ABSTRACT
This chapter shows the diversity of compositional approaches to the treatment of the tonus peregrinus. A majority of the verses of this alternatim setting in the manuscript MM36 are cast, by and large, in fabordn style, although some interesting deviations from this idiom will be discussed shortly. This is, must be repeated, not to argue that the cadence was actually intended as shown: our object was merely to point out how one particular approach that of maintaining an unaltered cantus firmus could have been retained for this verse. In the light of this brief scrutiny, Torrentes appears to be less unyielding in his treatment of the tonus peregrinus than some of the other composers discussed. The concepts of liberty and rigour do not stand in opposition to one another: conservative strictness in the presentation of the tonus peregrinus goes hand in hand with a progressive urge to embed the qualities of the psalm-tone in the composition as a whole.
