Certainly seems an improvement on the doggerel that often gets passed off as RPs in most parishes. Is this intended for choral performance of the RP?

A worthy project.
Anglican chant is by nature sung in four parts, so your verses should definitely be sung by the choir in SATB parts.
For contrast I would suggest that your responsories should be very simple melodies that you yourself can compose, and that compliment the chant of the verses. Anglican chant is really not a unison genre.
This is a commendable and much needed effort on your part.
Godspeed.

Three farthings here:

!) The Antiphon (or response or whatever) should be simple and predictable, but should avoid being trite.
2) The verses can and should be sung with greater artistry, and should require a certain musical skill, but should avoid being "show" pieces. They should end in such manner that the congregation can easily predict when it is time for a response.
3) To see the impact Anglican chant can have on the positively mundane, see "The Highway Code", or, more recently, the Shelter-in-Place orders, as set to Anglican chant.

Interesting project. I've been thinking about putting anglican chant in front of my choir for some time. I've used a few anglican tones with them once or twice. By the way as a PSA for all: there is a wonderful collection of anglican psalm tones on IMSLP called cathedral chants. I printed and bound this and keep it for reference in my office.

May I ask a “dumb” question, please?

It doesn’t seem to me that the rules for “pointing” text for Anglican chant are consistent from engraver to engraver. I would personally love to include more Anglican chant in my choral program, but I would certainly benefit from more advice regarding how to apply the pointing to the chant tone. I can’t think of any off-hand, but there have been some examples that I found very intuitive and easy to use, but others have perplexed me a bit, unfortunately.

Your work, @NeilMac, has perplexed me a bit, which is probably more a reflection on me than it is you. Could someone(s) more experienced and expert in this arena enlighten me?

Irishtenor -

There are indeed many pointing systems. Some are rather basic and simple, such as those found in the back of The Hymnal 1940, and some, such as in The Hymnal 1982 and The Anglican Psalter (ed., John Scott), are more complex but yield a more artful and musical treatment of the text. Put in simple terms, older methods typically put the cadence as near the end of a line as possible, whilst others tend to put the cadence further back in the line, resulting in a more pleasing literary and rhythmic performance. The basic rule of most all methods is to put an accented syllable on the first (accented) note of a 'measure' and, when necessary (when two syllables fall on an unaccented note) a secondary accent on a secondary note. The older chant books are without number and one should have several in his or her library - but a must have would be John Scott's The Anglican Psalter.

As an example incorporating elements of the more modern method, here is Psalm XCIII, Dominus regnavit. The bar (|) represents a bar line in the chant; the period (.) represents a change of note within a bar, and syllables in (bold) type get two notes. This pointing will work as well for a single or a double chant. (In the event that one has an odd number of verses a verse is chosen at some point to be sung to the repeated second half of the chant (if it is a double chant). Also to be borne in mind is that sometimes the particular harmonic structure or shape of a given chant will suggest one pointing over another.

> The Lord is King, and hath put on | glorious . ap- | parel, *
the Lord hath put on his apparel and | girded . him- | self . with | strength:
> He hath made the round | world . so | sure, *
- | that . it | cannot . be | moved.

> Ever since the world began hath thy | seat been . pre-| pared; *
thou | art . from | ev-. er | lasting.
> The floods are risen, O Lord, the floods hath lift | up . their | voice, *
the | floods . lift | up . their | waves.

> The waves of the sea are mighty, and | rage | horribly; *
but yet the Lord, who | dwelleth . on | high, . is | mightier.
> Thy testimonies, O | Lord, are . very | sure; *
holiness be- | cometh . thine | house . for | ever.

> Glory be to the | Father, and . to the | Son *
- | and . to the | Ho-. ly | Ghost:
> As it was in the beginning, is | now, and . ever | shall be, *
world with out | end . A- | - . - | men.

Or,
>Glory be to the Father, | and . to the | Son, *
and | to . the | Ho-. ly | Ghost:
>As it was in the be- | ginning, is . now, and ever | shall be, *
world | with-. out | end. . A-| men.

Etc.

Verse 5, above, might as well be rendered -
The waves of the sea are | mighty and . rage | horribly' *

Here is John Scott's interesting solution to the second verse of the above Psalm -
> He hath | made the . round | world || so | sure . that it | cannot . be | moved.

Notice how that in this more modern pointing the attention is drawn more artfully to the sentence structure. Also avoided like the plague is the tendency toward 'Anglican thump', by which one rushes through the reciting tone and then pounds out the last few syllables. (I have also heard examples of 'Gregorian thump' in the singing of Latin psalmody to the Gregorian tones.)

The above is one of several possible solutions.
And some might join me in quibbling with my own example.

MJO's system is what I've experienced as standard treatment, except that the dot is only called for when there could be ambiguity: " | to the | Holy | Ghost:" is a little less fussy.

To M. Jackson Osborn

Thank you for the link. I was brought up with Burgess propers and so have a soft spot for them. It was great to listen to the Vidi Aquam and the gradual psalm.

To M. Jackson Osborn

Yes, I was brought up as a High Church Anglican in England (S John's Tue Brook, Liverpool).

As to the Ordinariate - I am very impressed with the contribution it is making - though not a member - and am a keen follower of Fr Hunwicke's blog

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