Anglican chant
Problems playing this file? See media help
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Anglican chant" – news · newspapers · books · scholar · JSTOR (August 2015) (Learn how and when to remove this template message) |
Anglican chant, also known as English chant,
Anglican chant was formerly in widespread use in
churches.Anglican chant grew out of the
Anglican chant was well established by the 18th century. The earliest known examples are single chants written by John Blow, Henry Purcell, and their contemporaries. Earlier examples by Tudor composers such as Tallis, Farrant, and others are not original. The earliest double chants are from about 1700.
The text is pointed for chanting by assigning each verse or phrase to a simple harmonised melody of 7, 14, 21 or 28 bars (known respectively as a single, double, triple or quadruple chant).
An example of a single chant is shown above. Below are the first four verses of the Magnificat, with the text coloured to show which words correspond to which notes in the music ("the chant").
Another example of the color-pointed text for chant scores is the Vox Barnabas Psalter, a collection of public domain double chant scores by St. Barnabas Chorus, used to sing their Daily Office in Chant podcast of Morning, Noon, Evensong and Compline.
Various psalters have been published over the years, with each one showing how the chant is to be fitted to the words and each having its own variation on the precise rules for doing so. The rules used in the Parish Psalter (one of the more popular psalters, edited by Sydney Nicholson) are as follows:
Other psalters use different notation; modern psalters such as the New St Paul's Cathedral Psalter (John Scott, 1997) have adopted the following convention:
There are various additional rules which apply occasionally:
The example above is a single chant. This is mostly only used for very short psalms (half a dozen verses or so).
The most commonly used chants are double chants. These are twice the length of a single chant. The music of the chant is repeated for every pair of verses. This reflects the structure of the Hebrew poetry of many of the psalms: Each verse is in two halves – the second half answers the first; the verses are in pairs – the second verse answers the first.
Triple and quadruple chants are considerably rarer. They appeared from the latter part of the 19th century to cover some of the exceptions to this format. They set the verses of the psalm in groups of three or four verses respectively. Psalm 2 (for example) is suited to a triple chant; a quadruple chant might be used for Psalm 78.
A double chant is divided into "quarters", each of which has the music for half a verse. Triple and quadruple chants may also be described as containing six or eight quarters.
If the entire text (or a section of it) has an odd number of verses, the second half of the chant is usually repeated at an appropriate point, which may be marked "2nd part". Similarly, "3rd part" markings may be used for triple chants.
An example of a double chant:
Below are the four lines of the doxology Gloria Patri (commonly known as the "Gloria"), with the text coloured to show which words correspond to which notes in the music (pointing varies from choir to choir):
Glory be to the Father, and ' to the ' Son :
and ' to the ' Holy ' Ghost;
As it was in the beginning, is now, and ' ever ' shall be :
world without ' end A ' - - ' men.
The doxology Gloria Patri, usually sung at the end of a psalm or canticle, is two verses long. Depending on the type of chant, it is sung in one of the following ways:
Psalms may be sung unaccompanied or accompanied by an organ or other instrument. Organists use a variety of registrations to mirror the changing mood of the words from verse to verse; but the organ should never be so loud that the words cannot be clearly heard. Organists may sometimes utilize
A further stylistic technique is used in cathedrals and churches which use an
With antiphonal singing, the first two verses, the Gloria and perhaps the last two verses are often sung by the whole choir.
A few choirs elaborate further, e.g. by having some verses sung by soloists, trebles only, alto/tenor/bass only (with the treble line transferred into one of the other parts) or one part or soloists singing the melody while the rest of the choir hums. Occasionally some or all trebles may sing a descant; this usually happens only in the final verse of the psalm or the Gloria.