187 The list of responds in mode 1 is found in ―01_LIST_Responsories_Paris_12044‖ and the transcription of mode 1 responds is found in ―CHAPTER_3_b_Mode_1‖ in the file
―Transcription_mode_1_Responds.doc‖
188 Exsultans martyr caelicus, Colore pictus rubeo martyrii
189 Evigila super nos pastor, Hic a Christo nobis datur, Ex quibus hunc Babolenum, Obtineat semper veniam
190 Nos ejus norma rege serva
191 Naevis nos purgans pius et, Hic a cunctis amabatur, Repletus sacro flamine
192 Caelo gaudente terra plorante, Qui meriti caelitus celsi pii
193 For a survey of the medieval literature concerning modes, see Hiley, Western Plainchant: a Handbook 1993, 454
Intra-modal Variants, Formula Variants and General Tendencies : Mode 1 69
The table above lists each element along with the number of occurrences. 69 different elements occur five or more times in mode 1. The highest number of times a standard element occurs is 59 and the lowest number of times is five (as allowed by the parameters for a 'standard element' in the present analysis). The total number of individual occurrences of standard elements in this mode is 1056. The total number of elements in the database for this mode is 1668. Therefore, just under 64 % of the elements in the repertory may be considered 'standard'. Five standard elements are used in the initial position, seven are cadential elements and the rest (58) are middle elements. It is not possible to consider each of the 70 standard elements here; the appendix contains a list of these elements with musical notation and a table which records each occurrence.194 A discussion of the most frequently used standard elements follows.
Standard Initial Elements
H1i:
In accordance with the rules for labelling standard elements outlined in the previous section, the element which occurs most frequently in its position is given the lowest number after its goal-pitch. The most frequently occurring initial element with the goal-pitch a is, therefore, H1i. More than a quarter of all the responds in mode 1, 64, begin with a variant of this element. H1i is generally used for texts of five to eight syllables, and can be adjusted to accommodate accents on the proparoxytone, the paroxytone or the oxytone syllable as shown in Example III.1 below.
Example III.1: H1i; oxytone (Dum beatus vir oraculo divino, cao6534, Transl. Benedicti), paroxytone (Descendit de caelis deus, cao6410, Octava Nat. Domini) and proparoxytone (Erat dominus, non cao,
Dom. 3 Quadragesimae) accents
194 Appendix: ―CHAPTER_3‖, under ―Chapter_3_b_Mode_1‖ in
―Database_1_Melodic_Elements_mode_1.mdb‖
Intra-modal Variants, Formula Variants and General Tendencies : Mode 1 71 This element sets up a pentatonic framework of D, C, F and a immediately. A similar tonal identity is presented in the two initial standard elements H2i (found seven times) and H3i (found five times). Although these two elements may be seen as merely variants of H1i, their melodic characteristics are consistent enough to warrant a separate label.
H2i195: H3i196:
H2i differs from H1i in that it begins in the region F - H instead of C - D. However, it accentuates F and A as important tonal reference points. H3i is characterized by its leap from D to A, while emphasizing C, D, F, and a. The H- initial elements do more than simply outline the prominent pentachord in the mode. H- initial elements show movement from C and D through F to a. This is mirrored by the movement back down to D in the second element. More than half the responsories which open with H1i use their next element to descend to their goal-pitch, D, after an initial recitation on a or F.
C1i:
Six responds open with this element, although three times this number begin with a non-standard initial element with C as the goal-pitch. While the initial element H1i does begin with a section of melody which has a similar contour to C1i, it is considered its own element because it usually sets whole textual elements and is never followed by an h- element whose cadence resembles H1i. C1i sets three to five syllables of text with a paroxytone syllabic accent, except in two cases (Sancte Paule apostole, cao 7582, Conversio Pauli, and Sancta Maria Magdalena, non-cao, Mariae Magdalenae) where the text is longer (eight and nine syllables respectively) In these responds, the contour of the element dips momentarily to low A before arching up to F and making an elaborate descent to the standard cadence figure: D-F-D-C. An example from Sancte Paule apostole (cao7582, Conversio Pauli) follows:
This first element has C as goal-pitch which leads directly, in most cases, to a element with the pitch of D. Some C- initials, however, are followed by an element with the
195 Firmamentum meum et refugium (cao6736, Dom. per annum)
196 Cantabant sancti canticum (cao6266, Nat. Innocentium)
pitch of a as an alternative route towards the final, D. Like the H- first elements, C1i outlines the pentatonic tonality C, D, F, G, a and cadences on a pitch contrasting with the final.
G1i:
Seven responds begin with this element. It sets five to eight syllables and is usually used for paroxytone accents, although it can also adjust to a proparoxytone text by inserting an extra A before the final group of notes197. Here the interval of a fifth above the final, (ie: D - a) is emphasized the same way as it is in H3i. However, instead of coming to rest on the a, this element descends to G which is also a pentatonic pitch in this mode. In most cases G1i moves directly to a element with D as its goal-pitch. This is the case not only for the standard element G1i itself, but all non-standard initial elements with the goal-pitch G (eighteen in all).
Cadencing on a, C or G, these standard initial elements outline the underlying pentatonic tonality within the mode.
Standard Internal Elements
In an alphabetical progression through the standard intermediate elements, those with the goal-pitch of C will be examined first. There are too many standard intermediate elements to allow each one to be discussed in detail here. This examination confines itself to some general statistical information about standard elements with frequent goal-pitches, as well as a transcription and discussion of the most used standard elements in the repertory.
156 instances of elements end on C throughout this modal repertory. Those considered 'standard' number 107 (67 %). The two most frequently used standard C- elements are c1 and c2.
c1:
Used in 44 different responds, "c1" is the most frequently occurring standard intermediate element in the mode. It is generally used to set texts of six to eight syllables, although it may be abbreviated or extended for texts with as few as four to as many as ten syllables, as shown Example III.2 and Example III.3, below.
Example III.2: Sanctus Benedictus (cao7609, Transl. Benedicti)
197 See In medio ecclesiae aperuit os (cao6913, Joannis Evang.)
Intra-modal Variants, Formula Variants and General Tendencies : Mode 1 73
Example III.3: Tria sunt munera (cao7777, Epiphania)
c1 is the most frequently occurring standard intermediate element, and responsories using this element consistently employ it in certain melodic positions. Nineteen occurrences of c1 take place in element 5, just prior to the respond's final cadence on D. The melodic contour of this element can be seen as the reverse of that found in H1i, while still emphasizing the pentatonic pitches of a, F, and D. Since it cadences on the contrasting pitch C, the final return to D is tonally inevitable.
This element is also found as element 2, after an H- element in first position in ten responds. Here, "c1" functions to prolong the emphasis on the contrasting pitch built up in the H-element. Following this element are predominantly elements whose goal-pitch is either F or D.
c2:
This element occurs in only eighteen responds (less than half the number in which we find c1) and its usage cannot be defined as clearly. Texts of between four and eight syllables may be accommodated by this element. In the majority of cases the accented paroxytone syllable is set to the melisma (D-E-F-D-E-D-C-D) preceding the last pitches D-C. It is adjusted to differently accented texts by setting the accented oxytone to the final D-C descent, or by setting the accented proparoxytone on the ascending figure (F-G-A) at the beginning of the element and then proceeding directly to the cadential figure beginning with the aforementioned melisma.198 Like c1, this element may function as a penultimate cadence leading to the final.199 It is most frequently as element 4 or 5 and generally preceded or followed by a D- element. Whereas c1 is found mostly as the second main element in the respond, c2 is used this way in only two chants: Inito consilio venenum (cao6968, Transl.
Benedicti) and Domine rex noster quando (cao6510, Exaltatio Crucis).
There are four more standard c-elements (c3, c4, c5 and c6) in the modal repertory.
These four elements are less common in the repertory than c1 and c2, occurring 47 times in total. They usually occur as intermediate elements between h- or d- elements. They are found less frequently than c1 or c2 and are not found exclusively in any certain positions.
The more frequently occurring elements are consistently found in the same positions, whereas those elements which do not appear as often are used in any position.
198 See Aeternis accumulata, (cao6058, Mariae Magdalenae), Celebremus conversionem, (cao6272, Conversio Pauli), Domine rex noster quando (cao6510, Exaltatio Crucis) and Beata vere mater (cao6170, Omnium Sanctorum).
199 See Benedixit te dominus (cao6253, De Judith), Centum quadraginta quattuor (cao6273, Nat. Innocentium), Aspice domine quia facta est (cao6127, De Prophetis) and In medio ecclesiae aperuit os (cao6913, Joannis Evang.)
Over three times as many elements (526) end on D as end on C. Of these, 407 (77
%) are standard elements. In other words, internal elements ending on D are even more likely to be standardized than c- elements. 27 internal standard elements end on D. The most frequently occurring elements are d1 and d2, both of which appear 32 times throughout the mode. Since D is the final, the first instance of a d-element in a respond tends to be found after a cadence on a contrasting pitch (usually C, a or G.) Having cadenced on D, the responsory will then either cadence on another contrasting pitch before returning back to D or employ more d-elements to maintain the final's tonality until the sixth main cadence, depending on its position relative to the rest of the chant. Several of the most common standard d-elements will now be discussed.
d1:
This element is found 33 times in responds of mode 1. Texts set to this element are predominantly paroxytone, containing between four and eight syllables. d1 functions most often as the 'answer' to a previous element which has cadenced on an contrasting pitch, bringing the melody back to the final, D. In seven responsories200, it is used in this 'answering' way after the first element, as Example III.4 demonstrates.
Example III.4: Confessor dei Nicolaus (cao6310, Nicolai)
As well as emphasizing the final's tonality, d1 further underlines the important pentatonic pitches first touched upon in the initial element. When d1 is not in element 2 position, its occurrences are still usually found in the first half of the respond. This element also bears a striking resemblance to the final element D2x, examined later.
d2:
This element also occurs 33 times and is characterized by approaching the final pitch from underneath, an ending known as the Gallican cadence. More melodic variation is allowed in the labelling system for this element as long as the general melodic contour matches the example above and the final pitches "C-D, D" in the cadence are preserved. O felix sacrorum (cao7269; Mariae Magdalenae) and Deum time et mandata ejus, (cao6416;
200 Ex ejus tumbae marmore sacrum (cao6679, Nicolai), Confessor dei Nicolaus (cao6310, Nicolai), Audi domine hymnum (cao6139, De Regum), Cum vidisset beatus Andreas (cao6378, Andreae), Domine ne in ira tua arguas (cao6501, Nicolai), Adduxit eos dominus in (cao6032, Dom. 4 Quadragesimae), Benedicat nos deus deus (cao6240, De Trinitate).
Intra-modal Variants, Formula Variants and General Tendencies : Mode 1 75 De Trinitate) below, demonstrate the breadth of variation allowed in d2 in terms of length, syllabic stress and individual pitches.
While d2 in O felix sacrorum (cao7269; Mariae Magdalenae) begins in the same range as the model d2 shown above (i.e., F – A for ―per quam‖), Deum time et mandata ejus (cao6416; De Trinitate) shows an alternative, lower opening (i.e., C – D for ―et‖). Beyond these different openings, however, both versions of d2 show the same characteristic musical gesture in their move from D to F-G and back down to D. (This is the first of three significant gestures defining d2 in mode 1, as shown in Figure 4.) In O felix sacrorum, this is found on the word ―pro‖; in Deum time, it is stretched over four syllables: ―man-da-ta e-―. The second key gesture, E-F-D, found ornamented slightly in the d2 model above, is shown clearly in O felix sacrorum on ―me-― of ―meruit‖. In Deum time, it is preceded by a F-E clivis (reminiscent of the E-D clivis which precedes it in the d2 model) and followed by a E-D clivis, but the underlying gesture is still recognizable. Finally, the C-D pes, preceding the final D, also forms the Gallican ending which is an important part of d2.
Figure 4 : Main melodic outline of d2
Like d1, this element is often found as the 'answer' to a tonally contrasting first element.201 Usually it is found as a cadential figure in element 3 of longer responds. An interesting feature of d2 is that it is found directly adjacent to another version of itself in five responsories.202 The Example III.5 illustrates one of these cases.
201 Apparuit caro suo Joanni (cao6113, Joannis Evang.), Deum time et mandata ejus (cao6416, De Trinitate), Ingressus angelus ad Mariam (cao6963, Annuntiatio Mariae), O felix
sacrorum lacrimis (cao7269, Mariae Magdalenae), Sint lumbi vestri praecincti (cao7675, Comm. unius Conf.), Vernans purpurea caelitus (cao7845, Clementis), Insignis pater Babolene, (non cao,
Baboleni), Maria Magdalena, (non cao, Mariae Magdalenae), and Politis in lapidibus (non cao, Arnulfi Metensis).
202 Dixit autem Gamaliel Luciano (cao6468, Inventio Stephani), Ex ejus tumbae marmore sacrum (cao6679, Nicolai), O felix sacrorum lacrimis (cao7269, Mariae Magdalenae), Praesul inclytus Arnulfus (non cao, Arnulfi Metensis) and Sanctus domini confessor gloriosus Babolenus (non cao, Baboleni).
Example III.5: Praesul inclytus Arnulfus (non cao, Arnulfi Metensis)
Here the scalar ascent / descent from D – G – D (the ascent is not seen in the first d2 element in Praesul inclytus Arnulfus), the subsequent E – F - D gesture and the final C - D Gallican cadence are shown once again.
The same sort of tonal impulse found in d1 is also found in this element. In the majority of cases, the element following d2 will prolong the final's tonality with another d- element.
Those responds which do not have a d- element following d2 will most likely have an h-element leading directly to another d-h-element, creating an oscillating effect between the final and a fifth above it without detracting from D's stability.
d3:
This element is also found 33 times in mode 1, usually setting texts with elements of four to seven syllables, accenting either the proparoxytone or paroxytone. Although it is found as element 2 in several responsories, like d1 and d2203, it occurs more often in the position of element 5.204 Its use in this position may be related to its melodic contour, which is very similar to that of c1 and c2, in that it outlines the important pentatonic pitches in its descent towards the goal-pitch. However, instead of cadencing on a contrasting pitch, d3 emphasize the final of the mode. When d3 is found in this position, the final element must be seen as a prolongation of the final's tonality, instead of as the return to it from a contrasting pitch. The following chants in Example III.6 display d3 in this position:
203 Agnosce O Vincenti (cao6064, Vencentii), Aspice domine quia facta est (cao6127, De Prophetis), Congregati sunt inimici (cao6326, De Machabaeis), Loquens Joseph fratribus suis (cao7102, Dom. 3 Quadragesimae), O regem caeli cui talia (cao7297, Octava Nat. Domini), Peccata mea domine sicut (cao7370, Dom. per annum), Qui custodiebant animam meam (cao7475, Dom. de Passione) and Si dominus deus meus fuerit (cao7650, Dom. 2 Quadragesimae).
204 Factum est silentium in caelo (cao6715, Michaelis), In principio deus antequam (cao6924, De Sapientia), Loquens Joseph fratribus suis (cao7102, Dom. 3 Quadragesimae), Peccata mea domine sicut (cao7370, Dom. per annum), Saulus adhuc spirans minarum (cao7622, Conversio Pauli), Veni hodie ad fontem aquae et (cao7827, Dom. Quinquagesimae) and Vidi Jerusalem descendentem (cao7876, Dom. 2 p. Pascha).
Intra-modal Variants, Formula Variants and General Tendencies : Mode 1 77
Example III.6: Factum est silentium (cao6715, Michaelis) and Peccata mea domine (cao7370, Dom. per annum)
The positions of element 2 and 5 aside, just under half the instances of d3 are as elements 3 and 4. In these positions, it also encourages further tonal emphasis on the final of the mode.
There is no room here to discuss individually the remaining 24 standard elements ending on D. In general, it can be observed that as their appearances become less frequent (i.e.: as the label-numbers get higher) elements are less likely to be found consistently in one position. They are usually used in direct connection with another d-element, either preceding or following, as a prolongation of the final's tonality.
The pitch F is sometimes found as a pitch-goal where the final is prescribed by the six-element model, primarily in element positions 2 and 3. It can therefore be said to
"substitute" for the final, D, from time to time. Because of this, f- elements have a similar melodic function to those ending on D. However, a cadence on F does not have the same sense of finality as D. This means that an f- element is often found between an contrasting element and a d- element as an opportunity for more text declamation before the finality of the d-element is reached. 174 elements end on F in mode 1, of which 107 (60 %) are considered standard. There are nine different standard f-elements, the most frequent of which will be discussed here.
f1:
This element is found 29 times in the repertory, usually setting texts which vary anywhere from five to nine syllables and have either paroxytone and proparoxytone accents, as shown in Example III.7 and Example III.8 below.
Example III.7: Quis igitur ille est (cao7500, Dom. 2 Quadragesimae)
Example III.8: Congregati sunt inimici (cao6326, De Machabaeis)
Most responds employ f1 in element positions 3, 4 or 5. Sometimes, it is positioned as a tonal stepping-stone between an element with the final's tonality and a element with a contrasting goal-pitch. In the Example III.9, f1 is placed as a tonal bridge between a d- element (d12) in element position 2, and an contrasting c- element, (c5) in element position 4.
Example III.9: Igitur perfecti sunt caeli (cao 6879, Dom. Septuagesimae)
There are only three exceptions to this observation. Two responsories205 use it in element position 2 and 1 responsory employs it as the fifth element.206
The other standard f- elements (f2 through f9) generally function in a similar way. In 68 % of instances where any of the other standard f- elements are used, they are found as a intermediate element between the final's tonality and contrasting elements. The rest of the occurrences are equally divided between penultimate (16 %) and first intermediate element (16 %).
In mode 1, elements ending on G are much less frequent than c-, d-, f- or h- elements. There are only two g- standard elements, (with nine and eight occurrences respectively,) which constitute just under 20 % of the total g- element repertory.
g1:
205 In principio fecit deus (cao6928, Dom. Septuagesimae) and Post passionem domini in (cao7402, Dionysii)
206 Martinus Abrahae sinu laetus (cao7132, Martini)
Intra-modal Variants, Formula Variants and General Tendencies : Mode 1 79 This element appears nine times and may be set to texts with five to eight syllables although it can also be abbreviated for fewer syllables. Paroxytone and proparoxytone accents are equally well-suited to this element. Six of its nine occurrences are as element 5207. Taking its melodic contour and contrasting tonal goal into account, this placement is not surprising. Emphasizing D, F, and a, this element then cadences on G and sets up the return to the final of the mode in the last element of the respond, as shown in Example III.10.
Example III.10: Justorum animae in manu dei (cao7057, Comm. plur. Mart.) g1 used in penultimate position
In two very florid chants, Beatus Dionysius Rusticus (cao6202, Dionysii) and Gloriosus dei amicus (cao6785, Vincentii), this element is found as a prolongation of the contrasting tonality set up by the H- element as element 1. Whether as element 2 or 5, g1 is always followed by a d-element which reinforces its tonal role as a contrasting element.208 The other standard g-element, g2, shares the characteristics in terms of tonal emphasis, syllable count and flexibility to accommodate various final accents.
Elements cadencing on a are very common, occurring 226 times throughout the repertory. Standard h- elements make up 57 % of this with 128 instances. There are thirteen standard h- elements. Generally, these elements are found in the middle of the chant, preceding d- or an f- element. In rare cases, an h- element may precede a contrasting element but only when the previous element has emphasized the final's tonality.
h1:
This most frequent of all h- elements occurs 30 times in the mode 1 repertory. Shorter and longer versions can accommodate from between four and eight syllables which
This most frequent of all h- elements occurs 30 times in the mode 1 repertory. Shorter and longer versions can accommodate from between four and eight syllables which