3. In the verses of the introit chant, the asterisk marks both: a) a pause in the singing and b) a switch from the singing of the cantor in the first half, to the singing of the full schola in the second half of the verse. See also mediant.

4. Marks the pause after the mediant in a psalm tone. This pause has two functions: a) a stopping point to breathe, and 2) a point of brief meditation. A general rule for the length of this pause (which is usually longer than what the untrained singer would expect): it should take the amount of time during which the singers can think the words "Ave Maria" or "Gloria Patri". See also mediant and psalm tone, and ICA blog article 7 things that Sung Vespers can teach us about life (point 7).

5. Indicates the beginning of a respond.

** / double asterisk (M)

In a chant which already utilizes the single asterisk (*), it marks the moment in a chant where the singing switches from that of a small group to the singing of the full group.

Example: in the ninefold Kyrie of the pre-Conciliar Mass, the final iteration of the last Kyrie is slightly longer and more elaborate than its first two iterations, and contains both * and **. It is sung in this order:

1. Cantor up to *

2. Schola joins cantor at *, and continues to **

3. Congregation joins cantor and schola at **, and all sing together to conclusion of the Kyrie. (Obviously certain modifications to this progression are necessary in the presence of a cantor without schola.)

* ij. (M)

In the alleluia chant of the pre-Conciliar Mass, the chant is sung in this order:

1. Incipit (up to the *) by solo cantor.

2. Incipit is repeated by the cantor.

3. Schola joins the singing of the cantor after the *ij. and continues up to the first double bar (where the verse begins, marked "V").

4. Cantor or small group sings the verse alone, up to the next *.

5. At the *, the schola rejoins the cantor or small group, concluding the singing of the verse.

6. Cantor and schola repeat the entire alleluia (up to but not including the verse) from start to finish.

Note: this entry is dedicated to * ij. with the preceding asterisk, and does not treat ij. when it occurs without the asterisk (as occurs in the ninefold Kyrie).

See also incipit and alleluia.

|| / double bar (M)

1. Indicates the end of a chant.

2. Indicates the moment when the singing of a chant may switch to the singing of an alternate party. The Gloria and Credo chants are good examples of this usage. See also antiphonal.

3. Indicates the moment where a clef changes in position or kind.

4. In Dominican chant, indicates a) the end of a major phrase, b) the moment of alternation in antiphonal singing, c) the same as the * /asterisk or ** / double asterisk in Gregorian chant, or d) in the Gloria of the Dominican Rite, the first double bar indicates the switch from priest to cantor's singing and the second double bar indicates the switch from cantor to full schola. In Dominican chant, there is also always a lengthening prior to a bar line.

✝︎ / ♰ / + / † (M)

1. Indicates the beginning of a respond. Example: communion chant from the Requiem Mass "Lux æterna luceat eis, Domine, † cum sanctis tuis in aeternum quia pius es."

2. See flex.

1962 (H) (L)

The first year of the Second Vatican Council. This year is a critical marker for evaluating which chant book to use for the Mass propers, as many changes were made to the liturgy and the liturgical calendar following 1962. (Examples: the sequence Dies Irae was eliminated from the post-Conciliar propers, and the Solemnity of Christ the King falls on different Sundays in the old calendar and new calendar.)

Books published prior to 1962 by default follow the old calendar. Books published after 1962 most likely follow the new calendar, but it is not a hard and fast rule. The year of the book's edition is important to consider, too. For instance, the Graduale Romanum has been published in two forms, following both the old and new calendars.

See also Second Vatican Council and propers.

adiestematic (M)

Literally, without a stem, i.e. a neume indicating melodic contour, but not precise pitches, and characterized by the absence of a musical staff. Opposite: diestematic.

See also semiology, Laon and Saint Gall. Compare to quadratic notation.

alleluia (L) (M)

1. A word meaning "Praise the Lord". The Hallel psalms are songs of praise (derivative "alle") and derivative Ya (or "ia") is from YHWH, the unutterable name of God in the Old Testament.

2. Proper chant which immediately precedes the Gospel. See also proper and tract.

3. Replaces the gradual during Eastertide, which in essence renders two different alleluia chants in the same liturgy. See also gradual.

See also: * ij.

ad orientem (L) adjective

[Latin: ad = toward; oriens = the rising sun, morning sun, the East, the Orient]

In liturgy, this phrase refers to the priest facing towards the high altar (which is on the east side of the church) and away from the people. This orientation is the prescribed norm in the pre-Conciliar Roman Catholic Mass, and is also permissible in the post-Conciliar Roman Catholic Mass when certain conditions are met.

See opposite: versus populum.

antiphon (L) (M)

1. A proper text, usually chanted during a procession (e.g. introit, offertory, or communion). Sometimes the antiphon is accompanied by verses, and occurs in one of these forms: A V A or A V A V A, etc. always starting and finishing with the antiphon.

2. A stand-alone proper text at a liturgy, e.g. "Hosanna filio David" at Mass on Palm Sunday.

3. A proper text sung at the beginning and again at the end of a psalm or canticle in the Divine Office.

4. See Marian antiphon.

See also proper and ICA blog post, What is an Introit Chant?

antiphonal (L) (M)

[Greek: antiphonos = counter-sound]

Manner of singing characterized by the alternation between two choirs. Antiphonal singing was introduced into the Latin liturgy in Antioch during the third century to combat the doctrine of the Arians, which was being promulgated via the singing of hymns. The liveliness and improved participation induced by antiphonal singing was so effective that it spread to all of the Latin church.

In the Mass, antiphonal singing is used chiefly in the Kyrie, Gloria, and Credo, with the double bar indicating the moments where the singing switches to the alternate choir. In the psalmody of the Divine Office, antiphonal singing occurs typically between the left and right sides of the church: one side takes the even verses, and the other side takes the odd verses.

See also || / double bar and Divine Office.

Antiphonale Monasticum (D) (M)

Set of books containing the music for the chants of the Divine Office for use in the Order of St. Benedict (i.e. the Benedictine tradition). At the heart of the Rule of Saint Benedict, which dates all the way back to the sixth century, is the duty to offer prayer and psalmody at regular intervals around the clock.

The Benedictine Office is a much longer and more involved form of the Office than its secular counterpart (to which the Antiphonale Romanum is devoted). There are pre- and post-Conciliar versions of the AM.

Also called the Monastic Antiphoner. See also Divine Office, propers, and antiphon. Compare with Antiphonale Romanum.

Antiphonale Romanum (D) (M)

Set of books containing the music for the chants of the Divine Office according to the secular (i.e. not pertaining to a religious order) use in the Roman Catholic Church. There are pre- and post-Conciliar versions of the AR, although the post-Conciliar set has yet to be completed (three volumes are currently available: I for Lauds, II for Vespers, and III for the hymns).

Also called the Roman Antiphonary. See also Divine Office, propers, and antiphon. Compare with Antiphonale Monasticum and Liber Usualis.

arsis (M) noun

A conducting gesture used when directing chant according to the Solesmes Method, indicating a crescendo or increase in energy. Sometimes called the "rise" or "elan".

Opposite: thesis. See also Solesmes Method and ictus.

Benedictus (L) (M)

[Latin: bene = well, better, best; dico = say, speak, declare, state, assert]

1. Part of the Mass Ordinary which follows the Sanctus. [...Benedictus qui venit in nomine Domini. Hosanna in excelsis.] Blessed is he who comes in the name of the Lord. Hosanna in the highest. See also Ordinary.

2. A chant or musical setting of the same. In pre-Conciliar liturgies, there is a prayer which occurs between the Sanctus and the Benedictus, making these separate musical movements, whereas in the post-Conciliar liturgy they are merged into a single prayer.

3. The major canticle sung at Lauds (morning prayer). See also major canticle and Lauds.

Note: the benedictus should not be confused with a benediction.

campo aperto (M)

[Latin: campus = a plain, field, open country, level place; and aperio = to uncover, lay bare, open, display, reveal]

Blank canvas without the musical staff, upon which adiestematic neumes are drawn.

See also Laon and Saint Gall.

Canticle (L) (M)

[Latin: canto = to produce melodious sounds, sound, sing, play, celebrate, praise in song]

1. A poetic section of the scriptures which is recited during the liturgy, and is taken from outside the body of the Psalms.

2. A proper of the Mass sung in directum during the Easter Vigil between readings, taken from the books of Exodus, Isaiah, and Deuteronomy. Compare with Tract.

3. A part of the Divine Office, belonging to one of two groups: the Major Canticles, which come from the Gospels (Benedictus at Lauds, Magnificat at Vespers, and Nunc Dimittis at Compline); and the Lesser Canticles, which are taken from other parts of the scriptures outside the Gospels and Psalms, and are sung in directum, with an antiphon, along with the psalmody. See also antiphon, major canticle, and psalmody.

cantor (H) (L) (M)

[Latin: canto = to produce melodious sound, sing, play, celebrate, praise in song]

Specialized liturgical singer who is capable of singing alone, and is tasked with leading others in song.

Before the development of musical notation, the cantor (also called the precentor) memorized all the psalms and proper liturgical texts in order to sing them at liturgies, often blending improvisation and predetermined melodic phrases (neuma) into a single piece. Over time, the role of improvisation diminished and the best melodies were codified. The collective schola would sing the introit, offertory, and communio chants of the Mass, while cantors would continue to sing the “soloist” chants (i.e. gradual, tract, and alleluia) as well as other elaborate melodies (e.g. offertory verses). Cantors were also in charge of beginning the singing of the rest of the chants, thereby establishing the appropriate pitches and tempo.

During the reign of Charlemagne, cantors were borrowed from Rome to teach the liturgical chants throughout his empire and unify the peoples under one universal form of chant. What in fact came to be was a fusion of the people’s localized Gallican styles with the imported Roman chant, giving birth to what is now called Gregorian chant.

Experienced cantors were charged with teaching their craft to others who would follow in their steps, especially children. Because the Christian church frowned upon the use of instruments (which were associated with non-sacred events), liturgies were usually a cappella. The cantor was thus the chief church musician, schola director, and the keeper of the liturgical books (akin to the modern day music director). In the Middle Ages, the cantor’s responsibilities could extend beyond the bounds of music, and required much executive ability. The dignity of the cantor’s office was symbolized by the cantoral staff which he carried (also called the baculus cantoralis).

In modern times, many of the cantor’s duties have been taken over by the pipe organ, and priority has shifted to putting the leadership of the parish music program into the care of an instrumentalist rather than a trained singer. Couple this scenario with the decline of musical education and lack of sight reading training in most school systems, making a keyboard necessary for teaching other singers their parts by rote. The result: it is not uncommon today for a non-singer to be put in charge of developing choirs and other cantors.

In the post-Conciliar Catholic liturgy, music is expected at nearly all Sunday Masses, and this in effect divides up the music resources of a parish so that it cannot unify all its musicians for a single liturgy each week. The choir (if there is one) usually sings for one Sunday Mass, and the cantor takes the place of the choir at the rest of the liturgies. Thus the cantor's responsibilities have evolved to include song leading while the congregation is already singing. The cantor usually leads by use of a microphone, and cues the people to begin singing with certain hand gestures.

See also * / asterisk, incipit, intonation, propers and schola.

centonization (H) (M)

[Latin: cento = patchwork quilt]

Method of composition in which standard melodic formulae are re-used and pieced together in various ways, rather than the creation of a new, original melody. The Tracts and many of the Graduals are composed by means of centonization.

chironomy (M) noun

Conducting of Gregorian chant. Term is usually used with reference to the Solesmes Method, which utilizes combinations of arsis and thesis.

clef (M)

[French: clef = key]

Symbol located to the left of the musical staff, indicating where a specific degree of the musical scale occurs. In Gregorian chant, see fa clef and do clef.

communio (L) (M)

[Latin: communio = a community, mutual participation, fellowship]

A proper text sung during the communion procession at Mass.

See also: proper and antiphon.

Compline (L)

[Latin: completus = complete, accomplish, fulfill, perfect, finish and hora = hour]

Bedtime prayer of the Divine Office. Compline is the prayer of the person aware of his weakness and sin, seeking the peace that is rest and protection in God. Usually followed by the appropriate Marian antiphon.

Also called Night Prayer. See also Divine Office and Marian antiphon.

Divine Office (L)

One of the most ancient of Christian liturgies, dating back to the 4th century or earlier. The nucleus of the Divine Office is the recitation of the psalms, which is divided into the course of seven different canonical "hours" or liturgies during the day (chief of which are Lauds and Vespers), and one more during the night (Matins).

The Divine Office has its own proper. Local and historical variants of the liturgy are nearly inexhaustible. Also known simply as the Office.

The Second Vatican Council instigated an extensive reform of the Divine Office in 1971, which in post-Conciliar times is more frequently called the Liturgy of the Hours, or LOTH. The LOTH has received far less attention by liturgists and composers than the post-Conciliar Mass, and musical settings are severely limited to this day.

See also liturgy, proper, rite, major canticle, antiphon, Antiphonary, psalm tone, and ICA blog article 7 things that Sung Vespers can teach us about life.

do clef (M)

Clef indicating the location of "do" on the staff, i.e. the 1st degree of the major scale. In solfeggio: do re mi fa sol la ti do. The clef is characterized by a vertical line with two squares protruding to the right, one at the top and one at the bottom. Sometimes called a "C clef", which is only accurate if do is set equal to C.

See also ut, movable do, and fa clef.

dominant (M)

According to medieval modal theory, the dominant is the second most important pitch in a given mode, occurring a third to a sixth higher than the mode's final.

While a fixed dominant pitch may be noticeable among chants composed after the development of modal theory, it is not a steadfast rule among more ancient chants. In fact, the presence of a fixed dominant is an indicating factor that a chant may be of later composition. The dominant of a mode generally corresponds to its reciting tone.

See also mode, final and reciting tone.

dominica (L)

[Latin: dominus = master, possessor, ruler, lord, proprietor, owner]

Day of the Lord, i.e. Sunday, or the first day of the week.

See also feria and sabbato.

Dominican chant (M)

The chants, and the method by which they are sung, which are proper to the Dominican Rite. The rules of singing Dominican chant were codified by Jerome of Moravia, a Dominican friar and musicologist, in his treatise Tractatus de Musica in the late 13th century. These rules are followed in the singing of Dominican chant to this day. (Such continuity of method in the Dominican tradition is markedly different from that in Gregorian chant, which was not subjected to any strict rules of interpretation until the Solesmes reform.)

The Dominican order voted to adopt the liturgical reforms of the Second Vatican Council (i.e. its liturgy, liturgical calendar, and use of the vernacular) , but with the stipulation that permission may still be granted to celebrate the traditional Dominican Rite Mass and Office. (These older, pre-Vatican II Dominican forms are similar to those of the EF / Extraordinary Form.)

Gregorian and Dominican chant utilize similar texts and melodies, and are easily confused. Dominican chant does not utilize expressive markings or expressive neumes (e.g. quilisma, salicus and episema). Dominican chant relies more heavily on the use of bar lines (especially the double bar) and involves a number of very specific rules for the rhythmic interpretation pertaining to them.

See also || / double bar and Dominican Rite.

Dominican Rite (L)

An independent liturgical Rite of the Roman Catholic Church, associated with the Dominican order, or Order of Preachers (O.P.), founded by Saint Dominic in 1216. The order attracted members from all over the known world from its inception, causing an urgent need for a unified liturgy and body of music.

The Dominican order has houses of priests, nuns, and other professed religious all over the world, and is responsible for the management of many local parishes and schools. These factors have contributed to widespread accessibility to the Dominican Rite.

See also Dominican chant and Rite.

doxology (L) (M)

A prayer of praise to the Trinity, naming all three Persons: the Father, the Son, and the Holy Spirit. The doxology frequently concludes canticles, psalms, and hymns of the liturgy.

See also Gloria Patri tones.

ecclesiastical adjective

1. (L) Pertaining to matters of the Church.

2. (M) A manner of pronunciation for Latin words in a liturgical setting. Italianate pronunciation is the standard, but there are many variants. Examples in usage: "ecclesiastical pronunciation," "ecclesiastical Latin," or "German ecclesiastical pronunciation." Ecclesiastical Latin pronunciation is different from classical Latin pronunciation.

e u o u a e (M)

1. Shorthand for "saeculorum. Amen." (that is, without consonants). Concludes the full Gloria Patri (Glory Be) "Gloria Patri et Filio et Spiritui Sancto, sicut erat in principio et nunc et semper, et in saecula saeculorum. Amen."

2. The melodic termination associated with these words. When a Gloria Patri tone or psalm tone has more than one possible termination, the melody notated with e u o u a e indicates the correct termination to be used.

image: antiphon for Friday Vespers, indicating psalm tone termination "IV E"

See also psalm tone and Gloria Patri tone.

EF / Extraordinary Form (L)

The pre-Conciliar Roman Catholic Liturgy, generally in reference to the use during 1570-1962. It is celebrated entirely in Latin, usually with music in Gregorian chant. The term has fallen out of favor during the papacy of Pope Francis, but is still used regularly in many circles. Also called the Usus Antiquior.

Opposite: OF / Ordinary Form. See also TLM / Traditional Latin Mass.

episema (M) ; plural: episemata

Horizontal line drawn above one, two, or three pitches on the staff (or occasionally below), indicating a leaning into, or slight lengthening of the pitches with which it occurs. It does not indicate a doubling of the rhythmic value, and is frequently over-exaggerated. Sometimes called the "horizontal episema" in contrast to the vertical episema. The episema is an extension of the Solesmes Method.

See also ictus and vertical episema.

fa clef (M)

Clef indicating the location of "fa" on the staff, i.e. the 4th degree of the major scale. In solfeggio: do re mi fa sol la ti do. The clef looks just like a do clef but with the addition of a square protruding to the center left of the vertical line. Sometimes called an "F clef", which is only accurate if fa is set equal to F.

See also movable do, and do clef.

feria (L) plural: feriae; adjective: ferial

[Latin: feria = day of rest, holiday, festival]

Certain weekdays during the liturgical year have their own devoted propers, and are called feriae. Feria II = Monday, feria III = Tuesday, etc. (feria I = dominica and feria VII = sabbato.) Example: "the propers for the ferial days of Advent."

final / finalis (M)

[Latin: finis = that which divides, a boundary, limit, border]

The very last pitch in a chant, which determines its modal classification. The four finals utilized in Gregorian chant are re, mi, fa, and sol (2nd, 3rd, 4th, and 5th degrees of the major scale). Generally, the final of a chant is also its fundamental; however, some chants utilize more than one fundamental (although never more than one at a time).

See also mode.

First Vespers (L)

The first of two Vespers devoted to a solemnity, and prayed the evening prior to the solemnity day. Each Sunday has its own dedicated First Vespers (prayed on Saturday evening) and Second Vespers (prayed on Sunday evening). Examples of other solemnities with First and Second Vespers include: Christ the King, All Saints, the Assumption of the Blessed Virgin Mary, the Ascension of Our Lord, and patronal feasts (e.g. Saint Benedict, among the Benedictines).

See also Vespers and Divine Office.

flex (M)

[Latin: flexus = a bending, turn, winding, curve]

The first of three sequential cadences in a tone, only used when a text verse is divided into three sections instead of two. The flex is always specifically marked when singing from a pointed text.

Psalm verses typically occur in subdivisions of two, rendering the flex unnecessary in most instances.

See also: tone, psalm tone, intonation, mediant, termination, and pointing.

Gloria Patri tone (M)

Similar to psalm tone, but occurring in standard subdvisions of three instead of two:

a. [Gloria Patri et Filio et Spiritui Sancto] Glory to the Father, and to the Son, and to the Holy Spirit

b. [sicut erat in principio et nunc et semper] as it was in the beginning, is now, and will always be

c. [et in saecula saeculorum. Amen.] and into ages of ages. Amen

The Gloria Patri tones are reserved for use in the Mass, whereas psalm tones are meant for use in the Divine Office. Sometimes the Gloria Patri tones are called introit tones, as they are most frequently used for verses accompanying the introit chant.

Image: Gloria Patri tones I - V

See complete PDF of Gloria Patri tones here. See also e u o u a e, introit, and Divine Office.

gradual

1. (L) A proper chant sung at Mass, providing a point of musical meditation between the first reading and the gospel reading. The gradual is a melismatic chant, and corresponds to the responsorial psalm in the post-Conciliar Roman Catholic Mass. In the Easter season and on certain solemnities, the gradual is replaced by a second alleluia chant.

2. (D) A Graduale.

See also antiphon.

Graduale (D)

In English, Gradual. A book containing the chants of the Mass ordinaries and propers. There are countless editions of graduales from different regions and religious traditions. The official Gradual of the post-Conciliar Roman Catholic liturgy is the revised Graduale Romanum.

Graduale Romanum (D)

One of two definitive Graduales of Gregorian chant (in Latin) for the universal Roman Catholic Mass (the other being the Liber Usualis). The 1974 edition of the Graduale Romanum is the first edition designed for the post-Conciliar liturgy. Also called the Roman Gradual.

See also Gregorian Missal and Liber Usualis.

Graduale Simplex (D)

A book of chant for the Ordinary Form of the Mass which first appeared in 1967, but never really gained popularity. The book proposes seasonal propers (for instance, there are just two sets of propers for the four Sundays of Advent — "Mass I" and "Mass II"). The melodies of the chants are vastly simplified in comparison to those of the Graduale Romanum. The book also includes a delightful, simplified Kyriale, and simplified alleluia's for each of the eight modes. It was never released with rubrics in English, and is written entirely in Latin.

Thanks to the CMAA, a PDF version may be found here.

Note for Roman Catholics: The Graduale Simplex is referenced by name in the General Instruction of the Roman Missal (GIRM).

Gregorian Missal (D)

A condensed version of the post-Conciliar Graduale Romanum, omitting the daily Masses and their chants. Includes translations of all the prayers, chants and rubrics in English.

Graduale Triplex (D)

An edition of the 1974 Graduale Romanum which includes two additional sets of notation: the adiestematic neumes of Saint Gall below the square notation (in red), and Laon above the square notation (in black). tri = three. In total, there are three sets of notation in the Graduale Triplex.

See also semiology, adiestematic, quadratic notation, Laon and Saint Gall.

Gregobase (D)

An online database of Gregorian scores typeset in GABC code. Gregobase is an open access, ongoing collaborative project. Users of the database are not subject to copyright restrictions or fees. A knowledge of different editions and traditions of Gregorian chant sources is helpful when navigating the database (for instance, there are 15+ settings available for the Te Deum). Of particular note:

• Palmer & Burgess = slightly revised Gregorian melodies set in English

• Sandhofe = often sourced from hand drawn manuscripts; occasionally referring to compositions by Sandhofe

• Simplex = from the Graduale Simplex

• Tonus monasticus = monastic tone

• Tonus simplex = simple tone

• Tonus solemnis = solemn tone

• Triplex = Graduale Triplex or Offertory Triplex

• Vatican = absence of editorial markings (no episemata, bar lines, ictus, etc.)

• Verona = restored melodies according to the school of Msgr. Alberto Turco

Visit Gregobase here.

the letter "i" in Latin

In Latin, the letter "i" and the letter "j" are identical. For example, "jubilate" and "iubilate" are the same word, spelled differently.

incipit (M)

[Latin: incipio = to take hold, take in hand, begin]

The beginning phrase of a chant, followed by the asterisk (*), and normally sung by a single cantor. Gregorian chants are named according to their incipits.

See also * /asterisk.

incise (M)

[Latin: incido = to cut into, cut through, cut open, cut away]

Smallest segment or musical motif of a chant, marked off by bar lines (assuming bar lines are present in the chant).

ictus (M); plural: ictus

[Latin: ictus = a blow, stroke, thrust]

A short, vertical marking which appears below a pitch on the staff (and occasionally above, if there is no room below) in Solesmes editions of Gregorian chant. The ictus is a critical part of the Solesmes Method of conducting chant, and marks the beginning of a new conducting gesture. Contrary to what its Latin roots would suggest, the Solesmes ictus does not have the thrust of a downbeat. Rather, it should not have any stress, in order to achieve a true legato flow.

The ictus should not be confused with the salicus neume.

See also arsis, thesis, and Solesmes Method. Compare with salicus.

Improperia (L) (M)

[Latin: improperatus = unfortunate, unprosperous]

See Reproaches.

in directum (L) (M)

[Latin: in = into; and dirige = to lay out, arrange in lines ]

Sung without an intervening response or antiphon. The cantillation of the cantor in the Hebrew synagogue is in directum. The psalmody of the Office, and the Tracts and Canticles of the Mass are sung in directum.

Compare with responsorial.

intonation (M)

1. Relationship of a sung pitch to the frequency of the pitch notated on the page. Examples: "that cantor has good intonation" or "the soprano section has some intonation problems".

2. The melodic phrase leading up to the first iteration of the reciting tone.

3. The incipit.

4. Act of singing the incipit.

See also incipit, tone, and reciting tone.

introit (L) (M)

[Latin: introitus = a going in, entering, entrance]

A proper text sung during the entrance procession for Mass.

See also antiphon, proper, and the ICA blog post, What is an Introit Chant?

the letter "j" in Latin

In Latin, the letter "i" and the letter "j" are identical. For example, "jubilate" and "iubilate" are the same word, spelled differently.

jubilus (M)

[Latin: jubilare = to jubilate]

A melisma which occurs on the last syllable of the word “allelu - ia”. The jubilus departs momentarily from the text, a vocalization transcending the limitations of words and concepts, a meditative moment for reflection upon what goes before and comes after.

See also: alleluia and melisma.

Kyriale (D)

Book containing various settings of all the chants of the Mass Ordinary, especially the Kyrie, Gloria, Credo, Sanctus and Benedictus, and Agnus Dei. Named for the Kyrie, first of these ordinary chants.

See also Ordinary and Kyrie.

Kyrie

Greek word for "Lord".

1. (L) The first word of the Mass prayer which bears its name: Kyrie eleison. Christe eleison. Kyrie eleison. (Lord have mercy. Christ have mercy. Lord have mercy.)

2. (M) A musical chant setting of the same. The Kyrie in Gregorian chant is labeled with a Roman numeral, and usually paired with other parts of the Mass Ordinary which share the same numbering. For example, Kyrie VIII from Mass VIII.

The pre-Conciliar Kyrie is ninefold, whereas the post-Conciliar Kyrie is only six-fold.

A musical dilemma: The six-fold Kyrie in effect has been altered to a call-and-response scenario, which poses a musical problem regarding the final iteration of the last Kyrie, which is longer and more elaborate than the one immediately proceeding it.

Laon (H) (M)

The Laon Gradual 239 (probably written in the late ninth century, near the city of Laon, France) is the oldest extant gradual. Recent studies have established the particular value of its adiestematic musical notation in the field of rhythm. The image below is from this codex, containing the propers for the Fourth Sunday of Lent (introit Laetare, gradual Laetatus sum, tract Qui confidunt, and first half of the offertory Laudate Dominum).

See also semiology, adiestematic, neume and Graduale Triplex. Compare with Saint Gall.

Lauds (L)

[Latin: laudo = to praise, laud, commend, honor, extol, approve]

Morning hour of the Divine Office. The time and spirit of Lauds recalls the resurrection, the dawn of the new day, and a new creation. One of the two chief canonical Hours (the other is Vespers).

Also called Morning Prayer. See also Divine Office and Benedictus.

Liber Usualis (D)

[Latin: liber = book; usualis = pertaining to use, practice, or exercise]

The very first book of Gregorian chant published for the universal Roman Catholic Church, compiled and edited by the Benedictines of Solesmes, and first published in 1896. The book contains an extensive introduction with rules for the interpretation of Gregorian chant according to the Solesmes Method, the workings of various tones, the chants of the Kyriale, Temporale, and Sanctorale, and core chants for the Divine Office, the chief of which are Lauds and Vespers. The book is considered by many to be the definitive book of Gregorian chant.

The Liber Usualis is compiled for the pre-Conciliar liturgy. For the post-Conciliar liturgy, see Graduale Romanum.

See also Solesmes and Solesmes Method.

liturgy (L)

1. Organized, religious ritual following certain precise rubrics. There are many kinds of Christian liturgies, the chief of which are the Mass and the Divine Office. Liturgies are usually communal events with a delegated leader, such as a priest or deacon.

2. Liturgy (usually, using a capital "L"): the one heavenly liturgy, in which earthly liturgies are a partaking.

Further theological and doctrinal nuances of this term are purposely left out of this entry, as they are beyond the scope of this lexicon.

liturgical calendar (L)

Begins on the first Sunday of Advent every year, and consists of two independent calendars: 1) the Temporale, which consists of Sundays and other holydays which occur on different calendar dates every year, and 2) the Sanctorale, whose holydays occur on the same date each year.

See also Temporale, Sanctorale, old calendar and new calendar.

major canticle (L)

One of three texts from the gospels which are sung daily in the Divine Office: the Benedictus (by Zachariah) at Lauds (morning prayer), Magnificat (by Mary) at Vespers (evening prayer), and Nunc Dimittis (by Simeon) at Compline (night prayer).

The major canticles are the only texts sung in the Divine Office which utilize the intonation at the beginning of every verse.

See also Divine Office, intonation and psalm tone.

Marian antiphon (L)

One of four seasonal antiphons to Mary sung at the conclusion of Compline (night prayer) in the Divine Office: Alma Redemptoris Mater for Advent and Christmastide, Ave Regina Caelorum after Christmastide and up to Easter, Regina Caeli for Eastertide, and Salve Regina for the time after Pentecost. These antiphons may be chanted according to simple, solemn, and monastic tones, and are also set by many composers.

See comparison of tones for the Salve Regina under solemn tone. See also Divine Office, Compline, and antiphon.

mediant (L)

Temporary stopping place in the middle of the psalm verse which divides the verse into two parallel phrases. It is one of two primary cadences in the singing of certain tones, especially the psalm tones; the other primary cadence is the termination.

See also * / asterisk, psalm tone, and tone.

melisma (m) plural: melismae

Flourish of many pitches on a single syllable. It is not uncommon to find melismae of thirty or more pitches in Gregorian chant. The repertory of Ambrosian chant contains even longer melismae, with just one lasting as much as three lines of music. Melismae can occur on accented or unaccented syllables.

See also melismatic, neumatic, and syllabic.

melismatic (M) adjective

A chant characterized by the presence of the melisma.

Compare with syllabic and neumatic. See also melismatic-neumatic.

mode (in Gregorian chant) (M)

[Latin: modus = 1. a measure, extent, or quantity; or 2. a way, manner, mode, method, fashion, or style]

1. One of eight medieval classifications of Gregorian chants, usually notated by Roman numerals (I - VIII). Each mode is determined by the chant's final and its ambitus (or range) in relation to the final, and is associated with a certain ethos (or mood). Important musical distinction: The eight church modes correspond to only four of the Greek modes (specifically Dorian, Phrygian, Lydian, and Mixolydian) and therefore must be understood as an entirely separate system. The Greek modes are sometimes also represented by Roman numerals, which is the source of much confusion to learning parish musicians. (For example, Gregorian Mode I and Greek Mode I are entirely separate entities, with different finals.) See also final and restored.

2. A relationship of pitches in a Gregorian chant, primarily with regard to 1) the catalogue of scale degrees utilized in the composition, 2) the hierarchy of those degrees, 3) characteristic melodic formulae, and 4) modal sentiment. This much more nuanced, more definitive approach is set forth by Dom Daniel Saulnier in his book The Gregorian Modes. The book is a required read for anyone who wishes to understand the Gregorian modes and the chants composed prior to the establishment of medieval modal theory (be prepared, it is not light reading).

monastic tone (M)

Variant of the solemn tone, usually even more elaborate, and utilized most frequently in the monastic setting.

See tones comparison under solemn tone. See also tone, and simple tone.

Monastic Antiphoner (D) (M)

See Antiphonale Monasticum.

mora vocis (M)

[Latin: mora = a delay or procrastination; vocis = of the voice, sound, tone, utterance, cry or call]

A dying away of the voice which occurs over the second pulse of a two-count neume or pitch. The most important use of the mora vocis occurs in a dotted square note at the end of an incise or at the conclusion of a chant.

According to the Solesmes Method, the mora vocis also occurs on the second note of the podatus and clivis neumes.

See also neume.

movable do (M)

Do is the root of the musical scale (in solfeggio: do re mi fa sol la ti do). Movable do means this scale degree may be set to any pitch frequency. Chant is written in the movable do system, meaning it is not notated in any particular key, but rather can be sung in any key one wishes.

Movable do is the opposite of fixed do (e.g. the pitch "C" in the C major scale).

See also do clef and ut.

neum / neume (M)

1. "Written musical gesture" on a single syllable.

2. A grouping of pitches (usually 2-3 pitches, visually connected to each other), suggesting a specific musical nuance. (Examples: pressus, salicus, climacus, clivis, torculus, etc.) For a chart of such basic neumes, visit the Parish Book of Chant PDF, page 313.

3. Adiestematic (or staffless) neume, such as the neumes of Laon and Saint Gall, as found in the Graduale Triplex.

See also quadratic notation and adiestematic.

neumatic (M) adjective

A chant characterized by many pitches (loosely 2-8) per syllable. The Te Deum is a neumatic chant, and the introit is usually a neumatic chant.

Compare with syllabic and melismatic. See also neume.

neumatic-melismatic (M) adjective

Possessing the characteristics of both a neumatic and a melismatic chant.

new calendar (L)

The post-Conciliar liturgical calendar.

See also liturgical calendar.

NO / Novus Ordo (L)

[Latin: novus = new, young, fresh, or recent; ordo = row, line, series, order, or rank]

The post-Conciliar liturgy.

Opposite of the Usus Antiquior. See also Ordinary Form.

octave

1. (M) Relationship of two pitches, one which is double the frequency of the other.

2. (L) A celebratory period of eight days which begins on certain major feasts. After 1955, all octaves were eliminated in the Roman Catholic Church except those of Christmas, Easter, and Pentecost.

Office (L)

See Divine Office.

OF / Ordinary Form (L)

The post-Conciliar Roman Catholic Liturgy.

It is usually celebrated in the vernacular, but may be celebrated entirely in Latin. When celebrated in Latin, it is called a Latin Mass, but should not be confused with the Traditional Latin Mass. The term Ordinary Form is used in conservative liturgical circles to distinguish between it and the Extraordinary Form.

The Ordinary Form is not the same as the Ordinary.

Opposite: EF / Extraordinary Form. See also Second Vatican Council and vernacular.

offertory

1. (L) Part of the Mass during which the gifts of bread and wine are brought in procession to the altar, sometimes also accompanied by incensation of the altar.

2. (M) The proper text sung during the same.

See also: antiphon, proper, and ICA blog post: an Advent "Ave Maria", and the mysterious origin of the Offertory Chant and its verses.

old calendar (L)

The pre-Conciliar liturgical calendar.

See also liturgical calendar.

Ordinary

[Latin: ordino = to order, set in order, arrange, adjust, dispose, or regulate]

1. (L) The texts of the liturgy which do not change, for instance the Kyrie, Gloria, Credo, Sanctus and Benedictus, and Agnus Dei of the Mass. The Divine Office also has its own Ordinary.

2. (M) Musical setting of the same. Since the texts of the Ordinary do not change, musical settings of them are most suited to be sung by the congregation.

The Ordinary is not the same as the Ordinary Form.

Opposite of the propers. See also Kyriale.

pointing (M)

A method of using symbols or text stylization (or a combination of the two) to indicate how to sing a line of text according to a tone. Pointing literally points a singer to the precise moments in the text to move up (or down) to the next pitch in the melodic formula of the tone.

Among the advantages of pointing are 1) it takes up considerably less space on the page and 2) it takes considerably less time to set the text to music. The primary disadvantage is that the melodic formula of the tone must already be memorized by the singer.

See also tone and psalm tone.

proper / propers (D) (L) (M)

[Latin: prope = near or nigh]

1. Liturgical prayers which relate specifically to a particular celebration, or particular day of the liturgical calendar. Since the propers are constantly changing from day to day, the propers of the Mass tend to be the responsibility of the priest, deacon, cantor and/or schola.

2. Body of propers, e.g. "Proper of the Mass", "Proper of the Time (or Proprium de Tempore), and "Proper of the Saints (or Proprium de Sanctis)".

3. Chants / musical settings of the propers.

Opposite: Ordinary. See also antiphon, liturgical calendar, Sanctorale, and Temporale.

psalm tone (M)

A formulaic tone to which psalms in the Divine Office are sung.

Traditionally, psalm tones are reserved for use in liturgies outside of the Mass, and Gloria Patri tones within the Mass. However, in the post-Conciliar liturgy, psalm tones have come to be used within the Mass as well. This is due especially to the restoration of the responsorial psalm, which has in turn instigated the creation of countless new sets of psalm tones.

The chart below illustrates the standard Gregorian psalm tones as found in the Liber Usualis.

There are several components to a traditional psalm tone: intonation, flex, reciting tone, mediant, and termination. See also e u o u a e and tone.

pre-Conciliar (H) (L)

Referring to ecclesiastical matters prior to a major religious council (e.g. the Council of Trent). For the purposes of this lexicon, the term is used in regard to matters pertaining to the liturgy from 1570 up to the Second Vatican Council, which occurred 1962-1965.

Opposite: post-Conciliar. See also Second Vatican Council and EF / Extraordinary Form.

post-Conciliar (H) (L)

Referring to ecclesiastical matters after a major religious council (e.g. the Council of Trent). For the purposes of this lexicon, the term is used in regard to matters pertaining to the Liturgy according to the reforms of the Second Vatican Council, beginning in 1962.

Opposite: pre-Conciliar. See also 1962 and Second Vatican Council.

Proprium de Tempore (L) (M)

Literally, Proper of the Time. See Temporale.

psalmody (M)

1. The act, practice, or art of singing the psalms (and sometimes certain other scriptural texts, such as canticles), especially in public worship. The singing may be done commmunally, by the choir in unison or in harmony (e.g. fauxbourdon and Anglican chant) or by a trained soloist cantor, or a combination. Examples: the Gregorian Graduals, Tracts, and Responsories; the Responsorial Psalm at Catholic Mass, and antiphonal psalmody.

2. A collection of psalms arranged for singing.

See also antiphonal, cantor and Divine Office.

quadratic notation (M)

"Square" notation. The basic shape of such scripts is a square or a rectangle. The notation was developed in the eleventh century, and indicates precise pitch on the four line staff, as well as rhythmic and other expressive information which is more difficult to render in modern-day standard notation. The notation has become nearly synonymous with Gregorian chant in modern times, but in fact was used for non-religious works as well (e.g. the round, "Sumer is icumen in", image below). Quadratic notation is the father of the standard musical notation in use today.

reciting tone (M)

[Latin: recito = to read aloud, recite, declaim, or rehearse]

The pitch of a tone on which the majority of a text is sung. The reciting tone expands and contracts according to the length of each verse. The pitch of the reciting tone generally corresponds to the tenor, or prescribed dominant of the mode.

See also dominant and tone.

recto tono (M)

[Latin: rectus = in a straight line, straight, upright, direct, or undeviating]

The singing of a text on a single pitch (i.e. in the absence of a flex, mediant, or termination).

Reproaches (L) (M)

Powerful series of laments by Christ, beginning with the Latin words "Popule meus, quid feci tibi?" (My people, what have I done to you?), interspersed with the refrain (beginning in Greek and repeated in Latin or the vernacular) "Hagios O Theos / Sanctus Deus (Holy God), Hagios Ischyros / Sanctus Fortis (Holy, Mighty One); Hagios Athanatos, eleison hymas (Holy Immortal One, have mercy on us). Traditionally sung on Good Friday as the faithful venerate the Cross.

The Reproaches have received some criticism in modern times as being anti-Semitic, as Christ addresses his laments to the Jewish people in particular. Proponents of the Reproaches say that the Jewish people in this instance represents all the people saved by the Passion and Death of Christ.

In Latin, the Reproaches are called Improperia, and sometimes Popule meus by certain composers, including one of the most famous settings by Tomas Lius de Victoria. Below is a setting of the Reproaches utilizing the original Gregorian melody, but set in English.

respond (L) (M)

Portion of an antiphon which is to be repeated after the singing of a verse (as opposed to repetition of the entire antiphon), the beginning of which is usually marked by an asterisk or a dagger/cross symbol. Responds are an essential part of responsory chants, as well as the offertory chant when it is sung with verses, and occasionally in other kinds of chants as well.

See also antiphon, * / asterisk, and ✝︎ / ♰ / + / †.

responsorial (L) (M)

[Latin: respondeo = to answer, reply, respond, make answer]

Sung with the intervention of a refrain by the people. This form of singing is recorded to be in use during the early 4th century during the time of Ambrose and Augustine. It is a development of the more ancient style of in directum, and originated with the purpose of increased participation by the people. The post-Conciliar Responsorial Psalm, the Graduals, and the Responsories of the Office are all composed in responsorial style (although the Gradual of today generally omits the repeat of the refrain).

Compare with in directum.

restore verb / restored adjective

1. (H) (L) In post-Conciliar times there has been a movement in many traditional circles to re-introduce some of the more ancient aspects of the liturgy, and sometimes entire liturgies which were abandoned (e.g. Tenebrae). Most of these components were eliminated in post-Conciliar times, but many disappeared long before Vatican II. Examples: "Restore the '54" and "restoration of the responsorial psalm."

2. (H) (M) In Gregorian chant, a restored melody. Some of the ancient melodies which have been handed down to us were altered from their original forms. It began with the medieval invention of modal theory (the most classic example is the alteration of the Mode III reciting tone from ti to do). The Benedictines of Solesmes are responsible for some melodic alterations as well, although to be fair they contend with multiple conflicting manuscripts and variants in their work. Many other factors have contributed to the evolution of the older melodies, which are best rediscovered through careful analysis of ancient manuscripts.

See also the ICA blog article Marcel Pérès and Saint Louis IX: Royal French chants for a Royal French saint.

rite / Rite (L)

[Latin: ritus = a form of religious observance, religious usage, ceremony, or rite]

1. A specific kind of liturgy or part of a liturgy (e.g. the Last Rites, or the communion rite).

2. Rite (with a capital "R"): an officially recognized liturgical tradition within the universal Church (e.g. the Byzantine, Dominican, and Milanese Rites). Each Rite has its own musical tradition associated with it as well.

Note to the reader: This entry has been kept purposely brief, and was created to acknowledge the existence of the Rites, which play a critical role in our understanding of history, sacred music, and liturgy. Further study will certainly be required to grasp this complex subject.

See also liturgy and Dominican Rite.

Roman Antiphonary (D) (M)

See Antiphonale Romanum.

Roman Gradual (L) (M)

See Graduale Romanum.

sabbato (L)

Latin word with roots in ancient Hebrew, meaning "sabbath", which is the seventh day of the week. The observance of the Lord's Day was moved by Christians from Saturday (sabbato) to Sunday (dominica) upon the resurrection of Christ.

Saint Gall (H) (M)

1. Benedictine Abbey founded during the Carolingian era, located in Saint Gall, Switzerland. The Abbey houses one of the richest medieval libraries in the world, and includes an exhaustive manuscript collection.

2. The family of musical notation found in the manuscripts of Saint Gall. This adiestematic notation does not indicate precise pitches, but rather seems to express hand gestures that would have been used in conducting the chants (chants which were still learned by memorization). The melodic contour of the neumes seem also to have served as a memory aid for singers as they prepared for upcoming liturgies.

The Saint Gall Cantatorium (probably written around 922 - 926, although perhaps earlier) is said to be the earliest complete extant musical manuscript in the world with neume notation. (To be fair, the Laon Gradual 239 is even older, but not quite as complete - see Laon.) It contains the propers of the Mass meant for soloists (graduals, tracts, and alleluias) and played a significant role in the reconstruction of Gregorian chant by the Solesmes monks. The image below is the introit and gradual for the First Sunday of Advent from this codex. (The notation for the introit, Ad te levavi, is noticeably absent, as the introit is not a solo chant.)

See also semiology, adiestematic, neume and Graduale Triplex. Compare with Laon.

salicus (M). plural: salici

[Latin: salix, salicis = a willow-tree or willow]

1. In Solesmes notation, a three note ascending neume, of which two pitches are a podatus (two pitches stacked vertically, with a line connecting them on the righthand side) and the middle pitch, always marked by a vertical episema, is "expressed" or lengthened just a bit. Compare with scandicus.

2. In adiestematic notation, a neume with at least three ascending notes in which the next-to-last is an oriscus (a vertical wavy line).

Image: three salicus as found in Solesmes square notation, and two in the same chant as found in Saint Gall Codex 338 (all circled in red).

See also adiestematic, vertical episema, and neume. Compare with scandicus and ictus.

Sanctorale (D) (L)

[Latin: sanctus = consecrated, inviolable, sacred]

1. The part of the liturgical calendar devoted to holydays which always occur on the same calendar date every year. Most of such holydays are devoted to the saints (in Latin, the "Sancti"). The Sanctorale begins on January 1 (unlike its counterpart Temporale, which begins the first Sunday of Advent).

2. The body of propers pertaining to the Sanctorale.

See also Temporale and liturgical calendar.

scandicus (M); plural: scandicus

[Latin: scando = to rise, climb, mount, clamber, get up, ascend]

1. In Solesmes notation, a three note ascending neume, of which two pitches are a podatus (two pitches stacked vertically, with a line connecting them on the righthand side) and the middle pitch is not marked by a vertical episema. (Compare with salicus, which is marked by a vertical episema.) The salicus and scandicus are frequently confused, and sometimes incorrectly marked in quadratic notation. The Vatican edition (characterized by the absence of the ictus and other expressive markings) does not distinguish at all between the salicus and scandicus.

2. In adiestematic notation, a neume of three or more ascending notes.

Image: six scandicus as found in both Solesmes square notation, and as found in Saint Gall Codex 340 (all circled in red).

See also neume, vertical episema, and adiestematic. Compare with salicus.

schola / schola cantorum (L) (M) plural: scholae cantorum

Literally, "school of singers/cantors". A choir of singers which specializes in the singing of Gregorian chant, and frequently in the singing of polyphony and other forms of harmonized sacred music as well.

In pre-Conciliar times, only men were allowed to take a position in the sanctuary of the church (except at a convent of religious sisters), and since the schola was customarily located in the sanctuary, it was composed entirely of male singers. In addition, there were certain other distinctions and responsibilities which members of the pre-Conciliar schola possessed.

See also cantor.

Second Vatican Council (H) (L)

Called by Pope John XXIII in 1962, with more than 2500 Roman Catholic cardinals, bishops, patriarchs, and theologians participating, the Council was convened to address an increasing disconnect of the Roman Catholic Church to the rapidly changing, industrialized world. The Council lasted four years and released a series of documents, chief of which are four constitutions concerning sacred liturgy, the scriptures, the nature of the Church, and the Church's relationship to the modern world.

This lexicon refers to the council regularly due to its role in alterations to the liturgy, its calendar, and its music. Nothing was left untouched.

Of practical note: Old Catholics, Anglicans, Episcopalians, and many Protestant denominations base their liturgical calendars on those used by the Roman Catholic Church (some on the old calendar, and some the new calendar), so the reforms of the Council have created liturgical repercussions that extend far beyond the bounds of the Roman Catholic Church.

Commonly called "Vatican II" for short.

See also EF / Extraordinary Form, and OF / Ordinary Form.

Second Vespers (L)

See First Vespers.

sequence

[Latin: sequor = to follow, come after, follow after, accompany, attend]

1. (L) (M) A chanted, theological poem in Latin, composed as an extension of the alleluia proper. (The meaning of the Latin word "sequor" here is important, as the sequence is to follow the alleluia.) Examples of chanted sequences are Victimae Paschali Laudes at Easter, Veni Sancte Spiritus at Pentecost, Lauda Sion at Corpus Christi, Stabat Mater at the Feast of our Lady of Sorrows (although this sequence follows a different melody than the popular hymn tune by the same title) and Dies Irae for All Souls' Day and Requiem Masses.
   

2. (L) In the post-Conciliar liturgy, the text of the above-mentioned item, recited or sung before the alleluia. If sung, it may be either in Latin or re-worded in the vernacular. If sung in the vernacular, it may follow the traditional Gregorian melody, or a totally different melody. In the post-Conciliar liturgy only four sequences remain in use, and only two are mandatory: Victimae Paschali Laudes and Veni Sancte Spiritus.

See also alleluia, proper. Compare with trope.

Semiology (H) (M)

Musical paleography. "[O]ne can speak of musical paleography, defining it as the science of ancient systems of notation employed to express music in the visual domain. In a large sense, its object is the reading of ancient manuscripts in view of a musical interpretation and restoration. In a more precise sense, musical paleography is today limited exclusively to the study of musical symbols, their various forms, their history and their geographic distribution...

"Semiological study...examines the reasons (logos) for the diversity of the signs (semeion) in order to deduce the fundamental principles for an authentic and objective interpretation. Instead of drawing on modern aesthetic concepts or rhythms foreign to the Gregorian era, this interpretation must be guided by the facts that comparative work or the diverse signs reveal to us. This is the only realistic basis for sound performance practices." (from Gregorian Semiology by Dom Eugène Cardine).

See also Metz, Laon and Saint Gall.

si (M)

Seventh degree of the major scale. Also called ti.

simple tone (M)

The least elaborate variant of a tone.

See tones comparison under solemn tone.

solemn tone (M)

1. A more elaborate tone which is sung at solemnities. (For example, the major canticles may be sung to a solemn tone in the Gregorian versions.)

2. An often highly elaborate melodic variant of a simple tone chant, such as the solemn Salve Regina, Te Deum, or Ite missa est.

3. In the Marian antiphons, the solemn tone settings are more ancient than the simple tones.

Compare to simple tone and monastic tone. See also tone.

Solesmes (H) (L) (M)

The Abbey of Saint-Pierre de Solesmes, a French monastery of Benedictines, most notable for its scholarship in Gregorian chant and its role in the promulgation of a universal body of Gregorian chant. At the impetus of abbott Dom Gueranger in the 19th century, the abbey was the first institution to devote itself to determining the original (most "authentic") Gregorian melodies, and was tasked by Pope Pius X to create a definitive book of chant for the pre-Conciliar Roman Catholic liturgy, the result of which was the Liber Usualis. It was a massive project, involving the acquisition and comparison of hundreds of handwritten manuscripts and melodic variants, and the typesetting of its 1900 pages.

To this day, the Abbey is a leading producer of liturgical books for Gregorian chant, and has published such books as the Graduale Romanum, Graduale Triplex, Gregorian Missal, Antiphonale Romanum, and Antiphonale Monasticum.

See also Liber Usualis, Graduale Romanum, and Solesmes Method.

Solesmes Method (H) (M)

A simple, systematic approach to the musical interpretation of Gregorian chant, invented in the early twentieth century by Dom Mocquereau of the Benedictines of Solesmes. The tenets of the method are heavily promoted in the Liber Usualis. The method has heavy influence to this day, particularly among parish scholae devoted to the Traditional Latin Mass.

Mocquereau played the cello, and envisioned legato conducting gestures based on bowing technique of the instrument. The method itself is based on the principle that there is an intrinsic movement in chant which is independent of the rhythm of speech. The rhythm exhibits itself in a steady, unchanging pulse, with a single square (or diamond) note equal to one pulse. These pulses are grouped into units of two or three pulses each by the addition of the ictus, and each group is in turn assigned a conducting gesture of arsis or thesis.

Below: visual representation of the rhythm wave of the Solesmes Method, as found in "The Conducting of Gregorian Chant" by Joseph Carroll.

Proponents of the method say it is a simple, easy to learn method that yields pleasant musical results, and that widespread use of the method provides longevity and universality in the music of the Catholic Church. However, the method is a source of heated contention in many circles, particularly among those who seek a more historically informed approach, and those who believe speech itself is the basis of chant rhythm.

Of particular note, not all chantmasters of the Abbey of Solesmes have been proponents of the Solesmes Method, leading to the addition of descriptors such as the Old Solesmes Method or the classical Solesmes Method.

See also Solesmes, ictus, arsis, thesis, and the ICA blog article Marcel Pérès and Saint Louis IX: Royal French chants for a Royal French saint.

syllabic (M) adjective

A chant characterized, for the most part, by one pitch per syllable. Adoro Te Devote and the simple tone Salve Regina are examples of syllabic chants. Different from a chant sung on a reciting tone, which fits many syllables to a single pitch.

Compare reciting tone, neumatic and melismatic.

Temporale (L) (M)

[Latin: tempus/temporis = time, period, season, interval]

1. The part of the liturgical calendar devoted to Sundays and holydays which which occur on different calendar dates every year, and are determined in relation to other yearly events (e.g. equinoxes and lunar cycles). For example, Easter and Christmas belong to the Temporale.

2. The body of propers pertaining to the Temporale.

See also Sanctorale and liturgical calendar.

Tenebrae (L) (M)

[Latin: tenebrae (plural) = darkness, gloom, night, obscurity]

Particularly elaborate hours of the Divine Office observed during the Easter Triduum. Before the Roman liturgical reforms of 1955, Matins + Lauds for Holy Thursday, Good Friday, and Holy Saturday would each be prayed together as a single liturgy by candlelight during the evening of the previous day. The hours of Tenebrae include a number of famous texts which have been set to music by many composers, such as:

• The Lamentations of Jeremiah

• Miserere mei, Deus

• Tristis est anima mea

• Tenebrae factae sunt

• Tradiderunt me

• O vos omnes

See also Divine Office and Triduum.

tenor (M)

[Latin: tenor = a holding on, continance, uninterrupted course, career]

See reciting tone and dominant.

termination (M)

[Latin: termino = to set bounds, mark off by boundaries, bound, limit]

1. One of two primary cadences in the singing of certain tones. The termination is the final cadence of the whole melodic formula.

2. A specific melodic termination, especially in a psalm tone. For example, the Mode I psalm tone found in the Liber Usualis has 10 different terminations, each with its own label, e.g. D, f, or g3. The appropriate termination for a given psalm tone is listed along with the designated mode of its related antiphon. So, for instance, an antiphon in Mode I which requires the D termination for its accompanying psalm tone, will be labeled 1D. Click here for a complete PDF of the Liber Usualis psalm tone terminations.

See also e u o u a e, tone, psalm tone, and mediant.

thesis (M) noun

A conducting gesture used when directing chant according to the Solesmes Method, indicating a decrescendo or decrease in energy. Sometimes called "fall" or "repose".

Opposite: arsis. See also Solesmes Method and ictus.

TLM / Traditional Latin Mass (L)

Mass of the pre-Conciliar liturgy, or more specifically, the revised form of the Mass followed from 1570 - 1962 (and still celebrated to this day, although far less frequently than the Mass of the Ordinary Form). Also called the Tridentine Mass (from Tridentinus, or Trent) as the revisions were undertaken as a result of the Council of Trent.

Terminological notes:

1. For many, the Traditional Latin Mass is synonymous with the Extraordinary Form, or Usus Antiquior; however, it is important to remember that the Mass, albeit the chief of all liturgies, is one of many kinds of liturgy included in the EF or UA (e.g. the Divine Office). The TLM is, as it were, a species within the genus of the Extraordinary Form.

2. Many call the Traditional Latin Mass simply the Latin Mass. However, it is worth pointing out that the Mass of the Ordinary Form is also called a Latin Mass when it is celebrated in Latin.

Compare with Ordinary Form. See also liturgy and EF / Extraordinary Form.

tone (M)

[Latin: tono = to make a loud noise, roar, resound, thunder]

1. A musical or vocal sound with reference to its pitch, quality, and strength.

2. A specific melodic formula to which a text can be sung, according to certain precise rules. A tone is somewhat akin to a hymn tune, insofar as the melody can be repeated in whole with many different verses of text, but it is different from a hymn tune insofar as it has no meter. The primary means which distinguishes the two is the flexible use of a reciting tone.

3. There are countless kinds of tones, including psalm tones, Gloria Patri tones, simple tones, solemn tones, monastic tones, prophecy tones, epistle tones, and gospel tones. Since the rules of tones are heavily language dependent, certain tones lend themselves better to particular languages than others. For example, psalm tones of the Liber Usualis work best with Latin, while the Saint Meinrad tones work best with English.

See also reciting tone, psalm tone, Gloria Patri tone, simple tone, solemn tone, and monastic tone.

T.P. or Tempus Paschale (L) (M)

[Latin: tempus = a portion of time, time, period, season, interval]

Abbreviation found at the end of certain chants, especially of the propers, indicating that if the chant is sung in Eastertide, an alleluia and its melody (which are notated just above the T.P.) must also be sung.

tract (L) (M)

[Latin: tractus = continuous, flowing, fluent]

One of the oldest of the chant Mass propers. In the pre-Conciliar Mass, the tract takes the place of the alleluia during Lent and other penitential days (although historically, the tract seems to have held this position first, throughout the whole liturgical year, with the alleluia later replacing it).

Of interesting note, one of the longest chants in the whole Gregorian repertory is the tract for the First Sunday of Lent, Qui habitat, which lasts approximately 12 minutes when sung.

Compare with alleluia. See also centonization and proper.

Triduum (L)

[Latin: tris = three; dies = day]

Sequence of sacred liturgies recounting Jesus Christ’s Passion, Death, and Resurrection, which are the core and foundation of the Christian faith, and the pinnacle of the liturgical year. The Triduum occurs over the span of three days, and is composed of Holy Thursday, Good Friday, Holy Saturday, and Easter Sunday.

NB: Triduum refers to three days, and not three liturgies. Sometimes used improperly as a reference to the triple liturgies of Holy Thursday Mass, the Good Friday Passion, and the Easter Vigil.

Triplex (D)

See Graduale Triplex.

trope (L) (M)

Interpolation of new text with older chant, theologically amplifying and embellishing the original liturgical text, and thereby creating a new musical entity. This addition may occur in many ways, such as underlaying new text to a pre-existing melisma (see example below), extending a melisma with new melody and including new text, repeating an existing melody with new text, or outright inserting new text with new melody in between existing sections of chant.

The sequence is generally considered to be a sort of trope, although it seems to have developed quite independently from the other forms of tropes.

The names of different settings of the Kyrie (and by consequence, the other ordinary chants which go with them) are derived from the troped texts that were sung on the melismas, e.g. "Orbis Factor" (see below).

See also: melisma and sequence.

una voce (M)

[Latin: unus = one, single; vox/vocis = voice, sound, tone, utterance, cry, call]

"One voice" — that is, a manner of group singing in which all voices blend so well that it is difficult to distinguish individual voices from others. Experienced singers and directors of chant often use this term with regard to the practice of singing Gregorian chant.

Usus Antiquior (L)

[Latin: usus = use, practice, employment, exercise, enjoyment; antiquus = ancient, former, of old times]

Pre-Conciliar liturgy. Also called the Extraordinary Form, among many other titles.

Opposite: NO / Novus Ordo. See also Extraordinary Form.

ut (M)

First degree of the major scale, usually called do today. The title "ut" was adopted from the word which occurs on this pitch in the Vespers chant hymn Ut queant laxis, which is the origin of the solfege syllables re, mi, fa, sol, la (and perhaps also si).

See also movable do and do clef.

Vatican II (H) (L)

See Second Vatican Council.

vernacular (L)

[Latin: vernaculus = native, domestic, indigenous]

Language of the people (as opposed to the liturgical language of Latin). In post-Conciliar times there is a significant emphasis on praying in the vernacular, sometimes to the exclusion of Latin entirely.

See also OF / Ordinary Form.

versus populum (L)

[Latin: versus = turned in the direction of, towards, facing; populus = a people, nation, body of people]

Opposite of ad orientem.

vertical episema (M)

1. Short, vertical line drawn below a pitch on the staff (or above the pitch if there is no room below it). Until recent updates to square notation, the vertical episema has been the only distinguishing factor between the salicus and scandicus neumes when set in quadratic notation.

2. The ictus.

Compare with episema, salicus, and scandicus. See also Solesmes Method.

Vespers (L)

[Latin: vespera = evening, even-tide and vesper = evening star]

Evening hour of the Divine Office. It is a service of praise and thanks for the day’s blessings. Often related to the Eucharist due to the note of thanksgiving and its time of day. One of the two chief canonical Hours (the other is Lauds).

Also called Evening Prayer. See also Divine Office, First Vespers, and ICA blog article 7 things that Sung Vespers can teach us about life.

vigil (L)

[Latin: vigil = awake, on the watch, alert]

1. Another word for the "Mass of anticipation" (that is, a Sunday Mass which is celebrated the preceding Saturday evening) in the post-Conciliar world.

2. Independent liturgy with its own propers and readings which occurs the evening before Sunday Mass. In pre-Conciliar times there were many different Vigil liturgies. In post-Conciliar times, very few remain, chief of which is the Easter Vigil. The Vigil of Pentecost, with its four Old Testament readings and related responsorial psalms, is also making a comeback.

3. In the plural, identical with Matins (or prayer during the night, as a part of the Divine Office).

Ward Method (M)

A method of musical education for children in the Catholic school system, developed by Justine Ward in the early 20th century. The method simultaneously prepares children for the singing of music in square and standard notation, and instills core skills of intonation, interval recognition, pulse internalization, and Solesmes chironomy. The Ward Method follows the singing of Gregorian chant as is laid out in the Solesmes Method.

Certain exercises from the Ward Method have been successfully adopted for use among students of the International Chant Academy. The success of the method as a whole, however, hinges on the repetition that comes from access to one's students 20 minutes a day, 4-5 times per week for several years.

See also Solesmes Method.

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The mission of the International Chant Academy is to keep the beauty and meaningfulness of Gregorian Chant and Early Sacred Music alive and relevant. We foster understanding of these art forms, and teach the musical and vocal skills necessary to excellent performance.

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