The Si Placet Repertoire of 1480–1530

Series: Renaissance  Publisher: A-R Editions
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The Si Placet Repertoire of 1480–1530

Edited by Stephen Self

R106 The Si Placet Repertoire of 1480–1530
978-0-89579-373-7 Full Score (1996) 8.5x11, xv + 101 pp.
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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.
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 moy
Fortune, par ta cruaulté
Helas, que pourra devenir
Io son maistro barileto
J'ay trop 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
<div>Winner of the MPA Paul Revere Award, 1997.</div>