STRESS

Li baro.m* vol*ran mal* de so* que'ieu? dic* be*
mas ben? sap*chan* qu'ie.ls pretz* aitan pauc? quon? ilh? me*
(sordello, Chantar d'En Blacatz)

Tramet lo vers,* que chantam
En plana lengua romana,
A.n Hu?go? Brun* per Filhol.*
Bo.m* sap* quar gens* Peitavina,
De Berri? e de Gui*an*a
S'esgau*  per lui,* e Bre*tan*ha.
{hard to think that de, e de, and in the next line, per and e get the same stress as the rest; also IMO Guiana and Bretanha are falling feminine rhymes I called them rich alright they are 'feminine' rhymes on both syllables with an intevening hardly pronounced 'h' gau in s'esgau is stressed}
(Jaufre Rudel de Blaye, Quan la rius?)

[E] diz* que non* volo pren*dre
dreit* ni lei*
ans? la tens* essera*da
qua*da trei.* 
{ here in the short three s yllable rhymed lines it's clear that not only the music but also the stress is matched qua and dreit both stressed and longer, da and ni both unstressed and short and trei and lei the rhymed final words with vowel glide combo lenthening them also stress with it; esserada actually picks up internal rhyme with quada }
(Guilhem, Non puosc? )

penrai* marit? a nois*tra conois?senz*a?
o starai* mi pul*cela? e si m'agens*a.
que far fil?hos* no cug* que sia bos:*
essems maritz* mi par* trop an?gois?sos*.

Na Carenz*a, penre marit m'agenz*a
mas far enfantz* cug* que es grans* penedenz*a.
que las tetinas pen*don? aval jos*
e.lh ven?trils* es car?gatz* e enojos*
{the -os rhymes are masculine except the cross stanza half-rhyme between angoissos and enojos; but enza ensa rhymes are always feminine within and across stanzas these are the falling rhymes there's an internal rhyme once on the -os far filhos; aval and sia in aval jos and sia bos across stanzas are both unstressed in same positions unimportant words in spite of l in aval ditto for eno in enojos}
(Ladies Carenza, and 2 other ladies)