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“A much greater source of anxiety to Us is the style of action of those who maintain that liturgical worship should shed its sacred character, who foolishly say we should substitute for sacred items & furnishings ordinary common things in daily use.” —Pope Saint Paul VI (14 Oct 1968)

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Views from the Choir Loft

Lesson 10: Modality and Psalm Tones

Modality is not a difficult concept to grasp, when one understands that it is practical in nature. Since the early centuries of the Church, a very common format for Gregorian chant was:

    Antiphon—Psalm verse—Antiphon—Psalm verse—Antiphon, etc.

Needless to say, it was very important that the Antiphon connected nicely with the Psalm verse, and vice versa. Choosing a Psalm tone that did not connect well with the Antiphon was just asking for trouble. They needed a system to facilitate this process, and that is the origin of the Modal system.

At first, they started classifying the Antiphons based on the beginning pitch. This is totally logical, based on the aforementioned pattern of Antiphon and Psalm verses in succession. However, they eventually decided it would be better to classify Antiphons based on the ending pitch. Either way would probably work, but in the end, the ending pitch prevailed (pardon the pun). The ending pitch is called the final or finalis.

Therefore, simply locate the final, and that tells you the Mode of the piece:

Pretty simple, right? However, you are not finished, because you have to decide whether it is authentic or plagal. Odd numbers (1, 3, 5, 7) are authentic. Even numbers (2, 4, 6, 8) are plagal. Authentic Modes have a higher range. Plagal Modes have a lower range.

Have you ever wondered what those little numbers are? The ones listed in the Index of the chant books? They tell you the mode:

The Mode is also listed at the very beginning of each chant:

But what if a piece of Gregorian chant has a range (“ambitus”) that extends both high and low? Obviously, it could be authentic or plagal, and I suspect that the editors simply flipped a coin in such circumstances. What if the piece has a very limited range, say, only three notes? The editors either flip a coin, or (sometimes) they will not assign a mode. Sometimes, rather than flipping a coin, the editors consulted ancient MSS of the Antiphonale or Graduale to help them decide. However, the ancient MSS themselves frequently disagreed about Modal assignment. I have seen 10th century Antiphonals where the same exact chant is classified differently. We must not lose sleep over this, because the assignment was purely practical: as long as the Psalm verses connected nicely, nothing else mattered.

The astute reader is probably asking the following question:

If Modality is purely practical, then why do we classify all chants? For instance, the Alleluia Verse was never sung as Antiphon—Psalm verse—Antiphon—Psalm verse—Antiphon? Why, then, does it have a Modal classification?

The answer is quite simple: musicians became accustomed to classifying the chants, and as the centuries rolled along it seemed natural to classify all the chants according to Mode. Also, a common practice was to organize each Antiphonale or Gradual according to Mode, and I feel this practice must have had an influence, as well.

Sometimes the final of the Mode plays a big role in the chant. Sometimes it does not. Some authors consider the dominant (a.k.a. “co-final” or “tenor”) to be the second most important note of the Mode. Sometimes the dominant plays a big role in the chant. Sometimes it does not. Looking at the the Introit Intret orátio mea, we notice that throughout the entire piece, the final is only sung three times, yet the piece still has to be called Mode 3 because it ends on MI:

At first glance, Benedícta et venerábilis es (PDF) appears to end on RE, so why is it Mode 4? A careful examination shows that while the Verse ends on RE, the actual Gradual ends on MI. The Church allows the first section of the Gradual to be repeated, so (perhaps) there is an argument to be made that this Gradual should always be sung repeating the first section.

As time went on, “Modal theory” began to exert and influence on melodies that had existed for centuries, and (frankly) began to mangle some. However, even to this day, there are still some chants that “defy” Modal theory, like Kyrie IV, which ends on LA. Many Graduals also end on LA, by the way. For theories on how such a thing came to be, see Willi Apel’s book, Gregorian chant.

Once you know the Mode, you can easily transition between Antiphons and Psalm verses. The easiest way to learn about the different “Simple” Psalm tones is to visit Psalmi in Notis (URL), which has numerous books wherein each verse is carefully written out for every single Psalm tone. To learn about the “Solemn” Psalm tones, download Versus Psalmorum et Canticorum (PDF), or visit Communio (URL) and scroll to the bottom.

Simple Psalm tones are the more common ones, and are generally “accentual” — that is, based on the tonic accent of the Latin words. Solemn Psalm tones are slightly less common, and are often “cursive” rather than “accentual.” Sometimes it is said that Latin Psalm tones are based “solely on the Latin tonic accent.” This is not technically true, since many are cursive rather than accentual.

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Corpus Christi Watershed

President’s Corner

    Simplest “Agnus Dei” Ever Published
    Our choir is on break during the month of July. I needed a relatively simple “Agnus Dei,” so I composed this setting for organ & voice in honor of Saint René Goupil. It has been called the simplest setting ever composed. I love CARMEN GREGORIANUM (“Gregorian Chant”), especially the ALLELUIAS, INTROITS, and COMMUNION ANTIPHONS. That being said, some have pointed out that certain sections of the Kyriale aren’t as strong as the Graduale or Vesperale. There’s a reason for this—but it would be too complicated to explain at this moment.
    —Jeff Ostrowski
    14th Sunday in Ordinary Time (Year C)
    Our choir is on break during the month of July. However, on the feasts website, the chants have been posted for the 14th Sunday in Ordinary Time (Year C), which is this coming Sunday: 6 July 2025.
    —Jeff Ostrowski
    Bugnini’s Statement (6 November 1966)
    With each passing day, more is revealed about how the enemies of the liturgy accomplished their goals. For instance, Hannibal Bugnini deeply resented the way Vatican II said Gregorian Chant “must be given first place in liturgical services.” On 6 November 1966, his cadre wrote a letter attempting to justify the elimination of Gregorian Chant with this brazen statement: “What really gives a Mass its tone is not so much the songs as it is the prayers and readings.” Bugnini’s cadre then attacked the very heart of Gregorian Chant (viz. the Proprium Missae), bemoaning how the Proprium Missae “is completely new each Sunday and feast day.” There is much more to be said about this topic. Stay tuned.
    —Jeff Ostrowski

Quick Thoughts

    Pope Pius XII Hymnal?
    Have you ever heard of the Pope Pius XII Hymnal? It’s a real book, published in the United States in 1959. Here’s a sample page so you can verify with your own eyes it existed.
    —Corpus Christi Watershed
    “Hybrid” Chant Notation?
    Over the years, many have tried to ‘simplify’ plainsong notation. The O’Fallon Propers attempted to simplify the notation—but ended up making matters worse. Dr. Karl Weinmann tried to do the same in the time of Pope Saint Pius X by replacing each porrectus. You can examine a specimen from his edition and see whether you agree he complicated matters. In particular, look at what he did with éxsules fílii Hévae.
    —Corpus Christi Watershed
    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed

Random Quote

“I left music college swearing never to write another note again … It was during the mid-1980s when esoteric and cerebral avant-garde music was still considered the right kind of music to be writing.”

— James MacMillan

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