Easter Monday
28 Monday Mar 2016
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28 Monday Mar 2016
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27 Sunday Mar 2016
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The Sequence for Easter Sunday in the Roman Rite is well known, but the modern version is missing a line from the original. This line was omitted in the Trent Missal.
Another former Easter Sequence has been used for Feria II, III, VI in the Octave of Easter and the Sunday after Easter.
“Of all the sequences composed by Adam of St Victor, the following is the richest in its allusions to the types of the Old Testament, which refer to Christ’s victory over death. The chant to which it was sung was taken afterwards as the basis of that of the magnificent Lauda Sion.”
The commentary above is from ‘The Liturgical Year’, Abbot Gueranger, O.S.B. Vol. 7 pg. 231. We have set this sequence to the Laudes Crucis melody found in Les Proses D’Adam de Saint-Victor, 1900. The second version uses a slight variation of this melody is found in Cantus Varii Romano-Seraphici, 1902. The third melody is the melody given for this sequence in Les Proses D’Adam de Saint-Victor, 1900.
Zyma vetus Lauda Sion melody 2
In a Missal in Westminster Cathedral the Easter Sunday Gospel is set to the Solemn Ancient Tone, also known as the ‘weeping tone’ sung as part of the Passion in Holy Week. Sadly this Missal can no longer be found, but we have set the following from memory,
A slightly modified version by a Priest can be found here,
The same priest has also set the Gospel for the Easter Vigil,
The above have been set in GABC code, using the this website, the GABC code can be found below,
centering-scheme: latin;
name: Gospel for Easter Sunday;
initial-style: 1;
annotation: ;
user-notes: Sequéntia Sancti Evangélii secúndum Marcum.;
%font: GaramondPremierPro;
%width: 5;
%height: 11;
%spacing: vichi;
%%
(c3) In(h) il(j)lo(j) tém(h)po(j)re:(j.) (;) Ma(jhjIHGF)rí(f)a(f) Mag(f)da(f)lé(f)ne,(f) et(f) Ma(f)rí(f)a(f) Ja(e)có(fg)bi,(h) (;) et(f) Sa(h)ló(h)me(h) e(h)mé(h)runt(h) a(h)ró(h)ma(h)ta,(h) ut(h) ve(h)ni(h)én(h)tes(h) ún(h!ij)ge(i)rent(hvGFg) Je(e.)sum.(f.) (:) Et(jhjIHGF) val(f)de(f) ma(f)ne(f) u(f)na(f) sab(f)ba(e)tó(fg)rum,(h.) (;) vé(f)ni(h)unt(h) ad(h) mo(h)nu(h)mén(h)tum,(h) or(h!ij)to(i) jam(hvGFg) so(e.)le.(f.) (:) Et(jhjIHGF) di(f)cé(f)bant(f) ad(f) ín(e)vi(fg)cem:(h.) (;) Quis(f) re(h)vól(h)vet(h) no(h)bis(h) lá(h)pi(h)dem(h) ab(h) ó(h!ij)sti(i)o(hvGFg) mo(e)nu(e)mén(f.)ti?(f.) (:) Et(jhjIHGF) res(f)pi(f)ci(f)én(f)tes(f) vi(f)dé(f)runt(f) re(f)vo(f)lú(f)tum(f) lá(e)pi(fg)dem.(h.) (:) E(f)rat(h) quip(h)pe(h!ij) ma(i)gnus(hvGFg) val(e.)de.(f.) (:) Et(jhjIHGF) in(f)tro(f)ë(f)ún(f)tes(f) in(f) mo(f)nu(f)mén(f)tum(f) vi(f)dé(f)runt(f) jú(f)ve(f)nem(f) se(f)dén(f)tem(f) in(e) dex(fg)tris,(h.) (:) co(f)o(h)pér(h)tum(h) sto(h)la(h) cán(h)di(h)da,(h) et(h) ob(h!ij)stu(i)pu(hvGFg)é(e.)runt.(f.) (:) Qui(jhjIHGF) di(f)cit(f) il(f) lis:(f.) (;) No(f)lí(f)te(f) ex(f)pa(f)vé(f)sce(f)re:(f.) (;) Je(f)sum(f) quǽ(f)ri(f)tis(f) Na(f)za(f)ré(f)num,(f) cru(f)ci(e)fí(fg)xum:(h.) (;) sur(f)ré(h)xit,(h) non(h) est(h) hic,(h) ec(h)ce(h) lo(h)cus,(h) u(h)bi(h) po(h!ij)su(i)é(hvGF)runt(g) e(e.)um.(f.) (:) Sed(jhjIHGF) i(f)te,(f) dí(f)ci(f)te(f) di(f)scí(f)pu(f)lis(f) e(f)jus(f) et(e) Pe(fg)tro,(h.) (;) qui(f)a(h) præ(h)ce(h)dit(h) vos(h) in(h) Ga(g)li(f)lǽ(h)am:(h.) (;) i(f)bi(h) e(h)um(h) vi(h)de(h)bi(h)tis,(h) si(h!ij)cut(i) di(hvGF)xit(g) vo(ef)bis.(gf..) (::)
centering-scheme: latin;
name: Gospel for Easter Sunday;
initial-style: 1;
annotation: ;
user-notes: Sequéntia Sancti Evangélii secúndum Marcum.;
%font: GaramondPremierPro;
%width: 5;
%height: 11;
%spacing: vichi;
%%
(c3) In(h) il(j)lo(j) tém(h)po(j)re:(j.) (;) Ma(jhjIHGF)rí(f)a(f) Mag(f)da(f)lé(f)ne,(f) et(f) Ma(f)rí(f)a(f) Ja(f)có(f)bi,(f) et(f) Sa(f)ló(f)me(f) e(f)mé(f)runt(f) a(f)ró(e)ma(fg)ta,(h.) (;) ut(f) ve(h)ni(h)én(h)tes(h) ún(h!ij)ge(i)rent(hvGFg) Je(e.)sum.(f.) (:) Et(jhjIHGF) val(f)de(f) ma(f)ne(f) u(f)na(f) sab(f)ba(e)tó(fg)rum,(h.) (;) vé(f)ni(h)unt(h) ad(h) mo(h)nu(h)mén(h)tum,(h) or(h!ij)to(i) jam(hvGFg) so(e.)le.(f.) (:) Et(jhjIHGF) di(f)cé(f)bant(f) ad(e) ín(f)vi(fg)cem:(h.) (;) Quis(f) re(h)vól(h)vet(h) no(h)bis(h) lá(h)pi(h)dem(h) ab(h) ó(h)sti(h)o(h!ij) mo(i)nu(hvGFg)mén(e.)ti?(f.) (:) Et(jhjIHGF) res(f)pi(f)ci(f)én(f)tes(f) vi(f)dé(f)runt(f) re(f)vo(f)lú(f)tum(e) lá(f)pi(fg)dem.(h.) (:) E(f)rat(h) quip(h)pe(h!ij) ma(i)gnus(hvGFg) val(e.)de.(f.) (:) Et(jhjIHGF) in(f)tro(f)ë(f)ún(f)tes(f) in(f) mo(f)nu(f)mén(f)tum(f) vi(f)dé(f)runt(f) jú(f)ve(f)nem(f) se(f)dén(f)tem(f) in(e) dex(fg)tris,(h.) (:) co(f)o(h)pér(h)tum(h) sto(h)la(h) cán(h)di(h)da,(h) et(h) ob(h!ij)stu(i)pu(hvGFg)é(e.)runt.(f.) (:) Qui(jhjIHGF) di(f)cit(f) il(f) lis:(f.) (;) No(f)lí(f)te(f) ex(f)pa(f)vé(f)sce(f)re:(f.) (;) Je(f)sum(f) quǽ(f)ri(f)tis(f) Na(f)za(f)ré(f)num,(f) cru(f)ci(e)fí(fg)xum:(h.) (;) sur(f)ré(h)xit,(h) non(h) est(h) hic,(h) ec(h)ce(h) lo(h)cus,(h) u(h)bi(h) po(h)su(h!ij)é(i)runt(hvGFg) e(e.)um.(f.) (:) Sed(jhjIHGF) i(f)te,(f) dí(f)ci(f)te(f) di(f)scí(f)pu(f)lis(f) e(f)jus(f) et(e) Pe(fg)tro,(h.) (;) qui(f)a(h) præ(h)ce(h)dit(h) vos(h) in(h!ij) Ga(i)li(hvGFg)lǽ(e.)am:(f.) (:) i(jhjIHGF)bi(f) e(f)um(f) vi(e)de(f)bi(fg)tis,(h) (;) si(h)cut(h!ij) di(i)xit(hvGFg) vo(ef)bis.(gf..) (::)
name: Gospel for the Easter Vigil;
initial-style: 1;
annotation: ;
user-notes: Sequéntia Sancti Evangélii secúndum Matthaéum.;
%font: GaramondPremierPro;
%width: 7.5;
%height: 11;
%spacing: vichi;
%%
(c3) VE(jhjIHGF)spe(f)re(f) au(f)tem(f) sáb(f)-ba(f)ti,(f) quæ(f) lu(f)cé(f)scit(f) in(f) pri(f)ma(e) sáb(f)ba(fg)ti,(h.) ve(f)nit(h) Ma(h)rí(h)a(h) Magda(h)lé(h)ne,(h) et(h) ál(h)te(h)ra(h) Ma(h)rí(h)a(h) vi(h)dé(h!ij)re(i) se(hvGFg)púl(e.)crum.(f.) (:) Et(jhjIHGF) ec(f)ce,(f) ter(e)ræ(f)mó(fg)tus(h) (;) fa(h!ij)ctus(i) est(hvGFg) ma(e.)gnus.(f.) (:) An(jhjIHGF)ge(f)lus(f) e(f)nim(f) Dó(f)mi(f)ni(f) de(f)scén(f)dit(e) de(f) cæ(fg)lo:(h.) (;) et(f) ac(h)cé(h)dens(h) re(h)vól(h)vit(h) lá(h)pi(h)dem,(h) et(h) se(h)dé(h)bat(h) su(h)per(h) e(h)um:(h.) (;) e(h)rat(h) au(h)tem(h) a(h)spé(h)ctus(h) e(h)jus(h) si(g)cut(f) ful(h)gur:(h.) (;) et(f) ve(h)sti(h)mén(h)tum(h!ij) e(i)jus(hvGFg) si(e)cut(f.) nix.(f.) (:) Præ(jhjIHGF) ti(f)mó(f)re(f) au(f)tem(f) e(f)jus(f) ex(f)tér(f)ri(f)ti(f) sunt(e) cu(f)stó(fg)des,(h.) (;) et(f) fa(h)cti(h) sunt(h!ij) ve(i)lut(hvGFg) mór(e)tu(f.)i.(f.) (:) Re(jhjIHGF)spón(f)-dens(f) au(f)tem(f) Ange(f)lus,(f) di(f)xit(f) mu(f)li(e)é(f)ri(fg)bus:(h.) (;) No(f)lí(h)te(h) ti(h)mé(h)re(h) vos:(h.) (;) sci(h)o(h) e(h)nim,(h) quod(h) Je(h)sum,(h) qui(h) cruci(h)fí(h)xus(g) est,(f) quaé(h)-ri(h)tis:(h.) (;) non(f) est(h) hic:(h) sur(h)ré(h)xit(h) e(h)nim,(h!ij) si(i)cut(hvGFg) di(e.)xit.(f.) (:) Ve(jhjIHGF)ní(f)te,(f) et(f) vi(f)dé(f)te(e) lo(fg)cum,(h.) (;) u(f)bi(h) pó(h)si(h)tus(h) e(h!ij)rat(i) Dó(hvGFg)mi(e.)nus.(f.) (:) Et(jhjIHGF) ci(f)to(f) e(f)ún(f)tes,(f) dí(f)ci(f)te(f) dis(f)cí(f)pu(f)lis(f) e(f)jus,(f) qui(f)a(f) sur(e)ré(fg)xit:(h.) (;) et(f) ec(h)ce,(h) præ(h)cé(h)dit(h) vos(h) in(h!ij) Ga(i)li(hvGFg)laé(e)am:(f.) (;) i(jhjIHGF)bi(f) e(f)um(f) vi(e)dé(f)bi(fg)tis.(h.) (:) Ec(f)ce,(h) præ(h!ij)dí(i)xi(hvGFg) vo(ef)bis.(gf..) (::)
25 Friday Mar 2016
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Lessons for Tenebrae set to the Common tone,
Lessons set in another of the three suggested Tones can be found here,
http://www.fidelitybooks.com.au/Hugh/Good%20Friday%20Tenebrae%20Readings%204%20to9.pdf
These lessons have been set thanks to the brilliant programme found here,
http://bbloomf.github.io/jgabc/readings.html
and the texts found here, http://www.fidelitybooks.com.au/Hugh/
25 Friday Mar 2016
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The Crux Fidelis and the Vexilla Regis can be found in the Graduale and are used Liturgically on this day. Both these Hymns have been revised, but the older versions below can also be used. The scan of the Crux… is from the 1961 G.R. the scan of the Vexilla is from the 1910 L.U.
Below is the ‘original’ version of the Vexilla Regis not the modern version used for Vespers during Passiontide, for feasts of the Holy Cross, and as a processional Hymn on Good Friday.
Congregational Propers booklet pre-1955 Rite
24 Thursday Mar 2016
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Congregational Propers Booklet
Hymn from the Ambrosian Vesperale
Alternative version,
Tenebrae Lessons for evening, anticipated Matins and Lauds of Good Friday. The following use the Common Tone
Lessons set in another of the three suggested Tones can be found here,
http://www.fidelitybooks.com.au/Hugh/Good%20Friday%20Tenebrae%20Readings%204%20to9.pdf
These lessons have been set thanks to the brilliant programme found here,
http://bbloomf.github.io/jgabc/readings.html
and the texts found here, http://www.fidelitybooks.com.au/Hugh/
23 Wednesday Mar 2016
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Congregational Propers sheet (pre-1955)
22 Tuesday Mar 2016
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Congregational Propers Booklet (pre-1955)
21 Monday Mar 2016
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Congregational Propers Booklet
21 Monday Mar 2016
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20 Sunday Mar 2016
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From the 16th century Salzinnes Antiphonal
First Vespers Hymn, Magnum Salutis Gaudium
Terce Hymn, Jam Surgit Hora Tercia
For other Hymns see Palm Sunday
Congregation booklet pre 1955, Palmsunday52