A Florentine chansonnier from the time of Lorenzo the Magnificent: Florence, Biblioteca nazionale centrale, MS Banco rari 229, Vol. 2 9780226076393, 9780226076232

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A FLORENTINE CHANSONNIER

FROM THE TIME OF LORENZO THE MAGNIFICENT

MONUMENTS OF RENAISSANCE

MUSIC

EDWARD E. LOWINSKY Founding Editor

HOWARD MAYER BROWN General Editor

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Volume VII:

A FLORENTINE CHANSONNIER

A FLORENTINE CHANSONNIER FROM THE TIME OF LORENZO THE MAGNIFICENT Florence, Biblioteca Nazionale Centrale

MS Banco Rari 229

Edited with an Introduction by

HOWARD MAYER BROWN French texts established and edited by Brian Jeffery

and translated into English verse by Max Knight

Music Volume

THE UNIVERSITY OF CHICAGO PRESS CHICAGO & LONDON

The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London

©1983 by The University of Chicago All rights reserved. Published 1983 Printed in the United States of America

89 88 87 86 85 84 83 12345 Illustration facing title page from Silvestro Ganassi, Regolo Rubertina (Venice, 1542)

LIBRARY OF CONGRESS CATALOGING IN PUBLICATION DATA

Biblioteca nazionale centrale di Firenze. Manuscript. Banco rari 229. A Florentine chansonnier from the time of Lorenzo the Magnificent. (Monuments of Renaissance music ; v. 7) Bibliography: p. Includes indexes.

1. Chansons, Polyphonic. I. Medici, Lorenzo de’, 1449-1492. II. Brown, Howard Mayer.

Il. Jeffery, Brian. IV. Knight, Max. V. Title. VI. Series.

M2.M489 vol. 7 [M1579] 81-16515

ISBN 0-226-07623-7 AACR2

The music in this volume was prepared by Prestige Music Engraving.

CONTENTS

1. [Tres doulx regart] Jannes Martini 1 [Antoine Busnois or

2. He logierons [nous seans, hostesse | Hayne van Ghizeghem| 58

Henricuus Yzac 3 30. Plus n’ay d’espoir Anon. 60

3. [Tant que Dieu voldra] Jannes Martini 5 31. Puis qu’elle est morte, [4 mourir vueil

4. Mon pere m’a doné mari entendre] Anon. 63 Henricus Yzac 7 32. C’est ung bon bruit [par Dieu ma-

5. Se mai il cielo e fati fur benigni dame] [Alexander Agricola] 65

Jannes Martini 9 33. [Guarde vostre visage |

6. Helas, que devera mon cuer (= Helas, [Alexander Agricola 67

que pourra devenir) Henricus Yzac 11 34. [Textless composition] Anon. 68 7. O di prudenza fonte Jannes Martini 13 35. [Textless composition] Anon. 71 8. J’ay pris amours a ma devise 36. Ma bouche plant [les pleurs de ma

Henrius Yzac 15 pensée] Anon. 72

9. [Textless composition] Jannes Martini 17 37. Sa painne pert qui sert sans nul guer-

10. [Benedictus from Missa Quant j’ay au don Anon. 74

cor] Henricus Yzac 18 38. Hellas Anon. 76

11. [Malheur me bat] Jannes Martini (or 39. Vostre bouche [dit ““Baisiez moy’’]

Malcort or Ockeghem) 21 [Alexander Agricola] 78 12. [La morra] Henricus Yzac 23 40. Faultes Anon. 80 13. Martinella Jannes Martini 26 41. Venus Anon. 81

14. [My my] Henricus Yzac 29 42. Penses y celle (= Pensez y se le povez 15. [L’espoir mieulx] Jannes Martini 32 faire) Murian (= Gilles Mureau) 83 16. [Christe eleison from Missa Chargé de 43. Le renvoi [d’ung cueur esgaré]

deul] Henricus Yzac 34 [Loyset Compere] 85

17. [I] est tousjours] Jannes Martini 36 44. [Que vous madame]/ In pace in idip18. [Textless composition] Henricus Ycac 38 sum Josquin |des Prez | (or

19. Les biens (= Des biens d’amours qui- Alexander Agricola) 87 conques les depart) Jannes Martini 40 45. Martinella [Johannes Martini] 89

20. VirgoDeitronodigna Jolhannes|Tinctoris 42 46. J’ay bien nori (= J’ay bien nourry sept

21. J’ai beau huer [avant que bien havoyr] ans ung joly gay) Jannes Japart

[Alexander Agricola] 44 (or Josquin des Prez or Johannes Joye) 91 22. [Dat ic my lijden aldus helen moet] 47. En riens de remede Anon. 93 Jannes Agricola (or Petrus Eline) 46 48. Vous n’aves point le cuer certain

23. Ha traistre Amours, me scauroes tu [Caron | 95 feire pis? Jannes Stochem 48 49. Mon seul et cede (= Mon seul et celé

24. [Moyns ay repoz, plus acroist mon af- souvenir) [Antoine Busnois] 97

faire] Anon. 49 50. D’un bon du cuer sans aultre amer

25. Adieu bon temps Anon. 51 Anon. 99 26. Du tout m’estoie abandoné 51. Fortune per ta crualté [Guillaume Dufay] 52 [Johannes Vincenet] 101

27. Je nem puis [Alexander Agricola] 54 52. Ung plus que teulx (= Ung plus que

28. [Le bien fet] Anon. 56 tous est en mon souvenir)

29. Je suis [venue vers mon amy] [Antoine Busnois] 103 Vv

CONTENTS

53. Chon tutta gentilega Antonius Busnois 106 84. Il n’est vivant tant soit scavant ou

, 54. Ja doy le diner (= La doy-je aymer 4 saige Alexander Agricola 170

vostre advis) Anon. 107 85. La rouset Anon. 174

55. Je ne fay plus, ne je ne dis ne escrips 86. Mauldicte soit envie

Antonius Busnoys (or Gilles Mureau ) 109 [Alexander Agricola | 175

56. Chi dit [on] benedicite 87. [Textless composition] Anon. 177 Antonius Busnoys 111 88. Ung plus [que tous c’est mon con57. Jay mains de biens [Antoine] Busnoys 113 fort] Anon. 179 58. Faulx mesdisans [Antoine] Busnoys 115 89. Ade yoye (= Adieu joye) Anon. 181 59. Je ne demande lialté A [ntoine]Busnoys 118 90. C’est temps perdu [d’estre en amours]

60. Seule 4 par moy [en chambre bien [Robert Morton or Caron] 183 parée] A [ntoine] Busnoys 121 91. [Textless composition] Anon. 184 61. Seyense an mains A [ntoine] Busnoys 124 92. Vrai dieu d’amours, [je suis en grant

62. Une filleresse d’estouppes / [S’il y a tristesse] Anon. 186 compagnon en la compagnie] / [Vostre 93. Je cuide se ce temps [me dure]

amour] [Antoine] Busnoys 126 P [ierre| Congiet (or Japart) 187

63. C’est trop fus (= C’est trop sus 94. Faites moy ung tout seul plaisir

amours entrepris) Alexander Agricola 128 Anon. 190

64. C’est mal serché [vostre avantage] 95. Je n’en puis plus [se je ne meurs]

Alexander Agricola 130 Anon. 192

65. Et qui la dira, dira Alexander Agricola 132 96. Pourtant se mon voloir [s’est mis |

66. [In mijnen sin] Alexander Agricola 134 Caron (or Antoine Busnois ) 194 67. Vostre hault bruit et vestre grant 97. La despour (= Le despourveu infor-

fame Alexander Agricola 136 tuné}] Caron 196 Alexander Agricola 138 Collinet de Lanoy 198

68. Si dedero somnum oculis meis 98. Cela sans plus et plus hola

69. O Venus Bant [Alexander Agricola] 141 99. Helas coment [aves] Jannes Martini 200 70. Cent mille escus quant je voldroie 100. Pour faire [l’arlkymie d’amours ]

[Antoine] Busnoys (or Caron) 142 Anon. 202

71. O vie fortuné[e] Caron 145 101. Piteux adieu Anon. 204 72. Se je fay (= La plus grant chiere de 102. S°i[1] vous plait que vostre [je] soye

jamais) Anon. 146 Joannes Regis . 206 73. [Textless composition] Anon. 14g «105. Nenciogga mia Jannes Jap art 208 74. Sebries puis madame (= Se brief je 104. A laudience [Hayne van Ghizeghem] 210 ; 105. Pourvoir) mieulxCaron valoir F. Rubinet 214 puys ma dame (or Antoine Busnois ) 150 106. Je voy F. Rubinet 215 . ; . 107. [Textless composition] F. Rubinet 217

[Caron | 152

75. Mort ou merchi [vous requiers si]

108. Cela sans plus ne souffi pas

Jannes Japart 219

76. Laor vous n estes Anon. 155 109. J’ay bien chosi a mon voloir [Hayne 77. En effet se ne repren[é]s Anon. 156 van Ghizeghem or Antoine Busnois | 221

78. [Textless composition] Anon. 158 440. Se doulx penser Caron 224 79. [J’ars de desir, si enflamé d’amer] 111. Gracieuse fleur Anon. 226

[Alexander Agricola | 160 412. Tout Anon. 228

80. [A tousjours mais vous puis donner le 113. Dictes moy toutes [voz pensées ]

nom] Anon. 162 Alexander Agricola 230 81. Se je fais bien [ou mal aussi] 114. Adieu, adieu [la seignorie] Anon. 232 Alexander Agricola 164 115. Ne vous hastem pas Loyset Compére 234

82. Tarsis Anon. 166 116. [Par ung jour de matinée]

83. Ma perfayte [joye] Anon. 168 [Alexander Agricola | 235 vi

CONTENTS

117. Amours nous traitte honnestement / 149. Maudit soit al qui trouva jaulosie

Je m’en voy Antonius Busnoys 238 Henricus Ycac 314

118. Le serviteur [hault guerdonné] 150. Donna di dentro / Dammene un po-

Anon. 240 cho / Fortuna d’un gran tempo

119. La plus Anon. 242 Henricus Y¢ac 317 120. Madame helas_ Petrus Congiet 244 151. Fortuna d’un gran tempo

121. Fortuna trop Anon. 247 Jannes Martini 320 [Alexander Agricola] 249 Jannes Japart 325

122. [En attendant la grace de ma dame] 152. J’ay pris amours a ma devise

123. [Textless composition] Anon. 251 153. Hellas dame (= Serviteur soye de par

124. [Textless composition] Anon. 253 vous retenu) [Johannes Stokhem] 328

125. Ha [qu’il m’ennuye] 154. Acordés moy [ce que je pense] [Alexander Agricola or Jean Fresneau] 254 [Antoine Busnois | 331 126. [O intemerata] [Johannes Martini] 256 155. [Anima mea liquefacta est]

127. La mignone de fortune (= A la [Gaspar van Weerbecke] 334 mignonne de Fortune) 156. [T’meiskin was jonck] [Heinrich Alexander Agricola 259 Isaac, Johannes Japart or Jacob Obrecht| 339

128. [Gentil galans] Alexander Agricola 263 157. Amours fait molt / [I] est de bonne

129. Je ne [me] puis vivre 4 mon ayse heure né]/ Tant que nostre argent

Henricus Yzac 266 dure Jannes Japart

130. Mes pensé[e]s [ne me lessent une (or Antoine Busnois ) 342 heure] Loyset Compére 270 158. Adieu mes amours, [on m’atent]/

131. [Het es al ghedaen] Jacobus Barle (or Adieu mes amours, [adieu vous com-

Heinrich Isaac) 274 mand] Josquin [des Prez] 345

132. [Moyses] Jacobus Barle 276 159. [Textless composition] Anon. 349 133. Seraige [Loyset Compére] 278 160. [Textless composition] Anon. 352 134. Si une foys puis (= Se une fois re- 161. Je suis d’Alemagne

couvrir joie) [Hayne van Ghizeghem] 280 [Johannes Stokhem | 355

135. [Textless composition] Anon. 282 162. Je suis d’Alemagne / [Joliettement

136. Sans si sans Anon. 284 m’en vay] Anon. 357 137. Martinella Anon. 926 163. Madame qui tant [est en mon cuer]

138. Serviteur suis [Heinrich Isaac] 289 Caron . . 361

Johannes Japart| 364 141. [Et incarnatus est from Missa O ,

139. [Textless composition] Jannes Martini 291 164. Amours amours [Antoine Busnois or

140. [Textless composition] Henricus Yoac 292 165. [Textless composition] Jannes Martini 367

166. [Heya, heya, nun wie sy grollen] Venus bant] [Gaspar van Weerbecke] 294 Anon. 369

142. [Pleni sunt caeli from Missa O Venus 167. Quelque paut que je soie Anon. 371 bant] [Gaspar van Weerbecke] 296 168. Ung franc archier [Loyset Compére] 373 143. [Benedictus from Missa O Venus 169. Hellas madame [Josquin des Prez] 376 bant] [Gaspar van Weerbecke] 298 170. [Meiskin es u cutkin ruw?]

144. [Fuge la morie] Jannes Martini 300 Jacobus Obrech 333 145. Une mois que de Biscaie (= Une 171. Scaramella va alla guerra

mousse de Bisquaye) Josquin [des Prez] 385

Josquin (des Prez] 302-172. [Textless composition] Henricus Yeac 387 146. Adieu Florens la yolye Pietrequin 304 173. La tortorella che é semplice uccelletto

147. Je ne demande [autre de gré] Jacobus Obrech 389 [Antoine Busnois | 306 174. Je n’ay duel que de vos viegna

148. (Hellas, qu’elle est 4 mon gré] Alexander Agricola 392

[Johannes Japart] 310 175. [Textless composition] Anon. 397 vu

CONTENTS

176. Gentil galans Anon. 399 210. [Textless composition]

177. De tous biens plaine est ma mais- Jacobus Obrech 490

tresse Anon. 402 211. Tenes en chause Anon. 493

178. De tous bien|[s plaine est ma mais- 212. Nos espant Anon. 495

tresse] De Planquard 404 213. Ic quam cheredem Anon. 497

179. J’ay pris amours [a ma devise] 214. Ic quam cheredem Anon. 498 Jannes Martini 408 215. [Benedictus from Missa Ut re mi fa 180. [Vilana, che sa’ tu far?] Anon. 411 sol la] [Antoine Brumel] 500 181. La durion dure Anon. 415 216. [Pleni sunt caeli from Missa Ut re mi

182. Bon me larim bom bom (= Corps fa sol la] [Antoine Brumel] 502 digne / Dieu quel mariage) 217. [Qui tollis from Missa Ut re mi fa sol

[Antoine Busnois | 417 la] [Antoine Brumel] 504

183. On est bien malade par amer trop 218. [Textless composition] Jannes Martini 506

Anon. 420 219. Rose playsant, adorant comme grant

183a. On a grant mal / On est bien Caron (or Johannes Dusart or Philipon) 508 malade [Antoine] Busnois 423 220. Madame, faytes moy savoir [Basin] 511 184. [Mon mignault musequin / Gracieuse, 221. Faites de moy tout [ce] qui vous

plaisante muniere] Antonius Busnois 426 plaira Antonius Busnois 514 185. [Textless composition] Anon. 428 222. Bone dame playsant Anon. 517 186. Seul en amours (= Deul en amours 223. [Combien le joyeulx que je fasse]

puyt assez nuyre) Anon. 430 Anon. 520

187. Se je fuse Anon. 432 224. C’est vous (= Royne des flours, que

188. Tel fait semblant [d’estre joyeux] je desire tant) [Alexander Agricola] 523

Anon. 434 225. Ales Regret, [vuidez de ma pre-

189. [Textless composition] Anon. 438 sence] [Hayne van Ghizeghem] 527 190. Faulx envieulx et megre face Anon. 439 226. Mon cuer se plaint Anon. 530 191. [Pour fort amer et bien servir] Anon. 441 227. [Notres assouemen] Alexander

192. Martinella Henricus Ycac 443 Agricola (or Jean Fresneau) 534 193. Je me plains de tant affanné 228. M’a vestre cueur [mis en oubli]

F. Rubinet 447 [Antoine Busnois | 536

194. Coda di volpe Anon. 448 229. [Textless composition] Anon. 540 195. [Textless composition] Anon. 452 230. [Textless composition] Henricus Yceac 543

196. Et trop penser [Bosfrin] 455 231. [Textless composition] Anon. 545

197 and 197a. [Ha, que ville et habo- 232. Je ne sai plus Anon. 548 minable] [Antoine Busnois | 457 233. [Textless composition] Anon. 550

198. Hellas, [le bon temps que j’avoie] 234. Je ne serai plus [vert vestus]

[Johannes Tinctoris | 460 [Phillipet de Pres] 552

199. Que serai las fort languir Anon. 463 235. Je seroie bien infortuné Anon. 555 200. [Textless composition] Jannes Martini 465 236. Non pas que je veullie penser

201. [Textless composition] F. Rubinet 467 [Gilles Joye] 558 202. Mes que se fut secretement 237. [Si vous voulés que je vous face]

[Pietrequin or Loyset Compére] 469 Anon. 561

203. Martinella [Johannes Martini] ‘471 = 238. De bien Anon. 563

204. Lembien d’amours Anon. 473, 239. [Textless composition] Anon. 565

205. Vive Charlois [Caron] 475 240. [Textless composition] Anon. 567

206. Helas que poura devenir Caron 478 241. [Textless composition] Anon. 569

207. Pendecose Anon. 482 242. [Textless composition] Anon. 571 208. En attendant [d’avoyr secours | 243. [Textless composition] Anon. 573 Loyset Compére 485 244. [Textless composition] Anon. 575 209. Pour mieulx valoir [Jean] Hémart 488 245. [Textless composition] Anon. 577 Vill

CONTENTS

246. [Textless composition] Anon. 579 258. Le serviteur hault guerdonné Anon. 610

247. Soit long soit pres 259. O Pulisina quando ti maritasti Anon. 615 Alexander [Agricola] 582 260. De vous servir [m’est prins envye]

248. Pour vous plaisir en solas [Hayne van Ghizeghem or

[Alexander Agricola] 585 Jean Fresneau | 618

249. [Textless composition] 261. Ce gu’on fait 4 catimini [Gilles Joye] 620

[Heinrich] Yzac 587 262. [Textless composition] F. Rubinet 622

250. Et je boi d’autant [Heinrich] Yzac 589 = 263. Si fault (= Madame, trop vous mes251. [Textless composition] Henrias Yzac 592 prenés) [Dux Burgensis = Charles the

252. [Ad te clamamus from Salve Regina] Bold, Duke of Burgundy? | 625

Henricus Yzac 593 264. Amours, Amours, trop me fiers de

253. [Textless composition] Henriaus Yaac 596 tes dars! [Hayne van Ghizeghem] 629

254. Je ne suis point [de ces gens 1a] 265. [Textless composition] Anon. 633 [Alexander Agricola] 598 266. Se mon servise vous [plaisoit] Anon. 635 255. Je vous (= Se vous voulez m’estre 267. [Nec mihi, nec tibi] [Jacob Obrecht or

loyalle et bonne) [Alexander Agricola} 600 Virgilius | 638

256. Venus Juno Pallas Anon. 604 268. [Il est tel] Jannes Martini 643 257. Le serviteur [hault guerdonné]

Henricus Y¢ac 606

1X

THE EDITION A Note on Editorial Procedures

he principal aim of this edition, like the oth- The incipit or first line of text as 1t appears in ers in this series, is to present the version of | Florence 229, and the composer’s name as the scribe each piece found in a single important source, in —_— wrote it, are both printed at the head of each piece, this case Florence 229.' All editorial decisions have — with additions indicated in brackets. To find out

kept that goal in mind. which voice or voices in Florence 229 have the inciThe original note values have been reduced by __ pit or complete text and which compositions are half, a breve of the manuscript being here tran- _ present there without any text at all, consult chapter scribed as a whole note. Thus it has not been neces- XVII, “‘Notes on the Compositions and Their sary to present the first few notes of the old notation Texts,’ where that information immediately prebefore the modern edition, but merely the original —_cedes the lists of concordances. Conflicting attriclefs, mensuration sign, and signatures. Even in butions (except for those that are almost certainly those few pieces where the mensuration is indicated |= wrong, such as the identification of Compere as by €3 (nos. 151, 171, and 198), apparently signal- | composer of various pieces in Segovia) and attriling proportio sesquialtera to an implied tactus, the butions not present in the manuscript are also in-

breve is transcribed as a whole note, as itis, too, in cluded in brackets. An explanation of which the one composition under 02 (no. 60). (These sources assign a piece to which composer can be mensuration signs are treated in more detail in found in chapter XVII. chapter I.) Only in Isaac’s Le serviteur hault guerdonne Text is placed’ beneath the music following the (no. 257) is the borrowed superius, under the sign __ principles outlined in the several essays on the sub0, written in augmentation that requires the breve __ject by the founder of this series,” and treated at to be transcribed as a double whole note. Inthisone length with regard to chansons in chapter XV. case, then, I have added the first few notes of the old © Normally, text has been placed beneath superius notation before the modern edition to clarify the and tenor, for many of the contratenors do not lend

rate of reduction. themselves well to texting. In cases where the musi-

Where the mensuration changes within a com- cal style warrants, however, text has been placed position, a formula above the music (for example, beneath all voices. Needless to say, the presence or oO = 0’) indicates the editor’s view of the temporal absence of text should in no case be taken as a firm relationship between the two sections. All voices | commitment about the possibility or advisability of have been put into treble or bass clef or treble clef instrumental substitution or doubling. Since so few

; - . octave ; of thetransposition 268 compositions are supplied with in with @). itLigatures thesensible | ar | text ; not to : the manuscript, has seemedin more original are indicated by square brackets (——) over italicize text taken from other sources. The only the notes involved, and coloration by half brackets | exceptions to this general practice occur where | (- -). Repeat signs have been added to bergerette have repeated passages of texts taken from Florence settings, and signa congruentiae (>) at the midpoints 229 itself; those repetitions are printed in italics. of rondeaux, but these have been placed in brackets | The edition of each piece that has text in Florence wherever they do not occur in Florence 229. Bar 229 includes a footnote identifying the source of the lines have been added regularly after music to the — poem and reiterating the policy about italicizing

value of one breve. 2. See Lowinsky, “‘A Treatise on Text Underlay by a German Disciple of Francisco de Salinas,” Festschrift: Heinrich Besseler (Leipzig, 1961), pp. 231-51; his introduction to Helen

Hewitt, ed., Canti B, Monuments of Renaissance Music, vol.

1. This brief note recapitulates in short form points dis- 2 (Chicago and London, 1967); and his edition of The Medici cussed at greater length in part three and in carlicr volumes of = Codex of 1518, Monuments of Renaissance Music, vols. 3-5 this series; sce especially Edward E. Lowinsky’s introduction (Chicago and London, 1968), pp. 90-107. For other studies of to H. Colin Slim, ed., Musica Nova, Monuments of Renais- text underlay in fifteenth- and sixteenth-century music, see the

sance Music, vol. 1 (Chicago and London, 1964). works cited in chapter XIII. Xl

THE EDITION

: repeated passages. The origin of the other texts is | composers for introducing diminished fifths and

made clear in chapter XVII. other forbidden intervals into their compositions,’ Editorial accidentals apply only to the notes to —_ and he cited three passages that he regarded as in which they are added, except where the notes are error. Two of them—Busnois’s Je ne demande autre tied over or immediately repeated. Editorial acci- — de gre (no. 147), m. 22, and Caron’s Helas que poura dentals are added above the notes to which they — devenir (no. 206), m. 45—are in Florence 229. | have apply according to the principles outlined in the _ left the diminished fifth, E to B flat, in the chanson several essays on the subject by the founder of this | by Busnois, since it resolves to a major third, F to scries.” That is, musica ficta has been added to the A, but I have suggested raising the B at the cadence music chiefly to avoid tritones, diminished fifths, | on A in the chanson by Caron and in similar pasaugmented or diminished octaves, and to raise the sages throughout the manuscript. In these passages leading tone at cadences. Flats are entered in Flor- _—_ and in the treatment of such details as passing notes ence 229 before some f’’s in the soprano, notes that — and other essentially ornamental notes where the lic outside the Guidonian hand.* The flat has been = addition of editorial accidentals seems more a left in the edition with an editorial natural placed matter of taste or preference than of rule, readers

above it. The thirds at important half-cadences may, of course, easily substitute their own solu(and especially those that divide rondeau settings tions. into two parts) have normally been raised (as in Since the principal aim of the series is to present nos. 13, m. 40; 17, m. 35; and 21, m. 25), even the music from a single source, it has not been though the following note (after the corona at me- _—_ thought necessary to list every variant reading in a

dial cadences) makes a ‘“‘forbidden”’ interval (as in separate critical commentary. Instead, the musino. 26, m. 25, or no. 223, m. 3, in the middle of — cally most important variants are indicated in footphrase, but where the sharp is actually entered in notes. All deviations from the reading given in the manuscript); in some compositions, however, — Florence 229 are listed. Better readings from other the accompanying counterpoint effectively pro- sources, additional accidentals inserted in concorhibits the raised third in this context (as in no. 8, m. dant sources, and variants found in a large number 31). I have consistently raised leading tones at ca- of other sources are all specified in footnotes. On dences, including those on A (as in no. 8, m. 43), __ the other hand, the following kinds of variant readeven though Tinctoris seems to suggest that they ings have been omitted: differences in ligatures, be left uninflected. In book II, chapter 33 of his — varied cadence formulas, single notes broken into Liber de arte contrapuncti, he chided several famous — smaller values, and vice versa, filled-in intervals, poorer readings, wrong notes and other mistakes in 3. See especially his introduction to Slim, Musica Nova, pp. _ the concordant sources, and accidentals present in vili- xx1 and to Hewitt, Canti B, pp. ixX— xiv. On musica ficta in Florence 229 but absent elsewhere. This policy is the carly fifteenth century, sec Margarct Bent, “Musica Recta treated at greater length in chapter XIII, on related

and Musica Ficta,”’ Musica Disciplina 26 (1972) :73-100, and ’ Andrew Hughes, Manuscript Accidentals. Ficta in Focus, sources and variant readings. 1350-1450 (American Institute of Musicology, 1972). Hughes

includes a useful bibliography of previous studies of the sub- 5. Tinctoris, Opera Theoretica, ed. Albert Seay, 3 vols. in 2

ject. (American Institute of Musicology, 1975), 2:143-44, and, in 4. For an explanation of the meaning of these flats, see English translation by Seay, in Tinctoris, The Art of Counter-

Lowinsky’s Introduction to Hewitt, Canti B, p. ix. point (American Institute of Musicology, 1961), pp. 130-31.

xd]

—e—_ + —__|_,——__t-, —_-9—j ym | JT eg ——-—- A ———F

oe ee et ee~ ee a se ee oe oe oe 8 . oo —__sSE” (1) Both Florence 229 and Petrucci 1504? Canti C have a semibreve rest, creating an exposed fourth, and allowing no resolution for the cadence.

This is remedied in Canti C because the fourth si placet voice sounds a G two octaves below S at the beginning of m. 39.

2

sep

2: He logierons [nous seans, hostesse] Henricus Yzac

Superius (1) 2) 5 fe—C= tO ed f.1°-2

== |p sePi=ee = 7Gy - ae (ee SS

Contratenor

a oe

if rT

eg Oy Pi 2

Tenor

Contratenor 8 E lo -ge-ron |nous se-| ans, hos - | tes - se,

a ee eeee oe Be = ee ICow ee Se Ce eee ee ee 0 eeeaeeee ee

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2) Orig.: A, a fourth higher. Note, though, that the editorial emendation breaks the ostinato pattern. 3) Orig.: one tone higher in mm. 48-49.

4) Orig.: a third higher in mm. 50-55.

5) Orig.: last two notes missing. For a slightly different solution to the defective ending, see Isaac, Weltliche Werke, p. 29.

16

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9- [Textless composition] Jannes Martin

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se eS a ar aea ES as , SAoo ESooo A SSET Se Se i” Se ME CaaYT AAOS AST A© SETS Aeee OeeeOS =eS A Se = ST PA SPeR NeAneel I Ha A A FS TSSS A SS A AA SAeSSNAASS A NS — AANS (ONE Ps WERE SESE GS NN URNNW Sb, (a aNS SSSSLS SS ASSSNSSA AN NR SE RN SN WA A SE 8

", 45 r 7 me 50 i 7 Se A A eS CT iS A a Se a eS a See a Ss a

s e |] [) — 55 ai |

YE A ooT_ cen ST SS ice,A SSA eS A SE A A TF SN el aeEE es NN Va eee Gane. Or ooo OoOoD"DOoTE-q& oTiPeoA BODO a aSS OT SSSl A eSLESS AAERNE aecNAN NS

aA So ee a Ce . ee rT r 1 r | 11) r 1 b

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eS eS eS SSaa 8 ee Ep aes eoeS FpeSofeSoe i 8SSHh A SE ccs ec ES SS ST SS LS ea NS AN A SO GOA A Eon, EO ON 8

SS aaA a SeSf| Se aSsa A caee A aASS A aeSa SN SSSTS SS 75 PP OO"9-2-0 Eo wv BoE OTE & i$T OHO Hes oOo —_—_1 "TT[aS Khem: fr)A RLeR EFeT _- @ a o eETE e EEEeE EE T

f) oaTEN fe ISS A SS a|__| A NS SS ES SOeS AA A oe 7a esa PT A——— ES eee i SS a SeedSe VY San” eee ea coe eee aOr? a— eo ees op 5 PON gs eT a eT a Se SH SATS SSC4Ho-N2NS NAS -—— = A OO OREEE 7" —

8

22

a+

ee ‘4 5 | I SE

1) Semibreve C in St. Gall 461, Vatican C. G. XII, 27 and Petrucci 1501 Odhecaton.

2) Vatican C. G. XII, 27 offers a simpler version of mm. 8-10 (cf. mm. 56-59): yn 8 9 10

aQW ee eee rs SS SE 4S Sa Te OO ODEe asPee eS te | «A#8eeTe TT DN) ee 2 eeTt PeTT 2 retT | _te4

D Cn eee er 2 ee eee eee eee eee

3) Orig.: Orig.: semibreve B;follows emendation follows other sources. —___ aa ae 4) minim A; emendation all other sources. Lf) all — pg —————___r

5) Flat in Bologna Q other 18 andsources. Rome 2856. fasSS ft 1nL" Fo 6) Minim E in all Sy) 7) Coronas in Rome 2856 and St. Gall 461. 8 8) Bologna Q 16 reads: f) —

SS hE ea 8 —_ES” =

9) Vatican C. G. XIII, 27 offers the following version of mm. 43-54:

ND A ES Sn, Ae Ot. A Aa Se ey $= ee _A

ee ee ee

Ee ee ee ee ee 8 ~~” DY NE ES RS ns EN OS OR NE a GS GER

Pe ee ee Pa rs eeyp ee eehe ee a gg

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Vi eee eee ee eee Se Pe Eee

7 1? Oe eNNONONDWWO0O0 oo — eo Ss eee eee oe Se oe

fos° ft pys»” (7 gp TT A A A| |tlftee SL AS LS ST CST|”A&» RS iY” A SO}” RSJ NN SNS A ew

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——, -———__—_— A? 2 ee es ee ee ee eee eee Pm —=m® TTESoeTT eT Wc Fs Os SS EE ER NEES OER UT UREN AS ES na Oe = «SY Aeee SSeee es ll. Qe 4a see eee ee eee ee ee ee eee eee ee eee eee eee ee ee" eee eee ee 0 eee 29

if | —Ee ff OD IT ga | | ETT yee Eee SS eT OEE OD er »TT) gee ETTEE TET TTETT Ee OEE

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aif» ee eee a —| | nn Tn Tttt—ssS ST de| A SN RN SS QOS ONSEN (NE —~ NE NUNN OED Pd cS a a I ES HE A RS OE RS ONMRRNEE (O EEC! OOO SOO , oA — «= EO CS — ge ST

f\ 995 ~ rw eee eee eS EN

ANG 9 A ES O° RIES (I AED RES DOSES OU (S(O CNS OS ASRS SSNS OE SNES (SSRN (OOS (SSNS ROO

[be pee fF— 2 4 ee ee+ ee =—__} ee ee ee 2 ee —___ ee ee ee =. ee eee eee =e SE A A RE UU ANETN NNER Sane USS RS ESN SERS SORENSON RACES OY S00 SEUSS SN cA (No SS

r 7ee Woy = eee eT OT s. 4» 9» @# | ¢ { | pp J em | J ¢ | gm TU oy "eg rg .oWsA eee eeCD eee eee ee Oe eee eee = ee "ee ee ee ee ee"‘LY ee eeeULC eee eee =". ee eee— 2 eee" eee Vy ey4 SE ™eee EE2. ee ™eeOM =e" DUD Ue=Ee TC Ci‘ TOO

0 Cc A = ae = 2 eee ee ee ee 2 © —-p—_—_#@— PEE EE ee OSeee. (ESeee EES DP Ge ee ee ee ee eeEE eeAeeAeeX_N ee eee ee eee eeeOO eee(ORO eee ee OES ee eeeNOUNS ee ee eee(ON eee

ET eS ee” SC "s 60 65 J

[@s?e -. @ S42 | #*2... _ #eee | 4ee&°&3;® TT 2ULL bd DDE+» Gn| AWE eee = eee[|eegg eeeofeeUL eeemgm ee ee ees ee eeLULL ee ee eeUm 2 eePg ff

Ye Te

‘sf. [| ¢ nT “"—= lm "= A a a eT A ST A A A A = COS SS SSN LS A A GG OS SG SS EN

i.e 6 ne en nee eeeOE eee IeeALee. eee ee ee"cet ee in eeeJee NG) SeoeEE ARE EEen. DS. ee SAEee ETeeeAeee ADeeHO NN Aeee ESeee es eee Ee

I TT EE” SS OT

EE TE PnEEee ES«nAES 6 f. » j SSS | 77” A SS EE I A 5 ATE AS NE ve 5A WOES S OSED ES (U

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Lf» ¢ PE Ld ee eT

| & ' gf |» @® | @ » Ff » | ©“ 1&1 &+;}X9»¥g it @ gm —F phe _ pe, iC @ (| @ | - @ TT ” gj fj’ pw jUmULULUmrCLUDTLCUmeLULULUTLULUUUDPDT ChweCULULT LT OE CC ep. @ | nT

1) In Leipzig 1494 and St. Gall 462, no flat in signature of CT; in Florence 27, mm. 39-53, two flats. 2) Flat in Formschneider 15387 Trium vocum carmina.

3) Beginning the sequence several notes sooner, Verona DCCLVII reads:

4) Extending the sequence for several notes, Verona DCCLVII reads:

5) Flats in Bologna Q 18 and St. Gall 462; in T only in Formschneider 1538? Trium vocum carmina. 6) Flat in Formschneider 15389 Trium vocum carmina.

7) Flat in Bologna Q 18.

25

;en Yee . ; f= or

13: Martinella Jannes Martini

f.12°-13 V

yf 9 eshfes eeeefeeieei2 ©im TC WR ee a NG a ES BO SE A OO th ES TE SA A SS EE ES

= zs | Fe TO OO OeeS————oo eo ———OHO——F > — OO OO __ F-NV"’T"-_-?}=@—J

aH bp fpf fe Om ff —p—e OT —=m® gore ftTTf+ wT

Tenor

i eS YT en ___ | ]|- Qe___ a fo gt "“—“g Se fe

TO? TT _—ee_e OES Oe ay 6. reNOOO (re, (OO [DFLY _ aA Oe eS Eee(eS eeEn eee(OE. eee

1) Contratenor 8

Bere

OV iOS _—eeseseSsSsésdSF O_O eo ——C—C—“#REETENNNE”EN TCO

, 10 _ t 15

aBND, SS TS SE ESeee (Oe S|a a=dg a ew rey |. OOOO LN I NT hoe 9 —}+—_f An OA eer Yo —| 0 | 6, _———+_ —]] ew oO —————!>~ ees

TT ee

_Ki |. 1.pw .(Frwaa . tL va[fil ina| ?* | vy JT Jj]gf @ @@g | |@oe >7.a... t_LW” [ia yt [aoij |-|fTJj Jf {fT _y {Toa fy 4. |, go fyi @#J wayet iY gL -~~ a2 iT{|jy —-— Ta[ ~~ 7T FT|VY lf Ttf op TT (ot? . .. OOEeEeTEOE—E—_—__ OO —O SF COTC—“‘“*LSOU[ TT =e tt‘ ‘t=O WOCUCULCUCUL eOLLLCUWwmLLLLCOCOC~C~C~CSCSC—CSST

DPD wh eeeOEOE—E—E—E—E—E—E—_—Ee OOO _ ff ODE Lg OO TT

(wpe, OT STOO COULDLULULDC TT OeDFCtCTCi‘(‘i‘iaT:*:C:CTCOCOCOCCCiawa NC Te OO P.LULULUwylLTLTLULULLMLLUCUd OO

pt OOO TOO OT a SO TF E00 1)_ 0 OE ss_V.".-0WW———_ LTO— TO OLCOTT Eee Mb—=EeO.-ONOronNn-..>—""0-0-0-—-720—-—OOOO O_O _—"7€NCUX0W.. SE FeO TTTTTC—trSOT LL aT =e TL ee GT OL LLY

xy 7 OO NOnN.---NO-"“’-Nn”’-_. *”X.._ 2. vw... VM _ Oo _ Ti, | | |? 2 2. | fF Ta PY @ | Ty] FF

EEE EE 25eee r 1OES ¢ 30ee” rt Fr

I~~ pe. O_o OT ee 2rs +”......IIN i= |ee | ©.ee ©. | fT |TT An ,-ee [claEEE JT {[ JT fH. “eS Ff SS ee Se SOOT —[|SS Dee TT(J ee 7 CaeNN..—— T Nnrro020—0—_— —(O/09-—"0???"?#_ L ZX_._ pn) _ TT =e, Tee e“"=pe S| tc ee

ent oO...) E000. hdLt"Ft—“‘“‘(‘ (OCC OCdTCOUL OT DTTTC~—CSSCSE “I “tN Cid)LTC QD leh ae Se, a” LenT_T O_O_ O_O UrODOUWTLUWL:COCOWd:COOCCUM"——O OMT Crd TT LLU eee Lee ._ J tur...” hh 6D~omnrnrnw...”._ __(——_ ? —_ Oo. _uw TCC ULLCCmCUdtC*rO HPS 9 8B_}| OO____ TT OEE eee EH AOTeTETTETEToeooOOoOO Oe i

ETT Bn oe FO OOO ETT =e TS DODD. DODO OOO TTOE OO Y-2axr0W0W OTOL OTTO ooo 8 C-oOooNWTwn a]

OE OO ro eee , 70eeaeweowwra&x” —_—, —__——, EEE — dT ETP bs es ee

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75

PF NE A NE A LS A,ES SSOO (ON RO oP a ns el 0 cay A— A CT PR .0--20) ICL oo UJ FOTN TFTOO-—t—+T+W»DnooD ETE»_—-——— PoSS OTe TT Fe-NVv--F¥_Oop—»(-—— "=" Sree Oe C—O TOO X*“Foe OO —~-—-——— TE

aD D a T b } rr ey aeoo :S as zB © —— 7OD NY (SO NS °— A — 9 TS eS OY Be=— Or=0 80b‘EOI gg poe] f) ¢ 6) vr 7 oDOET=>nN=XQOoD PY eS ee ee eg 8

ma ) POSS ES EEE EE EEO Dd

rc

KeeOOO —Teon0q$q TT. ANXVrW.Y.".—_#&_— ooEo] PRD 0_-€-[>>on~----2-——=5;j="u"2>c“H_n"3)X..n-O TE es TD

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>? Soreg ee oT a@w??rn SO ——_oT ——

IKO lO TTTTeeaesono.”~-"xn”.IOa OOOOOTOn-"Wnn"-".--—-.-."-nw™™_‘mnm2——™.””... De XiHA2vrxnNww_ TTT EL 8

5

eho eeOT es OOOO 4 eS i es>JT aeI OF oO eos TTpa OTEE">-FEOU.. =r-rvNW7-——_ BL _[_n.,— FooOI TTOO TE EEoe OD ——_——_

SS a $Y 8 ee 8 2 A Tc 85

eS Se Se ny Seen ees2Se oetrSe ee wy .- eT TTT SOaaCS... —-.'-— OOO FTO) ESSe A NN OSce —..—0-—— =e i es i Pe oe er|

-f} pf=e Jee LeEe Kb HT?+= ee Oe F'n —=orr

_ | - tbs im 7

—=~___ ae =o—v0--_—_>=2or~7W0vvnvNNnW"’—WV”’""T."— uo

SE: ee re) oo - a i. oe OF | 8

AT OT AS A a Se TT SAY A SSS A SS A SS AONE SOROS A SS AA = NS 28

yee

1) In Glogauer, no flat in signature of CT.

2) Flat in Formschneider 1538? Trium vocum carmina.

3) Bologna Q 16, Glogauer, Paris 15123, Rome 2856, Segovia, Vatican C. G. XIII, 27, Verona DCCLVII, and Warsaw 2016 read as follows:

Oe dF= 5fh (2 > 0 eemm ee eee| ee ee ee

CST Eee EES

|RL yn 30 31 7? |29 |ESSee AE, |AEEMS Aoa ES A OEOe" A SE ESELREL TNS RS AOP A

32 |33 34yg | fo; | | fo

4) Bologna Q 16, Glogauer, Paris 15123, Rome 2856, Vatican C. G. XIII, 27, Verona DCCLVII, and Warsaw 2016 read as follows:

So... SCOMSYC~—~—~C—CT. ET nT

7» a ¢ | | 2 gf fT | UhlUgeh hh UG

5) The rests in Segovia are written as breves in tempus imperfectum, indicating proportio sesquialtera. 6) Only Trent 89 and Formschneider 15389 Trium vocum carmina end like Florence 229; Bologna Q 16 cadences in measure 79. The new end-

wr OR Te eg OT (gn Ed

nj 19| ES 80ES81 82 83 84 85A86 87Se882 eee +AOe 89 ys isl» | |Arae peOS "ee SS Cc A |CS NN HS A| OS eR SeA a SS y a ee RS ee ee || ing of Glogauer, Rome 2856, Trent 91, and Warsaw 2016 reads as follows:

NG) ee ee = Y ¢@ | oy +_1+4—_a +a 4 ABE EE 4 ee eee 2 2. ee" ee. 2 ee. eee!

se

i

ES RS ES PS AS AS SP A AS NS A ES AN SS{OO = pe SS eeRE HMC{C{_C_ =*# ————— HHA B.A FH?ot

DS TL eT . f @ey} Tl | Te eT ee Te ed ef ee —___—_i ZStOWWwWTULTCOC©.WrDrmhV.TC™C'’COCUCOCOrmCrCrCU'rmmhrmie | pap [fT Tg tae # Te i, | TThe Ff fwYocvuvre.[a | Of ve | | & || * @ [TIP {| 9 Jon J # ~— &|s | PP TP) Po Umer UmUmdP md ree Eef° led

The last measures of the new ending are modified as follows in Paris 15123, Segovia, Seville 5-I-43, Vatican C. G. XII, 27, and Verona DCCLVII:

A QE OS ee2 =eee8ee 2Ela2 CA eee aeBe ee Oe2 ee». ee De ee NG) AEEeyee“P| pe 2" as —e-F 8rt —t — ft H ys $+ ____}|_f 2, WE EE CS (© EE — A SR

aTey TE TT ee |

—I

__ Tw eee =) a 0 re Pg er

14: [My my] Henricus Yzac

Superius f) —_ 3 OO f. 13°14 V

NG0~.ES BS TS SD+tCOR a Hin —f' |_*"_—o )|A 5) 7} gg

Tenor

29

—— OED © SUES —-

fg ee — ES \ =p a[Yee rr?pefh hh=eHH i eg ES —=—_ >\* ~~.) |S | Sd “=e a eh ST |-’--__— EOSee Ieea a So 2.eeao ._|NW—__ ae o_o NSoN yg eo) eeOE 0 er

aa

ff. |-_—- _ eh or _ F-NU7--—— | |_| >? oT - i 2 i wz | —-?- oa - 2a | s.-’”—° 8™”’u#u4#Hn—™@mT7’IN7N’”’--——0ON0N0---2-2—— NV" |_| ee Oe OO TF.FAF“FT~TCN’Nnn._

Del =21ee aE Cn A NN ON FOOD eS —_ I _ pe _0-’--..__ Oo oer __|_“Hvrvw.-___] Po TOTCO ._ O_o ST _A —_n.“—O0_ *--ec 9 I i.eo O_oTT OTTY eee Hnenv~ OO .|"/Nnn”.

es |_|? on == Fg ee

Ee eg eg a

es ___-—_ 0S EO ys eW"0Ww"—--"..._] yeToOT of OT rv’.Te 7 PT NATV7?-—OOS ee ee ee oN 05 eOE—E —”. TAS LT nv’ _—_—?Z OO _ 2 or2a |. -N.0.2>7).7 =cz-7-"7*7t]TpDA/V.1.(*(......V((..'7FL. JT QtOT ——_?_T_|-—9a2 so

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PE To es DP Oo HOOT eT SS ee OT OO che Tc aOE OI En OOOO | (NVw7’--'—__)_ Od O_o ..w.—-6.".".0NKNY-’NN””X"V.”.Y.12 ®E__ T—_aSOPF>—"—OwWw’”’————/(@tere--——oT _—~>~#>—

_ND) tT ooRSyJernr---_ Tv Se oT CS. ¢H#]0__WEONW’-—’-'''-'"'"'""."[ yp—— FE VoYF OoA ___— ieAo_O _ aeeA—— ere ee©EH] tT aaAOOO = A TSOe NS SE NN Aut NN AT FFE A A—LO ERa

TNO oe oe, |

reo eer OM. oe ee oe ee OF a }; 4TT eeteaTrSGo_o Se fo ODe—NNDnaPittr'’N’’-— TT —_ _—TI— ere Oo TT OIONnw.-7>70v0n’000—-————YV—— OO MW"Ww*rY’"...._. J TF eee TT __]

ee eg y F- way Toa 2a [tv va EF E—EEEEEEeT—-.—-r-ONWWO020-0—0.— oe OoS_—ad or Pc NS RNA SO RO L(YOd CECT CS________f-___f__ ES OS NS SO oe ES SR_LCae SOT |]RN AO ——EDHOeN TYNES OP O_o 7 es | ria(OO j| o1LomCCTCS~—.™"UNNW OS O_O e—e ee e#”@xqw."_— I _—T san Oo 1 n'a OTftorLLCO r—O_WN7Tr[rt--"""Y8B DS ———OeT_—"*"sO0O”wHHeAnN---ONEET —enqnqneow ON”] PF O_o __OOS it ee O_O 2 OO _OeqnjNNwNwWNwW——OS—eOaquruNowNW “Oo

oe o_O ST er TTC™SSCdCT SO OE _@""..v_ JT T_T

Cf |. {| Oe Te ee eS) VY —?— OT —= eg

_VPFo DOOYOO I a /“NrNun--.--—-— 71 A SSCid OS NS nM SS ES RES SEES NEES RES ONS (OO SE EYfT oo) EE

NT __ 7 oe I eeaS OT LYEHO —— "eg

2’ A ST Ee—oXT — __s!”WM.—_____ > oFoN" rT OnRe...CtCOme™eSSSCS PTT TO IC e-_ gt I-Te — Yoe O O O __e

aPFeS CE NE EE A TX GE OS SS Qn a A AE NT NE «ES AE EN NE A © OS |S DY er” PED OD OSS EET ODT ——_E oO —NeO OEE __.=”“2rroe--ON”_EE._— *@*W_—™=7#7}NnNnr”r"-OW—— SEE _

f) 65 $ | r |

_en. —a. orn CT o_o a Tr re or SP OO eS -“-w”..-23A7H0-2# oteee 7nv’.”_Oo 1 Ys SeTT ae ere re s¥eéFt$T$n0|VAW'0O._..._-T OES EEOe EENw”. gd ae ae eg eT

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my. [+ +—— Le eo EE A VE a —p——}- 4 31

15: ir m1 nu espoir|L’ mieulx] Jannes Martini Superius Ap 5 —_——— f. 14-15 Vv

mm’, af $$ ae Nn eee eee Bg eee _NWm’’’’.."._ fT] Y Tenor —————} --— NY TT EEE EE Oe it ooo ae eo Ea EE = |gg ‘an. On wa r

LAE a a ® fo o lp 5 | | YT of7 QD eee CS — fC Ue ee) Te O_O =

oo

8

[pe EE QT OT5ir5ye Bere abegp|, — OTe| fy egTe LdTC jf.

Contratenor ~~

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my, SN ee ee eee eee

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fee TT ees ee "a r 7 r 7 INA ee. gf hE "eg 7 PS ES A

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Superius 4)

16: [Christe eleison from Missa Chargé de deul]] Henricus Yzac

f. 15-16

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Contratenor

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17: [Il est tousjours] Jannes Martini

f. 16"-17

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19- Les biens (= Des biens d’amours quiconques les depart) Jannes Martini f. 18°—19

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1) In Berlin 40021, Bologna Q 18, Florence 178, Vatican C. G. XIII, 27, and Formschneider 15389 Trium vocum carmina, no flat in the signa-

ture of CT. In Florence 229, the flat appears only in the first staff (mm. 1-9).

2) InBerlin 40021, Bologna Q 16, Bologna Q 18, Capetown Grey, Florence 27, and Rome 2856, the CT begins with two semibreves D, and the en-

trance of the other voices is delayed a semibreve; thus the opening imitation is more exact. 3) Flat in Berlin 40021 and Formsechneider 1538? Trium vocum carmina. 4) Flat in Berlin 40021, Bologna Q 18, and Formschneider 15389 Trium vocum carmina. 5) In Capetown Grey and Florence 27, mm. 16-23 are rewritten, eliminating the extension of the third phrase (mm. 22-27) and increasing the share of the CT in the imitation (in Capetown Grey, the fourth note of the CT, m. 17, reads E, a version that would require changing the musica ficta):

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r 28 29b 30 31 1 32 33

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6) Flat in Formschneider 15389 Trium vocum carmina.

7) Flat in Berlin 40021 and Formschneider 15389 AI Trium vocum carmina.

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20: Virgo Dei trono digna Jo[hannes | Tinctoris

f. 19°20

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2- rumWw [tO Oye Es - to cle - mens, —__ es $ 45 Les $ 90 Eo oo ooo EE oo iA yH — | | |) yy | ge ad ee LO]} ll“ =" t(D eS ae OKT p) >) |a oSsoy “ : et | ee ee ©? GS NS OS SS A” | | t i pO 8 - 7 - to__._—i||s ele - - - mens |et__— be - | ni - - - ena,

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1) In New Haven, Mellon, two flats in signature of CT; in Glogauer no signature in S and CT.

2) In Glogauer: A. 3) Missing in original; emendation follows all other sources. (The custos on f. 19¥ in Florence 229 immediately preceding the missing note indicates the correct pitch.)

4) Breve C in all other sources. >) Measures 46 and the first half of 47 missing in original; emendation follows all other sources.

43

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21° J’ai beau huer[avant que bien havoyr] [Alexander Agricola] f. 20°—21

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Contratenor

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1) No accidentals in signatures of S and CT in Florence 2794. Note that the last two syllables of "courage" in line 8 (T, m. 5, and S, m. 7) have been given to a single note, which thus needs to be divided in performance. 2) In mm. 14-17, Petrueci 1501 Odhecaton, Verona DCCLVII, and Zwickau 78,3 read:

A 14 15 16 17

(s9—> $$ — — + —} +} —_} —_}-# EE RE RNS CRUG SE ORCC AEE EE ACRES OURS TO

Florence 2794 has a variant of this version. 3) Making a smoother connection between the two halves of the composition, Florence 2794, Turin I. 27, Verona DCCLVII, Zwickau 78,3, and

Petrucei 1501 Odhecaton read:

pn 29eee_ee26 > ee ee __. ee ee eee tas 2} — 1 — gh gp | —}— | + +} gl 9

Pye ee OO . 8

ee eee es ioA IRE eee Oe eeeeee 2 0 2ee ee eee b

bse

In the same passage, Bologna Q 16 and Florence 178 read:

25eee a 26 anA ee ee ee ee eee

ANDY es _ ee

eo, Ud le 99. ee... eee eee ee a oe eeea b

eS SE SS (OE

feae 40DO 4 -——— FD ORee rh DRE oP oe ee eg ber JES Oe 45 an!) ot ee ee eee i ee

4) Orig.: G minim. 5) In S, mm. 38-50, Bologna Q 16 reads:

(px D——| 4. — ++ ee —eee. 9 ot oeeeeeeetteee et OS eee = pt} lg1} J, 47/0 0. eee eeeFe ee 9-0 ee eee, 6) Flat in Segovia.

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“Nee”

1) In Segovia, a signature of one flat in all voices. 2) Orig.: D. 3) Flat in Bologna Q 17 and Segovia. 4) Coronas appear in Segovia in all voices. 5) In m. 30, Florence 229 reads minim F, dotted semibreve D. In m. 31, the CT is written a third higher. Emendation follows Segovia.

7 = if 8 KK

Bologna Q 17 reads:

0 EE Cee =n nen se

47

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23° Ha traistre Amours, me s¢auroes tu feire pis? Jannes Stochem

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1) Orig.: two D semibreves. 2) Coronas in Copenhagen 1848. §0

25: Adieu bon temps Anon.

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1) Flat in Florence 178. 2) Thus in all sources. 3) Orig.: G. 4) Flat in Florence 178.

.Superius 9 ° 7 31a P

26: Du tout m’estoie abandoné [Guillaume Dufay] f. 25°—26

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34: [Textless composition] Anon.

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79

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IANDY (on. ee eeeNE ee CONS ee ee eee ee" eeTT eeeA eee eee ee"OD ee RO ee ee eeSS eee SEeeSSeeSOE EE A LSeeRE ROEeee AES EES A =eeSSeee EE» 8 if » - £ | | J, @# . | | j J Jy] hghhlUTLULULULUUCUULUMLULULULUCUmGEUhUwyyLLhLULdTLULUDLULUl UT ee OEE

, me com -- trai plai -- -- re. re. fai mieulx___ - - | siez leaecon

va yD mene|1 a_,_—______1——__+ Pd eelCS eeEE a ued EH BC a ayI I| — NE 0Se 2 AN A eeC—O a Se 2. ae... L_¢ 397 ___1_}#H__—1 > ITA 8

1) Lines 5 and 10 each have an extra syllable. Therefore, scauroye (in line 5) has been set to the music as though it had two syllables, and vie (in line 10) as though it had one.

2) In the original, A and G are semiminims. 3) The original reads: 8

84

°_ o9Je Oo, ed\

43: Lerenvoi[d’ung cueur esgaré] [Loyset Compére]

Superius L f)TT OO 5 ST OE LF 3. est de faulx | sem = -| blant a on ee rr 9 Fr 7

f. 42°43

() 5 am

1.4.7. Le ren > cee voy d'ung | cueur___| es - - -

5. Mais se Pe tout est | bien___| com - - -

8 1.4.7.3Leest rende- — voy |d'ung es faulx sem |-cueur ~ blant

5. Mais se | tout est | bien com -

wv = oF | or. ee —eh pi- . ———CTCC—C— 'F) eT

,ew” 10 $es 4 15 .aa A pf) ir u —

Contratenor

M—_LLLpa==—”

- - - | = -ga -|ré, re Et Etcom de loy - aul -| -- --che té pa -| |me la ~- - - {| = -pa -| re, Son a - |buz se -| - - ra

“—_”

2a RES @>—__________-__| 4&8 e"eg=>p> eg dt i? tr ser? ot Jl. — re ae ag |

8 pa ga --- --- re, re, Et de loy aul -| te pa Et com me la che re, Son a - buz se - - - ra

—| | b| TULL r 7 "es Q Swe — fm

(©); —_? 0 | ee met ot ot ooo EE eee nr "dC _Y rlegg —*“gh— —— EAS TOG EE ES LER EE DF LD LS NE ELEN ONE SEEN SOO

f) 20 cr 7 Po eee TTEh EEE EEE EOE EEE EOE 7 es a eu _ sla - pa-reé, se | - - pa NS

pg = L_@ E yy ¢ —_|_ #4} +} _+ ____}+—______—_ + + = Et! HV

___sopre pa -ré, pre | -- -pa pa -re pa-ré, re | eo,a mee ff) Ee ee oe Tee _.§Kr-.wv] es ee oe caeaE eeTC ee oe ee ee ee ee 8 sepre = pa ré, se -pa |pa ré, pre -pa re - - - - pa - re, re -pa -ohas ~~.22SE Z : ES ESeee OO RS E.G ee YU > fo

wa )) — r J — 85

Pe ee oOo . ° Nw” 2 a roy pn 29 30

. ee[NY eT™ee8 Oe "gd Eee AL A SE ST SS ES SS =" ES > Or ns a NES NEE ORDEEN SEER - OROUEIEEENS UNG SREROOUUNORSOIONS COREE GOENON GREET OUR SUUUCOGE UOROUNND AORERNS LOCUESUCNCEINGGN OURUUREINSISSIRONS breve, GERON (UUUUEEPOSCIIINN (OSROSUCOOISS “OOS (NUR UUUSRIOSUUCCINORRES SINDURNNGEONT

ré, Dont |cui --doy -| eama - -con voir|-jou - is -- san --~- ~- -re, Pour | os ter de gnois san re Par jdif - fi - | ni - - ti- ve sen - ten - - - -

rR gg OS OO "”g eT "eg SSeeeee=eAP EEE ee.TOeee ee 8 ré, eamacon - voir jou -j] is -- san san -ré,7eeDont Pourcul os -- doy ter --de -j| gnois

"a f\ ee 35 b es 40 ne

ré |ab Par dif -fi -al ni - eer ti- ve sen - ten |, lee ‘oso Me, | fT TTT DL =e ee RG Ay eee

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£4 ee O™—CS eee eee

wes COC TT Eee ee| fFeC NS~~ ES FS BS A ES A SSULC a SS yl se . | gg eee @ | | Fa FF ggel ss lg VF C/ = e 7 - - ce: | 2.8. Je de -| man- de la re -cre-| an ~ - - ce 6. Lors on___ | pour-rai a - voir ven-| gan ce; , 7- -t-oN

A be |— |rgee ed ee ee— ae “eg TT Og TF a SS = ! Q po 2

f)—_—_|—_ ~~ JLUw ra —Od an non > )__© £4? SBS D> at f° De" -++___+—_»*#_|-e— ee —F eeeee a ae AOO SV eT 2 ee ee eee rN ees a20ggOO FTC lS heeeee eg ss Vi- Et - Et tant qu'au - ~- - Ser ser -}-|vi mort vuei]__._.___

EC cn eeeee CyEEE PenneEE PNpee ET INYO

TVW TT —=e—= ee ETE eee eee EE “pe OO 8 ehi de -moy ser -| vi-| -viEt tant qu'au -| raa - -|se aS-Ser - Et mort __vueil

fy) =) Po fy © Oe eg TX iY Tee OEE EEE ET & sum , 25 ey OT f DT30 ee "eg

TT YTaN eeeAEEE EEE Fg Ve™—TT..CCCCCTCCCOC a SS oP RS NS OO Se OR ancl nl

4 To) i CYTO eee EEE "r7r

TV eee EEE see eee _:{”J CCC PE eeATD eee eeeeeeee_e_5uc We ANG) SS SSDPC ES RSNg OSEe EE Te (OOeee ON > US OD AS A A ANS SE. Ce ra tre serf | den'a - -| vez, a -vos voir-| desservi= Gar - vi -Se nul-le,

Wy dy {(OD OQTT |e eee BT A TTT == OO =p=> ee“=> de ey DN TE eee 8 vos tre serf vi - -Gar n'a_- nul - | vez, de voir- -des -| ser vil- -deSe - -gar le,- se CNgp OTd—O—OO eee eee eee ee eei A | ess 8 ee tS 8 eee en fy ©. | AO eee EE Ee eT CY | 9 | Te —e a" ee See 8 dor - - mi - am, dor - - mi - am, dor -

_y™OCOCOOOOSOSOCSCiCSYTS “=p ii YY oe TECOUrhDO LWdOTTOCOmS MT. Uh Teeee Ee 5 ae“=p ae ee OY | g@eee | qq? @ |OF QO |e. _jljyydmdmhm—"”dhUTDLhUhUlhL UU | CY Ef 7S Y ¢_-}___+ gar - | de nia - VeZ, gar -| den'a - - - - vez

se nul-le se nul-le da

x | |...” * |. EE eee ee de

f}_—_5—--6-——_— es ES p93 ir RE 0 ee a > Cs ee ee I SS NS SR DOG Es UN DD SEES eA A” 8 n'a de n'a - vez, fF nul- -- vez, - le,gar se -nul - --le ~X 2 |. Te a eT AND eee. A 2azaio A NS OE SO CUS SOUCY SSSI AY ee (OUReee AEE 2 8 - - mi - am, dor - - mi - am, et re - qui -

4 |C—O C oy |tSe—e pe ee LEgS tH Te or Ap 0 2) 45 a CS — De Sg hh 7 NS YR OS SO LS Ge (SSRN LSE GIG SESUROSORONNE SUN SNS (SEN NUN CONNOR COUN SE REUSE

f5— ° ®fe 20Q’, e an re )IND ee Oe rege eeEEE a {Td

4 Sr... FDOT(- IT oT my ee lr"“=pe COU w....w..~Nw”_.. #@ [_ace {| ( —, | «yy tf QT Be UUmRULLULe UU Um” |hUhmTlhULUggs SPU ~*~ “*. nw P| Od | orPf|,e————C—tr—?/_ Wr TT Te Ee Eee OOS pfOe+} | _@f _____ qu'il se par-| ju - - - re. 2.U -| ne fois | a_w—s«| vous____ me

me con -| ju - - - re, 3.One -|quez riens | mieulx_____ | je.____._ nor -

ai FTO BBSp-...-ee eee ep eT ~~... ._20@— TTIDLL T_T |.Eea_i EEeTeeeeeee ee 8 qu'il se par-ju - - re. 2.U -| ne fois a vous__-__ me - me me eon-ju - - re, 3.One -jquez riens | mieulx— je—__—_._ n'or -

PF ES ES COSSSS | (NCUA A. OStt Sn... fx oftES | | —=e—= OOSS —e=—=p CO aA fe —|S—_ eg EO ————__—— = 8 - - eS - @am.— Si —_______ 88

50 1

\I eS}—~ | +} | 1+} 4. ff dt tt

4} rn eo eee ee eeRS© ETD GS Fc HS RE7m TSeye OSEe SS NS SA=SS ere: DO HE ey —} ffyee tye tg ES RS [NyCR Y OS ¢_| cre, ¢@ | o Os —-} |__| y+ #§ —$ Po SN Pg ly

ame ee 4 35 | a | 60 ON don nay, me- don-nay, Etvosde re - - - - - don -j| -| nay, nior| don-nay, se tre-

aff Ae a a@ (NUR cece SS | #» @(EES | @(ON (ggON [aD AaeT ANG QS NS RS SS SS ORCS EEOOOOE SOON (UR (OE SOUS MNS don7+nay, nay,n'or me-|don - - -don don-- -- nay, nay, Et Se

ey © gy fe —e— TT eT NG ak BEN ne A A SC OY A (NS — Y Oo Oo 8 de - - - - de - - - - - - - - - ro

AO me DO Od a ee

f) Qe CN SD OO TS a a a a a et

f) CN

duoezre—.oNONTV'TTc”xw*yw.x*sx"xc.r.0rvn0w-’--""™ OI mn OY Ye Ike(oO ee ee ee ee ee eee eee eee eee ee A ee ee ee eee ee en 0 es eee | 2

NGS NY OE ETRE SU NE NS ES OA SO a OS aT y- ~™ ¢ ae a S -

cef tes my era -cer ce a-|moy s'a -|don don -- --

RF AOSRE AEYRE a Be veONES > = OE, © |US YE ree, DP a EN Re OR OU TSNEN ASOO SENEA PeBC RS RES NO (SROSE OR oA CSA ONES CORSON SN OO A o> A aEc, SY de re cef -ce cera]-|moy tes my don vos -tre- gra s'a --don ES QS=ON SS NS SS NS SOUS SOAS (OsWk 0 VP Se OO SS SO AS CS ES SSS OGY Cc aaUE SE =. NNN 5NT A XS AE ORSN > ON ED SSSSS ASY ES P= Sy 8

NG eS OAS LS SS OO CESS COD (SC AS = CN NS SO A ON vc RN

8 somp - -ni - um Oo - eu - lis. me - - - - - is.

1) London 20 A XVI, Paris 1597, Rome 2856, and Petrucci 15043 Canti C all read minim B. 2) Repeat signs here and in m. 62 are editorial additions; Florence 229 has double bars in both places.

45° Martinella [Johannes Martini] f. 44°45

Superius 5 _f ® fh OO CC a CN COaet—irS

CD

NY | [| * ¢ Y ¢_|_~« , ~—_14+>5>—----"-._ -Sa\——_—- + 4 2 4 Oe en eee eee

Ww... DE Kh LAO L LT JT ft ett tT fT Ts jy a | Jeee IN DTNET TT Ome wee”

re 7 ys, ta |A |[| Pg [fT [fT ge § it(i{g |T| FF A J TfGES Aff det©ULUdDlUlUmdUUUUUUUUU NG ESTZaL | _--___-__|_—___-4 eee | ee ee ee ee ee 2 eee

La NN NT SSS eee ln Gen" eee =e.

r~spe, «| fg go- {| -.tae{TL -_ jf @ | Jy™ BEDY A.A EE. eeeTd eee eee |OT J >» Cw @YE rfLC [ |;. |.i’ ||OUT @-wy ga’ |ff|COCOT |r 2JT] |; J J] Tf JT Tf ty Udy Um UUUUULDLCUmeE UU ONE Oe ™ 2Cg

~ ry he A SY eS rp} FZ 2 i a sal ~ ¢ b b b b oe essed TO” EE OT 1, — b 35

4SVtH} FR CTtaeeeLe@iii=|ft TT zOT 8 a eSOOO ee ge a Se 7TT ae TP OPUT To.7—”"jNV"-—_ o-oo |. |wso. FF TFOEE JT ESE JP DO ORS Se eee Se WL ET es - (TES n nn y OURO YC Ss t—CisSCO on eS [Tegel

8

oo yp[tl 7 9~| ff. ws |a-_ [| | TP @e— 2. |]A fi yw if]o—T | “jfT [Jog| =aOg CO ee gg TT QO

4040,00 45 bp yp

WF IeeRS RES BR YR OE (an CO ee ae ae Be eee EE eeSS eee eee ee eeRN eee 2 eeeee eeeI YYWe ssoC sO0P| |ee_gee"1, -—_1 A ee. eeeee SeeR Seeee 2a eee eeeeee 2ES es

ot ee ot BC ca LEetRSee RLte SP Pe TS NN AEE A= [NY tg yr - | fT ™ fT ™ LC aC OP TC res ren

al

ELLE eg O_O es

ay KEES A eG A 0 ee es) eee. eee ee ee o): _e}—_ —___}_,__-_+__} ; + __,___} e+ p | =r TC lr™—ee —_ | - 9 —_Ue ——— Y? J eT ee I 2 bh | | jd(4hE Um elgg | oO PU ULTLULULULULCUCU eg PO

ooo

1) In Rome 2856, T and CT, mm. 12-13, exchange voices, thus:

ia? — | a 9 Hf ON) See SE CE OA ES RA

Pt} t+SS—Geff V ES

possibly to avoid extremes of range—the high C in the CT, m. 19, is also omitted in Rome 2856— in order toaccommodate ensembles of in-

4 __ t NO { “es Cy ™ Oe

struments, such as shawms, tuned a fifth apart. 2) In Rome 2856, S, mm. 21-24, reads:

Ae ee eee ee eee ee ee ee. ee ee ee eee eee eee

9 ba ° ° — 7? : . WY

a change probably made for the same reason as given in no. 2. 3) Rome 2856 reads minim F.

46° J’ay bien nori Jannes Japart (or Josquin des Prez or Johannes Joye)

Superius 5 4 —— — Coy —e TN CT LA fie ET ee ae. a Cee ™ ge (= Jay bien nourry sept ans ung joly gay)

V f. 45°—46

tA NU "ey CCC Oi SESE SdSttC—C—sSSE | p__|_g—_|-____@# i {| | ____@__

iL» fe OD ae TES § J'ay bien nour - |] ry.

Contratenor b , a a a = A TO ——P _ eae a 9 9 —=e—pe ee de TY] ae "gg ee Tyra eeeVTeee TEENS fy 10 a 15 -—_———_ Fe a ee es a ee ee eee ee ee Ay 9) 9 0 8 ND RS ES OS OR a9} QS ee REieee NN, A2 SL eee CA lybgay En u - ga-bi-ol )SE a A a a _= — peo fe fom fee fe

5EE 9 77 er OT ff jf] tr ph 8

-o

NO) ES © A a SS AS PT, A yt tt gt | ae eT OO QI

20 t Ei ppp ee ee a — -—— me ea NE PT ge ee aia 2ET sh ie i 8 e e Ad LA. ee eee 8— aZ(ON aan ta ee PAY a r ”

, Ap Te6eyre ET 1ES(Va oa m og FF> pd—=pe oe 9-9 ~~”

QOS ET sss eee ETT EE Oe FN a SS NNN nS Oe NO ? Sd i e—F>—7— tH TOY tb 8

ny» | ¢ | | Pp fFrr| ©t—NG—Ss30 a 1 — : iw Re —“=g |S dD mT ee ae ee TUT ll“=n MY I ge ey COs Cy Tn Oe ee ee aT 2 eh6h= dT es

I (a VA nnn ee ne Lay A Sa CA Aa SA Se ee ee eee ee ee eee

De-dans ta | ga- bi-ol - - - - - - | le."

eS —__—__——; *—# rg}; —________} | --$ EE AS OS SO AS ES RON A AS 2 MN 2

fy 5) t 7 1 TI 1 71 TT aA | Edt a UO a ed de ‘yy ie OO ee "gg = — USO" eT eS esEE a ee 8 viens, mon| jo - ly gay, De -|dans ta ga-bi -jol - - - - - - - |

7LaACEES , Ne SA SS EN SS OO SPS SN, OS SS NS (NGS OS EN ROS UO Bk I TS A A ES NES > NS EY cS SS NE NEE GE ES LS O_O FNS Dc WORN SSS OS ON = 8

1) Flat in Florence 178.

2) The repetition of the tenor melody is not written out but merely indicated by a repeat sign. The mensuration sign indicating proportio dupla appears at the beginning of the piece. 3) Flat in Florence 178 and Segovia.

4) Orig.: D. Emendation follows all other sources. 5) Vatican C. G. XII, 27 reads: f)

(er ee eee ee Ce"Aee© es A 2 ee NYre ES _KE_ Aee" ceeee A ee =. making the imitation with the superius more literal. Florence 178 has almost the same reading.

S . 5) uperius fee 7\ IYe

Oo

47° Enriens de remede Anon. V f. 46°—47

Qe ee oe Sc GANG) Aee es © ee ee — oy)» +oen + Yt HH pth : —— oo | —— Tenor L @&ho LL —eR NG Te Ee ee ee BT Pee NE Eee ag OD LASeWl eeeeeee eee ae SS Se ee es1 ee

Vey TA ALfee gg gsee Te EE EET oe

ae ee a SED ESTED ROS ION DOUUNONN ener HSE (NS (NN (RES

Ne

f) —_—— 10 r 1 15 LT ET EET or Oe] F oe) LO A __— a es ee ee

a pot ZL aeg i er oe rr? Fr? SS yD ee EE ee. [reunu--—_1

7. SSce A TO a>aS SasSS SY — o STA©SS aes eetay esyeee——4 ee 75 ee ES ee aa BD N———"

93

ee EEE

Pe eee sdlshD—=E ee : if, rm, jtOCUaD IN ye ECO ll“ ee eaey yee 20

rev "ge SF MT DO rl"—g TCU eee > de Oe SO AB SS00NOE tTNS NS CN pe TO e—eeeeeeem 0 ey | —SS—OOCSCSsC‘LC Eee nCtC OT EU CU ep Sd a KS RS ES YU aA NS UOT OEE AY NEES SNE EU OO ONES ONE ON US SY wc ~

f) yo,r |1| b| | ge eT 35

XV Vv ~~ | Ge gf | | gf tT Tee SE CC TdT l“Pe“"—hy,

Pr" VY | | || TE

i_P_ porwh Of[|| |[|eT ee eee se (| |ee | (OO ee ee otc. CCC CCTCECEOUmharrt—rYst—CS YY —C—CO PH) TTOOCOSMSOA(O eee eee pd Td

i ~ye) | J |a| SS omSa ©.SS | | SS @ [py EE aS SSaedSe SS =yeSSOp SSeee SSeee Sa aaa

4 40 45 r 7 ep} eo aeeeee a a_i peperrpel te TJ _ hw O.LCTCTMTCTCULrSLCMmMUCrdSlCTCT™TTLTTTTTTVWV.V.V.Vr6mdSLCUmUrhUUUUUWUUmLEDUmD—egp SOL CUCL eee

VF I OF_Onnow._--— TD ST, |)ED UdTCOTTTCOS EOE eee KO OSOOO——OS E qT __ FoevV”70W00"nWw_ a _..__ Le eeeeeeeeeeeeO LTT 7 Ee eee eg | ggee | TUT

oe Ne a eS a a a a SS ee ee a es IceoT es ceae Ae ST ee 8 TTD TeFrTAOOO.

Pt, ——_ 1) 5 —| of | |

ae Te, 1. [czc’Nn’.”_ (— ee eS ee ed a ee 2p _|_&____-"—_—_@_*—_, 7}, ee se Sr aT

FF 6ONN--NvNnvVvnv7---V__"“"—..__ a oD Oe eee ea &,

1) Orig.: G; emendation follows all other sources.

9,-1

48: Vous n’aves point le cuer certain [Caron]

Superius I b 5

f. 47°—48 Vv

a SS EELo EEST —wr-cN7NUUNUNN’’.._ Oo /,«.".-’-.---2_ ge —ee>pe | ee eo Sof eee er°N-NY"_] ey eeeoh ED RUC. |_ "==eoe" Vous n'ia- vés point le cuer eer ~ - - tain, cuer__ 2) Tenor h -e 3) AN fe EEE TR I iceQ eee _r-_YNWWNWNTNWTYTW”W”. TSH *--oO-F=£FT2.E=>£LSL]

Ot SSS ee OeOTT Ooo ES a I jofo8ee eT Vous ves point le _|Al re.el1b Lf+ ip TT ‘A 15 (5 a 0 oa — | -10 —— —h [eee eesSd eee ed " “ f) oo Fe | em [me fo a ee Sere See See) See

legge" Oo 1 SC - on. 0] ee ES Ee Pee OSE_seNWnWr."”|] ooeg OOPe OO Oo. e's exwsnwtrxtxtc*Hc-vvnwc~ Be Le|pg@&he Eee Eeee| Casa NWN...

(wo wowuw0wDleeeee VY Aeee PP OOOO CE A © OO ES ES SEY SN A Yo? SE

PP EEE OEE EE _ ET NNW’WwW'’'-'-". Te] Wee EE TT EEE ooRENEE oo NG LS SN—ey OE SN ASEE © SS © SSOCSN SOsos NR OOS OS SOC UU SSR LA ly EEE OEE EE OEE ee OM O”—OD0O.-—-—-—-”_ .0—00-0wVv’”WOYO_o_-19vO””W... “_n

es re ir A>? 7 rr -——— eo 7)

eee Ee EEE OO ei ——eee—O_—eTeNeTeOEO SF ee OT

ipwee b b 20 -————— a eee ree OOOeee eee JEEP" EEE EP" ee eee ee eS YE ES RS (SN ON CS fa COR (RN . SGN SS CE (RO GO (a

f) n Z ~ n + (NT ON ee OR ee Oe NN 8 tout plai| - - - - - ne -j| ment; ment, tout ___ - ne-| ment;

OS SS SS Se cc cS Sc SS GN A SS OS 0 Sl NS COS SSS SOS ASS SS SS

Ya A 2 a ESTT

{| iro ff| fT2?TT+8eIrta | Pte mam | me ae | rs | = Tf) | TT|) eTFT rt CY —OC TD ~*~ | za || | ¢_¢’C Tf @q4 @ fT TW Te | hm ®t hULTLUCUm@rCUmULDLUm™"eg Fe oT Vr Fw. | jf Uh UL

pf = fi] me nm 4 — tp =| ot | BE cx Bs ee ee OS NN NS ES UU NN co POR ORNS OE NSS ET co? RTE vac NN GEES — S OY S

| mabe a eee eee 0 Oo eee eee ot or HF —— tH

[~~ el om Cc | o=° ~- gor | yf jy fy ff LUUUdLLULULUUUUUUUULdDLUDr®.LhULDDULULUdLULULULUmD dL DY

1) The refrain of the rondeau, all that survives, is placed beneath the notes of S in Florence 229; text in italics has been added by the editor. 2) No flats signed in Bologna Q 16. 3) All other sources except Vatican C. G. XIII, 27 (which agrees with Florence 229) read:

—_—_28-—___p—_p— = is es 6 Sy OT™— LE eed 8

a version that would change the text underlay radically. In Bologna Q 16, Paris 15123 and Seville 5-I-43, CT, mm. 1-3, read:

YER ES Oe ~~

= CO - Gee ee eee eee eee 4) Florence 229 reads:

==

> ne a ,_____ —=*__@g°?> | fd

Emendation follows all other sources except Vatican C. G. XIII, 27, which has a variant of the version in Florence 229 (see Atlas, Cappella Giulia 1:99).

23ee 24ee 25ee 9——

5) Bologna Q 16, Paris 15123, and Seville 5-I-43 all read:

6) Bologna Q 16, Paris 15123, and Seville 5-I-43 all read:

7h 4 ES[||A |ce(7 SSJTL yf ty ;

7) Orig.: B.

96

? : . . Super’ A 5 2)

49: Monseul et cede (= Mon seul et cele souvenir) [Antoine Busnois] f. 48°-49

1) ius

Koo ee So Oe ee Te pf J — ee —— ee

COE SN SN (OE @ oo >> Re 2 Nh akN SSSS(Was aEEN a EPRS T°NES SOSNe A ENS RS AE T° SY 1.3.6.les Mon seul et 1é, mon| j|seul_ et 1) Tenor 4.* Mais - poir brief, ) mais l'es - poir

ho pee 0 9 ror SS ee ss So 1) 8 1.3.6. Mon seul et ce - 1é,

ee ee ee f) 1! Po Contratenor 4. Mais les - poir | de__sIbrief,

Re Seen eee ene en en eS n.-oO-7-0-.--...0w.w.1 OO -NnNnNvW.--.————— Ee SU eae aSrSE SN SS LNee OSnn SNeeee RS (SEER SD”— =. ——s “CS

fp 10 ' 15 3) -—

Se A ACs NS| rrrrrrrrtw—(.TC.CCdCS ON OS SS a ec ST Ss Sea Sees r} 4a =SS | wAe ee 1é_ sou -| nir, Tout de_- brief __ -re- -- -- -- -- -- --ve ~ -ve -| nir Et le__ no _———— aD" FT ODN I@ T_—;:;( LO ee == (Un =e (A E Cy. eS RR NS AS CUES 8 mon | seul 1@brief sou __ -vere-|-ve nir,-|ee mais | l'eset- ce poir- -| de__ nirTout | Et

oo oo ee f\ 20oO | ¢or25 Roo Meo _ OTTO ST ee

— = —— | Tt —)h OO oo ET ee et De OT —e— ST eg et TP yb — ? ba YO PS RRAUE ENP RO Ld Po? eg aA ES .{#"Y[ EP eeEre(EET _?_ >) OY COT!|!COtCSC™SC™CSOtFCFCSCSCSeeE FEO ratES hee ee Le pH yp

pn 30 cr 5 35 me CO es ee 2 »___|? ia pp | om a ee ee eee = ey =e ee Fe rr 0 SS oe oo OO oe TIT Ee ed eee”

i —— —— op — —— — a en ———— o—7 - - ve- Es poirvain de tou te ma COCO Ont- fort - cu-| ma doplai-| - le -|san an -- -yoTCOdCC—~—CSdYCSC( C ) A aS ON r= 8 ee ~ ve nir,| Ont Es - fort poir vainde toucu -| te os-|OS mama doplai-} -le -{san an -97

:rh arr rt f) (e 40

my, eee, IND eee A ee__ rigs| ee dy fy gyes ep eee eee er

° 5) f) Penner Jee : oF re rrEe oo ON Ne Eee Eee ee = 5) 0 So as tS ae v CCS TTS Ay,aa_MT ' 4 90 aNG a es eeSS eSee En ee ee ee ee See ey 7 ee eT ee ee Oe ee eee eT a=, |? a =i ee, 2.7.On -{| eques je n'eus te -| le gre Ce} ~ 5. Et yin pro - mis, sans def - fail -

NG Ee PARRA REEEEETEESESCSECEROEOEY (ONUUEUNUCIOUSNOROERSOENUONENS UNOUISUSUSRNSSNNSUUINSUICENCRINONS (NNIIIISNSSUUSSNOSUOSUSNSOIOSES (OSI) CUSSION (SUIAIUSUSCOION! MEIIIUNSIONUUIINNNGIIEICINUNNONOUNIINN (SII JNIUINOIININNNONIIGNNUIOUIINONEN (SNNNUNNUGNINIOIII

ce, Se 2.7. On -| eques je n'eus te - -| le gre~ van -

popit ce; | 5. Et m'ont pro ~ mis, sans def -fail- lan -

— es fs 45

mm’, Ef —_______}_ Es se EE UE (ON IE (NEUEN ee ee ee ee van |n'eus' -} le|def-fail-lan gre-van - - Que jieus lan -- ce, ce, on-cques et m'ont je proj mis,tesans - - ee Qu'a sera -

LY ———__} —_ | 2 to —_ ——_ oxcf{ quis 8 -- -- ------- -- -- -- --| ~ce| Que — j'eus vos - tre, ce, Qu'a ser a+| vant, __ 73 te = Cd NS NR —< E SENE SSSNNNN UNSURE NUS EEN (OUDUUEN (SUSUR Ss Sy

" — 29 — a 60 ‘

p , —— _ ee a ee oe, a—

> EE }——--~ |---|} eeSeii fy FF gs |Eee {Te LTon pCO ee lg OU OT en SS RS— NE 5), SS SEep es ee

vant ___. me ve | - = -| leut te -| nir.

2 a a ae aaeeeea TT

gu'a ser-vant mes ve-| leut te -| nir.

~~ Co r Tty= me |Me aa aTT Ee — ee eeaTf "eg ef i] 1) No flats signed in Glogauer; in Florence 176 and Trent 89, one flat in S and T, and two in CT; in Paris 4379, flat in S only. 2) Ties added by the editor to accommodate text. Glogauer has breves in both measures, but a ligature in 8S, mm. 5-6, tying B and A together.

Trent 89 has a breve in T, m. 7.

3) Omitted in original; added following all other sources. 4) Orig.: apparently a semibreve C, not colored. 5) Flat in Paris 4379, Paris 15123 and Trent 89. 6) Paris 4379 reads:

> FT

7) Florence 176 and Paris 15123 omit the ligature. 8) Flat in Paris 15123. 9) Orig.: B, C; emendation follows Paris 15123. 10) Orig.: A; emendation follows Paris 15123 and Trent 89. 11) Flat in Paris 15123.

Os

’1

50: D’un bon du cuer sans aultre amer Anon.

2) Superius 5 ——}— ~— D oO D> SE pe He | _ AY Cd _ v ee ~~

f. 49°—50 Vv

—————— ¢] wa D-¢ re a ee SUN... A oo _ __ : ~ wT

1.4.7. D'un bon du 3. Fust de sa

, gg ee _ee 7me po a) Tenor aeee ee- ee a nfo ee 5. Pour - - -| tant ne

2

et a h 15 20 8 1.4.7. D'un3. bon dusacuer Fust de mer

a 3) re. 7 b Bae Dy A | __ 5. Pour - - {tant ne lais - - -| sez

i (Ca oy ae» 4 SO| sys TP ee fo —— ee Sa| f mae EGooSs Cdee. __

2) Contratenor

f r 7 10 t

rAS)——— a a a ees ane ees ee ae ee ee oe es eens ee ee SE A A © aS a — Sy Se Aa J "CE 9 > ee r__|______ __|__} —_______@

cuer sans aul tre amer ou oul tre lais = sez en - - - ~‘ 4) ~- - - - ta -

boeeea A>" 2 Doapee 2ra.ce} reoA———— 8 sans a -|mer, aul -- -- trea ouaul oul- -- tre - tre mer, sans ou oul tre -

en - - - - ta -jmer, en ~- - - ta -

Ss es a ee =

Fr a as a cs, Ss is — oo — —

Ao eee ee LT

mer - mea- -| ray, vous - - - me mer,Vous En amot | vez, ena mot a --

mer Mon cueur, ne mon cueur, ne , a 7= ee—e EP —— BUIae ETaEEE Ip ee Poe fA gr — 2 —— Te mer Vous a - me -| |vez ray,ung ma doul --- -- -- -mer, En mot a ser mer Mon cueur, né____ lan- guir en TQ 7 . =. ee ee Ae oe ee ee See ae es ce —_— —_ appre

Os eR PP 8

OO

fo.2 EE CT "=D ee OD _ |e pS V1 2? os > ES SS SONOS ONENESS A A” GEsr "ML ESee EE Cc EE ES ES ES EE OW A=pA =

NG RA (ES SUG CUEE (OEROSR OONEEUS SOUS RONSON UNAS OSCR (RENNES GSN USERRRROOE DAO CSUR 0 cea ee ES ND, A

ray, Ma____ doul - - ce___. seur,___._ ma PC vez ung___ ser - - vi - | teur,__._ ung PC lan-guir____. en dou - | leur,_.. en | —CisisCsS

|} _——p*—_—___, SB ea OTe ae esCE A BS oo aES a Se RS ES OS ES TS| NN ~ EUOS SOS NOY _O Ec Be ES SOA,(NS nA | RN eo

nn _—__—_———— —— ——— 8

2 oe, = eee 2 6 eee EL ES DAT SOE) ESTES ORE CED OT

738 aPi a| ES a ENON As pa

5) Tie absent in Florence 229, but present in both other sources. 6) Coronas in both other sources. 7) In Dijon 517, S and CT, mm. 38-39, read:

.row41 ° a BAD 2 ee $$} | ~g $4 3

A A OS i 1 cea ©

Seville 5-I-43 has virtually the same reading save for a superfluous semibreve G in CT, m. 39.

91: Fortune per ta crualte [Johannes Vincenet] f. 50°—51

2) Superius fp r Pa 753) F . r 7 Vv

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eee

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2) Contratenor o. J'ay po bien maul - | gré ta

Tf kh WW. @y TT eee OT

h 100 15 ee b bae 59 ht oe

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4 ‘|oe ———— fs Sf TT NE eee] 4aan pm i 6a eeTTT gtmal

cru - See-|- té, al -|Moins té, Pour |deul ne j|pour-”plus ad moy=heur | suis doub-|teux,

TOT ee Teo

- - tre__| moy heur -| té, Moins | suis doub -

pyppe fnfrtr Sh LZ eh ——— ar 9 er OR IOI

-— 20 —, 25 4 I | | —_— 5 TeX 7 eT ee oT DI ornNod---

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ver - - si- té, - té, Ne| j'ay___. | pour__ledo ay seur Car bas ver - - si - té, J'ay | plai - | sir

Ap RPEEO 7 9GE 9 ES EF? IiePs Doe 9 opFh HErr D__s—=—FeE7Deon OOO”

Qe io ! l 30

8 pour -si -| -- -- |-- -6,té, NeCar pour - -| bas - -leur__ teux,ad-/ver plus | -ay|- seur Jay| do | lew - ton

p oe. e 5) b Pe PO jf aay Ne n 6 (@) 40 : wa = PC a ye ep or eo Te Te EET EE EEE ta di -j|}ver - - -si- - - - té, J'ay plai -| sir de__.

h~_—_—_ ss—-~0-r”--on-

pT EE OO TO NW""”"0nW””_— _— nN]

‘4leur4queam |tu__ mi'a-| van - ce, que | tu. m'a-van ton d'es| - - pe-| ran - ce, d’es | - pe-ran

de ' ton |a - gra-| van - ce, ton | a - gra-van

ep t —}—§_ lm ee ABS ee eeeEE 1 Pm FC avs Sy ES ONS ON AOE cAaha SS 2. RES YS fy tt] LS ODD LeEe sr. otdenA TET SE Se LS SS SS SS SS A RD AS RSS SS SS SSS SS SSE SSR SN” A = SON OSU ON GE SE

que tu_____m'a-| van - ce, que tu m'a-| van -

d'es ~- - pe-|ran - ce, d'es - pe-|ran = ton a - gra-}van - ce, ton a-gra-| van -

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7 ah(7) aPCQ(A) a a a 8ES tS Q CS| Op f Ea 35

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‘4 4 Ags | et. es wa ha ae _ RS le ee oe a ee ee ee ee ee ee 8 ce, 2.8. Je ne _ per - - - drai ma pa-ti ce,

es PEEet Eee EL ——CCSE _ pe EC *AP 9aay. a afppdmd »A OR” Ss td Sspo ae ce, 6. J'ay | fier té con - - - tre ta puis ce,

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p — ——.,

en -ce Et Car | ne_wwsSsf| -] rai ~ ~- -- -- see |- té. san - ce, | tout___ |pen-se me vient delaloy aul + té,

Ts es| fesPe ee ye2»EE| fy if, 4»Ele 29@ ee eee — ~, < %f

Y

8 ensan- -- -- -cece,EtCar ne.| tout pen-se - raidela| -loy - --sce me vient - aul- --|-|té. té,

b C2 bd " 2 ™ b - |

eho tL.DO B® [ryt TTC (wre - ee| TT TT yyeeTy er” Ly —_} |_|Fae _4 |28 ee ee et a| aTT) ee eeyO ee ee ee eeeee eS ee eee 102

1) The refrain of the rondeau is placed beneath the notes of S in Florence 229; text in italics has been added by the editor. 2) In Glogauer, only one flat in signature of T; signature of Perugia 431 reads: S, one flat; T, two flats; CT, E flat only. 3) Sharp (that is, natural) in New Haven, Mellon and Paris 15123. 4) Flat in Glogauer and New Haves, Mellon. 5) Flat in New Haven, Mellon. 6) Coronas in Bologna Q 16, New Haven, Mellon, Paris 15123, Perugia 431, Seville 5-I-43, Vatican C. G. XIII, 27, and Petrucci 1501 Odhecaton.

7) Flat in New Haven, Mellon, Paris, Rothschild 2973, and Paris 15123.

an f) b b b 5 [ey ge ee eT remy Yee ee ST oo a EN ) A ee ee Oo) | FF HY et > ee ws So oe 3.Car_______ | sil ile veult d sy 2) ——= 9 tf >?

2° Ungpl Ix (= Ung pl ir)' [Antoine Busnoi f.51°—52 5 ng plus queteulx (= Ung plus quetous est en mon souvenir) ntoine Busnots V

_ Ol fe TOE OW[{’wAT.VVVY._ _>—.Vn.....--—_ oe eT]

Pd — == ee ee IT gE r = £ 10 1.4.7. Ung_____s'| plus = que tous est

Tenor 5.Sur_______ |cest es -| poir | Cs Vay

f) = 2 rr ro hr

Pg PS _-ae ES (OS RRS (OROS SOREN YEE SERENE A SN SSoo) fey YL Leea ee Siar lD”™eet—“‘“‘CCC oO2, —Wnwcwx0°’n”—wx*T.V-. —_. NGOY a a—-"= COC ME SSS NOCOW eS ON, A” ES NL PS NO SS (_

, ! |@Be . 8 ET OEE eeeeeeHeH_eo OT Oat

1.4.7. Ung plus que tous est engré mon sou -3. Car sil le veult a mon main Contratenor Oo. Sur cest es poir l'ay vou lu. re 8

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a me es 9— ee ee

———_—_____ ver-| rés_ — que____._le—___—— brief’ | doye obpar- -- --- --

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20 ‘ |-——— 25 iff Te EE >

f) — at ed | Teo eee”=EEE Pn JI —“—eh — 9 —Eee | —— 4 + iEET i 9 eh 8 EO Eee| Ee EET

Cc CD TE ES| _—_____1td OO. nn On aM2 Se| ay Re—— Re ©—Rs Nf ____4 L$ES ____| 6 4 es tO ee tooo] yi

RNS. a os ree pp -- -- -- ve-| ve-| nir nir,Quien De loy -fa-|aul - tépour ja- mais je sa veur ma de - - -te-| nir Ung tel___ re 7 nom que trop mieulx

,ghwos 30 ur ee eee Se(20¢ a agg

Te 5

WP gCSe SRSS ES —————————————eEe ST EE PT SS RUSSRSUTN SOU EUS (OY ee ee © (OD en _ Ee Se EE A NS aA Ree A= IDS AU

8 - - ve -jnir, De___ loy-| aul- té ja - mais__ je_._—sne - - ve -|nir Quien ____. sa fa -veur pour ma de - - vi

- - te -|nir Ung tel re -nom que trop__._ mieulx je tN

ne faul -- -- -sedray; ee 2.8.| Mais vi qu -ray: je voul - = - dray; | sd 6. Si

y af} |. 2 lm OM Pe em eee 7 TT ET Tee OE —egepe 8 -faul dray; - - - -- -- ~- se qu -_- 2.8. -ray:Mais 6. Si cr @e 7 aeee fi ——_—— (oS ———| 5 9CT" | Fee 9g ff» Sg ODN ", 35 b 6) r 1 As ay et Ae OS ss a oo ooo ooee CE a ee es es "4 b— r oe br eo ee oe Pe ee fe ee _wET_E_EE EEE oe 8 telz ter - - |mes et meil-| leurs luy tien -dray,

pL Po oe G voul - - - dray;

oN Se aNe ee a a Ee OT ee b _—_____ ) b: telz ter - - - - - mes et__.—s meil-| leurs luy_w._ {tien - dray, luy_—

hault vou - - - - - loir, se__##§ Dieu | plaist,luy___._ | vaul_ _- dray, luy_—

hault you - - |loir, se Dieu | plaist, luy vaul -dray,

Pp Ah 40 ——__——— t 45 DANG) SE EL SO A ED OO nn Oe A a Ss A §=s” es ee tien - | dray Que__ da-me ____ doit. sss—(itig vaul - | dray Qu'il __ me fe - - ra__ CR

Vy | EEE TO rE—“*D— 8 luyluy tienvaul - |dray- Que___ da - me________. | dray Quil me fe - - pp —_—_—_____—_—_ p CUCL US UUUC~tCtCO:CC—CiSC ($ENNNNNNNNN NNN OO

SS a a NN NN SO ON ee, SP 0 SOA| OR (SN NT Fs i mwor Ye ™S0 "=e——— UO rg — sJ_—__ij} i g “|> rd ro ee 104

a

Aa 7) 4= _50 / —_}

#

yO C—C—CS =e o> le oe| oe TTTTTTOC—CO rE ib @ Jj 1 At dT | | |) [| Qe Tee”eeNT

4 Co —_

yO =e__ —_}+_ "ee+ ___A__ ness1-4 OE fp |_| fj | 6p yg | @meOY ee ee Ee doit... a son... ser - -vant tete---|-| nir. ra, Ce mot__ en tre nir: m1 ab b> Teneo DS ea (aE MOSEL ~NSS(S UE ad SC eee ee ee ee en nnn a en ee” as ee eee nee 5 ee E OOo oo

4 ee be 5 +

1) The refrain of the rondeau, in corrupt form, is placed beneath the notes of S in Florence 229; text in italics has been added by the editor. New Haven, Mellon has the mensuration sign C. 2) Thus in Florence 229, New Haven, Mellon and Paris 15123. The reading in Seville 5-I-43:

8

is no improvement since it creates parallel octaves between T and CT.

1m poe # 31

Poet sh OS ee|

3) Flat in Paris 15123.

4) In New Haven, Mellon, mm. 14-31 read: 4

S\N A O_O A NO SS ONE (NA WD i —_p—_*—o— i | | ga’ @ - [|r CQ 4. | @e i ig'‘@ iF | FF . | °&zzx-

Kb TT © TT 1, [fT fs LLU TT “=n @. COC CU COC CLC

NgALSAOE 97 AOA ESES RS A NNASU CDAASS SS A © }SSST SSSR SSERR SE LS A 2ASNS

aoY | oe.ES| |SD se tT). | De AS-nuw“’W AeeeeeeeseseSS—OECOO—OTTT..C.CV.C*d SE ES t? © | | Dj] ee ~ fe) ae |_| 74Lg| __}d= ES ee Eee Ee“ SC

Tn -. wo atower ta | 4. | VT] Lg {TV | J _, _ @»p | # YY @£ |? [tf gf Tg Tg UU A

ny AT _¢——— : ws”. 2. | »+| Pri? aa Tg a tT gg eT Gh UU ey TT

pt | OT et | | ee ee ee A ee a se en a Sees | —— b-

7) In New Haven, Mellon, mm. 47 to the end read:

NS) _ Aa EN NSE OE EY SR ST A hE, AD GOEn,, CO MNES > SD 0

0, leEEeeegee Oe eT peg |

x yh -=w |. &¥ All| © @a. ts | | |] ff) le 10S

53° Chon tutta gentilega Antonius Busnois

by f 7 | t 3 [ f $ Tenor f $ i [ZG == LyRr=eees em Se |

f. 52°53 Vv

Superius

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ot|, wmee© | eeeee ONE Con tut - | ta. ti - - -| leg - -

—1)

Tf, bbeefeee ee©esJeene fTer eee Ted EeeeeOEE Hh (x WR 0 ee ff) eee eee ee =e“ge ee ee ee eee eee

| ~ pet fF | | eT ge Eee ETT“ee ee DT

RS OS En, OE A «= 0 "9 Wh oC Re Ee De VR RS RD SO RR SO NS LAS A A NCCI OE CSG OEY EEE OEE (ONSEN DORON PORE “GN GC (ROE Do, ROE RRO

- - ga, Ve -| go - | s(a) ssi pu-li -

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TA VV YY g | @& a OF ga i gag 4G Ff Fy Y” | rT TT UUme UU Od "=" “eg

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ee ef

A A ES SS ~~ CY QeSS ag’? TYYS ~~Re| Se

TTT I

TF » VY | | [| © | | eee ELD

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5 — a b ob ak —r

i 5. —p— i? |__| | —_=_| |} —__|-9 + _|—__—_

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[~ype | [@r 2° @ IP Da jaa! io [ J jd hr ULL) me “gg 6S hUemh hUvwphLUMWMTTCTCCCUDCOeSSSCC CT

ry “7 eg@#. @ ___& wg |[ |gg«4 ESg | RS RSSe Lg} _C™ Ly OEE EO eg @ TC) |eg§_ “ @& 4 BEEP —_} S +4 e 4

SS SS a ee ee a o_O eG eg

a. -. pp Trioferys #2 | Te [| ly].ee | a eee ff TJ hg rey [1fr J). Ss fyiit?Jy_ _\[Te |e UU ee

ST “ —————;* |[* | Sd OE A A 1.4 8 PR TS A ES NN RS TS EE T6s° 4» 4 Jo TO KOHO0eNCRCcejRr-ow oO OO DO eo DDD. LW Eo oh) 1) In Vatican C. G. XII, 27, S has a ligature binding this and the next note; I have taken the ligature into account in setting the text to the music. 2) This and the following three notes are a third too low in Florence 229 and Vatican C. G. XIII, 27. Emendation follows Copenhagen 1848.

108

f)

| e ° e 1 . ° 2) ius 7)

L f) | i ee _ eee TTT

Swperits 9 _ ,»tt 4 fee G2@ze

55° Jene fay plus, neje ne dis ne escrips Antonius Busnoys (or Gilles Mureau)

f. 54°—55 Vv

fj 4 lg” NG —=ep OE —=p OE OO Fak

CA eee Eee Eee eee Eee EEE EE EO... ] Se

1.4.7. Je ne fay plus, je 3. Tou te ma joye est 2) Tenor o. oe mes sens ont au - - -

—— he ee 1.4.7. Je ne fay plus, je ne dis ne

Bh C= A ESAE) NY =SORT ES ) Se S—S—S—_—_———_ 8

f w=, 10 # ¢ 15

a a a a a0es2 ee es ee eeee ee ee) DP eeee eeee[|-—$———} = pf fp—__-—-_} lg OT—__ee —____ 25

_—t tT P| TT Ee

_._. de ne__—iodis ne i es es ~| ecrips; En dueil mes es __. _ soup -| pirs et | cris. En a - cuns doulx | motz ee es ~| cris, Il sont pers -

A7, eee A panera, RE Narra, OES) SN NS (OS GSOOSS ee ES A RSINS RS AS NL SEES RE SONS CR SOS OS OS SS | es - Crips; En mes es -

ee ee -etcris, cris.llEn dueil a -es es sont pers _—— re eee

Lyf gy eS eee 5 5 PC —_————— oe 8

, 20 —ra 5 r@. 25ee 5¢

P PO 6 ee ee ee

|O_o =e se = Ss OD | .esogSoe # FT) @ eee ' @# 5 eee SSPpa eee os ose wee x es4eee crips Lion | trou - ve-| ra mes re-a grés et ee mes cris; Nl | est ad |naistre, cil qui je | mien cris; Je | pas - se | temps par de- sers et Ts par

——— 4 RS a SR es ee ee SsPC a ] pane pe \d [CC té‘“‘CSdrC*é;S;?;C;OC;C;~;~*' crips Lion trou | -|naistre, - ve |- ra cil mesare -lgrés et mes cris; fl est ad | qui je mien cris; Je pas - - se temps par de -|sers et par

Se es ee Pl “=—— ee f)

109

A 7 30 Pe | oo | $ $ Oe nn ee TT en TS a

A o_O OTTTFTCOCOrWdYS— TOE TE DO Ps “ah”. Pr |OTT || iY @Pgai.., °»x+x,| (-~___ \@ | @#COE @ 2eee | &Fer 2™ | | ed fy way. yT.rt—SSCC‘“CNCCDCOCST COC OeLhe Ce plains, mes plains, 2.8. De6.li Et | - =la} -me vres plains, plains,etje mien plains. plains,

plains, et par plains, ~~ oo ae OTT aTAS »} ©. ee Oe YY —— OY A en TO AFC © N° OSEYa=aESTS ™EE TS 55

4 PO O—_ |e a ng gs th? aph ST a a. -RN NY. Sd) TT Sdi plains, je men plains. 6. Et ld me

plains, et par plains,

NS TTC—™mSOE—EF—EOOTTTT TT ef

a | lb f) | tne rw) | | |. =| @ © | Tf 8

a Wor Tot — 40 Yr _7wvw...w PP ao _f.. [? a | [gg | DP cS ES SA a > es a RO (RS eS OT To or __( TL 7, | TT @| ye me UL es SSS Se TS cS SS SS a SS 5 is Se ae Te —— oET Dneannn nn UES SE GE de li - me - pe |-plains - vres | plains, et la D'au -Ou | cule -moins nes iwfh |. _ |]. ae ]™t TS S—~S eee sep if )»} | |. °& ystfyi4tfhte ioc. J fT SDT, eee ee ff a7. A [ae {| t, |. yt mr—"—eg ST —=g SS ONS) 2, es ee ro | 4 _—_o— 4 yg |} | @ | ¢ pg ff fT FSC Tl" og @| 35

\ CJ

plains, li -me - - vres | plains, Ou le malplus que___—._ je plains de et la plains D'au-cu |- moins nes gens ___. trait

KL... VU Ln EE no IrSS yn |,OS | [ JTSS @eg TaeAI gg J, pee CNY LE AS aS| |TS rea’. pw? @P@ |r [| jt, ? @,); | @.’es * | F&F fr [hug MUU hlhUUULULUmmDUUUUU

f } 45 ime. $

8

Nooo _“’NVu“w"w"7”-—..__ 7?| Sf oe fy | | | { Oooo .°»+«i| DW J | }# HT @|@ qm | | J Jy fy, £ Ff JT rae | gg—| ws 7; [fT

Sfmal LAque ESjeApuis, RE| les SSeeES RAdes-|crips. JS Es ee ee eee wav 6h—CrwArtrtCmYC(‘ST:CO!COCOCUCT:C(‘(‘(#$R’YYN’NSCNN'SC:C §$§$UNW AT SC ST CSC ttrti‘OLCOOPUTCUUMY. U@hUD—p— «=—)Crci( we!’ ll Uh eULUmrPTCLULTLLCUCULT CU Oe ETLOULDLU OUR OTC

[ [ ro . Io

f’) | TT s—~d tT. ----c"77WWwWTww’W’W oe ee KX hh .1.(6.WT00vww—”™>vw O_O EETTEne Tee eee Raa? FOO EE _:"”"/x"”.NW00..._ 7" -w0W—_ fai rr—OSSs—O ND) SE DO es Oh ~o-|$§—____ —_—____——_—-y 3 | J. es en es eeEE enee eeEg ee

puis, les de - - crips, ——— les des - |crips. . tres qu'An-| te - - crix, ——_. qu'An ae - - te -| crix.

Bh $1 er? or? tAi 8,OF et7 ttga =p Std Elan. = .__[_-v-__ [.._ttrZYrt@_, | | | JT 8 YFSt | "Fght | 2gSE | A fy

NG a SS EE SS NS A A Yo e+ po Ht 8

1) The refrain of the rondeau is placed beneath the notes of S in Florence 229; text in italics has been added by the editor. Since 1. 8 has an extra syllable, 1 have had to place "naistre" under a single note in mm. 20-21. 2) In Paris 2245 and Vatican C. G. XII, 27, no flat in signature of S; in Florence 176 and Paris 15123, two flats in CT; and in Florence 121, two flats in all voices. 3) Sharp in Florence 176, Florence 2356, Paris 15123, and Petrucci 1501 Odhecaton.

4) Flat in St. Gall 462. 5) Sharp in Florence 176.

IIo

jt

T_T

° ° ° ° 1 ° 2) rius OS aa /) # 5 —— ——— iw ge og UCU eee §#— ee eo Tenor A a7 tee ho eee | ee EE ES SO

56° Chi dit[on] benedicite Antonius Busnoys

f. 55°—56 Vv

CRi EN NS"© SSSs SS SS =; RS ES©A)nS = y=, eBcA=AChi =} J ES GY dit on di - eci-| te, ne - di-| ct - | tel;

Le eee ee eONW_____ 5

2)

8 Chi dit on ne - di - ei -—-| te";

_@& T_T _n"—”"’”"nN0nv”’..W. i SYhe6 UT RSFFPY - Poo fn ee eee ee ie ON pp

pn 10 -—_ aee |}ee Fha15 7re ae ee “em a“

2) Contratenor

[— 3) iN

_|

rea 7 | ge eg EE Oe PT BP OT oe, _>zwAvvONW_ (CU a>v0”@”——0n—”-—@00—-00"@wnzx”°0-=T.

NG) Ss Oe P| |__| Ge __q@__| —_4 LS I © SE A ESD SS = A

Pp

A = ae eae eeSEDO OS EO D—EO Ty S—SESNFNNnnn”...".1 ey Ye ge GT TT COT CULL_t—“‘=#!CELLOCCQO...VV..V.V.VCVC ANG NS OEee A eee ES eT OOD NSU OOS OSES OSES ES UU ES AES OO ES a

pT ee eg aT Tr SS

T@ye aEeee eel... 7G$=$Ee™—"e(‘#§$E | ssCCT . Jt | |, FOB |, &,# |,I4__ {4 popes eBET TCO “=e @'_—s#$+' F7/ | 4h—eeOE OT

p20 mn 4 4b

i2 eepo pO eee a 2 ee ee eo See i a. a oe d30 (@) 7re,3A35| Pp tres bien a

Oy ee Teej {|C—O CP dllotCrd eA deee eTEEE CMdCt—“‘“CstiCCOT LLffCd” Cr?” ONS)Ye © Pf —_| —_t___} 4 Pl ———} + gy CC —_f eg GE Pe OEE EEE OEE od ———C—“(#RTNEDNU EDN" "gg sTt~t~tésSOCi*”D]

amTT . we oe eet] ofan | tm feteLm! |r Sm efor me ; Ler ee ee it ————— a ee eeA ee NS DE A A SN (OE A EN ON ON pf ee ee Et |che que |j'euch on -| ques plus chie - 1e, on-ques plus | chie -

r—| pb ———1

YS NS A NN SO ON NN ES ES A A CN SOR (OE

—— D alca ; Pe) Da) en = ~ ma

- - | re, A {tres bien jou-| @ du Ce chi-| vir, du 5)

6} °_——e— OS DE —————— eh aww = sd ——_Q__—&“-.__ >—=—_—os ———S

III

ne: a: po ig pr ee ft :pi—

| (a ee eee ee ee re Bae ae 7 se a

: [Ny NO Lg _e§ __ 1, I>0HJ +o EE 24 SE 6 ee eee Pt gy | ——_}-+- | --___|____ CJ c ~~

1) — 1 8)

IANS) (on eeAee_.4 se es ee—|_, ee ee —_____| ee ee = eee4} en-—@ eee ee_ee1 eee Eee ee Ieee Lc} > 5eee EEeeTE TeeeES _ .ee_

8 chi -| vir De sa pri |- vé -|leaqu_ -|to - - - -

Cy, Eee h t __|et 1% 0-89 12) ee ~——

(o> #@ilrifer JT ee oO | fy |ee 2f wyg» | | PP sf]TT ita l[t~awvdir #TT * ~ eg |7 [|e yo feeTd Ty ee ™ eeTyLL ee lrg [_~ pe, [ | a |i [| @ | | | | VT Vy J. [Tt UC dUUUlmwBnUULULULULUTUUUUUU LULL eBUUmLLULUDLUUO ee

rp 50 -—— 5) 11) b t

FE a ACE aS aRS a eS LS SRS AY aED SS SS= EN A ZNNOES SS” NS A OH WF ce, SS SO RS SNE RN RS SS SS CS ANT NS CS AS ON PN YS ELee = SS P= ANG 9 SL SR SOEOE SEN EE ESSSA” AOS™ «= ee eeSE es2

o e, -ri -| té, sa pri -| vé - e au-to - - - ri-| té.

apS

Dna RS A ES TE vA AE™ A «AEee oP 0 Vy OE | @A A| {lf OO Sere

[onc |, |)10) eeeb== ed - ri-| té, de sa | pri - vé -| e au-to - - - ri -| té

~~ | |we[|e | | # ULUE | ee Ud ODUL eC NgLLL CO =a SCT TCUee =e, TT nC mC CU _,ype, bf2g ee@UU LE OE [*__ Pe [TD ee LTT ET leeLLU i Tg | CU ji fy Le 5 lg 1) The refrain of the rondeau, all that survives, is placed beneath the notes of S in Florence 229; text in italics has been added by the editor. 2) In Glogauer, no signed accidentals; in Trent 89, CT has two flats. The version of this chanson in Florence 229 differs in a number of details from all other sources. For example, in mm. 1-10 alone the following variants occur: all the other sources except Glogauer tie the first two notes of S, mm. 1-2; in CT, mm. 3-4, all other sources read:

~~

except Seville 5-I-43, which has a minor variant of this version; and all the other sources give the correct note in CT, m. 8.

3) Orig.: E; emendation follows all other sources. 4) Flat in Bologna Q 18. 5) In all other sources, a minim rest precedes a minim F, avoiding the parallel fifths. 6) Bologna Q 18, Glogauer and Trent 89 read: G. 7) All other sources read: E, avoiding the parallel fifths. 8) All other sourees read: minim G (held over from preceding bar), semibreve G and minim D, avoiding the unresolved dissonant fourth between T and CT.

9) Flat in Bologna Q 18. 10) Flat in Paris 15123. 11) Orig.: D ties over from preceding bar; emendation follows all other sources.

12) All other sources have the rhythm J. JJ. J in the T, m. 57, thus avoiding the awkward dissonances.

112

9 ° ° 1 e Superius ooo ff) bb fe- 85 | eT se

57° J’ay mains de biens [Antoine] Busnoys

T a a EO pe rgy ees 7

f. 56°—57 Vv

HE (ca CR— COS22 RES—__}_|/_____ ORES TT RNS OD>SE A O° C= — ee 5 -_@§ |__| Tenor

—< a sy ~ ie

1.5.J'ay bienjeque s'il _— 4,.D'es -mains tre de -de- hait ne___ |) So AT 6 YN, CR ORD” EE—ep>pe OOO Nee OR AU UNOS (RON Te —— REeT RRO (SONOS (NN Lee I Ee —e>e 8 1.5.J'ay 4.D'esmains - tre ede- bien | haique j i stil nen es - -

2) Contratenor d ait Je ne suls ' pas Vo pe A Og wT —eepe Tee se

= a)Le.Care Fp SePeg Teeep nNn° Eeeee OT A 4 pf} —] —pg7=erh FF TX ys pg | — hed §+ tg pO gf TE P|

r 10 ¢ 15

we 7 CT lr"—gph>— —+-_—es ST Ce Oe lg Ud lg Ce QO eee EO =e

—_—— -{- = - Se toit con point,-Ain sy le veult __ — suisn’en pasesen- p-point, fort- | niay_____

RYpeSS a I NT (OS Po tott. ; point, _ Ain -| sy le NG CO SS CE SUEUR (ONES SOUS (OCI (SUINSNSIN OUI USSEROIO (TI CONSORT SURES ONUNS ENSNN NE

en point, | Se con - fort

fn 3) PC) b 20 r 7eee r1 _\f

es a 2| al"eEp> a oe esee SeLORIE © Saal RE ie Al GS eeSS"Gee eee ee eee©eee LA» RS4.OES "A GS ee

aD rea)ye + Go — —— 4]oEe —G |ee >S 7eeJ AS) a a — — JP" o, o FY ma daj|-me et ma mais - tres| - - se, ma mais-tres - - - - - dont le mal qui moa- 1 pres| -PF - se,yO quiTN) m'op-pres - -eee - - - |p 4 -)}-—— -_A._|_ _ fT ee ee if.) | | TY fo | tT ee ST “= 8 EE ey ee LS eeeDE eeNE eeeNEES ee eee Oe __ eeep____-|___@ eee SL eee4 ED... ee ey2 ANG) RENN ro 4) 2 ee ee ee ee ee ae ee ee oe oe oe

nA 29a30ET jy 8 veult ma da-me et_. ma mais-| tres - - -|se, ue sss—sma | mais -_ tres n'ay dont le mal___ qui _m'op-| pres - - -|se, _w ds quii_:'| mop -_ pres

pe _— o,eee o, o, Gg ee Fp Je" ae

A SS™~™S™COCSCSCisdC se —~dYSC eT Ee ES TO

SS a Se SS A ST SN SS SSN SS SS SS SS SS 2 SS SAN SS SON SO KOSS RS WN SUS EES CSO CO SUEUR

|(>OS emanate: SE eee 8 eS ee ee EE Se; Mais-| jefi ne sgay s'el-le des -|-| tres se Def -ner puist, et veult aus|-qu'en si la tris tres- -

rs x ES a a ee oe ee ea oo —— eS f)

8 Se; ne |s¢gay s'el -et le aus veult- quien des se Mais Def ~je fi-ner |puist, si le tris

113

yp ee ee if) lt _ — 6) _ | hia oe I —_ (ud 8, 45 ° .4 5S a a ee a —— o.oo i on ee fh 65 3)ep He SSS PES, VR SY (ONS! QOSRSNROSENSCUOROSOSS (ROSCOE OOOO (URIS (OCOEOD (OCSSSSSSCSOSOOSOOIOG OCOD OSS (SURNSCUNEN INCOUIRGNN fnteneny S000

8

ee, eee ae ae eee eee eee i ~ pe, oe BPrY Ti 4 |ee °° &2P.y Ts PFee - T fjeee fd hme ee ULE 2 eS ede eULULULUPLL 2ye}H aiF Ty)pt ry)ee t+} Ca — vm -UDeee =Ol“

if | {yy fsyyey eee Cf" wy 2 - ££|gga |] TT| gg Jy] fp ey md dy Ee

jp yy eee eeooeeOe Kee OOo OOe—eg eai7? oo Vy -* | —_ @ [ga * FF ag. | ji | ~— fF | @g@ . @ Te

FS es es ee—————aOOS esgiee a_=____g a“=p a ae cae wy, CY... [fs OP lL? sha, ("WWW Oe CO ee |OE ||_____l_____|_]_ a Ee eeeee ee

Ah 70 ¢ 75

FF sTC.-—-O0nnn-n_ —_ OST (OO/_—“e see E—Ee A) ee| ©DODO SIO eee qT —[COE _ WY OS" —Ome™e—OS eee ge dgee SF Cy—ctN’’’.. .& i p_—_g@ |_| TT __|_| + 4eT 7s

TF ooo OTSTeee nee eeeTl.”—_ @ 2 BR 6nN.--”"-7-7— "ITT | se" ea eg CC "A me NG)et SE A EO EE []?)_—s OS A SSLL SE_ LT RE| ES ETS EE OS wT. | Ya? (|, [pn"eg Qty, fT jpgOO | ep OU Fh Ts eras.__s2 OOOO eee ea TE eee ee EO

f) | 80 |2eeim ee eetC ee aee4ee| — _

6): #6, 0 | — oe oe a %—_ az... ~”.’... "!__ a — UWL hh hth rtm Th erm h -.©6)6©6hULhw Ohhh DO ee eee ey

ft—4 4 aee|2(—___ |, SE |. =. ey EE SS AT ee ee ee ee ee SS A| |©|S ye |ee, ae iii Cy UT ps DP Ft Fe ye i. | se Ff | - | ses eee Ay ln

La EE eee GG pe, Ulam a| i4tl{ff-fp PD— TN—OD |,tL @ @ an a a oD ee se oe Pf yg = 1gei g,

1) Orig.: F.

54 55

2) Bologna Q 16 reads:

7? Se °_f— eee yo;eee gf?eee rT2re» This is a better reading, since it imitates the other voices. 3) In Bologna Q 16, the F semibreves in S and T, m. 66, are replaced by rests.

I20

ey

“ ° , ° “ f) T 47 —] gp aegy a5 ir fe RSoe

60: Seule a par moy[en chambre bien parée] Alntoine] Busnoys f. 61°—-62 erius

-— s—_ —

Tenor , r 7

1.4.7. Seul - leje a part en 3. Quant me|moy_ vey si

5. Com - me la plus du

TO Oe EET OOOO ft e™e=EECEFN’—s«s«s—aws‘szdy he — eee | _*"____4 fe _»____ —_ | —_-}_+—_5-—__—_ + > ——_} 2 2} 0

8 2) 10ea15 yy pr ty yr =

1.4.7. Seul - |je le me a part moy |cham -breesbien 3. Quant vey Sientres -fort -gapa-|-|réré-- --

1) 4 yo ————+ #5 | -—-— see eee ee EEE OOO a | Contratenor Am ge eee et 3 gt _ | EP > ee © es fe 5. Com - me la plus du mon - de pre -pa -| ré - -

‘a ot ——_§ —__+_|—_|—_—&# _—__}| bh —_| _| _ 9 Ff 9 —>=/_|_ to OA

Fe a as Ee EEES 7 Swe GS RSvoce ES EY CSA CED SS OSANE ONA(=Mw GY SE _ Bh ES GARSON OTE NN OO A SS NG)Lc ES A RAI OE SES NSBA RS DY 0 ORNS Pig | Te EEE OO OOO st

cham bre es bien pa -|- |reré--Pour Fais maintz re -tres - -fort - ga ma doul

f) 3)

mon - de pre - pa -|ré - A souf -frir

SY I RE nc: I (Qe CO OS DP a BS ae a a a a eS OO QO CS ES ON sat as a I o (0 (= = SC ce WS EF O=“ C

4 | 8 #,

fem gd a TULL ee lg ON EEE EE EO OTs &“Nnurn.?00W_ [" I — —OOT Ee

maintz re - gretz ___ --- ------e,e,eFais Pour ma doul leur__ A souf -frir mort _

f7) $— PO $— : as ae ee ee ee ee ee ee DY SOS OS OO NN OS | 2NY SEER (( Fo (OR SO OS OT NS —=gl—p ES OEY OT A E CyaAeg ET —=e—p OT Peg aeeTS 8

——— rr er 20 ji j

-p)—— , ——,, ——, 5-5 —,-2 2 fp ol 4 ee

eretz de joy - ecom-pa se -pa -j| -j| re re -- -- -- -- ------e, leur a nul le mort par moy tant de - si -j| re - - - - - - -e, e,

—y—___ 7? (2 p Pr 7hee PO i am PRs eesa BS ?. ae de joy-e se -pa-ré se a nul le com pa-ré com par moy tant de - si-ré - de --

LB a C—O SS” SO SS —— “OU ON RS I2]

“eee”

25 —_~ FN GE TL eg ee OEE OES(ON > ENE SONNY” —(OO S(O rey teWR LTNS OeI RN geDOES TORS—ep ET eee EEE ES(UNS OEE oe

-- -- pa-| pa-| ré ré -~~-Je Di{|-|futz santa a- Dieu qu'il me- fai | lors de m'oc ey -- - Si -| re - - 4 Je vey qu'a - my re 4 mal crois fe bh EG UG eee ee EOE eee I («1 esln eeLS a"LCLLCOCOCOCCSCNNCS eeeee © ee eeeee Oy Ee taeee fpOE Eee PATO OE© CO ~~

itPR feet. 4) ~ 35 (ON2 ee DD’ Ae aeec|__| ~_@—|-4 yynA—~e NEeee. ODEO = ~~

f)eese SO ee¢ee— eee 8

30

| grant __ | tort, 2.8. Puis

ANG NS rrr MS REY OOO EEN EON SONU COUNTS NOOO (SRSA SOOSN (SUUNSCSIISOAOOAO SSO SOS (OO

; si fort

Ee Le ,G5— t 50 Po ee 4 eea eeS re — 1 — a SR LAL wn ga | €y Tan ig J

Dc CRED I adT RE NO UUgg EE|ED DE Pe OgPY TF Eee ey "eg TT gg CUT esdO ™tT™” Eg |TU ee! ee NGYT" SA ND A Pore iP“eg NT Eee

soit grant tort, fai -soit grant tort, grant PS tort, re d'ac si - |cord, mf'oc-ey - -re diac -|eord, d'ac - poSi cord ___ soit fort, crois-soit Si fort, fort

Wt a "eg | eee DO = A) DOE =e TOF OE eee=e ng OD FF @ae i we 2. |Ee" 6wml CCOP Tg RT~~aee———CCCO/ OE ee | l—=—g NN... [ — ——————S———————————————EEeeeeEeEeEeEeeE——————ee—————————— ee

,IXY 40| | ->———— —m 45 5) Te CO pS —__. —__ g ——_—____ 8

© Cy, A wn ES (OR A, (OR (RO SSO ONS OOOO SO A = ee ee ee ee ee ee ee

— | CQ eT See ET Te 4 fit my om Pe. fh —TrR eS’ A| a— gmes ee qu'il - | froit, que la dol-né| len - Pee Si Essouf -| poir ne m'eust don-|

CAO NY DY ON—enp>e TTT ew“ EE E*E ETTee SE AS UTNE OSORIO URDU OOOO (ORSNOERORON (OUNUORNISSCONS (NNO ONNOUINY OEE RONRUNGY +SO —+f | es J Igeaee dg Ce UD lmee ep|es __|___ IPf(a.#SE eelobe =| EE "eee A ee =ee_ es eeee > EE AS CE ATUL AesSE ES p"2

, r b! Mb b | = de tout bien ain-si des-|em - pa-ré - - -}| e, ain- si des-| em - pa-ré mil- le foys fus-se des-| es - pe-ré - - -| e, fus-se des-} es - pe-ré

ry FF os. en eee TF oO yo |SS|OU—— ge fT Tg fax ORONO aTN OEgg «= GS ES = ee SS SS SSND eSEESSUR SS a fy a A(OE ar Ae. 4Aee eee eee =

os Pt 8-8 gt te

M'eust de -tout bienfus-se ain-si des-| des-|em pa-ré -- -- -Cent mil le foys es -- pe-ré

i? 5 8 | 9 $ Te I es bt |

‘Cy a? ff ft Nw pf eEFSFSFSeSMYSFH#£§_— __1 =_f__f 8

e, m'eust | de- tout bienfus|ain}se - sides-| des-|em pa-ré------ -- -- -- -- -e, eent |mil le foys es - -pe-ré

; 8) £ ay

’ A ee ee RE SC ee

Fc CS eS ee es ee A ee IS OS CS NE MS OE |S 2 e, ainsi des pa-| ré e, fus-se des -|-| emes - pa pe -ré -ré des-em des-es -- pe-| ré --

Pg Cn ee — es ee ee ee ee ee

eS’ ae XK Tee "=p dT “eee Oe Ee wen CS TPO hl U8 f)

8

1) In Paris 15123, CT is written with the mensuration sign ¢. In Rome 2856, CT lacks a flat in the signature. 2) In Paris 15123 and Rome 2856, CT, mm. 4-6, repeats the same music as in mm. 1-3 and thus emphasizes the repetition of material in the upper voices.

3) In Rome 2856, T and CT, mm. 10-14, read:

Fs = Se ~Eeea T_T_TETETEE

”0 CS CESoo RRR SEC > >So eoEEN oT ee 9 NG a CE MO, NS Ene EE RS 8

Apparently the passage was revised to omit the two lowest notes of T, possibly because they did not fit on the instruments for which Rome 2856 was intended.

4) Orig.: B minim in place of two semiminims CB; emendation follows Rome 2856, in which CT, mm. 32-33, reads:

8

The incorrect version in Paris 15123 reads:

er 8

5) Orig.: D; emendation follows Rome 2856. Paris 15123 reads minim C. 6) Orig.: D; emendation follows Rome 2856. Paris 15123 reads minim C. 7) Flat in Rome 2856. 8) From here through the end of m. 69, CT reads an octave lower in Rome 2856, 123

Tee 4 Ca a

61: Seyense an mains Alntoine] Busnoys f. 62°—63 Vv

faa a =an b PN —=® n— , —__ Go&) < eee

PNY TE ese ornaie ee ee ee ee ee -Ss yy [4 ae ae a Po ms eg

fess 7} 3} ——_ —_SE 6 —— -- ——— —#_ J oH NS ——_ SS ON SN Ne0)— es AE EE Ee ee.EEE eee, ee eo

Tenor

8 vw a = f)eg Ee| 10 fd ef DTS15 e"“ee

ie fo —F SE SY XO we NE ON SS OE UY RUST CEES "Gy §= rr

—_— NOY LE © SES DUNNE © SE © SS Eh A AND =< NN SNS A MN ES MY (NU

XY _ gC Se “ge Ns

SS ON 2 CRON LORS yt] wvSS| (|Os| A@SROD [FS @ Ne ea ee SO EeED ™(OO CLD

if Om OM eT a fy sd Tid Tne 7 eS na fC ee OE DNS ee ee eee ee eee ee De eeee See 20 —— ff wn | eT a ee eee ee TCV OOO eee eee me fe @ee yg” tT™ eCLT D —g ee CY| |ee OE De Se

ii 8

sr : —>b — ee ee ee aa9} sg] reo ee OR eee oOo o — 4 30 425 | —_ fax i eS C—O ee PC csEE OE>(OES eeea a

BY RSSS Ss ILS SSES MY5—YS OS A PE Dc A CR a© NOA OS ONO A GO OS XO ES OE A A© 8

0emES op ES =U: 2 ST ON O_O OUYY COCSTSCOCOSCT ee edSN ae r"“eg

Hes ge —f — NEES 9 —_}-SN 3 |__| RS QOS NS A+ NS A ES SO RS GS OE NNRS SROD SNSNOS NOSES

aNS SS|i ccQn — |_|© SS—e—e OE EO SS aS _” SS Acne SS SS SO © SS © SS SO LSS SS SSS 8

8—

KK ~~, eS a™ TT°°=p) eee eeu ~ a. [ao"eg 4 #gg |ae@ | fs "UU ™”"g? CYff Oe8TSoO OO to 0 FTO OSS TS “ep>=pe Ed l“ep>e SSC

ES NS NS A NL SC LOR NE OO SS (ESSN ORO (ON CEREUS SESS GN SUS (SR Sg

LES 7 =

RE EO NE! US OC ND ON ORO GEE SOURED nec AO A > OS CS SUA RUS SD EO

40 ————_ #45 eT en ee “== a A wh | | | AQ] gp (ge 8a Ne FR ee iV eeeee TTEee le| ed eee

|NaheTO — 6EE a) EE=eeES f)

LPO eee eee ee Eee OEE EO iy »”».»”»”.»”™©™©™©§©™6§6& ET...ET FOO ee OE eT Se£5 .WK ao ooN O22_ |] OO Oe OTE ES EEO EEE f)

Pg A ETS SEER NG RES SNS RRR CEES SEES OSS (SU (OO CUES RONSON OO NOR

he a SaaSea (NS ESSSe OSa NAS SON A > XR Le ee as - SeLCS 7 SaNSSS Seen. A a (A yg FF | VY @ fT te a ee

a a ooo DD TT ..’V’NV"’"-"_{-—_ 723 a _?_ ie OT 127

f) t 30 ——. : r $ 1 b NG a eS ee Ff I

CTE —“eg rtEEE. PT Ci‘(‘(‘“‘(“(‘( (‘dL Tegse TT +h(ay. >TT tt CEE 9 EEO° ee. eeeAeeNS eee eee ee.UT eee eee Bt RECC ES TE A A Om RS AOe Alms CE. 8

iY Ne SL EE ie hg TEE ———ees ff Tee nee

if. EEE TTBi Ca CRtC A = > Cs ee ae SETen WE > SEEOS —, D EE SEES OS® RRR a aE CUT HE ETT DRTNSISNSUEOESENTD SUUEECNRNNISONOONS NSRUSNUROSSEES (OOOO (USO (OSSSSSROSSSOSNSOSNSIONS USSUOOSRSRINIS 00 SON SON

rw. | | ED gm OR ed

mM bh» fw fv iy i; [| 4. | J Tf ¢ @ T f [UU UheYUUUUUUUUUUULUmWM@hmg®m hl 8

1) In Petrueei 15042 Canti C, the incipit "S'il y a compagnon en la compagnie" appears in CT I and "Vostre amour" in T.

2) Petrucci reads minim A. 3) Petrucci reads breve B flat. 4) Orig.: semibreve F; emendation follows Petrucci.

63°est trop C fusfus (=tropC’ Al entrepris) der Agricol (= C’est sus amours exander Agricola

Superius 5 —__—_ R= fox J FH rar i 9 oe NS)p-P es 2eh=a| aeoa +2 |yp - eCSSTC

f. 64°—65

1) . Vv

*1.4.7.C'est aon -|amours 3. On a trop poursus |fours - lemen|---- --

Bee Se Se ee ee ee f) = 10 f 15

1) 5.Sens na - - - tu-| rel vient a

NS aS eS SN oo A NN 8 1.4.7. C'est trop suS a - - mours |} en - -

TM fe OmrrerSCUdCrt~ NDE A OP ESES Ol|aES —a SeS oeA |" a eo Da. Ba = eeaI LT S ES OS —_ Np

3. Il eon - | vient___ dont, c'est grant | dom - ma - - - ge,

1) Tenor o. N'ay -ez plus le cueur = y vo la , | ge, 8 1.4.7. C'est mal cher - - - - ché vos- tre _a| - van- ta - - - ge

3. Tl eon - vient dont, c'est grant dom- ma- - - ge,__

1)Contratenor O- Nay €2, plus le cueur Sy vo -| - -la - - - ge,

ee SS pgee ee ee eee ee —————e CN

4 pe __d pe

"es ee ee... —} 2 ee ee eee rs | — 9 — t — eooo ee E fox gtAE |ee——$ NG)—c}SP A ° — AS AS ED SS Pan AS ON A —__-—COCDtail|viel- éidle -/guer et son pa- -- -- ge - ge, Et —__—-—?Qu'2 les --j} se faches- |cezjcun hom-|ma-Sans __..-—~Soy | - + ez do - |res - na- |vant plus sa | - b - - ge; Vous

xweyYO __eee _eee fT2 2g -??— 4 _a | ee ffTf ae7 De "eg i fe | ee_eee ee9™”” OC__—— [nn . tT aig éaA {TT Ne ASS VT O_O

b b 2b b b _

" __ D'al-| le -guer ches- cun et son________— pa - | ge, Et | vous__ —__._- Qu'a_—siiviel-les - fa - cez homma_ - - - -!ge Sans | que___ —__._-—»sSoy ~ | ez do-res - - na-vant___olus_ sa -| ge; Vous | es -

‘[as° fy fT TLee pe Ue#3 LCvfed| gg nO#“=p OS"=e TTT| O_O “et ree 130

r OCC b| 20 (7) i. ee 25 EEfea we ee dP —“—g

aS ES CSD DI rn, HEE EEE SE EIU (RNS OSESESEONREEOEREDS TUONO ERR ONNS (OOOO RONEN (OUSUOOOORSSOSIIENS IUCN SUOUUINNISUSUNUIIUINEIOOEOOEE

Ah (7) 4) JA A CR Ss BS esEN = =OS Frne = OE | eee ee Eee Con ON OR k= sti ES yey ™ Pt __| 4 —__| {,—-____+ ,______1_____,f_ —___-f_ =" _________[_ _+__+—__

vous mon SOi- |strezeZbien ru -|-| se, sé; 6. 2.8.Car Carpar troptout es que plus a- -peu - bu es - tes d'a - mer ex - - - eu -| se;

OS SS SS SS A SS SSS SSeS OS SS SS SSSSSSSSnSO SOS ISSO SUSU SE ASEERSSSNNSONOEE

8 plus mon - soi strez-||bien peubu ru)- -sé; Se; 6. 2.8.Car Carpar trop tout es -| tes ez ase

b ; (7) . D

tes d'a -|mer ex- cu - Se;

-

Tes? @ wmCU 4. { re fT AMET ae po f@™| Pew. SS eeTEee

fSS _ b 30 NS —— tes viel et a uSS -| sé, Pour par = - ler.

TE SS Aoo?) AJ A OO CO NY NSN SRS CSSA GS PF, SPGE ET NT Se aCyt OE—_, RRS CORRENTE NEES ANE CRDOT ES (RN (SUSS (OUR (SOU OE wm |X_N™~ @ RULE UUSSNS LULU UO ES Ee(SS TL) ee

PN —_} 8 viel eta ae p+} u - sé, Pour par-ler fff ieT we oe F J —s TN eT "ep PR Cee EE ee | r 735 mm b = b 6), b 40 mm nb bp

se - - - prez ref - po - fu -| sé, Veu que por - tez

4 RSCESS NS> SS ©EEA>TE”, OSESE NE GES A OE A =OEAEnA 0 Ca OERS EE ©NN ES EE EE cS EE oS WS COTES SUNS (URNS wc MS

rez ref - Tp fu - sé, Veu__. que por-fez

A A ES NOES SR SS ES OS ES (SPOUSE (ON ON OR oT US ED SS NEN ES

_yW ey2 MO ORE ES OS wa Ww ff TV" @eee Ff ee -, FFRR | aeA {|/ee a4 aA | € *”a &»3%G— 2’ J FFee FJ! tf NG) rs Se| jfRS 2| * @es

2 eeETep (SS el fn ¢ g | @ | gm @ | { J { J TT fT ULULUUUULDLUmeUUUULUhUmUmggmch—hChLULUmULU™ChCUUSLUL MUL UCD OCU I Cee

— d'un______ folmala ga-ge, d'ungris___plu-ma sy fol___ lan-ga ge. —— sy__.. grissyplu ge, sy... = --------ge.

f) 6-9) 5) ——— b boot i> 8 a Fo th rt et etD| 9 =

a

Wn CL A ES TE OCU COONS ORES RE sc A oo? RE P= ES co NE A ES RY ES EN SEU OR A «? SS 0 De ne ial EIIIIEEIITEEEEEEEIEL DEERIGEREIEIIIIRIO = ScennnnIEIEnEDEEIEI = IESE DESERET Seen” QnIELSnUEIOL GEN tn Glen SEnIERS

8 d'un lan- -=ma ga -/ -! ge, ge, sy... dunoj|gris sy fol ge, SY sy grisfolplu plulan-ga - ma ge.

Ll ¢ we | gi A | [tT eff eUULD hm eT eee EE)

1) Signature of one flat in London Add. 35087, Rome 2856, Seville 5-I-43, Verona DCCLVI, and Petrucci 1501 Odhecaton; one flat in CT only in London 20 A XVI.

2) Flat in Seville 5-I-43 and Petrucci 1501 Odhecaton. 3) All other sources except Florence 178 extend the composition a semibreve by repeating the chord at the beginning of m. 5. 4) Omitted in original; emendation follows Rome 2856, Seville 5-I-43, and Petrucci 1501 Odhecaton.

4_

5) In Rome 2856, Seville 5-I-43, Verona DCCLVII, and Petrucci 1501 Odhecaton, T, mm. 37-39, reads:

8

London Add. 35087 and London 20 A XVI have minor variants, while Copenhagen 1848 reads:

fT 0 ee>04 ee ey} ——_@ 8

6) Orig.: A.

131

.Superius e ° . 1 ° ) —___b f ) — ae B= oe —— ee ee a em |e te Ft ce a ee ee

65° Et qui la dira, dira Alexander Agricola f. 66°—67 Vv

yia 1, . [| fp Um |p ee —

Tenor

a

. $e o_o i idiuo- i| ra, $ i$dimm qeLa qrum 8 Et qui_ la - | ra, do ~ |@ he ag A a RY ~ EEN EER OER EC ca Wk CR SN Sn CS ON NE —-. OR OOOON ) _ ONUNNN QY SOUROET (OCCURS (OO

\J POee Pe Ceee Po ee

Contratenor

_a_

Et qui la di - fa, di - ra, La do - leur que__. mon ___.

: 10

-e oo ES EE i ne SAD Aa nD Te cc Sn Scie ne 19 HR

ee meee [alee i colcce anal beatae

15 20 Lb) ee jf] ] fF tt HH A ES EES (SOUS (OE (US NT (OREO NS (OS SNORE RUNCRSSSSOS ONS (SNONNOOR! SOUEN RO! f|

TT gf

Ye _~ ? = b p r2 Fe 25ee

‘Tos° pc| fF go {4 fT fT[=e Ee| |ee eT 2feeGS ise, |." TTS. @ | Qo legOe | 2TO eeeeee eeeeZ et | Fh... LOMO ——O Ge eT ster a? J'ai -me__._—s u:«~ -:«O«*ne bel -le fil - ~ - ~ -

rr, ero eoes —"—” ee OT wa 7... rn sw iat yp - tl fy JT JE Te UU vy wv _F_@g Ff aeasal| tlTS gs ga jf |; Tr OY =e EY FUT —Le l—eCOUmCTCCC‘(“‘(‘( BCOOO A 5eeO° OE Y —- S fo NN SS‘(NOON

8 bel - le fil - le, Ne sgay s'el - le m'a - me-| ra.

FS RE OS NR = nS NS OE ne

- - = = - le, Ne sgay sel - le m'a -me- ra.

2” A ee oo T_T SE OOO

G2 er ro _ 2) ~ 7 b 6 ; = eS SS

ptm fmm fe Tf —————— es ape ae a ee 8 Il me faul - sist ung ver-| let

reo Cdd"##N =a TO OL eT “=p rd TT (od _._—i«&—il me faul - - sist ung___— ver - - - - - - let, ung____ ver - let 132

$y Og eee (vy yO lPe=g te TT ; . ‘ so eee _— — a

if TULL 5 L.A eeeee TT (on » WOff"eegg a se|ee| Os ee ee Le ee = ee ee=» 30

‘ar We va = a rv ry ri =

f) _ aSes mY, a Se Se A eS Se eS ST D.C, eeSeeeOSpsSN—See| |_| —f —_} ff Ve fp ees

| “ : ) ; D—Ram ye _ : : . nee

Lo} = $5 —_, =< > =, 9 —__+—___+ __f—} | | eg yd Type) js —__y gC CO—___|-—_|___ ee A AS ES ER SOND RS—SS RS RE EY — EN AE MO

=pg = _4a4See OE ot Tee40 eeeYF] eee Se Qui a el - le par - ler al - lat. Et qui la di - fa, di -

pe Pe , fe45 ee pp} -fH HPs ss pC ph ae NG{f+ YS———_ A -—@—t —aefr

“o — — ; — mo $m $f] jj] i] —V >? __ }__f L ______] pt nl Pe ee ES SS SS SS SS eS a a ——s Wa 2 DE ee eee 2. poe DE i ey TK "=e? Fe ___gi-f —_{ +} __t__ef ONS) SE De ne a A a” a” mee JP" 1 ee A i es ~ ff vro, so waer ick vro daer ie nu true - - ren moet.

Oy ee et ee RES ——--C_-_,____ gle et po ____@_|__ __|_.___| _|__.| _@ 4 ep = i

Femme tele aie fe md ame 2] =m [mee tae fo me |

—— NS

1) In Brussels 11.270 and Florence 2794, one flat signed in CT. The first two staves of the CT have a flat in Capetown Grey. 2) Flat in Brussels I1.270. 3) In Capetown Grey and Rome 2856, the composition is extended a semibreve by the addition of a rest between mm. 7 and 8 in S and T (and

between the two Ds an octave apart in CT, m. 7). In both manuscripts the composition is extended another semibreve in the repeat of this phrase in m. 19.

4) In Brussels I. 270 (S and T only), Florence 2794, Paris 2245, Rome 2856, and Segovia, the repeat of the first phase is indicated

by a sign and not written out. In St. Gall 462, the repetition is omitted altogether, doubtless to enable the six-line stanzas of Sy j'ayme mon amy to be sung more easily.

5) Flat in Brussels Il. 270, Paris 2245, and Segovia. 6) I have ignored the tie over the bar line in order to accommodate the second syllable of "wille". 7) Flat in Brussels II. 270 and Florence 2794.

135

,Tenor : 1 ; a No atat

67° Vostre hault bruit et vestre grant fame Alexander Agricola

Superius 5 ey «as ly 4 ED eS-——] ON——F | ye #, _ [| p= (ss o———A Pet GS f. 68°—69

PO. QT eg 1.4.7. Vos” - tre... |_ bruit__ et ves- tre | grant 3. En. rien. | ne__W |craing re- pro | che

o. Et pour -j| tant__.| donc ce quejre - - - ~ -

Re 8eS ——— —==—— 1.4.7. Vos - tre. bruit et___.—— ves 4 (eee ~~ Onna RNAS RESUNTES (SUEUR (OUNENOUEEESD EOE Sy > RE EE OS EE EE DN SR

3. Enpour rien -ne- tant craing_ o. Et donc.rece

= eo Wo peys a A |} ST re © Adle A a =eo mo2C i

Contratenor

10 t t 15 5B ot a fe eg pe = fa - me Me | fait vous a -

ip gp a ed ee es [OMe i oe 2) | ae

f) Q ee Pe a ( da Je {vous et__cla -- me; me C'est | vos-tien tre gra

|8.1- atreEgrant Fe ———— OE YL fa- -me; me| Cd | Me fait vous pro -|che da Je |vous —__._—s« que re -| cla - me Se C'est vos-tien tre rau = =p = —_——— ® | to a es eee eee = ee ee ee

f) a20 ee 25 i op

_— a a —p— = yp a —— eo 7 — a

0 a ee ee Sac eae ——— eT eS ST vane ON OS SAN SO SON :

5 — ee pr . . ‘ee

mer plus ______— que___ fa -- me, me, ma queda fa-me -me___ tien | dray ma da ___ ce sans ___. nul_—s—: || blas- me, nul blas-me, ——___ -p = ee ee ae Se a Se ote = ———— —— 8 aet- mer plus. que_____—'| fa---- -- -- -~ -- -- -mei me tien dray ma... | da gra - ce sans ____ nul | blas - - - - - - - - me,

ee - - fF — *— = i ne pe +ff}+4 =eeeI

> ee ee. ee gg | ie TO ICP — -— ~— | Ee 136

.| 2)30 ~ 7 pet o |! fF

a_—.: Qui: 7;deatoutaoebien emer ae - ieles 4 Le rc = soit | as - sou -| vi - - as - sou PS

—_—— a -crois te ma me—_— Au En | moins se je-|sant ay | detou-j| - ser -|vi - - vi de -+-ser

oT . (2 35()40 f) —=

ye | +} — te + ‘4a @, — ef |_| __#e, 77 -— P| +} fe — eS! oe4}f+ esesce a ee ee oe ee ee ee ae oe oe oe oo oe on Se ee >——

__ a a a aee eeee | Wahd| ee 5 a| a0—— eee aEE____.

*TT.Ee —..._____ — WS oy Eee ma | __ ee esee... sasom | aee as um es as el ----"—"—"—"—_ OE ed |

2 eee ee eS wa Ce 8 —eo-——_ Tf 4 to a ° 3 5 138

/ — 30 r 1 — ? 3)

4 en Ee ee a D — A es ee a wae ee a SOR OS PCY Se EEE NSS OI OO fe {ok __ " poopy is,7ONag - cu - - lis | me - -

A). —3 -D../-E ee. 6 Eee" ee ee ee ee 2 2 | J AOW.€---'-:rT”-....'"aqQ”_ _—_ et TT Te y J

n b t 35 40 } Te t—“‘=‘“‘C‘zrSCCdr eS yp —— aff 7 ES wa & gf P@ |e A JT ge lgne OOO xy Ne eeUl=ESEe

))..i-"

em pO EE OO st ao” #* a i ae A A BD a A (S(O OO QOS RSS” OO PO

Yb 1 |b _ fe 7 ™ os De eSSe Oe

iL @» |e DDJoy Ee SE eeety _—ODe—=eEeVVVV... dU hm@rhre Ome md UT CT wy@#@ | | PY # eT wg Ag fT Ug UU eee ET TTT TTT T_T YT

8 - - - - - ~ -| is Et pal - - bris

ISfpnee48 — C+ J ~ i Oe i $< eo} FeORO —.RcrrAR--. SSNR a aAee —o>—>—ee A A 5—_—_—_ A A AS LS A OO.” 0. _L "wn. __ _ | , @& Tee | ype Cle |e

1) In Florence 178, Rome 2856, Vatican C. G. XIII, 27, and Verona DCCLVII, one flat is signed in CT; in Barcelona 454 an E flat is signed

in CT and a B flat in the fourth si placet voice; in Florence 2356, one flat is signed in S; and in Florence 2794, one flat is signed in S and T. Not only do these flats radically affect the application of musica ficta especially in the first phrase, but they also change the mode of the motet from eighth (Hypomixolydian) to second (transposed Hypodorian). Lerner, in Agricola, Opera Omnia 4:xvi, points out that the chant on which the motet is based is classified as eighth mode, and that the early sixteenth-century theorist Pietro Aron as well as Aegidius Tschudi, the compiler of St. Gall 463, assign the same mode to Agricola's Si dedero. The first line of text is placed beneath the notes of S in Florence 229; text in italics has been added by the editor.

2) Flat in Florence 27. 3) Flat in Bologna Q 16 and Verona DCCLVII. 4) Flat in Brussels 11239, Copenhagen 1848, Paris 676, and Verona DCCLVII.

5) Flat in Brussels 11239. 6) Flat in Formschneider 1538? Trium vocum carmina. 7) The semibreve rest is replaced by a C semibreve (a fifth lower than the following note) in Barcelona 454, Bologna Q 16, Bologna Q 18, Brussels 11239, Copenhagen 1848, Florence 27, Paris 676, Paris 1597, Rome 2856, St. Gall 462, Segovia, Petrucci 1501 Odhecaton, and Formsehneider 1538? Trium vocum carmina. It is on the basis of this variant that Atlas, Cappella Giulia 1:78-79, assigns the manuscripts to one of two traditions for this piece. 8) Orig.: D minim; emendation follows most of the other sources.

140

|

>. CS tenor |, ee

69: O Venus bant [Alexander Agricola]

1) Superius r , fg 5 ; b (A 6 fie ee Oe a“ ae aanuNNFEeEeeee EEE SE. ee" ee eeSS eeOooo eeEe ee

f. 70°—71

eo ,pp2bee TE, RS SS NS OO ES A OE A EO na A ES EES = SS SS SE" FS OY A SS OS OS NE SU OE

“Oo Ve-nus | bant, ee vie - rich_—____

iM ig Ge EE EEE ee CO == ee eS a a a es ee a ee — e 8 O Ve-nus | bant, vie - rich bant, Hoe A A _ Ne COREE EESEISEENEEE SOUS EEUU (OS ROS SOS (ONE ENS

7 dE- 9g ee Lf» oSPr eS Bg | | Vd eS) | ZO eT dg”| COLT

1)Contratenor ,

SS a 7 A 4 egoe pT ee eneea ey Te

fp ee ET | “=p St “gy” Ne ee 10

e I ] 4 e ha aa Pf ag

NG Rs NS I (AS OE RDO CORES USSU OR A A OC 8 heeft dat vrou - ken SO ple - |sant, Mijn her -te -|ken on -

f—so | fF ¢ ) 2 | 5 _____, _f EE EO ee Pe ey = CD

f) 1s pe $ 20 _ : NYS Oe ee TS ae Be OO Eee) TC, A CB ee ee — ee ee ee ee = es ee p o/ | ge @ Y {| Ji 8 “ @

|) eSC—i en ee pom fie tee Wi" b SS ee ——_¥ tt Hr, rs = rr = #ee30 5f 25 ay ir eet

be-dwon ghen? Dat doet haer___._ | troo -ste-lije__ |_ on - - der -

prio @ 2 @# | ae UU an (0 a oe

ou se . () ® nl 3) ———_—

ETE 8 SS ee F—___|_—_f 7 OEE?" Wh lt 6 EE oe

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=“ aed f) I eee| | 35

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ree eee a SSeT SE GEE 0 EE ES PSEET ES 8 Wc CE 5 RR ET DROS CEES SUEY o> ONENNENNNENOTENY > DOSROUNENS (OEE REESE UUOUEUROOEED ThA EY oP ODS = UN es 0

NY I RE RAEN SONS MERE UCUUO UnORS ( SOSNUNSRSS ES (SSNS (OA GOUT ved SOREN

Pt ef — —-SD 9 —— LSi SS SS— SS—SS- |SE SS a_asa 0ee—— a ae — ee

féyo CO C—C“‘i‘

wa 7A Fg ga ffRUSE Af TT(OUR f€- jf(RUC TT fT {TT [eC POON OOOO ..WO FP NG EE i. Te-g2« es SL| CRS eS SE (OERSENSREEN 0” ASAO NS (A

T7

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1) In Trent 89, a signature of two flats in the CT. 2) The opening motive in all other sources reads:

78 pep

in all voices.

3) All other sources read:

ee P= ee ee _ eee 4g 4) Flat in all other sources. 5) Orig.: A. Emendation follows all other sources. 6) In New Haven, Mellon and Trent 89: coronas.

7) All other sources read:

8

COR ee V A =.

8) New Haven, Mellon and Trent 89 read:

7» ff | ew TD

Paris 15123 subdivides the B flat minim into two semiminims: B flat and A.

154

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1) Signature of two flats in CT in London 20 A XVI, mm. 1-65. CT lacks a signature in Vatican C. G. XIII, 27. The first eleven lines of this bergerette are placed beneath the notes of S in Florence 229; text in italics has been added by the editor.

2) Flat in Copenhagen 1848. 3) In Copenhagen 1848, London 20 A XVI, and Paris 1597: breve G, tied over from preceding measure. 4) Orig.: Gs; emendation follows all other sources. 5) Repeat signs are editorial. 6) Florence 178 and Paris 1597 have the better reading:

Copenhagen 1848 and London 20 A XVI have the variant:

92 ok - + 93 _~ nn a pO te, | —____F tg ===Ft

7) Coronas in London 20 A XVI, suggesting that this is the ouvert ending in a complete performance of the bergerette text. The text has : been set to the music accordingly.

173

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Contratenor

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a[INYO CA ©egeeEEesAE eeSS eeEE ee ANTES ee ee eeAN ee SOS ee eea ee ee OOee y “eeTees* ee | Gof] 8

fyA > (70 ) 40~—= A0.OEyOR e ]OY b =t DO 45 A «= a A TY)NY > NOS Mc WA Eo? ES NS SS ES NU EE EN SANE OSU SCC URINE OO” A RENE (USN ORD SERENE NAOT. et MASUR RNS plours, 2.8. Me treu. - ve ban - ny de | se -| cours, tours 6. Par rai - son | puis bla - mer C—‘i‘C;iézsC A -| mours,

AT ae EE OB ee TOE bours;

/ (7 ) ARONA OSES (OOOO (ORO OS SORE CUSNES ARTES NRE (UOT ORCS SY A SE

/ 50

WS SSOS SS ORES Se W. Mid OED" 6)

8

199

0

1) In Bologna Q 16 and Rome 2856, all voices have a signature of one flat; in Washington, Wolffheim, the S has one flat; and in Petrucci 15022 Canti B, only the fourth added voice has a signature of one flat. The absence of flats in the signature of Florence 229 suggests that the scribe assumed the chanson to be in Mixolydian mode, a suggestion contradicted, however, by his addition of flats in the CT, mm. 13 and 37. The flats from the other sources, the necessity to flat Es and Bs in m. 36 to the end (and thus by analogy also at the beginning), and the phrasis of 'T (which divides the mode-defining octave g to g' at c) have all led me to suppose the chanson was actually conceived

in transposed Mixolydian but with an irregular final on G rather than C (for more details, see chapter XIII). I have added editorial

accidentals accordingly.

2) Flat in Washington, Wolffheim. 3) The parallel fifths here and in m. 45, caused by ornamental figures, are hardly objectionable.

4) Flat in Florence 176. 5) Rome 2856 reads:

ees oes eee 8

6) Rome 2856 reads:

(spear pe ef Strre 8

99: Helas coment|aves] Jannes Martini

be 6 Oe oo _ | _ > [Gee RE, v we O= cJd ; “2 = O2 ob: (yg: ee—— ce eee ee ee Se¢ Ses ee “We Ee Ee Se

f. 101°—-102 Vv

Superius

Ts Lf ne RA ONO NEN SEES a A A SS SaaS TT —

Tenor

76 San aT Dae a a Sp — = a ee ees eee eee eee et = —— 8

Contratenor

ee cS i (oe 2 an ia Pf —_ as — oe Seo fp —”

f) r 7 bl] , ,

Ob y=ans SN —t= —oCpaoepS ee So a oe AD —— ——o EL © aL = — {—————

a—— oop EEE eeaeC— Poe op— =7ee == = eseo — =] el

Seea -es—Se re aSS——= ES eae HS—ae_ pI ees ro EF —eee 77 ae et pe 200

aS. we > as DO Ate 4 a CSA Gn an.< ae ee; EL eT Pe PT] ee ASS —F EN ANN — A FE] = RED ; =—— tata OT Soa=SY-—} a SEF ws jp ——— | fh\ 4} pf a -—}-——] a as aes aoe —-f— r}— pf + fo |

ee Cs Se oe

18

—— — p eeaSee=eee=ea ee ee

b 23 30— _ on ee =Ah SE ee. — +4———— - | - | 4} a ee . ee Gg Y - Go rn

ee ee Oe Db -——— i —- el oom I]

8

a go Se —EO oo 2 on eo

nD +|__|rere 22a| Op —| —Eee bb ‘4 ~__t_ ~ oj ____|_ 35

peer p te | : en ee ee a 2 ap ee eee ete ” ()

8

i ee eS eel Z aie f ee oe a Sa Sa = ———

Ah 40 b b 45 4 G ———s ea ee ee a

po, $i esd

— ee et ___ a a ___| = _ een __ 4+ -——— _ ee H es cam

Dap =dnSF nf === oe gepe=e{oo ee OT eee oe (gw J = fo 3 i 8

bP : = — === . ee _ sas i je) ears = 7 f= ane — ee 201

aa

pos ies |g |, | | et gg 0 b b b = = ee eee ee eT eg

n 19a ae 20oe 22ee23eoLh 24 re 25Lg Y ee ee ee : (Ss a Oe

1) In Bologna Q 16, mm. 19-25 read:

She —- ——_ 5D 2 ee ee ee oe Lee = ——Py EEE AE

2) In Bologna Q 16, mm. 36 to the end read:

es ee ae a ee oe eee oe ae ee So pe A ee es 5

;+|

——— a a

fp 5) Tenor — Fo

° 9faire[l’arlkymie °9 100Pour d’amours] Anon. f. 102°— 103 1) Superius

—_—p—— A A TS A ON SS SE NN SN a, ST ST A A SNS! SONNE RR

pe ps P|NG, 1-6} EE — a OC i E™>—E FE SF eo C2 ee —NT a Foe A CE; ES OSEEAEE Pig EE

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er

Contratenor D>. Et trou - - je_on sou -| vent___—

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biez fours,Done Et duon ehar le_wi—____._ ww | re -| -|etbours cui- -bon de 202

h 20 Gon 25 Go” Gg XN / |, |, |? b A») | EEE EE EE ESE wm 7 Oe ll CUT CU ede Ee Tf » | eT ET , — 5 30 _

many, PE NS AEN ORONO (ng (RS (SOU nb» eee EENN TeeON eeeOD(OS Tee Eee ee Briez 7|ATT sR OE po >eent par| foys, faiz, 2.8. Qu'on y | fait trop de ee ee 6. Brief, ceux] sont les lez PS tC biens | faicz;

Sp eeeheeee—=g eeEeeeeeeeeoooooee Pffti gy tT re} — 1 gf | yt 8 d'touv - | riez faiz, 6. 2.8. Quion y fait plus ____ depar cent-|foys, Brief, ceux sonttrop les a - |voir lez biens | faicz;

ad ry r OS D1

eyr)| —_}-—___,,_|-—_}| —_--_| —_| 2 OS 2 _|A ye | i OS i|@ ha ST RS E_ Ee Op eu 7 ee Ee "= ST OD es "eg tC vy ae eh fe eS ES ES

b —_ a 2} D

Fc cc OSE RE ON OO RS ORR RRS ONCE —- OS SS ES SNS (SON (ONES SN —- OS (O N S S

2.8. | loy - aaul-|-j|mer, ment vous ser - fe 6A.Et__._. + |vous ou que sevi--

Se NN eeeT ee Lge; | YOU tC a "egy —eE

RY A OS SN X_N (OS (SENSORS OOO (O_O SON (OSSD (On OO

AS) SS SS ST SS LT Se 5S A SS SS A SO SS — AS (0 SS

~ loy~vi-ray, vous - - - se -| vi- --vousaula-}-|ment mer,vous ou| ser que- -se-ray, ou| ser | que

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Ce Ee eee S| a Pp ——> :, 50,___ ra Po a b 35

es? rr —H I pO ?eeS 6 CH G = —. |

Po a NE PLS ANOS NEE ON SORES UN CUNO NOUN OG SOUS PORES EOS OES OSU RRNSNEES (SCS SCE NONSENSE COA OSUORONOS (ONY (UR

ray, Aul - |tre - - | ment Pe je me def -| fe - -

an pe— pf P__@ha —_-|—___ = } | ___} ef

_\ | ”t”t~‘“‘CS™SOOCOCNOTTCCTCOCONNTCSCSCSCSs*stst‘“‘(SNSCO#”™SCSCSCSCSC‘(NNTOCOCOSCSSOST eee EOE OTT

SL LE SS A SS AN SO SS Ae —o— og et og ee a tert

Coo EOE EE hi OO EH FD oh OY Le _— oe = © EE eC ee eeTTT SS ee ee que - - e,jeou je soy - e. def -je___|_ fe - - -soy - - |-ray, meque def-fe - -- -- ray, AN) & y— 9 —*___ Jque 2 je | soy = e. Se e, tant que vi vray, ou ray, aul - tre-| ment__ | je me __ def-| fe - ray, |

ad gy ye

a - _ eT 7 =p ea 207 |

1) Flat in both other sources. 2) Flat in Petrucci 1504? Canti C. 3) Sharp in Petrucci 1504? Canti C. The flat is missing from the signature of T in Paris, Rothschild 2973, m. 33 to end. 4) Sharp in Petrueeci 1504? Canti C.

5) Flat in both other sources. 6) Petrucci 15042 Canti C, m. 51 to the end, reads:

eye "Oo __-NX’---..-—__ OT]

ee or a,:RAS*ah peFS| |rfgh fe Ly | 7 Te Pot ig Superius 5 ____) f } een nene

103° Nenciocc¢a mia Jannes Japart

f. 105°*— 106 Vv

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Contratenor

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TT 7

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208

15 a 20 — S,\7} oe |f __ f = iiae ———a

ee 3

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a TT A A A A TE ATS TT ACTS SO SO © ANS SOE ON CN —

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6 . ee _.i ee

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ee ee ab. [|ae | | [fy a__ /_— / 1 : | ee ee 4a

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or - dona ner,_. A - mor__ | voelt___ por vous or - - - -

wma 7Ae vg A {fT &z|T, Tg @ IND’ EE2aCE A CE | < | 4 En 44 = ee ee" eee o_O

ETE NEN ee| EEE TN NN|ee¢ ee 4 =|) yd ee ye i’ @ ey eg x ;——

-o-}=-—_—_ —NVW_.————————/J_—OO e ref | {|_—o yj |,QJ) 55>... |/(_".W._ Fv tTTT | A TDs — @ {4 -. hOU YS rti‘CS;TTOCOCO~™~CSC*CdCOCLGYUUP oT |DT cv aa a

|, rT Qj -_+-—_+#_ UT Cg oO © _.:(-2-2 Df ™ff=4 YL EE| +ES OS ES++AS i ES SO iar A eee”

212

pg eI

pn 29 r 1 don |ner fin Kb eee Wie ee ee

rAA i, $$$ tee oT See oo eS ae eee _ NE SY yO SF

rr Pog | ee ee

ee ae Pd aa ieeyl|eeee cis ' =A SS =a = 7!) RECe} Arr ES ES OEaESre "A1 ES2 A a eepf ee ee ee See

215

— = a a IOD ae _ TOT OOOO ee T_TEm ETT SEE

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|ee f fy 4 oo"ge ST eS Oe™ rg gS SeP|eee 8 yj 4)

5 CY @» SN |.ssJ Ji, ey| =| Wj] —_[|gma~ | [fy | fp [| Lp fy i~yeo, | @#@ | @ 4 [te fd nN 1)

g.

27s, OOO SSE 4eae as SKDe>.TT oO e ABEOO Lae PS ee~egLL eT “e—ge A ee ee NS (a — LR A — A — A HA PSE I

» | | eee gmFEL |tttfteerg qh OOOO CO a eee es iE 8 yp OO eS°&[ eae4 aS (6SG-Oenowow._ [*"*#"H2-vNrnr"’’’”"’”’”N’W"—_ ”__ | —t—COT——sS—SFS——C UT Vr? OU "=p CO ya | | ~ |tig wa? ir | Vv TA ed

it~ EEE EEA Te i—=p | ff | ifpet ¢ Pyss) oo? oT NS BE OT «o> A A ee YO eT eA BEE eee OeeT =e eT NT DTT EE TT F*-NuN-— Te eee ee IE ’?2—CO oT DOT Ah eeOCef Te YY PF OL TeI.oT OTEE OO[a —=e Te“ SO RNG) AThe a atii 7a—\(rR.0,, Iey ———?— Tt Doo EE) es = eee i?» ©—eP gop itt=e j Tga| 4eee A (Anw.7?—_"XUUW.'-Nnvwnw’wW_ ©= i SdVY ___ 9LLL o_o OOO TS ee ™em Ll2NN _= oT TTeeNe

Fe atees NN OO aTlOTCS SS NY ‘fe 4Yv E—E—E—Z—iE xi™O00 OE OSE EO EE won | FFSS gaA rr trA 8 —__ @~ | @ |NE 4 oDLNTOO" oe OPNN“ Cy /_NnnW”._..|!._ —_— OTL DCU ya. | ~ST @Fa TT gag | tT 4 eg | ge Twi} gariTT ff—P Te SS an SN —SS EE es iA» isT|Pr @SN gq |—_ @#2SS | Lae 4 aa| ee | foogUm he Or et ea 7.poe | Ye _K-eNnNw_?" | VrTTT CCl™ aLO ft oe

OOTY oD Te JE eee... —_ ahwee ll Eee A NN NS NN SNS I } $$ $$ rn eee Ee Se ES cE Oe > nN”

|? _ >» “2. @ Ff Tr | ei fs OOO oT DO OD ea ae MFTlg | 4 | T_T 216

,a abve40 f OO

ees eee eT eee, ee TT py es rg rl“ J7!|,.--EEEE EE ee eee —_ Fe aeies CeESNN SRS NEES RES ISONE cecewrens RARE (ONSEN EO SONS SS6 BC a cay, I I CS I rere, EE UES ENS memes nS ES NSSUE OO ES SUNS NS SN LE ACOE YE ES SS = UE

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1) An F would be preferable to the C of the original.

Superius js | lg Te5 bid

107: [Textless composition] F, Rubinet aNDOE SEr_@ OS| _|____q OO OS—__| RS OE Ny= a Gh 1 J. 4NS ee ee

f. 110-111 Vv

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109: J’ay bien chosi a mon voloir [Hayne van Ghizeghem or Antoine Busnois]

f. 112°—113 :

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Ia eera ee7ee7165 b 70 b pf ff fg _, | _}_._gf —__1 4 Oe O_o TTT OUmLOTDOL—CCT TC CDTtCOCT D7, —E"=CT TT TO

a +».7 =OOOCNNONwHu.wvw DOT O_O TS De"F DTS OOIreWT COULhUmrOermhTT hrTrrt—rdTC LULL rtrdTTA Oe yy ..._ pz. L. [_Y @TT ftvTCUmrhUrDT i i[TH @itftlA Tt, ftrofte ii¢t Orr ii, ya

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222

a era 75 = ia 4 80

2" 2fpeee eee ee666 eee eeetCeee ee meer ven, eS 3©Te Cd aeee me0ce OT TD ae Ina» (av WL EE eee VY 6 eee ee ee eedT eee eee eee eee er Ce ee een ee ee" ee en eee eea) PP dD eee NB YS RS 0 CS SE ES SS OU ES eS el a Oe A =F i es a , oT eS eSCL aS Se eSeeee Se cs SS“ep Ss Se=e a eT if wy [am OO ET8| B (an eeST ee=aesSe © Le ee eeT= ee os eeTL eee” 2 2Sn ee eee ee ee

La a A es |

T@so DO Te "=p Td i2 A eS ES OhOE gf Sn YOLTC SS » |Se «egRsfdps OTPS ET(aeT OS 1) A corrupt version of the text, all that survives, is placed beneath the notes of S in Florence 229. Since it cannot be reconstructed satisfactorily, it has been omitted here. It is given in full in chapter XVII: "Notes on the Compositions and Their Texts."

2) Florence 229 reads:

a eS oe ae 4

8

Emendation follows all other sources.

3) All other sources read:

| 1 35 }° [PP I eH

4) Signum congruentiae in Paris 15123. The CT of Rome 2856, mm. 32-39, reads:

— Meee”

aVaCoa5.7a ass ee =es 2s

The CT of Glogauer and Paris 15123, mm. 32-34, reads:

~~”

5) Flat in Paris 15123. 6) Flat in Glogauer. In Glogauer and Paris 15123, the CT, m. 42, begins with B flat dotted minim and C semiminim. Mm. 42-43 in Rome 2856 read:

42 43 +71 OFF

io p—_—_1 {|_| fy 7) Rome 2856 has the smoother reading:

ene2ee|| \’ »A.DP 4

8) Flat in Glogauer. 9) Orig.; G. Emendation follows all other sources. 10) Flat in Paris 15123. 11) Florence 229 reads:

8

Emendation follows all other sources.

12) Glogauer and Rome 2856 omit the melodic extension in CT, m. 79, and instead cadence immediately on G.

223

110: Se doulx penser Caron

Superius ee f —; 5

" Ce Ne : :NT| Tf2T_T r 7OT5eT ee

V f. 113°—-114

~\ fo &4+«| QQ.EE; fTOS ¥{ oo Je OEee ANG OE SES SEES (SS Ceee p= Dee nN§Ieegy NL ee 273 : >or CO ee es es

————— aa a EEE En aee —

Tenor4 ~| —“sCSCSCSCSCSCY Ce C‘“CS*S*sSsSSSSSCSCSC‘*zC r—OCSCS

oT Tm@be re eS r) Td : || fF Pet fe TTT TT OOOO whit 2 «dd © | OT Oe EEO

f) 10 4

Contratenor

8

Ty Or, NT TT fT

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eS AISN eeod eT py |K7"—-—-—--..._. EO2A° En aaaL Ss I"TE aeee «=, pe ___ L_LOo s—oS——oI3AEE ee eeeT eeES = ee ee Teseot: —eNeoOoDoeoODWDOOO. LTeee at ESS ee oO 225

1) The repeat signs do not appear in the other sources. 2) Florence 2356 reads:

ee p}° se 5 v Es ee |es

3) All other sources read: f)

NEY TS ES ED 4) Florence 2356 reads:

48 EL. o' 49 AEP pj:AT fo) ES SES NE ES GE RL M. 47 of both Bologna Q 16 and Paris 15123 read as in Florence 2356.

5) All other sources read:

6) Orig.: minim B. Emendation follows all other sources. 7) All other sources omit the melodic extension in CT, m. 59, and instead cadence immediately on C.

111: Gracieuse fleur Anon.

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a

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226

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8

Y x | TEE Par sung jour de ma - ti -j|ne - - - e Ad -

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”) Tenor

") Contratenor

8 Par ung jour de___ né - - - e Ad -

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A NS OS A NS ST CE SS ees, A OS Sen Sane

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>

1) In Bologna Q 17, signature of one flat in all voices; In Florence 121, one flat in S from m. 30 to the end; in London 20 A XVI, no flat in signature of CT. 2) Bologna Q 17 and London 20 A XVI read:

> . Cn (e—— Fos — Ot CO es * eee

————

a

3) London 20 A XVI read:

> On ¢ ee ee Bologna Q 17 substitutes C for D.

4) Orig.: F; emendation follows London 20 A XVI. 5) London 20 A XVI reads:

In Bologna Q 17, the two low G semibreves are combined into one breve. 6) Bologna Q 17 and London 20 A XVI read:

On = 9° ee

. i... no | fT e—ep> 7) London 20 A XVI reads:

a————— es i aa acs 2 ——— si\° =x, 2 sf — 2»

8) Bologna Q 17 reads:

.a

St

2’ A eee ee ee

———

237

.Superius .Se’ 5|1¢la , # |

Pe

117- Amours nous traitte honnestement / Je m’en voy Antonius Busnoys f. 120°’—121

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g'y vois pour Ma - - ri - on.

ee Oe fh OO DO SOD =p.oO eee OTTO O_o _— ee EI TTT NTN NS

;;b

f) ~ ee ee ee FJ A A Oe ee = ee PY ™” Od ™ CO NL SSO eT) jos - - - ne nym - - phe et | de-bon-ai - -

y.

fT D2 . 2 .Pm : 5 eee nll aey ae ee ee |f)YW rr | | p) = | .OOD Fee OESee TT

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sant Que g'y vois pour Ma - ri - on, Ma-ri - on.

1) The text is placed beneath the notes in all voices in Florence 229; words in italics have been added by the editor. 2) Orig.: G breve; emendation follows Florence 2794 and Paris 15123. 3) Orig.: D semibreve, D long; emendation follows Paris 15123. 4) Orig.: G semibreve, G long.

118: Leserviteur[hault guerdonné] Anon.

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f. 121°—-122

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240

# 15 20 ee ee

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2b

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5 mot bien or - ~ don né, or - - - -don -| né.

—— Se cece: ES — A RE GO EY ° RN SE GE GES A ly Tn

1) Orig.: five minims, B A GF E.

119: Laplus Anon. Superius prI Of a’A RseeES Ss5 Ss eseeSy ia diWT © TEE ETE ES ee rx,ee =e eTes “eh fe EEE jag I—-= pyCz gg eg firee C—O egiegSe Pe Contratenor b ,

f. 122°— 123 Vv

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8

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iy esfeeeCdPoa rFo eswa yy ;BAe ti -- re cour-} roit_t =ecom - me a la pi re Y_..-—s—s Dez_ par -| faiz_._._—— biens qui sont enplus| | el - bel - le,- - le. __

f) as ‘4 | aaggg b Len” 8 tipl~-re cour-roit com-j|me 4 lasont plusenbel reYDez par -faiz biens qui el -- -- le. le,

Pe eee Eee TD eg SsSSSdS OD =I ri. ti y—@—p—_ Pe _@ _| » __F __j}_._., _____} 4, ___j ft it

aE Od NO. Se ES es Sa Saca a OR"lg” EE EE ef |05 105 D

A a (SN OOS EE Rt NN CNRS OU I SS OR COONEY RROD CRS (enna, SEREEET (EURO OD (UES

Ec a (SSS ON oO MS ES OG OY = A NS SE A EES NS NOE EY ff

er ap

Hs NS EH RE er yees 'F CD OL ee iferepf— tt a Oe a ss a es Ss es es es ee es eePo ee

Sa a ee eee gg se ee a ee ee a ee eee eee

ot? ..OUOUWUWUWOWVWVWVvVrmrh hd memrrCUmCOS—.TCOOC TT ee lle—m Ue

1) In London 20 A XVI, CT has a signature of one flat and T has a flat from m. 103 on; all voices have one flat in Florence 2794 (secunda pars wanting); in Turin 1.27, T and CT have one flat for the first 70 measures, and S for the first two staves; and in Vatican C. G. XIII,

27, CT has a flat in the signature from m. 57 on. 2) Flat in Berlin 40021.

p 14 15 16

3) In Berlin 40021, Florence 2794, London 20 A XVI, and Turin I. 27, an additional measure is inserted between mm. 14 and 16; in Florence 2794, the passage reads:

——

Le a) aa Socecces So sae aoe

Lepe T—=p &

4) Flat in London 20 A XVI. 5) Flat in Berlin 40021. 6) Flat in Berlin 40021. 7) Flat in London 20 A XVI. 8) London 20 A XVI reads:

te 9 es es—es| Jf 9+}es| ——~

y Pee SB

9) Orig.: B; emendation follows all other sources. 10) Repeat signs are editorial; Florence 229 has double bars. 11) Coronas appear in London 20 A XVI and Turin I. 27, suggesting that the ouvert ending occurs in m. 100. The text is underlaid accordingly.

262

a

Superius r 5 TO mm” ET —_._~.__] i Oe

128: [Gentil galans] _ Alexander Agricola f. 132°—133

f) T 7 eco ce mee es ee ee = Cd pee Se eeee cee ee a a a a ee ,| 4ae 10ee oe ee eo

—o-

8

eee _— nuN’...W”0 a wT te iV SO ET SE EEE eee OTTO _§#jrnN..W eT

gm TENaan Of(heee] ANS Ynee AS a (a | ne | NOES S—————————— Oe a a a a es es a a Se ee ee eea See ee CeCe

65 Se ee ,NG $eSe 8 15, 7 2’ Wee PeOo?) EeePoOE CO a A = ES gm lg

aa ae a nS (SS (

r CJ

a a a a ee ee ee. | || ee,

20 4 25 $ ¢

|, fd FT +] RR Es oe, [a ee 2 eee

—————_ Ss oS ca a Ss Se Se a a ee = 263

eee

N 30 A ee ee PA leje TT ET ee —) i 7 4 ee. MTT eT i = ee ° ee A 35Omran 40 f ¢ if. b,

A CDoea ee a aa Gees ae a Cy RS oO?en —?— eS =eeesee A SS EUS (OOD O_O 2 ee TO ot rr— ee ETT Ee)Qn OE(ON TET nO STeee eee C/

_ rr——F™ CO Oem LTC PT Oe “= TT

fF EEE TTT TCS| CUD OEE Eee SSO [| Eeeee eS [resid TST ee ss a ts nee INO aLSS A AS peee oth EEeee I Eo a a acaeeLS a eeNN a aeS eCGY a eeEN ee ee eeieeeE;_E_ ee ee ee Jy

Lf Eg tg Eh" ag pt — $y

FE a A0 GE Aa AT OR ©(NEES OR BO 5 We —e SRST OT Ee '?7 CC RB AASN EY ENE ETS A A OY A ET PS POD _Ayr— D-@AA ANS CO a 09 HS UE OO ES NES=SNES LES SESR [la jaE|.EE tty 8

T 7mo? Toe? | @® |\_y - fee eee Ee OO EES OEE aTP KE A DS A ee UN NO eeOesss (een OE SOO. ....(nNn... 1 (OER @ [ltl |nS |© ee(SNES eee ETS eee SN, LE FAN CROSS NS |SRE URS OOSNE nS Eee (NED CN

* 4 — f —o es es a: an a ne Se es eee es es es ee r.....-NNN7-”-.7>77.eT TOOT _(-.___]_ &z| S| Te EE TT ee dt tH EE Rn A a PR On... o./0vvwW_AJA..._l_{[______—l—™=™eEC“‘#$KTEWCSCSCS OUTCOME —“epe ee

eT eT Jae? ET EE LW eee Te EEE EO

w.....-NrN000—0WW_ — >D...._“... 2 [P| Fa | |eSfg @.eeee OE we Orn.20--.0222 2? __(.0A00W0Wv00W.___L_ —_IV 9ee @|.gag OO TT —e—E EEE EOE DOs —TE—inNr—__ I OD ee|...OEE SS OSS he .“6Ne aged “SS tetmmne epee”

ok? OOOOEOE—E—E———™_._ ’r00W———_ OTE | OY oeLTCC 2 ET 2 2 |eee [J OE TT —O_s/(_czC~nv”’7v/—.-"_-."70”””T__—_— /uv”70"0W—_— *WW.._ |. Do. . -8 oe eS Oe| Eee 2D OOOO TTT idep TE

ps 90 1) r 5 55 T_T —FOO T_T _5 ee,[|| L OOO rDrWrWdTT™!” OTTO ee Ji TTT OD Eee Te EE OO _.._.. Ta LLL FO Noa TT g@e A EEE EEE YY ~ if ~~ 4 , oe | “es ee[bE Si) th erOY ,Ans| KX. acces [ni we | | Tg EE UES es ~w |PJ —————} __}___—-, = —EEE 7

129: Jene[me] puis vivre a mon ayse Henncus Yzac f. 133°— 134

OO caOOSA (a(S ONO SUUUS USNS ONS UE OIC OOOO NG a a SUE SU OUR (OY SRN OUOIRIOORRSEROESEEEO (O00UINTSNO UEC ECU NG A SN SS (NY OUT OSSSSSESSERSORSULOSSOUESENOONOSEIIONY (NOSSO UE

)" bf 8

Tenor

A» fe Eee eee eee "=m 8 1.4.7. Je ne3.5.Jeme puis. ne cour roul-Je hay-|ce qui

ws? eee Eee —egpNC Od>yeNc TeON OT NB Meee RS (SND SUNN oe

* # pe, £0. Eee a> es OP ee @*¥e aOE RS esSS RE nn >eee aa |? »y Ww |eee Lg Og —_—— SS ES S©. ES EEee EE OE DY Contratenor II

1.4.7. Je ne me puis___..- vi - vwred_mon ay -se, qd mon 3. Je me cour - roul - - ce, je—____m'ap - pai - Se, je—___ m'ap5. Je hay ce qui. fault que__._._ je bai - Sse, que___.-— je

A yh © eee eeeeSP? ee PR —=eE TTiO Oe OT Oe =e eee TE "gO EE e—e yee err eouo,r 10 i

1.4.7. ne cour me puis vi -|vre_&@ mon_______ ay-- -3. JeJeme -| roul - - - ce, je map - -| pai

5. Je hay ce qui fault |que je. bai - -

Cy. 6-0WW_————————————— eee EO eee0uwweereeesc over on

1.4.7. Je ne me~3. Je me cour 5. Je hay ce

Fe FC. ...__- __|[—__ = (i“ep ©SS OD Oe KK >Oo 2 HeNuv-T-._![(___ CC | = #@ [|OD TY tO “=p se OM eq: Oe eee 0, ESIx{quNe—-OnNNjNNNWWW_ YA SS ES AS SS SS SSS SS SY SS SSS SS SE SS 2) 7

|(7ee & ' D SE ee ae 7 [| | ge AS CT © = Sees ay 8é, a Cm ay Se, bai - se, que__ se bai - se, 5 vi- -|ce,vre_ad__._ mon | ay - se, a= mon | ay - se, a mon__| ay - je_____ _m'ap-| pai - se, je________ map -| pai - se, je miap- | pai - ___— fault que__s—sijee bai - se, que_._ ss je bai - se, que je___| bait - -

SC TS (TUES IN (OOS UENE EOE |, pai - se, je—____. m'iap - pai - se, 266

f I iw fff

,Y15r) ly a 20 f es 9 Ero rf > 8..~.

_y oS ff. _.__]_ I __._._ _ —— LeA wo + Ff») oa____|—_}_}_¢—_______} etetEeeoeOEOeoee Ef Lf =ei|-6 Oo A A he) UT 5{|-oft +tte a 0i EY -< ,| A = es nequi mesi ||fort les~sent u-neheu - -- -est, me court seu bien, de ce je vous as -seu - - yj /- | f° reee8 eT OLeT9eee Oree+eee ee em! FP if. |=ere gf 99 yl de

10 r 7 wey ee eT Be ee a el" Sd

Ci eT pn is 20 J re, Que de I8rFe .7 pa a NG NS SS ES SA SSD SD SN LSS SS SNSSNSCS SSN CSS OO SENSES USN SSN S08 SSN SSIS [OS SE

yrQ ee eeft pe pF

a

T e 7 a eee ee

eS, mes pen-séyesest, ne meles =fort - - sent ucourt -ne_heu -est, Dan-gier qui si me seu bien, mais je say bien, de ce je vous as - seu -

2 a — eo ) = PO ) oh "7#@rvr"VY"""#9#97 _@? 4 ?°P————— Ht Ft HY 7 a

aaPt "=O esee TE ee

CO ee eeeeeS —————————S SS=ee —_————e aEee WR ee En A SE Bee “ee FN a. elSS ACs a aee ae AREA eeeee =eee eee ee oo

he — V2 ?—r?— OO OOT>*T e OOooeoeoeoeS egy

ae _ "ee —e ee Ye Ye 2 rr

A en ee en ee > ee ee ee es ee > ee ee eee ee ee.

4 mee. Wo wee EE =e ef Oo

f bDCOi”rt Ce eeeg45 eeeTOOD» TPANN Oe eS TT Fe es a EE = "SE A” WS CO USED ES OS RD NORE CS ONO QO OS ES ON AU

NG SS NSN CG (NOSSO SOE ROO OCG NO peg fg fT

a SE "en ee ee ee jj «| a al

sf.» I #. @ | \@ | [| | AT [ @ # f #4x| f, Vf. | °&z[| {Tf _... ACS} -______;__FF-_+_f 4 yg | HY po|=te| | >& EO eeQo... De

_—pfil rp fg i pf eee

Ce Ee Se Oe¢CL ee&z"eg PF 7a | ¢€¢|| aJT L425» Jj-—__| {ffSee TTT Te JT 4g | —EES"2 @ | VT EE ae =fF..gaOe *| |r; i@,., ee p| ee rett YT ™

, Cy50 boe eo 4toNee 55 _or ter#oot ooDT T_T DP ee = “=p. a eoSS et FE . n_”

K Cc WR ES —_ RS vAES NRSE NDEN NL AESE aA neOTT | SR RN RS OEE ND =,NN ES (OES RN =«= ES Ss 8 ND) I SE REE EE CRN EU NE RO YS

2’ es i if. | TT |dO gp [|TTTOO,CO | _, | Tyoa 4ir—-——__ 22Es TQ |@ _ Ce. || | -+_ i. DCO 4 # &z4 | @# {|es (1ee 2eeoa.0 et Kh. inr.A ot_—__._ — i&|_a FPF po 4 foHTH —_—_F

Lo} Eee.” | fs.a _fp || yee Eee O_o _______"_ | __ _ f_e__ as a el Se TRF 2) sO Tt .1(6@0@”—@— ET —o OE OO oe OST Ts ll ee ee eee eee 1) Missing in the original; emendation follows Segovia. 2) Both Florence 229 and Segovia read: A.

279

Superius 5 b gy] }—_—_—___ Lf, bh fh OO eee =p & See ee = Se ue eT ee eS ee ee 2 eee ee > Ce ee en 2 ee ee ee =e ee

ar ns EE EY o> DS SUNS EY NS ET > US EN PO nA Ok Ce

/NG)~a DE¢EY20 _ A i TS EE A EK A A ee

A — CS SS Sc A SS SS ONO ORD ST SS CORR CS SSS ROS LE SE REN 97 200 SRO

“ aaa “ “SS if. »)» | P| eg Eee ie OEE Ser Eee eeOe Eee wan 7 | iY @ | @ aa Jf Qe CT U Um€EhUr>"g |CUCULCUCULTULL "= OT —=e UC Gs OOYC(‘ ‘CS

_ 2) b

TN 7 ee eT —"e“egp ee —=en—=pe eT

ae ee ee ee me —— ‘esoa @ {gg 9 te eS ep [~ pe, | ye a a eS = eeeS OeEEE _p yj 25 ro 7)b 30 (7) if» | yO e—=egs = “=e EEE pe} ee }—__}| fp —y— ae e +++} es A A NR Ade GZ oe de - sir, de mon | sir,____. de -| sir, Ja fy) > # | bh $ (ON) yt. ~» 4» | # © 9» ey A wy © p Yr J | © @2,~ | Oo» | | pO nT Ae re 7 Ee eG —"“eg Se aOTs JjfT | A. gi A OU SS AS NS EO” NE «DN SS RRS SS OO DS A A OS A es nn Si aa

A TS NR NERS NNN RR, NN SRR PS ORO RNS CASRN NY QS NO ORCC (OE WOO

P : 3) D (QD)

NS) SS ES RE RNS ONS UR EE RES SO NS NNN OT MARRS SRNR OG NAT NS NT YA A NE — A

8 __.._: de = sir, de_. mon ft de-| sir, de__ sir, Ja —-

re 44M 8 yo |GLUE ~er-£ PE PE Ob, A A—SG OT eT oSTj| |2|ASld__ __? e_e _VT TS>? 2 te( [7 tw» j} | ES JTOE YYAify Uge_ Tl Om CUlPegle ee 0 =oT aa A A TS SS ES{ftNL” NAS ONS SOa OE ATLL A NN A SO ©Fh —Pe E RNS 280

sr | ‘A =

fsA 39 8)OE 40 nm fhvn| 1HE dee Eeee CC RE Se eB es ee SS

G = a G Cy OE a ™ LE Ye a RNS NY SEU Witaen EEEPENUUNSTND (OUNCE OOO see US . WS NOS WOON PORN OS (00

AND’ Ae p—___,- |_|} _}__i_ gi po 4 rw ay +f it lg ,- © wi 4 A

ty 1b \oOee ee Ee 2 4) eee poe ge | CO “eeEe UT Iey i EE aSS eeET eegfTT ee Et ET SN pt tj} jt | | | a_ CS ee ee es f ee — a7, sr a ce Pee en lr“y LCC rl (A re eT PY , 50 i pb 55 #

rma hyO_O 1 Jf UTee LUDO Ee eee eT 2—“egng OR 0 Ca ee eee ee a2ele eee ee 6 eee 9

) # 45 ro

8 mais ho - me n'eust le | plai - sir, le pe plai -| sir, n'eust

eS BS nN SN a SOONERS Onc yg | Tt fT

| _f N.S —————————————————eE———eeeee—eeEEeEeEeE———eE—————_—————_—————————E

NS) aT E_; —___}__ yg © i | 4 p___}______{ _,}_ ___ jt fey JE EE 0 ee ee es A ee

Pa le plai -j sir En ce_.__. | mon-de ce ;}|que____ jla-| roi - =

eto. | OTTO =n we eeeSeSsSaSss“o?V""’”".. 3 Cc A ES RsEe PNee REeee UNS OSeee A eS OND A iSR ee=Ey ee OE eeeRE eeeMON eee ee. 2 ee ee ee eee0

|b 4 ogbaybaa

7 a po Po esnSFe a a, eeae See eee Po on to ee ee ee NS) A Sa J Ft HIRE HF 8 - - -] e, en ce mont de ce que] j'a - roi - ——, C/

- - -{| e€, en ce mont de ce que j'a-roi

Dene eeRSeee ee SO eeeAee eeSOON eee en Se A OSee A eee A SSee AA SS ee SS SN ONee UN SO ee =< ee OT 1) All other sources read dotted minim, semiminim, in place of two minims. 2) All other sources’ read:

CO aeeA eeeeeee Se Ane2ne ee A = eee ee

3) Orig.: A; emendation follows all other sources. 4) Orig.: E; emendation follows Seville 5-I-43. 5) All other sources read E. 6) Flat in Glogauer and Rome 2856.

7) Flat in Seville 5-I-43.

8) Both Rome 2856 and Seville 5-I-43 have the rhythm semiminim, semiminim, minim, at the beginning of the measure. Glogauer has two

minims, D F, omitting the E semiminim. And Paris 15123 reads:

9) Glogauer and Rome 2856 reverse the rhythm in the second half of the measure, reading minim, semiminim, semiminim. _ 10) While the reading in Paris 15123 is corrupt, it may present a significant variant. CT, m. 39, contains music only to the value of three minims: a semibreve rest, followed by a minim C an octave below the S, creating parallel octaves. 11) All other sources read:

Pe; "=m

Oo ee ee eee eee

12) Orig.; C; emendation follows Paris 15123 and Seville 5-I-43. Glogauer and Rome 2856 read E.

281

135: [Textless composition] Anon. Superius ) 3 ——___—_ A ahi os hE eoOO oe Ee 7 ; PN EEE EE Ee EEE ee EOEOo EEE EEE eee rrrrmdCCCCC#éd,

f. 139° 140

TT eee pn 10 ny YUU. 2 Ee eee CLS LTCUW!TCTWTTWT!tCtCOTC“‘i‘C‘CCSCNCNCCC:COUQgCSTC ee

Te, eaancbeew|

Tenor ee — | ON NN Te ee OTS OEE) Contratenor b ————— || @we YR TNeT TT ef VW—=epgy . Qype CT 6 CK © BS A OT BS vA SOS RS (RU ES UN CS ES OR RS CS ( )§ _ s

3 + | ,!| 9 1). 8

a CRT 6 RS EE SR SU NOE ES RSE UC SOS OSS SC OUNOUNREED SON GSES SRO (RS

fy ——EEOE—E if TOee" Oe™)_ Oe Ld TrtdS:S a es Ee—=® De A ES >Oe RE | OO eq Te TPG EEUSNR EEERE EEOSEEE OO e_-_-E=—E—>E—E——E———EeE TTOSS —~S DANDY ES A He ES OR CR eee ENS ee NNEC! RSENS (OEY (OSES (SUENSSSSEGNSD SSS SN OO

l—=e dL COT lD—=eeCULdLt ( ‘(‘(‘ oD ar _-—-W"--_ __ o_O OTF Mn "eee

XY "=e ef OCULdT ULL CET “#$RN’ENNC —T_—

xy | ee Oe tee eee Eee Wg CR Re ES A OP TE SL NE ES ES NY) A «NS YN ,_S OE _A ES UT waeAO BL cau CR ER NEL SOE ERNE RNR OE NL MRR ME (ANA SS RE EE RS RS NSE RUNS EN ANNEEETS (SURES ORONO UES (OOOO UCREEEEES (URNS (OOO EEE

eee ee ND NE eo ee 8

—_—

eS —_+—_—__..__.__,_ _-——_—_ A RS EE A Tti‘isCO ES ES S| a CU ES YA» |Z... Qf [QT | Te eS LCe.O—C—C—CCSN DP 282

I

Len rr SO TT

PD i OF I ee A a a TO TY 4 ee — ° 30

ee” EE NN NS MNS RSOSoo? (SS CS FS A SS A YE GN SNSSC GOTARSS SOYEER 9 ER a PT OT a AC OS ESLO A© AS (SS OY JPFSnA__ o_O Pe e__ ——_8 eg AESS a YC PAS — OS A ONEN NNOF OA CE A SNS NS NS OO ESOO NNo_o NN ES A= TP YS

Eye f £2 “Ko =O >=20 Oa Or —F id OT ?——

b r 5 7 35 4 KO 7 ee BR YY SE? tS ee "pn Oe LS eSrr?aS wi. O_o irre _8i ee _s_ aSe er?

A a SN RS OE SN LTS oo RW Dan (seca O_O r? i SS _ orOE re or OSSR —F=FBETu"“_ __CO 7 |__| ee mm

EE FL TS ST LS A A eT A a A, a OS a eS SS Oe A 2 eS . a

g, Cen ra SS SS SSSSo_O (UN ha _ — _SS_NS —— LS SS SS SSen SS SS —7WV_ 8 —_ | _ 1 7= ee _ ——T?

i’ or? ——__ —e—F or Ar/o PeOO erRY TTT Ah ET LO rrAPee 8ALa :OAN0Nmy—-—"—"—"—) BCA AY Aor AreTB eS SS A2 SN SS ENG CE SS LO NS eS a SE RS OLSS EN OYiASSNS RAS ON SO SO NNR LS SR RS OE NE

ee eo ooo: TW ET I

Lo} Tee| Tat Ao_O EE OO EN OFTNeT_FCKCVNNX’T—15>_— LOY AN A A LT SP A RN A OS RS—_ NNOX? NN iNY 283

f) ! ! | | ee 7 7 J STTITIE SS SS a ae SS a a 2a wy aEe$aa A NEa eee

HE I _ ot

ae eeASee eeSs Aa ceeeSs oS a aes —a a2eeéee— FE a EE LS LNee TS aS SS A eT

a ae ae Se a es ee a es Sees ee a es = > Fe +o) + |A—9_| -¢A| —_ — Ll | 5a+©1SY ft 4een 4 EO TS LT A0A9A| A a a A| SS

, ae\maa [J a ———

Pe eT ET Eee EE fp r 7 65 SE TS TT A A SS A TS a ene! \e canes i Fh i 2 - 2 eye TE |

s ty oe — att on alta = [| eee Ef isF189 Hti

ee ee ee ie ee See es Soe ee ee eee 2 ee — . |

Se

1) Orig.: G. 2) Orig.: C.

4136° . ‘ Sans si sans Anon. Superius [TT 9 a —p ee ASOS aes©aeelAaT On SS iaae a FT eS Te SS ASy A Se ee SA MT ee cay SS)A2 SO A eS es ie A ey ae Sens — cenee Sena

7 2. ey ( ee ee

f. 140’-141 Vv

4 | O eee _ | |

DO TOOT a oe es es ee a a

——ee joyee *ons Oeee oy aeeoe eeac es cs Bone he ae rs |es A = — _— RSE -—- Ps or

7, nen eel Se oF Sn tt— =Aa | trJ TFT ——— — TY ee etET )— pat 10

[—— oo

thd CS = =e -.—- OO _ =D TI _- Oo 4 SN A TT es es an a ee See a Se eee ee ee ee Ss os es ee 284

15 1) 5 20 I FG Ii i 0 0 OO OOOO —o 7aTy” TT Fs >—— (JT ye />~u..--v”v7. ~~ 7OSOo; aTE”AY A O00-—-—-— © A — A = -f —o—f"-—_@—_|-9 7p, a OLD ©— DT I O_ ErE-™~™-E™”-—OOO” $e O©E=-—®»”=SFESOPLPeE™”»©-™™

Te ee Ye Fe Se 1 a ———— }-———_|-2 [|] $f}— — ———— +--+ }— Lt [-———}aan $$ |} OO 6 > 2) —-F $+ -——~9-— ES | —}--—~3 _ aa +———— es or —— (eee i Se _ apffa=

v7 Y es a eo—§_-fH+__ ff F 1-6} He -f—__»—__6—_——_

Pea EE eee eo oe A ooo eee ee ee or

ooo SP _--_—OL_ OE” ™- Oe LK ZNEE TIC 6 TS TS Pl Se as

ey a eh

aAa ST-aaA oe aWESS ee ee ee ee 5SSae aStTTa! N° A NSae NSaLE SNeS CN OP SSS NS aSN — ae a aRSST Se Lt Sc

[2 ee > NS QO arT SS _ es cece Se ee = 2 fs XT TE EE oo So +e _ = a ~| | Z J * iH ~~”

f ppp —————— —— —

SY. 7 —...020 0 OIE CO —— FE. 7#?#]TAAT7”T0C0’0.-}"——.."” [2 NT RAN PF

FO. --8 i _ SE [a © TEES — AUS a < ERAN SN SR

FF SS a eS ae eT - Ses 2) OD ......__ -— e P>]--NN7>~’W-n_>”*77Nv-— [OD —E TOOT —ET FEED oo ee

me, oy EI oS SS —} 7 ~HH 40; Tsni§ = TN =A a esen oSan Fin eSeST aa aA—e —— fp AS) Ss Aes oe ns ee Sa |} —- a gpPt -—G-—__—|

7 DDO Ee. | al aff 2, 4LC pf—— oo iraPoe TOE Y 7 (eo). — San Off ias Pe LL &L_ LLL es esoo a” glaT eaLLL a J=—i AE, EE — a oe se oe ee ee a os ee So ee = a r

STS AS RANTS SNS ALES EES ES ON ON SOS GUNNS OSES OE NS HANES URNS 69 GENE A NE CT] 5

ne _—_—_— ES NNN. \— 7 -_ = TT EE e

1) Orig.: C.

285

f) v 7 Tenor r + = hob Hf) rrp Ff?tfftEE fg rt

137: Martinella Anon.

Superius 5 mM OfDe ef 1 PmOT TT Eee ef fneT eedDTT dD ee

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3) Both Berlin 40021 and Leipzig 1494 have two semiminims A G in place of the minim G, making less elegant counterpoint but a more literal

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4) Flat in Modena 456. 295

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Aa J ae ©

, adec Krélové Specialnik and Warsaw 2016, the last minim of m. 42 reads C (tied over to the following bar), instead of D. In all other sources, the minim D is replaced by a minim E. 4) Thus in all sources.

297

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1) Orig.: C; emendation follows Bologna Q 18, Rome 2856 and Seville 5-I-43.

2) Flat in Segovia. OnMusicology, this err te 1975), see Johannes Tinctoris, "Liber deofarte contrapuncti," his (American Opera Theorica, Albert Seay (American Institute of 2:143, and Tinctoris, The Art Counterpoint, trans.inSeay Instituteed. of Musicology, 1961), p. 130.

3) Florence 229 lacks rest. 4) An extra bar is inserted between mm. 30 and 31 in all other sources. The version of Paris 15123 reads:

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f) 2 Q or. y . YS ES EE SOE ER—__________@—_[ RR, SEcACL, (ELSEP= OS Fo CE | NS NE CE SONS NONE OS NTTNE ON ASR7 ee if hh @ee JOE fy re ND) Se A eae NS

fn 55 a

na OL 408.=Ws "eeAU eee

| A similar extension appears in St. Gall 463. Florence 178 includes a superfluous B flat breve in CT, m. 47 (followed by 32 breves of rest). 6) Flat in Milan 2269. 7) Brussels 228 and St. Gall 463 (A only), mm. 54-59, read:

fe 5 “=p, ST tng SSS

(a ee el ee ee ee Es Dees Os

en

RD A a SS a =O (OE A COS (OOOO AY ONE » —

io —~nEEE, . seeeeeeeeee

4el| SY TEEeee FO ee . Aeee EE

Florence 1074s and Florence 178 have the same reading in B, but follow Florence 229 in CT. 10) London 35087, Segovia and Petrucci read G.

341

157° Amours fait molt /[I] est de bonne heure ne]/Tant que nostre

argent dure Jannes Japart (or Antoine Busnois)

—_b f) r 7 5 _ > eS aa aee ee ee ee ee a NB"A eC > © A A pte fait moult | tant qu'ar aNOa aeaa eSSe a SaceeSs en een a Ae a SS Se 10 4 4 4 ! | Ramen eS —— —————S—————— TC I % ES CS ES ON hy «= ey eS

f. 163°—164 Superius

YT ow eT TEE ET EEE EEO eee)

Tenor rh | Ww... op | | Ee Oe ETE eee ETE Eee EOE ST OO Contratenor I

Nee OE OO ET ee EE EEE eT Oe ST 8 Dest de bon -jne heu -re Qui tient

2 ee EE “wT

—————————————————=————————————————

Tant que nos-tre ar - gent dur - ra

t_)a a, a ~ft aPga a aHES "s r 7 1) Pwo TT ET es [iS ep eT eo” ,VW. 15 4) ; KR EROS RE (©

roe MS Ora; TTShh EH

Lc aE Oe = a a (UI DONS wc OD > ORE” CS = ES

|ee ~ , fea ed cae Deanne A7~—EE ft Veyee l”—C =e OM EE -—b OT ee | jp TD ee Pe CO PF A SS an AD OS NSEC REAR NOEOSNSOOND OORN SONSSENSSUEN LOSS cA SOS SS

. plus sou. - vent, ne vient plus... sou - vent?

1) Bologna Q 81, Munich 1516, Regensburg C 120, Rome 2856, Washington, Wolffheim, and Egenolff [ca. 1535]'* Lieder all read:

4 —a means Ca eas

Only Washington, Wolffheim has the same figure in the analogous passage in mm. 45-46. 2) Flat in Florence 2794. In Bologna Q 18, Munich 1516, Regensburg C 120, Rome 2856, and Washington, Wolffheim the semiminim C is sub-

divided into two fusae, C, D, both in m. 8 and in m. 47.

3) Thesemiminim anticipations in CT, mm. 9 and 11, are omitted when the same passage returns in mm. 48 and 50. Only Bologna Q 17, Flor-

ence 2794, Rome 2856, and St. Gall 462 are consistent in having anticipations in both passages.

4) Orig.: C; emendation parallels m. 33, and follows Bologna Q 17, Florence 107548, Florence 178, Florence 2794, Rome 2856, St. Gall 462, St. Gall 463, Vatican C. G. XIII, 27, Washington, Wolffheim, and Petrucci 1501 Odhecaton.

f°Q

5) Munich 1516 reads:

ey fF ES TTEEN, FT NF SS 8

6) This and the next note are both minims in Florence 229; emendation follows all other sources except Regensburg C 120, St Gall 462, and Washington, Wolffheim, which read like Florence 229.

7) Regensburg C 120 reads:

4 a aes ee —

aT fC SE OUenTT$=gga FF gt LD ll gsAFON NED EE “|CE HE 8

8) The cadential extension in CT is either shortened or omitted in Munich 1516, Regensburg C 120, Rome 2856, and Washington, Wolffheim.

348

159: | Textless composition] Anon.

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f. 165°— 166 Vv

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8

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15 q 20 nn

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orpmilet-palentlereleseeerae en (UI 355

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‘oto Ty ES AT NOS NNER SSNNNOUESENUTEnINND 1) Text ineipit "Joliettement m'en vay" in T in Petrucci 1504? Canti C. 2) Petrucci reads semibreve rest, semibreve D (a fifth above the following note).

3) In Petrucci, a breve G replaces the breve rest. 4) Petrucci reads:

id “ ay ee | ed oe a a a Sr So

5) Orig.: A; emendation follows Petrucci. 6) Petrucci reads:

32 93

@

8

7) Petrucci reads:

8) Petrucci adds D, sounding simultaneously a fifth above the G.

360

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163° Madame qui tant[est en mon cuer] Caron

Superius 5

f. 170°—172

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xy JT) fy|es| fTee eee EET we djsjf gf @# —=eg lg hs’| ee 2 EE SS eneeaeg CT ee Ee a OE a ea"egg a oerTae nn eeES Ee Tey ES "eh =, ~, -, OO =,Te & ~OE & ~—” Tc A A NS SEE UR ONCE UNROCNON OOOO coo NROE OUEST (EE ANNO NES UNOS ON OOOO SONS NY ES NY oy $= RR

fpo 60 | | ND ff A fe| |Le

AS oN SoSSN NN ES (UESSOLES (ES CS SUN SUS ES OS SR ©” Sa ScDcSANSSSEECSCS OCS nNNOnNED

fo. as OO eT EE A es vy.” * ¢ es es es ee en ees ee Te TT Te eG UTC ee*COUe—™ CT gd Tey eg ST ™:.LTLU!.LCUD@ TY f) —. NY Ug pe Or? Og Fe if Pp ¢ |)C—CidS(“ {sl yy ydTTTD TTTe tee 0, op ; 2= A15 OO ——~ + ———_-o_+$—__#pO $$} —} —__}—_ + + + —— 2 EE 8 PD mae 2 a .

we | | ge @ | ¢ tT oy yLUlmmlLTFLl gg PC dd | l—“—” “ed OO —“e “eg UCU ee”

[@sy} I#&3zT JONN @ I@ — EE 2] 2EE J DE es (SY eo eeSE eee© CL GE\|A@SE I SS SE OE| @ ETffOS SOee EYeeES

25 0

1) Verona DCCLVII, mm. 15-29, reads:

bio =“? MOP ee Le "=e OO e”t—EE. SC —_“eéEBX’’W STE QO ©. CT. . iI _YJO-77

2) Orig.: G.

3) Orig: A C.

Se=

4) Sharp in Verona DCCLVII. 5) Orig.: C, causing parallel unisons; emendation follows Verona DCCLVII. 6) Verona DCCLVII reads:

7) Flat in Bologna Q 17 and Capetown Grey.

363

gy I

Superius —— > /- f — ) 2iD a aa NEfe (OSTTT) CONN 9) — 09 jr rrr hee hp ae i of © OS 2 a

164: Amours amours [Antoine Busnois or Johannes Japart] f. 172°—173

Q, *— Na, CE Geen Seccnneeet es

LF fh fh 10 r 7

Contratenor

f) -~o —— = SO re : —~o 8

Tenor

-~o- o

——_— NB a ONS EE SOS Oh A OA Si es ey = es 8

Bassus

eo

Ll eo SSgZZ==:> OE ooo eee eme7 > A ES EE SS , a a RS EE ew see bY f } Besom dCTP TUTTO Tn eee Tn eee Oe Cle

OS Oh i oe i,» | | | Oy Om eee TEES Od "A 15 T 7 ~ 7 20 9 rr err i i a ee ee ee ee ae Cy. — _ Fea 2S OO EOE sis &é eaoq0Ou0OVW"_ © O_o —_———OD ee —ehee—eTe—NeNeNeTeeeeEeEeeeeEESESeEeeeeseS—_____]

ot? ff Oh TF OOeeaoaoSa"eOOee™DODODODoauama Tt tr FE 8 (ea TS TTTTCSdS—S—“—SO™OTCCC

i —_)—_ >

eee eH

i_ Pe... Ur]!OCtC“‘#RALUUCQ CSO TTTTTCO™C™C™TTTT.. TO SO 2? » ~— ™™—™—T | FF? =e ———OCCSYCSEE (VCS OT = 364

|7

25 r TCO lg el AG =e eee

Pc a es ee SS __ .. SRr—™"=e PE SS ey = TPR ETEEeeSOeee

agem hE Ee ee wT Dlg TCU NT 8 oOo G _

iws»7 Me -. | |@# fyggfy| JTeefT Te eT a=" ee | - gg f€ fj, £m ee ee eT Eee BF A a Re EE NS I crn, RD NE RS OOS OOS SON OUND ces nO CO OE (OUUSURSOSUGENENNUUENS (OUEST EOE

el TT) ed h 4ee 30 RE NET3) EEE35 OEE

yo ee SNE Oe EE ”"=s CO COZ EE T_T» =“ C—O Se aa? I BE A NEa—m® SS A co Sn =SE ESOh EES I oO AT A «EES oA 0 aATp | >OT AIPE es 1, ES AA 5i TOO > YE wn GE >=»ES —_—_

if.» ge J TT JTSS ftayd eee ee Ca AI aCL 5 SS cSUUme Se o> Se Se i SE@# LP=fTT EE «5s SN DY XA

yy iPES {| a OL® fF" @#f. .«o>Jvec 4) ofeee" >._ NS I 7Bc CS ee ee eeOERNS =e esNS eePOSEN 2fF? ee eeNE ee ASS NEee RNee ASes ES Aeee ASE UN MS SNee PE SU ME SS (OS OSSR A NY GS ESee SSSE OR NES)

PE OOOO Te Op fai°> ir. gg | @ |e Tee eee ETT (pe; EEE ee EEE if .»L) | |e |CGTg” fe Se (se ee a CJed

if A»TT @aST 2. [I1. |](SS gf UR ee© ae UU UD ge Cc aiST STfeS SS SRS SN SE A SA RN Sh A NT SO NS, SS ST | Se ©fhe MONE AO Sn Se ©©SN Fa a

I Pe 5 ) CN 5)1 T2 i1o— os —} rr ir HE

TT ET OT OO ee OOOO “epg SD DNS eT =e

fh Cr 40 4) TT OEE Tee i“ | wy”. i wn TEa OQ Ta e—e eT 0, es es A SS . Ee , | Ee oeeaeee a, Led NO™~™CTC CNT Eee EET 0 D= I (a.™~—CCCC © EE OEES aSP $yLO =eESaeNB pOi eeODI NG) aEE — ES Oe =,DT =e »Be es @

ep ef rr? i st Fr rr 8 M—___—"” q 1 oo re} | Pf

pe OD ee ee

.A A aaea Ge ME EEO (ORS 9 ee ff}eee + D.C? y aSSN - | - #HE oe #EN g~ |NNR J Ty fee ey oo ee es $$$} ee ee ee WY tC~—SsSC‘“‘(‘“CSCLNCOC#*dNCONSC#CKTUSNN WY’ L“LRLWWW’['\|\_|/_«s os —_ OO? p__

o\- —. eO...\ FS. Pr. 2 .6—D~W~set’wr—————COCOCOOT —— OOO — O_o ET _F

SA TS NS ES = SR ORO EN RE LOS —— ot

A?Teneo a © ET PNEEE NY.OEE es—S”FT es © ee eee

ee Se ————— ee

a a a LASSEN SASS GS LN SC SG

367

20 1) 4 25 "o_O eSEE —eg Eee] LO. TTT TT enegee TT rR OTe eee EEE OEE] (RO t 25veD pt 7 54

fl Be =e ST

rf gsSS| Ff gspgi 8| i.| @e ge |NS || g!' NG, ©A ~~"®lm 4 ES EET LS SSeT LTOe & a"eg a ASOT SE ——. ge-schwol - len, Wie lang sol wir den spot

Tee Oe) ee Oe “ne TT TE Ne eae yf Te ee dP 2 Eee - - len. Wie lang sol wir den LS (ON RSE (0(D(a (nn QS Fo CR IA OS INEES Ss OC (RN, Co =OARS ES ND a RS MN SE EN oP ES (SU Dn ONESNS SUR UNOT OU if, | | @e | J @ ff 2 2 | wf | ig.g @€rYr || i g@ Tf TY Ss hLhLLhmLvrae es hLdLUmm™eLhLULUhULLUDUDTUUCUULL UL eI

8 ten dye schwol-len. = Je i ye UE en OP Tf en ee LO —eepe Ee OEE EE OEE

8LA a ee ee ee eeeNNee = eee eee eeuUOT _ee VVo0o000. re eS BP| fa ESEee A ESee DEDO A AOC =eee RSSeeNUE NSD (NS SNES

i. _ mo . | _ ~ 4 ee Eee ep eee | a Le ey el pO AOO >)DT PT eT Oe ea

,AY ¢SOACCC |, 30 4) ¢ F Ce we ee "= TT OO Tee A me NO gm LUT llc Cg OP. OP Td ee TC EE A A ES A ET °c a pee A eee. ee eee. ee=YS)ee - - - - - - - - len, ge-schwol - len.

if TT ete ee ll“ LT UCC LCS CLT ti Ce _y | ar © [| j~« |” @& 2, °»&»3x| ~~ 66h Um hTlhlUWgmhUU pe 8 ___spot ver -|] dol - ~ len, den spot__.__ ver - dol - |/len, Ir_____

IOs ER fg fa a a eo — a eg ES FS Rn RE OO Pm “ “ nu ™ “ oe

A. TTS eee 7 ef Pe YT p35 40 t TTT I I I ET Bc EL A YS «= = A SE

s 4 b yO eee ee Ee aNL a PT Pg 2 CO |

CF Es s__—_o__, a OE -_Nu02.._—__— JeoWeST =e OY ee OE EEO ee le2?ee Wie lang sol wir den spot ver - dol - len, Ir

Do 9 a ee Re ee 2 RN ES EE DOSS DS RS ES CONS SS SSUES OUR MNNOY COR RENTS CES SO) ES renes HASEENO (SEND INEEES

NS) Ss ee a _ rit A nn i A,|guet § Mes ee A- pt ——_____ - ternnund knech - -ig- -ft-|ftte?

BC CR EE OS SE A” «YX UE A NN NN OW Sh TS NS NS

oo “_ —— “ ee en nee fT eee eee Ee —e EEE ef ©. fT OT eT Oe Sl EEE EOE

PL : " ee = a ee Le |

PF ES CS OE ES (USO ONE AOS NS NOUNS OS RNYA TSNE AS RE NE© RSRS TS bn OSE SSASN OSSSCA (NS SSROS RSOSRE GOR LANNE ENNESA NE 1

rit - ter und guet knech - - - - - - - - - - te?

1) In Trent 89, the semibreve rest is replaced by a semibreve G. 2) Trent 89 replaces the breve D with a semibreve rest and a semibreve D.

3) Flat in Trent 89.

4) Orig.: B. 5) Orig.: semibreve rest; emendation follows Trent 89. 370

tt

f | ee atl ee ee ee ee

167° Quelque paut que je soie Anon. 1) Superius —— 5 -—————_ OE (a, CLA OT 2 A A i cs es el ae © PS Ve a” ca SP -

f. 175°—176 Vv

SNS A a ES OES LORS OSTEO SONS ERR OR (OE SOS OS Lg | —_____

| aRN ee a ee ee T T eee t@he aT Oe TD pe EB 10 b Pee "=p p= oe Tey ee ee De ___ i _ tTOF eee LE eT O_o _ po | gyTT==OOO eT eS _ fe See OTF

6SY 2 6oO ENPsNH

SA Ss eS ee

oe eee =O OW KE oo SO Oooo TT ee oo( aNS) AS A Oe aSC aeeeOS GS

et |

eee OE Oooo ooo eee FS ST a ——:?2DT@2”,:. SN GS a (—— BO? —l > OOO OOOO EOS oO SD,®,R,ReTegB@PF recom OO eee TE .ji7rn-———

,iaeeaS 30 r St ee ee ee a a = BY SD) ooo= po OOO 9 oe

7ATAa A a SS A A SS a 1JAC ET ASSN Sr 1)(0NN A SR DOSSAWN A A SS SS SASSO SOSSES eS TE NS) SD A NS SS LS RNA oo EN A A AS SY NS EN” A ES ( —

ag a a SS SSS A OR SOON GN A A Sn SS VD OOo ess 9 9) 0 ——ropR)MT!E+KoOoe--r:-o6o0w~w-=ar --°°-"™NTNhDAAAAADA[T?00 00 eee

7SSA _ St "NE ST> A CE AA Ol © e SA e—— = eS A a Mr 0 | 220-020-000 —=—=—=—>X—=E$T=—E—=>=x&X*=esS ___ TESseee Ha Ds 1 eo T—~zir~aeE~=R~LXx®____— >a DEE OOOO SD eeewTwT~ —

ose #8 a— OOOEE OOOO OOOTsai—eooo Oo TT CE —F0 OYoa rr ot otTO ooo DET Too eee. _‘-2, I yan ooo|—nsuvo/-79.0.0O00v--WNE OE OoFE TT TE

a A SAS eS SS EE LS CS (LS (CS RS ("A

‘A 4

Foo ODO] MN FEET ee EET QE AS) a a SS a SE SS A A A es A CS A SN OE” LY © RO Fc SS oO A AS A SS A TT SS RN SS NS as NCTTH..17-°-7}7>7>7>}>]—-Y“ A SN LS A 6 NEN OO NS , WR x? eS oSSS OOSSOD OOO OeAO DDA—ooOo — ET asOO TF

aFo SYa SeSS SS oR AYSS RS © RS © ES(SSS SVs & Sea

ee De TT [po

0NS Foo oT ETo"DnOT MIAMI LTEES oDRD a CC ( CCC a SS LO SA SE OE SL ||ACA] SOO SOS RO SN OO

oe) = A, ee a 9 a a rr ae i as

TOO oe SO OO oO oo

Fe LR AY Sanne La aaaOE OO oR La ©YS a Sy 2 aSS So SS A SSSE i esAeeASas Le Te Al — Ane °Se Sa

Fo ee CSS es SSWA SS SSE eh a SS ST SS ° eyeS—SOS Sa a a ee SToe i aaAL 372

es ia

—— 45 r 4 4 bos Ph oer i tt rt ar etEEeet et8 ND es ee = © A A Ch A ES Eh A EE ~ nnd DE

se ee oe yee oe

fh °° & [Tdee l“"—an @SE YCONS POD OOD ag OO(OO ee ETE OT A SE(SOOO not SS cc fp a aE O_O SS HN (UNEASE ee SS ———————————————————————_——————_—————————

2 a __f +) —__} ______}_ fg eT eg aI eS a yO Tt—SSSCC I En A OEege>= nn REE

r 7 u 7 . r 7 Ps

8

e“ 2)

‘@t- »¢SS 2. — Ff Ch @f-BT #«.2f | t-Uh °° TULULUmrOFUMWMTLTTTTCUmUMTCOSF/L »+»,&2«~2«~2 © ° » i . [| , st °””™€©€ | * | | *~?! ”™, «Ya Type, | fg» |g #gg: PF @r i\ fTsftSee PTO TOTO

, . ee LK

1) In Seville 5-I-43, no flat in the signature of any voice. 2) Seville 5-I-43, CT and B, read:

(2 (2 (2 0

A NS OO (SS ————————————————

oy? Yr

168- Ung franc archier [Loyset Compere] f. 176°—177

1) FT Superius 5 ce 6 a a. a Nn OS es Vv

8 . . Bassus b

gE _ —————————————————————————————————————————— as es ee

Ung

f) —-e- ee TOOT eT TTTFTOTT_—_— TN |TT TPR YY ONee LLLC~COOCCSCSC EE EEOOOO Ee OOOO od OO _..0AWv70v"”v7vw”—__] je if, bb Ze eeEE EeeEE ee io —OET_—“ —sSe EEE et ........__]

1) Contratenor

| Hy ow | )lLPE UL OTTTrrrr—C TY TT EE ee TT ef == ht ep or] —— 3} $$$ St i trp Ht FC 22 eee eee 4

Ung frane taul -j pin qui sur les champs al - -| loit,_

m@H\eo "= ee|Aanan qd 2) |eTa,Peg 0yES NNeg— SO AO_o = Ss FF [TS OO ie CREE Ce ee Se ee ee eee = ee en ee eee eee ee eee ee ee ee ee eee

Ung frane taul - pint qui sur les champs al - ~ ~ loit, 373

ee, | 7} 9 i ee a ae “=eeeee ef

aTTT i h; r 7

SE SS LS SS a EE ED (LEI

yp | NY eee OES pmo epee femme ef a» | | fT ge eg RS SE ee fe wae | See Fo Z : ee o> | FPae 9 —Pgh — Ihr Pd ot re Ca , 15 b b eee el Fe Eee eseee a=pyd eee 10

ptm ofa at fee fmm Te Fy 2 a a RO SS Ee PO ES PREe RS A Y=ee EY ? EeEee «SS SU... EEE DE Cav EO Ce ee es eee eee eee ee eee eee ee = eee en ee eee oe" 2 0 o eee eee

Ne SS ee ee GAG = ee 0 ee eee eee ung frane__ taul - pin qui sur les__ champs al = - - - loit, Et

we - Sennen e g AAe"e OU1 HOI. C l“"“g NG A A— een Sc AE STEEN AATNO A =~ pd 2 STD f)

Et tous - - |jours ba -

. OF

_w | | {eee Ee Ee Eelg lgee iL | is¢I EN ge ggEEE | Tf pf "= UMD NG aS 09 SDA A yO SCO ™ Be Tx ag Ff @ | [| es ga gg {| [jf gh hlgh hLtlCULLULUUU CUCL Ul—"—g ST COD

Te a eee |eET "=e 2hes | ET OEOO OT ee ipe .Eee PT OE

fn 20 25 [gg i her Yee eeeeH eS Sy Po 0 ooo ps eT "eg lm

tous - -jours ba - tre____ le bon hom- me vou - loit,_ le bon

CYTO Ee EE Fo = i fee meme ww

A | »+.|\ ff AS TgA#4. ##NR#@ [| we(SUES eS (OUTS Ca hh ES PT SO ESffOO ERAN SE NUS

aS y o o O ee Re tee ae Pere : Z

r 5 | | [ _ # | gg fy Do —=e

> ]qX~o2ow0wWnv0n--—O Oe OSE

hom ~- - me vou - = loit; Mais on luy dist, mais.__—_ on_luy 374

| re Ee

rs | OP ae- AS"egg SS SS ae A ALG LS CY Sa CE Ug Al A 30 b

“ a ee eee eee

Fc A OS A T_T S EE, AISEERSEEY EEUEEES SOURED On) HN DRESSINGS GRUUUEOUISNOUSDCRERESEEECEIN ., “QUNEIONN NOURUROROGROGEIURONOOUNIED (EUINIENNN (UNNAUNEIEISNSSSSNOOORIROGEN [ONUUOEORONOOONY GOIUSRENNS (OGIO) UUCUIINON (OUCINOSNIO (RSUEENONOOENONIENINS

(C2 —= “4 eee ceTS ennbne

a a RES GT OO mc ie mee ——SCSC‘idSY TT —ee 8 Mais on luy dist sans point de | de - mou-ré - - - f)

oS | 0fF—¢§ tSTTT > Te ir (~~ Vv TJ [of JHS Tf DD

A | I AE TS SE aa UES jc SS OE NS NS SN ES Gs A ny Sees

, lyee35 Yn TT TET EE dist sans point_._ de de - mou - - - ré = - - - - - - e, de

_ ae gy ey i or i ri i

Cc eeARL oo? RENSN ASENO EE ND OEASoN” CT OSES «= a (SUSE vnc REED NN NG a a— MTS CUS NUON SNSASUIS (ONIONS

Aer OS De ee t—S ee ti‘_™OCOSUCUC6§GNCLUCU UCLD>TCLULCUCDT NCCC —=eeeesCqeCtCSYNC“( ‘ QQ tti—(CsCS

ae ee ee — ae ) ) pop i ef TT EET TT ET Df fF Ho

BC A SD EENNN COSNNNS (OREO OCU (SURE nO OOOO NG YSURPE QS ACUERCUORES CNS SOS (ORS GS(S00 ES(ESSERED RAD(SRRRISU CS SS(ORR MS

in wy | if | if {Tp i. | | Jf Ceg | | | fT em Sd YY | Pp . Ba TT ye S| ee =D eEt—tTCTUCUCU LT “=$#$RE QQ t—C—‘CSCSSCs*SOS HeS—*-_} —-+—__} ____} _~_ LG —_____}-f______/___g} —_|___@ —_ ef f

|afb& ———+_} KT SS) RSff) GnTUL ES>CSjo OE eee QOSOL (OEOL QO Ss y= ee as | \(gf... UU SOTO ST0 b

de - mou - re - - - e Quil s'en al - last tout droit de - la___

(| b ie 40 >) b b ae es tee pb |b Pr \ée>+-“N(NnAtw+w+.T-.-.."."7...] mm nn pl ca bee

Aa ir) | a oo b

es ——_? —_ 2 ——_|o |__|EE ——__¢'" 1 Foe er ONG) A Sn4Aa SP” ee ee © ann OE ES LS—|+ CAEa A CS SD iy rtrtrti o—DaORODONnOODTZB Ye | fo SS o_ONN oerrlIO ——e F.CDs ASsFro#o?00".,[>.000—.——_ A NS A NA NY ER HN NOo™NWouooOHo0ouoeouwN-TAFTANTNMrnmonw"-c"w"wcvWw/-|T. ——f ——" a OO IO ODO To Ye. eee

oT TT ,yt BE—— $ TY J OTT] Cj ry = —— > $$} +

OS A ie aseeesSe es Ss Se eeOSeePes aea es eeSie? ee een ee

al SP EENESE RS = cASORES OE © ONENESS NOON a, SS( — RSCELEE SRS (SC NNNS(RS 7

Ss es ee as a se es ee ee ee Se Preo—— FfOO — 5 aSS se Ta Ne Oe TT eee EB Se TT TE vHFHz™T~”--0-0"0.(0..DVEC!_CHUCH8Oom Eo ..F-F=FD0.0-.0——— tS o> OEen0-” THO -O OOoO2._.(€-™"—-—"””...”.— TTT EE E—E2zzznhy]_&_—EOO

Ho Td _ I ooo oo A eG ee CJ a a oP _“EDDnDD.ooI_O he eS OT OOOTEO EOS IT £ETqNq0--w"Y.Y’.Y 7? EEO OOOO EERm™-[TNWMN—.-"..7” TI OOOO 00OOOOOOOOO oy.0=: OEE oo]

So Ea

/IPf 35 tf} pe ot(_) as —?

Fd? 7 ggYI | —epe de | Ee_ 7ue 5 ee (2 OE SE TE ST A TS OS A SS ES ES OY oY SS © NS OLN AAS ONO NNR © ERNE RENEE NE 08 —_

-)} —— TT es? TTT TTT

ITT TON IL "s 65TD r mn, i eS| qn FS Sy 9° CS Se Aa, STA NS SG SRA SON AT 9° ES A OS NS SOR ES RE

5) EE — HOT>oHo——— [oS — 9 ee—_e--2.,mas Ne eT —™e—FEeaaa eeeTeooe eee eeOe 0YOrruON™“«-W#*TlTONG™retxeo_oO-_0.-—>2—002—02-2-O0E0-E=E0ETT eer a

—

o_o |} 7 Lt ee oe a | oe

Fc SS ee ESOT SSEO SES RS7o".-—NOnNwTWTwVWYTY"] SS ES AS YN A RS OS NS NS)OY a SSSE ee OE ee FS

fT OT YI OE OTT—oEQw eS oO Oo Ea SSS I Oa

ee pee pn 10 t $ A$ OE So re eg 4

TAS ee ee =e ee er rT _ 2S _ oN a OO. HDrnn.oO>0-ONOOONN OOOO OO OODD_lD"_,,_ eo

0eT NS SS ee NS NN DS SS SROOOO.$Ae+OnM-W ES ES AES NS RN —O=>_E=ET”—t—_—m”—.w”".WW eT PR Da(SO oT NG_d.5oNNjA[N]RTNAWTWNWW-— aS SS LS ST CA ET AO SS 7SE NS A > A SS SE

2 OSAEK (SO (S(O A NN CRASY (Se (RN (OE © DS ESCS (SR SSON (EP

eo| TTT Of ooo] | | | Po RS RT OOS LS SRT AS ARAN DOS SORE SR MORES SORES AEN ES SSNS CSS (

SE ES A SY ce EE ee a a

OeOD eee EoooooooEDOD.N0 TT OEE ee ee eT eT iO__ >=e eem”O-e™ODODOYOLESE LEE ooo FS OES NOS (AE LOREEN bh, YORE (OS COT ORS Ly SN OE ES CS SO S(O (a

an rs a a © OT

ES A, + ——— —— —— }NS iz>tS if me, __@ |— - 2—t ANS AEE ©AS Se+} 77EF J} 6SA ——— ——>7— O

eS ES NS SA LE TS-NYTYT20"0 SY SRS RS SS A Y ERRNES OOT— SORY — S ” .\l [ee erNS A— o_o O_o Te eo RS eEP-IIMN) ST EDS Sm SS (ANN

ey I

/ I80 IOR Of oO” I OO ee” od eT)

ORD ODaSS eS eeFe F——OOEY NON eee I OO OD eT —O—O PF cS SS TS AE CE (SRN ES ES SENSES OSES (SES ESESEENES (ERR IRENE (RR

Fs CS Tf RS oTAS 9 >SU| o_o #89 PF CAN eee A CSYM#$90s]@#"——--._ SE NN OO SE SE A OL ES A AS

SOD a eT OS — oS Oo OO oP sze—=

OO TO TOT EEE

SS ST #7 SACS Ps SS ARES RY ° ERE SP SRS A CN GN A RP

Pw pe ary TO IoS TO —eee OOee” ee oD eS

oh eeeeeeeSOOeEOEEeEeSs— TTT OP pen LOTO OOO OOD Ee TOT OS TOC

" 85 90

Fe os on Ss aAS os ce oeAA Se! SV cs ENS See ee eee geon RSoseT A ESEO ANS RON SO CSE OB OE _Sea. ("VM o'r Ss ee aAOo es ee ae eeSeOO aScaSc_aES —RN72 aeSees a or? ae PS SSTS TEAS AE RSENS QRS LE oagoa{#qae-NH-QQowo ETT EEE EES OO EO ooo CS TS SSROA Se a ANOE SO ACARES NS OOTT AAS NR CE A —OEOO A NY NE(NS © | Yo?

— ~~

SS ES = TT TS SL — AS a SS eS SS A a 1 AS AS Sa

FS SSEeeSS eS Ny ST aCEoe A! ee —--2-=U{-—aAjeft TNS a Se oo eS ET OT OS EEO a™—E~E—TT) TT TEAES EE NS aaoe — (OS SOS RS—D———OOOOO ENS NSeTSRN NROTT ES OS “OS OS 2eS OE _-NVTTvT"-.."-—_ 7») hd fH HYF“eNr"-_ESS on oars 2s esOe Pe Tdrr? EO SE — LOT ETODO HOW OeSOS oS sot OOS“ Od oe

a er) 5PO (Ne A DW SO SNS

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LOO 08 Oooo TE DT WD ODO D>OT> OE OOOO EEOO eeEeEeeSETEE—EETETET—ueesz>Fé”U"""-"-.-.-..WDooDan TOO OOOO EEE EE EE OT TVH9—-n0OWw-Ww"am I IOooo] OES]

a aS OS a SS (NS SS eS BO) som

aPSO KP aTOTO ae ba PSONT*]_YTaqvwrooo SS — eS eS Cs Se Se a SS ane Se See eT iEo oe 380

f

TT TE

, @ Cg f 4) Pee Se ee eS a © eee eT Ses Sica’eT an aAoefreejEesee TTT Tenn SS ee es ———— — Cm eeeSee Eee ee IVS SENS SURATSUNEED SOURED SOEUR (SN (eS (en UROOSES UNOS DOROUENOREENNODS CRORES

i ee NN Se ANG A——————————————EEEE——————————————— SS SS ND SON DONNUENNUNNEO ES OSS US ON ee Se ee

ep ET

1 (a. A EE © I Rs SS OS OT ? SENN OUT % “RRND GK ©

ES (5 |Fo eoOSSE seOLOO ee"""____ a TT et OY

f) 1)

aFF eS (eS (ON nS De a” Ges se SUNOS ee ee aOO RS (On AS re OEE bones RE Ce TS GESP TS 3 AS GONE ©) OS (a (OD (OS (Oe NG SS SENS SRN YY (RO Oe

es eG fT le Ie tast er naer

8

| -F wA ff [| [ ff, Tf JT fT ff ft Pf) LT ET Ee

\mHwieo . @~e gap{[foge|r §ggfF| Be CQO Te [~ypo, ¢ Pp Fy Df | TfYY | -fTr T{[@g@ T—T PFig ji [|fF-*™ g@~@@ UF DW i or eT eAOO GOT 1) Segovia reads:

30 ——.

PAY. Wssi‘(r*dry Or TL TT}ese OE rent —___}—______[ fe 8

2) Orig.: semibreve.

384

1 . ie LL pg i]

|] ey i ee ry

,OS r , 10

Superius r 5 4 Q—_¢.3- S35 or re ror oe >

171: Scaramella va alla guerra Josquin (des Prez]

f, 180°—181

Os a a Bassusr >) 7

As 5 77 rr oe 2 rr? —~o

Contratenor

Sea - ra -|mel- la va_al - la guer - ra Col - la lan - cia_e

nn NG SC SEES SOUS QS NESSUS —_EOEOENS (SER (OER QSREEONSE (OSNNENS (OCU (RUROINI Tenor

8 Sea - ra -j|jmel - la va al - la guer - ra Col - la lan - cia e

-$ 0 EE 6 ee AP fle gy ee Ee ND_aeT SS| —y——_—_9—_-} OSES ORES (OES NOI OOD SOS NOS OS

—= ee et a a en ss ss Sea - ra -|{mel - la va al - la guer - ra__

L_@ye ff P"ep>e —SSSSFSEE=>_ S— a —¥————— OO

| Sea - ra - mel - la va al - la guer - ra__ Col - la lan - cia e

vy SEE Ee f)r7—7— J atk. ht | > rr or 6 a | SOUR UY GS CONOSONED OOS (NOU (NN QS SNR OES ROT OO

ANG A © SS LY — pf ee gg =e) dt gy ee eg

ry Af Cfe UU ee TET == OT

Vc CR ES ee as BE PS ED COE SRE ORES SES NT OOO SS

" la ro - tel - - la, La -| gom - be -] ro bo -

)es 15 : p 5)ic rr 6) 4re

3) . in SS EE eee A a A CE MAS US RE NS ol ME SR eee | eeEN ee ee ©. ee la ro = tel - - - ~ - - la, La - gom - be -ro bo -ro Fc, AS(SONS NNT? ES URE OR SRO RONEN SEN NURS NGRE EE RS RSRS TS RN RS (AS SS ES LSRE ORNS SRRCUES ES NORE DERNR OSURNS OO SONNE (RY oA EY

8 _._.._~—«- Col - ila lan - cia e la ro - tel - la, La - gom - be-ro bo - ro

Ae et ere Seaaa © ES th Seee SSeea SS LS © Sas ee Eee EE eg Eee ey a eeOeoeuouououou pone mpmaepeese m monm fm f) o—__| RS NO QO > AfemEE - G Po bo - rom-bet -| ta, La -j|¢gom - be -ro bo - ro bo - |rom - -

oy z PC

pee fe a pop oe pee “— bo - rom-bet - ta, La - gom - be -ro bo - ro bo - rom = ~ bo. 385

/f) 7)4

tH rt rer eee EE Eee NY eS eg Yd lee oe “er ) ‘ _ : eo

ttt eT 20

a a —~ CE SA OR - D RS SST © AES I UNS SS AARNE SURO US

Sea a ee(NS RS OR” aRN (OS TT ee E ES SY NOECRASS OS a A neo? 5DRE AE (SR KN BCS (ON CS SR eeo> OS SS ND ee ESSS CNS OO, NN AEo? aNS REED (SNS SSSA Seca - ra -j| mel ~ la fa la ga - ila SY ANY“, ©? TH NS EE OH — AS in, - ASN —A Fc a FsSS aeSBN nN (eS OS ES Heya ee a— SY SS HM

ee ° ) a : : : EEE OT EE EET EE

25 ¢ 30 mY Pe a _ ep :

oho oe” v2 AS OHDOT n.,-"-—-—-—-"7 5 iPFaAee SOSONNE >” TESSSOEE SERENE SUES SOUS SOO &° RS CS RS RNS QS REN RONSON RNS GeO (SNORE

poe ge De —e Oe Oe na A, NE NS (cA SSUSNSCSS ORONO (OYOO >J aa i Mens NSES RS OT eee OY «== RS NS RhPTnnO°ENR ES CO (SSD NSSNR SRD MANORS

4 10 — cr J

FN eee Eee EO ee OOOO "ep Le

afay SSCR ee A SS> SS SSLOSE SN SSOO .SS SSOT SSoo? SS ES RES LESAN ASURO Aeee Ce NOS eA Ps SnLE AeSSci [ccc 6SSSilt Ath GSSASh.

a (ae (a Oa CS ( 5 — 0 ee bi egg ee rr Hs Lee ee eo aaSes esON NNes SNGs SS (a

|} fg Oe PC | EG a

Oe eee Eee Ee ET EOS COCO—COO"—“#DNN"NN"D

OS SS SSRIS (RS RDO NS (a OD (SR

EE ee oe) ee es es ee Sac I

387

iYEE ese

fn 15 Cee OO TT TO (OQ. mm ee ee 1INV (a. es REEES Pe A EECO DE (a Sn—epe So” SNS AS OY=e (OS eee eee TT ENS + 2INYO eeeOE eee ry TTS Tf

yl mtC Oa —‘(isrTC CiTTT tCtC®C(‘(;SNSCisdSC( ee is TT if. mm—“(tésSYT —i~”~—“Csts—C~s—srYCT™.. |‘GR TeOEeTeess eee—ee OEE EES TO wen Tt TOT TOOTS TO_O eeT

my, ry a C(NS CO SRO OOS (TSR QO (B=ERENE DET“ DD OEEee EE EEE OTe ST TET Oe rN—C"=e—=spt een —epe See OTe ee O

~~ TT eee(S(O eee eee TS) |SS J. ,o TO EEO OOO TEES (SR (NS (ON A

(ot? EE EE OS EEE EE EEE EEE Eee OEE TEE

[Fd

(i OY OEE EEE TO 0SS a ~yeo. E SN SS OIE CASoO (OSES (0S QO (RENO (SN OEONOU NEO SD (OC OSTT (RS (NDEe (SONNE ob .iInNONO0Nw”-r07w0nWr”~.-.--@-#270—"—"T-_..nULznunw.n OE OE J "—______—O”~—O=OOOO

4 e Q Q aey. OT O_o OT ETT TY. fd Re SS CO {) ee nm EDO

> (SE (ON SUNN On QQ aOND OTTO EeON OOO OOOO EE Eee TD EOP NS (SND dO" (SOS AORN (RSES ORNS OUT URES 4

JL meee eee Ee eee eee eee EEE Oem dL ee" t——E=" — —(st —™— IT Ce “—=

fe TT eee eT ee eT

aS NEY Qn (OG (ORT A)SUEUR RS OSROR COR Q EC RS SS Qn DDOOS OD SOO (EYON (OOS NB NS QO (NY QO QO _iw oe_B—OdYOODQ_eFT—t—SYS EE EEE EEE Deeee te em KK... sd _"7€UwW0wW oi oO —e—COrds—OD ET“=m eee

OT EEE ———"7—"70W0wWwT1_..__ eee ETE ETT

ee I (OD «== [wpeee | [ee ee eee ee eee OEENS Oe

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ey |.{||.©. YY... A.|.eC OO vy ||| 4%. sidE—Ee= ge EE OEE

aee ee ee ee ee ee ee P|

Te (hwSO |__|.OOOO _ ft ___ OOLTOrN—OS | __ fi O_O LT lg! TTT EO EEE OOO | SO TTLUmD OE Ee

.KK Fe [_. _.e-N-N”””r... _ ee_*__ ___ o_|_._. ___ ee OT eeSS _])$. 000 ea ETSY _LT tT ff (Ca wv 2, [|gOEE hyd Ty - --~-r. rnN”-’-.r-"-’-.-..w” OOOO

F_un. sooo).ere. ..-"*”.—.”.. 7-——-—-.W yO 20-0" _ .... |...J”th. dS SE eedro O_o o_O

We nnn omy ay oH IPY) Po VZ26OTTFTG_ Dee

hw O_O SS Se — a Sa accccn Ssaeaaneeans FT TTF APn.’".—7—— LL. eeScr EeSe 0 TS SS © Sn | HOHTCECFTFOFO

XN . ]

Superius ” 5 NG ES (NS (OS Sa 2 Se ge iO ag Contratenor fe) fe) I f) nS a NS PE ND ES MTS (OS CO aa wae es rr(or ar pp irr i]

173° La tortorella che ¢ semplice uccelletto Jacobus Obrech

f. 182°— 183

| ee OQ ———————EE————————E—————————————— Ee ee

tor - t -

-—~o-

A NH _ — | Te ee es a ee Se J -o

NS EES ES ENSURED OSES (OSE ASSO OSS AN TA AS SO NS — A —

: iL @ Pe —g =p TE —o

II

ee OF CT 6 OS SE — A ES NE A _ A Y- D NONY NENG SOU ONSEN RSNENOEI

8 La tor - - to - rel - - - - - la, la tor - to -

a eam —_! 4 ;

rl = = - 1a— ee ee| tt 10

If) tfFoftZ ht ee

h— cE ss a ee SSSe QS OS MN AeED. AsDOS Cl nnXS A GS ae

f OSe—— pf hgOSU ey(SR$F ca SS (NN (ON Qe

DANDY YSS o RE 2 RE es RD (RES ONS (ON (SO QS

iL wan we (fe gj JT gag ff ce «NES nA" I S ee TX |rES ET SE ”®*, FF|NS eY.LUlUlUWgll CG - - ta ma - - - - i, non res - ta ma - - i’ \ (fm gmn=“. TOUY"=? CS ae A ES| NE AS = DOE ee ee =SY _ ae eS OS OS OURS ONS UE (RE neee EURO (GRNNONOND NO SU SSY OOOO NOSSO QSSSSCOSISINSI (URES (ONS UIIINUURIIEIN ,, “QIN OOURIOINONEIN (RURIEEOUISUEOURIIENS

Ye EE 4 4| 35 a $op [| ft eee ee”

p< ——__+———_____ | }_..—_ -—# #89 IP? 0 oor eo eo * CE .. Gs es

8 ca - ra Non res - - ta mai, non res - ta ma - - -

~~ F gf a [na | go> © oe fe EET TT

St “ mop , es 1 em |-— eee

hi aNSE 0 NOUNS ee ey(NOUS eeON2 AYLfUNLgg See NG a $$ SE! OS NS (Ne (SS

Ne ener nee cen nn eee ee eS SS ——————SEEE————————_———E eee

Te Oe EE Sr ee en DE

es OO OO|

8

rey “eg Ug| LT | "en ch~COOLED NY Ue CGE ™TO OC UPL rg _j-_1 ¢ __j/ | ggee_ ld) { 7) /“ =|. — =fOT Ett v;

ey lr—"”=eg OT“™ "gg{4[ fg Je ef Lg , - £ CCC | -“ FF OiLU oo ED

PC NS DS TN A ES US Qs OE RE ES RRS ENS CREE URNS RST OED ECSU (OU EUROS 6

ta in ac-qua di fiu- - - ra.

(}CSEee | caES 1esC—O —_—— SF A WS EB WP eseT es ee Ee ee ee © esEee = es QS eee OO NG Y ES EROS GS, OS RSS COIS OCR CSOSA "ES SES SOUS ORAS SRCOOCNOCEED SEND OO OS

3} a pp tor] yt] dt TT EE OEE SENS = - - - - ta in ac - qua di fiu - ma Sa o-) ra,

Fc CS aS EE ASS EE SS ES ES NTE SONNE SORESCe RS ee NSeee QS [NhULUrweCOC™O..COCS™SCsSC~sSdY 8

the ire first two lines of the popular song appear under the notes in all voices in Florence 229; text in italics has been added by editor. 2) Orig.: dotted semibreve rather than semibreve plus minim. Emendations in S$, mm. 19 and 42, follow Florence 164-167.

391

9jfSS__°ena 2e=ee Pe “= . oa ee te ee ee tr rhre es to

174: Jen’ay duel que de vos viegna Alexander Agricola

1) Superius h 5 ig —— Hy ri rer} Ye ge "gg Se n'ayce, |dueil que de Tenor~4.1.5. Et Je pour quoy qu'il

f. 183° 184

— ST ee ee ee ee ee ee 8 1.5. Je niay

1) Contratenor 4. Et pour eo

I

[pe fo|Eee Oe eee eee TE Ee eee @\e Tee b 10 4 SND Se ————————————————————————————————_——————————— ee

')Contratenor 1.5. Je dueil |que de vous i 4. Et pour ce,nayquoy qu'il en

25 SL eee eee eee eee

vous ne vien - gne, gne; en ad vien pe Pg ft ° dueil que de vous ne vien -= gne; ee, quoy qu'il en ad | vien gne, 7 ey D 3) OF "1 OO ee ae aT ALT Ya Tey ee ee ee "eg ° ne vien - - - - gne; Mais quel - - mal que_—

NG ES RE SS SONNE EN (OSU DO (SONS OO Oe A Oy FTAs

ad - -,4| vien - - -—————_——— - gne, Je vous ply qu'il __ [TT-fF

.Oe 15 a _ eee Se OE EE ee ;eee =| Re aapo i————— ee eee ee oa ae ~ re

> 4. ee _ ee }— | 9 th re ee YT ee se OT 0 SER 2 eee 1.5.Je_ ss —t—‘é dueil ___ que____ de_ vous ___ 4,Et. sé ce, quoy___ quiloo en

fy ©. | tg) —”—g 2 = TCC OD eg 2 Deg TT ee Mais quel - que mal quevous je PF Je vous sup - ply qu'il PesouS sou --

Ee Es s Mais quelsup - |que que] je sou gous-_- vien tien Je vous -plymal qu'il} vous

8 vous je sous tien ~ gne, sou 4 vien - - - - gne

FC Oa«> OOOOWNOW-.----'Y'....1_ 4%. ™ LS OS Se a, a o_o SS eg a . “M—M—___eee . —_—. ne. -—sien gne;___ -que malqu'il que —_— ad vien --gne, Je__Mais_tt.. ss vous quel $=sup - ply 392

20 25 p ")b

ee 07eeTteeph ee eee EET eeeTET ee ee EE Eee ey. Cs@e yy TC LE)EELL LL po |cueur, - -|dou-leur, vre cueurQuel A ung__. dou- -- -- --vre - -| leur, vospo-tre - que 45

aAv a ef pp owe ee EE ee "=p ee eee Le ee le” ™ le OE ee lr reA 8 frir que mon| po - - - - - vre____. |cueur

/ rme1 eTme 7 ee ee Tf TOreee

OL Co, CK © RE aE > RS AS O° I ES EE °K AE OE «SE «=

mer vos ~ - - tre} dou - - - - - - ~ | leur, Quel DP GR Oe. Eee eee SN eeyj oe$_____+_++-_+_+_____— wi 3 ee ee “= 2 ee224 eee Te, ee Oe ee“ | Te eee TU ANG ES tT SRE RE FY) A RE 1D™ a se eee ee L_@—_ eee :c:.~e 2 ET a LOU UNESETSENUTEIO TEESE UTES (EEEENUUSDINEEIIOENS OUEENINUTUUEENNEDUUEEEOIEEENY

TCEE } rDee 7ye r 7eee $ CP eee —| ee af)aul850 eee - tre qu'a vous se tien ~ - - MM—m__L€u“”_éaa>>”

leur, Csi‘(sCsés‘iéwOS:S:C“‘

n r 7 10) yf wa ey ‘ose. pp Ed Se yo) |. |||_|OT oeOEE Ee OO

fT TT "eg eC Oe ee ung aul se___ tien~que cho----tre se qu'a qu'il| |vous me sur - vien cho - se qu'il me sur - - | vien - ~ - -

eS | | NERO Cc 8 NOES J 2 Te(OTE aU SUN dU eS DeAeT NG Pf ED 2 OS[nA SONS ONO, NO LDL NS OY“gg AY + —}- Y —_|}____}-____|}| —_+}-—_}| + yt rerOe) 9 oe ed Iyf8 5A( TOD eg ,_ QQ Yt ET WF ESee NN RST NTRS ES OO OE TT A CS = rt ee oS .—— ro I (oxgC CEE ee AER en = =e a ee GR TO or Pe > H#“n-(--.—

i)

» 35ep 2) — =p eS40|

a ET

a ee rs es po Puleee, | { |

a A Re I Sr ONES STUTTERING ERRORS RRO EES (ESSER We ee

A EE ET TT S&T

>) FD dirit_.>oO--OvN7.0W..—_ 8 ET RE )6N?"—"——”n””vNWn TT a IeeES PE ES ye TS OS ES nc (ORY oP?|"[—(7@"-""_ ESSN NE/# OS

SS SS SL LL NNN SE EE SY FO SCARS ND OS SS SES A SS AOS SS NASSAR ELSES SSSR 6 1) Since the context demands E flat and C natural in B and CT when the opening material returns in mm. 29-30, perhaps the same accidentals should be applied at the beginning as well. I have preferred, however, to make what seemed to me the more obvious choice in m. 1, changing the editorial accidentals as context demands.

2) The network of parallel fifths in mm. 10 and 38 is original.

176° Gentil galans Anon.

Superius 5 LTeN ee eeeyt OOO OO ees te Se Yt lr eee Contratenor td oe a ww, Y) SEEDS A eeCa Vn Sr ca aL a a Sa

V f. 186°— 187

ee EEE ee OT ST SO Nnncv”.”-~"”."”"".."] AkEE fie ee a EE OO FHe—>nnv-n0 f]

f}® PN TE5 oS Ee eee ee ee RY A EE, CAEL A © EE ER, «ES OTR OS Os

== TP Ge eee LE 8 OLS e—eert™—COT rrrTrCCCS A A/——™SCOSCSC™S™SCTCT: Peee eees| t~— en ve eb a ee a= ES (OO INYO S..TCUmrC OD CO StesST I

|Se£a i-p——_ |_| ASS ©> es *#!_—> ee eSsy SDiY6 aSSOE SY SS SSCy SONY SS eT Eee EeeeeTete 7] es? eee eee if» ~Eee SSeee rrrrrrCOdY—COTTTOONNT) geT] D—g [Eee ed —"—egh —OE =Tee egEEE COO ye >CON"’..|.__”_ —__@ | RS @ OS 9—_ 56 6Uh ——— aeee —— 7le re if, | RS fy |]OSLULU Ce De“ EC SN OS| De ROSS AS WOT oo? YO|RS OOOO EESSNS EE - -— © 4

CT OT En ee ee

Ty, | Qj| |VY eee [|eer—Q Ee _| gag LOTfpLe a » |.| ©... ~~. DP Ue—=et‘“‘“‘aR:LULULULULDLLULULULULUUUUL UUDTCULYUUULULULUCmr™“e UT “=e ae eNO

ey 7. Md esCOd......_ |. —SUL EO? OP OT ee Tee rife; {| ,.@# @ |A“@m —{SOT eee SO) FL LN eS AR A TT ASN SS qx~..-. TOE $$$ LS eS SS SS; SSAA SS SSS — SSS SSR SS SY SSSA SS SS

te EO ae szsqss$teaoooD eo 8 au ~| tant que Ja ~ | mais__ | fust de - - es W onr° Fa"eee. wa (a ygt+—— pd ynToD ne ab 4. 6) «A [ fT TT ee.”_T Le _L SO—~ | OB ODT oa —ere—ONnr A’ Cd ET2 VE EE NSa oe ON: — s-aLS a5ae 2 ——— —— SS a SSA Ae Sa pd> eyeEeO-—-.—-NW-07-0-72M

,a _35 t 60 ee a ee Oe eeet ee

-O)-> G5) -—_—_@—|-@—f pp __}____+__] a ee > ——_—__f}—_ G = —f ig |i LAY I A SL = OARS NON AS ONY MOA PR EE NS A NS NS SOS NN NA SN ES NS LR NN

f) Cae N".""”.......|._] FS Ss a| op —_ Pa ee ee| igesseesSe

a A We ee Eee D> TT eDF —_—"”—”".-.-".._. |]_ Oa oe]

~— |, pt,» ie 2 EE ee r] el YS V3 __e~S —/ aSS ama P= p-—p Pf f= 5 i | jug fd pf} —} pf} eS aH ee ee a ae a ae 2 EPH| 1) _ The refrain of this rondeau is placed beneath the notes of S in Florence 229; text in italics has been added by the editor. Since this is an arrangement and not Hayne's original setting, only the refrain has been added to the music here. 403

| ee .e°.1

178: De tous bien[s plaine est ma maistresse] De Planquard f. 188°— 189

— CH en * De tous So f\ pO

—_—_—__ NG a a a aD GOfh OS er SS Aet Ontp nn » Sy

Superius

al ss + bs es b es y= ee SS A nc

——__ a ae (SO 8 DeND Pea tous yp pp

eo SS oe a a ee ee ee

—_ | eee ee— hee

— Tse. 4» i LULU —"“gge Oa "ge OT Ee Ee

Seen ee ne ee ne mom pmo pm pe —ee— oyeDeee ro ee pn HK)

—____

) SRT RROD” “CQ 7 AAT > N= D (SUUDSUSOOO A ‘pe? 2 +—e—_—- 2 _ > —ce-__|_>_ 2? O

8 biens plai - {ne est ma mais - ~ tres - -

10), 4 Tr IG Tee

A ES NR OE EN ES eo En »_ " Yo | ny Se ey = es es ee

ee egpe ee eeSoea ae a_—ee es. CA es esa es esiee ee, fT LCP eee eeee A RE SSea eeaaa ee Se ee .. Ge oa atS er es

jp yoy too oy >

ye eS —_ a b b

Dn ee ee —————— ~~ ee 9 |eee UTeee edenlgeeYC eeeeeee eee _P | fr

| 2 4» £ ft UULLULULDULULmdLLLUL mg F™ CO ™ 2 oF ——_ 8 TSB i ae 404

Cee

me ee OT (a = SS SE a ES —xvr---——

PSA TS| aASaLSeS A GOES RO(SSSR (ST WO CL (SS RRS (RS SO SO Sa (NE (SR 35

NS a SS (SR = OE (J — 2 - ~ - e est va ~ ~ -

| ooo ee a OOFHOFHOoP>-0ernoOOD?™le™™ ._“"N-OwWN) OCOo 0 OOo ER aomOh Se TS O00 OOOOee ooo, OT OO

ee =e ee [|o> | r oo ooo ~ NS, a Da eS (SS CR = at Bo . : | Neen ees

8

r 7 oe oe OOOO OOS ae TES OS FJ ee”

oh Oo oo roo FEEeg —ETE eh —eoI ey oOlOeeeeoDeeEFvwsmxqm9_"rv------. OE >IEOI *"—.:-Nnv7-"-W— Po OOo oT — .NvNAOS OT OT EEO Eo aoF? -" — DOOTEDTE—EESET QSOS =. -2NO0.-2-.rwnwn

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