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This probably means that the written archetypes used for the transmission of chant did not indicate which alleluia should be sung on these specific dates.
It may be convenient to begin with the few cases in which an alleluia is always or nearly always assigned to a specific occasion.
The most obvious mode of investigating these alleluia series is the comparison of complete lists.
This fourfold alleluia resembles the alleluia antiphons derived from normally texted antiphons; the psalm tone is comparable to the normal second psalm tone.
So some differentiations are necessary for the history of the alleluia, too.
This is particularly evident in the alleluia, which could act as an akroteleuteon, an autonomous musical phrase like a refrain.
In a very few cases it may be possible to use the assignment of an alleluia as evidence of its place of origin.
The basic pattern consists of three verses: the first followed by one alleluia, the second by two, and the third by three.
That is a clear enough ' pattern', one supposes: the provenance of the source is also that of the alleluia.
Generally, though, an ingressa is followed by at least an alleluia, offertory and communion.
The start of the opening alleluia is given at the end of the verse for ease of comparison.
The most stable element is the alleluia of the first verse, which remains the last alleluia in the other verses.
Lyons 537 does not indicate the repetition of the first alleluia at the end, though this seems to be necessary to provide a sound conclusion.
Presumably one continued from these notes to the end of the alleluia melisma.
In these cases, it is evident that no attempt was made to adapt the alleluia cycles to the places of destination.
