56 Example 20c, p. I-30 – labeled, with ficta56 Example 20c, p. I-30 (MP3). MIDI56 Example 20c, p. I-30 (MP3). Ensemble Les Sacqueboutiers56 Example 20c (MP3). Recorders (VP)
57 Example 20d, p. I-30 – labeled, with ficta57 Example 20d, p. I-30 (MP3). MIDI57 Example 20d (MP3). Recorders (VP)
Puedese echar otra manera sobre el canto llano sobredicho, [f. 27v] la qual…
There is another possible type of counterpoint on the same plainsong, [f. 27v] which consists of…
On peut faire d’une autre façon sur le même plain-chant, [f. 27v] laquelle…
[^*]: [In Example 20a, ficta has been added (see bars 4, 7, or 11) following the initial motive formed by sol la fa fa re solmization notes. Same in Example 20d, bars 5, 15, and 27 (both a flat and a sharp have been added). The solmization motive in this example (ut re mi fa re sol fa sol) has also been followed to interpret the three different examples of flat placement that appear in this example. See below.—Tr.]
01: Example 20d (below the fourth note of the plainchant)
02: Example 20d (below the fifteenth note of the plainchant)
03: Example 20d (below the twenty-fourth note of the plainchant)
01: fol. 27, 57 Example 20d, first staff (excerpt)
