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Copenhagen Chansonnier

Sacred music of the 15th century

Complete Works of Gilles Mureau

Uppsala MS 76a

Peter Woetmann Christoffersen

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Basiron’s chansons
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Dulot’s Ave Maria
Open access 15th c.
MS Florence 2794


Amiens 162 D, ff. 113-116v, Tonary “Gloria patri” 1v (incomplete)

Notation: Copied by Hand B in chant notation upon staff systems 3 in brown ink with red initials and red emphasizing in the text. Incomplete, the first folio is missing.


The tonary is a short manual surveying the psalm tones and their different endings. As it now stands in the MS, it opens with the last “Gloria Patri” in the 2nd tone followed by the tones 3-8 and Tonus peregrinus. Every complete set of directions for a tone begins as the tradition decrees with a short model antiphon on a Biblical quote, which demonstrates the characteristic intervals of the mode and its recitation pitches, and which ends in a textless melisma (neuma), then follow the melodic formulas for canticles, Alleluia and “Gloria patri” (cf. Huglo 1971, pp. 385 ff):

f. 113, “Gloria patri” (2nd tone).

ff. 113-113v, “Tercia dies est quod hec facta sunt” (3rd tone), followed by

“Gloria patri” with differentiae,
”Benedictus dominus deus Israel” (Cant. Zachariae),
Alleluia-intonation with “Gloria patri” (the music for the last section of “Gloria patri” was not entered),
”Gloria patri” (tonus solemnis); this pattern is repeated for the remaining tones.

ff. 113v-114, “Quarta vigilia venit ad eos” (4th tone).

ff. 114-114v, “Quinque prudentes intraverunt ad nuptias” (5th tone; the music for the last section of “Gloria patri” in Alleluia was not entered).

f. 115, ”Sex idrie [sic] in cana galilee” (6th tone; the music for the last section of “Gloria patri” in Alleluia was not entered).

ff. 115v-116, “Septem sunt spiritus ante tronum dei” (7th tone).

ff. 116-116v, “Octo sunt beatitudines” (8th tone).

f. 116v, “In exitu Israel” (tonus peregrinus, psalm tone only) – “Non regularitur … dicimus ad vespiros”.

PWCH October 2015