• 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
    • Repository • “Spanish Music”
    • KYRIALE • Saint Antoine Daniel
    • Campion Missal, 3rd Edition
  • 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
    • Feasts Website
  • 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

Gregorian Rhythm Wars • “Patrick’s Second Response to Jeff” (16 Nov 2022)

Patrick Williams · November 16, 2022

Gregorian Rhythm Wars contains all previous installments of our series.
Please refer to our Chant Glossary for definitions of unfamiliar terms.

E ARE IN AGREEMENT that there is an official edition, with its own rhythm, which is more or less how chant was sung for many centuries, and I said so directly in part 3 of this series. Why belabor a point that hasn’t been disputed? I stated my thesis as clearly as possible at the beginning of part 2: “I will defend the position that these chants [of the Proper of the Mass] are composed with a combination of long and short notes in 2:1 proportion.” In part 8, Professor Weaver accurately summarized the essential difference in the approaches advocated by myself and Mr. Ostrowski: “Williams prefers the signs of the ninth and tenth centuries, while Ostrowski (like Pothier) takes a view that encompasses more and later sources.” To put it another way, and in practical terms: Mr. Ostrowski wants the episemata (long marks) of the Solesmes editions to be disregarded, whereas I want more long notes to be observed than are marked in those editions—and as double proportions, not slight nuances. I am interested in singing chant with the same rhythm it had at the time of the oldest extant MSS, prior to the rhythmic deterioration mentioned by the medieval writers, which Mr. Ostrowski trivializes by continuing to level the unfounded charge of belief in mass hallucination. He quoted and addressed the first two sentences of my paragraph with the heading “Unnecessary Magical Thinking” (part 2) but ignored the rest of what I wrote there. Our readers deserve to see the real issue dealt with fairly and honestly, according to the evidence.

Take Another Look! • How anyone can consider the form of the clivis (flex) at iniquitates to be identical with the two at propitiatio in 1087cluniacensem|1087, StMaur|1079, and 857noyon|1057 (here I reproduce the style of labeling used by Mr. Ostrowski) is beyond comprehension. Note that iniquitates, not observaveris, was the specific example addressed in my Facebook comment—Mr. Ostrowski’s backtracking notwithstanding. I am admittedly not as tech savvy as Mr. Ostrowski, but here is a clumsy side-by-side comparison of the clivis at iniquitates with the second one at propitiatio for each of those three MSS. Do the two neumes look identical to you?

  • Cluniacensem:
  • StMaur:
  • Noyon:

Anyone can see that none of those three MSS uses the same neume at both words. Nowhere did I claim that the second form is long in those three sources, only that the two forms are not identical, as demonstrated above.

The Long and Short of It • As for Auvergne and Limoges, I am admittedly no expert on those two MSS, but I see what appears to be a cephalicus, corresponding to a cursive clivis, at -ser- of observaveris, and also at the end of apud. At least in Limoges, the last syllable of Israel (israhel) is written with exactly the same form of the clivis as the two at propitiatio (propiciacio), with no written indication of further lengthening, yet those notes at Israel are sung long (doubled):

I bring this example up only to point out the inconsistency with which the same sign is interpreted even in pure Vatican edition equalism, and not to make a further argument, but I believe this suffices to answer question 1 (“11 November A”) from part 6. As for Chartres 47, which was destroyed in World War II, the facsimile of the MS is illegible at the beginning of iniquitatem [sic]. Let’s compare -be-/-ve- of observaberis/observaveris instead:

They are not the same! Mr. Ostrowski asked for evidence demonstrating that he’s wrong, and there it is. In fact, I already covered precisely this example in part 2, under the paragraph heading “Comparing Other Sources.” Furthermore, he evidently still has me mistaken for a disciple of Dom Cardine, which is emphatically not the position I took in part 3.

The Meaning of the Episema • In early MSS of the St. Gall family, the episema is used interchangeably with the letter t and corresponds to non-cursive writing in Laon and other sources, which is abundantly clear in the examples I posted in part 2. As Mr. Ostrowski explained in part 1, the letter t means tarditas, trahere, tenere, or tene, all of which signify lengthening (slow down, draw out, hold). Is that not evidence enough that those notes are indeed longer? Moreover, does the consistency with which long notes are marked in the oldest MSS (presented in part 2), from 300 miles apart, not point to a uniform rhythmic tradition in the tenth century? In the Solesmes editions, the significance of the episema is explained in the “Rules for Interpretation,” not the preface, but since the preface to the Vatican edition has been mentioned in parts 4, 7, 8, and Mr. Ostrowski’s previous post, I would like to note that its authorship by Wagner is not universally admitted. In Peter Jeffery’s very informative article on “The New Chantbooks from Solesmes,” he attributes the preface, including the rubrics,* to Pothier, not Wagner, in notes 39 and 103.

Backward Methodology • I have articulated my firm opinion that MSS from the second half of the eleventh century and later are, categorically, not reliable for discerning the original rhythm, and I fear we are already talking past each other with continued discussion of such sources. Does it make more sense to judge later MSS and editions in light of the oldest extant sources, or to judge the oldest sources in light of later MSS? Perhaps we can now move on from propitiatio to est. I already posed my challenge in part 2, but I reiterate it here: Show me a long note at the end of est from any MS—just not Lagal please! On what basis does the Vatican edition add a bar line after est? Does the neumatic sign there differ in any way from the one at the first syllable of quia?

Let’s Be Honest • Mr. Ostrowski seems to be developing a habit of reading unnecessary complications into things that are actually straightforward. In a recent article for another site, he cited a Church document in order to advocate a practice directly forbidden not only by that same document, but by the very paragraph he cited—namely, the singing of English hymns during High Mass in the traditional Latin rite. Now he is portraying the Pietras dubia and response as ambiguous, even though the mention of the so-called methods of Eugène Cardine and Marcel Pérès leave little doubt as to the scope of permissible (or at least tolerated) chant interpretations. Do Pérès or the semiologists sing according to the rhythm of either the pure Vatican or Solesmes editions? Emphatically not! Does Pérès even follow the notes of the Vatican edition? I’m not sure I’ve heard a single recording of his where there was not some deviation from the melody of the Vatican edition, but please correct me if such a recording exists. Now let’s look at the examples. In the interest of the brevity requested of me, I will let the comparison below speak for itself, without further comment.

*The 1908 Graduale Romanum included a rubric directing the Sanctus and Benedictus to be sung as a single movement, without separation, but only a year later, Sacred Congregation of Rites decree no. 4243 upheld the previous practice of singing the Benedictus, whether chant or polyphony, only after the Elevation of the Chalice. That decree was superseded by De musica sacra et sacra liturgia 27d (1958) and the revised rubrics printed in subsequent editions of the Graduale, both pre- and post-Conciliar, which require the Gregorian Sanctus and Benedictus to be sung without a break.

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

Filed Under: Articles Tagged With: Gregorian Rhythm Wars Last Updated: July 5, 2023

Subscribe

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

* indicates required

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    New Bulletin Article • “12 October 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 (dated 12 October 2025) talks about an ‘irony’ or ‘paradox’ regarding the 1960s switch to a wider use (amplior locus) of vernacular in the liturgy.
    —Jeff Ostrowski
    “Reminder” — Month of October (2025)
    Those who don’t sign up for our free EMAIL NEWSLETTER miss important notifications. Last week, for example, I sent a message about this job opening for a music director paying $65,000 per year plus benefits (plus weddings & funerals). Notice the job description says: “our vision for sacred music is to move from singing at Mass to truly singing the Mass wherein … especially the propers, ordinaries, and dialogues are given their proper place.” Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    “Music List” • 27th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 5 October 2025, which is the 27th Sunday in Ordinary Time (Year C). If such a thing interests you, feel free to download it as a PDF file. As always, the Responsorial Psalm, Gospel Acclamation, and Mass Propers for this Sunday are conveniently stored at the spectacular feasts website alongside the official texts in Latin. Readers will want to check out the ENTRANCE CHANT posted there, which has a haunting melody (in the DEUTERUS MODE) and extremely powerful text.
    —Jeff Ostrowski

Quick Thoughts

    “American Catholic Hymnal” (1991)
    The American Catholic Hymnal, with IMPRIMATUR granted (25 April 1991) by the Archdiocese of Chicago, is like a compendium of every horrible idea from the 1980s. Imagine being forced to stand all through Communion (even afterwards) when those self-same ‘enlightened’ liturgists moved the SEQUENCE before the Alleluia to make sure congregations wouldn’t have to stand during it. (Even worse, everything about the SEQUENCE—including its name—means it should follow the Alleluia.) And imagine endlessly repeating “Alleluia” during Holy Communion at every single Mass. It was all part of an effort to convince people that Holy Communion was historically a procession (which it wasn’t).
    —Jeff Ostrowski
    “Canonic” • Ralph Vaughan Williams
    Fifty years ago, Dr. Theodore Marier made available this clever arrangement (PDF) of “Come down, O love divine” by P. R. Dietterich. The melody was composed in 1906 by Ralph Vaughan Williams (d. 1958) and named in honor of of his birthplace: DOWN AMPNEY. The arrangement isn’t a strict canon, but it does remind one of a canon since the pipe organ employs “points of imitation.” The melody and text are #709 in the Brébeuf Catholic Hymnal.
    —Jeff Ostrowski
    Did they simplify these hymn harmonies?
    Choirs love to sing the famous & splendid tune called “INNSBRUCK.” Looking through a (Roman Catholic) German hymnal printed in 1952, I discovered what appears to be a simplified version of that hymn. In other words, their harmonization is much less complex than the version found in the Saint Jean de Brébeuf Hymnal (which is suitable for singing by SATB choir). Please download their 1952 harmonization (PDF) and let me know your thoughts. I really like the groovy Germanic INTRODUCTION they added.
    —Jeff Ostrowski

Random Quote

“Prohibiting or suspecting the extraordinary form can only be inspired by the demon who desires our suffocation and spiritual death.”

— Robert Cardinal Sarah (23-sep-2019), chosen by Pope Francis to be the Vatican’s chief liturgist

Recent Posts

  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”
  • “Reminder” — Month of October (2025)
  • “American Catholic Hymnal” (1991)

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.