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 1—6—1_ •—•—!- 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 D2, the additional note of the dac- f tylic cadence is anticipated with the accented syllable • S Q • • f and precedes the clivis). • Int. Tenor and Flex * Mediant Tenor / / / • So •• % B ' Is • : , _ _ _ f • • • 0 ». ••• 0 • • • + * • • Q t • -•- • • •• gJ / D -HH HP -•- • ~ a r • u a 9- a3 r • a o 9- a' 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 • • • a • • D : • t * or: f B r 1 • • 1 Third Tone. Terminations. Media nt of 2 accent* (the Terminations of i accent additional 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 • • / ft / 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 : B t • 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 : •* • . '• 0 • • [ • m • 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 nother formula. Int. Tenor and Flex • • • 1 • 0 • •* 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 • •* a •* • • • • •• I • 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 not her formula. Int. ibl b • 0 •• • 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. 118 Tones for the Versicles. The Tone " in directum. " This tone is used for the Psalms which are said without an Antiphon: for instance Ps. 145 at Vespers for the Dead, Ps. 120 at Lauds for the Dead, Ps. 60 after the Litany of the Saints. The use of this tone is noted in the respective places. At Easter and during the Octave of that feast, for the Psatms which are sung at the Hours without an Antiphon, and also for the Canticle Nunc dimittis. a special tone, indicated for those days, may be used. On Nov. 2nd, day of the Commemoration of all the Faithful Departed, another special tone in given ad libitum for the Psalms of the Little Hours and of Compline. Tones for the Versicles. 1. On Sundays and Feasts, after the Nocturns, after the Hymns of Lauds and Vespers, and after the SJiort Responsory of the Little Hours : f I- •M • • • • • f. Di-rigatur D6mine ora-ti-o me-a. J%. Sicut inc6nsum in conspectu tu-o. Or according to a more recent custom : r -m—•—•—• • '(V- . Di-rigjitur D6mine ora-ti- o mi- a. $. Sicut inc6nsum in conspdctu tu-o. 2. In all other cases : Additional note. y. Dignare me laudare te Virgo sacra-ta.... D6-i G^nitrix. I^. Da mini virtutem contra hostes tu- os. A monosyllable or an indeclinable Hebrew word, coming at the end of a Versicle, is sung as follows : A / B / 1 _ , 1 • • • a a D6mi- ne su- pernos. f D6mi- ne su- per nos. speravi- mus in te. sperd- vi- mus in te. in Je- ru- sa- lem. or : in Je- ni- sa- lem. praev6- ni- et te. prae- v6- ni- et te. J6- sus. Je- sus. Tone for the Absolutions and Blessings. At the end of a Versicle, AlleMia. is always freated as a Latin word. If the Versicle is longer than usual, as at Prime after Pretiosa. or after the Litany of the Saints, the formulas of the flex and of the metrum may be introduced, these being the same as in the tone for the Chapter, p. 123. On certain feasts of greater solemnity, the Versicle at Vespers is sung in a more ornate tone, as noted in the respective places. A special tone is indicated at Matins and Lauds of the three last days of Holy Week, and at the Office for the Dead. Tone for the Absolutions and Blessings. At Matins, after each Nocturn : Pa-ter n6ster. f. Et ne nos indiicas in tenta-ti-6nem. 1$. Sed libera... Absolution of the 1st Nocturn. / FUx. Xaudi D6mine Jdsu Christe prices serv6rum tu-orum, f et / Metrum. mi-se-r^-re nobis, * qui cum Patre et Spi-ri-tu Sancto vf-vis et re"gnas 1 in sae"cu-la saecu-ldrum. 1$. Amen. The Lector. / Blessing. Jiibe D6mne benedi-ce-re. Benedicti-6ne perp^tu-a * benedf-cat nos t Pa-ter aetdrnus. 1$. Amen. The Absolutions of the 2nd and 3rd Nocturns have only the metrum. 120 Tones for the Lessons. Tones for the Lessons. 1. Ordinary Tone. Jube Domne benedicere. and Blessing as has just been indicated, p. 119. This tone is the same as that for the Prophecy, p. 102, except for the final formula, where the ordinary cadence for the full stop is used. After which, the conclusion is made as follows : t Tu autem D6mine mi-se-r6-re n6-bis. 1$. D6-o gra-ti-as. When an interrogation occurs at the end of a Lesson, the ordinary interrogatory formula is used, if the conclusion Tu autem Domine. is to follow. At the Office for the Dead and at Tenebrae, the Lessons end without Tu autem. and the final formula is sung as in the Tone for the Prophecies, p.