A GREGORIAN INSTITUTE PUBLICATION CHANTS OF THE CHURCH — Selected Gregorian Chants — Edited and Compiled by the MONKS OF SOLESMES Interlinear Translations by RT. REV. MSGR. CHARLES E. SPENCE GREGORIAN INSTITUTE OF AMERICA 2132 Jefferson Ave. — Toledo 2, OhioIMPRIMATUR. Tornaci, die 27 Marti 1953. *] Jutrus Lecouver, Vic. Gen, All Rights Reserved on the rhythmic signs and the rhythm they represent as well as on the melodies which are not part of the Vatican Edition but are taken from the publications of Solesmes. Descufe & Co. Tournai (Belg.) Copyright 1953 by Desc & Co., Tournai (Belgium). Printed in Belgium,Notes on the Translation It is an axiom with authorities on Plain Chant that the words are more important than the melodies; in other words, that the liturgical text takes precedence over the music to which it is sung, and in fact, determines the manner of rendering the music, since the same melody is sometimes found attached to various texts of quite different character. Unfortunately there are few organists or singers nowadays whose knowledge of Latin is sufficient to enable them to follow easily the meaning of the liturgical texts, So it seemed desirable to the editor of this manual of Plain Chant that a literal and word-for-word rendering of the Latin should be printed immediately below the Latin text in such a way that the sense could be followed as the words are sung. Accordingly the translator has made it his aim to offer such a word-for-word translation as would make the meaning of the text clear and could be read intelligibly even by itself. The difficulties are of course considerable, The main difference between Latin and most modern languages lies in the word order; for in Latin the endings of the words are changed to indicate their connection with the rest of the sentence whereas in modern languages it is the order of the words which indicates their connection with each other. In consequence the words in the Latin sentence can be arranged to suit the taste and convenience of the writer and so the order often varies greatly from that in English, In our word-for- word translations we have sought to render each Latin word where it stands and yet to make sense in English, thus enabling, we hope, the singer with little or no Latin to follow the meaning in the Latin order. This naturally leads to some rather odd expressions, but not unintelligible; e. g., Pater noster: Father of-us; Deus meus? God of-mine; that is to say, adjectives commonly follow the noun in Latin, Again the verb may stand before the subject; e. g., Fiat lux : Be-made light. In English we say, Hallowed be Thy name; Blessed art thou, etc. Consequently the reader must be prepared for many such unusual arrangements of words. Where more thanas is often the case, these words are joined by hyphens Fiat lux : Let-there-be light. Where extra words have been inserted to make the translation clearer these have been enclosed in parentheses. So it is believed that a careful study of these translations will be of considerable value even to those who know some Latin, but wish to obtain greater fluency. “I will pray in a tongue”, says St. Paul, “but I will also pray with the understanding”. Surely our singing will give greater glory to God and greater edification to our neighbor and to ourselves if we do it with understanding as well as with artistic propriety. God grant that this little book may contribute something to such a “ reasonable service” on the part of those who participate in the Church’s liturgy as members of choirs and singing congregations. Dec. 18, 1952,Introduction concerning Chant Technique 1) GREGORIAN NOTATION WITH THE RYTHMIC SIGNS OF SOLESMES ‘The notes and ips of notes (meums) used is in Gregorian chant appear on a four-line stafl, Two clef signs are in use to indicate lative pitch of the notes : & ‘The Do-clef shows on what line the note Do is placed. The Fa-clef 4 shows on what line the note Fa is placed. These clefs may appear on any line depending on the the melody to be sung, s0 that the notes of the piece may be placed on the staff lines and spaces, thus avoiding, as far as possible, use of leger lines above or below the staff. The GUIDE Sj is a sign placed at the end of each line of Gregorian music to indicate in advance the first note of the following line. It is also employed in the course of a line when the extension of the melody demands a change in the place of the clef, to show the relative pitch of the first note after the change. Three kinds of BAR-LINES are used: The DOUBLE BAR which indicates the end of a piece or a change of choir. The FULL BAR which indicates the end of a phrase and a full pause in the singing. The HALF BAR —{— indicates divisions known as clauses or members, hence the half bar is also called the member bar. I guts the two middle lines of the staff. The QUARTER BAR indicates divisions known as sections or incises. It cuts only the top line of the staff. The part played by each of these signs has to do withwi INTRODUCTION CONCERNING CHANT TECHNIQUE the punctuation of the musical phrase in respect tothe greater rhythm of the piece. If BREATH must be taken at either the half bar or the quarter bar, it must be taken off the value of the note before. The same holds true of the COMMA or VIRGULA. —— The only place for a stop or full pause in the singing is at the full bar or the double bar. The only accidental permitted in the chant is the FLAT’, which may only be used on the note si (ti), The flat is effective only a) as long as the word lasts, 6) until the next bar line of any Kind, c) until revoked by the natural sign. When only a single note is to be sung on a syllable of a word, the PUNCTUM «is used. Its value or duration may be modified in two ways: a) by the addition of a dot «, which doubles its length; b) by the horizontal episema *, which prolongs the note without necessarily doubling it. The individual note in Gregorian chant can never be divided or shortened by a fraction of itself as in modern music. In other words, the time-value of all notes are exactly the same unless | ened by the addition of a dot or accompanied by the horizontal episema as mentioned above. The VIRGA 4 and the diamond or RHOMBUS + are never used alone. They ere always parts of a neum, ¢. g. B, When more than a single note is to be sung on a syllable of a word, the derived NEUM is used. The derived neum is, therefore, a group of notes sung over the same syllable. Sometimes more than a single neum is required to indicate all the notes to be sung on the same syllable. a) Neums of two notes : i PODATUS or PES — second note higher than the first. The lower note is sung first. fe CLIVIS — second note lower than the first. DISTROPHA — second note on the same pitch as the first note. a BIVIRGA — doubles the note but with an expression of force firmness, whereas the distropha designates lightness. b) Neums of three notes: 2 TORCULUS — second note higher than first and third, Ss PORRECTUS — second note lower than first and third, 4% CLIMACUS — each successive note lower than the preceding. It may have more than three notes: ‘Sy,INTRODUCTION CONCERNING CHANT TECHNIQUE vi) 7 SCANDICUS — each successive note higher than the x” preceding. It may have more than three notes: FF sf SALICUS — each successive note higher than the preceding, with a slight prolongation and the rhythmic THD on the second last note. .OPHA — all three notes on the same pitch. ¢) Neums of four notes : TORCULUS RESUPINUS — torculus with fourth note higher than the thir. PORRECTUS FLEXUS — porrectus with fourth note lower than the third. CLIMACUS RESUPINUS — climacus with fourth note higher than the third. SCANDICUS FLEXUS — scandicus with fourth note lower than the third. PES SUBBIPUNCTIS — podatus followed by descend- ing rhombus notes. HB H RS ) Special notes and neums : # The QUILISMA is found in ascenc passages. this ea; The note immediately preceding ged note must be distinctly prolonged and emphasized. "—. The PRESSUS is the meeting of a punctum and a group, and then the punctum is before the neum, or a group and a group on the same pitch. r ‘The ORISCUS is the meeting of a group and a punctum. on the same pitch and then the punctum is at the end of the neum. ij LIQUESCENT neums are those in which the last note is printed smaller than the note or notes which precede This small note has a duration equivalent to that of the other note. Its function is merely to facilitate the pronunciation of words at the juncture of vowels or certain consonants. 2) RHYTHM Rhythm is the organizing element or factor of music which keeps the melody moving, fowing from one point to another until a certain resting point is reached. “Rhythmic effect is produced or caused or three sounds (notes) to other groups of two or three sounds. Rhythm, therefore, is the welding or synthetic influence in music,viij INTRODUCTION CONCERNING CHANT TECHNIQUE In Gregorian chant the rhythm is free, that is, the fundamental groups are not all of equal size, but the groups Of twos and threes are intermingled freely. The ictus gives the rhythmic support to the melody and the clan to the movement. This means that the singer must be able to recognize which notes bear the rhythmic ictus in order to secure the order of movement essential to the very notion of musical rhythm, Practically speaking, the ictus is nothing else than the place where the fundamental groups of twos and threes begin, The following rules are therefore absolutely essential for the placing of the ictus in a chant melody. ‘The vertical episema [1] is used to indicate the place of the ictus, but since it is not always printed in the chant melodies, the following simple set of rules must be applied. The three main rules are listed here in the order of their importance and in the order in which they must be used, The count of “ one” or ictus belongs to: 1. Notes with the vertical episema marked in the musical text. 2. All notes that are sustained at least two pulses over the same syllable, such as the distropha, bivirga, tristropha, pressus, dotted notes; and the note before the quilisma, 3. Any note which begins a group (simple neum). This third tule holds only when it does not conflict with either of the first two above. In syllabic chant, i. e. passages where there is only one note to a syllable, there are two possibilities. The ictus may be placed on the note over the last syllable of each word, or you may count back by twos from the next known ictus found by the use of the three rules given above. The accent of the dacty! ordinarily attracts the ictus. It is a common fault to assimilate the ictus to the accent of the words and give it their value. The rhythmical touching-point (ictus) may be relatively strong or weak depending upon its position in the text or melody. The ictus must never be confused with accent, Ictus has to do with the rhythm of the melody. Accent has to do with proper pronunciation of the text. Chant is beautifully and correctly sung when both these different things have been given their full measure of attention, but it is fatal to confuse them, While the ictus determines the beginnings of groups of two or three notes, the actual rhythm is not achieved until these groups of twos and threes are related to each other on the basis of the arsis and thesis, i, e. the “rise” and “fall” elements of the complete thythmic wave, The rhythmic wave is pictured by the chironomy. Chironomy is the art of conducting or directing the chant by gestures of the hand, It outlines or pictures the rhythm of the melody for the choir. Rhythm is a i realized by means of successive steps : words, sections, members, phrases; each of these units being formed by a relationship of rise and fall, elan and repos, tension and release, activity and a coming to rest. The ARSIS or “rise ‘oup” designates the elan part of the rhythmic wave. The THEsts “or fall. group” shows the relaxation phase of the thythmic wave. ‘The first and simplest rule of chironomy is that the arsis is used for rising melody and the thesis for descendingINTRODUCTION CONCERNING CHANT TECHNIQUE ix melody and cadence. The arsis is frequently used for accents of words when they occur on the ictic note, or even off the ictic note when a thesis is not already in process. In the latter case an undulation is used to lift an accent which occurs after the ictus in a thetic group. Last syllables of words are generally thetic unless the melodic formation over the last syllable distinctly calls for an arsis, It is essential to note that the arsis or thesis begins in every case on the ictic note. Hence, at every ictus there must be the beginning of either an arsis or a thesis. This is to say that the arsis and thesis bind together the binary and ternary groups throughout the phrase, so that at every ictus you must decide on the use of an arsis or thesis. For example : cs hys-86-po, et mundé- boi Aspér- ges me, * Dé-mi- ne, 1, An arsis because the beginning of a word and rising melody. 2. Another arsis to pick up the accent of the word. 3. A thesis because it is the end of the word. 4. A thesis because of the cadence effect of the dotted note at end of incise. 5. Arsis because of acoent and rising melody and new incise. 6. Thesis because of descending melody and penultimate syllable of dactyl. 7. Thesis : descending melody and end of word. Note that this thesis includes the syllable “hys-” of the next word in order to arrive at the next ictic note which is on “so-”. 8, Arsis to pick up the accent of the word. 9. Thesis on the end of a word. 10, Arsis on “et” because it is beginning a new phrase, and the melody lies higher than the preceding. 11, The next group of two suggests a complete rhythmic wave of arsis and thesis. 12. Arsis on the accent of the word. 13, The end, of course, is thetic. In syllabic chants we often require the use of the UNDULATION, in order to pick up a primary (or even a secondary) accent which is in a thesis and not on the ictic note. This happens especially when you give the words their natural rhythm, i.e. put the ictus on the note over the last syllable. The classic example is the “ Dies irae”. Di- es {-rae, di- es. fl-la, Sél-vet saéclum In fa-vil-lax INTRODUCTION CONCERNING CHANT TECHNIQUE The undulations on i-rae, di-es, il-la and sol-vet are all necessary because these accents occur on the second or third pulse in a thesis. If these accents had occurred on the first pulse of a group of two or three then an arsis would have been used. Rhythmically all music is divided into ultimate groups of two or three pulses, And locating the ictus in chant is nothing else than locating the place where these fundamental rhythmic groups of twos and threes begin. Thus the simple beats are combined in binary and ternary groupings. Real rhythm begins when these binary and ternary groupings are brought into relation with each other on the basis of arsis and thesis. Now, just as the ictus renders distinct but does not separate the binary and the ternary groupings, so the half-bar el | and the incise bar | serve to indicate the larger groupings or, sections of a complete textual and melodic phrase. Thus, in the same way in which arsis and thesis couple up basic binary and ternary groups, the rhythm has various means of coupling up members and incises into an even higher unity or greater rhythm. Without a genuine aesthetic sense on the part of the director, and without the synthetic action of the chythm, a piece of chant loses its literary, tonal and melodic meaning. 3) THE MODES At the beginning of each chant melody will be found a number (from one to eight) which indicates the mode in which the piece is ending. A mode is a fixed arrangement of tones and semitones in a scale. Melodies of the chant use only the material of diatonic scale progressions. In Gregorian chant there are eight modes. A mode is characterized and identified by its tonic, dominant and range. The tonic is the note with which a mode ends or comes to rest: for that reason it is sometimes called the final or funda- mental of a mode, The dominant is the note which serves as a centre of attraction round which the melodies tend to revolve. The range of a mode is the compass or area of notes which it covers in its eight constituent tones. Following is a table of the eight modes. The hollow note in each scale indicates the tonic, and the arrow shows the dominant. The range, of course, is evident from the notes contained in the scale. byINTRODUCTION CONCERNING CHANT TECHNIQUE xj D Oo Tee Toye” Sa SSE D a i c = ‘ . __ Some melodies end with notes other than those regarded as tonics in the regular eight modes, Such melodies can generally be said to be written in a transposed mode. The distinction between the modes does not consist in their different height or depth of pitch, since any mode may be sung at any pitch depending on the nature of the choir or the occasion. What really constitutes the peculiarity of cach mode is the place of the whole tones and semitones in the scale, But even more conclusive than scale structure as such are the melodic formulas for fixing the character of a mode. The distinctive character of different modes is best learned by the repeated singing and comparison of characteristic intervals, introductory formulas, typical melodies and cadences, It is also well to note that melody may move within several modes by the SB process of modulation as in modern music, 4) BXPRESSION The singing of the chant must be characterized by the three virtues of sobriety, simplicity and restraint. This requires on the Pact of the singer a mind disciplined in the art of prayer at well as in the art of music. But this does by no means imply that the chant is to be sung heavily or slowly. There must never be a sensation of dragging in the rendition of the chant. It must be sung lightly and it must move. The rhythm, the melody and th the text all contribute to this lightness and movement which mak the chant by nature so capat le of lifting our minds and hearts to God in liturgical prayer. To sing the chant beautifully and in a manner worthy of its high otpose, more is necessary than a, mere understanding of damental theory of the chant. The proper use of Se ce is of equal importance. Any choir attempting to sing chant succesfully must lao give some very definite and diaeplin serenon to she folowing proper bretchings 2) tone production; a oles eins 8 development of a rhythmic senses 6) tending the melodies eith a uncpihs legato, sugcained tones? ‘Ae’ to dysatmica, there must “never: be tay. sudden or exaggerated changes in volume. Regarding the speed or tempo, a good norm is this: the notes should follow each other in the same pace as syllables of the text would follow each other in a sensiblexij INTRODUCTION CONCERNING CHANT TECHNIQUE reading and p! of the words, Ar all endings the choir should Ordinarily to’ slow down and quiet down. That is to say, cadences should be softened and prepared for by a suitable ritardando. In general, rising melody calls for a crescendo, and descending melody for’a decrescendo. Organ accompaniment to chant melodies must be simple and soft. It must never call attention to itself by being “ flashy ” or loud. Actually the chant does not require any accompaniment, By its very nature chant is self-sufficient and artistically satisfying when sung a cappella, But if the organ is used it should serve merely as a background or support to the singing, giving the impression that the choir is at all timce perfectly sure of itself and not dependent on the organ for pitch, speed or dynamics. The foundation thus offered by the organ must be diatonic and not chromatic, otherwise it will give the wrong harmonic flavor and detract from’the modal intervals which are inherent in the tonality of Gregorian chant. ATIN PRONUNCIATION Being the handmaid of the Liturgy, the chant ought never to obscure but to bring out the sense of the words. There must be good diction. This requires attention to correct pronunciation, accentuation and phrasing of the Latin words in the text. The Latin language of the liturgy uses the five fundamental vowel sounds in their original purity. There is no mixture or fusion of vowel sounds as in the English language. Pronounce: A as in father, not as in add. E as in mellow, not as in obey. I as in radio, not as in miss. © as in for, not as in note. U as in boot, not as in but. AE and OE as simple E above. Otherwise two consecutive vowels are pronounced separately, e.g. EI, OU, AI, EO, II. ‘Latin consonants which cail for special attention are: C before ¢, ae, oe, i is pronounced like ch in church. C__ before a, o, u is pronounced like c in cat. G __ before a, 0, u is pronounced like g in get. G__ before e, i is pronounced like g in gentle.INTRODUCTION CONCERNING CHANT TECHNIQUE xij H_ is silent as in Thomas, except in mihi and mil where it has the sound of a somewhat softened K, J (Sometimes written as I) gets the sound of the English Y but forms only one sound with the following vowel. Y in Latin gets the sound of I. CH is always pronounced K (even before e and i). GN gets the sound of ny as in the English canyon PH is always pronounced F. TH is always pronounced T. SC before e and i gets the sound of SH. CC before e and i gets the sound of T plus CH. (e. g. ecce). TI before any vowel is TSI. XC before ¢ and i is pronounced like K plus SH (e.g. excelsis). Z_~ is pronounced with the DZ sound in the lish word stands. Regarding the Latin accent, it should be noted that it is not to be treated with the stress or emphasis given to, the accent of a word in English or German, On , the Latin accent is an uplifting impulse, Nor is the sglisble i ; the, accent to be prolo: beyond the length of any other syllable. Every syllable must be distinctly pronounced, evenly and smoothly, with none of the tend ide elision peculiar to English pronunciation. No Latin word has the accent on the last syllable nor further back than the third last eyllable, In other words, there are only spondees and dactyls in the Latin language.INDEX NoTEs ON THE TRANSLATION . INTRODUCTION CONCERNING CHANT THE ORDINARY CHANTS The Asperges . ‘The Vidi Aquam . . I.In Paschal Time. II. On Solemn Feasts. 1. TII. On Solemn Feasts. 2 . . IV. On Double Feasts. 1. VIII. On Double Feasts. 2 IX. On Feasts of Our Lady. 1 X. On Feasts of Our Lady.2. XI. On Sundays throughout the Year XII. On Semidouble Feast . XV. On Simple Feasts. : XVI. On Ferias throughout the Year | XVII. On Sundays in Advent and Lent . XVIII. On Feasts in Advent and Lent Ambrosian Gloria. Crdol . . ee Credo 2. ee CredoIV 2. we RESPONSES AT MASS. Tones for the Prayers Atthe Gospel... Solemn tone for Preface . Simple tone for Preface . At “Pater noster” . . On THe Day oF Buriat Requiem Mass. . - ee Absolution after Mass . . Psalm so. Miserere (Tone rf.) OF THE MASSINDEX SELECTED GREGORIAN CHANTS 1, Adoremus and Laudate Dominum.I. 9. . 2, Adoremus and LaudateDominum. Il... 3, Adoremus and Laudate Dominum. UI . . 4.Adorotedevote =... ww ee 5.AlmaRedemptoris . . . . -. 1s 6,AnimaChrisi . . 6 0-0. eee 7.AtendeDomine . . 1 1 1 ee g.AveMaria, . 2 1 ee ee 9.Avemaris stella, =. 6 ee ee 10.AveReging 6 ee ee WAveverum 6 ee eee 12,Chrisusvincit. 9. 6. ee ee 13.Confrmahoc ee eee 14, Cor Jesu. . . . . . . + . 15,DapacemDomine . . . s+ +e 16.EccenomenDomini. . - . +e 117, Ecce panis Angelorum . es ee 18. Ecce sacerdos . . . . . + . . 19.Hodie Christus... ee ee 20.Inviolata. . ee ee ee 21, Jesudulcis memoria. =. ee eee 22, Laetabundus . + + + . . . . 23, Languentibus in Purgatorio 9... we 24, Litany of the Saints . . + + . . . 25, Magnificat (Tone 8G.) . «+ + ee 26, Maria Mater grating. sw ee 27. O filii et filiae . . . . . . . . 28. Ogloriosa Virginm., . . . 1 1s 29.0 Panis dulcissime . 9. 6 ee ee 30. Oremus pro Pontifice . . . . . . 31, Osalutaris Hosta, I. 0. ee ee 32,OsalutarisHostia,. II. 0. eee 33. OsalutarisHostia. II. ee ee 34.Pangelingua . . . + 1 ee 35, Panis angelicus . . . . . . . . 36.ParceDomine. . « « + - ee 37. Pontifical Blessing . . . - - . - 38.Puer natusin Bethlehem . 2... we 39,PueriHebracorum.I. . . . 8 79 80 81 83 83 85 86 87 88 88 89 93 94 94 94 95 97 98 98 99 100 103 105 116 118 118 121 122 123 123 124 125 125 127 128 128 129 131xj 40, Pueri Hebracorum, II 41. Regina caeli 42, Rorate caeli . 43, Rosa vernans 44, Sacerdos et Pontifex 45. Salve Mater. 46. Salve Regina. 47, Stabat Mater. 48, Sub tuum pracsidium 49, Tantum ergo. I. 50, Tantum ergo. II 51. Tantum ergo. III 52, Te decet laus 53. Te Deum (Simple Tone) 54, Te Joseph celebrent 55, Tota pulchra es . 56. Ubi caritas 57, Veni Creator Spiritus 58, Veni Sancte Spiritus 59, Vexilla Regis. 60, Victimae paschali lau: des 131 132 132 135 137 137 138 140 143 144 145, 145 146 147 151 152 155 137 158 160 162The Ordinary Chants of the Mass The Asperges Outside Paschal Time Ant, = vir XIII. & A -spér-ges me, *Démi-ne, hyssé-po, et mundd- ‘Thow-wilt-sprinkle me, Q-Lord, _with-hyssop and \I-shall-be- * + bor: lavd- bis me, et super nfivem de- alba- cleansed: Thou-shalt-wash me, and more-than snow shall-I-be-made- i a ae — * 7 bor. Ps. 50.Mi- seré-re mé- i, Dé- us, * se-cindum m4gnam white Have-mercy on-me, ©-God, according-to (that) great ——————— te ee “SEE ree 7 mi-sericérdi-am ti- am,Gl6é- ri-a Patri, et Fi-li-o, mercy of-Thine. Glory _to-the-Father, and to-the-Son, = et Spi-ri-tu-i Sdncto: * Sic-ut é-rat in princ{pi- 0, et and to-the-Spirit Holy: Just- as _it-was in. the-beginning, and (is) Chants of the Church. — 12 THE VIDI AQUAM nunc, et semper, et _in saécu-la saecu-Idrum. A- men. now, and always shall be), and for ages of-ages. Ae men, Repeat the div Aspérges me. The Vidi Aquam In Paschal Time From Easter Sunday till Whitsun incisive xe Ant. V Idi Aquam * egre- di- éntem de tém-plo 1 saw water flowin {from the-temple, SS ee ites : oe a ld- te-re déx- tro, alle- Ii- ia: et émnes, ad from thy side’ on-the-tight, praise the-Lord and all to quos pervénit 4 qua sta, sél- vi f&- cti sunt, Winn there-came —the-water” there, saved werecthey, Lit to ae RS et di- cent, alle-lu-ia, al-le- Iu- ia. Ps. 277. Confi- and they-shail-say, pralse-the-Lord, — praise-the-Lerd, Give- Ga témini Démino quéni- am bénus : * qué-ni- am in saéculum thanks to-the-Lord because (Heis) good: because for-everTHE. VIDI AQUAM. 3 nt z = mi-se-ricér-di- a é-jus, Glé-ri- a Patri, et Fi-li- 0, (is) the-mercy. of-Him. Glory _to-the-Father, and to-the-Son, et Spi-rf-tu-i Sancto, * Sic-ut é-rat in princl-pi-o, et and to-the-Spirit Holy: Just- as it-was in the-beginning, and (is) =a * : ae 8 fs nunc, et semper, et in saécu-la saecu- Id-rum. Amen. now, and always shall be), and for ages of-ages. ‘A-men. Repeat Ant. Vidi dquam. Responses Y. Os-tén-de nd-bis, Dé-mi-ne, mi-se-ri-cér-di-am té-am. Show to-us, Lord, (that) mercy of-Thine, T. P. Al-le-li-ia. Praise-the-Lord. W. Et sa-lu-té-re td- um da né-bis. 7, P. Al-le-lt-ia. And the-salvation (that is) Thine, give unto-us. Praise-the-Lord, Y. Dé-mi-ne ex-du-di o-ra-ti-6-nem mé-am, O-Lord fen to-the-prayer — -make. ®. Et cl4-mor mé-us ad te vé- ni- at, And the-cry [make to Thee may-it-come. Orémus... Per Christum Déminum néstrum, Let-us pray. Through Christ —the-Lord of -us. Ry. Amen, Amen.4 I. IN PASCHAL TIME I. In Paschal Time (Lux et arige) ne vn aah Geto —— ee j Yeri-e, e- Ié-i-son. if Chrf-ste, e Lord, have-mercy Christ, Aan x i e ee = = = 18 son. #7. Ky- ri- e, e- 1é- i-songy 7 He het e- 1é- i-son, havea Ww Me, ee Lé-ri-a in excélsis Dé 0. Et in tér-ra pax Glory in the-high-places (be) to-God. And on earth peace Go oe ee hom{nibus bénae vo-lunté- tis. Lauddmus te. Benedici- to-men —_of-good _ wil We-praise Thee, We-bless A hoe oe es a mus te, Adordmus te. Glo-ri-fi-cdmus te. Gré-ti-as Thee, Wevortip Thee, Wecghify Thee, Thanks a it +t 1 Agimus t{- bi propter magnam glé-ri- am ti- am. wegive to-Thee because-ot the-great glory (that is) Thine.I, IN PASCHAL TIME 5 Démine Dé- us, Rex caelé-stis, Dé- us Pé-ter omn{-pot- O-Lord God, King of-Heaven, God the-Father almighty. 6a oe ens, Démine Fi-li unigéni-te Jé-su Chri-ste. Dé-mine O-Lord the-Son only-begotten, Jesus Christ. O-Lord ba ei Dé- us, Agnus Dé- i, Fi- li- us Patris. Qui tdllis God, Lamb — of-God, Son _of-the-Father. Who takest-away Se peced-ta mandi, mi-serére nd-bis, Qui téllis peccé-ta the-sins of-the-world, have-mercy on-us. Who takest-away the-sins —— a fat x + a mindi, siiscipe_depreca-ti- énem néstram. Qui sédes of-the-world, receive (this) prayer of-ours. Who © sittest ote ae ad déx-teram P4-tris, mi-se-ré-re né-bis. Quéni- am tu at the-right-hand of-the-Father, have-mercy on-us. Since Thou SS ee s6-lus s4nctus. Tu sé-lus Dé-mi-nus. Tu sdé-lus Altissimus, alone (art) holy. Thou alone, the-Lord, Thou alone, the-most-High, phe Sates Ser Jé-su Chri-ste, Cum Sdncto Spf-ri-tu, in gldé-ri-a Jesus Christ. With the-Holy Spirit, in the-glory6 L IN PASCHAL TIME ae ——_t #4 A- men, of-God A men v S Anctus, * Sdnctus, $4} —_____+__—__ Holy, Holy, Holy, Lord Sdba- oth. Plé-ni sunt caé- li et térra glé- ri-a the-heavens and the-earth —cf-the-glory of-hosts, Full are me God Sanctus Déminus Dé- us ti-a, Hosdnna in excél-sis. Bene-dictus qui vé-nit of-Thee, Hosanna in the-highest, Blessed (is He) that co mes Es e BR iy pe in né6-mi-ne Démi-ni. Ho- sdnna_ in excél- sis. in the-name of-the-Lord. Hosanna In the-highest. A -gnus Dé-i, “qui téllis peccd-ta miin-d Lah of-God, x who takest-away the- sins _of-the-world: 8 no t me Bey = ty t mi-se-ré- re ndé- bis, Agnus Dé- i, * qui toll have-mercy on-us. Lamb of-God, who takest-away Paha ge eee 4 peccd-ta min-di: mi-seré- re nd- bis, Agnus the- sins of-the-world : have-mercy on-us. LambUI. ON SOLEMN FEASTS. I 7 SS ae Dé-i,* qui tdllis peccé-ta mtn-di: déna né- bis /ot-God, who takest-away the-sins of-the-world: give us _— Ed pa cem. peace From Holy Saturday till Saturday in Albis inclusively. a + = = oO J -te, mfissa est, —allle-lt-ia, alle. Id-ia, Go, the-Mass is (finished), praise-the-Lord, _praise-the-Lord. Dé-o grati- as, alle-ld-ia, alle- Iu-ia, To-God (be) the-thanks, praise-the-Lord, praise-the-Lord. From Saturday in Albis to Trinity exclusively. vn ye Dre lee et . Go, the-Mass is (finished). Dé o gré- ti, as. To-God (be) the-thanks. II. On Solemn Feasts. 1 (Kyrie fons bonitatis) xe m + or K Yri-e, v* elé i-son, si, Chri- Lord, have-mercy. Christ, a 2 ste, elé ison, sf, Ky-ri- have-mercy. Lord,8 Il. ON SOLEMN FEASTS, I i-son, ij, Ky-ti-e, * Lora, —————— ot ele is have-mercy. ae {SS 1 & G Lé-ri- a in excélsis Dé 0. Et in térra pax totem aE or a . ho- mf- ni- bus bdnae vo-lunta-tis, Lauddmus te. : : ae as it Benedf-cimus te. Ado-rdmus te, Glo-ri-fi-c4-mus te, Webless Thee. — We-worship Thee. Weeglority Thee a x =e Gr&-ti- as Agimus ti-bi propter_ magnam glé- ri- am Thanks wexive to-Thee — hecauseof — thegreat lov : oH s4—s = a a 7 * am td- am. Démine Dé- us, Rex cae-léstis, Dé- us Pa-ter (thatis) Thine, O-Lord God, + omnipot- ens, Dé- mine Fi- li uni-génite Jé-su almighty. O-Lord the Son only-begotten, “JesusIl, ON SOLEMN FEASTS. I 9 Chri-ste. Démine Dé-us, Agnus Dé-i, Fi- li- us Christ. O-Lord God, Lamb — of-God, Son Se Pétris, Qui tél- lis peccd-ta mundi, mi-se- ré-re otthePather. Who takestavay "thesine obthenorld, haveerey t .4 a ar rerum a = —n} = t a né-bis, Qui tél- lis peccdta mandi, si on-us. Who takest-away the-sins of-the-world, rec scipe depre- ve (this) Pe ca-ti- é-nem néstram. Qui sédes ad déxte-ram Pé-tris prayer of-ours. Who sittest at the-right-hand of-the-Father, I mi-se-ré-re nd-bis, Quéni-am tu sd- lus sanctus. Tu hhave-merey —on-us. Since — Thou alone (art) holy. Thou hon ot te sé-lus Déminus. Tu sé-lus Al-t{ssimus, Jé- su Chri- alone, the-Lord. Thou alone, the-most-High, "Jesus Christ. ssi ——————— ae : fs ste. Cum Sancto Spf-ri-tu, in glé- ri-a Dé-i Pa- tris With the-Holy, Spirit, in the-glory —of-God_ the-Father, t Ee A- men. A men,Wo I. ON SOLEMN FEASTS. I 1 S An etus,* Sine cts, Sin Holy, Holy, Holy, = (oor i minus Dé- us Sdba-oth. Pléni sunt caéli et tér- ra Lord God ofthasts, Full are the-heavens and the-earth Ce a toe gié- ria té-a, Hosénna _in excél-sis,Bene- of-theglory of-Thee. Hosanna in theshighest. Blessed a= naan eee eeenneeRa EET oo en d{ctus qui vé- nit in né-mine Démini. Hosanna (is He) that comes in the-name of-the-Lord. Hosanna — a in excél-sis, in the-highest. : A -gnus Dé i, “qui tél lis peccdta min- Lamb of-God, who takest-away —the- sins —_of-the- : t aa eet mi-seré- re né- bis, Agnus Dé- i, * qui havemerey ons Lamb ot06, who & ft ey téllis peccd-ta min- di: miseré- re né- bis, takest-away the-sins of-the-world: —_have-mercy on-us.II. ON SOLEMN FEASTS. 2 n = — 1 oe i Agnus Dé i, * qui tdél- lis peccd-ta min-di: Lamb of-God, who takest-away the- sins of-the-world : t Soe déna né- bis pé- ce, five ous peace. * am th I~ Go, Dé- 0 ‘To-God (be) the-thanis. Or more usually : oy ir I = fn ETT - te, m{s- sa est. Go, the-Mass is (finished). Dé 'o gra tis as, To-God (be) the-thanks. bes iy v ie x eae Enedi-caémus Dé- mi-no, Let-us-bless the-Lord. TII. On Solemn Feasts. 2 (Kyrie Deus sempiterne) : FS Y- rine * elé-i-son, Ky-ri-e, Lord, have-merey. Lord,8 II. ON SOLEMN FEASTS. 2 ‘ t + - ae Pope elé-i-son. Ky- tise, e-lé-i-son. tavemercy. Lord, ave-merey. 7 t = trea te 3 a, Chri- ste, e-lé-i-son. Christe, Christ, have-mercy. Christ, ‘ t a4 Seis fe ~ e-lé-i-son. Chrf- ste, elé- i-son, Ky-ri- have-mercy. Christ, have-mercy. Lord, ‘ ts NE, : = ee — set = gE ah ° e-lé-i-son. Ky-ri- e, have-mercy. Lord, ‘ t SS elé-i-son, Ky-ri- e, ‘| have-mercy. Lord, te E e-lé-i-son. have-mercy. 2 = van & —— + Mme {as G Léri- a in excelsis Dé 0, Et intérra pax Glory in the-high-places (be) to-God. And on earth peace Cae oo homf{ni-bus bé- nae vo-lunta-tis. Laudamus te. Benedi- to-men of good wil. Weeprale Thee. We-blessIII, ON SOLEMN FEASTS. 2 13 ci-mus te. Adordmus te, Glo-ri-fi-cd-mus te, Gré-ti-as ‘Thee. We-worship Thee. We-glority ‘Thee. Thanks 4gimus t(bi propter m4gnam gléri- am td- am. Démi- weglve to-Thee because-ot the-great glory (that Is) Thine. O-Lord ee ne Dé-us, Rex caeléstis, Dé-us P4-ter omn{- pot-ens. Dé- God, King of-Heaven, God the-Father almighty. be =e == aH mine Fi-li uni-géni-te Jé-su Chri-ste, Démine Dé- us, ‘O-Lord the-Son only-begotten, Jesus Christ. O-Lord God, Agnus Dé- i, Fi-li- us Pétris, Qui téllis pec- cé-ta Lamb of-God, ‘Son of-the-Father. Who takest-away the-sins e—_;— ee cay FE mundi, mi-se-ré-re né-bis. Qui téllis pec-cd-ta mindi, of-the-world, have-mercy on-us. Who takest-away the-sins of-the-world, — a oo i . siscipe depre-ca-ti- énem néstram. Qui sé-des ad déxte- receive (this) prayer of-ours. Who sittest at the-right- 7 . & AG ae : ram Pé-tris, mi-se~ré-re né-bis. Quéni- am tu sé-lus s4n- hand of-the-Father, have-mercy on-us. Since Thou alone (art)II. ON SOLEMN FEASTS. 2 oe 14 & & =e t ctus. Tu sé-lus Déminus. Tu sé-lus Altfssimus, Jé- su holy. Thou alone, the-Lord. Thou alone, the-most-High, Jesus an 7 + = mr i — a t Chri- ste. Cum Séncto Spl-ri-tu, in glé-ri- a Dé i Christ. With the-Holy 8 In thesglory of-God tp Pa- tris. A- men, the-Father. © A- men. (x1) ae r oo as {or Ee [eo S An- ctus, * Sanctus, Sdn- ctus_ Déminus Holy, Holy, Holy, Lord Dé-us Sdba- oth. Pléni sunt caéli et térra glé- God of-hosts, Full are the-heavens and the-earth —of-the- =a oo ria ti-a. Ho- sdnna in excél-sis, Benedictus qui glory of-Thee, Hosanna. the-highest. Blessed ({s He) that i ee E vénit in némine Démini. Ho- s4nna_ in excél-sis. comes in the-name of-the-Lord. Hosanna in. the-highest. XI-XIL ¢. y AN gous DE i, "qu tS” Tis peccd ta Lamb of-God, who takestaway the simsIV, ON DOUBLE FEASTS, I 15 pete Ps, he ae min- di: mi- se-ré-re né-bis, Agnus Dé- i of-the-world : have-mercy on-us, Lamb of-God, who t+ Pa tél lis peccd- ta mian- di mi- se-rére_nd-bis, takest-away _the- sins have-mmercy —on-us. « 2 Agnus Dé- i, *qui tél- ° lis peccé- ta mdn- di ‘Lamb of-God, — who takest-away _the- sins of-the-world : t t ane = dé- na nébis pé-cem. give us peace. Ite missa est, or Benedicimus Démino, as in the preceding Mass. IV. On Double Feasts. 1 (Cunctipotens Genitor Deus) xe ad t ah : ee K va e, e- —Ié- ison, dif. Chri- have-mercy. Christ, a ante a ie +r a ste, e- Ié- i-son. ii7. Ky-ri- e, e have-mercy. Lord,Iv, ON DOUBLE FEASTS. I 1é-i-son, #7. Ky-ri- €, 1é- i-son. have-mercy, Lord, havesmerey ne w = = rt $9 te et Lé-ri-a in excélsis Dé- 0, Et in térra pax Glory in the-high-places (be) to-God. And on earth peace ff Sh 7 SSIS homi-ni-bus bénae vo-lunté-tis, Lauddmus te. Bene-di- tommen of gon il Weprase Tice Webless ‘ ee cimus te. Ador4-mus te. Glo-ri-ficd- mus te. Thee, We-warship Thee. We-glorify Thee [ ee SR SE et Be Grdti-as dgimus t{bi propter m4gnam glé-ri-am té- am. Thanks —we-give to-Thice because-of the-great glory _ (that is) Thine. ESSSSSSEEESES ET El < az Démi-ne Dé-us, Rex cae-léstis, Dé- us P4- ter omni- O-Lort — God, King of-Hieaven, Got the-Pather t £ re z aa ay — potens, Démine Fi-li uni-géni-te Jé& ‘su Chri- almighty. O-Lord the-Son —only-begotten, fess Christ _— ele ste. Démine Dé-us, Agnus Dé-i, Fi- li-us P4- tris. O-Lord God, Lamb of-God, Son of-the-Father.IV. ON DOUBLE FEASTS. 1 1 = =. Cao =] Qui téllis -peccé-ta mtndi, mi-se-ré-re _né-bis. Qui Who takest-away the-sins of-the-world, have-mercy on-us. Who = = & téllis peccd-ta mindi, siiscipe depre-ca-ti-énem né- takest-away the-sins of-the-world, receive (this) prayer gee = = = - a stram, Qui sé-des ad déxteram Patris, mi-se-ré-re of-ours, Who sittest at the-right-hand of-the-Father, have-mercy é ——— = .— E44 d né-bis.. Quéni- am tu sé-lus sanctus, Tu sé-lus Dé. on-us. Since Thou alone (art) holy. Thou alone, t ; 4 | meee minus. Tu sé-lus Alt{(ssimus, Jé- su Chri- ste, the-Lord. Thou alone, the-most-High, | Jesus Christ. f — = ire fe =r =I Cum Sancto Sp{- ri- tu, in gldé-ri- a Dé- i Pa- tris. With the-Holy Spirit, in. the-glory of-God the-Father. o ro —s = S An- ctus, * Sdnctus, SAn- ctus Déminus Dé-us Holy, Holy, Holy, Lord God18 IV. ON DOUBLE FEASTS. I a ve ft S4-ba-oth. Pléni sunt caé-li et térra glé- ri-a ta- a othosts, Full are the-heavens and the-arth ofthe-glery of Thee. ee a Ho-sdnna_ in ex-cél- sis. Benedictus qui vé-nit in ndé- Hysanna in the-highest. Blessed (is He) that comes in the- ae tra mine Dé- — mi-ni. Ho- sanna_ in ex-cél- name —of-the-Lard Hosanna in thes ——_ +45, » BS a Le al A -gnus Dé i, * qui téllis peccd-ta mindi Tamb ofGod,” who thos sine lethal a mi-seré. re né- bis. Agnus Dé-i,* qui tdllis peccd- havemercy onus. Lamb of Gul, whe takest-away the sas t q Soe ee ta mindi: mi-se-ré re né-bis, Agnus Dé i, * qui ofthe-world: have-metcy unas. Lamb ofGud, who eee ie oe téllis peccd-ta mundi: déna né- bis pa-cem. 1 & I =a oS ——— - te, missa est. Go, the-Mass is Dé-o gra- To-God (be) the-thanksVIII. ON DOUBLE FEASTS. 2 19 s+ + 1 = B _ Enedi-cé-mus Dé- mino. Let-us-bless the-Lord. VIII. On Double Feasts. 2 (De Angelis) reac v es Ky poeuea. Y-ri- ¢, * e — 1éi-son. #4. Christe, Lord, havemercy. Christ, =e Petites e- — Iéi-son, 47, Ky-ri- e, e have-mercy. Lord, ‘ — = lé-i-son. i, Kj-ti-e, * #8 Iéi-son. have-mercy. Lord, have-meroy. re YS = eC —— Léri-a in excélsis Dé-o, Et in térra pax -ho- Glory in the-high-places (be) to-God. And on earth peace Se a minibus bédnae vo-luntd-tis. Laud4-mus te. Bened{-cimus tomen —of-good will, We-praise Thee. We-bless =e te. Adord- mus te. Glo-ri- ficdmus te. Grd-ti-as 4gimus Thee. We-worship Thee. We-glority Thee. Thanks we-give20 VIII, ON DOUBLE FEASTS. 2 Ee —— = i ti-bi propter mégnam gléri-am td- am. Démine Dé-us, to-Thee becauseof thegreat glory (thatis) Thine, O-Lord God, Pe i ht ae — rs] 4 Rex caeléstis, Dé-us Péter omnf-pot-ens, Démine Fi-li King of-Heaven, God the-Father almighty. O-Lord._ the Son . Z az eos 5 : = = unigéni-te, Jé-su Chri-ste. Démine Dé-us, Agnus Dé- i, only-begotten, "Jesus Christ. O-Lord God, Lamb» of-God, = oa te —— 7 Fili-us Pé-tris, Qui téllis peccdta muin-di, miseré- re Son of-the-Father. Who takest-away the sins of-the world, have-mercy a= et né-bis. Qui téllis peccdta mandi, stiscipe depreca-ti-6- on-us. Who takest-away the-sins of-the-world, receive (this) prayer == a or 7 = as —_ nem néstram, Qui sédes ad déxteram Patris, mi-seré-re Le, * te pet =. se 4 né-bis. Quéni- am tu sdlus s4nctus, Tu sé-lus Démi-nus. onus, Since Thou alone (art) holy. Thow alone, the-Lord & : ee eo Ss] Tu sé-lus Altissimus, Jé-su Chri-ste. Cum Sdncto Spf-ri-tu, Thou alone, themmostHtigh; Jens Christ. With the-Holy | Split,VIII. ON DOUBLE FEASTS. 2 21 ete in gléri-a Dé-i P4- tris, A- = men, in the-glory of-God the-Father, A-——men, (xa) xm. w = - S a ctus,* Sanctus, Sdn- ctus Dé- mi-nus Holy, Holy, Holy, Lord 5 Dé- us Sé- ba- oth. Pléni sunt caé-li et tér- God of-hosts. Full are the-heavens and the- tsa 5 — a | — he ae ra glé-ri- a ta- a. Hosanna in excél- sis. Bene- earth of-the-glory of-Thee. Hosanna in_the-highest. Blessed di- ctus qui vé- nit in némine Démi-ni, Ho-sdn- (isHe) that comes in the-name of-the-Lord. Hosanna t EE ae : SS = na in excél- sis. in the-highest. xe — " : a A -gnus Dé- i, “qui téllis peccdta mundi Lamb of-God, who takest-away.the- sins of-the-world : . 7 =— — Ee mi-seré-re né- bis, Agnus Dé i, * qui tdl-lis pec have-mercy on-us, Lamb —of-God, who takest-away the.22 IX. ON FEASTS OF OUR LADY. I — = =—+ oe aed cata man-di: mi-seré-re ndé- bis, Agnus Dé i, * sins of-the-world: have-mercy on-us. Lamb of-God, —— ee eee qui téllis peccd-ta mundi: déna né-bis p4- cem. who takest-away the- sins of-the-world: give us peace, vo Egy tte I a it os = te, missa est. Go, the Mass is (finished). Dé 0 gré-ti- as, To-God (be) the-thanks. tet vy Ea tte a Sd B Enedicdmus Dé- mi-no. Let-us-bless the-Lord. IX. On Feasts of Our Lady. 1 (Cum jubilo) : me 1 = Pea ee oe Se Yori *) el i-son, Ky-ri-e, | e-lé-i-son. Lora, havesmercy. Lord, have-merey. > Ky-ri- ¢, " elé-i-son, Chri-ste, e-Ié-i-son, Chri- Lord, have-mercy. Christ, have-mercy. Christ,IX, ON FEASTS OF OUR LADY. I t ie ae Beet fer ste, e-lé- i-son, Christe, —_e-Ié- i-son, have-mercy. Christ, have-mercy. hen ee ret e-lé-ison, Ky- rie, | elé-i-son, Ky-ri-e, have-mercy. Lord, have-mercy. Lord, : ie x in ft Se * oe e-lé-i- son. 0 Be oel ! = Lé- ri-a in excélsis Dé- 0, Et in tér-ra pax Glory _in the-high-places (be) to-God. And on earth peace boa SS SS hom{-ni-bus bénae vo-luntd-tis, Laud4-mus te. Bene- tommen of-good will We-praise Thee. We-bless SEES a & x *y 7 + i d{-cimus te. Ado- r4-mus te. Glo-ri- ficd- mus te. Thee. We-worship Thee. Weglority Thee. .* me ff a ——+ + ay E os Meme: Gré-ti- as 4gimus ti-bi propter m4gnam glé-ri- am ti- am. ‘Thanks —_we-give to-Thee because-of the-great glory (that is) Thine. Démine Dé- us, Rex cae- léstis, Dé- us P4-ter omni-pot- O-Lord God, King of-Heaven, God the-Father almighty.24 IX. ON FEASTS OF OUR LADY. I i _s = et bt a oat ens. Démine Fi-li unigé-ni-te, Jésu Chri- ste. Dé-mine OsLord theSon only-begotten, Jesus Chest. O-Lord 1 r= wagctt a = 4 Dé-us, Agnus Dé i, Fi-li-us Patri, Qui téllis pec- Go, Lamb — of-God, Son of-the- her. Who takest-away cd-ta mundi, mi-seré-re ndbis, Qui téllis peccd-ta man- the Wethe-world, havemercy —on-us. Whntakest-away the-sins — of-the Boa ete I di, ss- cipe depreca-ti- 6-nem néstram. Qui sédes ad world, receive ¢this) prayer ofours, Who sittest at 4 ce =e ttn pete = déxte-ram PAtris, mi-se-ré-re ndbis. Quéni-am tu sdlus the-right-hand of-the-Father, have-merey onus, Since Thou alone (art) Roe Pp Pe ty sanctus. Tu sé-lus Déminus. Tu sé-lus Alt{ssimus, Jésu holy. Thou alone, the-Lord. Thou alone, the-most-High, Jesus : toe pee A ete en fr Chri-ste. Cum Sdncto Spf-ri-tu, in glé-ri- a Dé-i Pa- tris. Christ. With the-Holy Spirit, in the-glory of-God the-ather.IX. ON FEASTS OF OUR LADY. I 25 8 S An- ctus,*Sdnctus, Sdn- ctus Déminus “Holy, Holy, Holy, Lord Dé- us Sé- ba- oth, Plé-ni sunt ca¢li et tér- ra God Ot-hosts. Full are the-heavens and the-earth glé-ri- a ta- a. Hosanna in excél- sis. Be- nedictus of-the-glory of-Thee, Hosanna in the-highest. Blessed (is He) qui vé- nit in né- mi-ne Dé- mi-ni, Ho- sdn- that comes in thename ——_of-the-Lord. Hosanna - a eer. na in excél- sis. in the-highest. (2) um. &. ; Ses A _-gnus Dé i, *qui tél lis peccd4-ta_ min- Lamb of-God, who _takest-away —the- sins _of-thes Pe di: mi-se- ré-re né-bis, Agnus Dé i, *qui tél lis world: —have-mercy on. Lamb of-God, who takest-away ee Ss peced-ta min Agnus Dé- the-sins of-the-world: have-mercy ‘on-us. Lamb of-God,X. ON FEASTS OF OUR LADY. 2 peccdta mun- di: ddé-na né-bis the: sins of-theworld: give us _ e m{ssa est. the-Mass is (finished). Dé 0 — gré-ti- as. To-Gou (be) the-thanks. & 1 Say B at aS at he = Enedi-cémus Dé- mino. Let-usbles —— the-Lord X. On Feasts of Our Lady. 2 (Alme Pater) xe t fi = 3 1 OPA ies) Y- ri e%e- Mison, Ky-ri-e, e 1é-i-son. Lond, have-merey Lord, have-mercy. . & <> fh a 2 = Ky- ris e, | 1é i-son. Christe, e- I¢-i-son. Chri- Lord, have-merey. Christ, have-mercy. Christ,X. ON FEASTS OF OUR LADY. 2 27 ste, e-' 1é-i-son.Christe, e- Ié-i-son.Ky-ri-e, e+ 1é- have-mercy, Christ, have-mercy. Lord, have- es 4 “i ; te Aye = i L ison, Ky- ri- ¢, ¢- | Ié i-son. Ky-ri-e, . mercy. » Lord, have-mercy. Lord, laa + Rhee oy e-' Ié- ison, have-mercy. vu EE are = rf Lé-ri- a in excélsis Dé- 0. Et in térra pax Glory in the-high-places (be) to-God. And on earth peace t + > — = . , a = — hominibus bénae volunté-tis. Lauddmus te, Benedf- to-men of-good will. We-praise Thee. We-bless ae ao fl cimus te. Ado-ramus te. Glo-ri-ficdmus te, Grd-ti- as Thee. We-worship Thee. We-glority Thee. Thanks dgimus t(-bi propter magnam glé-ri- am td- am, we-give to-Thee because-of the-great glory (that is) Thine. Démi-ne Dé- us, Rex caeléstis, Dé- us P4-ter omni- O-Lord God, King of-Heaven, God the-Father almighty.28 X. ON FEASTS OF OUR LADY. 2 ‘ € i ti oar a ee potens, Démine Fi-li unigéni-te, J¢su Chri-ste, Dé- O-Loisl—the-Son oly-begatten, “Jesus Christ t : - - er x sey ee a — mi-ne Dé-us, Agnus Dé- i, Fi-li-us Patris. Qui todllis O-Lord God, Lah ofsGiod, Sunt of-the-Father, Who takestaway ‘ t te *—fr ee —_ ~~ a s a peccéta mundi, mise-ré-re né-bis. Qui téllis peccdta thesins of-theavorld, have-merey ——ontus. Who takest-away the-sins be eS aa ST po mindi, siis-ci-pe deprecati-énem néstram. Qui sédes of-the-world, receive (this) prayer of-ours. Who - sittest hoe . tm) ee + ad déxte-ram Pétris, mi-seré-re né-bis. Quéni- am tu at the-right-hand of-the-Father, have-mercy — on-us. Since Thou bet ech a rortg s6-lus sdnctus. Tu sé-lus Déminus, Tu sdlus Altfssimus, alone (art) holy. Thou alone, the-Lord. Thou alone, the-most-High, Ee. ——— | Jésu Chri-ste. Cum Sdncto Spf-ri-tu, in glé- ri- a ‘Jesus Christ. With the-Holy Spirit, in the-glory Déi Pé-tris, A- men. uf-Gud the-Father, A= men,X. ON FEASTS OF OUR LADY. 2 29 Re z = S Anctus, * Sanctus, Sanctus Déminus Dé- us Holy, Holy, Holy, Lord God Sdba- oth. Pléni sunt caéli et térra glé-ri-a ta- a. of-hosts. Full are the-heavens and the-earth of-the-glory of-Thee ee St =e — = 7 Hosdnna in excél-sis, Benedictus qui vé-nit in né- Hosanna in the-highest. Blessed (is He) that comes in the: eae! re mine Démi-ni. Hosdnna in excél-sis. mame of-the-Lord. Hosanna —_in__the-highest. xn. v ee A -gnus Dé i, * qui téllis peccd-ta mindi : Lamb of-God, _ who takest-away_ the- sins of-the-world : Ro eR mi-se-rére ndé-bis, Agnus Déi,* qui téllis peccd-ta have-mercy —on-us. Lamb of-God, who takest-away the- sins a ; mindi: mi-seré- re nébis. Agnus Dé-i,* qui téllis of-the-world: —have-mercy on-us. Lamb of-God, who takest-away a fa peced-ta mindi: déna nébis pd-cem. the- sins of-the-world: give us peace. Ite missa est, or Benedicdmus Démino, as in the preceding Mass.30 XI, ON SUNDAYS THROUGHOUT THE YEAR XI. On Sundays throughout the Year (Orbis factor) (x) xIv-xvI. ce. ——— aie 1 tts yt K 1 oe ae Y-rie, * e Id ison. sy. Christe, Lov havemerey. Christ a = IS e son. #7. Ky-ri- e, 1é- i-son, #7. Ky- have-mercy. Lord, have-mercy Lord, (— ri-¢, fe i-son, have-mercy. : a : = G L6-ri- a in excélsis Dé-o. Et in térra pax Glory in the-high-places (be) to-God, And on earth peace eo oe hom{ni-bus bénae vo-lunté-tis, Lauddmus te. Bene-di- to-men —_of-good will. We-praise Thee, We-bless 5 ee cimus te, Ado-rdmus te. Glo-ri- ficdmus te. Gré-ti- as ‘Thee. We-worship Thee. We-glorify | Thee, ThanksXI, ON SUNDAYS THROUGHOUT! THE YEAR 31 dgimus t(-bi propter magnam glé-ri- am td- am. we-give to-Thee because-of _the-great glory (that is) Thine. Jo Démine Dé- us, Rex caeléstis, Dé-us Pater omn{-potens, O-Lord God, King of-Heaven, God the-Father almighty. haa ee 3A Démi-ne Fi-li —_ unigéni-te, Jé-su Chrf-ste. Démi-ne O-Lord the-Son —only-begotten, Jesus Christ. O-Lora —+ = —— a, i a Dé-us, Agnus Dé- i, Fi-li- us Pé-tris, Qui téllis pec- God, Lamb _of-God, Son of-the-Father, Who takest-away the- ioe cé-ta mindi, mi-se-ré-re né-bis, Qui tdllis peccé-ta sins of-the-world, have-mercy onus. Who takest-away_the-sins Se mindi, sascipe depreca-ti- énem néstram. Qui sé-des of-the-world, receive (this) prayer of-ours. Who sittest See ad déx-teram Pé-tris, mi-se-ré-re né-bis, Quéni- am ‘at the-right-hand of-the-Father, have-mercy onus. Since 1 ee tu. sé-lus sanctus. Tu sdlus Déminus. Tu sé-lus Altis- Thou alone (art) holy. Thou alone, the-Lord. Thou alone, the-most-