what he has said is for solo players, and that when playing with others, it is most important to match them. Unfortunately, Ganassi gives only a few ornamented examples with little context for their use. Nonetheless, Ganassi offers a tantalising glimpse at a highly developed professional culture and technique of woodwind playing that modern players can scarcely be said to have improved upon. Gerolamo Cardano's De Musica was written around 1546, but not published until 1663 when it was published along with other works by Cardan, who was an eminent philosopher, mathematician and physician as well as a keen amateur recorder player who learned from a professional teacher, Leo Oglonus, as a child in Milan. His account corroborates that of Ganassi, using the same three basic syllables and emphasising the importance of breath control and ornamentation in recorder playing, but also documents several aspects of recorder technique otherwise undocumented until the twentieth century. These include multiple techniques using the partial closing of the bell: to produce a tone or semitone below the tonic, and to change semitones into dieses (half semitones), which he says can also be produced by "repercussively bending back the tongue". He also adds that the position of the tongue, either extended or turned up towards the palate, can be used to improve, vary, and color notes. He is the first to differentiate between the amount of the breath (full, shallow, or moderate) and the force (relaxed or slow, intense, and the median between them) as well as the different amount of air required for each instrument, and describes a trill or vibrato called a in which "a tremulous quality in the breath" is combined with a trilling of the fingers to vary the interval from anything between a major third and a diesis. He is also the first writer to mention the recorder in D ("discantus"), which he leaves unnamed. Composer and singer Philibert Jambe de Fer ( 1515 1566) was the only French author of the sixteenth century to write about the recorder, in his Epitome musical. He complains of the French name for the instrument, ('flute with nine holes') as, in practice, one of the lowermost holes must be plugged, leaving only eight open holes. He prefers or the Italian . His fingering chart is notable for two reasons, first for describing fingerings with the 15th produced as a variant on the 14th, and