Antiphonal Music and Psalmody

Throughout the centuries the Church has utilized a large number of melodies from Hebrew chants in its worship services. The Romans derived their music from the music of the Greeks, which consisted of intoned poetry with accompaniment of the lyre. When St. Ambrose, Bishop of Milan, began the task of selecting appropriate chants and responsive Psalms for the services of the Church, he adapted the Greek melodies, giving the Church the beauties of both the Greek and the Hebrew. He adopted the ancient Greek system of modes. The scales in the Greek system were: The Phrygian (D to D), Dorian (E to E), Hypolydian (F to F), and Hypophrygian (G to G), which are known today as the "Ambrosian" scales. Ambrose wanted to regulate tonality and the singing of church music, and he tried to rid it of the popular street songs which had crept in. Ambrose accomplished his goal by introducing antiphonal singing into the church. Antiphonal singing refers to singing by alternating choruses. The first chorus sings a phrase, and a second chorus sings an answering phrase. The monasteries had been centers of learning, and their schools for the training of choirs studied and developed this style of music. Eventually, music began to be too difficult for the congregation to sing and in 367 A.D. congregational singing was banned.

In the list below, the 'final' is in parentheses, and the dominant is marked with an asterisk (*).

1. Dorian                      (D)  E   F   G   A*  B   C   D
2. Hypodorian       A   B   C  (D)  E   F*  G   A

3. Phrygian                    (E)  F   G   A   B   C*  D   E
4. Hypophrygian     B   C   D  (E)  F   G   A*  B

5. Lydian                      (F)  G   A   B   C*  D   E   F
6. Hypolydian       C   D   E  (F)  G   A*  B   C

7. Mixolydian                  (G)  A   B   C   D*  E   F   G
8. Hypomixolydian   D   E   F  (G)  A   B   C*  D   E

9. Aeolian                     (A)  B   C   D   E*  F   G   A
10. Hypoaeolian     E   F   G  (A)  B   C*  D   E

11. Ionian                     (C)  D   E   F   G*  A   B   C
12. Hypoionian      G   A   B  (C)  D   E*  F   G

The following is an arrangement of a hymn in antiphonal form.

The Book of Psalms is the oldest book of songs still in use. The word 'Psalm' means a hymn accompanied by stringed instruments. The Psalms are prayers and songs of praise to God. Some of the Psalms are accredited to certain authors. King David was the author of seventy-three; twelve were credited to Asaph; eleven to the Sons of Korali; and one each to Heman, Ethar, and Moses. Some are ascribed to 'the chief musician.' Asaph and Heman were among the Levite musicians whom 'David set over the service of song in the house of the Lord' (I Chron. 6:31). In I Kings 4:32, King Solomon (died c. 933 B.C.) is described as the author of one thousand and five songs. Most of the Psalms were composed during the time of the Davidic monarchy (c. 1000 B.C. - 586 B.C.)

Psalm 92 is a song for the Sabbath Day. The first words are, "It is good to praise the Lord and make music to your name" ...to the music of the ten-stringed lyre and the melody of the harp. "I will praise God's name in song and glorify him with thanksgiving. This will please the Lord." (from Psalm 69:30,31)

The custom of joining the secular and religious in church music flourished for ages until it was stopped during the Protestant Reformation. The songs used in religious ceremonies in the Temple seem to have been sung to secular tunes! The following directions are given to the musicians for the following eleven Psalms:

In Isaiah 65:8 the ancient song 'Do Not Destroy' is quoted: "When wine is found in the cluster, one saith, 'Destroy it not, for a blessing is in it.' The melody of this song, 'Altashhith, "Destroy it not," was to be used with Psalms 57, 58, 59, and 75.

The following Psalms are marked to use with stringed instruments: Psalm 6, Psalm 55, Psalm 61, Psalm 67, and Psalm 76. Psalm 5 is for flutes; Psalm 30 is a song for the dedication of the Temple of David.

As we have seen throughout the history of sacred music, Psalms have been the backbone of singing. Composers have set the Psalms to music, as for instance, the Seven Penitential Psalms by Orlandus Lassus (published 1565) and the setting of the first fifty Psalms by Marcello (1724), up through the present time.

According to tradition, on Good Friday, Psalm 117, 'O Praise the Lord All Ye Nations' was the hymn sung after the Last Supper as recorded in Matthew 26:30. The chant melody to which it was sung is'believed to be 'Tonus Peregrinus,' a favorite of the Hebrews which they sang at Passover. The Psalm should be sung in unison.