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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

    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

“It is also customary in many lands that a brief but meaningful hymn be sung between the Gospel and the sermon. (I note in passing that this custom also preserves the original and primary function of the medieval congregational hymn, which was to frame the sermon.)”

— Professor László Dobszay (2003)

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