Tonale from the Codex Budensis (c. A.D. 1963)

TONE 1: FAUXBOURDON VIADANA

h = c. 44 S  A                   T       B             

                                  

(or this) VIADANA

S  A                

T         B            

                    

                  2

TONE 1: SIMPLE -- (reciting- (reciting- (incipit) tone) [ flex ad lib. ] tone) (mediation) unison       voices                (1st verse only)  e = c. 160                       Organ                  

(reciting- (reciting- tone) [ pause ad lib. ] tone) ()                    

                                  

TONE 1: MIXED -- BENEDICTUS, , (reciting- (incipit) tone) (mediation) unison    voices                (every verse)

                   Organ                    

(reciting- tone) (cadence)              

                         Tonale from the Codex Budensis 3 (c. A.D. 1963)

TONE 1: SOLEMN -- , , , , (reciting- (1st incipit) tone) (mediation) unison    voices              (every verse)                  Organ            

(2nd incipit) (reciting- tone) (cadence)           (every verse)                                             4 Tonale from the Codex Budensis (c. A.D. 1963)

TONE 2: FAUXBOURDON VIADANA

S       A                

T          B                

                   

                 

(or this) VIADANA

S      A                    T         B              

                   

                     Tonale from the Codex Budensis 5 (c. A.D. 1963)

TONE 2: SIMPLE -- Psalms (reciting- (reciting- (incipit) tone) [ flex ad lib. ] tone) (mediation) unison        voices               (1st verse only) 

                      Organ               (reciting- [ pause ad lib.] (cadence) tone)                     

                    

         

TONE 2: SIMPLE (monastic usage, aka "Tonus Resurrectionis") -- Psalms (among some Benedictines, traditionally sung instead of the above during Eastertide when Tone 2 is called for, especially at )

(reciting- (reciting- (incipit) [ flex ad lib. ] (mediation) tone) tone)                         (1st verse only)                            

               

(reciting- (reciting- [ pause ad lib.] (cadence) tone) tone)                      

                      

            6 Tonale from the Codex Budensis (c. A.D. 1963)

TONE 2: MIXED -- BENEDICTUS, MAGNIFICAT, NUNC DIMITTIS (reciting- (incipit) tone) (mediation) unison      voices               (every verse) 

                      Organ              

(reciting- tone) (cadence)                              

        

TONE 2: SOLEMN -- INTROIT, GRADUAL, ALLELUIA, OFFERTORY, COMMUNION

(1st incipit) (reciting- (mediation) tone)                      (every verse)                                        

(2nd incipit) (reciting- (cadence) tone)                      (every verse)                                       Tonale from the Codex Budensis 7 (c. A.D. 1963)

TONE 3: FAUXBOURDON VIADANA

S      A                

     T        B           

                     

                  

(or this) VIADANA

S     A                   

T        B           

                  

                     8 Tonale from the Codex Budensis (c. A.D. 1963)

TONE 3 (ancient reciting note) SIMPLE -- Psalms

(incipit) (reciting- (reciting- (mediation) tone) [ flex ad lib. ] tone) unison    voices                      (1st verse only)                          Organ                  

(reciting- [ pause ad lib. ] (cadence) tone)                       

                      

              

TONE 3 (ancient reciting tone) MIXED -- BENEDICTUS, MAGNIFICAT, NUNC DIMITTIS

(incipit) (reciting- (mediation) tone) unison      voices              (every verse) 

                   Organ                  Tonale from the Codex Budensis 9 (c. A.D. 1963) (reciting- (cadence) tone)                

                

              

TONE 3: SOLEMN (ancient reciting tone) -- INTROIT, GRADUAL, ALLELUIA, OFFERTORY, COMMUNION

(1st incipit) (reciting- (mediation) tone) unison  voices                 (every verse) 

                 Organ             

(2nd incipit) (reciting- (cadence) tone)                    (every verse)

                   

                   10 Tonale from the Codex Budensis (c. A.D. 1963)

TONE 4: FAUXBOURDON ANONYMOUS (16th century)

S     A                   

  T      B              

                  

                     

(or this) VIADANA

S       A                 T         B               

                         

                       Tonale from the Codex Budensis 11 (c. A.D. 1963)

TONE 4: SIMPLE (ancient incipit) -- Psalms

(incipit) (reciting- [ flex ad lib. ] (reciting- (mediation) tone) tone) unison      voices                 (1st verse only) 

                      Organ              

(reciting- [ pause ad lib. ] (reciting- (cadence 1.) (cadence 2.) tone) tone)                                     

                                                                    

TONE 4: MIXED (ancient incipit) -- BENEDICTUS, MAGNIFICAT, NUNC DIMITTIS (1st incipit) (reciting- (mediation) tone)                 (every verse) 

                              

(2nd incipit) (reciting- (cadence) tone)                    (every verse) 

                                             12 Tonale from the Codex Budensis (c. A.D. 1963)

TONE 4: SOLEMN (ancient incipit) -- INTROIT, GRADUAL, ALLELUIA, OFFERTORY, COMMUNION

(1st incipit) (reciting- (mediation) tone) unison   voices               (every verse)                 Organ                

(2nd incipit) (reciting- (cadence 1.) (cadence 2., ad lib.) tone)                              (every verse)  

                                                                 Tonale from the Codex Budensis 13 (c. A.D. 1963)

TONE 5: FAUXBOURDON SIR RICHARD TERRY

S   A                            T          B        

                                              

(or this) VIADANA

S       A                   

T     B            

                     

                    14 Tonale from the Codex Budensis (c. A.D. 1963)

TONE 5: SIMPLE -- Psalms

(incipit) (reciting- [ flex ad lib. ] (reciting- (mediation) tone) tone) unison    voices                   (1st verse only)

                     Organ              

(reciting- [ pause ad lib. ] (reciting- (cadence 1. -- Roman) (cadence 2. -- Sarum) tone) tone)                               

                              

              

TONE 5: MIXED -- BENEDICTUS, MAGNIFICAT, NUNC DIMITTIS

(incipit) (reciting- (mediation) tone)               (every verse)

             

         

(reciting- (cadence) tone)                                    

               Tonale from the Codex Budensis 15 (c. A.D. 1963)

TONE 5: MIXED (monastic version) -- BENEDICTUS, MAGNIFICAT, NUNC DIMITTIS (the Benedictine Antiphonale Monasticum [1938] gives the following [somewhat odd] version:)

(reciting- (incipit) note) (mediation) unison    voices                 (every verse)                       Organ              

                

                

               

TONE 5: SOLEMN -- INTROIT, GRADUAL, ALLELUIA, OFFERTORY, COMMUNION

(incipit) (reciting- (mediation) tone)                (every verse)                    

           

(reciting- tone) (cadence)                                        

                  16 Tonale from the Codex Budensis (c. A.D. 1963)

TONE 6: FAUXBOURDON SIR RICHARD TERRY

S A                   

T          B            

                                       

(or this) VIADANA

                 

                   

                             

                                Tonale from the Codex Budensis 17 (c. A.D. 1963)

TONE 6: SIMPLE -- PSALMS

(incipit) (reciting- [ flex ad lib. ] (reciting- tone) tone) unison    voices         

             Organ           

(mediation 1.) (mediation 2. ad lib.) (mediation 3. Sarum)

                                      

                                                      

(reciting- [ pause ad lib. ] (reciting- (cadence 1. -- Roman) (cadence 2. -- Sarum?) tone) tone)                             

                             

                    

TONE 6: MIXED -- BENEDICTUS, MAGNIFICAT, NUNC DIMITTIS (incipit) (reciting- (mediation) tone) unison    voices                (every verse)                    Organ                        18 Tonale from the Codex Budensis (c. A.D. 1963)

(reciting- (cadence 1. -- Roman) (cadence 2. -- Sarum?) tone)                      

                      

               

TONE 6: SOLEMN -- INTROIT, GRADUAL, ALLELUIA, OFFERTORY, COMMUNION

(1st incipit) (reciting- (mediation) tone) unison     voices               (every verse) 

                    Organ                   

(2nd incipit) (reciting- (cadence) tone)                           (every verse) 

                         

                              Tonale from the Codex Budensis 19 (c. A.D. 1963)

TONE 7: FAUXBOURDON ANONYMOUS (16th century)

S  A            

T      B          

                   

                      

(or this) VIADANA

S  A                    

T        B         

                     

                            20 Tonale from the Codex Budensis (c. A.D. 1963)

TONE 7: SIMPLE -- Psalms

(incipit 1. - Roman) (incipit 2. - Sarum) (reciting-note) [ flex ad lib. ] unison       voices              (1st verse only) (1st verse only)                    Organ               

(reciting-note) (mediation 1. - Roman) (mediation 2. - Sarum)

                        

                        

               

(reciting-note) [ pause ad lib. ] (reciting-note)

         

         

    

(cadence 1. - Roman?) (cadence 2. - Sarum?)                            

                                               Tonale from the Codex Budensis 21 (c. A.D. 1963)

TONE 7: MIXED -- BENEDICTUS, MAGNIFICAT, NUNC DIMITTIS

(1st incipit) (reciting-note) (mediation)                     (every verse)

                   

                  

(2nd incipit) (reciting-note) (cadence 1. - Ancient?)                     (every verse)

                   

              

(cadence 2. - Roman?) (cadence 3. - Sarum?)                            

                                               22 Tonale from the Codex Budensis (c. A.D. 1963)

TONE 7: SOLEMN -- INTROIT, GRADUAL, ALLELUIA, OFFERTORY, COMMUNION

(1st incipit) (reciting-note) (mediation)                     (every verse)                                      

(2nd incipit) (reciting-note) (cadence)

                      (every verse)                                       Tonale from the Codex Budensis 23 (c. A.D. 1963)

TONE 8: FAUXBOURDON ANONYMOUS (16th century)

S   A                  

T       B                 

                   

                 

(or this) VIADANA

S    A             

T       B       

               

              24 Tonale from the Codex Budensis (c. A.D. 1963)

TONE 8: SIMPLE -- Psalms

(incipit) (reciting- [ flex ad lib. ] (reciting- (mediation) note) note) unison     voices              (1st verse only)                   Organ              

(cadence 2. -- (reciting- [ pause ad lib. ] (reciting- (cadence 1.) associated with Advent and ) note) note)                              

                                                 

TONE 8: MIXED -- BENEDICTUS, MAGNIFICAT, NUNC DIMITTIS

(incipit) (reciting- (mediation) note) unison    voices               (every verse)                      Organ              

(reciting- (cadence 1.) (cadence 2. ad lib.) note)                                                  

               Tonale from the Codex Budensis 25 (c. A.D. 1963)

(1st incipit) (reciting- (mediation) note)                  (every verse) 

                   

             

(2nd incipit) (reciting- (cadence 1.) note)                  (every verse)

                

               

                  

                  

                   26 Tonale from the Codex Budensis (c. A.D. 1963)

TONUS PEREGRINUS: FAUXBOURDON LASSUS

          

             

                

            

(or this) RAYMOND H. CLARK after Francis Burgess

                   

                  

                     

                  Tonale from the Codex Budensis 27 (c. A.D. 1963)

TONUS PEREGRINUS: SIMPLE, MIXED Tonus Peregrinus is not used for the Proper of the , except for Gradual Psalms and Tracts during Advent and Lent

(incipit -- 1st verse only, (reciting- (mediation) except for ) tone) unison     voices                               Organ          

(reciting- (cadence) tone)              

                         

Raymond H. Clark San Diego, California 18 February A.D. 2006 Feast of Saint Mary Bernard Soubirous