By Leonard Ellinwood, William A. McLaughlin
An version of the works of Francesco Landini in a collated transcription of the manuscript assets.
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Extra resources for The works of Francesco Landini
3. S. ends at this point with a Breve on d. ~ 4. Twoflemi'breveshere In B. ~ 5. A email :lrcle appears. Here between two lines of the staff In S. only. It refers to perfect time, but Is Inconsistent with the other time indications. 6. A point of division in B. only. 7. This point of division appears only in S. , and has thus been useful in accurately determining the form of the madrigal. 127v. i G r& u^n PPi *J& f*SWf$ i i*»/Ttfg ^r ^?? » -^-ZJTZ ^'g- Pf^ _ _. , p«S-|Sie -. ^'Ba ocatii. mor 15 /3" ^ tri^-m'c ^ i i I ar i one Tn.
In the case of no. 134 the metre changes eleven times during the course of the work. Frequently minor changes from duple to triple patterns are made by the use of white notation or the special devices of notation discussed in a previous section. The most complicated of these is no. 93, where the introduction of white notes of all sizes from Long to Minim continually varies the pulse. An interesting change in the time values, although one not affecting the basic metre, is found in the comparison of manuscript copies of no.
101, the ballata Adiu, adiu dous dame Iolye. This one exception has been quoted by several writers to show the French influence in this music. Judging by the style and the location in the Squarcialupi codex it is a late composition. S. with the modifications found necessary for clarity after an exhaustive collation with the other manuscripts. No attempt has been made to modernize either vocabulary or spellings. Variants in spelling, as found in S.. between the superius and tenor parts, are preserved in this edition except where they obscure the meaning of the passage.