• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar

Corpus Christi Watershed

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.”

  • Donate
  • Our Team
    • Our Editorial Policy
    • Who We Are
    • How To Contact Us
    • Sainte Marie Bulletin Articles
    • Jeff’s Mom Joins Fundraiser
  • Pew Resources
    • Brébeuf Catholic Hymnal
    • Jogues Illuminated Missal
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
    • Repository • “Spanish Music”
    • Ordinary Form Feasts (Sainte-Marie)
  • MUSICAL WEBSITES
    • René Goupil Gregorian Chant
    • Noël Chabanel Psalms
    • Nova Organi Harmonia (2,279 pages)
    • Roman Missal, 3rd Edition
    • Catechism of Gregorian Rhythm
    • Father Enemond Massé Manuscripts
    • Lalemant Polyphonic
  • Miscellaneous
    • Site Map
    • Secrets of the Conscientious Choirmaster
    • “Wedding March” for lazy organists
    • Emporium Kevin Allen
    • Saint Jean de Lalande Library
    • Sacred Music Symposium 2023
    • The Eight Gregorian Modes
    • Gradual by Pothier’s Protégé
    • Seven (7) Considerations
Views from the Choir Loft

The “Mora Vocis” • What is that?

Jeff Ostrowski · October 16, 2020

ECENTLY, I posted sample scores from the Chaumonot Communions collection. A former student of mine is involved with that project, and she’s doing amazing work. Their website mentioned the Organum Comitans ad Graduale Sacrosanctae Romanae Ecclesiae by the Desmet brothers and Oscar Depuydt. Essentially, that is the predecessor to the NOH. (“NOH” stands for Nova Organi Harmonia ad Graduale Juxta Editionem Vaticanam.) Feel free to verify what I have just said by reading pages 1-2 of Monsignor Jules Van Nuffel’s PREFACE to the NOH. For the sake of convenience, perhaps we should call the Desmet collection the “Pre-NOH.” For the last twelve years, I have been discussing with readers whether it’s permitted to modify the rhythm of the Vaticana, which is still the official edition of the Church. Because we have discussed it so much in the past, we will not be discussing it here.

Look at the peculiar method used by the “Pre-NOH” when it comes to marking the melismatic morae vocis. Look at the little “v-shaped” markings they use:

It looks pretty funky, eh?

“Mora Vocis” • What Is It?

It would probably be helpful to remind everyone what a melismatic mora vocis is. (Plural = morae) It is a “space of unchanging length equal to the size of a notehead” that is found in a melisma. None of this applies unless we are talking about a melisma. Even prior to the publication of the Editio Vaticana (issued as part of a juridical code by Pope Pius X), Abbot Pothier had published amazing editions. Because Pothier’s edition was adopted as the basis for the official edition—upon the express orders of Rafael Cardinal Merry del Val (d. 1930)—sometimes his earlier editions can give us a “clue” as to where the morae vocis belong in the official edition.

Let’s consider a passage from Pothier’s Liber Gradualis (1883), predecessor to the Editio Vaticana (1908). Notice the “white note”—that is to say, a space of “unchanging width equal to the size of a notehead” during a melisma:

Here is the official edition of 1908 (a.k.a. “Editio Vaticana”), produced by the committee appointed by Pope Pius X. Abbot Pothier was the president of this committee. The arrow points to a “white note”—that is to say, a blank space “of unchanging width equal to the size of a notehead” in a melisma, which means “elongate the final note or neume.” The red arrow points to it:

Dom Mocquereau was angry that Cardinal Merry del Val chose Pothier’s edition instead of his 1903 edition to serve as the basis for the official edition. He added his private rhythmic markings to the official edition, even though these contradicted the official rhythm. He was not allowed to do this, but he did it nonetheless. Mocquereau lengthened notes that should be not be lengthened, and ignored the morae vocis quite frequently. Here is the Solesmes edition (Dom Mocquereau) of 1908:

It is important to recognize that Solesmes never changed rhythmic markings of Dom Mocquereau—not once! They remain exactly as he created them. They remain even to this day, in the most recent publications by Solesmes Abbey (such as the 2012 edition of the Gregorian Missal). Here is a 1962 edition of the Editio Vaticana by Solesmes—you will notice that not a single marking by Dom Mocquereau has been changed:

The 1953 Schwann Edition was created by three powerful German scholars: Karl Gustav Fellerer (d. 1984), Abbot Urbanus Bomm (d. 1982), and Monsignor Johannes Overath (d. 2002). The whole idea behind this edition was to honor the Vaticana rhythm, and in this particular instance they do. I say “in this instance” because they often (inexplicably) advise the singer to ignore the mora vocis. However, in this instance, they tell the singer to observe the mora vocis, as you can see by that little horizontal line:

The “Pre-NOH” (Lemmensinstituut), published by the Desmet brothers in 1907, observes the official rhythm. We should not be surprised, therefore, to see them notate the mora vocis correctly:

The NOH (Lemmensinstituut), published by Flor Peeters and his colleagues in the 1940s, follows the example of their predecessors—they observe the official rhythm. However, they seem to have made a mistake here, because—unless my eyes deceive me—they forgot to put a dot at the mora vocis we’ve been discussing:

Usually, the dots are quite easy to see:

Dr. Franz Xaver Mathias (an Alsatian priest) was organist at Strasburg Cathedral, where he founded the “Saint Leo Institute for Church Music” in 1913. His editions are incredibly faithful to the official rhythm. To be honest, his editions are probably the most faithful of all. Notice that Father Mathias properly marks the final neume before the mora vocis (i.e. both notes). Notice, also—shown by the blue arrow—that Father Mathias correctly marks a sneaky (but correct) instance of the mora vocis. Here is his 1925 edition:

That’s because Father Mathias was able to ascertain the “width of a notehead” could fit between. The pink line shows the mora vocis while the yellow line demonstrates the width “equal to a notehead.” Here you go:

More Examples

If you want to see more examples, I assembled several for you here:

*  PDF Download • Mora Vocis

Well over a decade ago, several members of Corpus Christi Watershed made great personal sacrifices to provide digital scans of these extremely rare books, such as the NOH. Many people over the years have imitated the books CCW has brought to light. For example, the organ accompaniments done by ICEL clearly mimic the NOH notation:

ICEL routinely refers to “their” notation as “the ICEL notation,” and they are incredibly controlling when it comes to people reproducing it. I don’t expect this to happen, but it would be nice if they could at least have the integrity to acknowledge the incredible debt they owe to people like Flor Peeters.

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

Follow the Discussion on Facebook

Filed Under: Articles, Featured Tagged With: Dom Mocquereau, melismatic morae vocis, MMV melismatic mora vocis Last Updated: December 1, 2023

Subscribe

It greatly helps us if you subscribe to our mailing list!

* indicates required

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).

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    “Entrance Chant” • 23rd (Ordinary Time)
    This coming Sunday, 7 September 2025, is the 23rd Sunday in Ordinary Time (Year C). You can download the “Entrance Chant,” conveniently located at the feasts website. I also recorded a rehearsal video for it (freely available at the same website). The Communion Chant includes gorgeous verses in FAUXBOURDON. I attempted to create a rehearsal video for it, and it’s been posted at the feasts website, called by some: “church music’s best kept secret.”
    —Jeff Ostrowski
    PDF Download • 3 September
    According to the MISSALE RECENS, the Feast of Saint Gregory the Great occurs on 3 September (the date Gregory became pope). Formerly, his feast was celebrated during Lent, on 12 March (the day Gregory died). In Latin, the feast is: Die 3 Septembris: S. Gregorii Magni, papæ et Ecclesiæ doctoris. you can download the Latin Introit, the Latin Offertory, as well as the Communion with gorgeous fauxbordon in English. Abbat Joseph Pothier—along with Dom André Mocquereau, Bishop Laurent Janssens, Father De Santi, and other Gregorian superstars—sang with a choir of 1,210 voices (from 36 different Roman colleges) under the direction of Monsignor Antonio Rella. That Mass included the “Alma cohors,” a special SEQUENCE for Saint Gregory…much to the dismay of those who believe in strict adherence to rubrics. The Mass on 11 April 1904 was celebrated by Pope Saint Pius X, at the great GREGORIAN CONGRESS held in Rome “to mark the 13th Centenary of the death of Saint Gregory the Great.” Someday, there’s much I’d love to say about this congress. We even have recordings (!) from it (made in 1904 by the Gramophone Company) with choirs conducted by Dom Pothier, Dom Mocquereau, Dom Janssens, Monsignor Rella, Baron Kanzler, and others.
    —Jeff Ostrowski
    New Bulletin Article • “7 September 2025”
    My pastor requested that I write short articles each week for our parish bulletin. Those responsible for preparing similar write-ups may find a bit of inspiration in these brief columns. The latest article is called: “Professor Bouyer’s Regret.”
    —Jeff Ostrowski

Quick Thoughts

    Solemn “Salve Regina” (Chant)
    How many “S” words can you think of using alliteration? How about Schwann Solemn Salve Score? You can download the SOLEMN SALVE REGINA in Gregorian Chant. The notation follows the official rhythm (EDITIO VATICANA). Canon Jules Van Nuffel, choirmaster of the Cathedral of Saint Rumbold, composed this accompaniment for it (although some feel it isn’t his best work).
    —Corpus Christi Watershed
    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

Random Quote

“We cannot approve of the attitude of those who use the problems raised and discussed by the Council to create in themselves and in others an attitude of unrest and a desire for radical reformation, as if the Council gives every private opinion a chance to destroy the heritage of the Church. acquired during Her many centuries of history and experience.”

— Pope Paul VI (30 June 1965)

Recent Posts

  • “Entrance Chant” • 23rd (Ordinary Time)
  • Weird Liturgical Kalendar …
  • Is ‘Chant’ a Generic Word for ‘Sing’ ? • No!
  • Catholic College (2025) Sings Vespers in SATB
  • PDF Download • 3 September

Subscribe

Subscribe

* indicates required

Copyright © 2025 Corpus Christi Watershed · Isaac Jogues on Genesis Framework · WordPress · Log in

Corpus Christi Watershed is a 501(c)3 public charity dedicated to exploring and embodying as our calling the relationship of religion, culture, and the arts. This non-profit organization employs the creative media in service of theology, the Church, and Christian culture for the enrichment and enjoyment of the public.