This volume of arrangements is a studied, serious and comprehensive necessity for the future of guitarists whose earnest desire to advance the instrument’s “value” to the liturgy will eventually come to terms, and merge with the growing enthusiasm for restoring “pride of place,” or even “primary place” to the use of Gregorian Chant that is burgeoning in this century. The author does not hesitate to equate the revival of chant with the revival of Christendom (“Save the Liturgy, save the world” come to mind?) and sees his work allowing guitarists to “participate more effectively” in that aspect of the worship life of the singing church.
Mr. Garno gives a not-just-a-nod introduction to chant and its current revival in his introduction, and then states, “My goal…is to aid the working guitarist…..(whose)….economic success….depends upon their ability to be flexible in a wide variety of performance situations. Having the potential to play Gregorian chant melodies….will broaden the possibilities of performing in churches, or even accompanying congregations. (Interesting that he would note “chant” in the participation active modality!) He also notes that with the larger public’s interest in the meditative qualities of chant that the guitar, as a “meditative” instrument makes an appealing antidote to the busyness, industrialization and technical distractions of modern life. He concludes, in this vein, “Logically, then, the melodies of Gregorian chant are a type greatly complemented by those qualities inherent in the acoustic guitar.”
The introduction continues to give a thorough history of the chant, complete with engravings, complete footnotes and supportive quotations. Then Garno systematically introduces the modern notation reader to the mensurate contrasts both in symbolic notation and in actual rhythmic practice. He offers the studied guitarist the tools to interpret phrase divisions and neumes, and basic guides to the duple, triple groupings with which chanters are familiar. He demonstrates his methods for transcribing chant scores to guitar staff notation correctly. And then he declares at the end of the introduction that “Gregorian chant transcriptions should be a part of the standard classical guitar repertoire, citing many authoritative artists such as the late Andres Segovia as champions of this cause.
Then the bulk of the volume, which he titles “Hymnum Gloriae,” consists of staff and tablature versions of four basic Mass movements: a Kyrie, Gloria, Sanctus and Agnus Dei.
And then he provides full transcriptions of Missas VIII, IX, XI and XVI.
The next section includes “Miscellaneous Chants” that are of great renown, and then a section of Latin Hymns that include “Adoramus te Christe, Ecce panis angelorum, O esca viatorum, O salutaris hostia and a host of others.”
Following those transcriptions Garno includes the appendices with the original neumatic scores. The volume concludes with excerpts from “The Catholic Encyclopedia of 1913” and his bibliography.
This collection should be part of every serious guitarist’s library, especially those whose instruments remain closeted from their scholas or choirs when chant is employed. And folks who question the validity or propriety of the classical guitar at Roman Catholic worship should simply browse through its content out of respect for the fact that the instrument is not explicitly named as illicit or deficient in accompanying the highest form of sacred music for liturgy. Take it or leave it, this book is worth a thorough examination.
