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Propers    (Proprium de Tempore)

Ps. 107, 1. Parátum cor meum, Deus, parátum cor meum: * cantábo, et psallam in glória mea.

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Intr. = Introitus, Introit
Grad. = Graduale, Gradual
All. = Alleluia
Tract. = Tractus, Tract
Seq. = Sequentia, Sequence
Offert. = Offertorium, Offertory
Comm. = Communio, Communion

Ant. = Antiphona, Antiphon
Ps. = Psalmus, Psalm
Hymn. = Hymnum, Hymn
Cant. = Canticum, Canticle
Missa. = Missa, Mass
      LU = The Liber Usualis 1961 - PDF
GR = Graduale Romanum 1961 - PDF
GV = Graduale Vatican 1908 - PDF
MV = Mass and Vespers 1957 - PDF
LB = Liber Brevior 1954 - PDF
OF = Offertoriale 1935 - PDF
VPC = Vers. Psalm. & Cant. 1962 - PDF
SOV = Simple Offert. Verses 2008 - PDF
AR = Antiphonale Romanum 1949 - PDF
LR = Liber Responsorialis 1895 - PDF


Singing rules.
     
Mode Final Tenor     M F T
 1  D A serious 1A A E
 2  D F sad/content 2A A C
 3  E C mystic 3A A F
 4  E A harmonious 4B B E
 5  F C glad 5C C G
 6  F A devout 6C C E
 7  G D angelic
 8  G C perfect

(examples at the bottom of the page)

Proper mode
/
tone
LU
1961
GR
1961
Comments
Saturday before Septuagesima
Vespers LU496 AR340
Ant. Dixit Dominus ad Adam
Cant. Magnificat
8G LU496
LU212
AR341
AR52
V. Benedicamus Domino
B LU783
MV649
AR341
Last time Alleluia is said, twice at Benedicamus Domino, until Easter Vigil.
 
 
 
 
 
Septuagesima
Missa LU496
MV427
GR73 NLM - Daoudal - Mesnil, St Augustin - La Septuagésime - Traits (vidéo)
Intr. Circumdederunt me
Ps. 17, 5, 6 et 7. 2-3.
Ps. 17, 4 et 7.
5 LU497

MV428
GR73

VPC48
D/E
- Maybe a little difficulty: watch out the 5th down on the word invocavi.
Grad. Adjutor in opportunitatibus
Ps. 9, 10-11 et 19-20.
3 LU498

MV430
GR74
E/F
Difficult piece. Doable but need serious practice.
- Careful at the incipit with the various 3rd and 4th.
- The words qui noverunt are a bit tricky: starting on a small semitonesque second EF it jumps with DFA = three notes of a minor chord, giving this unique flavour.
- Then you have a jump a 5th on quoniam which will come back again as a 4th two lines later on the same word.
- A few notes difficult to pitch on Domine:
1) a 4th down CG on the porrectus,
2) then a major 3rd down AF, followed by another major 3rd up GB,
3) finally the porrectus on "mi" is episemed but not the ones on "ne", it is tempting to lengthen the whole.
- After the second quoniam, the word non is divided in two parts:
1st part: chaotic movements between A and C,
2nd part: beautiful jump high BE-FDB followed by D-ECA;
ECA composes a minor chord = minor third AC + major third CE
but this particular set of notes FDB is called a "diminished" chord composed of two minor thirds BD and DF, as explained in this page: http://piano.about.com/od/chordskeys/a/dim_chords.htm:

« Diminished Chords and "Dissonance" - The reason for a diminished chord's bizarre sound is its tonal instability (or "dissonance"). The intervals in a diminished triad, for example, are equally spaced – there are three intervals between B-D, and also between D-F – and this lack of harmony within the chord is what causes the ear to seek tonal resolution. »
... Therefore the need of the following ECA which makes the dissonance vanishing and brings back harmony.
- Next you find again the three notes DFA of a minor chord on the word infinem like previously on noverunt.
- The word pauperis has a quilisma followed by a liquescent, this liquescent is where you sing the "u" of "au".
- Next the word patientia is syllabic, seems obvious but be careful on this DEGAG.
- Double lovely pattern on aeternum to express life forever... I suppose. It will sound better if you sing the whole in one breath.
- The final phrase starts with exsurge, Domine, wonderful with its three fourths. Sing with majesty.
- The final word homo is beautiful too, with these ascending and descending notes from bottom D to top C, to conclude with the final E. This last phrase is a treat.
Tract. De profundis
Ps. 129, 1-4.
8 LU499

MV431
GR75
E/F
Famous psalm 129 from Wednesday Vespers.
- Look at the three clivis AG on the first Domine. It sounds better if you give a different expression for each one, for example a bit more intensity to the second clivis (or the third one), so to make the group less monotonous. You can also express the first and third one, releasing the intensity on the second one, then expressing and holding the double top C.
- Be careful at the first notes FABb of vocem: the apparition of the B flat gives a different flavour from the previous phrases. It comes back to B natural at the end of meam.
- Fiant aures has two liquescents: one for the "n" and one for the "u". Also watch out the 5th down after the "u".
- The word intendentes also has two liquescents for the two "n" but also a long melism on "tes":
1) try not to breath at the quarter bar and move on to the fourth down and up G/D,
2) you find again the three clivis AG, like above, to be sung with different expressions.
- Then again these notes FABb on the word servi with the B flat, developing like before on the words vocem meam.
- Then for the third time we encounter the three clivis on the third occurence of Domine. Sing like explained above.
- The words Quia apud te do not follow the classic GAC from mode 8 but mark a step at B first before reaching the C. After that watch out the 4th CG to get down to propitiatio: same note G as the starting of the verse.
- In the end pay attention to the transition from "mi" to "ne" on the last occurence of Domine.
Offert. Bonum est confiteri
Ps. 91, 2.
Ps. 91, 6.
8 LU501

MV433
GR76

OF26

SOV6
D/E
Worth quoting the words in English: « It is good to give praise to the Lord, and to sing to thy name, O Most High ». That's what we do here.
- First: pay attention to the change of flavour after the incipit, the word confiteri will go GAC but it starts with a low fourth DG. What I do before we start: I play on the keyboard a few incipit notes then the 3 notes G-A-C (including both dominant and final in this mode 8), so it goes this way: Eb-Eb-G-F-F then a quick F-G-Bb. This way the ear is prepared for the next.
- I love the climbing of notes to the highest CDE to emphasize this word psallere = sing, reaching the choir of angels in Heaven.
- Dom Johner indicates the third part should be sung crescendo to the third pressus, through the word Altissime.
- Overall sing this Offertory on a slow pace full of awe.
Comm. Illumina faciem
Ps. 30, 17-18.
Ps. 30, 2-6, 7-9.
1 LU501

MV434
GR76

VPC48
MV2006
D/E
- Sing this one gently.
- Lovely transition a 4th down from A to E, from salvum to me.
Lauds AR341
1 Ant. Miserere mei Deus et a
Ps. 50. Miserere mei Deus secundum
1a LU--- AR341
AR10
2 Ant. Confitebor tibi Domine
Ps. 117. Confitemini... dicat
8G* LU--- AR342
AR11
3 Ant. Deus deus meus
Ps. 62. Deus deus meus ad te
1f LU--- AR342
AR3
4 Ant. Benedictus es in firmamento
Cant. II. Puer. Benedictus es Domine Deus patrum
1a2 LU--- AR342
AR12
5 Ant. Laudate Dominum de caelis
Ps. 148. Laudate Dominum de caelis
1a LU--- AR342
AR5
Hymn. Aeterne rerum Conditor
1 LU--- AR6
F/F
Ant. Simile est... homini patrifamilias
Cant. Benedictus
1g LU--- AR343
AR10
Prime LU496 AR343
Ant. Conventione autem
Ps. 53. Dominus regnavit
Ps. 118i. Beati Immaculati in via
Ps. 118ii. Retribue servo tuo
1f LU496
LU226
AR343
AR16
Terce LU497 AR344
Ant. Ite et vos
Ps. 118iii. Legem pone
Ps. 118iv. Memor esto verbi tui
Ps. 118v. Bonitatem fecisti
8c LU497
LU236
AR344
AR27
Sext LU502 AR344
Ant. Quid hic statis
Ps. 118vi. Defecit in salutare
Ps. 118vii. Quomodo dilexi
Ps. 118viii. Iniquos odio habui
1g LU502
LU241
AR344
AR33
None LU502 AR344
Ant. Voca operarios
Ps. 118ix. Mirabilia testimonia
Ps. 118x. Clamavi in toto corde meo
Ps. 118xi. Principes persecuti sunt
8G LU502
LU246
AR344
AR40
Vespers LU502
MV435
AR345 Antiphons and psalms of the Sunday.
Hymn. Lucis creator optime
8 LU256

MV119
AR48
E
Ant. Dixit paterfamilias
Cant. Magnificat
7a LU503
LU211

MV435
MV217
AR345
AR52
Septuagesima Week - Monday
Vespers LU--- AR346
Ant. Hi novissimi
Cant. Magnificat
1a3 LU--- AR346
AR52
Septuagesima Week - Tuesday
Vespers LU--- AR346
Ant. Dixit autem paterfamilias
Cant. Magnificat
8G LU--- AR346
AR52
Septuagesima Week - Wednesday
Vespers LU--- AR346
Ant. Tolle quod tuum est
Cant. Magnificat
8c LU--- AR346
AR52
Septuagesima Week - Thursday
Vespers LU--- AR347
Ant. Non licet mihi
Cant. Magnificat
8G LU--- AR347
AR52
Septuagesima Week - Friday
Vespers LU--- AR347
Saturday before Sexagesima
Vespers LU503 AR347
Ant. Dixit Dominus ad Noe
Cant. Magnificat
8G LU503
LU212
AR347
AR52
Sexagesima
LU504
MV436
GR77
Intr. Exsurge
Ps. 43, 23-26. 2.
Ps. 43, 2-3.
1 LU504

MV436
GR77

VPC48
D/E
A beautiful piece, full of emotion. A plea to God. Listen to the first video and the tremendous interpretation by the monks.
- After obdormis Domine you might want to go through the half bar without stopping, it sounds better.
- No pause at the quarter bar between exsurge Domine and adjuva nos.
Grad. Sciant gentes
Ps. 82, 19 et 14.
1 LU506

MV439
GR78
C/C
- Take plenty of air to sing the long incipit in one breath.
- Careful at tu solus: it ends on a G, not natural in mode 1.
- The word terram has difficult up and down, think of memorizing the long starting F as you come back to it after the torculus. Then there is the projection from the dotted E to the episemed A, hopefully without any pause at the quarter bar.
- ut rotam starts on the same G as the previous word illos and the word rotam also starts on G; sounds obvious but...
- Here too you might want to sing the whole rotam in one breath. It's doable.
- Watch out the second "disconnected" quilisma on stipulam: it goes E-G-A, not consecutive notes.
Tract. Commovisti
Ps. 59, 4 et 6.
8 LU507

MV440
GR78
B/C
- Here too there is a long incipit. Eventually you can breathe at the quarter bar but if you can do it in one breath do it.
- The word eam after conturbasti has a long melism, if you want to breathe it is better to breathe at second quarter bar after the dotted F.
- The word est after mota has big 4th jumps, don't lengthen the ictus notes on G.
- Be careful at the 5th down DG on the word arcus; there is a dotted G for everybody to regroup before moving on.
Offert. Perfice gressus
Ps. 16, 5, 6-7.
Ps. 16, 1.
4 LU508

MV442
GR79

OF90

SOV6
C/E
Will be sung again on 6th Sunday after Pentecost.
- Memorize the note F as it is the main recitating note.
- In the end, after facis make a little pause to get the D right, down a fourth from G.
Comm. Introibo
Ps. 42, 4.
Ps. 42, 1-3, 4-6.
8 LU508

MV443
GR80

VPC49
MV2007
E/F
Words pronounced by the priest at the foot of the altar, when the mass starts.
- Think to emphasize the word Dei, not forgetting to lenghten the beginning of the word.
- Make sure to separate the two "d" of ad and Deum.
- At the word laetificat it is tempting to come back to G (mode 8 final) when actually it is the same note A as the previous word qui. Maybe that's why there is an episema (lengthening) on the note, to regroup and stabilise before continuing.
- The word juventutem is a bit tricky: one wants to climb to C but there is a successing of three AG before going to B and C. Also I tend to say the "m" early, like juventum instead of juventutem...
Lauds AR348
1 Ant. Secundum magnam
Ps. 50. Miserere mei Deus secundum
1g2 LU--- AR348
AR10
2 Ant. Si mihi Dominus
Ps. 117. Confitemini... dicat
1a2 LU--- AR348
AR11
3 Ant. In velamento clamavi
Ps. 62. Deus deus meus ad te
2D LU--- AR348
AR3
4 Ant. Hymnum dicamus
Cant. II. Puer. Benedictus es Domine Deus patrum
8G LU--- AR349
AR12
5 Ant. In excelsis laudate
Ps. 148. Laudate Dominum de caelis
6F LU--- AR349
AR5
Hymn. Aeterne rerum Conditor
1 LU--- AR6
F/F
Ant. Cum turba plurima
Cant. Benedictus
8G LU--- AR349
AR10
Prime LU504 AR350
Ant. Semen cecidit... in patientia
Ps. 53. Dominus regnavit
Ps. 118i. Beati Immaculati in via
Ps. 118ii. Retribue servo tuo
8c LU504
LU226
AR350
AR16
Terce LU504 AR350
Ant. Qui verbum Dei
Ps. 118iii. Legem pone
Ps. 118iv. Memor esto verbi tui
Ps. 118v. Bonitatem fecisti
1f LU504
LU236
AR350
AR27
Sext LU509 AR350
Ant. Semen cecidit... aliud
Ps. 118vi. Defecit in salutare
Ps. 118vii. Quomodo dilexi
Ps. 118viii. Iniquos odio habui
8c LU509
LU241
AR350
AR33
None LU509 AR351
Ant. Si vere fratres
Ps. 118ix. Mirabilia testimonia
Ps. 118x. Clamavi in toto corde meo
Ps. 118xi. Principes persecuti sunt
7c LU509
LU246
AR351
AR40
Vespers LU509
MV443
AR351 Antiphons and psalms of the Sunday.
Hymn. Lucis creator optime
8 LU256

MV119
AR48
E
Ant. Vobis datum est
Cant. Magnificat
6F LU510
LU211

MV444
MV216
AR351
AR52
Sexagesima Week - Monday
Vespers LU--- AR352
Ant. Si culmen veri honoris
Cant. Magnificat
7c LU--- AR352
AR52
Sexagesima Week - Tuesday
Vespers LU--- AR352
Ant. Semen est verbum Dei
Cant. Magnificat
3a LU--- AR352
AR52
Sexagesima Week - Wednesday
Vespers LU--- AR352
Ant. Quod autem cecidit
Cant. Magnificat
1g LU--- AR352
AR52
Sexagesima Week - Thursday
Vespers LU--- AR353 No particular antiphon for this day.
Sexagesima Week - Friday
Vespers LU--- AR353 No particular antiphon for this day.
Saturday before Quinquagesima
Vespers LU510 AR353
Ant. Pater fidei nostrae
Cant. Magnificat
6F LU510
LU211
AR353
AR52
Quinquagesima
LU510
MV444
GR80
Intr. Esto mihi
Ps. 30, 3-4. 2.
Ps. 30, 3 et 6.
6 LU511

MV444
GR80

VPC49
F/G
- Notice the mode 6 final F which is very present all along this proper.
- The words quoniam firmamentum are sung with the intonation/tenor/ending of psalm tone 6. It continues in a similar way with et refugium meum, ends with a solid bottom C on the words es tu.
- Lovely long C on dux mihi « thou will be my leader », top notes probably indicates what is coming from Heaven above.
- The word enutries is a bit difficult: only one note on the initial "e", the temptation is to continue the melody and stay with this vowel when the melody actually continues with four notes on "nu". Then one has to remember the various lengthenings on "tri" and "es", as well as the final "me".
Grad. Tu es Deus
Ps. 76, 15 et 16.
3 LU512

MV446
GR81
A/B
- Watch the various B in this proper, especially followed by C.
- Also memorize the E, final of mode 3, it appears here and there.
- Notice a rare 5th on a torculus resupinus at the word notam.
- Next you encounter a succession of major thirds up and down GB and BG on the words fecisti and gentibus. The word gentibus continues with a jump down a 4th AE on "bus": that's where you remember the importance of memorizing the E.
- The four notes GC-AB of "vir" on the word virtutem are a bit tricky to sing. Before you start, visualize the fourth GC then insert the second AB.
- Another place to look at the various B: in brachio tuo where most of the notes stay between C and A, a little interval of three semitones, when the ear would like to come back to the G of Liberasti. Also here it is tempting to sing not one but two or three notes on "tu"... It is the next "o" which takes all the five ending notes before the quarter bar. Eventually do not breathe at this quarter bar but take one good breath before in brachio.

Tract. Jubilate Domino
Ps. 99, 1-2.
8 LU513

MV447
GR82
E/F
- Similar melody and patterns like in the Tract. De profundis from Septuagesima. Same advices apply here. Notice though at the end of laetitia the additional F which differs from similar patterns.
- You will find again this FABb on two occurences: in (laetitia) and ipse (est Deus).
- Little difficulty on Ipse fecit nos: the melody is going down but not as quickly as one would think, lots of semitones C to B. Big breath after that at the half bar to sing the next et non ipsi nos. And as before sing crescendo the three clivis on nos.
- Lovely triple climacus (more like "podatus sub-bipunctis") on the second nos.
- Finish the last ejus in one breath after a little pause after the star.
Offert. Benedictus es... in labiis
Ps. 118, 12-13.
Ps. 118, 1, 2.
3 LU514

MV449
GR83

OF28

SOV7
E/F
- The second benedictus has the same notes as the first one (incipit) although the notes are not episemed.
- On two occasions: tuas and pronuntiavi, in the end there is a CAA-FGF which is not necessarily easy to grab, the ear would rather go down a fourth with CGG-FGF.
- Make a pause at the last quarter to prepare the ending oris tui, beautiful with the elevating fourths and the finish on semitones: A/Bb and F/E, reflecting on the words « all the judgments of thy mouth ».
Comm. Manducaverunt
Ps. 77, 29-30.
Ps. 77, 1, 3, 4, 23-25, 27-28.
1 LU515

MV450
GR84

VPC50
MV2007
D/E
Lauds AR353
1 Ant. Secundum multitudinem
Ps. 50. Miserere mei Deus secundum
1f AR353
LU1800
AR353
AR10
2 Ant. Deus meus es tu
Ps. 117. Confitemini... dicat
8c LU--- AR354
AR11
3 Ant. Ad te de luce
Ps. 62. Deus deus meus ad te
7a LU--- AR354
AR3
4 Ant. Hymnum dicite
Cant. II. Puer. Benedictus es Domine Deus patrum
4E LU--- AR354
AR12
5 Ant. Omnes angeli ejus
Ps. 148. Laudate Dominum de caelis
5a LU--- AR354
AR5
Hymn. Aeterne rerum Conditor
1 LU--- AR6
F/F
Ant. Ecce ascendimus... et consummabuntur
Cant. Benedictus
4E LU--- AR355
AR10
Prime LU510 AR355
Ant. Iter faciente Jesu
Ps. 53. Dominus regnavit
Ps. 118i. Beati Immaculati in via
Ps. 118ii. Retribue servo tuo
1D LU510
LU226
AR355
AR16
Terce LU511 AR356
Ant. Transeunte Domino
Ps. 118iii. Legem pone
Ps. 118iv. Memor esto verbi tui
Ps. 118v. Bonitatem fecisti
1f LU511
LU236
AR356
AR27
Sext LU515 AR356
Ant. Et qui praeibant
Ps. 118vi. Defecit in salutare
Ps. 118vii. Quomodo dilexi
Ps. 118viii. Iniquos odio habui
7a LU515
LU241
AR356
AR33
None LU516 AR357
Ant. Caecus magis
Ps. 118ix. Mirabilia testimonia
Ps. 118x. Clamavi in toto corde meo
Ps. 118xi. Principes persecuti sunt
1f LU516
LU246
AR357
AR40
Vespers LU516
MV450
AR357 Antiphons and psalms of the Sunday.
Hymn. Lucis creator optime
8 LU256

MV119
AR48
E
Ant. Stans autem Jesus
Cant. Magnificat
1D LU516
LU207

MV451
MV212
AR357
AR52
Monday after Quinquagesima
Missa. Esto mihi LU517 GR--- Same as Quinquagesima.
Vespers LU517 AR358 Antiphons and psalms of the Monday.
Hymn. Immense caeli Conditor
1 LU517 AR101
Ant. Et qui praeibant
Cant. Magnificat
7a LU515
LU211
AR345
AR52
Tuesday after Quinquagesima
Missa. Esto mihi LU517 GR--- Same as Quinquagesima.
Vespers LU518 AR358 Antiphons and psalms of the Tuesday.
Hymn. Telluris alme Conditor
1 LU518 AR122
Ant. Miserere mei
Cant. Magnificat
8G LU518
LU212
AR358
AR52
Ash Wednesday (Quadragesima)
LU519
MV452
GR84
Ant. Exaudi nos
Ps. 68, 17. 2.
7 LU521

MV452
GR84
D/E
Sung during the blessing of ashes.
Ant. Immutemur habitu
Ioel. 2, 13.
1 LU523

MV454
GR85
G/G
Sung during the imposition of ashes.
- At the half bar after in cinere it starts a fifth higher, visualise the interval before moving on.
- Watch out the B flat on jejuneus.
- Notice the change of B as well on antge Dominum: B natural twice then B flat three times.
- Don't forget the "s" at the end of misericors.
- There is a major third down AF on Deus, with an episema on A to visualise the interval before taking it.
Ant. Juxta vestibulum
Ioel. 2, 17.
4 LU523
MV455
GR85
F/F
Sung during the imposition of ashes.
- Lots of sadness on the fourth down AE at the end of plorabunt sacerdotes (the priests shall weep).
- Parce Domine is easy, put expression in it: plea for mercy.
- But be very careful at parce populo tuo, you would expect it lands on D but it keeps coming back to F, ends on F.
- dissipes might be tricky unless you sing the two torculus neumes on their own.
- Lovely melodic phrase on ora clamantium.
Resp. Emendemus
Esther 13 ;
Ioel. 2.
Ps. 78, 9.
2 LU524

MV455
GR86
C/D
Sung during the imposition of ashes.
- Do not break the phrase ne subito...: no pause before die mortis.
- Beautiful fall on bottom A at paenitentiae.
- Lovely refrain Attende Domine..., very dramatic and penitential. Avoid breathing at the quarter bar.
- Hear the cry of misery at quia peccavimus tibi: "for we have sinned against thee."
Intr. Misereris omnium
Sap, 11, 24, 25 et 27.
Ps. 56, 2.
Ps. 56, 3-4.
1 LU525

MV457
GR87

VPC50
F/F
- Notice the fourth up DG at quae fecisti.
- Same fourth but down on peccata, be ready to come back to FGA (like Do-Re-Mi). And don't forget the B flat on top.
- Another dramatic effect with the top notes of paenitentiam; by the way: anticipate "ti-am" by singing "tsi-am", otherwise it is too late when you come to "am".
Grad. Miserere mei Deus
Ps. 56, 2 et 4.
1 LU526

MV458
GR88
D/E
- The second Miserere mei has large amplitudes and a long melism. Transition through the quarter bar is made by a little bouncing on F before climbing GA to C; a distropha on C prepares for the big drop CAF after that.
- quoniam ends on G before the quarter bar, not necessarily easy to pause on G in mode 1, that's why it is better to move on without pausing.
- Watch out the minor third GE + major third FA on the word confidit, a major third always needs a little push when it goes up.
- Be careful at the word anima: it starts the same as quoniam and it is tempting to hit top C, but instead it goes back to the lowest notes of the scale.
- The word caelo has a major third FA (4 semitones) followed by a B flat (1 semitone): one has to refrain his voice not to go higher than a semitone.
- Again caelo has a long melism after the quarter bar and there is an important lengthening at the dotted A in the middle, the place where you regroup (without stopping) before going further. Because there is a minor third down CA followed by a fourth down CG; it is tempting to sing the third as a fourth, anticipating the fourth which comes only later.
- The words dedit in follow a reversed major chord progression: CAF, and the A is the same note ending the previous word me, just something to remember.
Tract. Domine non secundum
Ps. 102, 10.
Ps. 78, 8-9.
2 LU527

MV459
GR89
F/G
With Ash Wednesday starts a serie of tracts in mode 2, sad mode, penitential. See the tract Qui habitat on 1st Sunday of Lent for more explanation about this type of proper.
Notice that: we all kneel at the verse Adjuva nos.
- On the word nobis: I find difficult to come back to D after bottom A, the trick is to remember D from three notes before or sing the same porrectus DCD.
- Try to go through without breathing at the quarter bar after iniquitatum nostrarum.
- As well go through the quarter bar after et propter gloriam...
- Make a pause after et propitius esto and enjoy the top notes of the melody at peccatis nostris.
Offert. Exaltabo te
Ps. 29, 2-3.
Ps. 29, 4.
2A LU528

GR90

OF96

SOV7
C/D
Same as 11th Sunday after Pentecost (MV).
- Try to go through the quarter bar without breathing between Domine and clamavi ad te.
- The pattern on Domine recalls the Intr. Dominus dixit from Christmas Midnight Mass.
Comm. Qui meditabitur
Ps. 1, 2 et 3.
Ps. 1.
3 LU529

MV461
GR90

VPC51
MV2008
C/D
- Jump a fourth between nocte and dabit, visualise it before.
- If you are lost after suum remember it is a minor third down.
Lauds AR358 Antiphons, psalms and hymn of Wednesday Lauds II.
Ant. Cum jejunatis
Cant. Benedictus
7a LU--- AR359
AR10
Vespers AR358 Antiphons, psalms and hymn of Wednesday Vespers.
Ant. Thesaurizate vobis
Cant. Magnificat
4A LU---
MV---
AR359
AR52



Mode Final Tenor examples M F T
 1  D A serious Kyrie XI, Jesu dulcis, Ave maris stella, Gaudeamus, Inclina, Veni Sancte Spiritus, Dies irae 1A A E
 2  D F sad/content Dominus dixit, Qui habitat, Jerusalem (surge), Vir erat, De profundis, Justus (ut palma) 2A A C
 3  E C mystic Pange lingua, Exsurge, Eripe me, Omnia, Gaudens, Dignus, Benedicite 3A A F
 4  E A harmonious Credo I, Creator alme siderum, Resurrexi, Laetentur, Confirma, Various Alleluias 4B B E
 5  F C glad Credo III, Adoro te, Salve Regina, Attende Domine, Cogitationes, Tribulationes, Timebunt 5C C G
 6  F A devout Ave verum, Ave Regina, Regina caeli, Ubi caritas, In splendoribus, Pascha nostrum, Requiem 6C C E
 7  G D angelic Asperges, Hosanna, Oculi mei, Factus est repente, Ecce panis, Signum, In paradisum
 8  G C perfect Ad te levavi, Veni Creator, O salutaris Hostia, Introibo, Jubilate Deo, Pater, Lux aeterna



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