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Gregorianischer Choral
"(f3) Urbs(j) Je(j)r\u00fa(kxjk)sa(jvIH)lem(i) be(j)\u00e1(j)ta,(f) (::) Di(h)cta(i) pa(g)cis(hg) v\u00ed(f)si(e)o,(f) (:) Qu\u00e6(h) con(f)str\u00fa(g)i(h)tur(i) in(j) c\u00e6(ivHG)lis(f) (;) Vi(g)vis(h) ex(g) la(f)p\u00ed(g)di(f)bus,(e) (:) Et(c) An(e)ge(f)lis(e) co(h)ro(i)n\u00e1(i)ta,(h) (;) Ut(i) spon(j)s\u00e1(h)ta(ivHG) c\u00f3(f)mi(e)te:(f) 2.(::) No(j)va(j) v\u00e9(kxjk)ni(jvIH)ens(i) e(j) c\u00e6(j)lo,(f) (;) Nup(h)ti(i)\u00e1(g)li(hg) th\u00e1(f)la(e)mo(f) (:) Pr\u00e6(h)pa(f)r\u00e1(g)ta,(h) ut(i) spon(j)s\u00e1(ivHG)ta(f) (;) Co(g)pu(h)l\u00e9(g)tur(f) D\u00f3(g)mi(f)no.(e) (:) Pla(c)t\u00e9(e)\u00e6(f) et(e) mu(h)ri(i) e(i)jus(h) (;) Ex(i) au(j)ro(h) pu(ivHG)r\u00eds(f)si(e)mo:(f) 3.(::) Por(j)t\u00e6(j) ni(kxjk)tent(jvIH) mar(i)ga(j)r\u00ed(j)tis,(f) (;) A(h)d\u00fd(i)tis(g) pa(hg)t\u00e9n(f)ti(e)bus:(f) (:) Et(h) vir(f)t\u00fa(g)te(h) me(i)ri(j)t\u00f3(ivHG)rum(f) (;) Il(g)luc(h) in(g)tro(f)d\u00fa(g)ci(f)tur(e) (:) O(c)mnis,(e) qui(f) ob(e) Chri(h)sti(i) no(i)men(h) (;) Hic(i) in(j) mun(h)do(ivHG) pr\u00e9(f)mi(e)tur.(f) 4.(::) Tun(j)si(j)\u00f3(kxjk)ni(jvIH)bus,(i) pres(j)s\u00fa(j)ris(f) (;) Ex(h)p\u00f3(i)li(g)ti(hg) l\u00e1(f)pi(e)des(f) (:) Su(h)is(f) co(g)ap(h)t\u00e1n(i)tur(j) lo(ivHG)cis(f) (;) Per(g) ma(h)nus(g) ar(f)t\u00ed(g)fi(f)cis,(e) (:) Di(c)spo(e)n\u00fan(f)tur(e) per(h)man(i)s\u00fa(i)ri(h) (;) Sa(i)cris(j) \u00e6(h)di(ivHG)f\u00ed(f)ci(e)is.(f) 5.(::) Gl\u00f3(j)ri(j)a(kxjk) et(jvIH) ho(i)nor(j) De(j)o(f) (;) Us(h)que(i)qu\u00e1(g)que(g) al(hg)t\u00eds(f)si(e)mo,(f) (:) U(h)na(f) Pa(g)tri,(h) Fi(i)li(j)\u00f3(ivHG)que,(f) (;) In(g)cl\u00fd(h)to(g) Pa(f)r\u00e1(g)cli(f)to,(e) (:) Cu(c)i(e) laus(f) est,(e) et(h) po(i)t\u00e9(i)stas(h) (;) Per(i) \u00e6(j)t\u00e9r(h)na(ivHG) s<sp>'ae</sp>(f)cu(e)la.(f) (::) A(fgf)men.(ef) (::)"„Secundus tristis (Der Zweite ist traurig)“
Der 2. Ton (Hypodorisch) hat oft einen ruhigen, traurigen und demütigen Charakter.
Mit diesem GABC Code kann der Choral z.B. mit GregorioTeX gerendert werden.