It is true that Anglican Chants are 'whole unto themselves', although they evolved from the eight modes.

Historically I think it's probably more accurate to say that Anglican Chants were developed in the 17th Century as a way to beautify Cathedral music, primarily Evensong where a lengthy portion of the Psalter was appointed. Antiphons before and after the psalms had been dropped in the 16th Century English Reformation as part of the simplification of worship, to encourage congregational participation.

That being said, there are a host of Anglican Chants available from various sources, and with some diligent searching you should be able to find chants that are compatible with the Communions that you sing, in whichever mode they happen to be.

Correct if I am wrong, and if so my post above is inaccurate, but with Gregorian Chant Psalm Tones the endings are multiple so that the last note of the tone is the same as the first note of the antiphon, the last note of the antiphon is the same as the first of the psalm, making them "compatible with all eight church modes. ; )".

If Heath does not require that, then could you give some concrete examples of matching anglican chants to gregorian chant modes? This might help people (me, included) who are shaky or totally in the dark as far as doing anything but matching a key of an AC to the pitch of an Antiphon, which is not what you are suggesting.

How do you match a made that is not modern major or minor with AC? Thanks!

We can say in theory that this music will never match with this music, but it's a case by case issue. If a specific Anglican chant sounds good with a specific chant, go right ahead and use it. The goal is not to slavishly follow musical "rules" that don't really mean anything, the goal is to make beautiful music. If it sounds good to your ears as a musician, go ahead.

True true, Chuck.

The goal is not to slavishly follow musical "rules" that don't really mean anything, the goal is to make beautiful music. If it sounds good to your ears as a musician, go ahead.

Ben, if this were "true true", then there would be no reason to ever take music theory classes, composition classes, counterpoint classes or any kind of instruction in the structure of music. Composers must work within a tightly regulated framework with occasional "aberrations" that push the envelope to make music that is beautiful.

That's exactly why there are multiple endings to match Gregorian psalmtones to antiphons - any psalmtone in a matching key or related key could be substituted but without matching notes, cantors would be thrown for a loop.

This would be worse than a non-rhyming verse.

MJO, when he goes through to find some matching AC is going to be using his musical judgement to find ones that work - judging using written and unwritten rules that will guide him in what works and what does not work and sound beautiful.

Sounding good to your ears only works when your ears are coupled to the rational parts of the brain that are capable of analyzing musical structure based upon training, be it in class or the school of hard knocks of listening, listening and then more listening.

If we decided to stop slavishly following music "rules" that don't really mean anything...well, that's already been done and we are all wearing the t-shirt.

Sons of God, KumBaYah...beautiful music to some musician's ears, including some very, very talented and educated ones.

The rules all mean something.