1.26 — Quique cupitis audire

NotationDate11th c. ineunte
NotesIf an initial pitch and modality is assumed, the precise diastematy of the eleventh-century Aquitanian notation allows melodic reconstruction.
1c, 2a, 1b, 2a, 1c, 1c, 1c, 1c, 1c, 2a, 1c, 1c, 2a, 1c, 2b, 1c | 1c, 1c, 2a, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c | 1c, 1c, 1c, 2a, 1c, 1c, 1c, 1c, 4e, 1c, 1c, 1c, 1c, 2a, 2b, 1c || 1c, 2a, 1c, 2a, 1c, 1c, 1c, 1c, 1c, 2a, 1c, 2a, 1c, 2b, 1c | 1c, 1c, 2a, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 1c, 2a, 1c | 1c, 1c, 1c, 2a, 1c, 1c, 1c, 4e, 1c, 1c, 1c, 1c, 1c, 2a, 2b, 1c
MelodyAs noted by Stäblein, the threefold opening on the upper fourth (1.1, 1.9 and 2.1) places the melody outside the hymnic style. A threefold repetition can also be traced in the second three half-lines (2.10, 3.1 and 3.10), which all open and cadence on the same pitch, rising and falling by step to different degrees and at different rates in between. The melody recorded for the second strophe uses the same melodic shapes as that of the first, with differences occuring for the most part due to supernumerary syllables. Comparison between and within strophes reveals the procedures of melodic accommodation. At the beginning of the second line of both strophes, an extra syllable was inserted before the regular pattern of alternating verbal accentuation. In both cases an extra melodic pitch, the same as that of the first accented syllable in the line, is supplied. A similar procedure was applied at the second syllable of the third line of the first strophe (èt | de ad- | vén-| tum), and at the tenth syllable of the second line of the second strophe (concép-| tus). A slightly different melodic procedure was used at the opening of line three in the second strophe. At this point the syllables are grouped melodically as follows: de trí-|bu| dán | [ ] |é-|rit| ór-|tus; in other words, in order to retain the association of accent and melodic unit an extra pitch was inserted to elide melodically de and tri- at the first syllable, while the succession of two accented syllables in the middle of the half-line led to an omission of one pitch. In all these cases, the underlying principle was to retain a correlation between the accented syllables and certain melodic gestures. A different principle of accommodation was used at the ninth to eleventh syllables of the first line of the first strophe and the third line of the second strophe. In both cases accented syllables were aligned with the pitches associated with the unaccented tenth syllable: i) ex | mé-|o ó|-re; and ii) ex | é-bre|ó-|rum.
Historical transcripts
 Quicquecupitis-Ross.205 Quique_cupitis_ST
Musical editions
Stäblein, Monumenta monodica I, no. 122; Sevestre, Du versus au conduit II, p. 241; Björkvall and Haug, Rhytmischer Vers, p. 144

Stäblein transcribes the melody in a D mode, but records in his commentary that a transcription of the melody in a G mode is also possible.
Only the first of the two notated strophes is edited, although the one variant in the second strophe is noted in the commentary, where it is also stated that to maintain a G mode at 4.6 a single F sharp would have to be substituted for the indicated rising two notes (C-D, or in G mode F-G). Supernumerary syllables are aligned in the eight columns according to the process of melodic adaptation. Stemless noteheads provide a transcription that is neutral with respect to rhythmic indication. Sevestre reproduces Stäblein’s edition. Björkvall and Haug extend the D
mode melody as reconstructed by Stäblein to the second strophe.