188:, on which the accented syllable is sung on the reciting tone that preceded it, and the following unaccented syllable is sung a whole tone or a minor third lower (depending on the psalm tone), before returning to the reciting tone until the mediant. After the mediant, the second part of the psalm verse is sung on the reciting tone until the last few words, which are sung to a
299:
follows a distinctive practice that may be of great antiquity. Typical cantillation uses a system of signs, each of which represents a fixed musical motif. Yemenite chant, however, uses a different set of motifs, which only affect the final words in phrases. All other words are sung to reciting
136:, consist of just two notes, often a reciting tone on A or G, with inflected notes one pitch below on G or F. Other tones, from later in the medieval period, usually recited on a C or F, inflecting down to the two notes below, such as the Epistle for Easter.
179:
defines the notes for the first two or three syllables, with subsequent words sung on the reciting tone. Because of the parallel structure typical of the Psalms, psalm verses divide into two roughly equal parts; the end of the first part is indicated by the
256:, or "wandering tone", which uses a reciting tone of A for the first part of the psalm verse and a G for the second half. Although rarely used, it is not unique; early sources refer to tones called
184:, a slight bending of notes above and below the reciting tone. For longer phrases, the first part is itself divided into two parts, with the division indicated by the
132:("and with your spirit") of the choir. Some tones, presumably from the earliest layers of chant, such as the Collect, Pater noster, and Postcommunion for
215:: simple tones, which are very close to the standard psalm tones, and solemn tones, which are more ornate and used on the more important feasts.
196:. Several of the psalm tones have two or three possible terminations, to allow for a smoother return to the following repeat of the antiphon.
483:
429:
560:
238:
and the reformed offices of Lauds and
Vespers are also sung to similar sets of reciting tones that depend on the musical mode.
208:
252:
In addition to the eight psalm tones associated with the eight musical modes, there is a ninth psalm tone called the
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that is sung between psalm verses transitions smoothly into the psalm tone. Each psalm tone has a formulaic
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916:
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121:
890:
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260:, which, like the tonus peregrinus, have different reciting tones in their first and second halves.
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More complex patterns were used for the psalm tones, which are employed in the chanting of the
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recite the Qur'an and chant hymns for special occasions using one or two reciting tones.
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276:, Qur'anic recitation is not considered a form of music. For example, the
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442:; Jander, Owen; Cooke, Peter (n.d.). "Inflection". In L. Macy (ed.).
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prayers and lessons chanted by the deacons or priests such as the
63:) as well as simpler formulae for other readings and for prayers.
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utilize reciting tones, although it should be clarified that in
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124:. They are also sung in versicles and responds such as the
128:("The Lord be with you") of the officiant followed by the
516:
Sharvit, Uri (n.d.). "Jewish Music". In L. Macy (ed.).
16:
Music for the reciting of chant; usually a single tone.
493:
Schuyler, Philip (n.d.). "Morocco". In L. Macy (ed.).
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234:) of the Mass and of the greater responsories of the
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39:for which that pitch is a structural note. In
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76:Reciting tones occur in several parts of the
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147:. There are eight psalm tones, one for each
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264:Reciting tones in other chant traditions
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112:, as well as such regular texts as the
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199:Two sets of tones are used for the "
280:("students of Islam" in Arabic) of
143:and related canticles in the daily
478:. New York: W.W. Norton & Co.
14:
67:Reciting tones in Gregorian chant
31:) can refer to either a repeated
226:) which are sung as part of the
59:(each with its own associated
1:
340:Frere, Jander & Cooke n.d
55:, while the second includes
424:. Oxford: Clarendon Press.
236:Office of Readings (Matins)
43:, the first is also called
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245:
811:descending melodic major
758:descending melodic minor
786:ascending melodic minor
724:ascending melodic major
151:, designed so that the
797:Lydian augmented (III)
570:Modes in Western music
122:Gloria in excelsis Deo
878:Double harmonic scale
850:Phrygian dominant (V)
845:Ukrainian Dorian (IV)
420:Hiley, David (1995).
218:The psalm verse and "
891:Hungarian minor (IV)
817:Half diminished (VI)
807:Aeolian dominant (V)
530:: CS1 maint: year (
507:: CS1 maint: year (
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230:(and optionally the
80:. These include the
886:Double harmonic (I)
268:Some traditions of
211:", the canticle of
203:", the canticle of
192:formula called the
72:Regular psalm tones
868:Harmonic major (I)
840:Harmonic minor (I)
518:Grove Music Online
495:Grove Music Online
468:Hoppin, Richard H.
445:Grove Music Online
422:Western Plainchant
287:Among the Jews of
232:Communion antiphon
130:Et cum spiritu tuo
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651:
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330:, pp. 47–48.
35:or to the entire
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254:tonus peregrinus
248:tonus peregrinus
242:Tonus peregrinus
126:Dominus vobiscum
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41:Gregorian chant
37:melodic formula
29:recitation tone
27:(also called a
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270:Qur'an reading
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246:Main article:
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61:Gregorian mode
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378:, p. 63.
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110:Postcommunion
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33:musical pitch
30:
26:
25:reciting tone
22:
896:Oriental (V)
750:Aeolian (VI)
697:
633:Hypophrygian
517:
494:
473:
443:
440:Frere, W. H.
421:
413:
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388:Schuyler n.d
383:
371:
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293:cantillation
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220:Gloria Patri
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149:musical mode
138:
129:
125:
114:Pater noster
75:
56:
52:
48:
44:
28:
24:
18:
740:Lydian (IV)
730:Dorian (II)
688:Hypolocrian
678:Hypoaeolian
405:Sharvit n.d
364:Hoppin 1978
352:Hoppin 1978
316:Hoppin 1978
207:, and the "
194:termination
169:termination
57:psalm tones
774:Jazz minor
716:Ionian (I)
693:Pentatonic
668:Hypoionian
638:Hypolydian
628:Hypodorian
610:Mixolydian
376:Hiley 1995
328:Hiley 1995
258:parapteres
209:Benedictus
201:Magnificat
177:intonation
157:intonation
120:, and the
78:Roman Rite
587:Authentic
578:Gregorian
526:cite book
503:cite book
454:cite book
190:cadential
165:mediation
911:Category
708:Diatonic
600:Phrygian
470:(1978).
224:doxology
153:antiphon
82:accentus
49:dominant
683:Locrian
673:Aeolian
414:Sources
300:tones.
295:of the
282:Morocco
228:Introit
205:Vespers
182:mediant
175:). The
167:), and
161:mediant
145:Offices
118:Te Deum
102:Preface
90:Epistle
86:Collect
663:Ionian
620:Plagal
605:Lydian
595:Dorian
482:
428:
278:tulaba
173:ending
141:Psalms
134:Easter
108:, and
98:Secret
94:Gospel
656:Other
304:Notes
297:Torah
289:Yemen
274:Islam
213:Lauds
186:flexa
106:Canon
45:tenor
21:chant
756:and
722:and
532:link
509:link
480:ISBN
460:link
426:ISBN
171:(or
163:(or
53:tuba
23:, a
222:" (
51:or
19:In
913::
528:}}
524:{{
505:}}
501:{{
456:}}
452:{{
395:^
291:,
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47:,
813:)
809:(
788:)
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718:(
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390:.
342:.
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