While some three-part pieces written before 1520 were given a si placet fourth part, the majority of concordant three- and four-part chansons show the reverse: four-part chansons before 1550 were most often turned into three-part pieces by removing a line, usually the contratenor. In evaluating individual pieces to determine the presence of preexistent material, the following should be considered: (1) the presence of defective harmonic writing; (2) the range and character of the questionable voice (an unusual number of semiminims, frequent voice crossing, or a general low range of all the voices would suggest a four-part original); (3) the presence of more than one cantus firmus among concordances of a given piece; (4) comparison of questionable pieces with others by the same composer.

Works: Anonymous: Amour vault trop qui bien (240); Conflicting attributions: Amy, soufrez que je vous ayme (240-41); Anonymous: Ces facheux sotz qui mesdisent d'aymer (241); Ninot le Petit or Willaert: C'est donc par moy (241); Janequin: De son amour me donne jouyssance (241-42); Anonymous: En regardant son gratieux maintien (242), Fortune, less-moy la vie (242), J'ay trop aymé, vrayment je le confesse (242), Je ne sçay pas comment (242-43); Claudin: Jouyssance vous donneray (243), Languir me fais sans t'avoir offensé (244); Anonymous: Le cueur est bon et le vouloir aussi (244); Costely: Ma douce fleur, ma marguerite (244); Tomas Janequin: Nous bergiers et nous bergieres (245); Janequin: Or sus, or sus vous dormez trop (245); Créquillon or Richafort: Or vray Dieu qu'il ennuyeux (245-46); de la Rue: Pour ung jamais ung regret me demeure (246); Janequin: S'il est si doulx par quoy n'est doncques moindre (246-47); Anonymous: Si vostre coeur prent le tenné (247); Claudin: Si vous m'aymez, donnez m'en asseurance (247); Arcadelt: S'on pouvoit acquérir (247-48).

Index Classifications: 1500s

Contributed by: John F. Anderies