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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

What They Didn’t Tell You About Psalm Tone VIII

Jeff Ostrowski · December 11, 2014

578 Tone 8 Psalm Tone Mode Eight OMEONE who explains to a young driver the meaning of the green and red traffic lights but says nothing about the yellow light is guilty of a serious omission. The same is true when it comes to explaining the Gregorian psalm tones. Many manuals, even the front of the Liber Usualis, leave out critical information.

Eventually, I will explain all eight psalm tones, but today I treat Mode 8 “simple” psalm tone.

Those alive during the 1990s remember The quick brown fox jumps over the lazy dog. Do you know why that sentence was used to display fonts? It’s because every letter of the alphabet is used. Similarly, these Latin sentences use every possibility:

PSALM 138 • Et vide, si via iniquitátis in me est: * et deduc me in via aetérna.

PSALM 115 • Crédidi, propter quod locútus sum: * ego autem humiliátus sum nimis.

PSALM 129 • Quia apud te propitiátio est: * et propter legem tuam sustínui te Dómine.

PSALM 110 • Memóriam fecit mirabílium suórum, † miséricors et miserátor Dóminus: * escam dedit timéntibus se.

The significance & importance of these will become clear below.

97% of Latin words end with a Trochee or Dactyl:

A Trochee (e.g. Déus) has the accent on the penult—that is, the second-last syllable.

A Dactyl (e.g. Dóminus) has the accent on the antepenult—that is, the third-last syllable.

When setting texts to a Mode 8 psalm tone, you can follow the Rules For Psalm Tones without any issues 97% of the time. Hundreds of fully notated psalms (Psalmi in Notis) are available at the Lalande Library.

Setting Mode 8 is easy when each line ends with a Trochee or Dactyl:

      * *  PDF Sample Page: Solesmes Psalmi in Notis (1908)

Now let’s examine the difficult cases.

Psalm 138 has a mediant that ends with three (3) monosyllables:

PSALM 138 • Et vide, si via iniquitátis in me est: * et deduc me in via aetérna.

The more common way would be:

577 Mode 8 First


However, the 1912 Vatican decree also allows:

576 Mode 8 Second

Psalm 115 has a Trochee followed by a monosyllable:

PSALM 115 • Crédidi, propter quod locútus sum: * ego autem humiliátus sum nimis.

The more common way makes this into a “false” Dactyl:

575 Mode 8 Third


But the 1912 Vatican decree also allows:

574 Mode 8 Fourth

Psalm 129 has a Dactyl followed by a monosyllable:

PSALM 129 • Quia apud te propitiátio est: * et propter legem tuam sustínui te Dómine.

This would normally be treated:

573 Tone 8 Fifth


But the 1912 decree gives permission for:

572 Mode 8 Sixth

Finally, what should be done with Psalm 110, whose ending consists of a Dactyl plus a monosyllable?

PSALM 110 • Memóriam fecit mirabílium suórum, †
miséricors et miserátor Dóminus: * escam dedit timéntibus se.

Here’s what you do:

571 Mode 8 SEVENTH


If you don’t believe me, you can see proof in Psalmi in Notis.

Speaking of endings with a Dactyl plus a monosyllable, the same is true for this example:

661 corripias me


The same is true of this example (“refíciam vos”):

179 reficiam


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

Filed Under: Articles Tagged With: Psalm Tone Mode 8 Tone Eight Simple Last Updated: January 1, 2020

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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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Corpus Christi Watershed

President’s Corner

    “Sanctus VIII” • Organ Accompaniment
    A few days ago, I composed this organ harmonization for SANCTUS VIII. This Mass is traditionally called Missa de ángelis or “Mass of the angels.” In French, it is Messe de Anges. You can evaluate my attempt to simultaneously accompany myself on the pipe organ (click here) while singing the melody. My parish is currently singing this setting.
    —Jeff Ostrowski
    Music List • (5th Sund. Ordinary Time)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for this coming Sunday, 8 February 2026, which is the 5th Sunday in Ordinary Time (Year A). If such a thing interests you, feel free to download it as a PDF file. You will probably notice it isn’t as ‘complete’ or ‘spiffy’ as usual, owing to some difficulties which took place this week.
    —Jeff Ostrowski
    PDF • “Communion” (5th Sunday in Ordin.)
    The COMMUNION ANTIPHON for this coming Sunday, 8 February 2026—which is the 5th Sunday in Ordinary Time (Year A)—is truly delightful. You can download the musical score completely free of charge. This text will be familiar to altar boys, because it’s PSALM 42. The Feder Missal makes the following claim about that psalm: “A hymn of a temple musician from Jerusalem: he is an exile in a heathen land, and he longs for the holy city and his ministry in the Temple there. The Church makes his words her own.”
    —Jeff Ostrowski

Quick Thoughts

    “Reminder” — Month of Febr. (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. It couldn’t be easier to subscribe! Just scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“The Humanists abominated the rhythmical poetry of the Middle Ages from an exaggerated enthusiasm for ancient classical forms and meters. Hymnody then received its death blow as, on the revision of the Breviary under Pope Urban VIII, the medieval rhythmical hymns were forced into more classical forms by means of so-called corrections.”

— ‘Father Clemens Blume, S.J.’

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  • “Let the Choir Have a Voice” • Jeff Ostrowski’s Essay on Choral Music in the Catholic Mass

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