NORTHWESTERN UNIVERSITY

FRANÇOIS CHANCY’S TABLATURE DE MANDORE

A MAJOR DOCUMENT

SUBMITTED TO THE SCHOOL OF MUSIC

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS

for the degree

DOCTOR OF MUSIC

Program of Strings

By

Jeffrey C. Lambert

EVANSTON, ILLINOIS
June 2006
© Copyright by Jeffrey C. Lambert 2006
All Rights Reserved

ii
 Abstract

François Chancy’s Tablature de mandore

Jeffrey C. Lambert

François Chancy’s (d. 1656) Tablature de mandore (Paris, 1629) contains

the first known French suites to exhibit an allemande-courante-sarabande

nucleus. Together with a series of branles, these six suites provide nearly fifty

short pieces for the small lute-like instrument. The primary purpose of this major

document is to provide transcriptions of these pieces in modern standard

notation so that they may be studied more easily.

Also included is information on Chancy; a description of sources which

provide information on the mandore and its music; a description of the physical

characteristics of Tablature de mandore and of the style of notation found

therein; a discussion of the ornaments used by Chancy; a description of the

rhythmic characteristics of the types of pieces in Tablature de mandore as well

as an analysis of Chancy’s use of chromaticism; translations of the book’s

prefatory text; and selected guitar arrangements.

iii
 Acknowledgements

I wish to thank my committee members, Anne Waller, Elizabeth Cifani,

Drew Davies, Dr. Linda Austern and Dr. Candace Brower, for their expert

guidance. Special thanks to Dr. Allison Smith for perusing the original copy of

Tablature de mandore on my behalf, and to Franck Vernerey for his translations.

Also, thanks to Linda Chatterton for her continued encouragement, and to

my parents, Robert and Stephanie Lambert, for their undying love and support.

iv
 The system of pitch nomenclature used in this dissertation:

Major keys/chords are given as capital letters: D = D-major.

Minor keys/chords are given as lower case letters: f = f-minor.

In the text, guitar pitches are given at sounding pitch, i.e. one octave lower than

in standard musical notation.

v
 Contents
List of Illustrations ix

PART 1

Introduction 1

1. The Mandore: an Overview 3

2. Sources and Repertory 5
3. François de Chancy - Life and Works 20
4. The Print 23
5. Notation 26
6. Ornamentation 33
7. Rhythmic Characteristics 40
The Recherches 40
The Allemandes 40
The Courantes 44
The Sarabandes 48
The Branles 52
Hemiola 58
8. Key Areas and Chromaticism 62
Pieces in Major Keys 62
Pieces in Minor Keys 68
Cadences 74
9. The Impact of Technique on the Music 75
10. Errors in the Print 81

PART 2

Notes on the Transcriptions 88

English Translations of the Prefatory Material 90

Re-engravings and Transcriptions of Tablature de mandore: 93

[Suite No. 1 in F major] 93

Recherche - f. 1r
Alemande - f. 1v
Courante - f. 2r
Seconde - f. 2v
Troisiesme - f. 3r

vi
Sarabande - ff. 3v - 4r
Passemaise - ff. 4r - 5r
En m’en revenant de S. Nicolas - f. 5v
Volte - f. 6r

[Suite No. 2 in C major] 105

Recherche - ff. 6v - 7r
Alemande - f. 7v
Courante - f. 8r
Courante - f. 8v
Sarabande - f. 9r

[Suite No. 3 in B-flat major] 111

Recherche - ff. 9v - 10r
Alemande - f. 10v
Courante - f. 11r
Courante - f. 11v
Sarabande - f. 12r

[Suite No. 4 in c minor] 117

Recherche - f. 12v
Alemande - f. 13r
Courante - f. 13v
Courante - f. 14r
Courante - f. 14v
Sarabande - f. 15r

Branles de Boccan [c minor] 123

Premier - ff. 15v - 16r
Second - f. 16r
Branle Gay - f. 16v
Branle de Poictou - ff. 16v - 17r
Branle Double de Poictou - f. 17r
Branle de Montirande - f. 17v
La Gavotte - f. 18r

[Suite No. 5 in C major] 130

Recherche - f. 18v
Alemande - f. 19r
Courante - f. 19v
Courante - f. 20r
Sarabande - f. 20v
Les Rocantins - f. 21r

vii
 [Suite No. 6 in f minor] 136
Recherche - ff. 21v - 22r (bottom)
Alemande - f. 22r
Courante - f. 22v
Coruante - f. 23r
Volte de Dardon - f. 23v
Sarabande - f. 24r

PART 3

Notes on Arranging Tablature de Mandore for the Guitar 142

Guitar Arrangements: 144

Alemande - f. 1v
Courante - f. 2r
Second - f. 2v
Troisiesme - f. 3r
Sarabande - f. 3v

PART 4

Note on the Facsimiles 149

Facsimile of Tablature de mandore 150

Bibliography 204

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 List of Figures
2.1 - illustrations of the lute and quintern in Musica getutscht 5
2.2 - illustrations of the lute and quintern in Musica Instrumentalis
Deudsch 6
2.3 - tuning chart from Syntagma Musicum 9
2.4 - plate 16 from Syntagma Musicum 10
2.5 - mandore illustration from Tablature de mandore 12
2.6 - Alemande (f. 1v, m. 8) [orig.] 13
2.7 - mandore illustration with tuning information and excerpt from
Branles de Boccan from Harmonie Universelle 14
2.8 - illustration of the mandore from Musurgia universalis 17
4.1 - Recherche (ff. 21v-22r, last line [broken across two pages])
[orig.] 25
5.1 - Sarabande (f. 24r, m. 8 and m. 16) 27
5.2 - Seconde (f. 2v, mm. 24-25) 27
5.3 - Seconde (f. 2v, mm.17-18) 27
5.4 - Sarabande (f. 20v, mm. 30-31) 28
5.5 - Sarabande (f. 24r, mm. 2-4) 28
5.6 - Branle Gay (f. 16v, m. 1) [orig.] 28
5.7 - Manuscript Barbe, Sarabande Gautier (second and third lines) 30
5.8 - The Robarts Lute Book (c. 1654-1668) (Bottom of page A1) 30
5.9 - Recherche (f. 9v, portion of second line) [orig.] 31
5.10 - Sarabande (f. 3v, mm. 6-7) 32
6.1 - (Seconde, f. 2v, m. 21) [orig.] 33
6.2 - (Courante, f. 8v, m. 8) [orig.] 33
6.3 - (Passemaise, f. 4r, mm. 1-2) [orig.] 33
6.4 - Sarabande f. 9r, m. 9 38
6.5 - Passemaise (ff. 4r-5r, m. 1, proposed solution) 38
7.1 - Alemande (f. 1v, mm. 9-10) 41
7.2 - Alemande (f. 7v, mm. 4-5) 41
7.3 - Alemande (f. 10v, mm. 3-4) 41
7.4 - Alemande (f. 1v, mm. 5-6) 42
7.5 - Alemande (f. 7v, mm. 7-8) 42
7.6 - Alemande (f. 19r, mm. 7-8) 42
7.7 - Alemande (f. 1v, pickup-m. 1) 43
7.8 - Alemande (f. 13r, mm. 8-9) 43
7.9 - Alemande (f. 22r, mm. 11-12) 43
7.10 - Alemande (f. 10v, mm. 14-16) 44
7.11 - Alemande (f. 19r, pickup-m. 3) 44
7.12 - Courante (f. 2r, m. 3-4) 45
7.13 - Courante (f. 14r, m. 26-27) 45
7.14 - Courante (f. 14r, mm. 3-5) 45

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7.15 - Courante (f. 19v, m. 14) 46
7.16 - Courante (f. 20r, m. 8) 46
7.17 - Courante (f. 11r, m. 27-29 both voices) 46
7.18 - Courante (f. 11v, mm. 13-14 lower voice) 47
7.19 - Courante (f. 19v, mm. 17-19 both voices) 47
7.20 - Courante (f. 11v, m. 18-24) 47-48
7.21 - Sarabande (f. 9r, m. 4) 48
7.22 - Sarabande (f. 12r, m. 9) 49
7.23 - Sarabande (f. 20v, m. 4) 49
7.24 - Sarabande (f. 12r, m. 1) 49
7.25 - Sarabande (f. 20v, m. 1) 50
7.26 - Sarabande (f. 24r, m. 5) 50
7.27 - Sarabande (f. 3v-4r, mm. 4-5 lower voice) 50
7.28 - Sarabande (f. 9r, mm. 3-4 upper voice) 51
7.29 - Sarabande (f. 12r, mm. 10-11 lower voice) 51
7.30 - Sarabande (f. 12r, mm. 2-4) 51
7.31 - Sarabande (f. 15r, m.1) 52
7.32 - music and dance steps for a branle double from
Orchesographie 54-55
7.33 - music and dance steps for a branle gay from Orchesographie 56
7.34 - music and dance steps for a branle de Poitou from
Orchesographie 57
7.35 - Courante (f. 2r, mm. 25-26) 58
7.36 - Courante (f. 8r, mm. 9-10) 59
7.37 - Courante (f. 11v, mm. 5-6) 59
7.38 - Courante (f. 23r, mm. 15-16) 59
7.39 - Sarabande (f. 24r, mm. 6-8) 60
7.40 - Volte (f. 6r, mm. 14-15) 60
7.41 - Seconde (f. 2v, mm. 10-11) 60
8.1 - Seconde (f. 2v, mm. 20-22) 63
8.2 - Passemaise (ff. 4r-5r, mm. 20-24) 64
8.3 - Recherche (f. 1r, last line) 64
8.4 - Sarabande (f. 9r, mm. 17-18) 65
8.5 - Courante (f. 8v, pickup to m. 10-m. 12) 65
8.6 - Courante (f. 20r, mm. 18-21) 66
8.7 - Alemande (f. 1v, mm. 5-7) 67
8.8 - Alemande (f. 7v, mm. 15-17) 67
8.9 - Courante (f. 11r, mm. 23-29) 68
8.10 - Courante (f. 13v, mm. 7-11) 69
8.11 - Alemande (f. 13r, mm. 16-18) 70
8.12 - Branle double de Poictou (ff. 16v-17r, mm. 31-33) 71
8.13 - Volte pour Dardon (f. 23v, mm. 20-22) 71
8.14 - Courante (f. 14r, mm. 13-16) 72
8.15 - Alemande (f. 22r, mm. 9-11) 73

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8.16 - Courante (f. 13v, mm. 23-28) 73
9.1 - Seconde (f. 2v, mm. 25-26) 76
9.2 - Alemande (f. 13r, mm. 15-16) 76
9.3 - Alemande (f. 10v, mm. 11-12) 77
9.4 - Alemande (f. 1v, mm. 10-11) 77
9.5 - Alemande (f. 7v, mm. 2-3) 78
9.6 - Recherche (f. 1r, portion of third line) 78
9.7 - Recherche (ff. 6v-7r, f. 7r, portion of top line) 79
9.8 - Recherche (f. 9v-10r, f. 9v, second and portion of third line) 79
9.9 - Recherche (f. 1r, second line) 80
10.1 - Passemaise (ff. 4r-5r, f. 5r, m. 56) [orig.] 81
10.2 - Passemaise (ff. 4r-5r, f. 5r, m. 46) [orig.] 81
10.3 - En m’en revenant de S. Nicolas (f. 5v, m. 8) [orig.] 82
10.4 - En m’en revenant de S. Nicolas (f. 5v, m. 14-15) [orig.] 82
10.5 - Recherche (ff. 6v-7r, f. 7r, portion of top line) [orig.] 82
10.6 - Recherche (ff. 9v-10r, f. 9v portion of second line) [orig.] 82
10.7 - Alemande (f. 10v, mm. 3-4) 83
10.8 - Alemande (f. 10v, mm. 11-12) [orig.] 84
10.9 - Sarabande (f. 12r, mm. 15-16) 85
10.10 - Alemande (f. 13r, pickup-m. 1) 85
10.11 - Alemande (f. 13r, pickup to m. 7-m. 7) 86
10.12 - Alemande (f. 13r, pickup to m. 13-m. 13) 86
10.13 - Courante (f. 13v, mm. 14-15) [orig.] 86
10.14 - Premier (f. 15v, mm. 18-19) [orig.] 87
10.15 - Branle de Montirande (f. 17v, m. 3 and m. 7) 87

xi
 Introduction

In The Development of Western Music, author K Marie Stolba writes, “The

earliest known French suites with allemande-courante-sarabande nucleus are

François Chancy’s (d. 1656) six short suites for mandore (a small, lute-like

instrument) published in Tablature de mandore [printed by Pierre Ballard:

Paris,1629].” 1 Indeed, David Fuller in his article in Grove Music Online

corroborates this statement:

The initiative for the Allemande–Courante–Sarabande group must have

lain in one of three places: with the dancing-masters of the French court,
with composers of English consort and masque music, especially William
Lawes, or with the Parisian lutenists…Yet the first such groups that can be
firmly dated occur in the Tablature de mandore de la composition du Sieur
Chancy (Paris, 1629). This little-known publication, perhaps the most
important single milestone in the history of the suite, contains six ‘pre-
classical’ suites and a suite of branles… 2

After further research, I discovered that André Souris had transcribed into

standard notation the first three pieces of Chancy’s Tablature de mandore,

Recherche (f. 1r), Alemande (f. 1v) and Courante (f. 2r). These appear in his

publication of early Baroque French music for plucked strings, Oeuvres de

1
K Marie Stolba, The Development of Western Music: a History (Madison, WI: Brown &
Benchmark, 1994), 290.
2
David Fuller, “Suite: 5. The classical suite before the addition of the gigue,” Grove Music Online,
ed. L. Macy (Accessed 8-21-05) <[Link]

1
 2

Chancy, Bouvier, Belleville, Dubuisson [et] Chevalier. 3 However, Chancy’s book

had yet to be transcribed in its entirety. Surely, such a historically significant

publication deserves to have the opportunity to be studied by those who are not

fluent in the language of tablature. And even for those who are, seeing the music

in standard notation easily reveals the harmonic progressions and linearity in a

more obvious way. One will find that Chancy’s deft composition of multi-voice

counterpoint, which is limited to the use of four strings, is remarkably effective.

What follows is a historical and theoretical examination of Chancy’s

Tablature de mandore, including information on both the instrument and

composer; translations of the French prefatory texts; re-engravings of the original

tablature and their transcriptions into standard, modern notation; selected pieces

arranged for guitar; and finally, a facsimile of the original print. Hopefully, these

transcriptions will make this music more accessible, thus bringing it out of

obscurity and allowing it to be studied and enjoyed more easily in the future.

3
André Souris, ed., Oeuvres de Chancy, Bouvier, Belleville, Dubuisson [et] Chevalier. Éd. et
transcription par André Souris. Introd. historique et étude des concordances par Monique Rollin.
Corpus des luthistes français. (Paris: Éditions de Centre national de la recherche scientifique,
1967).
 I. The Mandore: an Overview

The mandore was a diminutive cousin of the lute about eighteen inches

(46 cm) in length, used in the sixteenth and seventeeth centuries. Played mainly

in western Europe, and most popular in France, the mandore descended from

the medieval gittern and is labeled quintern in early sources. 1 Some mandores

had their bodies, necks and peg boxes carved from a single piece of wood, like

the gittern, though most were constructed with separate ribs like the lute. It

commonly had nine gut frets and was a true treble instrument tuned in fourths

and fifths. The four-course version, required for the music in Chancy’s Tablature

de mandore, was generally tuned c'–g'–c''–g'', c'–g'–c''–f'' or c'–g'–c''–e'' (other

nominal tuning pitches are given in Chapter II: Sources and Repertory). The

mandore was usually strung with four to six single gut strings. However, wire

strings are mentioned in one source, and occasionally, the lower courses were

doubled. Several plucking techniques are described by contemporary sources:

1) playing with the fingers in lute-style; 2) holding a quill plectrum between the

thumb and the index finger; 3) attaching the plectrum to the index finger; and 4)

using the plectrum in conjunction with the other fingers. The mandore was an

1
James Tyler, “Mandore,” Grove Music Online, ed. L. Macy (Accessed 7-5-04)
<[Link]

3
 4

acceptable solo instrument, but it also would have easily projected the treble

melody above a consort texture. 2

2
James Tyler, “The Mandore in the 16th and 17th Centuries,” Early Music 9 (1981): 24.
 II. Sources and Repertory

The following sources are ordered chronologically. 1

VIRDUNG

The earliest illustration of the mandore, though labeled quintern, appears

in Musica getutscht (Basel, 1511), by the German theorist and composer,

Sebastian Virdung (c.1465 - after 1511). He had planned a more ambitious

treatise, but financial difficulties allowed him to publish only the section on

musical instruments. 2 Though there is a long discussion of the lute, there is no

text relating to the quintern.

Figure 2.1 - illustrations of the lute and quintern in Musica getutscht:

1
I am indebted to James Tyler, who discusses most of these sources in further detail in “The
Mandore in the 16th and 17th Centuries,” Early Music 9 (1981): 22–31.
2
Beth Bullard, “Virdung, Sebastian.” Grove Music Online, ed. L. Macy (Accessed 11-9-05)
<[Link]

5
 6

Musica getutscht is also important because it includes the earliest known

printed example of German lute tablature. 3

AGRICOLA

The German teacher, theorist and composer, Martin Agricola (c.1486 -

1556), included an illustration of the quintern in his Musica Instrumentalis

Deudsch (1528, enlarged 1545). This book was quite popular and was reprinted

several times. It took Virdung’s Musica getutscht as a model, and several

woodcuts were copied from it. 4 However, the illustrations of the lute and quintern

are not identical to those found in Virdung’s book.

Figure 2.2 - illustrations of the lute and quintern in Musica Instrumentalis

Deudsch:

3
ibid.
4
Anna Maria Busse Berger, “Agricola, Martin.” Grove Music Online, ed. L. Macy (Accessed 12-
14-05) <[Link]
 7

BERMUDO

It is possible that the Spanish theorist, Juan Bermudo (c.1510 - after

1559), was writing about the mandore in his description of the bandurria found in

Declaraciõ de instrumentos (1555). 5 This is probably the case, since one of the

aliases Praetorius gives for the mandore is Bandürichen. Bermudo describes a

three-string instrument tuned using a fourth and a fifth. No information is given

concerning the shape of the bandurria. However, he says it shares the stringing

of the rabel. Therefore, it may share characteristics of its shape as well. 6

Indeed, the Spaniard Sebastián de Covarrubias, in his Tesoro de la

lengua castellana (1611) “defined rabel as a three-stringed, bowed instrument all

of one piece and high-pitched, and the bandurria as being like a little rabel, all in

one piece and hollowed out.” 7 If Bermudo’s bandurria was not actually the

mandore, it was at least a close relative.

MANUSCRIPT

François Merlin and Jacques Cellier's manuscript, Recherches de plusiers

singularités (c1583–7), contains the first infromation about the mandore in

France [Bibliothèque National, Paris (F-Pn) fonds fr. 9152, fol. 166].

5
James Tyler, “The Mandore in the 16th and 17th Centuries,” Early Music 9 (1981): 23.
6
ibid., 23
7
ibid., 23.
 8

BRUNET

The first known music for the mandore, Tablature de Mandorre (Paris,

1585) by French composer and lutenist, Pierre Brunet (fl. late 16th c.), has been

lost.

LE ROY

Also lost is L’instruction pour mandorre (Paris, 1585), by French music

printer, lutenist and composer, Adrian Le Roy (c.1520-1598). [Incidentally, Le

Roy and his cousin, Robert Ballard (c.1525-1588) published Brunet’s book as

well.] Fortunately, some information about Le Roy’s book survives. Pierre

Trichet (c.1586-before 1649), French author, theorist, collector and lawyer, wrote

about the contents of Le Roy’s book around 1640. According to Trichet, Le Roy

wrote that the mandore originated with the people of Navarre and Biscay, that

nine frets were common and that his instruments had four single strings.

TUNING CHART

A tuning chart for four-course mandore from 1588 exists in manuscript in

the British Library in London (Add.30342, f. 142).

PRAETORIUS

Syntagma Musicum (1618-19) by the German Michael Praetorius (1571-

1621), is comprised of three volumes. It is the second, De organographia, which

contains a tuning chart for several plucked string instruments including the

mandore, a description of the instrument, its repertory and the various techniques

implemented in playing it.

 9

Figure 2.3 - tuning chart from Syntagma Musicum: 8

Praetorius also includes a section in this volume entitled, Sciagraphia or “Gallery

of Instruments,” which contains 42 beautifully drawn plates of various

instruments. The tiny mandore shares plate sixteen with other plucked string

instruments such as the lute, guitar, cittern and theorbo. An indispensable

feature of these plates is that most are drawn to scale. A graduated ruler often

appears along one border of the plate. Thus these plates have been quite useful

in the reconstruction of early instruments. From the ruler, the mandore

(Mandörgen) drawn in plate sixteen appears to be nearly eighteen Brunswick

inches in length. The Brunswick inch is slightly smaller than the modern inch,

and is equivalent to 23.78mm. Calculation yields a total length of about 42.8cm

8
Reprinted from Michael Praetorius, Syntagma Musicum: II de Organographia, trans. and ed.
David Z. Crookes (Oxford: Clarendon Press, 1986), 41.
 10

(16.85 inches) for the mandore. With the exception of the chorlaute, it is the

smallest of the family pictured, but it is dwarfed by the Paduan theorba.

Figure 2.4 - plate 16 from Syntagma Musicum: 9

9
Reprinted from Michael Praetorius, Syntagma Musicum: II de Organographia: Sciagraphia,
trans. and ed. David Z. Crookes (Oxford: Clarendon Press, 1986), figure 16.
 11

The mandore is called Pandurina in the heading to Praetorius’s paragraph

about the instrument:

The instrument is known variously as Bandürichen, Mandoër, and

Mandurinichen (perhaps because it can easily be held and played by the
‘hand’: manu). It is like a tiny little lute with four strings, tuned g–d'–g'–d'',
although sometimes it has five strings, or courses. The mandore is easily
carried about under the coat; it is very common in France. Some players
by practice acquire a repertory including courantes, voltes, and other
French dances and melodies, as well as passamezzos, ricercars, and
fantasias. They play either with a cittern-type quill plectrum, or with one
finger-and this with the speed, clarity, and precision that we would expect
from the use of three or four fingers. There are some players, however,
who start to use two or more fingers once they are familiar with the
instrument. 10

Two things are curious about this description. Praetorius gives four names for

the mandore here, but does not include Mandörgen from the plate. Also, the

tuning he gives, g–d'–g'–d''', though the intervals are correct, conflicts with the

tuning chart he had given previously, in which the four-string version is tuned c'–

g'–c''–g'', and neither of the five-string tunings are close, c–g–c'–g'–c'' and c–f–c'–

f'–c''. The g–d'–g'–d'' tuning may imply an additional tuning for a larger

instrument.

THE ULM MANUSCRIPTS

Probably the earliest surviving music for mandore is found in the Ulm

manuscripts (Stadtbibliothek, Depositum Schermar, MSS 132, 132 Kapsel, 133a,

133b and 239). 11 More than 314 folios of music for five-course mandour dating

10
Michael Praetorius, Syntagma Musicum: II de Organographia, trans. and ed. David Z. Crookes
(Oxford: Clarendon Press, 1986), 59.
11
James Tyler, “The Mandore in the 16th and 17th Centuries,” Early Music 9 (1981): 24.
 12

from around 1625-30 (the date 1626 is found on two folios) are represented.

Unlike the mandore music of Chancy, simultaneous notes that are not on

adjacent strings are plentiful. This indicates the lute style of playing, or possibly

the hybrid plectrum-finger combination technique. The music which is found in

the Ulm MSS consists mostly of French dances, including ballets, and popular

airs.

CHANCY

A beautiful illustration of the mandore is found on the folio preceding the

first piece in Tablature de mandore (see figure 2.5):

Figure 2.5 - mandore illustration from Tablature de mandore:

It has four strings and seven frets labeled a through h. However, the music calls

for an eighth fret, i, on occasion, e.g. Courante (f. 8v, m. 10); Sarabande (f. 9r, m.

9); Courante (f. 11v, m. 5).

 13

Regarding plucking technique, evidence points to the use of a plectrum

only. Nowhere in the print is there an instance of two simultaneous notes that

are not on adjacent strings. The single dots attached to tablature letters also

offer a clue. Usually, in lute music the single dots mean to play an “up-stroke”

with the index finger. Two dots would indicate use of the middle finger, and

three, the third finger. The absence of the two and three dot species, and the

fact that dots appear on notes that would be technically awkward to play with the

index finger (see figure 2.6), imply plectrum technique.

Figure 2.6 - Alemande (f. 1v, m. 8):

No specific tuning pitches are given, but tuning instructions using unisons

are given in tablature. Utilizing pitches given by Marin Mersenne in Harmonie

Universelle (see figure 2.7), the tunings for the mandore in Tablature de mandore

become c'–g'–c''–f'' for suites 1 (ff. 1r-6r), 3 (ff. 9v-12r), 4 (ff. 12v-15r) and 6 (ff.

21v-24r), c'–g'–c''–g'' for the Branles de Boccan (ff.15v-18r) and suite 5 (ff. 18v-

21r) and c'–g'–c''–e'' for suite 2 (ff. 6v-9r).

MERSENNE

Harmonie universelle (1635) by Frenchman Marin Mersenne (1588-1648),

is a highly mathematical treatise in speculative music theory, and includes

lengthy discussions of Pythagorean intervals derived from Boethius; but it also

 14

offers more straightforward descriptions of musical instruments of the period,

including explanations of musical notation and performance practice. The

section titled “Second Book of String Instruments” deals with members of the lute

family. Mersenne includes three pieces by François Chancy as examples, two in

their entirety. The complete pieces are an Allemande for lute and Alemande (f.

1v) from Tablature de mandore. The third is an excerpt from the second of the

Branles de Boccan (f. 16r, mm. 16-18), also from Tablature de mandore:

Figure 2.7 - mandore illustration with tuning information and excerpt from
Branles de Boccan from Harmonie Universelle: 12

It is in Proposition XIII that Mersenne deals directly with the mandore, and

he has considerably more to say than Praetorius. 13 He describes an instrument

12
Reprinted from Marin Mersenne, Harmonie Universelle: The Books on Instruments, trans. and
ed. Roger E. Chapman (The Hague: Martinus Nijhoff, 1957), 131.
13
ibid., 130-134.
 15

that is an abbreviated and miniature lute, about a foot and a half long, usually

strung with four strings, but sometimes with six or more. He writes that the belly

of the mandore is constructed like that of the lute, with bent strips of fir or other

wood. Nine frets mark off the neck in semitones. Mersenne gives the same

tuning that is found in Praetorius’s chart, c'–g'–c''–g'', but goes on to say that the

first string may sometimes be lowered to f'' or e''. As we have seen, Chancy

uses all three tunings in Tablature de mandore, with c'–g'–c''–f'' being the most

prevalent. After describing how to tune the mandore using unisons, an

explanation of the symbols used in the tablature appears. This will become

useful in Chapter V: Notation.

Like Praetorius, Mersenne mentions that the strings are plucked either

with tip of the finger or with the tip of a feather. However, two methods of using

the plectrum are found here: it may be held “between thumb and index finger or

tied to one of the other fingers.” 14

THE SKENE MANUSCRIPT

There is also the mistake-laden, Scottish John Skene MS (1630-50)

(Edinburgh National Library, MS ADV.5.2.15). It consists mostly of Scottish

popular tunes, but it also includes international standards. Like the music in the

Ulm MSS, this music requires a five-course instrument. One group of pieces is

14
ibid., 130.
 16

to be played using the same tuning as a five-course Renaissance lute: c'–f'–a'–

d''–g''. 15

STROBEL

Valentin Strobel the Younger of Strasburg (1611-after 1669) had three

volumes of mandore music printed: Concert für 1 Mandora und 3 Lauten oder für

4 Lauten mit Diskant und Bass (Strasbourg, 1648); Concert für 1 Mandora und 3

Lauten oder für 4 Lauten mit Diskant und Bass (Strasbourg, 1651); and

Symphonie für 3 Lauten und 1 Mandora (oder für 4 Lauten mit Diskant und Bass)

(Strasbourg, 1654). Unfortunately, all three have been lost, but they are

significant because they show that the mandore was used as an ensemble

instrument. Though lost, some of the music appears to have been trascribed into

German keyboard tablature in the late seventeenth century (Darmstadt

Staatsarchiv MS). The original copy of the transcription is also lost, but a

photographic copy exists in the Bibliothèque nationale, Paris (F-Pn RÉS. Vmc.

42(1)).

KIRCHER

Athanasius Kircher’s (1601-1680) Musurgia universalis (Rome, 1650/R)

was one of the most influential musical treatises of the seventeenth century. In it,

the mandore receives only a brief reference (p. 476 and the facing plate).

15
Nominal pitches given by James Tyler, “The Mandore in the 16th and 17th Centuries,” Early
Music 9 (1981): 28.
 17

Kircher’s descriptions appear to be based mostly on Mersenne, and there is no

new information to be found.

Figure 2.8 - illustration of the mandore from Musurgia universalis:

MISCELLANEOUS MANUSCRIPTS

A late seventeenth century German manuscript formerly in the library of

Professor Paul Nettl in Bloomington, Indiana contains music for both guitar and

mandore. Of the approximately 50 mandore pieces, thirteen are courantes,

fifteen are sarabandes, and three are allemandes. Also included are a tambour,

a bouffons, a cannarie, a ciacona, two preludes and a fantasia.

A lute manuscript from around 1670 which contains some untitled

mandore music is found in the Sibley Music Library, Rochester, New York (Vault

[Link]).
 18

DE GALLOT GUITAR BOOKS

The de Gallot guitar books found in the Bodleian Library, Oxford,

([Link].C94) seem to have been “compiled by a French musician, Henry

François de Gallot [d. after 1684], and/or other musicians associated with the

English Restoration court around 1660-1685.” 16 They consist mainly of guitar

music from from this period: 586 pieces for guitar, five songs with guitar, twelve

pieces for theorboed guitar and six guitar trios. Also contained are seven little

pieces for mandore (ff. 131-132): a gigue, three courantes and three sarabandes.

These pieces are written for an instrument of five courses tuned (from low to

high) fourth-fifth-fourth-major third. For one of the courantes (f. 132), the first

course must be lowered a semitone, and for the sarabande on f. 131v, it is raised

to make a perfect fifth with the second course. The texture of the music contains

simultaneous notes that are on nonadjacent strings, so lute-style playing with the

fingers probably would have been used for these pieces.

FURETIÈRE

In the first edition of Essai d’un Dictionairre (1685), Antoine Furetière

(1619-1688) states in his section on the lute that the term luthée was sometimes

applied to the mandore of more than four courses. In the second edition,

however (1690), there is an actual entry for the mandore in which he writes about

16
James Tyler, “The Mandore in the 16th and 17th Centuries,” Early Music 9 (1981): 29.
 19

right hand technique; namely, that a plectrum is tied to the index finger for the

melody while the thumb plays the lower strings. 17

TALBOT

James Talbot (1664-1708), an English writer on music, combined a series

of notes on instruments from 1685 to 1701 (Christ Church Library, Oxford, MS

Mus. 1187). His information came from leading musicians and instrument

makers of the period, who sometimes provided him with instruments for

measurement. Talbot details the dimensions of many plucked-string instruments

such as various French, German and English lutes, the “Angel Lute,” various

theorbos, the archlute, the colascione and the mandore. The first type of

mandore Talbot describes has nine frets and six courses: the first three single,

the fourth a unison and the lowest two doubled in octaves. The overall length is

given to be around 61cm (24 inches), which is larger than the instrument

described by Mersenne or Praetorius, and the vibrating string length is about

43.2cm (17 inches). In addition, Talbot specifies that the belly is constructed of

nine separate ribs. This is also the only known source in which it is written that

wire strings are sometimes used.

17
ibid., 30.
 III. François de Chancy -
Life and Works

The details of François de Chancy’s birth have yet to be uncovered, but it

is known that he died in August, 1656. 1 A French composer and lutenist, it is

certain that he served Cardinal Richelieu at least from 1631-1635. This service

may have begun earlier, however, since his Tablature de mandore of 1629 is

dedicated to Richelieu.

Cardinal Richelieu (1585-1642) was born Armand Jean du Plessis in

Paris. A member of a privileged family and extremely intelligent, he became

Bishop of Luçon in 1606. In 1622 he was made Cardinal by Pope Gregory, and

in 1624 Richelieu became Prime Minister of France. He succeeded in securing

the authority of the throne by crushing the Huguenot resistance and by punishing

those who plotted against the king. This power of the state was of utmost

importance to Richelieu. He regarded religion as a tool for the promotion of state

policies and believed that even small crimes should be punished rigorously in

order to maintain control. Richelieu’s efforts succeeded. While he was Prime

Minister, France became the leading power in Europe.

1
The information on Chancy and his output in this chapter was taken from John Baron’s article,
“Chancy, François de,” Grove Music Online, ed. L. Macy (Accessed 7-5-04)
<[Link]

20
 21

Cardinal Richelieu was also a patron of the arts. He rebuilt the Sorbonne

in Paris, provided support for musicians and writers, and founded the exclusive

French Academy in 1635. He is “reputed to have danced a Sarabande

accompanying himself with the castanets,” 2 and the Burwell Lute Tutor reveals

that he could even play the lute. 3

In 1635 Chancy became chamber musician to the king of France, Louis

XIII (r. 1610-1643). Chancy would continue to serve in this capacity under Louis

XIV (r. 1643-1715) and hold this post until his death in 1656. From 1644 on,

Chancy also directed the children of the royal household.

His music for mandore is represented by Tablature de mandore (printed

by Pierre Ballard, Paris, 1629). Two lute suites survive (Paris, 1631), each

comprised of six dances, as do two volumes of Airs de cour for four voices

(Paris, 1635-44). There is also Les equivoques, a five-volume collection of

songs for one to three voices with lute accompaniment (Paris, 1640–55). The

majority of the songs found therein are solo chansons pour danser and chansons

pour boire with lute. These two types of songs are usually paired. The chansons

pour danser (dancing songs) were often serious pastoral poetry set to repeated

rhythmic patterns in regular meter, while the chansons pour boire were usually

2
François de Lauze, Apologie de la Danse, trans. and ed. Joan Wildeblood (London: Muller,
1952), 32.
3
Thurston Dart, “Miss Mary Burwell’s Instruction Book for the Lute,” The Galpin Society Journal
11 (May 1958): 50.
 22

humorous drinking songs. 4 The third through fifth volumes of Les equivoques

are entitled Livre des chansons, and volumes two through five were reprinted as

Recueil des quatre livres des Equivoques pour boire et pour danser in 1699. In

addition to these pieces, isolated instrumental works are found in the Philidor

collection (Bibliothèque nationale, Paris) and in the treatises of Mersenne.

Mersenne actually credited Chancy with being one of the best songwriters at the

French court. 5 Besides music for mandore, lute and voice, three courantes for

violin and oboe are extant.

4
John Baron, “Chanson pour boire,” Grove Music Online, ed. L. Macy (Accessed 11-5-05)
<[Link]
5
John Baron, “Chancy, François de,” Grove Music Online, ed. L. Macy (Accessed 7-5-04)
<[Link]
 IV. The Print

François de Chancy’s Tablature de mandore was printed and published in

Paris in 1629 by Pierre Ballard (b. ?1575-80; d. 1639). The Ballard family

dominated French music publishing for over two hundred years beginning with

Robert Ballard (c.1525-1588) and his cousin, Adrian Le Roy (c.1520-1598).

Pierre Ballard, Robert’s son, carried on the business with his mother after the

death of Le Roy. In 1607 Henri IV officially made Pierre music printer to the king.

Louis XIII would renew this patent in 1611 and 1633. Pierre did not print much

instrumental music. He focused mainly on vocal music by court composers,

printing many airs de cour, psalms and chansons pour dancer et pour boire. 1

Tablature de mandore is in oblong quarto format, which was not

uncommon for instrumental music publications of the time. It measures 8⅞

inches by 6¾ inches (22.5 cm x 17 cm). The binding is not original, but the

paper is in good shape; it is pliable with just a bit of browning around the edges.

It appears that only black ink was used. The title page, which exhibits ornate

woodblock art and an oval shape, was typical of Ballard publications.

1
D.W. Krummel and Stanley Sadie, eds, Music Printing and Publishing (New York: Norton,
1990), 161.

23
 24

Unfortunately, “no artists have been identified for any of Ballard’s woodblocks.” 2

The book appears to have been printed with the use of moveable type.

The breaks in the staff lines between the tablature letters are indicative of this

method. Characters are spaced evenly without regard to rhythm. This method of

layout does not always permit full measures at the ends of lines. As a solution,

rather than leaving a large amount of unused space at the end of a line, Ballard

often breaks the measure and continues it on the next system.

The edition is foliated starting with “1” on the first page of music. The

preliminary pages are not numbered.

The pattern of printer’s signatures repeats every eight pages, beginning

with f. 1r. The first three recto pages of each eight-page group are marked

(letter), (letter) ij and (letter) iij respectively. The letters start with B and go

through G. This pattern implies a quarto edition.

The music often does not fill the entire page, and blank staves or portions

of blank staves are abundant. This custom arose in order to fill the printing form

with typesetting elements. Systems consisting of a completely blank staff exhibit

continuous lines, e.g. Seconde (f. 2v, last system). In those cases where the

music ended in the middle of a line, the staff was continued with fragmented

typesetting, e.g. Courante (f. 2r, last system).

2
Barbara Ravelhofer, Louange de la Danse (Renaissance Texts from Manuscript No. 3.
Cambridge: RTM Publications, 2000), 60.
 25

The pieces are generally short enough to fit on a single page. When the

piece is too long, it is merely continued on the top of the next page with the

exception of Recherche (ff. 21v-22r). Ballard’s elegant solution was to continue

the last line of the first page on the last system of the second page. This works

well since the pages face each other. This way, the player may continue to read

along the same line instead of going to the top of the second page. Kneeling

human figures with outstretched arms show that the two systems should be

linked.

Figure 4.1 - Recherche (ff. 21v-22r, last line [broken across two pages]):

The Bibliothèque nationale in Paris (F-Pn) holds the only known original

copy of Tablature de mandore. Two other libraries, however, own microfilms of

the book: the University of Illinois library, and Loeb Music Library at Harvard. It

was the microfilm from the University of Illinois that was copied for this

dissertation.
 V. Notation

The tablature used by Chancy is French in style. Letters are used for the

fret indications, and the top line represents the first course. The lines

representing the courses pass through the fret indications rather than below

them, a not-unheard-of practice, especially with continental examples.

The curved and diagonal lines initially presented quite a puzzle. They

both seemed to indicate the same thing, so why was one used in one instance

and not in another? It may have been purely for visual aesthetics, because there

seems to be no difference in meaning. Mersenne writes, “As to the bars, or

straight lines which run obliquely up from below…and as for the semicircles

under the letters…they signify the holding of the finger on the fingerboard…since

the two signs were invented for this purpose, so that it is unimportant which one

uses.” 1 Other evidence that the symbols are interchangeable occurs in the

Sarabande (f. 24r). Notice that measures 8 and 16 are exactly the same, with

the exception of the hold-marking (see figure 5.1).

1
Marin Mersenne, Harmonie Universelle: The Books on Instruments, trans. and ed. Roger E.
Chapman (The Hague: Martinus Nijhoff, 1957), 133.

26
 27

Figure 5.1 - Sarabande (f. 24r, m. 8 and m. 16):

Also, measures 24 and 25 in the Seconde (f. 2v) are of the same texture, yet

again, different markings are used:

Figure 5.2 - Seconde (f. 2v, mm. 24-25):

Still, there are other distinctions that need to be made regarding these markings.

Sometimes, curved lines follow one another to indicate that a certain note should

continue to be held.

Figure 5.3 - Seconde (f. 2v, mm.17-18):

 28

Figure 5.4 - Sarabande (f. 20v, mm. 30-31):

Figure 5.5 - Sarabande (f. 24r, mm. 2-4):

In these cases, the meaning is obvious because the curved line is attached to

notes that simply cannot be held because of subsequent activity on the same

string.

A curious symbol is found at the beginnings of Branle Gay (f. 16v), Branle

de Poictou (ff. 16v-17r) and La Gavotte (f. 18r). It also appears in the middle of

measure 12 of Branle de Montirande (f. 17r).

Figure 5.6 - Branle Gay (f. 16v, m. 1):

 29

In figure 5.6, the barline after the first chord is not marking off the measure.

Rather, it is helping to mark the repeat point and to set apart the first chord as an

introduction. This barline placement is used for the same purposes in La Gavotte

(f. 18r).

Upon showing this symbol to the eminent lutenist and early music expert,

Paul O’Dette, I learned that this was a sort of dal segno. In looking at these

pieces, this is certainly the most reasonable interpretation of the sign. In the

case of La Gavotte (f. 18r), the symbol works in conjunction with first and second

endings at the end of the piece. These endings are marked off simply by double

barlines. This symbol itself may be a “large [number] one” as described by

Virdung in Musica getutscht. 2 For his purposes, this symbol represents the

lowest open course of the lute in German lute tablature.

Regarding the double barlines, Tilmouth states, “The double bar, with or

without dots, may imply repeats but may on the other hand merely be a

calligraphical ornament.” 3 Figure 5.7 shows an example of the double bar with

dots that indicates a repeat.

2
Sebastian Virdung, Musica getuscht, trans. and ed. Beth Bullard (Cambridge, New York:
Cambridge University Press, 1993), 158.
3
Michael Tilmouth, “Repeat,” Grove Music Online, ed. L. Macy (Accessed 11-10-05)
<[Link]
 30

Figure 5.7 - Manuscript Barbe, Sarabande Gautier (second and third

lines): 4

Note the dal segno under the fourth measure of the top line.

The next figure shows an example where the double bar with dots does

not indicate a repeat. It is merely used to mark off introductory tuning

information.

Figure 5.8 - The Robarts Lute Book (c. 1654-1668) (Bottom of page A1): 5

4
Reprinted from Claude Chauvel, ed. Manuscrit Barbe: pièces de luth de différents auteurs en
tablature française: fac-similé du ms. de la Bibliothèque nationale, Paris, Rés. [Link]. 7. ca.
1690 (Genève: Minkoff, 1985).
5
Reprinted from Robert Spencer, ed. The Robarts Lute Book: c. 1654-68: for 11-course French
lute in D minor tuning (Kilkenny, Ire.: Boethius Press, 1978), A1.
 31

None of the double bars in Chancy’s Tablature de mandore have dots.

André Souris interpreted them as repeats in his transcriptions of the Alemande (f.

1v) and Courante (f. 2r). In most of the pieces from this print, the double bar

would probably indicate just that, but not always. When the double bar does not

indicate a repeat it is used to mark off sections of music. Each recherche is

delineated by double bars, though these prelude-type pieces would not be

repeated. In all the dances in binary form, each section should probably be

repeated. And if these pieces were used as functional dance music, they may

have been repeated ad libitum. The sarabandes on ff. 20v and 24r pose a

problem however. The double barlines divide each piece into four sections.

Should each section be repeated? It seems unlikely. The form already contains

a significant amount of repetition (mm. 1-8 are written out again as mm. 17-24 in

each piece). The Alemande (f. 13r), is a unique formal case in the book. It is in

three sections, with no written-out repetition.

The barlines in the middle of Recherche (f. 9v) appear to be written in by

hand, perhaps by a later player attempting to keep track of the number of

divisions in this rather long trill.

Figure 5.9 - Recherche (f. 9v, portion of second line):

 32

They are thinner than the printed barlines, crooked and inconsistent in shape.

The Sarabande (f. 3v) exhibits an interesting rhythmic feature. Measures

6 and 7 do not contain the correct number of beats.

Figure 5.10 - Sarabande (f. 3v, mm. 6-7):

Each should have six eighth notes; measure 6 has seven and measure 7 has

only five according to the tablature. At first glance, this would appear to be a

mistake. However, over the two measure span, the total number of eighth notes

is correct. Also, a look at the rhythm reveals a regular pattern, i.e. three sets of

dotted-quarter/eighth groups. This is a temporary shift from triple meter to 2/4 for

three measures, i.e. hemiola. This rhythm could have been notated properly by

using a tie. However, the regular rhythmic pattern and shift of meter would not

have been as apparent.

 VI. Ornamentation

There are three kinds of ornaments notated in Tablature de mandore. The

symbols are: a comma to the right of the tablature letter,

Figure 6.1 - (Seconde, f. 2v, m. 21):

an “X” to the upper right of the tablature letter,

Figure 6.2 - (Courante, f. 8v, m. 8):

and these two symbols combined.

Figure 6.3 - (Passemaise, f. 4r, mm. 1-2):

Unfortunately, it is difficult to find incontrovertible evidence for the meaning

of these symbols since there is no explanation of signs in Tablature de mandore,

33
 34

and since there was not consistent usage among composers, geographic areas

and time periods. There is a wonderful index to ornaments and table of signs in

Grove. 1 According to this table, the comma after the note may mean: 1) trill (17th

c. France, the main usage), 2) lower appoggiatura (17th c. French lutenists) or 3)

mordent (17th and 18th c. France). To further complicate matters, it is not

specified the manner in which the trill is played. Does it start on the auxiliary or

on the main note? Period sources have been more mysterious than helpful in

many cases. The Burwell Lute Tutor (c.1660-1672) provides a paragraph on the

“shake,” which is marked with a comma. However, it only reveals that “all the

world place in it the principal graces of the lute,” that it should be done in

moderation, that the strings should not be too stiff and that the nails should be

kept short, so as not to interfere with the sound. 2 There is no description of how

to actually execute a shake. It seems to be a curious omission since the

executions of the “fall,” “roulade” and “pull” are subsequently described in detail.

One might conclude that since the shake was the lute’s principal grace, the

manner of its performance was practically common knowledge. Mersenne is a

little more helpful, but still lacking in complete information. Regarding the

comma, he writes that it is a trill and goes on to discuss whether the auxiliary

1
Kenneth Kreitner et al. “Ornaments: 11. Index to ornaments and table of signs,” Grove Music
Online, ed. L. Macy (Accessed 11-9-05) <[Link]
2
Thurston Dart, “Miss Mary Burwell’s Instruction Book for the Lute,” The Galpin Society Journal
11 (May 1958): 34-5.
 35

should be a whole or half-tone above the main note. 3 He does not specify

whether or not to begin on the auxiliary. The explanations of signs in both Denis

Gaultier’s Pièces de Luth and in Jaques Gallot’s Pièces de Luth simply designate

the comma a tremblement (tremor). But this was not an exclusive term;

Mersenne uses it in his description of the mordent. In his article on the de Gallot

guitar books, Gill says the comma indicates a trill or pull-off. 4 In playing the

music from Tablature de mandore, I have found that the trill to the upper auxiliary

starting on the main note seems most appropriate.

According to the table in Grove, the “X” has even more possible meanings

than the comma: 1) ascending slide (Heinichen), 2) upper appoggiatura

(Marpurg) 3) trill (Lully, Mondonville; not uncommon), 4) mordent (18th c. France,

the main usage) and 5) vertical vibrato (Baron). 5 Again, it is not specified how

the trill should be executed. Neumann, in his lengthy Ornamentation in Baroque

and Post-Baroque Music, does not provide a definite answer either. The “X” is

listed as a “trill of any design” including an “unsupported main-note trill.” 6

Mersenne writes in Proposition IX that the “X” is one of two types of

3
Marin Mersenne, Harmonie Universelle: The Books on Instruments, trans. and ed. Roger E.
Chapman (The Hague: Martinus Nijhoff, 1957), 107.
4
Donald Gill, “The de Gallot Guitar Books” Early Music 6 (1978): 85.
5
Kenneth Kreitner et al. “Ornaments: 11. Index to ornaments and table of signs,” Grove Music
Online, ed. L. Macy (Accessed 11-9-05) <[Link]
6
Frederick Neumann, Ornamentation in Baroque and Post-Baroque Music (Princeton, New
Jersey: Princeton University Press, 1983), 598.
 36

Martelements. He describes a mordent by stating that:

the first finger of the left hand must be placed on the second string at the
fret of the b. And when one plays the second string with the right hand, he
ought to make it trill with the left hand, and finishing the trill, the finger
must be brought down firmly at the same place it was before so that the
string, after the ornamentation is achieved, will have the sound of a b.
Now this ornamentation is only made on a b and c and this with a single
finger of the left hand. 7

In Proposition XIII, Mersenne’s chapter on the mandore, he uses as an example

the Alemande (f. 1v) from Tablature de mandore to explain the “X.” 8 The only

further information he provides here regards the number of trills. An eighth note

is to receive one to two tremblements, while a quarter note should receive two or

four. It is odd that in Proposition IX, Mersenne clearly writes that this ornament is

only made on the first or second fret and involves only one finger of the left hand,

while the example he uses in Proposition XIII includes this same ornament

beginning on the fifth fret, f. However, it appears to be a simple technical

oversight.

Even though the words of Mersenne do not necessarily reflect the wishes

of Chancy, this is the best evidence so far for the execution of the “X” ornament

in Tablature de mandore. For this study, it is extremely lucky that Mersenne

used Chancy’s music as an example.

Further evidence for the performance of these ornaments lies in the

tablature itself. Looking at context helps to rule out some possibilities while

7
Marin Mersenne, Harmonie Universelle: The Books on Instruments, trans. and ed. Roger E.
Chapman (The Hague: Martinus Nijhoff, 1957), 108.
8
ibid., 130-134.
 37

strengthening others. If the “X” does in fact indicate a slurred mordent on one

string, one will never find it attached to the tablature letter a, since the open string

is the lowest possible note on the string. Similarly, the symbol would never be

attached to the tablature letter b when the auxiliary is required to be a whole step

lower. In perusing Tablature de mandore, one will find that indeed neither of

these instances ever occurs.

There are further clues that lie in the fingering and in the physical

limitations of the instrument. There are several instances where interpreting the

“X” as a trill would require awkward fingering. On the whole, this music lies

under the fingers very easily. Such awkward fingering would be uncharacteristic.

Unusual stretches or quick shifts of position would be required as well as

unorthodox fingerings if the upper neighbor were to be reached.

There is also one instance in which an “X” has been placed next to the

tablature letter i (see figure 6.4). If this were a trill to the upper neighbor, the

auxiliary must be on the tenth fret, l (j is skipped in the tablature system).

However, the mandore illustrated in Tablature de mandore has only seven frets.

That shown and described by Mersenne has only nine. Neither reaches the fret

l.
 38

Figure 6.4 - Sarabande f. 9r, m. 9:

From looking at the context of the ornament, reading Mersenne, and

knowing the various usages, it seems most reasonable to conclude that the “X”

indicates a slurred mordent to the diatonic neighbor.

The comma combined with the “X” has not been listed in any of the tables

I have seen, nor explained in any sources that have come to my knowledge. It

seems reasonable to conclude, however, that this third species of ornament

might designate a kind of turn.

Figure 6.5 - Passemaise (ff. 4r-5r, m. 1, proposed solution):

 39

In some cases, this works well. However, in the Passemaise (ff. 4r-5r, m. 2), this

symbol is attached to an eighth note. Even if a slow tempo were taken, it would

be difficult to execute the turn I propose in that amount of time.

 VII. Rhythmic Characteristics

THE RECHERCHES

Each recherche in Tablature de mandore is composed in the style of an

unmeasured prelude. Although, the middle section of Recherche (ff. 21v-22r) is

barred in 2/2 for seventeen measures. The unmeasured textures are made up of

a conglomeration of note durations which contribute to an improvisatory

character. Also evident are chains of block chords; Recherche (ff. 9v-10r)

contains two especially long chains. In addition, with the exception of Recherche

(ff. 21v-22r), all have long written-out trills in which each note is plucked.

THE ALLEMANDES

All six of the allemandes in Chancy’s Tablature de mandore are written in

2/2. As one would expect, both the A and B sections of these allemandes open

with an anacrusis, with the exception of the A section of f. 22r. (Folio 13r does

not have a corresponding letter for its eighth note anacrusis. This is probably an

omission and is discussed further in Chapter X: Errors in the Print.) The length of

the pickup varies, though, from one eighth note to three eighth notes.

Three characteristic rhythmic figures are common to all the allemandes:

1) The eighth/quarter combination beginning on the first beat of the measure is

quite common, and it lends a syncopated character to the dance. Only a few of

40
 41

the abundant examples are shown here.

Figure 7.1 - Alemande (f. 1v, mm. 9-10):

Figure 7.2 - Alemande (f. 7v, mm. 4-5):

Figure 7.3 - Alemande (f. 10v, mm. 3-4):

Another common syncopation in the allemandes is found in the treble at

cadences.
 42

Figure 7.4 - Alemande (f. 1v, mm. 5-6):

Figure 7.5 - Alemande (f. 7v, mm. 7-8):

Figure 7.6 Alemande (f. 19r, mm. 7-8):

2) The dotted-eighth/sixteenth combination is also found in all the allemandes,

usually starting on the last quarter note of the measure, but also occurring on the

second.
 43

Figure 7.7 - Alemande (f. 1v, pickup-m. 1):

Figure 7.8 - Alemande (f. 13r, mm. 8-9):

Figure 7.9 - Alemande (f. 22r, mm. 11-12):

3) The third common rhythm to these allemandes is the eighth rest followed by

three eighths and then a long note. In the first example that follows, a diminution

of this rhythm occurs at the end of measure 15 as well.

 44

Figure 7.10 - Alemande (f. 10v, mm. 14-16):

Figure 7.11 - Alemande (f. 19r, pickup-m. 3):

THE COURANTES

All twelve of the courantes are notated in triple meter, though hemiola is

not uncommon. All open with an anacrusis and most of these pickups are one

beat long. There are none of the eighth/quarter syncopations that are found in

the allemandes; nevertheless, syncopation is achieved through use of the

quarter/dotted-quarter/eighth rhythm, which places an agogic accent on beat two

of the measure. This pattern is very common in these pieces. Only a couple of

examples are shown below.

 45

Figure 7.12 - Courante (f. 2r, m. 3-4):

Figure 7.13 - Courante (f. 14r, m. 26-27):

Also common to the courantes are chains of straight quarter notes. At first

glance, this rhythm appears simple and straightforward. However, a closer look

at the actual length of the notes reveals further syncopation. Often, beat two

exhibits a longer note (usally a half note) in one of the voices, creating an agogic

accent.

Figure 7.14 - Courante (f. 14r, mm. 3-5):

 46

Figure 7.15 - Courante (f. 19v, m. 14):

Figure 7.16 - Courante (f. 20r, m. 8):

Another way in which Chancy emphasizes the second beat of the measure within

the quarter note chains is to have a voice make an entrance on that beat.

Figure 7.17 - Courante (f. 11r, m. 27-29 both voices):

 47

Figure 7.18 - Courante (f. 11v, mm. 13-14 lower voice):

Figure 7.19 - Courante (f. 19v, mm. 17-19 both voices):

The following example exhibits all three of the ways in which Chancy achieves

syncopation in these courantes. Every measure shown contains syncopation,

and this trend continues to the last measure of the piece.

Figure 7.20 - Courante (f. 11v, m. 18-24):

(example continued on next page)

 48

THE SARABANDES

All the sarabandes are notated in triple meter, and with one exception (f.

15r), all commence on the downbeat with the tonic chord or pitch. The so-called

sarabande rhythm, quarter/dotted-quarter/eighth, while common in the courantes,

occurs with much less frequency in the sarabandes. Far more common is the

dotted-quarter/eighth/quarter rhythm, which places emphasis on the first beat of

the measure.

Figure 7.21 - Sarabande (f. 9r, m. 4):

 49

Figure 7.22 - Sarabande (f. 12r, m. 9):

Figure 7.23 - Sarabande (f. 20v, m. 4):

The prevalence of this rhythm was common at the time. See the sarabandes of

Praetorius in Terpsichore (1612).

Repeated chords are also an important characteristic of the sarabandes in

Tablature de mandore.

Figure 7.24 - Sarabande (f. 12r, m. 1):

 50

Figure 7.25 - Sarabande (f. 20v, m. 1):

Figure 7.26 - Sarabande (f. 24r, m. 5):

As with the courantes, emphasis often occurs on the second beat of the measure

as a result of the placement of a long note there or the commencing of a new

line.

Figure 7.27 - Sarabande (f. 3v-4r, mm. 4-5 lower voice):

 51

Figure 7.28 - Sarabande (f. 9r, mm. 3-4 upper voice):

Figure 7.29 - Sarabande (f. 12r, mm. 10-11 lower voice):

An unusual rhythmic figure is found in four of the six sarabandes (it does not

appear in f. 20v or in f. 24r). Though not very common, it nevertheless draws

attention to itself. The top voice consists of a dotted quarter followed by an

eighth tied to a quarter, while the lower voice articulates the first and third beats.

The result is a two-over-three polyrhythm.

Figure 7.30 - Sarabande (f. 12r, mm. 2-4):

 52

Figure 7.31 - Sarabande (f. 15r, m.1):

THE BRANLES

As a group, the branles do not exhibit a characteristic set of rhythmic

features, nor should one expect them to. Several different types of branles were

created with their own meters and phrasings. Characteristic rhythms appear to

be less of a distinguishing feature. Therefore the following discussion focuses

mainly on phrasing.

Orchesographie (Lengres, 1589), a dance treatise by Thoinot Arbeau (real

name: Jehan des Preyz), discusses many dances in great detail and deals

extensively with the mid-sixteenth century branle. Arbeau writes that dancing

festivals are usually begun with a series of branles in the following order: 1) the

branle double which is sedate, and in duple meter; 2) the branle single or simple,

which is also sedate and in duple meter; 3) the branle gay, a lively dance in triple

meter; and lastly 4) the branle de Bourgoyne, which was very lively and in duple

meter. He goes on to describe about twenty other kinds of branles that may

follow these four. 1

1
Thoinot Arbeau, Orchesography, trans. Mary Stewart Evans, ed. Julia Sutton (New York: Dover,
1967), 128-176.
 53

By 1600 a typical suite of branles included these four plus four other types

of branles: 2 1) the branle de Poitou (spelled Poictou by Chancy and others),

whose title refers to that west-central, coastal region of France; 2) the branle

double de Poitou; 3) the branle Montirandé, which may refer to Montier-en-Der

near Chaumont in the Haute Marne (northeast France); 3 and 3) the gavotte,

which was typical of southeastern French province, Dauphiné.

There is nothing unusual about the order of the branles found in Tablature

de mandore. Other works from around the same period which display a similar

sequencing include Le trésor d’Orphée (Paris, 1600), a lute tablature by Anthoine

Francisque, Terpsichore (1612) by Michael Praetorius and François De Lauze’s

Apologie de la danse (1623).

To discern the usual phrasing of each type of branle, it is helpful to look at

Orchesographie, which is replete with musical examples correlating the different

steps of the dances with music. In figure 7.32, taken from Arbeau, the branle

double exhibits a characteristic phrasing. Reading the rhythms as quarter notes

in 2/2, the smallest phrase structure is two measures long. The first two of these

two-measure groups are joined to maked one larger antecedent phrase. The

next two two-measure phrases are joined to make one larger consequent phrase.

One can see that the overall phrase pattern is then: a b a c. Regarding

2
Daniel Heartz and Patricia Rader, “Branle,” Grove Music Online, ed. L. Macy (Accessed 11-10-
05) <[Link]
3
Thoinot Arbeau, Orchesography, trans. Mary Stewart Evans, ed. Julia Sutton (New York: Dover,
1967), 203n92.
 54

the dance steps, the A section corresponds to a double à gauche (which in itself

consists of four steps), and the B section corresponds to a double à droite (also

consisting of four steps). The C section, which brings the melody to its final close

on the tonic, corresponds to a divided double à droite. Notice that this series of

steps includes an increase of activity near the final cadence, and a cessation of

activity on the closing note.

Figure 7.32 - music and dance steps for a branle double from
Orchesographie: 4

(example continued on next page)

4
Reprinted from Thoinot Arbeau, Orchesography, trans. Mary Stewart Evans, ed. Julia Sutton
(New York: Dover, 1967), 130-131.
 55

Similarly, one will find that the branle simple exhibits the following

phrasing: 2 measures plus 1 measure; 2 measures plus 1 measure. Again, at

the end of the last phrase, there is an increase of dance activity and a pause at

the final note.

The first two of Chancy’s Branles de Boccan are titled simply Premier and

Second. These titles do not indicate what kinds of branles they may be, but they

are most closely related to the branle simple described by Arbeau. However, the

phrasing is divided more as three sets of two bars. The steps still work out

because the total number of beats is the same.

Arbeau’s musical example for the branle gay (figure 7.33) gives two

measures plus two measures for the antecedent phrase, and two measures plus

two measures for the consequent phrase. The dance steps for each two-
 56

measure grouping are identical. It is also worth noting that long notes at the end

of each two-measure group correspond to a cessation of activity in the dancing.

Figure 7.33 - music and dance steps for a branle gay from
Orchesographie: 5

Chancy’s Branle Gay fits this pattern nicely. The long notes in the second and

third bars are reflected as well.

5
ibid., 134.
 57

Arbeau’s melody for the branle de Poictou consists of two measures of

9/4.

Figure 7.34 - music and dance steps for a branle de Poitou from
Orchesographie: 6

Chancy’s Branle de Poictou (f.16v) in Tablature de mandore does not

exhibit 9/4 meter. Rather, measures of 3/4 are grouped in twos. Three of these

groups are linked to form a complete phrase (a total of 18 beats). However, a

look at the dance steps given in Orchesographie shows that Chancy’s grouping

works with these steps as well. The phrase division works out rather nicely as a

matter of fact. The increased activity near the end commences with the third

group of two measures in Chancy’s piece.

6
ibid., 147.
 58

The Branle double de Poictou and Branle de Montirande, while not

described by Arbeau, have analogs in Terpsichore.

After an introductory chord that does not function as part of the rhythmic

structure, La Gavotte (f. 18r) opens with the anacrusis one might expect, i.e. two

quarter notes. The phrasing (a a b b', four measures each) follows that given in

Orchesographie and fits the steps quite well.

HEMIOLA

In general, courantes tend to exhibit hemiola. 7 A survey of the music in

Tablature de mandore reveals that nine of the twelve courantes do in fact have

this characteristic (the exceptions are found on folios 11r, 13v and 19v). Several

examples are given below, showing different ways in which Chancy brings about

this effect.

Figure 7.35 - Courante (f. 2r, mm. 25-26):

7
Merideth Ellis Little and Suzanne G. Cusick, “Courante.” Grove Music Online, ed. L. Macy
(Accessed 7-20-04) <[Link]
 59

Figure 7.36 - Courante (f. 8r, mm. 9-10):

Figure 7.37 - Courante (f. 11v, mm. 5-6):

Figure 7.38 - Courante (f. 23r, mm. 15-16):

Though most of the hemiola in Tablature de mandore occurs in the

courantes, other instances may be found in two of the sarabandes (ff. 3v and

24r), in both voltes (ff. 6r and 23v) and in the Seconde (f. 2v). A few of these

occurrences are shown below.

 60

Figure 7.39 - Sarabande (f. 24r, mm. 6-8):

Figure 7.40 - Volte (f. 6r, mm. 14-15):

Figure 7.41 - Seconde (f. 2v, mm. 10-11):

In the last two examples shown above, note the placement of the dots, i.e. up-

strokes. They help to define the duple nature of the hemiola.

 61

The use of hemiola in these dances may reflect the influence of Spain. It

is interesting to note that “hemiola is typical of almost all Spanish music of this

time.” 8

8
Drew Davies, personal communication, 18 January 2006.
 VIII. Key Areas & Chromaticism

A comprehensive harmonic analysis of the music in Tablature de mandore

is beyond the scope of this dissertation. However, the music does tend to exhibit

some general properties with regard to key areas that will be discussed here. 1

Most of Chancy’s modulations are very brief and really only constitute

momentary tonicizations that quickly lead to yet another key area or more

commonly, back to the tonic. For example, Sarabande (f. 20v) remains in the

tonic key until four measures from the end, where Chancy momentarily

emphasizes the subdominant through use of the lowered seventh scale degree.

Other pieces exhibit what may be described as true modulations, where a foreign

key is established for a longer stretch, e.g. Passemaise (ff. 4r-5r). However,

most of the pieces in Tablature de mandore are relatively short and do not exhibit

lengthy forays into other tonalities.

The pieces in major keys have different characteristics of modulation than

those in minor, and these two groups will be discussed separately.

1
Tablature de mandore is technically pre-tonal. Though Chancy may not have been thinking in
tonal terms, the music does behave in this manner, and tonal analysis is an effective way to
describe it. Therefore, these later conventions will be employed in this discussion.

62
 63

PIECES IN MAJOR KEYS

When looking at the pieces in major keys, one can easily spot modulations

because they are always signaled by chromatic alterations. In modulations to the

dominant, this alteration is the chromatic raising of the fourth degree of the tonic

key. In figure 8.1 the tonic key is F. Chancy introduces a b-natural at the end of

measure 20, momentarily tonicizing C. But he promptly returns to the key of F by

using the b-flat in the descending voice in measure 21.

Figure 8.1 - Seconde (f. 2v, mm. 20-22):

The voice leading towards the key of C is really a strengthening of the dominant

through the use of a raised secondary leading tone. This technique is commonly

employed by Chancy.

Overall, Chancy most often moves towards the dominant. The second

most common modulation is to the subdominant. In almost all cases, Chancy

does this by chromatically lowering the seventh degree of the tonic key. In order

to re-establish the tonic key, this chromatic alteration is simply undone, which is

the same technique found in figure 8.1. In figure 8.2, the tonic key is F. The e-

flat'' alteration in measure 20 brings about a progression in the subdominant, B-

 64

flat. The return to the tonic is signaled by the presence of the e-natural'' on the

last beat of measure 23. The combination of this e'' with the held b-flat' creates a

tritone which expands nicely to the root and 3rd of the tonic chord, F.

Figure 8.2 - Passemaise (ff. 4r-5r, mm. 20-24):

Figure 8.3 provides a unique case: the newly tonicized subdominant

simply progresses directly to the tonic chord, creating a plagal cadence. Here

the tonic key is F. The chromatic alteration (e-flat'') which brings about the move

to the subdominant is never reversed.

Figure 8.3 - Recherche (f. 1r, last line):

In the Sarabande (f. 9r), Chancy brings about a move the subdominant in

an interesting way. The subdominant chord, F, is preceded by the raised fifth

scale degree (g-sharp'). This chromatic alteration produces a sonority which

consists of a diminished fourth with the following pitch, c'', and a major third with
 65

the e'. The resolution of this sonority is then achieved through a parallel

chromatic ascent of the major third. While highly unusual, there is still sufficient

chromatic pull to create a tension-resolution relationship.

Figure 8.4 - Sarabande (f. 9r, mm. 17-18):

Tonicization of the submediant is considerably less common. Getting into

and out of the submediant key requires a chromatic shift of the fifth degree of the

tonic key.

Figure 8.5 - Courante (f. 8v, pickup to m. 10-m. 12):

The tonic key in figure 8.5 is C. Though the submediant chord appears in

measure 10, the submediant key is not firmly established until the presence of

the g-sharp'-d'' tritone in measure 11.

 66

In other cases, the initial submediant chord is part of a deceptive cadence.

The submediant is then tonicized by a chromatic alteration which follows

immediately. The excerpt shown in figure 8.6 begins in the tonic key, C. The

submediant sonority in measure 19 thwarts the resolution of the dominant (G) in

measure 18. In measure 20, the fifth degree of the tonic key is raised, defining

the submediant key area.

Figure 8.6 - Courante (f. 20r, mm. 18-21):

Other examples of deceptive cadences becoming modulations to the submediant

may be found in Recherche (ff. 9v-10r, fifth line) and Alemande (f. 7v, mm. 2-5).

Chromatic voice leading towards the supertonic was even rarer than

towards the submediant. Usually, the chromatically-raised tonic pitch functions

to bring about the supertonic key area. None of these areas are very long. They

are quickly followed by a cancellation of the raised tonic, which leads back to the

tonic key. In figure 8.7 the tonic key is F. The f-sharp'' in measure 5 helps bring

about a momentary tonicization of G, but the new key is short-lived, due to the f'

in measure 6.
 67

Figure 8.7 - Alemande (f. 1v, mm. 5-7):

A rarely used, nevertheless interesting modulation type may be found in

Alemande (f. 7v, mm. 15-17). In this excerpt (figure 8.8), the tonic key is C. The

b-flat' and f-sharp'' in measure 16 combine to set up a modulation to the minor

dominant, g. The resolution, however, uses modal mixture, finishing with a G

chord in measure 17. The return to the tonic is made in the manner that normal

modulations to the major dominant exhibit (f-sharp'' reverts to f'' in measure 17).

Figure 8.8 - Alemande (f. 7v, mm. 15-17):

Other examples of this kind of modulation may be found in Passemaise (ff. 4r-5r,

mm. 44-47 and mm. 58-59) and in Alemande (f. 19r, mm. 9-10).
 68

The rarest modulatory device utilized by Chancy in major-key pieces is

movement around the circle of fifths. In figure 8.9 three keys are briefly defined

during Chancy’s journey towards the tonic.

Figure 8.9 - Courante (f. 11r, mm. 23-29):

Here the tonic key is B-flat. This excerpt begins in the key of g, but Chancy

raises the third of this key (b-natural) in order to tonicize C in measure 25. The

return to b-flat' in measure 25 establishes F as the tonic for measures 26-28.

The e-flat'' in the last beat of measure 28 brings about the retonicization of B-flat.

Only one other chain like this was apparent: Courante (f. 8r, mm. 7-12).

PIECES IN MINOR

The characteristics of modulation for the pieces in minor keys are

markedly different. They are also not as simple to spot as in the major-key

pieces. One reason is because the presence of a chromatic alteration may

simply reflect the use of the ascending melodic minor scale within a previously

natural minor harmonic language. Another reason is that an accidental may not

be necessary to the modulation.

By far the most common modulation for pieces in minor is to the relative

major. This is not surprising, since the use of the natural minor mode leans
 69

heavily toward the mediant. The Branles de Boccan (ff. 15v-18r) lean the most in

this direction. In fact, the first ten measures of the first branle, Premier (ff. 15v-

16r), imply the key of E-flat much more than they do the tonic key, c. In the

following excerpt (figure 8.10), the tonic key is c. An accidental is not required for

the tonicization of E-flat on the downbeat of measure 10, because the d'' in

measure 9 serves as the leading tone.

Figure 8.10 - Courante (f. 13v, mm. 7-11):

The move to the relative major is further solidified by the expansion of the tritone,

a-flat'-d'', in measure 10 to the sixth on the first beat of measure 11.

The next most common modulation for the pieces in minor keys, though

far less frequent than the relative major, is to the subdominant. Chancy brings

about this key area by raising the third of the tonic key. The subdominant key

area almost always yields immediately to the tonic key through a reversal of the

chromatic alteration. In figure 8.11 the tonic key, c, yields to the subdominant

with the presence of the e-natural' in measure 16. The new tonic, f, is confirmed

at the beginning of measure 17. The third degree of the tonic key is lowered
 70

back to its original pitch, e-flat' in the second half of the measure, bringing about

a return to the tonic in measure 18.

Figure 8.11 - Alemande (f. 13r, mm. 16-18):

Even less frequent than the move to the subdominant is voice leading to

the minor dominant. It appears mostly in the Branles de Boccan (ff. 15v-18r),

and is established by the chromatically raised sixth degree (and sometimes the

third and fourth degrees) of the tonic key combined with the diatonic seventh (in

natural minor). It is interesting to note that the approach to the new tonic alludes

to minor, but there is never a third in the resolution. Also, with only one

exception, the move to the minor dominant is made at the close of the a-section

of the piece [the Branle de Montirande (f. 17v) includes a move to the minor

dominant at the end of its first phrase as well (mm. 3-4)]. In the following excerpt

in c (figure 8.12), three chromatic alterations, a-natural', f-sharp'' and e-natural''

prepare the resolution to g. There is no b-natural to cancel the b-flat'' in measure

31, so even though there is no third in the g chord, the b-flat'' is still “heard.”
 71

Figure 8.12 - Branle double de Poictou (ff. 16v-17r, mm. 31-33):

The picardian minor/major dominant key area is also used. All instances

appear in the sixth suite (ff. 21v-24r). In all cases, the raised sixth scale degree

of the tonic key is utilized. In figure 8.13, where the tonic key of the piece is f, the

major dominant appears in measure 20. However, the collection of notes in

measure 21 points toward a resolution in minor. The actual resolution, however,

is major (measure 22).

Figure 8.13 - Volte pour Dardon (f. 23v, mm. 20-22):

In a unique instance, Alemande (f. 22r, mm. 6-8), this pattern is reversed.

The key of the major dominant is established, but the phrase finishes in the minor

dominant.
 72

Chancy occasionally moves to the subtonic key are as well (a whole step

below the tonic). In such cases, the sixth degree of the tonic key must be raised.

In the following example (figure 8.14), where the tonic key is c, the motion in the

lower voice from measure 14 to measure 15 betrays a dominant-tonic

relationship. The e-flat'' on the third beat of measure 14 helps confirm this

relationship. However, the modulation is not solidified until the a-natural'' at the

end of measure 15.

Figure 8.14 - Courante (f. 14r, mm. 13-16):

Modulations to the major dominant are almost nonexistent. Preparation is

the same as that for pieces in major keys, and the new key area quickly resolves

directly to back to the tonic. One example is Courante (f. 14r, mm. 18-20).

Motion around the circle of fifths is more common in minor-key pieces.

The smallest chain journeys through the subtonic (a whole step below the tonic)

and the mediant. (In modern terms, one would find this to be a V/VII-V/III-III

progression.) Occasionally, the string will be lengthened by starting with the

subdominant key area. (Again, in modern terms, this would yield V/iv-V/VII-V/III-

III.) The next excerpt (figure 8.15), where the tonic key is f, provides an example
 73

of this longer chain. Measures 9-12 define three other keys: B-flat, E-flat and A-

flat.

Figure 8.15 - Alemande (f. 22r, mm. 9-11):

The Courante (f. 13v) exhibits some interesting modulations. The tonic

key is c, but the relative major has been established since measure 19 (figure

8.16).

Figure 8.16 - Courante (f. 13v, mm. 23-28):

The mediant tonality yields to the subdominant key via the chromatic alteration in

measure 24, e-natural'. However, the a-natural'' in measure 26 tonicizes the

subtonic, B-flat, but the sonority on the downbeat of measure 27 provides a

deceptive cadence. Finally, the chromatic alteration on the third beat of

measure 27 brings about a return to the tonic on the downbeat of measure 28.
 74

Note the two chromatic ascents that accompany this modulatory excursion. The

first is found in the lowest voice in measures 23-25. The second, longer ascent

stretches all the way from measures 23-28 (g''-c''').

CADENCES

For the pieces in binary form, the A sections almost always end in either

the dominant or in the tonic. Both occur with about the same frequency. When

the piece is in a major key, the dominant close is major. In minor-key pieces, the

dominant tonality is minor with only two exceptions: Branle de Montirande (f. 17v)

and Courante (f. 22v). Only one piece in minor, Courante (f. 23r), has an A

section which closes on the major tonic chord. The only piece whose A section

does not close on either the dominant or tonic is the Courante (f. 14v), where the

cadence is in the relative major.

The B sections overwhelmingly open in the tonic key. The dominant key

area is the next most frequent. Unique openings include the relative major

[Branle de Montirande (f. 17v)] and subdominant [Alemande (f. 19r)]. Mostly, the

closings of the A sections and the openings of the B sections are in the same

key. However, in a good number of pieces, they are different.

 IX. The Impact of Technique
on the Music

All the music in Tablature de mandore is idiomatic to the mandore; the

notes fit comfortably under the fingers. This suggests that Chancy composed

directly from the instrument. This process necessarily gives the instrument and

the technique implemented in playing it a strong influence over the resulting

music. Voice-leading is strongly intertwined with the fingering. Notes that are

marked to ring are not awkward to hold. The shakes and mordents are also

easily executed, falling right under the fingers.

The plucking of the string is in most cases carefully worked out, though

there are inconsistencies and mistakes. Dots below, or more rarely, above

tablature letters are abundant, and indicate an up-stroke of the plectrum.

Naturally, a down-stroke is stronger, carrying more weight than an up-stroke.

The patterns of these down- and up-strokes of the plectrum are determined by

three things: 1) the intended inflection, often to bring out dissonances and to

emphasize rhythmic characteristics; 2) the desire for down-up alternation; and 3)

technical convenience.

In some instances, these three principles work together, fulfilling all three

purposes. In figure 9.1 the down-up alternation is preserved. The pattern also

75
 76

contributes to hemiola while helping to give appropriate emphasis to the chord on

beat two of measure 26, and the passage is comfortable and convenient for the

player.

Figure 9.1 - Seconde (f. 2v, mm. 25-26):

In figure 9.2 note the pattern of dots going from measures 15 to 16.

Figure 9.2 - Alemande (f. 13r, mm. 15-16):

Again, the down-up alternation is observed, which becomes more important

technically when the notes are quick. Also, the positioning of a down-stroke on

the second eighth note of measure 16 allows for an emphasis of the syncopation

which occurs there.

Occasionally, the three purposes work against each other. In figure 9.3

alternation is preserved until the end of measure 11. Alternation is also

preserved in measure 12. Further, the up-down pattern at the beginning of

 77

measure 12 helps one to bring out the syncopation, as in figure 9.2. However,

the joining of measures 11 and 12 produces two successive up-strokes (the last

note of measure 11 and the first note of measure 12). This quick succession

would prove cumbersome and unnatural to the player.

Figure 9.3 - Alemande (f. 10v, mm. 11-12):

Of course, it is possible that this is an error though it occurs more than once.

As the previous two examples show, the patterns of dots are by no means

consistent among pieces of the same type. Two other ways in which this same

figure was handled are shown in figures 9.4 and 9.5:

Figure 9.4 - Alemande (f. 1v, mm. 10-11):

 78

Figure 9.5 - Alemande (f. 7v, mm. 2-3):

The recherches exhibit quite an obvious inconsistency as well. The

written-out trill figure is notated with a down-stroke on the upper note in most

cases.

Figure 9.6 - Recherche (f. 1r, portion of third line):

But in two of the recherches (ff. 6v-7r and ff. 9v-10r), this pattern is reversed so

that the up-stroke falls on the upper neighbor and on the strong part of the beat.

This notation is especially curious since there are other written-out trills in both of

these pieces notated with the down- and up-strokes falling on the “correct” notes.

Both of the examples below (figures 9.7 and 9.8) are strange enough to be

suspected as errors. However, the appearance of three cases in two pieces

might indicate that this notation is deliberate.

 79

Figure 9.7 - Recherche (ff. 6v-7r, f. 7r, portion of top line):

Figure 9.8 - Recherche (f. 9v-10r, f. 9v, second and portion of third line):

The termination of the second trill in this last example is especially curious. The

resolution is only a sixteenth note which immediately falls to an f'.

In lieu of inconsistencies, the dots can still be quite useful in the

unmeasured Recherche. Often, barlines can offer clues as to which notes

should receive emphasis, and in these pieces there are usually none to offer that

information. The pattern of dots can then be interpreted to help define the beat.

In figure 9.9 one must decide how to beam the eighth-note run at the end of the

line. Reading from left to right, the first eighth note would appear to begin on the
 80

beat since it follows a dotted half note. However, the pattern of dots indicates

that the first eighth note is a pickup to the run, with the beat falling on the

succeeding note, d''.

Figure 9.9 - Recherche (f. 1r, second line):

 X. Errors in the Print

Tablature de mandore contains few errors. When an error does occur, it

usually has to do with the dots used for the indication of an up-stroke with the

plectrum.

On f. 5r of the Passemaise, there are two dots under last letter in measure

56. This is not a fingering indication. If it were, the dots would be side-by-side,

not vertically aligned. The lower dot is superfluous.

Figure 10.1 - Passemaise (ff. 4r-5r, f. 5r, m. 56):

Also on f. 5r, there is a misaligned dot in measure 46. It should be directly

under the last tablature letter of the measure, c.

Figure 10.2 - Passemaise (ff. 4r-5r, f. 5r, m. 46):

The same misalignment occurs in measure 8 of En m’en revenant de S.

Nicolas (f. 5v). Again, the dot should be under the tablature letter, c (figure 10.3).

81
 82

Figure 10.3 - En m’en revenant de S. Nicolas (f. 5v, m. 8):

In measure 14 of the same piece, a dot should occur on the last note of

the measure rather than on the penultimate to facilitate ease of execution.

Figure 10.4 - En m’en revenant de S. Nicolas (f. 5v, m. 14-15):

On f. 7r of the Recherche from the second suite, the top line contains

some unusual dot placement.

Figure 10.5 - Recherche (ff. 6v-7r, f. 7r, portion of top line):

Recherche (ff. 9v-10r) exhibits the same curious dot placement.

Figure 10.6 - Recherche (ff. 9v-10r, f. 9v portion of second line):

 83

Each Recherche in Tablature de mandore, with the exception of the one found

on ff. 21v-22r, contains long, written-out trills in which each note is plucked. In

each of these cases except for the two examples given above, the down-stroke

corresponds to the upper note of the trill and also to the strong beats. On the top

line of f. 7r and on the second line of f. 9v, the pattern is reversed. The up-stroke

now occurs on the upper note of the trill and on the strong beats. There is a

chance that this is a mistake, but the fact that there are three examples in two

pieces might indicate that the notation was deliberate. Either way, both

musicality and technical ease would benefit from a reversal of the notated

pattern.

Two instances of dot-placement that may be errors are found in the

Alemande (f. 10v). In both cases, two quick upstrokes in a row are indicated.

The first instance involves the last note of measure 3 and the first note of

measure 4.

Figure 10.7 - Alemande (f. 10v, mm. 3-4):

 84

As with the trills discussed previously, this is not the only instance of such a

pattern, and to execute it as written is not impossible. However, the passage

would make more sense technically if the first note of measure 4 did not have a

dot. Considering inflection, the written up-down pattern in measure 4 is nice for

emphasizing the syncopation, but the approach from the previous note is unusual

and cumbersome. The second instance involves the last note of measure 11

and the first note of measure 12.

Figure 10.8 - Alemande (f. 10v, mm. 11-12):

Changing the downbeat of the second measure of each example to a down-

stroke will allow the player to preserve the syncopation (a down-stroke on the

succeeding note is still easy to play) while eliminating the awkward succession of

upstrokes.

The last note of Sarabande (f. 12r) is an a'. This pitch functions properly

when repeating back to measure 9, but it is not appropriate as the final note of

the piece, since the tonic chord here is B-flat. The fermata should probably have

been placed above the penultimate note of the piece, b-flat', to help indicate the

proper ending point.

 85

Figure 10.9 - Sarabande (f. 12r, mm. 15-16):

The first tablature letter of Alemande (f. 13r) is missing. There is only an

eighth-note rhythm symbol above the pickup measure. Though in other cases, a

rhythmic symbol with no corresponding tablature letter indicates a rest, that

notation would be superfluous here. Also, as a general rule, most allemandes

open with an anacrusis. Indeed, the subsequent phrases of this Alemande open

that way. Bearing this in mind, it would make sense for the first note of the piece

to be a g'', i.e. the tablature letter c on the first string. This anticipation mirrors

the openings of the B and C sections.

Figure 10.10 - Alemande (f. 13r, pickup-m. 1):

 86

Figure 10.11 - Alemande (f. 13r, pickup to m. 7-m. 7):

Figure 10.12 - Alemande (f. 13r, pickup to m. 13-m. 13):

Two quick down-strokes in a row are indicated in measures 14 and 15 of

Courante (f. 13v).

Figure 10.13 - Courante (f. 13v, mm. 14-15):

Two solutions are appropriate: 1) changing the downbeat of measure 15 to an

up-stroke or 2) changing the last two notes of measure 14 to a down-stroke and

an up-stroke respectively.

In measure 18 of Premier (f. 15v), there is a dot on the penultimate note of

the bar. From context, it is obvious that this note should be played with a down-
 87

stroke instead. Further evidence that it is an error is that the dot is not placed in

the usual position. Throughout the print, dots are placed in the space either

directly below or, less commonly, in the space directly above the tablature letter.

This particular dot is placed two spaces below the tablature letter.

Figure 10.14 - Premier (f. 15v, mm. 18-19):

Measures 3 and 7 of Branle de Montirande are identical except that

measure 3 has a dot on the second eighth note:

Figure 10.15 - Branle de Montirande (f. 17v, m. 3 and m. 7):

Either way works well, but both measures should be the same.
 The Transcriptions

As already stated, André Souris has transcribed the first three pieces

found in Tablature mandore, Recherche (f. 1r), Alemande (f. 1v) and Courante (f.

2r). I have used Souris’ work as a model for transcribing the rest of the book,

retaining many of the same conventions. For the re-engraving, the original

notation has been preserved on the tablature staff with the exception that

tablature letters have been placed in the spaces between lines. In the original,

the lines pass through the tablature letters. This was an appropriate decision to

make in consideration of typographical clarity. Also, it is more common to find

letter-tablature written with the letters in the spaces, and most modern readers of

lute tablature will be familiar with this style. The top staff contains the standard

notation. The nominal tuning pitches given by Mersenne have been applied to

yield the appropriate pitch level.

It was not always clear how long a specific note should be held.

Obviously, open strings will naturally ring, and hold-markings are abundant. But

not every note that rings is marked as such in the print. To do so would have

created an unnecessarily cluttered page. One must therefore take into account

the fingering Chancy most likely had in mind for a given passage. Some of these

instances have influenced the standard notation, but many times, reflecting note

88
 89

durations to such a degree would have unnecessarily complicated the

transcription as well. A happy medium must be achieved between readability

and precision.

I have added measure numbers for ease of reference. Pickup measures,

even internal ones, are skipped in the numbering system.

 The Prefatory Text from Tablature de
Mandore
English translations by Franck Vernerey.

Title page (ii recto):

Mandore Tablature
Composed by Mister Chancy.
[printed] in Paris,
by Pierre Ballard, Music Printer of the
King, living in street St. Jean de Beauvais, at the sign
of the mount Parnassus.
1629
With the privilege of His Majesty.

(iii recto)
Your Royal Highness,

If the laws of duty had not overcome my justifiable fears, I would not have been
bold enough to present this manuscript to you, knowing well that your mind can
only be entertained by either greater or more agreeable things. The choice that
you made of me among those of my profession, and the honor I fell to be at your
service does not take away the knowledge I have of myself, to give me the
presumption that many people could have if they were in my place: and also do
not allow me to give birth to nothing that I give you first tribute. That is why, your
Royal Highness, I dare beg you to consider the offer I am making you, as the one
who desires that all his best exercises and his most arduous waking hours be
used for the entertainment of His Highness, aspiring to no glory but to be told all
his life.

Your Royal Highness,

Your very humble, very obedient and very faithful servant.
CHANCY

(iii verso)
To Mister Chancy
on his book of Mandore.

Epigram
Only Apollon in our France
90
 91
Who joins the minds with fingers,
And who deserves that the kings
Listen to you in silence:
Your lesser entertainments,
Provide us with delights
Which one should not find strange,
Because in their bold charms,
We have the happiness of angels
Without being in heaven.
Bernard

(iv recto)
To Mister Chancy
on his book.

Sixain
Beautiful tunes whose perfections
Charm our passions so well:
You even force the envy
To say, admiring your charms,
Chancy, because I am delighted,
Who would not be?
P.F. Pean

(iv verso)
To Mister Chancy
on his Mandore tunes

Quatrain
Chancy, what powerful charms your good melodies have,
Their divine tunes are filled with wonders:
It is the sweetest thing that tickles our senses,
And the lesser work that comes from your sleepless nights.
Pichou

Quatrain
Chancy, the only one in the Universe
Who tunes the discords,
One cannot say in four verses
What you do on four strings.
Voille
 92
(v recto)
From the author to the reader.

To my reader: Do not think that I give you this manuscript to advertise the name
of Chancy. The prayers of Ballard, and the negligence of those who play the
mandore obliged me to put pen to paper. I do not doubt that those who only
approve their own work can consider mine: but the minds exempt from this
passion will judge, if they take the trouble to visit this tablature, that there is much
more to learn than to correct. Farewell.
 Recherche
(f. 1r)
Tuning: c'-g'-c''-f'' Francois Chancy

m œ ṁ ˙ nœ œ ˙ œ bœ œ œ ˙
&b ˙ ˙ w w ˙ ˙ œ ˙
˙ ˙ ˙ œ
h w h w h q h q h q h q h
. ,
. . . . .
. . .
c a

e,
a a c e f f c e f
c a c c d e d c
f c a

m˙ ṁ œ ˙ ˙ ˙ œ ṁ mœ œ œœœœœ
œ ˙ œ ˙ ˙
˙ œ œ œ œ
&b ˙ œ ˙
˙ œ œ œ œ ˙ ˙. J
˙.
h q h q h q h q h q h q h hk e
e
a
,
f c , .
a
c
d a
.
f
e
. f .
c e , c ,
.
f
c
. d .
a
c .f
a
a
c a . . . . .
a c e a e f
a c e
c e a

œ œ œ œ œ œ œ œ ṁ
˙. œ œ œ œ œ œ œ œ œœœœœœœœœœ˙ œ œ
œ
&b
q hk q e x h q h
. . .f . . .f . . h f. h .f h .f h f. e .f h . ,
.
h h f h e e c e
a h f h e h f h f e
f

œ ˙ ˙ ˙ œ ˙
œ ˙ œ ˙ œœ œ œœ
˙ œ œ ˙ œ . œJ œ œ œ œ œ œ
&b œ œ œ œ
œ œ.
q h q h q h e h q h q h q h q h qk e e
. . . . . . . . . . . .
. .
f e c a h f e c a
c e f a c e f e f e f e f e f e
a c d d c a
a a

œ œ œœœœœœœœœœœœ˙ w. U̇
& b œ œ œ b˙. œ
˙ ˙ œœ˙ ˙ ˙
œ
e x h q hk q h wk x h U
. . . . . . . . .
. .f .
a a a a
f e f e f e f e f e f e c e f a d c a
c d c a c
f

93
 Alemande
(f. 1v)

j
Francois Chancy

j
œ . œ œ ‰œ œŒ ‰ œ œ œ œ œ‰ Œœ œ ‰ . œ œ . œ ‰ œ œ ‰ j œ
&b C œ ˙ œ œ ˙ œ œ. œ œ
‰ ‰ J
ek x e e ek x ek x e
C . . . . . . .f . . . . . .
e f h h f h e f e f a c e
f e c a f e c a c a
d c d

‰ œ œ œœœ Œ œ œ œ œ œ #œ ‰ j œ Œ Ó ‰ œ œ œœ
b ˙ œ œ œœ ‰ ‰ œ œ œ œ ‰ œ œ œ œ Œ̇ œ
4

& œ J J œ . œ œ J œ œ œ
‰ J .
e x e e e e x
. . . . . . . . .f . .
. . . .
a a c f e c b c e c a c

.
e e c a c a a
f a d f d c a f d c
f e e c a

b ˙ œ œœ . . œ . œ œ . œ n œ‰ ‰ œ œ œ œ . œ ‰ ‰ ‰
œ œ ˙ œ œ bœ œ œ œ œ œ œ ˙ œ œ œ
& Œ œ . œ œœ . . œ˙
8

‰ ‰ ‰ ‰
e q ek x e q x e e q x e x e x e
.f . . . . . . .
. . . . . .
a a c c a c a a
a e f a e f d f c a c
c e c a f d f c d c a c
f

‰ œ œ œ œ œ œ œ. œ
b ˙ œ œ œŒ œ œ Ó œ ‰
œ œ œ˙ œ œ œœ œœ œ. œ œ ˙
œ ˙˙
œ
Œ œ . œ œ œœœ ..
12

& ˙˙ Œ ‰ œ œ
œ. ˙ œ ˙ ˙ ˙ ‰
e x e ek x e x e ek x e q q qk x e q
. . . . . . . .f
. . c. . .
h h f e e a a c a c a a
e h f h e a c c e e f a a
a f f d c a a a d d c a c
a f e c a a

94
 Courante
(f. 2r)
Francois Chancy

j
œ ˙˙ œ œ œ œ œ œ œ.œ ˙œ Œ
Œ̇ ‰ œ œ œ ˙ Œ Œ ‰ œj œ
b
& 43 ‰ œ . œ ˙ .. œ œœ
J œ . Jœ ˙
q h e x e q q qk e qk e q qk e qk e
. . a c. . . . . . .
.
a a c e f c e e c e a

3 .
f c e f a c f e c
c d f a
c e f

œ œ œ œ̇ . œ œ œ œ œ˙ . œ œ œ œ Œ ‰ œj œ œ
& b # ˙Œ . ˙ n œ˙ . œ œ œ
7

œ œ ˙˙
q h q q q q e x q e x
.
e e
.
c a
.
c c
.
a
.
a
.
a c
. .
.
b c c a c c e e e c a c
c e f a
e f

ṁ ˙ œ . œ ˙ Œ œ œ ˙ œ œŒ ˙œ Œ Œ œ œœ
& Ó ˙ œ ˙˙˙
b . .. .. œœ œœ œ œ ˙ ˙ œ œ œ ˙.
13

Œ Œ œ œ ˙. Œ Œ
q h ek x q q e q e q q e q e
,
. . . . . .
. .
c c a c e f e c a

. . .
a a e f a a a f c
a a a d c a c d f
a a c e f

œ Ó ÓŒ̇ Œ Œ œ
˙ œ œ œ ˙Œ œ b œ ˙˙ œœ ˙œ œ œ œ ˙. ˙˙
&b Œ ˙ Œ̇ ˙
. ˙ Ó ˙ œ ˙˙ ..
21

. ˙ Œ
q q q e q q q ex q h
c,
. . . . . . a c. .f
x

.
h c a c e f a c a a

.
a a f d c e a
c d f c
e f a

95
 Seconde
(f. 2v)
Francois Chancy

j j j
œ œœ .. œœ œœ œœ . œ œ œ Œœ œ
& b 43 œ ˙˙ . œ ˙œ œ œ œ˙ . œ œœ œ˙ .. œ˙ .
œ ˙ Œ
q h q q qk e q qk e q qk e
. . . .
.
a a c e a c

3
a a c c e a a a c e
f d c a c c a c
f e c

˙ ˙ œ œ œœ œœ œ˙ . œœœ ÓŒ̇ œ Œ ˙ œ œ˙ . œœ
&b Œ Œ̇ . . ˙ Ó̇ œ ÓŒ̇ . ˙ œ œœ
6

. ˙˙
.
q q qk x q q q q q qk x
. . . . . . . .
.
e f f e c a c e a c a c a c
f e f a a a a
c d c a
a e f a

˙. ˙ œ œ œ œ œ . œj ˙œ œ Œ Œ œ . j ˙ ˙ œ œ ṁ
œ œ œ
& b ŒÓ ˙ œ ˙˙˙ .. .. ≈ œ œ ˙. œ ˙ œ ˙ ˙ nœ
13

q h x q qk e q e q qk e q q q
. . . . .e . .f ,
. . .
a a h e f h e e c
a h f f c e c
c h f d c d a f e
f

Ó ‰ œj œ ˙ œœ œœ œœ œœ˙ œœ œœ œ œ . œj ˙ Œ ˙˙
& b ˙˙ . ˙ œ œ ˙˙ œ˙ . œ œ . ˙˙ ˙ œ ˙˙ ..
21

œ ˙.
Œ Œ ˙ Œ ˙
q q qk e q q q q qk e q h
. .a . . . .
. . .
a a a a a a c c a a
a e a a a c c c a a
f a d c a c c c d a c
e f a f a f

96
 Troisiesme
(f. 3r)
Francois Chancy

Œ Ó Œ
b 3 œ œ ˙œ . œ œ œ˙ ˙ œ œ n œ œ œ ˙œ œ œ œ œ œ ˙œ œ
& 4 J œ œœ œ ˙ ˙. ˙ ‰ J
e qk e q q q e x q e x e q

. . . . . . . . . .
c

3 .
a a c a c e
c d f c a d c a f e c e f f d
f e a f e c a

j Œ ˙
Ó œ œ˙ . œ œ œ œ ˙ Œ̇ œ œ œœ Œ ˙ ..
& ˙˙ ..
b J ˙ œ Ó œ ˙˙œ ˙ œœ œ
7

˙œ
‰ . Œ ˙ Œ̇ œ œ œ œ
h q qk e q q q q q q
. . . . . . .
.
e e c a a f e

.
a f e c c e f a c e
c d c a a c d f a c
f f a c e a f

œ œ œ ˙˙ .. ˙˙ œ ˙˙ œœ œœ œŒ n œ ˙ Œ
& b ˙œ ˙ œ œœ œ Ó œ ˙˙ .. .. œ œ
15

˙ Œ ˙ Œ Œ
q q e x q h q h q q q
d .
a
c a .
e c e
.
a
f
. c
a
a
e
. e
f
c
e
e
f c .
g h
a
.
c
c e f a f

Ó˙ . œ œ. j m ‰œ œj œ œ ‰ j Ó Œ
22

b ˙ n ˙˙ œ œœ œœ œ œ . n œj œœ J ‰ œ
œœ
œ œ œœ œ œ œ œ œ
& Œ ˙ œ Ó J ‰ Œ œ œJ œ‰
q qk e q e qk e q e q e q e
. . . , . . .
. . .
c c a c e c

.
e c e f e c a f e c
f e f a e f f d f c a
a f e f

Œ Œ ṁ œ œœ
Œ ˙˙ œ. œ œ ˙.
b œ œ œ œ œ˙ œ œ œœ Œ ˙ Ó œ
˙˙
˙˙ ..
28

& Ó̇ .
˙. Œ Œ ˙ Œ ˙
q e q q q q q qk x q h
. , . . .
. .
a c f e c a c a a
a c e c e f a a
d f c c a f c
c a a f

97
 Sarabande
(ff. 3v - 4r)
Francois Chancy

j Œ Œ
b 3 œ œ˙ œ œ˙ . œ œ œ œœ . œ œ ˙˙ . œ œœ œœ œ ˙
& 4 œ œ œ œ
Œ J Œ ˙. Œ ‰ J
q qk e q q e q q qk e qk
. . . .
. .
a a c a

3 .
f f e a c a a c c e f
f c d d c c c d
f e c

Πj
‰̇ œ . œ ˙˙ .. œ˙ . œ œ œ œ œ œ œ œ œ œ œ œ œ œœ Œ
& b . Jœ ˙ œ œ œ œ˙ œ œ
7

œ œ œ
Œ ˙
e qk e q h e e q e x q e
. . . . . . . . .
. .
c a a c e a e f h a c e

.f
c e f a c e a c a
f c d c a c a
a f e

j ‰ ‰ j j
Œ œ œ œ œ œ œ œ ˙ œ œ
œ œ œ œ œ Ó Ó ‰ œ
b ‰̇
& . œJ ˙ œ˙. œ œ œ œ œ nœ Œ̇ ˙
13

. J œ œ Œ œ œ . ˙
J
e x e e q q qk e
.f . . . . .f .
. . .
c e c c f

.
c e c e f c e a
c c d a f e a
c a c e

œ Ó Œ œ˙ œ b œ ˙ œ œ œ œ ˙˙
b Ó ˙ ˙. œ œ œ ˙œ ˙ œ œœ
˙.
18

& œ
Œ ˙ Œ Œ ˙
q q qk e q q e x q q e x
. . . . . . . .
.
e a f a a c h e c a c
f d c e e a f
a c d f
f a

98
 j
Sarabande (ff. 3v-4r) - cont.

œ. ‰ Œ Ó ‰ œ œ ‰ j œ œ . b œ Œ ‰ œj œ œ
œ œ ˙ ˙ Œ
b ‰̇ œ œ œ ˙ œ œ œ œœ œ Œ
24

& Œ ‰ œ œ œ Œ Œ Œ
J . J
qk e e q e e ek x q e
. . . . . .
. . . .
a f e a a c e

. .
a a c e f d c
a c d c a d c d
f e c a f

j
œ ‰ œj œ œ œ˙ œ œ œ œ . œ œ œ ‰˙ œ œ œ œ ˙ .
& b ‰ Jœ ˙ . J Ó œ
29

‰ Œ ˙

e e ek x e x q
. . . . . . . .
.
f a e c c e f h f e e c a c a
e a f a
d f c
f

99
 Passemaise
(ff. 4r -5r)
Francois Chancy

œ
Œ
œ ˙ œ ˙œ œ ˙ œ ‰œ œ ‰ œ Ó œ œ œ œ œ ‰ œj œ . j Œ
b œ . œ œ œ œ b˙ œ
b œ
&b C Ó Œ
œ ˙ œ Ó J J
Œ Ó ‰ Œ Œ
q q q e q e e q
,x ,x
C . . . . . . . . . . . . . .
a c e f e c a h f e c a
f c e f a a f d c d c d
d c f d f
f

b œ œœ b œ œ œœ Œ ‰ œj œ ŒÓ œœ œ œ
Œ
œ œ œœ ˙ œ œœ œ ˙œ œ
& œ œ œ œ œ œ œ œ ˙ œ Ó œ œ ˙. œ ˙ œ˙
6

. ΠΠw
q q e q ex q q q
. .f . f ,
x
. . ,x
.
. . . c d.
a c e

.
f c d a c a a a c e e a f c
c d a c d c a c a a f d c d c a c
f e a f

œœ Œœ œ ˙œ œ œ œ œ Œ Œ œ œ œ œ œ œ œœœœœ w ˙.
&b nœ ˙ ˙ n œ œw œ Œ œ œ
12

Œ œ œ ˙ ˙ w Œ Ó Ó
q e q q e q e q q e q q e q q
. . . . . . . .
. . .
c a c a a c c a e f h h f e
e c a c e e a a e e f
e f a e f f c d
f e c a

œ œœ ˙ œœ œœ b œœ œ ˙. Œ Œ Œ Ṁ
18

b œ˙ ˙ œ œ œ œ œ œ œ œœ œ œ b œ ˙. œ œ
& ˙ Œ ˙. œ˙ Œ
q ex q q q q e q e q
. . . .f . . .
. . . .
a c a c a a c e f c e f a x
e f c d a c a c d c c e
f d c d c a d
a f

100
 Passemaise (ff. 4r-5r) - cont.
Ṁ
œ Œ œ ‰ œj œ ‰ j ‰ j M
. œ œ œ œ œ œ œ œ œ œ œ œÓ Œ Œ b œ
&b œ œ ˙ ˙˙ .. œ. J œ œ œ . œJ œ œ œ œœ . œ œ . œ Jœ
œ œ ˙
24

Œ J˙ Œ œ ˙
q q q e e e e q
. . . . f . . . . . c. aa f. .
. . . .
x c e f e a c a a x

.
f e f f c e e a c e e f d
c d a c c d f d c d d c
f f f

j j jMj
œ œ œ. œ œ ˙ œ œ œ œ œ ‰œ Œ œ ‰œ œ œ œ œ œ‰ œŒ ‰ œ œ œ‰
œ
&b ˙ ˙ œ
œ œ œ œ œ .. .. œ J œœ œ
30

Œ ˙ . ‰ ‰Œ ‰
q e qk x q e q e e e
c
d
f
.
e c
a
a c
. a
.f a c
. d .
a
c
a
.
e c
.
f e
.
f c
.
e f .
f e
.
f h
.
f e
.
c a .
h f
c
x

.
e
f

j
œ˙ œ œ œ œj ‰œ b œŒ œ ˙‰ œ œ œ b œœ œ ‰ œ ˙ œ b œ œÓ ‰œ
b œ œ œ œ œ œ œ œ œ b œ œ˙ œ œ œ œ œ œ œ
35

& ‰ œ ˙ Ó Ó
e e e e e
. . . .f . .f . . . . . . . .
. . . . . .
e e c e a f e c e f
f f d c d c a c d f c a f f d c c a c
d d c a d c d d d c d
f

œ œ ‰ j œ œ œ œ œ œ œ œ œœ œ ‰ j jM j
& b œÓ œ œ œ œ‰ œJ œœ Œ œ œ œœ ‰œ Œœ œ ww œ œ œœ œ ˙œ œ œ œ b œœ œ œn œ
40

Œ œ œ œ
J
e q e e q e e
. . . . . f c. a c. .
. . . . . . . . x c e.
a c e f e a

. .
c c e f c e a
a c d f d a c d f a a c c d f
f a f f f e c d

Mj
Œ œ œ œ œ œ ‰ Œ ‰ œ œ œ œ Œ ‰ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œŒ œ œ ‰œ
& b ẇ œ œ œ œ ‰ œ n œ œ ˙ œ œœœ˙ ˙ ˙ J œ œ œœ
45

‰ ‰ ‰Œ
q e e x e e x e x e x
. . . . .
.f . . . .f .f . c e. f
x

. . . . . .
c f e f c h f e f e
a c e e a e c a c e e c a f e
f f e c a f d f c d c d c d
a

101
 Passemaise (ff. 4r-5r) - cont.

‰ j Ó ‰ j‰ Œ ‰ M j
M M ‰ j ‰ Œ œ .œ œ œ œ ‰ Œ ‰ œ œ œ œ œ bœ œ œ œ œ œ
œ œ œ œ œ œ b œ œ
& b ‰ œ œœ œ œœ . œ œ œ w œ œ œ œ‰ ‰ Ó œ œ œ œ. J‰Œ ‰
50

J Ó ‰ ‰ Ó
e e e e e
. . . . . . . . . . .f .
x

. . . .
e c f e a c e f e

. . .
x x a c e f c a d c f d f c a
f d c c a c a d c a c d
a c e f e f f

Mj j
œ Mœ œ œ œ ‰ Œ ‰ œ œ œ œ œ ‰Œ j Œ œ œ œ œ ‰Œ
œ œ b œ˙ œ n œœ œœ . œ
&b œ œ œ Œ ˙œ œ Œ œ
55

‰ œœ ˙ Œ Œ
œ ‰‰ œœ
q e e x q e q q e
. . . . . . .f
. . . . .
f x x c e h

.f .f
c c e f f e c e f f f d c f e
d f d c a a a c a f e f c a
f

‰ ‰ œ œ œœ œ œœ œ œœ œ œ ˙œ œ .
& b ˙ œ œ œ œœ œ œ œ ˙
˙ œ œ ‰ œ œ œ œ˙ œ œ˙ œ œ˙ œ œ˙ .
60

œ
e q e q q e q

. . . . . . . .
a a a a a

. .
a a e f f e a c a c e f a
a f d c d a c d d c a d c d c
e f a f f e c a a f f

102
 En M'en Revenant de S. Nicolas
(f. 5v)
Francois Chancy

˙œ œ œ
œ œœ Œœ Ó Œ œ ˙
œ œœ Œ ‰ œ ˙ . œ œ œ œ Œ ˙‰ œ œ œ
&b C œ œ œ œ œ œ œ ˙ œ œ œœ˙ œ œ œœ
Œ œœœœ˙ ‰œ

q q e q q q e e q ex e
C
a
.
a c e
. . .
h f
.
e
. .
a
. .
c a c e
.f c d. a . .
c e f

. . .
f a c e f e c a c c e f a c e
d c a
c e f f e c a

j
œ œ‰ Œ ‰ œ œ œ œ ˙ Œ œ œ œœ œ ‰ œ œj œ . œj ˙ j
œœ # œ œœ œ œœ Œ Œ œ œœ
. œ
b ‰ œœ˙ Ó ˙ œ œ œ œœœ œ
œ œ œ ˙
7

& Œ ˙ Œ

e x q e q e e q q e q q e
. . . . . . .f . .d. .
.
.
.
h h f e f e a c e e c e a c e a c a a
f e c a a f c e c a c b c e c e
c c d c a
f

j Œ. œ œ ˙ Œ œ œ œ ˙.
˙ œ œœ .. œ ˙œ œ œ ˙ œ œŒœ œ œ ˙ œ
b n ˙ œ œ. œ œ ˙˙ Ó œ
˙ œ Œ Œ œ œ œ Œ . ˙. œ œ œ‰ œŒ œ
13

& Œ ‰ Œ Œ Œ ‰ Jœ

q qk e q qk x q e q ex q e q e e
. . . . . . . .
. . . a. .
c c a e f h c a c a a c e c e a

.
c e a a a e c e
f e f d c c d f c c d f a c
f c f

˙ ‰ œ œ œ j ‰ Œ ‰ œ œ œ Œ ‰ œ œj œ Œ ‰ œj Œ œ œœœ U
w
œ œ
& b ‰ œ n œ # œœ J ‰ Œ b œ œ œ œ ˙ œ œ œ œ n œ œ œ ‰ œ œ œ œ œ œ œ œœ˙ œœœ œœœ www
19

e e e e x e q e Ua
. . . e. c e .
. . . . .
. e f.
. . . . . .
a c a a c c h a c a

.
b c c e f a a a a
c e d f d c a a c e f f d c d c a a c a c
f e f a f

103
 Volte
Ie veux mourir av Cabaret Francois Chancy

œœ œ œ œ œ œœ œœ œ . œj ˙œ œ œŒ œ ˙
(f. 6r)

3 œ # œ œ ˙ œ œ œ œœ Œ œ œ œ˙ œ ˙œ œ
&b 4 Œ
nœ œ œ
Œ
˙
˙
q q q qk e q e q q q q
. . . . . . .
.
e e e e a c e c a a c c c a a c e c

3
f c b c e f a f f e c a a a a c a
e d c d
a

Ṁ
˙˙ Œ œ œœ œœ ˙ Œ Ó
b œ œ œ œ œ ˙ œ œ œ Ó˙ . ˙ œ œ œ œŒ œ œŒ ˙˙ .. œ œ œ œ œ œ œœ
œ œ œ Œ
œ
9

& Œ ˙ Œ Œ œœ
Œ
q q q ex q e q e q q q e q
. . . .f . .f . ex
.
. . .
e e a c e c a c a a c c a c c
f a c c a a e a a c e
c d d c d d c a
a e f a

œ œ . j Œ œ œ œ œ œ. œ j Ó
œ œ œ
b œ œ œ
œ œ œ œ˙ œ
. ˙
˙
œ œ ˙. œ
œ ˙. œ œ œ œ ˙ œ œ œ ˙Ó . ˙ œ
17

& Œ Œ Œ J‰ ˙ Œ
e q q qk e q q e q e q ex q
. . . . . . . . .
. .
a a a c c e e c a c e c a
f e c a c c a e c e c e c e f
d c d c a f d f c a c
a f

j M Œ
œœ œœ œœ œ œ œ œœ œ ˙ œ̇ . œœ ˙ œ ˙ œ œ œ ˙.
b œ œ œ œ œ œ œ . œ œ œ œ n œ Ó ˙ œ
25

& ˙. œ˙ . ˙. œ œ
Œ ˙ Œ
q q qk e q q q q ex q
. . . . . a c.
. .
a a a c c c a c x a c a
f f f a a e c c c e
c c c a d c d d c a f e f c c
c e f f a f

104
 Recherche
(ff. 6v - 7r)
Francois Chancy
Tuning: c'-g'-c''-e''

&˙ ˙. œ Mœ œ œ œ œ ˙ œ œ ˙ œ
M ˙ œ ˙
œ œ b˙ œ œ ˙ œ œ œ œ
h hk q h q h q h q h q h q h q
. . .f . . . . . . . .
x d d
a c e c e a x f e c
f c e f a d c a c c
e f e c

œ ˙ ˙˙˙ ˙˙˙ # ˙˙˙ ˙˙˙ ˙˙˙ n ˙˙˙ ˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙˙ ˙˙˙ ˙ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ

& ˙ ˙ # ˙˙ ˙ n ˙˙ œ œœ œ œ
q h q e q
. . . . . . . .
. .
f f d d b a a b b a a a a a a b d c a c
e c c b c c a c c a a c c a a a a c e a c
e e c c c c a c e b c c a c e a e c a
f e e e f a c

˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœœ ˙
& ˙ œ
hk e x q h q h
. . . . . . . . . . . . e a. .
.
d a a a
f f c a e c a a c a c a c a c a c a c a c e
e a
e

Ṁ ˙ Ṁ
& ˙˙ ˙ ˙ œ˙ œœœœœœ œ ˙ œ œ ˙ ˙ œ œ œ œ
œ˙
œœ ˙ œœ œ
h q h q h q h q h q h q h q h
. . . . . .x
. . . . . .
a b d

. . .
x a f a c e a c a c e f
c e f e f a c e c e
f e c a c e f h c

105
 Recherche (ff. 6v-7r) - p2

œ œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Mœ b ˙ œ ˙
&œ œ œ œ ˙
q h q e x q h q h
. . . . . . . . . . .
. . .
a

.
a c e c e c e c e c e c e c e c e c a c a x
f a f d c a
e f a f

M
˙
˙ œ . Mœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ
&œ œ ˙ Jœ
q h qk eq e x h q
. . . . . . . . . . . . . .
x

.
x a b d b d b d b d b d b d b d b d b d b d

.
f e c e a a
c e c
e c a

˙ Mœ Ṁ U
&
˙ œ ˙ œ œ œ œ . œ
J
œ
J
œ œ œ
h q h q h q h q qk eU
. . . . .
x x

.
b d f d a b d
a a f a
a
e f a

106
 Alemande
(f. 7v)
Francois Chancy

j ‰ j ‰ ≈ œ œ . œ œ ‰ j
œ œœ . œ . œ ˙ œ œ # œ # œ # œ œ
œ œ œœ œ œ n œ
& C ˙ . œ œ œ‰ œJ œ ‰ œ œ œ ˙ œ œ œ œ‰ Jœ œJ ‰ ‰ Jœ œ J
‰ J‰
e qk x e ek x e x e ek x e ek x eq e
C .
a a
. e.
d
.
a
. .
a
. c
.
e f
.
h
.
f e f
. .
d

. .f
e c a c f e c a c a c e a c
f a c c e
a e

Mj j Ṁ
‰ ‰ œ
œ. œ œ
& œ œ œ œ œœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ # œœœ œ œ œ œ œ œœ œœœ .. ..
5

w œ œ .
J J œ œJ ‰ ‰ J
eq e q e x e e q e e x eq e qk
. . . . . . . .
x

. . . .
a x a d b a f c a c d d

. . .
a e c a e c a f e c a a c
e c e c e c a c a
a c e f e c

j ‰ j ‰œ œ œ œ œ œœ œ ‰ j jœ Œ
œ œ œ œ œ . œ œœ . œ
& .. œ œ . œ œ œ œœ œ œœ˙ œ œ œ b œ œ ˙ b œ Jœ œ œ œ˙ œ œ . œ ˙ œœ
‰J œ ˙. ‰ Œ œ ˙
e e ek x e eq e e q ex q e q e e q e q e
. . . . . . . . .
. . . . . .
b a a a a a b a b d

.
c a c a f f c a c a c e
a a c e f f d c d a c a
f e c a f a e f

Πj
œ œ œ œ b œ œ ˙ # œœ . œ Œœ œœ œœœ . œ ˙œ b œ
œ Ó ‰ œ ‰ jœ ‰ œ œ œ
œ. œ œ œ œ œ œ. j œœœ .. ..
.
15

&˙ Œ ‰J œ˙ œ
‰ œJ œ œ .
J
q e q e q e ek x e ek x q e x eq e qk
. . . . . .
. . . . . .
d d c d b a b a
c c a a e c a c a a
e f h c d c a c f e d c a a a f
h c f a

107
 Courante
(f. 8r)
Francois Chancy

j j
‰ j œ . œ ˙˙ .. Œ ‰ j
œ œ œœ œ œ œ œ œ ˙Œ œ . œ #˙. ˙
3
&4 œ ˙˙ . œ œ
˙ . .
Œ œ œ ˙. Œ Œ
q h ee q qk e q q ex q e q qk e q h
. .
3 . . . . . .
d b a f f e

.
a a c a e c a c a c a e
f e a f e c
e f

œ œ . n œj # œ ˙Ó Œ
& #˙. Œ œ ˙œ ˙ # œ œ œ ˙Ó . ˙ œ ˙˙ .. .. ≈ œ œ œ ˙ œ œ
8

Œ ˙ Œ
Ó
q qk e q q e x q h x q
. . . . . . .
. .
f d c c a c d d d b a
b c a c c
e c a a c

Œ œ œ œ œ ˙. Œ. j Ó Œ œ œ œœ ˙ Œ
˙. œ œ œ œ
& ˙.
14

œ ˙. œ œ œ ˙. œ œ
Œ œ Œ
q e q qk e q q e x q
. . . . .
. .
a b d a

. .
c a c a f e c e c
e e c a
a c e f e c f

œ œ œœ œ œ œ œ œ˙ . œ œ Ó˙ . ˙˙ ..
20

& œ˙ œ œ ˙
˙. Œ Œ ˙ ˙
q q e q qk x q h

. . . .
a
a c e f e c a c a a
a c e f a a
e c a a

108
 Courante
(f. 8v)
Francois Chancy

j j j
3 œ œ œ œ ˙ œ œŒ œ Œ œ œ œ œ 3 ˙ ˙ œ . œ œ˙ . œ 3 ˙ . Mœ
&4 Œ ˙. 2Œ . 4Œ œ
e x q e q e x q qk e qk e q
. . . . . .
. . . .
a b a b d d

3 x
e c a c e a f c e
f e c a c e f
e

Ṁ j
M ‰ j ˙ œ œœ .. . . œ œ œ œ Œ .
œ j
˙ œ œ œ œ œ #œ œ œ œ œ #œ Ó. œ œ
œ. . . ˙
5

&œ ˙ œ ˙ ‰ J Œ ˙ Œ
q e q e e q qk e x q qk e
. . . . . x
. . . .
. . .
x a c d c d d i h f h i a
c c a c c
c e f a c e a c
f c

j œ Ó œ ÓŒ̇ j Ó
œœ œ . œ ˙ œ œ˙ . œ . #œ œ
˙ Œ̇ ˙ . ˙ ˙. œ œ
11

& #˙. œ . œ

q qk e q q q q qk e q
. . . . . .
.
a f d b a c d
e c e a c a
b c e c a c
e

M
Œ œ œ Œ ˙˙ œœ œ œ œ œ ˙. œœ ..
& ˙. œ. ..
17

˙ œ œ ˙. Ó œ
Œ ˙ œ.
q q qk e q e x q qk
. . .
x
b a a

. .
c a e c a c a a
e a a
e f a

109
 Sarabande
(f. 9r)
Francois Chancy

j
3 œ˙œ. œœ œœ œ . œ œ œ Œ˙˙ ˙ œœ Óœ . œ œœ œ œ ˙ œ . œ
j
œ œ œ œ œ œ . œ œ œ ..
&4 ˙. Ó œ ˙ œ ˙ Œ ˙.
q qk x q q qk e q e q qk e q e q qk x q
a
.
a a
. .
f d
.
b a
.
a b d
. . . .
3
e e e c a c e a c a a a c e f e c a c a
f a c e a a
e f

M
Œ œ Œ Œ Œ j j
˙ œ ˙ œ. œ ˙. œ . œ œ˙ . œ œ œ œ œ œœ œ œœ .. œ œ
& .. œœ œœ b œ œ ˙
œ œ˙ .
9

Œ J ˙. ˙ ˙ œ
˙.
q q qk e q qk e q ex q q q q qk e q
. . . . . .
x

. . .
i d b a b a b d d a
h e f a a a f f e e c
h f e a a d c c c e a a
e f e c a

M ΠM
œ Œ œ Œ œ ˙œ Ó œ Ó œ œ œ œ œœ ˙˙
œœ ˙ œ ˙ ˙. ˙ œ˙ œ œ œ˙ . œ œ œ ..
17

& Œ ˙ #œ œ Œ ˙ Œ Œ . œ˙ ˙ œ .
q q q q q q q qk x q
. . .
. . . . .
x x f d a a
e a f e c f f f a a c a c a
b c e f c e c c c a a a
e f c c e f

110
 Recherche
(ff. 9v - 10r)
Francois Chancy
Tuning: c'-g'-c''-f''

b ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ b ˙˙ ˙˙ ˙ ˙˙ ˙ ˙˙ n ˙˙ œ.

& b ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙ ˙˙ ˙ ˙ n œœœ ... b Jœ œ œ
h qk e
.
a a a a a a a
c c c a a a f f f d d d d c a a c d f f f e a d c d
d d d d d c d d d f f c c d d b b a b a d d c
h h h h h f f f f f f a a a a a f

b œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ
&b œ R
e x e x
.
a c
.
d c
.
d c
.
d c
.
a c
.
d
a
.
c d
.
f d
.f d
.f d
.f d
.f d
.
f d
.f d c
. d
.f

j n œ œ œ œ œ œ œ œ ˙ œ ˙˙ œœœ˙ œ
& bb j j
œ . œ œ œ œ . œ œ œ œ b œ ˙˙ œ œ .. J ˙ œ. J
œ œ.
qk e qk e q h q qk e q qk e h q h qk e h q
.f . . . . .
. . . . . . .
a e f h

. .
a c d f d c h f
a a c d b a a c d f d c d c a
f d f c d c a f

bb n œ ˙ œ ˙ œ œ œœœœœœœœœœœ ˙ œ œ ˙ ˙
& ˙˙˙ œœœ œ ˙ œ œ œ

q h q h q e x q h q h e q h q h
. . . . . . . . . . . .
. .
f e c e f h f h f h f h f e f h e f a a c
e a f c a a c
c d c d
f

111
 Recherche (ff. 9v-10r) - cont.

bb œ œ œ ˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙ ˙˙ # ˙˙ œ œ œ ˙ ˙ ˙ œ n ˙ ˙ ˙˙ ˙˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

& ˙ ˙ ˙ ˙˙ ˙˙ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
˙ ˙
q h q h q h
. . . .
.
c e c c c c c c e f
d c c c c c g c a c d f c c c c c a a a d d
f d d d c c f a c d d f f f f d d d d d c c
c c c c c c d f f f f f f f f f f

˙ ˙ ˙ ˙ U̇
b b ˙˙ ˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙ ˙ ˙ ˙ œ n œ b ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙˙˙
˙ ˙ ˙˙
& ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
h q h Ua
d
c
.
a a
c
d
a
c
d
a
c
d
a
a
d
a
a
d
a
a
c
f
c
a
f
c
a
f
d
a
f
d
a
c
.
e
a
d
c
a
d
c
a
d
c
a
c
d
a
c
d
a
c
d
a
a
d
a
a
d
a
a
d c .
d c
d
f f f f f f f f f f

112
 Alemande
(f. 10v)
Francois Chancy

M . M
j œ œ œ
bb C œ œ˙ . œ œ œœ œ œœ . œ œœ œ œ œ œ œ œ . œJ œJ .œ œ n œ œ œ œ œ œ . œj œ œ
j
& .
J J ‰ ≈Ó ‰ Jœ œ œ œ œ
e qk x e ek x e ek x e q x e x eq e
C . . . . . . ex
. . .
. . . . f. . .
x f c h f c
c c d c a f d c d a f f e
d c d f d c d d c d
f d c

M M
bb
& œœ œ œœ œ œ œ
œ œœ ˙w œ œ œ ˙œ œ œ œœ .n œ œ œ œœ œ œ Mœ ˙Œ œ œ œœœ ... ..
5

Ó J ˙. J ‰ œ. œ.
e q q e q e e qk
. . . . . . .f . .
x a x a a a

. .
a c d c a a c e e x f a
a f d d c a c d c a d c
d f a f

M M M
M
bb . œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œj ˙œ. œ œ œ . œ
œ ‰ œ œ œ
œ
jœ
. n œ
j
& . ˙ . œ .
Œ ‰ œJ œ ‰
Œ. œ n˙ œ œ œ œ œ bœ œ
J
x e e q ex e ek x e q e
. . . . . . . c d. . .
x x x

. .x . c. . .
a c e f c e f a

.
f c d a c d f d c a a
a c d a d d e
c e f d c

M j Ṁ M
M ‰ œ ‰ œ œ œ œ œ œœœœ œ œ . œ œœ .
b œ œ œ Œ œ œœ œ . . ..
& b œœ œ ˙œ œ œ œ œ œ œ œ
13

˙ œ œ œ ‰ ‰ J
.
e q e e x e ek x qk
. . . ex
. . . . . x
.
. . .
x c f e c e f a a

. .
x a c d c d f f d f c a c f
f a c d d
a c d f

113
 Courante
(f. 11r)
Francois Chancy

M
b 3 œ œœ œœ œ ‰ œj œ œ œ œ . n ‰œ Œ˙ . œ œ œ œ ˙
˙ œ œ.
&b 4 œ œ Œ ˙ œ˙ .
Œ
˙
Œ J œ œ
Œ ‰ J
e q q qk e q e q qk e q e q q qk e
. . . . . .
. .
x a a c e f e f h e c

3
a c d a f d c c e f a
d a c d d

Œ ‰ j Œ ˙ j
b b œ ˙œœ Ó̇ œ œ œ.
n˙.
œ œ ˙œ
œ bœ
œ œ œ œ˙ ˙
& œ. J ˙.
7

˙ œ œœ . œœ
˙.
q e q qk e q q q qk e q q q e
. . . .
. . .
a a c a c a

.
a d f d c
c d a f e f d c d
f d c a c d

œ j
b Œ œ ˙˙ Œ œ œ œ ˙ œ ˙œ n œ œ˙ .. œ œ
b œ œœ ˙ ˙ œ ˙ .. .. ≈ œ œ
14

& ˙.
Œ Œ Œ Œ
q e x q h x q q qk e q
. . . . . . . .
.
a f e f c e c h e f h
c a a c c a f e f
d d
f

j
œœ œ œ œ #˙ Œ Œ œ
b œ œ œ˙ . œ n ˙˙ .
&b œ œ˙ ˙ œ Ó œ ˙ nœ œ
20

. Œ ˙ Œ ˙
q q qk e q q q
. . . . .
.
a c a f e c c
c d f c a c g f e
d c a c d e f d
c a

Ṁ
b œ nœ œ œ ˙. œ œ œ ˙ Œ ‰ œj œ œ ˙
b ˙. œ˙ œ œ œœ œ ˙ ˙ ..
26

& ˙ Œ œ œ œ œ ˙. Œ
q e x q q q e q e x q e h
. . . . . . .
.
x f a c e f

.
f e c e f f d c c a a c
c a a c d d d
f c d f

114
 Courante
(f. 11v)
Francois Chancy

bb 3 œ ˙œ . œ œœ œ Œ˙ ˙ œ ˙œ œ œ˙ œ œœ Œ˙ ˙ œ œ̇ . œ ˙˙ ..
& 4 J ˙ . œ ˙. œ œ
Œ
q qk e q q q q q q
. . . . . . .f
. .
a a f a a

3
f d c a a c h f h a
d c d a h i f h d c
d

Ṁ
b ŒÓ̇ ˙ œ . Œ Œ . # œj œ œ œ ˙.
œ œ
œ ˙ ˙˙ n œœ œ
b Ó ˙ œ œ ˙ œ œ
8

& . œ ˙. ˙. Œ Œ Œ ˙
q q q qk e q q q q e
.
cx
. . . . . .
c e f h
f g c d f f e
d f d c a c d f d
c d c a

bb Ó̇ . œ ˙˙˙ .. .. œ ˙ ˙ œ œœ œ˙ . œj ˙ Œ Œ̇Œ ˙œ . œ ˙ Œ Œ œ
œ œ . J Œ œ œ ˙. œ œ
œ
15

&
Œ ˙ ˙ Œ Œ
q h q q q qk e q q qk e q e q e
. . . . .
. . . .
a f e c a c a
f f f d c d f d c c a
c f d c d c a d
f f

Ó Ó œ Œ j Ṁ.
b . ˙ œ œ . œ Œ œ . b œj ˙ œ ˙œ ˙ œ œ œ œœ œ œ œ œ ˙
&b œ̇ . ˙ ..
23

Œ̇ ˙. œ Ó Œ ˙ Ó
q q q qk e q qk e q q ex q ex h
. .f . . .
. .f . a c.
a x
a c c d f f d c d c
c d d b a d c d
c d f

115
 Sarabande
(f. 12r)
Francois Chancy

j M
b œ œ œ œ
b 3 œ˙ œ œ œ˙ .. œ œ Œ
œ˙ n ˙ œ œ œœ˙ . œ œ œœ œœ œ œ œ œŒ œ . œj œ
& 4 . œ ˙ ˙ Œ ˙˙. ˙ œ
q qk e q q qk e q e q q qk e q
. . . .x .
. .
a a a a c a

3
c c c a c e f a a c d d c
d c a d c d f f a c d
f a c d

j Ó Ṁ œ M
j
bb œœ œœ œœ .. .. œ . œ œ œ Œ œ œ œ˙ . œ ˙ . ˙ œ œ ˙ œ œ œ Œ U
˙ œ œ œ ˙ . œ œ ..
8

& ˙. ˙
n ˙ .. Œ ˙ œ Œ Œ ˙ ˙.

q qk e q q q qk e q q q q ex q
. . . U
. . . .d.
x
ex

.
a a f c h
a a a a c a d d c d a f c a a c
c c c a c a c d d d c
f e f f

116
 Recherche
(f. 12v)
Francois Chancy
Tuning: c'-g'-c''-f''

b b œ ˙ œ œ œ œ œ œ n œ n œ œ ˙ ˙˙ ˙˙ œ œ
& b ˙ œ œ œ œ ˙ ˙ b ˙ ˙ ˙˙ ˙ ˙
q h q h q h q h
. . . . . . .
. .
c a a

. .
a c d d f c c d d c a a
f f a c e f f a a b a
f d f f d c

b ˙ ˙ ˙˙ b œ œ ˙ ˙ ˙ ˙ n ˙ ˙˙ ˙˙ b ˙˙ ˙˙˙ ˙˙˙ ˙˙˙ ˙ ˙ ˙ œ . j œœœ

& b b ˙ n˙ œ ˙ ˙ ˙ ˙ ˙ œœ œ œ . œ
J ˙
h q h q h qk e qk e q h
. . . . . . .
. . .
a c e f f d d c a f d c
a f d f f d c d f c d d c a c d f
e f d b a a a b d d d a b
a a d f f

M
bb b n œ ˙ ˙˙ œ œ œ . j œ œ œ œ b œ œ n ˙˙ #Mœœ œ n œ œ ˙ n œ nM˙˙ b œ b ˙˙ ˙ Mœ œ ˙
& œ œ. J œ œ. J œ. J œ ˙
q h qk e q qk e qk e q qk e q h q h q h q h q h
. . . . . . . x d f.
x x

. . .
c c c b c x a a

.f
f d d c c a a c a c f e f f e
e f a f d c e a f d b a
h d c

œ ˙ nœ œ nœ œ œ œ œ œ œ œ œ œ
bbb œ œ œ œ ˙ ˙˙ ˙ n ˙˙˙ ˙˙ œ œ œœ
& œœœ œ
œ œ œ œ ˙
e q h q h e q e x
. . . . . .
. . . . . . .
c a g h e g h g h g h g h g

.
a c d f a a c f d c a c
a b d a a b e f a
f a c d f h

œ ˙
bb b n œ n œ œ
U
œ nœ œ ˙ œ ˙ ˙˙ ˙˙ œ œ œ
&
œ œ œ
x h q h q h q Uc
. . . . .
.
h g e g h a c e c a
e f e c e
f f
a a a

117
 Alemande
(f. 13r)
Francois Chancy

j j j
b bb C [ ] œ .
œ œ œ œ œ n œ œ˙ œ œ œœ œ œœ œ ‰ ‰˙ œ œ œ ˙œ œ œœœœ
& œ œ œ œ˙
Ó ‰ J Œ
e qk e q e q e e
C . . . . . .f .
. . . . .
[c ] c c h f d c c a a
f d c a c d d d c
f e f a b d d b a b

œ nœ œ ˙ œ. j jœ
b œ . œ
& b b ‰ œ . œ œ œŒ . J œ œœ . .. .. œ ˙ œ œ
‰ œ œ œj œ œ n œœ œœœ ‰ œ œ œ œ œœ . œ
5

‰ œ œ œ ..
J ΠJ
e e qk e e e q e ek x
. . . . . . . .
. . . .
h g h h a
d c a c f a c c a a c d
a a a a e f a d d
a f d c a c

‰ j
bb b œ œ œ œ œ œ œ œ ˙ œ n œ œ # ˙ œ œ œ œœ œ œœ œ ˙ œ œœ .. .. .. œ œ œ œœ œ n ‰˙ œ œ . œ
‰
9

& ˙ œ ˙ œœ œ Ó œ œ
‰ ‰ J . ‰
q e e e e q e qk e e ek x
. f b. c. . . . . . . . . . .
. . . .
a f e c b c b c c c a
a d c a c c a a c f d a d
d a a d c a f d c
d

b b b œ œ œœ œ œ œ œ œ œj ‰œ Œ œ ‰ œ œ œ œ ˙ Œ œ Œ œœœœœ œ
‰ œ œ œœ œ œ ˙ œ œ .
‰
œ
œ.
œœ . ..
14

& ‰ ˙ ‰ œ ˙ œ
‰ J œ n ˙ œ ‰œ œ œ ..
J
e e x eq e q x e qk
. . .f . c. .f . . . .
. . . . . . .
a c a c c

.
c d c d a d c d a d f c a c a a
d b a b a b a a d b a a
f f e a

118
 Courante
(f. 13v)
Francois Chancy

M j Œ œœ M œ
Π.
bb b 3 œ œ˙ . œ œ œ œ ˙œ œ n ˙ œ œ œ ˙ œ œœœ ˙ ˙ œ œœ œœ ˙Œ n˙
& 4 ˙ œ
Œ Œ Œ
q qk e e q e q qk e q e q q q
. . . . . . . . .
x

.
a c c x a a f d c a c h g

3
a a c d f d c d c d a c
f f e f d a

œ M Œ œ œ œ œ œ. œ
b b œ œœ œ ˙ ˙ œ
œ ˙˙ œ œ œ œ œ˙ ˙ œ ˙˙ ..
b .
8

& Œ Œ Œ Ó ˙. œ ˙. Œ ˙ Œ̇ œ œ ˙˙
q q q q q q e q qk x q h
. . . . . . .
.
f c a x c a c c
d a f c d c d c a d c d c a c a a
b d b a b a a a
f a

˙ œ œ n˙. œ ˙ Œ Œ ˙ ‰ j
b b b .. œ
˙ Œ œ Œ Œ
. œ ˙ œ . œ Ó œ œ œ œ œ œ œ ˙œ œœ ˙ œ ÓŒ œœ
œ
& Œ Œ J Œ J ˙. Œ ˙ n˙. ˙
q q qk e q qk e q qk e q q e e q q q
. . . . . .
. . . . .
c h f e f f d c a c c
a f d c d a a c d c d a
d b a b d d a
d e

Œ ˙ Œ œÓ
bb b ÓŒ̇ ˙ œ ˙ n ˙ œ Œœ œÓ n œ œ œœ n œ n œœœ œœ œ . œ œ . ˙
˙˙ ..
25

& . ˙. œ ˙ œ
Œ Œ̇ œ ˙
q q q q e q e q q qk x q h
. . . . . .
.
d e f g h c a c
a f d c a d f c d c a c a a
a a c e f a a
f a

119
 Courante
(f. 14r)

Ṁ
Francois Chancy

bb b 3 œ œ ˙ œ Œœ Œ˙ œ œ œ ˙ n œ ˙ ˙ œ ˙
œ œ n˙
˙ œ œ n
Œ
˙ œ œœ
& 4 . .
Œ Œ ˙ Œ Œ
e q q e q q q q qk e q
. . . . . .f . .
x

.
c e f c h e c

3
a c d f d f d a c a c
f d b a e

Ṁ
b b b n ˙ œ œŒ Œ ˙
˙
Œ œ. œœ ˙ œ ˙˙ .. .. œ œ ˙ œ ˙ œ
8

& Œ œ ˙. Œ ˙ ˙ Œ ˙
q q q qk x q h q q q
. . . . . . .
.
a c x
e d c d c c c d a f d
f d b a a a b
f f

M M
M ‰ j œ nœ œ œ œ œ ˙ Œ œ #œ ˙ Œ œ nœ Œ
b bb œ ˙ œ ˙ œ ˙
n˙.. œ n œ ˙ œ œ œ œ
15

& Œ Œ ˙ Œ Œ ˙ ˙.

q e q q q q q q q
. . . . . . . . .
x
x a c e f f d d c c b c x c e a
c a a c e a c
d d c a f d
f

Ṁ Ó
œ ˙
bbb ˙ œ Œ̇ n ˙ œœ œ˙ . œœ . ˙˙ ..
23

& œ ˙ œ ˙ . œ
Œ Œ̇ œ ˙
q q q q qk x q h
. . .
x

.
c a c
c d c a c a a
a b e f a a
d f h a

120
 Courante
(f. 14v)

j
Francois Chancy

Œ œ œ œ ‰ œ n˙ ˙ œ œ ˙ œ
bb b 3 ≈ n œ n œ ˙ . œ ˙ œ œ
& 4 œ œ n œ ˙ . ˙
Œ. œ Œ Œ Œ
J
x qk e q e x q qk e q qk e q
. . . . .
. .
a h g h h f

3 . .
a d c d c f a c
a c e f a
a c e f

M M Ṁ
b b ˙œ œ n œœ œ Œ . œ œ Œ ˙˙
b ˙ œ œ œ J œ œ œ œ œ œ œ Ó. ..
6

& Œ Œ ˙ œ œ Ó Œ ˙ œ ˙˙

q q q qk e q e q e x q h
. . . . . .
x x

. .
c e f a c d x f
d c a a c f d c a c d d
d a b d a
f d

Œ Œ œ œ M Œ M Œ ˙
b b b .. œœ ˙ ˙ œ ˙˙ ˙œ ˙ œ œ œ ˙
œ Œ̇ œ Mœ
& Ṁ Œ œ œ œ ˙. Œ .
ΠM
q q q e q q e q q
.
c
d
ax
c
d
.
c
d
f . .f a .
c d ax
b
c
.
d f
x
d
.
c
x
d
a
.x
c
a d f f

Œ Œ
b Œ ˙˙ Œ œ œ œ˙ ˙ œ œ˙ . ˙
&bb ˙ nœ n˙. œ œ œ ˙Ó . ˙˙ ..
19

Œ œ œ œ
Œ ˙ ˙
q q q q qk x q h
a .
c
d
c e
c
c
a
. d
f
.
a
d c
a
a c
. a
a
c
a
f a

121
 Sarabande
(f. 15r)
Francois Chancy

j j Œ
bb b 3 Œœ œ˙˙.. œ œ œœ œ˙ . œ œœ œ˙ œ Œ̇ ˙ nœ
œ
Œ œœ œœ œ
& 4 nœ . Œ̇
.
q qk e q q qk e q q q e
c
.
c a a
.
c
.
h f
. .
d c
.
3
d c c d d c e f f
f e f f a
a

œ Œ ‰ j ˙ ˙˙ j ‰ Œ Œ . j
b œ
&bbM œ œ œ
œ .
Ó ˙ œ .. .. œ œ. œ œ œ œœ .. œ œ œ ˙. œ œ
6

˙ J
Œ Œ
q e q h q qk e qk e q qk e
. .x . . . .
. . .
c x a c c c c
d c f d c d f d
f d b a f d b a
f

M œ
bb b œ ˙Œ œ œ ˙ œ ˙˙
˙ œ ˙˙
n ˙ œœ œœ œ . œ œ Ó. ˙˙ ..
12

& Œ Œ Œ Œ Œ Œ ˙ Œ̇ ˙ œ ˙˙
q e q q q q qk x q h
. . . . .
.
x f d c h d c a c
c d f c d c d c a c a a
d f e f a a
a

122
 Premier
(ff. 15v - 16r)
Francois Chancy
Tuning: c'-g'-c''-g''
œ œ œ œ ˙
bb b C œ œJ œ˙ œ œœ œœ œ˙ œ œ ˙ ˙
œ ˙.
˙ œ œœ ˙œ ˙ œ œ œ
& ‰ Œ œ
e q q q q q ex
C . . . . . . . a c.
.
a a a a f d b a a
d f d f d c a f d f d c
d d b a b b d

j M
œ œ ˙.
bb b ˙ . œ œJ œ˙ œ œœ œœ œ˙ œœ œœ œ˙ ˙ ˙ œ œœ . n œ œ œœ n œœ n œ œ œ œ œ œ Ó œ ..
6

& Œ œ œœ ‰ ˙ ˙ Œ ˙
q e q q q q e e q ex q
. . . . .f . . . .
x

.
a a a a f d b a a c d a c e f e c e f
d d f d f d c a d c a c
a d d b a a a
d a

œ œ œ œ œ œ ˙ œ œ œœ ˙
bb b .. ˙ . œ œ œ ˙ œ œ
˙. œ œ˙ œ ˙ œ ‰œ Ó œ œ œ
& .
Œ Œ œ œ œ Œ œ œ˙ .œ Œ

q q q q q q e
. . . . . . . . .
f f h i f d a d b a a

.
a a c d c a d f d f d c d a c
d a b d a b
d f d f

Ṁ jœ M
Ṁ œ ˙.
bb b œ n œœ œ œ Óœ œ œ œ ˙ œ œ . œn œ œ œœ n œœ n œ œ œ œ œ œ Ó
& œ œ nœ ˙ œ ˙ œ ..
19

˙
‰ Œ Œ ˙
q e q e q q e q e q ex q
. . . . .
x

. . . . .
x x a c d a c e f e c e f
d f h d a c d f d c d f d c
a c e f d f b a b d a a
a

123
 Second
(f.16r)

j Ṁ M
Francois Chancy

œ . œ œ œœ œ œ œ˙ œ œ œ Œ œ n œ Œ Œ œ œ œ œ œ n œ œ œ w
b œ œœ˙ œ . ‰ Ó ˙ ˙ ..
& b b C ˙. Ó
˙ ˙
Π.
qk e q q q q e q q e q ex q h
C . . . .f . .f . . . . .
x x
f h i h f h d c h f d c a c a
a h i h f h a c a a c c
d a

j M Ṁ
n œ œ œ œ ˙. œ œœ œ œ Œ ˙ .
b
œ
b b .. ˙ . œ œœ ˙ ˙ œ œ œ
œ œ
œ
œ
œ
n œ n œ œœ Œ œ Œ Œ œ
7

& Œ ˙. Œ Œ œœœ œœœ œœœœ˙

qk e q q q e q e e q
. . . . . . .
x

. . .
a c d a f d d b a a x

. . . . .
d c d a c d f d f c f f d c d
a b d a b d c e f a
d f a d f f d c a

j Ṁ M
j œ nœ œ œ w
bb b œœ ‰œ Œœ Œ˙ œ œ Œœ n œ ˙Œ œ ˙œ œ œ œ œ˙ œ œ œ œœ . œn œ œ œœ n œœ œ ˙ œ ..
13

& œ Œ w œ ˙. ˙ ˙ ˙
Π.
e q q e q e q e q e q ex q h
. . . d. b .f d .f . . . .
x x

. . .
a a a c d a c e f e c e f
d f f d c a f d c d d c
f d b a b d c d a a a
a

124
 Branle Gay
(f. 16v)
Francois Chancy

œ M Œ M j
bb b 3 œ .. œ œ œœ œœ n œœ œ œœ ˙ œœ .. œ œ œœ n œœ œ
& 2 œœ Œ œ n œœ .n œ œ ˙ œ ˙.
J
q e q q e q qk e q

.. . . . .
f x
3 . .
a a c d d c a c a a x c d d c a
a f f e f a c e e f f e f
a d f d c a

œ j j M
bb b œ œ n œ œ ˙ œ ˙ œ œ . . ‰ n œ œ œœ œœ œœ b œ œœ . œ œ œ œ œ œ œ
. .˙ œ œ œ
4

& ˙. œ œ. J
q e q e q q e q e q e q e
. . . . . . . .
.
a c d f d c a c d a f d b a x a
c a c h d a c d f d c d f
a a a b d

Ṁ Œ
M ‰ œj œ œ œ œ˙ n œ n œ œ n˙ Ṁ œ nœ œ œ
b œ
&bb Œ
˙ œ˙ œ œ œ ˙ œ ..
7

œ ˙ Œ œ

q e q e q ex q e x q
. . . . . .f . .
.
x a b a c e f e f x e c e f
d f d c a c d c a
a a
d

125
 Branle de Poictou &
Branle Double de Poictou Francois Chancy
(ff. 16v - 17r)

˙. œ œ œ ˙œ œ nœ ˙ œ˙ œ n œ n œ ˙ nœ nœ œ ˙.
b œ œ œ œ
& b b 43 ˙˙ .. .. ˙ . ˙ œ ‰J ˙˙ ˙ œ
˙. Œ Œ ˙
hk q q q q e e q e x q
. . . . . . . .
..
f f h i h f e f h a c e f e c e f

3
a a h f d c a h f d c
a a a
a a

œ œ œ ˙œ
œ œœ n œœ œ˙ b œ œ
˙. œ œ œ nœ œ œ . nœ œ
b
& b b ˙. nœ œ œ œ . ‰ Ó̇ ˙ œ .. .. œ˙˙ . Œ
8

Œ œ Œ
q q q e q e q e q ex q q
. . . . . . . .
.
f h i h f e f d f h f d c a c a a c d
a h f d c a a c c d
a c d a f

˙ œœœ œ ˙œ œ œœ ÓÓ
bb b ˙ Œ˙ .
œœ˙
˙ œ œ Ó Œ œ œ œœ ˙ .
nœ nœ œ
15

& ˙ œ œœœ Œ œ œ œ ˙. ‰ J œ

h q q q e q e q q e q e e q
. . . .
. . .
d a b a a a

. . .
c d d c d f d c d d f
a f a b d a c e f
f d f d c d a

œ œ ˙ œ Ṁ n œ n œ œ ˙ .
bb b n œ˙ n œ œ n ˙˙ œ œ . . œ œ œ œœ œ œ œ œ˙ œ œ œ œ œ
œ ˙
Branle double de Poictou

˙ ˙ œ . .
22

& Œ ˙ œ ˙ œ
Œ
q q e q e x q e q q e
. . . . . . . . .
.
c e f e f x e c e f a a
f d c d f d c d f d f c a d d f d f
a a a a f d b
a

126
 Branle de Poictou & Branle Double de Poictou (ff. 16v-17r) - cont.

jœ j
bb œ . n œ œ˙ ˙ œ œ. œ œ ˙ #œ nœ œ ˙ Œ œ n œ œ œ œ b œ œ ‰ œj
& b Œ ˙ ˙ n œœ Ó ˙ œ .. .. ˙ œ œ œ œœ œ
29

Œ Œ Œ Œ J‰

q e q q qk e q q e x q e q e
a
a
.
c d a
d .
f
a
d
c .
f h a
a
c
g
. e g
. h
a
c
.
a
d .
c d
.
f d
c .
b a
d c
.
f d c
f .

j œ
œ
b œ ˙ . œ ˙ œ œœ ˙˙Œ œ œ œÓ œ Œ œ œ œ ˙œ œ ˙œ n œ œ œœ b œ
&bb ˙
36

œ
Œ Œ ˙ Œ Œ
q qk e q q q q q e
. .f . . .f . . .
.
a a a a c d f d b
d f d f c d f d c h d c
d d f d b a
d

j j Œ
œ . œ œ
b œ œ œœ œ œœ ˙ . œ œ œ œœ Œ˙˙ œ œ
n œ˙ œ œœ œ œ œ. œ œ ˙. ..
&bb
43

J‰ Œ ˙ Œ ˙ Ó œ
Œ ˙
q e q qk e q q q e qk x q
a
d c
.
f d
f .
c d f
d
.
a
d
.
f f
d .
c
a a
c
e .
f d
f
f
.
d c
a .
a c a
a
d a

127
 Branle de Montirande
(f. 17v)

j
Francois Chancy

œ œ œ œ œ œ. nœ œ œ. j j œ œ œ œ œ œ nœ
bb C ˙ œ œ œ n œ . œ œ˙ œ #œ. œ
& b ˙
˙ œ œ œ œ
‰ ‰ J ‰ J ‰ Jœ œ Œ
e qk x e e e ek x
C . . .f . . . . . . . . . .
.
f f h i d c d f d c a a c d f h f d c a a
a c d c a a a c g
a d a

j j j œ œ œ œ œ œ nœ
˙œ Œ ‰ œ œ . n œ œ œ . œ n œ . œ œ
b bb . œ œ œ œ
J ˙ œ œ œ œ ˙ œ œ œ #œ. œ
4

& Œ ˙. ˙ ‰ J ‰ J ‰ œJ œ Œ
q e qk x e e e ek x
a
h
a .
f d
.
c a .
f d
c
a
.
c d f
.
d c .
d c
.
a
d
.
a a
a
c
. d
.
f h
a
f
a .
d c
c
a
. g .
a

œ
b bb ˙ ˙œ n œ œ b œ œœ œœ œ œœ œ œœ . œ œœ Ó Œ œœ œ œœ œ œ œ œœ œ n œœ œ œœ
8

& Œ ˙. ˙ œ
Œ
q e e ek x q e e q
a
h
a
a
d .
c d
.
b a
d .
f d
c .
b a
d .
a
f
d
.
a
d f
d
.
a
d
f .f c
a .
a c
f .
d f
e
.
a
d
f
d

j j j n œ œœ œ œ . n œ œ .
b . œ œ . œ œj œ . œ œ œ œ œœ . œ œ n œœ n œ œœ
& b b œ˙ œ œ œ œ œ œ ˙˙
12

Œ ˙ w Œ œ
‰ J J
qk e q e q q e q e q ek x q e
. . .
... . . . .
a a c e f e f f e c f
c f d c d f d d f f d c a c d c
a b d b a a a
d a

128
 La Gavotte
(f. 18r)
Francois Chancy

˙ œ. ‰ Œ œ Œ œ œ œ œ Ṁ Œ œ œ
&
bb b C ˙
˙˙ .. œ˙ œ œ. œ œ. œ ˙ œœ œœ œ
˙
œ œœ œ
œ ˙.
J J .

h q qk eq e q e q q ex q
C . . . . a c. .
.. . .
f a a b a x a a
a d a f f d c d c d c d
a b d b a f d a
a f d

Ṁ j
bb b œœ .. ‰œ Œœ œ œ Œ œ œ œ œ œœ œœ œ œ œ œ ‰ œ œœ œ ˙œ . œ n˙ œ œ
.
6

& J J ˙ . œ ˙ œ œ œ œ ˙ Œ ˙ .

qk eq e q e q q ex q e q q q

. . . . . . . . . . .
b a x
a f f d c d c d c a c d d c d a c a c
b d b a f d a d a b a e
f d f h

Œ œ œ œ . j Œ œ œ ˙
b b b œœ œ ˙ œ œ œ œ œ ˙œ . œ nœ œ œ œ œ. œ œ
˙ . ˙
.
12 1 2

& ˙. œ ˙ Œ ˙. ˙ Œ̇ œ u̇˙
q e q e q q q e q qk x q [h ]

. . . . . . . .f . .
a a a
d f d f d c d a c d c d c a c a a

u
f d b a b a e a f a a
f a a

129
 Recherche
(f. 18v)
Francois Chancy
Tuning: c'-g'-c''-g''

˙ œ . œJ œ œ ˙ ˙ #œ ˙˙
œ œ ˙ œ . Jœ œ œ œ . œj
& œ œ œ œ ˙ œœœ
h qk eq h q h q h qk eq qk eq h e q
. . . . . .
. . . .
f a c a a

.
f e c g h e a
f e c a h f e c a
h f e c a c

œ œ ˙ œ œ ˙ b˙ ˙ ˙˙ ˙ ˙˙ M˙ ˙ b œ ˙ œ ˙ œ
&˙ œ œ œ
œ n ˙˙ ˙ œ
œœ œ œ œ œ
œ.
J

h q h q h q h q h q h e q qk e
. . . . . . . .
. . f. .
a a x f d c a

. .
a c e f f e c e f a
f e f f d c h e f a a c c e f
a c h f a

œ œ œ . œ œ œ Mœ œ œœœœœ œ ˙ ˙ ˙ b˙ ˙
œ œ ˙ ˙ ˙ ˙ ˙ ˙ œ ˙ œœœ
& œ. J œ œ. J ˙ ˙ ˙˙ ˙˙ œ J

e qk e q qk e q h q h e
. . . . . . h e. . . . .
.
c e f x a h h f f d c a
a c e a e f h f e f f e c a a c e c a
a f e a a a f a e
e f

œ ˙ ˙. œ œ œ œœœœœœœœœœœœœœœœœœœ
˙ œ œ w
& œ œ œ
œ
h q h q hk q e x q w
.
f
f .
e
a
.
c
a .
c
e
.
f c
.
e f
.
e f
.
e f
. f e. f e. f e. f e. f e. c e.
e f
a
e
a

130
 Alemande
(f. 19r)

Ó.
Francois Chancy

œ. œ œ œ
œ œ œ ‰ œ œ œ œœ œ œœj ‰ Œ ‰ œ œ œ œ œ œ œ œ œœ . œ œ
œ
œ œ. œ
&C Ó ‰ œ œœ
œœ œ ˙ ‰
œ œ
J
œ
‰Jœ œ ‰
e e e x e ek x e ek x e ek x
C . . . .f . . . . . .
. . .
. . .
a c e f a a h f e c

. .
a e f e e c a c e f c e c c a
a c e f a c e f a
a e f

Œ œ œœ . œ œ Œ ‰ œ œ œj œ j
œ œ œ œ b œ œœ œ œ . œ ˙ œ œ ˙œ #œ
& œ œ œ .. ≈ ‰ œ œ œ ˙ œ œ .. .. œ . œ œ œ . œ b œ œ .
5

‰ J œ ‰œ Jœ œ œ ˙ œœ œ
J
e ek x e e q e e ek x e ek x e e ek x e ek x
. . f. e c. . . . . d. c . . .f . . . . .
a a

. e c.
c f e e c a c f e c f e f a g
e a f a c e f f e c d c
f a c

j ‰ œj œ
œ . œ œœ œ œ
œ ‰ œ œ œ ‰ œ œ œ œœ œ œ . œ œœ œœœ œ j
œ œ œ . œ œ œ bœ œ œ
Œ ˙J Ó œ œ œ œ œœœœ ˙ œ
Œ .œ œ œ œ .
.
10

& œ ˙. œ. œœ
‰J ‰ J ‰J J
e e ek x ek x e ek x e x eq e
. . . . . . . . .
. . . . . .
a c e f e f h a a a
c f e c c e f e c f e c a c a a
a a c e f d c a a c e f a a
f a

131
 Courante
(f. 19v)
Francois Chancy

‰ jœ Œ Œ œ œ ˙ œœ Œ œœ œ œ b ˙
œ œ œ œ œ œ œœœœœœ ˙ œ Œ̇ œ ˙
& 43 ‰ œ œ˙ . œ œœ œ œœ ˙ ‰ J
.
Œ M . ˙ œ
M
eq q q e e q q q q
. . . . f a. . . .
. . .
a c a c e f c x e f f x d

3
a a c e c e a e c e f f e c
f e f c a f f e f c a a
e

‰ j œ œ œ œ œ. ‰ Œ ‰ j œ œ . ‰ Œ ‰ œj œ # œ œ œ œ œ˙ œ ˙ œœ œœ . .
œ œ œ œ œ œ œ œ .. .
9

& œ. ‰ Œ Œ. œ œ œ ˙ œ Œ. J ˙ . Œ Œ ˙ œ
J .
e qk e e qk e e q q qk
. . . . . . . . .
. . . .
a c a c e e c a a

. .
a c e f c e c e g c h c
a c e f f e c a a
f f e c a

j j
œ œœ ˙ œ Œ Œ œ œ œ œ Œ Ó œ Ó ‰œ œœœœ ˙ Œ
& ..
œ ˙. ˙˙ Œ̇ ˙ œœ œ œ œ . œ
Œ œ . Œ œœ ‰Œ Œ œ
M
e q q q q q e e q
. . . . . . . .f
. . .
h f h e a f f x e a c c a
h f e c a f e c
a a a c e f a c
f e f

M M
Œ œ œ ˙ œ œ˙ œ . œ œ œ œ Œ Ó œ œœ . .
œ œ Œ̇ ˙ œ œ œ . œ œ ˙ .
b
& . ˙ œ b ˙ J ‰ Œ ˙ œ œ˙ . œ œ .. .
24

. ˙ Ó
Œ Œ ˙ œ.
q q q qk x q q q e qk x q qk
. . . . . . . .
x

.
a c a x f a
c e f a f e f a c e c a c a c a a
d c d a c a a a
f a

132
 Courante
(f. 20r)
Francois Chancy

j Œ Ó œ œœ ˙ Œ Œ Œ ˙ . Œ œ ˙˙
& 43 ‰ œ œ œ ˙ ‰̇ œ œ œ
œ œ .J J ‰ Œ ˙
œ ˙
œ
œ Œ̇
œœ .
œ œ œ
˙ œ ˙
œœ
Ó Œ
e h e e q q e q q q

. . . . . .f . . . .
a

3 .
a e c a c e a f e c
a c e f e c a f c f c e f e
e f e c a c e

Ó Ó Œ ˙ Ó œ Œ œ œ ˙œ œ #œ ˙ œœ œœ .
˙
˙ Œ̇ ˙ œ Œ̇ # œ ˙ Œ ˙ œ œ œ
œ .. ‰ Œ ˙ œ .
8

&Œ ˙ œ . . ˙ ˙ œ # ˙. ˙

q q q q q q q qk e q q
. . .
. . . .
c e c a a a
a c b c c a c g h c
c a c a c a e c a
e f e c e g c

M Œ
j œ œ Œ œ Ó Œ ˙ œ ˙ œ . j
œ œ œ. œ œ ˙ Œ̇ ˙ œ Ó œ Ó
˙. ˙ œ # ˙ œ
œ œŒ ˙˙ Œœœ
& .
. . œ œ Œ
Œ ˙ #˙. Œ Ó
q qk e q q q q q q qk e q
. . . . . . . . . .
x
a c e f e c e f e b c a
h f e c a c e a c e a
a c b c e c h

25
# ˙œ œ œŒ œ Œ œ
œ ˙ œ. œ œ œ œœ œœ œœ œœœ
Ó
œœ œ œ œ. œ œ œ Œ
..
& ˙ ˙. œ˙ . œ œ œ œ ˙. ˙. œ
q q qk x q q q q qk x q q

. .f . . .
a a a

.
g h e c e c a a a a a c e c a c a
f e c a a a a c f a
c e f e c a a

133
 Sarabande
(f. 20v)
Francois Chancy

j j
œ œ
œœ œœ œœ œ . œ œ œ œ ˙ œ œ œ
œ˙ . œ œ œ œ œœ . œ œ œ œ œ . œ œ œ
3
&4 ˙. œ œ˙ . œ œ ˙ .. ˙.
˙.

q qk x q q qk e q q qk e q q qk x q
. . . . . .
. .
a c a a

3
e e e c a c e f f e f c a a a a f e c a c a
f f f a c e f a a a a c a
e f

˙ ˙ œ œ ˙ œ
œ œ œœ œœ œœ œ˙ . œj œœ œœ œœ œœ œ ˙ œœ œœ œœ œ . œj œœ
.
& .Œ ˙ œ ˙ œ œ œ
9

˙. œ ˙˙ .. ˙. ˙. ˙ œ
q q q qk e q q q q qk e q
. . . . . .
. .
a f e e c c a a a a a a a
e c c e f f c e c a a a f f e e e c a a
a c e f a a c c e f f f a f
e c a a

j j
œ œ œ œ. œ œ œ œ˙ œ œ˙ . œ œ œœ œ˙ ˙ œ œ . œ
& .. œ œ œ ˙ . œ œ œœ œœ œœ œœ˙ .. ˙. œ œ
17

œ ˙. .

q qk x q q qk e q q qk eq q qk x q
. . . . . .
. .
a c a a
e e e c a c e f f e f c a a a a f e c a c a
f f f a c e f a a a a c a
e f

Óœ œ ˙ œ ˙œ œ Œœ ˙œ œ œ œ œ . œj œ œ ˙ ‰ j œ œ ˙ œ . j
.
& . œ œ œ œ œ œ œ
œ Œ . b œJ œ œ ˙ .œ œ b œ œ œ ‰ Jœ œ ˙ œ œœ
25

œ
e q q q e q e q e e e qk e q
. . . . e f. . . . . . . . . c. e .f
f e a
e f h h c e c a e e c a c e a c e f c a a
f a d c a c a d c a f
f a

134
 Les Rocantins
(f. 21r)
Francois Chancy

j
œ œ œœ œœœ œœ .. œ ˙ œ Œ œ œ ˙ œ œ œ #œ ˙
œ œ œ œ œ œ ˙ œ œ œ œ œ œ œœ
& C ˙ œ ˙ œ œ ˙. ˙
Œ Œ ‰
e q qk e q e q e q e e
C . . . . . . . . .
. . . .
a a a a c a a a a a
e f e c f e f g c e f f
f e f c c e f h a f e c a

œ œ Œœ œ ‰˙ œ œ œ œ œ œŒ œœ ‰œ œ # œ œ œ œœ Œ œ b Œ˙ œ œ ˙ œ œ œ œ œ. ‰ Œ œ œ
˙
6

&‰ ‰ Œ Œ œ Œ œœ Œ œ œ ˙˙
e e x q e q e q e q e q e
. . . . . . . . .
. .f . . .
a c a a

.
e e f a c g e g h c e f f e c e c a
f e c c e a c d a c a
f e f

˙ œ œ˙ . œj ˙œ œ b œ œ ˙œ œ œ œ ˙ b œ œ ‰ œ œ œ ˙ œ ‰ œ œ œœ œœ œ œ œ ˙ .
11

&Œ œ ‰ œ˙ ‰ œ œ œ œ œœ ˙ . œ Ó ˙ œ
Œ
q e qk e e e e q ex q

. . . .f . . . . . . . . . . .
a

.
c c a a a c e f a a c e f e c a c a
a c e f f d c d c a c a a a c e f a a
f f e f h a

135
 Recherche
(ff. 21v-22r)
Francois Chancy
Tuning: c'-g'-c''-f''

œ
bb b b Mœ ˙ ˙ œ œ œ . œJ J ˙ n ˙ n œ œ ˙ . œ œ œ ˙ œ . œj n œ œ ˙ œ ˙ œ œ
&
q h q qk e h q hk q h q e q h q h q
. . . a. . . .
. . .
x a c d d f h c a

.
f f c e a a a
f d b a a d b
f e f

˙ . œ
b
& b bb œ j œ ˙
œ. œ œ œ œ J n ˙˙ ˙˙
˙
˙˙ ˙˙
˙ n w˙˙ ˙˙ ˙wœ œ œ œœ n œœ
˙ w
q h qk e q h q qk e h h h q e q
. .
. . .
a c a a

.
a a f e f f d d b a a b
f d d b a f c d d b a b c
d f b a a f f

Ó ˙œ ˙ Ó Œ ˙ œ
b œ œ n ˙˙ œ Œœ œ œ œ˙ n œ n œœœ
& b b b ˙˙w ˙˙ œ˙ œ œ ˙. œ ˙ œ ˙ œ
6

Ó Œ Œ Œ œ
h q q q q q
. . . . .
. . .
f d f d c c
b a d b a a b a f e f f d c c
a b b a b d f d b a f e
d d

j j j Mj
œ ‰ œ ˙œ . œ œœ . œ œ . œ œ œ œ œ œ ˙ œ ˙
bb b b n œ œ œ œ œ œ
˙ ˙ ˙
œ˙ . œ œ n ˙˙ ˙˙
˙
12

& ˙˙ . J ‰ ‰ ‰J Œ Œ ˙
.
q e qk eq e eq e q q q e h
. . . . . . . . .
x

.
c h f d f d c d f h a f c d a c a
e a f d c d b a b d a b e f
a d b d d b
a a

˙. œ ˙˙ œ ˙ M œ ˙ nœ œ œ ˙˙ ˙ n ˙ ˙ ˙ U
˙˙
b
& b b b ww ˙ œ ˙ œœ ˙ n œ œ œ n œ ˙˙
18

œ œ œœ œ
hk q h q h q h q h q h q h q h q h Ua
. . . . . . . .
. . .
h f d c c a h f e a a
a f f x f e a f e a c a
a f f d b d a c d c
a a a f f

136
 Alemande
(f. 22r)
Francois Chancy

œ œ œœœ œ œ œ œ Œ ‰ œ œ
b n œ œœ Œ ‰ j œ n œœ œ œ œœ œ œœ n œ œœ œ . œ œ‰ œ ‰ œ œ œ
& b bb C ˙. œ ‰ J ‰ œ œ ‰ ˙
ΠJ
q ex e q e e eq x e
C . . . . . . . . . . .
. . . .
h d c d a c a a a f c d a c f f
e d b f e a d
f a b c d d b a
f a

j Œ
bb b b œ . œ œ œœ œ œ œ œœ œ œ œ n œ œ n œÓ œ œ œ œ‰ b œ œ . œ œ œ œ ˙˙
œ ..
.
5

& ‰ J ‰ œ . œJ n ˙ ‰ œ ˙ œ œ œ ˙˙
œ
J ‰J
e q e q e e x e ek x e h
. . . . . . . . .
.
a a a a c c

.
d f b a a a e e d c a a a
b d d b e a f a
f d c a a

j
bb b b .. ‰ œ œ œ œ œ œ œ œ n œœ . œ n ‰œ œ œ . œ œ œ b Œœ œ Œ œ . œ œ œ . œ
& œ œ œ œ œ œ œ œ œ œ
‰ J ‰ ‰ J
e e ek x e ek x e ek x e x e ek x e ek x
. . . . . . . . . . .
. .
c c f d c d e f d c a c a
a f d c d b a b a d b
d b d

j j
œ œ
b nœ. œ œ œ œ œœ œ Œ œ ‰ œ œ ‰ œ j œ nœ ˙ œ
& b bb œ œ œ œœ œ Œ œ n œœ œœ œœœ ..
12

œ œ n˙ œ œ
‰ œ ˙. ‰ J
J
e q e ek x e e q e q e q
. . . . . . .
.
h h a a c a c a a a

.
e e a a a e a
a d b a b a c
a f e f a f

137
 Courante
(f. 22v)
Francois Chancy

bb b b 3 ≈ œ n œ n œ œ˙ . œ œ œ˙ ˙ n œ ˙œ œ œœ œ˙ œ œœ œ n œœ b œœ Œ
œ œœ
& 4 œ˙. œ ˙
x q q q q q q
. . . . .
.
a c d d c a

3
a c e f f e f a f d b a f
f d b a c b f d
f d b

j j
œ œ. œ œ œ ˙.
bb b b œœ n œœ n œœœ n ˙˙ œ œœ œœ n œœ œ œ n œ . œ n Ó˙ . ˙
˙˙ .. .. ˙˙ . œ œ œœ
7

& ˙. Œ Œ ˙. ˙ . Œ ˙ œ ˙ ˙.. Œ J
.
q q q q qk e q h q qk e qk e
e
f
a
c
c
e
f
d
f
.
e
f d d
a
c .
a
e
a
c
a .
h h
a
a
.
f d f
. c
.
a
d .
a
a a a a

Ó Œ ˙ Œ Œ œ
Œ̇
bb b b ˙ œ Œ̇ œ n œ ˙˙ œ n ˙ . œ œ ˙˙ œŒ ˙˙ ˙ œœ ˙˙ . ˙ œ ˙˙ . œ œŒ Œ œ
.
15

& ˙.
. Œ ˙ Œ ˙ Œ Œ Œ ˙.
q q q q q q q q q
. . . . . . .
.
a f d f d c d c d c a h f
a f e f d c d b a b a b
b a d b d b a
f d a

bb b ˙ . œ n œ ˙˙ .. œ
œ ˙˙ .. ˙ œ n œœ n œ˙ œ œ œ ˙Ó . n œ ˙˙ ..
& b Œ ˙. nœ ˙˙
24

Œ Œ œ n ˙œ ˙ œ ˙ Œ ˙
q q q q q qk x q h
. . . .
d c a a
a c e a a c e c e f a
f d b a d b a c
a c e a a f

138
 Courante
(f. 23r)
Francois Chancy

bb b b 3 œ ˙œ . œ œœ œ Ó ‰ œj œ ˙ Œ
j j œ . œ
j
œ ˙ Œ̇
Œ̇ œ n œ . n œœ . œ œ ‰œ œ œ œ
& 4 J œ ‰ œJ œœ. n œ J Œ. ˙ .
q qk e e q e q qk e q q e e q e
. .f . .
. . . . . . .
a a

3
a a d b a a f
f d b a b a d b a c c c b d
e f a f

Ó ‰ Mj
j
œ Œ . œ Œ̇
bb b b n œ Œ . œj n œ n œ œ œ œ œ ˙ ˙ œ Œ˙ œ œ ˙
. œ ˙ nœ nœ œ
.
Ó˙ ˙ n œ
.
7

& Œ œ ˙˙ Œ ˙ Œ
‰J
e qk e e q qk e q qk e q q e x q
e
. a .
a c
.
e
a
.
c d a
. h
b
.
a
d
b
c
. x
a .
d c
f
b a .
e c e
. f
c
a a f

j Œ œ œ œ
bb ˙ œ œ n œœ .. œ n ˙
& b b ˙˙˙ .. .. œ œ n œ ˙ ˙ n˙. œ œ œ œ œ œ
˙. œ̇ . ˙ ˙.
14

Œ
h xe x q q qk e q q q h q
. . . . . .
.
a c a c f a d
a f d c d c e f a d b
f e f a d b d

œ œ œ ˙. œ nœ œ œ. œ œ ˙.
b b b b ˙ .. Ó ˙ œ ˙˙œ n ˙˙ œŒ œ˙ œ œ ˙˙ Ó ˙ nœ ˙˙
˙˙ ..
21

& Ó n˙ œ
Œ̇ Œ ˙ Œ
q q q q q q qk x q h
c
a
a
h c
. f d
.
a
a
c .
d b
d
.
f
e
f
a c
a
a
a c
. a
c
a
a
e f a f

139
 Volte pour Dardon
(f. 23v)
Francois Chancy

˙ œ œœ œ . œ œ ˙ . Ó ‰ j
bbb 3 œ œ œ œ n˙. n œ n œ ˙ . œ n˙ Œ
b ˙ Ó œ̇ Ó ˙ Ó œ
& 4 ˙ Œ ˙ œ . œ ˙ œ œ Œ ˙
Œ
e q q q qk x q q q q qk e q
. . . . . . .
. . .
a c d a h f d c a c a a c

3
e f a a c e e
b a b d f
a f f a

Œ ˙
b b b ˙˙ ˙ Œœ ˙˙ . Œ ˙ Œ œ œ œ œ˙ œ œœ n ˙ ˙ ˙
œ ˙ n œ n œ œ ˙ œ ..
b œ œ ˙. œ ˙˙ .. œ œ œ
9

& Œ Œ ˙. Œ
q q q q q q q e x q
. . . . . .
. .
c d a f d c a c
a b d b a b e f e c e f a
d b a b d f d b a
a f

Ó
b b b b .. ‰ œj œ ˙
œ˙ b œ
‰ j œ
œœ œ n œ˙ œ œ n œ . ‰
Œ̇ Œ ˙ œ Œ Œ
˙ ˙ œ œ œÓ œ
17

& ˙ œ n œœ ˙ Œ Œ œ . œJ ˙
n ˙ .. ˙.
.
e q q e q q q qk e q q q
. . . . . .
. .
c c a
a a f e d c a a d
b a a b f d f a a f d b
f e f d b a f e f

Ṁ
b b nœ ˙ j œ œ nœ œ ˙. ˙ ˙ œœ Œ
&bb ˙ œ
˙ œ œœ œ . œ œ˙ ˙ Ó œ ˙
25

˙. ˙ œ ˙ œ ˙.
Œ Œ ˙ Œ Œ
q q q qk e q q e q q e q h
. . . . . . . . .
x
a a c d d f h
c d b a a f e f a f a
d b a b d b
d d f d b a

Œ œ œœ ˙ Ó
bb nœ n˙ œ nœ nœ œ ˙
& b b ˙Œ œ œ ˙ œ ˙ œ œ ..
33

˙ Œ ˙ ˙˙ Œ ˙

q e q q q q e x q
. . . . . .
.
f d c a
a c e f a e c e f a
b b d d b a
f a a f

140
 Sarabande
(f. 24r)
Francois Chancy

j j Ṁ j
b j œœ œœ œœ œ˙˙ . œ œœ œœœ œœœ œœœ n œ˙ . œ œ œ œ n œ . œ œœ
& b b b 43 œœ˙ . œœ œœ n œœ˙ .. œ œœ œ˙ . œ œ ˙ œœ ˙ .
˙ œ œ ˙
œ œ œ ˙˙ œœ

q qk e q q qk e q q qk e q q qk e q
. . .
. . . . .
a a a a a a a a a x a a

3
a a a a a a a b a b b b e f f f f e a
b b b a d b b b b d b d d d d b b b d a b
f e f f a a a a f

j j œœœ œ œ Ó j
bb b b œ œ œ œ . œ œ œ œ œœ .
œ ˙ n œ n œ˙ œ b œœ œ ˙
˙˙ œŒ n œ . œ œœ
˙ Œ œ œ œ œœ
9

& Ó œ ˙ ˙
˙
q qk e q q qk e q e q q q qk e q
. . . . . . . .
.
a c d c d a a a c d f h a a a a
a b d d d b b a a b e a
b c c b d b d b a b
f a f

j j j
b b b b œœ œœ œœ œ . œj œ œœ œœ œœ œ˙˙ . œ œœ œœœ œœœ œœœ n œ˙ . œ œ œ ˙ œ n œ . œ œœ
œ˙ . œ œ ˙ œœ ˙ . œ œ œ œœ
n œ˙ . œ
17

& ˙. ˙ œ œ ˙ ˙˙

q qk e q q qk e q q qk e q q qk e q
. . .
. . . . .
a a a a a a a a a a a
a a a a a a a b a b b b e f f f f e a
b b b a d b b b b d b d d d d b b b d a b
f e f f a a a a f

bb b b ‰ j œ œ œ œj‰ Ó ‰ œj œ œ œ . œj œ œ œ œ œ œ œ j Ó n œ n œ œ Ó j
œ œœ
œœ œ ˙ œœœ œ ‰œ œ œ œ œ œ œ œ œ n œ˙ . œœ
25

& œ . œ œ . ‰ œ n œ n œ œ œœ
J J‰ Œ Œ Œ Œ ˙
e e e q qk e q e e e qk e q
. . . .
. f. b d. . . . . . . . . . .
a c d a d f h a a

. .
f d b a b b a a a c e a f e a
a b f a b d b b d f b d b a b
f a c e f f a f

141
 The Guitar Arrangements

The question remains: what is the best way to transfer these pieces to the

classical guitar? Transposition is necessary due to range difficulties. I have

found the best way to play them on the guitar is to tune using the same intervals

specified by Chancy for the mandore, put a capo at the fifth fret, use a pick and

read directly from the tablature. This way, all the original fingerings can be

retained. By utilizing a capo, it brings the player closer to the scale length of the

mandore, making these fingerings comfortable. The capo also helps in retaining

the treble characteristics of the original tessitura. The reason for reading directly

from the tablature goes hand in hand with the tuning. For most of the pieces in

Tablature de mandore, the first four open strings of the guitar would be tuned: B–

f#–b–e'. In other words, the third string must be lowered a semitone, and the

fourth string is lowered a minor third. For the second suite (ff. 6v-9r), the tuning

would be B–f#–b–d#'. For the Branles de Boccan (ff. 16v-18r) and the fifth suite

(ff. 18v-21r), the guitar would be tuned B–f#–b–f#'. All three of these tunings are

uncharacteristic to the guitar. Therefore, reading the pieces in standard notation

and translating them to the guitar while keeping in mind these various unusual

tunings would be slow and problematic. In addition, this skill, even if developed,

would not be useful in other circumstances. The tablature circumvents this issue

142
 143

of readability. No matter how the strings are tuned, the player knows

immediately which string to stop at which fret. However, my transcriptions would

still be helpful if used in conjunction with the tablature by showing voice leading

and harmonic progression. For all of the above reasons, I have decided to make

true guitar editions for only a select few of the pieces from Tablature de mandore.

They are done using lute tuning, i.e. the original tuning of the guitar is retained,

with the exception that the third string lowered a semitone to f#. Classical

guitarists are accustomed to reading music in this tuning, since it is used often in

transcriptions of renaissance lute and vihuela music. Two important changes

result from using this tuning. It creates instances in which simultaneous notes

are not on adjacent strings. This is not a problem, since the classical guitarist will

be plucking with the fingers and will not be using a plectrum. Also, open strings

in the original are now stopped. This presents some fingering problems, and in

some cases, the original fingering had to be completely reworked to allow the

proper notes to ring for the specified duration.

 Alemande
(f. 1v)
François Chancy
3 = F# arr. Jeff Lambert
j j
œ œ ‰ Œ ‰ œ œ œ ‰ Œ ‰ . œ œ ‰ ‰
4
4 2 4

#### œ . œ œœœ œ. œ jœ
1 2 1 4 3 4

œ œ
1 0 2

œ
4

C œ ˙ œ œ ˙ œ œ œ
0

& 1
‰ 2 1 1 ‰ 2 1 2 1 œ . J
20 1 0 2

# # # # ‰˙ œ œ œ œ œ Œ œ œœ œ‰ œ‰ œ œ œ œ # œ ‰ œj œ Œ‰ œ œ Ó ‰ œ œ œœ
1 4 2 4 2 0 2
3 0 3 0 1 2 2
3

œ œœœ Œ œ
2

œ œ œ œ. œ œ
4 0

& œ .
4
‰ 3 J 4
J œ˙ 0
3 3 0 4
2 30 2 1 3 2 1 4 1

#### ˙ œ .œ œ . ‰ ‰ œ œ ‰ ‰
œ œ .œ œ œ œ n œ œ œ œ ‰
1 0 1

Œ œ . œ œ œœœ .. .. œ2 ‰ œ # œ œ ˙
4 4 0 2 4

œ œ œ ˙5 œ œ œ
0 0 3 1 0 2 0 4

œ ˙
8 2 0 3

&
1

‰ ‰ ‰2 4
3
0 3 4 2 4 1
1 0 1 1 0 3

œ œ
CII

‰ œ Œ Ó ‰
4

#### 1 ˙ œ œ œ œ.œ œ
2 1 4 1 2

œ . œ
4

œ œœ œ ˙ œœ .
(5-3) 2

œ œ
0

œ œ œ œ œ œ œ œ œ œ œ2 œ˙
4 0 2

2œ œ 0 ˙ œ
0 0 0 1 1 4 40 0

œœ .
12 1 2 0

& ˙ Œ ‰ . ˙ ˙ Œ œ .œ
6
0
˙ ˙ ˙ ˙
1
0
‰
2 2 1 1 3 1
3 0 2 1 0 1 1

144
 Courante
(f. 2r)

3 = F#
François Chancy

j j 2
arr. Jeff Lambert

# # # # 3 œ ˙˙ œ œ œ œ œ œ œ .œ ˙œ Œ ˙Œ˙ ‰ œ œ œ ˙œ Œ Œ ‰ œ œ œ
1 0 1 1 3 4 3
3 1 0 4 3
0 4 0 0

& 4 ‰ œ . œJ . œ ˙ œ
œ .
1 3 4
1 2
4 0 1
4
J 1 0
1

#### # ˙ . œ œ œ ˙. œ œ œ œ œ œ Œ ‰ j
œ˙ . œ œ œ œœ
3 CII 0 3 0 1

œ œ œ # œ˙ . œ
1 0 4 2 0 2
7 1 3

& ˙ œ œ ˙˙
Π2 1 3 4
0 0
1 1

m
#### . ˙˙ . . œ . œ ˙ Œ œ œ œ 2 œ œ ˙ œ Œœ ˙œ Œ Œ˙ œ œ œ
CII
02 0
2 3 4 1 0 2 3 4 3 1 0

˙ 0œ ˙˙ 0 . . œ ˙ ˙ œ œœ .
13 0 3 0

& Œ œ œ œ˙ . œ
0

Ó˙ Œ Œ
Π4 1
0 2 4
1 1 1
1 1 4

#### ˙ ˙ œ Ó œ ÓŒ 2 œ œ ˙ œ n œŒ Œ˙ œ œ1 ˙0 œ œ œ ˙0 . 2 ˙00 .
4 3 4 2 0 2
3 0 3

Œ ˙ Œ ˙ œ œ Ó ˙ œ ˙˙˙ .
21 0

& Œ ˙. ˙ . ˙
0
4 2 1 2
˙ Œ
1 1 2 1
1

145
 Seconde
(f. 2v)
François Chancy
arr. Jeff Lambert

j j
3 = F#

#### 3 œ œœ .. œ œ j0 œ
4 CII

œœ .. œœ œœ œ˙ . œ œŒ
0 2 1

˙˙ . œ ˙œ œ œœ
CII 0 0 4

œ˙ . œ
0 0 4

& 4 œœ
1 1 1

œ˙ .
2 0

4 2 1
œ 1
˙ Œ
0 1 1 3

# ˙
## # ˙ œ œ œ œ . œ Ó Œ .
œ œ˙ . œ œ Œ ˙ œ Ó ˙ œ ˙ . œ œ˙ œ œ
4 0 1 3 2

œ
2 23 1 2 0

Œ
6 0 0 0

& ˙. œ œœ 00 ˙
3

Ó
2

Œ 3 ˙. 3 4 0 ˙ . ˙
Œ 1 ˙
1 0 1
1 1

œ œ j j 3 ṁ
œ Œ Œ
4 1 2 CII

# # # # ˙Ó . ˙˙ . . ≈ œ œ . œ ˙œ œœ œ œ. œ ˙ œ ˙ œ œ
4 1
(2-1) 1
4 4 3 13 1

˙ œ ˙ ˙ #œ
0 0 4 4

. . œ ˙.
13

& œ ˙ œ
2 0 1

Œ ˙ ˙ 2
2
4 2 4 3
1 4 2 1 0

Ó ‰ j j
# # # # ˙˙ . œ œ œœ œœ œœ œœ œœ œœ œ œ . œ ˙ Œ 2 œ ˙˙ .
0 0

˙
0 2 0

0˙
0 0

& 4 ˙ œ 3œŒ ˙˙ œ˙ . œ œ ˙ . ˙˙ .
21 0 4 2 0

œ ˙˙ ˙. ˙
2 2

Œ 1 0 ˙ 3
Π0
1
1 0 1 1
1

146
 Troisiesme
(f. 3r)
François Chancy
arr. Jeff Lambert

= F#
CII
3

# # # # 3 3 ˙œ Œ Œ
(5-1)

œ œ œ ˙œ
1

œ ˙œ œ œ
1 4 1

œ . œ œ œœ œ œ # œ œ œ
0 0 3 1 3 4 3

& 4œ œ œ
4

˙
3

˙
0

J œ Œ œ ˙. ˙ J
‰4 2
4 0
1 2 3 1 2 1
2 0 2 2 1

j0 3 1 0 Œ ˙
CIV

# Ó
## # ˙ œ œ
˙ . œ œ œ œ˙ ˙ œ Œ
œ Ó
(5-1)

.
1 4

Œ œ ˙
3 3

œ œ .
CII

˙˙œ ˙ œ ˙ 6
1

0˙.
7 0 2

& . J‰ œ ˙. œ ˙œ 5œ œœ
1

˙
0 2 3 0 2

Œ Œ œ œ
4

4 1 3
1 2 1 0 1 1
1 4
4 1

#### .. .. œ ˙˙ œœ œœ Œœ # œ ˙ œ Œœ
4

.
CII

˙˙
Ó œ ˙˙˙
3

œ œ
CII 3 3

œ .
3 1 3 1

˙ ˙ œ œœ œ
15 0 4 0 (5-3) 0

&
3 1 1 0

Œ ˙ ˙
2

œ ˙ 4 3 4 1
ΠΠ0 2
1 1
4 1 1

j 3 0 3 m 3j 4 0 ‰œ œj œ œ œ ‰ 1j j 4 Ó
# # # # 3 Ó˙ . ˙ œ œ˙ . Œ
CII 3

œ œœ œœ œ œ . # œ œœ 1 J ‰ œ œ œ œ œœ œ 3 0
0 1
1 1

#˙
22

& Œ ˙ Ó 2 ‰
œ œœ œ œœ œ2‰
4 1
3 4 0
œ 4 3
4
Π2 J1
1

Œ Œ œ ṁ
#### Œ œ .
CII

˙ œ œ
121

œ œ œ ˙ . ˙˙
0 1

˙
3

œ œ ..
1 1

œ œ œ Œ ˙ Ó
0 0 0

œ
28 2 4 0

& œ œ œ ˙˙
1

Ó˙ ˙
0

Œ Œ 1˙
. ˙ . ˙
3 4

Œ
2 1 0
1 2
1 0
3 2 1

147
 Sarabande
(ff. 3v - 4r)
François Chancy
3 = F# arr. Jeff Lambert

# j Œ Œ
# # # 3 œ œ˙ œ œ˙ . œ œ œ œ œ ˙ œ ˙
CII 0

œ Œ œ . œJ ˙ . œ œ œœ˙ œœ
4 4 1 4

œœ
0 0 1 4 3

& 4
1
1

0 0
4 1 3
Œ . Œ ‰ J2
2 1 1
3

Œ j 3 œ œ Œ
4 0

# # # # ‰̇ œ œ˙ . œ ˙˙ .. œ œ œ
4

œ œ
1 3 0 3

œ˙ . œ œ
CII 1

œ
0 0 0 3

œ œ
1 1 3 1 2

œ œœ œ œ œ œ˙ œ œœ œ
0

.J
7 0 0

&
1 2 2

Œ
4
˙ 4
0 œ
1
1
1 1 1

j‰ ‰ j j
# # # # Œ‰ œ œ œ œ œ œ œ ˙ Ó Ó ‰œ
CII 4

œ œ œ
CII

œ
1 1 1

œ
0 0 4 0

œ œ
1 4 1 4

œ Œ 0 ˙˙
1

œ œ œ œ #œ
13 4 2

& ˙ .1 œJ œ [ œ ] [ œ˙..] 1œJ œ 0 0 Œ œ œ ˙. 0

J
3

3 4 1
1

œ
CII

#
## # œ Ó Œ œ œ œ2 œ œ œ ˙1 ˙˙ œ œœ
3

œ ˙ œ
4 1 4 1

n œ
3 0 2 0 3

˙
2

Ó ˙. œ ˙
4

˙
18 4

& ˙
1

Œ ˙ œ 1. 0 Œ 2 3 0
Œ ˙
1 0
1

j 4 j
#### œ . ‰ Œ Ó ‰ œ œ ‰ 2j 0 Œ ‰ œœœ
3 4

œ .
0 1

œ œ n œ ˙ ˙ Œ
3 0

‰ œœœœ œ
4 0 1

œ
24

& œ œ
3 2

œ
Œ ‰ J œ œ ˙. J Œ ˙ œ œ Œ Œ 2 Œ 2
4 1

3 0 1
0 2
2 1 1
4

j œ . j
# # # # œ ‰˙ œ œ œ œ˙ œ œ œ œ œ œ ‰ œ œ œ œ ˙0 .
2 4 2
4 1 0 1 0 2 1 1 3
2 1

œ . J ˙ Ó ˙
29

& œ
2

‰ J 0
‰ 2 0 Œ
1 3 1

148
 Notes on the Facsimile

The following facsimile of François de Chancy’s Tablature de mandore

was taken from a microfilm at the University of Illinois. The images on the

microfilm were photocopied and then scanned at 300dpi to create digital .TIF

files. A small amount of digital editing was done to crop the image and to

eliminate some of the stray particles that interfered with a clean microfilm

photocopy.

Any penciled-in foliation is mine.

149
 150

Folio ii recto - title page

 151

Folio iii recto - dedication

 152

Folio iii v - epigramme

 153

Folio iv recto - sixain

 154

Folio iv verso - two quatrains

 155

Folio v recto - note from Chancy to the reader

 156

Folio v verso - mandore illustration and tuning chart

 157

Folio 1r - Recherche
 158

Folio 1v - Alemande
 159

Folio 2r - Courante
 160

Folio 2v - Seconde
 161

Folio 3r - Troisiesme
 162

Folio 3v - Sarabande
 163

Folio 4r - conclusion of Sarabande; opening of Passemaise

 164

Folio 4v - second page of Passemaise

 165

Folio 5r - third page (conclusion) of Passemaise

 166

Folio 5v - En m’en revenant de S. Nicolas

 167

Folio 6r - Volte
 168

Folio 6v - Recherche
 169

Folio 7r - conclusion of Recherche

 170

Folio 7v - Alemande
 171

Folio 8r - Courante
 172

Folio 8v - Courante
 173

Folio 9r - Sarabande
 174

Folio 9v - Recherche
 175

Folio 10r - conclusion of Recherche

 176

Folio 10v - Alemande

 177

Folio 11r - Courante

 178

Folio 11v - Courante

 179

Folio 12r - Sarabande

 180

Folio 12v - Recherche

 181

Folio 13r - Alemande

 182

Folio 13v - Courante

 183

Folio 14r - Courante

 184

Folio 14v - Courante

 185

Folio 15r - Sarabande

 186

Folio 15v - Premier

 187

Folio 16r - conclusion of Premier; Second

 188

Folio 16v - Branle Gay; opening of Branle de Poictou

 189

Folio 17r - conclusion of Branle de Poictou and Branle double de Poictou

 190

Folio 17v - Branle de Montirande

 191

Folio 18r - La Gavotte

 192

Folio 18v - Recherche

 193

Folio 19r - Alemande

 194

Folio 19v - Courante

 195

Folio 20r - Courante

 196

Folio 20v - Sarabande

 197

Folio 21r - Les Rocatins

 198

Folio 21v - Recherche

 199

Folio 22r - conclusion of Recherche (bottom); Alemande

 200

Folio 22v - Courante

 201

Folio 23r - Courante

 202

Folio 23v - Volte pour Dardon

 203

Folio 24r - Sarabande

 Bibliography
I. PRINTED AND ONLINE SOURCES
Agricola, Martin. Musica Instrumentalis Deudsch. Wittenberg, 1529. Enlarged 5th
edition, 1545. Reprint, Leipzig, 1969. Translated and edited by William E.
Hettrick, Cambridge: Cambridge University Press, 1994.

Anthony, James R. “Ballet de cour.” Grove Music Online ed. L. Macy (Accessed
7-20-04) <[Link]

Arbeau, Thoinot [Jehan des Preyz]. Orchesographie. Langres: Jehan des Preyz,
1589. Translated by Mary Stewart Evans. Edited by Julia Sutton. New York:
Dover, 1967.

Baron, John H. “Chancy, François de.” Grove Music Online ed. L. Macy
(Accessed 7-5-04) <[Link]

———. “Chanson pour boire,” Grove Music Online ed. L. Macy (Accessed 11-5-
05) <[Link]

Berger, Anna Maria Busse. “Agricola, Martin.” Grove Music Online ed. L. Macy
(Accessed 12-14-05) <[Link]

Bergin, Joseph. Cardinal Richelieu: Power and the Pursuit of Wealth. New
Haven, CT: Yale University Press, 1985.

Bermudo, Juan. Comiença el libro llamado declaraciõ de instrumenetos

musicales... [Link].: [Link]., 1555.

Boetticher, Wolfgang. “Zur inhaltlichen Bestimmung des für Laute intavolierten

Handschriftenbestands.” Acta musicologica 51 (1979): 193–203.

Brown, Howard M. “Music Reviews: Oeuvres de Chancy, Bouvier, Belleville,

Dubisson, Chevalier." Notes - Quarterly Journal of the Music Library
Association 25, no. 3 (Mar. 1969): 576.

Brunet, Pierre. Tablature de mandorre. Paris, 1578. [lost]

Bullard, Beth. “Virdung, Sebastian.” Grove Music Online ed. L. Macy (Accessed
11-9-05) <[Link]

204
 205

Caldwell, John. “Ricercare.” Grove Music Online ed. L. Macy (Accessed 7-20-04)
<[Link]

Chancy, François de. Tablature de mandore de la composition du Sieur Chancy.

Paris: Pierre Ballard, 1629.

———. Airs de cour, 2 vols. 1635–44. 1 air ed. A. Verchaly, Airs de cour pour
voix et luth 1603–1643. Paris, 1961.

———. Les équivoques, 5 vols. 1640–55. vols. 3–5 are entitled Livre des
chansons. vols. 2–5 reprinted as Recueil des quatre livres des Equivoques
pour boire et pour danser. 1699.

———. Isolated instrumental works in the Philidor collection (F-Pn) and in the
treatises of Mersenne; 4 ed. in S.

Chauvel, Claude, ed. Manuscrit Barbe: pièces de luth de différents auteurs en

tablature française: fac-similé du ms. de la Bibliothèque nationale, Paris, Rés.
[Link]. 7. ca. 1690. Genève: Minkoff, 1985.

Chew, Robin. “Cardinal Richelieu Prime Minister of France.”

[Link]

Cohen, Albert. “Mersenne, Marin.” Grove Music Online ed. L. Macy (Accessed 7-
20-04) <[Link]

Dart, Thurston. “Miss Mary Burwell’s Instruction Book for the Lute.” The Galpin
Society Journal 11 (May 1958): 34-5.

Fuller, David. “Suite.” Grove Music Online ed. L. Macy (Accessed 8-21-05)
<[Link]

Gallot, Jacques. Pièces de Luth Composées sur différents Modes. Paris, n.d.
Facsimile with an introduction by François Lesure. Geneve: Minkoff, 1978.

Gaultier, Denis. Pièces de Luth sur trois différents Modes Nouveaux. Paris, n.d.
Facsimle. Geneve: Minkoff, 1975.

Gill, Donald. “Alternative Lutes: the Identity of 18th-Century Mandores and

Gallichones.” The Lute 26 (1986): 51–62.

———. “The de Gallot guitar books.” Early Music 6 (1978): 79–87.

 206

———. Gut-Strung Plucked Instruments Contemporary with the Lute. The Lute
Society Booklets, No. 2. The Lute Society, 1976.

———. “Intabulating for the Mandore: Some Notes on a 17th-Century

Workbook.” The Lute 34 (1994): 28–36.

———. “Mandore and Calachon.” FoMRHI Quarterly, no.19 (1980): 61–3.

———. “Mandores and Colachons.” Galpin Society Journal 34 (1981): 130–41.

———. “The Skene Mandore Manuscript.” The Lute 28 (1988): 19–33.

Ginastera, Alberto. Sonata for Guitar (op. 47). [Link].: Boosey & Hawkes, 1984.

Heartz, Daniel and Patricia Rader. “Branle.” Grove Music Online ed. L. Macy
(Accessed 7-20-04) <[Link]

Kircher, Athanasius. Musurgia universalis. Rome, 1650. Facsimile edition with

introduction and indices by Ulf Scharlau. New York: Georg Olms Verlag, 1970.

Koczirz, Adolf. “Eine Gitarren- und Lautenhandschrift aus der zweiten Hälfte des
17. Jahrhunderts.” Archiv für Musikwissenschaft 8 (1926): 433–40.

———. “Zur Geschichte der Mandorlaute.” Die Gitarre 2 (1920–21): 21–36.

Kreitner, Kenneth, Louis Jambou, Desmond Hunter, Stewart A. Carter, Peter

Walls, Kah-Ming Ng, David Schulenberg, and Clive Brown. “Ornaments.”
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<[Link]

Krummel, D.W., and Stanley Sadie, eds. Music Printing and Publishing. New
York: Norton, 1990.

Lauze, François de. Apologie de la Danse. [Link].: [Link]., 1623. Translated and
edited by Joan Wildeblood. London: Muller, 1952.

Le Roy, Adrian. L'instruction pour la mandorre. Paris, 1585. [lost]

Levi, Anthony. Cardinal Richelieu and the Making of France. New York: Carroll &
Graf, 2000.

Little, Merideth Ellis, and Suzanne G. Cusick. “Courante.” Grove Music Online
ed. L. Macy (Accessed 7-20-04) <[Link]
 207

McGowan, Margaret M. “Cambefort, Jean de.” Grove Music Online ed. L. Macy
(Accessed 7-20-04) <[Link]

Mersenne, Marin. Harmonie universelle. Paris, 1636-7/R. Translated and edited

by Roger E. Chapman, The Hague: Martinus Nijhoff, 1957.

Neumann, Frederick. Ornamentation in Baroque and Post-Baroque Music.

Princeton, New Jersey: Princeton University Press, 1983.

Pohlmann, Ernst. Laute, Theorbe, Chitarrone. Bremen, 1968. Enlarged May

1982.

Praetorius, Michael. Syntagma Musicum (tomus secundus). Wolfenbüttel, 1618-

19. Reprint, Kassel, 1958.

———. Syntagma Musicum: II: de Organographia: Parts 1 and 2. Translated and

edited by Daniel Z. Crookes. Oxford: Clarendon Press, 1986.

———. Terpsichore. Edited by Günther Oberst. Gesamtausgabe der

Musickalischen Werke von Michael Praetorius Band XV. Wolfenbüttel: Möseler
Verlag, 1929.

Prynne, Michael. “James Talbot's Manuscript, IV: Plucked Strings – the Lute
Family.” Galpin Society Journal 14 (1961): 52–68.

Radke, [Hans?]. “Besprechungen: Oeuvres de Chancy, Bouvier, Belleville,

Dubuisson, Chevalier.” Die Musikforschung 24, no. 1 (1971): 113.

Ravelhofer, Barbara. Louange de la danse. Renaissance Texts from Manuscript

No. 3. Cambridge: RTM Publications, 2000.

Smith, Douglas Alton. A History of the Lute from Antiquity to the Renaissance.
The Lute Society of America, Inc., 2002.

Souris, André, ed. Oeuvres de Chancy, Bouvier, Belleville, Dubuisson [et]

Chevalier. Éd. et transcription par André Souris. Introd. historique et étude des
concordances par Monique Rollin. Corpus des luthistes français. Paris:
Éditions de Centre national de la recherche scientifique, 1967.

Spencer, Robert, ed. The Burwell Lute Tutor. [1660-1672] Leeds, Eng.: Boethius
Press, 1974.
 208

———. The Robarts Lute Book: c. 1654-68: for 11-course French lute in D minor
tuning. Kilkenny, Ire.: Boethius Press, 1978.

Stolba, K Marie. The Development of Western Music: a History. Madison, WI:

Brown & Benchmark, 1994. 290.

Strobel, Valentin. Concert für 1 Mandora und 3 Lauten. Strasbourg, 1648. [lost]

———. Concert für 1 Mandora und 3 Lauten. Strasbourg, 1651. [lost]

———. Symphonie für 3 Lauten und 1 Mandora. Strasbourg, 1654 [lost]

Tilmouth, Michael. “Repeat.” Grove Music Online ed. L. Macy (Accessed 11-10-
05) <[Link]

Tyler, James. The Early Guitar: a History and Handbook. London: Oxford
University Press, 1980.

———. “Mandore.” Grove Music Online ed. L. Macy (Accessed 7-5-04)

<[Link]

———. “The Mandore in the 16th and 17th Centuries.” Early Music 9 (1981): 22–
31.

Tyler, James, and Paul Sparks. The Early Mandolin: the Mandolino and the
Neapolitan Mandoline. Oxford: Clarendon Press, 1989.

———. The Guitar and its Music from the Renaissance to the Classical Era. New
York: Oxford University Press, 2002.

Virdung, Sebastian. Musica getutscht. Basel, 1511. Translated and edited by

Beth Bullard, Cambridge: Cambridge University Press, 1993.

II. MANUSCRIPTS (arranged by date)

F-Pn fonds fr. 9152, fol. 166. c.1583-7. [first information about the mandore in
France]

1588, London, British Library (GB-Lbl) Add.30342, fol.142. [tuning chart only,
four-course]
 209

Skene MS, c. 1625–35, Edinburgh, National Library of Scotland, Music Dept

(GB-En) Adv.5-2-15. [Scottish and English repertory]

Anton Schermar MS, 1626, Ulm, Stadtbibliothek (D-Us) Smr Misc.133b. [solo
settings of mostly French ballet and chanson repertory]

Anton Schermar MS, c. 1626, Ulm, Stadtbibliothek (D-Us) Smr Misc.132.

[illustrates intabulation procedures in various tunings; also for lute]

Anton Schermar MS, c. 1626, Ulm, Stadtbibliothek (D-Us) Smr Misc.133a. [four-
course; solo settings of mostly French ballet and chanson repertory]

Anton Schermar MS, c. 1626, Ulm, Stadtbibliothek (D-Us) Smr Misc.239. [solo
settings of mostly French ballet and chanson repertory]

De Gallot MS, c. 1660–85, Oxford, Bodleian Library (GB-Ob) [Link].C.94.

[guitar MS with nine French dance pieces for mandore]

c. 1670, Rochester (NY), Sibley Music Library, University of Rochester, Eastman

School of Music (US-R) Vault [Link]. [lute MS with some untitled
mandore music]

Allemanden Couranten … von der Lauten und Mandor auff das Spinet …
abgesetzet, 1672, D-Dss Mus.17 (2897) (lost; photographic copy in
Bibliothèque Nationale, Paris (F-Pn) Rés. Vmc.42 (1)). [keyboard tablature;
contains transcriptions of lute and mandore music by Strobel, Gumprecht and
others]

late 17th century, formerly in the library of Professor Paul Nettl in Bloomington,
IN. [MS containing French and German repertory for guitar and mandore]