Society of Saint Gregory

The syllables of the enechemata for the seven modes of English national music. no é a né a gi - G mode plagal no é a nó a gi - F mode barys no é a gi - F mode plagal nè a gi nó i a - A mode na gi a nó i a - G mode authentic no u é nó è a - C mode no é a gi - F mode authentic Scottish trope on a cert...

Yes, he should have been playing Hen Wlad Fy Nhadau.

The impression that I got was that the term "Broadway Tunes" had upset you. Nazard, It just goes to show the semantic flexibility of language. If AntoineDaniel posted a message on this topic when he wasn't expending himself composing and/or publishing for free, I would certainly find it h...

Be careful here. The term MOR has an interesting Wikipaedia article http://en.wikipedia.org/wiki/Middle_of_the_road_%28music%29 . As a term, it doesn't seem to be free of emotion either. It was a term unfamiliar to me, which is why I had to look it up. (My first thought was that it was something to...

AntoineDaniel,

Sorry, those links should have been

http://www.youtube.com/watch?v=R6xIdDYiA9A
http://www.youtube.com/watch?v=ISWOrI0WaLs
http://www.youtube.com/watch?v=9muzyOd4Lh8

http://www.youtube.com/watch?v=rzp83SWRNZw
http://www.youtube.com/watch?v=5Go6I2_PpBU

http://www.youtube.com/watch?v=Y8CSjDC18b0
http://www.youtube.com/watch?v=fsjSitIM_Ys
http://www.youtube.com/watch?v=PPFduf2XaYM

AntoineDaniel, I find your choice of term (Broadway Tunes) very interesting, particularly because I find you more than once advising people that you have a degree in music theory. Some people might contend that use of musical analysis does not in itself necessitate limiting one to describing the sty...

Poured out for you and for the many would surely have put a lot of misgivings to rest on the question of many vs all . I should be frank and state that I wouldn't care either way whether "for many" or "for all" were used except that tradition seemed to have no problem with the c...

Let's face it, if we had a three line text in English which ran "big big big head chef of cooks, kitchen and dining area are full of your gastronomy, bon appetit at the tables", the average English speaker would interpret the first phrase as addressing the head chef rather than as referrin...

Previously 'Holy, holy, holy Lord, God of power and might'. but now 'Holy, Holy, Holy Lord God of hosts', which means that 'Holy Lord God of hosts' is now intented as a single phrase. The feature of this mass text (Holy, holy, holy Lord God Sabaoth. Heaven and earth are full of your glory.) which I...

What are we supposed to do with these settings? - just wait to see what happens? leave it to a sort of "folk process"? Make our own "local rules"? Q Indeed. What do you do with Gregorian chants when their oldest copies are written in square notation with no rhythmic information?...

Thank you, quaeritor, I wasn't sure. NorthernTenor's reference to 'shorts' made here viewtopic.php?f=4&t=1221 made me wonder if there was an ICEL setting I hadn't seen. All the ICEL sets I've looked at give no indication of rhythmic durations such as longs or shorts.

I mistakenly thought that we were discussing the beginning of Sanctus XVIII, the only one published by ICEL at m but, reading elsewhere on the forum, I now realise the Sanctus XVI might be what quaeritor was referring to. If so, I'd refer to the beginnings of the introit "Esto mihi", the g...

Thanks for the interest, πρεσβύτερέ μου! I'm about to go off the topic but what I'm about to say about the Salmaire project does relate to issues surrounding the learning of liturgical texts and formation. The practice of singing Latin antiphons in Scotland is currently not merely restricted but mor...

Thank you for the welcome, musicus!

Interestingly (well, at least to me) we don't find "sanct -OOOO - OOOOS" nearly as objectionable as Ho - LEEE - EEEE , though it ought equally to be SANC - tus . Might that be just because we are not native Latin speakers and don't have an instinctive feel for the language? - Or is it per...