P-BRad (Braga) Arquivo Distrital Pastas de fragmentos, 169
The folio’s recto includes the gradual 'Tu es deus qui facis mirabilia' (from ‘virtutem tuam, V. Liberasti in brachio tuo…’), the tract 'Iubilate domino omnis terra', and the beginning of the offertory 'Benedictus es Domine … in labiis'. The verso (internal side) contains the final part of the offertory Benedictus (from ‘tuas in labiis meis’), the communion 'Manducaverunt', and the ritual for the blessing and imposition of ashes (prescriptions, first antiphon, start of the second).
Here, the text of the ritual for the blessing and imposition of ashes: 'Ipsa die ante missam discalciatur et facta oratione que solet fieri ante processionem, inchoet cantor antiphona Exurge domine, cum psalmum Deus auribus nostris. Et gloria patri. Et repetatur antiphona Exurge domine. Et dicant omnes dicitur ab omnibus, kyrie [e]leison. Christe [e]leison.
kyrie [e]leison. Pater noster. Et sacerdos ebdomedarius dicto Et ne nos, incipiat psalmus Deus misereatur nostri; totum cum gloria patri, et addidit hunc versu Et veniat super nos. Quo finito, dicitur oratio Concede nobis domine. Quibus dictis, statim Domnus abbas uel sacerdos, si ipse non adest, cum stola tantum benedicat cineres cunctis audientibus sine Dominus vobiscum, Oremus: Omnipotens sempiterne deus, qui primo. Et aspersa aquam de super cinerem ponatur et cinis super capita singulorum, dicendo: Recognosce homo. Dum apponitur cinis, cantetur antiphona Inmutemur. Finita vero predicta antiphona, siletur ab omnibus, donec cineres dati sunt etiam infantibus et ad extremum infirmis. Domno abbati vel sacerdoti prior debet dare, vel unus de prioribus, si ipse non est sacerdos. Quo finito, incipit Armarius antiphona Exaudi nos. Et processiones vero egreditur. Deinde incipit armarius Iuxta vestibulum'.
The melodies are written around a single red line in Aquitanian notation of the Portuguese variety (use of lozenge-shaped punctum to indicate the degree below the semitone), with occasional use of a custos. The long rubric for the blessing and imposition of the ashes contains references to abbot, prior and armarius, which put it immediately in the Cluniac orbit. Comparing the text with the extant versions of Cluniac customaries written between c. 1030 and 1090, it is possible to conclude that it depends basically on Bernard’s redaction (the only one stemming from Cluny itself and dated from 1070 to 1085–1090). From the musical point of view, the situation is markedly different. Many studies confirmed the absence in Cluny of any unifying effort concerning melodic details, even when a new selection and order of chants in the reformed Abbeys follow Cluniac liturgical use. The comparison of the melody of communion Manducaverunt with that sung at Cluny shows that the fragment adopts the melodic tradition of the local See.
Manuel Pedro FERREIRA, "Cluny at Fynystere: One Use, Three Fragments", in Terence Bailey e László Dobszay (ed.), Studies in Medieval Chant and Liturgy in Honour of David Hiley, Ottawa - Budapest: The Institute of Mediaeval Music/Hungarian Academy of Sciences (Institute for Musicology), 2007, pp. 179-228, with full transcription of the verso text, retaining the original orthography. Manuel Pedro FERREIRA, Cluny no cabo do mundo: um costume, três fragmentos, in "Aspectos da Música Medieval no Ocidente Peninsular", Volume II - Música Eclesiástica, Estudos Musicológicos 34, pp. 83-118, with full transcription of the verso text, retaining the original orthography on p. 100-1 and color reproduction of the verso side of the fragment on plate X. Partial reproduction of the fragment (the communion antiphon Manducaverunt) in Monodia Sacra Medieval. [Programa do] Colóquio internacional, 2–5/6/2005 (Lisboa: CML, 2005), p. 34.