• 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 • “The Normal Syllabic Value” (6 Feb 2023)

Patrick Williams · February 7, 2023

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

T THE FRONT OF THE LATIN-ENGLISH EDITIONS of the Liber Usualis are printed the Rules for Interpretation, a translation of Dom Mocquereau’s prooemium (preface or introduction), which can be found in the all-Latin editions from before 1934, including the modern notation editions. In the all-Latin editions currently in print, Dom Gajard’s 1934 preface replaces the earlier one by Dom Mocquereau. Dom Gajard begins with the concept of tempus primus or protos chronos, defined as the primary and indivisible beat. In Gregorian Semiology, Dom Cardine writes of what is translated in the English edition as the normal syllabic beat (Italian tempo sillabico normale, French temps syllabique moyen, Latin valor syllabicus medius). I prefer the term normal syllabic value, as beat lacks precision in English and can mean ictus, tactus, stroke, pulse, count, simple beat, compound beat, tempo, speed, or rhythm in general.

Solesmes Method • The idea of the normal syllabic value is different in proportional rhythm (mensuralism), equalism, the Solesmes method, and semiology. We have already seen that in the Solesmes method, there is the notion that the primary or elementary note value is short and indivisible. The Rules for Interpretation state in at least three places that a single note has the value of an eighth note or quaver in modern music:

The single notes without rhythmic signs have the value of a quaver in modern music. (xx)

Each note in Plainsong, whether isolated or in a group, whatever be its shape, has the same value, the value of a quaver in figured music; followed by a dot, its value is equivalent to a crochet. (xxij)

A single note has exactly the same value, in intensity and duration, as the syllable to which it is united. The approximate value of a syllable may be reckoned as a quaver. (xxv)

The last of these three quotes suggests some degree of flexibility relative to the text, but not enough to result in anything approximating a triplet, let alone a dotted eighth (quaver) paired with a sixteenth (semiquaver). Syllables set to isolated long notes (marked with dot or horizontal episema) are the exception to the rule.

Gregorian Semiology • In Dom Cardine’s semiology, which is essentially a more mature development and revision of the Solesmes method, the normal syllabic value is correlated with the amount of time it takes to pronounce a syllable with an initial voiced consonant and a vowel. That value can be augmented, e.g., if there are voiced consonants at the end of the neume, or diminished, e.g., if there is no initial consonant. Dom Cardine gives the following examples:

five normal syllabic beats: Veni Dómine
five heavy, lengthened, or enlarged beats: non confundéntur
five light, fluid, or shortened beats: dii eórum – fílii tui

Now this explanation sounds quite reasonable and is undoubtedly true in some cases, but do the adiastematic neumes support it for the chants of the Proper of the Mass? I answer no. We have many chants that are liturgical recitative, in free speech rhythm and chanted according to a formula: the psalmody of the Divine Office, the prayers of the celebrant, and the readings, for instance, but the Proper of the Mass sung by the schola cantorum is not in that same style, and it is doubtful that even the psalm verse and Gloria Patri of the introit can be categorized as recitative in free oratorical rhythm. After all, those verses have their own tones not used for any part of the Divine Office, with the repeated notes written as a series of tractuli, uncini, or virgae—not to mention the mediant cadences written with short notes in several of the modes.

Equalism • In equalism as espoused by Jeff Ostrowski, every syllable has an equal value, as the name suggests, unless doubled. There are no durational nuances to speak of. It is fair to say that, just as in the Solesmes method, the normal syllabic value is short and indivisible. This is the most straightforward and uncomplicated of all the rhythmic approaches, but we have already seen that it is not supported by the oldest manuscript sources.

Proportional Rhythm • In proportional rhythm, the normal syllabic value is long, and short neumes are the exception. This interpretation is borne out by the adiastematic neumes themselves. There is no question that a syllable set to a single note is normally notated with a tractulus, uncinus, or virga. In both the Solesmes method and semiology, these neumatic signs are usually given a longer value within the context of a multi-note neume than when isolated. Why? What possible justification is there for that interpretation other than the deliberate avoidance of mensuralism? Furthermore, when a syllable is actually notated with a short note in the adiastematic sources—punctum, virga with c, or tractulus with c—the Solesmes editions don’t treat it any shorter than if it were written with a long sign in the manuscripts! At least the semiologists are generally more faithful to the sources in those instances.

A Diminished Augmented Syllabic Value? • Let us consider an example that was mentioned only in passing in a previous post, the Midnight Mass communion In splendoribus:


Graduale Novum

The Vatican and Solesmes editions give two notes of equal value for In splen-. We cannot possibly reconstruct the oldest sources from such interpretations. That leaves us with semiology and proportional rhythm as valid possibilities. Here, the first note is definitely long and the second is written emphatically short on the syllable splen-, which has three consonants at the beginning, one of which is a sonorant or voiced consonant, with another voiced consonant at the end of the syllable in conjunction with a voiced consonant beginning the following syllable. Ordinarily, such a complex articulation would require the augmented syllabic value according to Dom Cardine’s theory, but here it’s decidedly short. A common critique of semiological interpretations is that they all sound different from each other, and I think there are reasons for that. The real problem with semiology is not that it neglects the rhythmic indications of the oldest sources (although that is sometimes true too), but rather that it overinterprets them. I wish to reiterate what I said in my second post in this series:

The semiologists have complicated and overanalyzed chant beyond the comprehension of the average musicologist or cathedral choirmaster, not to mention the average parish cantor or chorister. I showed some of my singers the three volumes of Agustoni & Göschl’s Introduction to the Interpretation of Gregorian Chant and commented that the 1:2 proportion of the medieval theorists is apparently either so difficult or musically unsatisfying that we need a 1,000-page introduction to get us started singing properly.

As an expansion of the Solesmes method but without the binary and ternary rhythmic groupings, Gregorian semiology is like the nuance theory on steroids.

Taking Everything into Consideration • Based more on my own intuition than any solid evidence, I believe that In splendoribus probably represents a dotted rhythm. Dotted rhythms lie outside the 1:2 proportion, but there are exceptions to many rules! The same text occurs in the gradual of the same Mass, with the same rhythm:


Graduale Novum

There is no doubt that long and short neumes are juxtaposed here in both chants. The question is whether the first two notes taken together equal one beat, two, or one and a half:


(the pitches are taken from the communion; the rhythm is equally applicable to the gradual)

Any one of the above renditions is an improvement over an equalist interpretation in terms of fidelity to the oldest sources. I do not claim to have a definitive answer, only a proposal that is in accord with the oldest sources and that represents an improvement over the Solesmes method. In light of the evidence, how do the present-day defenders of the Vatican and Solesmes editions justify their positions? What do they make of the edition actually used in the Vatican?

The evidence of the adiastematic manuscripts and the medieval writers should take precedence over our modern theories, not the other way around. In keeping with the spirit of the pre-Lenten carnival season, I wish to close with a bit of levity by sharing a delightfully acerbic remark from the celebrated organist and composer Charles-Marie Widor regarding the work of the Solesmes monks: “Their Paléographie, which had begun so well, finished like a watercolor course taught by the blind” (“L’ Œeuvre de Gevaert,” p. 399, n. 1; tr. John R. Near in Widor: A Life beyond the Toccata, p. 234), along with a somewhat pertinent meme (complete with a typo!)—after all, are we not arriving at nearly opposite conclusions based on the same evidence?

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

Subscribe

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

* indicates required

Primary Sidebar

Corpus Christi Watershed

President’s Corner

    Why A “Fugue” Here?
    I believe I know why this plainsong harmonizer created a tiny fugue as the INTRODUCTION to his accompaniment. Take a look (PDF) and tell me your thoughts about what he did on the feast of the Flight of Our Lord Jesus Christ into Egypt (17 February). And now I must go because “tempus fugit” as they say!
    —Jeff Ostrowski
    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

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

“The Catholic Church holds it better for the sun and moon to drop from heaven, for the earth to fail, and for all the many millions on it to die of starvation in extremest agony, as far as temporal affliction goes, than that one soul, I will not say, should be lost, but should commit one single venial sin, should tell one willful untruth, or should steal one poor farthing without excuse.”

— Saint John Henry Newman (1865)

Recent Posts

  • The Real Miracle of Gregorian Chant
  • Why A “Fugue” Here?
  • “Three Reasons To Shun Bad Hymns” • Daniel B. Marshall
  • “Puzzling Comment” • By A Respected FSSP Priest
  • New Bulletin Article • “12 October 2025”

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.