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The final Proper chant of the foremass is the alleluia, shown in Figure 5-2c. 30 The
neo-Gregorian Alleluia verse celebrates Aredius‟s sanctity and invokes the help of God
by his merits.
The semitones are indicated in the Figure (1, 2 each is a pes with virga cornue, the
latter is illustrated in Appendix 5-2); 31 together they define a protus authentic mode
beginning and ending on D. The custos is missing from the third line of the chant, but the
consistency of the semi-tones in lines three (without custos) and four permit a consistent
continuation in D mode. Item (3) in figure 5-2c is a version of the pes-stratus that is a
recognized characteristic of Gallican influence. 32
The pes-stratus is reported in various forms by Ferretti in PM13, 33 Hiley and
Szendrei, 34 and many others. The form of pes stratus found most often in Pa903,
however, is the same form as that described by Rupert Fischer in his essay on Aquitanian
notation in Pa776. 35 More examples will be discussed in the next Section.
30 The alleluia melody is No. 51 in Schlager’s alleluia index, listed as transmitted in this version
only in Pa903. Karl-Heinz Schlager, Thematischer Katalog der ältesten Alleluia-Melodien aus
Hanscriften des 10. und 11. Jahrhunderts, ausgwenommen das ambrosianische, alt römische und altspanische
Repertoire (Munich: Verlegt bei Walter Ricke, 1965):93.
31 This neume is shown in Appendix A5-2, representing the approach to a semitone by an
ascending major second or third, e.g., DE or CE. The upper part of the neume locates the upper note of the
interval (but the lower note of a semi-tone).
32 Michel Huglo with Jane Bellingham and Marcel Zijlstra. “Gallican Chant.” in New Grove
Dictionary of Music and Musicians in 26 vols., Stanely Sadie and John Tyrell, eds. (London:Macmillan,
2001) 23:463.
33 Paolo Ferretti, “Étude sur la notation acquitaine d’après le Graduel de Saint-Yrieix.”
Paléographie Musicale 13 (1925): 25-211.
34 David Hiley and Janka Szendrei, “Plainchant Principal Characteristics” in New Grove
Dictionary of Music and Musicians, Stanely Sadie and John Tyrell, eds. (London:Macmillan, 2001)
16:432. Frasch, concentrating on pitch determination in Pa903, does not treat the pes-stratus.
35 Rupert Fischer,” Notazione.” in Il Codice Paris Bibliothèque Nationale de France lat. 776,
Sec XI, Graduale di Gaillac, Nino Albarosa, Heinrich Rumphorst, Alberto Turco. eds.( Padova: La Linea
Editrice, 2001) : xxv-xxxi. Pa776 and Pa903 have been shown to be nearly identical in many details as
noted in Chapter IV.
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