Resources for medieval musicology and liturgy
An untranscribed motet in Autun 152 (other pieces: – [P]uis qu’ainsy est qu’ay l’amour de m’ami – rondeau, 3vv (PMFC 22, no. 62; not in Apel CMM). Text residuum is after the Ct part; also De narcisscus : Trem, Pit, Reina, Chantilly, Autun 152, Paris n. a. frç 6221 [text source], SL 2211, : Bergamo 589 (PMFC 18, no. 16).
tenor is O Christe pietas. As in Paris BnF lat. 15181, f. 375r http://gallica.bnf.fr/ark:/12148/btv1b8447768b/f757.item (only one note different). – isorhythmic in Ct and Tenor. possibly in missing Triplum?
Thank you for your work!
If I may, I have a few questions.
Why didn't you take into account the diesis in the Ct, transcription staff 2 measure 2? The hand seems different, but couldn't the sign, with the dot inside, look medieval nevertheless? The resulting augmented fourth would be interesting.
And between staves 2 and 3, upper voice: I think your music software ate several notes (d semibrevis, c-d minimae). But since the arrival on c-c-d (staff 3) contrapuntally works, wouldn't that be possible that the voices could be shifted so that the counterpoint falls in place? I don't know what to think about the 9th f-c-g, staff 2 measure 6, and the d-a-b chord two measures later.
Maybe there is something with the notes at the beginning of the second staff of the upper voice in the manuscript? If the last 6 measures of the second staff of your transcription were shifted by one half-note to the left, the counterpoint would be improved. What do you think?