⁣Join me as I sit down for an interview with the members of Harpa Dei to discover more about their lives and their music (November, 2021). Ever since I discovered Harpa Dei in early 2021, I have been a huge fan! A few months after this interview, they asked me if I and my schola friends could assist them in their recording of the song of the prayer on the St Benedict medal. We have been very good friends ever since.


Harpa Dei: ⁣https://spiritustv.com/@HarpaDei
St Benedict medal prayer song: ⁣https://www.youtube.com/watch?v=KGiwGcmBv1Q


Gregorian Chant Academy downloadable chants: ⁣⁣https://www.gregorianchantacademy.com
Online Chant Courses: ⁣https://www.gregorianchantacademy.com/courses
Donate (tax-deductible): ⁣https://www.floriani.org/donate (Floriani is now the parent of GCA)

⁣I am very happy to bring you three exciting new announcements:
1) regarding the 2023 International Chant Conference
2) regarding exciting new developments in the Academy and
3) ... you'll have to watch to the end to find out!

2023 online Chant Conference: https://www.GregorianChantAcademy.com/conference

Floriani Sacred Music:
Website: https://www.floriani.org
Instagram: https://www.instagram.com/florianisacredmusic/
YouTube: https://www.youtube.com/c/FlorianiSacredMusic

Square Notes Podcast: https://sacredmusicpodcast.com/
Pints With Aquinas: https://www.youtube.com/@PintsWithAquinas
Pipes With Augustine:
YouTube: https://www.youtube.com/@⁣PipesWithAugustine

SpiritusTV: https://spiritustv.com/@PipesWithAugustine

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or
https://www.floriani.org/support-us

Special Thanks to my top Patreon and BMACoffee supporters:
Maurisa Mayerle, Mary Catherine Maxian, Sheila McBride Mullaly, Andy Mozisek, Sergio Ubach, Chavel Dixon, Alicja and Herve Blanquart, Mara Schumaker, Catherine Fagan, Ed Clark, Daniel Boyer, John Lyssikatos, Collen Lunt, Ted Naff, Mary Lunzer, Boguslaw Czerniakowski, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells

⁣His excellency delivers a wonderful lecture on the incredible importance of Gregorian Chant in the renewal of the liturgy at the world's first online International Conference on Gregorian Chant on Oct 2, 2022.

To learn about and register for the 2023 Conference, visit:
https://www.GregorianChantAcademy.com/conference

Download my chant recordings: https://www.GregorianChantAcademy.com/
Online Chant Courses: https://www.GregorianChantAcademy.com/courses

Give a tip or become a monthly supporter at: https://www.GregorianChantAcademy.com/give
or
https://www.floriani.org/support-us

Special Thanks to my top Patreon and BMACoffee supporters:
Maurisa Mayerle, Mary Catherine Maxian, Sheila McBride Mullaly, Andy Mozisek, Sergio Ubach, Chavel Dixon, Alicja and Herve Blanquart, Mara Schumaker, Catherine Fagan, Ed Clark, Daniel Boyer, John Lyssikatos, Collen Lunt, Ted Naff, Mary Lunzer, Boguslaw Czerniakowski, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells

⁣Written by St Thomas Aquinas in the 13th century, probably in the wake of the declaration of the feast of Corpus Christi, the "Adoro te devote" was not originally intended for any liturgical use but most likely used as a private prayer for Thomas' daily adoration of the Blessed Sacrament, but was later incorporated into the Roman Missal of 1570 after the Council of Trent. St Thomas also composed the Sequence "Lauda Sion", and the hymns "Pange Lingua", "Sacris Solemniis" and "Verbum Supernum".

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GCA is now a division of Floriani Sacred Music: https://www.floriani.org

Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

"This Introit resounds with incomparable brilliance and melody. Gregorian chant rarely achieves such enthusiasm. The words contain an oracle from the Book of Wisdom (1:7), which is fulfilled today. It is the divine Spirit pouring out upon the world, and as a guarantee of His presence, giving to the holy Apostles the knowledge of the Word from which He is the source." ~ Dom Prosper Gueranger.



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Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

Join me and Neumz director Alberto Diaz-Blanco as we explore the spiritual meaning behind the Pentecost introit chant "Spiritus Domini".

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Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

Join me and my good friend, Alberto Diaz-Blanco (director of Neumz) as he presents his spiritual commentary on the Introit for Easter Sunday, "Resurrexi et adhuc tecum sum" followed by a conversation about Gregorian Chant in general.

Learn more about Neumz at: https://www.Neumz.com

Download this song at: https://www.GregorianChantAcademy.com

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Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

Did Jesus sing anything when He rose from the dead? If He did, what was it and what did it sound like? This may not be what He actually sang, but it is likely not too far from it either. To learn more about this chant, check out my episode with Neumz director, Alberto Diaz Blanco.

Download this song at: https://www.GregorianChantAcademy.com

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Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

⁣This is the simple tone version of the Regina Caeli, ⁣which is traditionally sung at the end of Compline (and Mass), the night prayer of the Church, from Compline of Holy Saturday until None of the Saturday within octave of Pentecost. It also typically replaces the Angelus which is prayed at morning, noon, and evening. It petitions Mary, as Queen of heaven, with her Son as King, to rejoice and pray for us. Whereas a few days before Easter she was the Lady of Sorrows, now we proclaim to her to rejoice, for Christ is Risen! As Christ chose to come to us through Her, He has also chosen for us to go to Him through her as well. The composer of the chant is anonymous, but the earliest record of the melody (the solemn form) dates back to an Antiphonary of the 12th century, held in St Peter's Basilica in Rome. According to legend, during the great plague of the 6th century, while Pope St Gregory the Great was leading a procession through the streets of Rome, there was heard angels singing the first three lines of this text, to which, St Gregory added the fourth. After this, he saw an angel on top of what is now Castel Sant'Angelo sheathing his sword, signifying the end of the plague. The historical veracity of this story is unknown.

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Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

⁣The Exsultet is the beautiful chant sung by the deacon at the Easter Vigil on Holy Saturday. After having blessed the fire and lighted the triple candle outside, the clergy and faithful process into the church, all in darkness, where the paschal candle is lit. Then, the Exsultet is sung... by candle light. Granted, there would not be any harmonic drones like in this recording; I have added that simply for esthetics since it is a recording, not the actual liturgy. Traditionally, prior to the liturgical changes of 1955, the mass of Holy Saturday (aka Easter Vigil) was not celebrated at night, but in the morning (just like the Vigil masses of Pentecost, Christmas and Assumption) as it is the mass of Holy Saturday, NOT the first mass of Easter Sunday. It is a mass in anticipation of the Resurrection. Therefore, in order to make the church dark, the windows, like the statues and sacred images, were also veiled. After the Exsultet was finished, the veils on the windows were removed, letting the light pour in and fill the church.

English translation:
"Let the angelic choirs of Heaven now rejoice; let the divine Mysteries rejoice; and let the trumpet of salvation sound forth the victory of so great a King. Let the earth also rejoice, made radiant by such splendor; and, enlightened with the brightness of the eternal King, let it know that the darkness of the whole world is scattered. Let our mother the Church also rejoice, adorned with the brightness of so great a light; and let this temple resound with the loud acclamations of the people. Wherefore I beseech you, most beloved brethren, who are here present in the wondrous brightness of this holy light, to invoke with me the mercy of almighty God. That He who has vouchsafed to admit me among the Levites, without any merits of mine, would pour forth the brightness of His light upon me, and enable me to perfect the praise of this wax candle. Through our Lord Jesus Christ His Son, Who with Him and the Holy Ghost liveth and reigneth one God for ever and ever. R. Amen."

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⁣During the Triduum (Holy Thurs, Good Friday, Holy Saturday), the offices of Matins and Lauds are combined into what is known as "Tenebrae", meaning "darkness". It takes this name because it is traditionally prayed early in the morning - or the night before - in darkness, by candle light, and also because of the 5th Responsory on Good Friday whose text begins with "Tenebrae factae sunt" (and there was darkness), speaking of death of our Saviour, Jesus Christ, on the holy cross. The melody for this particular Responsory is particularly famous for its beautiful expression: at the words "Jesus cried out in a loud voice" it ends on a FA, then the next phrase "My God, why hast Thou forsaken Me?" begins an interval of a 6th higher - an unusual and rare interval in Gregorian Chant - followed almost immediately by a leap up another 4th to the high SOL on the very words of Christ's crying out to the Father. Once this cry has finished, it then descends a tritone - another very unusual and rare interval in Gregorian Chant - to begin the next phrase, "And He bowed His head and gave up the spirit."

English translation:
There was darkness when the Jews crucified Jesus; and about the ninth hour (3pm) Jesus cried out in a loud voice: "My God, why hast Thou forsaken Me?" And he bowed His head and gave up the spirit.
V. Jesus cried out in a loud voice, "Father, into Thy hands I commend my spirit. And He bowed His head and gave up the spirit.

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Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

The Lamentations of Jeremiah are sung during the liturgy of Tenebrae (divine office of Matins & Lauds) on Holy Thursday, Good Friday and Holy Saturday on simple, mournful tones. In addition to the standard tones provided, there are optional, more elaborate tones taken from various medieval Mozarabic manuscripts from Spain. This tone is taken from an 10th century codex known as the Codex Gothicus Legionensis from the basilica of San Isidoro in Leon, Spain. This is the second lesson read at Tenebrae of Holy Saturday.

These lamentations - like the Psalms - can be interpreted in a number of different ways.
1) Historical. It is a prophesy of the destruction of the Jews and Jerusalem for their innumerable evils, especially for their rejection of the Messiah and their Deicide.
2) Spiritual. Jeremiah is a "type" or "prefiguring" of Jesus, like Moses and many others. In that sense, the personal words/prayers of Jeremiah to God can be seen as Christ's words to the Father. And, in as much as we are baptized into Christ and have him dwelling in our souls by sanctifying grace, they can be our words to God also.
3) Spiritual. In as much as we willfully sin, we too are like the Jews, condemning Jesus to death, mocking Him, spitting on Him, crucifying Him. In this sense, the evils we read of concerning the Jews can also be applied to our own souls, broken and desolate with sin, until we repent and return to the Lord our God.

Lam 4:1-8
1 Aleph. How is the gold become dim, the finest colour is changed, the stones of the sanctuary are scattered in the top of every street?
2 Beth. The noble sons of Sion, and they that were clothed with the best gold: how are they esteemed as earthen vessels, the work of the potter's hands?
3 Ghimel. Even the sea monsters have drawn out the breast, they have given suck to their young: the daughter of my people is cruel, like the ostrich in the desert.
4 Daleth. The tongue of the sucking child hath stuck to the roof of his mouth for thirst: the little ones have asked for bread, and there was none to break it unto them.
5 He. They that were fed delicately have died in the streets; they that were brought up in scarlet have embraced the dung.
6 Vau. And the iniquity of the daughter of my people is made greater than the sin of Sodom, which was overthrown in a moment, and hands took nothing in her.
Jerusalem! Jerusalem! Return unto the Lord thy God.

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Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

The Lamentations of Jeremiah are sung during the liturgy of Tenebrae (divine office of Matins & Lauds) on Holy Thursday, Good Friday and Holy Saturday on simple, mournful tones. In addition to the standard tones provided, there are optional, more elaborate tones taken from various medieval Mozarabic manuscripts from Spain. This tone is taken from an 11th century codex from Silos, Spain known as the "Missal of Silos." This is the first lesson read at Tenebrae of Holy Thursday.

These lamentations - like the Psalms - can be interpreted in a number of different ways.
1) Historical. It is a prophesy of the destruction of the Jews and Jerusalem for their innumerable evils, especially for their rejection of the Messiah and their Deicide.
2) Spiritual. Jeremiah is a "type" or "prefiguring" of Jesus, like Moses and many others. In that sense, the personal words/prayers of Jeremiah to God can be seen as Christ's words to the Father. And, in as much as we are baptized into Christ and have him dwelling in our souls by sanctifying grace, they can be our words to God also.
3) Spiritual. In as much as we willfully sin, we too are like the Jews, condemning Jesus to death, mocking Him, spitting on Him, crucifying Him. In this sense, the evils we read of concerning the Jews can also be applied to our own souls, broken and desolate with sin, until we repent and return to the Lord our God.

English Translation:

The lamentation of the prophet Jeremiah begins.
Lam 1:1-5
1 Aleph. How doth the city sit solitary that was full of people! how is the mistress of the Gentiles become as a widow: the princes of provinces made tributary!
2 Beth. Weeping she hath wept in the night, and her tears are on her cheeks: there is none to comfort her among all them that were dear to her: all her friends have despised her, and are become her enemies.
3 Ghimel. Juda hath removed her dwelling place because of her affliction, and the greatness of her bondage: she hath dwelt among the nations, and she hath found no rest: all her persecutors have taken her in the midst of straits.
4 Daleth. The ways of Sion mourn, because there are none that come to the solemn feast: all her gates are broken down: her priests sigh: her virgins are in affliction, and she is oppressed with bitterness.
5 He. Her adversaries are become her lords, her enemies are enriched: because the Lord hath spoken against her for the multitude of her iniquities: her children are led into captivity: before the face of the oppressor.
Jerusalem, Jerusalem, return to the Lord thy God.

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Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

The Lamentations of Jeremiah are sung during the liturgy of Tenebrae (divine office of Matins & Lauds) on Holy Thursday, Good Friday and Holy Saturday on simple, mournful tones. In addition to the standard tones provided, there are optional, more elaborate tones taken from various medieval Mozarabic manuscripts from Spain. This is the third lesson reading on Good Friday and the tone is taken from an 10th century codex from Leon, Spain known as the "Codex Biblicus Leonensis."

These lamentations - like the Psalms - can be interpreted in a number of different ways.
1) Historical. It is a prophesy of the destruction of the Jews and Jerusalem for their innumerable evils, especially for their rejection of the Messiah and their Deicide.
2) Spiritual. Jeremiah is a "type" or "prefiguring" of Jesus, like Moses and many others. In that sense, the personal words/prayers of Jeremiah to God can be seen as Christ's words to the Father. And, in as much as we are baptized into Christ and have him dwelling in our souls by sanctifying grace, they can be our words to God also.
3) Spiritual. In as much as we willfully sin, we too are like the Jews, condemning Jesus to death, mocking Him, spitting on Him, crucifying Him. In this sense, the evils we read of concerning the Jews can also be applied to our own souls, broken and desolate with sin, until we repent and return to the Lord our God.

English translation:

(Lamentations 3:1-9)
1 Aleph. I am the man that see my poverty by the rod of his indignation.
2 Aleph. He hath led me, and brought me into darkness, and not into light.
3 Aleph. Only against me he hath turned, and turned again his hand all the day.
4 Beth. My skin and my flesh he hath made old, he hath broken my bones.
5 Beth. He hath built round about me, and he hath compassed me with gall and labour.
6 Beth. He hath set me in dark places as those that are dead for ever.
7 Ghimel. He hath built against me round about, that I may not get out: he hath made my fetters heavy.
8 Ghimel. Yea, and when I cry, and entreat, he hath shut out my prayer.
9 Ghimel. He hath shut up my ways with square stones, he hath turned my paths upside down.
Jerusalem! Jerusalem! Return unto the Lord thy God.

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Online Chant Master-Course: https://www.GregorianChantAcademy.com/courses

To help support the work of this Academy: https://www.GregorianChantAcademy.com/give

The Lamentations of Jeremiah are sung during the liturgy of Tenebrae (divine office of Matins & Lauds) on Holy Thursday, Good Friday and Holy Saturday on simple, mournful tones. In addition to the standard tones provided, there are optional, more elaborate tones taken from various medieval Mozarabic manuscripts from Spain. This tone is taken from an 11th century codex from Silos, Spain known as the "Missal of Silos."

These lamentations - like the Psalms - can be interpreted in a number of different ways.
1) Historical. It is a prophesy of the destruction of the Jews and Jerusalem for their innumerable evils, especially for their rejection of the Messiah and their Deicide.
2) Spiritual. Jeremiah is a "type" or "prefiguring" of Jesus, like Moses and many others. In that sense, the personal words/prayers of Jeremiah to God can be seen as Christ's words to the Father. And, in as much as we are baptized into Christ and have him dwelling in our souls by sanctifying grace, they can be our words to God also.
3) Spiritual. In as much as we willfully sin, we too are like the Jews, condemning Jesus to death, mocking Him, spitting on Him, crucifying Him. In this sense, the evils we read of concerning the Jews can also be applied to our own souls, broken and desolate with sin, until we repent and return to the Lord our God.

English translation:

Lesson from the book of Lamentations
Lam 2:8-11
8 Heth. The Lord hath purposed to destroy the wall of the daughter of Sion: he hath stretched out his line, and hath not withdrawn his hand from destroying: and the bulwark hath mourned, and the wall hath been destroyed together.
9 Teth. Her gates are sunk into the ground: he hath destroyed, and broken her bars: her king and her princes are among the Gentiles: the law is no more, and her prophets have found no vision from the Lord.
10 Jod. The ancients of the daughter of Sion sit upon the ground, they have held their peace: they have sprinkled their heads with dust, they are girded with haircloth, the virgins of Jerusalem hang down their heads to the ground.
11 Caph. My eyes have failed with weeping, my bowels are troubled: my liver is poured out upon the earth, for the destruction of the daughter of my people, when the children, and the sucklings, fainted away in the streets of the city.
Jerusalem! Jerusalem! Return unto the Lord thy God.

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Online Chant Master-Course: https://www.GregorianChantAcademy.com/courses

To help support the work of this Academy: https://www.GregorianChantAcademy.com/give

The Lamentations of Jeremiah are sung during the liturgy of Tenebrae (divine office of Matins & Lauds) on Holy Thursday, Good Friday and Holy Saturday on simple, mournful tones. In addition to the standard tones provided, there are optional, more elaborate tones taken from various medieval Mozarabic manuscripts from Spain. This tone is taken from an 11th century codex from Silos, Spain known as the "Missal of Silos." This lesson, "Incipit Oratio Jeremiae Prophetae," is the third lamentation on Holy Saturday.

These lamentations - like the Psalms - can be interpreted in a number of different ways.
1) Historical. It is a prophesy of the destruction of the Jews and Jerusalem for their innumerable evils, especially for their rejection of the Messiah and their Deicide.
2) Spiritual. Jeremiah is a "type" or "prefiguring" of Jesus, like Moses and many others. In that sense, the personal words/prayers of Jeremiah to God can be seen as Christ's words to the Father. And, in as much as we are baptized into Christ and have him dwelling in our souls by sanctifying grace, they can be our words to God also.
3) Spiritual. In as much as we willfully sin, we too are like the Jews, condemning Jesus to death, mocking Him, spitting on Him, crucifying Him. In this sense, the evils we read of concerning the Jews can also be applied to our own souls, broken and desolate with sin, until we repent and return to the Lord our God.

English Translation:
Lam 5:1-11
"[Thus begins the prayer of Jeremiah the Prophet.]
1 Remember, O Lord, what is come upon us: consider and behold our reproach.
2 Our inheritance is turned to aliens: our houses to strangers.
3 We are become orphans without a father: our mothers are as widows.
4 We have drunk our water for money: we have bought our wood.
5 We were dragged by the necks, we were weary and no rest was given us.
6 We have given our hand to Egypt, and to the Assyrians, that we might be satisfied with bread.
7 Our fathers have sinned, and are not: and we have borne their iniquities.
8 Servants have ruled over us: there was none to redeem us out of their hand.
9 We fetched our bread at the peril of our lives, because of the sword in the desert.
10 Our skin was burnt as an oven, by reason of the violence of the famine.
11 They oppressed the women in Sion, and the virgins in the cities of Juda.
Jerusalem! Jerusalem! Return unto the Lord thy God."

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The Gregorian Chant Academy and the team behind the Neumz app have partnered to present you with some beautiful spiritual commentaries on various chants by the director of the Neumz app, Alberto Diaz-Blanco. Senor Blanco and I both believe that a spiritual/liturgical understanding of the chants is of primary importance. Gregorian Chant is, after all, first and foremost prayer. Therefore, a proper musical interpretation must be firmly rooted in, influenced and guided by a deep spiritual and liturgical understanding of these chants, and we must strive to live our lives in accordance and harmony with them, i.e. truly live our Faith.


Learn more about the Neumz app: https://www.neumz.com
Download this song at: https://www.GregorianChantAcademy.com/
Sign up for an online Chant Course at: https://www.GregorianChantAcademy.com/courses
Give a tip or become a monthly supporter at: https://www.GregorianChantAcademy.com/give

Special Thanks to my top Patreon and Coffee supporters: Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

"Laetare Jerusalem" is the introit (entrance) chant for the 4th Sunday of Lent which, like Gaudete Sunday in Advent, is a Sunday of rejoicing. The words "laetare" and "gaudete" in fact mean "rejoice"! In Advent, we are rejoicing because of proximity of the birth of our Savior; but here in Lent, we are rejoicing because of the proximity of the promise of our Savior, our salvation itself, by His death and resurrection. For a spiritual commentary on this chant, check out this video here: ⁣https://spiritustv.com/watch/b....eautiful-commentary-



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Special Thanks to my top Patreon and Coffee supporters: Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

⁣To the best of my knowledge, the melody of this chant, "Attende Domine", comes from a 17th century codex while the text comes from a 10th century Mozarabic codex. It speaks of the penitent's admission of his sin and guilt, without ever giving way to depression or despair, wonderfully captured by the joyful yet peaceful melody. The soul, full of trust, confesses its sins and calmly places itself in hands of its Redeemer, knowing, without a doubt, that He will forgive those who are truly sorry for their sins.

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Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon

⁣Here is a behind the scenes look at a typical winter day in my life, off the grid, in north Idaho (filmed in January, 2023). The house shown in the first 2/3 of the video is my own house, which I built, almost entirely by myself in the span of about 3 months (doing nothing but working on the house), back in 2020. It is far from finished, but with God's help and good time, it will be finished some day. The area in which the house is located, when we first bought the property, was so thickly covered in brush and trees you could only make your way through it by a very small game trail, with hardly any sense of direction. It took a lot of work to get the hillside cleared enough to begin building the house, the chicken yard, the wood shelter, the garden, etc. Special thanks to my sister-in-law, who claims she doesn't know anything about filming, for filming this for me.

Download chant recordings: https://www.GregorianChantAcademy.com/
Sign up for an online Chant Course: https://www.GregorianChantAcademy.com/courses

Give a tip or become a monthly supporter: https://www.GregorianChantAcademy.com/give

Special Thanks to my top Patreon and Coffee supporters:
Sergio Ubach, Maurisa Mayerle, Mary Catherine Maxian, Andy Mozisek, John Lyssikatos, Sheila McBride Mullaly, Alicja and Herve Blanquart, Collen Lunt, Ted Naff, Andrew Hattrup, Paul Hattrup, Noreen Cabili, Shirley Dunnells, Chavel Dixon