This afternoon I had a two-hour video and screen-sharing Skype session with Fr. Columba Kelly OSB, Gregorian chant master and prolific English chant composer. We reviewed, discussed, and worked through all of the “mode 1” Introit antiphons that I have set for the Simple English Propers collection. These antiphons all employ the same “melodic formula” or melodic model which is applied and adapted uniquely to all of the introit texts of the Gregorian Missal which employ (in their Gregorian setting) the first mode. If you sing through a few of these antiphons you will quickly see that they are all based on the same melodic model. The purpose of this is to make the singing of new Introit, Offertory and Communion propers every week an attainable reality for parish singers.
Click here to download the complete cycle of mode 1 Introits that will be found in the Simple English Propers collection.
In total, there will be 24 melodic formulas that are employed in the Simple Propers book (actually 23 since there are no mode 7 Offertories found in the Gregorian Missal). There are 8 unique melodic models, one in each mode, designated for each proper genre: Introit, Offertory and Communion. There are certain features that are retained in each genre in order to give the genre some kind of uniqueness as such, although the scope here is rather limited based upon the chosen parameters and limitations of the project.
I have to say that crafting these melodic formulas is one of the most difficult compositional challenges I have ever attempted. It is much like writing a canon or a fugue. The difficult lies in anticipating the textual varieties in the English language and assuring that the melody will work with virtually any text that the English language can produce. Word accent patterns in English intonations and terminations are extremely varied, with an alarmingly greater variety than the Latin language, and the threat of back-to-back monosyllabic (oxytonic) word accents is ever present in English texts (e.g. to Yóu, Lórd Gód) and must be taken into consideration when crafting melodic models. Of course, word accent is treated very particularly in the authentic Gregorian chants and this attention to the delicacy of the text is one of the notable features of the Gregorian repertory. The esteemed Fr. Columba Kelly has spent a lifetime studying this relationship between text and melody that is found in Gregorian chant, and has demonstrated a mastery of applying the genius of the Gregorian idiom to English texts. I am very blessed to have had him as a teacher, and am overjoyed that he is overseeing my efforts in producing the Simple English Propers collection. Because of his review of my work I am confident that a collection of simple English chants will come to be that are obedient to the nature of Gregorian chant, and at the same time are able to be sung well by nearly everyone.
In a perfect world I would like focus on crafting the antiphons that will be used in the Simple English Propers before any further work in producing complete scores is done, but I realize that there are many who are relying on having a weekly offering available for immediate use in liturgy, and I will guarantee that you will have simple propers to sing for every Sunday and Feast from here on out. What this means, though, is that what is posted is still in development, since if one change is made to a melodic formula it will necessarily affect the entire lot! I do have all of the melodic formulas for this project crafted, though, and I have a strong sense that they will all pan out nicely in the end. You never know when the chant master will lay the smacketh-down, however, so changes may be made to posted antiphons until the entire cycle has stabilized.
In any event, I hope that you will give this cycle of mode 1 Introits a sing, and I hope that you will see the benefit that they may present typical parish choirs and cantors. I can tell you that they have been an absolute God-send for my own parish music program, who only began the project of introducing propers into parish liturgy a short year and a half ago. The variety among familiarity seems to be in just the right balance. I certainly hope that this will prove to be the case for all who sing them.
In closing, thank you to all who have supported this project, especially those who have made a financial contribution. I thank you all very sincerely for your generosity and for your giving a go this new and exciting model of sacred music commissioning, production and distribution!
This is very promising and impressive. Thank you, Mr. Bartlett. Not a very substantive comment, I know, but I felt compelled to make it all the same.
Adam,
I actually regard what you're accomplishing as a revolutionary watermark that will be esteemed for not only your detailed scholarship and informed imaging, but the sheer beauty of the settings. Prior era's "pioneers" such as C.Rossini of blessed memory, could not have benefited by the cornucopia of historical resources that are a click or phone call away. You, Jeff O, the Olbashes et al, are walking, talking miracles in my estimation.
And that you kids come up with quips such as "You never know when the chant master will lay the smacketh-down,.." it gives us geezers great consolation when we see a great many of your generation in long lines outside of a Best Buy clamoring to buy the latest video game (Call of Duty, Halo, Kill 'em all….whatever.)
And I promise I won't apply chord assignments ever! Unless you…..;-)
Thank you both for your kind words. No, Charles, video games have never really been my forté! I guess technology can indeed be used for mindless as well as productive things, right? I am amazed at how quickly things like this project can come together in current times due to the wealth of information and knowledge that is literally at our fingertips. Developments that used to take decades now can take place in years or months. It's just incredible.
And yes, Charles, please feel free to assign chord assignments as you wish! You are perfectly free to do this in any way. You know, I play a very subtle organ accompaniment to these chants with my own choirs and I usually just… scratch in chords over the square notes! It works surprisingly well!
So… why not (gasp! — dare I say it?) publish these with chords 'scratched in' for all the rest of us to benefit from? Granted, an emphatic caveat in a suggested performance practice section noting that a cappella singing is desired is certainly called for. But, considering common parish practice, it might help meet your average musician where they are.
I think what we're probably talking about here, Matthew, is an accompaniment edition. I doubt that chord symbols above square notes will be too helpful to many. What would you think of another edition that contained the melodies in modern notation with figured organ accompaniment and chord symbols above? This would significantly add to the magnitude of the project, and would have to possibly be considered a Phase-2 effort or something. I agree that this sort of resource would certainly be helpful in many ways and would undoubtedly be closer to the current performance practice. We'll have to consider how far we want to take this, and at what point we want to draw a line and ask people to toe it.
Matthew,
I have the privilege of singing in Adam's Schola. I get to hear his subtle chord accompaniments on a reular basis. He does not need to write out the "chords" as in the Spirit Song guitar/vocal edition! (LOL)
Just use your sense of chordal progression that the chant melody suggests. If you need some examples, go to a good hymnal, like Adoremus or St. Gregory, and play through the gregorian chant organ settings. You will soon get the flow and chordal progressions in your ear. I accompany myself after I have learned the chant at home when I prepare for rehearsal. It's good practice for us organists. It's improvisation put to very good use.
RedCat, CAGO
Thanks for the suggestions RedCat. Adam, I think a Phase-2 effort makes sense. This is the approach Fr. Weber is taking with the St. Louis Gradual — a separate organ accompaniment edition (no chord symbols on top, of course).
Thanks for all your hard work! Keep it coming! Our chant schola (Holy Trinity parish, St. Ann MO) is planning to use your offertory for Christ the King.