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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

Gregorian Rhythm Wars • “Repercussion and the Mora Vocis” (21 Nov 2022)

Patrick Williams · November 21, 2022

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

N HIS NOVEMBER 10 guest post, Matthew Frederes mentions, among other supposed defects in the rendition of chant, what he refers to as pulsation. I assume he means what is more typically known as repercussion or rearticulation. It is most instructive to read what the Solesmes “Rules for Interpretation” say on the matter:

Formerly each of these two or three notes [of the distropha or tristropha] was characterised by a slight stress or impulse of the voice; in practice, we advise the joining of the notes in one sound. These double or triple notes, especially when repeated, may be sung with a slight crescendo or decrescendo according to their position in the word of the text or in the melodic line. A gentle and delicate repercussion (i.e. a fresh layer of sound) is needed at the beginning of each distropha or tristropha, as well as on the first note of any group which begins on the same degree as the strophicus. (Liber Usualis, xxiij; Liber Brevior, xxj)

This paragraph contains a rather frank admission that the Solesmes method practice of tying repeated notes together and fusing them into a single sound of double or triple length is a departure from the historic manner of singing (here I repeat my own wording from a one-page handout on the topic). The preface to the Vatican edition merely says that such notes “must be sustained for a length of time in proportion to their number” and that the pressus “should be sung with more intensity, or even, if it be preferred, tremolo [‘tremula voce’ in the Latin version].”

Differentiation • I would argue that, in the oldest sources, a tristropha with the rhythm short-short-long and a bivirga with the rhythm long-long have exactly the same duration. They are not used interchangeably; without repercussion or some other difference in their rendition, however, they would be indistinguishable except on paper. Almost ironically, according to the Solesmes method, the tristropha, interpreted as three short notes all tied together, and the bivirga with horizonatal episema, interpreted as two long notes tied together, each approximately 1.5 times the short value, also both have the same duration as each other and, without repercussion, sound exactly the same. Several examples of the bivirga with episema can be found in the Tenebrae responsories. The modern notation edition of the Liber Usualis writes two eighth notes tied together, each with an episema.

Sources • I would also like to address Jeff Ostrowski’s Eripe me alleluia example from his post titled “How Does the Official Rhythm Actually Sound?” There he discussed the morae vocis indicated by the note spacing of the Vatican edition, with a comparison of the Solesmes rhythm. His observations are accurate but do not go far enough. Where do those morae vocis actually come from? He has asked me twice not to use “Because Dom Cardine says so” as an argument—which I wouldn’t do anyway. Now I ask in return: give us something more substantial than “Because the Vatican edition says so”! Why did the editors put the spaces there? Here is a duplex rhythmic example incorporating the melodic corrections:

And another without them:

The St. Gall neumes are reproduced from the Graduale Restitutum of Anton Stingl jun. (Gregor und Taube).

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

Filed Under: Articles Tagged With: Gregorian Rhythm Wars Last Updated: March 12, 2023

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President’s Corner

    New Bulletin Article • “14 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 (dated 14 September 2025) discusses OFFERTORY ANTIPHONS and contains a wonderful quote by Archbishop Fulton J. Sheen.
    —Jeff Ostrowski
    PDF Download • Draft Copy (Pamphlet)
    A few days ago, I posted a draft copy of this 12-page pamphlet with citations about the laity’s “full, conscious, and active participation.” Its basic point or message is that choir directors should never feel embarrassed to teach real choral music because Vatican II explicitly ordered them to do that! We’ve received tons of mail regarding that pamphlet, with many excellent suggestions for improvement. Please feel free to chime in!
    —Jeff Ostrowski
    “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

Quick Thoughts

    Karl Keating • “Canonization Questions”
    We were sent an internet statement (screenshot) that’s garnered significant attention, in which KARL KEATING (founder of Catholic Answers) speaks about whether canonizations are infallible. Mr. Keating seems unaware that canonizations are—in the final analysis—a theological opinion. They are not infallible, as explained in this 2014 article by a priest (with a doctorate in theology) who worked for multiple popes. Mr. Keating says: “I’m unaware of such claims arising from any quarter until several recent popes disliked by these Traditionalists were canonized, including John XXIII, Paul VI, and John Paul II. Usually Paul VI receives the most opprobrium.” Mr. Keating is incorrect; e.g. Father John Vianney, several centuries ago, taught clearly that canonizations are not infallible. Archbishop Fulton J. Sheen would be another example, although clearly much more recent than Saint John Vianney.
    —Corpus Christi Watershed
    Vatican II Changed Wedding Propers?
    It’s often claimed that the wedding propers were changed after Vatican II. As a matter of fact, that is a false claim. The EDITIO VATICANA propers (Introit: Deus Israel) remained the same after Vatican II. However, a new set of propers (Introit: Ecce Deus) was provided for optional use. The same holds true for the feast of Pope Saint Gregory the Great on 3 September: the 1943 propers (Introit: Si díligis me) were provided for optional use, but the traditional PROPRIA MISSAE (Introit: Sacerdótes Dei) were retained; they weren’t gotten rid of. The Ordo Cantus Missae (1970) makes this crystal clear, as does the Missal itself. There was an effort made in the post-conciliar years to eliminate so-called “Neo-Gregorian” chants, but (contrary to popular belief) most were retained: cf. the feast of Christ the King, the feast of the Immaculate Conception, and so forth.
    —Corpus Christi Watershed
    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

Random Quote

“One must pray to God not only with theologically precise formulas, but also in a beautiful and dignified way. The Christian community must make an examination of conscience so that the beauty of music and song will return increasingly to the liturgy.”

— Pope Saint John Paul II (26 February 2003)

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