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The Ordinary Chants

of the Office
THE COMMON TONES.

At the beginning of the Hours.


1. The'f. Deusin adjutorium. is sung in the Festal tone {see Vespers, p. 250),
at Matins, Lands, and Vespers, and also at Terce before Pontifical Mass.
2. It is sung in the Simple tone {see Compline, p. 263), at Prime, Terce, Sext,
None, and Compline.
3. On very solemn feasts, at Vespers only, it may be sung as follows :

t. 177-. . > y . . p, fc ^ +
-a-r
D E-us in adjut6-ri- um me"- um intende. 1^. D6mine ad adju-
1
* p a- 1 . s * ?? '' v
vandum me festi-na. G16-ri- a Patri, et Fi-li-o, et Spi-ri-tu-i San-
-=-+
- -

cto. Sic-ut erat in pnncipi- o, et nunc, et semper, et in saecu-la


6
11_ !- u
i P '* -- i

saecu-lo-rum. Amen. Alle-lu-ia. or : Laus tf-bi D6mine Rex aet^mae

gl6-ri-ae.

The Eight Tones of the Psalms.


The first verse of a psalm is always intoned by the Cantor with the formula
of intonation proper to each tone. The following verses begin on the
dominant. This rule is observed at all the Hours, even in the Office for
the Dead.
This rule is applied also to the Psalms (or divisions of psalms) which are
sung under one Antiphon, provided that each ends with the doxology Gloria
The Tones of the Psalms. 113
Patri, the formula of intonation being repeated by the Cantor at the first verse
of each Psalm or each division. However, the intonation is not repeated if
these Psalms are said under a single Gloria Patri. The formula of intonation
is repeated at every verse of the Canticles Benedictus. Magnificat, and Nunc
dimittis. even in the Office for the Dead.
For the Canticles Benedictus. and Magnificat, a more ornate modulation was
formerly used at the intonation and at the mediant in each tone. These
formulas may still be employed at least for the principal feasts, (ist and
and class).

First Tone.
Terminations.
r
tTT -= D
i
t
m a - =
D
*

r
Mediant of 2 accents. Terminations of 1 accent
with 2 preparatory syllables. 0
\ D=
(In the termination D 2 , the
additional note of the dac- f
tylic cadence is anticipated
with the accented syllable SQ
f
and precedes the clivis).

Int. Tenor and Flex * Mediant Tenor /

/ / So %
B '
Is 0 : , _ _

_ f
0 .
Q
+ *
t

-- gJ
/
HP - - D
~ -HH a
r
u a 9- a3
r
a'
a o 9-

1
The flex is made by lowering the voice a second or a third, according to the
tone, on the last syllable before the sign f or even on the second last syllable, if this
syllable be not accented. However, a different interpretation is allowed. The
inflexion of the voice may be replaced by a simple prolongation of the dominant
(tenor) and a slight pause. These rules are applied also to monosyllables and
Hebrew words. (S. C. of Rites, July 8th and Dec. 12th 1912).
N 801. - 8
114 The Tones of the Psalms.

Second Tone.

Mediant of i accent. Termination of i accent with i pre-


paratory syllable.
Int. Tenor and Flex Mediant * Tenor Sole ending.
i

A /
H n :
*
1 D
a :
t *

or: f B r
1

1

Third Tone.
Terminations.

Media nt of 2 accent* (the Terminations of i accent


addition al note of the dac- with i preparatory syllable,
tylic ca< ence is anticipated a, b, with 3 pi eparatory
with thi: accented syllable syllables, a", g, Ivith 3 pre-
and prec edes the clivis). paratory syllables, | t
Int. Tenor and Flex Mediant Tenor

/ f t
/
1 ?
a
*
5.
t
/
^ -
a

/

a :

1
In accordance with the decree of the Sacred Congregation of Rites, dated
July 8th 1912, if a monosyllable or a Hebrew word occur in the Lessons or Verslcles,
or at the mediant of the psalms, it is permissible to modify the ending (B), or to keep
the ordinary modulation (A).
The Tones of the Psalms. 115

Fourth Tone.
Mediant of i accent with Terminations of r accent
2 preparatory syllables. with 3 preparatory syllables.
(In the Termination E, the
additional note of the
dactylic cadence is antici-
pated with the accented
syllable and precedes the
clivis.) Terminations.

Int. Tenor and Flex Mediant Tenor r


A
' . ' .
r ;

t * %
' a f. :

or : t B /
B
I
a

Another position of the same tone.


/ :
. . . ' I . . . '
II-

r :
: A*
or: t B
- ~*

Fifth Tone.
Mediant of i accent. Termination of 2 accents.

Int. Tenor and Flex Mediant Tenor Sole ending.

. " o : * . '
[
m 0
a *

or: f B /
116 The Tones of the Psalms.

Sixth Tone.
Mediant of 2 accents or of 1 accent Termination of 1 accent with pre-
with t preparatory syllable. paratory syllables.
Int. Tenor and Flex Mediant

i
i . a i

Tenor Sole ending.

A notherformula.
1 0 *
Int. Tenor and Flex

or: f B t
1
1
0

Seventh Tone.
Terminations.

Mediant of 2 accents. Terminations of 2 accents.


Int. Tenor and Flex Mediant Tenor

\r d
The Tones of the Psalms. 117

Eighth Tone.

Terminations.
Mediant of i accent. Terminations of i accent
with 2 preparatory syllables.
-
Int. Tenor and Flex Mediant Tenor a
v
/ A ' '
o *
I a *
B 8.
>
t *
fl
1

or; f B /
, ! " '

The Peregrinus Tone.


Mediant of i accent with 3 preparatory Termination of 1 accent with 1 pre-
syllables, or with 2 preparatory syllables. paratory syllable.

Int. Tenor and Flex Mediant Tenor Sole ending.

A notherformula.
Int.

ibl 0
b

1
In accordance with the authorisation granted by Rome, a sol may be added
ad libitum before the si at the mediant of the Peregrinus tone. Owing to this slight
change, this formula becomes regular and is of 1 accent with 3 preparatory syllables.