clivis

Thus even the clivis (more correctly clinis) was at an early period called virga flexa, and the torculus could be considered as a pes flexus.

The Catholic Encyclopedia, Volume 10: Mass Music-Newman 1840-1916 1913

The clivis with episema to the first note is found on the first syllable of tuam (first sign) and twice towards the end of the neuma on tuum.

The Catholic Encyclopedia, Volume 10: Mass Music-Newman 1840-1916 1913

On the second syllable of nobis, after the torculus subpunctis already mentioned, we have a clivis with the episema attached to the second note, the clivis being preceded by two short puncta and followed by a long one.

The Catholic Encyclopedia, Volume 10: Mass Music-Newman 1840-1916 1913

It is generally understood as equivalent to a clivis with the first note prolonged and rendered sforzato.

The Catholic Encyclopedia, Volume 10: Mass Music-Newman 1840-1916 1913

On the first syllable of venite the MS. has a clivis instead of the single note of the Roman version, on the second, the punctum and torculus (placed one over the other) are only graphically different from the pes and clivis.

The Catholic Encyclopedia, Volume 10: Mass Music-Newman 1840-1916 1913

Of the clivis form peculiar to this school our illustration contains no example; but on the second syllable of festum and the second and fourth of celebrantes we have the porrectus, which in its first two strokes contains the clivis.

The Catholic Encyclopedia, Volume 10: Mass Music-Newman 1840-1916 1913

Thus the liquescent podatus is called epiphonus, the liquescent clivis, cephalicus, the liquescent climacus, ancus.

The Catholic Encyclopedia, Volume 10: Mass Music-Newman 1840-1916 1913

Thus we have a clivis on the second syllable of omnes, the second (before the quilisma) and the third of domino, the third of angeli (where the lower one got attached to the l), etc.; a climacus on angeli, preceding the quilisma.

The Catholic Encyclopedia, Volume 10: Mass Music-Newman 1840-1916 1913

We only notice that on gaudent and angeli the MS. adds a liquescent note to the podatus and porrectus subbipunctis, and on celebrantes has twice a porrectus for the strophic clivis, which suggests that the apostropha (oriscus) was sung slightly higher than the last note of the clivis, as mentioned above.

The Catholic Encyclopedia, Volume 10: Mass Music-Newman 1840-1916 1913

The clivis shows the curved angle, as on second syllable of pectus, second and fourth of salutifere.

The Catholic Encyclopedia, Volume 10: Mass Music-Newman 1840-1916 1913