Troubadour Tunebook

Contents
Page
Introductory notes 1-2
Troubadour & Trouvère 3-11
Estampies 12
English songs 13
Cantigas de Santa Maria 14-21
Italin Lauda 22
Guilliame de Machaut 23-24
th
14 Century Italian dances 25-26
Llibre Vermell 27-29
Sources 30
Bibliography 31
Index 33
Introduction
This is a collection of medieval tunes from 12th -14th Centuries. It is a very small selection from the
thousands of tunes written down in this period. It has been compiled mainly as a source of instrumental
pieces, though singers may also find it useful. We have tried to select some of the more 'catchy' melodies,
to emphasise that music of this period is not necessarily difficult to perform or to enjoy, and that there's a
lot more to it than 'chant'. We have also tried to list as many sources as possible for finding further music.
Almost all of the pieces are originally songs (as very little instrumental music was ever written down) but
we have found that most of this selection can work well on instruments alone. Playing a tune on whatever
instruments were available is the most likely period practice - pieces were not 'scored' for particular
instruments till the renaissance. Most of these tunes work well with a simple accompaniment (drones,
parallel octaves, fourths or fifths, 'shadowing', simple counter melodies, percussion, etc - but avoid
modern guitar-type 1-3-5 chords!). The tune could be played by a single self-accompanying instrument
(fiddle or other strings, harp, bagpipe, etc.) or two or three contrasting instruments (e.g. plucked + bowed
+ wind). Or, of course, they can be sung, with or without accompaniment. Our experience is that they are
not good pieces for large ensembles or recorder consorts - as is the case for almost all medieval music.
Relative Pitches
There was no notion of fixed pitch in the medieval period. A melody may have been notated as starting
on D but this was an indication of the mode (the disposition of whole and half tones in a scale) and not a
specific note as played on a piano. The melody would be sung at whatever pitch was convenient. The
songs included here have been notated in a pitch suitable for the instruments on which we play them.
They can be transposed to any pitch that is comfortable for your voice or that lies well on your
instruments. Few of the melodies have a range of more than a ninth.
1
Tempo
None of the melodies in the manuscripts have any indication of tempo. The limitations of a singer are
probably the best guide to tempo. They obviously would not have been sung faster than is possible to
sing - though you cannot rule out an instrumentalist getting carried away - but a tune also can get too
slow. A useful rule-of-thumb is that a line of text should be sung in one breath. If you cannot sing the line
without taking a breath it is probably too slow.
Lyrics
In most cases we have included only the first stanza of the songs. This is to save space and avoid
upsetting anyone over copyrights. The bibliography has references that should help you find the rest of
the words. Complete versions (sometimes with translations) can often be found on the internet usually by
searching on the first few words of the song; you may find more accurate transcriptions than we were
capable of doing. It is also worth noting that it was a period practice to invent new words to fit an old
tune, so feel free to supply your own.
Gaïta
Chris Elmes & Cait Webb
Phone: 0131 557 2397
1F2, 25 Haddington Place
Edinburgh, EH7 4AF
[email protected]
2
Troubadour and Trouvère
These tunes come from the 12th and 13th centuries, from what is now France. The Troubadours were
from the south (but also from parts of NW Italy and Catalonia) and wrote songs in Old Occitan. About
3000 songs, but only 300 with music, have been recorded in manuscripts. The Trouvères were from the
northern areas and wrote in Old French. They flourished slightly later than the Troubadours, but used the
same forms and similar style. There are thousands of Trouvère songs recorded in manuscripts.
Nearly all the troubadour (and many of the trouvère) songs were notated without any rhythm. It is likely
that most of them would have been performed freely (though this is hotly debated) and possibly
unaccompanied (even more hotly debated) but some are of a more popular style which can imply rhythm
and use of instruments. It is known that instrumentalists made arrangements of popular songs, so it seems
reasonable to play this music. One way to transform a troubadour or trouvère tune to an instrumental is to
arrange it in the estampie form (see below). We have included a late troubadour tune 'Pus astres' and our
own estampie arrangement of it as an example.
Generally, the structure of most troubadour and trouvère songs is strophic, that is, a series of strophes
sung to the same music. As stated earlier we have only included the first strophe.
Kalenda Maya
One of the better-known troubadour tunes. It was composed by Raimbaut de Vacqueiras and is said to
have used the melody from an 'estampida' played by two northern French fiddlers at the court of the
Count of Montferrat. It tells that none of the joys of May can please the singer until he has a message of
love from his Dona (the Lady - the object of his love).

Ka - len - da ma - ya, ne fuelh de fa - ya ni chan d'au - zel

ni flor de gla - ya,

Non truep que.m pla - ya pros do - na ga - ya tro c'un ir - nel mes - sa - tje n'a - ya,

Del vos - tre bel, cors que.m re - tra - ya, Pla - zer no - vel c'a - mors m'a - tra - ya,

Qu'ieu a - ya, e.m tra-ya vas vos, do - na ve - ra - ya,

E cha - ya de pla - ya ge - los ans que.m n'es - tra - ya.
3
Be m'an perdut
This is a song by the most famous of the troubadours - Bernart de Ventadorn. Strictly speaking, this is a
Canso - the highest form of the troubadour songs. Many people believe they should be sung a-
rhythmically and unaccompanied. The melodic structure (AAB) is a common one in this repertory,
though here the first part of the melody is repeated with a slightly different ending. This form was to
influence the Ballade form of later periods. This is our own rhythmic arrangement for playing
instrumentally - the tune is too good not to use. Bernart complains of being exiled from Ventadorn
because his lady is angry at him - for loving her too much.

Be m'an per - dut lay en - ves Ven - ta - dorn

3

Tuih mei a - mic pos ma do - na no m'a - ma

Et es be dreihz que ja mais lai no torn

3

C'a - des es - tai vas me sal - vat - j'e gra - ma.

Veus per que.m fai sem - blan i - rat e morn:

3

Car en s'a - mor mi de - lieg em so - jorn

3

E de res als nos ran - cu - ra nis cla - ma.
4
A l'entrada del tens clar
Another well-known tune that, curiously, has found its way back into the modern Provencal folk canon.
We have given two arrangements here. Our favourite is the first in 7/8 which gives it a lively momentum.
For those of a more delicate disposition we also include a version in 6/8.

A l'en-tra-da del tens clar, e - y - a! Pir joi-e re - co - men-car, e - y - a!

!
3

et pir ja - lous

ir - ri - tar, e - y - a! vol la re - gi - ne mos-tar te'ele est-si a - mo - rou - se.

"

!

A la vi - e,

a la vi - e, Ja - lous, las-saz nos, (las- saz nos),

"

!
Bal-lar en - tre nos, en - tre nos
& & ' & & ( & & ' &
& ' & ' & '
! #$ % & & ' & & & ' &
& ( & ( & (
&
'
A l'en-tra- da del tens clar, e - y - a! Pir joi-e re - co - men-car, e - y - a!

& & ' & & ( & & ' &
& ' & ' & '
) % & & ' & & & ' & '
& & & & &

( '
& &
'
&
& & (
&
et pir ja - lous
& & * &
ir - ri - tar, e - y - a! vol la re - gi - ne mos-tar te'ele est-si a - mo - rou - se.
& & &
*
& & & & & ( & (

*
& & & &
& & & & &
) % & '
&
A la vi - e, &
*
&
a la vi - e, Ja - lous, las- saz nos, (las- saz nos),
& &
& &
*
& & &
& ' & (
% &
)
Bal-lar en - tre nos, en - tre nos
5
Pus astres and estampie
This is a refrain song by the late troubadour Guiraut Riquier. It tells of the poet's wish to be instructed in
the ways of true love amoungst the noble and gracious ladies of Catalonia (presumably written for the
court there).
The estampie is made up from sections of the original tune. The 'open' and 'close' are the two halves of
the refrain. This form allows you to add extra sections if you wish - variations, freely composed,
improvised, etc. (See Estampies Real for more on this form.)
, , , ,
, , - , -
3
, , , , , ,
+ , , , , , , ,
, ,
Pus as - tres no m'es do - natz Que de mi - dons bes m'es - cha- ia,
, , , ,
, , - , -
3
, , , , , ,
+
, , , , , , ,
, ,
Ni nulhs mos pla - zers no.l platz, Ni ai po - der que.m n'es - tra - ia,
3
, ,
, , , , ,
, , - , ,
3
, , , , , ,
+ , , ,
, , ,
Ops m'es qu'ieu si - a fon - datz En vi - a d'a - mor ve - ra - ia;

3
, ,
, , ,
3 3
, - , ,
, , , , , ,
+
, , , , ,
, , ,
E puesc n'a - pen - re as - satz En Ca - ta - lue - nha la ga - ia,

Refrain ,
, ,
,
, ,
3
-
, , , , , , , , , , ,
+ , , , ,
, ,
En tre.ls Ca - ta - lans va - lens E las do - nas a - vi - nens.
Estampie on Pus astres
+
,
1st Punctum ,
,
,
,
,
,
,
,
, -
1.Open ,
,
, ,
,
, ,
,
, .
2.Close
/
3
0
0 0
0 0 0 0 0
0 0
0 1
/
2nd Punctum 3 1.Open ... 2.Close
.
...
0 0
0 0 0 0 0 0
0 0 0 0
0 0 0
/
3rd Punctum 3 1.Open ... 2.Close
.
...
0 0
0 0 0 0 0
0 0 0
0 0 0
0 1
/
4th Punctum
3 3 1.Open ... 2.Close .
...
0 0
0 0 0 0
0 0 0 0 0 0 0
0 0 0 0
0 0
6
Domna, pos vos ai chausida and Tant es gaya
These are two examples of Dansas or dance songs. They are some of the very few troubadour melodies to
be written in mensural notation (i.e. the manuscript indicates note duration as well as pitch value). It is
also common that dansas only have one strophe in the manuscript. The structure of these is similar to the
virelai (AbaA - see Cantigas de Santa Maria) where the first two lines act as a refrain, followed by a new
section of music, then a repeat of the first section's music to new words, then a repeat of the first section
(refrain). This form differs in that it has no more stanzas to follow.
3
2 3 4 4 3 5
4 3 4 3 4
4 4 3 5 4 4
4 4 4
Dom - na, pos vos ai chau - si - da, fatz - me bel sem - blant,
3
2 3 3
4 4 4
4 3 4 4 3 5
4 4 3 5 4 4
4 4
qu'ieu sui a to - ta ma vi - da a vos - tre co - mand.

3
4 4 4 3 5
4 4 4 4 4
4 4
A vos - tre co - mand se - rai

3 4
3
4 4 4
4 4 4 4 4 3 5
2 4 4 4 4
4 4
a tots los jorns de ma vi - a,

3
4 4 4 3 5
4 4 4 4 4
4 4
e ja de vos no'm par - trai

3 4
3
4 4
4 4
2 4 4 4 4
3 5
4 4 4 4 4
4 4
per de - gu - na au - tra que si - a,

3
2 3 4 4 3 5
4 3 4 3 4
3
4 4 5 4 4
4 4 4
qu'E - recs non a - met E - ni - da tant ni'I - seuts Tris - tan

3
2 3 4 4 3 4
4 3 4 4 3 5
4 4 3 5 4 4
4 4
com ieu vos, dom - na gra - si - da, qu'ieu am ses en - gan

3
2 3 3 5
4 4
4 3 4 3 4
4 4 3 5 4 4
4 4 4
Dom - na, pos vos ai chau - si - da, fatz - me bel sem - blant,
3
2 3 4 4 3 4
3 3
4 4 4 5
4 4 3 5 4 4
4 4
qu'ieu sui a to - ta ma vi - da a vos - tre co - mand.
7
Tant es gaya
8 8
8 8 8 8 8
7 9 7 7 7
6 7 8 8 8 8
8 7 8
Tant es ga - y'et a - vi - nentz mi - dons, que fin pretz am - pa - ra,

7
8 8
8 8 8 8 8 8
7 9 7 7
6 7 8 8 8 8 8 7
9
8 7 8
e sa beu - tats 7
si pla - sents per qu'ieu l'am e la tenh ca - ra.
8 8 8
8 8 8 8
7 7 9
8 8
Tant la sai de joi com - pli - da

8
8 8
8 8 7 8 7
9
6 8 7 8
que non 7
n'a par, sees men - ti - re;
8 8 8
7 8 8 8 8 7 9
8 8
ga - ya, pros et eis - ser - ni - da

8
8 8
8 8 7 8
8 8
7 9
8 8
6 8 8
8 8
per qu'ieu l'am ses con - tra - di - re;

7
8 8
8 8 8 8 7 7 8 7 7
9
6 7 8 8 8 8
8 8
7
e par es - lu - me - na - ments, tant a fres - ca co - lor ca - ra.

7
8 8
8 8 8 8 7 7 8 7 8
9
6 7 8 8 8 8 8 7
9
8 8
7
Et a tots bons com -pli - ments e va - lor qu'en ren no's va - ra.
7
8 8
8 8 8 8 7 7 8 7 7
9
6 7 8 8 8 8
8 8
7
Tant es ga - y'et a - vi - nentz mi - dons, que fin pretz am - pa - ra,

7
8 8
8 8 8 8 7 7 8 7 8
9
6 7 8 8 8 8 8 7
9
8 8
7
e sa beu - tats si pla - sents per qu'ieu l'am e la tenh ca - ra.
8
Three Caroles – Tuit cil, Que ferai and C’est la fins
Medieval caroles have no particular connection to Christmas but rather are a type of dance song. The
popularity of caroles can be measured by the large number of medieval sermons denouncing the dancing
of caroles (often in the church graveyard). Unfortunately, we do not have any record of what the dance
was apart from various painted depictions which show dancers in a line or a circle. The three caroles
included here (the first in Occitan; the other two in Old French) show the standard form of these songs.
The capitalised text is sung by all the dancers; the rest by the soloist - a form that you can be echoed by
an instrumental group. There is never more than one stanza recorded for caroles. People appeared to have
spent hours caroling so, presumably, they repeated them many times, made up new words (on the trot, as
it were), strung a number of caroles together, or used any other idea to keep the dancers moving.
= =
> >
= = = = =
= = = = =
: ;< = > = = = = = > =
= = =
TUIT CIL QUI SUNT AN - A - MOU- RAT VIE - GNENT DAN- CAR, LI AU - TRE NON!
=
= = =
> > >

: = = = = = = = = =
>
= = = = =
= =
La re - gi - ne le com - men - dat! TUIT CIL QUI SUNT AN - A - MOU - RAT

= =
= > = > = = =
= = = = =
: = > = = = = =
= = = =
Que li ja - lous soi - ent fus - tat Fors de la dan - ce d'un bas - ton.
= =
> >
= = = = =
= = = = =
: = > = = = = = ?
= = = =
TUIT CIL QUI SUNT AN - A - MOU- RAT VIE - GNENT DAN- CAR, LI AU - TRE NON!
: @ = A =
= =
= A = = =
?
= = =
= =
A
LI RE - GART DE SES VERZ EUZ M'O - CIST

= =
@
: = A = = A =
= A A = = A A =
= = = =
= =
Que fe - rai, biau si - re Diex? LI RE - GART DE SES VERZ EUZ

=
: @ = A =
= =
= A = = =
?
= = =
= = A
J'ai - ten - drai pou a - voir mieux mer - ci

=
: @ = =
A
= =
= A = = =
?
= = =
= = A
LI RE - GART DE SES VERZ EUZ M'O - CIST
9
C'est la fins
D D
B C D C D D D C
D D D D
C'EST LA FINS KOI QUE NUS DI - E, J'A - ME - RAIS.

C C E C C E
C C
D D
C C
D D D D
B
D D
C'est la jus en mi le pre C'EST LA FINS JE VUL A - MER.

C
D D
B C C C
D D D D
D D D D
Jus et baus i a le - ves; Be - le a - mie ai.

C
D D
B C C C
D D D D
D D D D
C'EST LA FINS KOI QUE NUS DI - E, J'A - ME - RAIS.
J'a nun hons pris

Attributed (by some) to Richard Lionheart and said to have be written whilst he was being held captive in
Austria. It is basically a complaint that no-one is paying his ransom - but a lovely tune. This one is good
to sing or play fairly freely - don't let it become a waltz.
H
F G H H H H H
H H
H I J
J'a nun hons pris ne di - ra sa rai - son,

K G
H
H
H H
3 H
H
H
H
I
H
I J
A - droi -te - ment, se do - lan - te-ment non.

H
K G H H H H H
H H
H I J
Mais par ef - fort puet il fai - re chan - son,

K G
H
H
H H
3 H
H
H
H
I
H
I J
Mout ai a - mis, mais pov - re sunt li don.

H
H H H
H H
K
G H H H
H H
Hon - tei a - vront, se por ma re - an - son
3
H
K G H H
H H
I H I I J
H H
Sui ca Deus y - vers pris
10
Au renouvel
This is an example of one of the lighter styles of trouvère song. A knight is riding along in spring and
overhears a debate between two women in a field as to whether it is better to love a poor man who is
handsome and refined or a rich man with no beauty or brains…
O O
N N
N O N N O N O N N O
N N N N P N N N N N P N P
L M N O N O N O N O
Au re - nou - vel du tens que la flo - re - te Nest pae ces prez et in - dete et blan - che - te,
N O
N N O
O O
N N N N
N N N N
L M N O N O
N P N P
Trou - vai soz u - ne cou - dre - te coil - lant vi - o - le - te

N O
N N O
N O N N N O
N N N N N P N P
L M N O N O
Da - me qui re - sen - bloit fe - e et sa com - pai - gne - te,

N Q N N Q N
N N
N O N O N O N O
N P N N O N O
N N N N N P N P
L M O
N
A qui el se de - men - tiot De deus a - mis qu'ele a - voit Au quel ele ert a - mi - e:
N Q N N Q N
N N
N O N O N O N O
N P N N O N O
N N N N N P N P
L M O
N
Ou au po - vre qu'est cor - tois, Preuz et lar - ges plus que rois Et biaus sanz vi - la - ni - e,
N O
O
N N
N O N N N O
N N N N
L M N O N O
N N
P P
Ou au ri - che qu'a as - sez a - voir et ma - nan - di - e,

N O
N N O
O O
N N N N
N N N N N N
P P
L M N O N O
Mes en li n'a ne biau-te ne sens ne cor-toi - si - e.
11
Estampies Real
Two of the 7 (and a half) "Estampies Real" (i.e. royal estampies) from the Manuscrit du Roi. The
estampie was also a dance form, but we know even less about how it was danced than the carole. It also
appears to have been the most common form of instrumental music (but there are only 30-odd
instrumental pieces recorded before 1400). What is distinctive is the form, with each section repeating a
melody first with an 'open' ending, then with a 'closed' ending, and the same endings used throughout.
They are much played and loved by instrumentalists. These two make a nice pair (we usually play them
in the opposite order - no. 6 then no. 5)
Estampie no. 5
R S
1st Punctum 1. Open 2. Close
T
T T T T U
T T T T T T T T T T V W T T
T T T T T T T T
T T T T T T T T V
T T X
R S
2nd Punctum S
1. Open ... 2. Close ...

T
T T T T
U
T T T
T T Y Z [ Y
Z \
T X
Z Z
\
Z Z
Z Z Z Z Z Z
Z Z ] Z
^
3rd Punctum 1. Open ... 2. Close ...
Z \
Y Y
Z Z Z \
[ Z Z Z Z Z _
Z Z Z Z Z Z Z Z Z
]
Z Z Z Z Z
^
4th Punctum 1. Open ... 2. Close ...
Z
Y Z [ Z Z [ Z Z Y
Z Z Z
Z Z
[ \
Z
Z Z Z Z Z Z
]
Z Z
Z `
Note: the end of each punctum has the complete 'Open' on the first time through, then the complete
'Close' on the repeat.
Estampie no. 6
a b
1st Punctum 1. Open 2. Close
c e
c c c c e c
c c c c c c c c c c c f c g c c c c
e e
c c c c c c
f
c d c c c
d
c
a b
2nd Punctum c
1. Open ... 2. Close ...
c e
c e c c
c c c c c c c c c c g c c c
e e e e
c c c c c
c d c
a
b
3rd Punctum c
f
c c c c e
c
c
1. Open ... 2. Close ...
c c c c e
c c c
f
c c c
h h
c e c c g c e c c
c c
a
b
4th Punctum
b b b
c e
c
c i c c
c
c e
1. Open ... 2. Close ...
c e c c c c e c
c e c c
c c e c c
c c c e c c g c e c c
c c
12
Miri it is while sumer ilast
Very few songs in (Middle) English have survived with music (all of them can be found in Dobson and
Harrison, Medieval English Songs.) as most songs at this time were written in Anglo-Norman or Latin.
Most that have been found are fragments, eg. with the manuscript used in bindings for later books. Such
is the case for 'Miri it is'. It is fortunate that we now have the tune but unfortunate that it was at the
bottom of the fragment so only the first stanza has survived. This song dates from early-mid 13th century
and probably comes from around Cambridge which, presumably, had some spectacularly miserable
winters in those days.
k l m l l n
m m
l l
l l n l l n
j k l l o l o
m m
l l
l l m p q
Mi - ri it is whi - le su - mer i - last with fu - ghe - les song,

s t t
t t
t t
q q
r s t t u
t q q t
q q p q
t t
q q
oc nu ne - heth win - des blast and we - der strong.

t t
t v t t t v t t
s
t t t t
t t u t t u
r q q
s
q q
t t t t
q q
t p t p
q q
q q
Ei, ei what this niht is long, and ich, with wel mi - chel wrong,
s
t t u
r s t u
t t u
q t p q
so - regh and murn and fast.
13
Cantigas de Santa Maria (CSM)
These are from the collection of 400+ songs relating miracles performed by the Virgin Mary recorded in
four manuscripts (only three with music), commissioned by Alfonso X 'El Sabio' (the Wise) of Castille in
the late 13th century. The stories themselves seem to vary from the fanciful to the extremely implausable
and often go on at great length (up to 30 stanzas) - no doubt all part of a fine evening’s entertainment.
The tunes are often in a popular 'folk' style with refrains that could have been sung by the original
audience in much the same way as more recent folk tunes. Many of the tunes would make a good basis
for filk.
The form of most cantigas is the Virelai. This starts with the refrain and then has stanzas with refrains
between and ends again with the refrain. The second part of each stanza has the same melody as the
refrain. This can be expressed as:
AbaAbaAba... where 'A' is the refrain,
'b' is the first part of the stanza (often with a repeated section), and
'a' is the second part of the stanza to the music of the refrain
The notation used by the scribes for the cantigas indicates the rhythm (unlike the troubadour and trouvère
repertory) but in many places is quite ambiguous. It is quite possible for different people to transcribe
these tunes with very different rhythmic interpretation. Most of those we have included are generally
accepted transcriptions with minor differences (except CSM 9 which has a non-standard rhythm but
seems entirely plausible to us).
The numbering of the cantigas is different in each manuscript. The numbering we use is from E1 (El
Escorial MS B.I.2 / B.J.2 / j.b.2) which is the same as used by Hingio Anglés in his complete edition.
A very useful website for the Cantigas with facsimiles is http://www.pbm.com/~lindahl/cantigas/
Included:
CSM 7 - Santa Maria amar
CSM 9 - Por que nos aiamos
CSM 100 - Santa Maria Stella do Dia
CSM 111 - En todo tempo
CSM 119 - Como somos per conssello
CSM 139 - Maravillosos et piadosos
CSM 159 - Non soffre Santa Maria
CSM 167 - Quen quer que na Virgen fia
CSM 302 - A madre de Jhesu Cristo
CSM 377 - Sempr'a Virgen groriosa
CSM 391 - Como pod' a groriosa
14
CSM 7 - Santa Maria amar
w x
Refrain
y { y
y | | y y y y
z
y y y y y
z z z y y
y z
San - ta Ma - ri - a a - mar de - ve - mos muit' e ro - gar que

w x
y y
y y | y |
y y y y
y y
z z z z
y z
a ssa gra - ca pon - na so - bre nos, por - que er - rar

w x
y z y y y y
y y y y
z y y
y y
y |
z
z z
non nos fa - ca nen pec - car o de - mo sen ver - gon - na.

w x
Stanza
y
z y y
y | y y y y
z z
y y y y
z z y y
Po - ren - de vos con - ta - rey d'un mi - ra - gre que a - chei, que

w x
y z y
y y | z y |
y y y
y y
z z z
por hu - a ba - des - sa fez a Ma - dre do gran Rei,

w x
y y
y z y y y y y |
y y y y y
z y y y y z z
ca, per com' eu a - pres' ei, e - ra - xe su - a es - sa.

w x
y y
y | y y y y
z
y y y y y
z z z y y
y z
Mas o de - mo en - ar - tar a foi, por - que em - pren - nar s'ou-

w x
y y
y y | y |
y y y y
y y
z z z z
y z
- ve d'un de Bo - lon - na, o - me que de ra - ca - dar

w x
y z y y y y
y y y y
z y y
y y
y |
z
z z
a - vi - a, et de guar - dar, seu feit' e sa be - son - na.
15
CSM 9 - Por que nos aiamos
} ~
Refrain

+

Por que nos a - ia - mos sen - pre, noit' e di - a, de - la re - nen - bran- ça,

en Do - mas ac - ha - mos que San - ta Ma - r - ia fez gran de - mo - stran - ça.

Stanza

En es - ta ci - da - de, que vos ei ja di - ta, ouv' y hu - a do - na, de mui san - ta vi - da,

Mui fa - ze - dor d'alg - u'e, de to - do mal qui - ta, ri - ca e mui no - bre, e de ben com - pri - da

Mas, por que sa - biá - mos co - mo non que - ri - a do mun - do ga - ban - ça,

co - mo fez di - ga - mos h al - ber - ga - ri - a, u fi - llou mo - ran - ça.
CSM 100 - Santa Maria Stella do Dia

Refrain

San - ta Ma - ri - a Ste - la do di - a mos - tra nos ui - a pe - ra Deus et nos gui - a.

Stanza

Ca ue er fa - zel os er - ra - dos que per - der fo - ran per pe - ca - dos

en - ten - der de que mui cul - pa - dos son, mais per ti son per - do - a - dos

da ou - sa - di - a que lles fa - zi - a fa - zer fo - li - a mais que non deu - e - ri - a.
16
CSM 119 - Como somos per conssello

Refrain

Co - mo so - mos per cons - se - llo do de - mo per - du - tos

as - si so - mos pe - lo da vir - gen dost ac - ce - ru - tos.

Stanza

Des - to di - rei un mi - ra - gre on - te gran fa - ca - na fi - lla re - des que a vir - gen fe - zo en es - pa - nna

dun o - me que de di - a - bos bua i gran es - pa - nna

leu - a - nan pe - ra pe - a - ren con os des - cre - u - tos.
CSM 139 - Maravillosos et piadosos

Refrain

Ma - ra - vi - llo - sos et pi - a - do - sos Et mui fre - mo - sos mi - ra - gres faz

San - ta Ma - ri - a, a que nos gui - a, Ben noit, e di - a e nos da paz.

Stanza

E d'est un mi - ra - gre vos con - tar que - ro que en Fran - des a - ques - ta Vir - gen fez,

Ma - dre de Deus, ma - ra - vi - llos et fe - ro por hu - a do - na que foi hu - a vez

A sa ei - grei - a, d'es - ta que sei - a Por nos et vei - a - mo - la sa faz

No pa - ra - y - so u Deus dar qui - so Go - yo et ri - so a quen lle praz.
17
CSM 159 - Non soffre Santa Maria

Refrain

Non sof - fre San - ta Ma - ri - a de se - e - ren per - di - do - sos

os que as sas ro - ma - ri - as son de fa - zer de - sei - o - sos.

Stanza

E d'est' o yd un mi - ra - gre de que uos que - ro fa - lar,

que mos - trou San - ta Ma - ri - a per com eu o y con - tar

a u - is ro - meus que fo - ron a Ro - ca - ma - dor o - rar

co - mo mui bo - os cris - cha - os sim - ple - ment e o - mil - do - sos.
18
CSM 167 - Quen quer que

Refrain

Quen quer que na Vir - gen fi - a e a ro - ga de fe - men 3- ça,

va - ler - ll - á, pe - ro que se - ja d'ou - tra lee en cre - en - ça

Stanza 3

De - sta ra - zon fez mi - ra - gre San - ta Ma - ri - a, fre - mo - so,

3

de Sa - las, por ha mou - ra de Bor - ja, e pi - a - do - so,

ea un fi - llo que a - vi - a, que cri - a - va, mui vi - ço 3- so,

lle mor - re - ra mui coi - ta - do da [muy] for - te do - en - ça.
19
CSM 302 - A madre de Jhesu Cristo

Refrain

A ma - dre de Jhe - su Cris - to que e se - nnor de no - bre - zas

non sof - fre que en sa ca - sa fa - can fur - tos nen vi - le - zas.

Stanza

E d'est un mui gran mi - ra - gre vos di - rei que me ju - ra - ron

o - me - es de bo - a vi - da e por ver - da - de mos - tra - ron

que fe - zo San - ta Ma - ri - a de Mons - sar - rat, e con - ta - ron

Do que fez un a - vol o - me por mos - trar sas a - vo - le - zas
20
CSM 377 - Sempr'a Virgen groriosa
¡¢
Refrain
+ £¤
¥
¥ ¥ ¦ ¥
¥
¥
¥
¥
¥
¥
¥ ¦
¥ ¥
¥ ¥ ¥
Sem - pr'a Vir - gen gro - ri - o - sa ao que s'en e - la fi - a

§
¥ ¥ ¨ ¥ ¥
¥ ¥ ¥
¥ ¥ ¥ ¥
¥ ¥
¥ ¥ ¥
a - ju - da - o per que ven - ca gran bra - ve - za e per - fi - a.

§
Stanza
¥ ¥ ¨ ¥ ¥ ¥ ¥
¥ ¥
¥ ¥ ¥ ¥
¥ ¥ ¥ ¥ ¥
¦
¥
E de tal ra - zon com' es - ta fez un mi - ra - gr'a rey - nna

§
¨
¥ ¥ ¥ ¥
¥ ¥ ¥
¥ ¥ ¥ ¥
¥ ¥
¥ ¥ ¥
San - ta Ma - ri - a do Por - to por un o - me que se tij - nna

§
¥ ¥
¥ ¥ ¦ ¥ ¥ ¥ ¥ ¦
¥ ¥ ¥ ¥
¥ ¥ ¥ ¥
¥ ¥ ¥
con e - la e os seus li - vros pin - ta - va ben e a - gi - nna,

§
¥ ¥ ¨ ¥ ¥
¥ ¥ ¥
¥ ¥ ¥ ¥
¥ ¥
¥ ¥ ¥
as - si que a mui - tos ou - tros de sa - ber pin - ta ven - ci - a.
CSM 391 - Como pod' a groriosa

© ª
Refrain
ª
« « «
« ¬ « « « « « « « «
« « « « « « «
« « « « «
Co-mo pod' a gro-ri - o - sa os mor - tos fa - zer vi - ver,

© ª
« « «
¬
« « « « « « «
« « « « «
« « « «
¬
«
ben ou - tros - si pod' os nem - bros dos con - trei - tos cor - re - ger.
© ª
Stanza
ª
« « « «
« « « « « «
« « « « « « « «
¬ ¬
« « «
Des - to di - rei un mi - ra - gre que e - no gran Por - to fez,

© ª
« «
« « «
« « « « « «
¬
« « «
« «
« «
« «
¬
«
que e seu des - ta Re - in - na glo - ri - o - sa de gran prez,

© ª
« « «
¬
« « « « « « « « «
« « « « « « «
« « « « «
a u - a mo - ca que ve - o y con - trei - ta de Xe - rez,

© ª
« « «
¬
« « « « « « «
« « « « «
« « « «
¬
«
que be - yes as - si na - ce - ra, se - gun que o - i di - zer.
21
Italian Lauda
The Laudi were devotional hymns of the confraternities of Italy in the 13th – 14th century. They were
often used in processionals involving a number of singers and instrumentalists (laudesi). Some have
suggested that many Laudi were sacred texts set to popular tunes (a common process as was the setting of
secular texts to ‘sacred’ melodies). This would appear to be a largely untapped area of medieval music. It
is also a fine source for ‘ceremonial’ music.
Lauda novela
® ¯
Refrain
° °
° ° °
° ° ° ° ° ° °
° ± ° ° °
° ° °
° ° °
° ° ° °
° ±
Lau - da no - vel - la si - a can - ta - ta A l'al - ta don - na en - co - ro - na - ta.

® ¯
Stanza ³
³
³
³
³ ³ ³ ³ ³ ³ ³
³ ´ ³ ³ ³
³ ³ ³
´
³
² ³
Fres - ca ver - ge - ne don - cel - la Pri - mo fior ro - sa no - vel - la

µ ¶
³ ³ ³
³ ³
³ ³ ³ ³ ³
³ ³ ³ ³ ³
³ ³ ³ ³ ³ ³
´ ³ ³ ³ ´
Tut-to'l mon - do a te s'a - pel - la Nel - la bo - nor fo - sti na - ta
Plangiamo quel crudel
· ¸
Refrain 3
¹
¹ ¹ ¹
¹ ¹ ¹
¹ ¹ ¹ ¹ º
Plan - gia - mo quel cru - del ba - scia - re

3
· ¸
3
¹
º
¹ ¹ ¹ ¹ ¹ ¹
¹ ¹ ¹ ¹ ¹
¹ ¹ ¹ ¹ º »
¹ ¹
Ke fe' per noi De - o cru - cia - re.

Stanza 3
· ¸
¹ ¹
¹ ¹ ¹ ¹
¹ ¹ ¹ ¹
¹ ¹ ¹
º
¹
Ven - ne Ju - da fra - di - to - re,

¸
·
¹ ¹ ¹
¹ ¹ ¹ ¹ ¹ ¹ ¹ ¹
º º
¹ ¹ ¹ ¹ ¹
Ba - scio li die - d'e gran do - lo - re; Lo qual fa - ciam noi per a - mo - re

· ¸
3 3
¹
¹ ¹
¹ ¹ ¹ ¹ ¹ ¹ ¹
¹ ¹ ¹ ¹ ¹ ¹
º
¹ »
A lui fo si - gno di pe - na - re.
22
Guilliame de Machaut
Guilliame de Machaut was the secretary to, in succession, the Kings of Luxembourg, Navarre, France
and Cyprus and was active through much of the 14th century. He was probably the most influencial
composer and poet in France in that period. He has been described as the bridge between the older styles
(ars antiqua) and the new (ars nova). Although better known for his sacred and polyphonic works we
have included 2 of his monophonic virelai.
Comment qu'a moy lonteinne
¼ ½
Refrain
¾ ¾ ¾ À Â
¾ ¾ ¾
¾ ¾ À ¾ ¾ ¾ Á
¾ ¿ ¾ ¾ ¾
Com - ment qu'a moy lon - tein - ne soi - es, da - me d'on - nour
¼ ½
Á
¾ ¾
¾ ¾ ¾
¾ Á ¾ ¾ Á ¾
¾ Á
¾ Á
¾ ¾
¾ ¾ ¾
¿ À
si m'es - tes vous pro - chein - ne par pen - ser nuit et jour.
¼ ½
Stanza ¾
Á
¾ Ã ¾ À
¾ Á
¾ Á ¾
¾ À ¾ ¾ ¾ ¾ À Â
Ã Ã
¾ Ä ¾ ¾ ¾ Ä ¾
Á
¾ ¾ ¾
Car sou - ve - nir me mein - ne si qu'a - des sans se - jour

½
¼
¾ Á ¾ ¾
Ã À
¾ Á
¾ Á ¾
Â
¾ À ¾ ¾ ¾ ¾ À
Ã Ã
Ä Ä
¾ ¾ ¾ ¾ ¾
¾ ¾ ¾ Á
vo biau - te sou - ve - rein - ne vo gra - ci - eus a - tour,

½
¼
Â
¾ ¾ ¾ À
¾ ¾ ¾
¾ ¾ À ¾ ¾ ¾ Á
¾ ¿ ¾ ¾ ¾
vo ma - nie - re cer - tein - ne et vo fres - che cou - lour

¼ ½
¾ Á ¾
¾ ¾ ¾
Á Á
¾ ¾ ¾ ¾
¾ Á
¾ Á
¾ ¾
¾ ¿ ¾ À ¾
qui n'est pa - le ne vein - ne voy tou - dis sans se - jour.
23
Douce dame jolie
Å Æ
Refrain
Ç Ç Ç Ç É
Ç È Ç É Ç È
Ç Ç Ç Ç Ç
Ç Ç Ç Ç Ç
È È
Dou - ce da - me jo - li - e, Pour dieu ne pen - sés mi - e

Å Æ
Ç Ç Ê
È
Ç Ç Ç
È
Ç Ç Ç Ç Ç Ê
È
Ç Ç Ë
Que nulle ait si - gno - ri - e Seur moy fors vous seu - le - ment.
Å Æ
Stanza Ç Ç
Ç Ç Ç
Ç É Ç Ê
Ç Ç Ç
Ë Ë É Ë
Ç É Ç É Ç
Qu'a - dès sans tri - che - ri - e Chie - ri - e Vous ay et hum - ble - ment
Å Æ
Ç Ç
Ç Ç Ç
Ç Ç
É
Ë Ç Ë Ç É
Ç É Ç É
Ç Ç È
Ç Ç Ê
Ç Ë
È
Tous les jours de ma vi - e Ser - vi - e Sans vi - llain pen - se - ment.

Å Æ
Ç Ç Ç Ç É
Ç È Ç É Ç È
Ç Ç Ç Ç Ç
Ç Ç Ç Ç Ç
È È
He - las! et je men - di - e D'es - pe - ran - ce et d'aï - e;

Å Æ
Ç Ç Ê
È
Ç Ç Ç
È
Ç Ç Ç Ç Ç Ê
È
Ç Ç Ë
Dont ma joie est fe - ni - e, Se pi - té ne vous en prent.
24
Italian Instrumental Dances
Two more of the surviving instrumental pieces, these are from a late 14th century North Italian
manuscript containing 17 instrumental pieces among secular and sacred vocal pieces. La Manfredina and
Rotta are a dance pair where the first part is slow and the second part is a fast variation. (Lamento di
Tristano is another better known example – there is only one other that I know of.) Note that the structure
is the same as for the estampie but typically with longer 'open' and 'close' sections.
Saltarello no. 2
Open
Ì
1. Í
Í
Í
Í Î
Í
Í
Í
Í
Í
Î
Î
Í Ï
Í Ð Í
Í
Í Í Í Í
Î Î Ñ
Í Í
Close
Ì
2. Í
Í
Í
Í
Î
Í
Í
Í
Í
Í Î
Î
Í Ï
Í
Ð
Í
Í
Í Í Í Í
Î Î
Í Í
Ì
1st Punctum Í Í Í
Î
Open ... Ñ
Close ...
Í Í Í Í
Í Í Í Í Í Í
Í Í Í
Í Í Í
Ì
2nd Punctum Open ... Ñ
Close ...
Í Í Í Í Í
Í Í Í Í Í Í Í
Í Í Í Í
Í Í Í Í
Ì Ò
3rd Punctum
Ó Ó Ó Ó
Ó Ô Õ Ö Ó × Ó Ó Ó Ó Ó Ó
Ó Ó Ó Ó Ó Ó Ó Ó
Ó Ó
Õ Ó Ø Ó
Ó Ó
Ù
Open ... Close ...
Ó Ó Ó
Ô Ó Ó Ó
Ó Ó Ó Ú Ó Ó
Ó Ó Ó
Ó Ó Ó
Ù
4th Punctum D.S. Ò
(3rd Punctum)
[
Ó
...
Ó Ó Ó Ó Ó
Ó Ó Ó Ô Ó Ô Õ
Ó Ó
Ó Ó
25
La Manfredina and Rotta
Û
1st Punctum 1. à
à
à
à
à
à
à
à
à
Ü Ý Ü Ü ß á
Ü Ü Þ Ü Ü ß
Ü Ü
â
2.
à
à à
à à à
à à à à à
à à
â
2nd Punctum à
à
à à
1. à
ã
à ä
à
à
à
à
ã
à à à à à à
à ã à à ä à
ã
à à ä à à à
à à ä
á
â
2. à
à à
à à à à à
à à
â
3rd Punctum à
à
ã
à ä
à
à
à à
1. à
ã
à
à
à à
ä
à à à å à à à à
à à à
â
2. à
à à
à à à
à à à à à
à à
ß æ
La Rotta 1st Punctum 1.

à à
à à à à à
à à à à à à à à
à à à à à à
à à ç à ç
â
2. à
à à
à à
ç
à à à
à à à
â
2nd Punctum à
à
à
à
1. à à
à à
à
à
à
à
à
à à à à à
à à à
à à à à à
à à
á
â
2. à à à
à
à à
à à
ç
à à à à
à à à
â
3rd Punctum
à
à
à
à è
à
à è
à
à à
1. à à
à
à à à
ç
à à à à à à à
à à à
â
2. à
à à
à à
à à à
à à à à
26
Llibre Vermell
The Llibre Vermell of Montserrat was compiled in Northern Spain at the end of the 14th Century. The
name (‘Red Book’) derives from a 18th century leather binding. It is a collection of ten pilgrim songs.
There is a story that pilgrims in the area were spending to much time singing and dancing popular songs
& dances instead of contemplating the meaning of their pilgrimage. So the church gave them some songs
that had more suitable lyrics, reusing the popular tunes. They are all in the virelai form discussed in the
Cantigas section.
Cuncti simus
é
Refrain
ê ê ë
ê ê ë ê ê
ê ê ê ë ì ê ê í
ë
ê ê ê ê
Cunc - ti si - mus con - ca - nen - tes, A - ve Ma - ri - a

é
ê ê ë
ê ê ë ê ê
ë
ê ê ê ì ê ê í
ë
ê ê ê ê
Cunc - ti si - mus con - ca - nen - tes, A - ve Ma - ri - a

é
Stanza
ê ê
ê ë ê ë ê
ê ê ë ê ë
ë
ê ê
ë
ê ê ê ê í
ë
ê
Vir - go so - la ex - sis - ten - te en af - fu - it an - ge - lus

é
ê ê
ê ë ê ë ê
ë ë
ê ê ê
ë
ê ê
ë
ê ê ê ê í
ê ë
Ga - bri - el est ap - pel - la - tus at - que mis - sus ce - li - tus

é
ë
ê ê
ë
ê ê ê ê
ê ê ê ë ê
Cla - ra fa - ci - e - que di - xit, A - ve Ma - ri - a

é
ë
ê ê
ê ê ë ê ê
ê ê ê ë ê
Cla - ra fa - ci - e - que di - xit, A - ve Ma - ri - a
27
Los sept goyts
î
Refrain
ï ï ï
ï ð ï ñ ï ï ð ï ñ
ï ï ï ï
ï ï ï ï ï ï
ï ï ï ï
A - ve Ma - ri - a, gra - ci - a ple - nna Do - mi - nus te - cum, Vir - go se - re - na

î
ï ï ï
ï ð ï ñ ï ï ð ï ñ
ï ï ï ï
ï ï ï ï ï ï
ï ï ï ï
A - ve Ma - ri - a, gra - ci - a ple - nna Do - mi - nus te - cum, Vir - go se - re - na

î
Stanza
ï
ï ï ï
ï ï ï ò ï
ï ï
ï ï ò
ï ï ï
ï ï
Ver - ge, fos a - nans del part Pu - ra, e sens fal - li - ment
î
ï ï ï
ï ï ï ò ï
ï ï
ï ï
ï ï ï ï
ï ï ï
En lo part e pres lo part Sens nu - gen cor - rum - pi - ment.

î
ï ï ï
ï ï ñ ï ï ï ñ
ð ð
ï ï ï ï
ï ï ï ï ï ï ò
ï ï
Lo fill de De - us, ver - ge pi - a, de vos nas - que ve - ra - ment.

î
ï ï ï
ï ï ñ ï ï ï ñ
ð ð
ï ï ï ï
ï ï ï ï ï ï ò
ï ï
Lo fill de De - us, ver - ge pi - a, de vos nas - que ve - ra - ment.
Polorum Regina
ó
Refrain
ô ô
ô ö ô ô
ô õ ô ô
ô ô ô ô ô ÷
õ
ô
õ
ô ô õ
Po - lo - rum Re - gi - na, om - ni - um nos - tra

ó
ô ô ô ô
ô ô ô ÷ ô
õ õ
ô ô
ô ô ÷ ø
õ
Stel - la ma - tu - ti - na, de - le sce - le - ra.

ó
Stanza ù ù
ô ô õ ô ô
ô õ ô õ ô ÷ ô
ô ô
ô ô ÷ ø
õ
An - te par - tum vir - go De - o gra - vi - da

ó
ù
ô ô
ö
ô ô ô
ô ô ô
õ
ô ô ô ô ô ÷
õ
ô
õ
ô ô õ
Sem - per per - man - sis - ti in - vi - o - la - ta

ó
ù
ô ô ô ô
ô ô ô ÷ ô
õ õ
ô ô
ô õ ô ÷ ø
Stel - la ma - tu - ti - na, de - le sce - le - ra.
28
Ad mortem festinamus
ú
Refrain
û
û ü ü û
ü û
û
ü
û ý ü ü ü û þ ý
Ad mor - tem fes - ti - na - mus, pec - ca - re de - sis - ta - mus

ú
Stanza
ü
û û ü
ü û
ü ü û û ü
û ü û þ
ü ü
Scri - be - re pro - po - su - i de con - temp - tu mun - da - no

ú
û û
ü
ü û
ü ü û û ü
û û þ
ü
ü ü
Ut de gen - tes se - cu - li non mul - cen - tur in va - no.

ú
û ü ü û
ü û
û ü
û ý û ý
ü ü ü þ
Jam est ho - ra sur - ge - re A somp - no mor - tis pra - vo
29
Sources
Kalenda maya, Troubadour MS R - Paris, B.N., f.fr.22543

Be m'an perdut,
Pus astres
A l'entrada del tens clar Le Chansonnier de St Germain - Paris B.N. ,f.fr. 20050
Domna pos vos ai chausida, Le Manuscrit du Roi - Paris B.N., f.fr. 844c
Tant es gaia,
Estampies Real
Tuit cil, Montpellier - Faculté de Médecine, H 196

Que ferai (duplum of Li jalous/Tuit cil/VERTATEM and
J'ai les maus/Que ferai/IN SECULUM)
C’est la fins Rome, Biblioteca Vaticana 1490
J'a nun hons pris Le Chansonnier Cangé - Paris B.N., f.fr. 846
Au renouvel Trouvère MS K - Paris, Bibliotheque de l'Arsenal, 5198
Miri it is Oxford, Bodleian Library, MS Rawlinson G.22
Cantigas de Santa Maria El Escorial, MS j.b.2
Lauda novela, Cortona, Biblioteca del Comune e dell'Accademia Etrusca 91

Plangiamo
Comment qu'a moy lonteinne, Paris, B.N., f.fr. 22546

Douce dame jolie
Italian Instrumental Dances London, BL, Additional 29987
Llibre Vermell el Llibre Vermell de Montserrat, fol 21v - 27
30
Select Bibliography
Background
Duffin, Ross W, ed., A Performers Guide to Medieval Music, Indiana University Press, Bloomington
2000. ISBN 0 253 33752 6
Hoppin, Richard H, Medieval Music, W. W. Norton & Co., New York 1978. ISBN 0 393 09090 6
McGee, Timothy J, Medieval and Renaissance Music: A performer’s guide, Scolar Press, Aldershot
1990.
ISBN 0 85967 833 4
Page, Christopher, Voices and Instruments of the Middle Ages: Instrumental Practice and Songs in
France 1100-1300, London 1987
Stevens, John, Words and Music in the Middle Ages: Song, Narrative, Dance and Drama, 1050-1350,
Cambridge 1986
www.medieval.org/emfaq/
The early music mailing list Frequently Asked Questions site, a good starting point for links to
web based material on medieval music.
Mixed Anthologies
Davison, Archibald T. and Willi Apel, eds, Historical Anthology of Music, Volume 1: Oriental, Medieval
and Renaissance Music, Harvard University Press, Cambridge Mass., 1949. ISBN 0 674 39300 7
Hoppin, Richard, ed. Anthology of Medieval Music, NY 1978
Marrocco, William T. and Nicholas Sandon, eds, Medieval Music, Oxford University Press, London
1997.
ISBN 0 19 323207 3
Troubadour and Trouvère Songs

Rosenberg, Samuel N, Margaret Switten and Gerard Le Vot, eds, Songs of the Troubadours and
Trouvères, Garland Publishing, NY and London, 1998. ISBN 0 8153 1341 1
Transcribed in stemless notation, 134 troubadour trouvère songs, not all with music. Good
introduction. Includes CD.
Tischler, Hans, Trouvère lyrics with melodies: complete comparative edition (15 volumes) Neuhausen,
American Institute of Musicology, Hanssler-Verlag, 1997
Recently completed. The only complete edition of trouvère songs. Transcribed in modal rhythms.
Very detailed and very difficult to use.
Werf, Hendrik van der, The Chansons of the Troubadours and Trouvères, Utrecht 1972
Transcribed in stemless notation, about 20 songs, Good introduction.
Werf, Hendrik van der, The Extant Troubadour Melodies, Published by the Author, Rochester NY 1984
Transcribed in stemless notation. Hard to find but, as the title suggests, complete with every
known melody in all versions.
31
Spanish Song
Anglés, Higinio, ed. La musica de las cantigas de Santa Maria del Rey Alfonso El Sabio 3 vols,
Barcelona 1943-64
Very hard to find; it tends to hide in the rare books section of National Libraries. Apparently the
only book with more than 4 or 5 of the 400+ cantigas. Volume 1 has complete facsimiles;
volume 2 has transcriptions; volume 3 has commentaries.
http://www.pbm.com/~lindahl/cantigas/
Complete facsimiles of all cantigas taken from Anglés (see above), plus links to other cantiga
related materials on the web.
German Song
Clemencic, Rene, Carmina Burana: lateinisch-deutsch Heimeran, Munchen 1979
Reconstructed (occasionally invented) melodies for a number of the Carmina Burana songs, with
the latin words and translations into German.
Taylor, Ronald J, The Art of the Minnesinger, 2 vols, University of Wales Press, Cardiff 1968
Volume 1 has most known minnesinger melodies in modal rhythm transcriptions; volume 2 has
commentaries.
English Song
Harrison, Frank L. and Eric Dobson, eds. Medieval English Songs, Cambridge 1979
Instrumental
McGee, Timothy J, Medieval Instrumental Dances, Indiana University Press 1989. ISBN 0 253 33353 9
“Includes all of the compositions that are known or suspected to be instrumental dances from
before ca. 1430.” Useful introduction.
32
- Index -
A l'entrada del tens clar ...........................5 Guilliame de Machaut............................ 23

A madre de Jhesu Cristo ........................20 Italian Instrumental Dances .................. 25
Ad mortem festinamus ...........................29 Italian Lauda .......................................... 22
Au renouvel..............................................11 J'a nun hons pris .................................... 10
Be m'an perdut..........................................4 Kalenda Maya........................................... 3
Bibliography ............................................31 La Manfredina and Rotta...................... 26
Cantigas de Santa Maria ........................14 Lauda novela........................................... 22
C'est la fins...............................................10 Llibre Vermell......................................... 27
Comment qu'a moy lonteinne ................23 Los sept goyts .......................................... 28
Como pod' a groriosa..............................21 Maravillosos et piadosos ........................ 17
Como somos per conssello ......................17 Miri it is ................................................... 13
CSM 100...................................................16 Non soffre Santa Maria.......................... 18
CSM 119...................................................17 Plangiamo quel crudel............................ 22
CSM 139...................................................17 Polorum Regina ...................................... 28
CSM 159...................................................18 Por que nos aiamos................................. 16
CSM 167...................................................19 Pus astres................................................... 6
CSM 302...................................................20 Que ferai.................................................... 9
CSM 377...................................................21 Quen quer que ........................................ 19
CSM 391...................................................21 Saltarello no. 2 ........................................ 25
CSM 7.......................................................15 Santa Maria amar .................................. 15
CSM 9.......................................................16 Santa Maria Stella do Dia...................... 16
Cuncti simus ............................................27 Sempr'a virgen groriosa ........................ 21
Domna, pos vos ai chausida......................7 Sources..................................................... 30
Douce dame jolie .....................................24 Tant es gaya .............................................. 8
Estampie no. 5 .........................................12 Troubadour............................................... 3
Estampie no. 6 .........................................12 Trouvère .................................................... 3
Estampies Real ........................................12 Tuit cil........................................................ 9
33

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Contents

Ka - len - da ma - ya, ne fuelh de fa - ya ni chan d'au - zel

Qu'ieu a - ya, e.m tra-ya vas vos, do - na ve - ra - ya,

E cha - ya de pla - ya ge - los ans que.m n'es - tra - ya.

Be m'an per - dut lay en - ves Ven - ta - dorn

Tuih mei a - mic pos ma do - na no m'a - ma

Et es be dreihz que ja mais lai no torn

C'a - des es - tai vas me sal - vat - j'e gra - ma.

Veus per que.m fai sem - blan i - rat e morn:

Car en s'a - mor mi de - lieg em so - jorn

E de res als nos ran - cu - ra nis cla - ma.

A l'en-tra-da del tens clar, e - y - a! Pir joi-e re - co - men-car, e - y - a!

Bal-lar en - tre nos, en - tre nos

& & ' & & ( & & ' &

& ' & ' & '

! #$ % & & ' & & & ' &

& ( & ( & (

A l'en-tra- da del tens clar, e - y - a! Pir joi-e re - co - men-car, e - y - a!

& ' & ' & '

) % & & ' & & & ' & '

& & & & &

& & & & & ( & (

& & & &

& & & & &

& & &

& ' & (

Bal-lar en - tre nos, en - tre nos

Ops m'es qu'ieu si - a fon - datz En vi - a d'a - mor ve - ra - ia;

E puesc n'a - pen - re as - satz En Ca - ta - lue - nha la ga - ia,

En tre.ls Ca - ta - lans va - lens E las do - nas a - vi - nens.

Estampie on Pus astres

qu'ieu sui a to - ta ma vi - da a vos - tre co - mand.

A vos - tre co - mand se - rai

a tots los jorns de ma vi - a,

e ja de vos no'm par - trai

per de - gu - na au - tra que si - a,

qu'E - recs non a - met E - ni - da tant ni'I - seuts Tris - tan

com ieu vos, dom - na gra - si - da, qu'ieu am ses en - gan

qu'ieu sui a to - ta ma vi - da a vos - tre co - mand.

Tant es ga - y'et a - vi - nentz mi - dons, que fin pretz am - pa - ra,

Tant la sai de joi com - pli - da

ga - ya, pros et eis - ser - ni - da

per qu'ieu l'am ses con - tra - di - re;

e par es - lu - me - na - ments, tant a fres - ca co - lor ca - ra.

Tant es ga - y'et a - vi - nentz mi - dons, que fin pretz am - pa - ra,

e sa beu - tats si pla - sents per qu'ieu l'am e la tenh ca - ra.

: ;< = > = = = = = > =

> > >

La re - gi - ne le com - men - dat! TUIT CIL QUI SUNT AN - A - MOU - RAT

LI RE - GART DE SES VERZ EUZ M'O - CIST

Que fe - rai, biau si - re Diex? LI RE - GART DE SES VERZ EUZ

J'ai - ten - drai pou a - voir mieux mer - ci

LI RE - GART DE SES VERZ EUZ M'O - CIST

C'EST LA FINS KOI QUE NUS DI - E, J'A - ME - RAIS.

C'est la jus en mi le pre C'EST LA FINS JE VUL A - MER.

Jus et baus i a le - ves; Be - le a - mie ai.

C'EST LA FINS KOI QUE NUS DI - E, J'A - ME - RAIS.

J'a nun hons pris

J'a nun hons pris ne di - ra sa rai - son,