1

ConradvonZabern

Demodobenecantandi(1473)

[published1474]

Translatedby

SionM.Honea

2

Introduction

AccordingtotheGroveDictionaryConradvonZabernachievedadistinguishedcareerbothasa

theologianandpreacherandalsoasamusictheorist.Thestandardmoderneditionofhisworks,edited

byKarl-WernerGümpel,creditshimwiththreetreatises,includingthepresentone,whichalsoexistsin

Germantranslation.Littleisknownofhislifespanexceptthathereceivedthebaccalaureatefrom

Heidelbergin1428,whichhecouldreasonablyhavereceivedasearlyastheageof16butmorelikelyno

laterthanbytwenty.HedatedtheDemodobenecantandias1473,thoughitwaspublishedin1474,

andGrovesuggeststhathediedpriorto1481,makinghimreasonablyclosetothethreescoreandten.

VonZaberngainedthereputationofanexcellentteacher,thoughonewhocouldbesomewhat

prickly,asJosephDyernotesinhisarticleonvonZabern.1CertainlyvonZabernmentionsinthepresent

textsomeofhisremarkstoothersontheirfaults,whichcommentswouldhavebeenlessthantactful.

InthisconnectionitshouldbenotedthatDyer’sarticleincludesanEnglishtranslationofthecomplete

sixthprecept,whichconstitutesaboutfortypercentofthetotaltreatise,excludingthetwoappendices.

Thepresenttranslationis,howevertheonlyavailableEnglishtranslationoftheentiretreatise.Dyer’s

concentrationonthesixthpreceptisunderstandable,forinitisconcentratedthemostinformation

directlyrelatedtoperformancepractice.Thepreviousfivepreceptsarenotatallwithoutmeritandare

particularlyvaluableforunderstandingthetotalpictureofwhyvonZabernhasbeencreditedasthefirst

extantauthoronthesubjectthatwewouldconsidermodernvocalpedagogy.Tosaythatheisthefirst

extantauthoronthesubjectisprobablytantamounttosaying“thefirst”withoutfurtherqualification.

NothingrecognizablyequallymoderninconceptionappearedagainuntilMaffei’sLettereof1562,

almostafullcenturylater.

1JosephDyer,“SingingwithProperRefinementfrom“DeModoBeneCantandi”(1474),”EarlyMusic6,no.2(1978).

3

VonZabernwasapparentlywellawareofthenoveltyofhisapproach,forheclearlyfelt

compelledtodefenditpreemptively.Priortothefirstpreceptheaddressesaputativeopponentwho

objectstovonZabern’sclaimtoteachingsinginginsomespecialwaywhenhistreatisesayslittleabout

teachingsinging,i.e.,thatheclaimstoteachthemethodofsingingwellbutsaysnothingaboutteaching

singingastraditionallyunderstood.Thehypotheticalcriticismarisesfromaconsciousnessofwhathad

previouslybeenconsideredvocalpedagogyinthemedievaltreatises;thishadlesstodowiththe

modernconceptofvocalpedagogythanwithmusicfundamentals.Drawingbothonthetreatisesand

oncontemporarydescriptionsofsinginginstructionitispossibletoreconstructthatLatindiction,

memorizationofchantrepertoire,musicnotation(whenthatultimatelybecamewidespreadinuse),the

natureofthemodes,theratiosandproperintonationofintervals,andperhapssomerulesfortext

settingformedthecoreofvocalpedagogy.Laterwiththespreadofpolyphony,cathedralsandlarger

collegiatechurchesbegantotrainchoristersinmensuralnotationandavarietyofimprovised

contrapuntaltechniques.ThisviewofvocalpedagogyiswhatvonZabernintendstoenlargebyhis

remarksonvocalproductionandaesthetics,sothathisargumentforteachinghowto“singwell”seems

amplyjustified,thusearninghimanimportantplaceinthehistoryofthefield.

VonZabernrefersonmorethanoneoccasiontothoseinthe“reformed”tradition,whichhe

doesnotclarifybutwhichisworthyofnotice.Themostlikelycandidateforthisreformwouldseemto

bethatpromulgatedattheCouncilofBasel(1431-1435),particularlythosedecisionsissuedinSession

21,June9,1435.NotonlydoesvonZabernshowinterestinmanyofthesameareasofthereform—

pacingoftheservices,performanceofchant,distinguishingfeastfromferialdays,choraldemeanorand

deportment,properdiction—heevenechoestheconcernparticularlywithchoirsincathedralsand

collegiatechurches.ItisalsoworthnotingthattheCounciltookplaceduringthepapacyofEugeneIV

(1431-1447),whowouldreformthechoristerschoolsinItaliancathedrals.VonZabern’sreferenceto

thedistinctionbetweenregularandsecularclergy,whichIhavefoundoftenmystifiespeople,especially

4

Americanstudents,Ihaveexplainedinafootnote,withanotherexplainingthenatureofacollegiate

church.

IfindvonZabern’streatisepotentiallyveryinterestingtovoiceteachersandstudentsaswellas

tochoraldirectorsandchoirmembers.Muchofhisadviceisequallyrelevanttoday.Inordertorender

thetreatiseeasiertouse,Ihaveprovidedabriefoutlineofitscontents.Ihavealsotranslatedthetwo

appendicesthatvonZabernadded.Dyerreasonablyomittedthemfromhistranslationsincetheyare

notpartofthesixthprecept,butthefirstappendixisdevotedtoproperperformanceofpsalmodyand

theseconddealswiththeinterestingrelatedsubjectofproperlectionforservice.

Asalways,Ihavemademyowntranslationwithoutpriorreferencetoanyother,inthiscase

onlyDyer’sown.Alsoasgeneralpractice,IconfirmedaveryfewquestionablepassagesagainstDyer’s

translation,withtheresultnotofretranslationbutmoreintelligiblerewording.Dyer’sispresentedin

smootherEnglish,mineis,Ibelieve,closertotheLatinforgoodorill.VonZabern’sLatinprovedtobe

nottoodifficult,themaindifficultiesresulting,Ibelieve,fromtheintrusionofhisnativeGermansyntax.

Otherwisetherewerefewproblems.

5

OutlineoftheTreatisebytheTranslator

I. Thefirstpreceptistosingingoodensemble,whichistosinginsuchawaythatthevoicesofall

thesingersproceedinthesamemovementoftimeequallyandsimultaneously.

a. Thisrequiresmutuallydiligentattentionfromallmembersofthechoir.

II. Thesecondpreceptistosingwithcorrectrhythmsothatnomoretimeisspentononenote

thanonothers.

a. Donotdrawoutthehighernotesofthesong.

b. Mistakesaremostfrequentandgreateramongthehighernotes.

c. Donotsingthehighernoteswithaloudervoice.

d. Donotextendrestscontrarytothemeasure.

e. Onechorusmustconformitselftotheotherinmeasure.

III. Thethirdpreceptistosingmoderately,whichistosingneithertoohighnortoolow.

a. Whenthesongisinhighrange,starttheinitialpitchlower.

b. Whenthesongisinlowrange,starttheinitialpitchhigher.

IV. Thefourthpreceptistosingvariably,whichistoexecutethesongaccordingtothedemandsof

the[specificliturgical]time.

a. Singvariablyinregardtospeed.

i. Onfestivalssingverygradually.

ii. OnordinarySundaysandsmallfeastssinginamoderatemeasure.

iii. Onordinarydayssingmorequickly.

b. Singvariablyinregardtocharacter.Onfestivedayssinghigherandmorejoyfullyforthe

sakeofgreaterliveliness.

c. Singdifferenttypesofservicesonthesamedayindifferentways.

i. Onthesamedayahighofficeshouldbesungmoresolemnlythanaprivateservice.

6

ii. Theofficeofthedeadandvigilsandvespersshouldbesunglowerandlessjoyful

thantheotherofficesnotconcerningthedead.

iii. Officesofjoyfulmattersshouldbesungmorejoyfullythanthoseofsinsand

tribulations.

iv. Whenaholidayfallsonanordinaryday,whoseofficeisspecialandoughtnotbe

omitted,2itisfittingtosingadoubleoffice,asinthecaseofAdvent,LentorEmber

Days,withthefeastsungmoresolemnlyandtheordinarydaymorefreelysoasto

preserveaproperdifference.

V. Thefifthpreceptistosingwithfidelity,whichistosingsothatanyoneofthosesingingtogether

shouldremainintheformofthenotesastransmittedbythefathers.

a. Followtraditionalperformancepractice.

i. Donotbreakupthenotesinto[ornamentalpassages].

ii. Donotgooffinanywayafifthaboveorafourthbelow.

iii. Donotperforminthemannerofdiscant.

b. Maintainproperdecorum.

i. Allshoulduncovertheirheadsatthesametimewhenitisproperlytobedone.

ii. Likewise,allshouldbowtheheadandkneelatthesametime.

c. Secularmelodiesshouldneverbeintroducedandsungtosacredtexts.

VI. Thesixthpreceptistosingwithrefinement,whichistosingwithoutcoarseness,forwhich

constantself-criticismistherequiredfoundation.

a. Donotaspiratevowelsthathaveno“h.”

b. Donotsingthroughthenose.

c. Distinguishdifferentvowelscarefully.

2ItshouldbenotedthattheLatinispotentiallyambiguoushere,butthisrepresentsVonZabern’ssyntacticorder.

7

d. Inmelismasretainthesamevowelconstantlythroughout.

e. Donotallowthevoicetogooffpitchinascendingordescending.

f. Donotstrainorforcethevoice.

g. Singappropriatelytotherangeofthevoice.

i. Donotsingwithanopenthroatorstrongvoiceonhighernotes.

ii. Donotsingwithoneuniformvoicethroughouttherange,low,middle,andhigh.

1. Useaheaviervoiceforthelowrange.

2. Useamediumvoiceinthemiddlerange.

3. Usealightorsubtlevoiceinthehighrange,whichenablesthesingertosing

higher.

iii. Failuretoadaptthevoicetotherangeleadstoinjury.

1. Itburdensandfatiguesthevoice.

2. Itinduceshoarsenessandmakesthevoiceunsuitedforsinging.

h. Whensongscorrespondtoeachothermakesurethattheendingofonecorrespondstothe

beginningofthenext.

i. SuchasthelastKyrieeleisontotheGloria.

ii. Suchastheantiphontothepsalm.

i. Donotsinglethargicallybutwithlifeandfeeling.

j. Payattentiontoproperdeportment.

i. Standstillanddonotmovearoundorleaninonedirection.

ii. Donotraiseyourheadtoohighorinclineitorpropitwithyourhand.

iii. Donotdeformyourmouth.

VonZabernhasalreadyreducedAppendicesIandIItooutlinesandsorequirenofurtherreduction

here.

8

DEMODOBENECANTANDI3

Preface

Thereasonwhythefollowinglittleworkhadtobeissuedinprintinpreferencetoathousand

othersisthatbecause,amongthemanysubjectsnecessaryforecclesiasticalorscholarlymen,scarcelya

singleonecanbefoundthatisofsuchgeneralconcernasisthisthatistreatedinthefollowinglittle

book.Foritisthebusinessofallsecular4priestsandclericswhoholdbenefices5incollegiatechurches,6

fromthelargesttothesmallest,whonolessthantheregularclergyfromtheinstitutionhavetopursue

thedivineofficeandalsoofallthoseinparishchurches,atleastsingingontheobligatoryfeastdays.It

isnonethelessemphaticallythebusinessofallteachersandtheirstudentsorassistants,bywhatever

nametheybedesignated,especiallyofallstudentsstrivingforastatusofthiskind,7whobythe

instructionofthislittlebookinthefuturewillbebetterabletoinformandguidetheirownstudentsin

alltherequirementsforsingingwellandeffectivelyandquicklytocheck,drawbackandrestrainbyall

3ThistranslationisbasedonthetextfoundinKarl-WernerGümpel,DieMusiktraktateConradsvonZabern(Wiesbaden:FranzSteinerVerlag,1956).4Tothemanynotfamiliarwiththisdistinctionitcanbeveryconfusing.The“secular”clericswerethosewhowerenotinmonasticordersandwhoservedinchurcheswithinthelaycommunity,mostlybutnotexclusivelythosewhopossesseda“cureofsouls.”The“regular”clergywerethoseinmonasticorderswholivedcommunally,sequesteredinmonasteries.Intruth,itwasn’tthistidy,butthisisthebasicdifference.5VonZabernisagaindetailinganimportantdifference.Thebeneficewasagrantofcertainpropertiestobeadministeredbytherecipient,whothenreceivedthe“benefit”oftheincomefromthemforthetenureofhisoffice.Lateradifferentsystemwasexpandedgreatly,towhichvonZabernrefersbelow,thatofprebends.Prebendswerestipendsofcashawardedtotherecipientsfromtheinstitution’sincomeinlieuofadisposalofpropertytomanage.Unlikethebenefice,whichrequiredresidencefortheadministrationofthepropertyandministerialduties,theprebendallowednon-residence.Theprebendwasoriginallyintendedtoallowclericsthefreedomtotravelforeducationforfiniteperiodsoftime.Unfortunately,overtimeitbecamemuchabused.Theoriginoftheterm“sinecure”isrelatedtothissystem,onewhoholdsanofficewithout“cure”orcureofsouls,i.e.,specificresponsibilities.6Thecollegiatechurchwasalargechurch,notofcathedralauthority,servedbyamultiplebodyofclerics.Theoriginandnatureofthistypeofchurchchangedovertime.Atfirsttheyweremostly“regular”institutionsconnectedtoandservedbyamonasticorder.Latertheydevelopedintosecularinstitutions,someoriginatingfromtheunificationofalargenumberofseparatelyendowedchapelsorchantrieseachwithitsownpriestinservice.Somewerefoundedasbequestsbywealthyindividuals,whoprovidedfundstobuildthestructureandanendowmenttosupportabodyofpriests,whosemainservicewastoofferprayersforthebenefitofthebenefactor’ssoul.Theparishchurcheswerethesmalllocalestablishmentsservedbyasinglepriestwhowasoftenverypoorlyeducated.VonZaberndoesnotusethetermprebendherebutdoessolaterneartheendofpreceptone.7VonZabernprobablymeansthoseaspiringtobecomesinginginstructorsthemselves.

9

necessaryrestraintsofanykind,notonlyinyouthbutevenafterwardtheirentirelives,towhatever

positiontheymayattain,thattheymaycontributemoreusefullyinchoir.Truly,itisamatterof

inestimableharmthatthemethodofsinging,wellreportedhere,upuntilnowhasbeenunknownto

teachers,becausefromthisitcomesaboutthatinnumerableprieststodayareignorant,sothereislittle

wonderthattheysingsobadlyforgoodstipendsandprebends.

ASmallWorkRecentlyCompiledontheMethodofSingingWell

ChoralSonginLargeChoirs8

AD1473

TothefavorofalltheclergyandtoitshonorandincreaseIdeclarethatIhavecompiledthis

presentlittlebookandhavepublishedit,inorderthatall,towhosepracticesitpertains,maysingchoral

songinthatmethodofsingingwell.Thismethodupuntilnowhasbeenunknowntoinnumerable

clerics,evenwhoproperlyunderstandsinging,becauseofthefaultoftheirinstructorswhoneglectedto

instructtheminthisintheiryouth,seeminglyfortheveryreasonthattheywereignorantofit.On

whichaccounteventodaymoreteachersareignorantofit,eveniftheyknowsomethingofmusic

comparedtomanyothers.NorwasIeverinstructedinthismethodofsingingwellbyanyofmy

teachers,howevermuchtheyknewaboutmusic.Indeed,Iwanttomakethismethodclearinthis

presentbooktothemostecclesiasticspossible,justastheycommandintheholyscripturesthatit

shouldbedonefirstandmainlymorepleasingtoomnipotentGod,andsecondmoretothecreditof

thosesinging,sinceGodisthepaymasternotofnounsbutofadverbs9andalsothirdtothegreater

8VonZabern’sLatinlooksalittleodd,butitisclearinthefollowingthatheisspeakingofunisonchoirsforplainchant,notpolyphony.9ThismaybeaquoteorsayingwithwhichIamnotfamiliar.Thesenseseemstobeofqualitiesratherthanofmaterialthings.

10

serviceofthefaithfullisteners,sincewithoutdoubtaworkofthiskinddonewellbecomesmorethan

otherwiseanincitementandincreaseofdevotion.

Therefore,itmustbenotedthatforsingingchoralsongwellsixthingsaltogetherinnumberare

requiredofthesingers,whichherebelowfollowintheirproperplaces,giveninupper-caseletters,10

theirexplanationalwayssoonjoinedinlower-caselettersforthesakeofsimplicity.Thosewhostandin

greaterneedofsuchexplanationandwhosometimescanbemoreusefulinachoirthanthoseolderand

morelearnedthanthemselves,oratleastsomuchthemoreasthemorefullytheywillhavebeen

instructedherebythefollowingconcerningsingingwell.So,thethingsnecessaryforsingingwellin

choirIwillnowinthisfirstplaceonlysimplyenumeratesummarily,afterwardIwillfollowthemupwith

explanationsappendedinthebestorderIcan.

These,therefore,arethesixthingsthatarerequired,namely:tosingwithgoodensemble,in

rhythm,withmoderation,withdiversity,withdevotion,andwithsufficientsophistication.Thefirstof

theseisthefoundationforalltherest,indeedtheultimateornamentofalltheothersbecauseifit[this

firstprecept]islackingintheremainingfive,thenthesongitselfcannotsufficientlydeservepraise.

Thesesixintheenumeratedconsiderationaremostworthybecausewithouttheseonecannotsing

appropriatelyforachorus,howevertrainedinsong.Foralthoughmanyupuntilnowhavethoughtthat

hewasconsideredtoknowhowtosingwell,whoknowshowtosingquicklyandcorrectlythesame

notesbothinascentanddescentfromonetotheotherofthemwithoutobviouserrorordeviation,

neverthelessthisisnothingexceptknowinghowtosing.11Forsingingwell,however,trulymoreis

10Theoriginaltitlesforthepreceptswereinallupper-caselettersbutthebodyofthetextislower-case.11Hispointliesintheomissionofbene“well,”i.e.,suchapersonknowsthemechanicsorfundamentalsofsingingbutnothowtosingwell.VonZabern’sDemodobenecantandiistheearliestsurvivingtextonvocalpedagogyinthemodernsense:TessKnighton&DavidFallows,CompaniontoMedieval&RenaissanceMusic(Berkeley:UniversityofCalifornia,1997),314,whichis,perhaps,tantamounttosayingthefirstworkonvocalpedagogy,PrevioustovonZaberninstructioninsingingwaswhathehasdistinguishedhereas“howtosing”asopposedtohis“howtosingwell.”Earlier,singinginstruction,asinevidencefromthetextsanddocumentarydescriptions,includedreadingaloudforproperLatinpronunciation,memorizationofrepertoirebyroteinearliertimesthenlaterfrombooks.Alsolaterwereincludedsolmization,mutation,notation,modalidentification,sometimestextsettingandotherinformation.Inotherwords,itwasessentiallythemusicalfundamentalsofthetime.Von

11

demanded,namelytheobservationofthosesixalreadyenumeratedandconsequentlytobeexplained

inorder.Ifsomeoneweretoreplytomethatsurelyitisproperforsomeonetoknowhowtosing

beforebeingabletosingwell,inwhatway,then,wouldIbeableinthepresentworktotreatthe

methodofsingingwell,inwhichIinstructnotevenonesinglenoteaboutsinginginregardtothe

demandofproportions,12thereadyresponseis:inthisworkIaddresschurchmenwhohavelongsung

intheirownchurches,whomIsupposesomehowknowhowtosingeitherfrompracticeorsomehow

else,desiringtoteachthesesameones,thatintheway—theverysame—thattheyhavelongandoften

sung,theyoughtandarecapableofsinginginthefuturebyfarbetterthanupuntilnow,evenapart

fromtheexpenseofmoretimeandwithouttheaggravationoflabor.Forthoseforwhom,indeed,

instructioninsingingaccordingtotherulesofmusicalrudimentsuptonowhasbeenanecessity,these

latterIleavetomyotherlaborsmadeinthissubject,butIdoinvitethemtomypubliclectureson

music,whichIamalwayspreparedtogive,whenthesupplyoflistenersisnotlacking.NowIproceedto

theexplanationofthesixbeforeenumerated.

TheFirstistoSingwithGoodEnsemble

Tosingingoodensembleistosinginsuchawaythatthevoicesofallthesingersatonce

proceedinthesamemovementoftimeequallyandsimultaneously,sothatnoneofthosesingingatthe

sametimegetsaheadwithhisvoiceortarriesafterthemperceptiblytoanydegreewhatever.Ofthis

thingwehaveadoubleexampleworthyofimitation.Oneistheangelsinheaven,ofwhomitissungin

thesequenceofthefeastoftheNativityofChrist:Theangelsinheavensingwithonevoiceinunison.

Letthesewordsbeconsidered:“voiceinunison.”LetusimitatetheseangelsofGod,ifwewishtoattain

Zabern,however,givesattentiontovocalproductionandissuesofvocalaesthetics,whichjustifiestheidentificationofhisbookasinthemoderntraditionofvocalpedagogy.12Thewordusedhereisproportio,whichmightseempeculiarinthecontext,sincevonZabern’sadvicerelatesonlytoplainchantchoirs,nottopolyphonicmusic,makinganallusiontoproportionsinmensuralnotationunlikely.Proportiois,however,thetermusedforwhatinEnglisharecalledthePythagoreanratiosoftheintervals,whichwouldthenmakesenseofthepassage.VonZabern’sputativeantagonistissaying“howcanyousayyouareteachingsingingwhenyoudon’tsomuchasevenmentiontheratiosoftheintervals?”

12

totheirfellowshipinsingingperpetuallywiththemthepraisesofourfounderandredeemer.Wehave

anothernotableexampleofboysplacedintheburningfurnace,concerningwhomitiswritteninthe

thirdchapterofDaniel:ThesethreeasfromonemouthwereblessingandpraisingGod.Now!Whois

sosimpleasnottounderstandthatthesethreeboyshadthreemouths?Butevenso,thescripturesays

distinctly“asfromonemouth,”becausetheirthreevoicessoundedsoconcordantlytogether,asifthey

hadissuedforthfromonemouth.Weoughttoproposetheseboysasdeservingimitation.

Butinorderforthattobecomenotonlypossible,buteveneasilydoableinaremarkable

multitudeofpeoplethroughouttheentirebreadthofthechoirofpeoplestandingdistantfromeach

other,thisonethingisrequiredbyabsolutenecessity,namelyamutuallydiligentattention,which

unfortunatelyupuntilnowwassomethingalltoounaccustomedinmanychurches,butwithoutwhichit

isnotpossibletomaintainthepropermeasureoftimeinalargenumberofpeoplesingingtogetherwith

accurateensembleofvoices.But,whenthissamemoderatingdiligentattentionofthosepeopleis

highest,whoineverychoirarespecificallydesignatedtoit,justasissufficienttotheneed,thisthing

withoutdoubtiseasilydoablewhenonlythepeopleofthechoirinthisworkofGod—towhichnothing

ispermittedtotakeprecedence“oversong”accordingtotheblessedBernard—willhavebeensuchas

theytrulyoughtandareobligedtobeindeservingofgoodwill.ForthisreasonthisworkofGodislike

theirlaborinthefields,whencetheyhavedignityandtheirlivelihood,forwhichtheyhavebeen

selectedaccordingtothatinthecanonsofSt.Peter:“Youareaselectpeople,”forwhichtheyhavebeen

madeworthy,especiallyevenfaraboveprinces,specificallybecauseoftheassociationwithholyorders,

forwhichasathirdreasonarethestipendsforprebendsorecclesiasticalbeneficesanddailyassistance.

Pray?Whatdifficultyobtainsforpeopleofgoodwill—sinceanypersonatallhastwoearsforlistening

toothers—tousethese[ears]diligentlyintheworkofGodalreadymentioned,inorderthatitmaybe

doneblamelesslyandwellforthegloryofthissameomnipotentGodandforthehonoraswellforthe

spiritualimprovementandsecurityofthosesingingandlistening.

13

TheSecondistoSingwithCorrectRhythm

Tosingwithcorrectrhythmistosingsothatnomoretimeisspentononenotethanonothers,

whatevermeasure13issung,eitherlongerorshorteraccordingtothedemandsofthetime,justaswill

cometobeseeninthefourthoftheprecepts.14Formeasure[rhythm]isdefinedbymeasuringand

consequentlythesongitselfhasapropermeasure[rhythm]andismeasuredcorrectlywhenonenoteis

neitherdrawnoutnorshortenedmoreorlessthananother,whichallchurchmenbothregularand

secular,whohavepraiseofsingingwellbeforeotherthingsareaccustomedtoobserveinviolably.By

contrast,inmanycollegiatechurchesmanypeoplewithoutnumberoftendosoastodrawoutonenote

morethantheremainderandabbreviateanotherorotherstoomuchandbymuchmorethanthe

remainder.15Thisisoneofthemostcommonabusesinsingingamongthegreaterpartoftheclergy.

Rather,mostespeciallyandfartoofrequentlydotheydrawoutlongallthehighernotesofthesong,

thenrightafterwardtheyshortenthefollowingonestoomuch,justasisconspicuouslyapparentinthe

festival“Patrem.”Iwillbesilentnowoninnumerableotherexamples.

SinceIhavementionedherethehighernotesofthesong,Ioughtnottopassoverthisone

worthwhileremark,ofwhich,nevertheless,fromallmyinstructorsIhaveneverheardmentionmade,

eventhoughwithoutdoubtitismostworthyofconsideration.Thisisthatamongthehighernotesof

thesongtherearemistakesnotonlymorefrequentlybutevengreater,byafaultspecificallyofskill,so

13VonZabern’sterminologyisvagueandinconsistent.Hedistinguishesherebetweendurationofnotesandtheiroverallspeedortempo.Theproblemseemstoarisefromhisapparentuseofmensuratomeanbothdurationofindividualnotesrelativetoeachother,orrhythm,andalsotomeanoverallspeedortempoofthenotes.Heissayingthatwhateverthetempo,thedurationmustbeuniform.Itisnotatalluncommontofindthatearlierauthorsdonotclearlydistinguishdistinctconceptsthatwedotodayandsocombinereferencetothemunderoneterm.14AsitstandswithoutamplificationthisstatementwouldbeverymisleadinginEnglishtranslation.InthefourthpreceptvonZaberndiscussesvaryingtheoverallspeed,fasterorslower,ofthepieceaccordingtotheliturgicalpurpose,whetherhighorlow;thus,by“thetime”heapparentlymeansaccordingtotheplaceinthetemporalcycleoftheliturgy.15Theremaywellbenoissueregardingplainchantthatismoredebatedthanthatofthevalueofindividualnotes.Someprimarysourcesappeartosaythatdifferentvalueswereemployedwhereasothersdonot.Amongmodernscholarsthesamedifferenceinopinionobtains.VonZabernisclearlyassertingherethat,withfewexceptionstobementionedlater,thenotevaluesshouldbeuniform.

14

thatbymeansoflackofdiscernmentandineptsingingafaultismadecontrarytomanyofthe

[precepts]enumerated,especiallycontrarytothefirst,secondandsixthrequirementsforsingingwell.

Truly,soveryoftenisonesolitaryhighernotethussungineptly,thatatthesametimethereisafault

againstthreeoftherequirementsalreadyenumerated,soobviouslythattheperceptionofitcannotbe

hidden.ThisIthusdeclare,becauseifanyoneshoulddrawoutsomehighernotemorethantheothers

singingwithhim,asissooftendone,heerrsagainstthefirstprecept,sincehetarriesbehindtheothers

singingwithhimandsodepartsfromgoodensemble.Whenheprolongs,asbyconsequence,thesame

highernotemorethanthefollowingnotes,accordingtotheverycommoncustomwithinnumerable

ecclesiastics,hesinsagainstthesecondpreceptbecauseheobviouslyviolatesmeasure.Ifheshould

singthissamehighernotewithaloudvoice,justassocustomarilyhappenswithoutnumberoften

amongthegreaterpartoftheclergy,soalsodoesheviolatethesixthprecept,since,aswillbeexplained

belowinthesixth,highernotesmaybesungwithalightervoiceandarenottobesungoutwithan

openthroatorstrongervoice.

Thisnowmustbenoted,thatallextensionsofrestsareentirelytobeavoidedbecauseitisa

faultagainstmeasure.

Thismustbeguardedagainst,letnorestsbemadewheretheyarenottobemadebecausethis

alsowouldbecontrarytomeasure,whichmustbecontinueduniformlyuptotheappropriateplaceof

thetruerests.Contrarytothis,innumerableecclesiasticsmakelittledelaysafterthemannerofmaking

restsinathousandplacesinthesongwherenorestorretardationismade,notatallinfrequentlydo

theydoitaftersinginganywordwhatever,whichiseasilyexplainedbyexamples.

Thisalsopertainstosinginginrhythm,onechorusshouldconformitselftotheotherin

measure,foritbenefitsnothingthatonechorusisfasterthantheotherorwouldpreserveamore

15

drawnoutmeasureinsinging,whentheysinganythinginturnsoralternatelyashymnsorthesequence

“Etinterra”andothersofthiskind,certainlynotwhileitisplayedontheorgan.16

TheThirdistoSingModerately

Tosingmoderatelyistosingneithertoohighnortoolow,whichisentirelyfittingbecausea

moderatesongislessonerousformostpeoplethanahigherorlower,17sincetherearealwayssomein

thegroupwhoarenotabletosinghighorlowwithoutmuchphysicaldifficulty,inwantofwhose

assistancethechorusisdiminishedwhenitwouldbesungeithertoohighortoolow.But,whenitis

sungmoderately,anyonecanfaithfullyaidthechoruswithoutimpairmentandwithouthisown

difficulty.Likewiseifinotherthingsthemeaniscommendable,notlessisitinchoralsong.18

Forthelaudablepreservationofcontinualmoderationofthiskindinsong,thisonethingisquite

necessary,namelytheprudentanddiscerninginitiationofthedirectingprecentor,especiallywhenthe

songascendsmuchaboveitsbeginningnoteordescendsmuchbelowthesameinanyofitssections.So

thatwhenitproceedstothesameplacehighorlow,itmaybeabletobesungbythemajorityofpeople

ofthechoirwithoutdifficulty.Concerningwhichdiscerninginitiationpracticaldirectiontohearingand

explanationinthesongscaneasilybegiven,particularlytheoneswho,beforeothers,morestandin

needofprudentbeginning,astherearethosesongsthatascendbeyondtheirinitialnotetoeightor

nineevenmorenotesinanypart,19accordingtowhichthisbefitsbeginninglowertothedegreethatit

ascendshigher.Onthecontrarythosesongsthatdescendbelowtheinitialnotebymuchinanyplace,it

16VonZabernapparentlyreferstotheperformancepracticeofdividingthechoirintotwosectionsinordertocreateanalternatingcharacter,asindifferentversesofthesequence.Thereferencetotheorganisnotclearastowhetherhemeanswiththeorganaccompanyingthechoirsimultaneouslyorinanalternatingmanner,asinthealternationofpsalmverseswithorganversets,apracticethatbeganaround1400andbecameincreasinglypopularinthesixteenthandseventeenthcenturies.17Thisdoesnotrefertodynamiclevelbuttopitchlevel.Sincetherewasnosuchthingasstandardpitchatthistime,thechoralleader,theprecentororotherofficial,setthepitchandthechorus,knowingthemodeofthepiece,adjustedaccordingly.18Thisis,ofcourse,areferencetoAristotle’sadvocacyofthemeaninallthings.19Thisisalmosttheclassicdefinitionofanauthenticmode.

16

isfittingtobeginhighertothedegreethattheyarefoundtodescendmore.Songs,indeed,thatfit

neitherofthedefinitionsrequirelessforethoughtinbeginning,forinthemchoirseasilyavoidtrouble.

TheFourthistoSingVariably

Tosingvariablyistoexecutesongaccordingtothedemandsofthe[specific]time20and

differenceoftheofficesinthefirstway,inorderthatitmaybesungquitegraduallyinfestivals,buton

ordinarySundaysandforsmallfeastsinamoderatemeasure,andonordinarydaysabriefermayserve.

Thereisbothauthorityandreasonforthis.IsaytheauthorityistheholyCouncilofBasel,21whose

specificruling,Dedivinoofficioriteperagendosaysthus:makingaproperdifferencebetweensolemn

andordinarydaysoftheoffice.Thereason,indeed,iswhereasforalargenumberoffeaststhesame

measurequiterightlymaybesunginthesameway,longerormoredrawnout,nevertheless,on

ordinarydaysforbothclergyandlaityitwouldbecomeoneroustokeepthemeasureinsongotherthan

shortandexpeditious.Fortheclergy,bothregularandsecular,mustdovariousthingsfortheirown

need,notonlyinbooksbutalsoinsuchotheractivitiesasareappropriatetothem,whichisnot

permittedonfeastdays,butonordinarydaystheywouldcertainlybelessabletodo,iftheyhadtosing

equallyprolongedonordinarydaysaswellasfeasts.Thosemoredevoutlaity,whonotseldomdesire

outofdevotiontoheartheofficeofthechoirevenonordinarydays,wouldbetoomuchimpededin

theirownlabor,bywhichtheymustsupportthemselvesandtheirfamilies,ifitweresunginadrawn

outway;andformanyitwouldbecomeoccasionoftotallyabsentingthemselvesorwithdrawingfrom

theoffice.Onthecontrary,completelyforthedevotionoftheseisit[i.e.,thecharacteroftheservice]

loweredbythesongproceedingmoreexpeditiously,forwhichreasonweencouragethedevoutandthe

religiousreformed22todo[so]intheowncongregations.

20“Time”referstothespecificseasonoftheliturgicalyear.21TheCouncilofBaseltookplace1431-49.22Thereferenceissomewhatobscuretoday.VonZabernmorethanoncerefersto“reformed,”whichlikelyreferstothereformspromulgatedduringtheCouncilofBasel(1431-45),whichhehasalreadymentioned.ThepapalencyclicalforJune9,1435recordsthesereformsastothecelebrationofthedivineoffice.Someofthedirections,

17

SinceIhavementioneddifferentmeasureshere,forthisreasonIsaythatinthefourthprecept

alsoadiscernmentofbeginningsisrequired,bypreservingproperlytheneedsanddifferencesaccording

tothetimes,becausetheprecentoroughtalwaystobeginameasure23suchasmustbecontinuedfor

whateverpropertime[i.e.,season]comes,24lestinthedetectionofhisnegligenceitmayjustlybehoove

himimmediatelytochangethis[measure],ifthepropermeasureoughttobesungaccordingtothe

demandsofthetime.

Second,itmustbesunginavariedway,sothatonfestivedaysitmaybesunghigherandmore

joyfullyforthesakeofadisplayoffullerlivelinessthanonordinarydays,butevensoabsentnotable

departurefrommoderation.

Third,inavariedwaysothatonthesamedaythehighofficeofthechoirmaybesungwith

greatersolemnitythanaprivateservice.

Likewiseinavariedwaysothattheofficeofthedeadmassaswellasvigilsandvespersmaybe

sunglowerandlessjoyfulthanotherofficesnotspecificallyconcerningthatforthedead.

Likewiseofficesofjoyfulorrejoicingmattersoughttobesungmorejoyfullythananofficefor

sinsortribulationsandothersofthiskind.

Likewisewhenaholidayfallsonanordinarydaywhoseoffice,whichisspecial,oughtnottobe

omitted,itisfittingthentobemadeadoubleoffice,insuchawayasAdvent,LentorEmberDays

frequentlyitiscustomarytobedone.Thencertainlymoresolemnandprolongedoughttheofficeof

thefeasttobesung,butthatoftheordinarydaymorefreelyinorderthatamongthediverseofficesof

thiskindtheproperdifferencesmaybepreserved.

judgingfromtheEnglishtranslation,arequitesimilartothosefoundinvonZabern’streatiseinregardtosinging,reciting,and“decorum”duringtheoffice.23ThewordismensuraandvonZabernapparentlymeanssomethinglikethe“pace”ortempoofthemusic.24Asareminder,vonZabernistalkingabouttheliturgical“time,”theseasoninthechurchcalendar.Theword“season”isnotquiteprecisdenough,butatleastitservestoalertthereadertothedifficultyinEnglishtranslation.

18

TheFifthistoSingwithFidelity.

Tosingwithfidelityistosingsothatanyoneofthosesingingtogethershouldremainintheform

inthosenotesthatweretransmittedbyourdevoutfathers,sothatnoonebreaksthemupintomanyor

goesoffinanywayintoafifthaboveorafourthbelow,orbyleapingtoanotherintervalorby

wanderingoffinthemannerofadiscantanddeviatingfromthem.25Forallsuchdeparturesfromthe

devoutmelodiesoftheholyfathersimpedesthelistenersmorethanitproducesdevotion,norisita

signofdevotioninthesingers,butratherseemstobeevidenceofablameworthylevity.Whatismore,

therearethoseinthechorussufficientlyprejudiced—becausetheyoftenareorbecometheoccasionof

errorinsinging—thattheresttakingcaretoremaininthetruenotesorprescribedmelody,notonly

becauseofthisstrayingbeyondtheaccuratenoteinthemannerofthose[prejudicedones],these

[faithfulones]areimpededintheirownpurpose,butalsoaredeceivedbytheassistanceofthoseothers

whoarestraying,who,iftheywouldremainwiththem[thefaithful]inthetruenotesandfaithfully

assistthem,thentheywouldbepreservedbetterreciprocallyfromconfusion,justasnoonecandoubt.

Furtheralso,itisnecessarytosingwithfidelity,inorderthatallthosesingingtogetheruponthe

samesongmayuncovertheirheadswhereandwhenitisfittingoriscustomarilydone,andalsoaswell

thesameheadsbowedandkneesbend,andsointhecaseofotherindicationsofdevotion,allofwhich

worktogethertowarddevotion,whichecclesiasticalsongoughttoengenderbothinthesingersandalso

intheotherfaithfulwhenhearingitoutsidethechurch.

Further,itmustbesungwithfidelitysothatnomelodythathasnotbeentransmittedtousby

thedevotedholyfathersbeintroducedbytheservantsofthedevil,asisexplainedbelow,shouldever

besungamongthesongsofdivinepraise.Adulterinemelodiesofthiskindareabsolutelytoberejected

fromdivineservice.Alas,evensoinmanychurchestheyareasifindailyuse.Iwillgiveasanexample

25VonZabernseemsheretobereferringtoavarietyofimprovisatorytechniquesthatnotonlywereincommonusagebutwereactuallypartofthestandardtrainingofchoristers.Hisdescriptionsapparentlyincludediminution,parallelorganumanddiscant,improvisationonachanttenor.

19

sothatIwillbeunderstood:QuiteafewteachersdesiringtopleaseIknownotwhombutnodoubt

servingthedevilbymeansofit,eveniftheydonotrealize,havetakenmelodiesofthesesamesecular

songsandinpreferencetothosethatarepreferableamongthesongsofdivinepraise,thatisoverthe

angelichymnGloriainexcelsisandovertheNiceneCreedandovertheSanctusandAgnusDei,asthey

wereable[todoso]theyfittedthesebysingingthetextstothesesamesecularmelodies,withthe

devoutmelodiesoftheholyfathersprescribedforusthrownout.Thesemelodiesofsecularsongs,so

longastheyaresungintheofficeofthemass,notonlyscandalizemanyofthosefaithfulinChrist,asI

myselfknow,butalsomakeespeciallymanyyouthsandcarnalmenthinkmoreofthedancehallthanof

therealmofheaven,anotinsignificantimpedimenttodevotion,withlittlewonderbecausemelodiesof

thiskindorthosesimilardotheyoftenhearinthedancehall.Intruth,Ihaveparticularlyheard

complaintfromnofewofthelaitytotheconfusionoftheclergy,andInotethatbishopsandprelates

rightlyoughtentirelytoprohibitthesekindsofmelodiesthroughouttheentireextentoftheir

jurisdictions,quitedeservedlycallingthemdiabolical,whichIintendtoexcludehereaccordingtothe

letteroffidelity.

SixthistoSingwithSufficientRefinement

Tosingwithsufficientrefinementistosingwithoutthosecoarsenessesthatareworthyof

blame,concerningwhichIexplainbelow,whicharecommonlyandfrequentlycommittedinsingingby

thosealsowhoseemtobesomewhatbeyondothers,andnotatallinfrequentlyalsobythosewhoare

foundtoobservetheprecedingfive,whichisassuredlyworthyofnote.Itistobenotedasintelligence,

whichquitedeservestheword“sophisticated”asfarasisthepresentcase—thatbecauseacityiscalled

acivilthing,andmenincivillifeareusuallymorerefinedthaninthecountryandvillages,forthisreason

“refined”isusedtothepurposeassubtleorskillful,26hencethequalifier“withrefinement.”Therefore,

26VonZabern’stermisurbanus,translatedhereas“refined”ratherthan“urbane,”whichlatterseemsnotquiteappropriatetomusicandhasgainedinsomecontextsaslightconnotationof“effete,”or“overlyrefined.”Thechoiceof“refined,”however,precipitatesothertroublesforthetranslationwhenvonZabernuseswordsthat

20

tosingsufficientlywithrefinementistosingsufficientlysubtlywithoutcoarseness,soIwantheretothe

letterof“withrefinement”toexcludeallcoarseness,especiallyatthispointaftertheobservationinthe

contextofthefivepreviousrequirementsinsinging.Foraslongassomesuchcoarsenessiscommitted,

trulyitisnotrefinedenoughbutissunginacoarsemanner.Iftherearesomanycoarsenessesofthis

kind,thatIcouldnotpossiblyenumeratethemall,evensoIwanttoenumerateandsufficientlyexplain

infullnumberthemoreimportantandnotableonesthatarecommittedmorefrequently,sothatthey

beallthemorerecognizedandbebetterabletobeavoidedinthefuture,foritisdifficulttoavoid

unlessrecognized.

BeforeIcanproceedtotheenumerationofthekindofcoarsenesses,however,Imustnotpass

overthisone,namelythat—becausemanyoftheclergyhavelongheldsuchkindofcoarsenessesina

distortedusage—forthisreasoniftheyshouldliketowithdrawthemselvesfromthemsufficientlyinthe

futureandrefrain—theirownself-reflectionwillbeabsolutelynecessary,27whichisrequiredinthiscase

asafoundationbynecessity.Surelythisisdemonstrated—becauseinallouractionsself-reflectionisso

necessaryaccordingtoSt.Bernard,thatitshouldbeconsideredthatnoonecouldbesavedwithoutit—

thenbyhowmuchmoreintheworkofecclesiasticalsong,towhichaccordingtothesamemannothing

ispermittedinpreference,sincenegligenceinthisworkwoulddeservedlyearncondemnation,as

Jeremiah48makesclear,whereitiswritten:“CondemnedishewhoisnegligentintheworkofGod.”

Oneought,therefore,tosingwellandsufficientlyrefined,wishingtoconsiderhimselfandhisvoice

diligentlyandnevertosingwithoutattentionandwithoutreflection.Inthatcaseitwillbepossiblefor

himthentoavoidthecoarsenessesenumerated.

wouldalsomostnaturallytranslateas“refined.”Thewordtranslatedhereas“coarseness”isrusticitas,“rustic”or“countrified.”27Theawkwardnessofthephrase“valdenecessariaeriteisconsideratiosui,”indicateshowunusualwastheconceptofself-reflectionofself-criticism.VonZabernisquiteremarkableforhisawarenessofit.SylvestroGanassiinhisfamousRegulaRubertina(1542-43)demonstratesthepowerthroughouthisworkandinhisclosingoftheLettioneSeconda(1543)evendiscussesself-awarenessoflanguageanditsuse.

21

Number1.28Thefirstcoarsenessinsinging,then,istoadd“h”[anaspirate]tothevowelswhen

thewordstobesungdonothave“h”inthem,whichindeedisaverycommoncoarsenessinalargepart

oftheclergyascannotbedenied.ThisismostobviouslyapparentinsingingKyrieeleison,wherethose

withoutnumberoftensinghe-he-hejustlikeexecutionersleadingsheeptopasture.29Itisobviousalso

inmanyothersongswheremanythousandsoftimestheysingha-ha,ho-ho,etc.,whereasthewords

thataresunghaveabsolutelyno“h,”whichwithoutdoubtisnotsingingwithenoughrefinement,but

wehavetosayisexcessivelycoarse.Thisisproof:“h”isasignofaspirationandisitselfasperityas

contrastedtosmoothness,whichasongoughttohave,forbythemouthoftheprophetMicahawordis

oftheholyspirit.Pointtwo:Asongwillbesungwithsmoothness;therefore,aspirationofthiskind

disruptingthesonganddestroyingitssmoothness,itresultsthattheremustbeanabstention.

Number2.Anothercoarsenessistosingthroughthenose,whichmustsodeservedlybe

guardedagainstbecauseitproducesadiscordantvoice.Since,therefore,amongallthenaturalmeans

requiredfortheformationofthehumanvoicenosesareneverincluded,itisnotalittlecoarsethat

anyonenotcontentwiththemouthandothernaturalmeansissuesthevoicethroughthenose,whence

itisgenerallyagreedsoundsnotbetterbutworse,justasnoonedoubts,whohasknowntohave

correctevidenceofit.

Number3.Anothercoarsenessinsingingisnottopronouncesufficientlydistinctlythevowels

accordingtotheirownpropersound,forthisproducessongslessintelligibletothelistenersinregardto

thewords,sincethereisnowonderthataconfusedandscarcelyperceptibledifferentiationofthe

voicesdoesnotaidunderstandingverymuch.Manyclergyarefoundculpableinthis,who,asifthey

hadtheirfoodintheirmouths,areaccustomedtomakelittledifferencebetween“e”and“i,”or

between“o”and“u”andalsobetweensyllablescomposedfromthesamevowels,sothatIhaveheard

28ForthesakeofeasierreferenceIhaveprovidedthenumbersforthecoarsenesses.29TheimageissosuddenandgruesomeastocausewonderwhethervonZabernhaschosenthewrongwordforshepherd,butecclesiasticalandclassicalLatinbothrecognizeonlythissenseoftheword.

22

somesinging“dominosvabiscomaremus,”sothatIwouldsaytothosenextme“lethimgoplow!”30

Truly,fromtheFrancfordia31totheconfluenceatCoblenz32andfromthereovertoTrier33Ihavenoted

thisveryoften,especiallyamongstudents,bymeansofwhichtheyconfusealltheirsongs,thattheyare

accustomednotsufficientlydistinctlyand[so]lesswelltopronouncethevowels“e”andi,”sothatit

producesnosmalldispleasureforme.Fromthistheirteachersoughtrightlytorestrainthemdaily,lest

theyshouldcontinueitonintooldage.

Mapdetailfromhttps://www.bing.com/mapspreview?.

Number4.Anothercoarsenessisthatthesoundofonevowelthatmustbecontinuedupon

manynotestowhichitissetisnotpreservedinitsownidentitybutischangedorvaried,whichcertainly

30Thisisapunonthemispronunciationoforemus,letuspray,asaremus,letusplow.31ThisisoneofverymanypermutationsofthecityknowntodayasFrankfurtamMain.32ThewordconfluensinclassicaltimeswasassociatedwiththemeetingoftheRhineandMosellerivers,andspecificallyatthesiteofthemoderncityofCoblenz.33ThisseemsthemostlikelyidentificationofvonZabern’sTreverim,theGermancityontheMoselleRiverneartheLuxemburgborder.

23

soundsquitebad.Nevertheless,thiscoarsenessissocommonwithmanyecclesiasticalpersonsthatit

wouldbeworthyofderision.Tothosewhopayattentiondiligentlyitisdailysufficientlyobvious,andit

iseasytogiveagreatsupplyofexamples.

Number5.Anothercoarsenessquiteodiousisthedivergenceinthecorrectnessofthevoice

[i.e.goingoffpitch]byadissonantascentordescent,34bothofwhicharethemoredetestableasthey

arethemorenoticeablebecausechoralsongiseasilyperturbed.Somuchsothatitconfoundswhatis

donewellinsingingbytheothers,justasonedissonantstringconfoundsthesoundoftheentire

clavichord.Hewhohasthisspecificdefectmoreadvisablyshouldremaincompletelysilentthansing

untilsuchtimeashecantakecaretoremedyit,whichheoughtnotneglect,solongasthereishopeof

remedy,whichdefectIhaveremediedinnofew.

Number6.Anothercoarsenessistoissueorforcethevoicewithstrainorvehemence.Thisis

certainlyacoarsenessbecausewithamplesmoothnessisthecontrary,concerningwhichsmoothness

thewordoftheprophetMicahwaspreviouslyadduced:thesongwillbesungwithsmoothness.Truly,I

haveknownpeoplebetterinstructedinsongthanotherswhoneverthelessproduceeveryoneoftheir

songsaccordingtothiscoarsenessalienfrompraise,eventhoughitseemstothemthattheysingwell,it

isnowonder,sinceithasneverbeenmadeknowntothemjusthowblameworthythiscoarsenessisand

howdeservingtobeavoided.

Number7a.Anothercoarsenessmorenotablethantherestisonacuteorhigher35notesofthe

songtosingwithanopenthroatorstrongandemphaticvoice,whichamongthepreviousotherscalled

toattentionaboveisquiteundiscerning,aswillsoonbecomeclearbelow.Whenthisisdonebypeople

34Assooften,thelackofstandardterminologymakesforobscuredescriptions.WhatvonZabernmeansisthecommondefectofgoingoffpitchwhenascendingordescending.35Thephraseis“inacutissivealtioribusnotis,”whichtwoadjectivescouldhavedifferentmeaningsandmightbeareasonableconclusionwereitnotforvonZabern’suseof“sive,”whichinLatinmeansthatthetwoitemsarenotcontrastedbutarealternativemeansofexpressingthesamething.Ifanydoubtpersisted,vonZabernlaterspecificallyclarifiesthatbothtermsmeanhighnotes.

24

whohaveatrumpet-likeorloudvoice,itisextremelydisturbingandconfusesthesongoftheentire

chorusjustasifcows’voiceswereheardamongthesingers’voices.YetevensoIhaveheardina

notablecollege36thatsingerswhohavetrumpet-likevoiceswithpowerfulvoicesweresingingwithall

theirmightontheacuteorhigher[notes]justliketheywantedtobreakoratleastmovethewindowsof

thesanctuary,sothatIwonderedgreatlyattheirignoranceandsowasmovedtomakingthis

aphorism37“Ascowsinapasture,soyouinthechoirbellow.”Bythisaphorisminafriendlywayinmy

worksandlecturesonthemethodofsingingwellImeantocriticizeallthosepresumingtosingina

forcefulvoiceinorderthattheymayfullylearntoacknowledgetheirundiscerningcoarsenessandafter

thisrecognitionrecoilfromthistheypractice.

Number7b.Foracknowledgingthiscoarsenessmorefully,therefore,itmustbeknownthat

whoeverwishestosingdiscerninglyandwelloughttousethevoiceinthreeways,namelyinthisway:

heavyortrumpet-likeinthebass,whichisonlownotes,inamiddlewayinthemiddlerange,andmore

subtleonacuteorhighernotes,andthisevenmoresothehigherthesonggoes.Hewhodoes

otherwiseconductshimselfundiscerninglyinsinging,whateverandhowevermuchitmaybe.There

are,evenso,innumerablechurchmenwhoinsingingfollowthisindiscretionasifbyrule.Leteach

consider,then,howwellandreasonablyIhavespokenaboutfollowingthethreewaysofthevoicewith

diversityinsinging.Foreveryoneofanyknowledgeknowsthatanorgan,whetherlarge,mediumor

small,hastriplereedsorpipes,namelylarge,mediumandsmall.Thelargesoundthelownotesofthe

song,themediumthemiddle,andthesmalltheupperorhighernotesofthesong.Ofthesereedsor

pipeseveryintelligentpersonknowshowthreefoldisthesound,namelyheavy,medium,andgraceful

36Atthistimethetermcollegiumcouldrefereithertothemembersofacollegiatechurchortoacollegeconnectedwithauniversity,especiallyinEnglandandFrance.Singingservicesweremaintainedinboth,butweremandatoryinthecollegiatechurchesandusuallyofasecondarynatureintheuniversitycollege,makingtheformerthemorelikelyintendedreferencehere.37Thewordtranslatedhereas“aphorism”is“rigmum,”whichdoesnotappearintheclassicalorecclesiasticalLatindictionaries,norinmymorelimitedsourcesforVulgateandmedievalLatin,norisitaGreekloanword.Theconjectureseemssafebecauseitreferstothefollowingquip.

25

orsubtle.Since,however,amanhasonlytheonethroat,bymeansofwhichthevoiceissues,whichhas

tofulfillinplaceofthediversereedsoftheorgan—atonetimelargeandatanothersmall—howgreata

lackofdiscernmentwillitbetowanttodothisbyauniformuseofhisownvoice,eventhoughthevoice

ofahumanhasnocorrespondencetosuchthreefoldsoundofthediversereedsoftheorgan,obviously

asalreadystated.

Letustakeanotherexampleinastringofthemonochord,whichexistinguniqueandofitsown

quantity,neverthelessproducedatriplesoundintheupperandlowerpart,clearlyaheavieronelower,

mediuminthemiddleandmuchmoregracefulandsubtlehigher.38Why,therefore,doesthehuman

notinflecthisvoicethreewaysinimitationofthatstring,sincethemonochordmaybethebest

instrumentforteachingandlearningchurchsongbymeansofit?Leteachwhowantstosing

blamelesslytakecare,then,thathenotfurtherinthefuturepresumetosingwithfullstrongvoiceon

acute,thatishighernotes,39sinceinthefirstplaceitdeformsthesongandinseconditburdensand

fatiguesthesingertonopoint,andthirditquicklymakeshimhoarseandinconsequenceunsuitedfor

singing.Thehumanthroatisdelicateandeasilyisinjuredwhenitisstrained,whichcertainlyhappens

whenitisusedonhighnoteswithpowerfulvoice,whenthisinjuryhashappened,soonhoarseness

follows,suchaseachhasexperiencedforhimself.Butonthecontrary,whenanyonesingswitha

refinedvoiceonnotes,thevoicehasapropercorrespondencetogracefulsoundofthesmallreedsof

theorganjustasthehigherpartsofthestringsofthemonochorditself.Thensecondhesingswithout

fatigue.Thenthirdthereisnodoubthewillbeabletosingmuchhigherthanhewouldinanywaybe

38VonZaberndosnotrefertothesinglestringmonochordusedforteachingbymeansofPythagoreanratios.Itisakeyboardinstrument,aboutwhichhewroteashorttreatiseOpusculumdemonochordo.Hebelievedtheinstrumentwasveryusefulinteachingvoice.TheinterestedreaderwilldowelltoconsultGroveDictionaryofMusicalInstruments,s.v.“Clavichord.”Thedistinctivecharacteristicoftheinstrumentisthatthestrikingmechanismwassuchastobeabletovarythelengthofthevibratingstringsoastoproducedifferentpitchesfromthesamestring.Themanuscripttreatise(ca1440)ofHenri-ArnaultdeZwollegivesanearlydetaileddescriptionfromvonZabern’sowntime(moderneditionbyBärenreiter,1972).39Asreferredtoearlier,thisisthepointatwhichvonZabernmakesclearthanacutusandaltiormeanthesamething.

26

ablewithfull,strongvoice,sothatinsongsofparticularhighrangehecouldaidthechoirfaithfullyand

wellwithouttroubleandwithoutincurringhoarseness,whichcouldnotbepossiblewithstrongvoice.

Number8a.Anothercoarsenessisinthebeginningtosingthosethingswithouta

correspondencethatoughttocorrespondtoeachother,especiallywhereandwhenthe

correspondenceproperlycouldbepreservedwithouttroubletothechorus.Forexample,theKyrie

eleison,when[itand]theGloriainexcelsisarewrittenwitheachother,andalsotheEtinterra,oughtto

besungincorrespondence.FromwhatothercauseisthisKyrie[associated]withthatGloriaandother

onestootheronesinthechantbooks?WhenthefinalKyrieendedinadefinitewayandthecelebrant

beginstheGloriainamelodyirrelevanttothatsameKyrie,whenevensoitwerepossibletodoitina

correspondingwaywithouthisorthechoir’strouble,trulythatisacoarseness.40Yet,Ihaveoftenheard

withoutnumberevenamongreformedregularclergy41that,whenthefinalKyriehasended,the

celebrantoutofhisownheadasifhehadnotheardtheKyrie,beginstheGloriainexcelsiswithoutany

correspondenceofitsmelodytotheprecedingKyrieitselfandthatthecantorofthechorus,noless

undiscerning,ofhisownwillbeginstheEtinterrairrelevantlytotheGloria,asifhehadnotheardit

sungbythecelebrant,sothattrulybecauseofthismorethanonceIwashinderedintheorationand

wasmovednotinfrequentlytothinkingorsaying“whatbunglersarethesemonks!”42

Number8b.Letustakeanotherexample.Thefirstpartofanantiphon,whichispresented

beforetheintonationofthepsalmitself,andthissameintonationofthepsalmorbeginningaccording

totherequirementofthepsalmtonetobesungoughtalso,whenitcanbedoneproperly,tohavea

correspondence.Whywoulditbeorderedfromadifferentplaceinregardtothelittlepartofthefirst

40VonZabernneverreallymakeshismeaningclear,probablybecausetoreadersofhistimethereisreallyonlyonethinghecouldmean,thefailuretosingimmediatelysuccessiveportionsofthemassincorrespondingmode.41VonZabernhaspreviouslyreferredtothe“reformed”regularclergy,whichofcoursecannotrefertothemuchlaterReformation.42Thewordtranslatedhereas“bunglers”is“grobiani”whichisnotfoundineitherclassicalorecclesiasticalLatindictionaries.Thisisapureconjecturebutonethatseemsentirelyconsistentwiththecontext.

27

antiphonbeforethebeginningofthepsalm?Whenbeginningthepsalminawayindifferenttothe

consequencethismakes,withoutcorrespondencetothepreliminarypartoftheantiphonortoits

melody,itisacoarsenessworthytobescorned.43

Number9.Anothercoarsenessistosingdrowsilyandlesslivelyandwithoutemotionlikean

oldwomanneardeath,whichdeprivesthesongitselfofitsproperagreeablenessandmakesitless

heardandsothatithasthemannerofagroanratherthanasong.Againstsingingthustheblessed

BernardsaysinthesermonSupercantica,44wherehespeaksaboutecclesiasticalsong:“Reverently

suchasattendingupontheLordwithalacrity,notreluctantly,notdrowsily,notyawning,notsparingof

voice.”Thenalittlefurtheron:“butvirileasitdeserves,bothinsoundandfeelingbringingforthvoices

oftheholyspirit.”Thusdidhesay.Truly,onemustsinginawaythatislively,withfeelingandfully

agreeablelestitfallupontheotherextreme,sothatitistoodistractingforsomewhoaresingingout,as

hasbeensaid,andotherswhosingasbarelytobeheard.Andsotheoldadageisproven:“Zulutzelund

zuvilverderbtalspil”[Toolittleandtoomuchspoilallpleasure.]Itisblessedtoholdthemean.

Number10.Thislastcoarsenessnowtobeenumeratedistohaveinappropriatemannersin

singing,asforexamplenotstandingstillbuttomovehereandthere,ortoraisetheheadtoohighor

conspicuouslytoinclineittotheonesideortopropitupwithyourhandortodeformthemouthtothe

otherjaw,45oropenthesamefartoowide.Andthesamewithmanyotherinappropriatemanners,

whichitwouldbefartootedioustoenumerateall,theseareforthisreasontobeavoidedlestthey

provoketolaughterthosewhoarewatching,whooughttobemovedtodevotionbymeansofthesong.

43VonZabernappearstobedescribingtheopeningpartialstatementoftheantiphonfollowedbythepsalmtone;thus,thiscannotbetheissueofthechoiceofdifferentiaeleadingbackintothefinalstatementoftheantiphon.Thematterhereseemstobethechoiceofanantiphonandpsalmtonefortherecitationofpsalmthatmatcheachother.GroveDictionarys.v.“Antiphon”offerswhatisprobablytheexplanationofvonZabern’spoint.“Theantiphonendswithaclearcadenceonafinalnote,whichthendeterminesthechoiceoftherecitingnoteforthepsalm....Thepsalmtoneending(differentia,diffinitio,orvarietas)canbechosenwiththefirstnotesoftheantiphoninmindtoensureasmoothprogressionbetweenthepsalmandtherecurringantiphon.”44Perhapsthisreferstooneoftheeighty-sixsermonsonTheSongofSongs.45Theimageseemstobetoleanorproptheheadtoonesideandsoopenthemouthastoshiftthejawoutofplaceintheotherdirection.

28

Butsomuchforthesecoarsenesses,whichherebymeansofthesixthandlastofthepreceptsfor

singingwelldoIwanttoexcludeandkeepexcluded.

Sonowcompletely,therefore,arepresentedinorderwhatfromthebeginningItookuptobe

dealtwithandexplained.Wouldthattheyshouldbetakentoheartbythosereadingthiscompendium,

sothattheymaytakecaredailytosingbetterthanpreviously.Evensonowtheyhavebeeninstructed

bythesepresentwritingsmoreandmorefullythaneveruptonowtheyhavebeenconcerningthetrue

methodofsingingwell,whichbynosmalllaborIhavegatheredintothisarrangementandfor

simplicity’ssakeinaclearstyle,desiringacommonecclesiasticalpurpose,inorderthatformysake,

ConradvonZabern,theymayallentreatthehighestone,theywhowillprofitfrommylaborsinthe

future.

AppendixI

OnPerformingPsalmodyBlamelessly

Sinceitdoesnotsufficeforthegoodregimenofthechoirinsongthatitsingsaccordingtothe

sixpreceptsforsingingwell,whichinthisspecificlittleworkareexplainedlucidly,ifthepsalmodyitself

isnotsungwellandblamelessly,whereasthegreatestpartofthesevencanonicalhoursareperformed

inthis.ForthisreasonIhavedecidedheretoaddsomethingbywhichtheyseemsufficientlylackingin

largepart.

Thesethings,then,follow,whichcomeinpsalmodytobediligentlyobserved.

• Letnotthefollowingversebeginbeforetheendoftheprecedingone.

• Donotomitmakingtheaccompanyingrestinthemiddleoftheverse.

• Donotreadbywordbutbysyllable.

• Neveratallabstainfromtheclosinginthemiddleandendoftheverse.

• Preservethemeasureuniformlythroughout,

• Exceptingthefirstsyllableoftheverse,whichisslightlyextended.

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• Donotsingtoofastortooslow.

• Nevertheless,proceedinvariedwayaccordingtothedemandsofthetime.

• Neverneglectthecorrespondenceofchoirtochoir.

• Guardagainstaperceptibledecline[inintonation]inallintervals

• Lettheworkneverbemadesoastobegintoohigh.

• Themannerofintoningmustbeprovidedforcorrectly.

Hewhodesirestohaveabroadandclearexplanationofthesehereenumerated,letthemnot

besluggishtogotothelecturesofConradvonZabern,whichtothegloryofGodheisalwaysreadyto

doonthissubject,whenasupplyofauditorsisnotlackingforhim.

AppendixII

OntheMannerofBlamelessLectioninChoir

WhateverisAssignedtobeReadbyOneOnly

Sinceforthegoodorderofachoirinsinging,everythinguptothispointisnotsufficient,since

byobservationofthesixpreceptsforsingingwellthepsalmodymaybesungwell,accordingtothe

methodtreatedabove,exceptthisthirdalsobetakencareof,thatspecificallyallsuchthingsasare

assignedtobereadbyonlyonepersoninthechoirshouldbereadblamelessly,lestwhenitisdone

otherwiseitwouldbringignominyuponallthechoir.ForthisreasonhereIappendthissummaryand

quitespecificinstructiononthesubject.

Thus,somepreceptsforthisfollow.

• Preservewellasinglepitchthroughout,apartfromtheplacesforrests.

• Makebreathsappropriatelyinsuitableplaceswheretherearenotruerests.

• Readwordscompletely,distinctly,clearlyandsyllabicallyandwithouthaste.

• Separatetheclosesonrestsandattheendcompletely.

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• Donotascendtoohighnortendtoolowbutmaintainintheproperrangeofthevoice.

• Performallthisinafullvoicebutevensonottooclamorous.

• Readneithertooslownortoofast.

• Donotviolatethemeasurenoticeablyeitherinrestsorbeyondthem.

• Donotutterrestsmorestronglynorwithanyemphasisthantheothers.46

Bytheseninewellpreservedinnumerableoneswillavoidconfusioninthechoir.

Ifanyonedesirestobeinformedmorefullyabouttheseenumerated,letthemcometothe

collector,ConradvonZabern,whowillbefoundmorereadyforexplainingsufficientlybroadlyand

clearlywhatanyonemaybefounddesiringofthiskind.

46Iamuncertainofthemeaningofthisphrase,orhowitispossibletoutterarest,thewordsbeingpausasvociferare.Thewordvociferareclearlyindicatessomethingaudible.HadvonZabernusedtheverbpronuntiare,whichbythistimehadcometomean“perform,”itwouldhavebeenmorenearlyunderstandable.Insteadhehaschosentheverbmorecloselyrelatedwiththeproductionofanactualsound.