The notations used for chant from the ninth to the early eleventh century give very little information about pitch. As I discuss in Chapter 2, all the early dialects show melodic direction and the littera significatiua e indicates where two consecutive notes lie at a unison. But for the most part, pitch relations remain opaque. The fact that musicians knew three systems for the accurate presentation of pitch in the tenth and eleventh centuries places this situation in high relief: the palaeofrankish and dasian notations mentioned in Chapter 2, to which we can add the alphabetic notation advocated by Hucbald of Saint Amand derived from Boethius and that used in Norman manuscripts.