mode to key signature

donr

I was wondering what is the best way to transfer a mode into a key signature?
for example the attached sample is in mode V what key would it best be served in.
To date I've been making all chants without a flat into the key of C and with a flat in the key of F.
If I need them in a different key due to singers I just transpose from there.

How do you do it?

donr

I should mention that this is taken from the Lumen Christi Missal by Adam Bartlett.

Adam Wood

The best key depends on the vocal ranges of the singers. It's completely arbitrary.

For the sake of easiness in transcribing, I generally start from assuming the Do-clef is C (or the Fa-clef is F). This is arbitrary, but easy. If the result is too high or too low for average voices, I transpose up or down from there. But I make it a rule to avoid exotic key signatures (more than 3 sharps or flats, and not even that many if it can be avoided).

donr

So to be square with this in the example I provided, the notes would be F,G,AF,G,A... correct

jpal

What Adam said. I would add that as a rule of thumb, I don't give my congregation anything lower than a B-flat or higher than a D. Something like this I would probably do with DO = A or B-flat.

matthewj

I do hymns/chants in different keys at almost every Mass. I can typically tell whether a congregation will do better a bit higher or lower by the time we're done the entrance/introit and then adjust the rest based on how they sing the first hymn/chant.

M. Jackson Osborn

MJM has called attention to an interesting phenomenon, namely, that the range of a given congregation can and often does change from week to week. Range is neither arbitrary nor fixed. It can change literally with the weather or due to other accidental factors, as well as the group sense of festivity or penitence, positive or negative emotional state (extreme positive or negative emotional states seem to bring out the best); not to mention specific music and attitude. The same group of people may be taxed to sing a B or a C or D at one time, and sing an E with ease at another. They may sing a given piece of music like professionals at one time, and like they've never heard it before at another. It has seemed to me that, generally, people sing better if it's cold or 'pouring down', and at their worst when it's hot. But, many things other than the music itself influence the quality of their song. (And, it should be noted that 'can't' most often indicates attitude, not reality.) This topic would make a very interesting research project for someone's doctoral thesis. To return to MJM's point: it makes all the sense in the world to transpose hymns, psalm responds, mass settings, etc., depending on the guaged state of musical engagement at a given liturgy. (But, there are, of course, certain hymns and other music which just really do 'belong' in a certain key... always.)

RJayH457

donr's question was one of adapting a mode to a key signature (not the specific pitch).
The presence (or absence) of a Bb in the square notation should not play into the determination of a modern key equivant of one of the eight modes. The interval of the tonic to the third degree of the mode scale (cadential third) is the principal determining factor in the adaptation process. As a general rule, modes 1 through 4 can be interpreted as minor (modern) keys and modes 5 through 8 as major. The "kink in the chain" is the adaptation from Phrygian (third and fourth) Mode since the lowered second degree of the scale has no modern equivalent in Western music. In this case, the tonic note of the mode is the actual dominant (fifth) of the modern minor key in order to accommodate for the lowered second scale degree (e.g. a third or fourth mode chant adapted to the key of G minor [Bb & Eb] would necessitate the tonic to be D and not G).

CHGiffen

Finale is major/minor mode oriented when it comes to selection of key signatures, presumably for the purpose of handling various enharmonic spellings. When I first transcribe chant notation into Finale, I only use a flatted key signature (F major or D minor) if there is a corresponding flatted clef in the chant notation. Hence, my rule of thumb is this:

With no flat in the chant clef (doh or fah), then in Finale use A minor as the key signature for modes 1 through 4 and C major as the key signature for modes 5 through 8.

With a flat in the chant clef (doh), then in Finale use D minor for mode 1 and 2 and F major for modes 5 and 6.

Added note: I failed to mention that, once transcribed, I simply use the transposition features of Finale to place the resulting chant in a singable range.

donr

Does anyone have any good internet based reading on the subject of Gregorian modes. I did a search that turned up some very, very basic information. I know what the modes are (I guess). I would like to go a little deeper into the theory just not all the way that it blows my mind.
I would take a college course but I simply don't have time with a full time job, wife, kids and trying to make the music at our church grow in love of sacred music. I only have very limited time every day for a little study.

Also any good books or internet sights on vocal harmonization would be appreciated.

jpal

Perhaps some of the items under "Teaching Aids" on the CMAA web site might help. A good introduction is in the powerpoint there entitled "Tutorial on Chant Pitch" (starting slide 20-something).

incantu

First, the piece in question is not Gregorian chant, but a newly composed psalm by Columba Kelly. If I recall correctly, the published accompaniment version is on D (although I remember playing it in Eb).

The use of a flat in a chant or in a chant-like composition has nothing to do with whether a modern key signature would use sharps or flats. It simply means "sing it as fa," or "this note has a half step below and a whole step above." For example, this could correspond to a G above an F#, a C above B-natural, or an Eb above D in modern notation.

If you want to study more about modes, go for it. If you plan on writing modal harmonizations, or if you need to decide what psalm tone to use with a given antiphon, then a little more knowledge is probably necessary. But the modal designations are largely arbitrary and have absolutely no practical application for the interpretation or performance of monodic chant or newly composed chant-like pieces from modern editions (i.e. those with written out psalm verses). So in my opinion, studying modes is largely a waste of time for anyone who is not planning to become an expert in 19th and 20th century chant editions.

Oh, and the psalm tones in editions like the Liber Usualis and Graduale Romanum are not the tones that were coupled with the same chants in the earliest manuscripts. So if you really want to be "accurate" or "correct," just studying the modern versions of the modes is not going to help you. It's probably easiest just to do whatever it says in the book and not worry too much about it.

francis

http://www.romancatholicsacredmusic.com/modes.html

donr

that was a little weird to listen to but it does put it in perspective. thanks

Protasius

I found an organ verset in the proper mode to be a good help for singing chant, not only to hinder myself from starting too high or low pitched, but also because it helps me to feel where the intervals should be, thus setting me in the right mood through a prelude in the right mode.

I observe the same kind when I chant Vespers at my writing desk without an instrument: before the psalm the antiphon often sounds rather distorted, whilst it almost flows naturally when I repeat it after having sung the psalm.

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