Singing Monastic Vespers Webinar - Jennifer Donelson

Singing Monastic Vespers:a 4-part Webinar

Dom Benedict Andersen, OSB Priest-monk of Silverstream Priory

County Meath, Ireland CenacleOSB.org

Dr. Jennifer Donelson-Nowicka Associate Professor and Director of Sacred Music

St. Joseph’s Seminary (Dunwoodie), New York JenniferDonelson.com

Sponsored by the Sacred Arts Guild of Alberta – Alane Boudreau, moderator

http://CenacleOSB.org

http://JenniferDonelson.com

Overview

5:00-5:40 - Lesson

5:40-6:10 - Sing Vespers

Hang around for Q and A afterwards if you’d like

4 Parts

Psalms and Psalm Tones

Antiphons and Complex Psalm Tone Endings

Hymns, Responsories, and Magnificats

How to sing different feasts and seasons after the webinar ends

Overview

Today

5:00-5:40

Spiritual reflection

Overview of the Structure of Vespers

Some Preliminary Resources

More will be shared in the 4th session of the webinar

How Psalm Tones Work

Singing Psalm Tone 2, 8G, and 7c2

Some Spiritual Considerations

Rule of Saint Benedict, chapter 19: Psallite sapienter — Cum tremore — In conspectu Angelorum (Ps. 46, Ps. 2, Ps. 137)

The context of Temple worship: cosmic, model of creation

“Lights to divide the day and the night” (Gen. 1:14): Day four, the menorah

“The light shines in the darkness … “In him was life, and the life was the light of men … The Word was made flesh and pitched his tent among us” (Jn. 1)

“He camest, Bridegroom of the Bride / As drew the world toward eventide…” (Creator alme siderum)

“My prayer as incense … the lifting up of my hands, an evening sacrifice” (Ps. 140)

“The Theotokos, the Mother of the Light” (Byzantine Orthros): Mary/Cross/Incarnation

Monastic Vespers: Structure

The Opening Versicles

“Deus in adjutorium meum intende …”

“Gloria Patri” and “Sicut erat”

“Alleluia”

or when forbidden, in its place: “Laus tibi Domine Rex æternæ gloriæ”

Pater, Ave

According to a longstanding tradition, before the hour begins, the Pater and Ave are said silently.

PATER noster, qui es in cælis : sanctificétur nomen tuum : advéniat regnum tuum : fiat volúntas tua, sicut in cælo, et in terra. Panem nostrum quotidiánum da nobis hodie : et dimítte nobis débita nostra, sicut et nos dimíttimus debitóribus nostris : et ne nos indúcas in tentatiónem : sed líbera nos a malo. Amen.

AVE María, grátia plena, Dóminus tecum : benedícta tu in muliéribus, et benedíctus fructus ventris tui Jesus. Sancta María, Mater Dei, ora pro nobis peccatóribus, nunc et in hora mortis nostræ. Amen.

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Our Father, Hail Mary

According to a longstanding tradition, before the hour begins, the Pater and Ave are said silently.

Our Father, who art in heaven, Hallowed be thy name. Thy kingdom come. Thy will be done on earth as it is in heaven. Give us this day our daily bread, and forgive us our trespasses, as we forgive those who trespass against us, and lead us not into temptation, but deliver us from evil.

Hail Mary, full of grace, the Lord is with thee. Blessed art thou amongst women, and blessed is the fruit of thy womb, Jesus. Holy Mary, Mother of God, pray for us sinners, now and at the hour of our death. Amen.

Opening Versicle

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A profound bow is made whenever the doxology is recited.


Four psalms with 1 or 4 antiphon(s):

Psalms are usually as given for the day of the week

But certain feasts have special psalms, as the rubrics indicate

Antiphons are for the weekday, or else common or proper

Psalmodia

Psalmus 109

Donec ponam inimícos tuos, * scabéllum pedum tuórum. Virgam virtútis tuæ emíttet Dóminus ex Sion: * domináre in médio inimicórum tuórum. Tecum princípium in die virtútis tuæ in splendóribus sanctórum: * ex útero ante lucíferum génui te. Jurávit Dóminus, et non pœnitébit eum: * Tu es sacérdos in ætérnum secúndum órdinem Melchísedech. Dóminus a dextris tuis, * confrégit in die iræ suæ reges. Judicábit in natiónibus, implébit ruínas: * conquassábit cápita in terra multórum. De torrénte in via bibet: * proptérea exaltábit caput. Glória Patri, et Fílio, * et Spirítui Sancto. Sicut erat in princípio, et nunc, et semper, * et in sǽcula sæculórum. Amen.

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Psalm 109

Until I make thy enemies * thy footstool. The Lord will send forth the sceptre of thy power out of Sion: * rule thou in the midst of thy enemies. With thee is the principality in the day of thy strength: in the brightness of the saints: * from the womb before the day star I begot thee. The Lord hath sworn, and he will not repent: * Thou art a priest for ever according to the order of Melchisedech. The Lord at thy right hand * hath broken kings in the day of his wrath. He shall judge among nations, he shall fill ruins: * he shall crush the heads in the land of many. He shall drink of the torrent in the way: * therefore shall he lift up the head. Glory to the Father, and to the Son, * and to the Holy Spirit. As it was in the beginning, is now, * and will be forever. Amen.

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Chapter (Capitulum), short Scripture reading: seasonal, common, or proper

Answered by “Deo gratias”

Short Respond: seasonal, common, or proper

For First Vespers of great feasts, sometimes a Long Responsory from Matins is sung in its place. This is at the discretion of the superior or choirmaster.

Capitulum

1 Pet 2:11

Responsorium Brevis

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Canticle of Our Lady (Magnificat) with antiphon

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Luke 1:46-55

Quia respéxit humilitátem ancíllæ suæ: * ecce enim ex hoc beátam me dicent omnes generatiónes. Quia fecit mihi magna qui potens est: * et sanctum nomen ejus. Et misericórdia ejus a progénie in progénies * timéntibus eum. Fecit poténtiam in bráchio suo: * dispérsit supérbos mente cordis sui.

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For he hath regarded : the lowliness of his handmaiden: * For behold, from henceforth : all generations shall call me blessed. For he that is mighty hath magnified me: * and holy is his Name. And his mercy is on them that fear him: * throughout all generations.

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Commemoration Finding of the Holy Cross

27

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29

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“Dominus vobiscum” (or “Domine exaudi”)

“Benedicamus Domino” (various tones for different occasions)

“Fidelium animæ” and “Divinum auxilium”

Conclusio

℣. Fidélium ánimæ per misericórdiam Dei requiéscant in pace. ℟. Amen.

30

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℣. May the souls of the faithful, through the mercy of God, rest in peace. ℟. Amen.

31

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Sung in a low tone.

℣. Divínum auxílium máneat semper nobíscum. ℟. Et cum frátribus nostris abséntibus. Amen.

℣. May the divine assistance remain always with us. ℟. And with our absent brethren. Amen.

According to a longstanding tradition, after the hour ends, the Pater is said silently.

PATER noster, qui es in cælis : sanctificétur nomen tuum : advéniat regnum tuum : fiat volúntas tua, sicut in cælo, et in terra. Panem nostrum quotidiánum da nobis hodie : et dimítte nobis débita nostra, sicut et nos dimíttimus debitóribus nostris : et ne nos indúcas in tentatiónem : sed líbera nos a malo. Amen.

Our Father, who art in heaven, Hallowed be thy name. Thy kingdom come. Thy will be done on earth as it is in heaven. Give us this day our daily bread, and forgive us our trespasses, as we forgive those who trespass against us, and lead us not into temptation, but deliver us from evil.

32

Personnel Suggestions for Domestic Celebration

All on your own

One person always leads (begins the Office, intones antiphons and psalms, sings the Chapter, leads the responsory, sings the collect, etc.)

Different roles divvied up (officiant, two cantors)

Officiant: opening, intones first psalm antiphon and Magnificat antiphon, Chapter, Kyrie and Pater, Collect, “Fidelium” & “Divinum auxilium”

One cantor, or two taking different parts: other antiphons, beginning psalms and Magnificat, Short Respond, Versicle, “Benedicamus”

Comparison of Vespers Structures

Monastic (1963) Opening versicles Four psalms with 1 or 4 antiphon(s): Chapter Short Respond Hymn Versicle and Response Magnificat with antiphon Kyrie/Christe/Kyrie eleison Pater noster “Domine exaudi,” “Oremus,” and Collect of the day Commemorations “Domine exaudi” “Benedicamus Domino” “Fidelium animæ” and “Divinum auxilium”

Roman (1960) Opening versicles Five psalms with 1 or 5 antiphon(s) Chapter No Short Respond Hymn Versicle and Response Magnificat with antiphon Kyrie/Christe/Kyrie eleison Pater noster, preces “Domine exaudi,” “Oremus,” and Collect of the day Commemorations “Domine exaudi” “Benedicamus Domino” “Fidelium animæ” and “Divinum auxilium”

Roman (1971/75/85) Introductory verse Hymn Two psalms with their antiphons One canticle with its antiphon Lectio Brevis Responsory Magnificat with antiphon Intercessions Pater noster “Oremus,” and Collect of the day (“Concluding Prayer”) “Dominus vobiscum,” blessing, and dismissal (if priest or deacon present), otherwise “Dóminus nos benedícat, et ab omni malo deféndat, et ad vitam perdúcat ætérnam.”

Some Preliminary Resources

DivinumOfficium.com

BarrouxChant.com

Antiphonale Monasticum (1934), available as free, public domain PDF

Le Barroux’s Ordo for 2020 (directions for each day)

Chart of Psalm tones (not including those added in the Antiphonal Monasticum)

http://DivinumOfficium.com

http://BarrouxChant.com

https://www.ccwatershed.org/2013/12/4/1934-antiphonale-monasticum-free-pdf-download/

https://www.barroux.org/images/stories/pdf/Ordo-2020.pdf

https://media.musicasacra.com/pdf/tones.pdf

Gregorian Modes

Three ways in which a mode categorizes:

Final: the last pitch of the piece

Re, Mi, Fa, Sol

If it is La, Ti, or Do, it is considered a transposed version of Re, Mi, or Sol

Dominant: the pole around which a large number of pitches lie, and which serves as a counter to the final, a feeling of “away from home,” often the recitation tone in a Psalm tone

Range: where the pitches for a piece lie in relationship to the final

Authentic – final towards the bottom of the range

Plagal – final in the middle of the range

Gregorian ModesDominant (up 5th)

Mode # Final Mode # Dominant (up 3rd)

La 1 Re 2 Fa

Do (Ti) 3 Mi 4 La*

Do 5 Fa 6 La

Re 7 Sol 8 Do

Structure of a Psalm Tone

Inchoatio/ Intontation

Tenor/ Recitation

Tone

Mediatio/ Mediant *

Tenor/ Recitation

ToneTerminatio/ Termination

Inchoatio/ Intontation

Tenor/ Recitation

Tone

Mediatio/ Mediant *

Tenor/ Recitation

ToneTerminatio/ Termination

Flexa/ Flex †

Tenor/ Recitation

Tone

Some rules to start…

Does it have 1 accent in the mediant & termination—or 2?

White notes are only used if there are 2 unaccented syllables following the accent; ignore if there’s only 1

Flex are only used when you see a dagger (†) in the text, and they change pitch after the last accent right before the dagger; if there’s no dagger, ignore that part of the tone

Psalm tones are music for the Latin language; adaptation to English can follow the Latin accentuation when possible, but at other times it is an artistic decision of how to scan the line and point it

Practicing (non-Monastic) Mode 2 Psalm Tone

1 accent at mediant, 1 at termination

Pitch goes up on mediant accent

Pitch goes down one syllable before termination accent

No multi-note neumes

This is different from the monastic version of this tone…

OFFICE PSALM TONES from the Liber usualis, with various termination formulae

intonation flex mediation

I BvvfvvGYvvhvvhvvxhvv¥vvgz<vv[vvhvvhv\v xjvv¦vvhvvxgvv¦vvhz.vv]vvhvvhvvhvv D Bvvgvvfvvx GYvv¥vv5z$#@bNv} or Bvvgvvfvvxgvv¥vv5z$#@bNv} D2 Bvvgvvfvv¥vvtf}vvszmvv} f Bvvgvvfvvx GYvv¥vvtfzM,vv} g Bvvgvvfvvx GYvv¥vvgz<vv} g2 Bvvgvvfvvxgvv¥vvghgz<vv} g3 Bvvgvvfvvxgvv¥vvgz,vv} a Bvvgvvfvvxgvv¦vvhz.vv} a2 Bvvgvvfvvxgvv¥vvGYz,.vv} a3 Bvvgvvfvvx GYvv¥vvGYz,.vv}

II Xvvdvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvxjvv¦vvhz.vv]vvhvvhvvhvvgvvxdvv¤vvfb,vv} III BvvgvvHIvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvzlvv¨vvkvv¨vvuh }vvkz/vv]vvkvvkvvkvv

b Bvvhvvxkvv¨vvjb.vv} a Bvvhvvxkvv¨vvuhz<.vv} a2 BvvijvvHUvvxhvv¥vvGYz<.vv} g BvvijvvHUvvxhvv¥vvgz<vv} g2 Bvvhvvkvvjvvxhvv¥vvgz<vv}

IV BvvhvvGYvvhvvhvvx xhvv¥vvgz,vv[vvhvvhvvgvvhvvxjvv¦vvhz.vv]vvhvvhvvhvv g Bvvxhvv¥vvgz,vv} E Bvvgvvhvvuhvv¥vvtf }vvdzmvv}

IV alt VvvjvvHUvvjvvjvvxjvv¦vvhz.vv[vvjvvjvvhvvjvvxkvv§vvjz.vv]vvjvvjvvjvv c Vvvxjvv¦vvhz.vv} A Vvvhvvjvvkvvxhvv¤vvfz,vbb} A* Vvvhvvjvvkvvxhvv¤vvFTbM<vv} d Vvvhvvjvvkvvxhvv§vvjz.vv}

cf. LU p. 730

V Vvvsvvfvvhvvhvvxhvv¤vvfz,vv[vvhvvhvvhvvhvvxjvv¦vvhz.vv]vvhvvhvvhvv xjvv¥vvgvvxhvv¤vvfz,vv} VI BvvfvvGYvvhvvhvvxhvv¥vvgz<vv[vvhvvhv\v xjvv¦vvhvvxgvv¦vvhz.vv]vvhvvhvvhvvfvvGYvvxgvv¤vvfz,vv} VI alt BvvfvvGYvvhvvhvvxhvv¥vvgz,vv[vvhvvhvvhvvgvvxhvv¤vvfz,vv]vvhvvhvvhvvfvvGYvvxgvv¤vvfz,vv} VII VvvygvvHUvvjvvjvv xjvv¦vvhz.vv[vvjvvjvvzlvv¨vvkvvxjvv¨vvkz/vv]vvjvvjvvjvv

a Vvvx xkvv§vvjvvxhvv¦vvtfzM,vv} b Vvvxkvv§vvjvvxhvv¦vvgb,zv} c Vvvx xkvv§vvjvvxhvv¦vvGYz,.vv} c2 Vvvxkvv§vvjvvxhvv¦vvuhb<>zv} d Vvvxkvv§vvjvvxhvv¦vvGUb,.zv}

VIII Bvvgvvhvvkvvkvvxkvv¦vvhz.vv[vvkvvkvvkvvkvvzlvv¨vvkz/vv]vvkvvkvvkvv G Bvvjvvkvvxhvv¥vvgz,vv} G* Bvvjvvkvvxhvv¥vvGYz.,vv} c Bvvhvvkvvzlvv¨vvkz/vv}

per. Bvv\vHUvvhvvhvvhvvxhvv¥vvgz,vv[vvhvvgvv\vjvvhvvxgvv¤vvfz,vv]vvgvvgvvgvvsvv xfvv¤vveszNMvv}

Practicing (non-Monastic) Mode 2 Psalm Tone

Confitébor tibi, Dómine, in toto corde meo: *

in consílio justórum, et congregatióne.

Magna ópera Dómini: *

exquisíta in omnes voluntátes ejus.

Conféssio et magnificéntia opus ejus: *

et justítia ejus manet in saéculum saéculi.

Memóriam fecit mirabílium suórum, † miséricors

et miserátor Dóminus: * escam dedit timéntibus se.

Memor erit in saéculum testaménti sui: *

virtútem óperum suórum annuntiábit pópulo suo:

Ut det illis hereditátem géntium: *

ópera mánuum ejus véritas, et judícium.








cf. LU p. 730





Practicing Mode 7 Psalm Tone with C2 Ending

2 accents at mediant, 2 at termination

Pitch changes on mediant accents

Pitch changes on termination accent

Multi-note neumes on intonation and termination








cf. LU p. 730












cf. LU p. 730





Practicing Mode 7 Psalm Tone with C2 Ending

Confitébor tibi, Dómine, in toto corde meo: *

in consílio justórum, et congregatióne.

Magna ópera Dómini: *

exquisíta in omnes voluntátes ejus.

Conféssio et magnificéntia opus ejus: *

et justítia ejus manet in sǽculum sǽculi.

Memóriam fecit mirabílium suórum, † miséricors et miserátor Dóminus: * escam dedit timéntibus se.

Memor erit in sǽculum testaménti sui: *

virtútem óperum suórum annuntiábit

pópulo suo:

Ut det illis hereditátem géntium: *

ópera mánuum ejus véritas, et judícium.








cf. LU p. 730












cf. LU p. 730





Practicing Solemn Mode 8 Psalm Tone with G Ending

2 accents at mediant, 1 at termination

Pitch changes with 2 notes 1 syllable before mediant accents

Pitch changes 2 syllables termination accent

Multi-note neumes on intonation

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Practicing Solemn Mode 8 Psalm Tone with G Ending

Quia respéxit humilitátem ancíllæ suæ: * ecce enim ex hoc beátam me dicent omnes generatiónes. Quia fecit mihi magna qui potens est: * et sanctum nomen ejus. Et misericórdia ejus a progénie in progénies * timéntibus eum. Fecit poténtiam in bráchio suo: * dispérsit supérbos mente cordis sui.

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A few more points

Vocal energy and good breath support should move the line along until the mediant and termination

Sing at the speed of speech on the recitation tone, and at a slower pace when the pitch is changing

Wait | Breathe | Sing

Psalms begin on the recitation tone after the 1st verse (no intonation), while the Gospel canticle (in this case, the Magnificat) begins with the intonation on each verse

Online Classes This Summer Through St. Joseph’s Seminary (Dunwoodie), New York

Principles of Sacred Music

History of sacred music, study of Church legislation, in-depth discussion of practical issues surrounding sacred music programs. Asynchronous on-line June 1–July 26 + live online July 27 and 28 from 9:00 a.m. to 5:00 p.m. Fulfills course requirements for the St. Cecilia Academy certification. Taught by Dr. Jennifer Donelson-Nowicka.

Principles of Chant

Introduction to Gregorian chant, vocal and rehearsal techniques for choirs, and development of conducting skills. July 13–17, 9:00 a.m. to 6:00 p.m. Fulfills course requirements for the St. Cecilia Academy certification. Taught by Dr. Jennifer Donelson-Nowicka.

Teaching Gregorian Chant to Children

Pedagogical techniques for teachers with special emphasis on the Ward method of teaching chant. July 20–24, 9:00 a.m. to 6:00 p.m. Taught by Dr. Jennifer Donelson-Nowicka.

Conducting and Group Vocal Pedagogy for the Parish Music Director

Strategies and practice in conducting and teaching healthy vocal production to amateur singers. July 29–31, 9:00 a.m. to 6:00 p.m. Taught by Dr. Timothy McDonnell.

Introduction to the Organ for Pianists

Essential knowledge and practice with registration, good technique, pedaling, hymn- and service-playing, and appropriate repertoire. August 3–7, 9:00 a.m. to 12:00 p.m. and 3:00-6:00 p.m. Taught by Dr. Crista Miller.

More Information

jenniferdonelson.com/classes

jenniferdonelson.com/sacred-music-resources

sacredmusicpodcast.com

cenacleosb.org

http://www.jenniferdonelson.com/classes

http://jenniferdonelson.com/sacred-music-resources

http://sacredmusicpodcast.com

http://www.cenacleosb.org

Cantemus!Optional Q and A to follow

Documents

Singing Monastic Vespers Webinar - Jennifer Donelson