The Doubles in I I) - Instant Harmony: Musicmusic.instantharmony.net/Lasocki_Doubles_REJ_No5_1999.pdf · ornaments and freer ornamentation in Hotteterre's Airs et brunettes, the examples

The Doubles in Jacques Hotteterres Airs et brunettes (ca I72I)

David Lasocki

Introduction The name of Jacques Hotteterre le Romain (1674-1763) is well known to woodwind players today1 A flautist at the court of Louis XIV he published the first method for the Baroque type of transverse flute (and included instructions for the recorder and oboe) wrote another method for the musette and a treatise on the art of preluding and composed some attractive chamber music that blended elements of the French and Italian styles2 It is less well known that around 1721 after he had finished writing this fairly progressive music he published a collection of songs arranged for the flute under the title Airs et brunettes a deux et trois dessus pour les flutes traversieres tirez des meilleurs autheurs anciens et modernes ensembles les airs de Mrs Lambert Lully De Bousset ampc les plus convenables a la flute traversiere seule ornez dagremens par Mr Hotteterre Ie Romain et recueillis par M ++++3 This means airs and brunettes for two and three melody lines for flutes taken from the best composers old and new together with airs by Lambert Lully De Bousset etc best suited to the flute alone embellished with ornaments by Hotteterre Ie Romain and collected by Monsieur X

One of the songs in this purely French-style collection lSi cest un crime que laymer was originally published as early as 1621 but most appeared in the period 1690-1710 Still even the most recent song Jean-Baptiste de Boussets Vous qui faites votre modelle was ten years old in 1721 and the collection has a more retrospective cast than Hotteterres other music One would be tempted to think that its late appearance had something to do with its having been collected by the anonymous Monsieur ++++ - presumably an aristocrat whose name could therefore not be mentioned4 But Hotteterre himself was partly responsible for its publication (along with the well-known Parisian publisher Boivin) Moreover some of the same brunettes also with ornamental variations appear in two other French flute collections of

about the same date - Michel Pignolet de Monteclair Brunettes ancienes et modernes appropriees ala flute traversiere avec une basse daccompagnement Premier recueil contenant douze suites qui peuvent aussy se jouer sur la flute a bec sur Ie violon haubois et autres instruments (Paris Boivin ca 1720) and Mr R Brunettes ou petits airs adeux dessus alusage de ceux qui veulent apprendre ajouer de la flute traversiere (Paris Boivin Le Clerc 1725) - and even in a collection of thirty years later Michel Blavet Premier recueil de pieces petits airs brunettes menuets etc avec des doubles et variations accomode pour les flutes traversreres violons pardessus de viole ampc (Paris composer Boivin Le Clerc ca 1750)5

As the title suggests the majority of pieces in Hotteterres collection (all notated in the French violin clef) are for two melody lines with a few for three lines grouped into five suites by key D majorminor G majorminor Bb minor E minormajor and C minor6 The texts of many of the songs are underlaid At the beginning of the first suite a note states that the treble clef may be used to transpose it into B= pour saccorder avec les voix de dessus (to accord with soprano voices) indicating that one or more lines could in fact be sung rather than or as well as played on the flute The third suite has an indication that it could be similarly transposed into G

At the end of the collection comes a series of twenty-one pieces Pour la Flute Seule (for flute alone) grouped into three sets by key G majorminor D majorminor and C minorshyalthough this time they are not actually labeled IIsuites7 Again many of the words are underlaid Four times a transposition into the soprano clef is given at the beginning of a piece but here this seems to indicate only the notation and key of the original song since the transposed versions would be below the range of the flute As the title says these songs were ornamented by Hotteterre Sometimes Hotteterre transcribes the vocal ornamentation

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of the song at other times he invents ornamentation more idiomatic for the flute In fourteen cases he also supplies doubles or ornamental variations of the entire songs Three of the doubles - for IJDans ces deserts IJDe mes soupirs and Nicolas va voir Jeanne - are similar to the doubles supplied by the songs composers All Hotteterres arrangements are valuable examples of the French style of woodwind ornamentation of the early 18th

century The songs that Hotteterre arranged for solo

flute are of two types airs de cour and brunettes James R Anthony has written that

For almost 200 years the air de cour served French composers as a primary model for their vocal music Lully consulted it rather than Italian aria and recitative for the airs and dialogues of his court and comedy ballets and his tragedies lyriques the recits of many seventeenth-century motets were nourished by it and in combination with dance measures its influence was felt in instrumental music Its restricted range and generally conservative harmony acted as a deterrent to the adoption of Italian vocal techniques throughout much of the grand siecle The formal structure of most airs de cour is simple Short stanzas made up of four or six lines are arranged musically in a variety of binary forms AB AAB or AABB are the most common Where meter signs appear they have no metric significance and may be viewed merely as a convenient way of grouping time units they must never be interpreted as depicting strong or weak accents9

A mid-17th century composer wrote that lithe air proceeds in a free though serious measure and movement and thus is more proper for the expression of love and the tender emotions of pain or of joy that it wakens in the heart lo Toward the end of the 17th century collections of airs tended to be intermixed with songs in lighter vein including the brunette The latter generally has a more popular style of melody the words tend to be pastoral and amorous often indeed celebrating the eponymous brunette

Hotteterre on Ornaments Before we discuss the ornamentation in the doubles of the Airs et brunettes it is worth summarizing what Hotteterre wrote about ornaments or agrements as he called them In the Principes de la flute traversiere ou flute

dallemagne de la flute a bec ou flute douce et du haut-bois divisez par traitez (paris 1707) he discussed seven different ornaments tremblement (trill) double cadence (trill with twoshynote termination tongued or slurred)flattement (finger vibrato) battement (lower mordent) portshyde-voix (appoggiatura from below) coulement (appoggiatura in a descending third) and accent (a short note a pitch higher than the written note) He remarked that a port-de-voix is often followed by a battement In the table of ornaments included with the preface to the second edition of his Pieces pour la flute traversiere et autres instruments avec la basse continue (Paris 1715) he added the port-de-voix double (double appoggiatura from below) demie cadence apuiee (a trill with a very long port-deshyvoix) tour de gosier (turn) and tour de chant (another kind of turn apparently made at the approach to a cadence)

In the 1715 preface he remarked that the flattement tremblement and battement should all be made faster or slower according to the tempo and character of the piece He also gave advice on where some of his ornaments should be added when they are not marked by the composer The flattement should be made on almost all long notes The tremblement must be made on almost all accident sharps (except on very short notes such as eighths and sixteenths) The double cadence is often made when you ascend one note after a tremblement The coulement must be made in all descending thirds Finally the accent is normally made at the end of a dotted quarter note followed by an eighth note at the same pitch also rarely on certain long notes

In the Principes Hotteterre said nothing about the length accentuation and placement of the port-de-voix and coulement leaving their performance up to the elusive goUt (good taste) that was all-important in the French music of the era Of course contemporaries had the benefit of having their taste shaped by hearing these ornaments performed whereas we have only vague instructions by Hotteterre and others From all these instructions one gets the impression that for woodwind instruments such ornaments were usually performed short unstressed and before the beat The Airs et brunettes however suggest that this is not always the case

Ornaments in the Airs et brunettes In order to help readers understand both

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ornaments and freer ornamentation in Hotteterres Airs et brunettes the examples at the end of this article reproduce all of the pieces that have doubles I have transposed these examples in order to make them more suitable for playing on the alto recorder Hotteterre himself recommended playing flute pieces a minor third higher on the recorderu But this sometimes results in difficult keys (such as Bb minor) so in those cases I have transposed by a major second or major third Hotteterres key - and where known the original key of the song - are stated in each case For Dans ces deserts De mes soupirs and Nicholas va voir Jeanne I have included the doubles from the original songs so you can readily see that Hotteterre retained most of them generally only altering the rhythm here and there

Hotteterre intended that these songs should be played unaccompanied In my edition I added the bass lines from the original songs with bass figures when they were available so that the pieces could be played with an accompaniment if desired (I have also given the bass lines here except for the two pieces I did not include in my edition Je suis aime de celle que jadore and Ruisseau qui dans la pleine) In studying the doubles however it is worth bearing in mind that the ornamentation might be affected by the intended absence of this bass line

I have also added symbols to indicate the various ornaments and ornamental devices that Hotteterre uses in his doubles (see the list of abbreviations below) These indications are meant to be helpful rather than definitive each time I go through the pieces I spot another ornament or one that can be conceived in another way If they stimulate your own thinking about ornaments they will have served their purpose

Port-de-vaix As in his writings Hotteterre generally notates the port-de-voix with the sign V In both duple and triple meters the favored position is on the first beat (25 and 28 times respectively) In duple meters the ornament also occurs about half that number of times on the third beat (14 times) and occasionally on the fourth beat (3 times) in triple meters the ornament also occurs about one-third that number of times on the third beat (10 times) and occasionally on the second beat (4 times)

Dans ces deserts C beat 3 (2 times) Lautre jour 2 beat 1 (8 times)

beat 3 (5 times) beat 4 (2 times)

Si c est un crime 2 beat 4 (1 time) Rochers vous etes sourds cent beat 1 (4 times)

beat 3 (2 times) Nicolas va voir Jeanne cent beat 1 (1 time)

beat 3 (1 time) Le beau berger cent beat 1 (5 times)

beat 3 (2 times) Berger prend soin cent beat 1 (7 times)

beat 3 (2 times) Rochers je ne veux point 32beat 1 (6 times)

beat 3 (2 times) Si c est un crime 32 beat 3 (1 time) lSi c est un crime 32 beat 3 (1 time) Ah vous ne voulez pas 32 beat 1 (5 times)

beat 2 (2 times) beat 3 (1 time)

De mes soupirs 32 beat 1 (5 times) beat 3 (1 time)

Dans ces deserts 3 beat 1 (5 times) Si cest un crime 3 beat 3 (1 time) Lamour 3 beat 1 (6 times)

beat 3 (4 times) Air 3 beat 1 (1 time)


As well as notating the ornament with a V Hotteterre writes it out as a small quarter note in three situations always on the first beat (1) leading to a dotted half note half note or dotted quarter note with a notated battement (Rochers je ne veux point 2 ilL amour 25 Si c est un crime 25 Le beau berger Tircis 16) (2) leading to a dotted quarter note or quarter note (Rochers je ne veux point 13 Dans ces deserts 10 ilLautre jour 9 Le beau berger Tircis 9) and (3) leading to a sixteenth note (Rochers je ne veux point 7) Less frequently he writes it out in regular notation as an eighth note before the beat leading to a half note or quarter note (Rochers vous etes sourds 10-11 Dans ces deserts 8-9 Si c est un crime 16-17 Berger prend soin 8-9)

Port-de-voix double This ornament is found a few times leading to tremblements (ilLautre jour 20 28 Si c est un crime 20) and also to plain notes (ilL autre jour 2 6 II Ah vous ne voulez pas 3)

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Coulement Hotteterre only once notates the coulement with the inverted V and it occurs in a descending second not a third (Lautre jour 3) There it may be intended to be performed short and strong That also seems to be the case with the instance of a coulement notated as a quarter note leading to a quarter note on a fourth beat but where the double has a notated dotted sixteenth note (Berger prend soin 9)

Otherwise the short and weak interpretation seems frequent when the ornament is notated as a small quarter note leading to a half note on the third beat ( Ah vous ne voulez pas 4) to a quarter note on the first beat (Si c est un crime 13 Le beau berger Tircis 7) to a quarter note on the second beat or pulse (Rochers je ne veux point 7 Dans ces deserts 13) to a quarter note on the third beat (Air 8) and to a quarter note on the fourth beat ( Berger prend soin 4) The same interpretation seems almost certain when the coulement is notated as a small sixteenth note leading to a quarter note or dotted eighth note (ilLamour 4 Nicolas va voir Jeanne 9) and especially when it leads to the eighth-plus-twoshysixteenths figure which Quantz says should be played short soft and before the beat in the French style of playing (Le beau berger Tircis 6)12

Sometimes however the positioning of the ornament suggests a long and strong interpretation a quarter note leading to a dotted half note on the first beat (ilLautre jour 4 8 the double has a notated eighth note in same position) a quarter note leading to a quarter note on the third beat in duple meter (Berger prend soin 9) a quarter note leading to a dotted eighth note on a trill (Dans ces deserts 18) and an eighth note leading to a half note on the first beat (Rochers vous etes sourds 7) Another instance might also qualify a coulement notated as a quarter leading to a dotted half note on the first beat (Rochers je ne veux point 4) except that the double has a tremblement at this point in a rhythm that suggests the shortest of appoggiaturas

The coulement also occurs once leaping a third ( Berger prend soin 9)

Coulement double Like the port-de-voix double this ornament consists of two little notes rather than one Hotteterre does not mention it in his writings but he uses it twice in the doubles of these Airs et brunettes on its own (Si c est un crime 18) and leading to a tremblement (De mes soupirs 13)

Accent Recall that the accent is a little note that Hotteterre says is found in dotted figures and

at the end of certain long notes Here it is found twice at the end of a long note (ilLautre jour 2 6) and once anticipating a tremblement (Si c est un crime 13) It is also found descending rather than ascending in four places (Dans ces deserts 16 IIAh vous ne voulez pas 5 De mes soupirs 10 Le beau berger Tircis 58) The ascending type is written out in regular notation in the double to Rochers je ne veux point 5

Accent double A kind of double accent is found in ilLautre jour 2 also followed by a regular coulement in De mes soupirs 5 and Berger prend soin 10

Turns In his doubles Hotteterre writes out two different types of turn four notes ( Ah vous ne voulez pas 18) and five notes ( Rochers je ne veux point 7 Le beau berger Tircis 13)

Freer Ornamentation in the Airs et brunettes The doubles in the Airs et brunettes are generally so free that they have almost the impression of improvisations The oldest song Si c est un crime (Boesset 1621 ) which has more long notes than the others gives rise to the freest ornamentation Hotteterre was not alone in this approach to ornamentation After studying all the surviving 17th-century doubles for keyboard and lute Stuart Cheney wrote It is unlikely that we shall ever know whether doubles are primarily the result of careful composition or are improvisations recorded in notation What evidence there is leans toward a third possibility - some combination of these two a kind of ideal improvisation We can safely assume that composers took care with those doubles they presented in printed editions to the public applying the science of composition in order to polish what may have originated spontaneously in performance13 In any case this freedom of expression means that Hotteterres ornamenshytation procedures cannot be generalized into any method a la Telemann Yet a number of useful points can be made

Appoggiaturas We have seen above that it is possible to make a tentative classification of Hotteterres portsshyde-voix into short and weak short and strong and long and strong Fortunately no such indecision exists with his notation of long appoggiaturas in his doubles14 He makes effective use of such ornaments a number of times generally an eighth note in length Rochers je ne veux point 9 14 15 16 (eighth eighth eighth passing dotted eighth) Dans ces deserts 7 (eighth) Si c est un crime 16

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(dotted eighth) Lamour 15 17 (sixteenth eighth) Ah vous ne voulez pas 2 7 (eighth eighth) De mes soupirs 4 6 (eighth quarter) and II Berger prend soin 13 (quarter) Four times he uses what I can only describe as a kind of double appoggiatura both below and above the following note (JiRochers je ne veux point 7 11 Lautre jour 27 Nicolas va voir Jeanne 1 8)

Neighbor Tones and Passing Tones As one would expect neighbor tones and passing tones are common ornamental devices in the doubles The neighbor tones are particularly striking when repeated as in ilLautre jour 7 10 or in Dans ces deserts 17 (when they could be considered a repeated accent)

Chord Tones Chord tones too are common They make a telling effect when unexpected (as in Dans ces deserts 2 17 ilL autre jour 12 14 20 22 26 Si c est un crime 19 L amour 17 II Ah vous ne voulez pas 8) or a seventh is added to the chord (Si cest un crime 18 Lamour 22)

Thirds Hotteterre rarely creates a pure leap of a third involving a non-chord tone the one in II Berger prend soin 6b being an anticipation of a similar figure in the song a measure later But filled-in thirds are common in Hotteterres vocabulary generally with short-short-Iong rhythm (Rochers je ne veux point 8 JlRochers vous etes sourds 1025 Dans ces deserts 6 Si c est un crime 15 ilL amour 19 Berger prend soin 9) sometimes a variant of long-short-short (Si c est un crime 4 Ah vous ne voulez pas 8 Air 7 Berger prend soin 4) sometimes in even rhythm ( De mes soupirs 9) An attractive figure filling in a third down then a third up is found in Rochers je ne veux point 9

Larger Intervals Hotteterre is adept at filling in larger intervals whether they already exist in the melody or he creates them as part of the ornamentation Even when the melodic material is strictly scalar he is often inventive with rhythms and articulations (Rochers je ne veux point 13 JlRochers vous etes sourds 15 22 Dans ces deserts 2 8 9 16-17 Lamour 3-4 10 11shy12 16 Ah vous ne voulez pas 3 10-11 14shy15 Le beau berger Tircis 5 13 Berger prend soin 10) Often he adds a twist or two to the melodic material (Rochers je ne veux point 10 18 Dans ces deserts 14 ilLautre jour 3 7 12 14 20 22 Si cest un crime 9 13 JI De mes soupirs 5)

Escape Tones A prominent feature of Hotteterres ornamentation language is the use of echappes or escape tones non-chord tones which are resolved in the opposite direction from that in which they were approached The escape tone is generally but not always higher than the previous note Sometimes the resolution is made directly to a chord tone ( Rochers vous etes sourds 12 Dans ces deserts 7 ilLautre jour 26 Si cest un crime 1 Lamour 19 Ah vous ne voulez pas 17 De mes soupirs 35 Nicolas va voir Jeanne 7 Air 8 13 Le beau berger Tircis 7 Berger prend soin 25 13) But sometimes an appoggiatura intervenes (Rochers je ne veux point 15 Rochers vous etes sourds 19-20 JlSi c est un crime 13 JI Ah vous ne voulez pas 4 Le beau berger Tircis 3) or there is a more complex resolution (JiRochers je ne veux point 13 18 JlRochers vous etes sourds 19 II Nicolas va voir Jeanne 11) Hotteterre is also fond of a kind of 1 escapeshytone turn (Rochers je ne veux point 19 Dans ces deserts 11 Si cest un crime 16 Lamour 517 II Ah vous ne voulez pas 11)

Other Non-chord Tones In two cases Hotteterres non-chord tones are so striking that they may well be engraving mistakes (ilLautre jour 4 9 L amour 23) The d in Dans ces deserts 13 is an anticishypation of the same note two beats later and certainly works well without a bass line when the pieces are played solo as Hotteterre primarshyily intended The a and f in the second double of Le beau berger Tircis 9 seem to be conceived as a displacement of the same notes a beat earlier in the first double The a at the beginning of Si cest un crime 7 also works well without a bass line and the whole meashysure can be seen as an ornamentation of the AshyC interval preceded and followed by As in the melody The two non-chord tones in Ah vous ne voulez pas 17 are perhaps best seen as the beginning of an extended messanza followed by a continuation of the melodic arc - again fine without a bass line The dissoshynant g in De mes soupirs 9 also makes sense as part of a melodic arc

Compound Ornaments There are a number of instances of the four-note figures that William Pepper found in Teleshymanns Methodical Sonatas15 the gruppetto (L amour 7 Nicolas va voir Jeanne I 5 7) the half-circle (Rochers je ne veux point 4 Dans ces deserts 10 18 JlLautre jour 20 JlSi cest un crime 12 II Ah vous ne voulez pas 8 De mes soupirs 13 Le beau berger Tircis 3 Berger prend soin 2 II) the messanza (Rochers je ne veux point II 17 Dans ces deserts 4 JLautre jour 26 28 Si cest un

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crime 2 28 lLamour 12 23 I Ah vous ne voulez pas 5 17) and the open circle (lDans ces deserts 2)

Playing with Rhythms For Hotteterre the rhythms of small figures are fair game for transformation For example in Lautre jour 11191523 short-long figures are changed to long-short and dotted to undotted or vice versa

Pauses Hotteterres doubles for Lautre jour (4-711shy12 14-16 19-20 22-24) are noteworthy for his continual use of expressive pauses Some of them (nun 6 16) are similar to Francois Couperins aspiration - literally IIbreath - a cutting short of a long note16 The rest do behave like the snatching of breath within a phrase (see also II Ah vous ne voulez pas 11)

Rhythmic Displacement Perhaps the most interesting feature of Hotteterres ornamentation style is his rhythmic displacement of song notes in his doubles (I have marked all such occurrences with diagonal lines in the musical examples) For example in Rochers je ne veux point the f and eb in m 4 are both delayed by a beat and in m 9 the f is delayed by a beat and the g by half a beat There are two particularly fine examples In the second double of Le beau berger Tircis the opening five notes are all displaced by half a beat or a beat In 1 Ah vous ne voulez pas 10-11 the opening of the phrase to express to you my desires17 is delayed by a beat then Hotteterre further stretches out the phrase with a filled-in third a pause and an escape-tone turn Less frequently notes are displaced before their position in the song (Si cest un crime 1shy2 8-9) or even both before and after in a kind of prolongation (Rochers je ne veux point 15)

Divisions Several times Hotteterre literally makes divisions by dividing a note (or part of it) into two or three parts on the same pitch (Rochers je ne veux point 4 Rochers vous etes sourds 6 7 18 23 1 Ah vous ne voulez pas 5 De mes soupirs 2 8 Le beau berger Tircis 4 Berger prend soin 8)

Conclusions The doubles in Jacques Hotteterres Airs et brunettes are fascinating examples of ornamental variations in a free almost improvisatory manner They provide some insight into where agrements can be added Even more helpfully they show how an ornamented melody can be built up from a combination of agrements and a vocabulary of appoggiaturas neighbor tones

and passing tones thirds chord tones escape tones and other non-chord tones filled-in intervals and compound ornaments For me the most interesting feature of Hotteterres ornamentation style is his use of rhythmic displacement in which the original notes are moved earlier or later in the bar often to great expressive effect

I hope that the transposed versions of Hotteterres pieces I have provided will encourage recorder players to perform and program them - and of course teachers to use them in lessons A selection of ornamented airs and brunettes perhaps in conjunction with a singer should provide a welcome change from the usual diet of sonatas and suites

As an exercise in analysis I leave you the two extra songs without a bass line Je suis aime de celIe que jadore and Ruisseau qui dans la pleine You and your students could supply a bass line and try to identify the ornamental devices in the doubles

As further exercises you can make up your own doubles to any of the songs It might be helpful to first use Betty Bang Mathers method of taking one type of ornamental device at a time - eg neighbor tones and passing tones chord tones - and seeing how it can be applied to a whole song When you have these devices at your fingertips you can then use a judicious selection of them along with agrements to produce a pleasing and tasteful double

Texts and Translations Rochers je ne veux point que votre Eco fidelle Redise les malheurs dont je me plains a vous Iris est si charmante et ma flame est si belle Quen decouvrant ce que je sens pour elle Vous me feriez mille jaloux

Rocks I dont want to be only your faithful echo Tell me again the woes about which I complain

to you Iris is so charming and my passion is so

beautiful That in discovering what I feel for her You would make me jealous a thousand times

Rochers vous etes sourds vous navez rien de tendre

Et sans vous ebranIer vous mecoutez icy Lingrat dont je me plains est un rocher aussy Mais helas il sen fuit pour ne me pas entendre

Rocks you are deaf you have nothing of the tender

And without shaking you you listen to me here The ingrate of whom I complain is also a rock But alas he runs away so as not to hear me

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Das ces deserts paisibles Rochers que votre sort est doux Vous etes insensible Trop heureux qui lest comme vous

In these peaceful deserts Rocks how sweet your fate is You are without feeling Too happy whoever is like you

Lautre jour rna Cloris Pour que mon coeur soupire Avec un doux souris Sen vint tout bas me dire Mon berger mes amours Maimerez-vous toujours

The other day my Cloris For whom my heart sighs With a sweet smile Bent very low to ask me My shepherd my love Will you love me always

Si cest un crime que Iaymer lon en doit justement blamer Que les beautes que sont en ene La faute en est aux Dieux Qui la firent si belle Mais non pas ames yeux

If its a crime that 1 love One must rightly blame How beautiful she is The fault is with the Gods Who made her so beautiful Not with my eyes

Lamour Ie seul amour est cause Que je neglige mon troupeau Mais comme il est Ie moindre du hameau On dira que cest peu de chose Ah quand jaurois tous Ie moutons Des bergers de nos cantons Je les negligerois encore Pour Ie bergere que jadore

Love only love is the cause That I neglect my flock But as it is the meagerest hamlet People will say that its nothing Ah if I had all the sheep Of the shepherds of our cantons I would neglect them still For the shepherdess whom I adore

Ah vous ne voulez pas entendre Le langage de mes soupirs lamour nen a point de plus tendre Pour vous exprimer mes desirs

Ah you dont want to hear The language of my sighs Love has nothing more tender To express to you my desires

De mes softpirs de rna langueur Ecoutez Ie tendre langage Rien ne scauroit exprimer davantage Tout lamour que vos yeux font sentir a mon

coeur De mes soft pirs ampc

Of my sighs of my languor Listen to the language of tenderness Nothing more could express All the love that your eyes make felt by my

heart Of my sighs etc

Nicolas va voir Jeanne Et Jeanne dormez-vous Je ne dors ny ne veille Et ne pense point a vous Vous y perdez pas Nicolas Sont tous pas perdus pour vous

Nicholas is going to see Jeanne And Jeanne are you sleeping Im neither sleeping nor waking And Im not thinking of you Youre not losing anything Nicholas By not having what you want Le beau berger Tircis Pres de sa chere Annette Sur les bords du Loir assis Chantoit dessus sa muzette Ah petite brunette Ah tu me fais mourir

The handsome shepherd Tirds Near to his dear Annette Sitting on the banks of the Loir Playing on his musette Ah little brunette Ah you make me die

Berger prend soin de mon troupeau Amour me donne trop daffaires Je vais attendre sous lormeau La plus ingratte des bergeres Ah quand on est bien amoureux Tout autre soin paroit facheux

Shepherd take care of my flock Love is giving me too much trouble Im going to wait under the young elm For the most ungrateful of shepherdesses Ah when you are really in love Every other care appears unfortunate

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Je suis aime de celle que jadore Cest un secret charmant qui nest sceu que de

nous Nos plaisirs sont dautant plus doux Que tous Ie monde les ignore E t que nous trompons les jaloux

I am loved by the one I adore Its a charming secret thats only ours Our pleasures are all the sweeter Because everyone is ignoring them And we are deceiving the jealous

Ruisseau qui dans la pleine Precipite ton cours De la part des amours Va dire a Celimeine Les maux que ses beaux yeux ant cause dans ces lieux

Stream who into the plain Rushes onwards On behalf of love Go to tell Celimeine The harm that her beautiful eyes Have caused in these parts

Key to Abbreviations for Musical Examples A appoggiatura Ac accent asp aspiration C chord tone D double appoggiatura (not Hotteterres

port-de vaix double) div divided note E echappe (escape tone) G gruppetto H half-circle M messanza N neighbor tone a open circle P passing tone S suspension T turn X non-chord tone

Notes 1 The most recent studies of Hotteterres life and work are Jane M Bowers article on the Hotteterre family in The New Grove Dictionary of Music and Musicians (London Macmillan Washington DC Groves Dictionaries of Music1980) her article The Hotteterre Family of Woodwind Instrument Makers in Concerning the Flute ed Rien de Reede

(Amsterdam Broekmans en Van Poppe 1984) 33-54 and Delpha LeAnn House Jacques Hotteterre Ie Romain A Study of his Life and Compositional Style (PhD dissertation The University of North Carolina at Chapel Hill 1991)

2 His writings are Principes de la flute traversiere ou flute

dallemagne de la flute a bec ou flute douce et du haut-bois divisez par traitez (Paris 1707) Facsimile of Amsterdam ed (ca 1710) Kassel Barenreiter 1982 (first published 1942) Facsimile of 1720 Paris ed Geneva Minkoff Reprint 1973 English translation by Paul Marshall Douglas as Principles of the Flute Recorder amp Oboe (Principes de la flute) (New York Dover 1983 first published 1968) English translation by David Lasocki as Principles of the Flute Recorder amp Oboe (London Barrie amp Rockliff New York Praeger 1968)

The preface to his Premier livre de pieces pour la flute-traversiere et autres instruments avec la basse Oeuvre second Nouvelle edition (Paris 1715)

Lart de preluder sur la flute traversiere sur la flute-a-bec sur Ie haubois et autres instruments de deflus (Paris 1719) Facsimile Geneva Minkoff Reprint 1978

Methode pour la musette (Paris 1738) Facsimile Geneva Minkoff Reprint 1977

On Hotteterres synthesis of the French and Italian styles see Houses dissertation and Brian Alexander Berryman Jacques-Martin Hotteterre Les gouts reunis und die Entwicklung der franzosischen Barockmelodik Tibia 20 no 3 (1995) 517-31

3 One surviving copy of the original print gives no address for Hotteterre but another copy has rue de Seine a lHotel dArras which is also found on his arrangement of duets by Robert Valentine dated 1721 Yet other publications of Hotteterres including one from 1719 and one from 1722 use the address rue dauphine au coin de la rue contrescarpe Thus around 1721 he seems to have been using a temporary address which in this case gives us our best information on the dating of the Airs et brunettes For diplomatic transcriptions of the appropriate title pages see Gregory Paul Dikmans The Performance Practice of Early 18th-Century French Flute Music A Critical Translation of Jacques Hotteterres Principes de la flute traversiere Commentary and Recording of Selected Works MA thesis La Trobe

28

University Australia 1991 vol 3 pp 128-48 A facsimile of the Airs et brunettes has been

published by Minkoff Reprint (Geneva 1991) I published an edition of the solo pieces only under the title Ornamented Airs and Brunettes for Solo Flute (OboeViolinRecorder in C) (Basso continuo ad lib) (London Nova Music 1980)

4 lowe this idea to Donald Fader

5 Hotteterres collection is full of engraving errors large and small so he clearly did not supervise the publication carefully For doubles of Le beau berger Tircis by Mr

R and Monreclair and of Lautre jour by Mr R and Blavet see Betty Bang Mather and David Lasocki Free Ornamentation in Woodwind Music 1700-1775 An Anthology with Introducshytion (New York McGinnis amp Marx 1976) 120-28

6 This paragraph and the two following are based on the preface to my edition

7 When I published my edition I did not realize that the photocopy I was working from was lacking pp 75-76 As a result my edition is missing three pieces two of which have doubles Je suis aime de celle que jadore Ruisseau qui dans la pleine and On a beau feindre Transposed versions of the two of these with doubles will be found in the musical examples in this present article

8 On the double see especially Stuart Cheney Observations on French Instrumental Variation Practices in the Seventeenth Century The Consort no 54 (Summer 1998) 18-32

9 French Baroque Music from Beaujoyeulx to Rameau rev and expanded ed (Portland OR Amadeus Press 1997)407410

10 Pierre Perrin in a manuscript Recueil de paroles de musique (Paris Bibliotheque Nationale fro 2208 ca 1667) quoted in Anthony French Baroque Music 445 11 In the preface to his Premier livre de pieces pour la flute-traversiere et autres instruments avec la basse Oeuvre second Nouvelle edition (Paris author Foucaultauthor Boivin 1715)

12 See Johann Joachim Quantz Versuch einer Anweisung die Flote traversiere zu spielen (Berlin 1752) 197 English translation by Edward R Reilly as On Playing the Flute 2nd ed (New York Schirmer Books 1985) 228

13 Cheney Observations 26-27

14 Hotteterre never uses the Italian term appoggiatura only the French port-de-voix But I find appoggiatura convenient for distinguishing between the long ornament in regular notation and the indeterminate ornament in small notation

15 William Bloomfield Pepper II The Alternate Embellishment in the Slow Movements of Telemanns Methodical Sonatas PhD dissertation The University of Iowa 1973

16 Lart de toucher Ie clavecin =The Art of Playing the Harpsichord ed and trans Margery Halford ([Sherman Oaks CA] Alfred Publishing 1974) 13 34 17 The text of the double at this point is actually vous lapprendre par mon trepas (you will learn it by my demise) an even more expressive phrase

Dr David Lasocki is Head of Reference Services in the William and Gayle Cook Music Library at Indiana University As a musicologist he has specialized in the history of woodwind instruments their social history repertoire and performance practice His most recent books are (with Andrew Ashbee assisted by Peter Holman and Fiona Kisby) A Biographical Dictionary of English Court Musicians 1485-1714 (Aldershot Hants amp Brookfield VT Ashgate 1998) and (ed) A Time of Questioning Proceedings of the International Double-Reed Symposium Utrecht 1994 (Utrecht STIMU 1999) He has written Recorder and twenty other articles for the second edition of The New Grove Dictionary ofMusic and Musicians due out in late 2000

29

I Rochers je ne veux point Benigne de Bacilly () Original key G major Hotteterres key G major

+ V

ne veux point fi- del - Ie Re

Double I~b ~ l E 1pound J~ + I r r VI t r ~ I IT r CJUf U U p C CF XXA

bull4 ~ I J n - + v bull +

tJ - di dont je me plains dont

Ii I + bull + ~~~

_ ~

tJ div C H C Ac Ac C

1_ n n

N N sec dom

T

+

a vous I

+

F

ris est

A NA F C

si char

C

v

F A SM C AcD A N

30

18

v ~ +

je sens____ pour el Ie

+

+

F E S F ACE C Ac E A Th

16

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It 1m I

+

g ~ -fez mil Ie ja - loux vous me rer -

4~ ~ ~ fshy+ ~ ~ shy E ~r ~ 1 yen

~~~ ffffrfftfffr(

Ac N A C M F SEC

I

~ 0

~ - lez ~ k ja - loux -

+ fill +_ ~~ ~+ f t- f f- f- ~ 0

~ II

S C P F C E C P ET

I I CI

31

---

2 Rochers vaus etes saurds Michel Lambert Lamberts key C minor Hotteterres key G minor

~ rmiddot

-shy+ -----shyl yen PII Il

-ampshy

n 1~ Ro - chers YOllS e - tes sourds

-ampshyf- +

1ft- ------shyDouble ~ ~ T

tJ

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I

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~ _ - -+

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P diy

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j

F C N P _~_ _____ d _

l J

P LI

TI

II 10 shyvIJ + ~+ -+ ------rJI

tJ sans VOllS e bran ler

h + ~_ ia ---- YOllS

I

me-COll- t~_ + i -cy

_ ----plusmnJ _ +

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L ~--f - -shy3 12- - --- ----

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st

1ftshy ~

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fL F

ft _ --J lL

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32

25

17 -- + c--+ r bull - - --- --- - v -------- + v

tJ _ un roshy

~ shy

tJ A C

cher_ aus-sy

~ _

bull

~s he-~as ~~ ~ ~ ~~E-- er-I tFF3 div N A E A E

~ (lIshy 1r (llshy b

il

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~+ V

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j l r r r I[US ura IF ~lrb F div N

I 1r p bull

11 112

-e-

me pas en ten - dre

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F CAe F C -eshy

33

3 Dans ces deserts paisibles Jean-Baptiste Lully Lullys key C minor Double probably by Michel Lambert Hotteterres key G minor

Tendrement 1 I V

(t)

HotteterresI4~bDouble

Lullys Double

11 I

iT

e

Dans ces de - serts pai - si bIes - - ~ ~+ +r-JIImiddot r-~ bf i EN Ct~I1 ~ L IC r iit r 1

~ IFOe - F

r-JIIF [far rtf r blqr i

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P Jr

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C E A

6 6

4 11 112+

sort_ est doux Vous +

p +

4 3 6

6 A V

F

~~~ ~

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6

34

V Abull t

~ - eux qui lest comme vous vous ~ - ~in - sen shy

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11 t ~

bullbull ~--------+ ~ ~ rfi tJ

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14 + -1 +

$~f] I

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tJ

ft I lest~

--- com - me 1+

vous -- v-

fj I

c ~ -

A shy

A C ~+ -

t

----b

35

4 Lautre jour Original key Bb mjaor Hotteterres key D major

+

Lau - tre jour rna Clo - ris Pour qui

~ +-- ~ -~+Cmiddot

Double 4P2~ i ~ Cmiddot UfL E UL L If J P A F C

V P+ 11 _ Af1 19- ~o + fIAutre double

IiJ

~ft - bull fL bull

VV j~ i~bull

coeur sou- pi

~eli I ~ ~

~middotE ~d XX asp Ac

-yshy

re Vau - tre jour rna Clo

V

V

~~- - P A

~ --~ ~ ~ -

~ rmiddot p r~

asp F ~ f fL P P

N asp A

V-7 V~

ris Pour qui sou-pi re

~~+~ ~V ~ r cshy FE E1J W 7 ~ tic brl r F C XX asp Ac

~ g~ ~J-q P tiC im~ r tZFfpfrf[Jrmiddot asp H N N Ac

- - bull

sou - ris___

~+ + V~

Y ffplusmn ftlr N V~~

bull fLfLfL ~

N N

r ~ p bull

36

aspC

c aspF

~+

H

v

re ~on ber-

N

)t

aspF

14 +

mours Mai - me reLZ___

+ -~

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+

)+

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asp

17 v

N

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asp

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continued page 38 ~

37

4 Lautre jour (continued)

20 V v fj +~ ~ n 1fJ- fit

fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull

~fit fILf fIL 1fII bull 1fII fIt

re

t

Mon ber

~ ~ bull bull 1fII fit

fj v

H c - asp F

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N

~ ~ 11- fit

f) o c

N

22

F

+

mes___ a mours Mai - me - reLZ___

~~~- +

aspF c asp asp

+

VOllS tOll

asp

~

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25 fj

jours

fj

fj [Petite reprise] r

~1fJ-~ fit

~ ~eFteuroflttshy + v bull

---- Fi+~_~ ter j=I+j~ ~

F N M extended C E C o M 17 _ -$shy

38

4

5 Si cest un crime Antoine Boesset Hotteterres key D major

~ + flit ~ shyL~ ~~~~~~ cest un eri pSi me __ lay mer On nen

a_a~~ --~~ plusmn + Double ~ ~

N A E M A C ~

19- I- a -e- ~ ~

V++ +

doit

~

just - te - ment

+

F a

bla +

mer

7 ~I+ It~

beau tez

V + ~ + + +~Id FUI diU SEC atO

C ornamentation of interval A-C F

Ie

In 11

12 V 15 I +lIi _____~1L ~+ ~- -

4H

Ie

F

La route hn ~~

Ell f frfr~ fmmsectl ~ C

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F

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Dieux Qui la

V + -shy

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continued page 40 -+

39

5 Si c est un crime ( continued)

16 fj ~ n ==Ibull ~

fl 1 I

~

bel Ie

~-~ ~ __ bullbull - -~

A ~

c ET C

--

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Mais non

~ bit cCr I C M 7th

6 Lamour Michel Lambert Hotteterres key D major

fl _0 1

t)

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Double rr~ yen Irmiddot ~ Eli Ir [~( ~~ F ioooooiiiiiI shyI- _f- f- ~I- 11- ~ ~ p

1

~

5 6 3 5 54 5 t t v+ +

troupeau Mais est ~

IT C P

+ - i +

~middotI~ NET

3 6 5 6 6 6 7 6 5

+

AC

LiiF ~ moin - dre du_ ha

3 4

40

quand jau

+

10 11 11 + V VrJ ~ V

F middot1 ~)~~t meau di shy ra

~+ + V2~a=r tglr

F

- r Irshy

~ ~ IG ~ ~ Ir ~ rr que cest peu de cho se La se

~ I)~V V ~ rWD=HPtlr 0 ~ middotII

f CP M ~

~ tiErtin Ef U 1 5 3 4 6

15 +

- rois tousles mou tons Des ber gers de nos can shy- ~ ~ + t V ---r- -

itl Efltt

t JItP C Ac A A PT N A C NC

6 6 6 4

tons Je les ne - gli - fle - rois en - co

V + ~ +

5 5 6

2

Pour Ie ber - ge - re que ja - do reo reo

~~V

M ACN

____C

6

X

6 4

41

10

7 Ah vous ne voulez pas Michel Lambert () Hotteterres key D major

Double hoU

4U a - U

ho~

4

~

6

J

I r-I

CF p

I

~6

+

I I

E A N F Iiiiiiiiiiii

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3 4 6

II +

soupirs

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div

r- I

fl hoUbull ~ -I --gt

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I

vous

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ne

-

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you -I _ _ rshy

bull + - h r

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lez pas en - ten - dre

~ ~~ - ---+ - -- r- r- J rshy _ r-

I r- _ shyrshy _ -

6 ~3 4 3q

6 12 V+ + +

pirs Lla - mour nlen a point plus ten dre

~ Y~ +

A Th H C

76 6 5 6 5

y +

mes de - sirs La

+

5 6 5

42

13

mour nen a

F

6 6 4 3

17 12 + Y

Pour VOllS exzshymer mes de-sirs La sirs

+ ~ ~ -erE IF FrErE ~ EC x M X N T

6 5 ~6 4 3

43

8 De mes soupirs Jean-Baptiste de Bousset Boussets key G major Hotteterres key D major

~ n ~ 111shy

De mes sou - pirs de rna Ian

I fl ~~bull 111- bull _ + ~_Hotteterres

Double IiJ N P C div AC E

V~ - shyttl - -bull 1fJ-_ + o 1fJ- fL fL~ fL fL Composers

Double P 110Iif Alit

-eshy

7 6lt 6 6 7 4 5

Graces D C only 4 + Ii I~~ -m_ 19-~ () Finefl -e- ft 111- n

Sj gueur

fl~

E cou - tez Ie ~

-- ~ -nshy 111shy -nshy 1shy t-1- 1II- _ _

ten

~ bullbullbull 111shy _

dre Ian ---

It T I 111shy

ga

~19shy n

ge

()

tJ

~~

A C

F

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A

--+ ~ (9shy n shy ~ ill

tJ

~ b-eshy p qf f 19shy

Fyen n

6 6 5 4

V8 12 a 19shy

ge

C div N Th C

b-e-

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6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

V -e- l~t

N A C P H

0 -e-

7 ~ 6

DC al Fine +C1I

45

9 Nicolas va voir Jeanne Original key A minor Hotteterres key D minor

Gay

Ni co - las va voir Jean ne Et

Hotteterres Ii ~Ilh~ cent Double - yen c N p G D

Original

Double

bt tF I

3

~lil Ii iIgt I if ~t rl E i ~

I r ~ --- E~ bull t+

Jean ne dor shy me~ VOllS Je ne dors n~ ne_ vei - He

~1i221i fJ(1 r fr IE

A C C ~

II r ~fII~~ r~i rrcttlF CG A C

g+

11 I bull ~f ~M f Mshy~ f ~ ~ ~ ~~

bull ] _ L

i3

~rr~

7 + ~ ~ r fL~ - bull bull

Et ne pen - se point_ a VOllS Vous y pershy

~ ~ ~ bull fLf bull + ~ f f ~ ~ ~ _ L bull bull

C G S C E A N D

0 ~ ~ + fL t ~ E nErft= ~~~~~=~~I~ iE bull

46

Double

-- ~ shy +

Ni - co - las SonL tous_ pas___ per

+ ~

N N N

dus pour vous

E

10 Air On joue cet air par Echo Hotteterres key D major

Modr v

II + V+

j ~~ampU ~~ T Ir ~ r I rmiddot V r

- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _

I I Le beau berger Tircis Hotteterres key C minor

v ~

Le beau

~

ber - ger Tir cis Pres

Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +

des - sus_ sa muz - et - te Ah pe-ti-te bru shy

+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

-J net - te

1JJ+

Ah _______ tu

~---~~ me fais

~ +

mou - rir

-gt

~ JJ +

C A c ~ bull _ -fL

c ~ - ~

-gt

bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49

12 Berger prend soin de mon troupeau Hotteterres key C minor

v

ger prend soin trou peau

~

Double

N H C E

Ashy

6 6

4 V 11 6[2fl Jj bullbull + I V ~ bull fL

17 =w mour me don - ne trop daf - fai

~ ~~ c-- ~ it -r f~middot ~ bull + ~ -shy ~ res

I

Ber ger prend

~

res Jevais at -V

~ -fI- bullbull

-u PC

~ ---o7K

~

P C ~ C E ~ ~===N

f r C

II

11 ro if t C

6 4 3 6 6

V V0 I

- J V ~w~

te des ber - ge - res Ah

A F div N F F

6 6

fL+ plusmn bull 11amp-( r r r Ico k

V

quand on est bien a - Tout au - tre

+ -~~ V 7r ~ ~amp-( r r [ ~ r r r ICo ~ IT ~

H N E

r IT f F121( r r Cmiddot IJ~ 6 6 6 6 6 6 6

4

50

soin pa - coit fa - eheux Je vais at - eheux

~~-= 6-r~r I IF 7 P r V

f~ Co E A f Cyen- [ r J Iro V g =lllI II

5q 6

13 Je suis anne Michel Lambert Lamberts key G minor Hotteterres key D minor

V + V~+ ~ ~ t+P Co ~~~ 3 I rl1F r I P~ro ll~rr Je suis ai-me de eel - Ie que ja- do

Double 14~bb 3 r [riF1r-6wc f~tilte1FM 0Jr1~_~

bull~+ + ~5 It I -fr f~ ~ bullbull 1_ -fr

v ~

J

fj I

- re

+

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bull ~~+~ + ~H tr - t -ci seeu que de

~ +- shy bull tJ

11 112shy10 V V

41I ~ llf r r I~f- FII t +

nous Nos plai - sirs sont dau - tant plus

~ ~

4~bb ~ 11 r f ~ ~ IEmr IF

L


51

13 Je suis aime (continued)

It 11218 1fI-~+Ii I bull ~ L+ ~~ -~

que nous trom pons les ja - loux

Ii ~~ ~+ ~ ~fr r19mEIT rrtf 1- 1-~~~ bull

~

[I~

v _~T - ~

52

of the song at other times he invents ornamentation more idiomatic for the flute In fourteen cases he also supplies doubles or ornamental variations of the entire songs Three of the doubles - for IJDans ces deserts IJDe mes soupirs and Nicolas va voir Jeanne - are similar to the doubles supplied by the songs composers All Hotteterres arrangements are valuable examples of the French style of woodwind ornamentation of the early 18th

century The songs that Hotteterre arranged for solo

flute are of two types airs de cour and brunettes James R Anthony has written that

For almost 200 years the air de cour served French composers as a primary model for their vocal music Lully consulted it rather than Italian aria and recitative for the airs and dialogues of his court and comedy ballets and his tragedies lyriques the recits of many seventeenth-century motets were nourished by it and in combination with dance measures its influence was felt in instrumental music Its restricted range and generally conservative harmony acted as a deterrent to the adoption of Italian vocal techniques throughout much of the grand siecle The formal structure of most airs de cour is simple Short stanzas made up of four or six lines are arranged musically in a variety of binary forms AB AAB or AABB are the most common Where meter signs appear they have no metric significance and may be viewed merely as a convenient way of grouping time units they must never be interpreted as depicting strong or weak accents9

A mid-17th century composer wrote that lithe air proceeds in a free though serious measure and movement and thus is more proper for the expression of love and the tender emotions of pain or of joy that it wakens in the heart lo Toward the end of the 17th century collections of airs tended to be intermixed with songs in lighter vein including the brunette The latter generally has a more popular style of melody the words tend to be pastoral and amorous often indeed celebrating the eponymous brunette

Hotteterre on Ornaments Before we discuss the ornamentation in the doubles of the Airs et brunettes it is worth summarizing what Hotteterre wrote about ornaments or agrements as he called them In the Principes de la flute traversiere ou flute

dallemagne de la flute a bec ou flute douce et du haut-bois divisez par traitez (paris 1707) he discussed seven different ornaments tremblement (trill) double cadence (trill with twoshynote termination tongued or slurred)flattement (finger vibrato) battement (lower mordent) portshyde-voix (appoggiatura from below) coulement (appoggiatura in a descending third) and accent (a short note a pitch higher than the written note) He remarked that a port-de-voix is often followed by a battement In the table of ornaments included with the preface to the second edition of his Pieces pour la flute traversiere et autres instruments avec la basse continue (Paris 1715) he added the port-de-voix double (double appoggiatura from below) demie cadence apuiee (a trill with a very long port-deshyvoix) tour de gosier (turn) and tour de chant (another kind of turn apparently made at the approach to a cadence)

In the 1715 preface he remarked that the flattement tremblement and battement should all be made faster or slower according to the tempo and character of the piece He also gave advice on where some of his ornaments should be added when they are not marked by the composer The flattement should be made on almost all long notes The tremblement must be made on almost all accident sharps (except on very short notes such as eighths and sixteenths) The double cadence is often made when you ascend one note after a tremblement The coulement must be made in all descending thirds Finally the accent is normally made at the end of a dotted quarter note followed by an eighth note at the same pitch also rarely on certain long notes

In the Principes Hotteterre said nothing about the length accentuation and placement of the port-de-voix and coulement leaving their performance up to the elusive goUt (good taste) that was all-important in the French music of the era Of course contemporaries had the benefit of having their taste shaped by hearing these ornaments performed whereas we have only vague instructions by Hotteterre and others From all these instructions one gets the impression that for woodwind instruments such ornaments were usually performed short unstressed and before the beat The Airs et brunettes however suggest that this is not always the case

Ornaments in the Airs et brunettes In order to help readers understand both

22




















23












24









25



















26




















27

















28

















29


+ V





Ii I + bull + ~~~

_ ~


1_ n n

N N sec dom

T

+

a vous I

+

F

ris est

A NA F C

si char

C

v

F A SM C AcD A N

30

18

v ~ +


+

+


16

~~I ~ r ro pshy +

It 1m I

+


4~ ~ ~ fshy+ ~ ~ shy E ~r ~ 1 yen

~~~ ffffrfftfffr(

Ac N A C M F SEC

I

~ 0


+ fill +_ ~~ ~+ f t- f f- f- ~ 0

~ II

S C P F C E C P ET

I I CI

31

---


~ rmiddot


-ampshy


-ampshyf- +


tJ

-f9shy fl- f- ~ f- ~ [ --shy

I

6 -- 1ft- J~~ ofih


~ _ - -+

~

yen

de ten dre

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bY~ ~-amp-

~

diy ----shy

P diy

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j

F C N P _~_ _____ d _

l J

P LI

TI

II 10 shyvIJ + ~+ -+ ------rJI



I


_ ----plusmnJ _ +

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L ~--f - -shy3 12- - --- ----

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~ Lin - gr at dont


--J

je ~lains ~

~_ bull

st

1ftshy ~

~ J fshy

~

fL F

ft _ --J lL

p C fr o

diy P C

I

32

25

17 -- + c--+ r bull - - --- --- - v -------- + v

tJ _ un roshy

~ shy

tJ A C

cher_ aus-sy

~ _

bull



il

+shy

A r

sen fuit

-~ +

C -Mshy

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11 112

-e-

me pas en ten - dre

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F CAe F C -eshy

33


Tendrement 1 I V

(t)


Lullys Double

11 I

iT

e


~ IFOe - F


Ro-chers

P Jr

uTI -f1Lf h shy -

vo tre

C E A

6 6

4 11 112+


p +

4 3 6

6 A V

F

~~~ ~

si

6

34

V Abull t



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8 v II~

ft t bull V

tJ

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c ~ -

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t

----b

35


+


~ +-- ~ -~+Cmiddot



IiJ

~ft - bull fL bull

VV j~ i~bull

coeur sou- pi

~eli I ~ ~


-yshy


V

V

~~- - P A

~ --~ ~ ~ -

~ rmiddot p r~

asp F ~ f fL P P

N asp A

V-7 V~




- - bull

sou - ris___

~+ + V~


bull fLfLfL ~

N N

r ~ p bull

36

aspC

c aspF

~+

H

v

re ~on ber-

N

)t

aspF

14 +


+ -~

asp

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)+

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asp

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asp

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continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

Mon ber


fj v

H c - asp F


N

~ ~ 11- fit

f) o c

N

22

F

+


~~~- +

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+

VOllS tOll

asp

~

asp

25 fj

jours

fj


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---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

19- I- a -e- ~ ~

V++ +

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~

just - te - ment

+

F a

bla +

mer

7 ~I+ It~

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tilshy -(i1shy

est aUK


F

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-gt

i

fir

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- ent


39


16 fj ~ n ==Ibull ~

fl 1 I

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bel Ie

~-~ ~ __ bullbull - -~

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c ET C

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~ bit cCr I C M 7th


fl _0 1

t)



1

~

5 6 3 5 54 5 t t v+ +


IT C P

+ - i +

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3 6 5 6 6 6 7 6 5

+

AC


3 4

40

quand jau

+

10 11 11 + V VrJ ~ V


~+ + V2~a=r tglr

F

- r Irshy



f CP M ~


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M ACN

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6

X

6 4

41

10


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4U a - U

ho~

4

~

6

J

I r-I

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I

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y +

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+

5 6 5

42

13

mour nen a

F

6 6 4 3

17 12 + Y



6 5 ~6 4 3

43


~ n ~ 111shy






-eshy

7 6lt 6 6 7 4 5


Sj gueur

fl~

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ten


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ga

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ge

()

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~~

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F

~ ~ +-f 1- _ x - bull 1fJ-_shy

A


tJ


Fyen n

6 6 5 4

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ge

C div N Th C

b-e-

da-vanshy

6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

V -e- l~t

N A C P H

0 -e-

7 ~ 6

DC al Fine +C1I

45


Gay



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bt tF I

3





A C C ~


g+

11 I bull ~f ~M f Mshy~ f ~ ~ ~ ~~

bull ] _ L

i3

~rr~




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46

Double

-- ~ shy +


+ ~

N N N

dus pour vous

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Modr v

II + V+


- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

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continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

-J net - te

1JJ+

Ah _______ tu

~---~~ me fais

~ +

mou - rir

-gt

~ JJ +

C A c ~ bull _ -fL

c ~ - ~

-gt

bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

~

res Jevais at -V

~ -fI- bullbull

-u PC

~ ---o7K

~

P C ~ C E ~ ~===N

f r C

II

11 ro if t C

6 4 3 6 6

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50


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5q 6





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J

fj I

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+



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11 112shy10 V V



~ ~


L


51


It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



~

[I~

v _~T - ~

52




















23












24









25



















26




















27

















28

















29


+ V





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1_ n n

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+

a vous I

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ris est

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si char

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v

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30

18

v ~ +


+

+


16

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+


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~~~ ffffrfftfffr(

Ac N A C M F SEC

I

~ 0


+ fill +_ ~~ ~+ f t- f f- f- ~ 0

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31

---


~ rmiddot


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tJ

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yen

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TI

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--J

je ~lains ~

~_ bull

st

1ftshy ~

~ J fshy

~

fL F

ft _ --J lL

p C fr o

diy P C

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32

25

17 -- + c--+ r bull - - --- --- - v -------- + v

tJ _ un roshy

~ shy

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cher_ aus-sy

~ _

bull



il

+shy

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sen fuit

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11 112

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me pas en ten - dre

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33


Tendrement 1 I V

(t)


Lullys Double

11 I

iT

e


~ IFOe - F


Ro-chers

P Jr

uTI -f1Lf h shy -

vo tre

C E A

6 6

4 11 112+


p +

4 3 6

6 A V

F

~~~ ~

si

6

34

V Abull t



11 t ~



14 + -1 +

$~f] I


-I = I ---P C NF N ~

~ CU~W~rl~ii

7 6

8 v II~

ft t bull V

tJ

ft I lest~

--- com - me 1+

vous -- v-

fj I

c ~ -

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A C ~+ -

t

----b

35


+


~ +-- ~ -~+Cmiddot



IiJ

~ft - bull fL bull

VV j~ i~bull

coeur sou- pi

~eli I ~ ~


-yshy


V

V

~~- - P A

~ --~ ~ ~ -

~ rmiddot p r~

asp F ~ f fL P P

N asp A

V-7 V~




- - bull

sou - ris___

~+ + V~


bull fLfLfL ~

N N

r ~ p bull

36

aspC

c aspF

~+

H

v

re ~on ber-

N

)t

aspF

14 +


+ -~

asp

+

)+

vous tou -

asp

17 v

N

sou - V~

asp

Sen vinL touL

continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

Mon ber


fj v

H c - asp F


N

~ ~ 11- fit

f) o c

N

22

F

+


~~~- +

aspF c asp asp

+

VOllS tOll

asp

~

asp

25 fj

jours

fj


~1fJ-~ fit


---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

19- I- a -e- ~ ~

V++ +

doit

~

just - te - ment

+

F a

bla +

mer

7 ~I+ It~

beau tez



Ie

In 11

12 V 15 I +lIi _____~1L ~+ ~- -

4H

Ie

F

La route hn ~~


tilshy -(i1shy

est aUK


F

-shyE E

Dieux Qui la

V + -shy

-gt

i

fir

-F

- ent


39


16 fj ~ n ==Ibull ~

fl 1 I

~

bel Ie

~-~ ~ __ bullbull - -~

A ~

c ET C

--

-shyasp

Mais non

~ bit cCr I C M 7th


fl _0 1

t)



1

~

5 6 3 5 54 5 t t v+ +


IT C P

+ - i +

~middotI~ NET

3 6 5 6 6 6 7 6 5

+

AC


3 4

40

quand jau

+

10 11 11 + V VrJ ~ V


~+ + V2~a=r tglr

F

- r Irshy



f CP M ~


15 +


itl Efltt


6 6 6 4


V + ~ +

5 5 6

2


~~V

M ACN

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6

X

6 4

41

10


Double hoU

4U a - U

ho~

4

~

6

J

I r-I

CF p

I

~6

+

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r- I


Ah

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I

vous

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ne

-

- I

you -I _ _ rshy

bull + - h r

I


~ ~~ - ---+ - -- r- r- J rshy _ r-

I r- _ shyrshy _ -

6 ~3 4 3q

6 12 V+ + +


~ Y~ +

A Th H C

76 6 5 6 5

y +

mes de - sirs La

+

5 6 5

42

13

mour nen a

F

6 6 4 3

17 12 + Y



6 5 ~6 4 3

43


~ n ~ 111shy






-eshy

7 6lt 6 6 7 4 5


Sj gueur

fl~

E cou - tez Ie ~


ten


dre Ian ---

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ga

~19shy n

ge

()

tJ

~~

A C

F

~ ~ +-f 1- _ x - bull 1fJ-_shy

A


tJ


Fyen n

6 6 5 4

V8 12 a 19shy

ge

C div N Th C

b-e-

da-vanshy

6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

V -e- l~t

N A C P H

0 -e-

7 ~ 6

DC al Fine +C1I

45


Gay



Original

Double

bt tF I

3





A C C ~


g+

11 I bull ~f ~M f Mshy~ f ~ ~ ~ ~~

bull ] _ L

i3

~rr~




C G S C E A N D


46

Double

-- ~ shy +


+ ~

N N N

dus pour vous

E


Modr v

II + V+


- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

-J net - te

1JJ+

Ah _______ tu

~---~~ me fais

~ +

mou - rir

-gt

~ JJ +

C A c ~ bull _ -fL

c ~ - ~

-gt

bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

~

res Jevais at -V

~ -fI- bullbull

-u PC

~ ---o7K

~

P C ~ C E ~ ~===N

f r C

II

11 ro if t C

6 4 3 6 6

V V0 I

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6 6


V



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4

50


~~-= 6-r~r I IF 7 P r V


5q 6





v ~

J

fj I

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+



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11 112shy10 V V



~ ~


L


51


It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



~

[I~

v _~T - ~

52












24









25



















26




















27

















28

















29


+ V





Ii I + bull + ~~~

_ ~


1_ n n

N N sec dom

T

+

a vous I

+

F

ris est

A NA F C

si char

C

v

F A SM C AcD A N

30

18

v ~ +


+

+


16

~~I ~ r ro pshy +

It 1m I

+


4~ ~ ~ fshy+ ~ ~ shy E ~r ~ 1 yen

~~~ ffffrfftfffr(

Ac N A C M F SEC

I

~ 0


+ fill +_ ~~ ~+ f t- f f- f- ~ 0

~ II

S C P F C E C P ET

I I CI

31

---


~ rmiddot


-ampshy


-ampshyf- +


tJ

-f9shy fl- f- ~ f- ~ [ --shy

I

6 -- 1ft- J~~ ofih


~ _ - -+

~

yen

de ten dre

Cg IfVtr7t Et

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j

F C N P _~_ _____ d _

l J

P LI

TI

II 10 shyvIJ + ~+ -+ ------rJI



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_ ----plusmnJ _ +

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~ Lin - gr at dont


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je ~lains ~

~_ bull

st

1ftshy ~

~ J fshy

~

fL F

ft _ --J lL

p C fr o

diy P C

I

32

25

17 -- + c--+ r bull - - --- --- - v -------- + v

tJ _ un roshy

~ shy

tJ A C

cher_ aus-sy

~ _

bull



il

+shy

A r

sen fuit

-~ +

C -Mshy

~+ V



I 1r p bull

11 112

-e-

me pas en ten - dre

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F CAe F C -eshy

33


Tendrement 1 I V

(t)


Lullys Double

11 I

iT

e


~ IFOe - F


Ro-chers

P Jr

uTI -f1Lf h shy -

vo tre

C E A

6 6

4 11 112+


p +

4 3 6

6 A V

F

~~~ ~

si

6

34

V Abull t



11 t ~



14 + -1 +

$~f] I


-I = I ---P C NF N ~

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7 6

8 v II~

ft t bull V

tJ

ft I lest~

--- com - me 1+

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fj I

c ~ -

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t

----b

35


+


~ +-- ~ -~+Cmiddot



IiJ

~ft - bull fL bull

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coeur sou- pi

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V

V

~~- - P A

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asp F ~ f fL P P

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V-7 V~




- - bull

sou - ris___

~+ + V~


bull fLfLfL ~

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r ~ p bull

36

aspC

c aspF

~+

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v

re ~on ber-

N

)t

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14 +


+ -~

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)+

vous tou -

asp

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sou - V~

asp

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continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

Mon ber


fj v

H c - asp F


N

~ ~ 11- fit

f) o c

N

22

F

+


~~~- +

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+

VOllS tOll

asp

~

asp

25 fj

jours

fj


~1fJ-~ fit


---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

19- I- a -e- ~ ~

V++ +

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~

just - te - ment

+

F a

bla +

mer

7 ~I+ It~

beau tez



Ie

In 11

12 V 15 I +lIi _____~1L ~+ ~- -

4H

Ie

F

La route hn ~~


tilshy -(i1shy

est aUK


F

-shyE E

Dieux Qui la

V + -shy

-gt

i

fir

-F

- ent


39


16 fj ~ n ==Ibull ~

fl 1 I

~

bel Ie

~-~ ~ __ bullbull - -~

A ~

c ET C

--

-shyasp

Mais non

~ bit cCr I C M 7th


fl _0 1

t)



1

~

5 6 3 5 54 5 t t v+ +


IT C P

+ - i +

~middotI~ NET

3 6 5 6 6 6 7 6 5

+

AC


3 4

40

quand jau

+

10 11 11 + V VrJ ~ V


~+ + V2~a=r tglr

F

- r Irshy



f CP M ~


15 +


itl Efltt


6 6 6 4


V + ~ +

5 5 6

2


~~V

M ACN

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6

X

6 4

41

10


Double hoU

4U a - U

ho~

4

~

6

J

I r-I

CF p

I

~6

+

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3 4 6

II +

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~

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r- I


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I

vous

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ne

-

- I

you -I _ _ rshy

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I


~ ~~ - ---+ - -- r- r- J rshy _ r-

I r- _ shyrshy _ -

6 ~3 4 3q

6 12 V+ + +


~ Y~ +

A Th H C

76 6 5 6 5

y +

mes de - sirs La

+

5 6 5

42

13

mour nen a

F

6 6 4 3

17 12 + Y



6 5 ~6 4 3

43


~ n ~ 111shy






-eshy

7 6lt 6 6 7 4 5


Sj gueur

fl~

E cou - tez Ie ~


ten


dre Ian ---

It T I 111shy

ga

~19shy n

ge

()

tJ

~~

A C

F

~ ~ +-f 1- _ x - bull 1fJ-_shy

A


tJ


Fyen n

6 6 5 4

V8 12 a 19shy

ge

C div N Th C

b-e-

da-vanshy

6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

V -e- l~t

N A C P H

0 -e-

7 ~ 6

DC al Fine +C1I

45


Gay



Original

Double

bt tF I

3





A C C ~


g+

11 I bull ~f ~M f Mshy~ f ~ ~ ~ ~~

bull ] _ L

i3

~rr~




C G S C E A N D


46

Double

-- ~ shy +


+ ~

N N N

dus pour vous

E


Modr v

II + V+


- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

-J net - te

1JJ+

Ah _______ tu

~---~~ me fais

~ +

mou - rir

-gt

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C A c ~ bull _ -fL

c ~ - ~

-gt

bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

~

res Jevais at -V

~ -fI- bullbull

-u PC

~ ---o7K

~

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II

11 ro if t C

6 4 3 6 6

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50


~~-= 6-r~r I IF 7 P r V


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fj I

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11 112shy10 V V



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L


51


It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



~

[I~

v _~T - ~

52









25



















26




















27

















28

















29


+ V





Ii I + bull + ~~~

_ ~


1_ n n

N N sec dom

T

+

a vous I

+

F

ris est

A NA F C

si char

C

v

F A SM C AcD A N

30

18

v ~ +


+

+


16

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+


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~~~ ffffrfftfffr(

Ac N A C M F SEC

I

~ 0


+ fill +_ ~~ ~+ f t- f f- f- ~ 0

~ II

S C P F C E C P ET

I I CI

31

---


~ rmiddot


-ampshy


-ampshyf- +


tJ

-f9shy fl- f- ~ f- ~ [ --shy

I

6 -- 1ft- J~~ ofih


~ _ - -+

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yen

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P diy

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j

F C N P _~_ _____ d _

l J

P LI

TI

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je ~lains ~

~_ bull

st

1ftshy ~

~ J fshy

~

fL F

ft _ --J lL

p C fr o

diy P C

I

32

25

17 -- + c--+ r bull - - --- --- - v -------- + v

tJ _ un roshy

~ shy

tJ A C

cher_ aus-sy

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bull



il

+shy

A r

sen fuit

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C -Mshy

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I 1r p bull

11 112

-e-

me pas en ten - dre

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33


Tendrement 1 I V

(t)


Lullys Double

11 I

iT

e


~ IFOe - F


Ro-chers

P Jr

uTI -f1Lf h shy -

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6 6

4 11 112+


p +

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si

6

34

V Abull t



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8 v II~

ft t bull V

tJ

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t

----b

35


+


~ +-- ~ -~+Cmiddot



IiJ

~ft - bull fL bull

VV j~ i~bull

coeur sou- pi

~eli I ~ ~


-yshy


V

V

~~- - P A

~ --~ ~ ~ -

~ rmiddot p r~

asp F ~ f fL P P

N asp A

V-7 V~




- - bull

sou - ris___

~+ + V~


bull fLfLfL ~

N N

r ~ p bull

36

aspC

c aspF

~+

H

v

re ~on ber-

N

)t

aspF

14 +


+ -~

asp

+

)+

vous tou -

asp

17 v

N

sou - V~

asp

Sen vinL touL

continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

Mon ber


fj v

H c - asp F


N

~ ~ 11- fit

f) o c

N

22

F

+


~~~- +

aspF c asp asp

+

VOllS tOll

asp

~

asp

25 fj

jours

fj


~1fJ-~ fit


---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

19- I- a -e- ~ ~

V++ +

doit

~

just - te - ment

+

F a

bla +

mer

7 ~I+ It~

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In 11

12 V 15 I +lIi _____~1L ~+ ~- -

4H

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F

La route hn ~~


tilshy -(i1shy

est aUK


F

-shyE E

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V + -shy

-gt

i

fir

-F

- ent


39


16 fj ~ n ==Ibull ~

fl 1 I

~

bel Ie

~-~ ~ __ bullbull - -~

A ~

c ET C

--

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~ bit cCr I C M 7th


fl _0 1

t)



1

~

5 6 3 5 54 5 t t v+ +


IT C P

+ - i +

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3 6 5 6 6 6 7 6 5

+

AC


3 4

40

quand jau

+

10 11 11 + V VrJ ~ V


~+ + V2~a=r tglr

F

- r Irshy



f CP M ~


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itl Efltt


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V + ~ +

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2


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M ACN

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6

X

6 4

41

10


Double hoU

4U a - U

ho~

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~

6

J

I r-I

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I

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6 ~3 4 3q

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76 6 5 6 5

y +

mes de - sirs La

+

5 6 5

42

13

mour nen a

F

6 6 4 3

17 12 + Y



6 5 ~6 4 3

43


~ n ~ 111shy






-eshy

7 6lt 6 6 7 4 5


Sj gueur

fl~

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ten


dre Ian ---

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ga

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ge

()

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~~

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F

~ ~ +-f 1- _ x - bull 1fJ-_shy

A


tJ


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6 6 5 4

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ge

C div N Th C

b-e-

da-vanshy

6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

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0 -e-

7 ~ 6

DC al Fine +C1I

45


Gay



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bt tF I

3





A C C ~


g+

11 I bull ~f ~M f Mshy~ f ~ ~ ~ ~~

bull ] _ L

i3

~rr~




C G S C E A N D


46

Double

-- ~ shy +


+ ~

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dus pour vous

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Modr v

II + V+


- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

-J net - te

1JJ+

Ah _______ tu

~---~~ me fais

~ +

mou - rir

-gt

~ JJ +

C A c ~ bull _ -fL

c ~ - ~

-gt

bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

~

res Jevais at -V

~ -fI- bullbull

-u PC

~ ---o7K

~

P C ~ C E ~ ~===N

f r C

II

11 ro if t C

6 4 3 6 6

V V0 I

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V



H N E


4

50


~~-= 6-r~r I IF 7 P r V


5q 6





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J

fj I

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+



~ +- shy bull tJ

11 112shy10 V V



~ ~


L


51


It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



~

[I~

v _~T - ~

52



















26




















27

















28

















29


+ V





Ii I + bull + ~~~

_ ~


1_ n n

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+

a vous I

+

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ris est

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si char

C

v

F A SM C AcD A N

30

18

v ~ +


+

+


16

~~I ~ r ro pshy +

It 1m I

+


4~ ~ ~ fshy+ ~ ~ shy E ~r ~ 1 yen

~~~ ffffrfftfffr(

Ac N A C M F SEC

I

~ 0


+ fill +_ ~~ ~+ f t- f f- f- ~ 0

~ II

S C P F C E C P ET

I I CI

31

---


~ rmiddot


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I

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~ _ - -+

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yen

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j

F C N P _~_ _____ d _

l J

P LI

TI

II 10 shyvIJ + ~+ -+ ------rJI



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--J

je ~lains ~

~_ bull

st

1ftshy ~

~ J fshy

~

fL F

ft _ --J lL

p C fr o

diy P C

I

32

25

17 -- + c--+ r bull - - --- --- - v -------- + v

tJ _ un roshy

~ shy

tJ A C

cher_ aus-sy

~ _

bull



il

+shy

A r

sen fuit

-~ +

C -Mshy

~+ V



I 1r p bull

11 112

-e-

me pas en ten - dre

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F CAe F C -eshy

33


Tendrement 1 I V

(t)


Lullys Double

11 I

iT

e


~ IFOe - F


Ro-chers

P Jr

uTI -f1Lf h shy -

vo tre

C E A

6 6

4 11 112+


p +

4 3 6

6 A V

F

~~~ ~

si

6

34

V Abull t



11 t ~



14 + -1 +

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8 v II~

ft t bull V

tJ

ft I lest~

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c ~ -

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t

----b

35


+


~ +-- ~ -~+Cmiddot



IiJ

~ft - bull fL bull

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coeur sou- pi

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-yshy


V

V

~~- - P A

~ --~ ~ ~ -

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asp F ~ f fL P P

N asp A

V-7 V~




- - bull

sou - ris___

~+ + V~


bull fLfLfL ~

N N

r ~ p bull

36

aspC

c aspF

~+

H

v

re ~on ber-

N

)t

aspF

14 +


+ -~

asp

+

)+

vous tou -

asp

17 v

N

sou - V~

asp

Sen vinL touL

continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

Mon ber


fj v

H c - asp F


N

~ ~ 11- fit

f) o c

N

22

F

+


~~~- +

aspF c asp asp

+

VOllS tOll

asp

~

asp

25 fj

jours

fj


~1fJ-~ fit


---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

19- I- a -e- ~ ~

V++ +

doit

~

just - te - ment

+

F a

bla +

mer

7 ~I+ It~

beau tez



Ie

In 11

12 V 15 I +lIi _____~1L ~+ ~- -

4H

Ie

F

La route hn ~~


tilshy -(i1shy

est aUK


F

-shyE E

Dieux Qui la

V + -shy

-gt

i

fir

-F

- ent


39


16 fj ~ n ==Ibull ~

fl 1 I

~

bel Ie

~-~ ~ __ bullbull - -~

A ~

c ET C

--

-shyasp

Mais non

~ bit cCr I C M 7th


fl _0 1

t)



1

~

5 6 3 5 54 5 t t v+ +


IT C P

+ - i +

~middotI~ NET

3 6 5 6 6 6 7 6 5

+

AC


3 4

40

quand jau

+

10 11 11 + V VrJ ~ V


~+ + V2~a=r tglr

F

- r Irshy



f CP M ~


15 +


itl Efltt


6 6 6 4


V + ~ +

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2


~~V

M ACN

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6

X

6 4

41

10


Double hoU

4U a - U

ho~

4

~

6

J

I r-I

CF p

I

~6

+

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r- I


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I

vous

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ne

-

- I

you -I _ _ rshy

bull + - h r

I


~ ~~ - ---+ - -- r- r- J rshy _ r-

I r- _ shyrshy _ -

6 ~3 4 3q

6 12 V+ + +


~ Y~ +

A Th H C

76 6 5 6 5

y +

mes de - sirs La

+

5 6 5

42

13

mour nen a

F

6 6 4 3

17 12 + Y



6 5 ~6 4 3

43


~ n ~ 111shy






-eshy

7 6lt 6 6 7 4 5


Sj gueur

fl~

E cou - tez Ie ~


ten


dre Ian ---

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ga

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ge

()

tJ

~~

A C

F

~ ~ +-f 1- _ x - bull 1fJ-_shy

A


tJ


Fyen n

6 6 5 4

V8 12 a 19shy

ge

C div N Th C

b-e-

da-vanshy

6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

V -e- l~t

N A C P H

0 -e-

7 ~ 6

DC al Fine +C1I

45


Gay



Original

Double

bt tF I

3





A C C ~


g+

11 I bull ~f ~M f Mshy~ f ~ ~ ~ ~~

bull ] _ L

i3

~rr~




C G S C E A N D


46

Double

-- ~ shy +


+ ~

N N N

dus pour vous

E


Modr v

II + V+


- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

-J net - te

1JJ+

Ah _______ tu

~---~~ me fais

~ +

mou - rir

-gt

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C A c ~ bull _ -fL

c ~ - ~

-gt

bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

~

res Jevais at -V

~ -fI- bullbull

-u PC

~ ---o7K

~

P C ~ C E ~ ~===N

f r C

II

11 ro if t C

6 4 3 6 6

V V0 I

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6 6


V



H N E


4

50


~~-= 6-r~r I IF 7 P r V


5q 6





v ~

J

fj I

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+



~ +- shy bull tJ

11 112shy10 V V



~ ~


L


51


It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



~

[I~

v _~T - ~

52




















27

















28

















29


+ V





Ii I + bull + ~~~

_ ~


1_ n n

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T

+

a vous I

+

F

ris est

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si char

C

v

F A SM C AcD A N

30

18

v ~ +


+

+


16

~~I ~ r ro pshy +

It 1m I

+


4~ ~ ~ fshy+ ~ ~ shy E ~r ~ 1 yen

~~~ ffffrfftfffr(

Ac N A C M F SEC

I

~ 0


+ fill +_ ~~ ~+ f t- f f- f- ~ 0

~ II

S C P F C E C P ET

I I CI

31

---


~ rmiddot


-ampshy


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tJ

-f9shy fl- f- ~ f- ~ [ --shy

I

6 -- 1ft- J~~ ofih


~ _ - -+

~

yen

de ten dre

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j

F C N P _~_ _____ d _

l J

P LI

TI

II 10 shyvIJ + ~+ -+ ------rJI



I


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je ~lains ~

~_ bull

st

1ftshy ~

~ J fshy

~

fL F

ft _ --J lL

p C fr o

diy P C

I

32

25

17 -- + c--+ r bull - - --- --- - v -------- + v

tJ _ un roshy

~ shy

tJ A C

cher_ aus-sy

~ _

bull



il

+shy

A r

sen fuit

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C -Mshy

~+ V



I 1r p bull

11 112

-e-

me pas en ten - dre

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F CAe F C -eshy

33


Tendrement 1 I V

(t)


Lullys Double

11 I

iT

e


~ IFOe - F


Ro-chers

P Jr

uTI -f1Lf h shy -

vo tre

C E A

6 6

4 11 112+


p +

4 3 6

6 A V

F

~~~ ~

si

6

34

V Abull t



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$~f] I


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8 v II~

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tJ

ft I lest~

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c ~ -

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t

----b

35


+


~ +-- ~ -~+Cmiddot



IiJ

~ft - bull fL bull

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coeur sou- pi

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V

~~- - P A

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V-7 V~




- - bull

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bull fLfLfL ~

N N

r ~ p bull

36

aspC

c aspF

~+

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v

re ~on ber-

N

)t

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14 +


+ -~

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)+

vous tou -

asp

17 v

N

sou - V~

asp

Sen vinL touL

continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

Mon ber


fj v

H c - asp F


N

~ ~ 11- fit

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N

22

F

+


~~~- +

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+

VOllS tOll

asp

~

asp

25 fj

jours

fj


~1fJ-~ fit


---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

19- I- a -e- ~ ~

V++ +

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~

just - te - ment

+

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bla +

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7 ~I+ It~

beau tez



Ie

In 11

12 V 15 I +lIi _____~1L ~+ ~- -

4H

Ie

F

La route hn ~~


tilshy -(i1shy

est aUK


F

-shyE E

Dieux Qui la

V + -shy

-gt

i

fir

-F

- ent


39


16 fj ~ n ==Ibull ~

fl 1 I

~

bel Ie

~-~ ~ __ bullbull - -~

A ~

c ET C

--

-shyasp

Mais non

~ bit cCr I C M 7th


fl _0 1

t)



1

~

5 6 3 5 54 5 t t v+ +


IT C P

+ - i +

~middotI~ NET

3 6 5 6 6 6 7 6 5

+

AC


3 4

40

quand jau

+

10 11 11 + V VrJ ~ V


~+ + V2~a=r tglr

F

- r Irshy



f CP M ~


15 +


itl Efltt


6 6 6 4


V + ~ +

5 5 6

2


~~V

M ACN

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6

X

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41

10


Double hoU

4U a - U

ho~

4

~

6

J

I r-I

CF p

I

~6

+

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-eshy n -shyI I

3 4 6

II +

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~

div

r- I


Ah

() Q

I

vous

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ne

-

- I

you -I _ _ rshy

bull + - h r

I


~ ~~ - ---+ - -- r- r- J rshy _ r-

I r- _ shyrshy _ -

6 ~3 4 3q

6 12 V+ + +


~ Y~ +

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76 6 5 6 5

y +

mes de - sirs La

+

5 6 5

42

13

mour nen a

F

6 6 4 3

17 12 + Y



6 5 ~6 4 3

43


~ n ~ 111shy






-eshy

7 6lt 6 6 7 4 5


Sj gueur

fl~

E cou - tez Ie ~


ten


dre Ian ---

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ga

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ge

()

tJ

~~

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F

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A


tJ


Fyen n

6 6 5 4

V8 12 a 19shy

ge

C div N Th C

b-e-

da-vanshy

6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

V -e- l~t

N A C P H

0 -e-

7 ~ 6

DC al Fine +C1I

45


Gay



Original

Double

bt tF I

3





A C C ~


g+

11 I bull ~f ~M f Mshy~ f ~ ~ ~ ~~

bull ] _ L

i3

~rr~




C G S C E A N D


46

Double

-- ~ shy +


+ ~

N N N

dus pour vous

E


Modr v

II + V+


- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

-J net - te

1JJ+

Ah _______ tu

~---~~ me fais

~ +

mou - rir

-gt

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C A c ~ bull _ -fL

c ~ - ~

-gt

bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

~

res Jevais at -V

~ -fI- bullbull

-u PC

~ ---o7K

~

P C ~ C E ~ ~===N

f r C

II

11 ro if t C

6 4 3 6 6

V V0 I

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A F div N F F

6 6


V



H N E


4

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Lullys Double

11 I

iT

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tJ

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+


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V

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V-7 V~




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aspC

c aspF

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continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

Mon ber


fj v

H c - asp F


N

~ ~ 11- fit

f) o c

N

22

F

+


~~~- +

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+

VOllS tOll

asp

~

asp

25 fj

jours

fj


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---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

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just - te - ment

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bla +

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est aUK


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fir

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39


16 fj ~ n ==Ibull ~

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bel Ie

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c ET C

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t)



1

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+ - i +

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3 6 5 6 6 6 7 6 5

+

AC


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quand jau

+

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~+ + V2~a=r tglr

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+

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42

13

mour nen a

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6 6 4 3

17 12 + Y



6 5 ~6 4 3

43


~ n ~ 111shy






-eshy

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tJ


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6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

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Gay



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3





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g+

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bull ] _ L

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46

Double

-- ~ shy +


+ ~

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dus pour vous

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II + V+


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jmiddot bull ] I

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continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

-J net - te

1JJ+

Ah _______ tu

~---~~ me fais

~ +

mou - rir

-gt

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c ~ - ~

-gt

bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

~

res Jevais at -V

~ -fI- bullbull

-u PC

~ ---o7K

~

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f r C

II

11 ro if t C

6 4 3 6 6

V V0 I

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6 6


V



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4

50


~~-= 6-r~r I IF 7 P r V


5q 6





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11 112shy10 V V



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L


51


It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



~

[I~

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52

















29


+ V





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ris est

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si char

C

v

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30

18

v ~ +


+

+


16

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+


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Ac N A C M F SEC

I

~ 0


+ fill +_ ~~ ~+ f t- f f- f- ~ 0

~ II

S C P F C E C P ET

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31

---


~ rmiddot


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tJ

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6 -- 1ft- J~~ ofih


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l J

P LI

TI

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st

1ftshy ~

~ J fshy

~

fL F

ft _ --J lL

p C fr o

diy P C

I

32

25

17 -- + c--+ r bull - - --- --- - v -------- + v

tJ _ un roshy

~ shy

tJ A C

cher_ aus-sy

~ _

bull



il

+shy

A r

sen fuit

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C -Mshy

~+ V



I 1r p bull

11 112

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me pas en ten - dre

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33


Tendrement 1 I V

(t)


Lullys Double

11 I

iT

e


~ IFOe - F


Ro-chers

P Jr

uTI -f1Lf h shy -

vo tre

C E A

6 6

4 11 112+


p +

4 3 6

6 A V

F

~~~ ~

si

6

34

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35


+


~ +-- ~ -~+Cmiddot



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V

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asp F ~ f fL P P

N asp A

V-7 V~




- - bull

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bull fLfLfL ~

N N

r ~ p bull

36

aspC

c aspF

~+

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v

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N

)t

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14 +


+ -~

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)+

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asp

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asp

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continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

Mon ber


fj v

H c - asp F


N

~ ~ 11- fit

f) o c

N

22

F

+


~~~- +

aspF c asp asp

+

VOllS tOll

asp

~

asp

25 fj

jours

fj


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---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

19- I- a -e- ~ ~

V++ +

doit

~

just - te - ment

+

F a

bla +

mer

7 ~I+ It~

beau tez



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In 11

12 V 15 I +lIi _____~1L ~+ ~- -

4H

Ie

F

La route hn ~~


tilshy -(i1shy

est aUK


F

-shyE E

Dieux Qui la

V + -shy

-gt

i

fir

-F

- ent


39


16 fj ~ n ==Ibull ~

fl 1 I

~

bel Ie

~-~ ~ __ bullbull - -~

A ~

c ET C

--

-shyasp

Mais non

~ bit cCr I C M 7th


fl _0 1

t)



1

~

5 6 3 5 54 5 t t v+ +


IT C P

+ - i +

~middotI~ NET

3 6 5 6 6 6 7 6 5

+

AC


3 4

40

quand jau

+

10 11 11 + V VrJ ~ V


~+ + V2~a=r tglr

F

- r Irshy



f CP M ~


15 +


itl Efltt


6 6 6 4


V + ~ +

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2


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6

X

6 4

41

10


Double hoU

4U a - U

ho~

4

~

6

J

I r-I

CF p

I

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+

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I

vous

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6 ~3 4 3q

6 12 V+ + +


~ Y~ +

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76 6 5 6 5

y +

mes de - sirs La

+

5 6 5

42

13

mour nen a

F

6 6 4 3

17 12 + Y



6 5 ~6 4 3

43


~ n ~ 111shy






-eshy

7 6lt 6 6 7 4 5


Sj gueur

fl~

E cou - tez Ie ~


ten


dre Ian ---

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ga

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ge

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tJ

~~

A C

F

~ ~ +-f 1- _ x - bull 1fJ-_shy

A


tJ


Fyen n

6 6 5 4

V8 12 a 19shy

ge

C div N Th C

b-e-

da-vanshy

6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

V -e- l~t

N A C P H

0 -e-

7 ~ 6

DC al Fine +C1I

45


Gay



Original

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bt tF I

3





A C C ~


g+

11 I bull ~f ~M f Mshy~ f ~ ~ ~ ~~

bull ] _ L

i3

~rr~




C G S C E A N D


46

Double

-- ~ shy +


+ ~

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dus pour vous

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Modr v

II + V+


- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

-J net - te

1JJ+

Ah _______ tu

~---~~ me fais

~ +

mou - rir

-gt

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C A c ~ bull _ -fL

c ~ - ~

-gt

bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

~

res Jevais at -V

~ -fI- bullbull

-u PC

~ ---o7K

~

P C ~ C E ~ ~===N

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II

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6 4 3 6 6

V V0 I

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6 6


V



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4

50


~~-= 6-r~r I IF 7 P r V


5q 6





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11 112shy10 V V



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L


51


It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



~

[I~

v _~T - ~

52


+ V





Ii I + bull + ~~~

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1_ n n

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+

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+

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ris est

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si char

C

v

F A SM C AcD A N

30

18

v ~ +


+

+


16

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It 1m I

+


4~ ~ ~ fshy+ ~ ~ shy E ~r ~ 1 yen

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Ac N A C M F SEC

I

~ 0


+ fill +_ ~~ ~+ f t- f f- f- ~ 0

~ II

S C P F C E C P ET

I I CI

31

---


~ rmiddot


-ampshy


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tJ

-f9shy fl- f- ~ f- ~ [ --shy

I

6 -- 1ft- J~~ ofih


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yen

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P LI

TI

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~_ bull

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1ftshy ~

~ J fshy

~

fL F

ft _ --J lL

p C fr o

diy P C

I

32

25

17 -- + c--+ r bull - - --- --- - v -------- + v

tJ _ un roshy

~ shy

tJ A C

cher_ aus-sy

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bull



il

+shy

A r

sen fuit

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I 1r p bull

11 112

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me pas en ten - dre

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33


Tendrement 1 I V

(t)


Lullys Double

11 I

iT

e


~ IFOe - F


Ro-chers

P Jr

uTI -f1Lf h shy -

vo tre

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6 6

4 11 112+


p +

4 3 6

6 A V

F

~~~ ~

si

6

34

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t

----b

35


+


~ +-- ~ -~+Cmiddot



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36

aspC

c aspF

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v

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continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

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fj v

H c - asp F


N

~ ~ 11- fit

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22

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+


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+

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asp

~

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jours

fj


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---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

19- I- a -e- ~ ~

V++ +

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~

just - te - ment

+

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bla +

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7 ~I+ It~

beau tez



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4H

Ie

F

La route hn ~~


tilshy -(i1shy

est aUK


F

-shyE E

Dieux Qui la

V + -shy

-gt

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fir

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- ent


39


16 fj ~ n ==Ibull ~

fl 1 I

~

bel Ie

~-~ ~ __ bullbull - -~

A ~

c ET C

--

-shyasp

Mais non

~ bit cCr I C M 7th


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t)



1

~

5 6 3 5 54 5 t t v+ +


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+ - i +

~middotI~ NET

3 6 5 6 6 6 7 6 5

+

AC


3 4

40

quand jau

+

10 11 11 + V VrJ ~ V


~+ + V2~a=r tglr

F

- r Irshy



f CP M ~


15 +


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6 6 6 4


V + ~ +

5 5 6

2


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M ACN

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41

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~

6

J

I r-I

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+

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r- I


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ne

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6 ~3 4 3q

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y +

mes de - sirs La

+

5 6 5

42

13

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6 6 4 3

17 12 + Y



6 5 ~6 4 3

43


~ n ~ 111shy






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7 6lt 6 6 7 4 5


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fl~

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ten


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ga

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~~

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tJ


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6 6 5 4

V8 12 a 19shy

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b-e-

da-vanshy

6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

V -e- l~t

N A C P H

0 -e-

7 ~ 6

DC al Fine +C1I

45


Gay



Original

Double

bt tF I

3





A C C ~


g+

11 I bull ~f ~M f Mshy~ f ~ ~ ~ ~~

bull ] _ L

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~rr~




C G S C E A N D


46

Double

-- ~ shy +


+ ~

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dus pour vous

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Modr v

II + V+


- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

-J net - te

1JJ+

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~---~~ me fais

~ +

mou - rir

-gt

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c ~ - ~

-gt

bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

~

res Jevais at -V

~ -fI- bullbull

-u PC

~ ---o7K

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f r C

II

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52

18

v ~ +


+

+


16

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~~~ ffffrfftfffr(

Ac N A C M F SEC

I

~ 0


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~ II

S C P F C E C P ET

I I CI

31

---


~ rmiddot


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st

1ftshy ~

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fL F

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p C fr o

diy P C

I

32

25

17 -- + c--+ r bull - - --- --- - v -------- + v

tJ _ un roshy

~ shy

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cher_ aus-sy

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bull



il

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sen fuit

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I 1r p bull

11 112

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33


Tendrement 1 I V

(t)


Lullys Double

11 I

iT

e


~ IFOe - F


Ro-chers

P Jr

uTI -f1Lf h shy -

vo tre

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6 6

4 11 112+


p +

4 3 6

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F

~~~ ~

si

6

34

V Abull t



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8 v II~

ft t bull V

tJ

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c ~ -

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t

----b

35


+


~ +-- ~ -~+Cmiddot



IiJ

~ft - bull fL bull

VV j~ i~bull

coeur sou- pi

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-yshy


V

V

~~- - P A

~ --~ ~ ~ -

~ rmiddot p r~

asp F ~ f fL P P

N asp A

V-7 V~




- - bull

sou - ris___

~+ + V~


bull fLfLfL ~

N N

r ~ p bull

36

aspC

c aspF

~+

H

v

re ~on ber-

N

)t

aspF

14 +


+ -~

asp

+

)+

vous tou -

asp

17 v

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sou - V~

asp

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continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

Mon ber


fj v

H c - asp F


N

~ ~ 11- fit

f) o c

N

22

F

+


~~~- +

aspF c asp asp

+

VOllS tOll

asp

~

asp

25 fj

jours

fj


~1fJ-~ fit


---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

19- I- a -e- ~ ~

V++ +

doit

~

just - te - ment

+

F a

bla +

mer

7 ~I+ It~

beau tez



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In 11

12 V 15 I +lIi _____~1L ~+ ~- -

4H

Ie

F

La route hn ~~


tilshy -(i1shy

est aUK


F

-shyE E

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V + -shy

-gt

i

fir

-F

- ent


39


16 fj ~ n ==Ibull ~

fl 1 I

~

bel Ie

~-~ ~ __ bullbull - -~

A ~

c ET C

--

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Mais non

~ bit cCr I C M 7th


fl _0 1

t)



1

~

5 6 3 5 54 5 t t v+ +


IT C P

+ - i +

~middotI~ NET

3 6 5 6 6 6 7 6 5

+

AC


3 4

40

quand jau

+

10 11 11 + V VrJ ~ V


~+ + V2~a=r tglr

F

- r Irshy



f CP M ~


15 +


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6 6 6 4


V + ~ +

5 5 6

2


~~V

M ACN

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6

X

6 4

41

10


Double hoU

4U a - U

ho~

4

~

6

J

I r-I

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I

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+

I I


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II +

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r- I


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I

vous

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ne

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y +

mes de - sirs La

+

5 6 5

42

13

mour nen a

F

6 6 4 3

17 12 + Y



6 5 ~6 4 3

43


~ n ~ 111shy






-eshy

7 6lt 6 6 7 4 5


Sj gueur

fl~

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ten


dre Ian ---

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ga

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ge

()

tJ

~~

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F

~ ~ +-f 1- _ x - bull 1fJ-_shy

A


tJ


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6 6 5 4

V8 12 a 19shy

ge

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b-e-

da-vanshy

6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

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0 -e-

7 ~ 6

DC al Fine +C1I

45


Gay



Original

Double

bt tF I

3





A C C ~


g+

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bull ] _ L

i3

~rr~




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46

Double

-- ~ shy +


+ ~

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dus pour vous

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Modr v

II + V+


- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

-J net - te

1JJ+

Ah _______ tu

~---~~ me fais

~ +

mou - rir

-gt

~ JJ +

C A c ~ bull _ -fL

c ~ - ~

-gt

bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

~

res Jevais at -V

~ -fI- bullbull

-u PC

~ ---o7K

~

P C ~ C E ~ ~===N

f r C

II

11 ro if t C

6 4 3 6 6

V V0 I

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6 6


V



H N E


4

50


~~-= 6-r~r I IF 7 P r V


5q 6





v ~

J

fj I

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+



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11 112shy10 V V



~ ~


L


51


It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



~

[I~

v _~T - ~

52

---


~ rmiddot


-ampshy


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tJ

-f9shy fl- f- ~ f- ~ [ --shy

I

6 -- 1ft- J~~ ofih


~ _ - -+

~

yen

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j

F C N P _~_ _____ d _

l J

P LI

TI

II 10 shyvIJ + ~+ -+ ------rJI



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~ Lin - gr at dont


--J

je ~lains ~

~_ bull

st

1ftshy ~

~ J fshy

~

fL F

ft _ --J lL

p C fr o

diy P C

I

32

25

17 -- + c--+ r bull - - --- --- - v -------- + v

tJ _ un roshy

~ shy

tJ A C

cher_ aus-sy

~ _

bull



il

+shy

A r

sen fuit

-~ +

C -Mshy

~+ V



I 1r p bull

11 112

-e-

me pas en ten - dre

-e-

F CAe F C -eshy

33


Tendrement 1 I V

(t)


Lullys Double

11 I

iT

e


~ IFOe - F


Ro-chers

P Jr

uTI -f1Lf h shy -

vo tre

C E A

6 6

4 11 112+


p +

4 3 6

6 A V

F

~~~ ~

si

6

34

V Abull t



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7 6

8 v II~

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tJ

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c ~ -

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t

----b

35


+


~ +-- ~ -~+Cmiddot



IiJ

~ft - bull fL bull

VV j~ i~bull

coeur sou- pi

~eli I ~ ~


-yshy


V

V

~~- - P A

~ --~ ~ ~ -

~ rmiddot p r~

asp F ~ f fL P P

N asp A

V-7 V~




- - bull

sou - ris___

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bull fLfLfL ~

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r ~ p bull

36

aspC

c aspF

~+

H

v

re ~on ber-

N

)t

aspF

14 +


+ -~

asp

+

)+

vous tou -

asp

17 v

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sou - V~

asp

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continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

Mon ber


fj v

H c - asp F


N

~ ~ 11- fit

f) o c

N

22

F

+


~~~- +

aspF c asp asp

+

VOllS tOll

asp

~

asp

25 fj

jours

fj


~1fJ-~ fit


---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

19- I- a -e- ~ ~

V++ +

doit

~

just - te - ment

+

F a

bla +

mer

7 ~I+ It~

beau tez



Ie

In 11

12 V 15 I +lIi _____~1L ~+ ~- -

4H

Ie

F

La route hn ~~


tilshy -(i1shy

est aUK


F

-shyE E

Dieux Qui la

V + -shy

-gt

i

fir

-F

- ent


39


16 fj ~ n ==Ibull ~

fl 1 I

~

bel Ie

~-~ ~ __ bullbull - -~

A ~

c ET C

--

-shyasp

Mais non

~ bit cCr I C M 7th


fl _0 1

t)



1

~

5 6 3 5 54 5 t t v+ +


IT C P

+ - i +

~middotI~ NET

3 6 5 6 6 6 7 6 5

+

AC


3 4

40

quand jau

+

10 11 11 + V VrJ ~ V


~+ + V2~a=r tglr

F

- r Irshy



f CP M ~


15 +


itl Efltt


6 6 6 4


V + ~ +

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2


~~V

M ACN

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6

X

6 4

41

10


Double hoU

4U a - U

ho~

4

~

6

J

I r-I

CF p

I

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+

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r- I


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I

vous

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ne

-

- I

you -I _ _ rshy

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6 ~3 4 3q

6 12 V+ + +


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76 6 5 6 5

y +

mes de - sirs La

+

5 6 5

42

13

mour nen a

F

6 6 4 3

17 12 + Y



6 5 ~6 4 3

43


~ n ~ 111shy






-eshy

7 6lt 6 6 7 4 5


Sj gueur

fl~

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ten


dre Ian ---

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ge

()

tJ

~~

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F

~ ~ +-f 1- _ x - bull 1fJ-_shy

A


tJ


Fyen n

6 6 5 4

V8 12 a 19shy

ge

C div N Th C

b-e-

da-vanshy

6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

V -e- l~t

N A C P H

0 -e-

7 ~ 6

DC al Fine +C1I

45


Gay



Original

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bt tF I

3





A C C ~


g+

11 I bull ~f ~M f Mshy~ f ~ ~ ~ ~~

bull ] _ L

i3

~rr~




C G S C E A N D


46

Double

-- ~ shy +


+ ~

N N N

dus pour vous

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Modr v

II + V+


- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

-J net - te

1JJ+

Ah _______ tu

~---~~ me fais

~ +

mou - rir

-gt

~ JJ +

C A c ~ bull _ -fL

c ~ - ~

-gt

bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

~

res Jevais at -V

~ -fI- bullbull

-u PC

~ ---o7K

~

P C ~ C E ~ ~===N

f r C

II

11 ro if t C

6 4 3 6 6

V V0 I

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6 6


V



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4

50


~~-= 6-r~r I IF 7 P r V


5q 6





v ~

J

fj I

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+



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11 112shy10 V V



~ ~


L


51


It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



~

[I~

v _~T - ~

52

25

17 -- + c--+ r bull - - --- --- - v -------- + v

tJ _ un roshy

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tJ A C

cher_ aus-sy

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bull



il

+shy

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sen fuit

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I 1r p bull

11 112

-e-

me pas en ten - dre

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33


Tendrement 1 I V

(t)


Lullys Double

11 I

iT

e


~ IFOe - F


Ro-chers

P Jr

uTI -f1Lf h shy -

vo tre

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6 6

4 11 112+


p +

4 3 6

6 A V

F

~~~ ~

si

6

34

V Abull t



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tJ

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c ~ -

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t

----b

35


+


~ +-- ~ -~+Cmiddot



IiJ

~ft - bull fL bull

VV j~ i~bull

coeur sou- pi

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V

V

~~- - P A

~ --~ ~ ~ -

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asp F ~ f fL P P

N asp A

V-7 V~




- - bull

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bull fLfLfL ~

N N

r ~ p bull

36

aspC

c aspF

~+

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v

re ~on ber-

N

)t

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14 +


+ -~

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)+

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asp

17 v

N

sou - V~

asp

Sen vinL touL

continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

Mon ber


fj v

H c - asp F


N

~ ~ 11- fit

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N

22

F

+


~~~- +

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+

VOllS tOll

asp

~

asp

25 fj

jours

fj


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---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

19- I- a -e- ~ ~

V++ +

doit

~

just - te - ment

+

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bla +

mer

7 ~I+ It~

beau tez



Ie

In 11

12 V 15 I +lIi _____~1L ~+ ~- -

4H

Ie

F

La route hn ~~


tilshy -(i1shy

est aUK


F

-shyE E

Dieux Qui la

V + -shy

-gt

i

fir

-F

- ent


39


16 fj ~ n ==Ibull ~

fl 1 I

~

bel Ie

~-~ ~ __ bullbull - -~

A ~

c ET C

--

-shyasp

Mais non

~ bit cCr I C M 7th


fl _0 1

t)



1

~

5 6 3 5 54 5 t t v+ +


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+ - i +

~middotI~ NET

3 6 5 6 6 6 7 6 5

+

AC


3 4

40

quand jau

+

10 11 11 + V VrJ ~ V


~+ + V2~a=r tglr

F

- r Irshy



f CP M ~


15 +


itl Efltt


6 6 6 4


V + ~ +

5 5 6

2


~~V

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41

10


Double hoU

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~

6

J

I r-I

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~6

+

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r- I


Ah

() Q

I

vous

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ne

-

- I

you -I _ _ rshy

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~ ~~ - ---+ - -- r- r- J rshy _ r-

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6 ~3 4 3q

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mes de - sirs La

+

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42

13

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6 6 4 3

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6 5 ~6 4 3

43


~ n ~ 111shy






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7 6lt 6 6 7 4 5


Sj gueur

fl~

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ga

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ge

()

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~~

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~ ~ +-f 1- _ x - bull 1fJ-_shy

A


tJ


Fyen n

6 6 5 4

V8 12 a 19shy

ge

C div N Th C

b-e-

da-vanshy

6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

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0 -e-

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Gay



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3





A C C ~


g+

11 I bull ~f ~M f Mshy~ f ~ ~ ~ ~~

bull ] _ L

i3

~rr~




C G S C E A N D


46

Double

-- ~ shy +


+ ~

N N N

dus pour vous

E


Modr v

II + V+


- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

-J net - te

1JJ+

Ah _______ tu

~---~~ me fais

~ +

mou - rir

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C A c ~ bull _ -fL

c ~ - ~

-gt

bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

~

res Jevais at -V

~ -fI- bullbull

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~ ---o7K

~

P C ~ C E ~ ~===N

f r C

II

11 ro if t C

6 4 3 6 6

V V0 I

- J V ~w~


A F div N F F

6 6


V



H N E


4

50


~~-= 6-r~r I IF 7 P r V


5q 6





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aspC

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continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

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fj v

H c - asp F


N

~ ~ 11- fit

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N

22

F

+


~~~- +

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+

VOllS tOll

asp

~

asp

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jours

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---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

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16 fj ~ n ==Ibull ~

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1

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+

AC


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13

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6 5 ~6 4 3

43


~ n ~ 111shy






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tJ


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6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

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Gay



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bt tF I

3





A C C ~


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~rr~




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Double

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+ ~

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dus pour vous

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- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

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continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

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6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

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~---~~ me fais

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c ~ - ~

-gt

bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

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-u PC

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It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



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V Abull t



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+


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V

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asp F ~ f fL P P

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aspC

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v

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)t

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)+

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continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

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fj v

H c - asp F


N

~ ~ 11- fit

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N

22

F

+


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+

VOllS tOll

asp

~

asp

25 fj

jours

fj


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---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

19- I- a -e- ~ ~

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~

just - te - ment

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bla +

mer

7 ~I+ It~

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est aUK


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39


16 fj ~ n ==Ibull ~

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c ET C

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~ bit cCr I C M 7th


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1

~

5 6 3 5 54 5 t t v+ +


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+ - i +

~middotI~ NET

3 6 5 6 6 6 7 6 5

+

AC


3 4

40

quand jau

+

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~+ + V2~a=r tglr

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~

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+

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42

13

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6 5 ~6 4 3

43


~ n ~ 111shy






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A


tJ


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6 6 5 4

V8 12 a 19shy

ge

C div N Th C

b-e-

da-vanshy

6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

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0 -e-

7 ~ 6

DC al Fine +C1I

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3





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dus pour vous

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II + V+


- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

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continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

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6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

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bull II

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49


v


~

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Ashy

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It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



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[I~

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52


+


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aspC

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v

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asp

Sen vinL touL

continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

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fj v

H c - asp F


N

~ ~ 11- fit

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22

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+


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jours

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---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

19- I- a -e- ~ ~

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bla +

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Ie

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est aUK


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fir

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- ent


39


16 fj ~ n ==Ibull ~

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~

bel Ie

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c ET C

--

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~ bit cCr I C M 7th


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t)



1

~

5 6 3 5 54 5 t t v+ +


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+

AC


3 4

40

quand jau

+

10 11 11 + V VrJ ~ V


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- r Irshy



f CP M ~


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2


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6

X

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41

10


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~

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J

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+

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y +

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+

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42

13

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6 6 4 3

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43


~ n ~ 111shy






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tJ


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6 6 5 4

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ge

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b-e-

da-vanshy

6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

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0 -e-

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DC al Fine +C1I

45


Gay



Original

Double

bt tF I

3





A C C ~


g+

11 I bull ~f ~M f Mshy~ f ~ ~ ~ ~~

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46

Double

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II + V+


- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

-J net - te

1JJ+

Ah _______ tu

~---~~ me fais

~ +

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bull II

I

49


v


~

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N H C E

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6 6




I

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It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



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52

aspC

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14 +


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continued page 38 ~

37



fj

bas

i~(fIL 1 fIL fIL

me di

+ ~ --j~~-f~ l bull


re

t

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fj v

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N

~ ~ 11- fit

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22

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jours

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---- Fi+~_~ ter j=I+j~ ~


38

4




N A E M A C ~

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bla +

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4H

Ie

F

La route hn ~~


tilshy -(i1shy

est aUK


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39


16 fj ~ n ==Ibull ~

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~

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~ bit cCr I C M 7th


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~

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+ - i +

~middotI~ NET

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+

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3 4

40

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- r Irshy



f CP M ~


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41

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~

6

J

I r-I

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+

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42

13

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43


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tJ


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6 6 5 4

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b-e-

da-vanshy

6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

V -e- l~t

N A C P H

0 -e-

7 ~ 6

DC al Fine +C1I

45


Gay



Original

Double

bt tF I

3





A C C ~


g+

11 I bull ~f ~M f Mshy~ f ~ ~ ~ ~~

bull ] _ L

i3

~rr~




C G S C E A N D


46

Double

-- ~ shy +


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dus pour vous

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II + V+


- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

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1JJ+

Ah _______ tu

~---~~ me fais

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bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

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res Jevais at -V

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6 4 3 6 6

V V0 I

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6 6


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H N E


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38

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continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

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3

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48

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+ ~-+ +

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-II

I

-gt A

+ + -----II bull --- ---- --- bull

~ -- ~ IV II -gt

F A N

bull II

I

49


v


~

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N H C E

Ashy

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39


16 fj ~ n ==Ibull ~

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jmiddot bull ] I

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continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

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-II

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+ + -----II bull --- ---- --- bull

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bull II

I

49


v


~

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N H C E

Ashy

6 6




I

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16 fj ~ n ==Ibull ~

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13

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tJ


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44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

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0 -e-

7 ~ 6

DC al Fine +C1I

45


Gay



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Double

bt tF I

3





A C C ~


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46

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~

jmiddot bull ] I

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continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

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6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

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49


v


~

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N H C E

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6 6




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It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



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44

11 V-e-~ -e- V 1ii- -1=+

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45


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3





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46

Double

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dus pour vous

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~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

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6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

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~---~~ me fais

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+ + -----II bull --- ---- --- bull

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bull II

I

49


v


~

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N H C E

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44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

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DC al Fine +C1I

45


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bt tF I

3





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~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

N x X AAcc E

6 6 5 6 6 6

10 II ~ fj w dplusmn= ~-~~~ _ - _ t

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Ah _______ tu

~---~~ me fais

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c ~ - ~

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bull C c A C A

-II

I

-gt A

+ + -----II bull --- ---- --- bull

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bull II

I

49


v


~

Double

N H C E

Ashy

6 6




I

Ber ger prend

~

res Jevais at -V

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-u PC

~ ---o7K

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It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



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[I~

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52

13

mour nen a

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6 6 4 3

17 12 + Y



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43


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7 6lt 6 6 7 4 5


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6 6 5 4

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6 5 6 6

44

11 V-e-~ -e- V 1ii- -1=+

ge Tout 1a - mour

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DC al Fine +C1I

45


Gay



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Double

bt tF I

3





A C C ~


g+

11 I bull ~f ~M f Mshy~ f ~ ~ ~ ~~

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~rr~




C G S C E A N D


46

Double

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- fj ~~ fL~ ~ + ~ ~E

~

jmiddot bull ] I

A N E ~

continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

H

48

6 vgt A - + + +


+ ~-+ +

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10 II ~ fj w dplusmn= ~-~~~ _ - _ t

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+ + -----II bull --- ---- --- bull

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F A N

bull II

I

49


v


~

Double

N H C E

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6 6




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Ber ger prend

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II

11 ro if t C

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6 6


V



H N E


4

50


~~-= 6-r~r I IF 7 P r V


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continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


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~


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v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

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48

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+ + -----II bull --- ---- --- bull

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I

49


v


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continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

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48

6 vgt A - + + +


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I

49


v


~

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continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

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48

6 vgt A - + + +


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49


v


~

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jmiddot bull ] I

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continued page 48 ~

47

I0 Air ( continued)

14 11 12 + ~ ~~ n - - fI ~

~ +n -- ~~-

~ p

T _


v ~

Le beau

~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

6 6

3

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48

6 vgt A - + + +


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49


v


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51


It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



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52

I0 Air ( continued)

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~


Double

v

Autre double i~~~~~~ij~~~~~~~~~~~~~~~~~~~~~~~~~

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48

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49


v


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It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



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6 vgt A - + + +


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49


v


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52


It 11218 1fI-~+Ii I bull ~ L+ ~~ -~



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52

Documents

The Doubles in I I) - Instant Harmony: Musicmusic.instantharmony.net/Lasocki_Doubles_REJ_No5_1999.pdf · ornaments and freer ornamentation in Hotteterre's Airs et brunettes, the examples