In the melodic roadmap, the six columns are made up of those goal-pitches most often used by the musical material. Mode 4's standard elements consistently cadence on D, E, F (as a substitute for E), G or a. The number of elements which use c or b as goal-pitch is not great enough to be labelled 'standard',445 although there are more non-standard c- and k- elements in the mode 4 repertory than non-standard j- elements. On the other hand, b is the fifth above the final, E, and is expected, therefore, to be of some structural importance.
Therefore the road map for mode 4 chants consists of the pitches A, D, E and G, with the two pitches, C and B, in parenthesis. The pitch, F, will be shown in parentheses beside the final, E, because it does play an important role as the weaker alternative to an E cadence, predominantly at the end of the first period.
During the discussion above of individual standard elements and the way they combine to form groups of similarly constructed chants, observations were made which can now be used to create the melodic roadmap (shown in Example III.68). Most of the mode 4 repertory does not, however, follow the same patterns and so the corresponding melodic models present many different tonal 'routes' based on goal-pitches D, E / F, and G. There
442 With the exceptions of: Clamabat autem mulier (Dom. 2 Quadragesimae), Sedens Eligius et fabricans (Eligii), and Virgine cum palma salva nos (Nativitas Domini)
443 Virgine cum palma salva nos (Nativitas Domini), Inclyte pater monachorum, (Baboleni) Romana sanctus limina, (Arnulfi Metensis ), Duo dicunt ex Clementis, (Clementis) Sedens Eligius et fabricans (Eligii)
444 Clamabat autem mulier (Dom. 2 Quadragesimae), Decumbebat claudus in (Eligii), Optimam partem adepta (Mariae Magdalenae), Subtrahens caecus manum (Eligii), Vidi conjunctos viros (Comm. Apostolorum).
445 The one exception to this is the 5 appearances of the element 'c1' which is listed in the appendix: ―CHAPTER_3‖, ―Chapter_3_b_Mode_3‖, ―Transcription_mode_3_Standard_Elements.doc‖.
are enough chants in this mode to enable the roadmap to depict the tonal progression of groups of ten chants or more, as was the case in the analysis of modes 1 and 2.446
The maps should be read as they were in the analysis of modes 1 through 3. The numbers in parenthesis on the roadmap indicate the number of times the goal-pitch is used in the particular position. After the initial phrase, a minimum of ten responsories must share a goal-pitch in the next major cadence to appear as a 'route' indicated on this map. The thick line represents the most frequently chosen goal-pitches at each position and the thin lines denote other pitches which are found ten times or more in a specific position, but are not the most frequent.
As the roadmap shows, the most frequently used goal-pitch at the end of the first phrase is D, found in 67 responds out of 113. Another seventeen responds have a first phrase which ends with F and another ten end on the final, E. Since these pitches serve as goal-pitches in at least ten responds in this position, they are circled as possible 'routes' on the map. The second phrase usually ends on either an E, the final, or an F, using one of the standard f- elements which resemble an e- element up until the reversal of the pitches in the final clivis: E-F. The goal-pitch in the third phrase position is also most often either E or F, with e- elements (63) being much more frequently used in this position than f- elements (29).
Example III.68: Mode 4 Roadmap
The end of the second period shows more diversity in its choice of goal-pitches, although the most responds (38) employ another e- element here. To find the final at the end of the fourth phrase is not what is normally prescribed by the structural model of a responsory. The fourth phrase usually concludes with a strong cadence on a pitch which contrasts the final. However, the diversity of goal-pitch options in this position obscures the fact that the total number of responds which have any contrasting goal-pitch amounts to the majority of the repertory (60). Most mode 4 responds use either d- or g- elements in fifth phrase position. Almost all of the 113 mode 4 responds conclude their final phrase on E.
446 Mode 3's roadmap, unlike that of Modes 1 and 2, was reduced to following the paths of 4 or more responds because of the small number of chants in the mode.
Intra-modal Variants, Formula Variants and General Tendencies : Mode 4 167 Only five responds end on D. Most of these are non-CAO chants which are not contained in the oldest feasts of the repertory.447
Using the Roadmap
Responsories in mode 4 loosely follow a pattern of standard phrase usage. The roadmap model shows several of the possible tonal routes. An individual responsory melody may be plotted easily on the roadmap if it follows an approximation of the main theme outlined above in Table 30. Transcription 17 shows Adoramus te Christe (cao6046; Inventio Crucis), a respond found in the main thematic group in this mode. This chant is also found in Frere's analysis as a member of his "IVa" theme448 and in Holman's analysis as one of several chants which have particularly strong melodic connections with each other.449
Transcription 17: Adoramus te Christe (cao6046; Inventio Crucis)
This respond's cadences correspond to the most frequently chosen goal-pitches at each phrase position. Not surprisingly, Adoramus te Christe is made up entirely of standard elements in the positions in which they are most frequently found (i.e.: f1 is most often found at the end of the first period and a large number of responsories use e1 elements in third phrase position, as mentioned in the discussions about f1 and e1. Example III.69, below, demonstrates the course of this respond with a dotted line.
447 Sedens Eligius et fabricans (non-cao; Eligii), Inclyte pater monachorum (non-cao; Baboleni), Virgine cum palma salva nos (non-cao; Nativitas Domini), Clamabat autem mulier (non-cao; Dom. 2 Quadragesimae), Te deum patrem ingenitum te (cao7755; De Trinitate).
448 Frere, Antiphonale Sarisburiense: A Reproduction in Facsimile of a Manuscript of the Thirteenth Century 1901-1924, 34
449 Holman, The Responsoria Prolixa of the Codex Worcester F 160 1961, 195
Example III.69: Adoramus te Christe (cao6046; Inventio Crucis) plotted as a dotted line on the roadmap
It is clear that Adoramus te Christe (cao6046; Inventio Crucis) follows the most popular 'route' on the roadmap because each of its cadential goal-pitches correspond to the thick circles on the roadmap which indicate the most frequently chosen goal-pitch at any given point.
The two chants found in Transcription 16, Lapidabant Stephanum (cao7072; Stephani) and Scindite corda vestra (cao7626; Dom. 1 Quadragesimae), can also be plotted on the roadmap. These two chants show how the shape of an individual melody may vary from the main thematic structure at a particular point, but then join it again later on. Example III.70 and Example III.71 illustrate this phenomenon.
Example III.70: Lapidabant Stephanum (cao7072; Stephani)
Intra-modal Variants, Formula Variants and General Tendencies : Mode 4 169
Example III.71: Scindite corda vestra (cao7626; Dom. 1 Quadragesimae)
Both of these responds begin with the most frequently found goal-pitch at the end of the first phrase, D. They both then follow the most 'popular' route for this mode through phrases 2 and 3, as shown by the thick line. At the end of the second period, however, both responds do not employ the elements most commonly found in this position. Instead, Lapidabant Stephanum (cao7072; Stephani) descends to a cadence on C, while Scindite corda vestra (cao7626; Dom. 1 Quadragesimae) pushes the upper boundaries of the modal ambitus and cadences on a. After this brief excursion away from the most frequently used routes, both responds return to G, a pitch circled on the roadmap in fifth phrase position.
Both chants conclude on the final.
Responsories using non-standard phrases
Although many responsories in mode 4 do not adhere to any specific melodic pattern, general tendencies may be observed and used to create the mode 4 roadmap.
There are some chants in this mode, however, for which those general structural tendencies seem not to apply. These chants are usually made up of predominantly non-standard material. The correlation between a respond's reliance on many standard elements and the increased applicability of the roadmap has been discussed previously and applies to the responsories in mode 4 as well. Table 34 shows the responds in this mode which rely the least on standard material.
Table 34: Responds whose structures differ from the main 'route' on the roadmap
These responds tend not to cadence on the final, E, at the mid-way point which is a pronounced tendency in the majority of responds in this mode. Instead, an emphasis on D,
G and a is evident throughout. Although it is still possible to plot these chants on the roadmap, it is clear that their 'routes' would differ significantly in many places from the main route, indicated by the thick line on the map. These responds come from various places throughout the church year.450 It is therefore not possible to determine whether the responds containing more unique musical material come from a younger layer of the repertory.
d) Summary
There are 113 Great Responsories in mode 4, accounting for just under 12 % of the responsories in Paris 12044. The goal-pitches of their standard phrases are: D, E, F, G, and A. Excluding the goal-pitch F, which mainly occurs at the end of what would otherwise be categorized as an e- element, the following important pitches in this mode are:: D E G and A.
Two pentatonic systems include these four pitches: 'A, C, D, E, G' and 'A, B, D, E, G'. Since neither C nor B figure predominantly in this mode, both pitches have been included in the columns of the road map. However, the expansion of the pitches available on the road map does not affect the 'routes' shown on it. All standard phrases and most non-standard phrases cadence on only four main pitches: D, E / F, G, and A.
The Great Responsories in mode 4 do not form the obvious melodic themes found in mode 2 and, to some extent, mode 1. However, one main group of responds which share the same standard phrases in specific positions is identified and listed here. Observing the progression of component phrases allows several conclusions to be drawn about the tonal structure of chants in this mode. This forms the basis for the melodic road map for mode 4 responsories. The map shows the progression of groups of ten chants or more, from initial phrase to final cadence.
Responds comprised mostly of standard phrases are more likely to correspond to the road map. Responsories which use more non-standard phrases do not conform to the normal structure. Since both formulaic and uniquely composed responds are found in a variety of feasts throughout the church year, it is impossible to tell whether the non-standard responds represent a younger layer of the repertory.
v. Mode 5
Here, the Great Responsories in mode 5 are examined. After a description of standard verse tone and musical range, the most frequently occurring standard material is identified.
Groups of responsories sharing standard material are listed. There are fewer responsories in mode 5 than in any mode previously discussed and the individual melodies are shown to be more diverse. However, some general tendencies with respect to melodic contour and cadence pitches are observed. The goal-pitches of the standard material in this mode make up a pentatonic system, which serves as a basis for the responsory roadmap. The applicability of the roadmap in this mode is discussed.
450 Dabit illi dominus deus sedem (cao6390; Annuntiatio Mariae), Ecce jam in sublime agor (cao6595; Vincentii), Ecce vidi agnum stantem supra (cao6617; Nat. Innocentium), Ego pro te rogavi Petre ut (cao6630; Petri, Pauli), Numquid dominus supplantat (cao7244; De Job), Sub throno dei omnes sancti (cao7715; Nat. Innocentium), Usquequo exaltabitur inimicus (cao7811; Dom. de Passione), Vir Israelita gaude coheres (cao7898; Comm. unius Conf.), Clamabat autem mulier (Dom.
2 Quadragesimae), Sedens Eligius et fabricans (Eligii), Virgine cum palma salva nos (Nativitas Domini)
Intra-modal Variants, Formula Variants and General Tendencies : Mode 5 171 There are 44 Great Responsories in mode 5 in Paris 12044. These are divided almost equally between the Temporale (23) and the Sanctorale (17), while the Commune contains four responsories. Over 90 % of mode 5 responsories have verses which are sung to the standard mode 5 verse tone, shown in Transcription 18 below.
Transcription 18 : Mode 5 standard verse tone as found in Hodie nobis caelorum rex (cao6858; Nativitas Domini)
Four responsories have non-standard verses tones. The CANTUS database indicates that two of these are found exclusively in Paris 12044 for the feasts of Arnulf of Metz451 and Babolenus452.
Responsories in mode 5, or tritus authenticus, have a final of F and a reciting tone of the c a fifth above the final (or "k", as it is referred to in this study). Dialogus de musica describes the range of mode 5 as from E (just below the final) to "n" (an octave above the final). The position of the final within the range of the mode is indicated with an arrow in the figure below.
Most mode 5 respond melodies have a smaller ambitus (E - "l") than what is outlined by the mode itself.
Since mode 5 contains so few responds, there are fewer standard elements within those responds to discuss. However, the most frequently occurring component material is shown and examined below; for a complete listing, refer to the appendix.453
a) Standard Component Material
In mode 5 there are fourteen different standard elements, shown in the table below.
These are subdivided below into three kinds of component musical elements, as they are in the preceding modes: opening, intermediate and final. There is one opening element, ten intermediate elements and three variations of the same final element. The total number of component elements used, 'standard' or otherwise, is 323. There are 142 instances of
451 Cum civitas Turonica foret
452 Divinis insultans operibus
453 Appendix: ―CHAPTER_3‖, ―Chapter_3_b_Mode_5‖ in
―Transcription_mode_5_Standard_Elements.doc‖
standard elements, which is 44 % of the total number of musical elements. This proportion of standard elements is the same as that in mode 3 and smaller than those of modes 1, 2 and 4. The responds in mode 5 rely on standard elements less than responds in modes 1, 2 and 4.
Those standard elements found in mode 5 are largely limited to those with goal-pitches of F, a and c. Frere, in his short discussion of the mode 5 responsories, notes that there are fewer standard elements than in most other modes. His explanation for this is that "the tetrardus tonality, with a 'leading note' instead of a whole tone below the final, has little opportunity of melodic contrast , and is, as it was evidently felt to be, dull" (Frere 1901-1924, 39). In Holman's study of this mode, no similar attempts to explain the predominance of f- and h- elements are made.454
454 Holman, The Responsoria Prolixa of the Codex Worcester F 160 1961, 222
Intra-modal Variants, Formula Variants and General Tendencies : Mode 5 173 Elements Frequency
f01 29
F01x 11
F01i 5
f02 11
F02x 6
f03 7
F03x 6
f04 7
g01 8
g02 5
h01 16
h02 6
h03 5
k01 9
K01i 11
Standard Initial Elements
K1i:
K1i is used at the beginning of eleven responds in mode 5. It sets texts from six to ten syllables in length by adjusting the number of syllables recited on the fifth above the final before the penultimate melisma before the final clivis. Six responsories which begin with K1i have paroxytone accents and the remaining five have proparoxytone accents. Example III.72 and Example III.73, below, show the two variations of this element used to consistently set paroxytone or proparoxytone text accents.
Example III.72: K1i sets an 8-syllable, paroxytone text in Indicabo tibi homo (cao6954; De Prophetis)
Example III.73: K1i sets a ten-syllable proparoxytone text in In circuitu tuo domine lumen (cao6891;
Comm. plur. Mart.)
Where the accented syllable falls on the penultimate syllable, the figure setting "ho-" of
"homo" in Example III.72 is used. When the accent falls on the antepenultimate syllable, however, as shown in Example III.73, the rising figure c - d - e sets this syllable ("do-" of
"domine" in Example III.73). The penultimate melisma with the leap from a to c - d is then omitted and the rest of the cadence is identical.
Nine out of the eleven responds which have K1i employ a standard f- element in the second phrase position. The goal-pitches of this phrase pairing (contrasting c and final) correspond with the first and second phrase positions in the six-phrase model. A significant number of responds open this way, as will be shown later on the mode 5 roadmap.
Intermediate Standard Material
f1:
Occurring 29 times in the responsories of mode 5, f1 is the most frequently found element in the mode. Most of the texts which f1 sets are paroxytone and are between five and eight syllables in length. This element is usually approached by a short recitational passage emphasizing either F or b-flat. In four responds, f1 sets a proparoxytone accent by inserting an F before the penultimate melisma, as shown in Example III.74.
Example III.74: f1 sets a proparoxytone accent by inserting an F ("gen-") before penultimate melisma in Sancte Paule apostole (cao7583; Pauli)
Two-thirds of f1's appearances take place in second phrase position. Another six responsories employ f1 in the third phrase position. Since F is mode 5's final, this placement is predicted by the six-phrase tonal structure. f1 also has the same melodic contour and pitch emphasis as the standard closing elements in this mode, discussed later.
Intra-modal Variants, Formula Variants and General Tendencies : Mode 5 175
f2:
The element f2 occurs eleven times in mode 5, setting texts of between four and eight syllables. It sets proparoxytonal textual accents on the rising a - c pes before the penultimate melisma beginning on G. A text with paroxytonal accentuation is set by joining this pes with the subsequent melisma and singing this larger neume-grouping to the accented penultimate syllable, as shown in Example III.75 and Example III.76, below.
Example III.75: f2 sets a four-syllable text with paroxytone accentuation in Gloria patri genitaeque proli (cao6777; De Trinitate)
Example III.76: f2 sets an 8-syllable, proparoxytone text in Caligaverunt oculi mei (cao6261; Fer. 6 in Parasceve)
Comparing Example III.75 and Example III.76, it is clear that the stressed syllable is placed on the a - c pes, regardless of whether or not it is paroxytone or proparoxytone. This comparison also shows how the opening recitational passage on c may be expanded or reduced depending on the textual length.
More than half the appearances of f2 in mode 5 take place in phrase position 2 (in three responds) or 3 (in three responds) as its goal-pitch would suggest.
Two more standard f- elements (f3, and f4) may be found in the appendix.455
g1:
The element g1 occurs seven times in mode 5. Although most instances of g1 set 5- to 7-syllable paroxytonally accented texts, this element can be extended by adding an initial recitation on a and b-flat to accommodate up to eleven syllables. The element g1 is found in second phrase position in three responds and fourth phrase position in another three responds. Its appearances are too few in number to allow a detailed analysis of g1's tonal role in these positions.
455 Appendix: ―CHAPTER_3‖, ―Chapter_3_b_Mode_5‖ in
―Transcription_mode_5_Standard_Elements.doc‖
The only other g-element to occur five times or more in this mode, g2, is shown in the appendix.456
h1:
With seventeen occurrences in mode 5, h1 is the second-most frequently used standard element. It sets texts with between four and eleven syllables by adjusting its flexible recitational passage on a and c near the beginning. Most textual accents fall on the penultimate syllable, set to the penultimate melisma c - b - b - a - b above. Oxytone texts place their accented final syllable on the final clivis. The proparoxytonal accents (in two responds457) are places on a musical figure emphasizing c directly before the penultimate melisma.
The element h1 is found in fifth phrase position in five responds, and in the third and fourth phrase positions in four responds respectively. In the fourth and fifth position, this element fulfills the tonal requirements for a cadence which contrasts the final. The use of this element in the third phrase position signals an early departure from the final's tonality.
Two more h- elements, h2 (occurring six times) and h3 (occurring five times), are found in this mode. They are listed in the appendix.458
k1:
This element occurs eight times in the mode 5 repertory and is identical to opening
This element occurs eight times in the mode 5 repertory and is identical to opening