Tonus peregrinus
Tonus peregrinus, or the ninth tone, is a reciting tone in Gregorian chant.
Characteristics
As a reciting tone the tonus peregrinus does not fit in any of the original eight church modes, because a verse recited in this tone has a different tenor note in the first half of the verse as in the second half of the verse.[1]
Traditionally, the tenor note in the first half of a verse sung according to the tonus peregrinus is a tone higher than the tenor note in the second half of the verse. Also usually the last note of a tonus peregrinus melodic formula is a perfect fifth below the first tenor note.[1]
History
In Gregorian chant the tonus peregrinus existed before the modal system was expanded beyond the eight mode. Later the ninth tone became associated with the ninth mode, or Aeolian mode, which, in a more modern understanding of harmony, can be equalled with a standard minor mode.[2]
The tonus peregrinus is an exceptional reciting tone in Gregorian chant: there it was most clearly associated with Psalm 113, traditionally sung in vespers. In Lutheranism, the tonus peregrinus is associated with the Magnificat (also usually sung in vespers): the traditional setting of Luther's German translation of the Magnificat ("Meine Seele erhebt den Herren") is a German variant of the tonus peregrinus.[1]
Musical settings
Tonus peregrinus variants appear in:
- "Meine Seele erhebt den Herren" (traditional setting of Luther's German Magnificat)[1]
- "Suscepit Israel," from the Magnificat in D major by Johann Sebastian Bach.
- Requiem by Wolfgang Amadeus Mozart (used in the Introit)[3]
References
Notes
Sources
- Mattias Lundberg. Tonus Peregrinus: The History of a Psalm-tone and its use in Polyphonic Music, Ashgate Publishing, 2012, ISBN 1409455076 ISBN 9781409455073