Notation Rhythmic mode

pérotin, viderunt omnes (gradual christmas day), in first rhythmic mode. ms florence, biblioteca medicea-laurenziana, pluteo 29.1, fol. 1 recto.

devised in last half of 12th century (seay 1975, 97), notation of rhythmic modes used stereotyped combinations of ligatures (joined noteheads) indicate patterns of long notes (longs) , short notes (breves), enabling performer recognize of 6 rhythmic modes intended given passage. linked notes in groups of: 3, 2, 2, 2, etc. indicate first mode, 2, 2, 2, 2, … 3 second mode, 1, 3, 3, 3, 3, etc. third mode, 3, 3, 3, … 1 fourth mode, 3, 3, 3, 3, etc. fifth mode, , 4, 3, 3, 3, etc. sixth mode (hughes 1954a, 323–24). reading , performance of music notated using rhythmic modes based on context. after recognizing of 6 modes applied passage of neumes, singer continue on in same mode until end of phrase, or cadence. in modern editions of medieval music, ligatures represented horizontal brackets on notes contained within it.

all modes adhere ternary principle of metre, meaning each mode have number of beat subdivisions divisible number 3. medieval writers explained veneration perfection of holy trinity, appears explanation made after event, rather cause (reese 1940, 274; hughes 1954a, 319–20). less speculatively, flexibility of rhythm possible within system allows variety , avoids monotony. notes broken down shorter units (called fractio modi anonymous iv) or 2 rhythmic units of same mode combined 1 (extensio modi) (seay 1975, 98–99). alternative term used garlandia both types of alteration reduction (roesner 2001). these alterations may accomplished in several ways: extensio modi insertion of single (unligated) long notes or smaller-than-usual ligature; fractio modi insertion of larger-than-usual ligature, or special signs. these of 2 types, plica , climacus (hiley , payne 2001).

the plica adopted liquescent neumes (cephalicus) of chant notation, , receives name (latin fold ) form which, when written separate note, had shape of u or inverted u. in modal notation, however, plica occurs vertical stroke added end of ligature, making ligatura plicata. plica indicates added breve on weak beat (hiley , payne 2001). pitch indicated plica depends on pitches of note attached , note following it. if both notes same, plica tone upper or lower neighbor, depending on direction of stem. if interval between main notes third, plica tone fills in passing tone. if 2 main notes second apart, or @ interval of fourth or larger, musical context must decide pitch of plica tone (apel 1961, 227).

the climacus.



climacus ligature

the climacus rapid descending scale figure, written single note or ligature followed series of 2 or more descending lozenges. anonymous iv called these currentes (latin running ), in reference similar figures found in pre-modal aquitanian , parisian polyphony. franco of cologne called them coniunctura (latin joined [note] ). when consisting of 3 notes (coniunctura ternaria) rhythmically identical ordinary three-note ligature, when containing more notes figure may rhythmically ambiguous , therefore difficult interpret (hiley , payne 2001). difficulty compounded in later half of 13th century, when lozenge shape came used semibreve. general rule last note longa, second-last note breve, , preceding notes taken occupy space of longa. however, exact internal rhythm of these first notes of group requires interpretation according context (apel 1961, 240).

it possible change 1 mode without break, called admixture anonymous iv, writing around 1280 (roesner 2001).

tenor motet homo, luge! / homo miserabilis / brumans e mors (13th century). third rhythmic mode, syllabic notation.

because ligature cannot used more 1 syllable of text, notational patterns can occur in melismatic passages. syllables change or pitches repeated, ligatures must broken smaller ligatures or single notes in so-called syllabic notation , creating difficulty singers, reported anonymous iv (apel 1961, 225; roesner 2001).

an ordo (plural ordines) phrase constructed 1 or more statements of 1 modal pattern , ending in rest. ordines described according number of repetitions , position of concluding rest. perfect ordines ended first note of pattern followed rest substituting second half of pattern, , imperfect ordines ended in last note of pattern followed rest equal first part. imperfect ordines theoretical , rare in practice, perfect ordines predominate (hoppin 1978, 223).

other writers covered topic of rhythmic modes include anonymous iv, mentions names of composers léonin , pérotin of major works, , franco of cologne, writing around 1260, recognized limitations of system , name became attached idea of representing duration of note particular notational shapes, though in fact idea had been known , used time before franco (hughes 1954b, 379–80). lambertus described 9 modes, , anonymus iv said that, in england, whole series of irregular modes in use (reece 1940, 288).