Gregorian method

The Gregorian chant (and more generally, the Plainsong) places in a modal logic . In the Plainsong, the method is organized around the concept of content. The parts of the repertory exploit one or more elementary contents.

The methods of the Gregorian chant, traditionally classified in eight modes by the theoretical framework of the Octoéchos, with the analysis are varied. On the one hand, certain parts raise of primitive modes (in the , if or C ). In addition, the modes of the Octoéchos gather varied modal formulas, which it is advisable to distinguish.

Concept of “primitive content”

The content is a note of reference, melody rest, compared to which possible embroideries develop, in particular in Psalmodie of the formulas of intonation, stressing and rate.

Primitive modes

Cell mother of the primitive modes

The concept of cell-mother results from work from Dom Jean Claire in the field from the Gregorian method.

In connection with their use in the chant, these primitive modes are characterized by the “cell mother” of the intonation, which, on the basis of a serious note of support, at the third or the lower quad, puts in tension the récitatif one on the content. Symmetrically, final relieving tends to occur on this same note of support, which can thus play the part of finale.

The typical flight plan of a mode includes/understands:

“takeoff” starting from the note of support, by the formula of intonation.
“flight of cruising” with its ornamentations, in particular for the accents and rates.
the landing, by a formula of possible conclusion.

They are the basic elements of the Psalmodie.

The intonation is always done by avoiding the semitone:

For the mode of C , with the quad ( ground C ).
For the mode of D , with the quad ( C D ).
For the mode of semi , with the third ( C D semi ).

Primitive mode in D (content A)

This content is characterized by the absence of lower or higher semitone.

Its note of support is with the lower quad. According to the transpositions, this mode can meet on contents of D (with note of support on the ), of ground (with note of supports on D ), or possibly of the (with note of support on semi , the if being natural sign).

Its formulas can be theoretically transposed to contents of C (with note of support on ground , the if being flat), but it is not the natural notation, because the contents of C follow a mode C normally.

The modulations around the content are thus in an interval of major third. This interval is bordered on both sides by two minor thirds, which act as natural border. The note falling into this minor third is weak, sometimes mobile in the same part. However, when the modulations refer to the content, they deviate only but one minor third from the cord, which justifies a typical notation in D .

The modulations broader on both sides of the content are done normally with the minor third, which corresponds to a transcription by a content of D . According to the acoustic entourage, the modulation can however be done by a major third, higher side (content of ground ) or inferior (content of the ).

One can identify some parts very decorated in mode of the type has without secondary content, in the repertory of the Mass. Let us quote for example the communion Primum quaerite (xiv D.P.P.) as well as the Alleluia Eripe me (ix° D.P.P.) or Répons Emendemus in melius (Ash Wednesday).

Primitive mode in semi (Content B)

This content is characterized by the presence of a semitone above the note of reference.

Its note of support is located at the lower minor third. According to the transpositions, one can find it with a content of semi (with note of support on C ), or a content of if (with note of support on ground ). One can also meet his formulas on a content of the (with note of support on F , the if being flat), but this notation is not canonical in theory.

The melody modulations are done on a lower tone, and a higher semitone. The semitone accentuates the difficulty of the ascending modulation, and thus its character of tension and resistance. When the note of support develops its own modulations in median, and that the content B is transformed into dominant, the mode B can lead, according to the position of the semitone in the lower third:

With pair A-B ( ground if ) then with formulas triple in semi minor, typically accompanied by formulas standard by the third mode;
Or with pair C-B ( F the ) then with formulas triple in D minor, typically accompanied by formulas standard by the first mode.

The mode B is often not very visible, because the content is unstable. In its normal state, it tends to fall a tone after the accents, as if the content itself were already a state of tension (ex: PS 66:2): When it passes in its excited state, the B* mode tends on the contrary to go up of a semitone, to decorate itself around C immediately higher. B* is often distinguished from a mode C normal only by its intonation, and its final which reconsiders the content B, with reserve.

Apart from the primitive mode in semi , this mode thus appears very seldom in the compositions bi- or poly-modal.

There is hardly example of mode in semi without secondary content in the repertory of the Mass.

Primitive mode in C (Content C)

This content is characterized by its situation with the top of a semitone.

Its note of support is located at the lower minor third. According to the transpositions, one can find this mode transcribed by a content of C (with note of support on the ), or of F (with note of support on D ).

In this mode, the two modulations correspond to a tension, the higher modulation because it goes up, and the lower modulation because it is of a semitone. So this mode presents the singularity to frequently mark the accents of the words by the descent with the semitone, and not by a rise. Conversely, rate on the half your inferior does not appear conclusive, but rather suspensive.

The mode C introduces readily sequences of waiting to the higher note. It passes easily to the higher major third, of which it plays the part of note of support. These rises can lead to modal parts Bi, of type C-B or CA Higher rate with the semitone not being conclusive, its finale tomb is on the content itself (final in F , which leads to associate it with standard formulas 5° or 6° mode), that is to say on the lower third (final in D ). Example: PS 51: 19 Example PS. 36:5 Another example, with preparatory rise anticipated with the stressing:

One meets some examples of modes in C without secondary content in the repertory of the Mass, practically always of the sixth mode: Introïts Cantata Domino (iv° DP) and Omnes gentes plaudite (vii° D.P.P.), the offertoires Dominates convertere (ii° D.P.P.) and Domine in auxilium meum (xvi° D.P.P.), the communions In splendoribus (Christmas), Pascha nostrum (Easter), Mitte manum (Sunday in albis ). The communion Revelabitur (Vigil of Christmas) is exceptionally first mode, the final candence having fallen with the D .

Unstable contents

Content B* ( si/mi )

Musicalement, this mode exploits the tension introduced by the explicit semitone between the content B ( if ) and a secondary content (content of waiting) located a half your at the top ( C ). The intonation quickly makes sound the C , and by contrast, reveals the if like a driven back or frustrated content. The C then plays at the same time the part of note of relaxation for the if (gives rhythm), but also note of accent (tension).

This mode is in permanent imbalance, basically unstable, not having a note of rest. Each of the two contents seems a variation of the other, the if like a lower variation of the C , and this last like a higher variation of the if . This ambiguous play is unstable. It alternates easily with passages where the content is of type purely B, or with others or it on the contrary passed on a C* mode.

Spiritually, this mode correctly translates the fundamental dissatisfaction of the mystical dash. The if corresponds to “the life in this world”, and the C represents “the spiritual life”. The take-off on the cord C seems a release, but this secondary content really does not belong to the mode B. the repercussion on the cord if seems painful, hesitant, but necessary, and the final leaves a feeling of bitterness and incompletion.

The parts of this method have their finale in normally semi . This unfinished final can be sometimes “solved” by a descent of a tone, on a final in D .

Historically, the B* mode tends to being unstable, and migrating to the wire of the centuries towards the C* mode. The leading note thus goes up to the higher semitone ( semi migrating towards F , or if migrating towards C ). A sign characteristic of such a migration is the presence of podatus of accent in lower semitone on récitatifs of the type Psalmodique in C or F . This anomaly only justifies with it to diagnose a B* mode for the part (knowing that the reversed podatus exists in mode C…). This example (PS 14:1) is rather typical of a mode of the type B*, the content being noted here by a semi . The intonation on “ Habitabit ” introduces many variations content on both sides, but this one is like unstable: as soon as it is touched by the melody, it is to return it towards the low register or the acute one. Into the first segment, the content falls constantly gives rhythm some on the D . Conversely, the second segment “ in assembles sancto tuo ” is typical of an avoidance of this modal cord, makes an attempt on the higher semitone which is solved on the content only with the last syllable. The second example (PS 41:3) is of a fuller dynamics, but remains in the modal type B* on the semi . Aren't the higher embroideries definitely modal (embroideries of the type D on the ground ?), but are connected rather with embroideries resting on the quad higher.

The example above (PS 35:6) is rather typical avoidance of the melody compared to the if . The if is not located without ambiguity as twists modal only by the rate which it receives at the end of the incidental clause with “ caelo ”: such a rate does not make it possible to interpret the cord C like modal.

The isolated B* modes tend to being rare, especially in the repertory decorated with the Mass, but one finds nevertheless like Introït the famous Reminescere (ii° D.Q.) and In voluntate (xxi° D.P.P.) whose semi are assembled to the F in the edition vaticane, the offertoires Tui sunt caeli (Christmas), which preserved its semi , and Perfice gressus meos (Sexagésime) which lost to them his.

Content C* ( fa/do )

Just as the content C basic, this content can be transcribed like here by a content of C (with support on ground ), or also by a content of F (with support on C ). The hot area of the pien is located immediately under the content, but its half your is not clarified. Its cell mother circumvents the minor third, on the basis of the lower quad. More still than the B* mode, C* is extremely rare in isolated mode. One hardly meets it but in composed modes, generally in the Graduel.

The characteristic of this mode is the unvoiced comment: The lower modulations either absent, or are carried out on the minor third. One frequently finds there fast characteristic oscillations between C and the .

In the same way, the content above the half your ( C ) very often receives reflected notes (Distropha or Tristropha) which are almost characteristic of this mode. The repercussion of these neumatic formulas gives as many attacks as there are notes: between each attack, the voice can fall in intensity, but also in height. These reflected notes thus function a little like a slow trille with the lower semitone, which suggests without affirming it the implicit semitone missing in the interval. Sometimes (Of the alternatives of writing clarify it by a final cephalicus.) This C* mode is especially characterized by its concern not to evoke the lower semitone directly. This concern can slacken in a mode C, which standardizes the semitone in the direction of a better fluidity in the transitions between the and C . It can be solved on the contrary in a B* mode, which accepts the semitone as gives rhythm suspensive explicit and secondary content.

The C* mode (transcribed on F ) easily receives intonations of the type D F the , which directly place the melody on the upper limit of the mode. The example above is a mixed mode. In these two incidental clauses one recognizes there well into final a base of the type has on the cord ground . The initial ones, on the other hand, are clearly posed on the C , which plays the part of a modal cord of type C, but the embroidery with the lower semitone is systematically avoided. When the if natural ends up appearing, on “ recto ”, it starts the descent on the ground , and thus belongs already to the content has lower. The “short version” of the antienne (PS 72:1 A) follows the same structure, in a way even simpler:

There is no definitely identifiable C* mode isolated in the current directory from the Mass.

A* content

To be complete, a content which one can baptize A* can be guessed in the analysis of certain decorated parts. It is formally about a base of the type has having oscillations to the higher third, following the same decorative vocabulary as a method to two contents of the type AC*.

This isolated A* type does not meet clearly, but the offertoire Exaltabo Dominates you (Ash Wednesday) would approach this type.

The modal anomaly that this type represents expresses more in the family of Alleluias of the type Dominus regnavit (Christmas, mass of the dawn), and especially Dies sanctificatus (Christmas) whose stamp is a melody-type rather frequent. These parts play on the quad resol , which form two contents of the type has, but the basic formula AqA is supplemented by a cord F extremely present by developments of the C* type in relation to the D basic , the unit forming like a mixture of mode AC* and AqA (even by moment B*A in the higher third).

This type is marginal in the Gregorian repertory. It is difficult to know if it is really about a A* content to whole share, evolution of a more complex method, or effect of the centonisation mixing with the AqA repertories and AC*.

the cord of the F is obviously very present, but it misses autonomy. When it appears, its part is more melody than structural, either that it is posed in note of waiting towards the D or the ground , or which it plays the role of an ornament of the D to the higher third. In a case as in the other, its position does not enable him to be essential obviously like a content of the C* type on whole share.
the superposition of three contents in the same quad would be very atypical in a general picture of the Gregorian repertory where the modal cords are always separated by a third or a quad.
It does not have there reason to suppose that the centonisation would have limited its effects at piece-rates of this A*qA type, saving the other parts of the repertory where two contents are distant of a quad.

The modes with two contents of the type AC*, rather frequent in the second mode, can be possibly analyzed like a content of a* type, as comparison. One will find as part of this type the offertoire Tollite carried (Vigil of Christmas), Deus, Deus drive (2nd D.P.), In you speravi (iv° D.P.P) and perhaps the Feature Which habitat (1st D.Q.).

Superposition of the contents

Modal evolutions

Historically, the antiquated modes of the primitive repertory of the Plain-chant evolved/moved according to two mechanisms: descent of the finale on a lower cord of supports of the cell-mother, or rise of whole or part of récitatif on a higher cord of supports. In both cases, the stabilization of the melody on the cords of supports and the embroideries melody around this cord give him a character of content, thus making evolve the method to types with two (or three) contents.

It is difficult to determine if these rises or descents reflect the historical evolution of particular parts. On the other hand, the maturation of the modal type and continuity between the primitive types and the modes with several contents are read clearly in the Gregorian repertory.

The rises and descents of contents mainly were done per third or quad. Indeed, the installation of a second récitative content only one away tone from another would be unstable, the variation of a tone being always interpreted like a variation compared to the content of origin, which requires a resolution.

The variations of a fifth which one can find in the current repertory can be interpreted like the effect of a simultaneous rise and a descent compared to a median (modes with three contents), or like the rise or the direct descent of a fifth. Insofar as the modal type with three contents is always existing, and that the repertory authente is homogeneous, there is no reason to suppose the existence of a modal type where the median would be by excluded nature.

Bipolar modes

The bipolar modes are structured around two Teneur S separated by a third (or possibly a quad). They are formed starting from the primitive modes of the type has, B or C, by transforming into Teneur the note of support lower or higher.

Here for example in a melody-type of antienne (here, PS 46:6), the superposition of two contents of the type has, one on the D , the other on the the (thus, with a quad of interval). One finds well the initial intonation with the quad compared to the D , modal cord definitely marked in the first incidental clause, which yields the place to the the in the second incidental clause.

There are only some possible combinations of bipolar modes in the Gregorian repertory. These bipolar modes are always “even” modes, i.e. plagiaux.

All the 2x3x3=18 combinations of two modes separated by a third or a quad are not possible. The combinations absent from the repertory reflect simple musical constraints:

There is always a note of the range to the fifth and the quad of a content (what prohibits combinations of type AA or BB).
When a content is bordered on a side by a major third, the other east coast preferably a semitone (what excludes the quad increased in the embroideries). In other words, when the cord the is used as higher content, its higher embroideries are always made with the higher semitone, on a if flat, which makes a content of the type B of it. One finds rare parts which can pass for a BqA type in the repertory, where the if is systematically natural sign: Communion Exsulta filia Sion (Christmas, dawn), Alleluia Dextera Dei (iv° D.P.); but these if natural sign is in relation to a rise with the C , which attaches them to the BqBC type (where the if is variable).
the exclusion of the theoretical mode CqC= C-F comes (probably) from the effect of quad increased between the F and the if (sensitive characteristic of the mode C lower). The natural base with the quad of a mode C is a mode of the type has, the stable mode correspondent would be then of AqC type. The Gregorian repertory knows increased quads in addition (structures of the VAT type in the seventh mode), but in symmetrical structures much more stable. However, a part as the offertoire Dextera Domini (Maundy Thursday) could be attached to this type.

Mode BC= the-C plays a particular part. It is him which involves a variable position of the if in many parts: The cord the being of type has, the higher embroideries are made on a if flat, the cord C being of type C, its lower embroideries are made on a if natural sign. On the other hand, this mode appears only in more complex compositions, practically never as a simple bipolar mode. One can quote like gradual atypical exceptions the Tecum principium (Christmas, midnight), the gradual ones of the type “ Requiem ” (Mass for the dead), as well as the communion Ultimo festicitatis (Vig. Pentecost).

Modes with three contents

The combinations of simple modes, added to the pair B-C which does not exist like autonomous simple mode, lead theoretically to eight modes with three contents, of which only six are realizable. They are always “odd” modes, authente .

In these modes “with three contents”, it is rare that the lower cord develops complete variations melody, at the same time lower and higher. Generally, these variations are reduced to the side higher, which connects the cord with a simple cord of support to the low register, not than a content than the direction full with the term. These modes can thus be analyzed in an equivalent way like modes (possibly) bipolar, for which the lower note of support is at the fifth of the higher content. This approach hardly involves difference in the analysis of the modes.

It is necessary to add with this series theoretical type CAC ( F-the-C ), extension towards the low register of the Second mode AC (mode known as “2B”), but whose finales remain on the median.

; Base, median and dominant These modes are characterized by agreements of three notes, with a third of interval, and either on a single content. Musicalement, the philosophy of their accompaniment is not any more that of a bumblebee of bagpipe, but that of an agreement of organ.

The framework of these modes is articulated around three notes:

a base is often used as finale and then gives its name to the tonality.
dominant, located at the fifth of the base, and gives its character authente to the mode.
a median which can be with the major or minor third base.

In addition, these modes are characterized by a verticality more marked much than the primitive modes. Their composition lies within a scope where a theory of the range was made. The contents are located absolutely compared to this range, and either simply the ones compared to the others. This vertical dash is the musical equivalent of the passage between the Romanesque art and Gothic verticality. These modes remain Gregorian, in what tonic, median and dominant developments of contents of the type continue to receive has, B or C.

Direct jumps with the quad or the fifth are possible, in particular in the composition of the intonations or the recoveries, whereas such variations are practically unknown more primitive modes, which progress only by proximity.

In addition, the melody often makes play of the agreements of three notes in fast succession, with the possible presence of one or two intercalated notes. These agreements plated on the melodies are played in rise with the intonations and recoveries, and in descent at rates. The three notes are generally those of the agreement of accompaniment (bases, tonic and dominant).

They can also be notes of ornamentation, for example of a recovery C semi ground in a context where the content is D . This impertinent manner to jump over a content without lengthily greeting it with the passage, nor even to mention it, is very characteristic of these modern tonalities. This example (PS 8:2) is typical first mode: a superposition of the contents has, C and B (formula ACB). The intonation is typical of this mode, as well as phrased which falls down between a content of the (first and second segment), then in F (third segment), to return to be posed on the D .

References and bonds

For the analysis by table of the modes observed in the Gregorian repertory, to see work of Dom Jean Claire, and “ Gregorian chant ” p. 113 & 114.

Gregorian modes, Dom Daniel Saulnier, Solesmes 1997 (ISBN 2-85274-193-8)
Gregorian chant, Albert-Jacques-Bescond, Giedrius Gapsys, Buchet/Chastel 2000 (ISBN 2-283-01811-0)

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