A GUIDE TO GREGORIAN NOTATION
Neumes = notes sung on a single syllable
Do clef: Indicates where Do is on the staff.
Fa clef: Indicates where Fa is on the staff.
Punctum: Single note with time value of 1
beat.
Dotted punctum: Long note with time
value of 2 beats. Second beat sung softly.
Bistropha: Long note with time value of 2
beats. Sung with slight crescendo.
Podatus: Bottom note is sung first;
followed by the top note which is
softened.
Clivis: 2 descending notes; read from left
to right.
Liquescent: Pronounce diphthong (a-u) or
a voiced consonant (l, m, n, etc.) on small
note that ends syllable.
Scandicus: Ascending 3 notes
Quilisma: Ascending 3 notes noted by
jagged line in middle. Middle note sung
lightly, moving towards the top note.
Torculus: 3 notes, rise to second note,
then descends to last note.
Porrectus: 3 notes, middle one lowest.
Drawn simply with a line to connect
notes.
Climacus: Descending neum 3 or more
notes. All notes same value (1 beat each).
Custos: Indicates what the first note will be on the next line.
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8,$8&.6,$/&$&7.$*&4,$16$-3.3'1+,($/*3/$3+$*,>+*,$*3'$-7/$*1+>*,.$;31/*$
36'$ *&-,$ 16$ :*,,$ *,>+*,$ 430$ 6&/$ 76',.?&$ /*,$ -316+$ &;$ *,99$ 87/$ 430$
-&++,++$,2,.93+/16?$B&0+<$:*.&7?*$C*.1+/$&7.$D&.'<$!<$A4,6<$
Flat: Remains in effect for as long as the word lasts, up to
the next bar line of any kind, or until cancelled by the
1(/&2!.+::$/7&0(+/!;+'!&0!0#$!*<'(&2=!
natural sign (whichever comes first).
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$F
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(#>3&$# 4#&$(& "&%K$ #)& &$#*,&#$,& & &$*+,#$ #-#?!
!"#$"%&# #'# & "$# ()#$" &,&# "#&*$&,"&$#+,"&"&# +$./& &$,# &#",*"&#$" -)"&$!"&#)".&$"+@&A6/"&# ,$*&BC6"0"&$# '("#0&$ %#&1#&$"&%#D&"#02 $&E#$0F&G#)".& "/GGG#
"&# 31" "45 # !
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! C! "#&#$HIJ;&$&#6&#& K%&$#&L& $IHM&#&#%#D&#$ -#&$:9;&$# $ +N$O$#P$ #0)& #)& #(#>& #4#$ &(& &$#)& $ $&$ QRS& #)#$ T!
L"& .$S.&R345!#":O#"Y-&+"& BC"#")".&%5"#/&5#"%9-G"#&" #*Z&" "&").#"" "#%-.&0#1&0/2 [45&"78#"&UR)&."3 #)".#O"'""&\]D()="&#&O#")&"&/0&1"0&% &2#%"&+"&$^&_)$"9-&`&"S+&-"0<&G"&")2"&. X"&K/" &#9-" ;5
"&$#5Q6& $& $ )& &#&$ & &$ #& #56& $ #%& #$L#D&$ #4$ $L&#$ &%$ &$ #&HMDU&VW$XP& #%& #6#& $<Y& &$ Z%& &#%$#&#%#D& E[#!
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#&-" &# )"IIIIIIJ&
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L"%[#'" %.%V" &W"M"P&#$&(&*+&%UR.& R31&1"%"%1" " & 1" "/1./1" &%1%V" H&"IIII"%K
!""#
EFF
Mode: Roman numeral indicates mode (the medieval
system of scales). There are eight modes in Gregorian
!"#!
"#$!%&'()#!*++,!+-!.#&/0!
chant.
$
G$-3H.3H'IH+74$J$','K536/$/,$$A6?,H91=$$$$$$16$/7H$&$$$
Horizontal episema: Horizontal line above or beneath a
neum suggesting that the neum be sung expressively. Used
in some of the music in many
publications, but now being
!"#!
"#$!%&'()#!*++,!+-!.#&/0!
removed from Solesmes publications.
$%&'(&))))))))*+,))$-&)))%&))./&))))))))01&))))))0/$2)
$3'2L6/7$$$+7+5IH-1H$36/$/,$MN./0H.,+($$$$,/$-,.'K536/$/,$$$$$
Vertical episema (ictus) (vertical line beneath a neum):
345-)4%$0)6+$057+8)59)-$)6*+%8):*5,)4+%.+9;)<)=5*8;)4%./9>)/9)/0)%??)04%0)/$)
Rhythmic sign indicating the place of count one in binary
8+?/@/5-$)%98)04+)$7++09+$$)5:)+.+*A)0%$0+2)
and tertiary groups of simple beats. Found in some music;
now being removed from Solesmes publications.
$%&' !12()%*(+,-(.-/0*(&$1-(2,-+3&((4565((/%6/3(*76,-+3&((82,-(
$16$51H21H/NH/,4$+365/34$O,H$.KH+3H9,4<$$
% 1234!5678!79:!;7;7<:
!
=+!>?!@A!!"!%)!BCCDECCC!
$
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B
M30$ /*,$ A6?,9+$ 9,3'$ 0&7$ 16/&$ -3.3'1+,=$ 430$ /*,$ 43./0.+$ .,5,12,$ 0&7$ 3/$ 0&7.$
5&416?($36'$9,3'$0&7$16/&$/*,$*&90$51/0($O,.7+39,4<$
asterisk (*) within text indicates one singer/choir followed by another
An
singer/choir. Most often used in this booklet to show when the cantor begins
EFFF followed by all.
the piece,
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) (*16/,+(90-+:-(;3-$%&'(
D&))9/$;)E)F-+,)+&))))))))))))))>5)8G&))8+&*5;))))@%&*5)
Bars (signs of pause)
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,+&))))))))))))%))+$0)))'*5)$H
I&))))))))))))))@-&))))))?/)))))./&)
63-(%&=(4%((/,(@3A6,((&7*,-+,'(
42!B/($%+6.-2,&(;7-(+3-(%&((C+5-(
.&$S7&6'34$-N7-,H.,$$$$$TH/L.634$$*N8,H$3+$.LS71H$,4<$
M30$ /*,$ 5*&1.$ &;$ A6?,9+$ .,5,12,$ 0&7($ 36'$ )1/*$ D3R3.7+($ )*&$ &65,$ )3+$ -&&.($
The 430$0&7$*32,$,2,.93+/16?$.,+/<$
following are guidelines. The text actually dictates phrasing and
)))))))))))))))))))))0%2)
(9122,6&=(65&(;.-$3-(%&((D,$0*(93-(,((?:-?,-+,'(
52!E3$(+,-;1$/3(((
determines when choir should take a breath.
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>/0(8#+/!&/7!.&/0(?2$!&0!@'&A$)(7$!
(a)
Quarter bar: Separates clauses in the text. No breath, unless necessary
FF bar: Separates members of phrase. Almost always implies taking
Half
5 63!812;6.1"!.1<278!8718 !
=+!>?!@F!!G!%)!BCCHECCI!
breath.
(9F-$0-(23&((E.6A03-63&=((,/((1-90-23&((D0-(G(($%+63&((F9/3*3&'((
(c) Full bar: Separates phrases. Slight slowing of movement before bar.
!""$) JB
$ of$$$H$?&$+74$J$.,H+7..L5/1H$&$$$,/$21H/3=$$$$S71$5.,H'1/$$16$
Silence
brief duration after bar.* Take breath.
(d) Double bar: Indicates end of a piece or one of its principal parts. Also
used to mark place where 2 choirs alternate. Silence of brief duration
) 672!
LB)),%98M&)@%0))@%*9+,),+&))))))%,;)E)+0)6/&)6/0))$19&)
EG$0-2F-+0*(&(
after bar.*GH$0-(23&=(((>90-21*0+(&1-@0-23&((((<6?3-/.-/3(
Take breath.
!"%#
(b)$
* There may or may not be a rest (1 or 2 count) after a full or
double bar. Rules vary. Follow choir director.
(.-IJ*3&'((((K-*,6'(
>-/&9+,),+&))))))-,;)))/9),+),%&)))9+0;)))))+0)+&))))>5))))/9)
Notation at the end of section of text:
L( &M,,/,&/( N+,%@=( L( 23;,-A3?36A( ;55@( 5;( /O,( ;%3/O;02( &502P( 82(L( 9%&$O%2( Q3$/3*=(
: Latin
word92meaning
Sing the
twice.$56(L( U,&0&=(twice.
*5&/( 25?,@=(
J50(section
%+,( @3?36,2J(
*,,R,&/( S%*T=(bis
2%M;02(
5T2%/356P(
ij
:
Latin
numeration
for
twice.
Sing
the
section
twice.
$,%2,@( 06@,+( /O,( %99,%+%6$,( 5;( T+,%@P( :2(8+,%/,( 0&( %6,M( 36( ,?,+J( M%J( TJ( /O,(
iij : Latin numeration for three times.;2(N,$%0&,(DO50(%+/(65/(
650+3&O*,6/(5;(/O,(&,?,6;52@(A+%$,(5;(/O,(V52J(E93+3/P(
+&)))5;))))8/&))))))))))))))@/0)N(,/&))9-$2)
$56&0*,@( MO,6( DO50( %+/( +,$,3?,@=( DO50( @5&/( ,/,+6%22J( ?3?3;J( /O,( +,$,3?,+'(
O+)04%0)+%0+04),A):?+$4)%98)
8*/9P+04)
,A)6?558)%6/8+04)/9),+Q)%98)B)/9)4/,;)
This%(isA3;/(
often
found
in*,+$3;022J(
the Kyrie.$2,%6&,(
Note /O,(
thatA032/J(
the number
of repetitions
12(W5+( TJ( &5( A+,%/(
DO50(
@5&/(
56,( 5;( $+3*,'(
$%/04)04+)=5*82)
may differ depending upon the Form of the Mass.
32(<6(5+@,+(/5(063/,(0&(36(DO,,(%6@(;5+/3;J(0&(36(A55@=(A+%6/(0&(/5(+,$,3?,(DO,,(
M5+/O32J=( 42!/O%/(@+3?36A(%M%J(;2,&O2J(;+,6IJ=(J50(*%J(*%R,(0&(23?,(36(O5236,&&(
!
M3/O(DO,,'( 52(DO0&(+,&/5+,@(TJ(/O,($09(5;(DOJ(N255@=(TJ(/O,(65T2,(T%6X0,/(5;(
DOJ(;2,&O=(672(2,/(0&=(MO5(%+,(36?3/,@(/5(/O,(C%&$O=(;,%&/(;5+(,?,+(%6@(,?,+'(