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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 • “Non Praevaleat”

Patrick Williams · April 10, 2023

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

OST ENGLISH SPEAKERS have the notion that chanting is something fundamentally different than singing. The words we use have a tremendous effect upon the way we think. People who are fluent in more than one language sometimes have the experience of a slightly different personality taking over when they switch between languages. Many (most?) languages lack separate verbs for chant and sing; some also lack separate nouns for chant and song. Similarly, the singers of Western Europe in the Early Middle Ages would have had no words for arsis or thesis, and probably the only thing they would have known approximating upbeat or downbeat would have been the levatio and positio of the hand in marking a steady beat. Fast-forwarding a millennium, it seems reasonable to say that nobody living today was brought up with a proportional rhythm interpretation of Gregorian chant. Those of us who embrace it got to this point because we questioned unfounded claims. Like most people who learned either the Solesmes method or semiology, it was drilled into us that mensuralism was to be avoided at all costs. That evasion was something we had to accept on the authority of our teachers, choirmasters, and various authors, without proof.

Analysis • I encourage everyone to study the sources for themselves, and I make the resources available to them to do so. Now let’s study together. We’re going to examine just two words and eighteen notes from the gradual for the third Sunday in Lent. I have doctored the sources only to the extent it was necessary to place the syllables on the same line, remove the neumes of other syllables, and, where appropriate, show the clef. Compare which figures (neumatic signs) are used interchangeably among the various manuscripts.

Liber Usualis:

Graduale Novum:

Einsiedeln 121:

Bamberg 6:

St. Gall 339:

Graduale Restitutum (Stingl):

Graduale Renovatum (Nickel):

Graduale Lagal (Hakkennes):

Graduale Authenticum/Synopticum (Kainzbauer):

Comparative table (Kainzbauer):

My edition with numbered notes for ease of identification:

    1. uncinus in L; plain virga in all SG sources
    2. cursive torculus initio debilis in L; cursive torculus in all SG; first note marked with c in C
    3. 〃
    4. 〃
    5. uncinus in L; virga with episema in E & C; plain virga in Bam; tractulus (with episema?) in 339
    6. cursive clivis with oriscus plus virga in L; cursive clivis plus pes quassus in all SG; C & Bam add c above the clivis; Bam & 339 add an episema at the end of the neume
    7. 〃
    8. 〃
    9. 〃
    10. uncinus in L; tractulus with episema in C; virga with episema in E; plain tractulus in Bam & 339
    11. short-short-long climacus in L, C, & E; entirely short climacus in Bam* & 339
    12. 〃
    13. 〃
    14. non-cursive clivis (=two uncini) in L; clivis with t in C; clivis with episema in all other SG
    15. 〃
    16. short-short-long climacus in L; short-short-long climacus in C, with c above first note; entirely short climacus in E with st before first note; entirely short climacus in Bam*; long-short-short climacus in 339
    17. 〃
    18. 〃

*In Bam, it is often difficult to determine whether the last note of a climacus is a short punctum or long tractulus.

I tend to go with the most straightforward reading of anything ambiguous. Because of the rounded clivis in L and the letter c in C and Bam, I offer an alternative interpretation:

Conclusions • The Graduale Novum incorporates two instances of neumatic disaggregation not found in the Vatican edition, which are undoubtedly an improvement to the square notation. Special forms for the weak beginning note and the oriscus appear in some of the other editions. Hakkennes and Nickel appear to interpret the special torculus as a long torculus initio debilis, i.e. a long (non-cursive or episematic) clivis preceded by a lower auxiliary grace note. The reading of the second and third notes (#3–4) as long is a mistake apparently originating with Cardine (see Gregorian Semiology, pp. 51–58). The adiastematic manuscripts are generally in agreement with one another in their use of either the short or long form. In the short, cursive form, the second and third notes are long only relative to the weak beginning note. They each have the usual short value of half a beat. Yet again, we encounter a false ictus at the third note of -le- (#12), which must be rejected as incorrect, unhistorical, and unmusical. The unmarked ictus on the first note of prae- (#2) must likewise be rejected.

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

Filed Under: Articles Tagged With: Gregorian Rhythm Wars Last Updated: April 11, 2023

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President’s Corner

    New Bulletin Article • “21 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 21 September 2025) discusses some theological items—supported by certain verses in ancient Catholic hymns—and ends by explaining why certain folks become delirious with jealousy when they observe feats by Monsignor Ronald Knox.
    —Jeff Ostrowski
    Cheap! Cheap! Cheap!
    It’s always amusing to see old diocesan newspapers—in huge capital letters—advertising the Cheapest Catholic Paper in the United States. The correspondent who sent this to me added: “I can think of certain composers, published by large companies in our own day, who could truthfully brag about the most tawdry compositions in the world!” I wonder what she could have meant by such a cryptic comment…
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    PDF Download • Dom Murray Harmonies
    Along with so many others, I have deep respect for Dom Gregory Gregory Murray, who produced this clever harmonization (PDF) of “O SANCTISSIMA.” It’s always amazed me that Dom Gregory—a truly inspired composer—was so confused when it came to GREGORIAN CHANT. Throughout his life, he published contradictory statements, veering back-and-forth like a weather vane. Toward the end of his life, he declared: “I see clearly that the need for reform in liturgical music arose, not in the 18th and 19th centuries, but a thousand years earlier—in the 8th and 9th centuries, or even before that. The abuses began, not with Mozart and Haydn, but with those over-enthusiastic medieval musicians who developed the elaborate and flamboyant Gregorian Chant.”
    —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

“Some of our younger parish clergy read their sermons. This should not be done except for some very special reason. The priest who is not capable of preparing and delivering a brief, clear instruction on Catholic teaching to his people is not fit to be in parish work. The people as a rule do not want to listen to a sermon reader.”

— Archbishop of Baltimore (9 July 1929)

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