Cantus Firmus
Course
The Sacred Chant of the Renaissance
Learn the Sacred Chant of the Catholic Church from the Council of Trento to the 19th Century
Introitus, Graduale de Sanctis, Editio Medicea, 1614-15.
What is Cantus Firmus?
Cantus Firmus is the Gregorian Chant as it was understood and performed in the Renaissance, long before the so-called "Gregorian Restoration", which, in attempting to restore the Gregorian Chant of the 8th century, erased the tradition of Cantus Firmus practiced up until the 1800s, from Josquin to Palestrina, to Vivaldi, Mozart, Beethoven, Rossini, and others.
The main essence of Cantus Firmus is in the word itself, Firmus, which means Flat, in the sense of Plain, hence the English term Plainchant.
In Cantus Firmus, all notes are performed with the same duration, with the possibility of some specific exceptions.
Cantus Firmus is very important and necessary for the Renaissance Musicus Practicus because it forms the foundation of Polyphony, Modality, and Counterpoint.
For this reason, in our study, we focus more on the Modal aspect of the Melodies, studying in great depth and with hundreds of examples the Tones of Cantus Firmus and how they can be Perfect, Imperfect, Mixti Imperfecti, Mixti Perfecti, Commixti Perfecti, Commixti Imperfecti Major, Commixti Imperfecti Minor, Commixti Imperfecti Mixti, and Irregular.
Cantus Firmus is the starting point for learning how the 8 Ecclesiastical Tones work and for recognizing and composing melodies consistent with modality, as taught by Renaissance musicians and theorists.
What will you have learned and be able to do?
By the end of the Cantus Figuratus Course, you will be able to:
- Perform Cantus Firmus correctly from the original sources.
- Accurately read Cantus Firmus notation.
- Navigate through Cantus Firmus books: the Graduale and the Antiphonary.
- Recognize the structure of all 8 Tones and whether they are Perfect or Imperfect.
- Sing all Psalms and Canticles in the 8 Tones, with the correct Intonations and EUOUAE (Saeculorum Amen).
- Identify Toni Mixti (Mixed Tones) and be able to distinguish between Mixtio Perfecta and Imperfecta.
- Recognize Toni Commixti (Commixted Tones), both Perfect and Imperfect, and, for Commixti Imperfecti, determine if they have a Major, Minor, or Mixed Commixtio.
- Understand Irregular Tones and how to return them to Regularity.
- Know the effect and ethos of each Tone.
- Manage the Tritonus, understanding how and when to temper it with a sharp or flat.
- Understand and apply the performative aspects of Cantus Firmus.
- Read and perform a score in Cantus Fractus.
Course Contents
Learn the basics of Catholic liturgy of the Council of Trento.
Learn how to consult the books that contain the Chants of the Mass and the Office.
Discover which Chants belong to the Office and which to the Mass.
Stages
- 1.1 - What is Cantus Firmus
- 1.2 - The Actors of Cantus Firmus
- 1.3 - The Liturgical Year
- 1.4 - The Divine Office and its Chants
- 1.5 - The Mass and its Chants
- Final Test for Chapter 1
Learn to read the Notation of Cantus Firmus.
Discover how to correctly use the Tactus in singin a Chant.
Practice with Guidetti’s Directorium Chori.
Stages
- 2.1 - Graphic Elements of Cantus Firmus
- 2.2 - Figures, Rhythm, and Tactus
- 2.3 - Recap of the Rules
- 2.4 - Venite Exultemus - Directorium Chori - Guidetti
- 2.5 - Introitus Epiphania
- 2.6 - Frezza's Rules
- 2.7 - Practice with Frezza's Rules
- Final Test for Chapter 2
Learn the propeties and proportion of each interval.
Discover how to distinguish the 3 Species of the Diatessaron (the 4th).
Learn the 4 species of the Diapente (the 5th) and how to distinguish them.
Stages
- 3.1 - Intervals, Tonus and Semitonus
- 3.2 - Ditonus, Semiditonus, Tritonus
- 3.3 - Diatessaron and Diapente
- 3.4 - Major and Minor Hexachord
- 3.5 - Major and Minor Heptachord
- Final Test for Chapter 3
Discover how each Diapason (the 8ve) can be divided Harmonically and Arithmetically.
Learn the composition and structure of all 8 Tones (also called Modes) of the Cantus Firmus.
Practice extensively to learn to recognize the Perfect and Imperfect Tones.
Stages
- 4.1 - Tuono Harmonale
- 4.2 - Diapente, Diatessaron, Diapason
- 4.3 - Tonus Perfectus and Imperfectus - I and II
- 4.4 - III and IV Tonus
- 4.5 - V and VI Tonus
- 4.6 - VII, VIII Tonus, Subfinalis, Recap
- 4.7 - Species, not Chordae, Cause the Tonus
- 4.8 - Diapente and Diatessaron Chants Final Test for Chapter 4
Learn to sing the Psalms and Canticles with Ferial, Festive, and Solemn Intonations.
Learn how to choose the correct EUOUAE (Saeculorum Amen).
Discover the Introits in the 8 tones, and Psalms with the Gloria Patri.
Stages
- 5.1 - 3 Psalms - Analysis of the text
- 5.2 - Composition of the Verset
- 5.3 - Tones Formulae
- 5.4 - Intonationes Festivae and Ferialae
- 5.5 - Intonatio I Tonus
- 5.6 - Intonatio II Tonus
- 5.7 - Intonatio III Tonus
- 5.8 - Intonatio IV Tonus
- 5.9 - Intonatio V Tonus
- 5.10 - Intonatio VI Tonus
- 5.11 - Intonatio VII Tonus
- 5.12 - Intonatio VIII Tonus
- 5.13 - Intonatio of Canticles
- 5.14 - Let's sing the Magnificat - I Tonus
- 5.15 - Let's sing the Benedictus - V Tonus
- 5.16 - In exitu israel Explanation
- 5.17 - In Exitu Israel - Practice
- 5.18 - Euouae I Tonus
- 5.19 - Euouae II Tonus
- 5.20 Euouae III Tonus
- 5.21 Euouae IV Tonus
- 5.22 - Euouae V Tonus
- 5.23 - Euouae VI Tonus
- 5.24 - Euouae VII Tonus
- 5.25 - Euouae VIII Tonus
- 5.26 - Modern Versions
- 5.27 - Beatus Vir Tonus I
- 5.28 - Beatus Vir Tonus II
- 5.29 - Beatus Vir Tonus III
- 5.30 - Beatus Vir Tonus IV
- 5.31 - Beatus Vir Tonus V
- 5.32 - Beatus Vir Tonus VI
- 5.33 - Beatus Vir Tonus VII
- 5.34 - Beatus Vir Tonus VIII
- 5.35 Introitus - Psalm and VIII Tonus
- 5.36 Introitus Tonus I
- 5.37 - Introitus Tonus II
- 5.38 - Introitus Tonus III
- 5.39 - Introitus Tonus IV
- 5.40 - Introitus Tonus V
- 5.41 - Introitus Tonus VI
- 5.42 - Introitus Tonus VII
- Final Test for Chapter 5
Learn what Mixtion is and how it works.
Learn how the Authentic Tones can merge into the Plagal ones, and the Plagal into the Authentic.
Practice with many melodies and learn to distinguish Perfect and Imperfect Tones, Mixed Perfect and Imperfect, both Authentic and Plagal.
Stages
- 6.1 - Toni Mixti
- 6.2 - Perfectus Mixtus Imperfectus
- 6.3 - Imperfectus Mixtus Imperfectus
- 6.4 - Order to judge a Chant - Chorda Media System
- 6.5 - Perfectus Mixtus Perfectus - Chorda Media
- 6.6 - Minor Imperfection
- Final Test for Chapter 6
Learn what Commixtion is and how it works.
Learn to recognize the Imperfect Commixtion in all the Tones.
Learn to recognize the Perfect Commixtion in all the Tones.
Stages
- 7.1 - How Commixtion works
- 7.2 - Commixtio Imperfecta
- 7.3 - Commixtio Imperfecta Major - I Tonus
- 7.4 - Commixtio Imperfecta Major - II Tonus
- 7.5 - Commixtio Imperfecta Major - III Tonus
- 7.6 - Commixtio Imperfecta Major - IV Tonus
- 7.7 - Commixtio Imperfecta Major - V Tonus
- 7.8 - Commixtio Imperfecta Major - VI Tonus
- 7.9 - Commixtio Imperfecta Major - VII Tonus
- 7.10 - Commixtio Imperfecta Major - VIII Tonus
- 7.11 - Tonus Mixtus and Commixtus - I Tonus
- 7.12 - Tonus Mixtus and Commixtus - III Tonus
- 7.13 - Tonus Mixtus and Commixtus - V Tonus
- 7.14 - Tonus Mixtus and Commixtus - VII Tonus
- 7.15 - Tonus Imperfectus, Mixtus Imperfectus, and Commixtus Imperfectus - Part I
- 7.16 - Tonus Imperfectus, Mixtus Imperfectus, and Commixtus Imperfectus - Part II
- 7.17 - Multriple Commixtion
- 7.18 - Commixtio Imperfecta Minor - The problem of the I specied of the Diatessaron
- 7.19 - Commixtio Imperfecta Minor - Examples
- 7.20 - Commixtio Imperfecta Mixta
- 7.21 - Commixtion Perfecta, Part 1 - Graduale "Adiutor in opportunitatibus"
- 7.22 - Commixtion Perfecta, Part 2 - Graduale "Christus Factus"
- 7.23 - Commixtion Perfecta, Part 3 - Offertorium "Dextera Domini"
- 7.24 - Commixtion Perfecta, Part 4 - Offertorium "Emitte Spiritum"
- 7.25 - Wide Melodies
- Final Test for Chapter 7
Discover the Irregular Tones and how to recognize them.
Discover why this is a First Irregular Tone, but in reality, it is a Third Tone.
Discover why the introit Gaudeamus for the Feast of All Saints is a First Irregular Tone.
Stages
- 8.1 - Diapenti Congiunti - Joint Diapentes
- 8.2 - Gsolreut Chant
- 8.3 - Irregular Tones - M. Coferati - Part. 1
- 8.4 - Irregular Tones - M. Coferati - Part. 2
- 8.5 - Irregular Tones - M. Coferati - Part. 3
- 8.6 - Irregular Tones - M. Coferati - Part. 4
- 8.7 - Irregular Tones - For Composition and Termination - Part. 1
- 8.8 - Irregular Tones - For Composition and Termination - Part. 2
- 8.9 - Ordo Bquadro Giacente
- 8.10 - Canto Enarmonico and Ordo Bquadro Giacente
- 8.11 - Andrea da Modena - Irregular Tones
- 8.12 - The use of the Diesis (Sharp sign)
- Final Test for Chapter 8
The tritone can often be challenging to intone; learn how to handle it in the best way.
Learn when to temper the tritone with the flat or the sharp.
Learn when, on the contrary, the Tritone should not be tempered.
Stages
- 9.1 - Tritonus - Use and Reduction to Regularity
- Final Test for Chapter 9
Discover the effect the 8 Tones have on our mood and mind.
Discover how one can sing in the different heavens of Cicero, Boethius, Copernicus, and much more.
Discover how the 8 Tones correspond to the 8 planets of Ptolemy's sky, and why the days of the week are ordered according to the planets.
Stages
- 10.1 - Capitals of the Abbey of Cluny
- 10.2 - Matteo Coferati - Affect and Ethos
- 10.3 - Giovanni Avella, the 4 Humors, and the 7 Plantes
- 10.4 - Giovanni Avella, Zodiacus Sonorus, Mixtion and Commixtion
- 10.5 - Giovanni Avella, Eclipse and Ordo Bquadro Giacente
- 10.6 - Giovanni Avella - Affects of the 8 Tones
- 10.7 - Mauro Liborio Cizzardi - Affects of the 8 Tones
- 10.8 - Vogt, Conclave Thesauri Magnae Artis
- Final Test for Chapter 10
Learn how to transpose all 8 Tones to the choir pitch so that they can always be easily sung, using Musica Ficta.
Discover how the Tones of Cantus Firmus can be transposed to Cantus Figuratus.
Discover the quality of each syllable and each interval.
Stages
- 11.1 - Quality of the Syllables and of the Intervals
- 11.2 - The Choral Voice (Voce Chorale)
- 11.3 - Transposition to the Voci Choriste (A. Banchieri)
- 11.4 - The Role of the Organ in Cantus Firmus
- Final Test for Chapter 11
Learn what is Cantus Fractus and its differences and similarities with Cantus Firmus and Cantus Figuratus.
Learn the notation of Cantus Fractus.
Learn to read Cantus Fractus, both “alla Brevis” and “alla Semibrevis”.
Stages
- 12.1 - Cantus Fractus - Tempus, Clefs, and Tactus
- 12.2 - Figures and Rests
- 12.3 - Dot and Syncopation
- 12.4 - Tripola and Sesquialtera alla Brevis
- 12.5 - Tripola and Sesquialtera in Cantus Fractus alla Semibrevis
- 12.6 - Tripole and Sesquialtere not used in Cantus Fractus
- Final Test for Chapter 12
128 Lessons
128 Stages and Video Lessons that you can watch and study anytime you want, from the online platform.
500 Pages
500 PDF pages of examples, exercises, and resources to follow the lessons, take notes, and do plenty of practice.
Questions
Comment under each stage to ask your questions and satisfy your curiosity as a Musicus Practicus.
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In this course, we will make extensive use of Hexachordal Solmization.
It is therefore essential that you already possess this skill.
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