An album featuring this recording will be released on this January: Profeti della Quinta / AMOR, FORTUNA ET MORTE

Yes, I agree that it might be less jarring when sung live. I'll be happy to hear other performances with this interpretation.

Please tell me where. In any case you can find an the details on our website www.earlymusicsources.com

It joins to a list of things we don't know and can only speculate. The fact is that there are several sources that says that this is how hemiolia should be interpreted when it is not in all the voices. A possible direction might be connected with slightly earlier music where simple things were sometimes notated in a complicated way for symbolic reasons. I hope it's clear in the video that I'm not saying that the interpretation I prefer is the RIGHT one; I present two possible interpretations, and eventually have to choose one when performing.

Thanks. I use Adobe After effects and Premiere.

You are right, it's rare that a tenorizans would go upwards, it would be called an evaded cadence (whenever the finalis is not "the right one" it can be called evaded). Specifically on this place, as I showed, there is actually no cadence, it just seems like one.

Aaaand I just watched the video on Tactus, so it all makes sense now! *facepalm*

Because on the Cantus part you would end up with F - #G which is an augmented second. You might think that you could solve that by sharpening the F to #F in both the Cantus and Bassus but that is a problem because it creates a diminished diminished fifth interval #F-C. The picardy third in the last chord is also impossible due to the resulting #C-hC between Tenor and Cantus. All of these things are totally out of style in this type of music.

I have seen bizarre intabulations for lute/vihuela that contradict strongly the idea that “style of this type of music” is concretely known today. At first thinking printer errors were occurring I looked deeper and found it quite common to accept tritones and augmented chords, where certain ficta make the most sense. My conclusion, generally, it was always wide open to interpretation and that was actually the point…yes if use a ficta then there are rules, but kind of loose. Perhaps also, using an instrument to “break rules” under a single vocal part, where if it was only vocals it wouldn’t fly, might have been the idea too, who knows? Leaving it “vanilla” as written is totally cool too. Take it or leave it but the sources have too many contradictions to attempt to be definitive.

It will be available on the next CD publication of ensemble Profeti della Quinta (release early 2019)

You would not be thinking like the early composers in this case, but applying modern theory to old music.

I only know modern music theory at the same time I understand how it is written, however I would not be able to write like this by the "old rules". Is it a problem if I make music like this by the modern theory? Thanks :)

Polyphony is a part of modern musical education as well. The thinking should be around individual melodic lines that give rise to harmony and not chordal. Even if you want to write in the style of Bach - 200 years later - still you'd need that approach.

Thank you, I appreciate your fast answer.

It is all possible, but it doesn't take in account the esthetics of the 16th century and therefore takes out the subtilities of this music :) What I can recommend however is to analyse all the intervalls between each line and the bass : then the first part would be to recognise parralel movements (3ds, 6ths, 10ths), because parralelisms are the base of 16th century polyphony (for example, it is the most important ingredient in improvised counterpoint "Chant sur le livre") ! The second part would be to recognise passages where the tenor part proceds essentially by steps (without so many leaps) and see if the bass-line alternates 5ths and 3ds under it (also something you can find in improvised counterpoint). I think it is not the priority in counterpoint to really want to hear every melody every voice makes, like we think we should, but to talk about coulourful intervals (not chords), and whether these are consonances or dissonances. If you want to know more about improvised counterpoint, which is the best way to understand this music's architecture, I recommend the KZfaq channel called "Chanter sur le livre à la renaissance" (kzfaq.info/love/N0kunrbxBCTUK_vDQEKFPwfeatured). The videos have english subtitles ! :)

yes, there is definitely this aspect as well

did he mention Early Music Sources?

Early Music Sources he did, indeed. Called you criminally undersubscribed.

Early Music Sources kzfaq.info/get/bejne/oLl-bKmh1Zq5h58.html I think it was in the part about the use of "do" in English solfege, around 3:00.