Tonus peregrinus
The tonus peregrinus, also known as the wandering tone,
Characteristics
As a reciting tone the tonus peregrinus does not fit in any of the original eight
Traditionally, the tenor note in the first half of a verse sung according to the tonus peregrinus is a tone higher than the tenor note in the second half of the verse. Also usually the last note of a tonus peregrinus
History
In Gregorian chant the tonus peregrinus existed before the modal system was expanded beyond the eighth mode. Later the ninth tone became associated with the ninth mode, or
The tonus peregrinus is an exceptional reciting tone in Gregorian chant: there it was most clearly associated with Psalm 113 (in the Vulgate numbering), traditionally sung in vespers. In Lutheranism, the tonus peregrinus is associated with the Magnificat (also usually sung in vespers): the traditional setting of Luther's German translation of the Magnificat ("Meine Seele erhebt den Herren") is a German variant of the tonus peregrinus.[2]
Musical settings
Tonus peregrinus variants appear in:
- "Suscepit Israel" from the Magnificat in D major by Johann Sebastian Bach
- Requiem by Wolfgang Amadeus Mozart (used in the Introit)[4]
- Miserere Mei, Deus by Gregorio Allegri
- Sonata No. 4, Op. 98, by Josef Rheinberger (harmonized version is used as the second theme in the opening movement)[5]
References
Notes
Sources
- Mattias Lundberg. Tonus Peregrinus: The History of a Psalm-tone and its use in Polyphonic Music, Ashgate Publishing, 2012, ISBN 9781409455073
- Mark L. Russakoff. Joseph Gabriel Rheinberger, Works for Organ, Vol. 1, Naxos, 2017
External links