1.15 — Christus rex, uia, uita, lux et ueritas

NotationDate10th c.; ?
NotesThe work of two scribes can be distinguished. The first, who added notation to the opening strophe, wrote a formal script using Aquitanian signs and is the same scribe that added notation to several poems in the manuscript: for a brief description of this hand, see the entry for Qui de morte. Beyond the first strophe, the neumes added to namque in the third line of the second strophe are also in the same ink as that of the first notator. The second scribe added notation to the first three lines of the second strophe. This second notation, although barely visible, is substantial in its dimensions. The forms employed are Aquitanian and a degree of relative diastematy seems to be indicated.
2b, 1b, 2a, 1b, 2b, 1a, 2b, 1b, "2b", 1c, 2b, 1c | 2b, 1c, 2a, 1b, 2b, 1a, 2b, 1b, 2b, 1c, 2b, 1c | 2b, 1c, 2a, 1c, 2b+3b+2b, 1c, 1c, 1c, 2b, 1d, 2b, 3''c | 2b, 1c, 1c, 2''b, 1c, 1c, 1b, 1c, 1c, 1b, 2b, 1b | 3c, 2b, 2a, 4c, 2b, 2b, 3c, 2b, 3c, 1c, 2a, 1b || 2b, 1c, 1b, 1b, 2b, [ ], 2b, 1b, 2b, 1b, 2b, 1b | 2b, [ ], [ ], 1b, 2b, 1c, 2b, [ ], "2b", 1b, [ ], 1b | 1c, [ ], [ ], 1b, 2b+3b+2b, 1b
MelodyThe melody indicated for the second strophe broadly corresponds with that added to the first, suggesting melodic repetition by strophe. Within the strophe, repetition of sequences of neumes can be observed, which may be summarized as: ab, ab, a'c, de, fg. The mid-point of the strophe is marked by the most extensive melisma.
No observations about melodic transmission can be made on the basis of the single surviving notation. The sequence text, Christe rex, via, lux, is closely related to the verse text and also survives with musical notation in Paris lat. 1118, f. 196v and Paris lat. 1084, f. 303r. There is no clear relation between the melodies recorded for the respective texts.