them from bottom (1) to top (8). His only other technical instruction is that the player must blow into the instrument and "learn how to coordinate the articulations ... with the fingers". Martin Agricola's ("A German instrumental music, in which is contained how to learn to play ... all kinds of ... instruments"), written in rhyming German verse (ostensibly to improve the understanding and retention of its contents), provides a similar account and copies most of its woodcuts directly from . Agricola also calls the tenor "altus," mistakenly depicting it as a little smaller than the tenor in the woodcut (above, middle right). Like Virdung, Agricola takes it for granted that recorders should be played in four-part consorts. Unlike , which provides a single condensed fingering chart, Agricola provides separate, slightly differing, fingering charts for each instrument, leading some to suppose that Agricola experimented on three different instruments, rather than copying the fingerings from one size to the other two. Agricola adds that graces (), which make the melody , must be learned from a professional (), and that the manner of ornamentation () of the organist is best of all. A substantial 1545 revision of approvingly mentions the use of vibrato () for woodwind instruments, and includes an account of articulation, recommending the syllables for semiminims and larger, for semiminims and smaller, and the articulation , which he calls the "flutter-tongue" () for the smallest of note values, found in passagi (Colorirn). The next treatise comes from Venice: Silvestro Ganassi dal Fontego's (1492–mid-1500s) Opera Intitulata Fontegara (1535), which is the first work to focus specifically on the technique of playing the recorder, and perhaps the only historical treatise ever published that approaches a description of a professional or virtuoso playing technique. Ganassi was a musician employed by the Doge and at the Basilica di San Marco at the time of the work's publication, an indication of his high level of accomplishment, and later wrote two works on the playing the viol and the violone, although he does not mention being employed by the Doge after Fontegara. Fontegara can be broadly divided into two parts: the first concerns the technique of playing the recorder, the second demonstrated divisions (regole, passagi, ornaments), some of great complexity, which the player may use to ornament a melody or, literally, "divide" it into smaller notes. In all aspects, Ganassi emphasises the importance of imitating