NE OF THE SIMPLEST yet most effective additions to Gregorian chant is a technique known as organum. This ancient practice involves adding a “drone” harmony beneath the chant melody. The drone is typically sung on an open vowel such as “ohh” or “mmm,” though at times it can be sung with words, or even played on an instrument. While chant in its purest form remains profoundly beautiful, the addition of a drone introduces a new texture that enhances its meditative and transcendent quality.
Within my own schola, I occasionally employ organum to enrich our singing of chant. The effect is striking. The chant’s integrity as a monophonic line remains untouched, but it is suddenly wrapped in the glossy resonance of the drone. It does not compete with the chant but rather surrounds it, like a halo encircling the melody.
Some options • I use organum in a couple of different simple ways. Sometimes, the singers drone on a single line, usually the final or reciting tone of the mode. Other times, I employ a double drone—two sustained pitches, most often separated by the interval of a perfect fifth. Each approach produces its own kind of beauty. The single drone creates a sense of grounded stillness, while the double drone produces a sonority that seems to vibrate with tension and release, almost as if the sound itself were breathing.
Since I wanted my schola to be able to read these harmonies easily, I developed a simple notational system. I did not want to rewrite entire chants into modern notation or burden the singers with extra pages of music. Instead, I sought a concise way to indicate the drone pitch and its entrance, while keeping the chant notation intact.
In Example #1 (“In te sperávi, Dómine”), we used a single drone line. This seemed particularly suitable for Mode II, given the range we had chosen. I like the drone to enter after the chant has already begun to develop. That way, the melody itself guides the singers toward the proper pitch. For this example, the women began the chant and then led the men naturally into their drone on “Re.” This staggered entrance creates a smooth transition and makes it easy for the singers to lock into their sustaining tone without hesitation. (This particular antiphon is from the highly recommended www.antiphonrenewal.com; click “Simplified Latin Propers”)
* Mp3 Download • Live Rec. (Single organum drone)
—“In te sperávi, Dómine” • Ave Maria Parish Schola Cantorum • Conducted by Mark Haas
In Example #2, (“Tu mandásti” from this past Sunday) we employed the two-line drone, separated by a fifth. Once again, the treble voices began the antiphon and helped lead the tenors into their drone on “Do.” At the start of the third bar, the basses were then guided to their pitch on “Fa.” The result was a luminous texture of sound—two strong pedal tones supporting the chant melody like architectural pillars. The effect was stunning, complementing the dramatic contours of the chant with a resonance that seemed to expand in every direction.
* Mp3 Download • Live Rec. (Double organum drone)
—“Tu mandásti” • Ave Maria Parish Schola Cantorum • Conducted by Mark Haas
Breathing considerations • When I coach the singers who are assigned to drone, I give them one key instruction: do not breathe at the bar lines. The flow of chant is continuous, not chopped into strict measures, and the drone should mirror that continuity. If one group of singers must breathe, another group should sustain the pitch without interruption, so that the sound remains unbroken. This constancy is essential to the organum’s effect. The drone should feel eternal, like the steady heartbeat of the liturgy itself.
Organum is a humble addition to Gregorian chant, yet it opens a profound sonic world. It roots the melody while simultaneously lifting it, giving the chant a sense of timeless expansion. In this way, it helps the singers and listeners alike to enter more deeply into the mystery of prayer—a reminder that sometimes the simplest musical gestures can be the most powerful.
