a quattro

Baisiez moy
Josquin Desprez (ca 1450 - Cond-sur-Escaut 1521)
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Bai siez - - moy, bai -
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Bai siez - moy, bai siez -
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siez moy,

bai siez - moy, ma doul ce a - -

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moy,

bai siez - moy, ma doul ce a - my - -

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my e, - - par a mour - ie vous en
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e, - par a mour - ie vous en pri - -
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pri - - e. Non fe ray. - -
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- e. Non fe ray. - - Et
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Et pour quoy?

Se ie fai soie -
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pour quoy?

Se ie fai soie - la fol -

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la fol li - e, - - - ma m re en - se -
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- - e, ma m re en - se roit - mar -

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Edition after Smijers, Wereldlijke werken I-5 nr. 20a. Originals clefs Altus C3, Bassus C4. This is a double
canon at the 4th. That's why Smijers placed flats in the Superius and Tenor. I added musica ficta in
Superius bar 18, 33 and 37, and did not accept Smijers' flat on b in Bassus bar 10 and Altus bar 36.
The difference in the character of the both upper and lower parts of this double canon at the 4th made NJE believe
that both upper parts are instrumental. Besides, there are too few notes in the upper parts for the complete text,
and so Smijers omits the words Et pour quoy. So I think NJE is right. NJE reads marrie (furious or sad) for
morrie (dead), which is also better. There is doubt on the authenticity of this piece.
Petrucci printed it without text in Canti B, 1502. The title and the first word of the piece was spelled as
Basiez moy.
In NJE it is number 28.4. NJE has a different solution for the canon, respecting the mood of the Altus and Bassus.
So there are no flats at all. Make your own choice.
A six voice version has been transmitted too, which I will not edit.
Translation: Embrace me, my sweet love, for love's sake, please - I will not do it - And why not? -
If I did the silly thing, my mother would be furious therefore. That's why.
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roit mar ri - e; - - ve l - de
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ri e; - - ve l - de quoy,
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quoy, ve l - de quoy.
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ve l - de quoy, quoy.

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