Transcriptions follow of all pieces in PadB, PadC, I-Pu 684, most pieces in GB-Ob 229, and two pieces in I-Pu 1475 (see exclusa, below). The purpose of the transcriptions is primarily to facilitate study of the music of the Paduan fragments: text that does not underlay music has not been recorded.
For the fragmentary compositions, only sections which are actually in the Paduan fragments have been recorded. PadB’s Aler m’en veus is the single exception to this rule. The lower voice from the Latin contrafactum in I-BC 15 is given because the structure of both voices is integral to the discussion of the composition in chapter 4. In order to show the harmonic structure of the pieces more easily, the tenor voice has been placed on the bottom even though it is often above the contratenor in the manuscripts. The layout of voices in the fragments can be seen in the gathering structures in chapters 4-6.
Text, punctuation, and capitalization are as they appear in the manuscripts themselves. Abbreviations have been expanded when unambiguous, except in the case of names (including Jesus Christ, which is often abbreviated with the Greek derived "yhu xpe").
Musica ficta has been used sparingly in the transcriptions. Only leading tones to the octave at cadential points have ficta markings (small accidentals above the notes). This rule is not observed for cadences on E. Leading tones to the fifth have not been marked, though it appears they were often performed sharpened. In the case of cadences on A, an F preceding the leading tone G has been sharpened. Ficta to avoid tritones, diminished and augmented octaves, and other dissonances has not been indicated. Accidentals are sometimes added, again above the staff, to indicate the preceding accidental is unambiguously still in effect.
Ligatures have been indicated in the transcriptions by solid brackets. In Ay si in PadB, notes with coloration have a dashed bracket above them. Untexted compositions have line breaks in the manuscript marked with arrows () in the transcription. Page breaks are marked with two arrows ().
The durations of final notes are given as they appear in the manuscripts, without additional fermatas or attempts to equalize lengths in various parts. Decorated final longs are indicated in modern notation by breves.
21. GB-Ob 229: Sus unne fontaine (Ciconia)
22. I-Pu 1475: Sanctus (Sant Omer)
23. I-Pu 1475: Agnus dei (anonymous)
24. I-Pu 1475: Sanctus (anonymous)
25. I-Pu 1475: Et in terra pax (Engardus)
26. I-Pu 1475: Et in terra pax (Ciconia)
27. I-Pu 1475: Ite misse est (Machaut)
28,32. I-Pu 1475: Et in terra...Clementie (anonymous)
29. I-Pu 1475: [Giovine vagha]...rosa virtute (Landini)
30. I-Pu 1475: [Donna l’animo tuo] (Landini) – only the text is present in the fragments
31. I-Pu 1475: Gratiosus fervidus/Magnanissimus opere (anonymous)
34. I-Pu 1475: Se questa dea (Johannes Baçus Correçarus)
35. I-Pu 1475: Et in terra pax (anonymous)
37. I-Pu 1475: Lux purpurata...Diligite iusticiam (Jacopo da Bologna)
(N.B.: in the web version, transcriptions are found accompanying the description of each composition.)