A 13th century parchment manuscript containing 476 folios, F is the completest source for the music of the Notre Dame school. Chronologically its repertoire falls between those of W1 and Ma on the one hand and the rather later one of W2 on the other.

Attractive miniatures introduce the principal types of composition. There are no French motets, and even Latin motets are not largely represented in this enormous source of organa, clausulae and conductus.

The 27 extant gatherings contain: 1 (f. 1-13): 15 works for 4vv & 3vv; 2-3 (f. 14-67): 34 works for 3vv; 4-5 (f. 65-98) : 32 organa from the magnus liber organi de antiphonario, with 22 more pieces all for 2vv; 6-8 (f. 99 -146): 61 two-part organa from the magnus liber organi de graduali; 9-10 (f. 147-184): 462 two-part clausulae; 11-14 (f. 201-262): 59 three-part conductus and 2 four-part conductus-motets ; 15-21 (f. 263-380): 130 two-part conductus; 22 (f. 381-398): 26 three-part conductus-motets (25 in two-part score followed by the T + 1 in three-part score) ; 23 (f. 399-414) : 40 two-part and 3 three-part motets written in separate parts ; 24-26 (f. 415-462) : 83 monodic conductus; 27 (f. 463-476): 60 monodic Rondelli.

F came into the Laurenziana from Piero de Medici, father of the great Lorenzo ; this is clear from an entry on f. 476v : Liber Petri de Medicis. Although it has been in Italy for centuries, it is of French origin and, according to Delisle, has much in common with other French manuscripts from the reign of Philip the Fair (1285-1314) in both script and miniature work.

As it stands today, the manuscript lacks folios 48-64, 94, 185-200 and 255-256, in other words not merely odd pages but 2 complete fascicles as well.

Notre Dame notation. As compared with W1, F often employs a breve shape instead of a long in unison passages, while the opening tuning-note is written as a double long instead of 2 unison longs. This tuning-note is also frequently ornamented by a characteristic 7-8 appoggiatura to open.

1-476 (following the red-ink, Roman numerals foliation at top of pages - and contemporary with the music and words) - there is also Arabic numerals ink-foliation in the bottom right corner under the music (which is the one followed by the host institution, used for its online images)

parchment

RISM B/IV 1: A 13th century parchment manuscript meas. 232 x 157 mm. and containing 476 folios, F is the completest source for the music of the Notre Dame school. Chronologically its repertoire falls between those of W1 and Ma on the one hand and the rather later one of W2 on the other. Although it has been in Italy for centuries, it is of French origin and, according to Delisle, has much in common with other French manuscripts from the reign of Philip the Fair (1285-1314) in both script and miniature work. F came into the Laurenziana from Piero de Medici, father of the great Lorenzo ; this is clear from an entry on f. 476v : Liber Petri de Medicis. There is an old foliation at t.m.r. running from 1-355. This Roman numbering is completed by a modern ink foliation from 356-476. As it stands today, the manuscript lacks folios 48-64, 94, 185-200 and 255-256, in other words not merely odd pages but 2 complete fascicles as well. The ends of fascicles are empty except for the usual 12 red five-line staves. Four-line staves are employed as usual for T taken from plainsong in organa, clausulae and motets. Initials are red-blue, and attractive miniatures introduce the principal types of composition. There are no French motets, and even Latin motets are not largely represented in this enormous source of organa, clausulae and conductus. The 27 extant gatherings are disposed as follows: 1 (f. 1-13): 6 four-part works and 9 three-part clausulae; 2-3 (f. 14-67): 26 organa, 5 clausulae, 1 organum, 1 clausula, 1 organum, all à 3 ; 4-5 (f. 65-98) : 32 organa from the magnus liber organi de antiphonario, 7 Benedicamus, 8 Domino clausulae, 4 Benedicamus and 3 more organa, all à 2 ; 6-8 (f. 99 -146): 61 two-part organa from the magnus liber organi de graduali; 9-10 (f. 147-184): 462 two-part clausulae; 11-14 (f. 201-262): 59 three-part conductus and 2 four-part conductus-motets ; 15-21 (f. 263-380): 130 two-part conductus; 22 (f. 381-398): 26 three-part conductus-motets (25 in two-part score followed by the T + 1 in three-part score) ; 23 (f. 399-414) : 40 two-part and 3 three-part motets written in separate parts ; 24-26 (f. 415-462) : 83 monodic conductus; 27 (f. 463-476): 60 monodic Rondelli. As compared with W1, F often employs a breve shape instead of a long in unison passages, while the opening tuning-note is written as a double long instead of 2 unison longs. This tuning-note is also frequently ornamented by a characteristic 7-8 appoggiatura to open.

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