Views from the Choir Loft

As easy as (G)ABC

Veronica Brandt · June 1, 2013

HEN explaining square notes people are stumped by these notes stacked one on top of the other. It takes a little while for singers to automatically start at the bottom of the stack. The notation came from what worked writing with a broad nibbed pen on vellum. It didn’t translate easily to lead type, or computer software.

Then Elie Roux appeared suggesting we could simplify the code with something like ABC notation. It seemed a mad idea. Gregorian notation is not like modern music. There are all those different neumes: punctum, podatus, torculus, climacus. How would you hope to specify the pitch and shape of each note as well as the fine gradations of spaces.

After a while he came up with GABC and Gregorio. This used a markup language with similarities to ABC plus a processor to typeset the music using TeX. This was very exciting to those already familiar with TeX and old fashioned text based software, but most of the musical population would smile and nod with a slightly glazed expression.

Then there was the idea to share GABC files at the Caecilia Project, but the interface was clunky until recently when Olivier Berten released Gregobase. Now you have the editable GABC for the geeks alongside handsome pdf, eps and png files ready to paste into the desktop publishing program of your choice. There are also scans of the original music for proofreading purposes.

I might have to leave the GABC transcriber for another post. Go check out Gregobase.

Image from British Library Catalogue of Illuminated Manuscripts Arundel 130

About Veronica Brandt

Veronica Brandt holds a Bachelor Degree in Electrical Engineering. As editor, she has produced fine publications (as well as valuable reprints) dealing with Gregorian chant, hymnody, Latin, and other subjects. These publications are distinguished on account of their tastefulness. She lives in the Blue Mountains near Sydney, Australia, with her husband Peter and six children.

Sacred Music Symposium • “What We Avoid”

I wish we had to time to discuss artwork at the Sacred Music Symposium, but there’s just not enough time. At this year’s conference in June, we will sing an absolutely incredible Magnificat setting by Father Francisco Guerrero (d. 1599). If you examine the part books, you will notice a marvelous aesthetic desire to avoid the same capital letter—for the sake of beauty. Do you see how the Part Books find a way to avoid repeating the Capital G twice, by using the word “Superius” (which is roughly analogous to “Soprano”)? Breathtaking!

—Jeff Ostrowski

“Abraham” • Guerrero Imitates His Teacher

Father Francisco Guerrero (d. 1599) studied music with Father Cristóbal de Morales circa 1545. He taught himself the organ. On 3 April 1542 he was engaged as a contralto by Seville Cathedral at an annual salary of 12,000 maravedís. He remained there until 1546, when, at the age of only 17, he was invited—on the recommendation of Father Morales—to become mæstro de capilla of Jaén Cathedral. He was entrusted with the boarding, lodging, and instruction of the six choirboys; but he neglected this duty and was sentenced to be dismissed on 30 August 1548. However, he was absolved and reinstated on 3 November. I think you can see (perhaps) a little homage to his teacher on the word “Abraham.”

—Jeff Ostrowski

Too much music!

Choosing music for the Sacred Music Symposium requires careful consideration. We make sure (always) to have great variety. Because the schedule is so full, there’s never sufficient time to discuss the music fully—indeed, we could easily do a month-long seminar on each piece! For example, last year Dr. Calabrese conducted a setting of the Magnificat by Father Guerrero (d. 1599). It is one of the most magnificent (pardon the pun) pieces ever written, and I wish I had time to point out the brilliant way he syncopates the word “dispersit,” which means “He has scattered” or “He has dispersed.” Superb!

—Jeff Ostrowski