Singing Monastic Vespers Webinar

Singing Monastic Vespers: a 4-part Webinar

Dom Benedict Andersen, OSB Dr. Jennifer Donelson-Nowicka Priest-monk of Silverstream Priory Associate Professor and Director of Sacred Music County Meath, Ireland St. Joseph’s Seminary (Dunwoodie), New York CenacleOSB.org JenniferDonelson.com

Sponsored by the Sacred Arts Guild of Alberta – Alane Boudreau, moderator Overview

5:00-5:40 - Lesson

5:40-6:10 - Sing Vespers

Hang around for Q and A afterwards if you’d like

4 Parts

Psalms and Psalm Tones

Antiphons and Complex Psalm Tone Endings

Hymns, Responsories, and Magnifcats

How to sing diﬀerent feasts and seasons after the webinar ends Overview

Today

5:00-5:40

Spiritual refection

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 fesh 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 sacrifce” (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.

Incipit

A large sign of the cross is slowly made on oneself.

✠ ( Ё ( ( < ! A profound bow! is madeЁ whenever the doxology is recited.!

( ( ! Ё ! Ё <

( ! <

Ё Ёᢁ

2 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

A large sign of the cross is slowly made on oneself.

( ✠Ё ( A! profound bow is made whenever Ё the doxology is recited.! =

( Ё ! Ё <

( ! Ё <

Ёᢁ

3 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 7. c2 ( Ё ᐁ( ᐁ ( (Ђ ᐁ ᠂ 㰇

Psalmus 109 SIT NK NK ᠁Ё E NK NK ᐁ 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.

4 Psalmody

( Ё ᐁ ( ( (Ђ ᐁ ᠂ 㰇 Psalm 109 SIT NK NK ᠁ Ё NK E NK NK ᐁ 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.

5 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. Capitulum

1 Pet 2:11

( <

Ё Responsorium Brevis

᠁( ( ᒁ ! ! (Ё <

(! QЁ (! ! ! ᒁ ! < ᠁( ( ᒁ ! 12 ! (Ё Chapter

1 Pet 2:11

( <

Ё Short Responsory

᠁( ( ᒁ ! ! (Ё < ᠁( ( ᒁ ! ! (Ё < ᠁( ( ᒁ ! ! (Ё < (! QЁ (! ! ! ᒁ ! < ᠁( ( ᒁ ! 13 ! (Ё Monastic Vespers: Structure

Hymn: seasonal, common, or proper

Versicle and Response ᠁ ᠁Ё ! ( ᠁ ! Ё Ђ ! = ( ! ᐁ Ё ᠁ Ё ᠁ ? ᐁ Ё ! ( ᠁ Ё ! ( ᠁ ! ᐁ ? ! Ё Ђ ! ᐁ Ё

Ё ᠁ Ё ! ( ᠁ Ё ! ᠁ ! ᠁ Ё = ( ! ᐁ Ё ᠁ Ё < Ђ ! ᐁ Ё !

᠁ ᠁ Ё ! ( ᠁ ! Ё Ђ ! ᐁ = ( Ё ᠁ Ё Ё ! ᐁ ᠁ Ё ! ᠁ ! (! < ( ᠁ ! ᐁ Ё ᠁ = Ё Ђ ! ᐁ Ё

᠁ Ё ! ( Ё ! ᠁ ! ᠁ Ё Ђ ! = ( ! ᐁ Ё ᠁ Ё < ᐁ Ё !

᠁ Ё ( ᠁ ! ! ᠁ Hymnus Ё Ђ ! < ( Ё ᠁ Ё Ё ! ᐁ ᠁ Ё ! ᠁ ! = ᠁ ᠁Ё ! ( ᠁ ᐁ ! Ё Ђ ! = ( ( ? ! ᠁ Ё ! ᐁ ! ᐁ( Ё ? Ё Ђ ! ᐁ Ё ᠁ Ё ! ᠁ ᐁ Ё ( ᠁ Ё ! 㰆 ᠁ Ё ! ( ᠁ ! ᐁ ? Ё ! Ё Ђ ! Ё ᐁ Versus et Responsum Ё ᠁ Ё ! ( ᠁ Ё ! ᠁ ! ᠁ Ё = ( ( ! ᐁ Ё ᠁ Ё < < Ђ ! ᐁ Ё ! 㰆 ᠁ Ё ᠁ ! (! ᠁ = Ё Ђ ! ᐁ ( 㰆 ( Ё ᠁ Ё Ё ! ᐁ ᠁ Ё ! ᠁ ! (! <

( 16 ᠁ ! ᐁ Ё ᠁ = Ё Ђ ! ᐁ Ё

᠁ Ё ! ( Ё ! ᠁ ! ᠁ Ё Ђ ! = ( Ё Ё ! ᐁ ᠁ Ё ! < ᐁ 14

᠁ ᠁ Ё ! ( ᠁ ! Ё Ђ ! < ( ! ᐁ Ё ᠁ Ё ᠁ ᠁Ё ! = ᐁ Ё ! ( ( ᠁ ! ᐁ ? ! Ё Ђ ! ᐁ Ё

Ё ᠁ Ё ! 㰆 Ё ᠁ Ё ! ( ᠁ ! ᠁ Ё Ђ < ( ! ᐁ Ё ᠁ = ! ᐁ Ё ᠁ Ё Ё ! ᠁ ! (! <

᠁ ! = Ё Ђ ! ᐁ Ё ( Ё ᠁ Ё? ᐁ ᠁ Ё ! ᠁

! ( ᠁ ! Ё Ђ ! ᐁ = ( Ё ? Ё ! ᐁ ᠁ Ё !

᠁ ᠁ Ё ! ( ᠁ ! Ё Ђ ! = ( ! ᐁ Ё ᠁ Ё < ᐁ Ё !

᠁ ᠁ Ё ! ( ᠁ ! Ё Ђ ! = ( ! ᐁ Ё ᠁ Ё ? ᐁ Ё !

᠁ ᠁ Ё ! ( ᠁ ! Ё Ђ ! = ( ! ᐁ Ё ᠁ Ё < ᐁ Ё !

᠁ ᠁ Ё ! ( ᠁ ! Ё Ђ ! = Hymn English translation by Kathleen Pluth ! ᐁ( Ё Ё ᠁ Ё ! < ᠁ Ё ! ( ᐁ ᠁ ! ᠁ Ё Ђ < ( ᠁ Ё ! ( ! ᐁ Ё ᠁ = ᠁ ! ᠁ ! ᐁ Ё Ё Ђ ! = ᠁ Ё Ё ! ᠁ ! (! < ( Ё Ё ! ᐁ ᠁ Ё ! ᐁ ᠁ ! = Versicle and Response Ё Ђ ! ᐁ Ё ( Ё ᠁ Ё? ᐁ ᠁ Ё ! ᠁ ( 㰆 < ! ( ᠁ ! Ё Ђ ! ᐁ = ( Ё ? Ё ! ᐁ ᠁ Ё ! ( 17 㰆 ᠁ ᠁ Ё ! ( ᠁ ! Ё Ђ ! = ( ! ᐁ Ё ᠁ Ё < ᐁ Ё !

᠁ ᠁ Ё ! ( ᠁ ! Ё Ђ ! = ( Ё ? Ё ! ᐁ ᠁ Ё ! ᐁ 15

᠁ ᠁ Ё ! ( ᠁ ! Ё Ђ ! = ( ! ᐁ Ё ᠁ Ё < ᐁ Ё !

᠁ ᠁ Ё ! ( ᠁ ! Ё Ђ ! = ( ! ᐁ Ё ᠁ Ё ᐁ Ё ! Monastic Vespers: Structure

Canticle of Our Lady (Magnifcat) with antiphon

Antiphon as appointed for the weekday; otherwise, common or proper Magnificat John 16:20

( Ё ᢂ Ё ! Ё ! ᐁ Ё < Ё ᠁㰆 ( ᠁ ᒁ ( ! ᠁ Ё =

( ( ᐂ ᠁( (! Ё Ё ! Ё , Ё Luke 1:46-55 ( !

NK ✠ ᠁ Ѓ E NK ᠁ Ё Ё NK ᠁Ѓ E NK 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.

18 Magnificat John 16:20

Ёᢂ Ё Ё ᐁ( Ё < Ё ᠁㰆 ᠁ ᒁ Ё ( ᠁ Ё =

ᐂ( ᠁( ( Ё Ё ( , Ё ! Ё English text adapted from Evensong of the Luke 1:46-55 ( ! Anglican Ordinariate (Book of Common Prayer)

✠ Ⱀ E NK ᠁ Ё Ё NK ᠁ Ѓ E NK

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.

19 Monastic Vespers: Structure

The threefold Kyrie/Christe/Kyrie eleison

Pater noster (sung alone by the Superior) Preces

( ℟. ( ( ᠁ ! ᠁ ! ᠁ !

( <

22 Prayers

( ᐁ Ё ℟. ( ᐁ Ё ( ᐁ Ё

Ё <

( <

23 Monastic Vespers: Structure

“Dominus vobiscum” (if a priest or deacon):

If a layperson, “Domine exaudi orationem meam / Et clamor meus ad te veniat”

“Oremus” and Collect of the day:

On normal weekdays, if no feast, Collect from the previous Sunday

On feasts, from the proper or the common

All answer, “Amen” ! ᐁ !

Ё =

ᐁ Ё 24 ᐁ

= ( =

ᐁ Ё

25 Monastic Vespers: Structure

Commemorations

Antiphon on Magnifcat from the Oﬃce being commemorated

Versicle and Response, from the same Oﬃce

“Oremus” and Collect, from the same Oﬃce Commemoratione Inventio Sanctæ Crucis

ҁ ਁ ᠁ Ё Ђ ᢁ ᐁ Ё <

( Ё ( ᐂ ਁ ᢁ Ё ! ( ᠁ ᒁ Ё ҂ ᐁ <

ᐁҁ

26 Ё = ( =

ᐁ Ё

28 Commemoration Finding of the Holy Cross

Ё 䰆Ё Ђ ᠁ ᐁ =

( Ё Ё ᐂ 䰆 Ё ! ( ᠁ ᐁ =

( Ё ҂ ᐁᐁ ҁ

27 =

= ( ᐁ Ё

29 Monastic Vespers: Structure

“Dominus vobiscum” (or “Domine exaudi”)

“Benedicamus Domino” (various tones for diﬀerent occasions)

“Fidelium animæ” and “Divinum auxilium” Conclusio

ᐁ ! ! ( ᠁ᐂ ! Ё !㰆! = ( ᠁ᐂ Ђਁ Ё ! 㰆! ℣. Fidélium ánimæ per misericórdiam Dei requiéscant in pace. ℟. Amen.

30 Conclusion

ᐁ ( ᠁ᐂ Ё Ё !㰆᠁ = ( ᠁ᐂ Ђਁ Ё ! 㰆 ℣. May the souls of the faithful, through the mercy of God, rest in peace. ℟. Amen.

31 Sung in a low tone.

℣. 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.

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 frst psalm antiphon and Magnifcat antiphon, Chapter, Kyrie and Pater, Collect, “Fidelium” & “Divinum auxilium”

One cantor, or two taking diﬀerent parts: other antiphons, beginning psalms and Magnifcat, Short Respond, Versicle, “Benedicamus” Comparison of Vespers Structures

Monastic (1963) Roman (1960) Roman (1971/75/85) Opening versicles Opening versicles Introductory verse Four psalms with 1 or 4 antiphon(s): Five psalms with 1 or 5 antiphon(s) Hymn Chapter Chapter Two psalms with their antiphons Short Respond No Short Respond One canticle with its antiphon Hymn Hymn Lectio Brevis Versicle and Response Versicle and Response Responsory Magnifcat with antiphon Magnifcat with antiphon Magnifcat with antiphon Kyrie/Christe/Kyrie eleison Kyrie/Christe/Kyrie eleison Intercessions Pater noster Pater noster, preces Pater noster “Domine exaudi,” “Oremus,” and “Domine exaudi,” “Oremus,” and “Oremus,” and Collect of the day Collect of the day Collect of the day (“Concluding Prayer”) Commemorations Commemorations “Dominus vobiscum,” blessing, and “Domine exaudi” “Domine exaudi” dismissal (if priest or deacon “Benedicamus Domino” “Benedicamus Domino” present), otherwise “Dóminus nos “Fidelium animæ” and “Divinum “Fidelium animæ” and “Divinum benedícat, et ab omni malo deféndat, auxilium” auxilium” 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) Gregorian Modes

Three ways in which a mode categorizes:

Final: the last pitch of the piece

Re, Mi, Fa, Sol

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 fnal, 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 fnal

Authentic – fnal towards the bottom of the range

Plagal – fnal in the middle of the range Gregorian Modes Dominant Mode # Final Mode # Dominant (up 5th) (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 Tenor/ Tenor/ Mediatio/ Recitation Recitation Mediant * Tone Tone Inchoatio/ Terminatio/ Intontation Termination

Tenor/ Tenor/ Tenor/ Mediatio/ Flexa/ Recitation Recitation Recitation Mediant * Tone Flex Tone Tone Inchoatio/ † Terminatio/ Intontation Termination 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 OFFICE PSALM TONES IV alt c from the Liber usualis, with various termination formulae VvvjvvHUvvjvvjvvxjvv¦vvhz.vv[vvjvvjvvhvvjvvxkvv§vvjz.vv]vvjvvjvvjvv Vvvxjvv¦vvhz.vv} intonation mediation flex A Vvvhvvjvvkvvxhvv¤vvfz,vbb} A* Vvvhvvjvvkvvxhvv¤vvFTbMzv} Vvvkvv§vvjvvhvv¦vvGUb,.zv} Pitch goes upBvvgvvHIvvkvvkvv on mediantxkvv¦vvhz.vv[vvkvvkvv accent zlvv¨vvkvv¨vvuh}vvkz/vv]vvkvvkvvkvv xx x x x x x Pitch goes down one syllable before termination accent VIII b a a2 Bvvgvvhvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvkvvkvvzlvv¨vvkz/vv]vvkvvkvvkvv No multi-noteBvvhvv neumesxkvv¨vvjb.vv} Bvvhvvxkvv¨vvuhz<.vv} BvvijvvHUvvxhvv¥vvGYz<.vv} G G* c This is gdi ﬀBvvijvvHUvverent fromxhvv¥vvgzzv} Vvvxkvv§vvjvvxhvv¦vvGUb,.zv} in consílio justórum, et congregatióne. } BvvgvvHIvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvMemorzlvv¨vvkvv¨vvuh eritvvkz/vv]vvkvvkvvkvv in saéculum testaménti sui: * Magna ópera Dómini: * VIII virtútem óperum suórum annuntiábit pópulo exquisíta in omnes bvoluntá tes ejus. a a2 Bvvgvvhvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvkvvkvvzlvv¨vvkz/vv]vvkvvkvvkvv Bvvhvvxkvv¨vvjb.vv} Bvvhvvxkvv¨vvuhz<.vv}suo: BvvijvvHUvvxhvv¥vvGYz<.vv} Conféssio et magnifcéntia opus ejus: * Ut det illis hereditátem géntium: * G G* c et justítia ejus manetg in saéculum saéculi. g2 Bvvjvvkvvxhvv¥vvgz,vv} Bvvjvvkvvxhvv¥vvGYz.,vv} Bvvhvvkvvzlvv¨vvkz/vv} BvvijvvHUvvxhvv¥vvgzzv} Vvvxkvv§vvjvvxhvv¦vvGUb,.zv} Bvvgvvfvvxgvv¦vvhz.vv} BvvgvvfvvBvvgvvHIvvkvvkvvxgvv¥vvGYz,.vv}xkvv¦vvhz.vv[vvkvvkvv Bvvgvvfvvzlvv¨vvkvv¨vvuhxGYvv¥vvGYz,.vv}}vvkz/vv]vvkvvkvvkvv 2 accents at mediant, 2 at termination a VIII b II b a a2 Bvvgvvhvvkvvkvvkvv¦vvhz.vv[vvkvvkvvkvvkvvzlvv¨vvkz/vv]vvkvvkvvkvv Xvvdvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvBvvhvvxjvv¦vvhz.vv]vvhvvhvvhvvgvvxkvv¨vvjb.vv} xdvv¤vvfb,vv}Bvvhvvxkvv¨vvuhz<.vv} BvvijvvHUvvxhvv¥vvGYz<.vv}Pitch changesVvvxxkvv§vvjvv onxhvv¦vvtfzM,vv} mediant accentsVvvxkvv§vvjvv xhvv¦vvgb,zv}x Pitch changesc on terminationG c2 accent G* d c III g g2 Vvvxxkvv§vvjvvxhvv¦vvGYz,.vv} BvvjvvkvvVvvxkvv§vvjvvxhvv¥vvgz,vv}xhvv¦vvuhb<>zv} BvvjvvkvvVvvxkvv§vvjvvxhvv¥vvGYz.,vv}xhvv¦vvGUb,.zv} Bvvhvvkvvzlvv¨vvkz/vv} BvvgvvHIvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvBvvijvvHUvvzlvv¨vvkvv¨vvuhxhvv¥vvgzzv} Vvvxkvv§vvjvvxhvv¦vvGUb,.zv} BvvgvvHIvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvzlvv¨vvkvv¨vvuh}vvkz/vv]vvkvvkvvkvv Conﬁtébor tibi, Dómine, in toto corde meo: * Memóriam fecit mirabílium suórum, † miséricors a VIII b II in consílio justórum, et congregatióne. et miserátor Dóminus: * escam dedit timéntibus se. b a a2 Vvvxxkvv§vvjvvxhvv¦vvtfzM,vv} BvvgvvhvvkvvkvvVvvxkvv§vvjvvxhvv¦vvgb,zv}xkvv¦vvhz.vv[vvkvvkvvkvvkvv zlvv¨vvkz/vv]vvkvvkvvkvv Xvvdvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvBvvhvvxjvv¦vvhz.vv]vvhvvhvvhvvgvvxkvv¨vvjb.vv} xdvv¤vvfb,vv}Bvvhvvxkvv¨vvuhz<.vv} BvvijvvHUvvMagnaxhvv¥vvGYz<.vv} ópera Dómini: * Memor erit in sǽculum testaménti sui: * G G* exquisíta in omnesc voluntátes ejus. c2 virtútemd óperum suórumc annuntiábit III g g2 Vvvxxkvv§vvjvvxhvv¦vvGYz,.vv} BvvjvvkvvVvvxkvv§vvjvvxhvv¥vvgz,vv}xhvv¦vvuhb<>zv} BvvjvvkvvVvvxkvv§vvjvvxhvv¥vvGYz.,vv}xhvv¦vvGUb,.zv} Bvvhvvkvvzlvv¨vvkz/vv} BvvgvvHIvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvBvvijvvHUvvzlvv¨vvkvv¨vvuhxhvv¥vvgz

Pitch changes 2 syllables termination accent

Multi-note neumes on intonation Practicing Solemn Mode 8 Psalm Tone with G Ending

NK ᠁ Ѓ E NK ᠁ Ё Ё NK ᠁Ѓ E NK 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. 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 Magnifcat) begins with the intonation on each verse Online Classes This Summer Through St. Joseph’s Seminary (Dunwoodie), New York

Principles of Sacred Music Teaching Gregorian Chant to Children

History of sacred music, study of Church legislation, in- Pedagogical techniques for teachers with special emphasis on depth discussion of practical issues surrounding sacred music the Ward method of teaching chant. July 20–24, 9:00 a.m. to programs. Asynchronous on-line June 1–July 26 + live online 6:00 p.m. Taught by Dr. Jennifer Donelson-Nowicka. July 27 and 28 from 9:00 a.m. to 5:00 p.m. Fulflls course Conducting and Group Vocal Pedagogy for the Parish Music requirements for the St. Cecilia Academy certifcation. Director Taught by Dr. Jennifer Donelson-Nowicka. Strategies and practice in conducting and teaching healthy Principles of Chant vocal production to amateur singers. July 29–31, 9:00 a.m. to Introduction to Gregorian chant, vocal and rehearsal 6:00 p.m. Taught by Dr. Timothy McDonnell. techniques for choirs, and development of conducting skills. Introduction to the Organ for Pianists July 13–17, 9:00 a.m. to 6:00 p.m. Fulflls course requirements for the St. Cecilia Academy certifcation. Essential knowledge and practice with registration, good Taught by Dr. Jennifer Donelson-Nowicka. 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. More Information

jenniferdonelson.com/classes jenniferdonelson.com/sacred-music-resources sacredmusicpodcast.com cenacleosb.org Cantemus! Optional Q and A to follow