Inchant, areciting tone (also called arecitation tone) can refer to either a repeatedmusical pitch or to the entiremelodic formula for which that pitch is a structural note. InGregorian chant, the first is also calledtenor,dominant ortuba, while the second includespsalm tones (each with its own associatedGregorian mode) as well as simpler formulae for other readings and for prayers.[1]
Reciting tones occur in several parts of theRoman Rite.[citation needed] These include theaccentus prayers and lessons chanted by the deacons or priests such as theCollect,Epistle,Gospel,Secret,Preface,Canon, andPostcommunion, as well as such regular texts as thePater noster,Te Deum, and theGloria in excelsis Deo. They are also sung in versicles and responds such as theDominus vobiscum ("The Lord be with you") of the officiant followed by theEt cum spiritu tuo ("and with your spirit") of the choir.[2] Some tones, presumably from the earliest layers of chant, such as the Collect, Pater noster, and Postcommunion forEaster, 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.[3]
More complex patterns were used for the psalm tones, which are employed in the chanting of thePsalms and related canticles in the dailyOffices. There are eight psalm tones, one for eachmusical mode, designed so that theantiphon that is sung between psalm verses transitions smoothly into the psalm tone. Each psalm tone has a formulaicintonation,mediant (ormediation), andtermination (orending). Theintonation 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 themediant, 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 theflexa, 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 acadential formula called thetermination. Several of the psalm tones have two or three possible terminations, to allow for a smoother return to the following repeat of the antiphon.[4]
Two sets of tones are used for the "Magnificat", the canticle ofVespers, and the "Benedictus", the canticle ofLauds: 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.[citation needed]
The psalm verse and "Gloria Patri" (doxology) which are sung as part of theIntroit (and optionally theCommunion antiphon) of the Mass and of the greater responsories of theOffice of Readings (Matins) and the reformed offices of Lauds and Vespers are also sung to similar sets of reciting tones that depend on the musical mode.[5]
In addition to the eight psalm tones associated with the eight musical modes, there is a ninth psalm tone called thetonus peregrinus, 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 calledparapteres, which, like the tonus peregrinus, have different reciting tones in their first and second halves.[6]
Some traditions ofQur'an reading utilize reciting tones, although it should be clarified that inIslam, Qur'anic recitation is not considered a form of music. For example, thetulaba ("students of Islam" in Arabic) ofMorocco recite the Qur'an and chant hymns for special occasions using one or two reciting tones.[7]
Among the Jews ofYemen,cantillation of theTorah follows a distinctive practice that may be of great antiquity.[8] Typical cantillation uses a system of signs, each of which represents a fixed musical motif.[8] Yemenite chant, however, uses a different set of motifs, which only affect the final words in phrases. All other words are sung to reciting tones.[8]
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