|Notation||Date||10th c.; ?|
|Rhythmics and strophic systems||The pattern of neumes indicates melodic repetition within the strophe that may be summarised as: ab, cd, ef, gb, hf. Melodic melismas are placed at the end of the second line and mid-way through the fifth line.|
|Notes||The work of two scribes may be distinguished. The first wrote a formal notation employing Aquitanian forms, and is the same scribe that added notation to several other poems in the manuscript: for a brief description, see the entry for Quique de morte. Of particular note here is the use of a significative 's' (sursum) over both the sixth syllable of the second line and the first syllable of the final line. The first scribe also added neumes to occasional later half-lines: Tellus aquilegiae, Iulii forus, Est oriundus, Lugere multo and Civem famosam. The second scribe added neumes to the first, second, third and sixth half-lines of the second strophe. Not only are the strokes of the second scribe fine, but the ink is now very light, making the notation difficult to read. The neumes that may be transcribed display a combination of features. For the most part the forms are typically Aquitanian, yet, somewhat unusually, the separate elements of the pes (2a) and torculus (3c) signs are vertically aligned.
The melodic profile and patterning indicated by the two surviving notations as aligned in the book entry is virtually identical. The section of greatest dissimilarity is the second half of the second line, but doubts about the melodic relation at this point are allayed by the distinctive final melisma in both notations. On the relation between the two notations and a melody for Felix per omnes transmitted in a thirteenth-century hymnal from South Italy, see the book entry for Mecum Timavi.
|1c, 1c, 2a, 2b, 1b, 1c, 1c, 1c, 1b, 2b, 1c, 2b | 2a, 1b, "2b", 3c, 1b, "4e", 1c, 1c, "2b", 1c, 1c, 4c+3''b | 1c, 2a, 1b, 2a, 2b, 1b, 2a, 2b, 2b, 3c, 1c, 1c | 1b, 2b, 1c, 2b, 1c, 1c, 1c, 1c, 1c, 2b, 1c, 2b | 2a, 1b, 2b, 1b, 4b+3d+3''b, 1c, 2a, 2b, 2b, 3c, 1b, 1b || [ ], 1c, 1a, 1b, 1b, "2b", 1c, 1c, 1c, 2b, [ ], 2b | 2a, 1c, 2b, 3c, [ ], 2b, 1c, 1c, 2b, 1c, 1c, 4c+3''b | 1c, 3c, 1b, 2a, 2b, 1c, 2a, 2b, 2''b, 3c, 1b, 1c || [ ], [ ], 2b, 2a || 1c, 3c, 1b || 1c, "2b", 1c, 2b, 1c|
|Melody||Neumes copied beyond the first strophe by the first scribe and the sequence of neumes added by the second scribe indicate a melodic repetition by strophe with few alterations. The pattern of neumes indicates melodic repetition within the strophe that may be summarized as: ab, cd, ef, gb, hf. Melismas are placed at the end of the second line and mid-way through the fifth line.|