Example 1. Du Fay, Adieu m’amour: (a) bars 1–11; (b) bars 32–42; (c) hypothetical recomposition of bars 33–42 (cantus and tenor). After Porto, Biblioteca Pública Municipal, Ms. 714, fols. 70v–72r. Reprinted from Example 8.13, DeFord 2015, 251–52.