1.14 — Aurora cum primo mane

NotationDate10th c.; ?
NotesA competent script whose forms vary widely in thickness and whose disposition appears to indicate relative diastematy.
1c, 1c, 1b, 1c, 1c, 1b, 1b, 2a, 1b, 1c, 1c, 2b, 1b, 1c, 1b 1b, 1b, 1b, 1c, 1c, 1b, [ ], 1c, 1b, 1b, 1b, 1b, 1b, 1c, 2b 1c, 1c, 1b, 2a, 1c, 1b, 2b, 2a, 1b, 1b, 1b, 2a, 1b, 1b, 1b 1b, 1a, 1b, 1', 1b, 1b, 2b, 2a, 1b, 1c, 1b, 2b, 1b, 1c, 1b
MelodyLittle can be securely recovered from the neumatic notation about the melody, although the relative disposition of the neumes strongly suggests a melody of restricted range, especially in the second line which appears to be made up for the most part of recitation on a monotone (syllables 3-6 and 9-12). The neumes added to the first line of the second strophe differ at only one point from those of the first strophe: the seventh syllable in the second strophe has a two-note neume in place of the single-note neume of the first strophe.
Historical transcripts
 Aurora2c Aurora_Coussemaker
 Aurora2s Aurora_Sesini
 AuroraFetis Aurora_Fetis
Musical editions
Coussemaker, Histoire de l’harmonie, tr. 3; Fétis, Histoire générale IV, p. 480; Sesini, Poesia e musica, p. 174

For the principles informing Coussemaker’s reconstruction, see the entry for A solis ortu usque. In this case, his concern to place a melodic
emphasis on regularly accented syllables is achieved by realising the predominant trochaic pattern in a 2:1 ratio within a 3/4 time signature.
Fétis also follows the same principles that he used for A solis ortu. Similarly to Coussemaker, the overall trochaic accentual scheme is realised in 3/4 with a 2:1 ratio for accented and unaccented syllables. The reading of the neumes is less convincing than Coussemaker: the Aquitanian pes is again taken for a scandicus (1, 8; 3, 8 and 3, 12), the curved tractulus is consistently misunderstood as a pes and a clivis is read as a pes (3, 7). The choice of a plagal F mode is justified by appeal to the heighting of the neumes in relation to the characteristic behaviours of ecclesiastical modes. The employment of a tempo indication at the opening is specific to this reconstruction.
Sesini’s commitment to isosyllabism leads him to an 8+7/4 time signature, while his conviction of stylistic proximity to plainchant leads both to the addition of expressive markings and a preference for a regular mode, in this case mode 1.