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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

    “Music List” • 4th Sunday of Easter (Year C)
    Some have expressed interest in perusing the ORDER OF MUSIC I prepared for the 4th Sunday of Easter (11 May 2025). If such a thing interests you, feel free to download it as a PDF file. I don’t know a more gorgeous ENTRANCE CHANT than the one given there: Misericórdia Dómini Plena Est Terra.
    —Jeff Ostrowski
    “Entrance Chant” • 4th Sunday of Easter
    You can download the ENTRANCE ANTIPHON in English for the 4th Sunday of Easter (11 May 2025). Corresponding to the vocalist score is this free organ accompaniment. The English adaptation matches the authentic version (Misericórdia Dómini), which is in a somber yet gorgeous mode. If you’re someone who enjoys rehearsal videos, this morning I tried to sing it while simultaneously accompanying my voice on the pipe organ.
    —Jeff Ostrowski
    Music List • “Repertoire for Weddings”
    Not everyone thinks about sacred music 24/7 like we do. When couples are getting married, they often request “suggestions” or “guidance” or a “template” for their musical selections. I created this music list with repertoire suggestions for Catholic weddings. Please feel free to download it if you believe it might give you some ideas or inspiration.
    —Jeff Ostrowski

Quick Thoughts

    Antiphons Don’t Match?
    A reader wants to know why the Entrance and Communion antiphons in certain publications deviate from what’s prescribed by the GRADUALE ROMANUM published after Vatican II. Click here to read our answer. The short answer is: the Adalbert Propers were never intended to be sung. They were intended for private Masses only (or Masses without music). The “Graduale Parvum,” published by the John Henry Newman Institute of Liturgical Music in 2023, mostly uses the Adalbert Propers—but sometimes uses the GRADUALE text: e.g. Solemnity of Saints Peter and Paul (29 June).
    —Corpus Christi Watershed
    When to Sit, Stand and Kneel like it’s 1962
    There are lots of different guides to postures for Mass, but I couldn’t find one which matched our local Latin Mass, so I made this one: sit-stand-kneel-crop
    —Veronica Brandt
    The Funeral Rites of the Graduale Romanum
    Lately I have been paging through the 1974 Graduale Romanum (see p. 678 ff.) and have been fascinated by the funeral rites found therein, especially the simply-beautiful Psalmody that is appointed for all the different occasions before and after the funeral Mass: at the vigil/wake, at the house of the deceased, processing to the church, at the church, processing to the cemetery, and at the cemetery. Would that this “stational Psalmody” of the Novus Ordo funeral rites saw wider usage! If you or anyone you know have ever used it, please do let me know.
    —Daniel Tucker

Random Quote

“Older priests, therefore, should receive younger priests as true brothers and help them in their first undertakings and priestly duties. The older ones should likewise endeavor to understand the mentality of younger priests, even though it be different from their own, and follow their projects with good will.”

— Pope Saint Paul VI (7 dec 1965)

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