Old German Tablature Notation - Revision history

Lex: new general descriptions for each time period category; moved one source across categories to better represent its contents; new reference

2024-11-12T22:42:32Z

new general descriptions for each time period category; moved one source across categories to better represent its contents; new reference

Show changes

Lex: /* Specific manuscripts */ corrections, rewordings, restructuring; added two short entries

2024-10-29T08:37:27Z

Specific manuscripts: corrections, rewordings, restructuring; added two short entries

← Older revision		Revision as of 04:37, 29 October 2024
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	== Specific manuscripts ==		== Specific manuscripts ==
	''The following paragraphs attempt to summarise the differences in the style of notation among surviving manuscripts. More details and links will be added ~~soon~~.''		''The following paragraphs attempt to summarise the differences in the style of notation among surviving manuscripts. More details and links will be added over time.''

			=== Early sources and fragments ===

	~~==== Early sources and fragments ====~~
	* [[A-Wnhd Cod. 3617]], a single setting of Kyrie V ("Magne Deus") inserted into a several-hundred-page theological manuscript. The meter is "octo notarum", and the syllables of the text (including the trope) are written next to the letter notation.		* [[A-Wnhd Cod. 3617]], a single setting of Kyrie V ("Magne Deus") inserted into a several-hundred-page theological manuscript. The meter is "octo notarum", and the syllables of the text (including the trope) are written next to the letter notation.

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	* [[D-Kstb 4° Ms.theol. 18]], where a single page of untitled tablature precedes a psalter.		* [[D-Kstb 4° Ms.theol. 18]], where a single page of untitled tablature precedes a psalter.

	* [[D-B Ms.theol.lat.qu. 290\|The tablature of Ludolf Wilkin]] ''Currently being digitised, according to the library's online catalogue.''		* [[D-B Ms.theol.lat.qu. 290\|The tablature of Ludolf Wilkin]]. ''Currently being digitised, according to the library's online catalogue.''

	* [[D-OLI Cim I 39\|The Oldenburg tablature]], attributed to Ludolf Bödeker, containing several free pieces, a short fundamentum, and a setting of the Credo. The rest of the manuscript contains neumes for plainchant settings of various parts of the Mass Ordinary and a few sequences.		* [[D-OLI Cim I 39\|The Oldenburg tablature]], attributed to Ludolf Bödeker, containing several free pieces, a short fundamentum, and a setting of the Credo. The rest of the manuscript contains neumes for plainchant settings of various parts of the Mass Ordinary and a few sequences.

	* [[D-Hs ND VI 3225\|The tablature of Wolfgang von Neuhaus]] Two sets of tablature can be found within, along with several pages of unrelated text, and both mostly consist of instructive pieces.		* [[D-Hs ND VI 3225\|The tablature of Wolfgang von Neuhaus]]. Two sets of tablature can be found within, along with several pages of unrelated text, and both mostly consist of instructive pieces.

			* [[Ileborgh Tablature\|Ileborgh tablature]]. The letter notation in this source is unique: to save space, two-voice accompaniment is written horizontally, so that a pair of letters always takes up the space below a single "measure" in the superius (although most pieces in this manuscript are unmeasured). It is commonly accepted that this signifies the usage of double pedal, the left letter being intended for the left foot and likewise on the right side. ''Further comment on this manuscript is precluded by lack of access to its facsimile or published research of acceptable quality''.

	In the music of these sources, as a rule, the tenor only has one note in a measure, and rhythm marks are therefore absent. Moreover, the specific subdivision of tenor notes is often provided at a piece's beginning (such as "trium", "quattuor", or "sex notarum"), a practice also observed among the earlier entries in the Buxheim manuscript. In accordance, measure lines are drawn regularly; only in the free, unmeasured praeambula are they absent.		In the music of these sources, as a rule, the tenor only has one note in a measure, and rhythm marks are therefore absent. Moreover, the specific subdivision of tenor notes is often provided at a piece's beginning (such as "trium", "quattuor", or "sex notarum"), a practice also observed among the earlier entries in the Buxheim manuscript. In accordance, measure lines are drawn regularly; only in the free, unmeasured praeambula are they absent.

	==== ~~[[Ileborgh Tablature\|Ileborgh tablature]]~~ ====		=== German sources before 1500 ===
	The letter notation in this source is unique: to save space, two-voice accompaniment is written horizontally, so that a pair of letters always takes up the space below a single "measure" in the superius. It is commonly accepted that this signifies the usage of double pedal, the left letter being intended for the left foot and likewise on the right side. ''Further comment on this manuscript is precluded by lack of access to its facsimile or published research of acceptable quality''.

	==== [[Lochamer-Liederbuch]] ====		==== [[Lochamer-Liederbuch]] ====
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	: Out of the lower voices, the tenor is written in large black letters, with a double letter being used for its last note (invariably a ''longa''). Note that the symbol for a final ''D'' somewhat resembles that which later notation uses for a common ''Es'', and, similarly, a double ''G'' may look similar to a ''Gis''. At the beginning of a piece or section thereof, a capital, sometimes double, letter is used. Very rarely, multiple letters occur in other places as well; the meaning of such usage is obscure. In some such cases, it may refer to repetition of a note, or perhaps to signify that an unusually long note is to be played. No notation is used for notes of the double-dashed octave, as the lower voices never move higher than g'. The contratenor may be written in either red or black ink, its letters appearing both above and below those of the tenor. Note values are written in red ink above the letters, but only in cases where there are more than three notes in one measure.		: Out of the lower voices, the tenor is written in large black letters, with a double letter being used for its last note (invariably a ''longa''). Note that the symbol for a final ''D'' somewhat resembles that which later notation uses for a common ''Es'', and, similarly, a double ''G'' may look similar to a ''Gis''. At the beginning of a piece or section thereof, a capital, sometimes double, letter is used. Very rarely, multiple letters occur in other places as well; the meaning of such usage is obscure. In some such cases, it may refer to repetition of a note, or perhaps to signify that an unusually long note is to be played. No notation is used for notes of the double-dashed octave, as the lower voices never move higher than g'. The contratenor may be written in either red or black ink, its letters appearing both above and below those of the tenor. Note values are written in red ink above the letters, but only in cases where there are more than three notes in one measure.

	* The latter part is distinct by the absence of decorative red ink (except for two pages) and prevalence of white mensural notation for the superius; it begins with black notation, but eventually moves to white midway through a piece (the "''Paumgartner''"), suggesting that the scribe first wrote empty noteheads and intended to fill them in later. A greatly expanded selection of keys is now available for the lower voices: the notes ''Es'', ''Fis'', ''Gis'', and even ''Dis'' (in an incorrect context, no less) appear in this section for the first time. While still clearly legible, the handwriting is not as orderly as before. In the second-to-last "''Praeambulum super F''", ~~there are~~ two voices ~~notated with mensural notation~~ in the ~~upper~~ staff. The tablature on the last page returns to the notational practice observed throughout the first section.		* The latter part is distinct by the absence of decorative red ink (except for two pages) and prevalence of white mensural notation for the superius; it begins with black notation, but eventually moves to white midway through a piece (the "''Paumgartner''"), suggesting that the scribe first wrote empty noteheads and intended to fill them in later. A greatly expanded selection of keys is now available for the lower voices: the notes ''Es'', ''Fis'', ''Gis'', and even ''Dis'' (in an incorrect context, no less) appear in this section for the first time. While still clearly legible, the handwriting is not as orderly as before. In the second-to-last "''Praeambulum super F''", two voices are written in the first staff, forming a plain chordal texture with the third voice below. The tablature on the last page returns to the notational practice observed throughout the first section, albeit less decorated.

	==== [[Buxheim Organ Book\|The Buxheim organ book]] ====		==== [[Buxheim Organ Book\|The Buxheim organ book]] ====
	Throughout the manuscript, seven lines are used for staves, exceptions being the six staves of five lines following the last piece of the collection, as well as the extensive "''Tabula''" on the last folio, which uses twelve lines and serves to explain the notation. The clef predominantly uses the standard "ut" symbol for the ''C'', with small vertical dashes for the ''G'' and ''D'' above; of these, the ''G'' ocassionally uses a letter, and may appear by itself. An F-clef only occurs in the aforementioned Tabula. Rests are now represented with proper symbols indicating their exact lengths. Usage of proportions in the superius can be easily identified, as it is represented ~~with noteheads~~ markedly different ~~from those used normally~~; a simple description of the change at hand (most often "''sexquialtera''") was added in some cases. Where a brevis needs to be chromatically altered, the downward stem almost always receives the diagonal dash, to prevent confusion with a longa. A fermata is sometimes used to ~~mark~~ the ~~end~~ of a musical ~~phrase where two or more appear~~ in ~~one piece or section thereof~~.		Throughout the manuscript, seven lines are used for staves, exceptions being the six staves of five lines following the last piece of the collection, as well as the extensive "''Tabula''" on the last folio, which uses twelve lines and serves to explain the notation. The clef predominantly uses the standard "ut" symbol for the ''C'', with small vertical dashes for the ''G'' and ''D'' above; of these, the ''G'' ocassionally uses a letter, and may appear by itself. An F-clef only occurs in the aforementioned Tabula. Rests are now represented with proper symbols indicating their exact lengths. Usage of proportions in the superius can be easily identified, as it is represented a markedly different style of notation for the superius; large note values are written in void notation, a practice reminiscent of ''color'', while smaller ones receive the aforementioned triangular flag. In addition, a simple description of the change at hand (most often "''sexquialtera''") was added in some cases. Where a brevis needs to be chromatically altered, the downward stem almost always receives the diagonal dash, to prevent confusion with a longa. A fermata is sometimes used to denote the ends of musical sub-sections, similarly to its use in vocal compositions of the time.

	* Out of the nine fascicles that constitute the manuscript, almost all music in the first eight was written by a single scribe, with five pieces added at the end in another hand. The handwriting observed throughout this corpus is orderly and legible, with all notes of a measure evenly spaced across its width. Barlines are present; as in the Lochamer source, a measure may sometimes take on a whole-number multiple of the regular length. White mensural notation appears in two pieces here. A third scribe added a single untitled piece (No. 239) at the beginning of the ninth fascicle, showing no significant differences from the established style. ~~Every semiminim or fusa of the superius has flags, and a~~ new octave begins between ''H'' and ''C'', with ocassional slips where the intabulator added an overstroke over an ''H''.		* Out of the nine fascicles that constitute the manuscript, almost all music in the first eight was written by a single scribe, with five pieces added at the end in another hand. The handwriting observed throughout this corpus is orderly and legible, with all notes of a measure evenly spaced across its width. Barlines are present; as in the Lochamer source, a measure may sometimes take on a whole-number multiple of the regular length. White mensural notation appears in two pieces here. A third scribe added a single untitled piece (No. 239) at the beginning of the ninth fascicle, showing no significant differences from the established style. A new octave begins between ''H'' and ''C'', with ocassional slips where the intabulator added an overstroke over an ''H''.

	* The fourth successive scribe of the Buxheim organ book was the first to make extensive use of the aforementioned superius shorthand, omitting stems in a group of notes of identical note values, except for the first (a few earlier occurences may be found, but they seem to be accidental). Aside from the crossed downward stem, the standard sharp symbol of mensural notation is used in several places. The point of division between octaves is inconsistent, but it appears the scribe intended for a higher octave to start at ''B''-''H''. For the most part, the scribe omitted barlines - they are only present where the boundary would be difficult to find from the notes alone, and double barlines are used to separate sections of a single fundamentum.		* The fourth successive scribe of the Buxheim organ book was the first to make extensive use of the aforementioned superius shorthand, omitting stems in a group of notes of identical note values, except for the first (a few earlier occurences may be found, but they seem to be accidental). Aside from the crossed downward stem, the standard sharp symbol of mensural notation is used in several places. The point of division between octaves is inconsistent, but it appears the scribe intended for a higher octave to start at ''B''-''H''. For the most part, the scribe omitted barlines - they are only present where the boundary would be difficult to find from the notes alone, and double barlines are used to separate sections of a single fundamentum.
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	In accordance with the Tabula, notes an octave above Middle C or higher, when they appear, are notated identically to their lower counterparts - with only one overstroke. Similarly, the notes of the great octave are written just as those directly below Middle C are, using lowercase letters. Uppercase letters are used at the beginning of almost every piece or section thereof, as an initial.		In accordance with the Tabula, notes an octave above Middle C or higher, when they appear, are notated identically to their lower counterparts - with only one overstroke. Similarly, the notes of the great octave are written just as those directly below Middle C are, using lowercase letters. Uppercase letters are used at the beginning of almost every piece or section thereof, as an initial.

			=== German sources after 1500 ===

	==== [[Tabulaturen Etlicher Lobgesang\|Tabulaturen etlicher Lobgesang und Lidlein]] ====		==== [[Tabulaturen Etlicher Lobgesang\|Tabulaturen etlicher Lobgesang und Lidlein]] ====
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	==== [[CH-SGs Cod. Sang. 530\|Fridolin Sicher tablature]] ====		==== [[CH-SGs Cod. Sang. 530\|Fridolin Sicher tablature]] ====
	To notate ~~imperfect~~ note values in sections that use (a proportion effectively equivalent to) ternary divisions, the noteheads in question are supplied with two stems, each having a looped flag of its own.		To notate binary note values in sections that use (a proportion effectively equivalent to) ternary divisions, the noteheads in question are supplied with two stems, each having a looped flag of its own.

	==== [[D-B Mus.ms. 40026\|Leonhard Kleber tablature]] ====		==== [[D-B Mus.ms. 40026\|Leonhard Kleber tablature]] ====

			==== [[CH-Bu F IX 57]] ====
			The handwriting of this source's author is, in comparison with other manuscripts written often quite diligently, remarkably even and regular. The source often uses uncharacteristically generous beaming in the lower voices, but in other places also applies to them the omission of stems commonly used for the superius. A staff of five lines is used throughout, and no observation about the notation of high notes in letters can be made, as they do not occur in either of the two compositions.

			=== Other sources ===
			''Facsimiles of these manuscripts were not available at the time of writing.''

			==== [[CH-Zz Z. XI. 301\|Clemens Hör tablature]] ====

	==== [[Jan of Lublin Tablature\|Jan of Lublin tablature]] ====		==== [[Jan of Lublin Tablature\|Jan of Lublin tablature]] ====

Fiskfan1999: /* Overview */ put notation section into different sub-headeres

2024-08-12T16:57:48Z

Overview: put notation section into different sub-headeres

← Older revision		Revision as of 12:57, 12 August 2024
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	The defining feature of old German tablature is the usage of black mensural notation for the voice that is highest in pitch (the ''superius'', as it is often referred to). The organist is usually expected to play this voice in their right hand, using their other hand and both feet to play the lower voices, which are invariably given in letters. The specific style of notation varies significantly between manuscripts, but a few common elements can be observed:		The defining feature of old German tablature is the usage of black mensural notation for the voice that is highest in pitch (the ''superius'', as it is often referred to). The organist is usually expected to play this voice in their right hand, using their other hand and both feet to play the lower voices, which are invariably given in letters. The specific style of notation varies significantly between manuscripts, but a few common elements can be observed:

	* In the superius, all stems point upwards, and a downward stem is used to denote chromatic inflections (if it appears plain or crossed with a short, diagonal stroke) or ornamentation (with a loop or curve at its end). Some scribes allow for downward stems that are both crossed and looped, some prefer to only denote the ornament in such cases. A triangular flag may denote proportions or a change in mensuration, typically to signify temporary ternary division of note values when binary division is used throughout the rest of the piece (the Buxheim manuscript, which uses generally larger note values than later sources, utilises the standard technique of ''color'' in cases where such a change occurs among note values too large to be written with flags). In the last third of the 15th century, a curious form of shorthand emerged - in a passage of many notes moving in uniform values, only the first is given with the appropriate amount of flags, while the rest are notated as noteheads only. A double-sided repetition symbol, the shape of which varies between sources but always remains recognisable, can be placed above the staff, wherever it is most appropriate - the specific manner in which the repetition is to be carried out depends on the musical context.		=== Superius ===
			In the superius, all stems point upwards, and a downward stem is used to denote chromatic inflections (if it appears plain or crossed with a short, diagonal stroke) or ornamentation (with a loop or curve at its end). Some scribes allow for downward stems that are both crossed and looped, some prefer to only denote the ornament in such cases. A triangular flag may denote proportions or a change in mensuration, typically to signify temporary ternary division of note values when binary division is used throughout the rest of the piece (the Buxheim manuscript, which uses generally larger note values than later sources, utilises the standard technique of ''color'' in cases where such a change occurs among note values too large to be written with flags). In the last third of the 15th century, a curious form of shorthand emerged - in a passage of many notes moving in uniform values, only the first is given with the appropriate amount of flags, while the rest are notated as noteheads only. A double-sided repetition symbol, the shape of which varies between sources but always remains recognisable, can be placed above the staff, wherever it is most appropriate - the specific manner in which the repetition is to be carried out depends on the musical context.

	* In the lower voices, the symbols used generally agree with what is now known as Helmholtz pitch notation: the letters ''C'', ''D'', ''E'', ''F'', ''G'', ''A'', ''H'' belong to the white keys, while for the black keys a specific set of ''Cis'', ''Es'', ''Fis'', ''Gis'', ''B'' is used. These are used even in contexts where the enharmonic spelling should be preferable (presumably for the sake of convenience), with minimal exceptions. At first, the symbols of the black keys may prove difficult to recognise: the ~~raised tones are only written with the base~~ letter ~~and a long S next~~ to ~~it, the I being omitted, and ''Es'', despite being written without any shorthand, tends to become distorted by the scribes' handwriting - in later sources (and most manuscripts written~~ in the ~~newer style)~~, the ~~symbol is formed differently and represents a '~~'~~Dis~~'~~' note instead.~~		=== Lower Voices ===
			''Note: Even though the letter notation may look similar to [[New German Tablature Notation#Notation\|its counterpart in the "New" tablature notation]], there are some differences between the two.''

	: ~~Regarding octave displacement~~, ~~a lowercase letter belongs~~ to the ~~octave directly below Middle C~~, ~~and an uppercase letter~~ (~~only~~ in ~~16th century sources) to~~ the ~~octave below that; for octaves above Middle C, horizontal lines~~ should be ~~progressively added above~~ the ~~lowercase letter~~. ~~Note that~~, as the ~~higher ranges were usually occupied by~~ the ~~superius, it is rare for the letters~~ to ~~intrude into~~ the ~~double-dashed octave -~~ the ~~specific implementation tends~~ to ~~vary between sources~~, ~~with some lacking~~ the ~~provisions for such notation entirely. The rhythm is denoted with dots~~ and ~~vertical lines above the letters~~, ~~as simplifications of the normal noteheads and stems used~~ by ~~mensural staff notation. Given that~~ the ~~shapes of the notes must agree between the superius~~ and ~~the letters below, a note with a dot above its letter has the note value of a semibrevis (~~in ~~richly ornamented works of~~ the ~~[[Paul Hofhaimer\|Paulomimes]], semisemifusae are a common sight~~)~~. Earlier sources tend to write "pausa" (or its shortened form, "pau") instead of a proper rest~~, and ~~"vacat" if one or more voices are to stay silent for a whole measure. "Pausa" was also used to indicate that~~ a ~~previously struck~~ note ~~is to be sustained over the entirety of the next measure~~.		In the lower voices, the symbols used generally agree with what is now known as Helmholtz pitch notation: the letters ''C'', ''D'', ''E'', ''F'', ''G'', ''A'', ''H'' belong to the white keys, while for the black keys a specific set of ''Cis'', ''Es'' (or ''Dis''), ''Fis'', ''Gis'', ''B'' is used. These are used even in contexts where the enharmonic spelling should be preferable (presumably for the sake of convenience), with minimal exceptions. At first, the symbols of the black keys may prove difficult to recognise: the raised tones are only written with the base letter and a long S next to it, the I being omitted, and ''Es'', despite being written without any shorthand, tends to become distorted by the scribes' handwriting - in later sources (and most manuscripts written in the newer style), the symbol is formed differently and represents a ''Dis'' note instead.

	~~: Pedal parts (usually identifiable through~~ a ~~general absence of~~ the ~~shortest note values~~) ~~tend~~ to be ~~given a prominent spot among~~ letter-~~notated voices~~, ~~that~~ is, as the one that is ~~placed highest or lowest~~.		Regarding octave displacement, a lowercase letter belongs to the octave directly below Middle C, and an uppercase letter (only in 16th century sources) to the octave below that; for octaves above Middle C, horizontal lines should be progressively added above the lowercase letter. Note that, as the higher ranges were usually occupied by the superius, it is rare for the letters to intrude into the double-dashed octave - the specific implementation tends to vary between sources, with some lacking the provisions for such notation entirely. The rhythm is denoted with dots and vertical lines above the letters, as simplifications of the normal noteheads and stems used by mensural staff notation. Given that the shapes of the notes must agree between the superius and the letters below, a note with a dot above its letter has the note value of a semibrevis (in richly ornamented works of the [[Paul Hofhaimer\|Paulomimes]], semisemifusae are a common sight). Earlier sources tend to write "pausa" (or its shortened form, "pau") instead of a proper rest, and "vacat" if one or more voices are to stay silent for a whole measure. "Pausa" was also used to indicate that a previously struck note is to be sustained over the entirety of the next measure.

	* Where measure lines were not written, the scribe denoted the limits of a measure with minute horizontal gaps between groups of letters. A "=" symbol (oriented vertically if used at the bottom of a page) at a measure which was cut off prematurely by the right margin serves to let the reader know that a continuation will follow. Notes can be written across barlines.		Pedal parts (usually identifiable through a general absence of the shortest note values) tend to be given a prominent spot among letter-notated voices, that is, as the one that is placed highest or lowest.

			=== Other ===
			Where measure lines were not written, the scribe denoted the limits of a measure with minute horizontal gaps between groups of letters. A "=" symbol (oriented vertically if used at the bottom of a page) at a measure which was cut off prematurely by the right margin serves to let the reader know that a continuation will follow. Notes can be written across barlines.

	Scribal errors happen often, as do intentional omissions of commonly understood interpretative details, and they are of different nature when occuring in the superius and when occuring in the lower voices. It is common for the entirety of the superius to be written without any accidentals, or for some of its notes to have an incorrect rhythmic value assigned (by inappropriate usage of both stems and/or flags). Somewhat less frequently, accidentals were left out in the lower voices as well. Sections of the top voice are also prone to being written a line too high or too low, producing unmusical results. Similarly to other polyphonic sources in common mensural notation, there are many cases where the total length of a measure in the superius does not match itself as given by the letters.		Scribal errors happen often, as do intentional omissions of commonly understood interpretative details, and they are of different nature when occuring in the superius and when occuring in the lower voices. It is common for the entirety of the superius to be written without any accidentals, or for some of its notes to have an incorrect rhythmic value assigned (by inappropriate usage of both stems and/or flags). Somewhat less frequently, accidentals were left out in the lower voices as well. Sections of the top voice are also prone to being written a line too high or too low, producing unmusical results. Similarly to other polyphonic sources in common mensural notation, there are many cases where the total length of a measure in the superius does not match itself as given by the letters.

Lex: /* Overview */ new image; clarification I forgot to add before; general rules for pedal usage

2024-07-26T13:14:46Z

Overview: new image; clarification I forgot to add before; general rules for pedal usage

← Older revision		Revision as of 09:14, 26 July 2024
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	== Overview ==		== Overview ==
			[[File:B_ornament.png\|thumb\|An example of the ornament sign being used on a letter (from Kleber's tablature).]]

	The defining feature of old German tablature is the usage of black mensural notation for the voice that is highest in pitch (the ''superius'', as it is often referred to). The organist is usually expected to play this voice in their right hand, using their other hand and both feet to play the lower voices, which are invariably given in letters. The specific style of notation varies significantly between manuscripts, but a few common elements can be observed:		The defining feature of old German tablature is the usage of black mensural notation for the voice that is highest in pitch (the ''superius'', as it is often referred to). The organist is usually expected to play this voice in their right hand, using their other hand and both feet to play the lower voices, which are invariably given in letters. The specific style of notation varies significantly between manuscripts, but a few common elements can be observed:

	* In the superius, all stems point upwards, and a downward stem is used to denote chromatic inflections (if it appears plain or crossed with a short, diagonal stroke) or ornamentation (with a loop or curve at its end). Some scribes allow for downward stems that are both crossed and looped, some prefer to only denote the ornament in such cases. A triangular flag may denote proportions. In the last third of the 15th century, a curious form of shorthand emerged - in a passage of many notes moving in uniform values, only the first is given with the appropriate amount of flags, while the rest are notated as noteheads only. A double-sided repetition symbol, the shape of which varies between sources but always remains recognisable, can be placed above the staff, wherever it is most appropriate - the specific manner in which the repetition is carried out depends on the musical context.		* In the superius, all stems point upwards, and a downward stem is used to denote chromatic inflections (if it appears plain or crossed with a short, diagonal stroke) or ornamentation (with a loop or curve at its end). Some scribes allow for downward stems that are both crossed and looped, some prefer to only denote the ornament in such cases. A triangular flag may denote proportions or a change in mensuration, typically to signify temporary ternary division of note values when binary division is used throughout the rest of the piece (the Buxheim manuscript, which uses generally larger note values than later sources, utilises the standard technique of ''color'' in cases where such a change occurs among note values too large to be written with flags). In the last third of the 15th century, a curious form of shorthand emerged - in a passage of many notes moving in uniform values, only the first is given with the appropriate amount of flags, while the rest are notated as noteheads only. A double-sided repetition symbol, the shape of which varies between sources but always remains recognisable, can be placed above the staff, wherever it is most appropriate - the specific manner in which the repetition is to be carried out depends on the musical context.

	* In the lower voices, the symbols used generally agree with what is now known as Helmholtz pitch notation: the letters ''C'', ''D'', ''E'', ''F'', ''G'', ''A'', ''H'' belong to the white keys, while for the black keys a specific set of ''Cis'', ''Es'', ''Fis'', ''Gis'', ''B'' is used. These are used even in contexts where the enharmonic spelling should be preferable (presumably for the sake of convenience), with minimal exceptions. At first, the symbols of the black keys may prove difficult to recognise: the raised tones are only written with the base letter and a long S next to it, the I being omitted, and ''Es'', despite being written without any shorthand, tends to become distorted by the scribes' handwriting - in later sources (and most manuscripts written in the newer style), the symbol is formed differently and represents a ''Dis'' note instead.		* In the lower voices, the symbols used generally agree with what is now known as Helmholtz pitch notation: the letters ''C'', ''D'', ''E'', ''F'', ''G'', ''A'', ''H'' belong to the white keys, while for the black keys a specific set of ''Cis'', ''Es'', ''Fis'', ''Gis'', ''B'' is used. These are used even in contexts where the enharmonic spelling should be preferable (presumably for the sake of convenience), with minimal exceptions. At first, the symbols of the black keys may prove difficult to recognise: the raised tones are only written with the base letter and a long S next to it, the I being omitted, and ''Es'', despite being written without any shorthand, tends to become distorted by the scribes' handwriting - in later sources (and most manuscripts written in the newer style), the symbol is formed differently and represents a ''Dis'' note instead.

	: Regarding octave displacement, a lowercase letter belongs to the octave directly below Middle C, and an uppercase letter (only in 16th century sources) to the octave below that; for octaves above Middle C, horizontal lines should be progressively added above the lowercase letter. Note that, as the higher ranges were usually occupied by the superius, it is rare for the letters to intrude into the double-dashed octave - the specific implementation tends to vary between sources, with some lacking the provisions for such notation entirely. The rhythm is denoted with dots and vertical lines above the letters, as simplifications of the normal noteheads and stems used by mensural staff notation. Given that the shapes of the notes must agree between the superius and the letters below, a note with a dot above its letter has the note value of a semibrevis (in richly ornamented works of the [[Paul Hofhaimer\|Paulomimes]], semisemifusae are a common sight). Earlier sources tend to write "pausa" (or its shortened form, "pau") instead of a proper rest, and "vacat" if one or more voices are to stay silent for a whole measure. "Pausa" was also used to indicate that a previously struck note is to be sustained over the entirety of the next measure.		: Regarding octave displacement, a lowercase letter belongs to the octave directly below Middle C, and an uppercase letter (only in 16th century sources) to the octave below that; for octaves above Middle C, horizontal lines should be progressively added above the lowercase letter. Note that, as the higher ranges were usually occupied by the superius, it is rare for the letters to intrude into the double-dashed octave - the specific implementation tends to vary between sources, with some lacking the provisions for such notation entirely. The rhythm is denoted with dots and vertical lines above the letters, as simplifications of the normal noteheads and stems used by mensural staff notation. Given that the shapes of the notes must agree between the superius and the letters below, a note with a dot above its letter has the note value of a semibrevis (in richly ornamented works of the [[Paul Hofhaimer\|Paulomimes]], semisemifusae are a common sight). Earlier sources tend to write "pausa" (or its shortened form, "pau") instead of a proper rest, and "vacat" if one or more voices are to stay silent for a whole measure. "Pausa" was also used to indicate that a previously struck note is to be sustained over the entirety of the next measure.

			: Pedal parts (usually identifiable through a general absence of the shortest note values) tend to be given a prominent spot among letter-notated voices, that is, as the one that is placed highest or lowest.

	* Where measure lines were not written, the scribe denoted the limits of a measure with minute horizontal gaps between groups of letters. A "=" symbol (oriented vertically if used at the bottom of a page) at a measure which was cut off prematurely by the right margin serves to let the reader know that a continuation will follow. Notes can be written across barlines.		* Where measure lines were not written, the scribe denoted the limits of a measure with minute horizontal gaps between groups of letters. A "=" symbol (oriented vertically if used at the bottom of a page) at a measure which was cut off prematurely by the right margin serves to let the reader know that a continuation will follow. Notes can be written across barlines.

Lex: corrections and touch-ups; started normalising links to use sigla

2024-07-19T22:58:35Z

corrections and touch-ups; started normalising links to use sigla

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Lex at 15:22, 30 December 2023

2023-12-30T15:22:23Z

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Lex: previous edit was saved prematurely;

2023-10-14T20:23:39Z

previous edit was saved prematurely;

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Lex: added collective entry for non-substantial manuscritps, corrected a few mistakes, removed irrelevant information and excessive formatting

2023-10-14T18:36:12Z

added collective entry for non-substantial manuscritps, corrected a few mistakes, removed irrelevant information and excessive formatting

← Older revision		Revision as of 14:36, 14 October 2023
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	== Specific manuscripts ==		== Specific manuscripts ==
	''The following paragraphs attempt to summarise the differences in the style of notation among surviving manuscripts. More details and links will be added soon.''		''The following paragraphs attempt to summarise the differences in the style of notation among surviving manuscripts. More details and links will be added soon.''

			==== Early sources and fragments ====
			Among these, the following are included:

			*

			*

			* The [[Winsum Tablature\|Winsum tablature]].

			* The [[Oldenburg Tablature\|Oldenburg tablature]]

			These manuscripts make no use

	==== [[Ileborgh Tablature\|Ileborgh tablature]] ====		==== [[Ileborgh Tablature\|Ileborgh tablature]] ====
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	==== [[Buxheim Organ Book\|The Buxheim organ book]] ====		==== [[Buxheim Organ Book\|The Buxheim organ book]] ====
	Throughout the manuscript, seven lines are used for staves, exceptions being the six staves of five lines following the last piece of the collection, as well as the extensive "''Tabula''" on the last folio, which uses twelve lines and serves to explain the ~~letter~~ notation. The clef predominantly uses the standard "ut" symbol for the ''C'', with small vertical dashes for the ''G'' and ''D'' above; of these, the ''G'' ocassionally uses a letter, and may appear by itself. An F-clef only occurs in the aforementioned ~~"''~~Tabula~~''"~~. Rests are now represented with proper symbols indicating their exact lengths. ~~Changes in mensuration happen more frequently than in other manuscripts, accompanied by common time signature symbols or inscriptions describing the change taking place. The~~ ''~~tempus~~'' can be ~~determined~~ from ~~the size~~ of ~~a measure, and a specific subdivision is even mentioned in~~ the ~~titles of certain pieces~~ (~~such as "''trium''" or~~ "''~~quattuor notarum~~''") ~~- this ties into the contemporary theory of dance arrangements, where, for example, a ''basse danse'' (a type commonly occuring~~ in ~~the Buxheim organ book) would require six notes to sound for every note of the adapted tenor~~. ~~In cases where~~ a ''brevis'' needs to be chromatically altered, the downward stem always receives the diagonal dash, to prevent confusion with a ''longa''. A ''fermata'' is sometimes used to mark the end of a musical phrase where two or more appear in one piece or section thereof.		Throughout the manuscript, seven lines are used for staves, exceptions being the six staves of five lines following the last piece of the collection, as well as the extensive "''Tabula''" on the last folio, which uses twelve lines and serves to explain the notation. The clef predominantly uses the standard "ut" symbol for the ''C'', with small vertical dashes for the ''G'' and ''D'' above; of these, the ''G'' ocassionally uses a letter, and may appear by itself. An F-clef only occurs in the aforementioned Tabula. Rests are now represented with proper symbols indicating their exact lengths. Usage of ''proportio'' in the superius can be easily identified, as it is represented with noteheads markedly different from those used normally; a simple description of the change at hand (most often "''sexquialtera''") was added in some cases. Where a ''brevis'' needs to be chromatically altered, the downward stem almost always receives the diagonal dash, to prevent confusion with a ''longa''. A ''fermata'' is sometimes used to mark the end of a musical phrase where two or more appear in one piece or section thereof.

	* Out of the nine fascicles that constitute the manuscript, almost all music in the first eight was written by a single scribe, with five pieces added at the end in another hand. The handwriting observed throughout this corpus is orderly and legible, with all notes of a measure evenly spaced across its width. Barlines are present; as in the Lochamer source, a measure may sometimes take on a whole-number multiple of the regular length. White mensural notation appears in two pieces here. A third scribe added a single untitled piece (No. 239) at the beginning of the ninth fascicle, showing no significant differences from the established style. Every ''semiminim'' or ''fusa'' of the ''superius'' has flags, and a new octave begins between ''H'' and ''C'', with ocassional slips where the intabulator added an overstroke over an ''H''.		* Out of the nine fascicles that constitute the manuscript, almost all music in the first eight was written by a single scribe, with five pieces added at the end in another hand. The handwriting observed throughout this corpus is orderly and legible, with all notes of a measure evenly spaced across its width. Barlines are present; as in the Lochamer source, a measure may sometimes take on a whole-number multiple of the regular length. White mensural notation appears in two pieces here. A third scribe added a single untitled piece (No. 239) at the beginning of the ninth fascicle, showing no significant differences from the established style. Every ''semiminim'' or ''fusa'' of the superius has flags, and a new octave begins between ''H'' and ''C'', with ocassional slips where the intabulator added an overstroke over an ''H''.

	* The fourth successive scribe of the Buxheim organ book ~~authored~~ the first ~~surviving examples~~ of the aforementioned shorthand, omitting stems in a group of notes of identical note values, except for the first. Aside from the crossed downward stem, the standard sharp symbol of mensural notation is used in several places. The point of division between octaves is inconsistent, but it appears the scribe intended for a higher octave to start at ''B''-''H''. For the most part, the scribe omitted barlines - they are only present where the boundary would be difficult to find from the notes alone, and double barlines are used to separate sections of a single ''fundamentum''.		* The fourth successive scribe of the Buxheim organ book was the first to make extensive use of the aforementioned superius shorthand, omitting stems in a group of notes of identical note values, except for the first (an earlier occurence, possibly accidental, may be found in piece No. 41, ''Benedicite''). Aside from the crossed downward stem, the standard sharp symbol of mensural notation is used in several places. The point of division between octaves is inconsistent, but it appears the scribe intended for a higher octave to start at ''B''-''H''. For the most part, the scribe omitted barlines - they are only present where the boundary would be difficult to find from the notes alone, and double barlines are used to separate sections of a single ''fundamentum''.

	* Two pieces, No. 238b and No. 239, were each entered by a single scribe. The former returns to the original system of beginning a new octave with ''C''. Despite having notably different handwriting from the previous four scribes, neither of the two makes use of any original notational devices, aside from a clef made of the three letters ''C'', ''G'', and ''D'', exactly as they would appear in tablature, with single overstrokes to indicate their high pitch. The first piece has measure lines, the second does not. From No. 239 onward, stems and flags are no longer omitted in the ''superius''.		* Two pieces, No. 238b and No. 239, were each entered by a single scribe. The former returns to the original system of beginning a new octave with ''C''. Despite having notably different handwriting from the previous four scribes, neither of the two makes use of any original notational devices, aside from a clef made of the three letters ''C'', ''G'', and ''D'', exactly as they would appear in tablature, with single overstrokes to indicate their high pitch. The first piece has measure lines, the second does not. From No. 239 onward, stems and flags are no longer omitted in the superius.

	* Scribe 7, having written pieces No. 240 through No. 244, used a letter for the ''D'' in the clef and only provided barlines once.		* Scribe 7, having written pieces No. 240 through No. 244, used a letter for the ''D'' in the clef and only provided barlines once.
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	* The tenth and last scribe, of considerably less legible handwriting than their predecessors, entered the two last pieces of the corpus. Their first intabulation has no barlines, the second uses them consistently, and, once again, seems to echo the style in which the first compositions of the manuscript were written down.		* The tenth and last scribe, of considerably less legible handwriting than their predecessors, entered the two last pieces of the corpus. Their first intabulation has no barlines, the second uses them consistently, and, once again, seems to echo the style in which the first compositions of the manuscript were written down.

	In accordance with the ~~"''~~Tabula~~''"~~, notes an octave above Middle C or higher, when they appear, are notated identically to their lower counterparts - with only one overstroke. Similarly, the notes of the great octave are written just as those directly below Middle C are, using lowercase letters. Uppercase letters are used at the beginning of almost every piece or section thereof, to indicate which voice is the tenor.		In accordance with the Tabula, notes an octave above Middle C or higher, when they appear, are notated identically to their lower counterparts - with only one overstroke. Similarly, the notes of the great octave are written just as those directly below Middle C are, using lowercase letters. Uppercase letters are used at the beginning of almost every piece or section thereof, to indicate which voice is the tenor.

	==== [[Tabulaturen Etlicher Lobgesang\|Tabulaturen etlicher Lobgesang und Lidlein]] ====		==== [[Tabulaturen Etlicher Lobgesang\|Tabulaturen etlicher Lobgesang und Lidlein]] ====

Lex: further clarifications and fixes

2023-09-27T15:42:43Z

further clarifications and fixes

← Older revision		Revision as of 11:42, 27 September 2023
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	Scribal errors happen often, as do intentional omissions of commonly understood interpretative details, and they are of different nature when occuring in the superius and when occuring in the lower voices. It is common for the entirety of the superius to be written without any accidentals or for some of its notes to have an incorrect rhythmic value assigned (whether by an inappropriate usage of stems, or flags). Somewhat less frequently, accidentals were left out in the lower voices as well. Sections of the top voice are also prone to being written a line too high or too low, producing unmusical results. Just like with normal mensural notation, there are many cases where the total length of a measure in the superius does not match itself as given by the letters.		Scribal errors happen often, as do intentional omissions of commonly understood interpretative details, and they are of different nature when occuring in the superius and when occuring in the lower voices. It is common for the entirety of the superius to be written without any accidentals or for some of its notes to have an incorrect rhythmic value assigned (whether by an inappropriate usage of stems, or flags). Somewhat less frequently, accidentals were left out in the lower voices as well. Sections of the top voice are also prone to being written a line too high or too low, producing unmusical results. Just like with normal mensural notation, there are many cases where the total length of a measure in the superius does not match itself as given by the letters.

			Another detail in which the old tablature differs from the new one is the arrangement of music on a manuscript's pages: although a specific scribal error in the tablature of Jan of Lublin confirms the existence of sources in which the music was written across two opposing pages, all the surviving manuscripts were written from the top down in single pages.

	== Specific manuscripts ==		== Specific manuscripts ==
	''More details and links will be added soon.''		''The following paragraphs attempt to summarise the differences in the style of notation among surviving manuscripts. More details and links will be added soon.''

	==== [[Ileborgh Tablature\|Ileborgh tablature]] ====		==== [[Ileborgh Tablature\|Ileborgh tablature]] ====
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	==== [[Buxheim Organ Book\|The Buxheim organ book]] ====		==== [[Buxheim Organ Book\|The Buxheim organ book]] ====
	Throughout the manuscript, seven lines are used for staves, exceptions being the six staves of five lines following the last piece of the collection, as well as the extensive "''Tabula''" on the last folio, which uses twelve lines and serves to explain the letter notation. The clef predominantly uses the standard "ut" symbol for the ''C'', with small vertical dashes for the ''G'' and ''D'' above; of these, the ''G'' ocassionally uses a letter, and may appear by itself. An F-clef only occurs in the aforementioned "''Tabula''". Rests are now represented with proper symbols indicating their exact lengths. Changes in mensuration happen more frequently than in other manuscripts, accompanied by common time signature symbols or inscriptions describing the change taking place. The ''tempus'' can be determined from the size of a measure, and a specific subdivision is even mentioned in the titles of certain pieces (such as "''trium''" or"''quattuor notarum''") - this ties into the contemporary theory of dance arrangements, where, for example, a ''basse danse'' (a type commonly occuring in the Buxheim organ book) would require six notes to sound for every note of the adapted tenor. In cases where a ''brevis'' needs to be chromatically altered, the downward stem always receives the diagonal dash, to prevent confusion with a ''longa''. A ''fermata'' is sometimes used to mark the end of a musical phrase where two or more appear in one piece or section thereof.		Throughout the manuscript, seven lines are used for staves, exceptions being the six staves of five lines following the last piece of the collection, as well as the extensive "''Tabula''" on the last folio, which uses twelve lines and serves to explain the letter notation. The clef predominantly uses the standard "ut" symbol for the ''C'', with small vertical dashes for the ''G'' and ''D'' above; of these, the ''G'' ocassionally uses a letter, and may appear by itself. An F-clef only occurs in the aforementioned "''Tabula''". Rests are now represented with proper symbols indicating their exact lengths. Changes in mensuration happen more frequently than in other manuscripts, accompanied by common time signature symbols or inscriptions describing the change taking place. The ''tempus'' can be determined from the size of a measure, and a specific subdivision is even mentioned in the titles of certain pieces (such as "''trium''" or "''quattuor notarum''") - this ties into the contemporary theory of dance arrangements, where, for example, a ''basse danse'' (a type commonly occuring in the Buxheim organ book) would require six notes to sound for every note of the adapted tenor. In cases where a ''brevis'' needs to be chromatically altered, the downward stem always receives the diagonal dash, to prevent confusion with a ''longa''. A ''fermata'' is sometimes used to mark the end of a musical phrase where two or more appear in one piece or section thereof.

	* Out of the nine fascicles that constitute the manuscript, almost all music in the first eight was written by a single scribe, with five pieces added at the end in another hand. The handwriting observed throughout this corpus is orderly and legible, with all notes of a measure evenly spaced across its width. Barlines are present; as in the Lochamer source, a measure may sometimes take on a whole-number multiple of the regular length. White mensural notation appears in two pieces here. A third scribe added a single untitled piece (No. 239) at the beginning of the ninth fascicle, showing no significant differences from the established style. Every ''semiminim'' or ''fusa'' of the ''superius'' has flags, and a new octave begins between ''H'' and ''C'', with an ocassional ~~slip~~ where the intabulator added an overstroke over an ''H''.		* Out of the nine fascicles that constitute the manuscript, almost all music in the first eight was written by a single scribe, with five pieces added at the end in another hand. The handwriting observed throughout this corpus is orderly and legible, with all notes of a measure evenly spaced across its width. Barlines are present; as in the Lochamer source, a measure may sometimes take on a whole-number multiple of the regular length. White mensural notation appears in two pieces here. A third scribe added a single untitled piece (No. 239) at the beginning of the ninth fascicle, showing no significant differences from the established style. Every ''semiminim'' or ''fusa'' of the ''superius'' has flags, and a new octave begins between ''H'' and ''C'', with ocassional slips where the intabulator added an overstroke over an ''H''.

	* The fourth successive scribe of the Buxheim organ book authored the first surviving examples of the aforementioned shorthand, omitting stems in a group of notes of identical note values, except for the first. Aside from the crossed downward stem, the standard sharp symbol of mensural notation is used in several places. The point of division between octaves is inconsistent, but it appears the scribe intended for a higher octave to start at ''B''-''H''. For the most part, the scribe omitted barlines - they are only present where the boundary would be difficult to find from the notes alone, and double barlines are used to separate sections of a single ''fundamentum''.		* The fourth successive scribe of the Buxheim organ book authored the first surviving examples of the aforementioned shorthand, omitting stems in a group of notes of identical note values, except for the first. Aside from the crossed downward stem, the standard sharp symbol of mensural notation is used in several places. The point of division between octaves is inconsistent, but it appears the scribe intended for a higher octave to start at ''B''-''H''. For the most part, the scribe omitted barlines - they are only present where the boundary would be difficult to find from the notes alone, and double barlines are used to separate sections of a single ''fundamentum''.
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	* The tenth and last scribe, of considerably less legible handwriting than their predecessors, entered the two last pieces of the corpus. Their first intabulation has no barlines, the second uses them consistently, and, once again, seems to echo the style in which the first compositions of the manuscript were written down.		* The tenth and last scribe, of considerably less legible handwriting than their predecessors, entered the two last pieces of the corpus. Their first intabulation has no barlines, the second uses them consistently, and, once again, seems to echo the style in which the first compositions of the manuscript were written down.

	In accordance with the "''Tabula''", notes an octave above Middle C or higher, when they appear, are notated identically to their lower counterparts - with only one overstroke. Similarly, the notes of the great octave are written just as those directly below Middle C are, using lowercase letters.		In accordance with the "''Tabula''", notes an octave above Middle C or higher, when they appear, are notated identically to their lower counterparts - with only one overstroke. Similarly, the notes of the great octave are written just as those directly below Middle C are, using lowercase letters. Uppercase letters are used at the beginning of almost every piece or section thereof, to indicate which voice is the tenor.

	==== [[Tabulaturen Etlicher Lobgesang\|Tabulaturen etlicher Lobgesang und Lidlein]] ====		==== [[Tabulaturen Etlicher Lobgesang\|Tabulaturen etlicher Lobgesang und Lidlein]] ====
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	==== [[Leonhard Kleber Tablature\|Leonhard Kleber tablature]] ====		==== [[Leonhard Kleber Tablature\|Leonhard Kleber tablature]] ====

	==== [[Tablature of Jan of Lublin]] ====		==== [[Jan of Lublin Tablature\|Jan of Lublin tablature]] ====

	==== [[Cracow Tablature\|Cracow tablature]] ====		==== [[Cracow Tablature\|Cracow tablature]] ====
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	''Facsimiles of the aforementioned manuscripts can be accessed from their respective pages''.		''Facsimiles of the aforementioned manuscripts can be accessed from their respective pages''.

	Kite-Powell, J. (2022) ''German Keyboard Tablature''. https://www.academia.edu/53290890/German_Keyboard_Tablature		Kite-Powell, J. (2022). ''German Keyboard Tablature''. https://www.academia.edu/53290890/German_Keyboard_Tablature

			Warburton, T. A. (1969). ''Fridolin Sicher's Tablature: A Guide to Keyboard Performance of Vocal Music''. Doctoral dissertation, University of Michigan.

			Southern, E. (1963). ''The Buxheim Organ Book''. Brooklyn, Institute of Mediaeval Music.

			White, J. R. (1963). ''The Tablature of Johannes of Lublin''. Musica Disciplina, vol. 17.

	~~Southern~~, E. (~~1963~~) ''~~The Buxheim Organ Book~~''. ~~Brooklyn~~, ~~Institute of Mediaeval Music~~.		Young, W. (1962). ''Keyboard Music to 1600 I''. Musica Disciplina, vol. 16.

	Apel, W. (1938) ''Early German keyboard music''. The Musical Quarterly, vol. 23.		Apel, W. (1938). ''Early German keyboard music''. The Musical Quarterly, vol. 23.

Lex: /* The Buxheim organ book */ finished section content-wise

2023-09-27T12:15:23Z

The Buxheim organ book: finished section content-wise

← Older revision		Revision as of 08:15, 27 September 2023
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	==== [[Buxheim Organ Book\|The Buxheim organ book]] ====		==== [[Buxheim Organ Book\|The Buxheim organ book]] ====
	Throughout the manuscript, seven lines are used for staves, exceptions being the six staves of five lines following the last piece of the collection, as well as the extensive "''Tabula''" on the last folio, which uses twelve lines and serves to explain the letter notation. Rests are now represented with proper symbols indicating their exact lengths. Changes in mensuration ~~occur~~ more frequently than in other manuscripts, accompanied by common time signature symbols or inscriptions describing the change taking place. The ''tempus'' can be determined from the size of a measure, and a specific subdivision is even mentioned in the titles of certain pieces (such as "''trium''" or"''quattuor notarum''") - this ties into the contemporary theory of dance arrangements, where, for example, a ''basse danse'' (a type commonly occuring in the Buxheim organ book) would require six notes to ~~occur~~ for every note of the adapted tenor. In cases where a ''brevis'' needs to be chromatically altered, the downward stem always receives the diagonal dash, to prevent confusion with a ''longa''.		Throughout the manuscript, seven lines are used for staves, exceptions being the six staves of five lines following the last piece of the collection, as well as the extensive "''Tabula''" on the last folio, which uses twelve lines and serves to explain the letter notation. The clef predominantly uses the standard "ut" symbol for the ''C'', with small vertical dashes for the ''G'' and ''D'' above; of these, the ''G'' ocassionally uses a letter, and may appear by itself. An F-clef only occurs in the aforementioned "''Tabula''". Rests are now represented with proper symbols indicating their exact lengths. Changes in mensuration happen more frequently than in other manuscripts, accompanied by common time signature symbols or inscriptions describing the change taking place. The ''tempus'' can be determined from the size of a measure, and a specific subdivision is even mentioned in the titles of certain pieces (such as "''trium''" or"''quattuor notarum''") - this ties into the contemporary theory of dance arrangements, where, for example, a ''basse danse'' (a type commonly occuring in the Buxheim organ book) would require six notes to sound for every note of the adapted tenor. In cases where a ''brevis'' needs to be chromatically altered, the downward stem always receives the diagonal dash, to prevent confusion with a ''longa''. A ''fermata'' is sometimes used to mark the end of a musical phrase where two or more appear in one piece or section thereof.

	* Out of the nine fascicles that constitute the manuscript, almost all music in the first eight was written by a single scribe, with five pieces added at the end in another hand. The handwriting observed throughout this corpus is orderly and legible, with all notes of a measure evenly spaced across its width. Barlines are present; as in the Lochamer source, a measure may sometimes take on a whole-number multiple of the regular length. White mensural notation appears in two pieces here.		* Out of the nine fascicles that constitute the manuscript, almost all music in the first eight was written by a single scribe, with five pieces added at the end in another hand. The handwriting observed throughout this corpus is orderly and legible, with all notes of a measure evenly spaced across its width. Barlines are present; as in the Lochamer source, a measure may sometimes take on a whole-number multiple of the regular length. White mensural notation appears in two pieces here. A third scribe added a single untitled piece (No. 239) at the beginning of the ninth fascicle, showing no significant differences from the established style. Every ''semiminim'' or ''fusa'' of the ''superius'' has flags, and a new octave begins between ''H'' and ''C'', with an ocassional slip where the intabulator added an overstroke over an ''H''.

			* The fourth successive scribe of the Buxheim organ book authored the first surviving examples of the aforementioned shorthand, omitting stems in a group of notes of identical note values, except for the first. Aside from the crossed downward stem, the standard sharp symbol of mensural notation is used in several places. The point of division between octaves is inconsistent, but it appears the scribe intended for a higher octave to start at ''B''-''H''. For the most part, the scribe omitted barlines - they are only present where the boundary would be difficult to find from the notes alone, and double barlines are used to separate sections of a single ''fundamentum''.

			* Two pieces, No. 238b and No. 239, were each entered by a single scribe. The former returns to the original system of beginning a new octave with ''C''. Despite having notably different handwriting from the previous four scribes, neither of the two makes use of any original notational devices, aside from a clef made of the three letters ''C'', ''G'', and ''D'', exactly as they would appear in tablature, with single overstrokes to indicate their high pitch. The first piece has measure lines, the second does not. From No. 239 onward, stems and flags are no longer omitted in the ''superius''.

			* Scribe 7, having written pieces No. 240 through No. 244, used a letter for the ''D'' in the clef and only provided barlines once.

			* The next, who contributed eight pieces, is notable for an unusual symbol somewhat similar in usage to the modern ''segno'': a circle from which a cross protrudes is used both to divert the performer when playing through a repetition, and to mark the beginning of the "''secunda volta''" in question. The only semblance of measure lines appears where there is a need to separate two pieces on the same staff, and the horizontal spacing between grouped notes varies from minimal to nonexistent.

			* A ninth scribe wrote down five pieces, beginning with No. 252 ("''Tant apart''"). They added overstrokes to the ''H'' below Middle C about as often as they omitted them, which is in sharp contrast to the generally consistent observation of the ''H''-''C'' divide shown by the other authors.

			* The tenth and last scribe, of considerably less legible handwriting than their predecessors, entered the two last pieces of the corpus. Their first intabulation has no barlines, the second uses them consistently, and, once again, seems to echo the style in which the first compositions of the manuscript were written down.

			In accordance with the "''Tabula''", notes an octave above Middle C or higher, when they appear, are notated identically to their lower counterparts - with only one overstroke. Similarly, the notes of the great octave are written just as those directly below Middle C are, using lowercase letters.

	==== [[Tabulaturen Etlicher Lobgesang\|Tabulaturen etlicher Lobgesang und Lidlein]] ====		==== [[Tabulaturen Etlicher Lobgesang\|Tabulaturen etlicher Lobgesang und Lidlein]] ====