|Notation||Date||10th c.; ?|
|Notes||A notation of mixed French styles whose variety of forms suggests an early date, perhaps the tenth century. The single note sign is notable in so far as a dash, whose angle of ascent from left to right varies either side of the diagonal, is used on all occasions. The pes (2a) is varied in form, featuring both conjunct forms, the angle of whose ascenders differs widely, and disjunct forms that most closely resemble those found in Breton scripts. The variously conjunct scandicus (3a) also shows similarities to the construction of the form found in Breton scripts. The single element climacus (3b) in the shape of a vertically descending 'm' resembles the Palaeofrankish form. The disposition of signs is perhaps indicative of relative diastematy: comparison with the melody recorded in Pa lat. 1154 for the same text, with which the melody recorded here suggests certain similarities, is inconclusive. The ink of the notation is now light brown in colour and is barely visible in places. The descenders of the notation are darker brown in shade as in the text hand. Text and notation are possibly by the same hand.
The two surviving notated melodies share several points of similarity in melodic profile, although they are far from identical since there are clear points of difference on at least two syllables per line (see the book entry for parallel transcription). The correlation in the placement of melismas of three or more pitches lends weight to any assertion of proximity, although in the refrain these melismas often differ in details of melodic contour.
|3a, 1a, [ ], 1a, 1c, 2a, 2a, 2a | "2b", 2a, 1a, 3b, 1a, 2a, 1a, 1a | 1a, 1a, 2a, 1a, 1c, 2a, 1c, 1c | "2b", 1a, 2a, 2b, 1c, 1a, 2a, 1' | 1a, 1c, 2a, 1c, 2a | 4e, 4b, 2a, 1', 1c, 3'''a | 3'''a, 3'''a, 1c, 2b, 1c, 4c, 1a, 1a || 2a, 1a, 1a, [ ], 1c, 2a, 1b, 2a | 1c, 2a, 1a, 3b, 1a, 2a, 1a, [ ] | 1a, 1a, [ ], [ ], [ ], [ ], 2a, 1c, 1c | 1c, 1a, 2a, 1c, 1', 1a, [ ], 1c | 1a, 1c, [ ], 1c, 2a | 4e, 4b, 3''a, [ ], [ ], 2''x | 3'''a, 3'''a, 2a, [ ], [ ], 4c, 1a || 3a|
|Melody||No systematic patterns of repetition within the strophe can be observed. The indicated melodies for the first two strophes are virtually identical, suggesting melodic repetition by strophe. The melody of the refrain is more melismatic in style from quia onwards.|