Cadence in Psalmody

CADENCE IN PSALMODY. - When the psalms are sung in their entirety in a single stretch, or are performed by alternating the two choirs, or only certain verses are taken, if these retain the form of psalmody, they are always distinguished by a melodic cadence; this is more or less ornate according to the moment at which it is sung. It is more ornate in the chants of the soloist; less ornate in those of the "Schola," and simpler when it is intended for the people. In ornate psalmody such as, for example, that of the Gradual of the Mass and also in the Tractus, the cadences are not made only at the end of the verse, but the entire melodic line is subdivided into cadences, more or less important, depending on the thematic development; the last, usually, is most ornate. In these chants, which easily became "type melodies," the cadences remain almost fixed, and for the application or accommodation of the text the general rules are followed according to whether or not they are "tonic." In the simpler psalmody of the Office, each verse perhaps had in antiquity a single cadence, as is still observed in the Ambrosian chant. In the psalmody of the Introit, as in certain Gospel chants, a new cadence was soon introduced before the pause, at the middle of the verse, which was practiced for the convenience of the singers. After the asterisk cadence the chant is suspended for a time, whereas from one choir to the other such a pause is not required. The final melodic cadence varies not only for each "mode" but also within the same "mode," so that at the resumption of the Antiphon the passage may be more comfortable and more harmonious. Therefore the mnemonic formula EUGUAE (saeculorum amen) depends on how the antiphon begins. The simple melodic cadences of psalmody are distinguished between cadences with one accent, and cadences with two, according to whether melodic emphasis is given to the last tonic accent (before the asterisk and at the end), or also to the last two tonic accents.

Gregorio M. Sufol