D-B MS Mus. Theor. 1175
Berlin, Staatsbibliothek, Preussischer Kulturbesitz, MS Mus. Theor. 1175
Manuscript containing two treatises: Explicatio compendiosa doctrinae de signis musicalibus exemplis probatissimorum Musicorum illustrata' (fols. 1-97) and Heinrich Faber, De musica poetica (fols. 98-134).
Provenance: Copied in Germany, ca. 1550.
Source of example in Choralis Constantinus II:Heyden, Musicae.
Choralis Constantinus II contents:
- Mass 25
- Sequence, v. 2 (fol. 87v-89r)
Character of the Choralis Constantinus II example:
The example corresponds to the version in Heyden's Musicae, including all of the errors, except that the bass pitch in m. 2 of the resolution is corrected.
The passages in 3/1 in Heyden are adapted to ₵ by "squaring off" the rhythms. Each group of three minims of 3/1 is replaced by four minims of ₵, approximating the original rhythm as closely as possible. For example, semibreve-minim is replaced by dotted semibreve-minim, and dotted minim-semiminim-minim is replaced by minim-dotted minim-semiminim-minim, with the first two notes repeated. Groups of three minims are replaced by a semibreve and two minims in any order.
The author interprets the 4/1 in the bass in m. 18 in the theoretically correct way, with four semibreves in the time of one. Applying this interpretation to the incorrect rhythm in Heyden's version of the example increases the length of the bass by the equivalent of one semibreve of Ϲ. To make the other three voices match the length of the bass, the author inteprets them in ₵ without the 3/1 proportion. To correct the contrapuntal error that results from this interpretation the author changes the third g to a.
The author adds an ornamental anticipation of the suspension in the final cadence of the discant, replacing the a' (semibreve) with a' g' (dotted minim-semiminim) in m. 18 n. 5.
The example differs from the source in a few minor details, such as the grouping of notes in ligatures, explicit flats, and longer notes divided into two shorter ones.