The overall aim is to present a spacious common-practice notation of the source where clarity of parts is a principal objective.
The following editorial conventions have been adopted:
- Score format with voices reading from the bottom –
bassus, tenor, altus (where there are four parts) and discantus.
- Durations are notated in half values (modern semibreve = source breve).
- “Tick” measures with the ¢, C and O2 mensurations notated in modern 2/2 and O in modern 3/2.
- Ligatures are indicated by brackets above the notes and minor color with broken brackets.
- The accidentals for editorial musica ficta are placed above the stave and apply to the specific note.
- Scribal orthographies are replicated for both composer attributions and textual incipts – even in cases where their is an apparent miss-spelling in the transmission. Abbreviations (e.g. attendát) are written in full (attendant).
For a comprehensive list of concordant transmissions, attribution and title variants and additional information see: Arthur Sheldon Wolff, The Chansonnier Biblioteca Casanatense 2856: It History, Purpose and Music, unpublished Ph.D dissertation, North Texas State University, 1970, pp. 188-406.
NOTES
Notes include:
I: amendments to composer names and titles where required; clefs and modal signatures (e.g. D(iscantus): C2, octave flat; Ct (Contratenor): C4, 1 flat; A(ltus): C3; B(assus): F4; 1 flat; T(enor): C4, 1 flat)
II: corrections in the source
III: variants between the source and this edition
IV: other points of interest
No. 1– ff. 3v-4r
I: Phillipon; D: C1; Ct: C4; T: C4
No. 2– ff. 4v-5r
I: D: C2, octave flat; Ct: C4, 1 flat; T: C4, 1 flat
No. 3- ff. 5v-6r
I: D: C2; B: 1 flat; T: C4
No. 4- f. 7
I: D: C2, octave flat
No. 5- ff. 7v-8r
I: D: C2, octave flat; B: F4, octave flat; T: C4, 1 flat
No. 6- ff. 8v-9r
I: D: C1, octave flat; B: F4, 1 flat; T: C3, 1 flat
No. 7- ff.9v-10r
I: D: C2; B: F3; T: C4
No. 8- ff. 10v-11r
I: D: C2; T: C4; B: F4
No. 9- ff. 11v-12r
I: D: C1, octave flat; B: F4, octave flat; T: C4, 1 flat
III: f. 11v, stave 2, 15: brevis notated as imperfect longa (m. 18,5); f. 12r, stave 6, 20: semibrevis b notated as minima b (m. 18,3); f. 12r, stave 6, 27: minima gamma ut notated as semibrevis gamma ut (m. 20,1)
No. 10- ff. 12v-13r
I: D: C1; B: F4; T C4
No. 11- ff. 13v-14r
I: D: C3, 1 flat, C2, octave flat, C3 1 flat: B: F4, 1 flat; T: C4 1 flat
No. 12- ff. 14v-15r
I: Pour mon plasir; D: G2, 1 flat fa supra la; B: C4; T: C2
No. 13- ff. 15v-16r
I: D: C1; B: C4; T: C3
No. 14- ff. 16v-17r
I: D’ung aultre amer; D: C1, octave flat; Ct: C4, 1 flat; T: C4, 1 flat
No. 15- ff. 17v-18r
I: D: C2, octave flat; B: F4, octave flat, f. 18r- stave 6 no flat, stave 7 1 flat; T: C4, 1 flat
No. 16- ff. 18v-19r
I: D: C1; B: C4; T: C4
No. 17- ff. 19v-20r
I: D: C2, octane 1 flat; B: F4, octave 1 flat; T; C4, 1 flat
No. 18- ff. 20v-21r
I: C2, octave flat; B4, octave flat; C4, 1 flat
No. 19– ff. 21v-22r
I: Pour entretenir; D: G2, B: F4; T: C2
No. 20- ff. 22v-24r
I: D: G2; B: C4; T: G2
No. 21- ff. 24v-25r
I: D: C1, octave flat; B: F4, octave flat; T: C4, 1 flat
No. 22- ff. 25v-26r
I: D: C2, octave flat; B: F4, octave flat; T: C4, 1 flat
No. 23- ff. 26v-27r
I: D: C1; B: F4, 1 flat; T: C3, 1 flat
IV: f. 26v, stave 5, before note 4: flat; f. 26v, stave 6, before note 19: flat; f. 26v, stave 26v, stave 7, before note 27: flat for note 29; f. 27r, stave 7, before note 17: flat for note 19.
No. 24- ff. 27v-28r
III: f. 28r, stave 7, note 18: minima D notated as minima E (m. 55,1)
I: D: C1; B: F4; T: C4
No. 25- ff. 28v-29r
I: D: C2, octave flat; B: F4, octave flat; T: C4, 1 flat
No. 26- ff. 29v-30r
I: D: C2, octave flat; B: F4, octave flat; T: C4, 1 flat
No. 27- ff. 30v-31r
I: D: G2; B: F4; T: C2
No. 28- ff. 31v-32r
I: Il nest [vivant]; D: C2, octave flat; B: F4, octave flat; T: C4, 1 flat
No. 29- ff. 32v-34r
I: D: C2; B: F4; T: C3
No. 30- ff. 24v-36r
I: D: C2, octave flat; B: F4, octave flat; T: C4, 1 flat
No. 31- ff. 36v-37r
I: D: C2; B: F4; T: C4
No. 32- ff. 37v-39r
I: D: C2; B: F4; T: C4
No. 33- ff. 39v-41r
I: D: G2, one flat; B: F4, 1 flat; T: C3, 1 flat
No. 34- ff. 41v-42r
I: D: G2; B: C4; T: C2
No. 35- ff. 42v-43r
I: C1, octave flat; B: F4, octave flat; T: C4, 1 flat
II: f. 42v, stave 5, note 12: minima A corrected to gamma ut (m. 6,1).
No. 36- ff. 43v-44r
I: Je suis venut; D: C1, octave flat; B: F4, f. 44r stave 6, octave flat; T: C4, 1 flat
No. 37- ff. 44v-45r
I: D: C2; B: F4; T: C4
II: f. 45r, stave 7, note 29: semibrevis B corrected to semibrevis C (m. 46,1).
No. 38- ff. 45v-46v
I: D: C1; B: C4, 1 flat; T: C3, 1 flat
No. 39- f. 47r
I: D: C1; T: C3; A: C3; B: F4
No. 40- ff.47v-48r
I: C2; B: F4; T: C4
No 41- ff. 48v-49r
I: The attribution to Okeghem (f. 48v) is an error. The song is by Haine; D: C2, octave flat; B: F4, 1 flat; T: C4, 1 flat
No 42- ff. 49v-50r
I: Pour garir cors; D: C2, octave flat; B: C4, 1 flat; T: C4, 1 flat
III: f. 50r, stave 7, note 8: brevis G notated as braves a (m. 44)
No. 43- ff. 50v-51r
I: D: C2, octave flat; FB: F4, octave flat; T: C4, 1 flat
No. 44- ff. 51v-52r
I: D: C1; B: C4; T: C2
IV: f. 51v, stave 1, before note 7: fa supra la flat (m. 4,1); f. 51v, stave 4, before note 17: fa supra la flat (m. 31,2).
No. 45- ff. 52v-53r
I: D: C1; B: C4; T: C4
No. 46- ff. 53v-54r
I: D: C2, octave flat; B: F4, octave flat; T: C4, 1 flat
No. 47- ff. 54v-55r
I: D: C1, octave flat; B: F4, octave flat; T: C4, 1 flat
No. 48- ff. 55v-56r
I: D: C1, octave flat; B: F4, octave flat, f. 57r, stave 6: 1 flat; T: C4, 1 flat
No. 49- ff. 57v-59r
I: D: C!; Ct: C4; T: C4
IV: f. 58r, stave 6, before note 9: flat (m. 21,3)
No. 50- ff. 59v-60r
I: D: C!; B: C4; T: C4
No. 51- ff. 60v-61r
I: D: C1; B: F4; T: C4
No. 52- ff. 61v-63r
I: Ockeghem; Ma bouche rit; D: C1; B: C4; T: C4
II: f. 62r, stave 3, notes 12-18: inserted in comparatively minuscule shapes (mm. 32-34).
No. 53- ff. 63v-65r
I: D: C1, octave flat; B: C4, 1 flat; T: C3, 1 flat, f. 65r, stave 4: no flat
No. 54- ff. 65v-66r
I: Vien quante morte dolente; D: C2; B: F4; T: C4
II: [f. 65v, stave 3, note 7: the signum congruentia above this note (m. 26,1) is presumably an error and should be a pause sign].
No. 55- ff. 66v-67r
I: D: C2, octave flat; B: F4, octave flat, f. 67r, stave 6-7, 1 flat; T: C4, 1 flat
No. 56- ff. 67v-69r
I: D: G2, 1 flat; B: C4, 1 flat; T: C2, octave flat
No. 57- ff. 69v-70r
I: D: C2; Ct: C4; T: C4
No. 58- ff. 70v-71r
I: D: C2; B: F3; T: C4
No. 59- ff. 71v-73r
I: D: C2, f. 72v, staves 1-3, C1; 1/2 way through stave 3, C2; stave 4 C1; B: F4; T: C4
No. 60- ff. 73v-74r
I: D: C1, octave flat; B: F4, octave flat, f. 64r, staves 6-7 1 flat; T: C4, 1 flat
No. 61- ff. 74v-76r
I: D: C2, octave flat; B: F4, 1 flat; T: C4, 1 flat
II: f. 76r, stave 6, before note 16: flat (m. 82,4)
No. 62- ff, 76v-78r
I: D: C1; Ct: C4; T: C4
No. 63– ff. 78v-80r
I: D: C1, octave flat; B: F4; T: C4
II: f. 79r, stave 5, note 22: semibrevis E corrected to minma E with addition of an ascending stem (m. 30,2).
III: f, 79r, stave 2, note 16: dotted minima a notated as dotted minima g (m. 24,1); note 17: semiminima g notated as semiminima f (m. 24,2).
No. 64- ff. 80v-82r
I: D: C1, octave flat; B: F4, 1 flat; T: C4, 1 flat
No. 65- ff. 82v-84r
I: D: C2, octave flat; B: F4, 1 flat; T: C4, 1 flat
No. 66– ff. 84v-85r
I: D: C2, 2 flats – 1 as octave flat; B: F4, 2 flats; T: C4, 2 flats – 1 as octave flat
No. 67- f. 86r
I: D: C2, 2 flats – 1 as octave flat; T: C3, 1 flat; B: F4; stave 6- octave flat, stave 7 – 1 flat
No. 68- ff. 86v-87r
I: D: C2; T: C4; B: F4
III: f. 86v, stave 7, note 14: minima D notated as minima E (m. 22,4)
No. 69- Pour tant se mon vouloir
I: D: C2, octave flat; B: F4, octave flat; T: C4, 1 flat
No. 70- ff. 88v-90r
I: D: C1; B: F3; T: C4
No. 71- ff. 90v-91v
I: Pour tant se mon vouloir; D: G2; B: C4; T: C2
No. 72- f. 92r
I: Given voice: C1
IV: Canon- Queque semibreves sex equaled Sed per dyapason
No. 73- ff. 92v-93r
I: C: G2; B: C4; T: C2
No. 74- ff. 93v-95r
I: D: C2, octave flat; B: F4, 1 flat; T: C4, 1 flat
No. 75- ff. 95v-96r
I: D: C1; B: C4; T: C3
No. 76- ff. 96v-98r
I: D: C1; B: F4, 1 flat; T: C4, 1 flat
II: f. 98r, stave 6, note 10: void filled in to effect minor color (m. 52,3); f. 98r, stave 6, note 11: minima stem erased to correct to semibrevis (m. 52,4).
No. 95-
I: Je stay tout
No. 96-
I: Mon souvenir
No. 98– ff. 126v-128r
I: Comme femme; D: C2; T: C4; B: F4
No. 99– ff. 128v-129r
I: Japart; D: G2; T: C3; B:C4
II: f. 128v, stave 6, note 25: semibrevis b corrected to semibrevis c (m. 8,2).
No. 100– ff. 129v-130v
I: D: C2; T: C4; B; F4
III: f. 129v, stave 2, after note 22: two brevis rests should read 1 brevis and 1 semibrevis rest (D: mm. 32-33).
No. 108– ff. 138v-139r
I: D: C1; T: C4; B: C4
II: f. 138v, stave 6, after note 6: minima rest inserted (m. 22, after 2); after 10: correction in source- 2 minimae a and D erased (m.); note 20: breve C corrected in source to semibrevis C with addition of ascending L.H. stem (m. 24,1).
No. 113:
III: f. 164r, stave 1, note 23: minima b notated as semibrevis (m. 11,3) [uncorrected error in source]
IV: f. 164r, stave 3, under note 28: diesis (m. 34,1)
No. 114:
II: f. 149r, stave 6, notes 1-3: semibrevis B flat corrected to dotted minima A-semiminima B flat-semibrevis C (m.39,1-3).
No. 118– ff. 154v-156r
I: Josfim = Josquin?; D: C1; A: C3; T: C4; B: C4
III: f. 155v, stave 7, notes 19-23: notated 3rd higher than transmitted (mm. 57,5-58,4).