1.23 — O tu qui seruas

NotationDate9th - 10th c.
TypeNord-Italia
NotesA notation whose variation in sign formation suggests an early date. The liquescent clivis ("2b") and virga strata (2V) forms are notable for their idiosyncratic formation.
TranscriptDiplomatic
Transcription
 Otuqui-Modena
Alphanumeric
transcript
[ ], [ ], 1b, "2b", 1b, 1b, 2a, 1b, 1b, 1b, 1b, 2V | 2a, 1b, "2b", 1b, 2V, 1b, 2a, 2b, "2b", 2a, 1b, 1b || 1a, 1a, 1b, 1a, 1b, 1b, 2a, 1b, 1b, 1b, 1c, 2V | 2a, [ ], "2b", [ ], 2V, 1b+2a, 2a, "2b", [ ], 2a, 1b, 1b || 1b, 1b, 1b, 1a, 1b, [ ], 2a, "2b", 1b, 1b, 1b, 2V | 2a, 1b, "2b", [ ], 2V, 1b, 2a, "2b", 3c, 2a, 1b, 1b
MelodyThe melody appears to repeat every two lines, a pattern that accords with the syntactic closures in the text. A departure from the established melodic pattern occurs in the fourth line, where two neumes (tractulus and pes) instead of the usual one (tractulus) were added to the first syllable of fraudulenta. The most likely explanation for this anomaly is that the 'a' and 'u' were sounded separately (fra-u-du-len-ta). The end of the first line and caesura in the second line are marked by virgae stratae (2V), whose use at points of textual articulation is commonly understood to bring phrases both to conclusion (through unison notes) and into binding (through lending weight to the following note).
Historical transcripts
 OtuquiSes1 O tu qui servas 2
 OtuquiVec O tu qui servas
Musical editions
Restori, Il canto dei soldati, pp. 752, 761; Vecchi, Canto delle scolte, pp. 57-8; Vecchi, Poesia latina, tav. III

Restori provides three melodic transcriptions. The first (752) is in fourline square notation and realizes the melody according to standard firstmode formulas. The second (752) follows immediately and adds rhythmical values according to the principle of isosyllabism. The resulting rhythmical values are worked into a 3/4 metre, allowing each line to be set in pattern of 2 + 3 bars with rests at the caesuras and end of lines. The 3/4 metre serves to align textual accent and metrical stress in the music in the first three bars of each line. The third transcription (761) extends the principle of isosyllabism to one note per syllable by identifying structurally important notes as the main note for each syllable and relegating any remaining notes to ornamental status in the form of either appoggiaturas or acciaccaturas.
Vecchi presents his reconstruction in the first place in four-line square notation complete with bar lines at the end of poetic lines and ticks on the upper line of the stave at each caesura. The implication of this format is that the rhythm is to be treated in a relatively free manner following the phrasing implied by the words as in most modern performances of Gregorian chant. Such shaping is made explicit by the subsequent transcription into modern notation with equal length notes (quavers) supplemented by expressive markings indicating dynamic arch shapes and pauses at the end of main clauses. The choice of pitches is also strongly modelled after Gregorian chant in so far as first-mode formulas are employed for the melody. The choice of first mode is justified by Vecchi on the grounds of its use for similar compositions and aptitude for expression of all varieties of sentiments. Only the version in modern transcription is presented in Poesia latina medievale.