FOOTNOTES:

1. [01:15] Book ii, f.63r [Eng. ed., p. 203]: “Para lo qual es de saber, que assi como en todas las cosas, cada cosa se ordena a vn fin, para el qual se toman muchos medios, assi todo lo que hasta aqui se ha tratado en este libro, va ordenado y endereçado como medios a vn fin, que es tañer a concierto y por arte.”

2. [01:25] Book ii, f.63r [Eng. ed., p. 203]: “Para esto es de notar, que el que quisiere tañer por arte y concierto, esto es, ordenando y concertando todas las vozes vnas con otras, ha de ymaginar y hazer cuenta, que las quatro vozes son quatro hombres de buena razon, delos quales cada vno en particular habla quando deve hablar, y calla quando deve callar, y responde quando deve responder, teniendose respecto vnos a otros conforme a razon” 

3. [01:58] Book ii, f.63v [Eng. ed., p. 204]: “Assi mesmo para que la musica sea mas perfecta, es necessario que cada voz en particular, lleve solfa graciosa y de buena entonacion, y con este aviso se tenga gran cuenta, por ser cosa muy essencial & importante.” 

4. [02:46] Book ii, f.72r [Eng. ed., p. 234]: “Y notese que tañendo a quatro vozes, es cosa muy delicada y apazible a los oydos, tañer los passos sueltos, lo qual se haze, tañendo vnas vezes a duo, y otras a tres y otras a quatro [ ...]” 

5. [03:12] Book ii, f.64r [Eng. ed., p. 208]: “Una delas cosas essenciales y aun dificultosas, que ay enla musica, es saber tañer vn duo con primor y arte, lo qual es principal fundamento, para tañer a concierto y por arte.” 

6. [04:42] The first scholar to use this term is John Milsom in his article “‘Imitatio’,‘Intertextuality’, and Early Music” [link]. 

7. [07:02] See Peter Schubert’s summary of this on a poster he made - “The Combinatorics of Stretto Fuga: Thomas de Sancta Maria's Mirror Inversions” [link]. 

8. [09:40] Book ii, f.76v [246]: “Mas hase de notar, que quando el duo acabare de hazer la solfa del passo sobre que se tañere con ambas a dos vozes, en signos que sean disonancia del signo o signos en que huviere de entrar la vna voz, o las dos si entraren juntas del otro duo que se siguiere, necessariamente con el tal duo, se ha de hazer vn rodeo de solfa graciosa, que no sea largo, el qual se ponga en signos que sean consonancia dela vna voz, o delas dos, si entraren juntas del otro duo que se siguiere.” 

9. [13:21] More about intabualtions and scores in our episodes “Intabulations in the 16th and 17th centuries” and “The Italian keyboard partitura”. 

10. [13:39] In the video an intabulation is made to an Italian intavolatura, which is practically a modern keyboard score. However, a Spanish musician from the middle of the 16th century would probably have intabultated into what we call nowadays a Spanish organ tablature. To learn more about that see our episode about “Intabulations in the 16th and 17th centuries” (specifically from 07:27). 

11. [13:45] According to some sources it seems that some professional keyboard players in mid-16th century Spain were able to read polyphony from separate parts (often referred to as “choir-book format”). See Jessie Ann Owens, Composers at Work: The Craft of Musical Composition 1450-1600 (New York: Oxford University Press, 1997), 48-52. 

SANTA MARIA'S CADENCES TERMINOLOGY:

According to our cadences terminology (as presented in our episode "Cadences in the 16th and 17th centuries"),  in the chapters discussed in this video Santa Maria only refer to two-step cadences. The differentiation is made by the interval between the two lowest voices. Thus, what we call a "sopran cadence" is called by Santa Maria a "cadence with a 2nd"; what we call an authentic cadence he calls a "cadence with a 4th"; a variation of it when the bass first touch the "fourth degree of the mode" is called by Santa Maria a "cadence with a 5th"; and finally, what we call a "tenor cadence" is called by Santa Maria a "cadence with a  7th". A further term that he uses to describe the location of subjects around a cadence is the "cadential semibreve" (semibreve dela clausula) - this is the syncopated note of the cantizans.  He remarks several times that this "cadential semibreve" is often, in fact, a dotted minim, as it includes a little cadential ornament.