1 For a broader discussion of improvised ornamentation in the Renaissance, see Kuhn, Max, Die Verzierungs-Kunst in der Gesangs-Musik des 16.-17. Jahrhunderts (1535–1650), Leipzig, 1902, and Imogene Horslev, ‘Improvised Embellishment in the Performance of Renaissance Polyphonic Music’, Journal of the American Musicological Society, iv (1951), 3–19. A complete bibliography of treatises on embellishment and collections of embellished compositions from 1535 to 1688 can be found in Ernst T. Ferand, ‘Didactic Embellishment Literature in the Late Renaissance: A Survey of Sources’, Aspects of Medieval and Renaissance Music: A Birthday Offering to Gustave Reese, ed. Jan La Rue, New York, 1966, pp. 154–72, which includes alphabetical lists of composers and individual works represented in the manuals. Selected examples of decorated compositions can be found in Die Improvisation, ed. Ferand (Das Musikwerk, xii), Cologne, 1956. The principles formulated in the various treatises of the late sixteenth century are discussed in Howard Mayer Brown, Embellishing Sixteenth-Century Music, London, 1975.Google Scholar

2 On the Colourists see August G. Ritter, Zur Geschichte des Orgelspiels, Leipzig, 1884, p. 111; Willi Apel, The History of Keyboard Music to 1700, transl. and rev. Hans Tischler, Bloomington, Indiana, and London, 1972, p. 246; and Gustave Reese, Music in the Renaissance, rev. edn., New York, 1954, pp. 665 ff.Google Scholar

3 See Bridgman, Nanie, ‘Giovanni Camillo Maffei et sa lettre sur le chant’, Revue de musicologie, xxxviii (1956), 3–34.CrossRefGoogle Scholar

4 Il secondo libro de madrigali a cinque voci, con passaggi…, Venice, 1590. These evidently were intended to serve as examples of group embellishment. The unique set of part-books in Vienna, Österreichische Nationalbibliothek, lacks the tenor.Google Scholar

5 Facsimile edn., Milan, 1934; very free German translation by Hildemarie Peter, Berlin, 1956; English translation from the German by Dorothy Swainson, Berlin, 1959.Google Scholar

6 The printed sources of intabulations are listed and described in Howard Mayer Brown, Instrumental Music Printed before 1600, Cambridge, Mass., 1965; manuscript sources are listed in Wolfgang Boetticher, ‘Bibliographie des sources de la musique pour luth’ (unpublished typescript), Paris, 1957.Google Scholar

7 Der ander theil des Lautenbuchs, Nuremberg, 1536, No. 29.Google Scholar

8 On these mid-century lutenists see Chilesotti, Oscar, ‘Note circa alcuni liutist i italiani della prima metà del Cinquecento’, Rivista musicale italiana, ix (1902), 36–61 and 233–63. On Bianchini, see R. de Morcourt, ‘Le Livre de tablature de luth de Domenico Bianchini (1546)’, La Musique. instrumentale de la Renaissance, ed. Jean Jacquot, Paris, 1955, pp. 177–95; on Crema, H. Colin Slim, ‘Gian and Gian Maria, Some Fifteenth- and Sixteenth-Century Namesakes’, The Musical Quarterly, lxxvii (1971), 562–74, and the modern edition of Crema's anthology, ed. Giuseppe Gullino, Florence, 1955; on Perino, Elwyn A. Wienandt, ‘Perino Fiorentino and his Lute Pieces’, Journal of the American Musicological Society, viii (1955), 2–13, and Frank A. D'Accone, ‘Alessandro Coppini and Bartolomeo degli Organi’, Analecta musicologica, iv (1967), 49–50, where Perino is identified as the son of Bartolomeo; on Rotta, Elda Martellozzo Forin, ‘Il maestro di liuto Antonio Rotta (†1549) e student: dell'università di Padova suoi allievi’, Memorie della Accademia Patavina (Classe di Scienze Morali, Lettere ed Arti), lxxix (1966–67), 425–43; and on Francesco, H. Colin Slim, ‘Francesco da Milano (1497–1543/44): A Bio-Bibliographical Study’, Musica Disciplina, xviii (1964), 63–84, and xix (1965), 109–29.Google Scholar

9 They not infrequently altered details, but literal transcription remained their ideal, as the explanation of the technique for intabulating vocal music for keyboard instruments in Juan Bermudo, Comienca el libro llamado declaracion de instrumentos musicales (Ossuna, 1555; facsimile edn. by Macario Santiago Kastner, Cassel, 1957), ff. 82^v-85, and the explanation of the technique for lute in Vincenzo Galilei, Fronimo (2nd rev. edn., Venice, 1584), ff. 14–57, make clear. But note that Francesco Vindella invents an additional voice in bars 12–14 of Ex. 1.Google Scholar

10 See Donington, Robert, The Interpretation of Early Music, London, 1963, p. 96. For lute music a distinction should probably be made between graces in which each note is plucked by the right hand and those which are fingered by the left hand though the right hand plucks but once.Google Scholar

11 See Adriansen, Emanuel, Pratum Musician, Antwerp, 1584, and Giovanni Antonio Terzi, Intavolatura di liutto … Libro primo, Venice, 1593 (listed in Brown, Instrumental Music, as 1584⁶ and 1593⁷ respectively).Google Scholar

12 The vocal version is taken from Il primo libra de i madrigali d'Archadelt a quatro, Venice, 1541, where it is ascribed to Berchem. The versions for lute are transcribed after the volumes listed in Brown, Instrumental Music, as (a) 1546³, (b) 1546⁵, (c) 1547³, and (d) 1546¹⁷.Google Scholar

13 The table follows the pattern established by Ganassi in his Fontegara of 1535 and imitated numerous times later in the sixteenth century. The basic interval is given first without clef, to allow transposition to any pitch. The graces that follow are written in time values that correspond to the form of the basic interval; but they can be doubled or halved in value or added to the vocal original in some other rhythmic permutation.Google Scholar

14 See, for example, Tomàs de Sancta Maria, Libro llamado arte de latter fantasia, Valladolid, 1565, Book I, chap. 23.Google Scholar

15 For a list of the ten volumes in the series, see Brown, Instrumental Music pp. 76–77.Google Scholar

16 All of these points are discussed at greater length in Howard Mayer Brown, ‘Accidentals and Ornamentation in Sixteenth-Century Intabulations of Josquin's Motets’, Proceedings of the International Josquin Festival-Conference (forthcoming).Google Scholar

17 The Lute Music of Francesco Canova da Milano (1497–1543), ed. Arthur J. Ness, Cambridge, Mass., 1970, and Francesco da Milano, Complete Works for Lute, ed. Ruggero Chiesa, Milan, 1971.Google Scholar

18 See Janequin, Chansons polyphoniques, ed. A. Tillman Merritt and François Lesure, i (Monaco, 1965), 5–22, and Francesco da Milano, Lute Music, ed. Ness, pp. 343–53.Google Scholar

19 For further discussion of Francesco's treatment of Josquin's motets, see Brown, ‘Accidentals and Ornamentation’.Google Scholar

20 The chanson is reproduced after Isabelle Anne-Marie Cazeaux, The Secular Music of Claudin de Sermisy (unpublished dissertation), Columbia University, New York, 1961, ii. 237, and the in tabulation from Francesco da Milano, Lute Music, ed. Ness, p. 276 (note-values doubled).Google Scholar

21 Modern edition with German translation by Max Schneider, Leipzig, 1924. An English translation by Peter Farrell appears in Journal of the Viola da Gamba Society of America, iv (1967) 5–9.Google Scholar

22 The vocal version is taken from Harmonice Musices Odhecaton A, ed. Helen Hewitt, Cambridge, Mass., 1942. p. 394, and the intabulation from Spinacino, Intabulatura I, No. 20. My discussion of Spinacino's technique is indebted to Henry Louis Schmidt III, The First Printed Lute Books: Francesco Spinacino's Intabulatura de lauto, Libro primo and Libro seconds (Venice : Petrucci, 1507) (unpublished dissertation), University of North Carolina, 1969.Google Scholar

23 The vocal version is taken from Odhecaton, ed. Hewitt, p. 379, and the in tabulation from Spinacino, Intabulatura I, No. 2.Google Scholar

24 See M. A. Cavazzoni, J. Fogliano, J. Segnied Anonimi: Composizioni per organo, ed. Giacomo Benvenuti (I Classici musicali italiani, i), Milan, 1941; also Die italienische Orgelmusik am Anfang des Cinquecento, ed, Knud Jeppesen, Copenhagen, 1943 (rev. edn. 1960).Google Scholar

25 ‘La bernardina’ is taken from Arnold Schering, Geschichte der Musik in Beispielen, Leipzig, 1931, p. 61, and the intabulation from Spinacino, Intabulatura I, No. 10.Google Scholar

26 Das Buxheimer Orgelbuch, ed. Bertha Wallner (Das Erbe deutscher Musik, xxxvii-xxxix), Cassel, 1958–9. All of the other fifteenth-century German keyboard manuscripts are published in Keyboard Music of the Fourteenth and Fifteenth Centuries, ed. Willi Apel (Corpus of Early Keyboard Music, i), American Institute of Musicology, 1963.Google Scholar

27 For the vocal version, see Odhecaton, ed. Hewitt, pp. 263–4; for the intabulation, Capirola, Lute-Book, ed. Gombosi, pp. 31–33.Google Scholar

28 See for exampe Tromboncino's ‘Poi che'l ciel’ and Dalza's in tabulation of it: Le Frottole nell'edizione principe di Ottaviano Petrucci, ed. Gaetano Cesari, Raffaello Monterosso and Benvenuto Disertori, Cremona, 1954, p. 18; and Le Frottole per canto e liuto intabulate da Franciscus Bossinensis, ed. Benvenuto Disertori, Milan, 1964, pp. 225–7.Google Scholar

29 Some of the intabulations published by Antico are reprinted in Italienische Orgelmusik, ed. Jeppesen. See there, pp. 68–78, for a more detailed discussion of their ornamentation.Google Scholar

30 The history of continuous figuration applied to vocal music by virtuoso soloists in the sixteenth century is sketched in Brown, Embellishing Sixteenth-Century Music.Google Scholar

31 The First Book of Consort Lessons Collected by Thomas Motley, 1599 and 1611, ed. Sydney Beck, New York, 1959.Google Scholar

32 Prattica di musica, Venice, 1592 (facsimile edn., n.d.); see especially ff. 58 and 77.Google Scholar

33 Los seys Libras del Delphin de Música de Cifra para tañer Vihuela, ed. Emil Pujol (Monumentos de la Música Española, iii), Barcelona, 1945. The music of Antonio de Cabezón, published in Obras de musica para tecla arpa y vihuela (Madrid, 1578), includes graces used as motifs with unusual artfulness.Google Scholar