[Illustration: Music] 1. Swa ein vriund dem an-dern vriun de bi-ge-stat-- [Illustration: Music] 2. Swer si-nen gůt-en vriund be-hal-ten--wil-- [Illustration: Music] 3. Mich nympt wun-der daz--eyn rey-ne by-der-be man-- [Illustration: Music] 4. Eyn e-de-le kun-ne sti-get of--by ey-nem man-- A form especially cultivated by the Minnesinger was the aubade (_Tagelied_) which originated with the Provençal Troubadours. In its German form it usually represents a lover, lingering near his beloved, whom the watchman’s trumpet call announcing the dawn’s approach speeds on his homeward way. In the earliest known _Tagelied_, by Diet von Eist (1180), the song of a bird is heard instead of the watchman’s call, but in later examples the horn-call assumes greater prominence and is even represented by a melody without text at the beginning or in the middle of a verse. In one by Wizlaw such a sequence of apparently superfluous notes at the end of the first verse puzzled transcribers until recently, when its significance was discovered. In subsequent verses of this example words are supplied for the notes of the call. [Illustration: Music] List du in der min-ne dro, ichse den lech-ten mor-ghen fro. De vo-ghe-l’n sin-ghen den tac, her ist ho. The 'instrumental’ portions may perhaps have been hummed in imitation of the horn, but the principle is the same. Still later we find examples, such as the _Nachthorn_ and _Taghorn_ of the Monk of Salzburg, which are marked _Auch gut zu blasen_ ('Also good for blowing’). * * * * * [Illustration: THE TOURNAMENT OF SONG IN THE WARTBURG.]