A Complete And Practical Method Of The Solesmes Plain Chant
Publisher: J.F. Wagner
Published: 1904
Place of publication: New York
Number of pages: 150
Table of contents: title: CONTENTS.; title: Preface 7; title: Introduction 11; title: FIRST PART.; title: THE ELEMENTS OF PLAIN CHANT.; title: Chapter I. — NOTATION. 13; title: 1. Notes 13; title: 2. The Staff 17; title: 3. The Clefs 17; title: 4. Custos (Guide) 18; title: 5. Accidentals 18; title: Chapter II.— THE INTERVALS 19; title: 1. Seconds 19; title: 2. Thirds 21; title: 3. Fourths 23; title: 4. Fifths 24; title: The Singing of the Intervals:; title: (a) Tone Formation 25; title: (b) Vowels 26; title: (c) Consonants 26; title: (d) Accent 27; title: Chapter III.— THE MODES 27; title: SECOND PART.; title: THE MELODIES OF PLAIN CHANT.; title: Plain Chant Melody 31; title: I. MUSICAL FORM IN GENERAL.; title: Chapter I.— ELEMENTS CONSTITUTING THE MUSICAL FORM OF CHANT 32; title: (a) The Melodic Element 33; title: (b) The Rhythmic Element 33; title: (c) The Dynamic Element 34; title: Chapter I. — ELEMENTS— Continued:; title: 1. The Accent as a Melodic Element in Plain Chant 34; title: (a) The Tonic Accent 34; title: (b) The Logic Accent 35; title: (c) The Pathetic Accent 35; title: 2. The Pauses as Form Building Elements of Plain Chant 37; title: Chapter II.— THE LAWS OF PLAIN CHANT; title: FORMS 38; title: Practical Conclusions from the Observations made 43; title: 1. Accents 43; title: 2. Pauses 46; title: 3. Note Duration 47; title: II. APPLIED MUSICAL FORM.; title: Practical Application of the Fundamental Laws 50; title: A. SCHEMATIC CHANT.; title: Types of Schematic Chant 51; title: I. SCHEMATIC MELODIES.; title: 1. THE LITURGltAL RECITATIVES 52; title: (a) The Epistle 52; title: (b) The Oration 54; title: (c) The Chapter 56; title: (d) The Lessons 57; title: (e) The Gospel 59; title: (f) Preface and Pater Noster 61; title: (g) Versicula 66; title: 2. THE PSALMODY 68; title: Introductory Remarks 68; title: (a) The Ordinary Psalm Chants 69; title: 1. General Principles 69; title: The Intonation 69; title: The Dominant, or Psalm, Tone 70; title: The Final (Cadence) 71; title: Cadences with One Accent 71; title: Final with Double Accents 73; title: 2. THE PSALMODY— Continued:; title: 2. The Different Psalm Tones 74; title: The First Tone 74; title: The Second Tone 77; title: The Third Tone 78; title: The Fourth Tone 81; title: The Fifth Tone 82; title: The Sixth Tone 83; title: The Seventh Tone 84; title: The Eighth Tone 87; title: The Tonus Peregrinus 89; title: 3. Rules Governing the Rendering of Psalm Chants 90; title: (&) Some Examples of Richer Psalmody 93; title: II. SCHEMATIC, OR METRICAL, TEXTS.; title: i. HYMNS 95; title: Their History 95; title: The Different Kinds of Hymns 96; title: (a) The Iambic Verse Metre 97; title: (b) The Trochaic Verse Metre 100; title: (c) The Sapphic Verse Metre 101; title: (d) The Asclepiad Verse Metre 102; title: The Elision 103; title: 2. TROPES AND SEQUENCES 105; title: B. INDEPENDENT CHANTS.; title: The Independent Chants 106; title: 1. SIMPLE CHANTS 107; title: Practical Conclusions 114; title: 2. FLORID CHANTS 118; title: First Grade 118; title: Second Grade 128; title: Third Grade 131; title: 3. VERY FLORID, or MELISMATIC, CHANTS 136; title: APPENDIX 147