Actually, that is merely a return to the older tradition. I'm sure the publishers have come up with accompaniments. N.B. If it uses the Tone VI "Alleluia" refrain, be sure to chant the verses to Tone VI Psalm tone; and if the longer, single "Alleluia" which is Tone VIII, be sure to use the Tone VIII Psalm tone. No, I do not trust our "Catholic" publishing companies to get this right!

We have used the Graduale Simplex adaptation of the Easter Dismissal as the Alleluia Psalm refrain for four years running, cantor intoned.

This is the setting we use . . . quite well-done.

http://www.canticanova.com/catalog/products/e_vig_gosp_proc.htm

In my old parish we always sung the authentic tone because it happened to be the one in our psalm books 'Psalms for Sundays' (publ. Mayhew, if I remember correctly). It was only later, when I came to know the Gregorian repertoire better, that I realised that it was THE tone. Of course, we didn't do the modulating bit but the congregation did join in.

For me, this Alleluia is THE Paschal alleluia and not the mode VI one proposed for the communion antiphon, which is often touted as such.

Now I live in France and my parish tends to use a version of the Exsultet by Gouzes. Irritatingly (for me), this version contains Alleluia refrains meaning that the Alleluia after the Epistle is not the actually first one after the Lenten respite. I have grumbled about this but no one seems to take any notice - they don't really appreciate 'tradition'.

Whence the fashionable practice of singing triple alleluyas all the whole year 'round?
Unless I am incognizant of some arcane and provincial custom, the only time for three alleluyas is at the Easter Vigil. Long, yea, since shortly after the recent council, have I thought that singing multiple alleluyas every Sunday really spoiled the specialness of doing so on Easter Even, and, that it was a quite certain signifer of liturgical illiteracy, if not outright ecclesiastical ignorance. To make matters even worse, the ones sung in most places have all the indignity of hippety hoppety, catchy little dances. No one seems to be remotely aware of the profundity of this Hebrew utterance, certainly not of the fact that the last syllable is a shortened form of God's Name, Ya(weh). As we sing AlleluYa, Praise to Yaweh, we should do so with deep inner conviction and awe, not the shallow and thoughtless fa-la-la skip-to-ma-loo rubish that is tossed off in most places. The only really appropriate way to sing Alleluya is with an ecstatic jubilus on the final syllable. Don't tell me that our highly educated and technologically advanced people of the XXIst century can't learn to do this. They can, and their choirmasters should insist that they do so. At Walsingham we use the version in the Anglican Use Gradual all the time except Easter Even, when we sing The Triple Alleluya.

Here it is from the NOH with added English pointed verse using psalm tone.