Notation | Date | 11th c. CE; ? | |||
Notes | Notation was added to the first eleven lines and lines l-li. The ink colour and range of signs are similar to the notation added to strophes two to five of Qui signati in the same manuscript; indeed, the two notations may be the work of the same scribe. The letter notation uses the common two octave 'a' to 'p' system, but the 'b flat' in the middle of the system is represented by the letter 'b' rather than by the usual slanting 'i'. | ||||
Transcript | Diplomatic Transcription | Omicustos-Paris1928-1 | |||
Alphanumeric transcript | 2b, 1a, 1a, 1c, 1a, 1c, 1a, 2a, 1a, 1b, 1a, 1a, 1a, 1b, 1c | 1c, 1b, 1a, 1a, 1a, 1b, 2a, 1b, 1a, 1b, 1a, 2V, 1a, 1b, 1c | 1a, 1a, 1a, 1c, 1a, 1a, "2b", 2V, 1a, 1b, 1a, 2a, 2''b'', 2a, 1a 2b, 1a || 1a, 1a, 1a, 1b, 1a, 2a, 1a, 1b, 1a, 1a, 1a, 1b, 1a |1a, 1b, 1a, 1a, 1a, 1b, 2a, 1b, 1a, 1b, 1a, 2V, 1a, 1b, 1a | 1a, 1a, 1a, 1c, 1a, 1a, 2b, 2V, 1a, 1b, 2V, 1a, 2a, 2a, 1a || 2b, 1a, 1a, 1c, 1c, 1c, 1a, 2a, 1a, 1c, 1a, 1a, 1a, 1b, 1a | 2V, 1b, 1a, 1a, 1a, 1b, 2a, 1a, 1a, 1b, 1a, 1a, 1b, 1a, 1a | 1a, 1a, 1a, "2a", 1a, 1a, 2b, 1a, 1a, 1c, 1a, 2a, ''2b'', 2a, 1a || 3c, 1a, 1a, 1c, 1a, 1b, 1a, 2a, 1a, 1b, 1a, 1a, 1a, 1b, 1a | 1a, 1b, 1a, 1a, 1a, 1b, 2a, 1a, 1a, 1b, 1a, 1a, 1a, 1b, 1a || 2b, 1a, 1a, 1a, 1a, 1c, 1a, 2a, 1a, 1c, 1a, 1c, 1a, 1c, 1a | 1a, 1c, 1a, 1a, 1a, 1c, 2a, 1a, 1c, 1c, 1a | ||||
Comparison between neumes | XOmicustos-1 XOmicustos-2 | ||||
Melody | The pitches indicated by the letters differ slightly from the melodic profile indicated by the neumes. At the eleventh syllable of the first line, the letters are 'g-a', whereas the neume indicates a single higher note, which from its heighting would seem to be an 'a'. In the second line at the twelfth syllable, a two-note neume (virga strata) is matched by a single 'g'. Such small differences are consistent with the occasional departures from the melodic profile of the first strophe indicated in the notation added to later strophes. Lines one and two open (e-d-g) and cadence (g-f-d-e) similarly, but are otherwise divergent. It is not possible to observe any melodic repetition in the third line. The use of a sickle-shaped punctum (3.4), which is used at the semitone step both in this notation (1.4) and elsewhere in this manuscript (Aurea personet lyra, see S. Corbin, Die Neumen, 3.107), does however permit tentative reconstruction: for full details, see the discussion and transcription in the book entry for O mi custos.
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