have been exchanged for musettes, since the loud sound of two bagpipes would have drowned out the voices.
Compared to the numerous small pieces for two instruments (hurdy-gurdy or musette or hurdy-gurdy and musette) with or without general bass, the number of pieces written for more than two instruments is relatively small. There are several concerti with longer movements and in larger format by Michel Corrette . In the first five of these three movement concertos the composer used the hurdy-gurdy or musette. As in the other compositions the three melody instruments can be exchanged ; the concerti can be played on musettes, hurdy-gurdies, transverse flutes, recorders, oboes and descant viola da gamba with figured bass. The organ served as a general bass instrument. The individual voices
are handled quite simply (ex. 22): Usually two and sometimes all three melody instruments proceed in unison, whereby the leading instrument is given long solo passages (ex. 23).
A work peculiar to the instrumentation is a cantatille by Le Menu de Saint-Philibert entitled 'La Vielle' for one voice, hurdy-gurdy, or flute, violins and bass. Le Menu gives exact directions for the execution of the instrumental accompaniment and the general bass, which is supposed to be played by a harpsichord with lute stop so that a dampened tone will be produced. In the first part as well the violins are not to be bowed but plucked. The cantatille has three movements, in which a secco-recitative is flanked by two non-identical airs (exs. 24, 25, 26, 27). Except for a few places in which the soprano is accompanied by the hurdy-gurdy in thirds (ex. 28, ex. 29) the hurdy-gurdy is normally quiet when the soprano begins and is limited to two interludes.
Besides the compositions of the teacher and the virtuosi for the hurdy-gurdy there were also a great number of arrangements of other works; among these the arrangements from popular opera or ballet pieces were especially favored. But these arrangements were only seldom indicated as such by the arranger or editors. A great number of dances and airs appeared in several collections. In most of these 'recueils' the names of the composers were not mentioned, although on the other hand the titles of the larger works from which these individual pieces were taken were named. In the case of some of these collections only the editor or the hurdy-gurdy composers are known, who arrange the pieces for the instrument :
Mme Boivin (ed.), Vaudeville, Menuets, Contredances et Airs détachés chantés sur les Théatres des Comédies Française et Italienne, 1 (-13e) Partie, lesquels se jouent sur la flute, vielle, musette, violon... Paris o.J. (ca 1745). [trans SB: Vaudeville, Minuets, Contredances and Melodies "Detaches" sung at the French and Italian Theatres, 1st through 13th parts, which may be played on the flute, hurdy-gurdy, musette, violin..."]
Bordet (ed.), Troisième Recueil d'airs en duo tirés des opéra de Mrs. Rameau, Rebel et Francoeur, et autres; opéra comiques, parodie... choisis et ajustés pour les flutes, violons, pardessus de violes et dont le pluspart peuvent se jouer sur la vielle et la musette, Paris (1770). [Trans SB: Third collection of melodies for duo taken from operas by Rameau, Rebel and Francoeur and others; comic operas, parodies...chosen and arranged for flutes, violins over viola da gambas and of which the greater part may be played on the hurdy-gurdy and musette, Paris (1770)."]
Another collection is divided according to composer in so far as these are known, and according to the type of the piece when the composer is not known:
Recueil d'airs pour la vielle. I. Airs avec noms d'auteurs. II Airs sans nom d'auteur. III. Brunettes à deux vielles. IV. Nöels a deux vielles. V. Airs de trompettes et de fanfares. VI. Menuets. VII. Contredanses cotillons et danses diverses. [Trans SB: Collection of melodies for the hurdy-gurdy. I. Melodies with composers names. II. Melodies without composers names. III. Brunettes for two hurdy-gurdies. IV. Noels for two hurdy-gurdies. V. Trumpet and Fanfare Melodies. VI. Minuets. 