Two Expressive Chants for Pentecost in modern notation

I've been working on a modern-notation version of Spiritus Domini and Factus repente. I've uploaded the score to SibeliusMusic.com. The title is Two Expressive Chants for Pentecost

Cover notes:

Rhythm:
This is an attempt to render the highly-expressive Laon and St. Gall neums to familiar notation. Therefore, rhythms are approximate. Bar lines are included so that we can see “pick-up” and leading phrases. THERE IS NO BEAT in Gregorian chant. The rhythm flows around the accented syllables of the words.

The accented syllables are marked by underlines in the scripture text above the music.

To begin to understand the piece, first practice speaking the text with clear accented syllables, then speak it again, broadening the sound to orate (proclaim) the text. Your chanting should be very similar to this oration of the Latin text.

Pitch:
In general, chant is not restricted to any pitch, but can be sung in whatever range suits the singer(s). However, in Spiritus Domini, there is an appropriate pitch that depends on the space in which the chant is sung. Many reverberant churches have a particular pitch that resonates well throughout the building. You can set C (do) of this chant to match that pitch.

The asterisk (*) in the notation points out a pulsing on the reverberant note, which, when let ring, offers a kind of harmony special to chant. The pulsed note sets the worship space ringing, at which point the singer drops to another “part,” tucks in the harmony notes, and then returns to pick up the pulsing, ringing tone and carry on. This effect can be experienced with the words replevit, terrarum, and scientiam.

Factus est repente has its own "special effects." The opening phrase can be sung strongly, starting with the open fifth and leading to the word sonus (sound) which can be echoed thru the church. Notice that the words ubi erant sedentes (whereupon it settles) are set to a drifting, peaceful melody--much like leaves drifting from a tree, or a feather on a breeze. This effect can be sung again in magnalia Dei. I'll leave you to extract your own meaning from that.

The liturgical chant of the Graduale is some of the most meaning-filled, prayerful music I have ever encountered. I encourage you to discover the original sources, and learn to sing from the ancient, expressive, yet simple neums recorded in the Graduale Triplex.

"The Gregorian repertory is a complex world which unites several centuries of musical history. It is in fact a world of astonishing variety which mysteriously approaches nearly delirious enthusiasm as well as the most delicate interior things. It is a paradoxical world where music blooms in silence."

-- the monks of Solesmes
at http://www.solesmes.com/anglais/ang_solesmes.html

"The pure echoes of the chant can touch the hearts and minds of all who are fortunate enough to sing or listen to it. Conceived in humility and expertly and lovingly crafted over centuries, chant is our heritage, and should be allowed to live and breathe as it was intended, in liturgy. It ought not to be relegated to the concert hall where its beauty can be only half realized, as there it can point to no mystery beyond itself."

-- Arlene Oost-Zinner and Jeffrey Tucker, from the February 2004 issue of the Homiletic & Pastoral Review

One way to bring this music into the Liturgy would be to sing Spiritus Domini as a prelude to the gathering song, and Factus repente after the Communion procession and song.

For more suggestions, see Watchmaker Press Chant Index.




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