To the right honorable my very good lord & master Edward de Vere Earle of Oxen­ford, vicount Bulbecke, lord of Escales & Bad­lesmere, & Lord great Chamberlayne of England. Iohn Farmer wisheth long and happie life with encrease of honor.

IT was mine exercise, right honorable and my singu­ler good Lord, to make vppon a playnsong not long a goe fortie seuerall waies of 2. parts in one, with what cōmendation, I shall then perceiue, when other shall haue iudged, with what study, my selfe am priuie: neither long, nor serious. This poore conceit I haue presumed of your honorable fauour to present vnto your Lordship: vnder couerture of whome, to the view of the world: not but that I knew it, vnworthie of so high a perso­nage, but rather that it needed the more noble patronage, the lesse is in it to recōmend it selfe, which how litle it is, I am greatly in feare Her­vnto, my good Lord, I was the rather embol­dened for your L. great affection to this noble [...]ience, hoping for the one you might pardō [...] other, & desirous to make knowē your in­clination this way. For howsoeuer my skill be [Page] nothing such, as in least part to expresse the dignitie of the art, yet this I am sure of, if graue auctors haue rightly informed mee, that the wisest men as Pythagoras & Plato, haue made it their studie, and most honorable persons as Hercules and Achilles, their earnest practise. Besides this, my good Lord, I beare this con­ceit, that not onelie my self am vowed to your commaundement, but all that is in me is dedi­cated to your Lordships seruice: so that, albeit I am vnable to make shew of my deuty in such sort, as I wish: yet to transport to other, what I owe to your Lordship I demeed not to sitte with such a profession. Onelie if it shall please your honorable minde to measure my deede by my desire, it may happily seeme somewhat, which of it selfe is lesse then nothing. Which beseeching your Lordship with all instancie, and as before hoping, so now most humbly crauing pardon of my presumption, I rest in prayer for the preseruation of your honour in long life, and great happynesse, in the one to match the oldest, in the other the blesseddest.

Your Lordships most bounden seruaunt, and at all commaun­dement most ready. Iohn Farmer.
Philomusicis.

MAruaile not gentlemen, who soeuer shal see this little book, that Musicke shewes hir selfe in this vnusuall vayne. For if in other arts it be a common practise (and yet not so ordi­narie as commendable) euerie way to deuise to further the studie of each perticuler, why should Musicke be denied that, which is graunted the rest? Certes how men do thinke of hir, I do not know (I doubt but bassely) how they should I am out of doubt, that is most honourablie. No man can denie, but that God is authour, as of all other ex­cellent qualities, so of this (for so euen the Philoso­phers, who had not right knowledge of the heauen­lie maiestie, by instinct of nature did see and confesse) and as of the 7. liberall sciences, which therefore haue that name, because they are befitting men of most free birth, she is one in number, so peraduenture, nay, without peraduenture not the last, if not the first, in dignitie: for delight wonderfull, for depth infinite, for commoditie it may happilie be doub­ted, whether any more necessarie. Were it not so, it had not beene to write, which Tullie writes true­lie of the countrie of Graecia, where being the fountaine of all learning, and the verie seate of wis­dome, sic Musici floruerunt, as he saith, vt omnes id discerent, nec, qui nesciebat, satis excultus doctrina puta­retur. In the same countrie Themistocles a Prince of [Page] Athens, for that at a feast he refused to play on the Harpe, an instrument at that time of highest credit, although in other respects in a maner peerelesse, onely for this defect, was thought somewhat rude. The ende of my speech and purpose is this, that the sci­ence being so excellent, and yet so couldlie followed, euerie one that knowes any thing of her, should eue­rie waie be doing for her aduauncement, and such as are not, are greatly in her debt, such as are, are fauorably to be accepted, howsoeuer it be not each mans fate to performe what is singuler. I professe (if any lesse wise, then I could wish them, misconstrue my meaning) to doe nothing of ostentacion (for alas what is this, nay what haue I in me, whereof iustlie to bost?) I was in hope that students in this art, such as may learne, as my selfe may, and haue not yet pro­ceeded so farre as I haue, might finde somthing heere not vnworthie their labor. If it so fall out, I shall be glad, if otherwise, it was the error of myne opinion, which I desire may be pardoned to my good will, so shall I endeuour my selfe to continue my poore la­bours, without repentance for this I haue done. Fare yee well.

Iohn Farmer.
1
WHo so delights in Musickes skill
and thereof iudges right,
May here perceiue a straunge deuise
most plainly in his sight.
2
Two parts in one vppon a ground
in number fortie wayes,
A thing most rare surpassing farre
most songsters now a dayes.
3
If this in youth performed be
as plainly you may see,
What fruite hereafter may wee hope
to haue of such a tree.
4
As farmer good or busye bee
still laboreth in the field
So doth this Farmer that he may
to others much fruite yeeld.
5
Farewell with praise and good report
of those that know thy skill
What thou desernest in Musicks art
this booke will witnes still.
Richard Wilkinson.
1
VVHether in Musickes prayse to wright
In generall, or of the skill,
That did conduct this auctors quill:
I feare I pearch aboue my might.
2
Since then I can not, as I would,
I spare to do it as I can,
Least I do wrong both art and man,
Not giuing either, as I should:
3
The rather, cause it's to well knowen,
What Musicke is without my pen,
And he, among the skilfull men,
Wanting my praise, will worke his owne.
4
Onely, for that I loue not ill
The arte it selfe, and arts man both,
To lend my hand I was not loath
Both waies to witnesse my good will.
Francis Yomans.

I

The plainsong. [...]

2. parts in one. [...]

2. parts in one. [...]

2. parts in one in the fourth, a sembriefe after the other: the plainsong beneath.

II

The plainsong. [...]

2. parts in one. [...]

2. parts in one. [...]

2. parts in one in the fifth, a minom after the other, The plain­song in the midst, the Treble before.

III

The plainsong. [...]

2. parts in one. [...]

2. parts in one. [...]

2. parts in one in the fifth, a sembriefe after the other, the plainsong beneath.

IIII

The plainsong. [...]

2. parts in one. [...]

2. parts in one. [...]

2. parts in one in the fifth, the Basse before, the Treble follow a minome. The plainsong in the midst.

V

The plainsong. [...]

2. parts in one. [...]

2. parts in one. [...]

2 parts in one in the fifth, the Basse before; the Treble fol­low a sembreefe the painsong in the midst.

VI

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the fifth, the Treble before, the Basse low a sembreefe, the plainsong in the midst.

VII

The plainsong. [...]

2. parts in one. [...]

2. parts in one. [...]

2 parts in one in the eight the Treble before? the Basse fol­low a minom, the painsong in the midst.

VIII

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the eight, the Basse before, the Treble fol­low a minem, the plainsong in the midst.

IX

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the ninth, the Basse before, the Treble fol­low a sembreefe, the plainsong in the midst

X

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the ninth, the Meane before, the Basse fol­low a sembreefe, the plainsong in the midst.

XI

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the seuenth, the Basse before, the Mean follow a sembreefe, the plainsong in the midst.

XII

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the seuenth, the Treble before, the Basse follow a sembreefe, the plainsong in the midst.

XIII

The plainsong, [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the fifth, Tripla to the minom, beginning both to gether, the Base being the proporcion: the Meane sing­ing all minomes, the verie same, the plainsong in the midst, likewise minome time: this is a very pleasant way.

XIIII

The plainsong, [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the ninth, a sembreefe after the other, the plainsong beneath.

XV

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the seuenth, a sembreefe after the other, the plainsong beneath.

XVI

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the fourth, a minom after the other, plainsong beneath.

XVII

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the fifth, a minom after the other, the plainsong beneath.

XVIII

The plainsong. [...]

2. parts in one. [...]

2. parts in one. [...]

2. parts in one in the eight, the Treble before, the Basse low a sembreefe, the plainsong in the midst.

XIX

The plainsong. [...]

2. parts in one. [...]

2 parts in one. [...]

2 parts in one, Counterpoint in the fifth, the plainsong be­neath minom time.

2. parts in one. [...]

2 parts in one. [...]

2. parts in one, Counterpoint, in the fifth, the plainsong in the midst, likewise minom time.

XX

The plainsong. [...]

2. parts in one. [...]

2. parts in one. [...]

2. parts in one in the tenth, the plainsong in the midst sembreefe following after the other.

XXI

The plainsong. [...]

2. parts in one. [...]

2. parts in one. [...]

2 parts in one in the sixt, a sembreefe after the other, the plainsong beneath beginning at the end, & so forward sembreefe time.

XXII

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the fifth, the Basse before, the Tenor follow a sembreefe after, the plainsong in the highest.

XXIII

The plainsong. [...]

2. parts in one. [...]

2. parts in one. [...]

2 parts in one in the fourth, the Basse before, the Tenor follow a sembreefe after, the plainsong in the highest.

XXIIII

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the fifth, the Tenor before, the Basse fol­low a sembreefe after, the plainsong in the highest.

XXV

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the fourth, the Tenor before, the Basse fol­low a sembreefe after, the plainsong in the highest.

XXVI

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the eight, the Tenor before, the Basse fol­low a sembreefe, the plainsong in the highest.

XXVII

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the eight, the Basse before, the Tenor fol­low a sembreefe after, the plainsong the highest.

XXVIII

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the seuenth, the Tenor before, the Meane follow a sembreefe, the plainsong in the hiest, sing the plain­song 8. notes hier then it stands, if the voice will serue.

XXIX

The plainsong, [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the seuenth, the Meane before, the Tenor follow a sembreefe, the plainsong the hiest, sing the plainsong 8. notes hier then it stands.

XXX

The plainsong, [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the eight, the Basse before, the Tenor fol­low a minom, the plainsong the highest, sing the plainsong eight notes hier then it standes.

XXI

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the sixth, a sembreefe after the other, the plainsong the highest, sing the plainsong as it standes

XXXII

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the tenth, a sembreefe after the other, the plainsong the hiest, sing the plainsong 8. notes hier then it standes, the Basse before, the Treble doth follow.

XXXIII

The plainsong. [...]

2. parts in one. [...]

2 parts in one. [...]

2. parts in one in the sixth, the Meane before, the Basse fol­ [...]w a sembreefe, the plainsong the highest.

XXXIIII

The plainsong. [...]

2. parts in one. [...]

2. parts in one. [...]

2. parts in one in the tenth, the meane before, the Basse fol­low a sembreefe, sing the plainsong as it standes; this is a ve­rie difficult way to make.

XXXV

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the eight, if you would know how this can be, turne the booke vpside dounward and looke on the Basse, there shall you perceiue it, but sing it as it is prickt downe before you, sing the plainsong as it standes.

XXXVI

The plainsong. [...]

2. parts in one. [...]

2. parts in one. [...]

2 parts in one in the fifth, if you would know how to sing this, you must turne the plainsong vpside downeward, & then sing forward to the ende, the other 2 beginning both to gether, the one deuiding descant wise, the other singing the verie same all sembreefes like the plainsong.

XXXVII

The plainsong. [...]

2 parts in one. [...]

2 parts in one. [...]

2 parts in one in the fifth, if you would know how to sing this, you must turne the plainsong vpside downward, and be­gin backward and so to the ende, & sing it with a b. Cliffe eight notes lower then it standes, the other 2 as they be prickt, then shall you gree, though somewhat hard, because of hardnesse.

XXXVIII

The plainsong, [...]

2 parts in one. [...]

This 2 parts in one is backward and forward, the one part to begin at the beginning and so to the ende, and the other part to begin at the ende, and so forward to the beginning, the plainsong likewise, is to be sung forward and backward, the first note a sembreefe the next a minom, and so forward in order to the ende, and then begin at the ende, singing one note a minom the other a sembreefe, and so backward in order to the beginning.

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