illustrated in treatises from Virdung to Praetorius, the choice appropriate instruments and transpositions to play vocal music was common practice in the Renaissance. Additionally, some collections such as those of Pierre Attaingnant and Anthony Holborne, indicate that their instrumental music was suitable for recorder consorts. This section first discusses repertoire marked for the recorder, then briefly, other repertoire played on recorder. In 1505 Giovanni Alvise, a Venetian wind player, offered Francesco Gonzaga of Mantua a motet for eight recorders, however the work has not survived. Pierre Attaingnant's ( 1528–1549) (1533) collects 28 (not 27, as in the title) four-part instrumental motets, nine of which he says were suitable for performance on flutes (, German flutes), two on recorders (, nine-holed flutes, "recorders"), and twelve suitable for both. Of the twelve marked for both, seven use chiavi naturali, or low-clefs typically used for recorders, while the others use the clefs used in the motets marked for flutes. Hence, the seven notated in could be considered more appropriate for recorders. is the first published music marked for a recorder consort. Earlier is a part for Jacobus Barbireau's song "", apparently for recorder, accompanying the recorder fingering chart in ... (Antwerp, 1529), a partial French translation of Virdung's . Jacques Moderne's published in the 1530s, depicts a four-part recorder consort such as those described in Virdung, Agricola, Ganassi and others, however the dances are not marked for recorders. His (1550) contains ricercares and dances for performance on ", & ". In 1539–40, Henry VIII of England, also a keen amateur player (see Cultural significance), imported five brothers of the Bassano family from Venice to form a consort, expanded to six members in 1550, forming a group that maintained an exceptional focus on the recorder until at least 1630 when the recorder consort was combined with the other wind groups. Most wind bands consisted of players playing sackbutts, shawms, and other loud instruments doubling on recorder. Some music probably intended for this group survives, including dance music by Augustine and Geronimo Bassano from the third quarter of the sixteenth century, and the more elaborate fantasias of Jeronimo Bassano ( 1580), four in five parts and one in six parts. Additionally, the Fitzwilliam wind manuscript (GB-Cfm 734) contains wordless motets, madrigals and dance pieces, including some by the Bassano family, probably intended for a recorder consort in six parts. The English members of the Bassano