Tonus peregrinus
The Tonus peregrinus (Latin for "foreign tone") is a psalm tone that deviates from the eight modes of Gregorian chant . It is therefore sometimes referred to as the ninth tone or ninth mode (but not to be confused with the other later Aeolian mode ). It is characterized by the fact that the finalis in the recitation of the psalmody is first on the A note and then on the G note and is therefore also referred to by some as a "wandering tone", especially when the change in the closing notes is repeated several times. Such a change is not provided for in the four authentic and plagal modes, which were regarded as unchangeable and decisive in the early Middle Ages .
From the 9th century onwards, new melodies emerged that did not always fit into the traditional scheme of modes. These new modes with changing stop or closing tones were also called Parapteres , of which only the tone peregrinus was adopted in the choral books in the long term . The name peregrinus in this context goes back to Berno von Reichenau and was first used in the 12th century in the German-speaking cultural area. The compound name Tonus peregrinus was not widely used until the 14th century.
Examples
In the Gregorian prayer of the hours , Psalm 113 is traditionally sung in the tonus peregrinus at the second Vespers on Sunday .
The alternative third reading from the Lamentations of Jeremiah , sung as a soloist in front of Vatican II in the reading chamber of the funeral mass on Holy Saturday , is composed in the tone peregrinus . The introduction " Incipit Oratio ..." ends on g and is continued with "... Jeremiah Prophet " , which ends in a. The following half- verses end alternately with the closing tones g and a. The last section begins with the words " Jerusalem , Jerusalem ..." , which ends in g, and the conclusion "... convertere ad Dominum Deum tuum" , which ends again in a.
In the Protestant tradition, the Tonus peregrinus is mainly known in connection with the Magnificat , so the setting of the Magnificat for the prayers of the hours in the Evangelical Hymnbook (EG 785.6) can be found in the Tonus peregrinus, just as in the Roman Catholic praise of God (No. 631.4). Bach in turn uses it three times in connection with the Magnificat: in his Magnificat BWV 243 and in the cantata Meine Seel raises the gentlemen (BWV 10), as well as in the five-part Fuga sopra il Magnificat BWV 733 for organ. Franz Schubert uses the tone peregrinus in his song Gretchen am Spinnrade in the first verse, which is repeated twice as a refrain. After the first four bars in D minor ( my rest is gone ... ) Schubert shapes Gretchen's complete confusion in the two following verses ( I will never find them ) by expanding them to five irregular bars, a tritone at the end and even the tone peregrinus on which these five bars are based, so that the refrain closes in C major and consequently the basic key of D minor is only reached again through the interlude.
The modality of the tone peregrinus is also popular in rock music . The piece Child in Time by Deep Purple , for example, is divided into four bars and the four bars are dominated by the chords A minor, A minor, G major and again A minor. Also Uriah Heep use this chord model for her song Lady in Black .
literature
- Michael Bernhard: The Seligenstadt tonary ; Plainsong and Medieval Music 13 (2004), pp. 107-125; Cambridge University Press.
- Rhabanus Erbacher : Tonus Peregrinus - story of a psalm tone ; Münsterschwarzacher Studies Volume 12; Münsterschwarzach: Vier-Türme-Verlag, 1971; ISBN 978-3-87868-003-1 .
- Mattias Lundberg : Tonus Peregrinus: The History of a Psalm-Tone and Its Use in Polyphonic Music , Ashgate Publishing (2011), ISBN 978-1-40943039-1 .
- Günther Massenkeil : Tonus peregrinus . In: Walter Kasper (Ed.): Lexicon for Theology and Church . 3. Edition. tape 10 . Herder, Freiburg im Breisgau 2001, Sp. 108 .
Individual evidence
- ↑ Liber Usualis : Holy Saturday, Matutin, page 721