And y'all[sic] thought the second person English pronouns of earlier times were a mess? Consider those in use today:
You Y'all (singular, but as with "you" sometimes construed as plural) You-all (the original and still sometimes heard "y'all") All y'all (plural of y'all) Youse (as in "Stick 'em up, youse dirty rats") You-uns Y'uns Ye Y'uhs (as in "What say y'uhs?")
Long-winded mode IV antiphons are tricky, and not well represented in the Psalterium, where I get my melodic models. Let me know if this Introit sounds more or less authentic.
Did not see this idea covered, but has anyone thought of cross referencing this for the EF and OF and publishing a singular resources for the Roman Rite? "Simple Latin Propers... for use in both Ordinary and Extraordinary Forms"???
These are splendid, Richard. Many, many thanks! At St Basil's School of Gregorian Chant in Houston, we will be using these during our autumn chant course, which ends with a solemn Novus Ordo mass on the vigil of Christ the King. The closing mass will be in English, for which Fr Columba is composing the English propers, but your Latin ones will be featured very prominently during the all day four-Saturday course. Your work is truly beautiful!
In the Introit to Christ the King, "qui occisus est," the last skip from ti to sol makes the line sound diatonic to me. Would it sound more Mode III-ish if that line ended on ti? (i.e. Set "est" to ti, not sol.)
This would carry on the major third sound you've established without reinforcing a strong sense of tonic. If you're worried about too many ti's that ensue, you could maybe raise the last pitch of "accipere" to do.
I'll butt out if this isn't helpful. Just a reaction.
Months ago (gosh maybe a year ago) I mentioned how I felt it was odd that in all of the Simplified Propers that I've seen, the parts for the choir for Gradual and Alleluia are given in full, but the part for the solo cantor(s) - the most experienced singer(s) - is given as a psalm tone. Surely the cantors can handle more that that!
This is what I had in mind when I mentioned that: Something simple for those not capable of singing the full melismatic verse, but not a psalm-tone either.
Well, these Graduals do use psalm tones for most of the verse. I don't suppose it's necessary, in this context, and will probably start writing real melodies for them.
I agree, Ben; cantors should be singing real melodies for Alleluia verses, no matter what the liturgical context.
Pes, from what I can tell, the Mode III melodies, especially longer ones, tend to wander around in the Mode VIII region for quite awhile, which sets up this great deceptive thing when you eventually plunge into that distinctive fa-mi area at the cadence.
Propers for the 25th Sunday (Salus populi) attached. Also useful for the 19th Sunday after Pentecost in the Extraordinary Form. This Introit is especially suited to today's anniversary. Requiescant in pacem.
Thank you to Richard for so generously making available, week by week, these fine settings of the Propers. Our Schola has reached the skill level where we are normally able to handle most of the Gregorian melodies for a given Sunday. Usually it works out to doing four out of five of them. So how wonderful to be able to make use of Richard's settings, even if it's "a la carte," picking out the ones we still need from a given set to cover the mass.
On Sept 21 we will be singing the Gradual "Bonum est" (EF 15th Sun after Pentecost = OF 21st Sunday of the Year) and noticed in rehearsal an anomaly in the score: on the second line the clef skips up from the 3rd to 4th line without taking the melody with it; the verse continues with clef on the 4th line, but the notes for "per noctem" placed as if the clef were back on the 3rd line.
Thank you, Richard, so much. These are wonderful. Just having the Tract for the first Sunday of Lent is alone reason for rejoicing on the part of beginning scholas, who might not want just to psalm-tone it but don't yet have the stamina for the full Gregorian work.
Immaculate Conception attached. The Liber has Antiphon settings of the Alleluia, Tota pulchra es (p. 1320) and Ave Maria...alleluia (p. 1416), which you might prefer.
Just a note of appreciation to Mr. Rice for his work on this. Used these this morning and they were a lifesaver for a choir with limited rehearsal time (and ability!). These compositions are very true to the authentic Gregorian style. Many thanks!
I need to echo Robert's sentiments . . . Richard, I've been using your simple propers quite regularly since you started the project. Many thanks to you!
And . . . wondering if your fan club could exhort you to continue the project? I'd love to see it resurrected!
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