In compositions of the fourteenth and fifteenth centuries the tenor and the contratenor had similar structural roles. From their structural interaction and overlap, composers extracted a new voice called the solus tenor. This new voice, which functioned as a replacement for both the tenor and the contratenor, effectively reduced a four-part composition to three. The result is that some sources transmit a particular piece with the solus tenor, others retain the tenor and contratenor, while still others transmit all three voices.

Works: Vitry: Gratissima Virginis species/Vos quid admiramini/Gaude gloriosa (45-47, 50, 53-54), Virtutibus laudabilis/Impudenter circuivi/Alma redemptoris mater (46-47, 50-51, 53); Anonymous: Gloria (48); Binchois: Dueil angoisseux, rage demeseurée (48-49); Pennard: Credo (51-52); Du Fay: Apostolo glorioso/Cum tua doctrina/Andreas Christi famulus (52, 55); Franchois: Ave Virgo lux Maria/Sancta Maria (52); Pycard: Gloria (53); Lantins: Celsa sublimatur victoria/Sabine presul dignissime (54); Anonymous: O Maria virgo davitica/O Maria maris stella (54).

Sources: Vitry: Gratissima Virginis species/Vos quid admiramini/Gaude gloriosa (45-47, 50, 53-54), Virtutibus laudabilis/Impudenter circuivi/Alma redemptoris mater (46-47, 50-51, 53); Anonymous: Gloria (48); Binchois: Dueil angoisseux, rage demeseurée (48-49); Pennard: Credo (51-52); Du Fay: Apostolo glorioso/Cum tua doctrina/Andreas Christi famulus (52, 55); Franchois: Ave Virgo lux Maria/Sancta Maria (52); Pycard: Gloria (53); Lantins: Celsa sublimatur victoria/Sabine presul dignissime (54); Anonymous: O Maria virgo davitica/O Maria maris stella (54).

Index Classifications: 1300s, 1400s

Contributed by: Daniel Rogers