The two voices of Se per dureça are found at the top, with the contratenor of a composition entitled Ay si found below. Notice that the two initial capital S's and the capital C were never added. In the margin, a small s (looking like a hook) can be easily seen before the fourth staff as an indicator to a future scribe. At the top and bottom of the page Bachinius wrote the call number YY.2.n.23 AC 3 in the mid-fifteenth century. He also inventoried the rest of the manuscript and signed his name. Notice the difference in spacing of the minims () between Se per dureça and Ay si. However, the similarities between the final wavy longs convince us both compositions were copied by the same scribe. The hollow notes in the seventh staff are red in the original manuscript, as are the notes at "Secunda ps." A portion of the main body of the codex can be seen above and below this folio. Since these flyleaves were meant to protect the body of the manuscript, it is reasonable to assume that they were not trimmed at their top and bottom edges.

The top voice of Aler m'en veus is written here. At the top of the page, an attribution of "Johans" is found; possibly the missing folio on the other side has "Ciconia" or some variation on that name written at the top. The five staves of empty space at the bottom of the page would have given enough room to write a second voice had one existed originally. Norms of page layout in Padua c. 1400 suggest that either the second voice was missing or that a third voice was originally present. Although the shapes of the notes are identical to the notes of Se per dureça in f. A, the two compositions are in different notational systems. That Aler m'en veus is in French notation can be seen by the scarcity of dots of division such as are seen throughout Se per dureça. Notice the large modern-style sharp (#) in the second staff. Other scribes use a sign which resembles a modern natural sign () to indicate a sharp. Distinguishing musical scribes through details like this enables us to examine the prejudices and preferences of a single late medieval scribal-editor.

This plate reproduces the wooden inside cover of MS 658. Originally, f. B of PadC was pasted to the rear cover of the manuscript to protect the main corpus of the manuscript. When f. B was removed, much of the ink remained on the wood. Surprisingly, a nearly legible copy of the composition, Apolinis eclipsatur remained on the parchment as well. When a transparency of the parchment is superimposed upon a mirror image of the cover, such as the one above, an almost total reconstruction of the composition can be created. Because of the possible damage to the cover and to the parchment, many flyleaves remain pasted to their manuscript covers continuing to conceal the contents of their reverse side. Houghton library MS 122 (US-CAh 122) is one such flyleaf, containing unica compositions from northern Italy. Notice that PadC uses six-line staves as opposed to the five-line staves of PadA and PadB. The large spaces between notes is a result of the long text being set syllabically (one note per syllable).

The polyphonic music fragments in I-Pu 1475 were used to strengthen the cover of the manuscript. Since they were not to be seen, the damage they were allowed to suffer was more extensive than that of the other four fragments studied. Folio B shows a setting of the Sanctus from the mass for three voices by "Sant Omer". Different sections the Sanctus have been lost in each voice. For example, the middle voice has the complete "Pleni sunt celi et terra gloria tua" preserved (fifth staff), while the top voice is missing the ending (second staff) and the tenor voice (bottom) is missing the initial "Pleni" (eighth staff). Two other folios have similar vertical cuts (ff. D, F). Reconstructing the music of the versos presents an even greater difficulty, since on those pages the clefs and incipits are missing. Like many of the sacred pieces in PadA, this Sanctus uses greater numbers of breves (), and ligatures than of minims.