Ludovico Zacconi, Prattica di musica (Venice: B. Carampello, 1592 r1596)
Facsimile edition: Bologna: Forni, 1967
Source of examples from Choralis Constantinus II: Probably the Choralis print.
Choralis Constantinus II contents:
- Mass 2
- Sequence, v. 6, mm. 3-6 (T; fol. 190v)
- Sequence, v. 12, mm. 19-25 (A; fol. 189v)
- Mass 3
- Sequence, v. 14, mm. 1-9 (T and B; fol. 107v)
- Mass 6
- Communion, mm. 3-7 (T; fol. 191r)
- Mass 10
- Sequence, v. 4, mm. 15-22 (B; fol. 192r)
- Mass 11
- Sequence, v. 14, mm. 14-20 m. 1 (A; fol. 191r)
- Mass 13
- Sequence, v. 22, mm. 8-9 (T; fol. 155v)
- Mass 18
- Introit, mm. 8-12 (T; fol. 190v)
Zacconi also mentions or shows examples from three pieces that could be from Choralis Constantinus II, but do not appear in that source where he says that they are. They may be from other settings of the same chants by Isaac.
- "Alleluia della dedicatione del tempio" is said to illustrate a half-black long (fol. 32v-33r).
- Example of a black breve-breve ligature plus semibreve is said to be from "Sidus radio sequenza della Pasqua" (fol. 42v). The notes do not appear in the Mass 6 sequence or verse 6 of the Mass 2 sequence, which includes the words "sidus radio."
- Example from "Alleluia della Pentecoste" (fol. 192r) illustrates dots of alteration and perfection.
Character of the Choralis Constantinus II examples:
All of Zacconi's examples are short excerpts. All but one show only one voice.
The examples serve as illustrations of notational principles. Two of them differ slightly from the print.
- Mass 2, Sequence, v. 6: unnecessary and undesirable coloration. The example has a different clef from the one in the Choralis print and a flat signature not in the print. The last few pitches differ from the print.
- Mass 2, Sequence, v. 12: coloration used to prevent perfection and alteration of semibreves.
- Mass 3, Sequence, v. 14: perfect prolation including white flagged minims and semiminims.
- Mass 6, Communion: unnecessary coloration.
- Mass 10, Sequence, v. 4: incorrect imperfect breve (which should have been an altered semibreve) before another breve. Zacconi misinterprets a breve in the print as part of the preceding ligature and states on that basis that the ligature is incorrect.
- Mass 11, Sequence, v. 14: correct notation of a black breve + black long in ligature.
- Mass 13, Sequence, v. 22: proportion of inequality of tactus and figures. Zacconi adds the sign Ø2/3 that is not in the print. He attributes the example to Obrecht and says incorrectly that the voice is the A.
- Mass 18, Introit: unnecessary and undesirable coloration.