What the book provides
In essence, the new Psalter sets out 'pointed' versions (ie the text of the psalms with embedded cues for where to change note when chanting it) of the Latin text of the psalms for the day hours.
It has been designed to supplement the Antiphonale Monasticum of 1934, and so follows the same ordering of the text, and provides the page number for the corresponding page in the Antiphonale.
In essence, if you want to sing the Office, the Antiphonale gives you the chants for the fixed parts of the hours, hymns, antiphons and so forth.
When it comes to the psalm though, it just tells you which of the several psalm tones and many endings for those tones to use - you then have to apply that psalm tone to the particular psalm being said, and the Antiphonale doesn't give you any help with this. This book fills that gap.
It therefore includes a complete version of the psalms of the psalter section of the Antiphonale, along with a selection of other psalms needed for particular feasts (such as Christmas, the Triduum, Commons, and so forth).
So if you want to sing Prime on Monday for example, you go to page 1 of the Antiphonale for the hymn, antiphon and other texts, but then turn to the Psalterium for the pointed versions of the psalms.
Universal psalm pointing
There is, it has to be said, a bit of a learning curve involved in the particular system (universal psalm pointing) used in this book, but the learning curve is not a steep one, and once mastered, it is extremely powerful tool indeed.
This book, however, lets us in on something entirely new to me at least - what appears to be some 'secret monk business' (possibly secret newer office business, in which case this is a wonderful case of 'mutually enrichment!) - namely a 'universal' pointing system that provides one set of pointing for a verse that can be used to sing all of the different psalm tones and endings.
The system uses four different cues - bolding, italics, upper case and a circumflex (^) - but which ones you pay attention to and how depends on the particular psalm tone and ending of the psalm being sung.
The monks have put up an explanation of the system on their website - I hope though, that a version of this will be included in the next edition of the book, as it is not self-evident, and I haven't been able to find anything online that explains the system (or even much that mentions its existence!).
How it works
Consider for example, the first verse of Psalm 1 as it appears in the new Psalter:
Beátus vir, qui non ábiit in consílio impiórum, † et in via peccatôrum non stetit, * et in cáthedra pestiléntiâe non sedit :
To use the universal pointing, you need a key which tells you which of the markings in the psalm to take note of, and how.
For the first half of the psalm (up to the asterix), for example, the flex indicated by the dagger sign aside, some psalm tones (I, III, VII and tonus irregularis) have two change points from the reciting note, so you change on the two bolded syllables.
For a second group of psalm tones (II and V), the change note occurs at the second bolded syllable, so you simply ignore the first bold.
For tones IV and VI, the note change occurs two syllables before the second bolded syllable, while in the Tonus Peregrinus, you change on the syllable with the cirumflex.
A similar set of cues for each tone is used for the second half of the psalm.
Easy to use
That might all sound a bit complicated, but in fact provided you have the key to the psalm tones you want to sing, I have found that with a bit of practice, it is actually fairly straightforward to use.
Some of the psalm tones are much easier than others in the universal system (counting back a syllable or two from bolded syllables, for example, takes more effort than simply changing on the relevant symbol).
But after testing it out for a few of the hours, I've found that it quickly becomes normal and with time would become automatic.
The power of the system
And the learning time you put in upfront is worth it for the incredible power of the system: instead of having to leaf through several pages of a book or print out a separate page for each of the ten main chant tones and thirty eight or so possible endings, one set of pointing in combination with the key for each tone will do the job.
That certainly makes it worth the effort to learn the system.
It also means that this book can be a relatively small, relatively slim volume, instead of a massive tome like the Liber Usualis!
Singing the Office
Psalm pointing, I would suggest, is important for all levels of those who sing the Office, from absolute beginner to seasoned monk or nun, so I strongly urge you to buy it.
Psalm pointing is pretty much essential for absolute beginners learning to sing the psalms in chant.
But it is also extremely helpful for the more advanced singer, particularly for days where the standard antiphons (and thus chant tones) are not used, such as feasts and in particular seasons; and useful even to those who know the psalms and psalm tones very well indeed, as a way of avoiding those inevitable slipups that occur from time to time.
It will be particularly useful for monastic communities.
The book also contains, by way of introduction, the relevant sections of the Rule of St Benedict in Latin) dealing with the office, a useful reminder that the version of the Office being used is one that actually follows the Rule rather than more recent experimentation; as well as a longer version of the psalm tones and endings.
I highly recommend buying this, the Chavagnes (Glastonbury) monks have done a great service for us all here.
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