2*
Before Lauds.
Note the observance of a final accent on the Hebrew word, ‘Syon’. In the English editions Hebrew words are treated with English pronunciation.
4*
Invitatory Psalm-Tones.
The Invitatory Tones are used with the invitatory antiphons as indicated in the Breviary. The verses are sung by one, two, three, or four, depending upon the feria or feast. The repetition of the invitatory antiphon follows the indications given here (‘Integrum’ and ‘Altera’), except during Passiontide, when the ‘Gloria Patri.’ verse is omitted. Then the repetitions of the antiphon begin with the ‘Altera’ and thus alternate with ‘Integrum’ through to the end. This affects only Tones IV.i. and VI.iii.
The York Venite Tones are available here. Venite tones also appear in the Liber hymnarius (Solesmes: Abbaye Saint-Pierre, 1983).
It is a characteristic of the Venite tones that the inflection above the reciting note generally begins on an unaccented syllable and continues with a subsequent accented syllable, in the manner of an anticipation.
At present there is no single complete original source of Sarum Venite tones. The edition in some cases makes use of other traditions (York, Dominican, Monastic, Roman) to complete the series. It also becomes evident from working with the sources, Sarum and otherwise, that the repertoire was not entirely stable; that local variants seem to appear from time to time. An example would be Tone VI.iii. where version ‘B’ found in BL-52359 is somewhat simpler (one might say, more ferial) than version ‘A’ that appears in Salisbury Cathedral Library MS 24, but both manuscripts are clearly of the Use of Sarum.
Tone I.
The York version of this tone is IV.i. The Solesmes version is IV*.
This tone is also used for the non-Sarum Offices of St. Augustine and St. Edmund, King and Martyr, that appear in the Antiphonale Sarisburiense edited by W. H. Frere.
7*
Tone II.
This tone is also used for the proper invitatory for St. David that appears in the Penpont antiphonal. This tone is also used for the conjectural invitatory for the Sarum office of Blessed Mary ‘Ad nives.’
10*
Tone III.
13*
Tone IV.i.
The York version of this tone is IV.v.
16*
Tone IV.ii.
The York version of this tone is IV.iii. The Solesmes version is ‘E ad lib’.
18*
Tone IV.iii.
This tone is also used for the sixth day in the octave of Christmas.
The York version of this tone is IV.ii.
In the Dominican tradition (Rome: Santa Sabina, XIV L1:370r) this tone ends on D and is used with invitatories in modes I and II.
21*
Tone IV.iv.
The York version of this tone is X.x.
The York and Worcester versions of this tone provide an alternate melodic fragment in stanza 2 at ‘Dominus plebem suam’ and the corresponding places in the following stanzas. The Sarum melody is more like the Dominican (Rome: Santa Sabina, XIV Li:370v) here.
24*
Tone IV.v.
The York version of this tone is IV.iv. The Solesmes version is IV.
Tone IV.v is similar to the tone used for Te Deum laudamus.
This tone is also used for the feasts of St. Anne, the Translation of St. Osmund, and the Most Sweet Name of Jesus. This tone is also used for the appropriated invitatory of the office of the Presentation of the Blessed Virgin, and for the conjectural invitatory for the office of the Image of the Saviour.
27*
Tone V.
Because of the restriction of this tone to Sundays in Eastertide, to Ascension week and Pentecost week, this tone takes on a particular seasonal and festive character. All three associated invitatory antiphons share the same melodic profile. The only exception to this is the Third Sunday of Lent, but in this case the antiphon melody is different, and the even endings use the B-flat (as indicated in parentheses).
30*
Tone VI.i.
33*
Tone VI.ii.
This tone is also used for the feast of the Transfiguration.
Sarum sources have this tone ending on F (untransposed) or on C (transposed). The untransposed form includes B-flat throughout and gives a semi-tone below the finalis, while the transposed form accommodates the whole-tone below the finalis. Of the three associated invitatory antiphons, only that provided for the later feast of the Transfiguration is transposed. Although it does not contain an explicit B-flat, the use of B-flat here–indicated editorially–is the only possible reason for the transposition.
It would appear that the untransposed version is the older one, and that the transposed version (with B-flat) is particularly associated with the antiphon for the Transfiguration. It should be noted, however, that the antiphon for the Transfiguration in fact includes both B-flat (presumed) at ‘regum’ and B-natural at ‘adoremus’, matching the cadential gesture of the other two antiphons. Nevertheless, the transposed form appears in the Sarum Tonary with reference to the Eastertide antiphons but without mention of the Transfiguration antiphon, suggesting that even before the adoption of the latter, the tone was already being sung with the whole-tone below the tonic.
The York (untransposed) version of this tone is VI.ii. The Solesmes (untransposed) version of this tone is VI*. The Dominica (untransposed) version appears in Rome: Santa Sabina XIV L1:371v.
35*
Tone VI.iii.A.
Tone VI.iii. is the ferial tone, used on many ferias and unruled feasts.
Tone VI.iii. appears in two forms in the Sarum sources; VI.iii.B. is essentially a simpler form of Vi.iii.A. The Sarum Tonale gives only the beginning and the ending of the first two stanzas, music that is shared by both versions of the melody.
Tone VI.iii is related to that provided by Solesmes for the Office of the Dead (LU:1779.) It is also related to Liber Hymnarius Tone VI (p. 149), but with the reciting tone elevated by one step. A Dominican version (with a different ending) appears in Rome, Santa Sabina, XIV L1:371v.
38*
Tone VI.iii.B.
41*
Tone VII.i.
Tones VII.i. VII.ii. and VII.iii. are straight-forward variations of one another. Tone VII.i. has two alternating endings, G and B; Tone VII.ii. reversese the order of the endings; B and G; Tone VII.iii. uses only the G ending throughout.
The use of this version of the melody is limited to Sundays in the period from Domine ne in ira through to the first Sunday in Lent, plus the fourth Sunday in Lent, thus giving it something of a seasonal character.
44*
Tone VII.ii.
This version is only sung three times in the year.
46*
Tone VII.iii.
This version is only sung once a year, on the feast of St. Andrew.
50*
Psalm Tones
The tables of Psalm-Tones are compiled on the basis of the ‘Tonale secundum usum Sarum et universalis ecclesie’, The Use of Sarum, vol. 2 ed. Walter H. Frere (Cambridge: Cambridge University Press, 1901: i-lxxiv, and the ‘Toni’ found in the Sarum Antiphonale (1520): 68v-70v.
Regarding the setting of extra unaccented syllables at the mediations and endings, indicated in the tables by the hollow neumes, there is little evidence in the Sarum sources that demonstrates an agreed upon practice. What evidence there is is limited to an occasional psalm-verse in the tonaries, and the fully noted psalms and canticles that employ the Tonus Peregrinus. Later indications for singing these extra unaccented syllables appear in Thomas Helmore, A Manual of Plainsong, (London: Novello, 1850), new edition, H. B. Briggs and Walter H. Frere (London: Novello, 1902); George Herbert Palmer, The Sarum Psalter (London: George Bell & Sons, 1894; New Edition, Wantage: S. Mary’s Convent, 1963), and Charles Winfred Douglas, The Plainsong Psalter (New York: H.W. Gray, 1932). However, these sources do not always agree, nor do they indicate their sources. The editions by the monks of Solesmes (e.g. Liber usualis, Tournai: Desclkee, 1961) indicate another method of treating the unstressed syllables in western psalmody.
In this edition the setting of extra unaccented syllables usually follows the practice of the above sources to the extent that they are in agreement. In cases of disagreement a choice has been made. We need not presume that performance practice was consistent in ancient times. Nevertheless this edition attempts at consistency for the sake of uniformity in performance. Performers are of course at liberty to interpret the unaccented syllables as they see fit.
The Hebrew words Abraham, David, Amen, and Israel typically have an accent on final syllable in Sarum Latin. It is my view that only in such cases should the abrupt form be used in a mediation, and then only in the Latin; but not in English, where the Hebrew words adopt English accents.
In pointing the Sarum Psalter in English, I have attempted to maintain a pattern that reflects the Latin use of accents.
Solemn Tones
Solemn tones are used only for Benedictus and Magnificat.
In solemn tones, the mediation has two accents with one preparatory note. In tones II and VIII the intonation is therefore omitted at the Gloria Patri. (Note that this contrasts the psalm verse and Gloria Patri at the Officium of the mass, where the mediations of tones II and VIII are of one accent with three preparatory syllables.) Singers may, however, wish to perform these ‘Gloria Patri’s in the Solemnes manner, with intonation, and beginning the inflection on ‘Pa-‘, as in the Liber Usualis for example. Another method, found in the Dominican Antiphonale 1933, begins the Gloria Patri with the intonation, but then continues directly with the mediation but omitting the preparatory note. Unfortunately no Sarum sources are yet forthcoming on this important point of interpretation.
The location of inflection in the second part is sometimes editorial, since it is by and large not indicated in the sources.
It is interesting to note that the beginning of Magnificat uses the intonation and omits the mediation, whereas the normal practice throughout therest of the Psalter is to omit the intonation and keep the mediation, or to use the abrupt mediation if necessary. The effect here seems to be to create a single musical phrase ‘Magnificat anima mea Dominum’ using the intonation and the final ending.
[From the earlier version: Psalm Tones in English-See ‘A New Method’ immediately below.
In pointing the English editions for singing I have adopted the method set forth by G. H. Palmer in The Sarum Psalter whereby the beginning of the melodic inflection for the mediation and ending of each tone is indicated by the figures 1 through 8 placed above the corresponding syllables of the psalms. This is the only system of pointing in current use that provides for the singing of any psalm or canticle to any of the psalm-tones. However, I have by no means adopted Palmer’s pointing. Rather, the pointing style used in this edition leans much more towards that of C. Winfred Douglas, as found in The Plainsong Psalter.
It should perhaps be noted that the accentual patterns of English differ from those of Latin. English is characterized by a range of stresses from strong through to weak; English is apt to have consecutive stresses; and English exhibits some flexibility in its accents. For example, ‘unto’ can be stressed on either the first or the second syllable. Performers are of course at liberty to use any pointing method they may prefer.
I have found the abrupt intonations to be unnecessary in the English Psalter. I treat Hebrew words in their anglicized form, and thus I also consider the abrupt mediation to be unnecessary.]
Pointing the Psalms in English: A New Method of Pointing the Psalms.
The following is a detailed discussion of the pointing that has been adopted in the Psalter. This section also introduces a new method of pointing the Psalms that is intended to give a cleaner and simpler look to the page. NOTE: This new method will be employed beginning in October 2015.
Symbols
The symbols used in this new method are: ^, ‘, and ~. They appear above the relevant syllables of the text. These are intended to replace G.H. Palmer’s numbering system with a simpler, less cluttered appearance that reflects the accent structure in a visual way. However, to make use of them, an understanding of the structure of the Psalm-Tones in necessary.
‘ indicates the final accented syllable. It is used in mediations and endings of one accent (e.g. mediation of Tones II, V, and VIII). It is also normally used to indicate the second accent in mediations and endings of two accents (e.g. Tone VII).
^ indicates the first accent in mediations and endings of two accents (e.g. Tone VII).
[. . is used to indicate the two syllables preparatory to the final accent in the Ending. Both dots are used in connection with endings of two preparatory syllables (e.g. Tone I). Only the second dot is used in connection with endings of one preparatory syllable (e.g. Tone II).]–these dots were found to be unnecessary and are omitted in later editions.
~ indicates the commencement of the mediation of Tone IV, and Endings i through v of the same Tone, as well as Ending vi. of Tone III. It appears 2 syllables before the final accent of the mediation, and 3 syllables before the final accent of the ending.
In addition, curved symbols indicate the two-note inflections that are found in the Solemn Tones. An upward curve indicates a rising two-note neume; a falling curve denotes a falling two-note neume.
The above symbols have been incorporated into the new editions of the Psalter.
Pointing in the Latin Psalms
The Latin language has an unambiguous accentual pattern and so less pointing is required here. Where the Latin Psalter is pointed, I have used only the symbols ^, . and ~. The user should be able to readily recognize the location of the accent that concludes each line of text (the second last syllable unless otherwise indicated; the two and one syllable preparations to a final accent, when needed, will be the first and second syllables following ~.
Accent Patterns in the English Psalter.
The following discussion, speaking of accent more generally, uses the familiar symbols / and – to indicate strong and weak syllables.
This discussion treats first the mediations and then the endings.
The Mediation.
Tones 1 and 6.
In these cases the inflection is not related to the accentual pattern; it always occurs on the penultimate syllable.
Tones 2, 5, and 8.
In the ideal accentual pattern the text phrase will end [/ -] or [/ – -]; the inflection will be on the final accented syllable.
. . . in the way of sínners : [Ps. 1:1]
. . . planted by the wáter-side : [Ps. 1:3]
Cases of [/ /]are treated as if they were [/ -].
. . . and so ye perish from the ríght way : [Ps. 2:12]
. . . O Lord, with my whóle heart : [Ps 9:1]
However a phrase ending [- /] goes against the natural pattern of the musical inflection. Palmer’s method is to employ the ‘abrupt’ mediation, in which the inflection comes on the final syllable, with no return to the reciting note until the beginning of the following phrase. While this practice is occasionally found in the Sarum sources in relation to the setting of Hebrew words, such as ‘Israel’, there is no evidence of it being applied to the Latin. In this edition the choice has been made to avoid this practice. Instead the musical inflection is located in relation to the accent-pattern of the preceding syllables. In the case of [/ – /], the inflection will be on the antepenult; [/ – /] is treated as [/ – -].
. . . Be wise now therefore, Ó ye kings : [Ps. 2:10]
In the case of [- – /] some interpretation is necessary. First it is important to try to determine whether one of the two weaker syllables is stronger than the other. If the first of the two weak syllables is stronger than the second, then the interpretation will be as if it were [/ – -].
. . . in the law óf the Lord : [Ps. 1:2]
If the second of the two weak syllables is stronger than the first, then the interpretation will be as if it were [- / -].
. . . that say of mý soul : [Ps, 3:2]
. . . no man rememberéth thee : [Ps. 6:5]
In the case of [/ / -] the musical inflection will fall on the penult.
. . . shall be confounded and sore véxed : [Ps. 6:10]
If there is no distinction of weight between the two unaccented syllables, then it is helpful to evaluate the accents of the previous syllables as well. If a strong accent falls on the fourth last syllable [/ – – /] and there is no distinction of weight between the two unaccented syllables, then the inflection will fall on the penultimate syllable as the ‘natural’ location.
. . . shall láugh them tó scorn : [Ps. 2:4]
. . . call upon the Lórd with mý voice : [Ps. 3:4]
. . . the ungodly cóme to án end : [Ps. 7: 9]
. . . are come to a perpétuál end : [Ps. 9:6]
Occasionally a text phrase will end with three unaccented syllables [/ – – -]. The musical inflection will fall on the penult.
. . . they are altogether become abómináble : [Ps. 14:4]
If a strong accent falls on the fifth last syllable [/ – – – /], this will tend to make the middle of the three unaccented syllables feel strong as in a metrical alternation of strong and weak.
. . . it ís not só with them : [Ps. 1:5]
. . . and the físhes óf the sea : [Ps, 8:8]
However, this is not always the best choice; context may lead to another interpretation:
. . . the instruments óf death : [Ps. 7:14]
If a strong accent falls on the sixth last syllable [/ – – – – /], this will tend to make the third of the unaccented syllables feel strong:
. . . and to the Fáther, and tó the Son :
. . . give séntence with mé O Lord : [Ps. 7:8]
Certain polysyllabic words are not strongly defined by accent, and instead accommodate to the surrounding text. For example, while ‘unto’ naturally takes an accent on the first syllable, it can instead take an accent on the second syllable:
. . . belóngeth untó the Lord : [Ps. 3:8]
Another example is the word ‘into’.
In any case, the musical inflection of the mediation for tones 2, 5, and 8 will always be on either the penult or the antepenult.
Tone 4 always corresponds to the pattern of Tones 2, 5, and 8, but with two preparatory syllables.
Tones 3 and 7.
The mediation of Tones 3 and 7 is of two accents. It may perhaps be better to think of these as tones that coincide with the penultimate accent of the text phrase. These two mediations always agree with one another.
In the simplest form there will be two unambiguous accented syllables concluding the phrase in the pattern [/ – / -]:
. . . nor stood in the wáy of sínners : [Ps. 1:1]
. . . furiously ráge togéther : [Ps. 2:1]
Expansions of this basic pattern accommodate an additional weak syllable after one or both of the accents, giving [/ – – / -],
. . . not be able to stánd in the júdgement : [Ps. 1:6]
. . . knoweth the wáy of the ríghteous : [Ps. 1:7]
[/ – / – -],
. . . planted bý the wáter-side : [Ps. 1:3]
. . . it ís not só with them : [Ps. 1:5]
and [/ – – / – -].
. . . Yét have I sét my King : [Ps. 2:6]
. . . are they incréased that tróuble me : [Ps. 3:1]
In many cases the accent pattern of the text will be [/ – – /]. Here the norm will be to follow the first accent but to alter the second. This does not mean that the penult will now be accented, but only that the associated note will fall on that syllable thus [/ – (/) -]:
. . . the láw of the Lord : [Ps. 1:2]
. . . in heaven shall láugh them to scorn : [Ps. 2:4]
In cases where there are two accents in a row in the penult and antepenult positions, the norm, as above, will be that the second accent is respected and the first is ignored. This means that cases such as [/ – – / / -] will in fact be interpreted as [/ – (/) – / -]:
. . . My soul álso ís sore tróubled : [Ps. 6:1]
. . . shall be confóunded, ánd sore véxed : [Ps. 6:10]
However, where there are two accents in a row on the third last and fourth last syllables [/ / – /] or [/ / – – ], the interpretation will typically be [/ – (/) -]:
. . . Why standest thou so fár off, Ó Lord : [Ps. 9:21]
As for the above Tones, where there are three or more unaccented syllables in succession, an accent will be assumed, as in the following:
. . . While mine énemíes are dríven back : [Ps. 9:3] (accent on ‘míes’ is added.)
It should be noted, however, that the English language has varied degrees of emphasis on its accents. In cases where two accents occur in direct succession the context will help to determine the precedence; in some cases the conclusion can only be subjective:
. . . He hath said in his heart, Tush, God háth forgótten :
or . . . He hath said in his heart, Tush, Gód hath forgótten : [Ps. 9:32]
Endings:
Tones 1, 6, and 8 function as a group with one accent and two preparatory syllables; Tone 4 always begins one syllable earlier; Tones 2 and 3 begin one syllable later. Tones 5 and 7 function as a separate group with two accents.
Tones 1, 6, and 8:
The melodic accent will always fall on the penultimate or the antepenultimate syllable. The simplest use of these Tones is when the penult is accented. Both [/ – / -] and [- – / -] will be set the same way, with the inflexion beginning on the fourth syllable from the end.
. . . and hath not sat in the seat of the scórnful. [Ps. 1:1]
. . . bring forth his fruit in due séason. [Ps. 1:3]
Patterns such as [/ – / /] and [/- – / /]will be treated in the same way:
. . . the people imagine a váin thing ? [Ps. 2:1]
. . . in the work of his ówn hands. [Ps. 9:16]
[/ – – -] will also be treated the same way [/ – (/) -]:
. . . against the persecútors. [Ps. 7:14]
In [/ – / – -] and [- – / – -], when the antepenult is accented, the same principle will apply, and the inflexion will begin on the fifth syllable from the end.
. . . and cast away their córds from us. [Ps. 2:3]
. . . this day have I begótten thee. [Ps. 2:7]
. . . turned back, and put to shame súddenly. [Ps. 6:10]
The same treatment is used when in the same patterns the final syllable is accented [/ – / – /] and [- – / – /]:
. . . ye that are judges óf the earth. [Ps. 2:10]
. . . world without énd. Amen.
In [/ / – -] the the musical accent will typically be on the antpenult:
. . . will he exercise himself dáy and night. [Ps. 1:2]
. . . away from the face óf the earth. [Ps. 1:5]
When the accent pattern of the text concludes [/ – – /] a determination must be made as to whether the penult or the antepenult will be assigned the accent of the melodic ending (it will typically be the antepenult so as separate the melodic accent from the text accent on the final syllable):
. . . There is no help for him ín his God. [Ps. 3:2]
. . . and the lifter up óf my head. [Ps. 3:3]
but
. . . that thou visitést him ? [Ps. 8:4]
. . . all thy marvellóus works. [Ps. 9:1]
. . . when he getteth him into hís net. [Ps. 9:30]
[/ – – – /] will typically interpolate a musical accent on the antepenult:
. . . their memorial is perishéd with them. [Ps. 9:6]
. . . for thou beholdest ungodlinéss and wrong. [Ps. 9:35]
Tones 5 and 7:
The following text accents will all naturally be suited to the endings of Tones 5 and 7. (a) [/ – / -] (b) [/ – – / – ] (c) [/ – / – -](d) [/ – – / – – ]
(a) . . . whatsoever he doeth, ít shall prósper. [Ps. 1:4]
. . . congregation óf the ríghteous. [Ps. 1:6]
(b) . . . sat in the séat of the scórnful. [Ps. 1:1]
. . . bring forth his frúit in due séason. [Ps. 1:3]
(c) . . . and cast awáy their córds from us. [Ps. 2:3]
. . . rejoice unto hím with réverence. [Ps. 2:11]
(d) . . . and the lífter up óf my head. [Ps. 3:3]
. . . and he heard me óut of his hóly hill. [Ps. 3:4]
In [/ – / /] and [/ – – / / ] the musical accents will interpret the final syllable as weak:
. . . the people imágine a váin thing ? [Ps. 2:1]
. . . wickedness shall fáll on his ówn pate. [Ps. 7:17]
The text pattern [/ – – /] will often be interpreted with musical accents as [/ – (/) -]:
. . . away from the fáce of thé earth. [Ps. 1:5]
. . . and water my cóuch with mý tears. [Ps. 6:6]
The text pattern [/ – / / – – ] will typically be resolved by omitting the accent on the fourth last syllable:
. . . will he exercíse himself dáy and night. [Ps. 1:2]
When the final three syllables are in the form [/ – /] the antepenult will normally be treated as the final musical accent:
. . . ye that are júdges óf the earth. [Ps. 2:10]
. . . all they that pút their trúst in him. [Ps. 2:12]
In cases such as the following [/ / – /] the context must determine whether the final musical accent is on the penult =[/ – (/) -] or on the antepenult = [/ – / – -] or [/ – – / – -].
. . . There is no hélp for him ín his God. [Ps. 3:2]
. . . and who will give thee thánks in thé pit ? [Ps. 6:5]
Where there are three unaccented syllables between the accents a musical accent will normally be interpolated on the middle syllable:
. . . thou has broken the teeth of thé ungódly. [Ps. 3:7]
Benedictus
In the Solemn Forms (Tones 1, 2, 4, 6, and 8) the Saint Dunstan Plainsong Psalter (2002) places some of the inflections on different syllables. Presumably this style originates in the work of Winfred Douglas The Canticles at Matins : Pointed for Chanting (New York: H.W. Gray Co.: [1916]). I have not yet seen this book.
Magnificat
In English the first two Verses are combined into one since the first Verse itself is too short to accommodate the Psalm-tone.
As indicated in the English Performing Edition, The Book of Common Prayer, since its inception, has divided Verse 2 into two verses.
In The Canadian Psalter, Plainsong Edition:52 ff., Healey Willan divides Verse 8 into two parts, thus:
[8a] He remembering his mercy : hath holpen his servant Israel :
[8b] As he promised to our forefathers : Abraham and his seed for ever.
This follows the divisions of The Book of Common Prayer (Canada) 1962:21. and appears to extend at least as far back as The Book of Common Praise (Canada) 1938):894. although it does not appear in this form in The Book of Common Prayer (Canada) 1918. (This form does follow KJV, although the text is different.) It may well be that this change was brought in by Willan himself in the 1920s or even earlier.
Tone I
The mediation is a lower inflection on the penultimate syllable, regardless of stress. (Tone VI follows the same pattern.) This mediation differs from the Solesmes mediation of two accents; however, very rarely the mediation of two accents (first accent on B-flat) appears; one such case is at the antiphon ‘Maria ergo unxit’ as it appears in Rylands-24:184.
The ending is of one accent with two preparatory notes. An additional unstressed syllable is sung on G (endings i-vii, ix) or D (ending viii).
There is an abbreviated form of intonation for use with short opening verses.
Thomas Tallis composed a four-part alternatim setting for the Magnificat, Tone 1.
49*
Tone II
The mediation is of one accent. An additional unstressed syllable is sung on the reciting note. A Hebrew word accented on the final syllable ( such as Israél) is sung with an abrupt mediation.
The ending is of one accent with one or two preparartory neumes. An additional unstressed syllable is sung on the same pitch as the accent. (The Solesmes method places an additional unstressed syllable on the succeeding pitch.)
Frequently the Sarum sources indicate a liquescent Cd on the ending. This may be indicative of the use such a figure when the text accommodates it. Compare the Antiphonale Monasticum (Solesmes, 1934), where the ending takes the accented neume CD.
51*
Tone III
The mediation is of two accents. An additional unstressed syllable following the first accent will be on the lower note (C). For the second accent the inflection is placed on the penultimate syllable, regardless of the placement of the accent (compare Tone I, and contrast Tone VII).
The ending is of one accent with one, two, or three preparatory neumes. An additional unstressed syllable will fall on G in endings i, ii, and vi, and on C in endings iv and v. (For ending iv Douglas places the additional unstressed syllable on B.) In ending iii an additional unstressed syllable will cause the neume GFE to be broken into G FE (compare Tone IV, endings i, ii, and iii.)
There is an abbreviated form of intonation for short initial verses.
54*
Tone IV
The mediation is of one accent with two preparatory notes. An additional unstressed syllable will be on the reciting note. A Hebrew word accented on the final syllable is sung with an abrupt mediation.
The ending is of one accent with three preparatory neumes, or of one accent with no preparatory neumes. In endings i, ii and iii an additional unstressed syllable will cause the neume GFE to be broken into G FE (compare Tone III, ending iii.) In endings iv and v an additional unstressed syllable will anticipate the first pitch of the succeeding neume. (Douglas indicates that for ending v an additional unstressed syllable will repeat the pitch of the stressed syllable.) In ending vi the inflection falls on the final syllable, regardless of accent. (Douglas and Solesmes place the inflection on the syllable following the accented syllable.) In endings vii and ix the inflection falls on the penultimate syllable regardless of accent (compare Tone I, mediation). (Helmore, and Briggs and Frere, place ths inflection on the accent.) In ending viii an additional unstressed syllable falls on the succeeding pitch.
Tone IV is normally transposed up a fourth when endings iv an v are used. This accommodates both B-natural and B-flat which appear in many of the antiphons associated with these endings.
55*
Editors of the English chant stemming from Thomas Helmore, (A Manual of Plainsong:xliv), omit the inflection in the second half of the Solemn Form of Tone IV. (see G. H. Palmer, The Sarum Psalter:276, 278, Winfred Douglas, The Canticles at Evensong, Together with the Office Responses and a Table of Psalm-Tones:28-29, and Saint Dunstan’s Plainsong Psalter:408.)
57*
Tone V
The mediation is of one accent. An additional unstressed syllable will fall on the reciting note. A Hebrew word accented on the final syllable is sung with an abrupt mediation.
The ending is of one or two accents. In endings i, and ii an additional weak syllable falls on the succeeding pitch. (Palmer and Douglas indicate that after the first accent an additional unaccented syllable takes the (passing) note C, but I have not yet seen evidence to support this view.) Ending iii has two preparatory notes; an additional unaccented syllable takes the pitch of the following note. Occasionally–but not in the Tonary–one finds tone V.i. with B-flat. See for example Ant. Sanctificans Doinus templum, BL-52359:315r. It is unclear whether the psalm-tone was ever actually sung in that manner; it may be that in later years the infulence of major-minor tonality may have prompted its adoption.
58*
Tone VI
The normal mediation is a lower inflection on the penultimate syllable, regardless of stress. Tone I follows the same pattern. Another mediation is also found on occasion. This mediation, like the Solesmes form, has two accents in the mediation, and follows the pattern of Tone VII.
The ending is of one accent with two preparatory neumes. An additional unaccented syllable will fall on the succeeding pitch. Sarum sources frequently indicate the liquescent Gf on the penultimate note; this may be indicative of a performance practice.
Tone VI is sometimes transposed up a fifth. This accommodates B-flat as well as B-natural in antiphons associated with Tone VI.
60*
Tone VII
The mediation is of two accents. An additional unaccented syllable after the first accent will be on the following pitch; an additional unaccented syllable after the second accent repeats the pitch of that accent (contrast Tone III).
There is an abrupt form of the intonation for short initial verses.
The ending is of two accents. An additional unaccented syllable after the first accent will be on the following pitch; an additional unaccented syllable after the second accent repeats the pitch of the accent. (Douglas indicates that in ending iii an unaccented syllable after the second accent falls on the succeeding note. The Sarum Tonary indicates both varieties.)
Tone VII is occasionally transposed up a fourth. This transposition accommodated B-natural in some antiphons.
64*
Tone VIII
The mediation is of one accent. An additional unstressed syllable will fall on the reciting note. A Hebrew word accented on the final syllable is sung with an abrupt mediation.
The ending is of one accent with two preparatory neumes. An additional unstressed syllable will take the pitch of the succeeding note.
66*
Tonus Peregrinus
The mediant is of one accent. An additional unstressed syllable will fall on the succeeding pitch. (The Sarum Tonary and the Sarum Antiphonale 1519-1520 exhibit some inconsistency here.) Winfred Douglas, The Monastic Diurnal Noted:xiv, agrees with this interpretation; Thomas Helmore, A Manual of Plainsong:xxxii, places the additional syllable on the previous pitch.
The ending is of one accent with two preparatory notes. An additional unaccented syllable will repeat the pitch of the accented note.
The text ‘Magnificat’ is insufficient for the presentation of the normal form of the opening musical phrase. In 1519-P:144r the accent is shifted up to A, preserving the melodic contour; ST:lxvi provides a different solution by omitting the mediation.
Tonus Peregrinus uses an inflection A-B-flat on the first syllable of opening phrase in each verse. This same inflection is used, typically but not consistently, on the first accented syllable in the closing phrase of each verse. For example, in the psalm ‘In exitu’, verse 5, this inflection appears on the second of two single syllable words–perhaps here because ‘tu’ is subject; in verse 10 it appears on the first, unaccented syllable of ‘nequaquam’; in verse 13 it appears on the second accented syllable; in verse 20 it appears on the first, weak syllable of a short phrase; in verse 23 it appears on the unaccented syllable ‘vos’, the direct object; in verse 25 it appears on the second accented syllable ‘autem’, postpositive; in verse 26 it appears again on the second accented syllable, again perhaps because it is the subject. These varying instances suggest that the use of this inflection is not merely related to the rhythm of the text, but also to its meaning and/or syntax. It is further to be noted that various sources do not always employ the inflections in the same way, as indicated in the endnotes accompanying the settings.
Tonus Peregrinus also includes an upward inflection to A on an accented syllable within the body of the closing phrase of each verse that is sufficiently lengthy to accommodate it. In The Monastic Diurnal Noted:xv this is termed the ‘preponderent accent’. However, the use of this inflection appears to be inconsistent. For example, such an inflection could be accommodated in verse 3 of Psalm ‘In exitu’ at the word ‘conversus’; in verses 4 and 6 at the word ‘sicut’; in verse 23 at the word ‘sicut’; in verse 24 at the word ‘dedit’; and in verse 26 at the word ‘descendunt’. Furthermore, in lengthy phrase which provide more than one suitable accent on the reciting tone G, the choice of syllable on which to provide the inflection to A is inconsistent: in verse 5 it is on the first of three available accented syllable; in verse 10 it is on the third of four accented syllables. Thomas Helmore, A Manual of Plainsong, omits this inflection entirely, as do the Solesmes editions.
Additionally, Tonus Peregrinus occasionally exhibits an extra inflection in the closing phrase, a subordinate intonation D F G that serves as a divider of the closing phrase into two parts, as in the psalm ‘In exitu’ verse 15, and in the Magnificat at verse 2. Functionally this is similar to the ‘flex’ that appears in the first phrase of standard psalm-tones in the Solesmes books.
According to Mathias Lundberg this Sarum Tone is somewhat defective: ‘One alternative second semi-verse, particularly common in the Sarum use off the British Isles, includes an f in the terminatio formula. This note weakens the contour of the psalm-tone, which elsewhere derives much of its linear character from the falling forth in the second semi-verse.’, Mattias Lundberg, ‘Tonus Peregrinus : The History of a Psalm-tone and its use in Polyphonic Music (Farnham, Surrey: Ashgate, 2011: 14). Of course one might choose to characterize this variant as ‘smooth’, rather than ‘weak’.
Six Sarum antiphons use Tonus Peregrinus: Non qui vivimus (Ps. 113); Martyres Domini (Benedicite); Angeli Domini (Benedicite); Cum venerit Paraclytus (Benedictus); Da pacem (Magnificat); Sapientia clamitat (Magnificat). The first three share the same melodic profile. Tonus Peregrinus is apparently absent from WO F-160. (See Ruth Steiner, ‘Antiphons for the Benedicite at Lauds’, Journal of the Plainsong and Mediaeval Music Society VII (1984):1-17.)
Ps.113 is sung to Tonus Peregrinus at vespers on ordinary Sundays outside of Eastertide. The Benedicite is sung to Tonus Peregrinus at lauds on feasts of many martyrs outside of Eastertide, and at lauds on the two feasts of St. Michael (September 24 and October 16). The Benedictus is sung to Tonus Peregrinus only on Sunday in the Octave of the Ascension. The Magnificat is sung to Tonus Peregrinus only on the third available Sunday (or its memorial) within the History In principio and the third available Sunday (or its memorial) within the History Adaperiat.
80*
Neumae
It is to be regretted that the ‘Neumae’ are seldom employed in chanting today. They serve to conclude groups of Psalms at the Offices of Matins, Lauds, and Vespers, and to embellish the conclusions of the most significant elements of Lauds, Prime, and Vespers.
Here the Neumae are presented in the context of phrases that provide suitable modal contexts. Each text serves as a mnemonic device for its associated Mode. Note doubt these phrases were commonly used in teaching the basics of modal theory.
Mode I. (Mat. 6:33)
Mode II. (Mat. 22:39)
Mode III. (Luke 24:21)
Mode IV. (Mat. 14:25)
Mode V. (after Mat. 25:10)
Mode VI. (after John 4:6)
Mode VII. (after Apoc. 4:5)
Mode VIII. (after Mat 5:3 ff.)
89*
Tone for the Versicles at Matins
This is the same Tone as is used at Vespers, at Compline, and at Lauds.
However, a different Tone is used at the Office of the Dead.
Before the Lessons at Matins
The ‘Pater noster’ and ‘Ave Maria’ are to be said entirely before the verse ‘Et ne nos’ is begun. Typically the short form of ‘Ave Maria’, concluding ‘et benedíctus fructus ventris tui Jesus Christus. Amen.’ would be used. However, the 1531 Breviary, unusually, includes the later addition ‘Sancta María mater Dei ora pro nobis peccatóribus nunc et in hora mortis. Amen.’
This tone is a transposed form of the versicle tone for the little hours, 96*.
90*
At the Blessings before the Lessons
The various blessings that are used are found in Volume A-ii, pages XXX-XXXII.
When the Bishop shall read the Ninth Lesson.
Although the Bishop seeks a blessing, ‘Jube domine’, there is no more senior person present to give the blessing. Thus the Choir instead responds, ‘Ora pro nobis pater.’
91*
Tone for the Lessons
Each sentence ends with a cadence. The normal cadence is C-A. When the final syllable is strong (oxytonic; in Latin a single syllable word), the cadence is C-A-B (or C-A-A-B). The final cadence is C-F or C-F-F, depending on the accent structure.
Interrogative sentences end with the inflection B A B (B) C, as an ending of one accent-B- with two preparatory notes: B A. This is not made explicit in the sources, but can be deduced from the second lesson in the office of the dead. Incidently, this lesson also illustrates that if a lesson ends with an interrogative sentence, then the interrogative inflection is used rather than the usual final cadence.
When the Lesson is ended the Choir does not respond ‘Deo gratias’ as occurs in the Chapter.
Note the observance of a final accent on the Hebrew word, ‘Juda’. In the English editions Hebrew words are set according to English pronunciation.
92*
Tone for the Chapter
This is essentially the same as the Tone for the Lessons. Here the Choir does respond ‘Deo gratias’.
93*
Verses of the Responsories
These are to be used when indicated in the Temporale or Sanctorale. In some cases, in particular those more recently composed, proper melodies appear in their places.
There appears to be no warrant in the Sarum tradition for adding ‘Alleluya’ to the Responsories in Eastertide, as is the practice in Nocturnale Romanum: LXXIX.
A detailed analysis of these melodies appears in W. H. Frere, ‘Disseration and Analytical Index’, Antiphonale Sarisburiense: 3-5.
95*
Tone of the Versicle at Vespers, at Compline, and at Lauds
These are the same as that for Matins.
“The R. was said in silence according to Salisbury Use, but, if sung, it should be inflected in the same manner as the V., and invariably on the final syllable.” (G.H. Palmer, The Order of Vespers:13**.)
While one might presume that in Eastertide the ‘Alleluya’ would be added both to the Versicle and to the (silent) Response, US-I:274. indicates that the ‘Alleluya’ is only added to the (silent) response.
96*
Tone of the Versicles at the Hours of the Day
The Hours are Prime, Terce, Sext, and None.
When the final syllable is strong (oxytonic; in Latin a single syllable word, and in Hebrew words, such as ‘Amen.’–see compline [409], and the litany [431]), the cadence is F-D-E (or F-D-D-E).
This tone is the ‘basic’ tone for versicles and responses. It is used for versicles before lauds and compline (and before matins–with the additional opening inflection D.F). It is used for the ferial preces and for the preces at prime and compline. It is also used for the preces in the litany.
Tone for the Prayers
There are two melodies for ‘Dominus vobiscum’; the second appears to be an earlier melodic form. If used, it should be used at all other corresponding places where ‘Dominus vobiscum’ appears.
The Tone for the Prayer has only a single inflection, at the end.
100*
Versicle at the Memorial
This is the same as the Tone of the Versicle at the Little Hours.
Prayer at the Memorial
While the Prayer of the Hour itself ends with a semi-tone inflection, CB-B, the Prayer of the Memorials concludes with the third, C-A.
102*
Benedicamus Domino
Besides the simple form (the first one on 100*), a considerable number of elaborate melodic phrases are provided for use when the Benedicamus is sung by two. Many, but not all of these melodies duplicate melodies found in the Graduale, as indicated by the marginal figures in parentheses.
The second ‘Benedicamus Domino’ appears to be a variant.
The third ‘Benedicamus Domino’ is an older form, which should be used with the older form of ‘Dominus vobiscum’ on p. 97*.
107*
The ‘Benedicamus’ in Mode IV. is reminiscent of the hymn-tune ‘A solus ortus cardine’ (above). If it is based on this melody, the conclusion is varied and extended to accomodate the ‘Alleluya’.
120*
Tones for Alleluya at the end of antiphons in Eastertide
These tones can be used in adapting existing commemorations for use in Eastertide (such as the commemoration of St. Thomas of Canterbury) creating particular commemoriations that do not appear in the Sarum sources. For example, one might wish to create a weekly commemoration for a church dedicated to St. Andrew, using antiphons from his feast, but adding alleluyas during Eastertide.
121* Tones for Alleluya at the end of responsories in Eastertide
Like the tones for antiphons immediately above, these tones can be used for commemorations in Eastertide. Unlike in the case of the antiphon tones, here it is not always clear which of the available Alleluya melodies might be considered most suitable. Users are of course free to use any available Alleluyas, or indeed create their own.
Alleluyas for responsories are to be found in the Temporale, Easter to Pentecost, the feast of the Dedication, and the Sanctorale, March through June.
D-5: Appendix: Supplements, Restorations, and Additions.
Psalter
The Image of the Saviour
Common of a Matron (non-Sarum)
This Office is different from the Office ‘Non virginum’ found in the Breviarium Romanum 1529 and 1568: 991.
Temporale
St. Thomas
Chant-translations © 2012 by Clare Gichard. Used with permission.
Prose: Morbos curat et languores
This prose appears in BL-552359:53r.
A translation appears in Kay Brainerd Slocum, Liturgies in Honour of Thomas Becket (Toronto: University of Toronto Press, 2004): 86.
The final phrase, ‘Morte suscita’ is the final text of the responsory Jesu bone, the ninth responsory of matins. It should be noted however, that the prose, in mode I, does not fit ideally with the responsory, which is in mode I.
Fifth Day of Christmas (1539-1554)
Lauds
Cap. Quanto tempore heres parvulus
Ant. Erant Joseph et Marie mater Jesu (after Luke 2:33)
Vespers
Ant. Puer Jesus crescebat (after Luke 2:40)
Octave of St. Thomas
Septuagesima
Quinquagesima
Tuesday after the Fifth Sunday after Easter
In the older sources this was treated as a feria, not as the Commemoration of St. Mary.
Vespers (of the eve)
Ant. Omnis qui petit accipit
Matins
Lessons. Symon Petrus servus [et] apostolus (or Judas Jesu Christi servus)
Lauds
Ant. Exivi a Patre et veni
Rubrice ante institutionem festum Corporis Christi
Corpus Christi: Arsenal Missal
Compline
Arsenal:293r. includes proper antiphons at Compline.
Ant. Memoriam fecit mirabilium
This antiphon appears in 14 sources in CANTUS
Ant. Memoria mea
This antiphon appears in 7 sources in CANTUS
Matins
Prose: Cibavit pura corde
Arsenal:297r. is the unique source for this Prose.
See Yossi Maurey, ‘Heresy, Devotion and Memory: The Meaning of Corpus Christi in Satin-MArtin of Tours’, Acta Musicologia LXXVIII (2006):159-196.
Sanctorale
December 8: The Conception of Blessed Mary
At First Vespers
Ant. Gaude mater ecclesia
Chapter. Dominus possedit me
Prayer. Deus ineffabilis misericordie
At Sext
Chapter. Non dum fontes aquarum
At None
Chapter. Et delectabar per singulos dies
March 1: Saint David
Neither this Office nor the Commemoration that follows is proper to Sarum. They are included here because the single source, Aberyswyth, National Library of Wales, MS 20145 E, in most respects follows the Sarum Use. This Office would presumably be used at St. David’s Cathedral in Wales, within the Diocese, and also at other churches named for the saint. The text is in rhyme and metre throughout. The music is to a great extent arranged and adapted from the Feast of St. Thomas of Canterbury. Owain Tudor Edwards, Matins, Lauds and Vespers for St. David’s Day (Cambridge: D. S. Brewer, 1990) provides a complete transcription (in modern notation) and commentary on this Office. Edwards (p. 159) also draws attention to certain similarities of this office to that of St. Dominic, canonized in 1234. See also Andrew Hughes, ‘British Rhymed Offices’, Susan Rankin and David Hiley, eds., Music in the Medieval English Liturgy (Oxford: Clarendon Press, 1993): 258-260. See also Gillian Lander, ‘Sources of Inspiration for the composer-poet of the Office for St David of Wales found in the Office for St Thomas Becket: An examination of these Offices in the Penpont Antiphonal MS 20541E’ B. Mus. diss., Auckland Unviersity, 2011.
At First Vespers
Ant. O desiderabilis
This Antiphon is in metre, 7pp7pp x 3, and rhyme ab ab ab.
This Antiphon is closely related to ‘O Pastor eterne’ for the Feast of St. Nicholas {44}.
Resp. Pastor David
This Responsory is in metre, 4p4p7pp x 3, and rhyme, aab ccb ddb. The Verse is 6pp6p x 2, ab ab.
According to Owain Tudor Edwards (Matins, Lauds, and Vespers for St. David’s Day:83), this Responsory is adapted from the Responsory ‘Te sanctum Dominum’ {1424}, {1573}.
Ant. Dominum magnificavit
This Antiphon is in metre, 8p7pp x 3, and rhyme ab ab ab.
The music appears to be unique to this office.
At Matins
Invit. In sancti David presulis memoria
This Invitatory is in metre, 12pp 11pp, and rhyme a a.
This Invitatory is based on ‘Assunt Thome martyris’, 441, and on ‘Vincentum mundum’ {173}.
Invit. In sancti David memoria
This Invitatory is in metre, 9pp 9pp, and rhyme a a.
It is most unusual that an Office be provided with two Invitatories such as occurs here.
The Antiphons at Matins are in modal order.
Ant. Vir beatus impiorum
This Antiphon is in metre, 8p7pp x 2, and rhyme ab ab.
The music appears to be unique to this office.
Ant. In monte constituit Christus
This Antiphon is in metre, 7pp6p x 2, and rhyme ab ab.
This Antiphon is based on ‘Monachus sub clerico’ for the Feast of St. Thomas of Canterbury, 442.
Ant. Hostibus ecclesie
This Antiphon is in metre, 7pp6p x 2, and rhyme ab ab.
This Antiphon is based on ‘Cultor agri Domini’ for the Feast of St. Thomas of Canterbury, 442.
The Responsories are in modal order, except for the third, which is in Mode V, and the fifth, which is in Mode VI.
Resp. Tractanti Patricio
This Responsory is in metre, 7pp6p x 3, and rhyme, ab ab ab. The Verse is 7pp6p x 2, cd cd.
Parts of this Responsory are based on ‘Studens livor’ for the Feast of St. Thomas of Canterbury, 444.
Resp. Studens David
This Responsory is in metre, 10pp x 3, and rhyme, a a a. The Verse is 10pp x 2, b b.
This Responsory is based on ‘Thomas manum mittit’ for the Feast of St. Thomas of Canterbury, 445.
Resp. Sciens quod in Petri
This Responsory is in metre, 8p7pp x3, and rhyme, ab ab ab. The Verse is 7pp7pp7pp, ccb.
The music appears to be unique to this office.
Ant. Invocantis exaudivit cordis
This Antiphon is in metre, 8p7pp x 2, and rhyme ab ab.
This Antiphon is based on ‘Nec in agnos’ for the Feast of St. Thomas of Canterbury, 446.
Ant. Mane David astitit
This Antiphon is in metre, 8p7pp x 2, and rhyme ab ab.
This Antiphon is based on ‘Exulat vir optimus’ for the Feast of St. Thomas of Canterbury, 447.
Ant. Nomen admirabile David
This Antiphon is in metre, 8p7pp x 2, and rhyme ab ab.
This Antiphon is based on ‘Exulantis predia’ for the Feast of St. Thomas of Canterbury, 447.
Resp. Malens in penuria
This Responsory is in metre, 7pp7pp x 3, and rhyme, ab ab ab. The Verse is 7pp7pp7pp, ccb.
Owain Tudor Edwards (Matins, Lauds, and Vespers for St. David’s Day:88) notes that this Responsory is modelled on the Responsory ‘Ferro pressos’ of the monastic office of St Thomas of Canterbury, appearing as the 9th Responsory in the York Use.
Resp. Stans in orbis extito
This Responsory is in metre, 7pp7pp7pp x2, and rhyme, aab, ccb. The Verse is 8p6p x2, de de.
This Responsory is based on ‘Ex summa rerum’ for the Feast of St. Thomas of Canterbury, 448. Although this Respnonsory is in Mode VI, its opening gesture is that of Mode V.
Resp. David iste miticis
This Responsory is in metre, 7p6p x3 (irregular), and rhyme, ab cb cb. The Verse is 6pp6pp x2, de de.
This Responsory is based on ‘Novis fulget’ for the Feast of St. Thomas of Canterbury, 456.
Ant. Christi tabernaculum
This Antiphon is in metre, 7pp6p x 2, and rhyme ab ab.
This Antiphon is based on ‘Sathane satellites’ for the Feast of St. Thomas of Canterbury, 452.
Ant. Ante vitam petiit
This Antiphon is in metre, 7pp6p x 2, and rhyme ab ab.
This Antiphon is based on ‘Strictis Thomas ensibus’ for the Feast of St. Thomas of Canterbury, 453.
Ant. Manibus innocuis
This Antiphon is in metre, 7pp6p x 3, and rhyme ab ab ab.
This Antiphon is based on ‘Felix locus’ for the Feast of St. Thomas of Canterbury, 453.
Resp. Britonis hersiarche
This Responsory is in metre, 8p7pp x3, and rhyme, ab ab ab. The Verse is 7pp6p x2, cd cd.
This Responsory is based on ‘Mundi florem’ for the Feast of St. Thomas of Canterbury, 450.
Resp. Jugi Christi passionis
This Responsory is in metre, 8p7pp x3, and rhyme, ab ab ab. The Verse is 7pp6p x2, cd cd.
This Responsory is based on ‘Christi Jesu per Thome’ for the Feast of St. Thomas of Canterbury, 451.
Resp. Lucescente novo mane diei
This Responsory is in metre, 8p7pp x3, and rhyme, ab ab ab. The Verse is 8p7pp, cb.
This Responsory is based on ‘Christi Jesu bone per Thome’ for the Feast of St. Thomas of Canterbury, 457.
Prose. Panis arctus aqua brevis
This Prose is in metre, 8p7pp x8, each line ends with ‘-io’.
The melody is taken from the Prose ‘Sospitati dedit’ for St. Nicholas, {65}.
At Lauds
Ant. Dictus est Patricio
This Antiphon is in metre, 7pp6p x2, and rhyme, ab ab.
This Antiphon is based on ‘Granum cadit’ for the Feast of St. Thomas of Canterbury, 458.
The first five Antiphons at Lauds are in modal order, but with omissions: 1, 2, 3, 6, 8.
Ant. Instuctoris oculos fletu
This Antiphon is in metre, 7pp6p x2, and rhyme, ab ab.
This Antiphon is based on ‘Totus orbis’ for the Feast of St. Thomas of Canterbury, 458.
Ant. Missis ultro feminis sanctos
This Antiphon is in metre, 7pp6p x2, and rhyme, ab ab.
This Antiphon is based on ‘Aqua Thome’ for the Feast of St. Thomas of Canterbury, 458.
Ant. Toxicate torte panis
This Antiphon is in metre, 8p6p x2, and rhyme, ab ab.
This Antiphon is based on ‘Ad Thome memoriam’ for the Feast of St. Thomas of Canterbury, 459.
Ant. Ut attendat populus
This Antiphon is in metre, 7pp6p x2, and rhyme, ab ab.
This Antiphon is based on ‘Tu per Thome’ for the Feast of St. Thomas of Canterbury, 459.
Ant. Occidentem visitavit
This Antiphon is in metre, 8p7pp x4, and rhyme, ab ab ab ab.
This Antiphon is adapted from ‘Opem nobis’ for the Feast of St. Thomas of Canterbury, 461.
At Vespers
Ant. O pie [Ope] juva celitus
This Antiphon is in metre, 8pp6p, 7pp6p x3, and rhyme, ab ab ab ab.
This Antiphon is based on ‘Salve Thoma virga justicie’ for the Feast of St. Thomas of Canterbury, 463.
In the Commemoration of Blessed David
At Matins (Lauds)
Ant. Gloriose presul Christi David
At Vespers
Ant. Pater horam visita
This Antiphon is in metre, 7p6pp x2, and rhyme, ab ab.
This Antiphon is based on ‘Strictis Thomas ensibus’ for the Feast of St. Thomas of Canterbury, 453.
May 20. St. Ethelbert
Ethelbert, (d. May 20, 794, Hertfordshire), was King of East Anglia. His shrine was at Hereford Cathedral. Ethelbert and the Blessed Virgin are patrons of Hereford Cathedral.
Prayer. Deus omnium regnorum institutor
July 16: The Translation of Saint Osmund
First Vespers
Ant. Suscipe cum gaudio.
The is chant adapted from Granum cadit, first Antiphon at Lauds of the Feast of St. Thomas Becket.
Translation © 2015 by Matthew Carver. Used with permission.
Ant. Confessoris Dominum
The chant is adapted from Sol in tabernaculo, second Antiphon at Matins of the Feast of the Visitation.
Translation © 2015 by Matthew Carver. Used with permission.
Ant. Exit ejus spiritus
The chant is adapted from Cepit terra Domini, third Antiphon at Matins of the Feast of the Visitation. See also Cultor agri, third Antiphon at Matins of the Feast of St. Thomas Becket.
Translation © 2015 by Matthew Carver. Used with permission.
Ant. Iste domum Domini
The chant is adapted from Stat in regis dextera, fourth Antiphon at Matins of the Feast of the Visitation. See also Nec in agnos, fourth Antiphon at Matins of the Feast of St. Thomas Becket.
Ant. Lauda Syon Dominum
The chant is adapted from Vinctus ferro, fifth Antiphon at Matins of the Feast of St. Edmund.
Translation © 2015 by Matthew Carver. Used with permission.
The Commemoration of Saint Osmund
At Vespers
Ant. Pastor pius
The chant is adapted from Pastor cesus, from the Memorial of St. Thomas Becket, 438. (The Osmund text seems to some extent based on the Thomas text.)
Translation © 2015 by Matthew Carver. Used with permission.
At Lauds
Ant. Bone Jesu Osmundi meritis
The chant is adapted from Opem nobis, the Antiphon to the Benedictus at Lauds on the Feast of St. Thomas Becket.
Translation © 2015 by Matthew Carver. Used with permission.
August 5: Mary ad Nives (Mary of the Snows)
At Lauds
1 Ant. Dum rex esset
2 Ant. Leva ejus sub capite meo
4 Ant. Jam hyems transiit
August 6: The Transfiguration
First Vespers
Hymn. Celestis formam glorie
At Matins
Hymn. O Sator rerum Reparator evi
August 28: St. Augustine
At First Vespers
1 Ant. Letare mater mea Jerusalem
2 Ant. Hujus mater devotissima
3 Ant. Distulit tamen diu baptismi
4 Ant. Surgens autem post multos
5 Ant. Inventus igitur a custodibus
Ant. Adest dies celebris
At Matins
Invit. Magnus Dominus et laudabilis valde
1 Ant. Aperuit Augustinus codicem
2 Ant. Insinuavit ergo per litteras
3 Ant. At ille jussit Ysayam
1 Resp. Invenit se Augustine
2 Resp. Sensit igitur et expertus est
3 Resp. Tum vero invisibilia Dei
4 Ant. Verumtamen primam
5 Ant. Inde ubi tempus advenit
6 Ant. Nec saciabatur illis diebus
4 Resp. Itaque avidissime legere
5 Resp. Misit ergo Dominus in mentem ejus
6 Resp. Volebat enim conferenti estus suos
7 Ant. Flebat autem uberrime
8 Ant. Voces igitur ille influebat
9 Ant. Adjunctis inde Nebrodio
7 Resp. Vulneraverat caritas Christi
8 Resp. Accepta baptismi gracia
9 Resp. Verbum Dei usque ad ipsam
At Lauds
1 Ant. Post mortem matris
2 Ant. Comperta autem ejus fama
3 Ant. Facta ergo presbiter
4 Ant. Sanctus autem Valerius
5 Ant. Eodem tempore Fortunatus
Ant. In diebus illis obsessa est
At Second Vespers
Ant. Hodie gloriosus pater Augustinus
October 2: Thomas of Hereford
October 21: Eleven Thousand Virgins
At First Vespers
Ant. O quam pulchra est casta
Chapter. Dabo virginibus dicit Dominus
Hymn. Virginis proles opifexque matris
V. Adducentur regi virgines
Ant. Gaudent felices puelle
Prayer. Deus qui sanctam nobis hujus diei
At Matins
Invit. Agnum sponsum virginum
1 Ant. Simile est regnum celorum
2 Ant. Quinque autem ex eis
3 Ant. Prudentes vero acceperunt oleum
V. Adducentur regis virgines
Lessons. Fuit in Britannie finibus
1 Resp. Venerande estis virgines
2 Resp. Quinque prudentes
3 Resp. Feliciter virgines vincunt mundum
4 Ant. Media nocte clamor factus est
5 Ant. Tunc surrexerunt omnes virgines
6 Ant. Responderunt prudentes dicentes
V. Prudentes virgines aptate
4 Resp. Offerentur regi virgines
5 Resp. Simile est regnum celorum decem virginibus
6 Resp. Quinque prudentes virgines
7 Ant. Dum autem irent emere
8 Ant. Novissime vero veniunt
9 Ant. In celis gaudent virgines
V. Offerentur in letitia
7 Resp. Media nocte clamor factus est ecce sponsus advenit
8 Resp. Media nocte clamor factus est ecce sponsus venit
9 Resp. Audivi vocem de celo
Before Lauds
V. Prudentes virgines
At Lauds
1 Ant. Pangamus Deo nostro
2 Ant. Beate estis virgines
3 Ant. Virgines sancte Dei
4 Ant. Rogamus vos virgines
5 Ant. Laus et honor Jesu Christo
Ant. Venerande estis virgines
At Terce
Resp. Adducentur regi virgines
At Sext
Resp. Prudentes virgines
At None
Resp. Offerentur in leticia
At Second Vespers
Ant. Adsit nobis virginum sanctarum
November 6: Saint Leonard
The proper Antiphons, Responsories, and Invitatory all follow a rhyme scheme in which the two phrases (colae) of each line form a rhyme. The metre appears to be organized as lines of 2 feet plus 3 feet (4-7 plus 8-10 syllables). The endings are paroxytonic, although there appear to be exceptions.
At First Vespers
Ant. Amavit eum Dominus
From the Common of one Confessor and Abbot, [816].
Hymn. Gaude fidelis concio
8.8.8.8. The first Melody of ‘Jesu Redemptor omnium’ [797] would seem a fitting choice for this Hymn, particularly in view of the association of the opening melodic motive with the familiar Officium ‘Gaudeamus omnes’ (e.g. St. Thomas Becket, 141).
V. Ora pro nobis beate Leonarde
The common Sarum Verse at First Vespers of Confessors is ‘Amavit eum Dominus et ornavit eum. (‘Ora pro nobis’ normally appears ‘Before Lauds’.) The choice of ‘Ora pro nobis’ may be in order to avoid duplicating the text of the Antiphon on the Psalms.
Ant. Magnificare Deum qui dat
Prayer. Magestati tue quesumus Domine
This Prayer is different from that in the Sarum Sanctorale (Preces nostras quesumus Domine). This Prayer appears in the York and Hereford Missals, and is also found in other traditions (Milan and Prague, for example).
At Matins
Invit. Hec plebs implorat Dominum
Hymn. Leta sancti solempnia
8.8.8.8
The most appropriate Melody for this Hymn would appear to be again the first Melody of ‘Jesu Redemptor omnium’ [797].
1 Ant. Vocibus exultet hec grex
2 Ant. Confessor Christi populo
3 Ant. Vir Leonarde Dei
1 Resp. Christicole cuncti deitas
2 Resp. Nobilium natus ad Christum
3 Resp. Hic invenis factus sancto
4 Ant. Esto memor memorum petimus
5 Ant. Qui pius afflictis
6 Ant. Te collaudantes festum
4 Resp. Princeps Francorum
5 Resp. Dum cupit iste fore
6 Resp. Hic casu ductus
7 Ant. Fit fama morum
8 Ant. Justus pacificus
9 Ant. Nostra creatorem
7 Resp. O trilatorum Pater
8 Resp. Plures captivos
9 Resp. Postquam magnificus
At Lauds
1 Ant. Insignis natu Leonardus
2 Ant. Istum laudemus pronique
3 Ant. Fac nos per vigiles
4 Ant. Confessor Christi plebi
5 Ant. Nos unum Dominum laudemus
Hymn. Salvator mundo medicum
8.8.8.8
Appropriate Melodies for this Hymn might be that proposed for the Hymn at First Vespers (above) [797], or the Melody for ‘Salvator mundi Domine’ [376].
Ant. Summe et invictus
At Second Vespers
Ant. Votis astantum Leonarde
Commemoration of St. Leonard.
Ant. Sis pro nobis sancte Leonarde
This Antiphon is in regular metre and rhyme, 8p7pp, except for the first phrase, which is 10p rather than 8p. This variation is accounted for by the substitution of ‘Leonarde’ for ‘Cedda’. (The Antiphon is adapted from that for First Vespers of St. Chad {349}.
November 20: Saint Edmund, King and Martyr
At First Vespers
Ant. Ave rex gentis Anglorum
V. Gloria et honore
Ant. Exulta sancta ecclesia
At Matins
Invit. Regem regum adoremus
1 Ant. Sanctus Edmundus clarissimis
2 Ant. Cumque inventus adolesceret
3 Ant. Legem dedit rex crudelis
1 Resp. Sancte indolis puer
2 Resp. Egregium decus et salus
3 Resp. Miles Chrsti Edmundus
3 Resp. Exiit edictum crudelis
4 Ant. Ait autem Edmundus
5 Ant. Vinctus ferro lamentabilibus
6 Ant. Quo amplior esset mercedis gloria
4 Resp. Crescit ad penam
5 Resp. Martyri adhuc palpitanti
6 Resp. Defectum ergo de corpore
7 Ant. Misso spiculatore decrevit
8 Ant. O martyr invincibilis
9 Ant. Defectum ergo de corpore
7 Resp. Admirabilis fiunt
8 Resp. Preciosum martyris
9 Resp. O martyr invincibilis
At Lauds
1 Ant. Quidam maligne mentis
2 Ant. Facto autem mane alius
3 Ant. Quidam magne potentie vir
4 Ant. Reserato ergo locello
5 Ant. O martyr magnum meriti
Ant. Gloriosus Dei athleta Edmundus
At Second Vespers
Ant. O sanctissima patris Edmundi