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Views from the Choir Loft

How To Hyphenate Latin Words (Break into different syllables)

Jeff Ostrowski · February 13, 2014

“Where the best authorities differ so widely it would be absurd to pretend to offer a final solution.” — Fr. Adrian Fortescue (The Mass, 1912)


984 Puer Natus Est CLICK TO ENLARGE N THE ORDINARY FORM, there are Spoken Propers (for Masses without music) and Sung Propers. Sometimes they’re identical, sometimes not, and the same holds true for Latin hyphenation. There is “spoken” hyphenation (a.k.a. “written”) and “sung” hyphenation … and they’re not always the same.

Professor John F. Collins gives basic rules of syllabification in his Primer of Ecclesiastical Latin (CUA), but these are intended for “written” Latin. Even there, leeway exists, because ancient manuscripts divide words depending on spacing issues. Of course, going back even further, the words were all written together without any spaces!

For the Edmund Campion project (website), we spent hours studying hyphenation issues. I share some of our findings below. Fr. Xavier Lasance (†1946) is not always consistent. For instance, he sometimes writes FRU—CTÍFERA but in other places writes FRUC—TÍFERA. The following document explains what a “true error” is:

* *  Notes about the Translations for the Campion Missal

LET US CONSIDER the Latin word omni. Latin grammarians say it should be broken as OM – NI. However, Pustet’s 1888 Breviary breaks it surprisingly as O — MNI   And in 99% the Solesmes books, it is divided as O – MNI for “sung” Latin. Any time Solesmes has “OMN” they divide it this way, e.g. O – MNIS. Perhaps they do this to help singers pronounce it correctly. It doesn’t appear to be a “French thing” since the 1953 German Graduale follows suit, e.g. O – MNI – BUS. However, for “written” Latin, the Solesmes Liber Usualis uses OM – NES.

Moving on, let’s consider how words like “SANCTE” are broken:

Official 1962 Missale Romanum:   SAN – CTE   •   SANC – TAM

Fr. Xavier Lasance:   SANC – TA

1975 Missale Romanum of Paul VI:   SANC – TAM

Solesmes Liber Usualis:   SAN – CTUÁRIUM   •   SAN – CTUM   •   SAN – CTO

Pothier’s Liber Gradualis (1884):   SAN – CTUS

You can see that each publisher follows his own policy. The most important thing is to be consistent. (You’ll notice the official 1962 Missal is not.) It would be fascinating to go through all the old books at the St. Jean de Lalande Library and see what different publishers did over the years. Feel free to add hyphenations from books you own in the combox. Here are some notable ones I found:

Fr. Lasance:   COG – NÓSCO   •   Solesmes:   CO – GNOVÍSTI   02   •   03 • 04

Solesmes 1942 Breviary: dixerámus = DI — XERAMUS instead of DIX — ERAMUS

Díxero and Dixérunt:   DI — XERO   not   Díx — ERO

Likewise:   DI — XERUNT   instead of   DIX — ERUNT :

Yet look at this:   “dixísti” is   DI — XISTI   whereas “Exeúnte” is   EX — EUNTE

Fr. Lasance:   FAC – TUM

Fr. Lasance:   SUS – CÉPTOR

Fr. Lasance:   PROP – TER

Fr. Lasance:   ACCÉP – TAM

Solesmes 1903 Manuale:   ACCÉ – PTA

Fr. Lasance:   CHRIS – TUS

Solesmes books:   EXSPÉ – CTANT

Most “sung” versions by the monks of Solesmes have OMNÍ – POT – ENS, yet the 1903 Solesmes Manuale has OMNÍPO – TENS

But others do not agree with Solesmes and write OMNI – PO – TENS

Similarly, the word potéstas is broken as POT – E – STAS not PO – TESTAS …… because they like to preserve TO BE (“estis”)

But for some reason, potéstas—normally broken as POT-E-STAS — in 1957 Solesmes does PO-TE-STAS which is remarkably inconsistent

Solesmes = “Excidístis” is broken as  EXCIDI — STIS instead of Excidis — tis

Most written versions prefer NOS-TRIS, yet the Solesmes 1903 Manuale has NO – STRUM

Solesmes:   ÉT – I – AM

Vatican Press:   DI – GNERIS   &   BAPTÍ – SMI

ABUNDANS = ab—UN—dans not   a—BUN-dans

Here are some more examples commonly found in “sung” Latin (as opposed to “written” Latin):

RED – EM – PTOR — not re-dem-ptor
O – MNES — not om-nes
Ó – MNI – A — not om-nia
SOL – E – MNI – TATEM — not so- LEM – nitatem solemnitatem
SIC – UT — not si-cut
NO – STRIS — not nos-tris
NO – STER — not nos-ter
NO – STRÓRUM — not NOS – trórum

806 Nostri

PRO – PTER — not prop-ter
A – GNO — not ag-no
SAN – CTO — not sanc-to
Ó – PTI – ME — not óp-time
PENTECÓ – STES — not Pentecos-tes
SE – CUS — not sec-us
Á – SPERO — not ás – pe – ro
DILE — XISTI not “dilex — isti” … same for words like abstraxísti, which would be abstra­ — xísti
EX – ÉR – CITUS — not e-xercitus
VE – XIL – LA — not vex-il-la
RESPE – XIT — not respex-it (but one book has “e-xultavit”)
DI – XIT — not dix-it
OB – UMBRÁBIT — not o – bumbrabit
RED – EM – PTIÓNEM — not Re-demp-ti-onem
RED – ÉMIT — not re-demit
yet Solesmes has RE – DEMIT and RE – DEMIT
AD – ORÉMUS — a-doremus
PROTE – CTÓ – REM — not protec-to-rem
RE – CTAE — not rec-tae
RED-IMENDUM not Re-Di-Men-Dum
NO – CTÚR – NO — not noc-túr-no
TE – STA – MÉNTUM — not tes-ta-mentum
IN – I – QUITÁTES — not i-niquitates but Solesmes & NOH like I – NI – micítias
SE – PTE – NÁRIUM — not sep-tenárium
POT – ENTÁTUI — not po-tentatui
CONSPÉ – CTU — not conspec-tu
SO – MNUM — not som – num
DI – GNISSIMA — not dig-nissima
CO – GNOVI — (but written is usually cog-novi)
GÉ – NITRIX — not Gen-i-trix
I – PSÍ – US — not ip-sius
SEMET – Í – PSUM — not seme-tip-sum
Í – PSE — not íp – se
But … semetipso has IP — SO   not   I — PSO
CAE – LE – STIS — not caeles-tis
SUS – CIPE — not su-scipe — see also Suscepísti
TEM – PLO — not temp-lo
VEL – UT — not ve-lut
E – STO — not es-to
E – RIT — not er-it
PA – TER — not Pat-er
PRO – PTÉ – REA — not prop-terea
BENEDÍ – XIT — not benedix-it
MANSU – E – TÚDINEM — not mansu-et-udinem
DEX – TERA — not de-xtera
PERMAN – SÍ – STI — not perman-sis-ti
NO – VÍS – SIME — not nov-issime
DI – É – BUS — not di-eb-us
FE – LIX — not fel-ix
BASILI – SCUM — not ba – si – lis – cum ??
CRUCIFÍ – XUS — not crucifix-us
EX – ÉR – CITUS — not e-xer-citus
SCRI – BÉN – TIS — not scribe-ntis
JU – STUM — not jus-tum
ERU – CTÁVIT — (but written is usually eruc-tavit)
RE – GNUM — (but written is usually reg-num)
ACCÉ – PTAM — (but written is usually accep-tam)
MINI – STRÓ – RUM — not minis-trorum

As you can see, sometimes numerous ways of syllabification are acceptable in Latin.

Finally, watch out for “compound” word that have actual Latin words in them, like:

IN – I – MI – CUS — not i-ni-micus

and PER – I – BUNT — not pe-ri-bunt

190 inimicus

Yet we saw how “noster” was treated …


By the way, look how “victoriam” is treated:

165 victoriam

Why do they do I – nimícis but at the same time IN – íquo :

804 eripe

NA – SCE –TUR   not   NAS – CE – TUR ——— and RE – GNUM   not   REG – NUM :

805 Hyphenate

HO- SPES   not   HOS – PES

770 hyphen

SOLESMES MONASTERY is inconsistent, when you look at the word ENUTRIET :

634 enutriet 1955
635 enutriet 1926

OBLIVISCERIS is broken as obli – vi – scé -ris :

614 oblivisceri

SUSCIPE is done SUS – CI – PE not su – SCI – pe as shown by Solesmes 1957:

609 suscipe hyphenation
 

541 castos
 

474 Latin Hyphenation
 

This one has many remarkable hyphenations for Latin words:

460 Hyphen Latin
 

How would you break “obliviscáris” ?

(1) O – BLI – VI – SCA – RIS ?   or:   (2) OB – LI – VI – SCA – RIS ?

The second one is the correct one. Ob is a preposition and therefore not separated. SC always goes together, e.g. in scientia, etc. Cf. Introit for Sexagesima Sunday in Liber: ob-li-vi-sce-ris.

 


Look how different folks treat “vespertinum” :

244 vespertinum
 

SUSCIPE:

371 suscipe
 

769 sustinebit hyphen
 

For Adorate it is “AD—O—RATE” not a—do—rate

85462 adorate
 

 

80969 sperabo

 

 

Transíbunt (“transibunt”) is done   TRANS—i   not   TRAN—SI

 

 

80757 trans

 

 

HYMNUS HYMNORUM hym-nus

DICTO = DI—CTO

but Omnipotenti = Omnipo—tenti instead of Omnipot—enti

Temetípsum + Déstruis   TEMET — IPSUM     DE — STRUIS

Strange hyphens in Dom Hugle SANCTI VENITE:

Adscriptam   =   Adscri — ptam         not Adscrip — tam

SEPTENARIUM   •   SE — PTE — NARIUM

Pustet: Dexteram — Pustet: Vesperam — Pustet: exiens — Redempti — Pustet: Casta

Words with “x” such as “dixit” and “confixére”

SEDIBUS = Sé — dibus   not Séd – ibus

RED – EMIT vs. RE – DEMIT redémit

OMNIA OM-NI-A vs. O-MNI-A

Saint Basil Hymnal (“sanc-to”):

Períret órbis (1932 Grenoble)

POTENS • Solesmes always does “Pot-ens”   and for “potentis” they do   pot-entis

But others prefer (for potens) to do   “Po-tens”

The EDITIO VATICANA does “Po-tens”

And so does Schwann:

If you look at the Introit for the Epiphany you’ll see that Solesmes does “pot — éstas” whereas Schwann does “po — téstas” as you can see:

Preface to the EDITIO VATICANA

One would think “pródiit” would be “pro di it” but it’s actually “pród—i—it”

Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: How to hyphenate Latin syllables, Latin Last Updated: April 3, 2025

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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President’s Corner

    PDF Download • “Polyphonic Extension” (Kevin Allen) for Gloria III
    EVIN ALLEN was commissioned by Sacred Music Symposium 2025 to compose a polyphonic ‘middle section’ for the GLORIA from Mass III, often denoted by its trope name: Missa Kyrie Deus sempiterne. This year, I’m traveling from Singapore to serve on the symposium faculty. I will be conducting Palestrina’s ‘Ave Maria’ as well as teaching plainsong to the men. A few days ago, I was asked to record rehearsal videos for this beautiful polyphonic extension. (See below.) This polyphonic composition fits ‘inside’ GLORIA III. That is, the congregation sings for the beginning and end, but the choir alone adds polyphony to the middle. The easiest way to understand how everything fits together is by examining this congregational insert. You may download the score, generously made available to the whole world—free of charge—by CORPUS CHRISTI WATERSHED:
    *  PDF Download • Gloria III ‘Middle Section’ (Kevin Allen)
    Free rehearsal videos for each individual voice await you at #24366. Related News • My colleague, Jeff Ostrowski, composed an organ accompaniment for this same GLORIA a few months ago. Obviously, the organist should drop out when the polyphony is being sung.
    —Corrinne May
    “Booklet of Eucharistic Hymns” (16 pages)
    I was asked to create a booklet for my parish to use during our CORPUS CHRISTI PROCESSION on 22 June 2025. Would you be willing to look over the DRAFT BOOKLET (16 pages) I came up with? I tried to include a variety of hymns: some have a refrain; some are in major, others in minor; some are metered, others are plainsong; some are in Spanish, some are in Latin, but most are in English. Normally, we’d use the Brébeuf Hymnal—but we can’t risk having our congregation carry those heavy books all over the city to various churches.
    —Jeff Ostrowski
    “Yahweh” in church songs?
    My pastor asked me to write a weekly column for our parish bulletin. The one scheduled to run on 22 June 2025 is called “Three Words in a Psalm” and speaks of translating the TETRAGRAMMATON. You can read the article at this column repository. All of them are quite brief because I was asked to keep within a certain word limit.
    —Jeff Ostrowski

Quick Thoughts

    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
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

Friedman met Egon Wellesz in Altaussee on one of the walks, and Egon started to speak about atonal music—and Ignaz replied: “No, no, no. Melody for me.”

— From the Life of Ignazy Friedman

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