Vatican II, Sacrosanctum Concilium :

114. The treasure of sacred music is to be preserved and fostered with great care.

117. The typical edition of the books of Gregorian chant is to be completed; and a more critical edition is to be prepared of those books already published since the restoration by St. Pius X.
It is desirable also that an edition be prepared containing simpler melodies, for use in small churches.

The Graduale Simplex, which contains these simpler melodies makes great emphasis that they are all chants from the 'authentic' tradition.

GS 7. Proinde melodiæ authenticæ, quæ fini proposito re-sponderent, exquisitæ sunt e thesauro cantus gregoriani, ...

GIRM 48 can plausibly be read, and was intended to be read, that there should be no attempt to displace the authentic ancient chants of GR, in Latin, by setting the new words.

... Si ad introitum non habetur cantus, antiphona in Missali proposita recitatur ...
If there is no singing at the Entrance, the antiphon given in the Missal is recited

I would not know whether that view is changing.

Unfortunately, the GS's lack of weekly Propers leaves a massive hole between seasonal antiphons and the full GR Propers, leaving English options or textual substitutions as the gray area.

I'll also tag to my previous comment that I'm quite GLAD to see chant alive and well. One sings chant notation differently than modern notation too; there are subtleties to the notation that are utterly lacking in modern chant transcriptions. Using the old style for new melodies actually elevates the art in my view.

I doubt anyone would really protest singing some of the works of Hugo of St. Victor's works; but they were composed much later than some other chant. What makes his chants substantially different than yours apart from their vintage?

Reply to ServiamScores,
I personlly prefer the neums when chanting. Whenever I see chant that has been set to modern notation I think it loses its interpretation due to a "meterd" mentality. My personal take on chant is that it should be sung freely and interpretation and expression dictated by the text.

Impressive! What program did you use to notate these?

The Salve Regina is lovely. Can you tell a little about the characteristics of mode VII that you sought to maintain in the melody of this new plainchant?

The question arises because I haven't studied the modes much, and this piece uses triads several times in its melody, which makes me wonder if is staying within the modal world, or perhaps not.

There is a little correction I should note: there is a typo on "clamamus".

Well simply this from my understanding: for the mode VII, its beginning and finalis are "so", so a good major triad to keep in mind is: so, ti, re. This also has to do with the degrees of an acceptable finalis in counterpoint theory; "so" being the first degree of the finalis, "re" being the second, and "ti" being the third. The melody of a mode should be built around this structure however, there is nothing preventing everything in between the beginning and end to go where it will, but good chant should be memorable and structured so that the singer can easily pickup on the flow of the music. I strayed from the modal triad a little at the "Et Jesum" as a type of emphasis on His name, leaping back to general range of the mode. Generally good starting points for the phrases is either the first and second degrees of the triad described above. I hope that was a little helpful. Another thing is the authentic modes are generally higher in tonality than their plagal counterparts.

Thanks for noticing the typo, I will correct this.

sdtalley this is some wonderful melody writing! Speaking from my own modest chant experience, you've stayed faithful to the spirit of the modes and the chant. I enjoyed these.

Please do!
Soon!

Have you done any English chant?

I moved this topic to the category of "New compositions".