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Pope Saint Paul VI (3 April 1969): “Although the text of the Roman Gradual—at least that which concerns the singing—has not been changed, the Entrance antiphons and Communions antiphons have been revised for Masses without singing.”

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Views from the Choir Loft

What They Didn’t Tell You About Psalm Tone VIII

Jeff Ostrowski · December 11, 2014

578 Tone 8 Psalm Tone Mode Eight OMEONE who explains to a young driver the meaning of the green and red traffic lights but says nothing about the yellow light is guilty of a serious omission. The same is true when it comes to explaining the Gregorian psalm tones. Many manuals, even the front of the Liber Usualis, leave out critical information.

Eventually, I will explain all eight psalm tones, but today I treat Mode 8 “simple” psalm tone.

Those alive during the 1990s remember The quick brown fox jumps over the lazy dog. Do you know why that sentence was used to display fonts? It’s because every letter of the alphabet is used. Similarly, these Latin sentences use every possibility:

PSALM 138 • Et vide, si via iniquitátis in me est: * et deduc me in via aetérna.

PSALM 115 • Crédidi, propter quod locútus sum: * ego autem humiliátus sum nimis.

PSALM 129 • Quia apud te propitiátio est: * et propter legem tuam sustínui te Dómine.

PSALM 110 • Memóriam fecit mirabílium suórum, † miséricors et miserátor Dóminus: * escam dedit timéntibus se.

The significance & importance of these will become clear below.

97% of Latin words end with a Trochee or Dactyl:

A Trochee (e.g. Déus) has the accent on the penult—that is, the second-last syllable.

A Dactyl (e.g. Dóminus) has the accent on the antepenult—that is, the third-last syllable.

When setting texts to a Mode 8 psalm tone, you can follow the Rules For Psalm Tones without any issues 97% of the time. Hundreds of fully notated psalms (Psalmi in Notis) are available at the Lalande Library.

Setting Mode 8 is easy when each line ends with a Trochee or Dactyl:

      * *  PDF Sample Page: Solesmes Psalmi in Notis (1908)

Now let’s examine the difficult cases.

Psalm 138 has a mediant that ends with three (3) monosyllables:

PSALM 138 • Et vide, si via iniquitátis in me est: * et deduc me in via aetérna.

The more common way would be:

577 Mode 8 First


However, the 1912 Vatican decree also allows:

576 Mode 8 Second

Psalm 115 has a Trochee followed by a monosyllable:

PSALM 115 • Crédidi, propter quod locútus sum: * ego autem humiliátus sum nimis.

The more common way makes this into a “false” Dactyl:

575 Mode 8 Third


But the 1912 Vatican decree also allows:

574 Mode 8 Fourth

Psalm 129 has a Dactyl followed by a monosyllable:

PSALM 129 • Quia apud te propitiátio est: * et propter legem tuam sustínui te Dómine.

This would normally be treated:

573 Tone 8 Fifth


But the 1912 decree gives permission for:

572 Mode 8 Sixth

Finally, what should be done with Psalm 110, whose ending consists of a Dactyl plus a monosyllable?

PSALM 110 • Memóriam fecit mirabílium suórum, †
miséricors et miserátor Dóminus: * escam dedit timéntibus se.

Here’s what you do:

571 Mode 8 SEVENTH


If you don’t believe me, you can see proof in Psalmi in Notis.

Speaking of endings with a Dactyl plus a monosyllable, the same is true for this example:

661 corripias me


The same is true of this example (“refíciam vos”):

179 reficiam


Opinions by blog authors do not necessarily represent the views of Corpus Christi Watershed.

Filed Under: Articles Tagged With: Psalm Tone Mode 8 Tone Eight Simple Last Updated: January 1, 2020

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About Jeff Ostrowski

Jeff Ostrowski holds his B.M. in Music Theory from the University of Kansas (2004). He resides with his wife and children in Michigan. —(Read full biography).

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Corpus Christi Watershed

President’s Corner

    Dom Pothier • Photo from 1904
    Dom Paul Cagin, in a 1904 publication (L’oeuvre de Solesmes dans la restauration du chant grégorien) made sure to include a beautiful image of Dom Pothier, the legendary abbot of St-Wandrille. Also shown is a very young Dom André Mocquereau. Auguste Pécoul—considered the spiritual “son” of Abbat Prosper Guéranger of Solesmes—wrote as follows on 24 June 1901: “To forestall any confusion, let us remember that there is just one Gregorian notation—that restored, according to the ancient manuscripts, by the eminent Abbot of Saint-Wandrille, Dom Pothier.” ✠
    —Jeff Ostrowski
    PDF • “3-Voice Motet” (Father De Laet)
    I believe 99% of our readers will recognize this hymn tune. Perhaps Father Edgard De Laet should have called it a ‘hymn’ instead of a ‘motet for three voices’—but he’s technically correct, since MOTET is defined as: “a short piece of sacred choral music, typically polyphonic and unaccompanied.” The even verses are for three voices, as you will see if you download the PDF score at #20245. The odd verses may be song a cappella SATB or unison with organ.
    —Jeff Ostrowski
    PDF Download • “Hymn for 2 Voices”
    Readers who click on this video will see that it starts with verses of the “Pange Lingua” hymn by Saint Thomas Aquinas (d. 1274) arranged for two voices. However, there’s a polyphonic refrain (“Tantum Ergo”) for three voices, taken from Kevin Allen’s Motecta Trium Vocum. If your choir is very small, this piece is for you! You can download the PDF score free of charge—and you can also utilize the rehearsal videos for each individual voice—by navigating yourself to #20323.
    —Jeff Ostrowski

Quick Thoughts

    PDF Chart • “Plainsong Rhythm”
    I will go to my grave without understanding the lack of curiosity so many people have about the rhythmic modifications made by Dom André Mocquereau. For example, how can someone examine this single sheet comparison chart and at a minimum not be curious about the differences? Dom Mocquereau basically creates a LONG-SHORT LONG-SHORT rhythmic pattern—in spite of enormous and overwhelming manuscript evidence to the contrary. That’s why some scholars referred to his method as “Neo-Mensuralist” or “Neo-Mensuralism.”
    —Jeff Ostrowski
    “Reminder” — Month of January (2026)
    On a daily basis, I speak to people who don’t realize we publish a free newsletter (although they’ve followed our blog for years). We have no endowment, no major donors, no savings, and refuse to run annoying ads. As a result, our mailing list is crucial to our survival. Signing up couldn’t be easier: simply scroll to the bottom of any blog article and enter your email address.
    —Jeff Ostrowski
    PDF • “O Come All Ye Faithful” (Simplified)
    I admire the harmonization of “Adeste Fideles” by David Willcocks (d. 2015), who served as director of the Royal College of Music (London, England). In 2025, I was challenged to create a simplified arrangement for organists incapable of playing the authentic version at tempo. The result was this simplified keyboard arrangement (PDF download) based on the David Willcocks version of “O Come All Ye Faithful.” Feel free to play through it and let me know what you think.
    —Jeff Ostrowski

Random Quote

“We must remember that the important elements of a rite are not the things that will first be noticed by a casual and ignorant onlooker—the number of candles, colour of the vestments and places where the bell is rung—but just those things he would not notice: the Canon, fraction and so on, the prayers said in a low voice and the characteristic but less obvious rites done by the celebrant at the altar.”

— Fr. Fortescue explaining that Anglicanism does not preserve Sarum

Recent Posts

  • Dom Pothier • Photo from 1904
  • PDF Chart • “Plainsong Rhythm”
  • PDF • “3-Voice Motet” (Father De Laet)
  • PDF Download • “Hymn for 2 Voices”
  • (January 2026) • “Children Singing Plainsong”

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