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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

A Classic Example of Modal Modulation

Dr. Charles Weaver · November 12, 2023

A FEW MONTHS AGO, I wrote a post about a traditional and brief way of formulating the ethos or character associated with each of the eight modes. If you apply this way of thinking to your chanting, it can often bear a great deal of fruit for contemplation. It provides another dimension for us to think about as we approach a chant: liturgical context and meaning, melody, text setting, mode. In particular, I would like to suggest that you might get something out of adopting a dynamic rather than a static way of thinking about the modes.

Here is what I mean by a static way. What we teach our students is that we classify a melody into one of the modes by looking at its final and its range. The final is the last note of the melody, and it works like this: D is for modes 1 and 2; E is for modes 3 and 4; F is for modes 5 and 6; G is for modes 7 and 8. If a chant ends on another note, we consider it as being in a transposed version of one of the other modes. Typically C endings are mode 5, A endings are mode 2, and B endings are mode 4. The range refers to whether the final note is near the bottom of the range of pitches in the melody or somewhere in the middle. Near the bottom means an odd-numbered mode, while in the middle means an even-numbered mode. This is not really an exact science, but after spending a while with the melodies you get pretty confortable categorizing them.

In a dynamic way of thinking about the modes, we add on to what I wrote above by thinking of the modes as also having certain typical melodic patterns and certain notes that seem to anchor the mode. Often these are the same as the tenor or reciting tone of the psalm. Sometimes these are other notes, like the pitch F in the Easter introit. Sometimes a melody can visit other modes by adopting the melodic mannerisms of that mode. If you combine that with the modal ethos, you can sometimes get some real analytical insight. I know that sounds like dry theory, but I think it can be rewarding for any choir director to think this way!

A very clear example of this happened today at the communion in the ordinary form. The communion sets an excerpt from today’s gospel about the wise and foolish virgins. As usual, the Gregorian author did a great job of paraphrasing the gospel text to make a coherent and beautiful antiphon focused on one important aspect from the gospel lesson. That could be the basis for a whole other post. Anyway, the melody also moves between modes in an interesting way. First off, we have this phrase:

The antiphon is in mode 5, but if we single out this phrase, we are most certainly in mode 6, which is the mode of devotion. How fitting for the prudent virgins, who keep their vessels full of oil against the bridegroom’s coming—a praiseworthy act of devotion! When the cry comes announcing the coming of the bridegroom, it bursts forth into the fifth mode, the mode of joy:

This sudden rise up to the high E makes a really startling effect in context. As a depiction of the Lord’s coming, it it reminiscent of the image of the lightning coming from the east to the west.

Finally, we get a rather unusual (for a communion chant) melodic repetition, but with a new continuation:

On the command “go out,” the melody also goes outside of its previous limits, finding a new peak on the high F. Of course we don’t really think about chants in tonal terms, but the Schenkerian in me can’t help hearing this F as a long-term resolution to the high E in the previous phrase. If you’d rather think about this in a more historical way, we can think of the pointed character of the La on which we would sing the E in the solmization system, which finds some resolution in finally attaining the softness of the fa (F) above. Toward the cadence, the melody on the ending of “Christo” is also reminiscent of one of the formulaic phrases from fifth-mode graduals.

These are some tentative, sketchy beginnings of an analysis that occurred to me today while singing. Do you find the move from the mode of devotion to the mode of joy suggestive? For me, this kind of thinking helps me to shape the melody in my own singing.

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

Filed Under: Articles Last Updated: November 13, 2023

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About Dr. Charles Weaver

Dr. Charles Weaver is on the faculty of the Juilliard School, and serves as director of music for St. Mary’s Church. He lives in Connecticut with his wife and four children.—(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Liturgical Round (“Canon”) in C-Major
    Those who direct children’s choirs are always on the lookout for repertoire that’s dignified, inspired, and pleasing—yet still within reach of young choristers. Such directors will want to investigate this haunting liturgical round (PDF download) which has been married to the KYRIE from Mass VI (EDITIO VATICANA). I have provided an accompaniment, but it’s only for use during rehearsal; i.e. when teaching this round to your choristers. I also provided an organ accompaniment for the KYRIE—which some know by its trope (Kyrie Rex Genitor)—so that your congregation can take part when this round is used as a choral extension during Mass.
    —Jeff Ostrowski
    Latin Liturgy Association
    We note with pleasure that Mrs. Regina Morris, president of the Latin Liturgy Association, has featured—on page 4 of Volume CXXIX of their official newsletter—the three (3) terrific versions of the Stations of the Cross found in the Brébeuf Hymnal. One of the main authors for the blog of the Church Music Association of America said (6/10/2019) about this pew book: “It is such a fantastic hymnal that it deserves to be in the pews of every Catholic church.”
    —Corpus Christi Watershed
    “Music List” • 28th in Ordinary Time (Year C)
    Readers have expressed interest in perusing the ORDER OF MUSIC I’ve prepared for 12 October 2025, which is the 28th 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 dazzling feasts website alongside the official texts in Latin.
    —Jeff Ostrowski

Quick Thoughts

    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
    “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

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“It is required of a man that he should share the passion and action of his time at peril of being judged not to have lived.”

— Oliver Wendell Holmes

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