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In an earlier post, I talked about creating performing editions using the introit Vultum tuum as an example.  The edition in my own modified modern chant notation was constructed by analyzing the neumes from the manuscript known as Einsiedeln 121 as they appear in the Graduale Novum.  My notes (indicated by reference numbers added above the staff) are found below.

  1. The isolated virga is augmented by liquescence, to accommodate the voiced [l].
  2. The two u’s of “tuum” were, at the time this manuscript was written, almost certainly fused into a monosyllable, contrary to the frequently observed current practice of adding a glottal stroke between the two vowels. The unbroken, single neume element (the torculus resupinus) requires a completely legato performance, in spite of its having been transcribed as two separate neume elements in the quadratic (“square note”) notation.
  3. Here, the addition of the s (sursum) may be an admonition to the singer not to allow the pitch to drop when sounding the [n], a temptation presented by the half step relation to the scale degree below.
  4. The last of the three strophae is elongated to indicate liquescence.
  5. The relative weight of this long torculus is illustrated by the deliberate nature of the strokes, in contrast to the short, cursive torculus that precedes it.
  6. The x (expectare) indicates a breath or hesitation, or in this case, perhaps a vocal separation between the two notes at the unison.
  7. In other places, the last note of a bistropha or tristropha is often underlined with an episema. Given the amount of time necessary to pronounce the following x, it seems prudent to treat this note as a long.
  8. By convention, the isolated virga is assumed to be long. Here, the addition of of the t (tenete) might serve to underscore the weight of the accented syllable, relative to the long bivirga which precedes it.
  9. Here, the virga is used to indicate a higher pitch, relative to the note that follows it. The two tractuli indicate notes at the unison.
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