Rather, he is referring to the rules of composition, and we should feel reasonably sure that fifteenth (and sixteenth) century composers knew exactly what they were doing, and were no more concerned with the so-called “rules” of counterpoint than composers or singers of any other age.

However, I do not believe he is not talking about performers’ accidentals. In the often-misinterpreted discussion on the sixth tone in his treatise on mode, Johannes Tinctoris states that false concords should be avoided even if it necessitates the use of a linear tritone. No attempt has been made to correct ‘forbidden’ intervals. The editorial treatment of partial key signatures (the Tenor alone has one flat), the approach to harmonic and melodic tritones, leading notes, false relations and the question of identical solmization seeks to address some aural prejudices we may have about this music, and indeed much music of the Renaissance. The original prolation sign, tempus perfectum, suggests a moderate (not slow!) three in a bar. Cue-sized and cautionary accidentals are editorial.

Original pitch has been retained and note values have been quartered. Score information: A4, 2 pages, 104 kB Copyright: CPDL Edition notes: This edition has been transcribed from the Trent codex. Score information: A4, 2 pages, 101 kB Copyright: CPDL Edition notes: Edition without editorial music ficta.Įditor: Simon Biazeck (submitted ). Contratenor left untexted.Įditor: Simon Biazeck (submitted ). Score information: A4, 4 pages, 49 kB Copyright: CPDL Edition notes: Original pitch and note values retained. Music files L E G E N D Disclaimer How to download ICONĮditor: Simon MacHale (submitted ).

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