Cab109cumsanctospiritublf Tenor Recorder, Bass Recorder

Antonio de Cabeçon (Castrillo Mota de Judíos 1510 – Madrid 1566)

Comiençan las canciones glosadas y motetes a quatro Fol. 69 – 104 from : Obras de Musica para Tecla, Arpa y Vihuela Madrid 1578

15 in 4 voices and 3 pieces in 3 voices transcribed for keyboard instrument and harp and arranged for instruments by Arnold den Teuling

Recorders or other instruments

2016

Introduction to the edition of the remaining part of Antonio de Cabezón’s Obras de Musica para Tecla, Arpa y Vihuela, Madrid 1578

Hernando de Cabeçon (Madrid 1541-Valladolid 1602), as he spelled his name, published his father’s works in 1578, despite the year 1570 on the title page. The royal privilege for publication bears the date 1578 in the page which also contains the “erratas”.

The Obras contain an extensive and very useful introduction, followed by 200 folio’s of printed music. The notes are represented by numbers on a line, each line being one voice. Cabeçon explains in his introduction how this tablature works. A facsimile is in IMSLP.

I refer to my edition for keyboard instrument for details on my choice of the pieces which I edited and arranged in this project.

Cabeçon divided the works according to number of voices and genre, starting the first two sections with music for beginners. The following sections have been completely included by Pedrell-Anglés: -los duos para principiantes (fol.1) duos for beginners -las obras de a tres para principiantes (fol. 5) trios for beginners -las obras de a quatro (fol. 9) works in four voices -los favordones de todos los ocho tonos (fol. 14) fauxbourdons in all eight tones -los hymnos hymns -los versos de Magnificat sobre todos los ocho tonos (fol. 29) Magnificat verses on all eight tones -quatro Kiries de cada tono (fol. 41) four Kyries in each tone -los tientos (fol 51-68) tientos

Pedrell-Anglés chose pieces from the following sections: -las canciones glosadas y motets a quarto (fol. 69), songs with variations and motets in 4 voices, 7 pieces chosen out of 18, 1 partly, 2 by Hernando -los motetes de a cinco y canciones glosadas motets in 5 voices and songs with (fol. 105), variations, 5 pieces chosen out of 24, 1 by Hernando -los motetes y canciones a seys (fol. 159) motets and songs in 6 voices, 1 piece and a part of a second one, out of 7.

They concluded with the complete: -discantes (fol. 185-200) songs with variations.

I did not transcribe these works and so I did not make arrangements for other instruments.

My project concerns an edition of the three incompletely published sections of Cabeçon’s work meant for keyboard instruments or (diatonic) harp. As by-products I will separately give arrangements for 4-6 instruments, especially recorders, facilitated by Cabeçon’s way of music notation: tablature with each line bearing one voice. If you play other instruments than recorders you should play the treble recorder part one octave down, and read the other parts with clefs an octave down. I combined separate parts but the number of pages will not exceed 3. The page numbers only refer to the scores. Cabeçon maintained in his intabulations of existing pieces the composer’s original note values and represented the original pitches, “come stà”, so without correcting them for chiavetti. But he allowed himself libeeties especially in final bars. He broke up long notes and applied multiple diminutions and ornaments. In the table of contents I put an * with pieces the originals of which may be found in IMSLP or CPLD. So you can compare Cabeçon’s version with the original, but consult the original source if possible, for instance at Early music Online, https://repository.royalholloway.ac.uk/access/searching.do . The originals are playable on recorders too. I follow the Grove Music Online for the authorship of the original vocal pieces.

This first part of my edition will be the section in the content list (Tabla) “Comiençan las canciones glosadas y motetas a quarto,” “Here begin the songs with diminutions and motets in four voices.” It contains fifteen works in four voices and three in three voices. Cabeçon applied accidentals independently for every voice and repeated them for every note, as usual in the period. Though not usual any more I maintained that, and I did not correct Cabezon’s inconsistencies. But to be clear I had to add a natural or a flat sign where the signs were not repeated within the same bar and in places where voices cross. The performer should decide where he respects or corrects the inconsistencies. Many seeming inconsistencies are too consistent to be errors! But other editors and most performers, from Pedrell on, adapt modern use as to the accidentals. Pedrell and his followers do not give the details of their editorial accidentals. It is, however, very easy to add them oneself in this edition. But every voice should be played as an independent melody and clashes between, for instance, B flat and B natural may be regular and should not always be repaired. Of course evident errors should be corrected, and I mentioned them in the critical notes. Where relevant I will add critical and other remarks.

Arnold den Teuling, Assen, Netherlands, October 2015 March 2016

Contents of “las canciones glosadas y motetas a quarto” arranged for recorders or other instruments

Cabeçon’s TABLA with folio nrs. This edition with page numbers Prenes pitie criquillon 69 Thomas Crecquillon, Prenez pitié du mal* 5 Ie pres en grei criquillon 71 presumably Jacob Clemens non Papa, Je prens en gre*, (but there is a mass by Crecquillon on its theme) 10 Ie pres en grei glosado de idem, diminutions by Hernando Hernando de Cabeçon 73 (ed. Pedrell vol. 7 p. 11) 15 Si par sufrir criquillon 75 Thomas Crecquillon, Si parvenir* (not : Si par souffrir, set by other composers) 21 Cancion francesa, Clemens non papa 77 Jacob Clemens non Papa, French song 26 Ancolque col partire 78 Cipriano de Rore, Ancor que col partire* (ed. Pedrell vol. 7 p. 14) 29 Por un plasir criquillon 79 Thomas Crecquillon*, Pour un plaisir 33 Ungai bergier criquillon 80 Thomas Crecquillon*, Un gai berger 37 Dulce memoria glosada de Pierre Sandrin, Doulce mémoire*, diminutions by 42 Hernando de Cabeçon 82 Hernando (ed. Pedrell vol. 7 p. 17) Fuga a quatro vozes, todas Canonic fuga in 4 voices, sixth mode 48 las vozes por una, sexto tono 84 (ed. Pedrell vol. 7 p. 20) Queramus moton. con.2.y.3. Jean Mouton, Quaeramus cum pastoribus*, with 52 parte 85 2nd and 3rd part Queramus moton, con diferente Jean Mouton, Quaeramus cum pastoribus*, with 65 glosa con segunda parte 89 several diminutions with second part (ed. Pedrell vol. 7 p.22) Clama neceses Iusquin 92 Josquin Desprez, Clama ne cesses, Agnus Dei III 73 from the mass L’homme armée super voces musicales Osana de la missa del home Josquin Desprez, Hosanna from the mass 85 arme 97 L’homme armé Benedictus de la missa del Josquin Desprez, Pleni sunt caeli from the mass 91 home arme Iusquin 99 L’homme armé (3 voices) Avemaristela canto llano, Ave maris stella, plainchant in the tenor, in three 94 tenor a tres 100 voices (ed. Pedrell vol. 7 p.27) Beata viscera Mariae cantollano Beata viscera Mariae, plainchant in the bass, in 99 con el baxo a tres 102 three voices (ed. Pedrell vol. 7 p.31) Cum Sancto Spiritu de beata Josquin Desprez, Cum Sancto Spiritu from the 102 virgine 103 mass De beata virgine

5 Prenes pitie criquillon fol. 69, Prenez pitié du mal, Thomas Crecquillon (1505-1557)

Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015   Descant Recorder                      

Treble Recorder      

Tenor Recorder        Bass Recorder      

6                                                   

                

12                                                                          6 Prenez pitié - Cabezon/Crecquillon 18                                             

                                     24                                                                        

29 fol.69v                                                                                     

36                                                                                      Prenez pitié - Cabezon/Crecquillon 7 42                                                                                 

48                                                                            

54                                                                    

60 fol.70                            

                                            8 Prenez pitié - Cabezon/Crecquillon 66                                    

                                

72                                                                         

77                                                        

                      

82                               

                                  Prenez pitié - Cabezon/Crecquillon 9 88 fol. 70v                                                                      

93                           3 3 3 3                                                      3 3 99  3 3 3                         3 3 3               3                 3 3 3 3                     3 3 3 3 3 3 103                                       

             Descant Recorder Treble Recorder Prenes pitie criquillon fol. 69, Prenez pitié du mal, Thomas Crecquillon (1505-1557)

Treble Recorder      

6                                                   

12                                     20                                                 25                                                      30 fol.69v                                               

37                                            2 Descant Recorder, Treble Recorder 43                                        

50                                           

56                                 

62 fol.70                                  

69                                              

75                                                        

80                                             Descant Recorder, Treble Recorder 3 87 fol. 70v                                            95  3 3                                3 3 3 3 3 3              3 101  3                          3                                  Tenor Recorder Bass Recorder Prenes pitie criquillon fol. 69, Prenez pitié du mal, Thomas Crecquillon (1505-1557)

Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015   Tenor Recorder                        Bass Recorder       

14                                                   20                                     

29 fol.69v                                         

37                                              

44                                                    50                                       2 Tenor Recorder, Bass Recorder 58 fol.70                                             

65                                           

72                                         

80                                           

88 fol. 70v                                            

94                          3                    3 3 3 3

100               3    3 3                 3 3 3 3   10 Ye pres en grey Criquillon fol. 70v, Je prens en gre, Thomas Crecquillon (1505-1557) but more probably Jacob Clemens non Papa (ca 1510-1555/6) Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015   Descant Recorder                  Treble Recorder        

Tenor Recorder                Bass Recorder             

6 fol.71                                                                           

11                                                                            Cabezon/Clemens - Je prens en gre 11 16                                                   

                          

22                       

                                       

27                                                                    

32 fol.71v                                                                              12 Cabezon/Clemens - Je prens en gre 38                                               

                     

43                                                

                    

47                                                                                   

53                                                                                             Cabezon/Clemens - Je prens en gre 13 59 fol.72                                                                            

64                                                             

70                                                                                         

77                                                                            14 Cabezon/Clemens - Je prens en gre 83                                                    

                

88                                                                                     

93 fol.72v                               

                                      

99                                                                                     Cabezon/Clemens - Je prens en gre 15 105                                                                         Descant Recorder Treble Recorder Ye pres en grey Criquillon fol. 70v, Je prens en gre, Thomas Crecquillon (1505-1557) but more probably Jacob Clemens non Papa (ca 1510-1555/6) Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015   Descant Recorder                    Treble Recorder          

7 fol.71                                                                13                                                    

19                                             

26                                       

33 fol.71v                                               

40                                         2 Descant Recorder Treble Recorder 45                                               

52                                                 

59 fol.72                                                

64                                           

70                                            

78                                            

84                                                      Descant Recorder 3 Treble Recorder 90                                                  

97 fol.72v                                              104                                        Tenor Recorder Bass Recorder Ye pres en grey Criquillon fol. 70v, Je prens en gre, Thomas Crecquillon (1505-1557) but more probably Jacob Clemens non Papa (ca 1510-1555/6) Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015  Tenor Recorder                     Bass Recorder                    

7 fol.71                                     

16                                          24                                                  29 fol.71v                                           

36                                               

44                                             2 Tenor Recorder 52 Bass Recorder                                                

58 fol.72                                         

66                                           

74                                              

82                                          

91 fol.72v                                           

98                                                     Tenor Recorder 3 104 Bass Recorder                                            15

Ye pres en grey glossado de Hernando fol. 72v, Je prens en gre, Thomas Crecquillon (1505-1557) but more probably Jacob Clemens non Papa (ca 1510-1555/6) Hernando de Cabeçon (Madrid 1541-Valladolid 1602) Arrangement Arnold den Teuling   Descant Recorder            Treble Recorder     Tenor Recorder              Bass Recorder                          

5                                                            

11 fo.73                                                                       16 Hernando de Cabezon/Clemens - Je prens 16                                   

                                        

21                                         

                              

26   3 3                                            3                      3 3            3

31                                                                  Hernando de Cabezon/Clemens - Je prens 17 37                                            

                               

42 fo. 73v                    

                 

                                               

48                                        

                3                       3 53  3  3 3                      3                   3 3 3 3

3 3                   3 3                     3 3 3 3 18 Hernando de Cabezon/Clemens - Je prens 59                                              

                             

64                                                                                      

70 fo. 74                                

                                                

75                      3                         3 3 3 3 3 3

3                  3 3                   3 3 3 Hernando de Cabezon/Clemens - Je prens 19 81  3  3                      3               3 3 3                          3  3                 3 

88                                        

                                         

95                                    

                                            

100 fo. 74v                                                  3 3 3

3                          3                  20 Hernando de Cabezon/Clemens - Je prens 106                                    

                                          Descant Recorder Treble Recorder Ye pres en grey glossado de Hernando fol. 72v, Je prens en gre, Thomas Crecquillon (1505-1557) but more probably Jacob Clemens non Papa (ca 1510-1555/6) Hernando de Cabeçon (Madrid 1541-Valladolid 1602) Arrangement Arnold den Teuling   Descant Recorder                Treble Recorder              

8 fo.73                                  

16                                           

23  3 3                                                    3 29                                                    

36                                                

42 fo. 73v                                                2 Descant Recorder, Treble Recorder 49  3  3 3                              3                        3 3 3

56                                                3

62                                                

68 fo. 74                                                 

75                      3                         3 3 3 3 3 3

81  3  3                         3                  

89                                          Descant Recorder, Treble Recorder 3 97                                             

103 fo. 74v                                       3 3 3 107                              Tenor Recorder Bass Recorder Ye pres en grey glossado de Hernando fol. 72v, Je prens en gre, Thomas Crecquillon (1505-1557) but more probably Jacob Clemens non Papa (ca 1510-1555/6) Hernando de Cabeçon (Madrid 1541-Valladolid 1602) Arrangement Arnold den Teuling  Tenor Recorder                      Bass Recorder                

5                                         

12 fo.73                                              

18                                                        24                           3 3                3 32                                    

40                                                      2 Tenor Recorder, Bass Recorder 45 fo. 73v                                                

52  3 3                    3 3 3                           3 3 3 3 3

59                                            

66 fo. 74                                                

73  3                               3 3                   3

80  3 3 3                        3  3                     3 3 3 

87                                          Tenor Recorder, Bass Recorder 3 94                                                      100 fo. 74v  3                          3                  106                                            21 Si par suffrir. Criquillon fo. 74v Thomas Crecquillon (1505-1557), Si parvenir Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015   Descant Recorder                              Treble Recorder  

Treble/Tenor Recorder        Bass Recorder        6                                         

                             

12                                                                                     18                                                                         22 Cabezon/Crecquillon - Si parvenir 23 fol. 75                                                                       

28                                                                               33                                                                          

38                                                                                        Cabezon/Crecquillon - Si parvenir 23 43                                                                         

51                                                                           

59 fol. 75v.                                                                        

65                                                                                      24 Cabezon/Crecquillon - Si parvenir 71                                                

                     

76                                                   

81                                                                                 

87 fol. 76                                       

                                             Cabezon/Crecquillon - Si parvenir 25 92                                                                            

98                                                                                

104                                                                       

108                                                                    Crecquillon's chanson as published by Tylman Susato, Le tiers livre de chansons à quatre parties (composees par Maistre Thomas Crecquillon), fol IX, (Antwerp) 1544, indicates the repetition of the bars 96-112. Descant Recorder Treble Recorder Si par suffrir. Criquillon fo. 74v Thomas Crecquillon (1505-1557), Si parvenir Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015   Descant Recorder                              Treble Recorder  

6                                              

13                                              19                                             25 fol. 75                                         

31                                          37                                                        2 Descant Recorder 42 Treble Recorder                                         

50                                         

58 fol. 75v.                                            

64                               

             

70                                                   

76                              

82                                                       Descant Recorder 3 88 fol. 76 Treble Recorder                                              

95                                                  103                                          107                              Treble/Tenor Recorder Si par suffrir. Criquillon Bass Recorder fo. 74v Thomas Crecquillon (1505-1557), Si parvenir Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015

Treble/Tenor  Recorder            Bass Recorder            

10                                                

16                                          

22 fol. 75                                         

28                                                     33                                                  

41                                            2 Treble/Tenor Recorder 49 Bass Recorder                                    

57 fol. 75v.                                  

66                                                

73                                            

81                                          

88 fol. 76                                                      

94                                               Treble/Tenor Recorder 3 101 Bass Recorder                                                   

108                                            26 Cancion Francesa. Clemens non Papa fo. 76v French chanson, Jacob Clemens non Papa (ca 1510-ca 1555) Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015      Descant Recorder             Treble Recorder        Treble/Tenor      Recorder           Bass Recorder                 3 5                                                                   10                                                                                   Cabezon/Clemens - Cancion Francesa 27 16                                                                                 

22                                                                   

27                                            3 3             3                         3 3 3 3

33                                                                             28 Cabezon/Clemens - Cancion Francesa 38                                                                    43                                                               47                                                                

Bar 14, note 2 tenor: the f ' has been positioned right beneath superius a', but the expected sign for lengthening the preceding f is lacking; but, for instance, the lengtening signs after a and c' in bar 31 tenor and bass are also missing, where the interpretation leaves no doubt. If one accepts the positioning of the f ' in bar 14 as a printing error, a more regular alternative transcription could result: (tenor) crotchet f + minim f '. The clash f ' against (superius) g ' would not be unusual. I prefer the notes as transmitted. 29 Ancol que col partire fo. 77v Ancor que col partire, Cipriano de Rore (1515/6-1565) Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015   Descant Recorder                       Treble Recorder        Tenor Recorder          Bass Recorder           

6                            

                                              

11                                                                        30 Cabezon/Rore - Ancor que col partire 17                                                                                    

23                                                                                    

29 fo. 78                                                                           

34                                           

                        Cabezon/Rore - Ancor que col partire 31 39                                                    

                                                  

45                       

                                          

50                                                     

                                          

56 fo. 78v                                                            

                                   32 Cabezon/Rore - Ancor que col partire 62                                                   

                                        

67                      

                                               

72                                    

                                        

77                                                                                     Descant Recorder Ancol que col partire Treble Recorder fo. 77v Ancor que col partire, Cipriano de Rore (1515/6-1565) Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015                                    

8                                              

14                                            20                                                    

27 fo. 78                                       

33                                                      39                                                    V.S. 2 Descant Recorder, Treble Recorder 45                                        

53                                                             

58 fo. 78v                                                         

64                                    

70                                          

77                                                    Tenor Recorder Bass Recorder Ancol que col partire fo. 77v Ancor que col partire, Cipriano de Rore (1515/6-1565) Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015

  Tenor Recorder                 Bass Recorder                    

8                                              

16                                                 

23                                              

30 fo. 78                                            

36                                               43                                                      2 Tenor Recorder, Bass Recorder 49                                                

55 fo. 78v                                              

63                                                             70                                                      

76                                             33 Por un plasir. Criquillon fo. 79 Thomas Crecquillon (1505-1557), Pour ung plaisir Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015    Descant Recorder                     Treble Recorder                 Tenor Recorder                  Bass Recorder                    6                                                                             

12                                                                    34 Cabezon/Crecquillon - Pour ung plaisir 17                                                                           

22                                                                                         

28fo 79v                                                                    

33                                                                              Cabezon/Crecquillon - Pour ung plaisir 35 38                                                                                          

44                                                                            

49 fo. 80                                                                              

54                                                                                    36 Cabezon/Crecquillon - Pour ung plaisir 59                                                  62                                        Descant Recorder Treble Recorder Por un plasir. Criquillon fo. 79 Thomas Crecquillon (1505-1557), Pour ung plaisir Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015     Descant Recorder                            Treble Recorder                 8                                            13                                              

19                                          

26 fo 79v                                              

33                                           39                                                   2 Descant Recorder, Treble Recorder 45                                               51 fo. 80                                                  

57                               61                                Tenor Recorder Bass Recorder Por un plasir. Criquillon fo. 79 Thomas Crecquillon (1505-1557), Pour ung plaisir Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2015   Tenor Recorder                        Bass Recorder                      7                                           

15                                                

21                                                               

27 fo 79v                                           34                                             

40                                                           2 Tenor Recorder, Bass Recorder 47 fo. 80                                            

55                                                    60                            37 Ungaybergeir. Criquillon fo. 80. Thomas Crecquillon (1505-1557), Ung gay bergier Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016   Descant Recorder                             Treble Recorder         

Tenor Recorder                Bass Recorder        

6 fo. 80v                                                                       

11                                                       

                   38 Cabezon/Crecquillon - Ung gay bergier 16                                                   

                            

21                                                         

                                      

26                                                  

                            

32 fo. 81                                                

                               Cabezon/Crecquillon - Ung gay bergier 39 38                                                            

                

43                                                     

                                           

49           3                           

   3       

3                3           

54                                 

                                    40 Cabezon/Crecquillon - Ung gay bergier 60 fo. 81v                                         

                       

65                                       

                                 

72                                                                                             

78                                                                             Cabezon/Crecquillon - Ung gay bergier 41 84                                                                                          

90                                      

                   

93 fo. 82                        

                     

Bar 56 Bassus: Cabeçon notates a q above the e and a h above f, normally meaning: four crotchets + one minim. This notation is identical to bar 57. But there are only three note numbers in the bassus line bar 56, and four in bar 57. The positioning of these note numbers in the line of bar 56, compared to th`e positioning of the four note numbers of bar 57, may lead to the interpretation as a triplet. The usual sign 3 for a triplet is, however, missing. So I followed the alternative interpretation: hqq . Susato (Premier livre de chansons à quatre parties, Antwerp 1543, fo. xvi) only gives the first note as w, as expected. Descant Recorder Treble Recorder Ungaybergeir. Criquillon fo. 80. Thomas Crecquillon (1505-1557), Ung gay bergier Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016   Descant Recorder                               Treble Recorder         

7 fo. 80v                                                    12                                                              17                                                 23                                                       

28                                          

35 fo. 81                                                 2 Descant Recorder, Treble Recorder 40                                                             

45                                                       

51        3                      

  3        

56                                              

63 fo. 81v                                               

71                                                        

78                                                  Descant Recorder, Treble Recorder 3 85                                                   91 fo. 82                                                Tenor Recorder Bass Recorder Ungaybergeir. Criquillon fo. 80. Thomas Crecquillon (1505-1557), Ung gay bergier Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016   Tenor Recorder                   Bass Recorder                   

9 fo. 80v                                 18                                                   25                                            33 fo. 81                                    41                                                     50  3                  3                   2 Tenor Recorder, Bass Recorder 57 fo. 81v                                           

64                                     

72                                                 

79                                                 87                                        

92 fo. 82                            42 Dulce memoriae. Hernando de Cabeçon Fo.82 Pierre Sandrin (ca 1490 - after 1561), Doulce memoire Hernando de Cabeçon (Madrid 1541-Valladolid 1602) Arrangement Arnold den Teuling 2016

                   Treble Recorder      

Tenor Recorder 1      

Tenor Recorder 2         Bass Recorder                 5                 

              

                              

10                            

                                    Hernando de Cabezon/Sandrin - Doulce memoire 43 15                                   

                         

20 fo. 82v                                                                           

25                    

                                       

30                                       

                                  44 Hernando de Cabezon/Sandrin - Doulce memoire 36                                                                                      

41                       

                                            

46 fo. 83                                                                              

51                          3 3                                                  Hernando de Cabezon/Sandrin - Doulce memoire 45 59                                                                        

66                                          

                          

71                                                                                       

76 fo83v                                      

                       46 Hernando de Cabezon/Sandrin - Doulce memoire 80                                           

                   

84                                     

                                                    

89                                       3 3                                      3 3 94                                          3 3 3 3  3 3 3 3 3        

                                       3  3  3  3 3 3 3 3 3 Hernando de Cabezon/Sandrin - Doulce memoire 47 99                               

       

                           

Bar 26 and 52: the double bar lines are editorial. Sandrin's original has a repeat sign after bar 26, as in Tielman Susato, Le second livre de chansons à quatre parties, Antwerp 1544, fo. VII. Cabeçon makes different variations. Bar 79 Tenor: the natural is, by exception, Cabeçon's. Bar 93: The notated rhythm of the Bass line shows some irregularity. But because the rhthm notation of the bars 93-96 is nearly identical, I assumed that the rhythm was meant to be shifting triplets in bar 93 too. Tenor Recorder 1 Dulce memoriae. Hernando de Cabeçon Tenor Recorder 2 Fo.82 Pierre Sandrin (ca 1490 - after 1561), Doulce memoire Hernando de Cabeçon (Madrid 1541-Valladolid 1602) Arrangement Arnold den Teuling 2016             

                 9                         

                

14                           

                   20 fo. 82v                                                 

25            

                               30             

                             38                                              V.S. 2 Tenor Recorder 1, Tenor Recorder 2 43 fo. 83          

                       

51                                   

59                                    

68                

                   

74 fo83v                  

                   

81                                     

87                                      Tenor Recorder 1, Tenor Recorder 2 3 95                

                            Treble Recorder Bass Recorder Dulce memoriae. Hernando de Cabeçon Fo.82 Pierre Sandrin (ca 1490 - after 1561), Doulce memoire Hernando de Cabeçon (Madrid 1541-Valladolid 1602) Arrangement Arnold den Teuling 2016

                Treble Recorder          Bass Recorder                  6                                            

14                                      21 fo. 82v                                      

30                                        

36                                                    

41                                           2 Treble Recorder, Bass Recorder 47 fo. 83                                                               

53                       3 3                  

61                                        

67                                                              

73                                                  

78 fo83v                                                  

81                                                   Treble Recorder, Bass Recorder 3 86                                               91                                   3 3 3 3 3 3  3 3                            3  3  3 3 3 3 3 3 96                           3 3 3              3  3 3  100                                   48 Fuga a quatro todas las bozes por una sexto tono Fo. 84 Fuga in four voices, all voices equal, sixth tone. Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016   Descant Recorder                Treble Recorder      

Tenor Recorder           Bass Recorder         

8                                                                   16                                                                                 Cabezon - Fuga a quatro 49 24                                                         

32                 

           

                              

40                                                                              

48                                                        50 Cabezon - Fuga a quatro 57 fo.84v                                 

                             

65                                 

                             

73                                   

                               

81                                                                               Cabezon - Fuga a quatro 51 88                                *                                  

96                                      

                                       *

104                   

                       

110                      

                       * Bar 90 Tenor: semibrevis c: one would expect a minim c + minim rest. * Bar 101 note 1 Bass: d: one would expect f; presumably error, compare the error in Bar 43 note 2 Superius, corrected by Cabeçon. Descant Recorder Treble Recorder Fuga a quatro todas las bozes por una sexto tono Fo. 84 Fuga in four voices, all voices equal, sixth tone. Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016   Descant Recorder                    Treble Recorder      

9                                          18                                    

27                                      36                                   

44                                   

54 fo.84v                                  2 Descant Recorder, Treble Recorder 63                                   

72                                       81                                            

89                                        

98                                 

107                               Tenor Recorder Bass Recorder Fuga a quatro todas las bozes por una sexto tono Fo. 84 Fuga in four voices, all voices equal, sixth tone. Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016   Tenor Recorder              Bass Recorder           

11                                          

20                                      

29                                    

38                                       

46                                    

56 fo.84v                                    2 Tenor Recorder, Bass Recorder 65                                   

74                                       

83  *                                           

91                                    

100                                   * 107                              * Bar 90 Tenor: semibrevis c: one would expect a minim c + minim rest. * Bar 101 note 1 Bass: d: one would expect f; presumably error, compare the error in Bar 43 note 2 Superius, corrected by Cabeçon. 52 Quaeramus Moton Fo. 85. Jean Mouton (ca 1459-1522), Quaeramus cum pastoribus Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016   Descant Recorder        

Treble Recorder                           

Tenor Recorder         Bass Recorder        7                                               

             12                                               

                      Cabezon / Mouton - Quaeramus 53 18                                 

                               

23                                           

                        

29                                                    

                 

35   fo. 85v                                                                        54 Cabezon / Mouton - Quaeramus 40                                                                 

45                                    

                                    

50                    

       

                          

57                                                               Cabezon / Mouton - Quaeramus 55 62                                                               

              

68 fo.86 Segunda parte de Quaeramus                                                                

73                                                

              

78                                                      56 Cabezon / Mouton - Quaeramus 83                                                              

88                                    

                                   

94              

                                                      

100                                     

                                 Cabezon / Mouton - Quaeramus 57 105                                    

                           

111                                   

                            

118                              

                                 

124                             

                                             58 Cabezon / Mouton - Quaeramus 130 fo. 87                                                                          

136                       

                        

140                         

                               

146 Tercera parte de Quaeramus                                        

                 Cabezon / Mouton - Quaeramus 59 153                                    

                     

159                                                           

166                                          

                

172                                                                60 Cabezon / Mouton - Quaeramus 179                                      

               

185                                

                       

191                                

                                 

196                                                                                   Cabezon / Mouton - Quaeramus 61 201                                    

                                          

207                                                                                      

212 fo.88                                                                            

219                                                                    62 Cabezon / Mouton - Quaeramus 226                                 

                               

233                                                              

239                                            

                       

244                                                  

                   Cabezon / Mouton - Quaeramus 63 250 fo.88v                                                                     

257                                                                     

262                                                                 

268                                                                           64 Cabezon / Mouton - Quaeramus 274                                                                    279                                                                              Bar 32 Superius: the x is positioned 2 positions too far to the left. Alternatively, two 16th notes c" b' could be inserted. Bar 165 Bass f: lengthening sign is missing, compare Altus 157 (rest only in 166) Bar 266 Tenor note 1: only the point indicating f' - e" is clearly visible; f' is the most logical choice.

Mouton's motet consists of two parts. Cabeçon's parts 1 and 2 are Mouton's part 1, and Cabeçon's part 3 is Mouton's part 2. Descant Recorder Quaeramus Moton Fo. 85. Jean Mouton (ca 1459-1522), Quaeramus cum pastoribus Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016                               11                                  18                         27                       34 fo. 85v                                  40                                 46                               53                         62                           65                          68fo.86 Segunda parte de Quaeramus                          78                               2 Descant Recorder 86

                     94                         102                                          108                127                                135 fo. 87                        140                146 Tercera parte de Quaeramus                          155                         163                        171                        180                        191                              Descant Recorder 3 198                                  205                                    212 fo.88                        222                            230                          240                                   246                                    253 fo.88v                                    263                             272                      278                    Treble Recorder Quaeramus Moton Fo. 85. Jean Mouton (ca 1459-1522), Quaeramus cum pastoribus Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016

                           7                              15                        24                                   

31 fo. 85v                            38                        46               57         63                   

68 fo.86 Segunda parte de Quaeramus                                  78

                     87                   2 Treble Recorder 108                             116                             124                     

133 fo. 87          140         

146 Tercera parte de Quaeramus                        158                         167                      177                         186                       196                       208 fo.88                                 216                Treble Recorder 3 225                         236                             244                  

253 fo.88v                           262                     270                     277               Tenor Recorder Quaeramus Moton Fo. 85. Jean Mouton (ca 1459-1522), Quaeramus cum pastoribus Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016                     25 fo. 85v               36                46                            54                60          

68 fo.86 Segunda parte de Quaeramus                   80                          89                         97                                  103                            111                               2 Tenor Recorder 126                         

135 fo. 87                     140

                 146 Tercera parte de Quaeramus                  162                  176                 189

                  198                                 206                                

214 fo.88                          223                     231                     

244 fo.88v                    Tenor Recorder 3 255                     264                     274                      280                                Bass Recorder Quaeramus Moton Fo. 85. Jean Mouton (ca 1459-1522), Quaeramus cum pastoribus Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016                            21               

35 fo. 85v                          44                  54                           

62 fo.86 Segunda parte de Quaeramus                     71                        85                                 92               110                         119                           128  fo. 87                   2 Bass Recorder 137                     

146  Tercera parte de Quaeramus                  

166                   

179                    

194                                    201                          209  fo.88                      218                   

234                     

243 fo.88v                     

257                   

269                       

278                          65 Quaeramus. Moton. con differente glossa Fo. 89. Jean Mouton (ca 1459-1522), Quaeramus cum pastoribus, with different divisions Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016   Descant Recorder         Treble Recorder                         

Tenor Recorder        Bass Recorder       6                                                     

             11                                                      

                       66 Cabezon / Mouton - QuaeramusFull Score con differente glossa 17                                  

                              

22                                          

                            

28 fo. 89v.                                          

                     

33                                                            Cabezon / Mouton - QuaeramusFull Score con differente glossa 67 38                                                                     

43                                                                               

48                                               

                            

54                                                 § §                           68 Cabezon / Mouton - QuaeramusFull Score con differente glossa 59 fo. 90                                      

                                 

64                                                                                   

69 Segunda parte de Quaeramus. Moton.                                                                       

74                                                                              Cabezon / Mouton - QuaeramusFull Score con differente glossa 69 79                                                                                 

84 fo. 90v.                                                                   

89                                                                   

94                                                                     70 Cabezon / Mouton - QuaeramusFull Score con differente glossa 100                                                               

105                         

                                                 

110 fo. 91                       

                                         

115                                                

                Cabezon / Mouton - QuaeramusFull Score con differente glossa 71 119                                          

                               

124                                              

                       

129                                                                                          

134                                                                                 72 Cabezon / Mouton - QuaeramusFull Score con differente glossa 139  fo. 91v.                                                                                144                                                                     

Bar 16 Superius: hypothecically note 1 is a semibrevis, confirmed by Mouton'original elsewhere on this site. Bar 44 Superius note 3: hand written d' above the same ink stain, reverse page. Bar 55 Tenor notes 9 and 10: Mouton's original does not presuppose a leading note here, so I assume that the sharp sign should be replaced one position to the left, to sharpen the b flat.

Cabeçon's first two parts in this division set are only the first part of Mouton's original motet. Quaeramus. Moton. con differente glossa Fo. 89. Jean Mouton (ca 1459-1522), Quaeramus cum pastoribus, with different divisions Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016   Descant Recorder                  10                                18                       27                               34                                40                                     46                                         52                                  59                                      65 Segunda parte de Quaeramus. Moton.                                      74                                      81                                        2 Descant Recorder 86                            95                          103                                     109                     126                              134                              142                          Quaeramus. Moton. con differente glossa Fo. 89. Jean Mouton (ca 1459-1522), Quaeramus cum pastoribus, with different divisions Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016   Treble Recorder                          6                                   12                               18                         26                              33                      41                                   48                      58                      69 Segunda parte de Quaeramus. Moton.                                          79                      89                          2 Treble Recorder 97                                112                                  118                                     124                                  130                                        136                                       143                                 Quaeramus. Moton. con differente glossa Fo. 89. Jean Mouton (ca 1459-1522), Quaeramus cum pastoribus, with different divisions Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016  Tenor Recorder                       23

                     32              44                        53 § §                           62                                           69 Segunda parte de Quaeramus. Moton.                   80                           89                        100                                 108

                                     114                       2 Tenor Recorder 129                                          136

             143                Quaeramus. Moton. con differente glossa Fo. 89. Jean Mouton (ca 1459-1522), Quaeramus cum pastoribus, with different divisions Antonio de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016   Bass Recorder                    20                  33                          42                   52                   60             

69 Segunda parte de Quaeramus. Moton.                                80                       90                               96              113                                120                           2 Bass Recorder 129                         139                 144             Clama necesses. Iusquin. Fo. 91v. Josquin Desprez, Clama, ne cesses, Call, do not stop: Agnus Dei III from the mass L'homme armé super voces musicales Antonio de Cabeçon ( 1510-1566 ) 1 Arrangement Arnold den Teuling 2016  Descant Recorder   Treble Recorder            Descant Recorder                        

Treble Recorder          Tenor Recorder           Bass Recorder              5                                                 

                        10 fo. 92 To Tr. Rec.                                                                             74 Cabezon - Clama ne cesses 15 Treble Recorder                                     

                                

20                                                                      

25                                 

                              

30                                                                               Cabezon - Clama ne cesses 75 35 fo. 92v.                                                                          

41                                            

                             

47                                               

                         52                                   

                

                    76 Cabezon - Clama ne cesses 57                                                                                    

62 fo. 93                                                                     

67                                                                   

72                                                                         77 Cabezon - Clama ne cesses 77                                                             

82             3                           3 3

3 3                            

87 fo. 93v.                       

                                    

92                                            

                         78 Cabezon - Clama ne cesses 97                           

                                                  

102                                                                                       

107                                                                        

112 fo. 94                                         

                          Cabezon - Clama ne cesses 79 117                                      3 3 3          3                3 123                                      

                       

128        

      

                                              

133                                  

                          80 Cabezon - Clama ne cesses 138 fo.94v.                                           

                            

144                                               

                

149                                                                           

154                                                                  Cabezon - Clama ne cesses 81 159                                                                   

164 fo. 95                                       

                              

169                                          

                                            

175                                        

                                                82 Cabezon - Clama ne cesses 180                                               

                           

185                                        

                        

190 fo. 95v.                                                                   

195                             

                                             Cabezon - Clama ne cesses 83 200                      

                                                     

205                                           

                          

210                                                                  

215 fo. 96                                                                         84 Cabezon - Clama ne cesses 220                                       

                            225                                 

                                229                                                                     

The time signature in the original by Josquin Desprez is  for the superius,  for its "resolutio" (solution) and for the other parts. The Superius is originally the chanson L'homme armé. The bar lines are Cabeçon's. Cabeçon freely broke up the cantus firmus, and did not follow Josquin in bar 166-184. In a number of places I had to swap the voices 2 and 3 or 3 and 4,because of the relative small range of the recorders. The only real problem were the bars 127-129, where I had to transpose the Tenor an octave up, to prevent chords with wrong bass notes. The first part of the Superius may of course be performed on a treble recorder too, like the rest of this part.

Clama necesses. Iusquin. Fo. 91v. Josquin Desprez, Clama, ne cesses, Call, do not stop: Agnus Dei III from the mass L'homme armé super voces musicales Antonio de Cabeçon ( 1510-1566 ) 1 Arrangement Arnold den Teuling 2016   Descant Recorder Treble Recorder      Descant Recorder                               5                                      

10 fo. 92 To Tr. Rec. Treble Recorder                                 17

             

28 fo. 92v.              40                                 

47                                 

55                                      

60 fo. 93                      71                          80  fo. 93v.                  3 91                              2 Treble recorder, Descant Recorder 98                                

105                                       

110 fo. 94                                   

115                                 

122              

133                      

143 fo.94v.                                  

150

            

162 fo. 95             

174   

186 fo. 95v.              

198              

209 fo. 96

              Treble recorder, Descant Recorder 3 221

       

228         Clama necesses. Iusquin. Fo. 91v. Josquin Desprez, Clama, ne cesses, Call, do not stop: Agnus Dei III from the mass L'homme armé super voces musicales Antonio de Cabeçon ( 1510-1566 )  1 Arrangement Arnold den Teuling 2016 Treble Recorder                 

9 fo. 92                               

16                                   

22                                        

28                               

35 fo. 92v.                               

42                        

50                               

57 fo. 93                                      64                                  

70                        

77                              2 Treble Recorder 83 fo. 93v.                           3 3 90                                 

97                   

108 fo. 94                    

118                                3 3 3 125                           

136                                  

143 fo.94v.                             

150                                

156                                  

162 fo. 95                                     

168                                      

174                                    Treble Recorder 3 180                                        

185                                 

190 fo. 95v.                             

197                        

204                                    209                                 

215 fo. 96                                    

220                                        

226                        

230                       Clama necesses. Iusquin. Fo. 91v. Josquin Desprez, Clama, ne cesses, Call, do not stop: Agnus Dei III from the mass L'homme armé super voces musicales

Antonio de Cabeçon ( 1510-1566 ) Arrangement Arnold den Teuling 2016 1    Tenor Recorder             11 fo. 92                            20                         28 fo. 92v.                       

37                    48                     57 fo. 93                            66                              

75                        

82 fo. 93v. 3 3                        90

                         99                              2 Tenor Recorder 106 fo. 94                          116                 

127                                          133 fo.94v.                       145                         153                             160                                   

167fo. 95                                     173                            181                         189 fo. 95v.                      197                           205                           Tenor Recorder 3 213 fo. 96                           

221                         227                        Clama necesses. Iusquin. Fo. 91v. Josquin Desprez, Clama, ne cesses, Call, do not stop: Agnus Dei III from the mass L'homme armé super voces musicales Antonio de Cabeçon ( 1510-1566 ) Arrangement Arnold den Teuling 2016  1    Bass Recorder                8  fo. 92                          

17                         

26                             33 fo. 92v.                                

39                            

47                   

58 fo. 93                       67                              74                     

83 fo. 93v.                         

92                              2 Bass Recorder 100                              109 fo. 94                

119   3                 3    129                           

137 fo.94v.               150               

160 fo. 95                   

170                                 178                       187 fo. 95v.                        

195                                     

201                                 

208   fo. 96                   Bass Recorder 3 217                    

226                          Osanna dela missa de lome arme fo. 96v. Josquin Desprez (ca 1450-1521, Hosanna from the mass L'homme armé super voces musicales A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016    1       Treble Recorder         Superius   

 Tenor Recorder   Altus                    Tenor Recorder  Tenor          Bass Recorder  Bassus        5                           

                             

               10                                                                                 86 Cabezon / Josquin - Hosanna L'homme armé 15                                                               

19                                                       

                  

23 fo. 97                  

            

              

                   

28                3                                                       Cabezon / Josquin - Hosanna L'homme armé 87 34                          3 3 3 3                                        3             

40                              

                                            

45                            

                                                           

50 fo. 97v                                              

                                  88 Cabezon / Josquin - Hosanna L'homme armé 55                    

                                                      

60        

                         b                                                

65                        

                                            

70                  

                                               Cabezon / Josquin - Hosanna L'homme armé 89 74 fo. 98                                         

                           

79                           

                

                                 

84                                 

                               

                  89                                              

                           90 Cabezon / Josquin - Hosanna L'homme armé 94                     

               

                              98 fo. 98v.                                                                               

The cantus firmus is, with divisions, in the tenor, beginning in bar 9 and ending in bar 83; the final note of Josquin's original is 88, with Cabeçon's fermate. Josquin's cantus firmus has a flat sign throughout, the other parts have not. So I added an editorial accidental in Tenor bar 62. I leave it to the performer to apply other accidentals according to modern or other use, for instance in Bass bar 61; the flat in Bass bar 59 is Cabeçon's. I printed the tenor in purple. As indicated by the time signature Josquin's original has been written in a tripartite time system. Two longae are equivalent with three bars in Cabeçon's arrangement. One could read the time signature as 6/2. Bar 4 note 2 Altus: the natural is by exception Cabeçon's. Osanna dela missa de lome arme Treble Recorder fo. 96v. Josquin Desprez (ca 1450-1521, Hosanna from the mass L'homme armé super voces musicales A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016  1      Treble Recorder              Superius    

6                             

18                                     

23                          

31                           3 3 39                               

45                                

52                                    57                      

68                     77                               

84                                    2 Treble Recorder 90                            

97                                      Osanna dela missa de lome arme Tenor Recorder 1 fo. 96v. Josquin Desprez (ca 1450-1521, Hosanna from the mass L'homme armé super voces musicales A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 1  Tenor Recorder         Altus                       6                                12                           22                      32 3 3 3                               40                             48                    

56                                     62                            70 b                                  

78                          85                                   2 Tenor Recorder 1 90                               

96                              Osanna dela missa de lome arme fo. 96v. Josquin Desprez (ca 1450-1521, Hosanna from the mass L'homme armé super voces musicales A. de Cabeçon (1510-1566) Tenor Recorder 2 Arrangement Arnold den Teuling 2016 1                    

13                         

18                

24              

34                 

41              

48              

60                 

63             2 Tenor Recorder 2 68             

77            

          

95               Bass Recorder Osanna dela missa de lome arme fo. 96v. Josquin Desprez (ca 1450-1521, Hosanna from the mass L'homme armé super voces musicales A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 1    Bass Recorder          Bassus              13                            

21                       

28                                 

34  3                    

43                                     

50                                

57                            65                                        70                                       74                           82                             2 Bass Recorder 90                    

96                          Benedictus de la missa delome arme. Iusquin fo. 98v. Josquin Desprez (ca 1450-1521), Pleni sunt caeli from the mass L'homme armé super voces musicales A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 1   Tenor Recorder 1              Tenor Recorder 2             Bass Recorder                       6                                                        11                                                        16                                                                       21 fo. 99                                                                        92 Cabezon / Josquin - Pleni sunt from L'homme armé 26                                                                      32                                                       

37                                                          

42                                                               

48                                                          Cabezon / Josquin - Pleni sunt from L'homme armé 93 53 fo. 99v.                                                                 59                                                                        65                                                         

In this part of the mass Josquin did not apply the cantus firmus of L'homme armé. Cabeçon referred to the wrong part of the Sanctus/Benedictus. Tenor Recorder 1 Benedictus de la missa delome arme. Iusquin fo. 98v. Josquin Desprez (ca 1450-1521), Pleni sunt caeli from the mass L'homme armé super voces musicales A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 1   Tenor Recorder 1                 13                                   19                                    

25 fo. 99                        34                                41                       49                       56                                  62                        66                                    Tenor Recorder 2 Benedictus de la missa delome arme. Iusquin fo. 98v. Josquin Desprez (ca 1450-1521), Pleni sunt caeli from the mass L'homme armé super voces musicales A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 1        Tenor Recorder 2                  8                                

14                          

22 fo. 99                                      

28                     

40                                      

46                               52                        59                 

64               Bass Recorder Benedictus de la missa delome arme. Iusquin fo. 98v. Josquin Desprez (ca 1450-1521), Pleni sunt caeli from the mass L'homme armé super voces musicales A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016  1       Bass Recorder                       7                       

19                             28                               34                              

41                  

52                       

61                        Avemaristela Fo. 99v. Ave maris stella, canto llano, tenor a tres Plainchant in tenor, three voices A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 1                       Treble Recorder               

Tenor Recorder            Bass Recorder            5 fo. 100                                        

                                      10                                 

                                      15                                                                 20                                    

                                                        Cabezon - Ave maris stella 95 26                                       

          

29   fo. 100v.                                      

                            

33                               

                                

37                             

                               

41                              

                                  96 Cabezon - Ave maris stella 46                                                                   

51                                     

                         

56 fo. 101                                      

                     

61                                

                                        

66                                

                                Cabezon - Ave maris stella 97 71                                  

                            

75 fo. 101v.                                     3 3 3

         3 3                  

81                               

                          86                           

                                

91                              3 3 3

       3                      98 Cabezon - Ave maris stella 96                              

        3          

The beginning of the cantus firmus is similar to the most usual melody in the Liber usualis p. 1259, but the rest is different. The melody ends in bar 78 and is freely repeated from bar 65, beginning in bar 82. The original contains extra bass notes in bars 80-81 and 97-100, which I had to simplify; the tenor ended on d (modus 1). Treble Recorder Tenor Recorder Avemaristela Fo. 99v. Ave maris stella, canto llano, tenor a tres Plainchant in tenor, three voices A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016  1                      Treble Recorder               

Tenor Recorder         5                                        

      10                                       

      

16                              

        

24                                        

     28                                         

     32                                   

       2 Treble Recorder, Tenor Recorder 38                              

      

43                                    

     

48                                     

       

53                                    

     

58                                       

     

63                              

      

68                             

      Treble Recorder, Tenor Recorder 3 73                                  3 3 3

         80                                  

      85                             

      90                                3 3 3

       96                                        

       Tenor Recorder Avemaristela Bass Recorder Fo. 99v. Ave maris stella, canto llano, tenor a tres Plainchant in tenor, three voices A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 1                                               8                                            

14                                              19                                                           25                                     

32                                          

38                                           V.S. 2 Tenor Recorder, Bass Recorder 44                                             

51                                   

59                                             

65                                           

72           3                              

79           3                         

86                                            Tenor Recorder, Bass Recorder 3 92              3 3                      Beata viscera mariae. Cantollano conel baxo a tres. Fo. 102. Plainchant in the bass, three parts. A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 1   Tenor Recorder/    Treble recorder                                       Treble Recorder           Bass Recorder           5                                                                         11                                                                        15 To Tr. Rec. Treble Recorder                                                          100 Cabezon - Beata viscera 19                                  3 3  3 3                                3 3 3 3       

24 fo. 102v.                                                                              

29                                                                          

34                                                                       

39                                                                     Cabezon - Beata viscera 101 44                                                             48 fo. 103                                                                      53                                                                  57                                                   

The cantus firmus shows some similarity with the plainchant communio for feasts for St Mary (commune festorum B. Mariae virginis) as in the Liber usualis, p.1268, and none with responsory of the Christmas Matins, p. 389. The change from tenor recorder to treble should be done somewhere between bar 16 and 25. Beata viscera mariae. Cantollano conel baxo a tres. Fo. 102. Plainchant in the bass, three parts. Tenor Recorder/ Treble recorder A. de Cabeçon (1510-1566) Treble Recorder Arrangement Arnold den Teuling 2016  1                                  5                                 10                              

14 To Tr. Rec. Treble Recorder                                    17                         

21                            3 3 3 3

25 fo. 102v.                          

29                           

33                          

37                             V.S. 2 Tenor Recorder/ Treble recorder, Treble Recorder 42                          

47 fo. 103                         

52                            

56                             Treble Recorder Beata viscera mariae. Cantollano conel baxo a tres. Fo. 102. Plainchant in the bass, three parts. A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016  1                          

7                     12                                18                             3 3 22    fo. 102v.                           3 3 26                            

31                                    36                            

41                                  46  fo. 103                           V.S. 2 Treble Recorder 51                               55                              Bass Recorder Beata viscera mariae. Cantollano conel baxo a tres. Fo. 102. Plainchant in the bass, three parts. A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016  1              

10              

20 fo. 102v.             

30            

40             

49 fo. 103        

55          Cum sancto Spiritu. Iusquin. Fo. 103. Cum Sancto Spiritu from the Mass De beata virgine, Josquin Desprez. A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 1    Descant Recorder 3                                  Treble Recorder   3  Tenor Recorder 3          Bass Recorder  3        6                                                       

                12   fo. 103v.                                                                  Cabezon / Josquin - Cum Sancto Spiritu 103 18                                                             

23                                                   

            

28                                     

                           

34                                      

                     104 Cabezon / Josquin - Cum Sancto Spiritu 39                                            B  

     G          

44  fo. 104                       

                                    

49                                    

                         

54                                                                Cabezon / Josquin - Cum Sancto Spiritu 105 59                                                                               

64                                                                                 

69                                                                  

73                                    

                        106 Cabezon / Josquin - Cum Sancto Spiritu 76                                   

                      One bar in Cabeçon is a brevis in the edition of Petrucci's Missarum Josquin liber tertius, Venice 1514. The time signature in Petrucci is  . Three bars in Cabeçon are equivalent with one in, for instance, Smijers's edition of Josquin's Werken 30.16, p. 137, bars 223-250. Cabeçon has  . Josquin's original clefs in this part of the Gloria are G2 C3 C3 F4, possibly chiavetti, and in that case the piece should be sung a fourth down. For a male voice is g" too high. However, the lowest tone is now F, a fourth down would result C, which is very low for a normal bass voice. Superius bar 5 note 5: the superfluous natural is Cabeçon's. I changed Tenor bar 34-43 note 1 to the treble recorder part. Descant Recorder Treble Recorder Cum sancto Spiritu. Iusquin. Fo. 103. Cum Sancto Spiritu from the Mass De beata virgine, Josquin Desprez. A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016  1   Descant Recorder 3                                  Treble Recorder   3

6                                                       

12                                           23                                                   28                                            

35                                             41                                         B     2 Descant Recorder 47 fo. 104 Treble Recorder                                       55                                               60                                               

66                                               

71                                          75                                             Tenor Recorder Bass Recorder Cum sancto Spiritu. Iusquin. Fo. 103. Cum Sancto Spiritu from the Mass De beata virgine, Josquin Desprez. A. de Cabeçon (1510-1566) Arrangement Arnold den Teuling 2016 1    Tenor Recorder 3              Bass Recorder  3            14                                           

20                               

33                                      

41   G                                       

50                                    

58                                                   2 Tenor Recorder 65 Bass Recorder                                              

72                                    76                       