This essay examines the manuscript context of the songs of Thibaut de Champagne that were either marginalized in or excluded from A. Wallensköld’s 1925 edition. An evaluation of the placement and ordering of Thibaut’s songs in the codices, as well as their rubrics and melodies, affords an understanding of the construction of these chansonniers, obscured through decades of reliance on print editions. A rapid scrutiny of these linguistically (C) and musically (R) marginal manuscripts both reveals how little we know about the transmission of trouvère lyric and underscores the importance of a material-philological approach for all future editions of the trouvères.