As a first part of a series of textual and musical studies made in collaboration with Marie-Noel Colette, this article attempts to identify the five early sequences hinted behind five Alleluia melodies, four of them written with rubrics, two with "partial text" in the famous manuscript known as the "Antiphonary of Charles the Bald" (Paris, BnF, fonds lat. 17436) prepared for the dedication of the
... [Show full abstract] royal chapel of S. Mary of Compiegne in 877. The present study is an analysis of one of these sequences, the one indicated with the rubric "Adorabo minor", built upon the Alleluia-melody, and developing the versus "Suscipe laus angelorum". By means of a close reading of possible sequence-texts (combined the musical analysis made by M.N. Colette) and with references to other textual documents related to the event of the dedication, the author suggests that the sequence in question here is an early version of the Dedication-prose "Letetur et concrepet". It is argued that the words "Rex in hac aula" refer both to the celestial King throning in heaven and to King Charles the Bald present in person at the solemn dedication of the Royal Chapel of S. Mary of Compiegne.