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  2. The letters usually stand for a Latin word, indicating how the neume is to be sung: ‘t’ for ‘tenete’ (held); ‘c’ for ‘celeriter’ (quickly); ‘a’ for ‘altius’ (high), and so on. St. Gall notation is therefore made up of neumes above the syllables of sung text as discrete signs.

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  3. The St. Gall notation adds a c (celeriter = quickly) to the Tractulus. The final syllable (-rum) must now dissipate all the energy that still remains from the tonic accent. The Bivirga in St. Gall has added episemas and the two notes in Laon 239 have an “a” (= augete, enlarge) between them.

  4. Jul 18, 2021 · You may have already seen some square notation in medieval chant manuscripts such as: punctum (a single note sung to one syllable); podatus (consists of two notes—one is written on top of the other and the lowest of the two notes is sung first followed by the second note which moves in ascending motion); clivis (contains two notes that are ...

  5. Feb 7, 2011 · Latin has long and short vowels and, unlike classical metres, the Gregorian melodies often pay no regard to the difference in duration between long and short syllables (exceptions being hymns built on metres).

  6. The syllable is the fundamental unit of structure, with the neumes themselves serving as a means of “sonifying” the text. A syllable may be expressed via one or more neumes, with the particular neume shape chosen depending on the pitch contour that is being employed and the desired interpretation.

  7. There is no need to imitate the monks of St Gall, who, up to the XVth century, refused to adopt the progress shown in the Guidonian notation, and carefully preserved their own neumatic lineless notation, so difficult to understand.

  8. The initial structure pitch A is given a great deal of emphasis, both by the large Uncinus in Laon 239 and by the t (tenete = lengthen, hold) in the Cantatorium of St. Gall.

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