A Complete And Practical Method of the Solesmes Plain Chant From the German of
A Complete And Practical Method of the Solesmes Plain Chant From the German of
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I In ton. Dom. 4 9 i 3 2 9 z § b* - ■ a Di-xit D6-mi-nus D6- mi- no me- j o: i- ni- mi- cos tu- i os: Dd-mi- nus ex Si- 1 on: Glo- ri- a Pa- . Tri et Fi- ! li- 9 Dom. * ft t * 1 - - a • ■ • ■ ■— ■ 1 a * ". Sc- de a scab e limn pe- lu- ci- fe-rum lo-rpie-bar in seer et Spi- ri- dex- dum jrg- pa- cu- t li- tris tu- nu- cem 1 lum 1 i me- i • ■ i i de j S;Vi- : CU- San- j 1 is. Rum Te. Te. It. Cto PSALM TONES. 75 Excepting the second, fifth, and sixth tones, each Psalm tone has several final forms.... The variation of the final finds its explanation in the antiphon re- curring after the Psalm. The final of the Psalm pre- pares the beginning of the antiphon. The first tone may have, besides the final shown above the following finals : * 2. C '* EB-i- ■ iye- cu- li y — ■ cu- li 9 2 sac- 5- CU- f 2 ■ *■ — ■ L li 6. X s?e- cu- li The Magnificat receives the same intonation as a Psalm. In its first verse the middle cadence is omitted on account of want of text.
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