hand. The surviving sources are likely among the few witnesses of a largely improvised tradition. Other instrumental traditions are hinted at by the monophonic, dances without text in a manuscript now in London (British Library, add. 29987) and in imitations of instrumental style in sung madrigals and cacce such as Dappoi che'l sole. Instruments used during the Trecento included the vielle, lute, psaltery, flute, and portative organ (Landini is holding one in the illustration). Trumpets, drums (especially paired drums called nakers), and shawms were important military instruments. Overall musical characteristics of the era Music of the Trecento retained some characteristics of the preceding age and began to foreshadow the Renaissance in others. Consonances were unison, fifth and octave, just as in the ars antiqua, and the interval of a third was usually treated as a dissonance, especially earlier in the period. Parallel motion in unison, fifths, octaves, thirds, and occasionally fourths was used in moderation. Composers used passing tones to avoid parallel intervals, creating brief harsher dissonances, foreshadowing the style of counterpoint developed in the Renaissance. After 1350, there was increased use of triads in three-part writing, giving the music, to a modern ear, a tonal feeling. Accidentals occurred more frequently in music of the Trecento than in music of earlier eras; in particular, there was use of F, C, G, B, and E. One A occurs in the works of Landini. The Landini cadence or under-third cadence, is a cadence involving the melodic drop from the seventh to the sixth before going up again to the octave. It was named after Landini because of its frequent use in his music. It can be found in most of the music of the period, especially after him. Music sources Most of the manuscript sources of Trecento music are from late in the fourteenth or early in the 15th century: some time removed from the composition of the works themselves. The earliest substantial manuscript source of Trecento music is the Rossi Codex, which was compiled sometime between 1350 and 1370 and contains music from the earlier portion of the era. However, other small manuscript sources have been found that expand our knowledge of earlier Trecento repertories. These include the Mischiati fragments of Reggio Emilia, which contain several unique cacce. Other early sources contain sacred repertories. Two folios of Oxford Canon. Misc. 112 preserve a motet by Marchetto da Padova. Further motets are