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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Table of contents :
Frontmatter
1. [Tres doulx regart] (Jannes Martini, page 1)
2. He logierons [nous seans, hostesse] (Henricus Yzac, page 3)
3. [Tant que Dieu voldra] (Jannes Martini, page 5)
4. Mon pere m'a doné mari (Henricus Yzac, page 7)
5. Se mai il cielo e fati fur benigni (Jannes Martini, page 9)
6. Helas, que devera mon cuer (= Helas, que pourra devwnir) (Henricus Yzac, page 11)
7. O di prudenza fonte (Jannes Martini, page 13)
8. J'ay pris amours à ma devise (Henricus Yzac, page 15)
9. [Textless composition] (Jannes Martini, page 17)
10. [Benedictus from Missa Quant j'ay au cor] (Henricus Yzac, page 18)
11. [Malheur me bat] (James Martini (or Malcort or Ockeghem), page 21)
12. [La morra] (Henricus Yzac, page 23)
13. Martinella (Jannes Martini, page 26)
14. [My my] (Henricus Yzac, page 29)
15. [L'espoir mieulx] (Jannes Martini, page 32)
16. [Christe eleison from Missa Chargé de deul] (Henricus Yzac, page 34)
17. [Il est tousjours] (Jannes Martini, page 36)
18. [Textless composition] (Henricus Yzac, page 38)
19. Les biens (= Des biens d'amours quiconques les depart) (Jannes Martini, page 40)
20. Virgo Dei trono digna (Jo[hannes] Tinctoris, page 42)
21. J'ai beau huer [avant que bien havoyr] (Alexander Agricola, page 44)
22. [Dat ic my lijden aldus helen moet] (Jannes Agricola (or Petrus Eline), page 46)
23. Ha traistre Amours, me sçauroes tu feire pis? (Jannes Stochem, page 48)
24. [Moyns ay repoz, plus acroist mon affaire] (Anon., page 49)
25. Adieu bon temps (Anon., page 51)
26. Du tout m'estoie abandoné ([Guillaume Dufay], page 52)
27. Je nem puis ([Alexander Agricola], page 54)
28. [Le bien fet] (Anon., page 56)
29. Je suis [venue vers mon amy] ([Antoine Busnois or Hayne van Ghizeghem], page 58)
30. Plus n'ay d'espoir (Anon., page 60)
31. Puis qu'elle est morte, [à mourir vueil entendre] (Anon., page 63)
32. C'est ung bon bruit [par Dieu madame] ([Alexander Agricola], page 65)
33. [Guarde vostre visage] ([Alexander Agricola], page 67)
34. [Textless composition] (Anon., page 68)
35. [Textless composition] (Anon., page 71)
36. Ma bouche plant [les pleurs de ma pensée] (Anon., page 72)
37. Sa painne pert qui sert sans nul guerdon (Anon., page 74)
38. Hellas (Anon., page 76)
39. Vostre bouche [dit "Baisiez moy'] (Alexander Agricola, page 78)
40. Faultes (Anon., page 80)
41. Venus (Anon., page 81)
42. Penses y celle (= Pensez y se le povez faire) (Murian (= Gilles Mureau), page 83)
43. Le renvoi [d'ung cueur esgaré] ([Loyset Compère], page 85)
44. [Que vous madame] / In pace in idiosum (Josquin [des Prez] (or Alexander Agricola), page 87)
45. Martinella ([Johnnes Martini], page 89)
46. J'ay bien nori (= J'ay bien nourry sept ans ung joly gay) (Jannes Japart (or Josquin des Prez or Johannes Joye), page 91)
47. En riens de remede (Anon., page 93)
48. Vous n'aves point le cuer certain ([Caron], page 95)
49. Mon seul et cede (= Monseul et celé souvenir) ([Antoine Busnois], page 97)
50. D'un bon du cuer sans aultre amer (Anon., page 99)
51. Fortune per ta crualté ([Johannes Vincenet], page 101)
52. Ung plus que teulx (= Ung plus que tous est en mon souvenir) ([Antoine Busnois], page 103)
53. Chon tutta gentileça (Antonius Busnois, page 106)
54. Ja doy le diner (= La doy-je aymer à vostre advis) (Anon., page 107)
55. Je ne fay plus, ne je ne dis ne escrips (Antonius Busnoys (or Gilles Mureau), page 109)
56. Chi dit [on] benedicite (Antonius Busnoys, page 111)
57. J'ay mains de biens ([Antoine] Busnoys, page 113)
58. Faulx mesdisans ([Antoine] Busnoys, page 115)
59. Je ne demande lialté (A[ntoine] Busnoys, page 118)
60. Seule à par moy [en chambre bien parée] (A[ntoine] Busnoys, page 121)
61. Seyense an mains (A[ntoine] Busnoys, page 124)
62. Une filleresse d'estouppes / [S'il y a compagnon en la compagnie] / [Vostre amour] ([Antoine] Busnoys, page 126)
63. C'est trop fus(= C'est trop sus amours entrepis) (Alexander Agricola, page 128)
64. C'est mal serchà [vostre avantage] (Alexander Agricola, page 130)
65. Et qui la dira, dira (Alexander Agricola, page 132)
66. [In mijnen sin] (Alexander Agricola, page 134)
67. Vostre hault bruit et vestre grant fame (Alexander Agricola, page 136)
68. Si dedero somnum oculis meis (Alexander Agricola, page 138)
69. O Venus Bant ([Alexander Agricola], page 141)
70. Cent mille escus quant je voldroie ([Antoine] Busnoys (or Caron), page 142)
71. O vie fortunà[e] (Caron, page 145)
72. Se je fay ( = La plus grant chiere de jamais) (Anon., page 146)
73. [Textless composition] (Anon., page 148)
74. Sebries puis madame ( = Se brief je puys ma dame voir) (Caron (or Antoine Busnois), page 150)
75. Mort ou merchi [vous requiers si] (Caron, page 152)
76. Laor vous n'estes (Anon., page 155)
77. En effet se ne repren[é]s (Anon., page 156)
78. [Textless composition] (Anon., page 158)
79. [J'ars de desir, si enflamé d'amer] ([Alexander Agricola], page 160)
80. [A tousjours mais vous puis donner le nom] (Anon., page 162)
81. Se je fais bien [ou mal aussi] (Alexander Agricola, page 164)
82. Tarsis (Anon., page 166)
83. Ma perfayte [joye] (Anon., page 168)
84. Il n'est vivant tant soit scavant ou saige (Alexander Agricola, page 170)
85. La rouset (Anon., page 174)
86. Mauldicte soit envie ([Alexander Agricola], page 175)
87. [Textless composition] (Anon., page 177)
88. Ung plus[que tous c'est mon confort] (Anon., page 179)
89. Ade yoye (= Adieu joye) (Anon., page 181)
90. C'est temps perdu [d'estre en amours] ([Robert morton 0r Caron], page 183)
91. [Textless composition] (Anon., page 184)
92. Vrai dieu d'amours, [je suis en grant tristesse] (Anon., page 186)
93. Je cuide se ce temps [me dure] (P[ierre] Congiet (or Japart), page 187)
94. Faites moy ung tout seul plaisir (Anon., page 190)
95. Je n'en puis plus [se je ne meurs] (Anon., page 192)
96. Pourtant se mon voloir [s'est mis] (Caron (or Antoine Busnois), page 194)
97. La despour (= Le desporveu infortuné) (Caron, page 196)
98. Cela sans plus et plus hola (Collinet de Lanoy, page 198)
99. Helas coment [aves] (Jannes Martini, page 200)
100. Pour faire [l'arlkymie d'amours] (Anon., page 202)
101. Piteux adieu (Anon., page 204)
102. S'i[l]vous plait que vostre [je]soye (Joannes Regis, page 206)
103. Nencioçça mia (Jannes Japart, page 208)
104. A l'audience ([Hayne van Ghizeghem], page 210)
105. Pour mieulx valoir (F. Rubinet, page 214)
106. Je voy (F. Rubinet, page 215)
107. [Textless composition] (F. Rubinet, page 217)
108. Cela sans plus ne souffi pas (Jannes Japart, page 219)
109.J'ay bien chosi à mon voloir ([Hayne van Ghizeghem or Antoine Busnois], page 221)
110. Se doulx penser (Caron, page 224)
111. Gracieuse fleur (Anon., page 226)
112. Tout (Anon., page 228)
113. Dictes moy toutes [voz penées] (Alexander Agricola, page 230)
114. Adieu, adieu [la seignorie] (Anon., page 232)
115. Ne vous hastens pas (Loyset Compère, page 234)
116. [Par ung jour de matinée] (Alexander Agricola, page 235)
117. Amours nous traitte honnestement / Je m'en voy (Antonius Busnoys, page 238)
118. Le serviteur [hault guerdonné] (Anon, page 240)
119. La plus (Anon., page 242)
120. Madame helas (Petrus Congiet, page 244)
121. Fortuna trop (Anon., page 247)
122. [En attendant la grace de ma dame] ([Alexander Agricola], page 249)
123. [Textless composition] (Anon., page 251)
124. [Textless composition] (Anon., page 253)
125. Ha [qu'il m'ennuye] ([Alexander Agricola or Jean Frasneau], page 254)
126. [O intemerata] ([Johannes Martini], page 256)
127. La mignone de fortune (= A la mignonne de Fortune) (Alexander Agricola, page 259)
128. [Gentil galans] (Alexander Agricola, page 263)
129. Je ne [me] puis vivre à mon ayse (Henricus Yzac, page 266)
130. Mes pensé[e]s [ne me lessent une heure] (Loyset Compère, page 270)
131. [Het es al ghedaen] (Jacobus Barle (or Heinrich Isaac), page 274)
132. [Moyses] (Jacobus Barle, page 276)
133. Seraige ([Loyset Compère], page 278)
134. Si une foys puis (= Se une fois recouvrir joie) ([Hayne van Ghizeghem], page 280)
135. [Textless composition] (Anon., page 282)
136. Sans si sans (Anon., page 284)
137. Martinella (Anon., page 286)
138. Serviteur suis ([Heinrich Issac], page 289)
139. [Textless Composition] (Jannes Martini, page 291)
140. [Textless Composition] (Henricus Yçac, page 292)
141. [Et incarnatus est from Missa O Venus bant] ([Gaspar van Weerbecke], page 294)
142. [Pleni sunt caeli from Missa O Venus bant] ([Gaspar van Weerbecke], page 296)
143. [Benedictus from Missa O Venus bant] ([Gaspar van Weerbecke], page 298)
144. [Fuge la morie] ([Jannes Martini], page 300)
145. Une mois que de Biscaie (= Une mousse de Bisquaye) (Josquin [des Prez], page 302)
146. Adieu Florens la yolye (Pietrequin, page 304)
147. Je ne demande [autre de gré] ([Antoine Busnois], page 306)
148. [Hellas, qu'elle est à mon gré] ([Johannes Japart], page 310)
149. Maudit soit cil qui trouva jaulosie (Henricus Yçac, page 314)
150. Donna di dentro / Dammene un pocho / Fortuna d'un gran tempo (Henricus Yçac, page 317)
151. Fortuna d'un gran tempo (Jannes Martini, page 320)
152. J'ay pris amours à ma devise (Jannes Japart, page 325)
153. Hellas dame (= Serviteur soye de par vous retenu) ([Johannes Stokhem], page 328)
154. Acordés moy [ce que je pense] ([Antoine Busnois], page 331)
155. [Anima mea liquefacta est] ([Gaspar van Weerbecke], page 334)
156. [T'meiskin was jonck] ([Heinrich Isaac, Johannes Japart or Jacob Obrecht], page 339)
157. Amours fait molt / [Il est de bonne heure né] / Tant que nostre argent dure (Jannes Japart (or Antoine Busnois), page 342)
158. Adieu mes amours, [on m'atent] / Adieu mes amours, [adieu vous command] (Josquin [de Prez], page 345)
159. [Textless composition] (Anon., page 349)
160. [Textless composition] (Anon., page 352)
161. Jes suis d'Alemagne ([Johannes Stokhem], page 355)
162. Je suis d'Alemagne / [Joliettement m'en vay] (Anon., page 357)
163. Madame qui tant [est en mon cuer] (Caron, page 361)
164. Amours amours ([Antoine Busnois or Johannes Japart, page 364)
165. [Textless composition] (Jannes Martini, page 367)
166. [Heya, heya, nun wie sy grollen] (Anon., page 369)
167. Quelque paut que je soie (Anon., page 371)
168. Ung franc archier ([Loyset Compère], page 373)
169. Hellas madame ([Josquin des Prez], page 376)
170. [Meiskin es u cutkin ruw?] (Jacobus Obrech, page 383)
171. Scaramella va alla guerra ([Josquin des Prez], page 385)
172. [Textless composition] (Henricus Yçac, page 387)
173. La tortorella che è semplice uccelletto (Jacobus Obrech, page 389)
174. Je n'ay duel que de vos viegna (Alexander Agricola, page 392)
175. [Textless composition] (Anon., page 397)
176. Gentil galans (Anon., page 399)
177. De tous biens plaine est ma maistresse (Anon., page 402)
178. De tous bien[s plaine est ma maistresse] (De Planguard, page 404)
179. J'ay pris amours [à ma devise] (Jannes Martini, page 408)
180. [Vilana, che sa' tu far?] (Anon., page 411)
181. La durion dure (Anon., page 415)
182. Bon me larim bom bom ( = Corps digne / Dieu quel mariage) ([Antoine Busnois], page 417)
183. On est bien malade par amer trop (Anon., page 420)
183a. On a grant mal / On est bien malade ([Antoine] Busnois, page 423)
184. [Mon mignault musequin / Gracieuse, plaisante muniere] ([Antoine Busnois], page 426)
185. [Textless composition] (Anon., page 428)
186. Seul en amours ( = Deul en amours puyt assez nuyre) (Anon., page 430)
187. Se je fuse (Anon., page 432)
188. Tel fait semblant [d'estre joyeux] (Anon., page 434)
189. [Textless composition] (Anon., page 438)
190. Faulx envieulx et megre face (Anon., page 439)
191. [Pour fort amer et bien servir] (Anon., page 441)
192. Martinella (Henricus Yçac, page 443)
193. Je me plains de tant affanné (F. Rubinet, page 447)
194. Coda di volpe (Anon., page 448)
195. [Textless composition] (Anon., page 452)
196. Et trop penser ([Bosfrin], page 455)
197 and 197a. [Ha, que ville et habominable] ([Antoine Busnois], page 457)
198. Hellas, [le bon temps que j'avoie] ([Johannes Tinctoris], page 460)
199. Que serai las fort languir (Anon., page 463)
200. [Textless composition] (Jannes Martini, page 465)
201. [Textless composition] (F. Rubinet, page 467)
202. Mes que se fut secretement ([Pietrequin or Loyset Compère], page 469)
203. Martinella ([Johannes Martini], page 471)
204. Lembien d'amours (Anon., page 473)
205. Vive Charlois ([Caron], page 475)
206. Helas que poura devenir (Caron, page 478)
207. Pendecose (Anon., page 482)
208. En attendant [d'avoyr secours] (Loyset Compère, page 485)
209. Pour mieulx valoir ([Jean] Hémart, page 488)
210. [Textless composition] (Jacobus Obrech, page 490)
211. Tenes en chause (Anon., page 493)
212. Nos espant (Anon., page 495)
213. Ic quam cheredem (Anon., page 497)
214. Ic quam cheredem (Anon., page 498)
215. [Benedictus from Missa Ut re mi fa sol la] ([Antoine Brumel], page 500)
216. [Pleni sunt caeli from Missa Ut re mi fa sol la] ([Antoine Brumel], page 502)
217. [Qui tollis from Missa Ut re mi fa sol la] ([Antoine Brumel], page 504)
218. [Textless composition] (Jannes Martini, page 506)
219. Rose playsant, adorant comme grant (Caron (or Johannes Dusart or Philipon), page 508)
220. Madame, faytes moy savoir ([Basin], page 511)
221. Faites de moy tout [ce] qui vous plaira (Antonius Busnois, page 514)
222. Bone dame playsant (Anon., page 517)
223. [Combien le joyeulx que je fasse] (Anon., page 520)
224. C'est vous ( = Roynes des flours, que je desire tant) ([Alexander Agricola], page 523)
225. Ales Regret, [vuidez de ma presence] ([Hayne van Ghizeghem], page 527)
226. Mon cuer se plaint (Anon., page 530)
227. [Notres assouemen] (Alexander Agricola (or Jean Fresneau), page 534)
228. M'a vestre cueur [mis en oubli] ([Antoine Busnois], page 536)
229. [Textless composition] (Anon., page 540)
230. [Textless composition] (Henricus Yçac, page 543)
231. [Textless composition] (Anon., page 545)
232. Je ne sai plus (Anon., page 548)
233. [Textless composition] (Anon., page 550)
234. Je ne serai plus [vert vestus] ([Phillipet de Pres], page 552)
235. Je seroie bien infortuné (Anon., page 555)
236. Non pas que je veullie penser ([Gilles Joye], page 558)
237. [Si vous voulés que je vous face] (Anon., page 561)
238. De bien (Anon., page 563)
239. [Textless composition] (Anon., page 565)
240. [Textless composition] (Anon., page 567)
241. [Textless composition] (Anon., page 569)
242. [Textless composition] (Anon., page 571)
243. [Textless composition] (Anon., page 573)
244. [Textless composition] (Anon., page 575)
245. [Textless composition] (Anon., page 577)
246. [Textless composition] (Anon., page 579)
247. Soit long soit pres (Alexander [Agricola], page 582)
248. Pour vous plaisir en solas ([Alexander Agricola], page 585)
249. [Textless composition] ([Heinrich] Yzac, page 587)
250. Et je boi d'autant ([Heinrich] Yzac, page 589)
251. [Textless composition] ([Heinrich] Yzac, page 592)
252. [Ad te clamamus from Salve Regina ([Heinrich] Yzac, page 593)
253. {Textless composition} ([Heinrich] Yçac, page 596)
254. Je ne suis point [de ces gens là] ([Alexander Agricola], page 598)
255. Je vous (= Se vous voulez m'estre loyalle et bonne) ([Alexander Agricola], page 600)
256. Venus Juno Pallas (Anon., page 604)
257. Le serviteur [hault guerdonné] (Henricus Yçac, page 606)
258. Le serviteur hault guerdonné (Anon., page 610)
259. O Pulisina quando ti maritasti (Anon., page 615)
260. De vous servir [m'est prins envye] ([Hayne van Ghizeghem or Jean Fresneau], page 618)
261. Ce qu'on fait à catimini ([Gilles Joye], page 620)
262. [Textless composition] (F. Rubinet, page 622)
263. Si fault (= Madame, trop vous mesprenés) ([Dux Burgensis = Charles the Bold, Duke of Burgundy?], page 625)
264. Amours, Amours, trop me fiers de tes dar! ([Hayne van Ghizeghem], page 629)
265. [Textless composition] (Anon., page 633)
266. Se mon servise vous [plaisoit] (Anon., page 635)
267. [Nee mihi, nec tibi] ([Jacob Obrecht or Virgilius], page 638)
268. [Il est tel] (James Martini, page 643)
Citation preview
A FLORENTINE CHANSONNIER
FROM THE TIME OF LORENZO THE MAGNIFICENT
MONUMENTS OF RENAISSANCE
MUSIC
EDWARD E. LOWINSKY Founding Editor
HOWARD MAYER BROWN General Editor
De eSa RE a ce ETE A oe yeee fe ties PE |
my val ae ) tf 4 \ kz ie “4 we Sea VT aN
AG AP Ss esse. "efor é VA pay
Se GIBIe ler Rie / 2a : P
ome WA LS a4 eS, ee ai; ies 3 Wt. + Sy ps y is d vs) Earp
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]
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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
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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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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
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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) —
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9) Vatican C. G. XIII, 27 offers the following version of mm. 43-54:
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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.
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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
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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
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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-
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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:
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°SYChri ~ ~ son, Chri a ee a ee ae a = — = = — ——— AD S tt peo pee fee e 8 - - ste e - le - - - - - i - son, Chri -
20 ——_—_, 29 AD eo [| a ed
‘a le ste e le pF —f ——+ Pe a een pS
VY a pp — = — es - : — 5 nN aN Pema i. RAE NE ENN IT © __] (A to SE ee = QP
8 ste ____ e ~ ste e -| le - - Pe SES ooo J —[-—o§ r a—_}-—_F-x yt ee A es >} CG a} }— fo Yt ——, —
a : 8 ste e - le - i - son, Chri - ste_.
J‘A Fs — |__| — a pH ee ee EE De eee SE _— fm G Oo i son, e le son, Chri yf en GE ©? gp TE SeaEN| — 7 NN a PP 7, = yo ee ———— es es es aeeeC es ——— 8 - - - - - - - son, Chri - -
2 eeeea — 30
I8 erhG po —= — — a a 4 Ine. ° oe @. = le - - = - - 1 - son, — eee . ——__ COCO “—-______e
ce ee —_ ee 9| 7 eo
ae ee Se fen ed ee Se ee eh a a —
OD oo EEE ae a ee el a a © ee po rae Oe ees eee 8 ste ps e - le - - j -| son.
go ; | | . 35
1S
7| ee eeJ ot = ee eeEEE ee apt Sere of coopeee eo Ge —_. Chri - - ste, Chri-ste e - le - l - - son.
oe a f} mS Qe
17: [Il est tousjours] Jannes Martini
f. 16"-17
Superius I 5 -—-——_—— ga hp $s $$ pe rr rf 92 = or V
TP TT _._7Nnunv0000000. TTT a OO OO TTT OP ET TEOEree0O0OWOOOoSs/¥/“"“YNT—-Xn-~’-.0vW"--.-.._ ONEET EE EEE —————OO Oo" (“uaénnv--”70~0“v000.07072—2227"-«-Nn"n’”"70W”_] ]
== Pwr p53 i Terr} PE A ntSS ESO EE EP TT9 eNO _ 2 Os 9 _7~26-0nmnv-E>H0OErn.0O07___"/.-....W] $)~, ppCONSE {[ONYeo 7g | OD BN REREOROUROETS cE \m POSES (OE SE ES SSA ES LE ESA ONY OREN RT NORD NS ROS EROONOUES (OCU OOEOUON OOOOOS aC I v..
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—f on =TT = en LdTE 5 rR TE SO sssTT oo DE EEF DF
DP CE A, es A CER, URS REUSED OS ERS OO ac SY, > "A
st (owe ia DT Te TS A. | TR TE See TT TT 30 ¢ee ————_ ¢SS =foneas ee,Co as ee ee i] eeseeee
ii | 2.&[ |-—_—___ @’ To Xm EEE EEE EE TF ox ———g| +} — + 2D”eee EEE eee ee Cee ee CU ee ee ee eee EEE es Ge in fg Jy | CO .LUDCOUtC(‘“‘COé‘COCOSCOUT TUeeOE DCOU—=e CTeee EEeee eed XY NS ——T.TCTCTCTCTCOPPEPr TS EON
a SRI, COUR, QS NS A § SU oo?
At 0 er 2 pg ET
TT EES eee Na NG
if. ig DE | Ty A i t|t|}ye JT TT @fee 2. Ps [Jf ee fT DCMoe AA > CES, GEjg=FF «=Ff=T|Pr es ee
+) __2— (aGans 4"eee - EE aeeea EY JE?" 6~— Ee =ee XV &4+““e | |!_ 7? |f |.\Nf)
oT a ET OOOO TD yy UTC —SmYS—“G Yt P= Ye ea ee eee ; ees3 eos 15 rt rt ae
19- Les biens (= Des biens d’amours quiconques les depart) Jannes Martini f. 18°—19
cS ee a ee a ee ao oe oe a a ere we
seEE rrpOei i e—g +} 7OT —gd + _ pe
a a SS ST 8
1) Contratenor >)
ee TE nNOE 5) 20 6) eT TT4OO
es rt —-___,—— Yr 9 i oe hf et NYO Pte} 1 | ____4_-_--_____+__|_______4 rf PoFF A I DRUID ws, SEES ET OOS (SE (SU (OUNCES OOO OOS SURES OUSRENNS (ONIN SSRIS (RSE (OSS ORT NS OO OR DOPE
oS 9 9rE eS eeee’ahw“ tt |0COi 2 » ff |* 7) 2 FT— eae: LL
es th iOe+} +ed4“ge —CO4 eee 5— 0 [vy —e ef eg Ee EE LA ae ee ee “=e OO ee Le DO if oT | Ay dT ES GEE eee | eee
oS 9 or He 9 — Fr 25 boeSO30 a Te Sc aer SNel¢ SSS SS SA Hes ot or7) ordMl i ttSSS hE$ YJ SF, ~
Ne! LA ES SS A ES © SA SS CS SE GS NN DOS DE EER DT > SARS ED HS A OO (OEE
se “gg | | og
iN 2, eee EO =a ee _ eee ee eee eee ee eee eee =
st a 1 9 80 8 Fe —— i — — $
UO La LTC l“=ha CT Te, _@o—_@# 9 |2@—._9—_-+a————_—_—__ | 2 OE ee ee eee
-O) efTpfe eoCeOr TP wy |ee | | toy pe ie9Cee eee eete eT a UeSo PDL Se r"—gSE J OL
Leena ee ee ee ee ee ee NS ——S—————————————S———————————e Jib. 40 0 ¢ Ee
AO
35 (>) 40 rn S| “ed CT —“e gfe arr ee tim _| b Sb —. | Pc CS DR NS ES SO NE ERS NS SOD SN NR RRS RNS nes RN SES SONNE US EEN RRS CUS OS OC NS SO OS SONOS DONE!
TT TT Se TWP ig TT if..rt— ae “=, "=e pe fg i
en EE Tg | # | & “” @€ 2 R.A De eS OS A SS ER NON OO NO
ee aeA aeOO a as een eee eee eee CR AT RN DN Aeeeee|eeA oo KCTe co Te CE5SO SE ee Lnee ee 2 eeee eeee ee ee eee ee ee eee ee eee
O_O
CT pe Sg "—=m@ "eeOe EA eT Re Ls, ®Te |e Qed Teese Ee OO ee 8
BC ca CS ES TE AS OS (OS EO RRONO ONIN OOS OOS COS RS GOS CONS Sn oS (ae A a = = es ©
iftC—dYC Ree —® eX Ud TCU TOeege Tee ae eett ND) 2")ptOg gg @e ° | 4yg” —rreeee_. EeTd eee rig | yy ee =e
[ewe ee ed ee DSTTT BTa et
,NG50 ¢ 55 b ¢ SS ee, ee = ied nd ies i eee QL OOa for ee pS f=Tee a+ —
Rn SE RS RS UE CONS ORNUES (OO GO OO OU ey = ee Oe a
BF cy, «eb es es ee ee ee i ee ee es ee ee ee eee) Jrmg§ | f+—_f —_f ff} rr]ld >?— 7 UT or vA$f} @G $f tT wv TT fy | @ | 8 @4| —__ 8 gg GG J ey me UU”
j~ per UT |e pe lm ey nee Pegs
Toeo..mCmDmCOCTCOCOUTCrtCrYLCUCrdS)tC™C™C™C™UCPLCUCOC™C™CrC O.LUOULDPC ULUr?F7FT LUO ER EY eee eee»
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):
, 16 17 18 19 20 ee 21 22nT ff Ww OS, — 9, ++; ah te 9 a Hes | |}—+$@ + ef Sh + og
ee ae 'o, 2 ry or nd 4 —— ee
Y= eT oOo Ee eh Le Ee MN HH TF 2 1] J ND) RO ” « ES CE § es Oe i nA i Bae" —————S———_—————E ——
2 -| @ | @#@ 2. gn Ee fl ee eee | OOO
EN ence,A PS EEWY EY ES ba WE I DOES A OSEE _ OS OF a2aaAES NS RS ESSN SC SE 7 CN ES NE AY ONES. [_— yo UNL etsNS TE ALS LS SkESLT SSOE cSNT SEORSS SS SScA" SS SS a
r 28 29b 30 31 1 32 33
FO —O—OSOC™”SC#”NNCOdS see SS eee cee Eee
Fe ee ee tt oe es ee ae Se > ee 8A
os): | __ ?-?—_2— OOO 0@0@W....” OE SS SSS OO er SS =
6) Flat in Formschneider 15389 Trium vocum carmina.
7) Flat in Berlin 40021 and Formschneider 15389 AI Trium vocum carmina.
eee, | | lee PE ee se fee eeee TS eee ET
20: Virgo Dei trono digna Jo[hannes | Tinctoris
f. 19°20
1) Superius Ah b b 5) A 6) gi) 8 EO eee, | CCS DF (a. eee ey rs a ee a es I PT IES HN ES OE ES ee EE SE Ge Rae LYS NS” Lg ee —g EEE TE Vv
o odi go De i tro no Tenor —___——, —_—_—_— =— re 7 A —e>Ee | —p—pe eee TT —"“g?s TT "egg OUD ee Eee A
——___ ANDY a —S—___ an ne i a Sa Cr SS ey = Ses eh en ee 1) Contratenor
8 Vir - - - De - i tro - no____
~- b ob b ——T7
CS ee, eS ———————_ ee ey CT LO OUDTCtCSC A A aZL es A =p EE ASSS 5eg ES ES OS BOUL we ME A NE —es LY” DE —"—=egh eg Vir - - go De - - i tro - no di -
f\ ~ 7 10
N) — PeDe ee ees Pe fo fe |e = } 70° (@\yoc ee Ca ee ETT me Pe PgeeeCy
=” NN ———————_———————————————————— es Ta cecrcces RIE REIN MATIN RESOUNDING fey YO _ eee ee eee eee eee EEE ONG) 2 ee ee eeeee Ly +__f++ ‘+> Jt! OOOO tT ee aes
gna, Spes —__ me a... n—_”
[mb fje CU7 lr"“—p.h Og=|UD ANG) SEye yt eg ig | |ofeC || dg EE eee ee eee See nD An ee Pe 2 ee = ee ee ee ee ee ee ee ee ee eee =e eee 2 ee ee | eee eee ee. eee
i(fA pe,| Qe | ijoi’[py UUEY lLCeO lg OP Og LEE ST Be Ta TT ieel“=e® Lm LULU SY ED
,SS— 15 b ——— 20 4 if » | eee eS eeSo, Pg JGft} "eg po J} $$] >) tp ES SS SSS SS Ee lee _ I (Ope Te ee OP —=e pf eg 2 EE EE eee . NnNV_” - - - - gna, tro - no di - - - - - gna,
SE A RR TS DT SUSU SUNN (SUC ROE CSS ONOUAN (eRARRR——— SO RS OES GORE RE SUEUR
CC TE TS SN UREN MES NS ERS SE ces EE EE EER SD ES ES US SO” SS A «=
—___—s-U = ni -ca - si -co-rum, mu -
ff pg A 4 — | pf ff Pee
if» | YY gm | |LOG CnTel a ee I A§6«= RS Cr 0 >BD C—O ne esTT es l—"—= es ee esDO —Oe ©
Spes u-ni -| ca mu-Si-| co - rum, co -
[eA 4) J TO Gp de COC OE | CCC eS a a ae as Ce OOTNN A ES 0) DS ES OU nA «AU SS NN SOS RS CS QS AOS ORRIN GON NE
Dn 25 ee rum, cael ee co voa-Atae__ wo” ~~ J Aj fg tf De ee eT CUO. 1ef" esCag ‘ow? "YC Ee + nO eeeEEE ee =e 2) eee 1+r—CC 8 oe oe
Spes u - - - ni -cawt sm - - si - ¢@o A fy SE cee, SUUNSUEN SEE UNS REE EEE wa 7 CN ann[in | Di nT gy(OS “== ef Dd "eg NG an WnEN QD OOP OU OS A nN”
Tifh| ©ND # OH ee Fg CUT Cg CttiC(i‘:;UUUUUULULULDL if | =ml—"eep | | (fe |] Tee | 6 6fUTLCmSDrhU P|” |LhULUPCLULULULTCULDE ULL “=> LL Ce”
8 rum, uo - ni-7 ca_tiw mu - si |- co - |rum, De -|vo - tae__ rum, ——___ Spes u-ni -ca_—smusé‘-=sCé SS = co - rum, De 42
_Yy eee f) 3) Ip I Oooo ff) om ee | A a2f)A——— ee ee = Cr u —ES ee pn ca I Te
l 3075_eee b>see —_ 39 — 5Nee" KX a ed eg OL cee eee eee Le a O™ ee’ SY ~ 4 ;
eT ANDY ES ORE RS SONS NNN RENNES RN NS NN RS SS RS ES NS = AS NO A ES OE ES
—___—__._ ple bi can - to - rum YS PL “=p fF Fr LLhLrmr 2D pn OTT
vy .C- RS RS ARN A PS RS PS RS A NS ES ES EES EES NON GOCE — DNAS SD TT SS ES A” A ST
TO rm 5 ES as AS Oe A OO A a o a be me 5 ——@fF] 4 + + — 9 Se eee eee eee ee eee ene ee ne ee ena ee vo - te ple - - bi can - to - rum, can - - to -
;qa Yee -————— 40 r 1 b gg CF —=eg —=g ee ed dl lg DU CD ed 7 OE ee) ee pe i y= | | 2 ss fs, Oe _4 Pt gg! tt tf
ee” TTT LU ©)4) 0 i1ss
a. 4» eee «9 oyEd fy Oe “esUCC ne OEa"=e —em ee ceq “=g dl |Oe Om
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,
5 (ay WE EE eee eee ee ee ee ee = ee ee ee ee = ee ee ee = 2" ee ee." eee
ena, es - to cle-mens| et_. beFA a TS SA SO SS SNSONEE SRS GYJELN FC aRE EE2 EE NEEN D ES ESNGS SOSENEE eeRR ee CS es ee
Ay LT Rs —— ——i ip?) @e rl | yf iQ gf . JT. TT lm UL LD to cle - mens et be- ni - - - - - - - - gna.
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
.Superius ? ; ‘ bd 5 So rt J), EE ee
21° J’ai beau huer[avant que bien havoyr] [Alexander Agricola] f. 20°—21
a a ONS ge A eeA——— a erON re ee eee|
1)
_ f)
1.4.7. J'ayne beauluy hu 3. Je
9.Son dur cou -
feeee ee“ Te DT eae 08 ee re | eee tf}AE____j— _ es ee aLy SS EE EE ee=ee
Tenor
= Q Q | Ne——— eee NS—See
Nin. ee ae Mee ROCRE USO ME SO RY SY = I A NS UO ONE (OEE 8
1.4.7. -| er apour - {vant 3. JeJ'ay nebeau luy |hupuys, or que ne
1) o.Son dur cou -| rage je ne puys
Contratenor
+) eo ——— ——— — ———— ———— — ——}_-} Foe |
fh a, ey 10>—_ Rey tt rt'
ee afmIeee I Pd EE ; Ar ne eee = —ee OS oe i i 0 ee BC A CSSS SOE EEEEE UU ENN cA A SNS (OEwe EEE” ONES OOS ee ANDY SRS NS NS GeAP" CO,ESANE es OS ee A P_@ J) 7— eenCS _ 4SOeee 0.4OO eee==e
f) — ht > ~47|—9 b0 i
er a - jvant que bien ha - voyr, a-|vant que_ bien ee ha puys, pour or ne pour a - |voyr, pour; or ne __ pour fp a rage je ne puys des- mou - |voyr, je | ne puys_des- - - - - mou-
fey 6» _______ {| _+____{} } g/t A EE A A Pe PN SB iN) 2Pg ee {| A —__C__} Oe =e ee ee f_¢» | | __¢ Pp |—_{+ fo ————————————————————
bien ha ~lvoyr, |voyr,pour a - |vant que__| pour | bieneehaa -pour a | or ne___ des- mou - jvoyr, je ne puys_ | des - - mou -
e fA Le(2pf el | eee EE | ee
yn 2) 15 $ + : 20 ——_— wy YUL | CLUl—"eg OL ed =e Nh rt 2 ih.eerg"eg |; —___|-__ | 4COU én i etfepf ______ A EE MSE ROSES (US SS ON COENEN UO (OCS RSS UUUONOIS SOUUU pn, (ASSOC NOREEN QSOS Snes (EOE SOURORREEPS (OEE (SUNOS (
voyr De__ cel -le__ 1a qui__ plus a | mon eré vault, qui plus voyr, Plus__ Fay -re_en-tendant:que__ car___ fay-| re lehault, fault,que car de sy voyr. ni voy__tout de sy eryj er bien
ey Fy ee e—e eee Eee DF eee
Fc ORSS as = EES En OE Tg Oy a EEE My oe ey = ee ee VY EEE 0 ee1h= ee 8
voyr De eel - le la qui plus a mon _ gré |vault, qui___ plus__ voyr, reen |dant:decar sy fay-re fault, car___ sy _ voyr. Fay Plus- ni voy- ten tout- que cry-er bien le |hault,que__ de___
th — it pf gD Cd o) — none
A SE A EE OS OE NR oS OS SS ES iA EE oe CO ee CO .. ee eee ee eee =." eee 44
1, —bb 25 : BA eS Se Cc A A YA A = SN RN SS SSee Os ns iep a a ss NS) pf SSee iN
af)ip| pe | eefoo | — or _—__— ss A ~«Mon___sesCSs vault.___ 2.8. fay-re_t.... | pre le fault.___ 6.J'ay Carpour je
—— + ery-er___sC*|*“«éien hault, —_ 3) ON
Se a | a Se eee —————————— 8 _ = & mon_ | gré Co vault.___ 2.8. J'a pour el - - le___—s maint I (a. WL es en ee | eee ee ee eee eee Oe en ee Le ee ee ee ee eee eee eee ee eee
__. fay-re___._ | le PS fault..._—Ss:« 6. Car je eco - = noyS_______ que —_—. ery-er___._ | bien ee hault, —_
Type, STNS CUOSeeOneCSUeeSUS eS pm SS RS A ee ee ee a ee oe oe ty @esegf Jee fT—__{ TO fT e—=” TST XYVY LS”2 De pt| 6} _t "gg {jiee gseepd Y oe ~@§ el - -- -- | le maintdo -| le-reulx Of as eco -noys que peu ‘| de moy ee luy —— + | -— Po fWC » @ @e om [ly ST EE ee sa CT A A SG SS NSE DUNNO ES NO Aeee |= yy” LLY. LL.M 2 “eg TSC‘ ‘gS A SS NSOO SEE a ey a; 8 dopeu... - -| le{de - reulx as-| sault,__ maint do le-reulx_wmw. as moy luy chault,_ que peu de moy______ luy or I gaI &89 —F — —mee— S _-f »)|&[ | FF-~ |— | 7 ULULULULULDLL eee EEE
, 30 $ 6 35 ! [yo SY DET EEE PT ee Rg ey "a 5) ' CO) £6) EEE EE_ ee RES fe40 P| 2—=® gt oho | | _>— E.._ pO oOTTD>D th eT EO —TDO0ON0OAGEAT™ToT>TOoOo0WwVO0__}
Tf» C2 | J Ty dLhUmhmheELULULUmDL UE hUm™"eg FF gg | | GT a OO
yp a -a¢-rb~7
SY A EN NS OS SOURS OS OEE NOR (ONEENN SONEE (RNSONGNO POND QUO (SSNS (CUNEO SOUNOUNNSOUEOINS OURO
———————————e RU A NS A A OE (OUR > OSS
sault; je l'a -moy per chault;Qui El -point le le |ne fetjeroyt, pour mieulx
i“ CO “eh SS ahg Se aey ASgm EE —_ a ND ES hLdT OU o>?”lm SN BL a OL ET oO? EE GO ane A OS RN (OR = A O° ES OO co wn OE A |= Sanam
4|
8 sault; Qui nefet, croyt, jpoint ne eroyt, je _ lla -moy per chault; Elpoint -j le le el-jqui le le fet pour____ mieulx
(o\s° i | TP @ DD 2 |v » C2 [Pv fo Ld mL me hUyD SUL gs
f——— 45 a—— | a ee. r am | f 50 a sae ee ee eee ee ee FS NS we SS DRONE SN SSN SNES by ES" A REN SUNN nnn NE C—O CS (EB
goy de voyr, . de Pe voyr. a——— a a ee a ee ee SEE De, ek 2, A Were EU Es EEee SS Bh a ee eS 8 - goy de voyr, de SC voyr.
oye “=p «aC COP np | ew | 6)
45
awey») ee yd
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.
Superius f) Ca, C0 DO (OU On Ai3 os a i~ Aa |St Tenor a ee 22: [Dat ic my lijden aldus helen moet] Jannes Agricola (or Petrus Eline) f. 21°22 V
1)
Fp CT 6. ON nn SO es i iY ? nc” ies le
eee a (ED (OOS NOS SUARNRNES NSSUNSNNOROS COUSINS US OS
SSS ee ec cc Tw, mee DR
ERE — 8 9 ir JE ee. pF} fd —___t_4 A yO eee eo
8
46
1b
ee eepO eg LE NG Ok
TY
Wu. Pe ES eeeoS =pES “= A Cr— OC K (cuDCE © Ue «= lg es fia
La eeEeee“=e ee eee ee COR
fe | eT Ee Ee eee ee —“en ee Eee awe SS SS CTT SOE nes ee ano SE | #iJ) J Tg |g | [Og ULL gg LT COC "eg Pr Ee NS) ES AE SS A SS AS | A A OT yg f jf TO” fd lg FU
Lye eee eS | Cy a eT
p15 b # 20 _y ee ——f DT ~ aefad + r 5EC7 mT S= iff)a ee lwlltttC—C ee”
8
ff 7 ss| Fem | Tt aC a LS |Cp ~~. ee Lee EgegCV eeCCCCOtCi‘CtC‘Cst‘—C—CS:SC OE er EE EO —“—g ee 3yb
DW, CS A AE ES EEE TUNE OS SS SERN NE NS OR EE A snc a OU OE AOE) ORS DO
4 ame en ee _ ee ee i iy, CYC ene eee eee =e eee wr ee ee se a ee ee ee ee es es eee ee eee eee eee eee ee ee ee IXY LD ™ eee pT Pe eeey
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7 = if 8 KK
Bologna Q 17 reads:
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1) Orig.: two D semibreves. 2) Coronas in Copenhagen 1848. §0
25: Adieu bon temps Anon.
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66
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33: [Guarde vostre visage] [Alexander Agricola]
Superius 1) ,Ee 5 ee $ aT eee ee EEE
f. 32°—33
gs EO” eg | “gg SS l"—gh - OF O™CCOS OP?7Z.hLUCLUCUCTCCOCOCOCOCCO
=
Tenor
_- NG YS (n(n (NS ES SOS OAS SENSO 0 SUNOS (SOOO oo 8
Contratenor
= & nan . Q
Se NY NS A NN SS NS NAN RNS CS (SS A
fp 10 Tee eT ee f_} ee ee —_ a a ee— ee oe ee
ee
ey 7 ¢OD@ND| aA @©FF | gg Jf [Uf UTEEUU Ly ND, SO EY ES@ DO2OO AOE|GOON © AEG EE eee es WP cE ST ES SS OS RS RS SOS RS SC CURES SOC RNS SRREUOSRSCUSNNS, CREO OSE SES QOONCNCNNES RSS ES ARNE SNACNRID NOOO RCS CRN RUUD! SORUNSRIUIN ONCRRSUEOIEOS
ex. OO OO Oe ees SOC ED eee _
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, 15 t 20
Yd LULU i CU CCUM Fea
eo 5 4 [ee 2»ee ._ @ . »ee jj Uy EL 3 De oe[|ee ee yj ee—}hUmfh ae oe ee UU ee ee EC a ? RE A A NS DUN = RS (ON OCSCRCSNG ORNS CORROSION ION OSU SRO ONRONONS CROCCO”. OUD
Ae —“m® Ud "=m(TO MR cy a OE eT OUDOCt—iiCSdSC Oeee ee NG = TA OS NU CS ONES SOURCES RUSSO OCSUCROUSIS SO OS OOSRNNG SORUROOSNS QIN CN UOMO (NUON SUUNINONIOORONEEE EERO
3iLf7 ~~ ee eeft|_g_g89~ eegar”ee| fe[Jy ee eeheeeeo [| jy mLTTT dd eae &~# gg Of
r —— 25 ; 4 $ Ce nn ee ne en ne en ee EO ee re a 7? OF? oor —————— eo ET TS $$} th a ee f= |pSE nO | jgcA©SNtgA OY ggUE|| NOS | js nA | ff, CC a°&4f ES TS SE RS wp ND OTE A «= RS «= & NE eye _ ?
67
py Ay i Ee i rt |r
f) 30 may Td esyaAC/ CA ~\ ” +p : OeTTYL, EE TCC Or fnPR TeZ —=e ——>0.0.._
oS oh rt p
hl) KOE GyaAS pe {|_|} _fAe9\ PF RS | ____gi [WY A =gy NNN NN ES A es es SS ieeS aNOE eA A Sy ih san ©OR AS ie Me” ©_|_f a csES
A 35 ¢A b PS ee’
Mee eee eee EEeeEEE ee Eee ESS LTeee eee eee EET INYOee ey (a er Po ed
oS eh ir
f) ___ my”. | Y_.@§—_ P| RE SSRN,—_|_|—_ VON NS UPN ES ONOUREEN DOOS (SS St OSES (OE fame + —_..—__ + +--_+ SHR EY St tS ry # YY | ye | @ ae Pg ft gg NG DE eS A A = es ee ee ee ee ee a reytH L424 | Cee EeeES—“ge ES RS yy SS |TE SS oD pot eyOG —e bd OA ae ES RE EES MAR is TS CC RONSON OY 00S GENCE USS (SCENES ONE GN UO A SN ee
1) In Vatican C. G. XII,27, S has a signature of one flat. The signed flats in mm. 15 and 26 appear at the beginning of the second and third staves in Florence 229, some distance before the notes in question.
34: [Textless composition] Anon.
V. f, 33°34
Superius ". _ b 5 b | — ~ Jf lg ONT “=p eee SO Wf coe WO 0 =a a a = =P ee ee ee Se ee ee ee ee ¢ NS LM ge Eee eg =e "ed SS IN OS On RRS CS GE AA S.A pot ey COee“gg PN NTeeeeEeEEE TN Se EEEOO ET LO
POE
Tenor oO tof a Contratenor = . wm AL Be Tf 3}, + fhe fo rr rteae] te 8
68
A) 10 r : r b5 15
_Yti‘“ti‘idLS eee, ti‘ eT TTT Lc, CS ES RS SU SS NS NS"Ee 0 pj} A RPLS To? A > ss ee DNS) EENE©PR = ES A SR EPES NSLREE 4 Cer | RS es HS arrt—C et rt—“—isdSC‘C;C;SSSCSC*C*ts*sSC‘(SSC*SD:C( ee Co?
—— 2 A FP eT ee TT df dll lL OK Nee”
8
~)RR RELd () aTT e_)*"=ehea . ha hwo aSR eT FPne ESPg {ygpect| hy 2 NS TSeT Ss Ss NS NUN NS PR RS QO GO OySDT A ES EE LOE OEE,Ff QEUEEEE
ee Lp Te TT EO
ES (SNL OS OES ERENT SOURED (ONLI USSU (OURS OEE COSI CEES UNRUH ORES ES ORES NOON! NCEE OS
py 2 —_ OD) mm 30 is | fy 4 | g . | | Jf TT |] [gg @ | wT CANDY A ES eS SS T_T SD»eS (eSCeO (RS
RRS SE ESTES SNES UE GREE RSS EU NG I RR OS UU Qn (On i gz | PYF {f_e jy Vg Ay =< {jiiiigtptpftmy,w ~~ | Ff | “@ fv i g | QD ep OOOO fF]
wee TF Ta EE TO dT ee eB Ug
|ianfo» fo| YT ____meeeeNMe lg dl gm EEOUDOT Oe" eTmhee pf [jt tL yULULUmvPELULULULDTLUmDPUL TT eee OT me LTCtf
_\SS LU., ULB |p?) tf) i ie ieee oa Oe | ga | gg mL f yf +--+} — eet _- f | J fTy+ fF Teft) TT ee CCCi (;”:‘“Céi‘ia dU ..LUmU LT CDT CTC CD
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f r b+5 DL b 35 OO Eee TT 7 |_\d sd O_o 0, a eS a a aS a Se ccc 406 a Le a epL ee eee =e eeeOOO ee ee o ee ee Ce --o—?—_, lg eS| PnSL Stee “rd! Oe" eee _eeeeEe
my” en eee eeee as a aee ee ee ee ee eee Ee RT ee (a eee - - che dit |"Bai - - - siez | moy," Ce miest a -] vis
ee ee ee
,- -toatl, | - - - siez moy," Ce | m'est a ~ ~- voir, parne| vos - - pour - tre |-|foy, Ung bai-| sier, _____ heit, | sgay quoy, Et|doulx tous- jours Des ~
ldD—1} | "=e —-_ “pT EEO (ps 5 | —_-|_# |__| * Ne | = ——— — oe eee — — OOo DES tp 8
- - - - - tre foy, Ung doulx baijours~ pour - ||quoy, Et tous-
rm __ 44RR —faeA&A» EE ES24] SSCf EDaexSS © Pd Re OQ pr ed | Tire
f) = 20 r J
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2a eS quant la re -| gar de, re -| gar sans que plus tar de, plus tar tour - - - | bier me dar - - de, me dar --
—— Se ee = ee eS 8
vis quantla replus -| gar - -- -- -- -- -de, quant la replus -| gar ~sier, sans que tar de, sans que tar Des - tour-bier me dar - - - - - de, Des |- tour - bier me dar -
fad |g b © ' —_@*Q_ 2) y i(2 aat TO 78
(7) 25 30 ~
8A 35 ..
Pa ss ee ee ee Og CyEegyeeea OG Le tT eS o,eee o "eg o, _ CUI de;6.Je___sopri—ssd/2.8. Mais Dan -| gier trop pres ______ de ea de |Dieu que mallafeu l'ar -
, ()yak I—__|" aSgm SAeegm ce 2TF 4= _Y O°Sa eeNSN eee Ap Em Oeeee de;
-- -- -- -~de de;6.Je_ 2.8.St Mais - gierque de ||trop presfeu. la gar pr - Dan je a Dieu mal___ l'ar --
(7 )So _=eee 1 We 2 eo ae OS ooQee de;
5gar| oe i ee eo Ee tT + - - - - - de, Dont main - te do - -
es b0 b8rfF 1 i. QA AS BP RT ee == eee eee ee eee USES 2. eee (OE eee eee eee eeeGO 6 Cee ee ANG ELeeCRSA SUSAN EYeee 9? SEES A nseee A Sis
| °— esEee-eeao* |TT)\d aT peg ee) ee OE OEE ee“=p ee heed - - - - - - de! 0 fust temps quil_
-- -- -- de! de, Nn Dont do se - leur fustmaintempstequ'il te - je --
2 — o_o — | — | 9 0 i
TT? eee ee eee = eee eee 0 eee eee OEE EEE ne a Sn i nn ir nel
—f —_—— ee ee 40 a ee|_| oe ee oe ee —— se te - nist coy. ,Ooo ee eo esooo ee EEE ae ee oeOr] et OES ay ae A EE EE TE WY TE ee A MC f none ES
RS re ae ee A GEE ee =" ee ° eee ee 6 eee fe ____fy ff ym | $$} Ff} fg —— 4
oe , a eee: po — pH - nist Coy, | se te - - nist coy.
OE ©AAa eee ° Se i7. KOeS A Anes, Se POKS A AA eS DD — A Oe eee © 1) The tie has been added by the editor. 2) Copenhagen 1848 reads: A, an improvement harmonically.
79
i
40: Faultes Anon. —NM 5b 9 a r TT TT ee GT f }TeiTLwan.” TT DG —“epe “ie ri fo Psa) nt | FO
e J ‘e, ee |g ef
f, 39°40
. Superius
MD ee OO TT TT Tf ee NY aOe a RN SS eT (DcTT (NSD A OS OSTey I a |FT es
a A a ay Scans Sica Sy —- ce SN Sana SG AAS OO OT SN ON © A
Tenor
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r 7 10 = 15 t
iY CNS __ YY eS TT Te ee YL OY LL I OC
SR A a I anreren, SE RE SS SS SN QS SO (ES QUUNGN PONEREND OREN MOSES ROUEN SUNS SOUR QUEL (ONNNNGNS ROR IONE (GENES (SONNE
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ny [TT pe OT ,_ eenetrrrrCLLCUCLTCOCt‘(‘#(#S)SNCS’NS$S#U(“(NSNSCSPYUOUTC™.CUOi‘’g | awh DTTWTTCCtC~CtCCCOS™SCOC~—™C‘R’SNYRNRN4W]4”W4MRWN.RRNN Lf
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| -F wf [ [ Tl eT ee de San YT GK TT TT OT Tf ESS ww...
1) Orig.: D.
41: Venus Anon. Superius h 5
V f. 40°—41
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f ; “ww fe dy OE Oe eT —OeDeFT.—COCCCOCO—t—t—SS ee C—O i] fp 9 —-—__** —____——-——__ 5} ——_} +.(OerN0—0W———_OL— HH or EE EP ee eee"I/O eee
CNTs ET TTT TT of i O_EDe’enz™>O_—_—I_ "_—NNU._ 9 JE. wT
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KX wh» {| {ff eo TT fl —epe—e Oe | hp Ps' ZeggeH oaTTTTT Oo oTOT —TFTF—™*{$vn."nn"”"!—_—o™ Se oo) © ee ee ee LxYy fof,| PT ff TF OTT OOOO Nnann——_..___.]
~ yy * —* —————S————————————————SE——————————EEE————————————————
Ap b 10
iAN pe2,4 —p—_} = ___} = >}|__| +--+} +_ +--+Ou+}A |} — 2s L_@_,, HG __1 -,1 @1_4_@ EEO Le eS™C™~—SCOCOCOCCSCSCSCSSCSCSCSCSCSSCSCSCSSCSCSYSCO dd _— oe" | O_O oOoEEDOOEO0"D 4 4 orld, US LLUumeDtsts—‘(—ti‘irsSC(iCiS/]} t—C™—Ct—CSCS7];7;7;7; ; YCd”d
ef | rot Py oo
ye OE eee eee 277. Ee ee eee
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I , 15 20
a Se a a
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eee h b 30 co r 7 35
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82
Ee —eg poe a > 1 I i a rr
f. 41°—42 : Superius Ah --___ — | —
42: Penses y celle (= Pensez y se le povez faire) Murian (= Gilles Mureau)
}", ro\)_ 4 ee| ||a SND a TS CE NEE CEES OORT OSES SUSE SRE (OAS NO O_O “4 a ee
1.4.7. |se1)sgau le po- -- -roye__ vez fai 3. CerPen -| tes-|sez je |neyme tai --
ieLNs A ea TT J 4 Eo rr o_o >. Pour -|tant ne |vous vueil - le des - plai -
Tenor _ ". + 6 — Qs ¢ Q tea’ A UU eee ee To s_§N’.’--—____-]
ee Tt EEE OS8OO a_TfLg Te JE 10 15 8 4.4.7. Pen -j| sez__. ify se le po - vez fai - - - = 3. Cer —-| tes__ | je ne | me ‘)sgau- roye tai - - - 0. Pour -—| tant__ | ne vous jvueil -le des-plai- - - -
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Contratenor
ca A CE SS > ES =, »ONN0-”_ 83
fh 2) Sy; 25 PE REof| 0OES NS NS |A 4 op—_—__f |a2}ES + EY + HtLE HYNOY Mn] ——g — |— | _Ea + aeee ee TC ANe A nSee OE oP? CEES A eePT ee.ee = rN
——————————————————————_ ——_—_ ————— ee eee eee
= @, 6. 2.8. Car au. mon fem- -me né - -=- ---e@ Ma 1)vie se -| ~-| roitdeinn'a -| for tu- né
fy b— CN : : 2 A a “eg | CCC “Te OO OO Eee ee’ CUO TE oT ELT se °—.«gsK I Sr - @, el 2.8. Car au mon- de n'a | fem - me ___ -e sd 6. Ma I)vie se - roit in -| for - tu @ Pd a S RS (OSTEO S a a es es ee bs
_ wi «. ene od —=“pg i 7 or To 8 -_ x | ~~
a Po = a LA "=p TT 8f 30 - r 1 —_ r 7 35 - 7 t
Gc A RN SU SO ROU UNE A ————— SE MU oS OEE i oc sae x ——————————— eee ON eee ES eeens eee eee| aeee
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‘A — ° =. ETE EET eT eT - né ne -- --EE ee, A ee qui jay Se_| vous me = A - ---|-|e,e,infem-me -for -| tuné -né- -- Se
2 eee PCOe- -—} +e a ae a a ee nn OR TE ee) rT OT —@—-ee | TCCUdTCi‘“‘CSOSC;C;C~*S
pe ~ Pop PO Po coEE_ee ONS) 2 S.A a eee ee JE,
A a — 40 q Oy Ee Iweee SeOe Eee
1 Con Ws rr ee = ee ee ee ee es es ee ee ee ee = en es ee ee ee ee © “eee”
8
Tem eee A Dg eT EE OT vous me fai-| siez le -) con i-trai 4 /|———_| 7 my, a RSEE) SEEOe ae le POnh (OE eAOEE ES EEDY ia Wes=DE OO
r ») b
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
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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
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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
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wa )) — r J — 85
Pe ee oOo . ° Nw” 2 a roy pn 29 30
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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
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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
RY NS IS ESgf ORR cr nen UNS (USD NE SO NS A (OD terse:NTT SO if »Afe9 a#4) TTSES Me | TT J ¢7 |@ . @(ONS Ff Jog J ae | (eg
AY RA AESEh SY;AS RSUNS UR ON ASRS MORO PS OS A 5A(OS AYDS = ESns= iFraySO aLcaOU as oeHe OEEUS UES ae
() 2 Qe aah ia YO OE TET ET ee3.eePlus OE EEE TO tu as con 1.4.7. For -j tu tu - as a - -con-| - ne, par ta 3. Plus tre
eee
5. J'ay bien maul- | gré ta mal pe a hi or rr 1 ——_f _ | —_}-#- 9 7 2 9 8 1.4.7. For - pes tu - -1] ne, par
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
> Se eeeeeeTF>oT—eooOoeo ooo eo (ONCE o> oOSOONG 9-0-—— Pom a TE 9 AT a Rn ES ET > RI RS CS NNoo OS UU OUD wc GE XE ee —_—_— A A I ME EN EY CORRS SOY (NT COS CS CN| me ES A | nS OS SOT oe RS NS ONE COUN ean SRS (SO OOS RS OOOO (OOS (SO
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---
pl pe ee ee Te =p ee Te __—s*e”’. QD. Oo ODS."“’“’..-—>— ee —_—E ee TTTTierr— if Se ee i Oe BO—. EOE ODE — 7" LS A SS SS SL SS OL A SS CS SS SS SL SS SE SS SSS SO OSS SOO LO SO EE SA 1 HT
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 -
fy dR —“‘“ EC 'POWWWTWWTWWTWTWTWTTTTOOUTT
7 ah(7) aPCQ(A) a a a 8ES tS Q CS| Op f Ea 35
9 A © SS ES NE (Oa ES UE co? EE” RS C—O ON NT ce, 2.8. Je| |fier ne per drai-| ma papuis-san - ti -en -ce, papuis - ti -ce, 6. J'ay - | té-|con tre ta -ce, ta ®
‘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,
Leip” SE > AZe EE a WA WT oo © A oe A poee Sl she KY 6 a aEE,esA Sea See oeCCeo“=eeeaTee!
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
En’ A ee ETO _—OdT—OTCOCOCN"C*dDN OE] LP TT"|ee Tes,.””0.2.2—2— g a TE FE tN -.-.-.-.7’BLE] 02 ee Te Ee — qui... me jpuist ad - - - eee
a me es 9— ee ee
———_—_____ ver-| rés_ — que____._le—___—— brief’ | doye obpar- -- --- --
ySime es eee Co oe ooo {| | puist Pe d@o— ver-| rés pO par -—__ brief | doy ob . = 3)D rdt7eee el -Se ST a Se a eeee4 4saEee" OOeee iy. Oo reauw eT e=Ee 103
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
BE Cc2aee.eseees| | _¢j a se—_| ee(feesgiee —Re’ eeLL esLLL © «= DANG) 4 PN De ee FF RS” Ee DORN CE eee QOS SOND (ONS NE SO AOS LON LO ——., CONES CORROSION seceeeet
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 -
aif.aw» es we Te {| NR En| NN CO@nS OSTy OD AS OS CORN OS ON (OS (OU OR | jfRE Tj @ | TT EN [| HgRD | @NO ) #34 [mw dTLULUhmBUULULULULULUTULT
TA VV YY g | @& a OF ga i gag 4G Ff Fy Y” | rT TT UUme UU Od "=" “eg
if»a Or | {Ay [QO A.SSFT NU Ty Cr nn A TS LS SS LS SS SSey SS fT Sh AS SS A SS ge SS Saas [es TT[——E=EO™"lol™_ et ee ee Pe eee pe,ooooo—e—o | WY { if 7—{ [—fn J_S~ooo fe LUD Ug PeSeeeeee). Se
[Ty | om—f [fT fT ane UU dT [YI|, ET eS Sele OS EN - gi m'é a - pa- ta Que ny» T{ | J Jj [Tg |aA “J t{t | |g7;h6h|llUmhUUULUTLULULUWmhhLLULUUUUULUU Ug wea 7| wa QO[wm #4“ #iTfP#@fg@ gg fT * #7] #f J | gf Ff @ | Fa yAy J] [Ton J U0UDhDhUWat
ee ef
A A ES SS ~~ CY QeSS ag’? TYYS ~~Re| Se
TTT I
TF » VY | | [| © | | eee ELD
(ono Ke§ |—_g | @ ag| |;ge| ig. | J{Pr @jjTT UU| i_~syo© wy|,| °&«+F | ff YP g if. jf | * *| @ #£#+;,@g. A J@ [geUU UT RD
yn 25| SS bTt bSS.30 if» |Weir$——_ | -——| Te dfeee eee edee Bc Rs Os ee|; eeeJj eee en ee eee ee
ODT T_T 2} 8 pe oer A a EE UC (SRN (SRS RR, ES ONE WSNDOSN OE SRNR OOOO CORED GEN QO OSU RES GOO NN
py ere "ee tt rg __}____1 + + oOGEF oh SP TT p__| 4 /7”|..4ee_.4e e, sta fan -|ciul-la con |som-ma__ bel~ le¢-ga. il ca |- po bion -
5 — a b ob ak —r
i 5. —p— i? |__| | —_=_| |} —__|-9 + _|—__—_
owe TT TS S?r™.OCVCCY:COWCOC~C~™~™C~C~C~:~CCSOCOCOCOCOCOCOCOCO (_~sJ?| ~OT935 40 : Ly Te Te Bo | fF ye tf —— 7 *eee, "| ia _| @ TEE ep
eye ._....02 eE eeee 7eee FA 1phAthesy A eePP es es 7 SD ee ee ee1ENS Lees». A= ESee ASeeES SES SS ee TS0OT le __ {plus ruj| - se Que on-cques en mon___C#*”: vant__je_.____ | vis, que on
[~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)
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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
ee eee eee oO }—9— +5 — -ey st e— pe Ol Oe = ee ee "DL =e IAI
=“ aed f) I eee| | 35
|ey AUD pf—“e A EE tt ee" tgeepe hg | UT RTD ULL lg en eefff ee _. eee ee ee ee eee es ee” BS) Ee BGO 3.4”p——— eee ee.eeeee Oe 2..4 oeBe ee ee =2 de OA ee wad EEeee I}
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
A CS OO OCES ON RES ES JT UU CRY | SO COS OE SR (OO DR KOES SsNS SS fF OS 9 “|! AY” RNG |??? wh» | *esJfI{JT ¢€4 ~~SO | ff jfSS jf .(OE { |] FfOE , {jfRS €nn fF AOE {Ty {TT {fT Ti Yrga Ff |(0 a a a SS RS Nh A SS | NS SA TE DO Ne ES ES GOED OS "AS ES CS (OS US QO
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Ny 7 TT OT YT Tf | @ —“ TT TI DD Ee
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ae “ pee ff pe [(~ pe, Ee > Td)
~~ AT | [fo3 [FTL Oe—t—“‘CeCLCCUD*ES SS eT Sees NOG — Zz ROS) eeOPoo — oe EE oo TTrges |g CT (esc C—O BETEE O_O =, —_ 27 FU TTT "tC—___—o TeeXS TT 7 ¥»hEE gS| (TT l“=eg Te "eg Ce “=p
nf # i $ 4 é BND) A Pg | Cy ee eg Tr
io. eeNeee BC a wm ee RIN,[Oe OO RR—eep—e A SU A OE A OO SERSeee RE —— SS RCEe OO OOO A ES SS A ED nares ES EE SEENUURE EE ON SS NS COONS NAAR (SOROS SS (OCU SUN RONEN SUSE
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0
if fb Ue i.»ed W)C Ty YY e—"—egee eT (7) — ‘oy ° TT ee TT 2 nn ma Ae — aa PE [ef Ee ee Le egg TT ggwd - - - me. Mais jien mer -| ey A - - mours___— ‘E )
ANDY Ss SS A GO © i oP OC DT oP nn a Sn Pg tf
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ROD ts N.----*D.. DL DO ————COCOCOEI "se _ ee “"” eee ae = a
ey e—rr tf j-SS iyi; °&Pf |g pap gp |_y fT po A RN SL
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
76: Laor vous n’estes Anon.
pa ee
Superius A 5 go :pea = tee ES SS LS SY SE 2 Ti ey 9
f. 77°—78
Tenor |-cs :4; ) a r2_ ry Vv
A aEEEEEE NE OR ESee_o“—7'nv——_—4W—COoOOHNONunNr°-€-=°#0—”"nV0 SSO SOS nnn NES SSRN Os (7, EET OL(SP Teetoe—=ens eee”. (wes7 UT TOeS OeD>" IV EU OL sEenze"__ 6“—-N~—=EWCOWUvuwWwWw_ /—©~/0vOnNr. SI
Tem Oe —e Ee ee TTTTCUdt?:—CO QF t—“—‘“—iS Yl .._.._ oor OOOO OonenNnw™.
wre TD OMTTT ee eeTT Yoo 2 —_=—WI-On.’'"00-0-—_] 1 if ge Om OT_—CSFT-OnnnnN-7-"_ ee _. i c7r7Nr’--’7-70——_—T ——.__ T_9 ho Eee 8
Contratenor
pT Ef eT Tot OTE Oo SY Le ee EE TOO Ot .:_§scOON.’W’...-.. /-rNrv~0n..”. g
pe fe gees DS i TT TT s(—"[C[“Wrcnvwv.0nn"”.n0vW0»._._ —-vrvnWv"nNnnNW... =—s Sot? Pp I_Oo_—’”nv--nNnNrn">EzHZaavv"u0vwnn-’-.0W" Ss S$ 7 OT D—oOoONON FF = A
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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:
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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.
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a OS ee ee ee ee ee J" es =e ee ee ee eee eee eee" eee yy | gg 42 {[ gag | [TT UU™.LWLUMS Tg tti‘“‘COSCOCSCSCSCSSCSCtsSCSSS™™’' CD Oleg | ]lLULULULULULULULUWQlCUCW DO
7S eS ReSeee
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4)
f (GN)
.—— ———_ ——— ee ee eS aeSK ee CT eeeaSa SN ee Ce vr 8
183
fp rr a] tt frre DY f\ )) ——.
=” AS A AR OO —__ oo Wc RS RSCE RS SN REE ISN SENS RSee EN NS ee, pee YSTE EE ee OEre = Sd Bt | ClCR(ou Os oc SUS «= eeETee esnAfoees eeor
TEE OE Tf ™ Cg tC) Pt gf J. eg te
Cc —ON EER o> UES OOS SS RS XS” PR ES RN NX A ss © 8
1) Signature of one flat in T of Florence 2356. Mensuration sign C in all voices in all other sources. 2) Orig.: D; emendation follows all other sources. 3) In the original a minim D follows the E. 4) Coronas in Rome 2856 and Seville 5-I-43. 5) Orig.: semibreve. 6) Orig.: OD. 7) All other sources read two minims A F in place of this and the next two notes.
TT ee —
91: [Textless composition] Anon.
—_) _“i4pt(oe. rgtmn f tt9AR Ts, gt esee eyyt = re Fl | geyy tg tg
V f. 93°—94
Superius
Ge St? —______—__}-—______# 5 ABELLA Eee ee a 0 ee
id Sea.ee =e = aa, ‘yrmy . | |ee fT es eeeee _ | eee LL" |ee —=e>Ee ee |
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h ¢ i'r 25 7 rs 2 ee fp2 (| fp fj tp
iKT TT EO SS >—e "pF — IN fe eew#ro OT Fe" CT ~@ | Jute 4 OO pee,7W. eg Oe llOY ae=e wes ie FY [Ay *4 ySS. (ee —=pe OTOd DDdC ETT OO eo eeeOO ee en
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b Pony
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( } 30 | | f } a a) aLO f)ee ——< mRee LTee TT ee ET Ee °'
_f OFM... 2— =| J._J[ 1-- r? i _7>o>}7->NrTNTH
_ NG) EE ES RNS SE ESSE ESN ON ON OU CN A I ES 187
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f S n”._” = “ ® eo oe
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Cy sev’... .-W—_ Lo ewe t7 ( [ [TTL] Te ee OES
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rp 20 r 4 25
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as ST (2) | mf) Eee Ee J a a eb ee se ee — EE eHeeHHH HTH HH EH a ee 5 Ss es eeHH a7! ye OO fff 2PEi JenTTT
eee To EE EE RE T°
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eee
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fe Oo foeeeee eee Ee i VLY eeeeee Eeee eee EEE |) pm eee oor 7 is. | fl ln “=p & POULT Lh Pe
eye =e eee — OE TT 2 49OS ee OE A 45 wee Te e—e | "eg rd ee pot
FT OT —ONTVT{#$T—""_-’’-NnN.-—o—_—=_—_—— (bh.EE—$.-$—————$ > se eo te H#_—o_ HH ht EF SS SS 8
[VY gd eT eg pd P_@ 4 _______+___|_ 1 ______.________-]
rea Oe [TNeee ae ee Se ee SE
Fc CN RS A NS TS A SS NE ES SS ET wee SO nc A OY o_O
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a 100 RE ES UNE TREN OD NS REARS RN ES A NS NS SN US ES > SSSNSNC ———_———E———————————————— eee eS RAE ANSE SONOS (0) AUUNIISNIND ROUUINOUOG ON JE (SONI
NY | ee Eee CQ eee Ee
|eee ee eee | CO eee eee eaeESee se en" ee (SOON eeeSOOO eeOO ONES EE Eee NS RS SS eeee5ce TEES (SSE 00S (ORAS ES RS ES 0
- 4 5Po | S&fe' lr“arp Seeere a ee 15
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NS Se A A SS a NEES RE RR CS SR RS NE A RO © RE ED Ly —__ _____+__|_@*____/ _|__
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8
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eye ATee ee es }-— fe | T_T+ #9 ))D—_ _TY eeeoeeee) Et——_—_ _§_p——_ aEE—__§— 193 |
:contai re ee
96: Pourtant se mon voloir[s’est mis] Caron (or Antoine Busnois)
—__b f\ b — : 5 5 p Ga Re
f. 98°—99 Superius
aa i eee eee t)— 210 —a154 aa
——_——— ee Ee eee eT
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\ 25, $ 30 SS aaee a—— aeaeee eee eo ee
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D r _ LD 4 cr(>) 7q
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ee Fee EEE eee df TT rrrrrrt—“CstsSsSSSCisCS CG —ps”—TO TOD RF(SOROS LL(OURO Le” 1aK Ln, CS ST SSTT A Eo vA «Ao EL > SS ES me RES (SS RSS ENS 6) EE UES ANS Y__@_,}___{__|_____} +} -@ + Po OY TLTTTTt—‘“‘(‘(‘(‘(‘(‘i‘OWDCNC;é;*T hCUCTCOCUCWQalDCOC@e—C’”CCCdTCl.rrmrlCULDTl CULT
iTF. elEet—“‘“aL Te DC IT iS OeEES OO FTTe fo —eS——........] eeeeET EEE —S—O ———
(ANS —= = | | dt i 45 VW TT TT ee fe | Ee —e Te Te ee C2 [Ay LLL, FF VY [fs 4 | 7... oC =e [2g 22...EY Ta 2... ET OOOO TTT pf Nf VF nnn OOO T_T oS... ] vA Te EE TT LO —eroD......_ TT eeGo a a a SS aoe eeeo eS G +e iEe i —_3—_ —_| +—\_# 2 cee. 4 eee ET Tess EeeoT ET FD OO od OT F-"N"=7—"||]] fe2.OT9TTT CeOD__>—_9—_| TOY TT 40
a PO (UY, TE > ES A §=— ES DE Wn a Ss aaa pti“(‘CSéOWC;*:*ststCti mC HH
" r 7 r——_,_:~«O. Sur tous je suis mal a = - tour - | né, sur tous je suis
Ley LLL CCST eT ee eT iO —sSssW”..........] _
1.4.7. Le des-pour -| veu in -| for - tu -| né, in-| for - | tu - 3. Pi - | teu-se -j| ment suis |guer-don -] né, suis | guer - | don - -
eg EE OT sis” ee Pe Se re aas rN —ep TD —=ee—p eT —e— ef ee _—S.n_ ——_ ND nF reSs MN =e OS |A RS RS SSPo a"epeeee [SS oOOOO r= >. Sur tous je suis mal a -tour -| né, mal | a - tour - -
1) Contratenor
f) a EO ee a A 8
Lig | ee EEE OOOO de> re ee OE Te th eo. [*Nn._v--”—_—_—s3F"_] Sc SR SS a SS OS ES SRN SS RNG Ae rg _—_ __,___ =f 4 yp ES SS SS A ST J Gh, 4 in -| for - - tu -| né, In - | ces - sa -| ment— an-| vi -
a a aae ND (SN |ces-mal sa -ee ee ee In Et -tant —______ suis guer - - don -| né, Et tant mal -| le - ment] gou ——____—_ mal a - - tour -| né, Car Es - poir m'ia___—s_ le dos
Be eee eee OEE NY ee tCOCdYSC A EE eee: EE EE EY EE see PCC 8
-, NT 196
a
25 2) 30
4 ee Ug, (_Yi way” EECO ee EE eeeEE eeeOO gf Fee Oe,SONNY en HES(OSSD ES ES(ON EN,EE> OCS ES oP EES SN (OU —- OY—(A NG NS NOOR SARC RO NO A © SO SS
née De dueil, de re -grez, et né; For -| tu ne me fait par né; Ain -| si va mon fait a
tt tt i] i PA = SS a Ah 35
A. mee Tee eee ee CSOO EEORSEE EE OO Ea AS eS OS OOOeee (ONS SOND SONS SNCNSCR (SRA ARS SS LN EEO AS OG CT OES ———————— ————————————— ee ee pt igNN (SRR
né dueil, de-rene - |grez, et par fF né;De For -j| tu me fait C/
Ain -| si va mon ee fait a—SSC | sis a>né; —en" e TE Fc A a NE SE ST ©?” N° ES Ep. OO ON Eg ES NN YON OOS ON (CS ( 8
de plours, et__| | | TCU de ses tours, par_| |] ses -|bours, 4 esee ee re are2- .ee ee ee
Peg ee eel CSSTt‘“‘(‘CéCLHCOP..UCTCMCO@O Be AA Tia [NY ____¢»-—--________[ _[ _gf ft SS SS ES SS a SE To TL2eeaTT VvUrLLhCLCUhUmdLULUhUdTCUCr/O.TCTTTTTTTTCTCT FT Th DPLOCe NSE NESSUS ONE OES ES (ONES ORNS NS SS NShrT.mMhhLhChCUvVTChULTU TS AY |S SS A SS DY 7
oe Ee Od —poe = ag = + i ffhe a tf] rr if. =e aPAeeTT eee TTeeaeeee eT ——_—————
———————————————————————————— ptf}
—___. de_—s __ et ee aeeeee de tours plours, —__._ses’pours, ‘tours, par ses
——. re -bours,__s—s es ee re -| bours;
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
1.4.7. Pouryfai pe - are-|lamVarl -| biez ky - mi oe 3. Trop fault
5. Et trou | - ve on sou -|vent le_| HAs 3 rt 8 rr 4 ———_ SN es es © SS pf FS OH Hh 8 1.4.7. Pour fai -y- fault | re I'arl ky -3. Trop a -|-|lam wT
er
Contratenor D>. Et trou - - je_on sou -| vent___—
h js # 10 15 DNS A ee yg eS EN fee8 mi-ne }COUT om | ON TF EE ee SN TE OT Sn cc Sk ae — e dia - ~| mours 0 est si peu oy ee iaST —=— Te ey | , —___} —__,__{ 4 —______j —_. OO oOo Te N’~N’W.-.”.._ 9 LLL ee SS ESSee ——————ee—e——eE—E—————————————_ OT 5 TS CN NY PS TE RAND 2 ——— ESE EE EE ee eee
eS ae SS|PSJARN SS aSOeSNS Ve el ST> OSe LN> Ae if» pe CT eee Eee Eee eeeAe ETT eee ETT eT UC ca OE SEee OSes OE —-TS RT ?™ ASA S— (NET ES
eetd'afours, -|mours est si-|peu Et du0 char bon d'ouv| plus - re -| bours Done on cul - de a - - voir
biez fours,Done Et duon ehar le_wi—____._ ww | re -| -|etbours cui- -bon de 202
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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:
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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
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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.
Tenor 1) po ey fe ee DT "=e
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f.114°—-115 Vv
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a
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226
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8
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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.
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;;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.
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|NGSsee ee ee Oe a Oa ee Ps I UT CS OT” ne vA DO va A A ES nd 1 DE ME RUNES (SETES SUSSUSUNCSNEINOEY (OSUEROREENOND ONOU (SONU OCOD AIO SOGOU RS SON (0 RR AO EE (OOS ©
8 Que ’ voissy pour DMa- ri - et pour | Ma -ri-on. $$$} $} — —| ti jfpe — FyOT,T.CLULTULULULULUU | ll + =, ||, nnCa a en ee ee LU eseT0 fwn »7 a | |[| |pr, [“Tlyyy Reese Ue mae TCL @ tag Wet%oe ge fi] | gf | eell Ld) Lh geD>)
b 4) eT ee ee ee» rr... YTD
VY Se" 8 gt |Y Fu. *as gi-|-”re.I ore
ote 0—O—O-C-#PT_tT}NCT-2-x-n,”’-. JT e—=wv’|._ ey. ———_—“_ o_o ma Ee 8 |
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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je —— OE © OT > ~ ( P —_ EY —— AAR OO SOAS OE OS A CS
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|» * | a A SS Oe a es Ss a © is Sy ccs Aan ——_
240
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f) PE - QR | Et le do -|lent in -for - - tu (ON A RS SRoo) ESEs 2
5 f™ Tc SD Te E—E— Lors que ;vos - tre be-|gni - vo - | lan - ce
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re ee 30 [-———
2b
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Ec A SS CS US ONES OE ROU (NNO CENCE (ROSAS ANS SEGUNS OE CORN CON OURS TS _ , S
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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a a —___Y4 a ee eet Oe ™ TT Se -~o
8
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§-
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eee
pp i? Or; —— a a ee oe oo 242
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p——| 7 — Pe iY = |me. 'e es—GA
°I 25r]11) eex 30
Pe TT oh eh SSE no... > TTF] oe — —Xxr>on--27-—02°0--—
eo): —_o—_}—__2__|-» —_-_—__ ®& —|-6—_,,—_}} fn SOUT anf — ——J -—+—| fel KEES a 00 AT PANE OS SN NS NN LAAN NNN SURCOUEEE a YEN GOES SOE GNNOUNNNNS —_
i a eo es Sees i eee See See aa AS ss 7 oe es a es aa
§i
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r4r7
reowe 7AONE -—e #2 7YAer VS SOOe ao A OOO Aeb SS > NS OD_— EN op hp a wef IaSM roRY O_O TY? eS = aSNeo OO eTCN TOO a =4of .“"vo0™
I4 35 |IfhDE ot fan ONTT ee OP rs |
aS SO ee |7* TT AS) SS = ESaS SNESS NETN AP RS 7 —“_ 2 oo
O_o ee ae cr = OE Ee 7 =!
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1) The parallel octaves are original.
243
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120: Madame helas Petrus Congiet
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f. 123°— 124 Vv
a Sy 6 es Ge ae ee ee A a =
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247
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122: [En attendant la grace de ma dame] | Alexander Agricola]
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f. 125°— 126
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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:
——
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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:
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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.
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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.
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A SSTo? A RE A VO OA A AS SRNE(SR A eS — CN AS ASOP ES NS SE CS OO NAR OO NSON EE GS
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Ll NT—_’—- 1 OOOO O—=EF{N_OIDOOEEoe ; ooo eee OTT OT Too ODF
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ee Ce ee a ST oo SSoTSS SS”’-—epn Ss es 19NWH eS 2 aS Ss SPS ye ee Nn Se OO Ee ]}-zRr-r7--_7-.-WeeP 287
60 f) 35 ~] —
BS A SE TS SNES NUS"—"g (SS SE ORR US SOSSES RN, DOEee" SL EE EF = ES VY LUD EO) |S EET
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fewer "—=@ “pm a
SS eeDO eee) eee eeeI eee. JnOREN rE EeRT eee eer NN = eee D4. EE. EEE ee ASee I NE wa2o> EEee = OS AS ES A OU A
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OO f= eo oo>DOO Ee OTT _ EO oa | d*@[{['"'_,,>70.—__ or EP SO ee OO oS ee —.. 8—_—=p>—_—(OV ©. OS Teeaae Oe remem. TOC TT EETee EEE yr"=e OE”
wey [| |. fe EE ee TCV TO™ OT Te EE Qpe |it.| Oo 2rr [~~ NT |“=e eeP= De” gg BOP _?, iD TT ET Ts ee MT ee ON jr |WO. {| jw|n[ay ee NS EEEN Ee—=E "=mOEE CO
TT 2TTT a SS NSTCOCOCC™C NS OES NE NL, GS EE SOS COURSES OUUUONT OURO ES ROE US Db, YO OS S| A 8
wT
yt , | ws ee cy eee Lae |» ee Nl "hs ST 10
DP oC RSSSES A” A SR RS RN I Dee {Vy eg SS ee |yAO ag 4EE ———————————— a A ©. NE (RRO (Reet = RS OUSOO © CR(SOS OREN,
cA Pc NN SRN? ON AO SEES ES SU NG a (DON (SN CON (SNS (OSS OE OOS
pn is 20 TPR ae PNY CC A (S(O OSCR SON (SSCS SND SN USNSOSnSSSOISIS ONS (O00SSOSSSISSIESSCENSSESOR (OUUSOESEEROOOEEEE
le Mm ep Ee Ee =m aA | i @ | ape ee eg sO lr“=p te ag pd} SE ee ee aPFSIU DONO OO on en(aDn Ne CS EEE
Tee ea ey td ge FC TC CD CU leg DTC CD COUTCT®
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8
ai} —-}+-———_~ ee es Oe ee ee ae ee ee rT yo. fT gm eee
oor 7?COON Le F _,_ | ~~ Ege ——— P.O SNO_o (NUCL NN eA ONE na — ES NE| nA ORE EE OE ee ee eene AS) a A A” SS ST TT OT TT MO MO eee... 2 ee ee ee ee eee pj tf ig
es ee 5 C2
ey 7} 2ES —_ |SS o—_+ + —_} 4 PeA 9 I(A es ee" eee ee ee eeA ee CR }— + a 4 NG CN MR ON OO
2 ee 0 ee ee
C—O C—O ee OESee —=e Ee ES KS ee=eEEE erie St OEE eT AOSre Tee
. LS A PS Se | ST? tO
re _ ee@eee2ee|eegjeee|ee| eeTTT rgp_@—_t jf tT ___e—__|_4—___—__ dG a LULU" 4 B.A 2 eee eee 291
30 | 35 —— a a So a ee ey Per ee ee ee ———_ = a 412CeOyel i HY40 a ee45 ORPs
— fEn = —RY 7a SSRN 9 —yOUD —GNUNES —__}aePo
mr |, son 7) | 9-1 yg —|__ D ) “"gg le ff TP ef if "ae
6\/ i pfre+ 4+} te1 ee ff fT 8
fo a ee. aw SS DO MIS SEENON UE SEEUCENSNNNS (OSOEUTEENS UUOEL MEN RUNS NEP (NNR
8
my, SY SE a ns | a ———— ee ee et . < G Y a G eo = 8
A ~«'/! [oT
b
1) Parallel fifths are original.
Superius [—_ — —— —9 Oe ee
140: [Textless composition] Henricus Ycac
f. 144-145
Wo [ee ee ee
Tenor on 2a ee er | f YY eeeee= 7 pyp ENTE Boe ———— ra ~~ o, GC e, Se a
ye — = Wp oT ee ee
Contratenor {| °
as | ee by(a9a 100 sp — Z en = 8
wan a P ——p —_ D el a RE 0h oh oo 8
4 ‘Ss D G = Se = —— fat 8
292
. [| | ft f 20 25 7 r TS a OT Tw ,()—___ 30 | o b p ee
q 15 6 6 [> 2 — -—t, | : Cd ———— fp] mae a ~ 5 co C _ = = —s— [Oo |__| yoo roo TT VY —p—_—— _ 7[aom” 4— mu ori [-——} ——-»oO a yp TD TO CC CT OO T_T 7 OoeW—~™ ?r™””)7T””-=-=&©
LOS CS AY SS ay SOU GT" hy? 2I- eS ——_ he § cevNv770—E0>2oq2O0O# "2 ES rt F OO
Se Ss es es eS Ae ee Se ay a cS eens 8
Oe /-———— aeeee [|] van ne es es eee ee eS es a 2,oe 62 —o————— EE
5 $Leee af —9— ee_ PeDOLE” Seen yee EEe— BH eee By,(on a | __ ——_er aeLD” __ ao TELE” _eee 2 eeeL T eT orT eS
an We pO < _ oo TT
on. SEaA eo | a ©oe a _$?3oN—-"-N"N7-"-"-—— FF T= Bw oe es es oe eS Se a PP a a=a 8 a =
v, ST C ene AS a
8
eseS EESe A ES SE :K+ AS eS ee“—Uu____ es—=— aT CY ey Od O_o _ eg eeA “lO eee eee
sr 35 ¢ 40 Sy | 2i ||1 fa > a - ||Ye | : | :|t— ;
8
VW eeGn.oT2 ens oeSO OE a NN SS NEE SE 4 bei Cn |---| —_] eee 8| (an f-1______|_|"__ 5NN _@ — pp hh ot He
Te se ee eS. ee |
ib Oo
ont =ee 9ee ee eSa Wan WZ a NO” ne eT /--———— .o J)aesAEE Aee ee 8
293
ee = yt, Tenor r 4 a Time? "=D ,a 7.910 15 a} 7 4 ee | i ir ho | + er 5 5 cto, cto, pr 9 tt . . ll A 20 o> | | or ir
Superius 5 Pe eee Te “=e —"“eg—=p T_T a=ONT NE ENS * Et in - car -| na - tus est
141: [ Etincarnatus est from Missa O Venus bant] [Gaspar van Weerbecke] f. 145 146
Dt Oe =e COT OO ep (ie (sf —— jp) ff] ij 8 Et in - car -j| na - tus est Spi - ri -j| tu
ca REOO ERRS> OURO OEE wee A CIT —— ANOON NRO;(ONE RN RO A NS aa aSE5CS OURO AY > I AOP (OE
TY fie "=p O— OPdE —e TT Ee TfEtpe-Qf (fof eT ee ee] —___ [ l"“=n “eg EN in - car - na - tus est de Spi - ri - tu san LO Ne EE SO A A DO En
Contratenor
CF SD YS NS KN AU EE wa RE => ND EN AR —— ES —- —: UN CE f)
SC ASRRO OY PSR, ES NE NSNS ORSNEE Ns =SORES SENOS RUE ANID A NGca: SYESSS SO HS EEPO SEOO ee ee DUETS ORO
ios? | TDF ET =e CUO dU EET 1)
- - -eto, de Spi - ri - tu_— san - - - eto,___
‘a =i ee 5 5Og Q 8 re em
A h 25 2) 30 (> eS ee ee ee [' fe OQ od eer o_o St TT a a i
| Tet ° © (TY =e ti?Eee 8i | ?, »—_o— | PTT Ge
a hn $ b b b 3) +b Te ET eg F=f TO NG) | ee eh A $f Ff 2 eee RN A RS RS A RR RR NS SS ES NS SN EES AUS OUR ROCESS OUOURRS OL A ES ES GS POSS RN URRNNNNNES
ti-am pro____ no - bis, sub Pon -ti - oO Pi - la - to pas - sus et se -
SS ———————S—————————E———————————————_————————————————————_————— ee WY Seeee Oeenee| eeeeeeeeeeeeeeee eeeee eeOe ee eee eeeeee eee eeseeee (a. CY. CS | ee 2ee ee2eee eeee ee...eseee eeeee eeeee
OND) Ae ee SP ———— A ES O_O ee ee es A
raf)50 | 2 | a a . b 35 60 aap) e— “OD Oe °o'r 7 io ed
if.t—“ eS = = TES GOES ZO vcPY ES UE ES OE DUO cA OP
T~ (2 "ed wy | “=e Joy Eee eet 2, |pe, OO EOD
Fone ew_”"#wv--foo cewlen. om |e car fe |9tee ee _— —— 227" —OO | le ~. pul VL—"g ST “gg COU “eg Eee eT - tus est.__ Et re-sur-re -_ xit ter-ti - a, ter - ti-a di -
rf Ee TTT =p Dee
Cc ee MS CO = NO ,_A RS oe ee NGEo a CO ig Gt ag ft CCC OE rr - eun - se - cun - dum Scri + ptu- ras. Et fe A ff a2 | gg | eT LULU UL TT OST
EY A a OS rece, OE eS DON ROE SUS ORSON SOR OO SO (SO
LYNE LO ae EE
pe) ee aeMT) ae ee ee eee eee, ee eeeOT eee ee eee OOOO) eee eee eee 2 4.TM |r—"—gh @e SeeeYU eyPC eeeeee DT Yr TP NEF eee, DE
tg Dg
e, di = - - - Qu se - cun-dum Seri -ptu - - ras. Et a-scen =
NG) ES ON SS LS SS ES LS SS CN — Fh. Jf ff gf dit in lum, se - |det ad dex-te-ram Pa - tris. Bc, CE O° TE ES ME NY oS NE So EE NOS EOS REE EE ES EE ERE EES EN EE SOY ree, SNE EES (OS Ot
f) ry r¥ C2 @, 4) pe HES eee 7 2 P gm | ty
——— a So es TE Sa SEE OUI NCR SORES SASS ORO CON OND SO SOUS ER CR RED (ORS OSS ESR NORE GORE NRE CUO ROE CO RAY oo? SEER WEES vd SO 8
ae aS a OL SS a ac Se “ee LO A GS SS ORSON I LP 1 , dit in__ cae - lum, se - det ad dex - te - ram. Pa - - - tris. 1) In Florence 229, a signature of one flat in the CT begins in m. 13 and lasts through m. 49. 2) Berlin 40021, Leipzig 1494, Uppsala 76e, and Weerbecke 1507 Misse read:
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
Imitation of S, m. 43.
4) Flat in Modena 456. 295
Superius D eS a ee ee E> SEE US CA CU es re aaa
142: [Pleni sunt caeli from Missa O Venus bant] [Gaspar van Weerbecke] f. 146°— 147
z= 5 (. VE | —_o ——_}— 9 —_ f+ 2 ——_ op ——__ f+ +———_—_—_— a
Ple - ni sunt eae
”) Tenor
aIee eee— fpee
—_____* TH cae HS st 8 Ple Ee -{ St nitH sunt =
li,
Beg T~ peEE fT EY OOD ™ Ee ee FfOE VU ONS
Contratenor
\) Ee10OEee =Ee ee Te eg eSee er p iArr—9 !ey
si -l[ [Tl © @——— gw J/| ggI Gg | TfCD ff] yy eg CO O_o _ OL OTS eefed EEE Oe
| &KE. + ee eee NE eee(Aeee St SS Sno NS Ene EN .
, 15 ¢ , 20 # 4
pe Oe OD H/o EE E f|b—=a
Cc SES SE 0) ES GD IGe NS_.4ee TS A pf EYNh A BW «= [A RS f=}RN __|SN ______@ Em.4@E Pg Ce
Se eeTY ee eeag Hg oo SE Boo ED A | _ [Fea Oehe ee esee ee a EE ieEe ytAee pS Hh oteOUOUOUOUOUOUOUOUOUOUOUWUOUUUO OO eee eee OE ee
eM eeeeeeeeeeeHhHEeeeseseseseseseseseseseseseseh eee
r co 25
Fo VW"@©—7"__—— Fc A.OI SS __TTT _ RNRNN>D—_ _ __n a eS a:YOO [inne fe OT eee Yt
5 eee ee er pp oo re) h 4" a ee Opee li
OO OTE SEE — oS I TT fh fe
ee ae tae TE 9 Ht 9 09 0 0 ie ar I 8 et ter-ra glo -ri-a tu - - - - - - - - - - - - 296
A o, /[)40 CV ae oe, rc) a q_ 4\) 3)PE
30 r 4 35 f) — = 6 Ee SS ee ee pot wmf PL | ene a Oe = ——————————————eE—————————————————— 5 Se ee
2 CE OE SS ee a ee ss es — es 2 ee es es ee a A CE RO TS IED (SUE OEE" ROO ONESIES (SOUS RURIOCUOS ONOOORONGNS USC SOON ,aAARNEY —OUENONN UDR SEUSS NUE ES OE oA =
a} 4 ale eee boii ncn oe —P m * ma nS NTU |_| +45, -}- —_*_ —_ + FF fh i SE a, et ter - ra glo - ri-a tu - - a,
—— oO ——— De eee ene nn ee SS eae b-G——_____|_
yy | pdt ge eel“ P= ee 8 tu - a, glo - ri-|a tu a, et ter-ra = glo - ri-a_ tu ~~"
r 7@- r 71 2) —_ D 1 _f2 eee Tn EE TY TT COTY POCestC“( Or T”mULMD ‘Owe 2 ehhLCULtCULw a et‘ ‘ ‘CONONCOCOCOCSCSLSCSCSCtisCiCS TT eT 7? PeEee ea Ee ee™_ fT | __ se a thCChULDCCMmCUCUmeletrrtSmSCi< TCS
TT ET TOY TCOCTti“‘CSTCOOUOCOCOC“‘(STO OY @
et ter - ra glo - ri-a_ tu - -
\ONS 45 +) r 1 f ee | eT OT OD Oy ES l—"“p = 6 Og OF gO =eee dg” FF |JE er EeEE De SD.s ee | OO eel pf "= a et ra glo - ri-a tu -
FD eee | aS NS CO 8
p< re} ir 8 rH ~~
ee EEE Oe ee EE AE OE
2 SS RS ee RD SN ON SN SNS 22n i .A eee eee eee =e es
- ~ - Q, et ter - ra glo - ri-a tu - - - a
366 In Hr Bln i 1) In both Berlin 40021 and Warsaw 2016, T is notated a third too high. 2) In all other sources, CT, mm. 43-44, reads:
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
143: [Benedictus from Missa O Venus bant] | Gaspar van Weerbecke]
Superius ' f 5 = ge ——_—— eS ee ee ee ve Bewe - -ae etus | qui
.aee fTo | Ram eo et — oo
f. 147°—148
=
ej Ee} 6 —_Mamnnnney gf + —_o—E40 yg HE I tySF eTTTT AEE.eTeee oONee eee| TN a Acces TNT
Tenor t
8 Be - ne ctus qui ve
ioe caw! —_— 7}
Contratenor
SP eorr700v0-“-’vZ-"7"-—-—--N--..0.0.7.707?)?__ ee eee Eee
i|4—oe ee eee ee | —T = 7 gS eee ft ne >} = |em ee fH ri es eee ee. — f J | Yd |,_—_ —________-___} 4, —_| —tCSC( OOD Ee d dDFT e ne DG ce OO Ss > SS§~— SS ES OP ES SE OO oe nS a Ja 9h. ne, $= An DANG) SaSO esSS peNS __qg | ___{_____="__4 eeGees- ee.
|e) JY "EFL lr™”=” ld CQltrti“‘“‘(‘(‘(i wh)? Pr TLMae CL OULU e—mee wrx 7 iQ.i TrOrdSLDS YF Qe [| aga ft ..LULULUmWDlrmMmLCUCUMDL 7 T JDD ft jf—e— fT fT fyeeyy Te OT
Lye Rf — | P__+ = |ft_fed 5 Lf ff} 4 | -F wy | UJ oi @F fatty Yepe LLLU ’ | rrt—“—sé‘“CSsSCSCSCSCSCSCCS Ee TC C—C—C‘“C‘“‘(“(‘#NNNCNC*Cd an mt
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Vy ee Ee ——_f —f 4D" EE 0" ee ee 0" eee eee ee 2 eee ee eee eee eee ee
- TT Nae ee a,OS EE EeTrEne SEE aGe Eo Eee slSOUT Se Se —??¥ —— rT ror Dao Ee. Wee TTCOC aCoOo.rFD yd TO OT Eee NFL ES CCFO
oy S.7.W_7nvnnW a RS a esrlHe SsQlns es (MT © Tye, 1... SO. fe OUD CUD RU e”CC FTC | FOF py {C.J fTee tsC“(“‘iCTCiTC“( —“ed OY eT a TF
4 bn Toa Hes Ee rt et
(~*~ _ v7 —“OOCCC”CSSCti‘“‘(“(‘(‘#RCC*CNSC**CNCN og? i ttt yi” TLD ee
[se _—eo.........__ FL TCT i ("en CCLdS CQlLhLLMW..WWLCUmWmTOCOCOCS TT OO Td
‘ay ~ -—___6—______|—,}-___—_# i >
(Zp fp i rr
[Owe ¢f 2 A AEE a Oe Ene 300
I
)ho ro ry eee Dea eeeIoe ee eh OO ES a ee a ae E (an FE? FS Fe EE Eo eS eS EEeeeoa ot arr ss es SLeoa!rea TE S See A ssa aseee. es Se ee Ee Ss Seee? es ee Oeee" ee ee ee fey? OO a 9a es SOesoer es es eo es ee eS a a Sc ce. le
p # 5 Se a
Se a a A SS ee ee as ee es oe en As
AEe A aEY ee a A© A aRS Ss assASe eT AT a ee A eS OO ee SSAa A Saseee Ae
a a TS GAAS SP OS a aAS a acca SN OSAa SS SSNAS SS Sf A AWS STSS ASenNS
4 ! Iyr IIeeI ae eo ee rE oh rh A A aes
ee ue a a eg
Fe eS a SS a a A SS eS SS SN A eS ST Se
eS SS cS (eS a SSA aa aaa aS aeT se a Se : Ss Ss SS a OC (eS Os es
DF ee ag ff [| —— CLCLCUTlUrmr”™”™”™”™”™CUm”COC~™tOCOCCTT TT.C‘CSEQSOWO~CTTT..CV VV -r’]"-vn0”"0--”I_™onrv0O0"DV_
se, ss enn ri - ches - Fors d'es - tre_a /\(a.wfaee(SR fe )eeea eaeeEY aING , —EE EECSOO (S(O (Ss if. 4 Bee Bee ee OD os4é0s-.-nNrNrc-—-—-.0.0—20;°0 a AS —EHO--e-Nnn"0Oar-"wWn’ IE *< em Oe) OE > RE (SO (Yo? ESI GS
6 r : (A) | __
8 _ ri-ches -| se Fors d'es - tre a -| vee vous, ma mais (@\* ff ||||—— OOOO OO=e On pe; |© #[~|J_{~T T{ OP? [{ | [| BE - {4 Pm ET OOO —e——sd iA.| Hh TfOO { fey yy itOOOO *# ¢ EE ;sso n (se
ey — ee _ ? 9 1 9 r 7es ree 1eeOT ree5ee = 7na 395 A a ee ee
—_$_——$——$———— SS a SS— SS Se aS SS © SSS SR Se © SSN © Sn SS SS
A SN SS ES A _@__—_______I [| _} |
40
TC, A A ES LE — A PS PS PS es . aay y 6ud|Tl Uh Oo gg OP | Ttft ©, OO o—Tvrerxrr{unW._ I oT oe mt 4 ae XV —OeDt—TCTCCCC NC T~—‘“CSC™CO*™C~C~CCCCCCOC”=C*”~__nn8..._ Cg A SS ES a OOO LOS OR (SE yr | gS... TS rti0SG—-—0—0—06—0 — ww Wu. wn s—SY a —“—sSYSSC“‘S;NC:;™”OCOCOCO™O™O™C~C~CML—C“‘=#Eh
NO) ay EE 2 ES PO Se DONT di _Oo02e0_0 Ooo
f i —p—__1 41 pt gp gt -_} gf | | te \—_@—_|-@ | + + +
—___ 7 AL pi-_2.Tr. 7 o> |e TE oOo >pNMN”CnWn”””."FHOUHUOOFTwHIT IO]
-_ —TE —_OOTECODLOZEeoS®_ fet a ee eee pf) iz |, —o-—-f IT 7Oo Sreep__+—_t_ TWIN tor Pa OF =
DD DDD hn —— mi ne }--—_}-—_ 4} =| GC = YT SS (a(R SEES (SN eee SE SETE) ar JE, L.A 0». Pp eeSe ee ee eee aa SaaS (SNS? ee 307
fj >. _ a o- ee
f) i 7 T |
+e ®‘——— H i—— hs . UL "
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:
pn 29 30 31 32 [Sak gs OS me re Blas ed |---|} | —___}} —} may jf} | + Pe
EE Oo To pe 5p |tee i a 2 * nee ee P| ae ee ee eS ee ee
Ren Ase 1 —--_____A Lg ——__-_ 1 _____-__4 ff, ft 5) Segovia reads G. 6) Flat in Segovia and Seville 5-I-43. 7) Flat in Rome 2856, Segovia, and Petrucei 1501 Odhecaton. 8) Orig.: E; emendation follows Paris 15123 and Seville 5-I-43.
309
Te eT Tenor ee ee wre TT TT
) ‘ , f. 152°—153 | Superius 5 |
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4) Petrucci reads:
8
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| 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 » —
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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)
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f. 163°—164 Superius
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Nee OE OO ET ee EE EEE eT Oe ST 8 Dest de bon -jne heu -re Qui tient
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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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‘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
2
163° Madame qui tant[est en mon cuer] Caron
Superius 5
f. 170°—172
, — ———————— | -—_} | 5 |__| fF — |___f 4
bonne. -o-
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= ee ae a ee ee Oe oe ee —o
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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
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——_— NB a ONS EE SOS Oh A OA Si es ey = es 8
Bassus
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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—_____]
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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
TOO OD OO EEE) [email protected]".-.--. 90 OT Oo os Sr>">7(7.--_Fo ee xzkiannn2x0rS —I_— TE EE OE Oro 01.0O0W”"--”_ TOOT TOD ee OOo LL Traz_—otU_/__——? TOOT DTTre i i eT I ry 7 TFT -7[TN>—-"—.-."...”.”.”-””.’.-_“OEOEOOE ESS ee TT F_— orEE OY CoO Te "."‘—mx~7”0—”-0->>["-on DT a TFOOOO —W__ of oi Torr eeOO -C_TNx=»r~7xXNW.’-"-—]
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
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f. 182°— 183
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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
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f. 183° 184
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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.
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407
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Contratenor
I Canon. 1. pre sequar ——_— CycACR ee SON A . RS a nESTE DyNS DY $eSO SlI —___ Cx WROF c,h YO co UNE QE Se ES OE 8
eo
YT EEEOe > "=p eT Eee eee
Od SEE os i Te eg egirdift pe
$$$ $$$ 4 $f]=e sesee >eee ot eueyPeeeee eee i orOOS OOD Oe Tee OOD —____ Te" Oe -—————
7Fcc CR A ee eee NSNT A oS RNoonA EESSEE SSaSS RSee NSeeNS SSSS REARN RSSO ESAAS RR SN SNUNS ONSNNR SS NoENS SE NUS ™SE
9 A A = SS A A AS NARS OR AS RR NS SRS ES OS SS a Se AS LS SS yo
A 15 LO eS OIE Oe OS - - - Pour eon 8
.Sersee | ee ee ——— =
Fo Ooare oN eeTTeTNTNeNeNTNeeeeeeeeeeeeee TT SSS hoo Ne ca AS A ES MN ©OeeOFETATHTNH..—_ SR SS ROY © OSS OS RRR — SOS SON — A ROS GOTeT ©? SORRY
Ph oo oT oo 7_e eeeoo DD??rGele
TTF OTTFDOEEEE_nn0W.-.”,_ x= OE —__i/’N'’-’7.w..--..—_ _— De Peg f a:
eo — oe eee ee
O° "FUey DTAC gt ee ln ‘4vvr-— a en _...”.”.—.__ ee o_o | gg —# ?i [ap a Se » [7a 408
,620—— 25, ——_______—_ EE YEE ee Pog | FF - QO mes Z eseS >| a Oo ee ae ———— a ee yy = aa =e——— —— [5 ht oe 4 tO8tH HHJ ——
?-eO0e=0oOwWOOI Eeeto Lye fl»TS”__F_|__@ sfFDO rfNStae L (a, SS OF TT AS A _f}_|___{__}-_)_}_}_}_}-__}______,_____K_ A A AP ES A EE NN NS OF A TS LP SY SS AS A AS OS WS CN |__|} A NM AES NO
a | fen If Foo 0 TOO
Ky Se EO oe CO DD .CHa0eneT—._-rn-FE Ea ae eS 8
30
Fe PO EEEeeeeETOQeww = ”77c73ss]@™|_:+nwaa=aqw0s_ wy APS 0. OOOO SY AI IF A Naa RS C—O (> mwexye”,”L—M. —_ AS a AS (a
f) J ]EL in__ “| OFF) fe pron - se - | té.
CB or ooo SA ee eS esoTa q_nNnNoooooaeTDM”,” a Se eT i SS SS Se ccaes fe TTNS TT” ArnNS EEA IEEE ASDT ES OS CR OO_ATEE SS a eT a A == VS eT e=@nuxvou"o0"-r-.007A~AA{*V0VC=—>="—~——=:'Smou”—OooOOEOEOEOemuwwmm=m—oOOOD
5 (gS TS AY OS NN ANS A A A OS NS LS A OS AY SO NT A YA A SN SS NS A NN CS SO MO 5
rs 35 Tn TT GTooo] FF TO, 4 ! | — a 2 REpp [htIIIT Oo
it [$y
—aaa 0S Ce 7 = Sa eS — se © SaaS S—aanca
A|ii|i>
OS oo ETT PTT PTD 8 Sg
; SYLL AeNOS A NS SS LK CS AY Ne CRED UES NUNS RSS SOE SOS NS2 OOOO OS RS b |SHANtNOonN”W"7”".?>"-"7-T’-.-"Y?*~™K”—.— CE TO — CT FFE FO I CONS _ 2>-w~”—w.-"’-’--. OE -—=>=—&*r”_
AS) Se Bee SoA SS a Ae a a a a el a
AR OT EE ee ERE FTO oo ROOT FE oD EE Oooo ooo ae = 8
409
4| 4
[) 0 | !
NNT ffa =Ts ETT eT EE OOO 7 Ca ee re = eeeT > SS OS A EES (ROEEE (ONES (ORISUNI>™ UR NG a esSS ORS SURRY OU OS Dy «= «= ES
~ ; ) —— : ~ poet RY A NS REN (OSS SCN (ON Sn PO TTTNEE TeEEE —enpe TNFeT TT DD TT ET EETe ETT es Oe Ne
A OUMrr—COCCCC(‘(‘C‘COSCSCSCSCSCSCSCstisSYNRCOCsi“‘C‘COQO@ ll lL DT ee OT EE OES _je—77N.=.. TK
eee”
45 50 fp ep Vy ef EN f)
filam rrrrrrtrté‘ =— an | J ff ge wT eee TPR OTDD DeCS ™A_ ee 2 gg XC CT Be ee NB Ye AeEl eeag Pg OTTT
-—. | ° ig fe] jy] 4} in )poe ; ie " “ {e S J ] Oo a a aotSS. EttSS th 15Ng ; NN ,I|__| ee re4 ] . ) : co — ees ~H rd YT A OS py eee pe er err ioeeg Oo | . —_ tb pe me 4 — ~ b ee: a eS | ‘fw | | Ef de l—“=e OU
DD ARSeee ee @ eee 2. SS eeeCSee(ONO 6 eee eeeRR ee«SN eeeAeee eee CL ES nS AD OO AOeee OESeee GOOG NDcaSS IRSRN ODSSOS SS OS OS ROS SN CNS RO SS SSXS nn
Pc a aAO RS USNS UCR SN CSOSS OS BC. NS N,NSONY SO 5cSS AQOS 7 A >On ESON =CR Sn -—GE NGCeny A2© SSRN
SDGO=
f)Ro > ar eeq eeT-eee7 ee6)PL“ ¢ 4ee A —
———___ De | pur__. sus’ -| so. Al - - za la gam - - ba, Ex-au - -
7 Eee ES eee |CcyySS1.” =. . . °&4| . ..».»&+;+«—»69 °&24,| § ff | (ef |? ty. | | gar 2! so I NS A RS EN SO OS YS SSNS OES AE NARS RE OYE QU Ok WE TES QOS RN SS oo
rT =e TT r 7
Bc EE © ES TE EE wc ON nO RS CNS AOSTA = SS NS RN NCS = Qs NR I A USE ONDINE OE (SUSSSNNOINE OSES UOUOSOOEEE OSU QURSERAUUROURORENY USCRCUS SS SONOS EY > ERRORS RUS OO A
8 De pur Al - za la__..gam -| ba. Ex - |au - di
aI
l@he ee ee e—e ee ee EEE TSARE OUND SOORS AS Gk © 0i EE _ ASe | GS ESRS SSEE OESS | EEES SUEUS N ™OUI T o>nA NOOO NSnA SE)RE SERE (SOE ES ee (ON
ta - - ra. De pur sus ~- so. Al - za la gam - ba. Ex - - au - di
55 5
Ly ee” po | lg Oe Nee” | 2 aa r -———— aTe SS OO ON EY, SS eaTe Ee eee eee... Oe ee eeAeeAee1eT OEE eee eee ee Eee ee2.Te eee D.C ee eee ee eee Wc aCO REee ™ E eee , Ceee O eee _ e= me S inae..l—=m® de Se Ky - ri - e ley - -
LO eee — ee ee ee) ee eee eee eee ee EE ee ee ee EE EE SS
-o y eee ee ee EEE OO y es nn By Be 4 a(SD SE SS-iOO fas DP eeBllEE NG eS SY OS RSS$ OS eeeet oSR eee
I OTT oo
LS a a -.T A = SS nos, Ky - rie ley - - son, 413
60 9) : “| | |
fp ————} pres aRS eeee aES RE ND UY a| Fo Rsbe eS a RSae Rn RO EE US CS (eee, SSUES o> RES TEEN (ELE =P ON SY«= «> Tc Ps Eees SN NT RS ASee OS ee ASOE I Aeee NG aNeCe aONES es eeUN esESOY. ee
DS Eee Te eT a |Lip " |ONS | a ee a SE 65 70 hp ye yt nn eee A we ee —=e ee | _i i. pf heffaegEE | OR ef me, Penne pT LO. en) Ne —eE ee pg phNFa OD PE ee ee
WD aETT esOO a aEOE =. eee eeeCe SeEEE ee"se EeeaOE Oe Eee a —______ 4
SY A a cans a a A NS EE OTE ES SN ES EE AS ON AY «= © I A
ee ee ae — Pm em TT “=p DP se ES (ONSEN ONES QO. QE ()
Es a ee SS Le cS sc Pee —e> Eee Eee Ee Ee SSChri Aes (SD PD SSS Sa nD (OSU - ste ley - - son, Ky - -
rs 2
SS- ~DE Ae Ky De -ri ES- eES - son, leyES NS JP" GE "0 es ee | es Bc a 5 RS ES LE > ES EY ORS US RADE RUE NOON YANO UU. YS A NN RS SS ES SY DY 8
f) rr 5°ee 5s WP 5 sO1Ns HS AES Rs a ES US. © | RS 8
DANG) A Ss As Pf HH
rx eg NE eeSSSSSSSSeSSeeeeSeSSSSSPFE EY
[~pel | Tee =p TO OEE _#2 9) [| ee” tC ee eT ri - - e ley - - - - - - - - - - son, ___
1) In Seville 5-I-43, signature of one flat in CT and T only; in Petrucci 15043 Canti C, flat wanting in S. 2) Orig.: A; emendation follows both other sources.
3) Orig.: rest wanting. 4) A signum congruentiae appears in S, T and B at m. 39 in Seville 5-I-43. 5) Orig.: E; emendation follows both other sources. 6) Semibreve in the original. 7) Dotted semibreve in original, rather than semibreve plus minim; emendation follows both other sources.
8) Orig.: A. 9) Thus in all three sources.
414
I
181: La durion dure Anon.
(2 of fe fT Contratenor I SL
1) Superius 5 ANDY Ge ok _.s Ses a nn A a Msi" i aa” f. 191°—192 Vv
ray 7 fT {, g@¢itifg Q{[TA Aa [ga Af. TQ @ fy yy
Oe ECC EE Tenor a ee ee ee eee
sR Se 6 CR. ES TS ESOP(OO A(REENENNY ES ne” = no WY A «= Es, CL 1 OS NOES URSIN GOUTROTUOTTS GOES GENIUSES SONNETS GOONER ES AONE SURES 9 AU OO RY 20 A = = — oT. --n.-—0nn.“"—nNn.....OOoOOIEO TFQUEEN ln YS ee 7 APG BAeGE De a4wANos>"+"Ww..WITPU
(em 7 eT OO EEE
fe ee eT TT Oe ee 2”Ta ASs eee SSTTT A ERTIES SOON rN YU ti—“(‘“(‘(‘(‘(‘(C(C*;*:*™SSC~*d TETODS ET OEE eT Ed ea
\f) 10 15 on a _ _ 8
Contratenor I
o,Tee 7dTTTT YT ee,-J 2fT Oe Te ee TYeTDY T_-—sFh ee Oe
ee |_m@hoe. MOC pt (a ft Eg 69 OS -—___} (42 -_____f__—___ SE A,rt—‘“‘COSOC I RT RS ES CO (ON AES DD EES (ONES (UO Se
Oe TTT TT TTT ef ef
CT© TT TTAATTT TTT TO OO Oc 7 LK eSTT Es GE... esOSE nn... onsCURA Pi. i... i , sa" ras NG)CE ES © ES SS SS (OOS SONI 6 SOE —————————— nee Lc LS ES a > ES NO SSee0 ee Leeee LP ee eeele ee sg ee |ee 2 Ne ee in Fy ">»"”"”7””\"”".....r: .... oO? OE EEE Oe OS TT A fp
415
25 30;) ae A a pd
ANG) 0 __ pO 8 OSes) eye ry Om” Se |_| OSay r) 2a 7.7: OEeee eeeee DEE eee eee ES EE eee Eee Ee Ee W «ae. ee bf} -4 er} 4 ee ~~ 7 ‘|
rt o— ee ee7eei ORE ec a 1aeAade scPe eeeeaeeeasOK |__|} ——— -——| v7 —p—|— ee =—| 0 4}
REN 4 Et > a >
Key Ee eee it Aeee ee ape eS
Pf Pf —— ‘o\> 2. fT oa = pe a ge |_| | ESpnanl0, eea
2eeee ee EE ee ee a aeEe = aETr) EEE ) 4 Z2s TOT EEaLEE
p a 35 eT 2 nn
arR —| —-p——>, |mmm =™ —| 7Ly . 73 2)ee eee 2eee OME 6 Eee a STE... Ea ea ye OU TC eez—K ge dy EE EEE EE EE =a |
ee Oe ee ES) EEE EE
ld =4 ____}_ eeAUTRES ee jf ft jeg. ig}aa, CE____P OR NE PR RS Ai We BF OS (UOINNCREORIEOER eeePe eeela| Ee
aRELo. cr f, r) tt th ———} 2.) | EE Eee ee ee Ee EE -— |---|
ld yd Ss RSSSURNSURUOEES OUTDUSEITUEUOEOETY ee | | te 45
NG SEEN NSIT UNUTLRENETS) SOURIEUESDNTENUSIORESEOOEOOEE (OIE USUEEEEED OEE RN NES EE OEE
7 | iC OY TT LL Se DL eT es Oe
) —— —_} > —— —#— iu SS El>|——p——_| UE AE nA_|A—_p—_}-6——_| A TG SEE — A TS A ES NE GE P| i fe
(sh 9 ef
vy | ae ee—="eg | ee| fadeEe Ee eee fy 7 £2..| | @ | a | oC Pe ee a, is am penn _—— +} — | ——-|—- a
Vy ML l"“=g Sia ST i TS CE Go? FE. CEE LS ATT OES SORENSEN SREREUOOERSRNEEDOEE (ROATUNNOTSSU ENE
|NG) ld ee De[$$Pe fp —_—]} | a -—_—— $$}pg _____ —_ 4}, ce
ep ——~ ———~ 4 7 “6 a r) ———p- nw | -—--_——}—}- I a es
ft | | | L i 0) a = @ at a Of OE OT Te See
EE EE Gs—__.._|_(-2--J) © ee 2CeAey. | —"eg — 64} -- —_-} |YY (A |ES VT —Ds Aee {yO A T° SOY VASE LCN eoTE ——— So—_---}-Ee ee eeNERO Eee
416
,|
50 55 2}, |, __} =e jo} A ee ee — a ne i
my’ Se Sa . — — : ae ee ees coe
Aesoe yp _ | Ft al ee |_| pe pl ee | =rs———— ||' ke oes eee raQ SIT SE CEES ROSNCNONONNES OOOO yt Py a me _ ry
eS
1) In Seville 5-I-43, no flat in the signature of S. 2) Orig.: this and the next note are written as minims.
3) Orig.: this and the next note read A; emendation follows Seville 5-I-43.
')ge 5 eeaSuperius —o SEE fas = 5 ee yop YY esses OEE OT TT OO ye os Ss ee ee Se Se es ees ee ed ee aOOo aeed a.aeC—O a Se”77 a eS {p=a aos oN YY '° oO. dd 1) Tenor S| |TD De a ; e Ds OR EE niSS a_ «5a =,ee 5 -ee a, ee ee
a TI
182: Bon melarim bom bom (= Corps digne/ Dieu quel mariage) [Antoine Busnois] f. 192°— 193 Vv
eo
')Contratenor
Rae eS I
1\Contratenor §| 8
yp b ee r ie’ A ptb SN10 J ee Ren __ | ___ . f So| |im nt ft po tt ft
tC (isi‘i‘C OTT EEE ee EE ee EEE Ee eee eee EE EET TT 15
7.” ae | | ~~ | | Re“ ASTER --Annnan
a ee ee ee ee Oe
hal eeen }——}-} $+} —___________} 6 ff es es ey eg |P|—} —__@j—_______ |} {| &P MSS_S__e”
417
rs | FT Eh ee De Of) EO OT OT 0 EE CED OT Oe Kye Se od ee _ 8S eree Eeenn ee Lo rr
f) Pd a 4
So SO OS AS RS OS LS RR" A ON GN RN ENS NS AS A MN of MT AEN A A” NL O° SM
A SSoo RSdees ES (EE NO ooo Sn eS oT eo
Kee |TFp0-—-r-—--.VV..VWONWW ODO a TT oo ooo ooooo oOo OR OD OOOO ™“*HhDX OoOoOoO?aT_T [*@C@][x-".—— ea
Nooo... TJ ie I eye Oe ES or oe
SY a LaTNne-W-Wr-_N.-.-.-.-”.. SE RNS NN Se ns i © Sanne Bae asI x? AoO x —OoNO0|-0€0-OOODOODODODOODD EO EEE ecw O-”--OW0. EOE Eo oT
ye CO ee OOOO ee F-Nnu0.-.-———>——OaS Oa OS Tt 9 OOO eErROOO TE -O-2-60602OT
PoAT-—VY38@7"--—-”-T"."00”0-"w"wW.-.YY?”}}_ TEEON DFNEN oo AaD SS LS OS NL SS OS AS NS ORS MORO OS UU OST NL AEN MS ANNO NSOTT HE A TEE (RNS
EF ee eS oe ooo ree aoa Exes 25 r by b ~ 30
SS LY STen —T—ED°-™-r-’-Y7wW70(... 2 2eS eSSY Oe oe RS OR 54 | ae(aSS .eSLSSOaSNSSASSS ©1 iCSS SS os73 es Ss Ss SsTT a _ esym SOee EYOY 9 RENEY RENE SS To oan aaa9 (ES eee 8DP SS (RS SS acaeCS SS
ooo Tee oeeeI oooooo I Sooo
Fc RS NS NRE — US OE — GY oo) RES SORESOS OO SS ooo OT TCTco—OuX6He--o2jeDfFTEFOFHTATATOAOOOOOEOEOOOOOOOT eeemmwT”®FK
ae = 7 aS as =... a | ft, _
NNO 9 Od 28SFOOT OO EHOW Ee 2 OT SB OE Sa tO VDV“_“uéaAjR0'——eme OT O_O ETT a BOE OOOT OOO et oT aI OEE OS A STS AS AS TS EEE AS SES SS OS” RS SSOr A CS ES.,.-’NvVv-_ A SS AS SS—“_—/ A A
183a° Ona grant mal / On est bien malade Antoine] Busnoys Dijon 517, f. 180-181
Sena oe7 ee —— oeRS—Eeqoooe CRTF6 RS RE a — = ES—rrreeeeee RE oP) MEE ONYeee SS NOS (UNE "ONS ES (OU OS SS RS a ND) A AO LORS OY A SC CAO 6 EN SEY 2° SORES AOS OO © SOE > >
1.4.7. a grant mal mer, trop 3. CarOn mon cuer se cuipar - datrop pas a-| -|mer, cuipar - | da pasa ->». Ma - le bou -che m'en veult bla -| mer, mien’ |veult bla -
I fEFF eo_eeeTee FT ee ee __esdoeeAnsSS OeTT Oe ee Ss TORE ES Se __SO (.
Contratenor
8 On est bien ma -]| la - -
Tenor
fd ge Oe eee eee =p es 8 On est bien ma - la ~ - de ar a -mer
Contratenor P —— ee i i 9 ir f} rT TDE 7es10i aEe ee ee7ee oe o> a oe a eRe oS ee mer, par trop a - mer. Je les - se -
i jf} tp Tey —_—_,——§ aD SS NT ROS(SOS SONOS nT A ee EEE rTOCOO—CDDEFTC“#EEECNT OE—A saa] —_—— ND a a TOT a AS NNOS SSONES DO (ORES (a —o
AE SR CUE OOS CN ©” SS RS SE NE — ACO ORGS A ES OS A OY0NS CERNE (OLE RENN
On est bien ma - la - -
RNG) rg |; ____, —__+__+__,.___+}_} | |} —gp =e _1t______ | —__ tf
mer, mien cui - veult | da pas merLors Quant point rou ny mer, bla -- mer que_ung
me ZFF. fo) "ee7om7reNE | | = [\RS [ @e-eS . @e-
TT Ooi OY] 6 SE SS Se Pn a | ” . es pe :
, TT ee EEE EOE OOOO P< —p—_f Ft pt gi ef a de par a -mer trop... 423
15, 4 20 ETT ee A Q : Qe ' 5 iz 2 fen Ye eee eT ee "4 r 1 Ren] eg —e" TD Oo ee ee ee ee ae NN NT re FO |eee 2 eA TY TNS
fs "=m eeeeeEe ee= | es eefp eee ee" AY oeeesoe G —SOL — RNS) SE SE Py LE AE EE CR Eh ROO SY ray -| notot 2.8. vit ung son ma a --=- -- --timy-| 6. M’'en___ Me ___
si - gnol jo = - - - li -| ot A TEI ES (OEY o> ON - ,_> RO Oe | WPae CReS I WE GERAOS AT ECI UD OS ONO ES© ES (| ON ASLORNA Le ©SSes (OREN COCOONS
Je m'y le - vay ung ma - - ti - -
I (EE ee =e SP EP ™ ET 0 2 «° < ee Ge ©? SS © se a § a" D.C oe eee SS SS a OS — YO -- E C RCO RO (OOO OSSSUNS ONONCURNON (ORI). Sn OO
fC - trayenen - di - | not, psd en dit franc sonun jarjar -gon - | not,
rINV” b rb — | fo pee eed eee aea"eg ee LA _O e e en Cd © ee Tee Le )i pe) 7” oo “ i fo a_Pp | [| egy TEE a Te ep
pf $$$] 2 eee a wh OD |———_|—e°-————_;, &f | wef | Ff 4 ha | j; |e @ UU Ug Re eee aeee eee 3 not, ung ma-ti- |- - not, M'en| en -tray en jar -
f@\?e Y~~.DCSDWaee&eeerenr?n)O | SURO Oe ess tne — NOOO [PP | | (RD tee SL ES » ES|NN CEN RRS SENSUOUS (SE
not, M'en en - tray en
h 30 b — rh : p VOCS TS Eee fA SS TTCOCOCS rT OT “=n, EE ~~ fw TO = Oe “pegs TT TT "gd=e Se I— ed ee ey ee ee en un —s|sjars- - - di - f) ke p rb egg == Ee essTE eh iEE iJ er Haas? oe A ra 8bP b bOO ooo Eo OT en son C—~is]:sfarss- - - gon- -
SS EN ON NN A OS A LR SO AA RRO SS SSSR OCR (NT SOOO SO EE
§ - di not, en - tray en un jar - di -j} not. _
Fc ES )ESSe OReae A SHRac SO NE ANA MAN NN SN (SR FCRN>NE KeASeeSSee OT OeSON OENSOh
EE ee ™mien Be | en Ce-|tray TT eTen.COr?2o un jar -OT - -A not. Th — VO DE OOOO TT
pe) gy = je. lg PC : = Oe eC +—f a} a |Ly D> TT ooo OTT I un jar - di - not, un jar - di - not. On 424
ee oh Ha
i ee ee ee EE —=e
35 -—————————_ 40 OO aLOSS esASNaTSN OSS esCONN a Se ae SSSR Fc NS RE ee ES n"=”21”7”*7"0..-’-’’.’.N PeeEO TT TT... *"0W"0W".Yttr”—“"7v7VW”-—-=2™
fe eee EEE OE — Be 8 tin, Et vous a -
ee ee EM. _Oa fo?SE Fef -NNTY..._.__ _ —_d BE ©EEE RS NO UETTT = a «9? DENS eTEee EEE TNO) f)
~ fo | | a f ey ee on ,ky 35 b b YS C—™—CS a“ Se —_ o_o"ogTf ep*e TT EEE OO OO 3) oF 1 eo} | a z= = nea ee a yt —_—_#; yl Fe a FF tT 7 ————————————————————E—————————— tin?
Ae TT ee RE SONS YA ENS AROS ORAS CONES NESS SES SONORAN SENSES CN 09 SN ROSS RE OO SS SS RS RD
pas, Qui es-tes qui las, Grant |part & tant mongo bu din, tin, grant
Vfax "4 hat oa
Aneyn aSS NN EETTe—e te TE ne OG —_Ok ———_—e A TTo? OS OD ff __ pe i A) SS SS aTE SS eS a ceOS SeOO Se(_-— eS ee9ae_ 97 = CA
“ =pmo feces fn a — ae ISo .WOre i fae ooo Oe 7 oo Sd = : — + — 9 —o9—_—_——_ ~~”
4
FS A SS—2—_ ES AA 6 OEY oo)ftYS ES ____|_,________@f ES RE NS NS NE SON__j (SN(rf cS "eg aS RE ACS} er pf __¢} ggSO
|b ; Sh {oO— -——— pe OO—EDFeh”_ 0 ~~ rd pe Ee ee| ir? TT Eo CZ EETee eS 8 rez m'a-—- tie - - re, La mu - nie - = - 4277
, 40 4 t 45
’ A Ok eeESeyOSes a On Dn ee ONS) a OO 9 A a SY ad SE | o o,
Ap 4) 5)b 6) es - ates {tantbugo- -- tin, din,atant_. go- -- -~din? part {mon mon} |bu tin.
EEE =n tTOe T= J if» 9 JyEET feeee EEETS "=p eS LD eC OD eS ST eT ee ET) eee EET re, et la re. eee "gms EEE Eee A =e SBK UdEE eg OC“ “gf ES =p EEE OEE Bc» ,| RS A TA vA = Eee nSEEO * EET ”-. % ENG) SS EE SE EE A >” ORS DURST EEE SOE QR GERSERENSEES RGSS 0) ENERO OES RANUUENNGS SUNN (ODUGINNIEEURUOS §f
r4
NN 8. [ —————————————————e———e————_ FE EP A SE Ln a BOD hana i
re, et la mu "Fe eeOA Te ee eeeLL OEELC TT) iTo»)? a oSOT C—O Ayeee| ee ~~
—_Uu__e”
1) All other sources replace the semibreve rest with a semibreve G (a third below the preceding note). 2) In S, eorona in Dijon 517 and Petrucci 1501 Odhecaton, probably to mark the medial cadence.
3) St. Gall 461 and Petrucci read:
43. Ss oe
4) This and the following note are a third higher in Florence 229; emendation follows Dijon 517 and Petrucci.
5) Flat in Dijon 517. 6) All other sources read G.
OO [ ro eee
185: [Textless composition] Anon. _ Pee EOEEE (OEE Eee EEE — Eee eee eee eee eeeeee EeET EEO ——_ ee EeeEeeeee Eee eee ee EEE Eee ETT eeEEE eeeeee EEE OEE {o— Se eS eeeEEE eee Eee OOO EEE Eee Eee eee eee ee eee EEE — aD SURES SOROS (OS CO (NOR SOS On USO, (SURES ED 5)
10 15 PT EO ..__—O
ey 6cP=, IOe weSe ES OS OS «A"eg eeEP «= TeOTA) eeEee eT eee —______ TL | erA.ee ee=
pees ee eeEEE ee eee EE OOOO —E pT EEE EOEeO...___ eee EEEee EE ,_—”zczcNNTWwN-—__—_— ES eS ————————————————————————————————E
A MS RN(S(O (SOS(O (SRS (RR ES LL RN (ER EE -Nrvwv’-—-———-— I /_ CS /————
|_SeESTSSE TS lS A A A 2 —_—— COE EE ee ee 2 ee ee ee eee eee ee ee eee 2. a ee 0 oeSooo ES ES NE RS SE ES TE pac > oS NE A SS Aeee ST SS SS SS a SO Se SS SA O° SS A AS 2SO SSaeSs SeeeSS; em 428
II
OF TO att ttf 20 25 TT tT ET o)} a 00 ue ey Fr 30 35
aeSSe Sis iiiSis iissssns isisSiig iii SsSeas as SeJia aieas as ics Ss Sines
ae }————__} 4. —-+—
A A ASTSSLE AOe A ©SA SSST NO ) DOES «A OS NS OSOOSS EY, GS YS A SD SN(o_O OT
ERS —— at 8
TTT TT —ege—pe po , — Py i: yn . + ee b NF —=egg as PF 7 JE O° EEE OE © eseee Oe
" LA =e OO , 25 f
8" re Pour oc cir, IT TT
NG NS NS HS NS SY UONORS SES OOO OCS (OS EE 1 SE OE (>> ic ROOTES SONOS ES CURES UES OS RCE RS ONS RUSSO ONRUS (OOEN [OSNOOOOEE ROUEN
SO a a So SS Se aS a i”. ea! Sc © SS St © Ses A SS LS EY - S S BT A EN EE (SC © EES NSU (ES OO! (ORNS ROONEY ONO 8
Fe oe eeee eerT es 2ee2 ee ee ee peg egg 1 HS St)a7aa on " ” — — pom | yp hn . AS a a SS SES NS SOS CS A (a We Fe oe ee oS ee ee ee ee es Le a CFS SS SSef TS TS Ee aS Se ° ~ ee S SS NSHF ES ES SS NS ARAN SN A SN RN Ye SS pour cir des cueurs ung = lier, f) | | ES SS OO SRS SE OS NS SP ( NG Rs SS OS ES En EE © RS a S es Ge Pg ee Fg RS GE So? A TS NN NS NS RN ES NS OS NOT RN ES CS Se OO CE GN =A
Kb ee De eS oe Te 430
a
fy #2 oO f’) f ° f eo TT TT ,ee 40 ~ .PAE . oh rr i gy fe NN eg Oe _ ee “ pf tf]? tt, vy EST ege=p, OT
rNee30 cr 35 EE —p a “=> ee CO —oe ST : fof, =“ oOo Qo G ° G —— mi lier; seayt ae ing le ecop___ f\ 2) | EES mam whfen J—"—gg J ee 3) TT TE wea CT SD Te Pc CA, EE A LS NUD OO. Un NS ON nD SON LOS nA ES CRUE ~_ AD
Le eee SS ES ——————_———————————
NS OUST ONS (ORES SEUUTSCURO! SEEESRESSSNOSUCOOINONN OQUSNEESNY SOS (SRS (nS SENS (OURS
FO DD dO"... _ leo... 2g 1 2 OO -O0... DEE OO
D ee 2aeei 2Aeee GeTS Lee A 2 eee ee eee ee eee eee ES. Co eT—Ae CS SSeee5 Lee a, es as ieeanee A oO Sl eee — eea =e" Sl © Sy ee—eeeSnes
ANG NS ES RRS ES SU ES (ON ES AS CS RRS (RS eS (NES ORNS 0 GC S(O
__ de loing le cop__. bail - ler, le cop bail -
PP. ES OS ONAUU OS©=— sR SRSSD NS NCS CS HE NSSS ESOCU OS oS OP CS RENS OSOY SiNAY > EESO ETNS > - OS RS
a wm CY Cn EE| TOCSY © ES A “en A AOe ES"=e A Ted > ES“ee EETT A TCCdCC~COCCCC =END= RY > EES NU
frler,45 sO H 50 ___ Dont e'est ee ee
8
f) b 5 —t. b 9 55 $$ 4 ey oS fy fT © Eee ee eee : to pomp pe | f\ eee | —__#
[OC tC—C(CSd OT Te eebgOOF EF A ESSS SS N° RS-SS SOS QSes SSeee CONSENS NERO (0 DNS) OY ESONS DAQRS rsge ee ee fog RY A Cy ES SCS TES (OO ENN (SOG (RRS SNS SORRSCEONSSNEIOERONS (OR OS
TO r—“Sccnnnnil A Te Fg SE EE OU ANS A oo? US SOS RSC CS UR SO Ca eee ET OT TT OTT CT OT TT OT eeDO ee
Dont c'est — | desTe - loy-al 7 | eonST -duyeeiiftay iolUmr—rTCC em "=m fs igTO yy ff Qf [ft igET COUEE LULULULULDLULDLLUM "=p — EEE TET Oe eee) DE Tee em S| LS E€_E EeE_Er NV LCUT.rti‘“‘(CSCSdSCC CC we et eS SEES -O S SN,ARU OS «=— esOOes esvd © Fo ae — A Mo? SE GE ES «AS RS A A ES wn) oo? ES
GS ee ee oo f)oe| fe op : ae ls | 8
) eT Lg} —__|__~____| @ gy te e—g pO bg — yep} — —_f
A eS NS NS ES SE RS SR (SS OS NS) SS RE A SS SN LS BT SS SS SS SSS SN SOS SERS 6 8
1) In Copenhagen 1848, T has a signature of one flat, although CT does not; _ in Seville 5-I-43, no accidentals in the signature. 2) Both’ Copenhagen 1848 and Seville 5-I-43 replace the minim D with a minim rest.
3) Seville 5-I-43 reads F.
431
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V £. 202*°—203
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Tenor
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Contratenor
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Yo ee ee we
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1) Contratenor
Sho... .|™6»O_O] LW. DVW™6r?2m Uh O OO S F _ —__ TOTT _ tt oS_&_ —!___ |gn____ Te _ eeiTT ST TO eT STOSL__--.-—_|-_ an
434
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fr lg BP UUELlg| SE GLSSOT l—"“—g NGefa eS TE —*“"g SS ES SS RS AS SS SSSR RSeee NS
f)Mm —eee 7TO —efi A eere EE fe | Pn eee Eee
yy ee el |
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Ta ED EE EPG eee. Gee eee eee ee eee eee eee eee —— n'est ce pas __._d'i-ceulx, les__ lieux, car
il eon - - - - - - - - - -
r 7 r 4 r——
‘6h°2SeetCs—CS et ____ — d'i-ceulx Qui ce font? - pons ——______
ES 7 a” A TS aS aaa cc! SS Sc eS A SS SSSSSN 0 Sl 435
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eT OE EER ee Se oe EE Try ee Oe eT eee) as 8 la des yeulx, des__eulx, | yeulx, la Jebou res -- -- -che -ponsetpour eulx, pour je —__
7 es es nee i OT ET” )_”—"Y"’--208 OOOO Eg
r1Si7
NG a RS OL OS NY RD I SOURS Tse ATONE NOC OO NY ON ENRSSUNENUNENDIEY OUENN (URIUORUSUNSCRICSUNNNIU RE (URE
pour les en - - = - vi -{| eux, en - |vieux, pour __
h 4 35 "4 FT c 7
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- - vi -| eux Moult sou -_ vent,
CD Dee —=egp>pe ee ee Ts Vn el” WE
J a ——_*_* _(4___} oe _______._.57_1
ANS LS ST NS (Nn OO OED (SESE COONEY (RUSS (SSUIRRSISUUSUINSISENONNSSUIOS) (OUIRERRASSINOSIININ (URIUUUOUERININIINT NINIIEIIONOOUIIINE AO
ae—— boures- che etpour deseulx, yeulx, __.- A qui,__ - pons pourdes eulxyeulx, ___ Qu'A mours, —— —__ les en ~ vi - ~ - eux, en -| vieux___ Moult sou -
A, en A ge TT Ee
(fh € C7 Gg ee 2 cs A © XT AEE El O Ree eee =e
,Sar“=n 1 t (fm) ff BO eT OEE Ce a JES 40
BLT SAS A NS NY oN SS CON «A NS A gD nA A a qui- mours le po -levre |cueur soup-| pi -- -- re, qu'A veult et | me fait | di re: sou - vent ce - ler___ | son mar -| ti - - re, Tg SN SN CN RESUS Be, YE RENN (ONE (ONO REESE NGS NOES TEES (SOURS ORNS (SN
9r >} en Sa a
Ps AT STE EE UE "ES ee CF, ORE oS= DOES EE SO OOOO ANNES SNES GOS EROS SE LR= ES A LP "Ce =A aROT NSCSYa NS NNN (ON OS A NS RO NR SNULa (ADS ON ME § —_—__ a qui lequ'A-} po-vre cueur soup - pi - - - - re,__ ss soup mours le veultet me fait di - - - - re,______ fait vent, sou -| vent ce -| ler___.__ son mar - ti - - - - re, ~3Ss mar -
J>?O_o r*4en seee (6) °° ee —— [K--—}>}>’""V"-"-T---_ ey EoOD__-Nv-"_ ——o_ eeUH =p eC 436
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Maiz____ fai - - |re luy fault pour ee ee le mieulx.__—
Bien___ ay es-prou-vé, se_| Ss ——CidC C—C—“‘(LSCsm ist. Dieux. __
SSE OS
fog} ft tgeo EEeo Eo oo] a. OT wWU(peOe
8 ay fai-re (fautvé,por{ S| le mieulx.__ eS -uy prou-| se | m'aist Dieux.___
rae yrrs—"=e —_ f_| =—_— ey eee eeTe ee EEE{TE RL LA fe Tenor a ee ee eee
V f. 204°—205
| em ee eT Oe , TT "=p. |S ——S— Tr? OOS
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gC {ee PRET7— Sp¢
A 10 15
Contratenor
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Tenor
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1) In its version a fourth higher than that in Florence 229, Seville 5-I-43 has a signature of one flat in the last line of S (m. 72 to the end) and after the first line of T (mm. 22ff). 2) Orig.: two minims; emendations follow all other sources (Glogauer, Seville 5-I-43, and Trent 89). 3) Seville 5-1-43 reads C. 4) Orig.: C; emendation follows all other sources. 5) All other sources .read:
oeTTa
ae ee i CO pO PS
(Glogauer combines the two semibreves, G G, into a breve.)
6) Seville 5-I-43 has a corona in CT, m. 53. 7) In S and CT, m. 63, all other sources read: r) .
FF se —ee ft De 8) Glogauer reads:
66 67 68
, TE A SE AOS ES aA A
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456
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30 — if 5» og se ey "gg, S— ele "ef ee ee) ET” oo eeeoeeooooelNaaelereq®wo ae ET ESE TOE FE EE 8-19 ee Le eS |
8 rai ta - -- -- ble, tes-ra - ta---- ble. ble. ble, plus est se
» —* |» ~ 6 ~ _w | | | ee P= Sh ttt EE ES A NS EA OR analeS ME
rey 7 AA [Tg | OOS La "“"gn ST EE eG "=e Tl
f » | | |e —~sf 2. . | g | | | gg] gLhUYULUUUUULUUUULT ae ee "=a ST ET
ble, mi de -- -- -- -- tes -| ta -- -- -- -- ble. ble, se -} ra ble. C 4 moma
oto |. | |) =p _ =e OEE
iESpe Ee eeeOD =e e> ES ES OCeee co OS ON NOS ESeg A §=— eS || =” CO l"“=g SeEe * le“g Ele aaeee PS 1) The legend over the superius in Florence 229, "Trinitas in unitate," indicates that that voice can be sung separately as a canon a 3. The canonie version is given here as no. 197a. All other sources have the mensuration sign C.
2) Flat in Dijon 517. 3) Orig.: D; emendation follows Dijon 517, Rome 2856, and Seville 5-I-43. 4) Orig.: A; emendation follows Dijon 517, Rome 2856, and Seville 5-I-43. 5) Dijon 517 and Rome 2856 read B. 6) Orig.: two minims, D and G; emendation follows Dijon 517 and Seville 5-I-43.
458
e ° 1 bd e e °
0 j Z b il8f Ha, } 2. __ atque@#, gg vil 10 r 7 po [tot pm fee p) = |v NdOS [rs rr? eS G2 or EE f) n . f] |} —erOEe= ee eB C2 or i or
197a: [Ha, que ville et habominable]'[Canonic version] [Antoine Busnois]
fe Eo upe = ——— [62 b f) = Q oe : b 5
f, 213”
Superius Canon. Trinitas in unitate | a eee Ee Ee ee ee eee Lh SE T_T. CT LdS)— 2 OO
Superius 8 Ha, gue vil |- leet ha -} bo-mi-na_ ~- ble
ee Yo eee ET EE ee eee —e TES 8 Ha, que vil - le et ha -| bo- mi - na Superius
f) = |erTEE CO~—S n. [__f T= OO BRT
np “een $1, .h |, | 4
g - - ble Est mours ung cueur pu -| bli - que,__ ge le et ha - bo ~- mi-na “ - - = ble Est en____ ain
1S) p__.{ _|—____f ppp
if) —___ D =r20Ne— 4 ee— Pe ET OOOO mours ungcueur pu - bli - que,__..__ ung cueur_._ Ss pu - bli - -
pm 2 ee ee feo ee a ey 9 —— a
Sa a a 8 - que Qui par son____ a t—iaatsCice 459
29 5 fd 5 Vy CC ee se ee ee Se oe So Se
ee 2 FPCfe \d PT >Kee Eee) ) : a Ss eee es aa Riens n'est, ce croy, plus de - tes - ta - =
Ye” | ee —e eS EEE eee EEE EE EEE EEE
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Ss Ssaess{22| @ Ay| i»ar@# ——T 7 de 2.4eeEe eee 7.48. i fF | fC Re)ee ee ee e—=pe NG A RS ES NS ROCESS ENE NENA OR RENN AD WOR SS SSE NS NUS ” AOE SRNR GD OR OR NE NN UN (OS
2b
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An (A) 30 r 1 3) 35 — |OE 6 BE ep ee pe lm O_O ee _ 2aOP +
m”,— SSmE eSAaeL..Se@ee es-@ ee |ee pes —-| i i es eg ee v7. _ee| eee | | Se"eT nn Ul PY )=| eee [ag nTa "Une aaeeeaee ~ ai_~s.°, a cae% ee- >@s cee See es ce© ee 8
w’-_”
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1) Orig.: D.
466
t— |e , b 10
201: [Textless composition] EF Rubinet f. 217°—218
Superius yp ee » i]/ 5nae p= ——_—————
r— 3— Oe2. ee eee lr" s&see [Or lr"“=p Bee =eeOo ee ee ee SO 8 ~—o-
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(_~ Ft™t~— 2) yooh I oo ooo oo eee ge [oe
f, 218°—219
1.4.7. Mes que ce _— fut se - ere - - - - te -| ment, _—
Tenor
3. Qui privou -| e --roit 5. Si en lieztrop pluslon lar- -- -- -- gue - ge-|-|ment,___ ment, _
A(EEL LLUPe EeeenEee Ot ee ee ee —e=e . fey SE) ee ne me 8 1.4.7. Mes que ce fut se -cre - - - - te -| ment,
aA2 bera —£. e ~ (2
3. Qui - e--roit -| ment, 5. St enpri vou liez trop plus lon lar -- -- -- -- gue ge -}| ment,
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Contratenor
3. Qui pri - e - roit trop lon - ~ - gue -ment, trop_
do. Si en vou - liez plus lar - - - ge -ment, plus —___
10ee b fH? Pi ye aw Ge peg ff Tea eg EE eee Lye Eee Poo gg _ Ee
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Je cuy - de que je n'o - se - roy - - - - - ~ Aul -| le cu se - ne- fois quant je vol --roy droi -Pour |cond je le fe Je cuy - de que je no - se -roy -
Seem”
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A (Q) — EE a es a es a ee oe oe
NGS SS NS NS SD OOOO OOOO (ON (ON (AS RY? SS T° MY f°
e, Ja -Dieu, mais ho -me nies e, 2.8. 6. Par je mien ad -- con wi -e;
e, Ja Dieu, - maisjeho-me e, 2.8. 6. Par mien
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a A TS A SS SS SS A Se SS SS SS SS SS SSS A SS SSN SO
Qo 2.8. Ja mais__. -= -- -- Qo 6. Par Dieu,_. ho-men'es je mienad--econ-di wi -se -4609
ike ee 5) b b b
al "=p mee Eee SEE HES _G—__ Se — di - roi - Pour un pi - tit, 20
se - roi - D'y trou -{|ver _ bon,
f) ——t. =n Seti‘ ‘zi meee ee EE OQ eT Te eT eT] Ne eee eee eee EEE ES ee EE8 ad nies- wi - econdi roi Pour un pi - se - rol - D'y trou - ver foto Te —ee fTeT gefee pe, pe bb» ig© {| |if jy| fT] pe“eg Um UU 2 "=e OU®COCOT |ES ?, eR fF ga | gt OO er roi - - - - - - eT Pour un pi - tit, rss pour sun
, 25 «) : 1)
= ef
)TET 4 _ rR ee de "= de ed ef fh eT
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Voi‘ —e NEE i WD CE 2eel a a I "= A = ee AE Aee ET oS OY ED 8 tit, pour | un pi - tit, pour un pi - tit con so -la ~| ment. bon, d'y |trou-ver_ bon, dy trou -|ver bon = ap - poin- te -{ ment,
~~ fe US =e ee "= eee OO ee)»
2
ol. OOOO oS TT oF?OOWwTONW._—_ 20 o_O Fee pi - tit, pour un pi - - tit, pour un pi - tit eon___ so -la - ment.
ver bon, d'y trou - ver bon, dy trou - ver bon ap - poin - te - ment,
1) The refrain of the rondeau is placed beneath the notes in all voices in Florence 229; text in italics as been added by the editor. In Copenhagen 1848, m. 1, the minim rest is omitted; the first note in S reads semibreve D; the first note in T, breve D; and the first note in CT, breve D. S of Washington, Laborde agrees with Copenhagen 1848.
2) Orig.: two semibreves, G G; emendation follows all other sources. 3) Flat in Rome 2856. 4) In Petrueci 1501 Odhecaton, the first semibreve F is replaced by a semibreve rest. 5) Flat in Rome 2856. 6) In S and CT, mm. 25-26, Vatican C. G. XII, 27 reads:
PS NG eSor SR 2) GO
————_—————
————— 2 Cy 2 Lee 0 eee 6 eee
7) In Copenhagen 1848, Rome 2856, and Vatican C. G. XIII, 27, the last phrase of S, mm. 25-29, is repeated with variations and with new
————— C—O te et
accompanying voices. In Rome 2856, the passage reads:
linn
ah?» wf fs jf 246 pr |_ 2 ES ES * For the variants in Copenhagen 1848 and Vatican C. G. XIII, 27, see Atlas, Cappella Giulia 1:118, who is not, however, entirely accurate.
In Florence 178, a repeat sign appears at the end of the superius part.
470
a
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203: Martinella [Johannes Martini]
Superius , 5 f, 219°—220
EE NN ES eee ————————————eE———————————EEE
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Contratenor
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472
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Contratenor
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NS) 2S A A SN "AS A LS NSA SRS ”*2”272z”"@OOOOI OL _-”_ 9 tt nnTFC 1 Ooh —_OC, Ihh __(-— "Te a. aI43-c#-~0wC.'’V"w—_ 3 ~~ OOO EOE OO (“OW#exqc_.'0t”..T_ SV sO_.---_ i LO OOO i rr
6) SS A SS A SS a CT A a _ Se ee 0 Zt OOeOD-c”Wnnnvnm—_"146*#-.-’'..0--—0 LO Op DeSe Ei AS ee ee ee oeSS __vNnrnuw_T Oe ee ee aSa8a| OODOEe—eanrSO o_Oee SOC oe OE A Se A? HO . © RE |
|
1) In Seville 5-I-43, the opening measures of CT are split into two voices, the lower notated in black. The passage reads:
2) In Rome 2856 and Seville 5-I-43, S and CT, mm. 11-12, read:
=’ ee hxA| Ee. 9-9“ee —es7} 4
BAB) A DE SE
| eS OR
————— 3) In Rome 2856, the semibreve rest is replaced by a minim rest and a minim C.
4) In Rome 2856, T, m. 30, reads:
FI 4
8
5) The coronas are in both other sources. The cadence is notated differently in each manuscript. In Rome 2856, the final notes of the cadence (those with coronas) are written as semibreves, i.e., in values half those in Florence 229. In Seville 5-I-43, they are written as longs, i.e., in values twice those in Florence 229. These differences require slight adjustments in the rests so that the next phrase can continue properly, and in Rome 2856, the semibreve G in the superius, m. 37, sounds simultaneously with B in the tenor.
6) Rome 2856 reads:
eS SS IS OS SE CE
Seville 5-I-43 reads:
~7
==
aCe ES RS SAE NS EES ES SESN2ESeeSOee See eeeSOU ee SS eeeESeee
7) In Rome 2856, the second half of m. 55 reads semibreve G, and at the beginning of m. 56, the minim B is replaced by a minim rest.
477
.2)Superius - i 5ooo
206° Helas que poura devenir Caron V f. 222°—223
Eee —e—F> ee(SN eee FE > RS (STOTT aa—asa Ms RS ONEROUS HD © OS ED$s OO 3. Clest
2)
a» fe Cy eee eee 8 1.4.7.He pe las, que pour ra 3. Clest chois sans ail leurs o. Or ee est con - traint pour * cf F if 2 le ee. eS —————————————————————————————————K—
—_~ 10 ae gm —_— NF "=m NT af)las,i,Oe ee Oe eT que pour - ra de - ~ - ve -| nir
TT EEE Tee Oe ee e_e5wW5qutp ee Dee eS chois sans ail - leurs est con - traint pour re ad------ve ve -|-| nir: nir, Fee eT ES TO Fn aaHON aeee NU (ORS OO QS OS—=EEe ON i ns aQe © Ces an (OOO OOOO QOS OY ES SASS ANG aee ene NE QO (NN (Qn (NU
OC a SS NS QO NR CSUR (ONURSURRNNE NOONE CORSO (SURO (ON COESAEENUSNSSCRS (ORAS SEONG SN NRO AUS UUSSIIOOUO
f8rede. -joi » 2 2 — ve jnir ve jnir: l'ad - - - - - ve - {nir, ..5 Fnfh 2 s'| Sf |a©|fCT |joo enn
Od le aL
PRT 2 eS ee
RS DEN CONSENS SUSCEEET (OS Y Q UOED
ee CSO ee op
15 -————————————“ 20 Ww. TO | waz [~~ gf |i |i 0) sg UUi Ee" ~~ ” SS eT NG a°° OS°.°°.».»”.©@ ES |SD RRO —2... OE RO OS~\ ey $M a EE ane Mon cueur, | s'il netemps| peut | par - -Es li | cte pour ad Car De - | sir l'a fait | con - -
frey. | ras [ | aK oe OO _p C—O =e ee T_T e— =p fe nA» at @, COU ————CCOCON “=e eee LE LUD eee COOti‘“#UT ODQCt—t—t—“‘=ED) =n. WP rrrrrrrrrrCOM.CTOCO™OCOCTC(0.. ST _ —=e od ee FE _ i=” —Dess—“‘—=mRzs:«*#w”
479
40me 10)ETT 48 t TF f ry Ce b a . me — ;
ars ~2. @ LL |TT @#gg ggOD fT TT LULL TeCDC DCO “= | yei Ee l—gLULU OU "eg CGC INYO eT ™ COPED CS Ur™—ee dO Te"gd dt mi soub~ se, est s'est|com-mi |soub-mi -mi --se, se,s'est est .com ~ mi mi ---se,
fh 50 "NN A pe a ee 2. sr eT
Ce MD aeeeSE eee "=e hdl rh2Cd! > OO WC a ee|eee ee es =eS eee6h ee eeelg eeeCttC“‘i‘(‘( eee. 2 Le ee eee, ee. eee, eee eee wenSe YO ND ED EES RNeee A—————————————— SOee CE EES SS ON LS CE RS RR a
8 mi mi -- -- se, se, s'est soub-mi----~est com-mi 7. Co ed eee ee ee eedt eeEs eee ee eee ee, eee eeaE eee eeeLZ ee eee pe i eee —=p BgeeeOD “=e CTeees—SC Af >eee=e By fooo eefy ea
EE OT TTT EEE Wt)
TPS Te eT "= . eis ee _ ee eee
TF ae ES a ae ES es I RE PON NDeeeeSeeaa© AaSOS nn iRD rs NED i Se ar 2 UNIS
Tra Dee OEE Ee Eee ee EEE NG YS (OS OUNCES? CUSSESSRSNIN QUOC RON CEee RIO ONE > SO 5 se Pour mieulx sur tou - tes ad - - -
er —_t er eee eee ".|EE 12) 39 afe‘ai ee eege© ee SL aff [TL eee | ga | fT fTes tCtCee "gpee SE se Pour en ju - {ger a son pe, get rtd TCS CCCP!NeTe VY rrrrCTTCCOCCSCSCSsidSC TT
12) |
Vy —=eg CD eee le OT ™e—e es J. GE 6 ee eee - ve plai -| nir,-| pour__..__—s||: mieulx sir, pour _ en ju-ger a sonsur tou-tes ad - - oe
if » fs | gp PL LL ttst—t—sS ee em Wc, CE "OS> A RSSTES ™RS RT © ORR STE A | NS REN OSOSNTNG A NS UN ONS NE ANDY SSnA ES ES NS RT NODORE a NS EN (OSS CSO COROSSUSCCNOSEN (OUR OI RN A EUS
|Heeaeee . es
- veplai - | -nir, | sir,pour__ pour___. |enmieulx ju-ger a sur son tou-tes ad - - Ro 1°... V'’ ———CS——S—S OO eS C—O _ F272eeTF _ 72 —__"=e o_oCT ea?ere ro pf?) | - ®t OOOeeeaese | “=—pe "eet COC
Eg RS ES NS RR
TP? » @. ee eee ETE Oe OO OT SE
60 _SOAh a——eeEFEOTO I... OT oo AEE GEE Es EE" eee. A ES RE «© ED 8 he —- — 9 —f SS SS SS SS SS OSS DOSY SS SS RE SS A PS NS ee eR |
- - veplai -| nir,-| sur ad ~-plait - - ve-|_-| sir. nir? sir,____. ju - | tou-tes ger a son
aToo wnTO ~~OS| [|OoCeeeLL Eee SS Re ee SS TSee ES"=m (OA SES NT _Y. oa ££ | Ts UhmnUUULUUDTUU LULL oo ->>’Tj™nvW”’"’---....._ —— OT
- ve - |nir, sur tou - - tes ad - ve - nir? plai - | sir, jue - - | ger__ a son__._ plai - | sir.
— 13 [[S _-, w | | i” €or _ ee ‘EDP WOOO OE Odd of}! l“eyt—(sti‘“‘C‘Csi‘(‘“a(‘!!H$S Pm®UUUUUU ga er — [_~yo,— | gfTE ga OD ¢ |g fjLU |] HT |LULULULULUDLPLLULULULUWglLlLULULUW®LULUULULLUMEUUT“"e® _ et
480
1) The refrain of the rondeau, in corrupt form, is placed beneath S in Florence 229; text in italics has been added by the editor. 2) In Glogauer, no accidentals in the signature of any voice; in Trent 89, one flat in CT only; in Verona DCCLVII, all voices have one flat; and in Washington, Laborde, one flat in T only. 3) Paris 15123 reads:
——————— oe -QSR eS ——— NS ES CToe 5 ——_——
Segovia has the same reading save that the breve D in m. 5 is subdivided into two semibreves.
4) Orig.: F; emendation follows all other sources. 5) Orig.: E; emendation follows all other sources.
pe a[Foae 89
6) Flat in Bologna Q 16, Bologna Q 18, Paris 15123, Perugia 431, Segovia, Seville 5-I-43, Trent 89, Wolfenbiittel 287, and Petrucci 1501 Odhecaton.
‘ 7) Dijon 517, Uppsala 76a, Washington, Laborde, and Wolfenbuttel 287 read semibreve F. Glogauer and Paris 676 read semibreve C. 8) In Glogauer, CT, m. 33, reads dotted semibreve D, bringing the CT into parallel motion with S from mm. 33-35. In m. 36, Glogauer adds musie to the value of a semibreve as follows:
rn 36 J 38
i1 |(..9VERE —}-9——} |} ey 49g » EE 0 ee ee —| eee ee =e
os Ph FP 35 36 Os a a es fr SF 1 rey Ss es es ee NG ES SRS ES SE CS aS ES ES ES TREE ESS EE
Washington, Laborde, on the other hand, subtracts music to the value of a minim, producing parallel fifths between S and CT as follows:
0” ofe ee—— 0 eee bh ff—eee=” hy 2G —— —ee—=
[rh ot — Fa | SS GENE SERRE NRE CONROE NUON OGRE OST CSUR NSSRUEO OEE
9) Bologna Q 16 reads:
Bologna Q 18 reads:
Florence 27 and Petrucci read:
And Paris 15123 reads:
10) Flat in Bologna Q 16, Florence 27, and Petrucci. The B is suspended into m. 45, either as a minim or as a semiminim (with anticipation A) in all other sources. Coronas appear at the beginning of m. 46 in all voices in Seville 5-I-43. 11) Tinetoris cites the cadence in mm. 45-46 as an example of a diminished fifth (between T and CT); presumably he would also have left the G uninflected. See Tinetoris, "Liber de arte contrapuncti," Opera Theoretica, ed. Seay, 2:143-44; Tinctoris, Art of Counterpoint, ed. Seay, Dp. 130; and Atlas, Cappella Giulia 1:146-47 and 177.
In Florence 27 and Petrucci (both of which have a fourth si placet voice), CT, mm. 45-46, read:
Verona DCCLVII (version a 3) has the same reading but with a breve D (followed by a semibreve A), mistakenly, in m. 46. 12) Flat in Paris 15123. 13) Segovia reads minim C (a fifth below the preceding note).
481
207: Pendecose Anon. Superius 3 TT TTT TTT ee PTT Te OOOO A6ES SO (ES (OU (OS ered NY Py CT CS SS (ONS I,Oe I (SOE... Tenor fp ee ST — DNS a A eS eS ROS (ONES SO Se ee
V f, 223°—224
—___b f |
~o
Hh Ca Ce ee ET «A EN ES AS (SE Sy $= Se Aan
ee eee ee [——— i ie , . fT}. , 10ue ——_——_ yp hfTTttTTD HH OTT TTT TTHt TT TS ian oh fe lUummrt—ewewNTOO__ OO “e’t’™0'nWW"--"_]
ours, J'es - pi - e par les car -
f_ —t 8 dant d'a-| voyr se -jcours Je
viens, saulx, je {eours, Je - pos ny je plus qu'ung | ours, Jies
|6a a|
ee se oO 8,
oho —F-_ a" =e ~——— eer eC. | fh o_o? _—iN"V""|"._>—.os ore ypTL | Yr i.» - f 4 A Ee eee eee 2 De ee ld hlrTlULmrLlUD"EE Saw «_ COMMS TT OT ___..-vW’.-.-.]
Lf See, | COU ee ES ee 15
| et plours, que playns -- -- bres et tours, en re -| fours, lescham car --
i. Ko , ie: ,
ne sos -jtiens que playns_.._._._ et plours, que playns faiz le guet en cham bres et tours, en cham pi - e par les car ~ re - fours, les ear - ----C—O LT —“e DE eee a. 2 LL Ee enLCUdTCtw—CS 48 5
20 2) f8 ~~ .a ° rN 30 De ee a es TA. se > _ 28. ve , ae ee fee! — 6. Je suis )A Be me — EP i 9P| or
ify OE eT EC ee TET ee Oe = ee = ee a en aee nn1-0 i =e A4G i ay}__ Peea OND) 2eeY_¢ 4 a |__1—_>—__ 1+ _ et plours, Je n'ay es - poyr qui me con-| for -te;_.._ ~ bres- et| fours, tours, InJe - ces - - sam et] de trot-te. - ~- re suis crot~ ment ~ té pie-ton-ne d'ung pié crot-te;_
ils i @# «2 A eee OG gm Tem Tene = io» | oe JE | —_ eee ee ee eee ee ee =e eee Pp} —___| —__} __|__j__} ie rR OT OE de Ze e—“"e “= __ Ng fd Ff ff 7 —__—_+_ gj} ——j-________;__}__4 ee et plours; Je n'ay es - | poyr qui me con-| for -te;_.
-- =- -- bres tours, Je In -suis ees -erot - -sam -ton-ne_ et} trot-te _._ re -|et)fours, - té- ment dungpiepié de | crot-te;
A » @ee TeeNS" es TUL ee OE ef de” Nee edOFOe” SSCS
l@}co 4 SS >— eo 4" 185 esSUR NOT OySTE ee ES SK RR A| @ Se es : )§—ONSOTS cA RS MS OS
eee Te "=e ET —“—g 2
NS NS EEO SNCS ED cA Y 9 _,, -____+____} #4 _-+15 P|
pm a —_—
Tce CE >SS TS OS SG SO SOU OS A ES OS ONpe AA A y= es ANG NN NY (OR US Oem
62
——. 6. Je suis eon-| trainet _______
ote. @ | \@ TT g@ foe
7 $$; —— 35 r 7
i, See Oe bE ee SO SeeeeeecosCee aT Ce~NE eS a ae ee eee oe a es te dolcon -j| -leur trop plus- |for - - -—_—___ |trainct de chan ger eot-
8 trop plus for - - - cot - -- te, trop de chan-ger - - - te, chan -
—| 7| fe4)—m@ T ose Pl“qTemloEEE
Ces Se ao ae , le D1 A >)
-- -- te, te, eot for -- -- ~ te Pour Que nul, tant ____ - te ce qu'on _—_ _if. gs - @# gg [| gf Yee OO CJ
b ee Sl ee
‘s 4 i eS nS Cees. Senne 8 plus for - te
ger cot te oto —| | TD 486
4 eee
(VP eee eee”, 45
aA 4»—_ go ES Jf fy | _@ gtESl—"—gh— See TT=DAY —=pe Fa A PN SSnnSS Es ES eS -__@—_| |__| 4DS J EE ne«= en «= Ae Se —__-soyt ra ~- -| vy d'a - -{ mours, soyt ra- vy d'a -| mours, tant soyt ra-vy d'a -
—_—_— +«me- voit__tm_.__._—swi|/ tous les__ jours, me_- voit tous les jours, qu'on me _ voit tous les
Oo 4+ —|___e_, ¢ . | .2« . 2 b op eee OOO ew Een Oe ee _ OES wea Vee S SE EE Eee ee EO ND ES NS SE SUNS copper AO RA
8 Que tant soyt ra -tous vy d'a-| mours, tantme soyt ra-vy Pournul, ce qu'on me voit les | jours, qu'on voit tousdia les -
nna ee
2+ — or mS i 9 iTm | —mw 9 —Tz | —_ — eS SOE EE9DT
aeeeaEeeaie
De es eseT ee a SS SE ESTf a> | LSTT ra Feee ET eeee————S_— UE pS —___f SS CS CS I RE RSTT Sc SS mours, tant soyt d'a -}| ra - vy d'ales - mours. jours, qu'on me ravoitvytous lesmours, jours, voit tous jours.
a ee
if» |Re °°» »&3; fs SCY hghhLMLUCUmMLCOUCSC Oe EeOS =e EEE Oey BE SSRTS AS va OSEAN OE REORS S| ENOTES ES NS USE NS (Sac NOES oe o> ANDY SSES ES SS NS NE SONOS OSOO SN pdP= Ss ff 8 8 mours, tant soyt vy d'a -|mours, ra - -voit - - vytous d'a -les ~| jours. mours. jours, qu'on mera-voit tous les jours,
.
—_— es b{Tg &\* "—“=p OD “=O ae ESwe A ESia MS we ac©NS SNES (aS fh if FS » |A°»&~g£SS~A&g teNOUNS To ee(RO eeeeT D>
or 7??? y | | wif Ff joy Py
1) No flat in signature of CT in Turin I. 27. 2) Orig.: A G; emendation follows all other sources. 3) Copenhagen 1848 (both versions) reads:
Fp —_| #6 | —# #9 —
4) Copenhagen 1848 (both versions) reads:
7 CO eee eee ee ee eee
y ES FO 2 SE
5) Copenhagen 1848 (both versions), Turin I. 27, and Uppsala 76a replace the breve rest and the semibreve D in m. 42 with a semibreve
rest and a breve D.
487
e e yd Superius 3Te ee a a eee —__ A eee rf ‘pe ae ee ee ee ee
209: Pour mieulx valoir | Jean] Hémart f. 226°—227 Vv
pepe _———-- + st eee Pe
ole Se PAfee ee eee eeeee 4 Dd eee5em LegSesee "gg | ee eeGEeee ee NOY a 8 eT > EL © ESaWE DE
,jj_ ef 4 10eg b
FN CE ES A Sl A RE DO ASRS SN NES RENE OTN ROUEN (RROEOSEOEN NEURONE -—e-
8
Pa eg ee TCC ee —=e—=e Ee eee Eee OO ey LULL
pe "eT ey Oe Lf lg =>“ NE ee eee ep" ee
Ree "eg EE eS ee Oe OO OT ee A pe eee eee ee? ti‘ CH OPLLUL UD eetCdC NtCOCsSdCW@aeeee 50
iL»LT_._-_ | | I\| | i.2|@#e 4 |g @# |” || vs | ...”.”.”.”.”.”.” dL Qu VT IO2[(| |[|| ££ 7 |#ae[|FF PY2 ||etresyt |S @2 2a|,rst a4 —™ Lo” UD
OT Cie. "2020 To ET I ._—___ ig oa +f gf fg ft gy
rs| |= q ptfnePe le CtSSSCCCCSCCSCS ee CT DTTC ~ et = a = feeeepf ——_—_}] OT oT EF er —_—a. ree Ce "Ee ss eee OQ FEO ED>STr.._ 2 _—=a2-€-22020-=—."—7—00 ee -~ [eT OS eo OOo. _“/NVv’".."_—_ —_ I OTT 8
1) Parallel fifths are original
489
ih 10
Superius 5 —__ A a Oe ee NG Sa (RY pe Hs — eS os ota0 RS O7°——8s se
210: [‘Textless composition] Jacobus Obrech {. 227°—228
Tenor a ee ee eee goa aes i HF hh orOS—BO ae ae FP A A A AA —__ Ry 08 oe ee aT ane A NS ONS SERS (ONES OSES (RUSE COSUROIUSU rrnecr SUESONNRENNENES SUE (QU DOE QUO ceed Sd
ess eee eS EeeX. ee =e 8 eo— Leena _ —o~oOmDP---—-2-2.20.—2=>7—>0—7—0—>
yn TCt~wSOE—E EF Eee fT een et os i A A = NS RN A SO NE
ap rnEerrree____ TS ae TD ee Pc ONSG cE A OEANUNS OP ERENT SO RNG, CPR ES ES ees memes meeeEEN SURMS SOSNS RANE CcSS A EE SE AAT A A NN EX AS SOUR SS NSMORNE SE NNREN NETSTEEN ON NET RT RENN ESOESSRN HERES ER TEES GO
VD CES SS SS OE a a a a ee Po Sy GY Sew Bae NG) SY - eT ES SS LS | LS SS SS SS SS BS SS SSN SS A SS NE
A a 15—e ———S NP SS SSS ——— rTEE e=eaeee eBa eE—=e ——y— eSeeH
a) ee er 8 20 29
es tat "ee a i FF yeeeheSetSeeeLO ae eS ST OT eS SS SS SS ces SS cee PS GS Sa SS =
Ty. EEE ac @ ©) tll ©Ya peo|= I ge TT wv, Te TT Sh oa |002 [YF | 3FeI
fT EE OT J OS DE ee 8
eS —es— ee Fe
3 ———______________—.=4#__>>+ oooooooooo—OoaVXO—OX—F—OS eS ES
SS sé NNW..__ Tf >? 2 oT EE Or a gs —'?e ee Seoi_—E SeeeS...ee-—le2 i?
SL pop — ee ds a es a eS ae ae a a se 490
pf Poe ee EEE 8 ‘39 / bd New 5 40
a[es pT —“en—e Ee a . Seneca ee a ; Se as asneOE 1 =©eeSasa ANS’, ie geese eee re | Jlg‘¢TTC ufCCT ft ULL UE LL GeCUeT Vy gg CLT CCE CC eg dC reg EE , EE A NN SS ER A US NT A SP PT TE, OEY UP OOOO SONS SORE MONON Dre, SRE SONOS,
A CS@ RE EE ER RN ES EE ETS OOUNSEEN (SO CLA SES EE SSA ESI PS ES GSOR ES NEN, ESSS PROSE NCESSOS (OURS wm Cc @ | SE, fFRN 2RS | RS gf ff ig Slug LSC hUDLULULULUUULUU eG TT(OOD eTENN pT
Vy EL e—=g OO OG CDG “gd PF ee f]
("| a ~~ aS CT ess Teen rs es es ee ee ee
aA Cee pA Ween eee Ee OTT , —————— EEE —_— —————————————————
a u8r-N2-.00O000->. 7-28"_ ua asaps—~rNrv--"-"_[2UUMVvoé”"-"-----—-._—"0~--—-.-."—O—OOOIEOESEOOeeoooOoD lll”: em \“Ssunnemumam op seeeagumsnesenn
TP Oe Eee Ee epee TT "=e Ls es SIE SERN SORES DONO EE (RS a Se 2#4 eeea ya eeeWeeee pNoig _________________} __} __t}_1__j_ tg ES ft eseee eg |ED _»# Tn +_____}_ a|
Vy -—}—_ ff de gf Eee
Wem ee py DR gy 5 >
ram —~—“Csi‘“(Cs‘“‘ésmCO ee + eT—} Te Ten TT)fff Oe I fanCd}————] ——} —} —_f
[iy TT —?H-—, TTT Og EE OEE OO TL —ere>e OY] SE —=D>=Ee TT
KK. |e) we Nee cts eae SST
eS wo=e” | | @ [SCC geo TTee" gy esSe ee DOO ee LY NT—De—=Eo EE OOO ES —————E——E———EE———————E————E—_—_————————
ayl SL SSi'r be[| a'e eS es dm ee ee are eyee" le vy . cy |oe|_| Re N“Y"_|—_ =Se CO OO ="ie i SSrEeee ee ee
75 80 fee fi ||. | i Ne”
A 70 RY (USNS ON Po TEE EE X.Y _=ge Te ES NS SS aAN a —___ a (ONENESS el, aS aSL OSee9, OO °c EN —_—— ItseCSCU _\y DT i5f)(on me @ [| TN 4“=e2RSEEE Ee NS OS Eee
A. |OO ESee ee rf |. ee NS) NS "AT SNS NEES NES SEN NR NS RS OL NS O_O ES RY «AS A EE = «=
may, OE"OT Deea De ey ee,, ee | TTC eg
fx ee TeSE eH Roo
Eee eee a _— AE ST _ & TT =e C—O tCSCSC cy i igf (-, me ieSSioe fl)
2 on RN SE NT NEED oa
‘VY. _o-. 2 _.. |, 2. ws [av T_T = a SR LST SN SY
my, i a |__| _ 2_? fp| 2. cs> _Sea | y nW”0WW"[— ((——— TT Of CO OD Os O.7.7. 7 “—————————o eS
nat? I Oe) OTOW i OdiO=eCOOS BDO rye, 1. .."OOWWwW.......w.WW a7 uw SI—FO6-.-. TTB TOTO OS PTTT OOD. _ __"7’Nn0wW_ Tee. TTT [ed me =e CUdTCUTTTtCOC CW |ODDO fw 4¢ OHH ev—nWVwcrcrcCtrT-’-..-.-. ._|(_o.020_._UWD LCOS =e Se ee ___@L_ES=™F”™SCOLE_»-—O_e_e_ee_e_e__LE_eo rtrd tC P”—C D[TCOC'?|_ [TDL Ty Ye aONWNOOO A| |SS NE A SP NNN ND A SS NON NS| OD LNeq| aA if] ES Jf {g !| oT 4haces TTL EL _(_€Ker..2__ rirSA _ iLNN - LDL yO!wy eT —?T. A...” Tl Pa! | J TAF [TT fT yg & Trrg | Fr 8 |a.tfffTy 4YT yanft|! Tf ONS Se ee TO. __L. rr... "a awodityv? gq —=jyT_y 7_,T 4 ff ~ jy oe Nee” SS ,
if eww... TIOT_COOCOCOCOS Oe OS FE WOOD ee ICES OC NT aA wn - DvP Cl 1. Kf... [Tf TF ¢- # Ff | J] @ #J| Vv gg @ | _ 2a | |S
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1) Original reads:
212: Nos espant Anon.
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1) In Bologna Q 16 no flat in signature of CT. 2) Flat in Bologna Q 16.
3) Orig.: C. 4) Parallel octaves are original.
5) Orig.: E.
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re no a SE RY © A A a i» oe lee TT
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1) None of the other sources has any accidental as signature. In Stuttgart I, 47, this section is supplied with text beginning "Domine Fili_ unigenite."
2) In all other sources the F is tied over the bar.
$95
Superius 5 —_—__, —_.---IF ee NS Ts CS SO nen... ac WA LNRS SS (O(N NO NG a ae CS (S(O Oh= 218: ['Textless comp osition| Jannes Martini f. 235°—236 V
—o
f ~~ Irs
Oo. EE EEE SS Ee arTok DT OTT TTT TTT ff"gg Ye“ oe i). NTT TTT TTT OE Odae—e>e EY dTOT Tt ( —_ PNY Se eg JEEEO 0TOee eee
Tenor
pf ee Ah 20 —o-
8
Twist, Ff B©. fy fFafT eT —_— NG A Wh[| A es fy a es| Bd Se Qt es (en
Contratenor
es BE URNS NRNE > NE AE oO” GS v= (OY igo en aeWT a ae6 ns SS SRS I SS ENN RS AONS OD nA OSOR USNT ES EN UTE he SU (OE = -_SE wT
8
, ——— 4TO 10 -—— -w————1 15 Ws |. OY DD TT eee TE TO eT eS TL eS SS ES = —— » «_ nn ? S —= ? S UTSOT A RNG) SE = EE © SS A SS ES GE RRS 1 NSS NS SO ARNT A Oh OO OS
Ind
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f ‘| /ide #, a (J
yoo EE ee ee CE EL ee EE
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Cc A ES RE ES RS LS" SS RY A SS
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rn b 25 30 |
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8
7 NAAo..25.—="—_”— en =NMIL__|y_— Cc RS ES pec EE TE DS ey a _S__ A 2 vr [aTOO J.po YT—J WOOO TOW oSee- A ee Pg NG J i 8
o=O0O86«
ed fa nT ETT eee SE EEO Td La S| iY. iL iy ya ee se EE Ee re fOr Le eT Fen OOOO OND) es ee ee EE SR 0 - ES RS DNS DONNA RRS (SO (OE bed ES 8 f)~~ras aMe 7a EE1)appr, |i |A{voy es ee a (eB E4(ou a — SS SS > RE CSgn ERjo NYlm > NONE OND 8
8
1) Orig.: this and the next note a third higher.
507
.aS Ba] aoEeeoOe
219: Rose playsant, adorant comme grant Caron (or Johannes Dusart or Philipon)
2) Superius , 5 ws S&S
u rer 7ripors a
f. 236°—237 Vv
2) SS Tenor -sbs = — —_——————————————
Ro - play - | sant, o -| do - rant com - me
tt ] er Le TT OD
en NG © SS OO ©? > ES ESS SS (ES RR (SOCORRO ROS SRS RS (OY SSE (ONS QO
8 Ro - | se. play - |sant, Oo -j| do - rant com - me grat - -—o
2) Contratenor
Le i dy eg ee ee TE et
3" eo oo ee ee eee ee aeea9}a a—_o—____-_--—_____———_-— OND AD EE OOS 0 AEN NS CE pt _¢j __-} __[ ef
10 r 7 eRe _“e NG) SS ES"eg Y= SOEea a A J Te EE 0 "ee 0. See grail - ne, rant com -| me grai - ne,
eee ee eeSL EE iA foeeg Te =pesOE ed ey Te OE | | EET iEe Pe f|
iae—
8 ne, ke rantpoms com - me grai_ née, 'Z[oT7
NG ES CC ON «AT co? ETEOOSS NS ESOS ROSS S(O OS ON NY XE A ES OO AS OO © es
eee pe hf] yf —_§_—
‘oho l= Ce SSS—=—peC EET OO TL ee LODO
iyo; i] 2.2 f ” Trig: #r | #@ _@ | | Tem UUmD€ hmm hdlmUdUUUUULUCUCUg hLhUMMU OT RT
(Ae eee eee eee eee See NG ES OED AOS OC NOESee (ONO pt _ejs _.. __j__t_{ fief ft eS RSSSRSS SSS LOAY CSNY EEE SE SG NS UNS UY cc Ca EE ES eS ES = A «=OSES SS RS SNES ONSGE ES On URUNS
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3) r |") 4
,A: >b © 3, gE A ES EE RE en A © SND (DUD ROSES OU’ XSERIES». ARES SOURS! RREENUD SU ROE NN " EE... A A Pe
5) Flat in Petrucci 1504? Canti C. 6) Signum congruentiae in Bologna Q 16, Rome 2856 and Petrucci 1504? Canti C.
510
| te“a [Basi ON ET ee EY ee
220: Madame, faytes f, 237°—238 1) moy savoir Basin Vv
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Contratenor
Ma - - | da - - - - - - - - -
ACT 6 nS©SSUNS SONOS SUNY EIS (ES (OE — OE OEOT CONN pee ESRyES EE, SRS >, >OS NINE © Nn
) es a a
10
ea GD EN TEE TT EOE ee —e—CODEt—‘NNOC#*
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8 me, fay - - tes moy sa - | voir
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f) ——
fp ff) TT DS rN —“epe eg SS DTWT “eg? COU NO Fd A|na Nc NDeT NOEe (00 OSOT ©EEE SE p___,-} > A EE LN RN SO (SON CONNORS (SN OUNSSNEOES ROOURES (RNAS OURECCUROROROOS OUOONS OUUUIS WOU NREUONUR SEO
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4 am ! ra l 6)b _ | Vy | || eee, wee Eee SE - - - - - - - - - - - - dray noir, en at-ten -
SOA SS ES SS SS OS SONS SS RS Ne ns ns A ST Aa J” a
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30 ¢ 95
ZK) OO Te Ee EE
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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) The measure rest wanting in Rome 2856. Seville 5-I-43 begins:
iPy
SS a Ss a —— Ve A —p— + _}_____+__|__ k-—_o—__|-¢"—— 4 kjy-—__2e——_|-e——————
SP - a
3) . All sources except Paris 15123 read:
8
4) Orig.: F; emendation follows all other sources except Paris 15123. 5) Flat in Seville 5-I-43.
6) Flat in Rome 2856. 7) Orig.: A; emendation follows all other sources.
$13
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|ee eet ) —CO |
221: Faites de moy tout[ce] qui vous plaira Antonius Busnois
ee =a_
f. 238°—239
E>7 FaiSEER po y lg ? - - tes de moy
ee I
—— — ——————— — —————————— ———— ———— —— — — — Tenor
ee Se a a eee 10ee 5phae3)> rES A
8 Fai - - tes de moy ~~
2) Contratenor
_____ COO
Leg | CG ee pt ———_~ ft _,}
mv, SN ONS SEES (RESON, rmecreny SUSEOUNE EEENCNNSSNSEENEIEOD (OOIEOOSON (SUEEONINOGES SSESUSUUSSUINSSENNISO (ORROUNESENNN (USUROUSINSOUSISNNINIY OUIROSEINSNESSUSCENURRNGG (USRNRINN (ISISINON? GION SSIS IIIIITISIISIINSNISSNUOUNUIIN (00/0/00I0SUNNINNONINOUININUN IN NIIIIISEIINUUNDIEINOED
ee eetf etpo ce a ESa PSeSA ND) er = EE C/
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, ——
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a8 =ee ae ee ee ee es leg -mowt_ a qu je wis [|
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$14
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ser - - - - - vant; Car sans fail -
f\ - —. cr 1
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af\30 r 1 t ee 6)
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Ve ge GE gg eg 5)
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Cie Rsee RE EORsSPO SRY EUROS UNSER OS i Oe Ne 8g ee eeSS ee ae es RE SESS A ES ES? A.“ (UE 1) The refrain of the rondeau, all that survives, is placed beneath the notes of S in Florence 229; text in italies has been added by the editor. 2) In Paris 15123, signature of two flats in CT, and in Seville 5-I-43, signature of one flat (E flat) in CT and two flats in S until m. 36. 3) Din Florence 229, Paris 15123, and Seville 5-I-43; emendation follows Verona DCCLVII.
4) F in all sources. 5) Orig.: A; emendation follows all other sources. 6) Verona DCCLVII reads minim D. 7) Florence 229 mistakenly has two breves rest. In Verona DCCLVI, CT enters one measure earlier (in m. 35) and the rests in S and T (m. 36) are omitted. Paris 15123 and Seville 5-I-43 mistakenly have one semibreve rest in CT. m. 35; presumably the reading of Verona DCCLVII
r -— 7
was intended. In both Paris 15123 and Seville 5-I-43, when the CT enters, it reads:
Oe eeTF eeeAEE es ee pe, ETE A nS Ts SYeee ° RR In Verona DCCLVII, the F is replaced by a third G.
8) Orig.: F; emendation follows all other sources.
516
Superius 5 SS a Ss ae Sa Sas 2
222: Bone dame playsant Anon.
f. 239"—240 Vv
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$17
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518
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fh rv 7 65 q 60
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I PDP ore ooo ee eee Oo O#”-Onn2D=OONNNNTD a a ee" ee | es es es ee
ivy, | Qn pf [rm 2 LL oO Tee Yd
i » YY «x| ¥__ TP OD 8 2. |ees | an,Od § Ff _j...|.EeE— 2 J OOOO...” tra gd WV C—O _ 2.i|{F 3 2_ DD D&D
ee ee Eee ee el
i ee a ee nS A ES RY A NS OU Oe Pee TT TO TTT TT TTT D> OTT TL —T—=E—ETN"”-ONnrnWW"’”"—"...—0—__ TT 1) Both Bologna Q 16 and Paris 15123 omit music to the value of a semibreve here. In CT, m. 7, both manuscripts have only one semibreve
E, and the Gs in S and T are shortened by the same length. 2) Both other sources read E. 3) Orig.: semibreve D; emendation follows Bologna Q 16. 4) In Bologna Q 16, the text incipit for the second half reads in all voices "Tretout mon." 5) Bologna Q 16 replaces the semibreve rest with a semibreve G.
S19
ip 10Pe f
223: [Combien le joyeulx que je fasse] Anon.
Superius 4) Toba. 0 eh a A A—fSo py : (nau Ps — a -————f a ae-—eS
f. 240°—241
1. Com - bien le joy - eulx je. fas - -
1-5 a Deg ee etphrete ober ye—_eee = zoe (re mG, A °bea aee——— Tenor
') Contratenor
8 1. Com - |bien le joy - eulx que je fas -
oo ee a RR asa (ae = 5iveGee iF 4 =FF tkSN SaSO= a i
a ee a— a eeea ee aeeSe i eeee ee —— as Sees — Se a iG? - - - - - - - ~ se, Y'ai sur ie 7 CD 0. — en a 9 ee, EE EE ee
ej — [J = of — | | _ L_ _ ye —————— : See Se pp t-¢ p+ 4" fF +er
bb
,Bg15 j 20 pe ee pa ir
a a ,D e = A} a eS eS SS )eS7a 4 eS— Se Se ee== Se (es j jj) je ceur u - {ne gran mas - - - - - se, u -| ne gran
a eeoT2 -}——|— ie eee _ o-——__ en ‘=a [J = | pf tg hr 8 sur le ceur u - ne gran mas - -~ - - - se, u -| ne gran
be) 9—IE eR —P eerr bo ae == ft P 5 aEEE, A a See A ———
i 1 FE en,
Ne
—— S— ee es TA ES oe Sa ESE
mas - - ~ - se De do - lo-reu -se _ des -
TT — ra _ mo : ———— ff 8 mas - - - ~ se De do-lo -; reu. - se des -
2s ae — ——— — fo ——— a = Ic Po Po tee oA es a Ane
goo _— oy —— ee ee es = ee eeeoo eee =SeSB ——— b
520
62 ee re eg te ome — Re A HG fd SS SE ee . _ 30
a ee SERED (SUE fe —- af ee | - SSRN) (ONSUNICESENE EEE EEE
Vy a ae oct So —— [— = _[ 8 pla -san - che, des - pla -san - | che, Pour
vena eneaES Tseee bb _| 7 \ eee AEG On Lee eee a a es a ee a ee ee ee ee ee
sres35 4eeJ]40 ~~ nt ff efee _ —— ee aaa - INE “=Coeee é Se ECE SS ES “
oe ee oteep 8eee eee p °x. 1 boo b ‘4 > VO ee ree | ne = n 45 r 7 r 7 ae — ee ee oo a LE os a a a cs™ a pO eeee ee eC eees eeSG 8 che que sy loins de | Fran - che, de Fran nN”
|b
Qo hh ee ab ee er 1 b 2< ee r Se eee ee ee.ee QP a ot — re Se
che, En Y -j ta - ii - - ean mal-le__. | gra - - -
fs ee }—__|—_} J a a er oe ~ 99 pt 8 che, En Y -|ta - li -| e an mal-le era - - ee, mal - le
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4 yy Oe . .-- Ce Sa ET EN Se SE es ee ee eee noe —
- - - 2. Stil es3.-Mays toit en || d'en_ quemoy______ ga -| lop - pers | quel
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, lg SSNS RANGED SURURENSNENND SOUNRINTNNTN —_— SaTSEnITT SSE t+ ____l—ep
3. Mays que ga - per. que.
ee ee ee ee a rs | oe re ————————— a oe ee ae ee aes ae eee aes eee ee ee §21
,HO8ty -th et, 60
Pe eee —pe P.O rr —_ eegm ae 2 _@—_ —_—_—_—_| 62 — eee Eee Ex ES a6in 0EEE RS Ce Se EAE ee EE> esee ES DS
esp. r Pt i re eS 7 b Pp C) 1 b T -_-_ par -| tir, en que moyred'en par - N'en tir, Jejus n'i re -|cours, - cours
Ia dt65| HY
DT ee ™nrxz” 7-.-—W"T"T"wv"T’II——_————
par | tir, repar = tir,N'en Je re - | -cours, - - -|cours, o}h | oP MT ce§enwr.."—9 JETT SE OE eT CS b. ey Ln. Ta en, My nn pee) =p.—"ge ep ae leine Le2 EE Ec ee eee Ee eea aEe EE
TT oe eee
ETE ee ET TET 7ys fh) nTEY See eeSeeee EEE Ee EEE 0NG (0, ED OE —- Tee ES Pja —__|_@__} ff es "et geee A“=p WS EE ST|eyO ee__@ ee ee eee ee
ten - droi -|e_W »pas tous___. += | jours, je n'i ten -|droi - e pas.
aOE Ne ey” Neg Od "=> eS OR OT ee eT eee ee "= Pr Of Cee ES a a ae TS A a a, a ee a & a eae 8 n'i ten -|droi - e pas tous___ jours, je n'i ten -/droi - e ques A -{ ve____—_— pres de__—Ss«¥yj Tours, n'en jus - ques A - ve pres.
-_~ 4 b a o, ¢. (o\° gS Eee Ere ee —=eeSE OE A es ON SR AO hNSEyfrES—-70 rRSGREE 7A A— rSSaSS«=PRteeORee8 RE ESUS © NL US A RR Ca WS jus - ques A - ve pres de__ Tours, n'en jus -ques A - ve
(peo; | - @ ott Pf | Pg | {| jf) Ud gm h|CULDUUUU Tea es ULC
A A ES re Es A NS (RT SOON OS OEE COU EY ee NG AE UT > EERE UE EUS (ERS SCOURS A REDON (SEE OURO — SS YUEN NE OO PL A = AN UE ED 8
a ee ee ee
—___ de Tours, pres Tours. TB eee dL eg OP nts‘ QC DGS 2 RO +}, |} fg tg—=ee=e J ES A es 0 (uO sO,A)| ftCU CO
pres de Tours, Tours. : a ee ee eee i? ee ee 6 ee ee = eesed eeeT eee DeLF 0 [~pe, [7| ei fT QTE eT =e —=ei Ow fh ||=e(Qe | eee ET EE Eee TO 7 ewES eS DE [eg EE eeEETe NG DS SENN NS 6] ES —_D ES SE RES SONNE SOOO (OSES NSN SOARES AOUUENNSN SOUTUTEN (OUD (SUSSUUNNUOINN (0NAICRAREUCNNEEONOON (ONESIES 6
1) In Paris 15123, a signature of two flats in CT. 2) In Florence 229, CT, m. 2, is incomplete; it contains only two minims, C E. Emendation follows Paris 15123.
3) Flat in Paris 15123. 4) This and the following two notes wanting in Florence 229; added after Paris 15123. 5) Repeat signs are editorial additions.
522
? — . . , 1)Superius 3 —___ _ ye Rt [6 eS Ee .
G C/ —B.A eeee EEEee OO eg oe7eee G0CH
224: C’est vous (= Royne des flours, que je desire tant) [Alexander Agricola] f, 241°—242 }
1) 1.5. Roy ~ ne des flours, que je Tenor , 4.Ces__.__ |faulx = jal - | loux, hel ~ | las,
Te eeRoy ee OT egque TT 8 1.5. - - ne=e desOO flours,
geeeeee) Lae AEe"De Te =™*®Sea eeed aR pe Se Pl ene EEE"gs Se eee ee eeeeeee2S ee Oh. EEEaOO ee SS y|
ji 107 | ee f) iz ee EEE wee ETE ge jf rrr} eso? ir etf+ ae
1)Contratenor 4,.Ces__ faulx jal - | loux, hel 2)
fe si - -haix - - - retant! tant, Quant je vous } voy les A nul - - le finmon voircueur je re e™ p__§_@__@-_4___, ________| _,,______@_4 J i eee eee 8 las, je de isi - - re tant, Quant je les_.=—(tsCix tant! A je nulvous - le
ee "=m Te" dT eC “=
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.|4rr3)5 0bTL . 4 ' |——— 0 ir rt
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or N\A’ 2 ee ee Pg | |__|, BP Oe B.4ee ss 2 eee eee vol - - le de joy - - - - - - - - -
ne lez, pour -| roy - - - - - - b-- - 8 fin voyvoir mon je cueur vol our - le de joy= ------- -- -ne lez ro b P y b r 1b
7? ee —?— [_—_—e=s EES =eo> Oe
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ST 8 e. Las, die tez e. Ces mes di ee Ee EE OT b
$23
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| 4)
2pag es Pg a eeeeLegtesegSeEEE Ss erEE aeSr a= 25
——_— Pee EE OSE Lf “=p Sees) fe =p See ee EOE OEE EOE LY Eee ST esp» — 8 moy vos |- tous tre_a-- jours | mouren estla moy - -= e3;__ sanssesont voy = e. vos._— -tre a - | mour_ moy---tous - jours en laestvoy
PIG ee eT
EC co, EO EE RE > NOE pA EES OES nS OR
IEE Cn A"eg Alr"—=® SONS iA EC RP a a NE (ON NSNSSEE RS SOS NS USO USNS OR es
‘ane UD —m —pns TT?ODDSEED’-.....] OT eft Tit [~ pe ||p| ggec BeDe TT TTD ft eSOO“ ef OOOO DS A EC ESCOC NS OO Os Ss Of i? Ps Ss 8)
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Ht $$ gt] pt? trp _ p+ —___—_§_ Cm msi ( TT TT OT Oe _TNnuu.__] POO OF TT TTT TO tT Oo Oo _7NNn"..".""] NY es SS ES SO SS ee Ge pg ep +f gh p.=—E—ltC( i MARRS, beeee BSoOa [LEE oo? QS SS ES © XV OT OoO.wx.rr)pzjfRN T™#“*}]D)/{jV-?]T aaquW""...". eo es OS 2Dt es©
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Emendation follows Paris 1597 and Petrucci.
§26
ho a
ee4= *{a f)| ; _ YEE SE EE al oo pee er A — ee Ah 10
225: Ales Regret, [vuidez de ma presence] [Hayne van Ghizeghem]
1) Superius r + 3 eS TEEN ee ® p___f-_____qG—_-_}_ gj | fg} --
f, 242°— 243
1.4.7. Al - lezluy Re a- -| | gret, vui 3. Fait____ ves Ion do. Ny_~—s| tour - nés plus, car,
my | || PT ES RS Pe
1) Tenor
wigs UUEee UDOOOO ET ne === _#i Se NL "eg£=%[‘d ae" Te Te 8 1.4.7. Al -luy lez Re -|vés gret,lon vui -- dez 3. Fait a -| gue - - Do. N'y tour - nés plus, ear, par ~o
') Contratenor
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ig pg Ne ee 8 de ma pre -| sen - - Ce;
ps SA SSeee STPS SE A CE A | (9,0| er Ca 8 SS A ES NS T=©)EeENSUED UN nD Iw A «A ED RD SUNSETS EK,
a|
ae Oe ee ee mentcon ce ----- -~ste_of ma - scl -]|- fen en -- -- ce. ce,
1 Se ee raw : A TS SS SS a Se a a rST
S a oe ep rr rr
15 b b 2) 3) 5ee—|. "9gFULT 0 — ae —oe | 4eae | thee7 Oe 2} OOOO lez ail - jleurs que -| rir vos- tre a- coin -| tan -
PO
est ce -| luy qui one fut né— en Fran -
plus vous voy pro -jichainde ma plai -| san -
Se eS eS eS eS oe pF 2 "ee ee" ee ¢ eee eee Al - est | lezce ail -7} - {leurs rir vos -jtre ne a-coin-tan = -Ou luyque qui- -|one fut__| en Fran Se plus vous voy pro - - {chain de__| ma _plai-san -
-e)-= 5 pe PO Ee —I00°-"-"--—--’-—." ep $27
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I lg20 [EEE TO ee ee sO _ ee nen OEE . SSE ————————————eas ce; Asen - |=ses a ~| vés--'|tour -tel| men - tel te ce Qui du-—s-— rast mor ce, De - | vant chas -| cun vous fe - ray Ws iWZ Ee8 eB anne! —— ——— an PT 2 a tA —— ma fT tC(i‘Cs El Oa, ee ee os oT 8 ce; As - ses a - vés tour - |men-t@ mon__WH_ Pe a a eS I PU EEIDT! (HLDDSIUUEEINDURISTINInRO DUES EONS EDU
ce mor-tel -ce, Qui De - en vant- du chas- -rast cuntel vous fe -raydes tel___
Hy | | eae TE Aa Ce A ee Pd Es ee
ee, pF Re ‘a a eee ie. CC Nee —=e ws Po ay mon ee eee las | cueur, mon tel hon-j| neur, tel ee —— et yo ae Pd Se ee eee Ap iN 35 Ee’ A ee Po es ae ee ee eo }— J efa ee’ CJ g >re je ‘! !fh eS |pf). OE 2 a JE ee ee OO |. ww”
‘4 oo ee™SE B (av, NS DRSe, Eeee a Pg ff Pp Se pf Gh Eg y VY ee ee n° ne * ee ae § en ws ——_eueur, mon
hon - - neur, tel
|bd&eee | po |__| +g| [~~ tg 7¢ EeptegegBE ee = ~~ Ff ff oo eee ay, CE ee ESSN RREEEENESOUOOUNEEOUNS OOUSUNE NSU SOEUR (OSU CUUIISSSUSISSNSOISUCRSUSRSOIII (SNS) (0UCISCINCOOISSIIONSCURNIIIN (O0UISNEEDT Yd
las cueur6.2.8. Rem - pli de dueil__ - ~ - - = hon -hon neur? Que l'en di -| ra - neur
_— ee G y f) Po aS OEE (OUTSUIEISUEI UTE SUSUR (SONI (NSN SUDO
A ED VERE (00SEC A— NY | | vA ETELIS eee ee eeeEE eeeEUIEND eee eee(00S EeeSOOO EEE eee EET—_ OSS ee, las__.__ cueur 2.8.6. Rem - plil'en de dueil___ hon neur? Que di - ra. hon - = - neur
. r PP ir? | ti En Se © ;—-———___ 2
© ' |}A——__} ——-= ff AENEID - -_______}GREED ..---@_- SEE, - —-- __} -# ____._f4 in@ SS ENS RUNS ES OO NS ns __...___ i. ny samemeannan
oY ooPT:TT es _ ll
~ - - = le mes - }chan - - - - ce.
ay Ye "=e Ce Oe 62 TT Ee ee Oe OT 8 ----- -- e| leden mes- -| |fan chan- -- ----- -- --
Pt | + og ee
ae —___ p—__@ |__| __§ EA EE 6 TEETER NNN NL OR CSU COORONG ON CRO SE EE | | SS
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1) In London 20 A XVI, signature of one flat in T only; in Florence 107 bis | Florence 2356, Rome 2856, Turin I. 27, Washington, Laborde
and Zwickau 78, 3, same signature as in Florence 229; and in all other sources, one flat in all voices. 2) Florence 2794 and Segovia read:
(ym Lt po a tS 4
AR) a SS ES EL u {E) —————_}----_}} gf ff} ff
¢,
Wa. A— GE A° BNaY AaP* EEE
PE SS
Washington, Laborde has the same reading save for one wrong note. S in Brussels 11239 also has thisreading, but the two lower voices are like those in Florence 229. 3) London Add. 31922 has a sharp before the B. 4) Formschneider 15389 Trium vocum carmina reads:
i} mn I ~~ — ——
5) Formschneider reads:
6) Rome 2856 reads:
p oe
CR aen=k eeea An
| $29
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Sd
226° Mon cuer se plaint Anon.
Superius 3
f. 243°—244
OO a a a eS eS ee Lc —cnc||
a4HFr¢eee 10ee ss 15 b P| ORF OS TT TT OO
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Contratenor
Pp eyAg ee —e—e "=p Cd O—=e—"e je APOfpf e—g
———— a a luyil tient de ri -- -- trop le soup -| pi luy em -| pi - -
im i
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co ES b n 30 [FT 7 35
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231: [Textless composition] Anon.
Superius + ; —_— Spe Pp eg te pee X » ff | PT pe) ee TPR TE TP EEE ge 5 a ee ae ees bees ee ees ee ee Te a eee ee ee
f. 250°—251
Ree | ee pO :
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yo Zn SE eS Asm-—______ DO TT ee) Tee Or Lee TC C—O ve "AE CR WSS AE EE ENN SES CES NE RRS GN ES SN EEO CN (OSCE
seur bon sir je - - =me ur - tien, | gien;
Ley ee | Cee ti‘“‘it—CS CP eee pom CF) Ee SS 8
que vous sca -vés bien, EE bien seur je me tien, ___ un bon sir - - - ur - gien;
AC —_f 2 ee a p——_________ gf ts 8
561
Ah 15 4) 20 A ooo oI ee Se eww ce Re es eS TS RE DUNN SN NR OS |=aeAeee OT LY ..CUWGD Sl TL De a es RE Op SE SNES SOR ce OS OES NOON COONS OO ROS (RNS SS S00 IES NOON AE COED GONEROOEE
fe. febeo | | ee meme TE ee OOOO EO Tf i~syeoj, | | @ [ff —g” idsEE TT TT ee—e _f > x JT PF [TT fi i | © @ gm | ee Eee ee TD eS UU SF ..UhUWgg UY OS —OH TENE LT ”* Pog “eed
p) 35 —
if f-a fF dTSOTT eeeOStt—Ci*szT C(Ow 77 (a ao TY i Ft ee Lye ee||| aee a FD eee
Oe i
2a LL TFLSOTT OOo eo EE E—EE—EeEE Eee OE Be TS EE a ee es a es OLS a ST See SA © RNS NN eS “8 SS NS
Sy te 8 RE ae |— —} ep ee ee = Sa Eo AS7p ROS A4°c paa ATf es Hh er 9 ar er 8 oe ee ee 25
(Ay. a 9 — oe ST Or Tn 79 oo 9" oO EE
569
RR | iA ee
f)(xn iz 4 T d a Fc Cs eR ee es es a BO Re I I LY I We nS 1NG C—O A A > ee Se es be ee ee SS es pee ee A (SS A SA EC a PT KSA RE (ES OS oo? DE t 30
SL r T r may | 2) aTPRme Oe "“=”g eee OTe TG OE ™ LSC llCU Be ll llEE Oe OT
Po mi A 39 rRee 7 40 eee FT if. DR ee“ eR TS OY ee a et a Se ee waCE . Ce e) ee TSeee] tn. eee Lo ee) Eee pn EE , 45 _ t 50 A ES US EE SOTO CY OSSD UNOS? — ROONEY ONO OS OS RS SOUROE COCO AOS . WON OOOO SOROS ER
-—_—-_~ o e , . a
NG RS OOD STENOSES OP NOES OSE LESSENS SRNR LO ON ET ce. 4 =
$ES RNG Veter Toor CR BeREN=e eeES ee ee4eee eee i) A PN ee MS ee NN NN LSURNEN >” AOUee ES aoc SOUeee wa NE eee | «= | 8
EC RSssNS 6 AN NO | |© = A” O ND)aoo eesOE a OC = A OY i = | o> ee A = el A PR CE OS ON SSNS NS NEY DOU ODOT ROO OOOO UNCENSORED (SUSSSSSCSOEOOSSOROSIONEIS RIES CRORES , GK SOOO SOU OE OE WH
T
a ee a A RS ED SS SS AE RE A vee” QO OED!
r\ Pg Pd Pe —, ed——$§p eert}ee St $$}. J $b __§_ oy A RE RN PE NEE SU MERE UNE MO ne = 2 A 7 Pp = a Ee
NYU‘TTYO ODES Tee
De es A eeOS ey =RS aA «=SR ns SS ae ae ee AnA a §AaIae CF es To? Dv A Se STAa > SO =
2ae treaesee ee eee ee ee ee Oe ee = Aee —eee nn osee ne “ne ess ed
aSYCE ee A. A nS A ON UD o> EEE WEN A = AS ES EE ROR UNE" EE A Lh EE DE 7 SS ©” EE NOSES” AUS NT RRS EES OOS ON GSO OURS OS ROE SCS NOOR OSS SOUS NOY SOROS NN (ORE
= re Te im | » , | | | 8 i ES EE | D.C eS eS SD ee Be fn ae @ YT) tte ee ee ee
Le ST ee, | TTC.......CSC TTY
Ee Ne Se Ee Eee eel TT TO rt eg J gg ee
eC CO Te ae FD 8
OS SB R.A OS NE CAE — ONS A YDS MEOS OOSE NEAARS bc(UE NN hn SR eS A NEAOY ROS 1) The fleeting parallel fifths here and in mm. 17 and 29 are scarcely objectionable.
2) Orig.: two minims, F G.
$70
e Le
242: [Textless composition] : Anon.
Superius 3 eee ee eee Kl eee eee eSSS oe Ba = ©” SS
f. 261°—262 Vv
OS SS IE OE SS SS = ES A A | SS RY — A OO —— OY SS ee SN OOOO 6EEYS OODOSS OTESOR Se A ED ae —— = A|PE EE Te =eS LSTS OS OO» EE OO A CUES EOE ONO, DU AOS —_—_—_ NE DS RE EE A OS CREE SY (ORONO SE RE SN OS DOSES EEE OE
f\ T 7 =2
SS (a SC js 10
Tenor
iol ee ee ee ee ee EYE SONU os |fe&} bgiyteSN tp pe a eeU
——— Fn a a Ls T_T nnn a en Pm —"“=g dm Tee
germ e—“ean Eee ND SS A4SE OND OEDTd (NUE OSEE RY
Am gm PO a ee CMe YT e OOOe —eeee ed le" EOEOO eee edEe ED "eT Ee NG SR ES LS AD A ES hace SO SE ON AY Pt 6} _-________| ___~_4 yt
+f pe fee ee eee ee ee ee ET pn 25
es EEN SSCT SSnN RSRE ES |SON, YS ES ON OE SSO scenes SE iAaaaa SE OS OE aS OO RS Rn“ ee A OS EYES NOS NE RO SONS OSOS SS EE NN AO DO AYEIA ADC ES a EE SS_SSISE RRS SO AS NS ES NR SE ON OSEE OS OS eyROR aSE »
15 js 20 pn yy ey Hh fi eee aeee"=n ce ee ee" OE Ee "ng a iO
NG SS SO SS OY EP EG NO A NSS SS a ne ae
a an
BC OO A cD T° ON, LD") ES OS SE OD SEE NNR ——DTT NOON REOOOO SE” NUNN ed” ,)»LEL —es DN
Lo eee ee TT “es a Le} oO Eee EO eee eee eee DD) TS
Le | Ee de" ITTTF Te Ve ee ws: e—”=es ee ee
VY ae O™” Ooo ST Ce” CY Ee ee Ee OS A A DO (OY SS CSeee SSLO (ONS NUON OOS EEN WO DP Ne os (Nn ES SSRS ONS RC TC aee Sn CO (= OR ON
esESee ——— a a> ENN NS OE (ONE SO (a aS SS NE AY |S «A A OE NY
cS A I ————————————————
$71
|Bc, \gSS=)FLd|LCr eS OE"=p A ORTg NE OW Aeee «=S| = LE” i "ee PP "=p ee OOEeeeeeeEeEEe|pLC LW El eee eee | | f@\?. F/T ee eg Type, ee—"“gge TTOT gm f_ » | "ehTT ee Od OGOg TT
TT EOE EE -—— b
7. eee ee" en ee ee ee eee eee eee ee eee eee ee ee ee eee ee eee en ee eee eee eee eee ee eee ee
= TSeee ENS 0 WSU cS RO, SE OU o> RO UNE (~~»__ AS_ DeES ese eee ee eeRUN Oe ae Fs ee RE AAS AS (ON @.
O
,ea 35 r_De 40 -r 5 Pw “eg oo J Pf eee Cd Cd gsSUF "=e CY TTS OC
iA de® OCU CO Ta Awh UREN OS OE nA “ep ™ TS Ur US OP UNE cA (ONUT AeT STa| TT OF| ee eeeeeeeeeeeSL_L|EL
We ee| eTesee ee eS CON ENeeae—=e Pe CCC SSCeES Tn Y/Y|, a @aid Ua U—“g OO pn yeNSA ae a |ON “=e |SNDD TTT “=e if »wet Aa | fF ge UL UUM UU ES ES Eh CAea aS SS ESTy ON ONS NS NO NS OY < ES
——— b "=e ee i@ hoc = DE bs
Re. $Cy l—e®TdUe Ty, TT if} »b op» |CS | fT Ty fg
ws) if | eee| Ee EE
ime 7 fF gg SE | gg | = # FY Ay [fTOR gf gfeUA LhUhmeLULUUUUUUUUULUUUUULDLhUwU ANDY aSQTWES EU o> EEE (ON A NOT OR A
rte 9% A &®@ 2 AO eTOD ee ANG AE CNRS OOOO — A, =U SOA|——_ 0G (SS CNS (SOO ‘ore || “eg yg "= —_ Po? —=e [~ ——— eePegg ee TD Oe EE EEE Og§= 2 TF pe, _reg | ©. ~~ | SO |eT il eees OT OTe Eee EEE EEE eeeee eee ee rv Td OT EE eee
ph 90 r 7
aORT (EUS SNOT RS SUNOS CRN LOSS ES eee OS (OE A oe ee EE EE eee EES ee TO ep Ee88 NG > ESeee nS nSEEE es cae ay ShTE AyOD §Ee SS With dt PS nd RO
lw, | © | {nA BT QO iL » | J gf | ff [| fg | | 9 # Tee ce YA @. © OE TQ Te er —=e—= OTT eg NS 2 eee [f+ +--+ +41} 4+4- $e Oe EEE 2. ee! f@the LS aA aSSE OS ONE , ESOS CEESRRA SNOUT| pe ffa ef ES (SS REEONS 2 SL
7 _ b>...” aw I |. | [| | _ 2 Oe re rae”
~~ 7 ~~ #i@ gg | gg | EE SS PS A SS Sh eT SS SaaS SA SE *=* SS 1) Orig.: semibreve.
$72
Se Ss a Se Se 2 aaee se >" _ee ao? ls 5 eee ee ee ae ee
243: [Textless composition] Anon.
f. 262°—263
Superius I -—_—————_ -—_ 5
ee Peet | — ———————
ET EeEE (On aaeeeeeee OOO] Bee eee eee 8
Contratenor -
" r 7 10 Td 4 — a) NP GI egw eye = ee é 1s a, 1) f
ee ee A, OOSEETfrN” SS SS ES SO) SD s.r RyGe «EEEes«a ir Oe¢rt-—_@—__$__|+.__—_ e—e—eSDEENN eh. O_._——”""—""n” a [|aeff ,gitggPs@ [2 ood
VY Vw” - FF ga |tT gg |[T ga i. 7; f[ TT fT] 4 r—_q—_—__} _{ —_____ fe
es TEE OE E _salhNMMMWMNMMNT.-OnO772.__ I — OOOO
a a ee ee 2 oe ee ee ee ee ra
YS I es a NS SE NE NG eee, SS RS A NE eee, Pol _d Pep eH ph J. 4 Ee. ae Pog NTS y wv | @g@& @« {|g = @ |, ¢ _@ —,- _______|__1
,—— 20 25 b py Ee 2 F/O ee ee= oree IoS~~} Trea Sac Oe eH Et_4 eeeSS eeeStee ae es eS cs S> Se SS SS. Sa a—
$73
,TN 30 Lea gm Eee 7 Ae Eee ees rn fe7 egde Ce | pp OT —eg OG OG ee"=eee Oe Tee Ee A ee |OO EeeEOE ae eeOT ee LEE yy Cs~—“‘“CSC”COC*C*C*S*SC“‘“‘“SNNNNNCN_ OOD D®DeCSC (CT TE =p | eT =D ee
ee ee |eeeeteee ee TET EET
Cc EE NS OES NS MOORES EROS EE OUTER OS RRNA, oY (ONENESS GOOEY OOO (OURS COR OS OY gs a | Aa =A
lf@he 6 6h] e+cA f#_______}—__ —— FEOT) 0 Fe(OO oo ES A hy KE 7DB SS hlrrhCGChUhL es PS a NO sncOP EET I SD SO OO NG QU
,ee35a ee of Poff 40 ‘o> fo “=p “=p al“ es Ed A,C~—sSNS ee eee ee] eed eX | Te | gheeUYU
OO ee 4150es =,js .
RF I NOE NETS SEEN EGNOS OSE UREOOOEND (SUNSCREENS GSO RD OEE USNS (OSS NOREEN (UOOUNNSN NS RO
_ - Ss fF CT as ee ed Oa dee [ge fg ere. LLC eT” ee ld “mL lm Tf | |@| am ga| ea a DE COeeCOC LD
rm | | | ¢€ [gg # | a {| jij ™” @& 4 ff yp ey ef ET
» bhCO 45 Ob fe ll Gm OC ae a SC NOA ST Al“=®LLO © ncNO co©|SSSE = NG ASS Ae CN Se AeAA,«= ee AS © SE SNS NEGEES SERENE , GEESE NOUCEESUO UNS (ONE ROR (00S, WREECOS ASSEN (OOUSGRAROSSSNIOS GOSS USEING OUOOI brenenens SSUES UUSOSSOIIRIRORIEOSEP RII (ONUEIION (ONSEN SURED,
amm TO eee .dEGLlCU 2CL le Ld 1 |eee | | NS fteee eeSeEO 50 |SS OS SS A eS a eee a ee aeee a a a eee as ae 7? ay eee © Se
rw er | ~ @ | @# —2 7 °° °»+2x«X|T gr gf Y” . Ts YY hLNLULhUDpDTLULULTLUD®YTDCULULULU™*EDFDLUMUMUUUUUUUULU me UU UD
ee Te
TOE ee iy °°»ee °° D>—Ee — ee ee ES
i} $f Tt — so —ses— ee —— or NG) eT PK GS CR = OO OY A A _@> J) of tee
Tt e— eo or rt °Se 4 ee ee lad OQeee [i Te —_?— OO ee 2 eee
1) The fleeting parallel fifths between S and T are scarcely objectionable.
574
a
> ht p= a7] eG “> eT Tenor a ae 4°|~|Q_ ps ey tt wy a eg Ee" NS ee fof a oe LA ee TT _ 4 a Ii) San RE ee ee
244: [Textless composition] Anon.
f. 263°—264 Vv
Superius
Bh a SOSSSRESOSOSUEEEOINED ES UOC (ONSEN NB NS(cy TE ORS OOOlO (RIN>”, DS SOOO nS (
Eee EST "= OEE EEO ~o
en © esOC LNOS S Mn ©(OCS ES SN” EY (ORNS QSOS SS SOD SRS (OE ee 7 ETFF 6 3CO SS SOS SS—~ OY | _JESTRUIS oe (OS (RE (OS NG SD DN AS (USNS (OUSSUSURORDY SU 8
Contratenor
9NG 9ES >6aLS ve" H HH EE cE ESTO RT CR ©SNe esSION eS PD —"—ggh
eeeeeeee5uqapp SSH eee ee“ os Sy nnn Ne Te f\ 2 2 Q im -
DNR AS CS —_ eS NO ER” AOS (NS QE CRC ” ES OOS (SY
8 al eT ee Te 8
10
Lg OO >” EE EROS (OOS (ROCESS OS QO cE PS OT oP SNE /
,6 —— 15 —_—= 3 —_——=s _ _ ____ oT PO _ 2 2 OO eT ——— KJJotdNOwo*w#W00W0WW0~/wTr..00Tr+r.!oooo
Sho | [OO I —OoO Ys F