1.24 — Qui de morte estis redempti

NotationDate10th c.; ?
NotesThe work of three notators may be distinguished. The first, who notated the opening strophe and occasional later lines (xiv, xviii-xxii, xxvi, xxxviii and xliv), wrote a formal Aquitanian script that is found over several poems in the manuscript (including Ad caeli clara, Christus rex vita, Gloriam Deo and Mecum Timavi). This script features a full range of Aquitanian signs, including signs with liquescence, quilisma and oriscus. The neumes are neatly and consistently drawn, and various virgae are employed as the second element of the pes. Here both semi-circular and diagonal 'tick' forms of the virga are used; in other notations by this scribe a diagonal form of the virga without an initial 'tick' is also used (Ad caeli clara and Gloriam Deo). The second scribe added notation to the second strophe (lines vii-xii), writing Aquitanian neumes that are thicker and executed with less regularity than those of the first; the punctum, in particular, varies in shape and tapers to the right. A third scribe, who copied Aquitanian neumes with fine strokes, added notation to the sixth strophe (lines xxxi-xxxvi); an unusual feature of this notator's work is the use of an isolated virga within an Aquitanian script.
 QuidemorteParis1154-1   QuidemorteParis1154-2
1b, 1b, 1b, 2a, 1b, 2b, 1b, 1c, 2a, 1b | 1b, 1c, 2a, "2b", 1b, 1b, 2a, 1c | 2a, 1c, 1c, 1c, 1c, 1c, 5e'', 1c | 1c, 1c, 1c, 2b, 1c, 1c, 2a, 2b +3''b | 1b, 1b, 1c, 1b, 1b, 1b, 2a, 1b | 1b, 1b, "2b",2b, 1c, 2b, 1b, 1b || 3b, 1c, 2a, 2b, 1b, 1c, 3b, 1c | 3b, 1b, 2a, 2b, 1c, 1b, 3b, 1b | 1b, 1b, 1b, 1b, 1b, 1b, 2b, 1b | 1b, 1b, 1b, 1b, 1b | 1c, 1c, 1c, 1c, 1b, 1b, 1c, 1c | 1b, 1b || "2b", 1c, 2a || 1b, 1b, 1b, "2b" | 1c, 1b, 2a | 2b, "2b", "2a", "2b", 1c, 1c, 2a, 1b | 2a, 1b, 1b, 1b, 1b | 1b, 1b, 1b, 2b, 2b, 1c || 2b, 1c, 2a || [ ], 1c, 2a, 2b, 1a, 1a, 3b | 2b, 1c, 2a, 2b, 1c, 2a, 3b, 1b | 1b, 2b, 2b, 2b, [ ], 1b, 2a, 1b | 1b, 1b, 1c, 1b, 1a, 2b, 3b, 1b | 1c, 1b, 1b, 3c, 1b, 1c, 2a, 1b | 3''D, 1b, 1c, 1b, 1c, 1a, 3b, 1a || 2b, 1c, 1b, 1c, 2b, 1b, 1b, 1b, 1b, 1b | "2b", 1c, 2a, 2b, 1c, "2b", 1c, 1c, 1b
MelodyThe three scribes record melodies with certain similarities in profile, which are most in evidence in the first two lines of the first, second and sixth strophes. The closer relation between the melodies recorded by the second and third scribes, witness the descending three-note figure on the penultimate syllables in the line as opposed to the first scribe's rising two-note figure, is also evident at the openings of the respective strophes. Thereafter, only the second and third scribes record a similar profile for the third and fourth lines of the strophe, while the final two lines differ in melodic profile in all three notations. The implication of this pattern is that the three scribes were recording variants of a melody, whose opening at least was held in common. Supernumerary syllables are adapted so as to retain a pattern of accents on alternating melodic units: in line one, Quique and morte are adapted to the melodic figures of syllables one and three respectively; in line thirty-eight, nebu(le) is fitted to the melodic figure of syllable three and (ca)ligi(nis) splits up the melodic figure of syllable seven; in line forty-four, vener(it) receives the melodic figure of syllable seven. These adaptations to accommodate supernumerary syllables were all notated by the first scribe.
Historical transcripts
 Quidemorte Qui_de_morte_Coussemaker
Musical editions
Coussemaker, Histoire de l’harmonie, tr. 8

Coussemaker labels the song a prose and offers a reconstruction in fourline square notation. The format alone serves to differentiate the reconstruction from the metrical reconstructions previously offered by Coussemaker and to classify the song according to his twofold scheme as liturgical or ecclesiastical in its orientation rather than popular. A reconstruction is offered for all eleven of the strophes recorded in Paris lat. 1154 with melodic variations between strophes introduced on the basis of accentuation, word division and rhetorical emphasis. The reading of the neumes is for the most part plausible, although liquescences, quilisma and oriscus signs are not signalled.
The variants between the three notated melodies in the same manuscript suggest that the melodic tradition for this text encompassed different
workings out of a basic shape. The challenge of adapting this shape to the supernumerary syllables, which begin in the very first line, may well
have motivated the addition of notation by the first scribe.