2MALONS 0,c@2 MA se TRES LIBROS 4 RAS PARA YIBVELA. ENEL PRIMFRO AY MVSICA FACIL Y DIFI ellen fentafias: yYComPofturastyPauanas: ¥ Gallordas:y AlGumas fantas ‘las pore guitorra. Pl fepido trate delos ochotonos (omodos) ‘tene muchas fantefias Por diuerfas portesry Come pofturas glofadaseEl terceroes de mufica pare centada ytsblds, Tienemos tetes. Pfalmos. Romances. canclones,Sonettos en ‘eaftellmoty Italiano Yerfos? tatin, Villazicos, Dis rigidos al muymagnl+ fico fefior el fer Bor dé Luys: ers of ‘Fue {empreffo el prefente libro enla muy noble yleal cludad de Sedillln en eafade IuandeLed, Fe S46.INTRODUCTION The Tres libros de musica, published as one volume in 1546 by Alonso Mudarre, must be considered amongst the most important publications from Spain's musical history, and the music contained therein, perhaps the best in the vihuela repertoire. Juan Bermudo, the famous theorist-musician and @ contemporary of Mudarra's, considered him to be one of the best vihuelists of the time (Declaracion de instrumentos ... 1555, f. 29). Little else is known about Mudarra. He was born in c. 1520, died in 1880, and was a Canon in the cathedral of Seville from 1547 until his death." The Tres libros is his only publication and contains a wide variety of music, from solo fantasias, intabulations of sacred music, dances, and solo songs accomanied by the vihuela. The latter, some of the most beautiful in the repertoire, appear to have been idiomatically conceived for voice and a unique, free-composed vihuela accompaniment. This wes most unusual for the time; generally, lute and vihuela songs were merely intabulations of pre-existing part songs. As a composer of secular songs, Mudarra is only equalled, at the end of the century, by John Dowland. Also contained in the Tres libros is a section of music for the four-course guitar, and an example of a new system of ‘tablature which Mudarra recommends for the harp or keyboard. ‘Though there is a modern edition of Mudarra’s work?, his music has not as yet been fully assessed and is infrequently performed. Onty two known copies of the original have survived, both are to be found in Spain; one is in the Library of El Escorial and the other is in the Biblioteca Nacional in Madrid. The copy generally thought to be in the Zurich Central Library does not apparently exist; both surviving copies are imperfect but between them they are complete, For this complete edition the Nacional copy has been used, and the damaged sections in it, which are only restricted to a few of the tops of the pages at the end of book III, and none of the music itself, have been completed with reference to the Escorial copy. At the back of the Nacional copy there is a handwritten section, not in the Escorial copy, which on being bound with, and cut done to the same size as the printed section had some of the music at the edges of the pages removed. These pages are reproduced at slightly smaller than natural size in order to show the page ‘outline, thus facilitating attempted reconstruction; the printed section has been reproduced at natural size. It is hoped thet this facsimile edition, presenting as it does Mudarra’s music exactly as he wrote it, will help to create ‘@ more active interest in this fine and important repertoire amongst players and musicologists alike.‘The vihuela de mano It is generally agreed by writers both past and present that the instrument with the distinctive “waisted” shape suggesting a figure-eight", a flat or slightly vaulted back, and a fretted neck somewhat longer than most contemporary plucked instruments (such as the lute), originated on the Iberian peninsula. The earliest pictorial evidence, however, comes from Italy at the beginning of the fifteenth century,® where the instrument, known as the “viola da mano” or, simply, “viola”, and having five, six or occasionally even seven ranks of strings, was widely used in the fifteenth and early sixteenth centuries, both in the north and south, the latter then being Spanish-speaking possessions of the House of Aragon.4 There is _no essential difference between the “viola da mano” and its Spanish equivalent, the “‘vihuela de mano.”” Both had sound boxes which were rather shallow in depth, necks which could easily accommodate ten or eleven tied, gut frets (with, presumably, an additional one or two wooden frets glued to the soundboard), and, ke the lute, a thin bar of hardwood, with holes drilled for the pairs of gut strings, to serve as a bridge, Neither Mudarra nor any of the other vihuela composers indicate specific pitches for tuning, but the theorist, Juan Bermudo, gives the following nominal tunings:5 {t should, perhaps, be noted here that vihuela music, including Mudarra’s, can, quite legitimately, be used by lute players, since there are no real stylistic differences between the two repertoires, no fundamental differences in playing techniques between the two instruments, the tunings for the lute and the vihuela are the same (though the lute, at this time, normally used octave pairs for the lower three courses), and, indeed, even in the sixteenth century, some vihuela music was re-published as lute music.® ‘The four-course guitar” in Spanish sources of this period, refers to a quite small instrument with four pairs of strings est, was sometimes a single string). According to Bermudo (Libro quarto, ca. LXV), it was The term, "guitar (though the first, or tuned in two ways: Temple Vieios “Temple Nuevos In other, non-Spanish. sources, the two strings of the fourth course were sometimes tuned in unison at the higher ‘octave, but Muderra himself, at the beginning of the first guitar piece, suggests a “bordon en la quarta”, just as Bermudo does in the above tunings. A short string length for the guitar is suggested by the music itself, since there are many passages which, if played on a full lute- or vinuelasized instrument, would require large and awkward leftthand stretches, but which, if played on a small instrument, cause no problems at all. The first of Mudarra’s six pieces for guitar requires the "temple viejo” tuning, and the remaining pieces, the “'temple nuevo". There is a misprint on the first guitar piece (I, f. 21) and at the top of folio 22%concerning the tunings, which have been corrected in ink ina contemporary hand.The tablature Mudarra used the standard Italian lute tablature of his day. It is a simple and practical method of notation, easy to learn, which graphically describes how to play the music. The sixcline stave represents the six courses of the instru- ment (only four lines for the guitar music): 6th Course Sth" ath ord” Ist” (Highest) Numbers on the lines represent the particular frets to be fingered: 0 = open string, 1 Roman numeral X. First fret, 2= second fret, etc. renth fret, XI = eleventh fret. The frets are, of course, a semitone apart. Rhythm signs, freestanding notes, are found over the stave above the appropriate numbers: wt OO § § ‘These indicate when each note or chord (represented by the tablature numbers) begins, The duration of any individual ote depends on technical factors, such as how long the left-hand finger can continue to hold the note until it is ‘necessary to play another note. The time value of the chythm sign rem for all succeeding notes until a new sign appears. In general, the note values of Mudarra's era moved more quickly, perhaps twice as quickly, 2s their modern day equivalents. Thus, while to our eyes Mudarra's music looks quite slow on the printed page, in practice this is not the case, his } , for example, approximately equalling our J, for example.(Other signs used in the tablatures are: Es |n Mudarra, the dots simply align the note to the rhythm sign. a Means hold down, for as long as possible, a particular note with the left hand. $ — “apriesa” (quickly). C Not too quickly,nor too slowly (i.e. moderato). ““despacio" (slowly) lll Repeat, or, end of section. In the vocal music of the third book, only the first two pieces have no separate vocal line in staff notation above the tablature, but the notes to be sung are picked out visually by means of small ticks beside the appropriate tablature notes: 2', 4’, etc. For the remaining vocal items with the vocal line in staff notation, the sign * means that the singer ‘must, himself, adjust the syllables and underlay of the text to the music during a repeated section. The vocal statf notation does not represent any absolute pitch, but merely shows the intervals in the simplest and most convenient. way possible, i. e. avoiding the use of too many sharps and flats on the printed page. The actual pitch for the singer is given by the vihuelist, as shown for instance in the motet, “Clamabat autem mulier” (III, f.6), where Mudarra tells Us the voice gets its note from the third course, third fret. In the first three fantasias of Libro primero, Mudarra uses the abbreviations de di or de dos beneath cert ingle-tine scale passages. These stand for the technical terms: dedillo (the index finger of the right hand, alone, plays the succesive notes with {an alternating up and down stroke) de dos dedos (the passage is to be played using an alternation of the righthand thumb and index fingers).Mudarra considers the second method very good for the “ayre” of a Passage, which, presumably, means that with this method one can achieve good phrasing, shape, articulation and lightness. He seems less positive about the deditfo.® Mudra concludes his work with a short example of the tablature which he recommends for harp or organ. It is @ id of fourteen lines. The lowest line represents the lowest string of the harp, or the lowest key of the organ, and the ipace between it and the next line represents the next string or next highest key. Mudarra’s tablature, including the ‘Aithough Mudarra’s work is found in one volume, each of its three arts has its own separate title page and foliation, In the following list of contents, Mudarra's own descriptive headings are given in English, and his own foliation is used: James Tyler London, September 1980CONTENTS OF BOOK | Fantasias in three and four part writing Fol. Fantasia de pasos largos para desenboluer las manos 1 Fantasia pa(ra) desenboluer as manos 2 Fantasia de pasos pa(ra) desenboluer las manos 3 Fantasias de pasos de contado 4 Fantasia facil 5 Fantasia facil by Fantasia facil 7 Fantasia 8 Fantasia 9 Fantasia que contrahaze la harpa en la manera de Luduvico 13 Compositions of Josquin (des Pres): La segunda parte de la gloria de la miso de faysan regres, tov Pleni de la misa de faysan regres 12 Lesser (lighter) pieces: onde Ciaros'° 15v Romanesca: o quardame las vaces'' 9 Pavana '? 18 Pavana de Alexandre '% 19v Gallarda "4 20 page 27 31 33 37 39 41 49Pieces for guitar: Fantasia del primer tono Fantasia del quarto tono Fantasia del quinto tono Fantasia del primer tono Pavana "8 Romanesca: o guardame las vacas '8 CONTENTS OF BOOK II'7 Pieces in the Fiest Mode: (tono) iento Fantasia Kyrie primero de la missa de Beata Virgine de Josquin glosado Fantasia Fantasia ‘Second Mode: Tiento Fantasia Fantasia de sobre fa mi ut re Third Mode: Tiento Fantasia Glosa sobre un Kyrie postrero de una misa de Josquin qua va sobre Pange Lingua Fol. 2 2v 22 23 2 24 wane wv page 65 67 69 70 n 75 16 79 81 see a9 92Fantasia Glosa sobre un Benedictus de una missa de Josquin que va sobre la sol fa re mi Fifth Mode: iento Fantasia Fantasia Sixth Mode: Tiento Fantasia Glosa sobre el primer Kirie de una missa de (Antoine) Fevin que va sobre Ave Maria ‘Seventh Mode: Tiento Fantesi Glosa sobre e! Cum Sancto Spiritu de la missa de Beata Virgine de Josquin Eighth Mode: nto Fantasia Fantasia Fantasia va sobre fa mi fa re ut sol fa sol mire Fol. n Ww 12v 13y 4 15 16v 7 18 20v 22 24 25v a " seag 100 101 106 107 109 113 114 7 121 121 124 127Ne CONTENTS OF BOOK Motets: Pater noster a quatro de Adrian Williart Respice in me Deus de Gombert Clamabat autem mulier Pedro de Escobar Romances: Dumiendo yva el seffor 2a pars — E1 agua, con la tormenta Triste estava el rey David Israel, mira tus montes Canciones Sin dudar Cancion al milagro de la encarnacion 2a pars — Por que arte Recuerde ef alma dormida (text by Jorge Manriqu¢) Claros y frescos rios (text.by Juan Boscén) Sonnets in Castilian: Que Hlantos son aquestos Si por amar el hombre Por asperos caminos (text by Garcilasco) Verses in latin: Regia qui mesto Dulces exuviae (text by Virgil) Beatus ille {text by Horace, music apparently by Paul Hothaimer) Hane tua Penelope {text by Ovid) Fol. oan WW 8 4 15v 18 2 page 131 137 141 150 152 155, 157 160 165 169 im 176 180 185 190 194 197 198Sonnets in Italian: Fol page La vite fugge {text by Petrarch) 36201 Lassato a yl tago 39207 0 gelosia d’amanti {text by Sannazaro) atv 212 ene al ombra (text by Sannazaro) 4407 Villancioos Dime a do tienes la mientes 45 (219 Sime llaman a mi ary 224 Gentil cavallero 50 29 Isabel, perdiste Ia tu faxa 52, 28 Si viesse e me levasse 55 239 Psalms: isi Dominus 66 at Exurge quare S743 Harp or organ solo: Tiento 61251 ‘Manuscript addition to the Madrid copy. Duo de Flecha que dis se amores me an de matar 1 283 Contrapunto sobre este villancico 284 Duo de folhana 2 256 Duo de Morales susepi disrae! 4 259 Benedictus a tres da misa de quaude barbara de Morales 5 m1 Benedictus a quatro da misa dave Regina celorum de Morales 6 263 Basa e alta av 268 ‘These were copied in by a later owner of the book c. 1580. The first six items were copied from Miguel de Fuenliana Libro de musica para vihuela .. Valladolid, 1554 and are found there as items nos. 4, 5, 9, 3, 13 and 63 respectively.“4 Footnotes See John Ward, "The Vihuela da mano and Its Music (1536—1876)", unpublished dissertation, New York University, 1953, pp, 375-80. Monumentos de la musica espanola VII, ed. Emilio Pujol, Barcelone, 1949. Pujol presents @ valuable intro- ductory study of Mudarra and his music, though his transcriptions tend to be somewhat awkward to read gue to his policy of representing polyphonic partwriting on one staff with a transposing treble clef. H ae misundarstands the use of original clefs in the tablature, which are there meraly to help locate the finals of the mode in which one is playing, and comes to the bizarre conclusion that one needs seven different siz vihuelas to perform the music, instead of one instrument playing in different, "keys". (See Ward, op. cit. P. 43.) Pujol’s transcriptions are, thus, for vihuelas supposedly tuned to b, f# , a, etc. Nor does Pujol include ay form of the original tablature with which to compare and check his transcriptions; transcriptions afer al, subject to many differing interpretations, and modern players should be given the opportunity to see an play this music as Mudarra wrote See Victor Ravizza, Das Instrumentale Ensemble von 1400-1550 in Italien, Bern and Stuttaart, 1970, pp 81-2. For a dicussion of the viola de mano and its music, see Jamas Tyler, The Early Guitar — A History and Hand - ‘book, London, 1980, Chapter 1. The vihuela apparently used unison tuning f discussion of all matters concerning the vihuel See Tyler, op. cit, p 24. For a ditcussion of the four-course guitar and its repertoire, see Tyler, op. cit., Chapter 2, and James Tyler, “The Renaissance Guitar 1850-1650 in Early Music, Vol 3 No. 4 (October 1975). For further publications of music for this instrument, see the Editions Chanterelle cataloque. For a discussion of original vihuela techniques, see Joan Mayers, “Vinuela Technique” in Journal of the Lute Society of America, Volt, 1968. ind modern For a bibliographical description of the work, which also lists many details of concordant sources and mi editions, see Howard Mayer Brown, Instrumental Music Printed Before 1600. A Bibliography, Cambridge, Mass., 1965, under the entry 1546, 4. . pairs of strings. See Ward, op. cit., for the most comprehensi10 " 12 13 4 15 16 "7 18 18 This is a famous Spanish ground, i. e. harmonic pattern. The harmonic sense is clear if one considers every three tablature bars as one unit (or one bar of modern transcription). The Romanesca is an Italian harmonic pattern, or ground. One tablature bar equals a unit, or a modern bar. To the usual eight bars of the ground, Mudarra adds a two-bar coda: he presents the ground five times in all. The popular Spanish text, "O guardame las vacas”, is found associated with the Romanesca in many musical sources, ‘The harmonic pattern was known in Italy as the “Pavana del Duca”. Each unit would equal two tablature bars (one modern bar), the first tablature bar being an upbeat. There are one or two redundant bars in Mudarra’s version, probably as a result of printing errors. ‘The bass line to this pavan is the Italian "passamezzo antico” ground, but harmonised in the major mode. Each unit equals three tablature bars, and Mudarra gives us only one statement of the eight-unit theme. Despite the opening minim rest, a modern transcription of this galliard should have the first chord of the piece as the “downbeat” and each bar should consist of the equivalent of three minims each, hence totally different from the tablature barring. See note 12. See note 11. In the Madrid copy, f. VI is mistakenly printed agai folio is, technically, “one out”. The printed foliation is mistakenly printed as f. |. See Brown, op. cit., entry 1564, for f. VII, hence, for the remainder of Book Two, each retained here, however for ease of reference. Also, f II2@ALONS 0,@2 2M VDARE AG A iY @ 2 TRES LIBROS DE MVSICA EN Clee A FRAS PARA VIHVELA. ENEL PRIMFRO AY MYSICA FACIL Y DIFI i ctl en fentafins : yComPofturas:yPauanas : y Gallatdas:y AlGunas fantas fas pors guitorra, Bl fo trate de los ochotonos (omodos) ‘tlene muchas fantefins Por diuertas parcesty Come Pofturas glofadat, El tetceroesde mufica para centade ytefilds, Tienemoe tetes.Pfalmos. Romances. canciones Sonertos en eaftellamory Itallano ‘Verfos fatin. Villizicos. Dis rigidos al muymagnt> fico fefior el fer flor do Luys pte. oe C Fue {mpreffoet prefenre Woroents muy noble yleslcludad de Sedill en eafa de TuanedeLed 1546.29EPISTOLA AL MVY@%, magnifico fefior Don Lays epets, OTORIA COSA ES MVY MAGNIFICO SENNOR AVER SIDO TENIDO EN mucho: entrelos: Antiguos griegos ,todo genero de Mafica. Y principslmenteel dela Vdhucla porque Segd cuenta Plutarco de Epaminundas principede greciaa rer fido muy loado porqueen yn banquete afi y canto excelentemence. V porel contratio: Themt¢+ les auido por indocto'porque nolo fupo hazer.En otra parte dizeque Alcibiades folla jezir que tenla por mejor {a mutica dela vihuela que la delasflsaras:porqae con ta vihics Ianofe pierde is hablar lafiguradelroftro, Como con lasflautas a pletdenios que lastaiem:y cfto en t& ‘ta manera que apenas fon defus amigos quando eftan taiendo conocidos. Marco Tullio Ciceron en elprimero delas Tufaulanss zocatambien lode Epaminfidasyy Themiftoclesziumeamente con dezit los grfegos penfauan eftar en los camtos delas bozes:: y fonido delas coerdes Is furna erudicion, De ma tera que pues la mulica delos antiguos era tenida en gran reneracion preciando fe della grmdes Ca: picmes: eh{f Romanos como Griegos no deuria en nuefiros tiempos fer tenida en menos pues ay mfe mos y Iugeniosno menos ofados y entendldos que en los paffados, Delo qualeftoy bien fatiffecho de ‘a ercedoauelle srauiadonsturuleraEumada pas le doro en todas as gracias yabildades que pu do. #1.da todos ta mafica y todas las otras Artes fuefon tan fruorecidas y entendidas como devuettra mertedmo folaméte focian tenidasen algo las obras de muy excellentes Hombres!que eldis de of fe emprimé;mes las de lox que medimmamentelohazen: ls muy fubldas pare facer fruo dellas y Las que han Prinesplado sfisbir para mimes alosque!as hazen a que ofen paflar adelance trabajmdo halts Negar entender lo que los que perfeftamente lo hazen entlenden.. ¥ pues yo foy delos que no perfecta nf medfmamére_entlenden,no dexere de amparr me con fa fiuor enefta miobra laqual no facara alicz Sino fuers por fa mendade’yporcenersiganaconfianga lor que me conocen vfabentos disque ha que trabjo enel eftucio dela yihuelalos qusles peretto, ¥ por faber que me ecriadoen caf de los Illus ftriltimos fefiores Duques del [nfantado mfs fcfiores dé Dicgohurtado de médoss que Dios tiene en fx gloria y don liifgoloper que oy siue y dios nueftro etior guardes donde de toda Mufica aitia cxe celences hombres penfaran queen eftos mis Libros ay alzunas nuigesss de tanto bueno como crifto en aguellacafa y enotras partes de Espris y en ualia,Las qusley doscofas me han hecho tener arreaimento de querer icar aluz efta mf obeala qual ofrezcos vueltra merced Suplicando le no mire sl pequeio fet efofino ala yoluncad con que fe ofrefceslaqual excede a toda lo que fe le pudiera ofrefcer,2M TABLA DFL LIBRO PRIMER oa ee (CFantafissatres bozes yaquatro. CPaneaslas de paffos des enbuelros——_ pe ea pear 4 Ora para defembol tas Pe tosdsromeie ed Plenidelamefmamiifsa tres ‘Obras menudas | 4 lc Gondedlaros en dore'mmers a | 5b Romanefca o guantame bs races de ‘cinco manera. COres farcakia fac $ COs facil —$ ——_—___ | 6] COrrafantafis facil Otra fantafia.. ———_—_—_—_—____.| € Otrafanevfia Geta haze Ia harps Sitnauetwleimerece ree CompofturasdeTorquin ‘CL poftrera parte delsgloria deta mit ‘Yna pass Larommesa en mes maneras,—. fa defayfan regres. Ad= (Ce comofesn deentender eftoslibros. YN OVE EN OTROSDOS LIBROS DE CIFRAS PARA VIHVELA que ay imp etfos enefpaia cc dos excelétes muficos enlos quiales ay obtasde iy Quen mufics anfifayss como de otros grandes conponedoresisy da» Y da larga cucta dela orden dela Vihwela y delas cifras dalia No porefio dxere ide dezir lo q en los dichos libros efta dicho acerca tras ed declarar algitas cofas que de mi cofecha pogo.Las ciftas Son en caére Ae alguarifmo 7 fon eftas « FEoFHG. CLs pee fe Ratha reroen latuerta que latal eftuuleré fea de tocaren vazlo evel en rode is tras fean de poner los dedos. La fegumds cifrace numerodemnoyeselPrimertraite, (LY lacerceracs dos y exados traf, tes, ( ¥ laquartacs tres yes a tres traftes y procediendo porlas que ref tanhata la pottrers que es nuewe yfefala alnoueno trate. ¥ quondo pallare la compofturs ofrnraGa 264 ‘oueno tratte yllegare al dezenoeftaraconettacifre, +. fal aa eo Fites cifrastonsn Ta cantidad o valot de cinco figuras de canta de organo ls quales fon eftas. ‘Vom guladas # las cifras con ynos puntillostos quales no firuen de mas que” a9 4 t - da gelar-Entodas las cifas no fe ponen figuras de canto de organo y las que ness tuuferen comaren ‘el valor oomeldad dela figura que atras quedare hafta que rengs gira queprice aquetl, Para'faber a que cSpas Sean de tafer eftas cifras fe pon tres tiepes diferences y fon eftos. -4 Los qusles van puettos a principio de cada obre La diferencia que y del yno a! erro es a 2 por el primeros de yr el compas spriedis.Y por el fegadoni muy aprieffa ni muy a cfpacio, Pogeltercero Bde yt defpacto porquepor efte entran dobladas cifras en mn compas que pot los otro$. Por tos dos priv ‘eros tfempos tantas cifras entrarren mm compas por el yn como por ol otto. Soloay Is difgertcia die has CCL primera igara del canco de ongana delat arriba dichas por efton doe rlempos.- le dos compafes.La quai no toperan enel primeroni{fégundo libros. Eneltercero ft .Y tend Uta vnratt Frperemeima deta ners OE. ital da a entéder que patla la mirad de aquella figura s otro compss. ue neon eee oan figures quando tuuieren el dicho rafgo. Por el rercero rogaue =e ‘primera figura vale ya cOpas comoen rn exemmpto que aqui pongo vermu.defa figura de rodaslas otras, i cenceCExemnplode todo lo dleho ydelas ayes G éuerdes ean. ; Quits, F Pp Quarts —o}— 2-72. ———0 | a Tercera 330 043 | Segite|—312—[o—3}83-320—3-} p—0232523— how Wek time tees Cbdsead ‘tercero tiempo, 25 = ‘do tiempos. TT Oisstosctrasgefuuieren em cn detechode ors eftndo gundas con piles o fin elog erm golpe y fe an derocar aquellas cuerdas fumtas:y las qeftuuferen falidas vias de otras e an de rocar ada na por fi, : CLas rayas que atraueffan dela fexta ala prima firuen de diuidie los compafes en los quales fe vee bien darode cada figura exemplo delas que entran en yn compas, CEfa diferencia de tiempos(o compafes) conotros Gno pongo aq no fin caufslos Antisuos los vfa+ fon y fegi'mi paracet fue para confyrmar la musica (cel moulmiento della) conel fentido dela letra.Por que fi yma letra es de materia alegre y regozijada de neceflddad el compasa de yx regozijadoy a priefla. Y foram del todoes slegre ni del rodo trifte rambien tendra efta neceflidad de otro compas queniva ya muy aprieRia ni muy defpatio.y ni masni menos la que del todo es trifle quetta elcompas despacio. CAcerca det redoble quiero dezis mi parecer. ¥ esijtengopor buenoclde dos dedoszy que quien 4 fiere taticr bien de mi confeyo deuelos rfar porquees redoble mas cierto: y qute da mejor ayre alos pale fos, Nel dedillons mal quien pudiere tener cntrihas maeras deredoblar nofe hallars mal cbellas, porate entrambas {on menefter a tigpos. El deditlo pora paflos que fe hazé de ta prima hazialafexta J fon de arriba para abaxo y el de dos dedos para los quefe hazen de abaxo pa arriba y para el claufulat Toos los pallos qae fueren del yalor de efta figure, Ser redoblados deftoveran efpirféciaen res fa tafias G pongo al principio del primer libro y feialag dacada manerade redobledefte arte ado dixere Sa =————————— 2 “Aes de Sota redoble dedes dedes ¥ sdg.deds Seta de dedillo. Todos lesetres pafos yran fin redoble Se eee ese a cated ee Eniedcfe cuando eftc rigpo(~ .quefi lleus efte otro, p Enel qual ra as aprefured el pas bié puedéyr de redoble.os que fucren del relor dette i figuras ‘Como vetan enta quarta fantafia del primerlibro, Los paflos que llewaren ofte siempot} Porlayna (figura y por laotea delas a qui arriba dichas de necetidad obran de yrredoblados porque’ porefie tie (chip como ef dicho entra dablaas figuras on rm comps cue por los otros ““GEinciina deal gumas cifras toparm efta fetal“ 1a qual fe pone para que fepan Gnoan dealcer el dedo ees tadursere aquel compas ,fieftuuierealprincipio del, Y fi al fm hafta lamicad del que fe figue. CoEnel cercero libro de las obras pa cantadas y tafdas topara delante de al gas cifcas vn rafguiro dee fe manera. #7, Elqual daaentender quela cfea le rubiere delance ferala vox que fe puede cdtar ff Floren Iaquata de ye emblen taflds, Enel dicho libro toparan tan bien fobre algunas Figurss de Canrode Organo Enla box que; va ficadsen canto de organo pare cantacs ma efircllica defta manera Sz pone fe parad fepan quela figura Gencims la tuuiere fe a de diuidir en dos parses ‘Sifaere femibtcue par ‘title endos minimas fiminima en dos feminimas fifeminima en dos corcheas cftofea de entender ala fegids buelea of larercera por onel ral lugar la buelta fegunda orerceranotra ‘enlos pies lamifma cantidad ni flauasque en la primera porg o traé mas omenas.Q.uadoballacen Ia tal a fonada tener de bajo dos renglones orresy paraentender q Isdicha a fonaca {cace tormaradezirdosa ‘tres vezes fegun,lalerra quede baxo rublere to demucltra ay tabien rnas dos paufas con quatro Punellosdefismanees | lasquales dizen qllegados allfrornéa dezir la tétas \ezes quatss xe gid nestubjere dy baxoy de |]* Spuespallaradelante,Domimgues Romane ted f Py VE I Bee ‘ a ay perce? s yeti* 2 LIBRO, a2207 LIBRO.L 2 Fo ot Pp adhe re y in ya hi destbole (Slaaide = aes FR] Sit te eaeadgent eae 30. —O2F- + ae Sls | dedt Gna 0 CF ASE. aa A Ho Thu Si) = = alt ee —— —- oe 2013 —_ 320 _j203320-|_—_0 ——| epeeaa aR = i | : | 4 pte] | | aaa A ool" & tart Tr 2 TALFO LUI. 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