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Did Byrd really have a hand in composing the seven-voice 'Miserere nostri', attributed to Tallis in six of its parts but to Byrd in all surviving copies of the Discantus partbook?
Four partbooks (Superius, Discantus, Tenor, 'Sexta pars') belonged in the sixteenth century to 'William Rokeby', who added further music in manuscript to blank staves.
The sound-world of Discantus is gentle, striving for a vocal balance that is enhanced by the clarity of the female voices.
For the often problematic reading of its notation the only didactic guide is the highly elliptic old part of the Discantus positio vulgaris.
The two quadrupla and two of the tripla are properly identified as having been composed by Magister Perotinus, in accordance with the few remarks by Anonymus IV in De mensuris et discantu.
The discantus and bassus echo each statement of the segment, so that it is continually present throughout.
In the Agnus I the discantus clearly follows the prevailing [cts.
A return to the eight - or nine-voice format of previous years would alleviate the brief imbalances that occur, for example, when the discantus line descends below the contra.
Last, we might observe that, while the speculative reconstruction of the second section of Quant du dire adieu is convincing, it begins with a contrapuntal solecism (parallel octaves between the discantus and the tenor at the join between the first and second sections) that is not.