A briefe and plaine Instruction to set all Musicke of eight diuers tunes in Tableture for the Lute. With a briefe Instruction how to play on the Lute by Tablature, to conduct and dispose thy hand vnto the Lute, with certaine easie lessons for that purpose. And also a third Booke containing diuers new excellent tunes.
ALL FIRST VVRITTEN IN FRENCH BY ADRIAN LE ROY, AND NOW TRANSLATED INTO ENGLISH BY F. Ke. GENTELMAN.
Jmprinted at London by Iames Rowbothome, and are to be sold in Pater noster row at the signe of the Lute. ANNO. 1574.
The Bookes verdict.
Farewell.
To the Right Honorable and my very good Lord the Lord Edward Seamour, Viscount Beauchamp, Erle of Hertford. I. R. wisheth long lyfe, perfect helth, encrease of honour, and endles Felicitie.
THe chefe and principall thing (right honorable) apertaining to euery honorable personage (which thing is good too see that your honor doth well consider) is to walke in the garden of humilitie: & the direct way to the same, is to passe by the gate of vertu, whose foūdacion is ankerd to the fear and loue of God: for as by the one is couered the multitude of sinns, so by the other is obteyned blesednes, wysdō, and knowledge, whose godly preseuerāce therin will (no dought) much multyply the great and blessed benefits of almighty God, vpon your honour and all your whole seede and posteritie, Knowing therfor (ryght honorable) the great loue and affection which your honour euer hath and doth beare to vertu and good letters, I was therby moued the more boldly after I had printed this worke for the Lute deuided into three books: (the first an easey and playne methode to set al songs of eyght diuers tunes in tablature for the lute, the secōd how to hādel the lute, the third and last cōteineth diuers excelent tunes) to dedycate the same to your honour, nothynge doutinge but that it shall most acceptably come into your fauorable and sure protection. I therfore most humbly besech your honor too take this small gift in good part, which cōming as it were from your honor into the hands of many shall (I dought not) do many good. God whose holy word your honour doth most feruently loue and most ernesty practice in your daily cōuersation, mough [...] vouchsafe to preserue your honour and your vertuous children in continuall helth and daily increase of honour, vnto the glory of his name.
To my very good Ladie my Ladie the Countesse of Retz.
THe small present (right Honorable Ladie) which I make vnto you of this my simple woorke, is not doon for flatterie respecting onely your great calling, according to the manner of most part of Authors nowe A dayes, but the vertue and knowledge so manifestly apperinge in you aboue other Ladies of this our tyme, doth drawe vnto yt (as the adamant doth Iron) the works that ar of good inuention: chiefly from him, who is your seruaūt by inheritaunce: hauing before tyme serued with all obediēce the late Lorde Dampierre your father while he lyued, in the roome of captaine of fifty men of armes, at [...]utche tyme as he was the Kings Lieutenant generall at Ardes: where he died nobly in the seruice of his maiestie. VVhich I cannot remember without renewing the teares that I did then let fall vpon his body. For all that maye be myne, must of necessity be yours, by reason of my boūden seruice, although that bysyd [...] my duty in that behalf, I could not direct this my woorke any better, then to your Ladiship, for the worthines of your excellēt knoweldge rare in your kind, rare in our age. The which I esteme worthy to be compared with any of the most noble Ladies that were of auncient tyme in Roome, Mutia, Lelia, Cornelia, Aurelia. By whose priuat teaching at home, sprang forth Hortensius, Iulius Cesar and other the most eloquent Orators of their tyme. But euery good iudgement will allowe me to preferre yours far aboue theirs, in asmutch as the Lattin toung gotten by your diligence, deserueth more praise, then that which they had borne with them, and as it were sucked out togither with the milke of their nurses brest: Euē as according to the mind of Cicero, that Knight deserueth more cōmendaciō, who hath wonne fame by his owne manly acts, th [...] [...]ee to whom it cōmeth by succession frō others, as it doth by race from the father to the sonne. For this cause this booke is by good reason presented vnto you, as to a Iudge sufficient in all knowledge, conteining an easie instruction of all the Arte of Musick to be reduced in Tablature for the Lute. VVhich hath no [...] ben heretofore communincated by the doctors of this science, making straunge to acquaint many with the secrets of there facculties. Nowe haue I brought to light and publick knowledge this Musicall methode for the Lute to be the more easily lerned by eueri one by him self without any teacher, taking beginning at the first grounds of the science, thē exemplyfieng it by plaine plaieng, and after shewing the more cunning, for which all theye that shall take any pleasure or proffit by it, shall haue to thanck you, as a thing proceding from you: which I desier your Ladiship to receaue in good parte at the hands of your humble seruaunt, who protesteth from hencefoorth to dedicat and consecrat to your Excellency all the fruts which may spring out of the forge of his simple wit, to be the better allowed of by the fauour of your woorthynes.
The Preface of Iacques Gohory. vnto the curteous Reader.
THE affection which from my youth vpwardes (right Christian Reader) I haue borne to Musicke, aboue all other sciences, and to th [...] instruments of the same, was sufficient cause enough for me to haue it in high price and estimation: but the old familiaritie which it hath caused me to haue with the Aucthor of this present Booke (as Poetri [...] wrought betweene Lelius, and Terence) hath prouoked me further to make this short discourse, and to direct it to you: The which shalbe aswell of the worthinesse of his person as of the cunning of his woorke, and the singularitie of the Lute, wherof the question is here. For as touching him: besides his kno [...]ledge and dilig [...]c [...] both in Musicke vsed by voyce, and also vppon instruments, all in generall are greatly beholding vnto him, for he hath reduced them into the best forme that hath be [...] hitherto seene, wherfore by good reason, he hath deserued to be taken for prince or chiefe. Now it is a token of a person w [...]ll borne, that his spirite hath ben alwayes so inclined to Musicke, as being [...] compounded of proportion and temporatiue harmonicall: a science so perfite, that i [...] giueth reioysing to the hart, a great part of mans felicitie, that it appeaseth the troubles and passions of the mind, yea & by the report of Aristotle in his politicques, that is able to reforme and establish the manners of a whole Citie. As touching the Lute, which without doubt i [...] holden for the most [...] noble and melodious instrument of Musicke, I will no further dilate the common prayses therof, but onely by the great singularitie of agreement and disagreement which by [...] shewed in it, in this, that if one Lute be sounded neere vnto an other that is tuned in the same tune: it is a strange thing and in a manner marueilous, that the stringes of the other Lute will moue at the sound and will shake not being at all touched, by an effect of correspondence wonderfull. Which the Poet Augurall in his Chrisopeied: nor other Authors of secret Philos [...]phi [...] haue forgotten. But to open to the reader, the matter & argumēt of this Booke▪ conteyning an easie and plaine methode to set all songes of the eight diuers tunes in Tabl [...]ture for the Lute. The Author feareth not to be reproued by the Masters of this Art for hauing diclosed the misteries of this Science, herebefore alwayes kept hidden in their bosomes without [...] it to others then to such as had spent many yeares in their schooles. In which he maketh not so much conscience to prophane holy thinges, as it were to them that [...]e not professed, at [...] common and therby more profitable, a treasure before hidden: deseruing therby no lesse honour, then sometime Cuslauius: receiued for a like occasion at Ro [...]me, who being clarke to Appi [...] the blind, published the fasts, and set them vp in open Tables: yea as Cicero saieth, the very stile and forme of actions: for the which before men must ordinarily haue go [...] too [...] of his Master and certaine other who religiously kept them secret in a register: Wherfore the people being not vnthankefull did recompence him worthely, making him first Tribu [...]e of the people: and after Edile Curule. Like thankes ought they to giue to Adrian le Roy: which shal become good players on the Lute without further helpe: chiefely those with being farre from Cities and teachers, shal euen so receiue this commoditie to learne to set all songes vpon the Lute, wherby they may obtaine the glorius title of A [...]ctodidactes such [...] Manilius the [...] [...]omane, as Plini witnesseth: such as was that holy Doctor Aurelius Augustine, and within our memory the well learned par [...]on William Bude. Now this author shall bring that to passe i [...] thi [...] Art, which Picus Mirandula in his Booke agains [...] Astronomers, saieth that Abūbāter the Hebrew did, teaching the maner by the which euery man by him selfe might become a Philisopher. For although that Cicero writing to Trebatius, saieth that no Art nor Science can be learned without a Master and Instructer, this may serue for aunswere to that, that Bookes that [...] vnto this, be trew, though not speaking teachers, setting forth the Science so liuely, and easely, that they may well supplie the default of liue speche: Here then will I end, after I haue aduertised you that all the examples of this Booke be taken and chosen out of Orland de Lassis, of whom I will further witnesse this vnto you in french agreable to mine in Latine set to the [...] of his last workes not long agoe put in print: that is to say, that he is this day (without daunger of offence to any man) esteemed the most excellent Musitian of this time, aswell in graue matters, as meane and more pleasaunt, a thing giuen from aboue to fewe other, in the which he hath attayned not only the perfection of melodie, but also a certaine grace of sound beyond all other▪ such as Appelles did accompt of Venus portrature: wherin he hath more then all other obserued to fit the harmonie to the matter, expressing all partes of the passions therof being the first that hath eschewed bondes and common holdinges of the letter by right placing of the sillabelles vppon the notes, and obseruing the accent in french and quantitie in Latine: And if it be permitted to euery good eare to iudge somewhat of Musicke as by Cicero it was permitted to the people to iudge of painting in which they haue no skill: I do protest vnto you that if the songes of other Musitians do delight mee, those of Orland do rauish me, who also in his songes hath often practised experiments of copy in varietie of harmony vpon one selfe sound of word, in such sort as we [...] Vergill to haue done in some Epigrams, and as it is told that Cicero vsed with Roscius the player, to practise which of them could expresse one selfe thing moste diuersly, the one with moste varietie of speeche, the other with most varietie of gesture: Receiue thou good Christian Reader this worke of Instruction with a cherefull countenance, fauouring hereafter the author therof, to giue him occasion to be able to furnish you often with more: and as for me I haue the first History of Titus Liuius to continue, being [...]goon long agoe, and also by way of rec [...]ation, the [...]3 Booke of the Spanish Romane of Amadis de Gaule, the which I would accompt my selfe happie to present to you, if I might perceiue they would be to your liking.
The first Chapter of the first Tune of Musicke.
FOR the first tune we wil take for exāple the song of Orland de Lassus beginning Quand mon mary viēt de dehors, in which we must firstly set the treble: the first note wherof being in gsolreut must be set on the second string of the Lute open, that is to lay, so as the finger of the left hand do not toutch vpon that string: although we sée in other tunes that the treble opē serueth for Gsolreut, and sometime for Ffaut, as in the sixt tune. True it is that such as be cunning in this Art, do dispose of them diuersly at their pleasure: but it is not to them that I direct my present worke. Now of these eight tunes there is made a difference of foure called the Master or principall tunes, that is to say, the first, the third, the fift, the seuenth, and of foure called their sequels or seruants, which be the second, the fourth, the sixt & the eight. Of these eight the first & second end in re, the third and fourth in my, the fift and sixt in fa, the seuenth and eight in sol: notwithstanding that there may be a changing or trasposition, as in the first and second tune from Re of Gsolreut, and from Re of Dlasolre, and so in the other of diuers My, Fa, sol. To retorne then to the discourse of the first tune, we haue to giue a reason wherfore we haue before ordered, that the second string of the Lute open [Page] shal serue for Gsolreut, which is because this first tune hath his retche or compasse a fourth or foure notes higher then the second▪ as contrariwise the secōd hath his retch or cōpasse a fourth lower. So is it of the other six tunes, that euery Mastertune hath alwaies his retch or compasse higher by a fourth and the sequeles or seruaunt tunes, the base likewise contrary. Now must bée vnderstood the cause why herebefore we haue layed for foundation, that in setting songs to the Lute, we procéede by sembreues, Which is by occasiō of ye nature & dispositiō of this instrument, as it is likewise in that of y• Uirginalles, but cōtrary in Orgās. For in Orgās, the tune may hold a Maxim being as long as eight sembreues, yea and longer by meanes of the wind continu [...] by the bellowes. But in the other two instruments their sound, which dependeth altogither by the toutch of the fingers, cannot endure longer then a sembreue: if the string on the one, or the key on the other, be not touched againe by the hand: which is the reason in consequence, that forceth vs when we set in Tablature, to deuide Maxims alwayes in eight partes, Longes in foure, Breues in two, and so forth of other great notes which are augmented with pricks. Herein lieth the reason for the Etimologie of the woord.
To omit nothing of the whole instruction of the Tablature of the Lute, I haue diuised this foundaciō to be thereunto necessary: that is to saye, the māner of musick to set a song by setting forth the retch or compasse of all the notes in euery one of the foure partes, by examples of the first Tune in ye song Qand mon mary vient de dehors, where I haue set forth all the notes as far as they did retch in the whole making of that song. In the which I haue to aduertise you, that there is first to be seen, the letters of the tablature, aunswerable to the note of the song, and the vnissons which maye chaūce vppon ye strings of the Lute.
Also the reader shall find in the example of the Base, that in the first note we were dryuē to haue recours to the eight aboue, as yt appereth in the Retche or compas: which must serue herafter for a generall rule in all other songs here giuen for examples: that is to wete, aswell for refuge to the said eights, as to the compasse of the note. Which I wold to be vnderstood for all songs of the first Tune, which ar to be set on the Lute: in which it cannot be often found that they excede this compasse aboue one note higher or lower. And so shall it be presupposed of the other Tunes following, and likewyse of the compasse of them. Here I will not forgette to tell that the learner of this Arte, may not faile after he hath set out his Treble in Tablature to tel diligently all the measures of the same, for feare of this Inconuenience, which chaunceth oftentymes, yea to the most expert for Lacke of this diligence, to goo ouer and beginne againe the woorke nowe already half doon, for that there maye happen to muche or to littell: so as if the foundacion be not good, all that is Laied vpon must nedes goo to ruyne.
The Reach or compasse of the song, Quand mon mary.
[...]The compasse of Base. Of the Tenoor. [...]Base. Tenor. [...]Of the Countertenor. Of the Treble. [...]Countertenor. Treble.
[Page] TO beginne the example to set, first you must knowe, that this marke [...] like vnto a C, with a strike thorowe, signifieth the measure to be by the nomber of twoo, whiche hauyng no strike, betokeneth double measure, whiche the Italians call the blacke note: because that in that kinde of song, there are vsed many quauers yea, and sem [...]e quauers, whiche hapen verie seldome in the measure of twoo, as the Battaile, Caquet des femmes, chant des oyseaux, and suche other songes of Clement Ianequin. Now as touchyng the first drafte of this example, you see there the first note, a, to be in value a Minim, the seconde .d, in value a cratchet with the other next followyng, whiche is of the same value the former is, although it be not marked vpon: in whiche matter you shall knowe that this marke [...] is in value [...] this [...] in value [...] this [...] in value [...] this [...] in value [...] and this last [...] in value [...]. As for the prickes where soeuer thei chaunce, thei encrease the value of the note nexte before, by the one halfe, as it hath been shewed here before in the notes of Musick. As to the firste measure of the song of Orlande, we muste make the distaunce large enough (as it is to be obserued in all the reste) because there maie chaunce many Cratchettes or Quauers, in some other partes of the song, besides those of the treble: whiche as you se we doe here place first. For this cause the twoo distances, the fifte and the sixte bee seen voide, because of the restes of the treble there. Also in the seuenth distaunce, you see the firste marke to bee in value a Minim, whiche hauyng no letter vnderneth, signifieth there a Minim reste. The twoo strikes marked with prickes after the fiftenth distaunce, doe signifie that you muste repeate the line endyng there. In the distaunce nexte after the same strikes, after the reste, there is marked but the halfe of the value of the sembrieue standyng betwene bothe, whiche is notwithstandyng, marked whole in the song or Musick: because that the string beyng stricken once, doeth holde the sounde of the sembrieue: as it happeneth also sometyme of a Minim standyng so betwene bothe. You must also marke, that at the repetition shewed before, you must beginne at the seconde distaunce, noted with the marke to begin againe [...] ▪ and not at the first distaunce whiche must be likewise at all tymes hereafter obserued, when so euer ye shall see that marke. Note also that the double strike, nexte the strike of repetition, doeth signifie that, that whiche is enclosed betwene them, must be left out in the plaiyng forthe of the song, after the repetition of the first parte of thesame.
AFter the marke of repetition, in the twelfth and eightenth distaunce, there be twoo markes [...], without any letter vnderneth in Tablature, whiche signifieth so many halfe restes, [...], in the Musick. In the laste distaunce beyng the ende of the treble, is the letter, a, alone, whiche tarieth for the ende of the other partes: repeatyng the laste woordes of the song. And this same self letter, a, shall continue still to sustaine, and accompanie the other partes to the ende, as long as thei shall holde out. In whiche must be noted and obserued that in settyng, the ende of any song muste neuer be closed, till all the partes bee ioyned together: for so muche as sometyme the treble holdeth the note, and sometyme some other of the partes.
[Page 6] NOw it is conueniente for vs to declare the orderyng of the necke of the Lute, to wete, the vt, re, my, fa, sol, la, vpon the strynges, and of the tunes vpon the stops. There bee ordinarily eight stops in nomber: whereof euery one containeth but halfe a tune or note: and any stryng open hath his firste tune or note whole, so euery other note doeth take twoo stops: beyng none other difference, but of halfe a note from one stoppe to an other nexte, whiche is a thyng necessarie to bee vnderstoode for this presente woorke, to sette in Tablature. Also that from the greate Base, beyng open to the second [...] Base, called the firste stryng, are fower notes, from the firste stryng to the fowerth, are fower notes, from the fowerth to the thirde, three notes, from the thirde to the seconde, fower notes, and from that to the Treble, are also fower notes.
NOw as touchyng whole notes, and halfe notes, whereof we beganne to speake, it is to bee noted, that the chaunge, [...] commonly called b. sharpe or square, altogether differryng from b. flatte, in that b. sharpe doeth holde vp the [...]une halfe a note higher, and b. flatte, contrarywise doeth lette it fall halfe a note lower, whiche chaunge is necessarie to bee knowen in euery descente of Musicke (this must be vnderstoode of the Treble) albeit thei doe not vse to marke them, in many sortes of songe, sauyng in this aswell in the Treble, as in the other partes. Whiche descente must be vnderstoode, to be like vnto the Treble, in what tune so euer it bee founde. And if the learner of this arte should not well vnderstande, that the chaunge into b. sharpe in the descente, doeth fall vpon the laste note saue one, he shall knowe it euidently by the marke, whiche I will not forget to set throughout all myne exāples. But he must also knowe, that the chaunge into b. sharpe, maie chaunce in any ther place, then vpon descentes. Also there resteth to consider, that in the vt, re, my, fa, sol, la, my towardes fa, doeth beare but half a note, nor fa, towardes my, that is to saie, aswell in goyng vpwarde, as commyng dounwarde, but bothe these in all other respectes, and also all other notes doe beare a whole note. Also euery note taketh twoo stops vpon the necke of the Lute, and the halfe note one stoppe onely: but .A. hath been put and sette forthe for a marke, betokenyng a whole note vpon euery stryng opon, then B. in the first stoppe in the toppe of the necke, a halfe note .C. an other halfe note in the seconde stoppe .D. in the thirde .E. in the fowerth .F. in the fifte .G. in the sixte .H. in the seuenth .I. in the eight: whiche bee the nomber of the stoppes, moste accustomed vpon the necke of this instrumente, notwithstandyng, that thei doe not lette to goe further towarde the knotte vpon the bealie of the Lute, by the guidyng and iudgement of the eare.
HAuyng vnderstoode the maner how to sette the Treble in Tablature, we must now in proceadyng, se to the other partes, beginnyng at the high Tenour, called in Latine Contratenor▪ whiche is nexte to the highest, or Treble: whereof here followeth the example.
¶The ioynyng of the Treble with the Countertenour.
[...] [...] [...] [...] [...] [...] [...] [...] [Page 7] [...] [...] [...] [...] [...] [...] [...] [...]
[Page] VPon this beginnyng of ioynyng the Treble with the Countertenour in Tablature, is to bee noted the excellencie of the Lute aboue the Uirginalles, in the first accorde of this songe, in that the .F. there dooeth furnishe the vnisson, fillyng so muche the more the Harmonie. In whiche accorde, and the nexte followyng, because the Treble occupieth the place of the Countertenour: we were forced to set the .F. vpon the thirde stryng, where the vnisson of the .A. of the seconde stryng is. You must marke that in the eight distaunce in the Treble parte, as it was first set out alone, there were marked twoo Minims: but in this seconde example, wherein is added the Countertenour, we haue been driuen to chaunge those twoo Minims into fower Cratchettes, because of the aunsweryng of the pricke, and the three Cratchettes, whiche meete there in the Countertenour: and yet neuerthelesse, the twoo Minims kepe their part still in the instrument. And in the thirtene distaunce, ye maie see twoo Minims first together, that is to saie, bothe of the Treble and Countertenour, but the seconde Minim of the Treble, whiche was in the first example single, in this (whiche is as it were a seconde or double example) is necessarily conuerted into a Cratchet, because of the pricke, and the Cratchet of the Countertenour. Here muste bee noted, that where soeuer there chaunceth a pricke, it shalbe alwaies beste for the easinesse of the Tablature, to tourne that pricke into the figure of the note of his Tune or value, to aunswere to the other notes, of the partes commyng together: as is to be perceiued that I haue vsed in all this booke. Likewise in the laste note .A. of the Treble (whiche is in this example double of twoo partes) marked in the twoo distaunces, the laste saue one, and the last, because) as it hath been tolde alreadie) of holdyng the ende, the Semibreue is of necessitie tourned into Cratchettes.
[Page 10] TO treate now in this example of the Tenour, as of the thirde parte, we must first tell you, that where you see but twoo partes in the Tablature, that betokeneth so many restes in the Musick of the Tenour: whiche beginneth to fill with the rest in the fowerth distaunce, where you see, that besides the sembrieues of the Treble, and Countertenour, you must set a Minim, and twoo Cratchettes, because of the Tenour, that is to saie, in the figure of settyng in Tablature although that in the truthe of plaiyng, by the touchyng of the finger, the Sembrieue remain alwaies whole, bothe here and in all other like places, as it hath been before declared in the partes, as thei were sette out seuerally: and note that the twoo distaunces, fifte and sixte, whiche were before voide, are here filled by the commyng in of the Tenour: as the nexte space followyng, is perceiued to bee filled with a Minim by the Tenour, although in effecte vpon the Lute, he holdeth the tyme of a whole Sembrieue, Here, nor at any tyme hereafter in plaiyng, is to be forgotten the skip, or leauyng out, whiche must alwaies be made of the notes betwene the twoo barres, and the place of repetition.
[Page] IN these fower partes of Musick now ioyned together in Tablature, this is to bée considered vpon the fowerth distaunce, where the Base doeth begin to come into the other partes, that although wee see there but three letters, whiche can represent to the sight but three partes, yet in effecte the [...] bee taken for fower partes: for so muche as the first note of the Base beginnyng, is in an vnisson with the Tenour. True it is, that there might be an .H. put on the greate Base, or laste stryng (whiche maketh an v [...]isson with the presente .C. but it is let passe in this, and all other like places, to make the plaie more easie, and to auoide muche strain [...]ng of the hande.
¶Of the transposition of the first Tune.
THere resteth for the clere endyng of this first Tune, to beate a woorde or twoo of the transposition of this first Tune, whiche shall serue for a generall rule to all other Tunes followyng: that is to saie, alwaies from .b. sharpe, to .b. flatt. The first in distaunce of a fowerth, the seconde of a fifte. The thirde of a fowerth. The fowerth of a fowerth. The fifte a fowerth. The sixte of a fifte. The seuenth of a fifte. The eight of a fowerth.
TO make this woorke in all poinctes parfite, and to shewe you (as a man might saie) not onely the plaine and rude Gramme [...], but also further somewhat like to the eloquence of Rhetorike, I haue thought good in this place of the first Tune [...]to croune as i [...] were the worke withall) to adde an example of the same song, adorned with runnyng poinctes and passages, as wee will likewise doe in the example of euery song, giuen for example: to the intente the scholer maie learne to decke other songes or daunses, with like flowers and ornamentes: in whiche he shalbee forced sometyme, for the better grace and pleasyng of [...]he eare, to leaue out some one note of the accorde, of some one of the partes: not so muche for all that for necessitie, as for the pleasauntnesse of the sounde: yea, and that with fall recompence of the lacke of the note, whiche shalbee omitted, by the puttyng to of a runnyng poinct or passage, wherein lieth all the cunnyng.
¶The [...]eche or compasse of this present song of the first tune, transposed or altered.
[...]The compasse of the Base. Of The Tenour. [...]Base. Tenour. [...]Of the Countertenour. Of the Treble. [...]Countertenour. Treble.
[Page] IN this example of Trasposition, we must consider once for all, that although the ende of this song of Aacadet (of whiche alwaies the iudgemente is made) doeth fall and ende in Dlasolre, it is neuerthelesse, taken for like to the former example of Orlande, whiche endeth in Gsolreut. Also we make no difference of Tune▪ but make hym ende vpopn the Lute, on the same seconde stryng open. There remaineth to prescribe, or obserue in settyng, that as ofte as there is one, twoo, or mo restes in any song, as in the firste distaunce of the Treble of this present, that you beginne alwaies to set in Tablature, the marke of the Semibreue, because it shall bee easie for you, if there happen any shorter measure in any of the other partes, to conuert that marke of Semibreue, into a Minim, Cratchet, or Quauer.
[Page 17] IT is nedefull to take hede to the fowerth distaunce of this example, of twoo partes: that is to saie, of the Treble with the Countertenour: that naturally the .F. whiche you see there, was an .A. in Semibreue (as it is to bee see. [...] in the former example of the single Treble) whiche it behoueth vs to chaunge, by reason of the Countertenour cō myng to that place, whiche mounteth a thirde higher then the Treble, in the last halfe of the Semibreue: albeit the A. might haue remained for this first half, but so had the other halfe loste his Tune. For this cause it was necessarie, to go doune from the seconde stryng, to the thirde, tournyng the .A. into .F. (whiche is his vnisson vpon the Lute) whiche shal maintaine the sounde of the Semibreue whole: a thyng necessarie to be obserued in all other like haps, that as ofte as the proper and naturall place of the one parte, shalbe occupied by an other, you must of necessitie haue recourse to an other stryng, that maketh the vnission with that, for the vnderstandyng of whiche vnissons throughly, wee will here vnderneth by waie of example, giue you a generall collection of all the vnisson, whiche maie be founde on the necke, or beallie of the Lute.
¶A generalitie of vnissons.
[...] [Page] [...] [...] [...] [...] [...] [...] [...] [...]
[Page 19] IN this example of three par [...]e [...], wee will [...] particulerly all the distaunces, in whiche the partes meete [...] an other, with [...] of the notes: as the Treble beyng a Semibreue, the Countertenour [...] Cratchettes and Qa [...]ers: In whiche we haue to prescribe [...] a generall rule, that as ofte as that happen [...]th, the notes of eche parte, one after the other, whiche were sette [...] in their naturall order (as you haue been [...] before) muste bee chaunged and conuerted in all fower pa [...]tes se [...]e [...]ally: somtyme it chaunseth, that the Countertenour hath a Semibreue, where the Treble againste hym hath Minims, and so likewise of the other twoo partes, whiche maie happen in all diuersities of value.
¶The seconde Chapiter of the seconde Tune.
THis seconde Tune, whiche is called folower, or seruaunt to the first maister Tune, because he hath his reche or compasse a fowerth lower, therefore it behoued vs to set hym so muche the higher, that is to saie, in the Treble open which shall serue for Gsolreut, where it was in the seconde stryng open in the first Tune. In this example of the Treble, I haue to aduertise you vpō the fowerth distaunce, in which ye se a marke of the value of a Minim, without any other letter in the Tablature vnder it, that thesame procedeth because of the pricke, whiche is in the Musick ioyned to a Semibreue of the third distauce: and that folowyng a rule, which we haue giuen you before, that the Lute strikē out once, could not hold the sound aboue the time of one semibreue: whiche must bee vnderstoode for the perfection of the more greater harmonie: albeit that the sounde of the stryng, might partly endure the value of a pricke added, or of the half more, but the sound towards the ende is alwaies naturally of lesse force, as the seconde sounde of an Echo in his doublyng. So maie the pricke of the Semibreue (as it shall like hym that setteth, be left out frō beyng marked with any letter in Tablature, or els be marked by the discretion, and iudgement of the eare. For it is certain that the sounde is more strong, and of longer tariyng, accordyng to the goodnes of the Lute.
¶The rethe or compasse of the song of Orland, le l'ayme bien.
[...]The compasse of the Base. Of The Tenour. [...]Base. Tenour. [...]Of the Countertenour. Of the Treble. [...]Countertenour. Treble. [Page 23] [...] [...] [...] [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...]
IN this example of the Countertenour ioyned to the Treble, in the firste distaunce, there is an .F. twise vpon the seconde stryng, whiche had their naturall place in the Treble, where a learner smally exercised mighte haue placed them. But because the .H. whiche must be in the place of .C. of the Treble, the placyng of the twoo .FF. did come to better purpose, for the art and grace of the plaiyng. Also because these twoo, A.A. had doen wrong to occupie the place & tune of the .F. of the Treble whiche is in value a Minim and a pricke, whiche must bee obserued generally in euery like hap, vpon what stryng so euer it bee: whiche thyng often vse in settyng diuerse songes, will teache sufficiently.
¶The ioynyng together of twoo partes, Treble, and Countertenour.
[...] [...] [...] [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...] [...] [...]
[Page 25] HEre where three partes are ioyned together, we haue to declare that in the fowerth distaunce, in settyng after thē common sorte, there is .B. and .D. on the seconde and thirde strynges, in the first Minim, whiche if it should stand [...]o would bryng an inconuenience in the pricke .B whose sounde would be loste, in goyng to the nexte stoppe. To preuent whiche, we will amende them otherwise, in the example of fower partes together hereafter, tournyng the .B. here into .G. vpon the thirde stryng (whiche is his vnisson) likewise the .D. into .H. vpon the fowerth stryng▪ which beyng so brought to perfection▪ shal be in that order also more easie for the hande: besides the necessitie it hath by reason of the stop of the next distaunce, of whiche also the twoo .D.D ▪ of the thirde stryng be to be chaunged into as many .H.H. vpon the fowerth stryng. These be thynges that happen ofte, so as to declare euery one, it were almoste infinite, if the iudgement of the learner of this arte, should not supplie it by reason, aswell hauyng regarde to the grace in plaiyng, as the ease and commoditie of the hande. So I omitte in this example to goe ouer againe many distaunces of like sorte, reseruyng the correction, for the nexte example▪ where fower partes are ioyned together.
The ioynyng of thrée partes together, Treble, Countertenour and Tenour.
[...] [...] [...] [...] [...] [...] [...] [...] [...] [Page 26] [...] [...] [...] [...] [...] [...] [...] [...] [...]
[Page] IN this present song of Orlande of the seconde Tune, beginnyng, Ie l'aame bien, whiche you maie see here of fower partes set in Tablature, all the distaunces whiche I had lefte in the former example of three partes, onely in their naturall and grosse order, here I will deliuer them vnto you, brought into a more artificiall sorte: so that you doe vnderstande, that the firste maner is alwaies necessarie to beginne to set in Tabloture, because in settyng (as we haue shewed you in all the former examples) one parte after the other, we doe not see at the firste, the beste forme euery stop is to be brought into. We knowe well that thesame might bee practised in an other sorte, that is to saie, to set first the Musicke in measures, assemblyng all the partes together one ouer the other, whereby there could bee none occasion to race out, but then ye must after doe as muche to bryng thesame into Tablature for the instrumente, whiche would bee twoo labours for one, because that in our fashion, we shall assone haue set it in Tablature, as in the other ye shall onely haue doen the Musicke.
¶The ioynyng of fower partes together.
[...] [...] [...] [Page 27] [...] [...] [...] [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...] [...] [...] [Page 28] Ie l'ayme bien. [...] [...] [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...] [...] [Page 29] [...] [...] [...] [...] [...]
¶Of the transposition, or alteration of the seconde Tune.
IN this song of Orlande of the seconde Tune transposed, beginnyng vn deux Nennin, I haue to aduertise the reader, that he dooe not trouble hymself, for that he seeth not the laste note to fall in Dlasol vpon the Treble open, as it hath been prescribed here before, because it is so, by reason of the drafte of the laste ende, procedyng of the pleasure of the maister Musician, beyng disposed as it were, to passe a carriere: although those that bee experte, doe knowe euidently this Tune, by the continuaunce of his other descentes.
¶The compasse of this song followyng, of the seconde Tune transposed.
[...]The compasse of the Base. Of The Tenour. [...]Base. Tenour. [...]Of the Countertenour. Of the Treble. [...]Countertenour. Treble. [Page 30] [...] [...] [...] [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...] [...] [...]
[Page 31]HEre the scholer must be aduertised, that in this transposition, there is no difference, as touchyng the letters of the Tablature, but onely in the notes, for the firste note of this song, whiche beginneth in Alamire is taken for D lasolre in this present song. whiche is a fifte higher as touchyng the note, but as concernyng the Tablature, he doeth not chaunge his place.
IN the presente song giuen for example of Transposition of the seconde Tune, in the .F. whiche is the seconde Minim of the twenteth distaunce, we haue to consider the loste Tune of the eight, of the .F. belowe, whiche happeneth often in our plaine ordinarie Lutes, whiche be but of eleuen strynges, and might easely bee remedied by settyng the song one note or twoo higher, but it would be harder for the hande, and the grace of the plaie would bee woorsser. Truthe it is, that it were possible to supplie that lacke vppon our plaine Lutes, by settyng the base a note lower, but that would make the plaie a greate deale harder, because it would cause a chaunge of all the letters of the greate Base. The Lutes of the newe inuention with thirtene strynges, bee not subiecte to this inconuenience, whereof the laste is put be lowe: whiche accordyng to the maner now adaies, is thereby augmented a whole fowerth: where here before it was vsed onely to supplie the lacke of this one note, whereof wee speake now. I will not here forget to tell you, that cunnyng Maisters (to giue remedie to this defecte) heighten their plaie vpon the Tablature, as many notes as thei thinke good. Here resteth yet to consider vpon that we haue spoken of before, concerning the pricke, how it is to bee kepte with his note: notwithstandyng in the .83. distaunce of this example, we bee constrained to lose hym, by reason of the Tunes, whiche mingle and passe one emong an other: whiche also maie bee founde in some other distaunces followyng.
The ioynyng of iiij. partes together.
[...] [...] [...] [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...] [...] [...] [Page 35] [...] [...] [...] [...] [...] [...] [...]
[Page] [...] [...] VNdou [...] ne [...]nin. [...] [...] [...] [...] [...] [...] [Page 36] [...] [...] [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...] [...] [Page 37] [...] [...] [...] [...] [...] [...]
¶The thirde Chapiter, of the third Tune.
THis thirde Tune is one of the fower maister Tunes, whiche endeth in my, as the fowerth also his seruaunte or folower doeth, of the transposition of whiche Tune, I will giue you none example, beyng therein no newe difficultie to declare, besides that I haue saied before. Also because these twoo Tunes, bee lesse vsed then the other, seruyng onely for Melancholie and doolefull matters. Seyng this song to ende in A. of the seconde stryng, a manne might take it to be his proper and naturall Tune, although there doe happen a chaunge into B. sharpe, for a grace (whiche is a thirde higher) but yet it is to be knowen by the other partes, commyng together in the naturall fallyng of the third Tune, whiche neuerthelesse endeth vpon the same stryng: by this that in the firste, the A. vpon the seconde maketh re, and in the thirde serueth for my, It is true that in this example I haue set the Tablature one note lower then ordinarie, for the ease of the hande, hauyng also regarde, that the Musick was kepte altogether as it ought, whiche is a thyng muche to bee considered in settyng, if it maie bee doen, that there be nothyng drouned of any of the partes.
¶The compasse of the song followyng of the third Tune.
[...]The compasse of the Base. Of The Tenour. [...]Base. Tenour. [...]Of the Countertenour. Of the Treble. [...]Countertenour. Treble.
HEre let not the reader thinke it straunge, to see all fower partes at the first shewe put together, to auoide the debatyng of a thyng alreadie spoken and doen, as I will alwaies doe from henceforthe, not omittyng for all that to explaine hard pointes, whiche shall chaunce in any of the Tunes followyng, where peraduenture we shalbe constrained to goe ouer some of them againe, if it be nedefull, either in the transposition of the Tune, or in any other accidente.
¶The fowerth Chapiter. Of the fowerth Tune.
IN this fowerth Tune, of the whiche I giue you for example, the song of Orlande, beginnyng Du corps absent, a manne [...]ight thinke it straunge that this Tune, whiche followyng the order of the rest, ought as a follower or seruaunte to bee sette [...]ower notes higher then the thirde Tune, his maister before, but we be constrained to sette hym onely but one note higher, by reason that this present song, doth goe but one note lower then his maister: together with that it agreeth better with the naturall Tune of the Lute, whiche in this sorte is handeled with more ease and perfection.
IN the 23. distaunce of this song, Du corps absent, we haue to shewe the reader, that in place of an .F. in the laste Minim of that measure, in the seconde example of thesame song, garnished with runnyng poinctes, ye shall finde thesame .F. chaunged into .D. with a double passage, kepyng the fall, whiche was corrupted in .F. neuerthelesse the Tune self of thesame .F is founde in thesame compainie, and eight of the greate fift stryng: whiche reason could not be in Lutes, tuned after the maner of Fabrice Dentice the Italian, and of other his followers. Where those strynges that stande twoo and twoo together, bee sette in one Tune, and not by eightes, whiche thei doe for a perfectiō of harmonie, in auoydyng many vnissons, whiche those eight would cause. In the .27. distaunce likewise it will be to be considered, that the letters whiche be set, accordyng to their naturall order vpon the laste Minim (makyng the accorde of Musicke) doe bryng a hardnes of plaie, beyonde the power of the hande, in the greater sorte of Lutes, although vpon lesse instrumentes, or to a verie greate hande well exercised, it might be possible. For this cause our scholer, whiche will not contente hymself of this plaine and naked Tablature, maie haue recourse to thesame distaunce in the Tablature followyng, where he shall finde thesame accordin his perfection, notwithstandyng the chaungyng of letters.
¶The fifte Chapiter of the fifte Tune.
IN this example of the song of Orlande of the fifte Tune, beginnyng, Trop endurer, wee muste declare, that the plaie is muche constrained, and the hande forced, and the notes of the same all contrary to ordinarie, because that the .C. whche for the moste parte in other Tunes serueth for my, here serueth for sol, and so consequently of the other letters. For this cause I haue put an other song after this of the same Tune, a note lower, to shewe the easines of the one, in respecte of the other. Notwithstandyng, the constrainte is so muche the more perfite, because of the losse of some note in the Base of the other. It remaineth to shewe here, that in the 64 distaunce, the pricke of the Minim of the Base is there loste, and it cannot be doen otherwise, but by the florishyng of them that be cunnyng, as maie be seen in the seconde Tablature of thesame song.
¶The compasse of the fower partes of the song followyng, of the fifte Tune.
[...]Base. Tenour. [...]Base. Tenour. [...]Countertenour. Treble. [...]Countertenour. Treble.
[Page] [...] [...] TRop endurer [...] [...] [...] [...] [...] [...] [Page 44] [...] [...] [...] [...]
[...] [...] TRop endurer. [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...] [...] [Page 45] [...] [...] [...] [...]
IN the example, whiche we giue for the more easie of the fifte Tune, in the song of Orlande beginnyng Vray dieu disoi [...] ▪ in the 34, distaunce, there is a place in the Tenour followyng the Musicke, in the whiche there is founde a greate difficultie, and strainyng of the hande, so as it cannot bee plaied, without takyng the hande of, whiche causeth the sounde of the other partes to ceasse, whiche is one of the greateste faultes and inconuenience that can happen to the plaier on the Lute, whiche errour the common sorte for the moste parte doe fall into, excepte suche as be excellent doers in this arte, wherefore it is better to make that place all plaine, without takyng of the hande, although it bee marked double in the Musick: because so there is nothyng loste of the perfection, seyng it is not doubled, but for pleasure and ioye of the harte, more then for any occasion of the accorde, or of the harmonie: So shall you finde how to vse this place in the example followyng, more cunnyngly set forthe.
¶The compasse of the fower partes of the song followyng.
[...]Base. Tenour. [...]Base. Tenour. [...]Countertenour. Treble. [...]Countertenour. Treble.
[Page 46] [...] [...] VRay-dieu disoit. [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...] [...] Vray-dieu disoit. More finelier handeled. [Page 47] [...] [...] [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...] [...]
¶The sixt Chapiter of the sixt Tune.
THis sixt Tune, whiche is seruaunt or suffrigan of the firste Tune before, hath his compasse or reche a fowerth lower, then his maister in Musicke, as also all the rest of the folowers haue. Of whiche Tune I giue you here for example, the Song of Orland, beginnyng, En vu lieu ou l'on ne voit goutte, whiche endeth in Ffaut, to the whiche the greate Base of the Lute serueth open, notwithstandyng, that in many of the other Tunes, it serueth for Gsolreut, and for other also, whereof I will not make you a certaine rule, and speciall determination, because thesame passeth by the discrecion of the maister, who to make hymself sporte in his plaie, or to ioyne with some other Instrumentes, whereof he would make a noise, doeth sette hym high or lowe, without makyng any scruple for the losyng sometyme of some little note. Wee will not repete here the rule for Tripler, whereof this song is full in many places, that there three muste bee obserued for twoo vnder one measure, because we haue sufficiently declared it in former Chapiters. The scholer maie not thinste it straunge, if while the Treple dure, he findeth but Minims marked in the Tablature in steade of Semibreues. The reason is, for that where there should be so many Breues, thei must be stricken twise, whiche were but a foolishe maner. For we haue alreadie tolde, that a good Lute will holde his sounde, as long as a Semibreue, and his pricke, and the Brief in Triple is no more in valewe, wherefore to make plaine this hardnes, I haue marked the Semibreues into Minims, whiche for all that, shall goe no faster nor slower, then if thei were Semibreues, beyng no difference nor perfection, more in the one, then in the other.
¶The seuenth Chapiter of the seuenth Tune.
WE will frame an example in Tablature, for this seuenth maister Tune, vpon the song of Orlande, beginnyng Ie ne veux rien q'un baiser de sa bouche. Whiche to them that should bee ouermuche scrupulous for the losse of certaine notes (whiche notwithstandyng, doe recompense them selues vpon the eightes, as it is to bee seen in the ende of this song) suche would sette it twoo notes higher, to saue those notes: but thei would because of greate difficultie, muche vnpleasauntnesse, and constrainte, so that we thinke it better to leaue it in his naturall Tune, then to chaunge it otherwise. Because that this Tune of his ordinarie propertie, is not accustomed to extende to those twoo loste notes, so lowe as the Musician would here for the poursuite and excellencie of his pastyme. Now is there in this song present, many thynges worthie to bee noted, in certaine distaunces of thesame, albeit that in the example better poolished followyng, there is remedie to bee perceiued for all the difficulties, but the reader could not perceiue them, because the knowledge could not be had but in the setting. The first is in the seuenth space, where the highest C. must holde a whole Semibreue for the Countertenour, if the diuision in the Treble did not take awaie one quauer from him whiche thou shalt finde the meanes to saue vnto hym in the .22. distaunce folowyng. In the .16. distaunce there is a runnyng point whiche is made to obserue the letters with the Musick: whereby bothe the Tenour and the Base bee letted, wherefore it is better there to make that pointe all plaine, then so muche to hinder those twoo partes, although it bee not to bee seen so in this distaunce (alreadie by me amended there) as it is set out in the Musicke. In the .31▪ distaunce is laste the pricke of the Countertenor in the beginnyng of the measure, where there is place to haue set him, but wee haue tolde before that the pricke is not stricken, wherefore it is better lefte out then stricken againe. In the .65. distaunce, the seconde Minim leeseth half his valure, by reason of a Cratchet in the Treble, and cannot be otherwise doen, for the constraine of the other partes.
¶The compasse of the song, Ie né veux rien.
[...]The compasse of the Base. Of the Tenour. [...]Base. Tenour. [...]Of the Countertenour. Of the Treble. [...]Countertenour. Treble.
[Page 52] [...] [...] IE ne veux rien. [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...] [...] [Page 53] [...] [...] Ie ne veux rien. More finelier handled. [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...] [...] [Page 54] [...] [...] [...] [...] [...] [...] [...] [...] [Page] [...] [...]
¶The eight Chapiter, of the eight Tune.
OF this eight and last Tune (after the common vse) seruaunt or follower of that before, wée giue you for example the song of Orland beginning, Ce faux amour. whiche taketh his Tune naturall, that is to saie, his Gsolreut in the Treble open, wherin you shall finde no difficultie for the Tablature, whiche hath not been declared in the Chapiters before, and whiche the learner of the Arte hath not sufficiently learned, if he haue practised all the songes and examples of the Tunes before set forthe.
¶The compasse of the fower partes of the song followyng, of the eight Tune.
[...]Base. Tenour. [...]Base. Tenour. [...]Countertenour. Treble. [...]Countertenour. Treble.
[Page 55] [...] [...] CE faux amour. [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...]
[...] CE faux amour. More finelier handled. [Page 56] [...] [...] [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...] [...]
¶An accessarie or incident.
WE doe yet further present here vnto you one song, by waie of accessary, whiche is of Orlande, beginnyng Las voulez vous qu'une personne chante. Although it might seme superfluous to put it in Tablature, to them that would in this followe the common opinion, whiche place is vnder the seconde Tune, but to many it semeth otherwise. For so muche as this Tune, of the whiche there bee founde sondrie songes and ballettes, doeth ende in Alamire, without transposition, and beyng transposed in Dlasolre, by b. sharpe. In this example here sette forthe vnto you, there is seen in the 13. distaunce (whiche hath been often seen in some other of the former examples) that is to saie the laste halfe of the Minime of the Base, by reason of the commyng of a certaine passage trauersyng, as it is ordinarily founde in all Musicke. In the .35. distaunce there is founde a like difficultie in that, that of necessitie, the halfe of the laste Minim must be loste of the Treble, or of the Countertenour. But the beste is to leaue out the laste Cratchette of the Countertenour, whiche is cause of this trouble, as you maie see that I haue lefte hym out in the seconde Tablature of thesame song, more cunnyngly sette forthe. In the .82. distaunce is loste the pricke of the first Minim of the Base, but the place of this pricke is voide, whiche I will acco [...]mpt a fault to strike againe, as ye shall perceiue by the laste handlyng of this presente song, that is to saie, that in place of the accorde on high, wee haue put hym in the eight beneath. For ende and conclusion of this woorke, wee haue none other thyng to holde you with, but that it hath not been by negligence, or not takyng heede, that wee haue not added yet more examples of songes and ballettes of three, fiue, sixe, seuen, and eight partes. But I haue doen it by reason, that who shalbe diligently exercised in the Tablature of fower partes onely: whiche I haue set forthe in this boke, shall not finde any newe difficultie, in that he would sette mo partes: that is to saie, that there is no further thyng to bée considered and obserued, but the rules largely set forthe and desciphered by our Chapiters, as aboue all, the chaunge and alteration of the value of notes of one parte, in the commyng in and ioynyng with the other partes Also that there must bee excused some leauyng out of accordes, sometyme for the necessitie of the bearyng of the instrument, whiche is not for all that, to condempne the Lute alone of imperfection: the Harpe, Uirginals, and other made of like harmonie, hauyng all nede of like excuse.
¶The compasse of the song, Las voules vous.
[...]The compasse of the Base. Of the Tenour. [...]Base. Tenour. [...]Of the Countertenour. Of the Treble. [...]Countertenour. Treble.
[Page 58] [...] [...] LAs voulez vous. [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...] [...] [Page 59] [...] [...] Las voules vous, [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...] [...] [...] [...] [...] [Page 60] [...] [...] [...] [...] [...] [...]
¶The nineth Chapiter.
TO put the laste hande to this woorke, I will not omitte to giue you to vnderstande, how to knowe stringes, whereof the best co [...]e to vs out of Almaigne, on this side the toune of Munit, and from Aquila in Italie: before ye putte them on the Lute, it is nedefull to proue them betwene the handes, in maner as is sette forthe in figures hereafter pictured, whiche shewe manifestly on the finger, and to the eye, the difference from the true with the false: that is to wete, the true is knowen by this that in strikyng hym betwene the fingers, hee muste shewe to diuide hymself iuste in twoo, and that for so muche as shall reche from the bridge belowe, to the toppe of the necke: because it maketh no matter for the reste of the strynges, that goeth emong the pinnes, notwithstandyng ye maie not bee satisfied in assaiyng the strynge, holden onely at that length, but that you must also proue hym mistrikyng hym, beyng holden at shorter lengthes to bee well assured of his certain goodnes and perfectiō. Also the false stryng is knowen by the shewe of many strynges, whiche it representeth, when it is striken betwene the fingers: so muste you continewe thesame triall in strikyng the stryng, till you perceiue the token of the good, to separate hym from the [...]adde, accordyng to the figures followyng.
❧A brief instruction how to plaie on the Lute by Tablatorie, with certaine easie lessons for the purpose: gathered together: to the greate commoditie and pleasure of the learner of the same. By A.R▪
¶The first Rule.
First thou must vnderstande, that the Lute is commonly strung with sixe strynges, I saie sixe strynges, although there bee eleuen because the fiue first, accoumptyng from the Base, be doubled, whiche make tenne, and the Treble is onely single and alone, whiche maketh the eleuenth, as thou maiest perceiue by the figure of the Lute, whiche I haue here represented vnto thee.
¶The seconde Rule.
These sixe strynges bee figured by fiue straight lines, of the whiche, the firste do [...]oth signifie the highest stryng, called the Treble, the seconde line is the seconde stryng, and so consequently all the other vnto the sixt, the whiche sixt line, is not noted in our Frenche Tablature, because it maie easely be iudged to be the last.
- Treble.
- Small meane.
- Greate meane.
- Countertenour.
- Tenour.
- Base.
¶The thirde Rule.
And because these sixe cordes bee not sufficient of them selues, to expresse many and diuerse soundes, it is necessarie to finde meanes, whereby euery stryng maie giue many and diuerse soundes, and the meanes and waie thereof, is the inuention of the frettes, whiche thou seest aboute the necke of the Lute here figured.
FOr to speake of the frettes, I will not here declare the proportions, that ought to bee obserued, to saie, the space or distaunce betwixte frette and frette, whiche wee doe call stoppes, for to compasse them iustly, nor the greatnesse of the frette strynges, whiche must bee also obserued, these thynges shalbe declared an other tyme, thou shalte contente thy self, to marke what I will now saie vnto thee.
¶The fowerth Rule.
WE call the frettes, the stringes that bee tied about the necke of the Lute, whiche be ordinarily eight in nom [...]er, represented and figured by the letters .b.c.d.e.f.g.h.i. and bee called stoppes, because that whereas those saied letters bee founde, followyng the order of our Tablatorie, the spaces betwixte the frettes muste bee stopped with the lefte hande. In the Frenche Tablatorie is vsed the letters of the Alphabet, and the Italians and other nations, in steade thereof, vse Sciphers and other Carecters.
¶The fifte Rule.
THe first stoppe is signified and marked by the letter b. the seconde .c and so consequently the rest, vnto the eight and last stop, with the letter .i. As thou maiest see by the figure of the Lute, whiche I haue before represented vnto thee.
¶The sixte Rule.
AS touchyng this letter .a. we haue not comprised it emong the nomber of the eight stoppes, because that where the saied a. is founde, it must be stroken open, that is to saie, you muste strike or gripe as many strynges, as there bee marked A [...] with the right hande, not stoppyng with the left.
¶Example.
[...]
¶The seuenth Rule.
AS for the letters that come after the .I. (which we haue set last) thei haue no frettes, notwithstādyng those that be exercised in thesame arte, stoppe the strynges iustly, where thei should bee stopped, that is to saie, where the letters be marked, whiche bee euer aboue the nomber of eight, as cunnyngly as if thei had frettes.
¶Example.
[...]
HAuyng now spoken of the strynges, letters, frettes, and stoppes, thou muste also vnderstande, how, and with whiche fingers the strynges of the Lute must be stopped.
¶The eight Rule.
NOw seyng the letters doe signifie the stoppes (the whiche dooe onely appertaine to the lefte hande) if you should not strike the saied strynges beneth on the beallie, the Lute would giue no sounde: you must with the thombe, and the fingers of the right hande, gripe or strike as many strynges, as shalbee founde letters marked in the lines, signifiyng the saied strynges▪ I meane, that shalbee one aboue an other in thesame stoppe: and if there bee but one letter, you muste stoppe but one stryng, if there be twoo, you must onely stoppe twoo, and so consequently to the nomber of sixe, which maketh sixe partes in one stoppe, because euery letter doth his parte, and there muste bee twoo letters at the leaste, one aboue the other, to make the accorde.
¶Example.
[Page 65] [...]
¶The nineth Rule.
WHereas thou doest finde but one letter to bee stopped, thou shalte strike hym dounewarde with thy thombe, bee it firste, second, or other, the stryng signified by the line of the Tablatorie, vpon thesame line that the letter standeth on, so that there bee vnder that letter no poincte or pricke. For if there bee one, it muste bee striken vpwardes with one of the fingers, as shall best fit it.
¶Example.
[...]
¶The tenth Rule.
IF you dooe finde one, twoo, or three letters, hauyng no pricke or poincte vnderneth, you shall strike vpwardes as many strynges, as you shall finde letters vpon the lines of the Tablature, signifiyng the saied strynges, with as many fingers as there bee letters and strynges, and you muste also note, that although there bee but one poincte or pricke vnder one, twoo, or three letters, thei must bee all striken with the fingers, without the thombe, as if euery letter were marked seuerally with his pricke or poincte.
¶Example.
[...]
¶The eleuenth Rule.
IF vnder twoo, three or many letters comprised in one stoppe, bee founde no pricke or poincte, then you muste gripe, or drawe as many strynges, as there bee founde letters: gripyng, or drawyng▪ is to bee vnderstoode, when the thombe and the fingers of the right hande plaie together. Because in the eight Rule, wee haue spoken of sixe partes, the whiche will not bee full, excepte all the sixe strynges bee sounded, and yet hauyng but fiue fingers to eche hande, accoumptyng the thombe for one, and yet of the fiue, the little finger serueth but to keepe the hande from vpon the beallie of the Lute: some would thinke it harde to bee doen, and almoste impossible, to plaie fiue or sixe partes vpon the Lute, but when it shalbe vnderstoode, in what sort it maie be doen, it will not seme so straunge.
¶The twelfth Rule.
BEcause it shalbe hereafter necessarie for the vnderstandyng of the Tablature, to knowe the diuision of the hand and the fingers, and with what names I will surname them, I will aduertise thee, that after the thombe, the nexte followyng shalbe the firste, nexte vnto that shalbe the seconde, the thirde to bee the thirde, and the little finger to bee named the little finger.
¶The thirtene Rule.
AND to the ende thou shalte not bee abused by these termes, to strike dounewardes, to strike vpwardes, or to gripe, you shall vnderstande, to strike doune the strynges, is when the thombe plaieth alone, whiche striketh the stryng dounward, or lifte or strike vpwardes, those be the fingers that striketh the strynges vpwardes, when the letters be marked with [Page 66] poinctes or prickes to gripe, is when the thombe and the fingers plaie together, the whiche notwithstandyng, dooeth not leese their office to strike vpwardes, or dounewardes, that is to saie, to strike dounewardes with the thombe, and vpwardes with the fingers.
¶The fowertene Rule.
WHen thou wilte plaie sixe partes vpon the Lute, thou muste strike dounewardes, the sixte and the fifte stryng, with the thombe onely, trainyng it vpon the twoo strynges, or twoo partes, as if thou wouldest shutte thy hande, and strike vpwardes the thirde and fowerth partes or strynges, with thy firste finger, as if thou wouldest ioyne, or shutte it to thy thombe, whiche finger and thombe, after that sorte striketh fower partes, and to strike vpwardes the seconde parte, with the seconde finger and the firste, whiche is the Treble with the thirde finger, whiche maketh the full sixe partes.
¶Example.
[...]
¶The fiftene Rule.
IF it so happen, thou haue but fiue partes to plaie, thou maiest as in the foresaied Rule, strike dounewardes with thy Thombe, the sixte and fifte stryng, or the fifte and fowerth, and to strike vpwardes the three other strynges, with the fower other fingers, so that the Counter Base, and the nexte parte bee ne [...]e one to an other. Otherwise it were necessarie, that the firste finger should strike vpwardes, the thirde and fowerth strynges or partes, to make the fowerh and fifte parte. As for the example.
¶Example.
[...]
¶The sixtene Rule.
FOr to plaie fower partes, it is easely to be vnderstande, that the thombe and the three fingers together, serue easely to strike the fower strynges or partes, eche doyng his parte, strikyng vpward and dounewarde.
¶Exemple.
[...]The .x. Commaundementes. [...] [...]
¶The seuentene Rule.
FOr to plaie three partes onely, the thombe will serue, as wee haue alreadie taught thee in the Rules aforesaied, to strike the Counterbase dounwardes, the first and the seconde finger, to strike vpwardes the twoo other, whiche make the three partes.
[...] [...] Ie ne veux plus a mon mal consentir. [...] [...] [...] [...]
¶The eightene Rule.
[Page]FOr to plaie twoo partes, the thombe, as of custome shall strike dounwarde the Base stryng, and the firste, or other finger, the other stryng.
¶Example.
[...] [...] [...] [...]
NOw that we haue spoken briefly, the disposicion of the right hande, and with what fingers wee ought to gripe, strike vpwardes, and strike dounewardes the strynges, wee will come to the lefte hande, and speake thereof, how it ought to bee disposed, retainyng the selfsame names of the fingers, that we haue vsed, in speakyng of the offite of the right hande.
¶The ninetene Rule.
AS we haue in the fowertene Rule made aunswere to the doubte, that might haue been made, as hauyng but fiue fingers, of the whiche fower serue onely to gripe, drawe, or lifte vp the strynges, that it should be impossible to plaie fiue or sixe partes. Euen so wee might aunswere them that would aske, how one might stoppe with [...]ower fingers of the left hande, fiue or sixe strynges, the thombe beyng occupied to beare vp the Lute, and to guide the hande: when the first [Page 68] finger alone (I meane that nexte to the thombe) might easely stoppe all the strynges, in couchyng the saied finger, a long ouerthwart the stoppe, whiche is a thyng ordinarie and common, to serue twoo or three partes, and that is doen, when there bee many letters a like, to plaie in one stoppe, as three .BBB. three .CCC. and so of other.
¶Example.
[...]
¶The twentie Rule.
IF it happen that the first finger stoppe twoo or three strynges, accordyng to the letters signified in the Tablature, and signified by the stoppes, the other fingers nexte, as the seconde, thirde, and fowerth, shall stoppe the others euery one in his rancke, accordyng to naturall order and degree, as I will shewe thee hereafter verie plainly.
AND for that in fewe woordes, thou maiest vnderstande, how thou shalte dispose the fingers of the saied lefte hande, I haue chosen for thee certaine stoppes, or familier accordes, common, and difficulte, the whiche I will teache thee, shewyng thee with what fingers thou must stoppe, and those well practised, will easely make thee vnderstande all others that shall come to thy hande.
NOw followe the stoppes, diuerse and common, the whiche bee interpreted, one after an other, and with what finger of the lefte hande you muste stoppe, and for the better vnderstandyng, you must note, that if there bee twoo, or three letters of one sorte, vpon one stoppe, as twoo .BB. twoo .CC. or other letters, bee it the firste .B. or .C. it shalbee vnderstoode of that letter, that standeth vppermoste, be it .B or .C. or other letter▪ as touchyng the .A. call to remembrance what I haue before taught thee, because it is not stopped, but is plaied open.
¶Common accordes.
[...]
THE first .C. of the first stoppe, that thou seest here figured, must be stopped with the seconde finger, and the seconde C. with the first finger. The .B. of the seconde stoppe, with the first finger, the .D. with the thirde, and the .C. with the seconde. The firste .D. of the thirde stoppe, with the little finger, the .B. with the first, the seconde .D. with the thirde. The firste and seconde .B. of the fowerth stoppe, with the firste finger, couchyng it a long ouerthwarte the stoppe, and the .D. with the thirde. The firste .D. of the fifte stoppe, with the little finger, the .B. with the firste finger, the other .D. with the thirde finger: the .C. of the sixte stoppe with the second finger, the firste .D. with the little finger, the other with the thirde. The .B. of the seuenth stoppe, with the firste finger, the .C. with the seconde. The .B. of the eight stoppe, with the firste finger, the .D. with the thirde. The firste .E. of the nineth stoppe, with the thirde finger, the .F. with the little finger, the other .E. with the seconde, and the .C. with the firste. The firste .C. of the tenth stoppe, with the seconde finger, the twoo other .CC. in [...]ouchyng your fore finger, all a long ouerthwarte the stoppe. The .D. of the eleuenth stoppe, with the little finger. the .B. with the first finger, the .C. with the seconde. The first .C. of the twelfth stoppe, with the thirde finger, the .B. with the firste, the other .C. with the seconde finger. The .B. of the thirtenth stoppe, with the first finger, the .C. with the seconde, the .D. with the thirde. The firste .C. of the fowertenth stoppe, with the thirde finger, the twoo other with the seconde finger, touchyng it alone. The fiftenth stoppe as the twelfth, The .E. of the sixtenth stoppe, with the little finger, and the .C. with the first finger. The firste .C of the seuententh stoppe, with the seconde finger, the .D. with the thirde, the other .C. with the first finger. The .D. of the eighteneth stop with the little finger, and the .C. with the seconde. The .B of the ninetenth stoppe, with the firste finger, the .C. with the seconde, and the .D. with the third finger. The .D. of the twentie stoppe, with the little finger, the .B. with the first finger, and the .C. with the seconde. The firste .D. of the one and twentie, with the little finger, the seconde with the thirde finger, the .C. with the firste. The twoo and twentie stoppe, is like vnto the seuentene. The first and seconde of the last stoppe, with the first finger, couchyng it a long, the .E. with the seconde, and the .F. with the thirde finger. All the aboue saied stoppes, bee stopped, as I haue taught thee [Page 69] here before, if sometymes thou doe not finde thy self forced to chaunge them, to doe some passage.
¶The one and twentie Rule.
OTher stoppes, whiche for the moste parte bee plaied with the finger chouched all a long, and for the better vnderstandyng hereof, you must note, that when I speake of laiyng the finger all a long, that is to bee vnderstoode of the fore finger, whiche muste bee couched ouerthwarte the sixe partes or strynges of the Lute, or at the leaste to stoppe the letter whiche thou shalt bee constrained to chouche, that happeneth when there bee many letters of one sorte, as twoo .BB. twoo .CC. or other. Alwaies obseruyng the order that I haue giuen thee in the former article, touchyng the first and seconde letter, and when I shall speake of a naturall stoppe, thou shalt note, that this stoppe cannot bee doen, nor plaied, but after a sort, followyng the naturall order of the fingers, or of the hande.
¶Example.
[...]
THe .D. of this first stoppe, must be stopped with the seconde finger, the .F. with the little finger, the .E. with the third finger, and the .C. with the firste. The firste .C. of the seconde stoppe, and the seconde, muste bee couched all a long with the first finger, the .D. with the seconde finger, and the .E. with the thirde. The three .GCC. of the third stoppe, with the finger couched all a long, the .D. with the seconde finger. The .E. of the fowerth stoppe, with the seconde finger, the first .F. with the little finger, the seconde with the thirde, and the .C. with the first. The twoo .FF. of the fifte stoppe, with the first finger the .H. with the little finger. The .E. of the sixte stoppe, with the seconde finger, the first .F. with the little finger, the seconde with the thirde finger, and the .C. with the first. The twoo .CC. of the seuenth stoppe, with the first finger, the .D. with the seconde, and the .E. with the third. The twoo .CC. of the eight stoppe, with the finger couched all a long, the .D. with the seconde finger, and the F. with the little finger▪ The .B. of the nineth stoppe, with the first finger, the twoo .CC. with the seconde finger, and the .E. with [Page] the little finger. The tenth touche naturally. The eleuenth touche as the firste. The twoo .CC. of the twelueth touche, with the finger couched along, the .D. with the seconde finger, the firste .E. with the little finger, the seconde with the thirde finger. The thirtene stoppe is naturall. The fowertene stoppe like the sixte: The fiftenth like the firste. The fifte .H. of the sixtenth stoppe, with the little finger, the twoo .FF. with the first finger, the .G. with the seconde, and the .H. with the thirde finger. The .K. of the seuenteth stoppe, with the little finger, the twoo .FF. with the finger couched a longe, the .H. with the secende finger. The eighteneth stoppe, like the sixteneth: The twoo .FF. of the ninetenth stoppe, with the firste finger, the firste .H. with the little finger, and the seconde with the thirde. The twentie stoppe like the sixte, and the fowerteneth. The one and twentie, like the seuenth. The three .CCC. of the twoo and twentie stoppe, with the seconde finger, the .D. with the thirde finger, and the .E. with the little finger. The three and twentie stoppe, like the nineth. The three .CCC. of the laste stoppe, wih the finger couched a long, the firste .E. with the little finger, the seconde with the thirde, and the thirde with the seconde finger. All the abouesaied stoppes bee doune naturally, as it is taught thee, if thou bee not constrained to dispose them otherwise, to make some passage.
¶The twoo and twentie Rule.
IT is also necessarie to giue thee to vnderstād, to what purpose the barres that be drawen bias. vnder the letters or passages doe serue for, and for thy better vnderstandyng, I haue here vnder drawen thee an example at large, and verie familier, in the whiche thou shalte not finde one example, trimmed or measured, that thou shalte nede to remoue any of thy fingers from the saied measure: The knowledge of the saied barre is so necessarie, that hauyng founde out, and exercised the same, thou shalte not neede to remoue, but those fingers, whiche thou shalt be forced, whiche wee call close, or couerte plaie, as for the other barres, whiche come straight ouerthwarte the lines, that signifieth vnto vs the sixe strynges, serue for no other purpose, but to make a distinction, and to enclose the measures, sometymes one of a Semibreue, an other whiles of twoo, accordyng to the discretion of hym that bryngeth Musicke, into the Tablature for the Lute.
¶Exemple.
[Page 61] [...] [...] [...] [...] [...] [...] [...] [...] [Page] [...] [...] [...] [...]
¶The three and twentie Rule.
ALL the other signes or figures, that is founde within, or without the Tablature, be practised as in Musicke, that is to saie, the poincte of repetition is thus figured [...] signifiyng that you must repeate twise one thyng: the poincte of rehearsall signifiyng▪ that when you bee towarde the middest, or towarde the ende, you must retourne to the saied poincte of rehearsall, whiche is figured thus▪ [...] As touchyng the Orgaine poincte thus figured [...] it is applied sometyme to the middest, sometyme to the ende, and it hath this signification, that where it is founde, you must pause, or reste without discretion. You must also vnderstande what the twoo barres doe signifie, figured in this sorte [...] whiche doeth serue sometymes to saue you labour, from writyng one thyng twise: it hath moreouer this signification, sometyme to make you leaue some measure, as commyng to some poincte of repetition, or to an ende, but when thou shalte finde it before the poincte of repetition, repeated the seconde tyme, thou must leaue that, whiche is betwixte the saied twoo barres, and the saied poincte of repetition. Contrariwise, when thei bee founde in the ende, the first tyme you must, commyng to the twoo barres, leaue that whiche is betwixte them and the ende, and you muste plaie that, whiche is beyonde the ende, then retournyng to the poincte of rehearsall, [Page 71] thou shalte make and ende of that, whiche thou diddest leaue at the first, that is to [...]aie, that whiche is betwixte the tweo barres, and the ende, As for example.
¶Example.
[...] [...]Ce n'est bien ne plaisir. [...] [...] [...] [...] [...] [Page] [...] [...]
¶The fower and twentie Rule,
FInally, you must now knowe the markes, long, straight, croked, and forked, whiche bee ouer the letters of the Tablature, is no other thyng, but a certaine valuation of the notes of Musicke, trimly inuented to kepe measure, without the whiche, this arte were vnprofitable, or worthe nothing, and if thou findest but the first letter, marked with one of these figures, betwene twoo barres, thou shalte vnderstande, that the reste of the letters bee all of thesame tyme, that the firste letter is measured withall, it would haue been but labour in vaine, to haue marked them all with one figure, some marke theim with the Musicke it self, or with other Ziphers, accordyng to the maner of the Countrey, when thou doest finde any of these figures [...] marked with a pricke or poincte, that poincte doeth signifie the augmentacion of halfe the tyme more of the figure or measure, where vnto it is ioyned, as commonly is practised in Musicke. As touchyng this figure [...] it hath neuer no poincte nor pricke, and it is called a Semibreue, whiche is a note of the longest measure, that is practised vpon the Lute, for if there be longer, of force thei must be diuided.
¶The fiue and twentie Rule.
TO tune your Lute well, although it be hardly to bee shewed, beyng subiecte to the delicatnesse of a stryng, either to the greatnesse, or to the smalnesse of the Instrumente, thou must therein followe nature, who will bee by no meanes bee forced, a good eare is there vnto also a good helpe, to haue consideration to the extreame highnesse, and the extreame lownesse, and thy beginnyng shalbee at the greate Base, whiche shalbee vnto thee a very good guide, to conducte thee to his companion the nexte strynge, the whiche must be higher eight notes. Then the fifte beyng the [Page] seconde Base, to sette higher by fower notes then the greate Base, and the seconde Bases companion, to be higher by eight notes: the next vnto that, beyng the fowerth parte, called the Countertenour, shalbe sette higher fower notes aboue the firste parte or seconde Base, and his companion to bee sette higher by eight notes. The thirde parte called the greate meanes, shalbe higher by three notes▪ then the Countertenour, in vnitie: The small meanes, [...]ower notes higher then the greate meanes: The Treble or laste parte, fower notes higher then the small meanes, whiche thou shalte truely doe, hauyng a good eare withall, notwithstandyng, a thyng not easie to all menne, but to them onely that haue been doers in this arte, and that long tyme haue as it were, maried their eare to the swetenesse of the stryng, notwithstandyng, suche as haue a good will, and are desirous to learne, maie haue recourse vnto the examples and rules, whiche I haue here vnder written.
¶The tune of the Lute.
[...] Par vnissons. Par octaues.
Hereafter doeth followe, the diuerse accordes of the Lute, whiche be represented or marked vnto thee in Musicke by B. carre, or by B. mol.
❧The thirde booke for the Lute, conteinyng diuerse Psalmes, and many fine excellente Tunes, sette forthe by A.R. the aucthour thereof.
[Page] [Page] [...] [...] LE ciel qui [...]uit. [...] [...] [...] [...] [...] [...]
[Page] [...] [...] QVand ce beau. [...] [...] [...] [...]
[Page] [...] [...] LAs que nous. [...] [...] [...] [...] [...]
[Page] [...] [...] QVand [...]esto. [...] [...] [...] [...] [...] [...]
[Page] [...] [...] MAi [...] voy [...]z. [...] [...] [...] [...] [...]
[Page] [...] [...] QVand le. [...] [...] [...] [...] [...]
[Page 67] [...] [...] OR voy-je bien. [...] [...] [...] [...] [...] [...]
[Page] [...] [...] HAs tu. [...] [...] [...] [...] [...]
[Page 68] [...] [...] LA terre. [...] [...] [...] [...] [...] [...]
[Page] [...] [...] AH dieu. [...] [...] [...] [...] [...]
[Page 69] [...] [...] LAs je neusse. [...] [...] [...] [...] [...] [...]
[Page] [...] [...] AVtant qu'on void. [...] [...] [...] [...] [...] [...]
[Page 70] [...] [...] TAnt que j'estoys. [...] [...] [...] [...] [...]
[Page] [...] [...] DE mandes tu. [...] [...] [...] [...] [...]
[Page 71] [...] [...] DOuce maitresse touche. [...] [...] [...] [...] [...] [...]
[Page] [...] [...] I'Estoys. [...]Otherwise. [...] [...] [...] [...] [...]
[Page 72] [...] [...] I'Ay bien mal choisi. [...] [...] [...] [...] [...] [...]
[Page] [...] [...] CE n'est point. [...] [...] [...] [...] [...] [...]
[Page 73] [...] [...] D'Vn grosier. [...] [...] [...] [...] [...] [...]
[Page] [...] [...] I Truste in God. [...] [...] [...] [...] [...] [...]
[Page 74] [...] [...] O Lorde giue eare to. [...] [...] [...] [...] [...] [...]
[Page] [...] [...] I Lift my hart [...] to thee. [...] [...] [...] [...] [...] [...]
[Page 75] [...] [...] THe wicked with his. [...] [...] [...] [...] [...] [...]
[Page] [...] [...] GIue thankes [...] [...] [...] [...] [...] [...]
[Page 76] [...] [...] LOrde to thee. [...] [...] [...] [...] [...] [...]
[Page] [...] [...] MOn coeur. [...] [...] [...] [...] [...] [...]
[Page 77] [...] [...] HArte opprest. [...] [...] [...] [...] [...] [...]
[Page] [...] [...] PRaise ye the lorde. [...] [...] [...] [...] [...] [...]
[Page 78] [...] [...] WHen as we [...]at in Babilon. [...] [...] [...] [...] [...] [...]