second half being the _versus_; in this case the _frons_ had its own
musical theme, as did the first _versus_, the theme of the first
_versus_ being repeated for the second. Or, lastly, a stanza might [25]
consist of _pedes_ and _versus_, one theme being used for the first
_pes_ and repeated for the second and similarly with the _versus_.
Thus the general principle upon which the stanza was constructed was that of
tripartition in the following three forms:--


I

1st line }
2nd " } Pes
3rd " etc. }

1st line }
2nd " } Pes
3rd " etc. }
Diesis or Volta

1st line } Syrma
2nd " } or Coda
3rd " etc. }


II

1st line }
2nd " } Frons
3rd " etc. }