Historical monuments and scholarly sets of collected works are the sources of most of the motets in The Renaissance Singer, which retains the ficta, text underlay and other editorial choices of those editions. The motets of Lassus andMorley, however, are based upon primary sources. Diffusa est gratia of Nanino has been reconstructed by comparing several tertiary sources. Details of the source and original liturgical use follow each motet. The clefs, time signaturesand note values of today (a quarter-note or a dotted quarter-note as the unit ofbeat) replace the original notation. Details precede each motet.
The keyboard reductions are editorial throughout, except for the Tallis If ye love me, which is original. Occasional dynamic signs, echo effects and breathingindications are also included in the reductions. The new translations, made for singing, conform without exception to the rhythm of the original texts. Sometimes considerable departure form a familiar English version was required. Amore literal translation, not for singing, was therefore included, and would be the suitable one to print in a program when the Latin text is sung. The tonic accents are marked in the complete version of the text given before each motet.