Abstract For a correct interpretation of Ars subtilior notations, it is essential to distinguish between the different procedures employed by the various authors. The systems generally refer to widespread shared concepts, but some specific features characterize the tendencies of each author. These features (matching of particular forms and coloration, creation of new shapes with particularly small note values) seem to have been fixed in advance and then used consistently during the composition. They provide clues to a better appreciation of the author and understanding of notational problems in the context of Ars subtilior in general. As regards Le greygnour bien, while studying the notational features and verifying their systematic pre-established use, it is possible to justify the need for some corrections, probably by the author ’92s own hand, and to make some hypotheses as to the nature of the fragments as they appeared before the erasures and subsequent rewriting.
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