Berno of Reichenau (Berno Augiae Divitis)
(Music, or Prologue to the Tonary)
THE MUSICAL WORKS OF BERNO
We publish the prologue to the Tonary of Berno, monk of Reichenau, from the San Blasien manuscript of the twelfth century, collated with the Leipzig, San Emmeram, Admont, and Ottobeuren manuscripts. It was dedicated not to Grinovero but to Piligrin, Bishop of Cologne, as I restored the true reading with my own eyes from the twelfth-century Villingen codex (consumed by flames in 1768 along with the monastery), against the erroneous reading 'To the beloved son Grinovero,' which deceived Mabillon and confounded the editors of Gallia Christiana (vol. III, p. 659), who rightly perceived that Grimovero could have had no place among the archbishops of Cologne at that time. The various flourishes and interlacings customary in that age, which even today idle typesetters begin to employ, adorned the Roman uncial letters in which this entire title or inscription was written, and led the copyist astray so that instead of 'Piligrino' he wrote 'Filio Grinovero.' Other codices that we have consulted confirm this beyond doubt. We give the Tonary from Vatican codex Palatinus no. 1344, of the eleventh century, collated with the Admont manuscript. This, however, varies considerably from the beginning onward; the reading in the Vatican codex is: 'The authentic protus consists of the first species of diapente and the first species of diatessaron above. Its last syllable in saeculorum Amen stands higher than the final by a diatessaron interval.' The Admont manuscript, however, reads: 'The authentic protus has eight differentiae, of which the first saeculorum Amen ends on lichanos hypaton at a diatessaron interval.'
We present Berno's letter On the Various Modulation of Psalms and Chants, addressed to the brothers Meginfrid, Eipenno, and Dibristus, from the Salem manuscript of the eleventh or twelfth century; and from the eleventh-century St. Gall manuscript, the work On the Consonant Diversity of Tones, dedicated to Burchard and Kerung together with the others studying in the school of the Lord's days at Reichenau.
PROLOGUE TO THE TONARY
Preface or Summary
1. On music. 2. The nine modes of sounds. 3. Musical consonances. 4. The tetrachord, especially of the finals. 5. On their species. 6. The eight musical tones in ecclesiastical use. 7. And their limits. 8. Risings and fallings of sounds. 9. Middle and common tones, whence some establish twelve modes. 10. Indifferent tones. 11. Rules for composing chants according to the modes. 12. The differentiae of the tones. 13. The Noanneane formulas, etc. 14. Irregular tones and chants to be avoided. 15. The position of the semitone to be carefully observed.
PROEM TO THE FOLLOWING TONES
To Piligrin, beloved of the Lord and of God, truly a stranger and pilgrim in this world: Berno, though small in merit yet a servant of the Virgin Mother of God, offers citizenship in the citadel of divine contemplation.
The illustrious form of Christian faith shining in you proves admirably that your soul is a seat of wisdom: since the integrity of moral discipline so orders the natural impulses of your mind that, by love of divine contemplation, you advance with reasonable progress toward heavenly things, where with joyful jubilation of heart your soul delights to cry out to her spouse: Draw me after you, I will run in the fragrance of your ointments — as those who hold harps in their hands and sing the canticle of Moses the servant of God and the canticle of the Lamb.
Weighing this matter, I can scarcely fathom what cause may have prompted you — whom not only the study of the four mathematical disciplines has made well-rounded, but whom the melody of heavenly harmony also keeps perpetually intent on divine praises — to command me, so to speak a semi-vowel, nay almost mute and tongueless in the arts, to bring forth something concerning the tuneful modulation of music. Especially since, exalted by God in the Church of the people and praised in the seat of the elders, you constantly perceive with joyful hearing of heart how wise and — under your governance — happy Cologne, with the blessed children of its Church, while the prince of the apostles in a manner tempers the plectrum of all tongues, sings psalms to the Lord God on the ten-stringed psaltery with a song upon the harp. But nature herself prompting, I do not doubt that you wished so ardently to seek this from me because, since the entire structure of our soul and body is joined together by a musical harmony, your mind too may be more sweetly delighted by the sonorous sweetness of this art. For nothing, as Cicero says, is more desirous of what is similar to itself or more acquisitive than nature. And since, with that affection of charity with which you have always graciously cherished me, you have enjoined this work of obedience — to use someone's words — I know well enough, if I obey well enough; and I willingly offer the little book which they customarily call a tonary, choosing rather to presume beyond my powers than to deny anything to charity, which hopes all things. Trusting in you, O ornament and glory of bishops, that with the calm moderation of your discernment you will both correct my errors and, if anything has been worthily set forth, defend it without envy.
Nevertheless, it seems not unfitting if certain preliminary remarks are first set down, by which those less capable of understanding, as if exercised for a time before the doors, may at length be admitted to the inner sanctum of the science itself. May divine mercy keep your Beatitude safe here for a long time, and afterward lead you to the heavenly kingdom: where, stationed among the choirs of those who sing psalms, you may joyfully chant: As we have heard, so we have seen in the city of the Lord of Hosts, in His holy mountain.
1. On the Monochord and Tetrachords
Every regular constitution of the monochord, according to the illustrious instruction of the most eloquent Boethius, consists of fifteen strings, through which the power of all harmony runs in an ordered connection, provided the synemmenon is not absent. These are divided into four tetrachords distinguished by these names: the tetrachord of the graves, the tetrachord of the finals, the tetrachord of the superiors, and the tetrachord of the excellents. The tetrachord of the graves, because it is below the finals and produces the lowest sound of all; the tetrachord of the finals, because in it lies the ending of all tones running legitimately; the superiors, because it is placed above; the excellents, because it surpasses the sounds of the three others. Between these there is customarily inserted a fifth tetrachord, which is called the synemmenon, that is, the conjunct.
But since every melody is woven together in an orderly fashion not from any random voices but from certain and determined sounds, which the Greeks call phthongoi as if from a likeness to speech, so that just as every series of words is arranged from the elements of letters, so too the harmony of concord may be brought forth by a rational quantity of sounds — we believe it not beside the point if, for the sake of the less learned in this art, we say something, however briefly, about the modes of those same sounds according to the tradition of our predecessors.
2. The Nine Modes
For there are nine modes, as antiquity discovered with keen diligence, fashioned, as I believe, after the human voice, which consists of nine functions: namely, the plectrum of the tongue, the stroke of the four teeth, the reverberation of the two lips after the manner of cymbals, the cavity of the throat, and the assistance of the lung, which like a bellows receives and releases air. For a similar reason, nine Muses are also assigned to Apollo.
Now let us attempt to explain the modes themselves, as best we can. The first mode lies in the very shortest space of two pitches and occurs in the semitone, as this example makes clear in lowness and highness in that antiphon: Missus est Gabriel, at the words 'Mariam,' likewise 'virginem.' The second is already of a more perceptible interval and occurs in the tone, as in this antiphon: Missus est. The third is still a little wider, that is, in the tone and semitone, as in this antiphon: Missus est Gabriel ad Mariam virginem. The fourth is yet more extended than this, consisting in two tones, as in this: Beati qui ambulant. The fifth is still more spacious, that is, two tones and a semitone, as in this: Ne timeas, Maria. Likewise the antiphon: In illa die fluent. The sixth is no less ample, that is, three continuous tones, as in this responsory: Jam corpus ejus. Cujus pater feminam.
The seventh also exceeds these in span, consisting of three tones and a semitone, as this antiphon: Beata Agnes in medio minas. The eighth you will find, though more rarely, in four tones — not full ones, however — as in this responsory: Tu, vir Symphoriane, suspendere in tormenta; for from that neume which descends to the one which rises at 'in,' there are a semitone, three tones, and again a semitone; which two semitones joined together do not make a whole tone. Likewise the communion: Principes persecuti. Spolia multa concupivit.
The ninth, stretched over a broader span than all the others, obtains the limit of divisions of this kind; for you will find no division of musical pitches wider than this nor narrower than the first; for it consists of four tones and a semitone. And you have an example in this responsory antiphon: Ad te levavi animam meam, Deus meus. Likewise the antiphon: Inter natos mulierum non. Likewise: Haec est virgo; Introivit. Likewise in the upper range, the antiphon: Iste cognovit, at this place: Et inventus est in. For beyond this last mode, if you should seek any pitches standing apart from each other by alternate percussion, you will find them in no rational chant until you arrive at the consonance of the diapason, where it is rather a change to a new pitch than a progression to a wider mode, because the very possibility of human vocal production does not permit any fitting sound to be rendered at intervals so far apart from each other.
3. Consonances
Among all these, only the fifth and seventh modes are found among the consonances of the musical art — that is, the diatessaron, which is the sesquitertia ratio, and the diapente, which is the sesquialtera. And consonances occur when a man's voice and a boy's voice sound together from either side, or rather in that manner of singing which is customarily called 'organizing.' In the remaining intervals, however, there are not consonances but intervals and certain distinctions of pitches. There are also other consonances, such as the diapason, namely in the double proportion; also the triple, which is formed from the diapason and the diapente. As for the diapason plus diatessaron, although the Pythagoreans deny it is a consonance — because it does not consist in a multiple or in a superparticular quantity, which is proper to consonances of the musical art, but in a multiple superpartient ratio (for such is the proportion as eight to three, which proportion is called in arithmetic the double superbipartient; for the number eight contains the number three twice plus two of its parts, that is, two units) — nevertheless, with the eminent teacher Boethius approving the opinion of Ptolemy on this matter, we must acknowledge it to be a very great consonance, since the diapason is such a symphonia that whatever other consonance it receives, it preserves it and does not alter it, nor render a consonant sound dissonant. Just as, he says, whatever number is added to ten, placed within it, is preserved whole and inviolate, while in other numbers this by no means occurs, so also in this consonance. For if you add two to three, you immediately produce five, and the species of the number is changed.
But if you add the same numbers to ten, you make twelve, and the binary number joined to ten is preserved. From these words it is sufficiently clear that it is one thing to weave a melody through simple consonances with the intervals of sounds, and quite another to resume those same pitches, whether above or below, through change by means of compound consonances. But to say something about these matters belongs to another time and place. There is also the double diapason, that is, the quadruple ratio.
4. The Tetrachord of the Finals
Having thus spoken briefly, let us attempt to set forth at least a few things which we consider necessary for the task of the work enjoined upon us. First of all, the tetrachord of the finals must be examined more carefully; in it there resides such a great natural power of sounds that from the origin of its four strings all the authority of modes or tones seems to proceed. For indeed, everything that we call a beginning can only be the beginning of something; likewise an end is the end of something. But where there is a beginning and an end, there is necessarily also a middle, so that a thing may consist of beginning, middle, and end, or so that from the beginning one may arrive at the end through the middle. Therefore, for anything to be a whole, it consists of beginning, middle, and end. One, then, is not so much a number as a beginning, fount, and origin of all numbers, which lacks a middle and an end — unless perhaps, on account of its own perfection, it may be called both beginning and end.
The binary number, however, does not have an end to which one must arrive through a middle, of which it is entirely devoid. It remains, then, that it itself be called a beginning, so that this second beginning is from the first one, but the first is from nothing. That first beginning, from which all numbers arise; this second one, however, is that through which all numbers are discovered. But if two is joined to one, the ternary appears: the first odd number, which has a beginning, middle, and end, where one interposed mean has equal terms on either side; for from each side it is surrounded by unity, and what the extremes produce when joined, the mean produces when doubled — for one and one make two, which joined together, that is two and two, make four. The ternary is therefore the first of all numbers to which, between two extremes, a middle by which it might be bound has occurred.
The quaternary, moreover, because it has obtained two means and because extremes are bound more tightly when the mean is doubled, was deservedly claimed for itself by Nature the artisan at the Creator's command, by which, with an indissoluble bond of connection, it bound together elements repugnant to one another — for it happened by divine will that this power belongs to the quaternary alone — and established in harmonious proportion the three kinds of music, that is, the music of the cosmos, of the human being, and that which is in instruments. Deservedly, I say, this number has been assigned to musical harmony, which reconciles lower things with higher, joins the state of soul and body by a fitting proportion that can be yoked together, restrains the bestial impulses of humans, orders morals, mitigates or rather puts to flight the wrath of demons, and in a certain way associates even the earth itself with heaven through the harmonies of its sounds.
If you join the quaternary itself to the natural numbers preceding it — that is, to one, two, and three — you make the sum of ten, so that from this perfection of the number we may also accustom ourselves to sing psalms on the ten-stringed psaltery, that our praise may be pleasing and fitting to our God. Even the ancients considered this number to pertain to the perfection of the soul — if indeed credence is to be given to their opinion — so much so that the Pythagoreans even made from it a religious oath, saying thus: 'By Him who gave the quaternary number to our soul.'
Add also that the same quaternary is generated from the binary, which we said above is a beginning, and from which the octonary, which is the first cube, is also produced. For twice two, which is four, makes a surface; twice two times two makes a solid body, which is eight. Under the mystery of this number, the harmonious sound of the Evangelists went out into all the earth and to the ends of the world, and the sweetest voice of their preaching proceeded forth. The Psalmist knew that such a harmony of concord is most pleasing to God, when he invited the minds of men to sing psalms to the Lord with a fourfold exhortation, saying: Sing psalms to our God, sing psalms; sing psalms to our King, sing psalms wisely.
Therefore, whether from these few things we have brought forth, or from others which at present come less readily to memory, or lie entirely hidden, it is sufficiently clear that not without a great nod of divine favor was this power implanted in the quaternary, so that the harmony of all concord may arise from it and return to the same as if to the origin of its beginning — just as those eight tones always return in pairs to one of the four final strings, as if to a parent, by a certain dictate of justice. Hence the ancients beautifully called the same octonary 'justice,' not only on account of the aforesaid cause of harmonic reason, but also because it is the first of all numbers to be resolved into equally even numbers — that is, into four and four — so that the division itself is likewise resolved into equally even numbers, that is, two and two.
5. Species of Diatessaron, Diapente, and Diapason
Now, as divine grace may inspire, let us try to explain how each authentic mode or its plagal, proceeding from its final, returns again to the same, though it stretches itself above or below into various pitches. And first we must say how many species of diatessaron and diapente there are, as well as of the diapason. For the diatessaron has three species, the diapente four, and the diapason seven. These species are indeed arranged in various ways by certain musicians. But we, following the precepts of our teachers, arrange them in an orderly manner according to the system of the tones, so that anyone who has had even a slight acquaintance with this art may easily understand.
Therefore the first species of diatessaron consists of tone, semitone, and tone, taking its beginning from lichanos meson and ending on lichanos hypaton; if you add a tone above it, the first species of diapente arises. The second species consists of two tones and a semitone, beginning from mese and ending on hypate meson; if you add a tone above it, it will be the second species of diapente. The third consists of a semitone and two tones, beginning from trite diezeugmenon and ending on lichanos meson; to which a tone must be added below, so that the third species of diapente is formed. The fourth species of diapente consists of the first species of diatessaron with a tone added below — not through a string of the same name, but through the same form of the species, but another, that is, beginning from paranete diezeugmenon, and descending as if through tone, semitone, and tone to meson, and with a tone assumed below, it completes the fourth species of diapente.
The species of the diapason, moreover, are easy to perceive; for if you begin from proslambanomenos up to mese, it will be the first species, and thus always repeating higher by a semitone or tone in order, the end of the seventh species will be on paranete hyperboleon. But if you take your starting point from hypate hypaton, the end will be on paramese.
And this arrangement of the species in the consonances is according to certain of the ancients. But the more diligent moderns agree with them to some extent regarding the diapente and diapason in all respects; for the diatessaron, however, they assign a different starting point and order to the species. For since the diapason consists of the diapente and diatessaron, and the first species of diapason extends from A to a — that is, from proslambanomenos to mese — while the first species of diapente beginning from mese ends on lichanos hypaton, it seemed incongruous to them that the tetrachord of the graves, which extends from the same lichanos hypaton down to proslambanomenos (in which the diatessaron is contained), should be excluded from these species as if idle and useless. For this reason they determined that the first species of diatessaron should extend from A up to D, and from the same D the first species of diapente should be produced up to the high a; and thus the first species of diapason should be contained in these two species from A to a.
The first species of diatessaron, therefore, is A B C D, from proslambanomenos to lichanos hypaton, consisting of tone, semitone, and tone. The second species is B C D E, which is semitone and ditone. The third is C D E F, namely ditone and semitone. And thus by reckoning through the entire series of strings — that is, through groups of four letters — you will find these three species alternating in groups of four, except in two places: namely, between parypate meson and paramese, and between trite synemmenon and nete diezeugmenon. The first species of diapente, as was said above, is contained in D E F G a: tone, semitone, ditone. The second is E F G a b: semitone and three tones, from hypate meson to paramese. The third is F G a b c: three tones and a semitone, from parypate meson to trite diezeugmenon. The fourth is G a b c d: ditone, semitone, and tone, from lichanos meson to paranete diezeugmenon. If you carefully examine these species, you will find the positions of tones and semitones to be different, and disposed in alternation through the series of pitches in the construction of the entire monochord.
Except in three places: namely, between hypate hypaton and parypate meson, between hypate meson and trite synemmenon, and between paramese and trite hyperboleon. The diapason, moreover, since it is completed by these two consonances, has as many forms as are contained under them. It therefore contains seven species: four for the diapente and three for the diatessaron. Of these, the first is contained between A and a, that is, proslambanomenos and mese; the second extends from hypate hypaton to paramese; the third ends at trite diezeugmenon from parypate hypaton; the fourth extends from lichanos hypaton to paranete diezeugmenon; the fifth is bounded from hypate meson to nete diezeugmenon; the sixth stretches from parypate meson to trite hyperboleon; the seventh descends from paranete hyperboleon to lichanos meson.
If you examine the placement of tones and semitones in all these species, you will see them differing from one another. If you add an eighth from mese through paramese and trite diezeugmenon ascending to nete hyperboleon, you will see that it does not differ from the first. If, however, you ascend from the same mese through trite synemmenon and paranete synemmenon, you will note it to be the same as the fifth. Thus the diapason has seven species, one fewer than the pitches in which the diverse arrangement of the eight modes is made — which the following explanation will clarify. We know from Boethius in his Music that there were at first only seven modes according to the species of the diapason, but that Ptolemy added an eighth. Since we are aiming at brevity, let us explain their names and diversity according to ecclesiastical usage.
6. The Eight Tones in Ecclesiastical Use
The ecclesiastical order uses eight modes of chants, which we loosely call tones. The four that have obtained the higher positions on the monochord are called thus: authentic protus, that is, the first master; authentic deuterus, that is, the second master; authentic tritus, that is, the third master; authentic tetrardus, that is, the fourth master. For the Greeks call authentoi 'masters,' as if 'authorized,' that is, endowed with authority, whose authority excels. Hence usage has established that these modes are called thus by comparison with a higher rank. The other four, occupying the lower positions, are called thus: plagal of the protus, that is, lateral to the first — it being understood, of the authentic — as if it were contained under his side and were inferior; by similar reasoning, plagal of the deuterus, plagal of the tritus, plagal of the tetrardus.
But let us, in setting forth their rules, use Latin names, and call the higher ones masters and the lower ones disciples. But before we begin their risings or fallings, let us show the final notes of all. There are four pitches that are called finals, because in any one of them regular chants come to an end — namely D E F G, which are lichanos hypaton, hypate meson, parypate meson, and lichanos meson. These have been chosen from all the notes as finals because among the seven distinctions of pitches they are found to be the most sonorous; any chant, whether old or new, that ends outside of them is without doubt judged irregular and illegitimate.
The chant of the first master and his disciple — that is, the first and second modes — ends on D; of the second master and his disciple, that is, the third and fourth modes, on E; of the third master and his subordinate, that is, the fifth and sixth modes, on F; of the fourth master and his disciple, that is, the seventh and eighth modes, on G. But since we have stated their names and finals, let us disclose the limits of their rising and falling.
7. Species of the Individual Tones
The authentic protus, that is, the first master, consists of the first species of diapente and the first species of diatessaron above — not because its first species begins there, but because the form and likeness of that first species which is below is contained here under the arrangement of those strings, namely tone, semitone, and tone. His subordinate, however, consists of the same species of diapente and the same species of diatessaron below. What I mean is this: The first tone has license from its final — that is, from lichanos hypaton — to ascend through the diapente, that is, to mese; and from mese to paranete diezeugmenon, which is the first species of diatessaron, in the manner described above.
The second tone, however, which is called its subordinate, ascends into the same diapente; but through the same species of diatessaron below, it descends from lichanos hypaton to proslambanomenos through tone, semitone, and again tone. And the protus indeed takes on an additional note below; likewise the other authentic modes except the deuterus, which admits only a semitone. Likewise the protus descends below its final to the neighboring pitch, sometimes to the third, but never in legitimate chants to the fourth. Similarly the other three authentic modes, according to the order of their own finals.
The deuterus consists of the second species of diapente and the second species of diatessaron above, in the manner treated above. Its subordinate consists of the same species of diapente and the same species of diatessaron below; you can understand this as well from the preceding discussion. The authentic tritus, which is the fifth tone, consists of the third species of diapente and the third species of diatessaron above. The authentic tetrardus, which is the seventh tone, consists of the fourth species of diapente and the form of the first species of diatessaron above, in the manner just stated. Its subordinate consists of the same species of diapente and the first species of diatessaron below — according to some; in truth, however, it is the form of that first species. Every subordinate tone, therefore, has the same diapente and diatessaron as its authentic; they differ, however, in this: that the authentic has the diatessaron above the diapente, while the subordinate has it below.
8. Ranges of the Eight Modes
The first mode or tone, therefore, rises to the high d, that is, paranete diezeugmenon, but rarely to e, which is nete diezeugmenon, and descends to C, that is, parypate hypaton, but very rarely to B, which is hypate hypaton, having between D and d the fourth form of the diapason, with one string above and below, and as has been said, very rarely two below.
The second mode ascends to a, that is, mese, but rarely to b or b-flat, that is, to trite synemmenon or paramese; it descends to A, which is proslambanomenos, and sometimes even a pitch lower, which the moderns, as was said above, added and marked with a Greek letter. This mode possesses between A and a the first species of diapason, with rarely one pitch above and one below. And these are the first master and his disciple.
The chant of the master, that is, of the first tone, begins on six strings: namely C D E F G a, having cola and commata — that is, phrases and incisions, which we call distinctions of chant — on the same notes. The chant of the disciple, that is, of the second tone, has four legitimate beginnings: A B C D, though six are in common use: A B C D E F, in which the cola and commata also occur. If you begin a chant of the first tone on C, D, E, or F, you must ascend no less than to the high c, that is, trite diezeugmenon, so that you may discern by ascending what mode it belongs to. But if you begin a chant of the second tone on those same notes, you must descend no less than to B, so that you may demonstrate by descending to which mode it belongs. But in that judgment, only four beginnings will be given to each disciple.
The third mode rises to e, that is, nete diezeugmenon, but rarely descends to D, which is lichanos hypaton. The principal chant has distinctions on six strings: D E F G a b, possessing between E and e — that is, between hypate meson and nete diezeugmenon — the fifth species of diapason, with one pitch above and one below.
The fourth mode ascends to b, that is, paramese, rarely to c, which is trite diezeugmenon; it descends to B, containing between B and b the second form of the diapason, with one string above. The chant of this mode, according to some, begins on six strings, but legitimately on four: B C D E, and is articulated on six: B C D E F G. And these are the second master and his disciple. If you begin the chant of the master on D or E, the mode of rising should be no less than to d, that is, paranete diezeugmenon; if of the disciple, no less than to C for descending, so that you may discern by rising or falling what mode it belongs to.
The fifth mode rises to e, which is trite hyperboleon, but rarely to g, and descends to C, that is, hypate meson, containing between F and f the sixth species of diapason, with one pitch above and one below. The beginnings and distinctions of its chant are six: E F G a b c, from hypate meson to trite diezeugmenon.
The sixth mode ascends to c, which is trite diezeugmenon, but rarely to d, that is, paranete diezeugmenon; and it descends to C, which is parypate hypaton, possessing between C and c the third form of the diapason, with sometimes one string above. The legitimate beginnings of its chant are four: C D E F, according to some six, as are the distinctions: C D E F G a. And these are the third master and his disciple. If you begin the chant of the master on E or F, the minimum mode of rising should be to e, which is nete diezeugmenon; for the disciple, however, to B for descending, so that to which mode it should be assigned may be made clear by such a difference.
The seventh mode rises to g, that is, paranete hyperboleon, and descends to E, that is, parypate meson, containing between G and g the seventh species of diapason, with one pitch above and one below. The beginnings and distinctions of its chant are six: F G a b c d. The eighth mode ascends to d, that is, paranete diezeugmenon, but rarely to e, and descends to D, that is, lichanos hypaton, possessing between D and d — like the first master — the fourth form of the diapason, with one string above. For Ptolemy appended this mode, and since the diapason lacks an eighth species, it obtained the fourth, as the first mode does. Although it has the same species, it has a different final and not the same descent to C.
The legitimate beginnings of this chant, as with other disciples, are four: D E F G; those in common use are six, as are the distinctions: D E F G a b. And these are the fourth master and his disciple. If you begin the chant of the master on F or G, the minimum mode of rising should be to f, that is, trite hyperboleon; for the disciple, however, because of the above-mentioned difference, to E for descending.
This is the rule of rising and falling for the eight modes, and this is the law to be followed for them, which the subtle and careful diligence of the moderns has drawn out through the distinctive character of the proper chant of each individual tone. For in ancient times, although the authentic modes were raised to a higher pitch than the plagal modes, though not equally, all were nevertheless indifferently lowered to the fourth or fifth string — which the indifferent descents of many chants between authentic and subordinate modes still attest. Hence in many cases there frequently arises doubt, sometimes on account of the ascent but especially on account of the descent, whether the characteristic belongs to the authentic or the plagal mode. Therefore the more recent scholars, judging more subtly and keenly, and distributing more certainly and lawfully, neither wholly agree with the ancients nor wholly disagree.
For they say that there must be certain differences between the modes, so that we may recognize the melodies no matter what mode they belong to. But if the first mode descends from the high e to A — that is, from nete diezeugmenon to proslambanomenos — while the second is lowered from paramese, which is b, to the same A; if a chant is composed not exceeding the range between A and a — that is, between proslambanomenos and mese — and regularly ends on D, the final of both, it is uncertain to which mode it should rather be assigned. The same situation arises in the other modes. To dispel this uncertainty, we approve the prescribed rule of the more recent scholars.
9. Recognition of Authentic and Subordinate Modes
It must now be observed that every authentic mode, beginning from its final, may legitimately ascend to the ninth pitch — not that this always happens, but that this is the extent of its power to ascend — and descends only to the neighboring pitch, and sometimes to the third, as we have also touched upon above. Its subordinate, however, ascends to the fifth degree, but descends to the fourth and sometimes even to the fifth. From this, the recognition of an authentic mode or its subordinate becomes easy.
What is to be thought about those chants that neither reach the diapente, nor admit the diatessaron below; or that do not have the diatessaron above the diapente at all, nor reach down to the diatessaron below; or if they do have the diatessaron below and something above the diapente, yet do not ascend all the way to the diatessaron? For the following order must be maintained by us regarding these cases.
If a chant does not reach the diapente from its final and does not have the diatessaron below — whether from its brevity or imperfection — we customarily assign it to the subordinate. For example, between the protus and its subordinate: antiphon Benedicat nos Deus Deus; antiphon Beata mater; antiphon Caeli caelorum; antiphon In omnem terram; antiphon Juste et pie; antiphon Juste judicate. Between the deuterus and its plagal: antiphon Benedicat terra Domino — although in terms of the judgment of the ears it sounds more fittingly in the third mode than in the fourth, not only does the present rule object, but even if you wished to begin it according to this sonority, you could in no way arrive at the final by singing in a direct course.
But if you end the saeculorum Amen according to the differentiae of the fourth tone, and begin a semitone higher, that is, from parypate meson, you will be able to reach the final without distortion. In this case it reaches the diapente, but has the diatessaron neither above nor below; because the diapente is common to both, the chant should also be common. Yet it should be attributed to whichever mode has the more frequent use.
Behold, these antiphons or those similar to them — that is, antiphon Biduo vivens; antiphon Lux orta est — we sing in the protus. But those which begin in a similar manner, ascend to the same place, and descend to the same — that is, antiphon O Domine, salvum; antiphon Oblatus est — we sing in its subordinate.
Some are accustomed to call such chants 'middle tones.' And because chants of this kind can be found between each of the four pairs of authentic and subordinate modes, they add these four to the eight, and contend that twelve tones should be counted. If, however, a chant ascends somewhat above the diapente and does not have the diatessaron below, it belongs to the authentic mode — which happens more frequently than to need an example. Although this does not hold universally, as can be noticed in this antiphon: antiphon Iste cognovit, which ascends above the diapente by a semitone and a tone, but descends below the final by two tones. Nevertheless, we assign it to the fourth tone because the euphony of the third resists it.
Likewise the antiphon Dixit Caesar ad Hippolytum: although it ascends higher than the diapente by a tone and semitone, we nevertheless do not govern it according to the rule of the seventh, but of the eighth tone — not because the mastery of the art dictates it, but because the sound of the voice compels it. If, however, it has the diatessaron below, it will be a subordinate, as in this antiphon In spiritu humilitatis, where at the words 'sic fiat' it exceeds the diapente by a tone; but because it has the diatessaron below at the words 'hodie,' it will be a subordinate, as we said above. Or certainly, if it is found to have both — above the diapente and below the diatessaron — it should rather be assigned to the authentic mode.
Although this rule has been altogether corrupted in many places — partly through the ignorance of singers, partly through long-established usage — both in the daily antiphons that are found to be composed from the psalms, and also in very many other chants, both nocturnal and diurnal. This could indeed be corrected to some extent according to the rule, if the distinguished custom could have been in any way uprooted from the mouths of singers, as will be clear from a few examples set forth below.
Antiphon Petrus autem servabatur, which although it belongs to the first tone and through its diastema or systema — that is, cola and comma — always returns to the final of the first tone (thus singing: antiphon Petrus autem servabatur in carcere, and likewise: Et oratio fiebat pro eo sine intermissione ab Ecclesia), yet at the syllable 'a' it begins among some singers to deviate from the correct course and decline toward the third or fourth tone. This, however, can be corrected with the proper neumes, if anyone takes care, so that it should be sung thus: ab Ecclesia ad Deum.
Likewise the antiphon Et respicientes; the antiphon Pastor bonus — although they belong more properly to the third tone, among most singers they irregularly receive the ending of the eighth tone. This can be corrected in the following way: if at the end of these antiphons, where the Alleluia is to be sung, from the first syllable, that is 'al,' which falls on mese, it should descend through a diatessaron in the middle — counting the intermediate pitches — to the final, thus: Alleluia. We therefore govern these more by the authority of the third tone, because according to that mode they have the diatessaron above the diapente; but according to the eighth, they lack the diatessaron below, while they abound by a tone higher above the diapente.
10. Indifferent Tones
Sometimes it even happens in a remarkable way that one and the same melody can be sung equally fittingly in this or that tone, such as these antiphons: Gloriosi principes; Malos male; Novit Dominus; Nemo te condemnavit; Qui odit — which are governed and concluded equally in the sixth and the eighth tone. Some try to bend these to the third tone, more forcibly than truthfully.
Likewise this responsory Genti peccatrici is governed by the sound of both the tritus and the tetrardus; hence the verse of the same responsory is sung among some according to the manner of the tritus, that is, the fifth tone, thus: V. Esto placabilis; but among others according to the tetrardus, thus: V. Esto. The antiphons that begin uniformly from O, such as O sapientia, O rex gentium, and similar ones, stand as if at a crossroads between the protus and its subordinate, because they exceed the diapente by a tone in all of them, and in some have the diatessaron below, but in others not at all. But the more frequent usage has prevailed in the subordinate, because in melodies of this kind, not only the diatessaron but also the diapente is sometimes found below, as in the antiphon O Rex gloriae at the word 'spiritum' — though this is only among some. Nevertheless, those do not err who bend only those antiphons that lack the diatessaron below toward the protus.
11. Rules for Composing Chants
On account of such and other devious windings of errors, the skilled singer must carefully examine whether a chant begins from its final in a regular order, whether it runs legitimately, lest anything become discordant through a corrupted natural quality; whether the consonances properly agree with the right measure of tones and semitones; lest the beginning of the singing be taken beyond the limit, either below or above; whether it returns to its final by the straight path of the rule; and which finals belong to this or that mode.
The finals, therefore, are lichanos hypaton, hypate meson, parypate meson, and lichanos meson. Every melody of the protus and its subordinate — that is, the first and second tones — is governed and concluded by the authority of lichanos. Of the deuterus and its subordinate — that is, the third and fourth — it is governed and concluded by hypate meson. The tritus with its subordinate — that is, the fifth with the sixth — is governed and concluded by parypate meson. The tetrardus with its subordinate is governed and concluded by the pitch of lichanos meson. And this is their rule for beginning any melody: that they should never begin higher than the fifth degree above or lower than the fifth degree below, but should confine their beginnings within those eight pitches, or sometimes nine.
It should be noted that there is always such a concord at the fifth degree between the upper and lower finals that some melodies are found to end on them as if regularly — such as this responsory Factum est dum tolleret, which indeed begins regularly but, ascending beyond the rule to the tenth pitch beyond the ninth, by no means ends on the final lichanos hypaton but on its associate mese. In the same way are concluded the responsory Terribilis est and the communion Cantabo Domino. This bond of association, therefore, holds between lichanos hypaton and mese, hypate meson and paramese, parypate meson and trite diezeugmenon, lichanos meson and paranete diezeugmenon.
With the lower fourths as well, and in some fifths, they maintain a similar relationship, although this usually pertains more to the beginnings of chants than to their endings. It also happens in a remarkable way that the finals not only have their associates in the fifth degrees, as we have said, but also find counterparts in the fourth degrees above, so that just as the members of chants — that is, cola and commata — rest on the finals and on the fifth degrees, so they often rest on the fourth degrees through arsis and thesis.
Furthermore, every trope — whether it be authentic or plagal — if examined more carefully at the fourth degree from the final, is found to possess a certain wonderful and divine concord, so that if any chant is transposed from the final to the fourth degree, it seems to run legitimately under the same mode or tone and to end regularly on that degree as if on the final. So much so that most melodies, when begun from the finals themselves, lack certain notes on either side; but when begun from the upper degrees, they run modestly without any diminution of sound and end honorably on the associate notes.
To make this clearer, let us set forth the following examples from the fourth tone: antiphon Factus sum, antiphon O mors ero, antiphon Sion renovabitur, antiphon Sion noli timere, antiphon Vade jam. If you wished to begin these antiphons from the third degree above the final — that is, from lichanos meson — you would fail in the modulation, since the semitone is not found where it should be. But if you attend to the fourth degree — that is, mese — and having first interposed a semitone on the synemmenon, then a tone, and thus begin the same antiphons from the third degree — that is, paranete synemmenon — you will see the entire melody run without damage to itself, until it reaches the associate of its final — that is, mese — at the end.
Similarly, if you attempt to begin antiphons of the same mode from the final — namely, antiphon Ad te, Domine, levavi and antiphon Ex Aegypto vocavi — you will perceive that in the middle they fit less aptly. But if they begin at the fourth degree — that is, mese — they are modulated without loss of their neumes, until they reach their ending there. Some, observing less carefully, think that these and similar antiphons are governed more by the seventh than the fourth tone, though they do not deny that they find their ending in the fourth.
The same deficiency of neumes will occur in the communion Beatus servus, which belongs to the third tone, unless it is transposed from hypate meson to mese. No small error is also made by many in these antiphons: antiphon Ante me non est formatus, antiphon Ex quo facta — who think they should be governed at the beginning by the seventh tone, on account of the similarity of the melody which they seem to share with the preceding antiphons at the start. Yet it is most clearly established that they both begin congruently from the final of the first tone itself, run legitimately through their intervals and systems on the fourth and fifth degrees, and regularly find their ending on the same final.
In the eighth mode too, if you begin to sing the communion De fructu operum from the final, you will recognize that in the middle the melody does not fit aptly through its limmas or semitones. But if you begin from the fourth degree — after two tones and one semitone — you will feel that the entire series of this melody pertains, through an orderly progression, to the ending on its associate.
The same thing usually happens at the fifth degrees. For example, unless these antiphons — Alias oves habeo; Domine, qui operati sunt, which belong to the sixth tone — are transposed to the fifth degree, that is, from parypate meson to trite diezeugmenon, they will by no means be able to maintain their proper order on the regular monochord.
Let these few examples suffice. Moreover, just as the synemmenon customarily comes necessarily to the aid of the upper register in such deficiencies, so it sometimes seems to hinder — at least in those chants that run through the synemmenon in the lower register, whose function in the upper register they cannot supply — though this happens sometimes, not always. In such cases, however, this must be observed: that if a chant begins from the final, it should also be able to begin at the fourth degree; but if it begins lower or higher, at whatever degree it begins from the final, here it is arranged from the fourth associate.
It is also necessary to consider that, although in all subordinate tones the ascent up to the diapente and beyond is available, the protus too may ascend to the ninth pitch in such cases; and the other three authentic modes — namely the fifth and seventh — when the strings are lacking in the place regularly assigned to them, the remedy will be less forthcoming, so that the learned singer, whenever the logic demands it, should return lower and resume through the octave degrees the pitches that were not found in the upper register.
But how far each authentic mode or its plagal stands from the finals, above or below, in its differentiae, or what relationship or measure of intervals it has to the last syllable of saeculorum Amen, we shall show better when we take care to explain this in the little book of the tones in its proper places, because whatever is placed before the eyes is committed more firmly to memory. This, however, must be briefly noted in the meantime: that every principal pitch — whether it belongs to any authentic mode or its plagal — should always begin from its final, on which it regularly ends.
12. The Differentiae
The differentiae, which have been devised for the sake of adornment at the discretion of skilled singers, have been arranged by us so that the differentia of each tone — if one begins on the final itself — should hold the first place; the second should hold the next lower place, and thus it proceeds downward as far as any are found. Then, at the next higher place that occurs, it begins again to run in its order until it reaches the fifth degree, where each final finds its associate, so that the final itself — like a certain leader, prince, and moderator sitting in the middle — may establish the law of beginning from the differentiae on either side of itself.
Some call these differentiae 'definitions.' In this regard, one must take care lest, upon hearing the word 'definition,' anyone understand it in the sense in which the wise have defined it — namely, that a definition is a statement that explains what the thing defined is. But here one should understand 'definition' as nothing other than 'differentia,' which distinguishes the beginnings of a chant or the saeculorum Amen from the pitch of the principal tone, whether by extending, lowering, or beginning at the same place, with a sweet and harmonious variety of difference. Although we think it more correct to say 'differentiae' rather than 'definitions,' especially since we do not define anything there by speaking at length about what it is, but rather by singing the saeculorum Amen in various ways, and by arranging the melody differently, we distinguish one pitch from another.
13. The Noanneane Formulas
There are also found formulas established in ancient times for investigating the character of each tone, such as Noan Noeane, Noeis Noeane. In these we understand syllables adapted to modulation rather than meaningful marks of things; together with other versicles devised by the moderns for antiphons, introits, and communions alike, we have placed them at the head of each tone, so that through these a readier path of understanding might lie open to the unskilled singer.
14. Irregular Tones and Chants
Moreover, if any chant begins with an opening contrary to the law of the finals, or varies otherwise against the rule in its course, and does not arrive at the proper ending — so that it begins in one tone and ends in another — such a chant is to be judged rather illegitimate than lawful. Therefore, not only must these and other vices of the kind be guarded against in chants, but vigilant care must be taken that you observe in the neumes where the brief pauses of the sounds are shorter and where they should be measured as longer, lest you utter hastily and too briefly what the magisterial authority has determined should be sung at greater length and more expansively.
Nor should those be heeded who say that it is entirely without reason that in chant we sometimes make the delay of fitting rhythmical proportion faster and sometimes more prolonged. If any grammarian reproves you when you shorten a syllable in verse where you ought to lengthen it — there being no other natural cause why you should lengthen it except that the authority of the ancients has so decreed — why should not musical reason, to which the rational measure and rhythm of pitches pertains, be rather indignant if you do not observe the proper quantity of durations according to the quality of the places?
If a bad utterance of what is outside you could at some time offend you, how much more what is within you? For we have perceived that the human being consists not of grammar but of music — which, to use the words of a most learned man, whoever descends into himself understands.
Therefore, just as a verse is woven together in meter with a fixed measure of feet, so a chant is composed with a fitting and harmonious coupling of short and long sounds; and just as in a hexameter verse, if it runs legitimately, the mind is delighted by the very sound — but if in reversed order it admits a spondee in the penultimate position and a dactyl in the last, or if someone pronounces a verb of the second conjugation with an acute accent on the antepenultimate, thus 'docete,' or one of the third conjugation with a circumflex on the penultimate, 'legite,' the ear utterly withers at the novelty — so in a chant joined together from the authority of the ancients with a fitting and modest adaptation of modulations, the entire structure of soul and body takes delight; just as, conversely, it withdraws from the pleasure of hearing if it perceives anything corrupted in it.
Whoever, therefore, thinks he sings well without knowledge of this art, when, asked about the number or intervals of high and low sounds, he cannot answer, and wishes to trust only his private sense rather than reason the teacher — although the judgment of both must be sought, yet more that of reason, by which one comprehends truth itself and integrity to the full in the nature of things, insofar as is possible, by the gift of the Almighty Artificer — such a person, I say, is more to be compared to a nightingale, which in springtime sings as if rhythmically and sweetly, than to be considered a skilled singer.
Therefore let the melody of our music be distinguished by a proper quantity of sounds, weighed with the gravity of the neumes and prudently joined together — modest, simple, and masculine, not effeminate — so that, touched by its sweetness, we may be stirred to sing psalms to the Lord joyfully, always mindful of the voice of the Psalmist admonishing: Sing psalms wisely.
15. The Position of the Semitone
Indeed we sing wisely if we not only observe each interval fittingly adapted to musical sounds, but also carefully attend to the harmonic interval by which the authentic modes differ among themselves from their subordinates, lest any confusing interchange occur between them that would produce greater discord. And since the tritus and deuterus are separated from each other by a discernible interval — that is, by the semitone — while the others are separated by a tone and therefore their characteristics in sound can be less readily recognized, we have taken care to note below the diapente of each of the four with the modulation of words, so that from the circumstance of their order the identity of each may be more easily grasped.
Therefore, since every diapente consists of three tones and a semitone, it is recognized especially by determining to which mode the diapente belongs — if one carefully examines at what position the semitone is placed. The diapente of the protus admits the semitone after two tones; the diapente of the deuterus after three tones; the diapente of the tritus has the semitone in the first position; the diapente of the tetrardus after one tone.
From this is gathered how truthful the observation is that a certain wise man makes on these matters. The protus, he says, and the tetrardus are contraries, because the diapente of the protus first has two tones and then a semitone and at the end a tone; but the diapente of the tetrardus first a tone and semitone, then two tones. They agree, however, in the first species of diatessaron, except that the tetrardus's is higher. The deuterus and tritus are entirely contrary, since the diapente of the deuterus first has three tones and then a semitone, while the diapente of the tritus first has a semitone, then three tones; and the diatessaron of the deuterus is of two tones and a semitone, while the diatessaron of the tritus is of a semitone and two tones.
If you invert the diapente of the protus, the diapente of the tetrardus results; conversely, the diapente of the tetrardus inverted sounds like the diapente of the protus; their diatessaron, however, is not invertible. If you invert it, the diapente of the deuterus becomes the diapente of the tritus; conversely, the diapente of the tritus inverted sounds like the diapente of the deuterus. Similarly their diatessaron can be inverted.
Now therefore, as we promised above, let us set forth the diapente of each mode, beginning from its proper final, and ascending through five syllables — counting the intermediate pitches — and likewise descending through another five to the finals in a similar manner: thus modulating the diapente of the protus: 'I am the Beginning and the End'; of the deuterus thus: 'The two precepts of charity'; of the tritus in this manner: 'Three are the precious gifts'; of the tetrardus thus singing: 'The name of the Lord is the Tetragrammaton.'
This being so, lest anyone think I should be struck by the javelin of reproach without regard for modesty because I have not at all added to this work certain differentiae which some moderns use, let him know that it was more my aim to have wished to observe the established practices of those who before us were wiser in age and knowledge, than to follow novelties of expression.
And lest I leave them entirely untouched: in the first tone, others use differentiae different from ours — for instance, at the antiphon Biduo vivens, thus saeculorum Amen, and likewise saeculorum Amen; O beatum pontificem, ending a tone lower, and many of that kind. In the fourth, at this antiphon Nescientes; in the seventh, at Loquebantur, they modulate certain unfamiliar sounds; and if any similar instances can be found. But now, if they burn with such desire for this kind of novelty of sound, let them act as they please. I, however, shall now cease from much speaking, that there may be an end to the prologue.
THE TONARY OF BERNO
From the Palatine codex of the Vatican Library, collated with the Admont codex.
The authentic protus consists of the first species of diapente and the first species of diatessaron above. Its last syllable in saeculorum Amen stands higher than the final by a diatessaron interval.
AUTHENTIC PROTUS (Antiphons)
NONANNOEANE.
Seek the kingdom of God. Saeculorum. Amen. Lichanos hypaton. The angel of the Lord announced, etc.
Differentia prima, which begins from the final itself: the voice ascends to the fifth pitch, so that just as from the last syllable of saeculorum Amen to the final, so the second neume stands a diapente from the first. Saeculorum. Amen, lichanos hypaton; antiphon Domine, Dominus noster, etc. These antiphons, beginning a tone lower than the following differentia, thus proceed to the Amen; rising with the preceding differentia after a contiguous tone through the diapente — therefore we have placed them in the middle of both, so that you may not err in assigning the saeculorum Amen to either of them. Antiphon Amice, non facio, etc.
Differentia secunda: from the last syllable of saeculorum Amen it descends through a diatessaron — counting the intermediate pitches — all the way to the final, and thus begins with a tone. Saeculorum. Amen; antiphon Amen, dico vobis, etc. Indeed, although they begin from the final, yet because they are modulated through stepwise motion — which we call graduated neumes — by the logic of voices rather than of strings or any instrument, they are better understood as proceeding from the sound of this differentia from the principal note of the authentic mode itself. Saeculorum. Amen; antiphon Columna es; antiphon Euge, etc.
Antiphons beginning a tone and semitone above the final begin with the sound of the same differentia. This same differentia has, in these and other similar antiphons, a certain commonality with the plagal mode. Hypate meson. Antiphon Ananias, Azarias, etc.
Differentia tertia: the saeculorum Amen of this differentia stands a diatessaron interval from the final; the differentia itself begins a semitone above the same final and ends a tone from the Amen. Saeculorum. Amen; antiphon Apertis thesauris, etc. Differentia quarta, which ends at the same place as the preceding one, is nevertheless better recognized by the character of the sound through the Amen. Saeculorum. Amen; antiphon Alleluia ego sum vitis.
Differentia quinta places the last syllable of its Amen a tone above the final, while the beginning of the melody takes its starting point from the middle of the diapente. Saeculorum Amen; antiphon Circumdantes. Differentia sexta places the Amen at the fourth degree above the final in the upper register, but takes the beginning a tone lower on hypate meson; some, however, begin it higher, at lichanos meson. Saeculorum. Amen; antiphon Ave, Maria, etc.
PLAGAL OF THE PROTUS (Antiphons)
The plagal of the protus consists of the same species of diapente as its authentic, and of the same species of diatessaron below. It ends the saeculorum Amen on the same final where it begins.
Nocais. The second, moreover, is similar to this. Saeculorum. Amen; antiphon Michael archangele, etc. These stand a tone from the final in the lower register, yet are governed by the same sound. Antiphon Assumpsit Jesus. This one differentia stands a semitone and tone from the final in the upper register, which is made more by interval than by sound. Saeculorum. Amen; antiphon A saeculo non est, etc.
AUTHENTIC DEUTERUS (Antiphons)
The authentic deuterus consists of the second species of diapente and the second species of diatessaron. The saeculorum Amen ends higher by a semitone and tone.
Nocane. It is the third day since these things were done. Saeculorum. Amen; antiphon Accipiens Dominus septem. Differentia prima begins a semitone and tone higher, where it also ends the last syllable. Saeculorum. Amen; antiphon Fac benigne. Differentia secunda begins its Amen a semitone and tone higher — a tone from itself, but a diatessaron interval from the final. Saeculorum. Amen. Lichanos meson; antiphon Domine, probasti me.
Differentia tertia begins the melody on the same string as the preceding ones, but places the last syllable of the Amen at the sixth degree from the final. Saeculorum. Amen; antiphon Accipiens Simeon, etc. The melodies of these antiphons begin at the sixth degree from the final, contrary to the art, where the Amen also ends. Antiphon Vivo ego; antiphon Unum opus feci.
Differentia quarta obtains the same starting place as the preceding one, but does not produce a similar sound on the penultimate of the Amen. Hence it is not so great an error if someone delivers the preceding antiphons with the pitch of this sound, or pronounces these with the sound of the preceding differentia in singing. Saeculorum. Amen, or thus Saeculorum. Amen; antiphon Auferte ista, etc.
PLAGAL OF THE DEUTERUS (Antiphons)
The plagal of the deuterus consists of the second species of diapente, just like its authentic, and of the second species of diatessaron below. Nosais. At the fourth watch he came to them. Saeculorum. Amen; antiphon Annuntiate, etc. Differentia prima places the saeculorum Amen a semitone higher than the final, but the melody begins a tone lower. Saeculorum. Amen; antiphon Ambulabunt mecum. Differentia secunda begins two tones below the final; the Amen syllable rests midway between both strings. Saeculorum. Amen; antiphon Accesserunt ad Jesum, etc.
Differentia tertia places the last syllable of the Amen a semitone and tone beyond the final, while the beginning of the melody takes its start a tone below, and thus correctly connects the beginning and the end — that is, the Amen — by a diatessaron. Saeculorum. Amen; antiphon Ante torum. Differentia quarta places the Amen on the final and begins a semitone higher; but in some antiphons it holds the final position, in others the third degree from the final. Saeculorum. Amen; antiphon Anxiatus est.
These begin on the final under the same differentia, except that in these antiphons — antiphon Ad te, Domine, levavi; antiphon ex Aegypto vocavi — the semitone occurs less correctly if the melody begins to run from the final. How they may be modulated without loss of their neumes, I have taken care to note more fully in the proem. Antiphon Ad te, Domine, levavi, etc. These, however, begin a semitone and tone higher under the same sound. Antiphon Benedictus Dominus, etc.
Differentia quinta takes its beginning from the third string above the final, where it places the Amen. Lichanos meson. Saeculorum. Amen; antiphon A viro iniquo. Differentia sexta begins a semitone and tone higher and concludes the Amen at a diatessaron from the final. Saeculorum. Amen; antiphon Factus sum sicut. This antiphon resonates at a diatessaron from the final to the last syllable of the Amen, and a diapente above; yet with a certain sweet turn of the melodious throat it makes a distinction from the sound of the other differentia. Saeculorum. Amen; antiphon Nisi diligenter, non, etc.
AUTHENTIC TRITUS (Antiphons)
The authentic tritus consists of the third species of diapente and the same species of diatessaron above. Noeaoeane. Five wise virgins entered the wedding feast, etc. Saeculorum. Amen; antiphon Adhuc multa. Some begin this from mese. Antiphon Laudem dicite, etc. Differentia prima begins two tones above the final, where it also ends the Amen. Saeculorum. Amen; antiphon Exsultavit Spiritus, etc. Differentia secunda: where the preceding differentia also ends the Amen, but the melody begins a diapente above the final. Saeculorum. Amen; antiphon Alleluia, quem quaeris.
PLAGAL OF THE TRITUS (Antiphons)
The plagal of the tritus consists of the same species of diapente as its authentic, and the same species of diatessaron below. Nocais. At the sixth hour he sat above the well. Saeculorum. Amen; antiphon Ascendente. This alone begins a tone higher among some: antiphon Nesciens mater. These again begin where the preceding ones start; antiphon Notum fecit, etc. This begins a semitone and tone lower under the same sound: antiphon Si ego verus Christi.
This differentia of the sixth tone ends the Amen a tone higher, while the beginning of the melody takes its start from the final itself. Parypate meson. Saeculorum. Amen; antiphon Benedictus Dominus; antiphon Benedixit.
AUTHENTIC TETRARDUS (Antiphons)
The authentic tetrardus consists of the fourth species of diapente and the first species of diatessaron above. Nococane. There are seven spirits before the throne of God. Saeculorum Amen; antiphon Benedicta tu, etc. This antiphon begins one tone higher; antiphon Ipse praeibit.
Differentia prima begins from the final just like the principal tone, and ends the Amen at the fifth degree above through the diapente; but after the beginning of the melody, it is recognized by its variation as differing from the principal. Saeculorum. Amen; antiphon Assumpta est, etc. Differentia secunda begins from the final and places the Amen a tone higher. Saeculorum. Amen; antiphon Accipite Spiritum, etc. Differentia tertia likewise begins from the final and immediately ascends to the third degree, where it also places the Amen. Saeculorum. Amen; antiphon Ascendo ad.
Differentia quarta harmonizes the last syllable of the Amen with the final through the diapente, and reciprocally returns from the final itself to the same consonance. Saeculorum. Amen; antiphon Aqua comburit. These antiphons, although after the ascent to the diapente they soon change into another mode, nevertheless maintain the same differentia; antiphon Argentum et aurum, etc.
Differentia quinta begins two tones higher and the Amen ends a tone and diatessaron from the final. Saeculorum. Amen; antiphon Benedicta filia. Differentia sexta ends the Amen at the fourth degree above the final and also begins there. Saeculorum. Amen; antiphon Aquae multae.
Differentia septima stands a diapente from its final in the upper register at the Amen, and begins through the diatessaron; for this one differs from the preceding in that it rarely reaches the diapente from the final, while the former not only reaches the diapente freely but sometimes even proceeds further against the rule. Saeculorum. Amen; antiphon Deus deorum, etc.
Differentia octava, being as it were rare and unusual, is placed last as an extraordinary one, which places the saeculorum Amen at the fourth degree below the final; the melody, however, sometimes begins at the fifth degree, so that it stands a diapente interval from its final, and sometimes at the fourth, as the following examples will make clear. As it was in the beginning and now and always, and unto the ages of ages. Amen; antiphon Angeli Domini; antiphon Martyres Domini. These are intoned in a similar manner, although they begin lower. Antiphon Nos qui vivimus; antiphon In fide in benedictione.
But those which follow, although they begin at the same place, nevertheless correspond more to the principal sound through the diapente. Saeculorum. Amen; antiphon In camino ignis; antiphon Sapientia clamitat; antiphon Stabunt justi. In these three, from the first and highest pitch down to the ninth, the melody bends so that from the final — which is lichanos meson — touching each string, it extends to the fifth degree, led in both directions.
PLAGAL OF THE TETRARDUS (Antiphons)
RESPONSORIES OF THE EIGHT MODES
The modes or tropes, which we customarily call tones, of the nocturnal responsories — although they begin from different positions on the strings — each one of them nevertheless offers easy recognition of itself through the uniform modulation of its verses, as is plainly evident from the few examples we have noted below. Unless perhaps someone wishes to adorn the modulation of their verses more fittingly with a multiplied variety of neumes.
Authentic Protus
Responsory: Blessed are you, Mary. Verse: Hail, Mary, full of grace, the Lord is with you. Responsory: It is confirmed. Verse: O King of heaven, to whom. Glory be to the Father and to the Son, and to the Holy Spirit.
Plagal of the Protus
Responsory: Holy and immaculate. Verse: Blessed are you among women, and blessed is the fruit of your womb. Responsory: Lamb of God, Christ. Responsory: Let the heavens rejoice. Responsory: Hear, O Israel. Glory be to the Father.
Authentic Deuterus
Responsory: Rejoice together. Verse: They have taken away my Lord, and I do not know where they have laid him; if you have carried him away, tell me. Responsory: After the days were fulfilled. Verse: We await the Savior. Glory be to the Father.
Plagal of the Deuterus
Responsory: Our King shall come. Verse: Behold the Lamb of God, behold him who takes away the sins of the world. Responsory: Like a cedar. Responsory: When it had passed. Responsory: Ascending on high. Glory be to the Father and to the Son.
Authentic Tritus
Responsory: Blessed is he who. Verse: The stone which the builders rejected, this has become the head of the corner; this was done by the Lord, and it is wonderful in our eyes. Responsory: The angel of the Lord spoke. Responsory: Today for us, of the heavens. Glory be to the Father and to the Son.
Plagal of the Tritus
Responsory: I was watching in a vision. Verse: Behold, the Lord the ruler shall come with power. Responsory: Blessed are you, Virgin Mary. Responsory: The people were singing. Responsory: He will come soon. Glory be to the Father.
Authentic Tetrardus
Responsory: Blessed womb of Mary. Verse: A holy day has dawned upon us; come, O nations, and adore the Lord. Responsory: Elizabeth of Zacharias. Responsory: My child, do not. Responsory: Looking from afar. Glory be to the Father and to the Son.
Plagal of the Tetrardus
Responsory: The holy day. Verse: Come, let us adore him, for he is the Lord our God. Responsory: I will teach the wicked your ways. Responsory: As a mother comforts. Responsory: Jacob prayed. Responsory: The old man, the child. Glory be to the Father.
The tones pertaining to introits and communions can be sufficiently discerned through the customary modulation of the Gloria Patri. Since this proceeds uniformly in each, both in the antiphons called introits and in the communions, we have nevertheless taken care to interpose certain graduals, alleluias, and offertories for the sake of preserving the singing order.
INTROITS, GRADUALS, OFFERTORIES, AND COMMUNIONS
Authentic Protus
First, for the summit of your justice, seek; Lord, make us also the highest true light; we ask that in heaven we may ever sing joyfully to you. Amen. Saeculorum. Amen.
Antiphon: Rejoice in the Lord. Antiphon: Arise, why? Antiphon: Hear, O Lord, my voice. Antiphon: Praise, O children. Antiphon: The righteous like a palm tree. Antiphon: The righteous shall not be troubled. Antiphon: The Lord says: My words. Antiphon: Give peace, O Lord. Antiphon: The Lord established for him. Antiphon: The Lord has become. Antiphon: You are righteous, O Lord. Antiphon: For they sat. Antiphon: You have mercy on all. Antiphon: But I in the Lord. Antiphon: They cried out. Antiphon: The Lord by the sea.
Saeculorum. Amen. Antiphon: Drop down dew, O heavens. Antiphon: Let us all rejoice. Antiphon: We have received, O God. Antiphon: Incline, O Lord, your ear. Saeculorum. Amen. Antiphon: The law of the Lord is blameless. Antiphon: The meditation of the heart. Antiphon: The wisdom of the saints. Antiphon: But salvation. Antiphon: For I know in whom I have believed. Glory be to the Father, and to the Son, and to the Holy Spirit, as it was in the beginning, and now, and always, and unto the ages of ages. Amen.
Graduals. Gradual: Have mercy on me, O God. Gradual: Blessed is the nation whose. Gradual: You have set, O Lord. Gradual: His priests. Alleluia. Alleluia: Those who fear the Lord. Alleluia: The righteous like a palm tree. Alleluia: Wonderful is the Lord. Offertories. Offertory: We are filled. Offertory: Sing joyfully to God, all the earth. Offertory: I will bless the Lord.
Communions. Communion: Behold, a Virgin shall conceive. Communion: You who have followed. Communion: Whoever wishes to come. Communion: The bread which I. Communion: Princes persecuted me. Communion: They ate. Communion: When I called upon you. Communion: Lord, our Lord. Communion: Sing to the Lord. Communion: Rejoice, you righteous. Communion: Sing psalms to the Lord. Communion: Ask and you shall receive. Communion: Let the proud be confounded. Communion: They laid the mortal remains. Communion: You have made known to me. Communion: Amen I say to you. Communion: Even if before men. Communion: The Lord will give kindness. Communion: The glory shall be revealed. Communion: All have seen. Communion: Son, why have you done this?
The authentic tetrardus would more properly govern these, if long-established custom would permit.
Communion: Illuminate your face. Communion: Whoever shall do. Communion: Amen I say to you. Communion: It has been given to me. Glory be to the Father, and to the Son, and to the Holy Spirit, as it was in the beginning, and now, and always, and unto the ages of ages. Amen.
Plagal of the Protus
According to the word of the law, by which mutual love of God and neighbor you, O Christ, have commanded us to worship, that through these precepts of twofold observance we may render. Amen. Saeculorum. Amen.
Antiphon: The Lord said to me. Antiphon: Redeem me, O Lord. Antiphon: From the mouth of infants. Antiphon: From my mother's womb. Antiphon: Your face. Antiphon: Deal with me, O Lord. Antiphon: They cried out. Antiphon: Terrible is. Antiphon: Many are the tribulations. Antiphon: His priests. Antiphon: You who thirst, come. Antiphon: But to me exceedingly. Antiphon: Come and show us. Antiphon: Behold, he comes. Antiphon: Let the hearts of those who seek rejoice. Antiphon: He fed them. Antiphon: The Lord is my light. Antiphon: The Lord is my strength. Antiphon: They waited for me. Antiphon: Come, let us adore. Glory be to the Father, and to the Son, and to the Holy Spirit, as it was in the beginning, and now, and always, and unto the ages of ages. Amen.
Graduals. Gradual: From my necessities. Gradual: All who wait for you. Gradual: Turn not away your face. Gradual: He has given his angels charge. Alleluia. Alleluia: A holy day. Alleluia: I see the heavens. Alleluia: The Lord has reigned. Offertories. Offertory: Praise the Lord. Offertory: Protect, O Lord. Offertory: There was a man in the land. Offertory: To you, O Lord, I have lifted up. Offertory: Out of the depths.
Communions. Saeculorum. Amen. Communion: The multitude of the sick. Communion: My drink. Communion: Jerusalem, arise. Communion: We shall rejoice forever. Communion: Take away from me. Communion: Make vows and fulfill them. Communion: I will tell all. Communion: You, child, shall be called a prophet. Communion: I will sing to the Lord. Communion: Lord, my God, in you. Communion: The word went out. Communion: The Lord Jesus, after. Communion: The Lord rules me. Communion: The Lord is my firmament. Glory be to the Father, and to the Son, etc.
Authentic Deuterus
On the third day, O Christ, we believe you rose again and brought light to the world. O gracious one, make us always praise your name, and seeing you, sit in the realm of the eternal fatherland. Amen. Saeculorum. Amen.
Antiphon: Have mercy on me, Lord, for. Antiphon: But I, like an olive tree. Antiphon: When I cried out. Antiphon: Confession and beauty. Antiphon: I have known, Lord. Antiphon: I cried out because. Antiphon: When the holy one was. Antiphon: In the name of the Lord. Antiphon: The voice of gladness. Antiphon: Let my mouth be filled. Antiphon: If iniquities. Saeculorum. Amen. Antiphon: O God, when you went forth. Antiphon: Let my prayer enter. Antiphon: Your priests, O Lord. Antiphon: My heart said to you. Antiphon: In God I will praise. Antiphon: My deliverer. Antiphon: All things which you have done. Antiphon: The love of God. Antiphon: The Lord will speak. Antiphon: Fear the Lord. Antiphon: He scattered, he gave. Antiphon: Bless the Lord. Glory be to the Father, and to the Son, and to the Holy Spirit, as it was in the beginning, and now, and always, and unto the ages of ages. Amen.
Graduals. Gradual: Deliver me, O Lord. Gradual: The Lord has sworn. Gradual: A helper in times of need. Gradual: Beautiful in form. Gradual: Arise, O Lord. Alleluia. Alleluia: They shall be brought. Alleluia: I rejoiced. Alleluia: The Spirit of the Lord filled. Alleluia: In you, O Lord, I have hoped. Offertories. Offertory: Blessed are you. Offertory: Let them hope in you. Offertory: Rejoice greatly. Offertory: Perfect my steps.
Communions. Saeculorum. Amen. Communion: Blessed is the servant. Communion: He who shall meditate. Communion: With his shoulders. Communion: The sparrow has found. Communion: The souls of the righteous. Communion: Taste and see. Communion: You, O Lord, will preserve. Communion: The Lord of hosts. Glory be to the Father, and to the Son, and to the Holy Spirit, etc.
Plagal of the Deuterus
At the fourth watch of the night, O Christ, giving heavenly comfort to your disciples: we, humbly confessing, singing to you, praising you — grant us to know the protection of your name and power through the fourfold voice of your Gospel. Saeculorum. Amen.
Antiphon: Be near, O Lord. Antiphon: But we glory. Antiphon: Judge, O Lord, those who harm me. Antiphon: From my necessities. Antiphon: He heard from his temple. In other antiphons beginning from the same string and immediately falling back to it, it is sung thus: Saeculorum. Amen. Antiphon: I have risen and am still. Antiphon: Remember. Antiphon: The mercy of the Lord. Antiphon: In your will. Likewise, as above. Antiphon: Let my prayer enter. Antiphon: All the earth. Antiphon: Your saints, O Lord. Antiphon: The sin of the people. Antiphon: Now I know. Antiphon: Our protector. Antiphon: Hear, O Lord. Antiphon: The Lord says to Peter. Antiphon: As the eyes. Antiphon: Judge me, O God. Antiphon: O God, in your name. Antiphon: Receive joy. Antiphon: The Lord led them out. Glory be to the Father, and to the Son, and to the Holy Spirit, etc.
Graduals. Gradual: You are the God who. Gradual: Arise, O Lord. Gradual: But I. Gradual: To you, Lord, the poor one was left. Alleluia. Alleluia: Stir up, O Lord. Alleluia: Praise, O children. Alleluia: The right hand of the Lord. Offertories. Offertory: Yours are the heavens. Offertory: The earth trembled. Offertory: Let the heavens rejoice. Offertory: Praise, O my soul.
Communions. Saeculorum. Amen. Communion: We have seen the star. Communion: Rejoice, O daughter. Communion: What I say to you. Communion: Let them be ashamed and confounded. Communion: So long a time. Communion: You have loved justice. Communion: From my hidden faults. Communion: Acceptable. Communion: Father, when I was. Communion: Incline your ear. Communion: Jerusalem that is built. Communion: Great is the glory. Communion: Bless, all. Communion: Remember your word. Communion: Once I have sworn. Communion: Take up your offerings. Communion: I have done judgment. Glory be to the Father, and to the Son, etc.
Authentic Tritus
Five virgins, O Lord, you have deigned to receive into heaven; to reveal and show by words and signs to your people — behold, we pray you, Lord, to order our senses toward you. Saeculorum. Amen.
Antiphon: I was speaking of. Antiphon: Have mercy on me, Lord, for I am troubled. Antiphon: Lord, you have been our refuge. Antiphon: Give ear to my words. Antiphon: Hear, O God, my prayer. Antiphon: God is in his holy place. Saeculorum. Amen. Antiphon: They surrounded me. Antiphon: Rejoice, O Jerusalem. Antiphon: Lord, in your mercy. Glory be to the Father, and to the Son, etc.
Graduals. Gradual: This place. Gradual: From Sion, the beauty. Gradual: All have seen. Gradual: Be merciful. Gradual: Distinguish my cause. Alleluia. Alleluia: I will love you. Alleluia: Remember, O Lord. Offertories. Offertory: Attend to my voice. Offertory: The humble people. Offertory: Bless, O my soul. Offertory: Moses sanctified.
Communions. Communion: Understand my cry. Communion: With my voice to the Lord. Communion: The righteous shall rejoice. Communion: He who serves me. Communion: I will not leave you. Communion: The Lord says: Fill. Communion: Against me. Communion: Serve the Lord. Communion: On the last day of the feast. Communion: The Lord is righteous. Communion: Who will give from Sion? Communion: You have commanded. Communion: My peace I give. Communion: Bread from heaven. Communion: I say to you. Communion: Mark them with a sign. Communion: The Lord is my. Glory, etc.
Plagal of the Tritus
At the sixth hour, O Christ, your bodily form shines with power; grant to the Church the life of living water springing up, and with the fervor of grace that is full, ever kindle it. Saeculorum. Amen.
Antiphon: The mouth of the righteous shall meditate. Antiphon: Be to me a God. Antiphon: All nations. Antiphon: Let the righteous feast. Antiphon: Look upon me. Antiphon: Priests of God, bless. Antiphon: The Lord says. Antiphon: Rejoice in God. Antiphon: Today you shall know. Antiphon: In the midst of the Church. Antiphon: Sing to the Lord. Antiphon: As newborn babes. Glory be to the Father, etc.
Graduals. Gradual: There was a man sent. Gradual: The word went out. Gradual: I said: Lord. Gradual: Come, children. Gradual: You shall establish them. Alleluia. Alleluia: Sweet wood. Alleluia: Lord, in your strength. Alleluia: The voice of exultation. Offertories. Offertory: Lord God, in simplicity. Offertory: Lord, turn back. Offertory: Lord, to my aid. Offertory: The judgments of the Lord.
Communions. Communion: Our Passover. Communion: You are Peter. Communion: Andrew says. Communion: Put forth your hand. Communion: Five wise virgins. Communion: Lord, who shall dwell? Communion: He made clay. Communion: Behold, the Lord will come. Communion: Our soul. Communion: Come after me. Communion: In splendors. Communion: Grace is poured out. Communion: He who deigned for me. Communion: Honor the Lord. Communion: The Lord has risen. Communion: He who eats. Communion: You have set, O Lord. Glory be to the Father, and to the Son, etc.
Authentic Tetrardus
We now also beseech you, O gracious Paraclete, to be present to us in your sevenfold form, that our minds may ever overflow with your grace in perfect number; extinguish whatever harms, and ever kindle with the fire of love all that brings growth. Saeculorum. Amen.
Antiphon: People of Sion. Antiphon: A child is born. Antiphon: My eyes always. Antiphon: The water of wisdom. Antiphon: Adore the Lord. Antiphon: With glory and honor. Antiphon: Fear not, Zacharias. Antiphon: The saints judge the nations. Antiphon: Look upon us, O Lord. Antiphon: The Lord has heard. Antiphon: Do not abandon. Antiphon: Wait for the Lord. Antiphon: Men of Galilee. Antiphon: You have protected me. Antiphon: Come, you blessed. Antiphon: The Lord led forth. Glory, etc.
Graduals. Gradual: Cast your cares. Gradual: Let my prayer be directed. Gradual: The eyes of all. Gradual: You have delivered us. Alleluia. Alleluia: Our Passover. Alleluia: Rejoice in God. Alleluia: Come, let us exult. Alleluia: For God is great. Alleluia: Lord, you have been our refuge. Offertories. Offertory: He prayed. Offertory: They shall confess. Offertory: Deliver me from my enemies.
Communions. Communion: Say to the fainthearted. Communion: Take the child. Communion: The faithful servant. Communion: When the Paraclete shall come. Communion: If you have risen with Christ. Communion: A people of acquisition. Communion: Suddenly there came. Communion: Do not hand me over. Communion: Let them be ashamed and abashed. Communion: I am the vine. Communion: Father, if this cup cannot pass. Communion: Redeem me, O God. Communion: Lord, five talents. Communion: A voice in Rama. Communion: Whoever shall drink water. Glory, etc.
Plagal of the Tetrardus
O merciful King, O radiant Christ, graciously and mercifully bestow upon your people the eight beatitudes of evangelical grace and everlasting rest, and sustain without end those who believe in you. Saeculorum. Amen.
Antiphon: On the exalted throne. Antiphon: He called upon me. Antiphon: In your strength. Antiphon: Sing joyfully to God. Antiphon: The righteous shall rejoice. Antiphon: You have loved. Antiphon: You have tested, O Lord. Antiphon: The victorious hand. Antiphon: Have mercy on me, Lord, for to you. Saeculorum. Amen. Antiphon: To you I have lifted up. Antiphon: A light shall shine. Antiphon: He brought you in. Antiphon: The Spirit of the Lord filled. Antiphon: Lord, be not far. Antiphon: While there was silence in the middle. Glory, etc.
Graduals. Gradual: Blessed be the Lord. Gradual: For truth's sake. Gradual: I will bless the Lord. Alleluia. Alleluia: I will worship at your temple. Alleluia: God, the just judge. Alleluia: Show us. Alleluia: In your beauty.
Offertories. Offertory: Have mercy on me. Offertory: The angel of the Lord. Offertory: You have set, O Lord. Offertory: Lord, God of my salvation. Offertory: Hear, O God, my prayer.
Communions. Saeculorum. Amen. Communion: The Holy Spirit will teach. Communion: Christ, rising again. Communion: But I say to you. Communion: I will go about and offer sacrifice. Communion: The kingdom of heaven is like. Communion: Seek first. Communion: I will go in to the altar. Communion: You must. Communion: No one has condemned you. Communion: This body. Communion: I see the heavens. Communion: Lord, I will remember. Communion: The Spirit where. Communion: I cried out. Communion: He received an answer. Communion: I will wash my hands among the innocent. Communion: Eat rich food. Communion: I am the good shepherd. Glory, etc.
Epilogue
These gifts we once brought forth from Sion with exultant spirit, singing as best we could; but now, as if sitting by the rivers of Babylon, embittered by misfortunes, we have already hung up our instruments, crying and saying with tears: How shall we sing the song of the Lord in a foreign land? For the land has become foreign to us, since we are not permitted even to live, let alone to sing, in it. Fulfilled in us is the prophecy that once thus threatened wretched and unhappy Judea: Your land is desolate, your cities are burned with fire, strangers devour your region before your eyes, and it will be laid waste as in hostile devastation (Isaiah 1:7).
Therefore the joy of our heart has ceased, our song has been turned to mourning, the crown of our head has fallen (Lamentations 5:15), so that we are compelled to say: Woe to us, for we have sinned (ibid., 18); and as a certain wise man says: In this time there is leisure for the powerful to oppress, for the common people to perish, for the wretched to weep.
But what remains to be done amid these things, except that we meditate day and night on that prophetic book in which are written lamentations, song, and woe — so that while the wretched daughter of Babylon (Psalm 136), that is, the multitude of those who wickedly persecute us, shall receive from the Lord the retribution which she has dealt to us — namely, everlasting woe — we through lamentations worthy of repentance may deserve to sing the true song of joy, with the merits of the Prince of the Apostles assisting us, out of love for whom, O most blessed Father, we have striven in this work to obey your commands.