I am curious about how the Regina Caeli is displayed in chant books. It seems that for the solemn tone, the ti flat (teh) always applies to the complete chant, whereas for the simple tone, the flat is inserted only as required before each ti (teh) in the chant.
However, both chants are in Mode VI, and both begin with a similar note pattern, and both end appropriately on fah.
Either way, every instance of ti is flatted.
Is it a matter of "That's just the way we've always done it."?
There are other chants that are that way - where the 7th is always flat. Yet, only sometimes is the "b" shown following the clef to denote this, while at other times the "b" is written at every instance. I'm not sure of the reasoning of the inconsistency, but would love to hear about it.
It is true that these two tones are coming from different sources: the solemn tone is from the "Vatican Edition" Antiphonale Romanum 1912, whereas the simple tone is taken "from the publications of Solesmes", and does not actually appear in the Vatican Edition of the Antiphonale.
I believe putting the "flat" sign with the clef would be a modern typesetting invention. Many of the Propers actually change modes, and include to TI and TE. Even the Easter sequence includes both.
I wondered why they didn't just move the clef - if it's a flat in the clef, then it's like Fah is the Doh, I think. Or is there a fine natural temperament difference in tuning?
@veromary In the manuscripts I study most (antiphonals, from Bohemia, from 14th c. onward) some pieces are written either way. It seems that - at least in the given area and time period - no "fine natural temperament differences" were considered.
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