Untitled

MUSIC IN THE TWELFTH CENTURY
Rex im - men - se, Pa-ter pi -
r r r r m
Con -so - la - tor, dul-cis a - mor, e * lei - son.
(Mighty king, holy Father, have mercy: Consoler, dear love, have mercy.)
CADENCES
The normal melodic cadence, as inherited from Gregorian times,
falls to the final by step. The fashion of rising to the final note came
in with the sequela (see p. 129) where it is usually only an intermediate
cadence. We find in these earliest specimens of part-music:
(i) The upper melody is frequently developed in melismatic form
at the cadence. But this is nothing new: it is well known in
Gregorian music, and is indeed a natural expression, part of
a common musical instinct, e.g. the end of 'Per lethalis pomi
partum*: 1
Ex. 153(10
[or
Ex. 153 (i)
e,
[or -] ga no.
- ga
(ii) For the lower voice, in the Anglo-French group 73 per cent.
rise to their final note instead of falling: in the Spanish group,
60 per cent. They rise by step, for it is quite a long time before
the authentic or dominant cadence (V-I) is found. Nor should
1 Brit. Mus. Add. 36881, fo. 1 ; Spanke and Angtes, op. tit, p. 305.
no.
lei