Perhaps you think the TRIPLEX is more divisive than it actually is. Even among those committed to the Mocquereau method, there are always still differences in interpretations. The wonderful Chant scholar Dame Laurentia Mclaughlin of Stanbrook Abbey, England (now sadly no more) a great friend of Mocqureau and pioneer of the Solesmes reforms in the early 20th century, often said, that when she went to different Abbeys to teach the Chant, she would give them sound principles, and then leave them to it, adding that "a slavish imitation of even the best Chant is not something to strive for" She knew that each monastic house would have their own way, their own sound, as any monastic family should have. Those of us who use the Triplex and the notation of St Gall and Laon may surprise you. Just a few months ago, a Chant scholar visiting my parish came up to me after Mass to congratulate me "on the best interpretation of the Traditional Solemes Method" he had heard. This was a fellow who had studied with Dr Marier and had lead choirs for years. I had to chuckle as my 25 cantors sing the Chant from the Triplex. There have been criticisms on these pages of using the Triplex as a performing edition, we DO use them as all my cantors study the ancient signs with me, and are then truly a "schola" or school, or so we hope. We do not reject the old method and indeed use many aspects of it- the "lifted accent" for example. The study of the signs or "semiology" informs our performance a bit, but not as much as you may think, but it often times brings life to the words. It is often the case of holding a note hear or there, or perhaps singing a certain passage a bit more quickly or slowly. Liquescents are also more abundant in the ancient notation and these are often helpful. The few who sing with me who might not have a triplex, can still use their Liber Usualis or Graduale Romanum and armed with a pencil can add the few revisions we make, actually, we all use pencils! This adds no extra time to rehearsals, and my 25 men and women learn all the chants of the Mass and Vespers in about 40 minutes each week, before the general Choir and Chorister rehearsal.

I have made a practice in the last year or so to not actually let myself be drawn into these arguments as I always find them heated and the very antithesis of what the Chant is meant to convey. Too, it is only in America where I seem to find such emotionalism around the issue. I am in heaven when I hear the "Method of Solesmes" done well, and am always first to congratulate the director. However, we must realize that the Church has never come out officially for the Method, which I think is very wise. A plaque on the wall in the paleography room at the Abbey of Solesmes reminds scholars to "go back to the sources" and I, for myself cannot believe that the study of rhythm stopped in 1930 with the death of Mocquereau.

I wish all the directors and singers of Gregorian Chant great success and encourage you all to to take it to all who will listen, and to all who would learn. Let us be careful not be guilty of criticisms and backbiting just because one holds the second note of a salicus and another holds the third, this only tears down, causes hurt feelings, and suspicions. Let us all then, do our best to build each other up so that our sacred cause of Gregorian Chant and the liturgy can go forth and be successful, and not be thwarted by silly divisions, divisions which should not exist anyway over such a small thing. Up with Chant, and to quote the Hymn, "Come labor on, who dare stand idle...?

Yes, chant is, after all, music, and not a machine. I think everyone can agree on that. There is far more unity on this idea that was commonly believed in the days of the great rhythm war.

What is the Triplex, exactly...? Is it like the old Roman notation, with just words with symbols above (no clefs/staff)?

I would think that whether you're using Triplex, Solesmes, or modern notation, chant is chant is chant. Every group is going to sing it a little differently anyway. As long as it is reverent and beautiful, that's what matters...

Hugh, I too was a student Of Mary Berry's in Cambridge, though long before you, so perhaps this is why what I wrote reminded you of her. By the way, If you are Hugh Henry, Mary (and Sr Alicia) spoke in glowing terms about you my last few visits to St Benedict's. Mary's attitude was not not either/or but both/and, and I think this is brilliantly brought out in those last three CD's where she directed the Community of Jesus in the recordings of the Life of Jesus in Gregorian Chant as well as Chants of the Transfiguration. Of course she had been director of Ward Method studies for Great Britain and Ireland and knew the Method inside and out. This balance that she gave to her students therefore was both scholarly and musical, and void of any sort of ideology. I am so thankful for her and her amazing teaching. It is not an overstatement to say that I owe my career in church music to her.

Using the Triplex was what enabled me to overcome my fear of chant. (I was frightened by an ictus during a music lit course in conservatory.) It was the Triplex that showed me that there was no one, single, perfect way of singing a given chant.

And no one was ever injured by knowing more about the history of chant. Go to the workshop and use whatever you find of value.

Sounds great. I envy you! Please don't forget to post what you learn from the class. Thanks.

One question as regards the GT. Where does one go to find propers in the EF that aren't there? Back to the Liber, I presume? Is there a resource that has material from the St. Gall and St. Laon MSS (or other MSS) on these chants? Jeffrey Morse, I keep forgetting to ask you this question.

for anyone else who hasn't seen inside the Triplex before:

Mary Ann, Not all of the propers have semiology, especially in the EF, for example many of the more "modern" feasts like Christ the King, Sacred Heart, St Joseph the Worker, really anything written after staff notation came into use. The new Graduale (1974) attempted to get rid of some of the dodgier chants and replace them with older chants, but in the EF we are stuck with some of these. You might try Dom Cardine's Graduel Neume, but you will only find Chants with semiology, the other chants have been excised. We just sing without the semiology from either the LIBER USUALIS or the Graduale Romanum (or Triplex, which does contain all the Chants of the 1974 Graduale, even those with out St Gall/Laon.

That looks like it would be pretty hard to read the neumes on the top (kind of like it is hard to read the melody and the seventh verse of a hymn at the same time)

Jam And miacoyne, While Dr Berry did encourage her students to read all three notations at once, giving the same example as a symphony conductor reading many more lines of music, this was done in an academic setting with just one or a few of us singing for her. Practically, in the "real" world of scholas in parishes, I have found what works best is to mark with pencils the square note notation with horizontal lines and other symbols for interpretation. It is important when working with scholas who have never attempted this before to just change a few things at first taking "baby steps" so to speak. My current schola has been singing together about 8 years, each time the proper chants come up again in the Liturgical year we might add a few new markings according to our study of the semiology so it is an on-going process. Many of my student-cantors have become very adept at the reading of St Gall and Laon and are often very excited to change everything all at once, but slow change is the best it seems, though sometimes I must admit their enthusiasm will convince me to make a few more changes than I usually would! When you start making these changes you will notice how the Chant seems to come a live, many of the notes which are held are indeed structural notes of the mode and with the few other little changes all of it seems to take on a certain lightness and easy flow.

Miacoyne, if you ever find yourself in Northern California, do come by and I can get you started. It is all far easier than in looks at first glance, and you'll be amazed what you can learn in just a half hour. I can be contacted through the Church, St. Stephen the First Martyr, Sacramento, Calif. or moravocis at sign mac dot com.

I'm trying to read Cardines book but its rather confusing. . .He seems to give little in ways of applying his conclusions, in practice. is their a good way to get started in applying semiologicaly based nuances short of finding a mentor or teacher.

Also it would seem that some of this stuff can be applied within the context of the Solsmes method.

I've just ordered it. That's the one I was missing too. Thanks.