Typographical errors (or unsignaled errors in original)

Key to abbreviations

“I:10 m74/2” indicates Volume I of Chansons polyphoniques, page 10, measure 74, second beat.  LM2 refers to Lesure and Merritt’s numbering in Chansons polyphoniques. Incipits are used in place of titles. [1st] refers to Lesure and Merritt’s 1st edition of Chansons polyphoniques; [2nd] refers to the second edition from 1983; [both] refers to errors found in both editions.


I:10 m74 LM2 “Reveillez vous” e natural in bass should read: e flat (missing editorial ficta) [1st]

I:10 m74 LM2 “Reveillez vous” flat 3rd line in bass should read: flat 3rd spaced in bass [2nd]

I:128 m17 LM9 “M’y levay” half note = dotted half should read: half note = half note [both]

II:13 m12/2 LM21″En attendant” half note in superius should read: dotted half note [both]

II:35 m27/3 LM27 “Ayez pitié” g in superius should read: e [1st] 

II:82 m4 LM41 “Or vien” “G-G-G” in bass should read: “G-F-G” [both]

II:126-128 LM53 “Mon confesseur” (missing section) should read: (add following text) [1st] “Ja ne fera qua ses dictz je consente, Plus tost vouldrois si je mens dieu me mente, Qu’on le jettast au profons de la mer, Mon confesseur” and corresponding music for superius, altus, tenor and bassus. (See transcriptions)

II:179 m47 LM66 “Tétin””9/6” should read: “9/4” [both]

II:217 m48 LM71 “Celle qui” “d-bb-f ” in superius should read: “d-c-f” [both]

III:4 m34/1 LM74 “Ung gay” quarter note superius should read: dotted quarter [both]

III:26 m38/2 LM79 “Secouez” quarter note superius should read: dotted quarter [1st]

III:63 m41 LM87 L’amour “e” in superius should read: “f” [1st]

III:83 m25/1 LM92 Ou mettra quarter note/eighth should read: dotted quarter/eighth [1st]

III:128 m9/1 LM104 “O mal” 3 quarter notes should read: quarter rest/3 quarter notes [both]

III:195 m27 LM111 “Helas” (Maillard) repeat sign should read: no repeat sign both

IV:117 m29/3 LM144 “Scavez” “F” in bass should read: “D” [1st]

V:108 m22/6 LM198 “En amour” “f”in superius should read: “e” both

V:132 m1(r) LM205 “D’un seul” “D” in bass should read: “G” [1st]

V:132 m1(r) LM205 “D’un seul” “f ‘ ” in altus should read: “g ‘ ” [1st]

V:132 m1(r) LM205 “D’un seul” “a1” in superius should read: “bb1” 1s

V:132 m2(r) LM205 “D’un seul” “Bb” in bass should read: “bb” 1st

V:157 m22/4 LM210b “Réveil” eighth note in tenor should read: quarter note [both]

VI:14 m23 LM224 “Toy Cupido” half note should read: dotted half both

VI:126 m5/3 LM 239 “Ce n’est” “f” in bass should read: “g” [both]

VI:155 m7/2 LM250 “Pourquoy” “Bb” in bass should read: “c” [both]

VI:160 m8/1 LM251 “Bel aubépin” “bras” in underlay should read: “bas” (all voices) [both]

VI:185 Index: “Au verd boys” I, 132 (no 132) should read: I, 132 (no 11) both

VI:186 Index: “Escoutez tous à 4 voix” should read: “à 4 voix avec la 5e voix de Verdelot” both

VI:188 Index: “Martin menoit II, 155 (221)” should read: “…II, 155 (no 60)” [both]

VI:189 Index: “Pitieuse echo VI, 53, (no 240)” should read: “…VI, 53 (no 249)” [both]

VI:189 Index: “Or sus bransles VI, 78” should read: “…VI, 78 (no 235)” [both]

VI:190 Index: “Réveillez vous 1er version avec la 5e voix de Verdelot” should read: “…1er version” [both]

VI:191 Index: “Triste et marry V, 50 (no 128)” should read: “…V, 50 (no 184)” both