the human voice, declaring that "the aim of the recorder player is to imitate as closely as possible all the capabilities of the human voice", maintaining that the recorder is indeed able to do this. For Ganassi, imitation of the voice has three aspects: "a certain artistic proficiency," which seems to be the ability to perceive the nature of the music, (dexterity or fluency), achieved "by varying the pressure of the breath and shading the tone by means of suitable fingering," and (elegance or grace), achieved by articulation, and by the use of ornaments, the "simplest ingredient" of them being the trill, which varies according to the expression. Ganassi gives fingering tables for a range of an octave and a seventh, the standard range also remarked by Praetorius, then tells the reader that he has discovered, through long experimentation, more notes not known to other players due to their lack of perseverance, extending the range to two octaves and a sixth. Ganassi gives fingerings for three recorders with different makers' marks, and advises the reader to experiment with different fingerings, as recorders vary in their bore. The maker's mark of one of the recorders, in the form of a stylised letter "A", has been associated with the Schnitzer family of instrument makers in Germany, leading Hermann Moeck to suppose that Ganassi's recorder might have been Northern European in origin. (see also Note on "Ganassi" recorders) Ganassi uses three basic kinds of syllables , , and and also varies the vowel used with the syllable, suggesting the effect of mouth shape on the sound of the recorder. He gives many combinations of these syllables and vowels, and suggests the choice of the syllables according to their smoothness, being least smooth and being most so. He does not, however, demonstrate how the syllables should be used to music. Most of the treatise consists of tables of diminutions of intervals, small melodies and cadences, categorised by their meter. These several hundred divisions use quintuplets, septuplets, note values from whole notes to 32nd notes in modern notation, and demonstrate immense variety and complexity. The frontispiece to Fontegara shows three recorder players play together with two singers. Like Agricola and Virdung, Ganassi takes for granted that recorders should be played in groups of four, and come in three sizes: F3, C4 and G4. He makes a distinction between solo playing and ensemble playing, noting that