r sa-cri-fi-ci-a.

Ambrosian
Ex Si-on spe-ci-es de-co-ris e-jus:
De-us ma-ni-fe-ste ve-ni-et.
V. Con-gre-ga-te il-lic sanc-tos e-jus,
qui or-di-na-ve-runt
te-sta-men-tum e-jus
su-per sa-cri-fi-ci-a.

The theory is further supported by a comparison of the most ancient MSS.
of the Milanese chant with the Gregorian Antiphoner. A considerable
number of melodies are practically identical with those in the Roman
books. The framework, so to speak, is the same, but the details and
embellishments often differ. The Ambrosian melodies are sometimes rather
bald, and often excessively florid; the extremely long neums which they
often contain appear to have been due to Greek influence. The Gregorian,
on the other hand, appear to have been in some places pruned, in others
expanded, with the result that they give the impression of being better
balanced; the different parts of the musical phrases are more justly
proportioned. In the Ambrosian melodies the B natural occurs very
constantly, and gives them a masculine flavour, sometimes amounting to
harshness.

The examples here given will enable some idea to be formed of the advance
made by the Gregorian version upon the Ambrosian, both in music and text.

But Pope Adrian II. says of St. Gregory not merely "renovavit," but
"auxit." He not only edited and adapted the old melodies, but provided
new ones for the new texts which he added to the cycle of liturgical
worship. What were these musical additions?

He extended the use of Alleluia to all Sundays and Festivals throughout
the year except in Septuagesima, and it is probable that he added new
melodies for the new Alleluias. It is significant that the Alleluias are
the least stable part of the Antiphoner. At all events, the Ambrosian
alleluiatic verses differ entirely from the Gregorian. The same
consideration applies to the tracts, the use of which he extended in
Septuagesima.

Another tendency of Gregory's reform was his marked desire to harmonize
the text of the Communions with that of the Gospel of the day. There are
a considerable number of these, hardly any traces of which are to be
found in the Ambrosian books. It is, then, reasonable to ascribe to St.
Gregory an important part in the composition of these chants.

The further important question arises, did Gregory carry out this musical
work himself, or was it done by others under his direction?

It is natura