tonus peregrinus
{{Short description|Psalm tone in Gregorian chant}}
{{For|the vocal ensemble|Tonus Peregrinus (vocal ensemble)}}
The {{Lang|la|tonus peregrinus}}, also known as the wandering tone,{{cite journal |url=https://academic.oup.com/em/article-abstract/41/3/502/374277 |doi=10.1093/em/cat056|title=The history of a curious tone |year=2013 |last1=Fisher |first1=A. J. |journal=Early Music |volume=41 |issue=3 |pages=502–504 |url-access=subscription }} or the ninth tone, is a psalm tone used in Gregorian chant.
Characteristics
As a reciting tone the {{Lang|la|tonus peregrinus}} 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 {{Lang|la|peregrinus}}, literally "wanders".
Traditionally, the tenor note in the first half of a verse sung according to the {{Lang|la|tonus peregrinus}} is a tone higher than the tenor note in the second half of the verse. Also usually the last note of a {{Lang|la|tonus peregrinus}} melodic formula is a perfect fifth below the first tenor note.
History
In Gregorian chant the {{Lang|la|tonus peregrinus}} 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
File:Magnificat im 9. Psalmton deutsch (Luther).jpg
The {{Lang|la|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 {{Lang|la|tonus peregrinus}} is associated with the Magnificat (also usually sung in vespers): the traditional setting of Luther's German translation of the Magnificat ("{{Lang|de|Meine Seele erhebt den Herren|italic=no}}") is a German variant of the {{Lang|la|tonus peregrinus}}.
Musical settings
{{Lang|la|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)Lundberg 2012 p. 275 ff.
- 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)Russakoff 2017 p. 4
References
Notes
{{Reflist}}
Sources
- Mattias Lundberg. [https://books.google.com/books?id=x8ahAgAAQBAJ Tonus Peregrinus: The History of a Psalm-tone and its use in Polyphonic Music], Ashgate Publishing, 2012, {{ISBN|1409455076}} {{ISBN|9781409455073}}
- Mark L. Russakoff. [https://cdn.naxosmusiclibrary.com/sharedfiles/booklets/ZHC/booklet-8.554212.pdf Joseph Gabriel Rheinberger, Works for Organ, Vol. 1], Naxos, 2017
External links
- [http://www.bach-cantatas.com/CM/Magnificat.htm "Meine Seele erhebet den Herren: Das Magnificat" ("The German Magnificat")] at {{url|bach-cantatas.com}}
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