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, the wandering tone, or the ninth tone, is a reciting tone in Gregorian chant.
The chant example here is not identified as the ''tonus peregrinus'' in the ''Liber usualis'' (see LU, pp. 760–761), although it is in Aeolian mode. For the ''tonus peregrinus'' in its customary usage for Psalm 113, see LU p. 160.
The 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 is associated with the Magnificat (also usually sung in vespers): the traditional setting of Luther's German translation of the Magnificat ("") is a German variant of the .
''Tonus Peregrinus: The History of a Psalm-tone and its use in Polyphonic Music''
Ashgate Publishing, 2012, * Mark L. Russakoff
''Joseph Gabriel Rheinberger, Works for Organ, Vol. 1''
Naxos, 2017
at Musical terminology Melody types Psalm settings Magnificat settings {{classical-music-stub
Characteristics
As a reciting tone the does not fit in any of the original eight church modes, because a verse recited in this tone has a different tenor note in the first half of the verse from the second half of the verse.Lundberg 2012 pp. 7–17 It is this diversion from a single recitation note which gives the name , literally "wanders". Traditionally, the tenor note in the first half of a verse sung according to the is a tone higher than the tenor note in the second half of the verse. Also usually the last note of amelodic formula
Melody type or type-melody is a set of melodic formulas, figures, and patterns.
Term and typical meanings
"Melody type" is a fundamental notion for understanding a nature of Western and non-Western musical modes, according to Harold Powers' ...
is a perfect fifth
In music theory, a perfect fifth is the Interval (music), musical interval corresponding to a pair of pitch (music), pitches with a frequency ratio of 3:2, or very nearly so.
In classical music from Western culture, a fifth is the interval fro ...
below the first tenor note.
History
In Gregorian chant the existed before the modal system was expanded beyond the eighth mode. Later the ninth tone became associated with the ninth mode, or Aeolian mode, which, in a more modern understanding of harmony, can be equalled with a standard minor mode.Lundberg 2012 p. 45
The 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 is associated with the Magnificat (also usually sung in vespers): the traditional setting of Luther's German translation of the Magnificat ("") is a German variant of the .
Musical settings
variants appear in: * "Suscepit Israel" from the Magnificat in D major by Johann Sebastian Bach *Requiem
A Requiem or Requiem Mass, also known as Mass for the dead ( la, Missa pro defunctis) or Mass of the dead ( la, Missa defunctorum), is a Mass of the Catholic Church offered for the repose of the soul or souls of one or more deceased persons, ...
by Wolfgang Amadeus Mozart (used in the Introit)Lundberg 2012 p. 275 ff.
*Miserere Mei, Deus
Psalm 51, one of the penitential psalms, is the 51st psalm of the Book of Psalms, beginning in English in the King James Version: "Have mercy upon me, O God". In the slightly different numbering system used in the Greek Septuagint and Latin ...
by Gregorio Allegri
* Sonata No. 4, Op. 98, by Josef Rheinberger (harmonized version is used as the second theme in the opening movement)Russakoff 2017 p. 4
References
Notes Sources * Mattias Lundberg''Tonus Peregrinus: The History of a Psalm-tone and its use in Polyphonic Music''
Ashgate Publishing, 2012, * Mark L. Russakoff
''Joseph Gabriel Rheinberger, Works for Organ, Vol. 1''
Naxos, 2017
External links
at Musical terminology Melody types Psalm settings Magnificat settings {{classical-music-stub