Recent Researches in the Music of the Renaissance

From the closing decades of the fifteenth century through the 1530s a new line was sometimes added to works that were already complete, usually transforming a composition of three voices into one for four voices. The frequency with which this si placet voice was added coincides with a general turn to a four-voice norm for the chanson and other genres that had previously favored three voices.

Performers will find these voices useful options for enhancing texture and harmony. Some si placet lines are extant in two versions, one of which is apparently an instrumentalization of the other, offering performers clues to improvisatory procedure of the period. Analysts will find si placet voices valuable for the evidence they offer regarding compositional priorities and procedures.

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Amour vault trop; Amy, souffrez; Ave, regina caelorum; Belle sur toutes/Tota pulchra es; Ces facheux sotz; C'est donc par moy; Da pacem Domine; De vostre deul; Fortuna desperata; Fortune, lesse may; Fortune, par ta cruaulté; Helas, que pourra devenir; Io son maistro barileto; J'ay top aymé; Je ne sçay pas; Je ne sçay pas; Le despourveu infortuné; Madame qui tant; Nunca fué pena maior; Or vray Dieu; Oublier veuil tristesse; Serviteur suis; Si dedero; S'il vous plait; [Untitled]