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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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President’s Corner

    Simplified Accompaniment (Easter Hymn)
    Number 36 in the Brébeuf Hymnal is “At the Lamb’s high feast we sing,” an English translation for Ad Cenam Agni Próvidi (which was called “Ad Régias Agni Dapes” starting 1631). As of this morning, you can download a simplified keyboard accompaniment for it. Simple click here and scroll to the bottom. Many organists are forced to serve simultaneously as both CANTOR and ACCOMPANIST. In spite of what some claim, this can be difficult—which explains why choirmasters appreciate these simplified keyboard accompaniments. Sadly, many readers will click that link but forget to scroll to the bottom where the simplified PDF file is located.
    —Jeff Ostrowski
    PDF Download • “Quasi Modo Sunday”
    The Introit for “Quasi Modo Sunday” (12 April 2026) is particularly beautiful. The musical score can be downloaded as a PDF file, and so can the organ accompaniment. The official language of the Catholic Church is Latin (whereas Greek is our mother tongue). Vatican II said Gregorian Chant must be given “first place” under normal circumstances. As a result, some parishes will rightly sing the authentic version. On the other hand, because so many USA dioceses disobey the mandate of Vatican II, some musicians sing plainsong in the vernacular. I have attempted to simultaneously accompany myself on the pipe organ while singing the English version. Although very few take advantage of it, the complete Proprium Missae is posted at the flourishing feasts website.
    —Jeff Ostrowski
    ‘German’ Introductions for Hymns
    German organ books have an enchanting habit of including introductions for each and every hymn. For example, consider this snazzy example found in a German hymnal published in 1902. In the Saint Jean de Brébeuf Hymnal, that melody is called “Laudes Mariae” and was married to Omni Die Dic Mariae, with a popular English translation (“Daily, daily, sing to Mary”) by Father Henry Bittleston, an Oratorian priest. Notice they also added a ‘tailpiece’ or ‘playout’ or postlude at the end—a very German thing to do!
    —Jeff Ostrowski

Quick Thoughts

    PDF • “Liturgical Law” (467 Pages)
    On Good Friday during the middle ages, the pope privately recited THE ENTIRE PSALTER. If you don’t believe me, see for yourself by reading this passage by Dom Charles Augustine Bachofen (d. 1943). His famous book—called “Liturgical Law: A Handbook Of The Roman Liturgy”—was published by the Benjamin Herder Book Company, which was the American arm (operating out of St. Louis, Missouri) of one of the world’s most significant Catholic publishers. Dom Charles Augustine Bachofen was born in Switzerland but spent his career between the Benedictine monasteries at Conception (Missouri) and Mount Angel (Oregon). His 1931 masterpiece, Liturgical Law can be downloaded as a PDF file … 467 pages!
    —Jeff Ostrowski
    “Gregorian Chant Quiz” • 24 March 2026
    How well do you know your Gregorian hymns? Do you recognize the tune inserted into the bass line on this score? For many years, we sang the entire Mass in Gregorian chant—and I mean everything. As a result, it would be difficult to find a Gregorian hymn I don’t recognize instantly. Only decades later did I realize (with sadness) that this skill cannot be ‘monetized’… This particular melody is used for a very famous Gregorian hymn, printed in the LIBER USUALIS. Do you recognize it? Send me an email with the correct words, and I promise to tell everybody I meet about your prowess!
    —Jeff Ostrowski
    PDF Download • “Ubi Caritas” (SATB)
    I remember singing “Ubi Cáritas” by Maurice Duruflé at the conservatory. I was deeply moved by it. However, some feel Duruflé’s version isn’t suitable for small choirs since it’s written for 6 voices and the bass tessitura is quite low. That’s why I was absolutely thrilled to discover this “Ubi cáritas” (SATB) for smaller choirs by Énemond Moreau, who studied with OSCAR DEPUYDT (d. 1925), an orphan who became a towering figure of Catholic music. Depuydt’s students include: Flor Peeters (d. 1986); Monsignor Jules Van Nuffel (d. 1953); Arthur Meulemans (d. 1966); Monsignor Jules Vyverman (d. 1989); and Gustaaf Nees (d. 1965). Rehearsal videos for each individual voice await you at #19705. When I came across the astonishing English translation for “Ubi Cáritas” by Monsignor Ronald Knox—matching the Latin’s meter—I decided to add those lyrics as an option (for churches which have banned Latin). My wife and I made this recording to give you some idea how it sounds.
    —Jeff Ostrowski

Random Quote

To end an impropriety, noticed particularly at orchestral Vespers, when two or three Psalms are sung with full orchestra, and then the other Psalms and the Hymn are rapidly hurried through with organ accompaniment only […] we order that at Mass all portions of the text, including “Agnus Dei,” be sung with orchestral accompaniment. […] Moreover, the musicians are not allowed to put the instruments away and leave their places before the conclusion of the sacred function.

— Cardinal Patrizi (18 November 1856)

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  • PDF Download • “Quasi Modo Sunday”
  • ‘German’ Introductions for Hymns

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