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Sopranos

! ! ! ! # "

Altos

The TUMS Busking Book


Tenors Basses

"

Edited by Philip Legge Version 1.01 1 January 2008

The TUMS Busking Book


Edited by Philip Legge
This book is a belated thank-you present to the legions of singers from the Tasmania University Musical Society who like me, would get up early every Saturday morning during the course of the academic year to head down to the Salamanca Markets at Battery Point, Hobart, and do our best to entertain the passersby, but most importantly try to sing well enough to convince the financially able to part with some of their hard-earned lucre. This collection is designed to update the old TUMS busking book with clear, legible, and reliably typeset versions of the familiar repertoire much as it was when I sang with TUMS in the early 1990s. Moreover, it is possible now to include a few items with slight variations to fix a number of longstanding errors, which should not prove too controversial. In the case of a couple of items, extra verses of songs are available particularly where the song is otherwise rather short. If you are a first-time singer at a TUMS busking session, or an unexperienced singer generally, a few notes on the format of each item may be helpful to you. At the start of each piece, a treble clef will indicate the key, and the starting notes that will be given by whomever has a pitch pipe or tuning fork.

#$ ! $ %

For example: G Major

3, 4, 1

Altos Tenors Sopranos, Basses

Sopranos

! #& $ ' ! & $ % %$ #& ! & # " #& " & #& ! & $$ ' % % $ $$ ' % % $ $$ ' % % $

Lau - da - te

( % % % %$ ( % % % %$ ( % % %$ % % % % %$ )

This legend indicates that the G (the white note) is the root of the chord, and is sung by the sopranos and basses. The third and fifth of the triad are shown with black notes and are sung by tenors (B) and altos (D). Note that this does not mean the altos actually sing above the sopranos! It shows your note in relation to the other parts of the chord. Finally, in a box below the chord is the countin you will hear prior to starting the piece at a unanimous speed.

Laudate

no - men Do - mi - ni, vos ser - vi

% % % % % ) ( % % % % % % % % % % ) ( % % % % %

Do - mi - ni,

% % % & % % % % % % & &

Altos

Lau - da - te

no - men Do - mi - ni, vos ser - vi

Do - mi - ni,

Tenors

Lau - da - te

no - men Do - mi - ni, vos ser - vi

Do - mi - ni, ab

% %

Basses

Lau - da - te

no - men Do - mi - ni, vos ser - vi

Do - mi - ni,

Almost all of the songs have one voice to a part (or occasionally two staves contract into one) and repeat marks usually do not require a page turn backwards. Thats pretty much it enjoy! The initial publication of 15 January 2006 contained a few errors, soon ironed out; this revision introduces some substantial changes to El Grillo. Comments, and requests for inclusion of new items may be sent to: Philip.M.Legge @ gmail.com Philip Legge Melbourne, New Years Day 2008

Contents
Come again! .............................. Pastyme ..................................... Laudate ..................................... Come, ye Sons of Art ............... Non nobis, Domine ................... Fine knacks ............................... Dona nobis pacem .................... Pase el agoa .............................. Weep O mine eyes .................... Alle psallite .............................. Drink to me only ...................... Gaudeamus igitur ..................... 4 6 8 10 11 12 14 15 16 18 19 21 Now is the month of maying .... Greensleeves ............................. Round on a well-known text ..... El Grillo .................................... Il est bel et bon ......................... If music be the food of love ..... Since first ................................. Old mother Hubbard ................ All at once well met .................. Fa una canzona ......................... Lo, how a rose .......................... Your shining eyes ..................... Faire Phyllis .............................. 22 24 25 26 28 34 36 38 44 48 49 50 52

Index of Titles ...........................

55

Index of Composers .................

56

#$ ! $ %
Sopranos

G Major

Come Again!
Tenors Sopranos Altos, Basses The normal verses sung are the ones at the bottom of this page (1, 2, and 6), each time with a repeat of the fourth and fifth lines. The other 3 verses are on the opposite page.

1, 2, 2, 2

! #* ' ! &

Altos

Tenors

Basses
7

! # ! ' ! ' ! ' # "# ' " # #

#* % $ % & ! & ) # Come a - gain! & " #* % % & "


Come a - gain!

#* ! & %$

%$ % &
Come a - gain!

' ' ' ' & & &

%
sweet

( %

&

% % %

%
love

sweet

love doth now

% % % % % % %

%$
now

doth

%$
now

in

in

% )
-

John Dowland

&
vite

sweet

love

doth

% % % %

Come

% % % % % %

gain!

Thy

gra - ces

Thy

gra - ces

% %$ % %$
that that that

% % % %

sweet

love

re -

re - frain

( % &

' ' ' '

frain

To

% % % %

doth

do

% % %$ %$ % %

now

%$

% % &
in

vite

& &

me

To

do

me due

( % %$
due

%$

in

( %

vite

de - light,

( % & ( % & & ( % &

vite

Thy

gra - ces

Thy

gra - ces

that

% %

re -

frain

To

do

me due

% % #% )
due

de - light,

re -

frain

To

do

me

%$

de - light,

de - light,

1. Come again! sweet love doth now invite Thy graces that refrain To do me due delight, To see, to hear, to touch, to kiss, to die, With thee again in sweetest sympathy.

2. Come again! that I may cease to mourn Through thy unkind disdain; For now left and forlorn I sit, I sigh, I weep, I faint, I die In deadly pain and endless misery.

6. Gentle Love, draw forth thy wounding dart, Thou canst not pierce her heart; For I, that do approve By sighs and tears more hot than are thy shafts Do tempt while she, while she for triumphs laughs.

Copyright 2006 Philip Legge, for the Choral Public Domain Library: http://www.cpdl.org/ Editions may be freely duplicated, distributed, performed, or recorded. All other rights reserved.

! # $ ! $ + %( % To see, # $ ! $&
15

+ (% %
see,

"

! #& !
21

# $ ! $& # To " # $$ &


To To

% %

to hear,

+ ( % % + % % )
to to to

+ %( %

to touch,

hear,

+ %( % + % ) %

+ %( %

to kiss,

to touch,

+ %( % + % ) %
to to

( + % %

to die

kiss,

( + % &
to

&

see,

! % % # thee a "# " % % #


to

#% !

+ % )
die

see,

%$

( % %$

hear,

to touch,

( % %$

% $ '#(% % % % $
with

thee a - gain

% % %

hear,

( + % % % %
in sweet -

to touch,

to

% %$ )

kiss,

+ % % % % % )
die, to to

kiss,

% % )

die, to die with

die,

to

in sweet - est sym

% %

* with thee a - gain

- gain,

+ %( % $ %
a

( % %

with thee

die with

thee

gain

in

% % % % % % %$ )
est a - gain in sweet est

% %

% %%%
sym

%$ %$

pa -

% % %

sym

( % & pa - thy. ( % &


pa - thy.

thy.

&

$$ $$ $$ $$

sweet - est

sym

pa - thy.

( % &

3. All the day the sun that lends me shine By frowns doth cause me pine And feeds me with delay; Her smiles, my springs that makes my joy to grow, Her frowns, her frowns, the winter of my woe.

4. All the night my sleeps are full of dreams, My eyes are full of streams. My heart takes no delight To see the fruits and joys that some do find And mark the stormes, the stormes are me assignd.

5. But alas, my faith is ever true, Yet will she never rue Nor yield me any grace; Her Eyes of fire, her heart of int is made, Whom tears nor truth, nor truth may once invade. * Dowland probably intended an F# here, or would have expected singers to apply the rules of musica ficta by sharpening the note. Dowland notated the song without a key signature, thus requiring all sharps to be explicitly written in, and the note here was probably overlooked.

$ !, $ %

G Minor

Pastyme
Sopranos sing the alto part for verses 1 and 2, and only in the 3rd verse sing the soprano line. It is a descant version of the tenor part. As shown below, two bars of clapping precede the start of verse 1, but only one bar separates the two following verses.

Tenors Sopranos, Altos Basses 1, 2, then 2 bars of clapping

Henry VIII of England

Sopranos

! & ! ,&

$$ $$ $$ $$

%$ %$ %$ %$

Altos

& ! ,&
! ,& & # " & " ,&

3. Com - pa - ny

% %$ ) ( % %$ % %$ ) % %$ )

with hon - es - ty,

% %$ %% % %$ ) ( % %$ %% % %$ % %$ %% % %$ ) % %$ ) % %$ )

Is

( % ( % ( %
I

1. Pas - time with

good com - pa - ny, _

Tenors

1. Pas - time with

good com - pa - ny, _

Basses

Clapping

& . & / / / / / / $$ / / / / / / / / / / / / /
1. Pas - time with

good com - pa - ny, _

% )
I I

// / //

! %$ !,
5

%$ !, # love " $ " ,%


love love

!, % $

vir - tue, vi - ces

% %$ ) ( % %$ % %$ ) ( %$ %

( % % % %
to

and shall

un - til

( % #% % % % % & ( % % % %
I

flee.

&

%$ %$ %$ %$

Com - pa - ny

% %$ ) ( % %$ % %$ ) % %$ )

is

% %$ % % % %$ ) ( % % $ % % % 0% $
good and ill,

but

( % ( % ( % % )

die.

and shall

un - til

. / / / / / / /

and shall

un - til

% % ,% % )
I I

die.

& &

Grudge who lust

but

Grudge who lust

but

% %$ % % % %$ )
none de - ny,

so

/ / / / / / / / / / / /

die.

Grudge who lust

but none

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none

de - ny,

/ / / / /

de - ny,

% %$ )

so

so

! %$ !,
9

!, % $

ev - ry man

% %$ % % % % % % )
hath his

"

$ !, % # God ", %$
God God

be pleasd thus live

( % % $ % % % #% % % % % $ %
free

will.

%$ %$
I.

The best

( % % ( % % ( % % ( ,% %

% % % %

%$ %$ %$ %$

en - sue,

be pleasd thus live will

% %$ % % % % % % ) ( $ %% % % ,% % )

will

For my

pas - tance,

hunt, sing and dance,

( 0% % % % ) ( % ,%

the worst

% % )

% % % %

%$ %$ %$ %$

es - chew,

my

% ) % )

( %

my

! , % $ %% % % $ %( % % % $ !
13

. / / / /

be pleasd thus live will

/ / /

/ / / / / + / + / + / / + + / + / + / / + ) ) ) ) ) ) ) ) % % % %$ ) ( % % % %$
Or, continue the same rhythm throughout.

%$
I.

I.

For my

pas - tance,

hunt, sing and dance,

my

For my

pas - tance,

hunt, sing and dance,

my

( % $$ $$ $$ $$

% ( %$ % % % %$ !, % $ % % % $ % % % ) # heart is set _ all good - ly sport, for my com- fort, ( ,% " % $ % % $ % ,% % $ % %$ , ) % % " )
heart is set _ all good - ly sport, for my com - fort, heart is set _ all good - ly sport, for my com - fort,

! , % $ % % % % $ %( % % % $
mind shall be _ Vir - tue to

use,

vice to

re - fuse,

thus shall I use

% % % % % 01 % #% ) ( % % % #% % % % 2 % %%% ) % ,% % ) % 2 2
me. let?

Last note of verse 3 is held double.

who shall me

who shall me

let?

+/+//+ +/+/+//+ / . / // / // +/ ) ) )) ) ) ))

who shall me

/ / / / / / / / $$
let?

2. Youth must have some dalliance, of good or ill some pastance. Company methinks then best, all thoughts and fancies to digest. For idleness, is chief mistress of vices all Then who can say but mirth and play is best of all.

3. Company with honesty, Is virtue, vices to ee. Company is good and ill, but every man hath his free will. The best ensue, the worst eschew, my mind shall be ) Virtue to use, vice to refuse, thus shall I use me.

Pastyme has a tendancy to get faster, so if at all possible those who clap the rhythm should try to keep as tight a rein on the tempo as is practical. The syncopated rhythms (bar 11 onwards) were never used by TUMS buskers in the early 90s, but times change and most mainlanders use this pattern now; but it may often be clearer and easier to keep the same rhythm constant throughout. Sopranos sing with the altos for verses 1 and 2, and then jump up to the soprano line for verse 3. Note that the last note of verse 3 is held for double the length: W, and the clappers will usually bring the singing to an emphatic end. The rapid alternation between F and F# in the alto part has never convinced me as being stylistically true, so this version has a few extra F#s at cadences.

8
Major #G $ ! $ % 3, 4, 1 Altos Tenors Sopranos, Basses

Laudate
( % % % %$ ( %$ % % % % % % %$ )
Dr Christopher Tye

Sopranos

! #& $ ! & $ ' % %$ #& ! & # " #& " & $$ ' % % $ $$ ' % % $ ' %

Altos

% % % % % ) # & $ Lau - da - te( no - men Do - mi( - ni, vos ser - vi ! & $ ' % %$ % % % %$ % % % % %
Lau - da - te no - men Do - mi - ni, vos ser - vi Lau - da - te no - men Do - mi - ni, vos ser - vi

Do - mi - ni,

% % % & % % % % % % & &

Tenors

% % % % % ) ( % % % % % % % %$ % %

Do - mi - ni,

Do - mi - ni, ab

% %

Basses
5

! # ! & # ! 3 #

Lau - da - te

3 '

"

! % % % % # or - tu so - lis "# ' % % %


ab ab or - tu

%%% % %
ab or - tu

% % % % % %
or - tu

no - men Do - mi - ni, vos ser - vi

so - lis us - que

% % % % % % % % &$ % % % %
-

Do - mi - ni,

ad oc - ca - sum

us - que ad oc - ca

% %

or - tu

so - lis us - que

so - lis us - que

% % %

ad

sum

% % % %$ % & )
oc - ca - sum e

( %% % % %

% % &
e

( %$ % &
-

jus.

$$ $$ $$ $$

jus.

ad oc - ca - sum, ad oc - ca - sum

% %

e - jus, oc - ca - sum e

&
e

jus.

& &

jus.

! # $ ! $' % % % # $ De - cre - ta ! $' % % % # $ De - cre - ta ! $' % % % # De - cre - ta " # $$ ' % " % %


10

% % $ %( % $ % De - i jus - ta sunt, et cor ex - hi %$ % % % % % % %$ % )


De - i

( % % $ %( % $ %( % % & %$ % % % % % %
jus - ta jus - ta sunt, et cor

ex - hi - la - rant.

la - rant.

( ' % % &

De - i

! # ! 3
15

De - cre - ta

( ( ( ! %$ % % % %$ % % % % % % %$ % % % %$ % % % & da - te De - um prin - ci - pes, lau - da - te prin - ci - pes et om - nes po - pu - li. # $ & % % & %$ % % % & ' % & ! % % & ) ) # prin - ci- pes, lau - da - te, lau - da te, om - nes po - pu - li. %$ % % ( % "# % % % % $ & ' % % %$ % ) % & % " % ) #
Lau - da - te De um prin - ci - pes et om - nes po - pu - li. De - um prin - ci - pes, lau - da - te prin - ci - pes et om - nes po - pu - li. Yes, the bass line is actually meant to go up at the end! Doctor Tye wrote the bass part almost exactly as it is written here, and some later editor came along to ensure that all the people went below the princes at least in terms of pitch. The other instances where the bass part is an octave higher or lower are also correct. Sopranos should note the F# is meant to be sustained into bar 5.

' %

%$ % & )

De - i

( % % % $ %( % % %$ % % %
sunt, et cor jus - ta sunt, et cor

ex - hi - la - rant.Lau - da - te De - um

% % % )

%$ % % % )

' %

Lau -

%$ % & % % %$ % % % %$ % ) ) )

ex - hi - la - rant.

' % %$ % )
Lau - da - te

$$ $$ $$ $$

10

# !#$ $ %

D Major

Come, ye Sons of Art


Tenors Sopranos, Altos, Basses

1, 2, 3

Sopranos

! ## 4 ! &%

Altos

Tenors

Basses

"

## 4Come, come,ye Sons of(Art, come,come a - way, ! &% % % % % % % % % % % &$ % Come, come, ye Sons of Art, come, come a - way, ## 4 ( % % % % $ % % % % % &$ ! & # Come, come,ye Sons of Art, come, come a - way, % % % % $ " ## 4 % % % % % $ % & ) &
Come, come, ye Sons of Art, come, come a - way,

% %%%% % % ) %

%$ % &$ )

$$ $$ % % % % $$ $$ % % % % $$ $$ % % %
tune all

% %%%%
voi - ces and

Henry Purcell

tune all your

$$ $$ % % % % % % % %
tune all your tune all your

voi - ces and

% %%% % % %

your voi - ces and

voi - ces and

! ## % % % % % ! )
7

# ! # %$ # in " ## $ % "
in

# !#% % % % % % &
in stru - ments in stru stru - ments

&

%
to

play,

ce - le - brate, to

( ( % % % % ( ( % % % % % % % % ) ) % % % % ) )

ce - le - brate this

% % % % ) ) ( ( % % % % % % % % ) ) % % % % ) )

% % %$
tri

( % #% ( % %
2.

ments

play,

play,

& &

to

% % %

ce - le - brate, to

ce - le - brate this

% % %$ % % % %$
tri -

um - phant

% )

um - phant

( % ( %

to

ce - le - brate, to

ce - le - brate this

tri

um - phant

stru - ments

play,

to

ce - le - brate, to

ce - le - brate this

tri

um- phant

! ## 1.& $ !
12

## !

"

## ! &$ # day, " ## & $


day, day,

&$

day,

$$ & $$ $$ & $$ & &

%
to

day,

day,

to

% % %

ce - le - brate, to

( ( % % % % ( ( % % % % % % % % ) ) % % % % ) )

ce - le - brate, to

( ( % % % % ce - le - brate this % % % % ) )
ce - le - brate this ce - le - brate this

% % % % ) )

% % %$ % % %$
tri -

day,

to

ce - le - brate, to

% % % % ) )

( % &$ tri - um - phant day. % % % % $ %( & $ %


tri um - phant day.

um - phant day.

% &$ )

day,

to

ce - le - brate, to

ce - le - brate this

tri

um - phant

&$

day.

# !#$ %

D Major

Non nobis, Domine


Altos Sopranos, Basses

11

2 and 3

Sopranos

Altos

! ## 4 ! & % % % % $ % $$ % % % % Non no-bis Do - mi - ne, non no - bis; ## 4 $$ ! &' % % % %$ % % % %


[Maestoso]

( + % %%% % % + %

sed no-mi-ni tu

Basses

" ## 4 & "

Non

no- bis

$$ %

Do - mi -ne, non no - bis;

% % %$ % % % %

sed no-mi-ni tu - o

( % %%% %
bis;

%0% % $ % %

Anonymous

o da glo - ri- am,

da glo-ri% % % % % +) sed no-mi-ni tu -

% % % $%

Non

no -bis Do- mi - ne, non no

! ## % % %$ % % $ ! + %( % % % % % % % % % sed no - mi- ni tu o da glo - ri - am. Non no-bis Do - mi ## ! % + ( % % % % % % % %$ % % % % % am, sed no - mi- ni tu - o da glo - ri - am. Non no - bis % 0% % $ % % % % % %$ % % " ## + % % % % " )
5

- ne.

$$ 5 &$ 5 $$ & $

Fine

5 $$ %$ % &

Fine

Do - mi - ne. Fine

o da glo - ri - am, sed no - mi- ni tu - o da glo - ri - am. Non. Not to us, Lord, not to us; but to your name be glory. The attribution of this canon to Byrd is spurious. Bb/F Major
[Tenors optional]

$ !, $ %

1, 2, 3

Sopranos Altos, Basses

Philip Legge

Sopranos

( $ ! 4 , % + % $ % % % ,% ! & % %$
[Vivace]

Altos

4' ! ,& % %
4 ! ,& ' #
' %

Non, non,

non

Non, non,
ad libitum

Tenors

Basses

" 4 " ,&

Non,

$$ %

$$ + %( % % % % $ 0 % %($ %
no - bis Do - mi - ne, non no - bis

( 0% % $

The canon in the tenor is not exact, and may be omitted.

6 + %( % % %
sed

6 +

no - mi- ni

$$ %

non,

Non,

non,

non

% )

Do - mi - ne,

0% % % %

+ % )

no - bis

Do

%$

non

% % % % %$
mi - ne,

% %($

sed

( % % % %
no - mi- ni

tu - o da

%%
( %

6 +

no - bis

Do

( 0% % $
mi - ne,

sed

12

! !, % $
4

!, %

glo

" + " ,

!, % % % # no - mi - ni

tu - o da glo

% % %$ % )
tu

ri - am,

% %

%
sed

% %%
-

% % %$
o da glo

ri - am, sed

% %

tu - o da glo - ri - am, non,

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-

sed

no - mi- ni

tu - o da glo - ri - am, sed

% % % %$

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tu - o da glo - ri - am, non,

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% %

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non,

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%
%

non

$$ %( + '
Fine

tu - o da glo - ri - am, non!

% % % % % % $$ % + ' )
non!

$$ % + ' )

$$ %( + '
non! non!

$ !, $ %
Sopranos

F Major

Fine Knacks
Sopranos Altos Tenors, Basses

1, 2, 3, 4

! &% ! ,&

% % % % % % % % % % % % % % % %

% % % ) % %

Altos

Tenors

Basses

! !, %
4

% ! ,& & # Fine " &% " ,&

& ! ,& %

Fine knacks for la - dies, cheap, choice, brave, and new,

% ) %

Fine knacks for la - dies, cheap, choice, brave, and

% % % % ) % %

0% % ) % % %

+ % % % %$ % % % % % %$ % % %$ % % %$

John Dowland

good pen- ny worths but

( % ( % % ) % )

new, good

pen- ny - worths but

knacks for la - dies, cheap, choice, brave, and

Fine knacks for la - dies, cheap, choice, brave, and

new, good

pen- ny - worths but

% !, # mon " " ,%

!, % % %

mon - ey can - not move,

% % % & % % % & % % % & ( % &

%
I

% %

new, good

pen- ny - worths but

mon - ey can - not move,

( % % I keep ( % %
I keep

keep a

( % %$
fair a fair a

%$

- ey can - not move,

mon - ey can - not move,

%$ % %$
I

( ( % %$ % % % % % %$
but

% % % % % & ) but for the fair to view, ( % % % % % #&


for the fair to but

% %$
a fair

fair

keep

but

% )

for the fair

% #% % ,%

to view,

% & &

view,

for the fair to

view,

! ( !, % %
7

( !, + % % $ % % $ % % % % % % % $ % & # a beg - gar may be li - be - ral of love, ( " % % % %$ % , % % %$ % & "


a beg - gar may be li - be - ral of love, a beg - gar may be li - be - ral of love,

!, %

a beg - gar may

( % % % % $ %% %% & % %
be

( % %

%% %% &

li - be - ral of love,

$$ ' % % % $$ & $$ & $$ & % % % % % %

% %

though all my wares be trash,

though

all my wares

% $ %( % $ % 0% % % %$

&

13

be trash,

the

( % % )

though

all my wares be trash,

though

all my wares be trash,the heart is

%$ % % % 5 2

the

! % % & !, + %
11

5 % % % %$ % % % % % % % % $ , % % % %$ % ! % 2 % % ) ) # heart,the heart is true, the heart,the heart is true, is true, the heart is true, the heart is true. ( 5 ( %$ % % $ " %$ % % % % % % %$ % %$ % 2 % " , )
heart is true, the heart is true, the heart is true. true, is true, the heart is true,the heart is true, the heart is true.

!, % $

the heart is true,

( % % $ %( %

the heart

( % %

0% & )

is true,

%$

( % %$

( + % &

the heart

% % %( %

is

( 5 % 2

true.

$$ $$ $$ $$

2. Great gifts are guiles and look for gifts again, My trifles come, as treasures from my mind, It is a precious jewel to be plain, Sometimes in shells the orient pearls we nd, Of others take a sheaf, of me a grain, Of me a grain, Of me a grain. 3. Within this pack pins, points, laces and gloves, And diverse toys tting a country fair. But my heart where duty serves and loves, Turtles, and twins, courts brood, a heavenly pair, Happy the heart that thinks of no removes, Of no removes, Of no removes.

14

$ !, $ %

F Major

Dona nobis pacem


Soprano 1 Soprano 1 begins alone; at bar 8 they go back to sing the Soprano 2 line, while Soprano 2 starts from the beginning. Tenors and Basses should enter on the fourth repetition, and repeat their parts until everyone is sick and tired of it!

1, 2, 3, 4

Sopranos

! 4 $ ! , & ) $%

Anonymous

4 ! ,& & $ 4 ! ,& & $


do do

Do - na

&

%
-

&$
na

no - bis

&

% % % %
pa no -

cem,

% %

pa - cem,

% & % &

Altos

Tenors

Basses

4 ) $$% ! ,& # do " 4 $ " , & ) $% $


do

&

na

&$ %

- na

( % % % %
na

no - bis

&

no - bis, do - na

% % % % &

( % % % % %$ & no bis pa - cem, ( %$ % % % % &


bis pa - cem, pa -

cem,

pa - cem,

no

bis

pa - cem, do - na

% % % % %

! ,% !
5

!, % !, %

do

% % % % &
na na

%$ % %
no

do

&

&
bis,

% % )

bis

% % % % % %
pa -

% % %
-

cem,

&$ &$ &$

go to Soprano 2

* *

no -

!, & # do " " ,% % &


no -

do

na

% %
na

no

% % % % %
bis no no -

&

% % %
pa pa -

cem,

go to Alto

bis,

% % % % % %
bis bis

% % % % % % %
pa

cem.

%
-

pa

% %
-

% % & &$

go to Soprano 1

$$+, $$+ $$+

cem.

cem.

$ !, $ %

F Major

Pase el agoa
Tenors Sopranos Altos, Basses

15

1, 1

The text of this Galician folksong (a vilancico) is roughly translated, Come to me across the water, my Lady Juliet. I will go into the forest, there to pluck three roses.

Sopranos

! 4 $ !, & $ & $ & $ & $ & $ % % % % &


Very fast 1 in a bar
Pa - se_el a - goa,

Altos

Tenors

Basses

4 $$ !, & &$ &$ &$ &$ % % % % & &$ &$ &$ &$ &$ & % Pa - se_el a - goa, ma Ju - li - e - ta, Da - ma, pa - se_el a - goa. Ve 4 ! , & $$ & $ & $ & $ & $ % % % % & & $ & $ & $ & $ & $ & % # Pa - se_el a - goa, ma Ju - li - e - ta, Da - ma, pa - se_el a - goa. Ve " 4 $$ & $ & $ & $ & $ % % % % % % & $ &$ &$ &$ & % &$ " ,&
ma Ju - li - e - ta, Da - ma, pa - se_el a - goa. Ve Pa - se_el a - goa, ma Ju - li - e - ta, Da - ma, pa - se_el a - goa. Ve -

&$ &$ & % &$ &$ &$

Anonymous, late-15th/early-16th C (Cancionero Musical de Palacio, Madrid)

! $$ $$ & % & % & % & % ! , & % % & & $ $$ $$ % % % & % & % % #& & $
13

! , & % % & & $ $$ # ni - te vous a moy. " & % $ $ & & $ " , %
ni - te vous a moy. ni - te vous a moy.

! , & % % # & & $ $$ $$#% % % #& 0% & % % & & $ $$ $$ & % & % & % & %
ni - te vous a moy. Ju men a - nay en un ver - gel,

Tres ro - se - tas fui co - ller; Ma

$$ % % % & % & % % & & $ $$ $$ & % & % & % & %


Ju men a - nay en un ver - gel,

Tres ro - se - tas fui co - ller; Ma

$$ % % % & % & % % $$ $ & & $ $& % & % &% & %


Ju men a - nay en un ver - gel, Ju men a - nay en un ver gel,

Tres ro - se - tas fui co - ller; Ma

Tres ro - se - tas fui co - ller; Ma

! !, % % % % &
25

&$ !, % % % % & # Ju - li - o - le - ta, Da " % % &$ " ,% % % %


Ju - li - o - le - ta,

!, % % % % &

Ju - li - o - le - ta,

Da - ma,

&$ &$

&$ &$ &$ &$

pa

&$ &$ &$ &$

&$
- se_el

Da - ma,

pa

- se_el

&$ &$ &$

&$ &$ &$ &$

a -

goa. Ve - ni - te vous a

& % & % % & & % & % %#& & % & % % & & % & % % &

moy.

&$ &$

$$ $$

a -

goa. Ve - ni - te vous a

moy.

- ma,

pa

- se_el

a -

goa. Ve - ni - te vous a

moy.

& $ $$ & $ $$

Ju - li - o - le - ta, Da - ma,

pa

- se_el

a -

goa. Ve - ni - te vous a

moy.

16

$ % ! $

A Minor

Weep, O mine eyes


Altos Tenors, Sopranos Basses

3, 4

Sopranos

! & !&

% % #% % % % &$ % % %$ %$ % #% %
cease

' % &

& &

John Bennet

Altos

Tenors

Basses

& !& ' & # p Weep " & &$ " &
p Weep mf

!& &3

&

Weep

O mine eyes,

weep

( % % % &
not,

Weep

O mine

% % % %

O mine eyes,

O mine eyes, and

% %

weep

#% %
and

O mine

O mine eyes,

and

cease

not, weep

! ! #%
4

%$ %$

% % ! %$ # eyes and cease not, " %$ #% #% ) "


cease O

! &

eyes,

weep

( & % % not, and cease not, mf % % % % % %


weep mf

O mine

% % )

%
eyes,

weep

% 7$

O mine mf

( % %

#%
O

O mine eyes,

&

% % % % % % & 7 weep O mine eyes, and cease 7 % % % % #% & %


weep

eyes,

and

cease

mine eyes, weep

mine eyes,

weep

% 7

O mine

eyes, and

cease

and

cease

! ! &
7

3
p

! & # not: " " %$


not: not,

#%

not:

&
p

'

las p

% % %

& % & &

& &
las

these

( % #%
and

A - las

these your spring mf

% 3

% %

% & &

& % & &

% % a

& & 3 %

' % &
a

mf

these your

your

% #%
-

spring - tides, mf las

% %

a -

spring - tides,

these mf

your

tides,

&

#%
spring -

cease

not:

las

these your

! ! &
11

%$ % % % & spring - tides me - thinks in - crease % % % ! & % # las these your spring " & & ' % " ! % %
tides in crease

las

these

%
your

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spring - tides, me - thinks

% % %

% % not, me % % %$

in - crease

% % %

& & &

17

- thinks

- tides

me

not,

me - thinks

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in - crease

thinks in

% #%

#& & &

not.

&

not.

crease not.

in - crease

not.

! $ ' f& ! $
14

! $$ ' & ! # " $$ &


f

O f

% % & 7 7 & 7 & #% #% #& 7 & &

when,

' %
mf

when,

' 0%
mf O mf

O mf

% %$ 7 % % 7$ 7$ % % 7$
when

when

be - gin

( % %

"

$$ &
O f O

when,

& &

when

be - gin

% & ) ( % &

be - gin

( % % #%

you

' '

+ % % %
p

you

you To swell so high that I may p

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p

To swell so p

To swell so

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when,

when

be - gin

you To swell so high that I may

% %
1.

% % %$ % % %

! %$ !
18

% % % % $ % % % #% & ! % % % % % ) ) ) # drown, that I may drown me in you, that I may drown me in dim. (% % % % & & " % % % $ % "
high that I may drown me in you, that I may drown me in dim. drown me in you, that I may drown me in

! %$

high

that I may drown me in

%% % %% %

% %% % %%

you, that I may drown me in dim.

( %$ % % %
dim.

( %$ % % %

% % & % % &

you?

& & &

$$ $$

pp

2.

#&

you?

you?

5 #2 you? pp 5 $$ 2 $$
you? pp

you? pp

5 2

you?

you?

5 2

18

Alle Psallite
! $ %
1 D Minor S/A 2 S/A 1, T, B 1, 2

" 8 %$ 9
f Al

Basses intone Alleluia twice only.

le

% )
-

%$
lu

%$
-

%$
ya.

'$

$$

Sopranos & Altos 2

! 8 %$ %$ !9 !8 9 % $ '$
Al Al - le,

psal - li - te cum, lu

% % % % % $ %%% % $ '$ ) ) %$ %$ % $ '$ $ % - $ '$


ya, -

Tenors

Basses

% $ % $ % 8% % - $$ $ !9 - $ - ) # Al - le - lu " 8 %$ % % %$ %$ " 9 ) Al - le lu -

ya.

% $ '$

ya.

% % % % % $ %%% % $ '$ ) ) le, psal - li - te cum, lu ya, $ % $ % $ % $ $ $ % % % % % $ $ ' -$ ) -$ -$ -$ $ Al - le - lu ya. Al % % $ % % $ % $ % $ '$ %$ %$ )


Al - le, Al - le lu ya. Al -

%$ %$

%$ %$

% $ '$

Anonymous, 13th C

%$ % % )

! % % % ( % %$ % % % % ) %% % $ '$ % ! ) ) con - cre - pan - do psal - li - te cum, lu ya, %$ % % ! % $ % $ % $ % $ % $ '$ ) Al le, % $$ % $ % $- % $ $ % % $ $ % $ $ $ $ ' -$ -$ $ ! # - le lu ya, Al $ " % $ % $ % $ % $ % $ '$ % %$ "
8

% % % % % ( % % %$ %% % ) % ) ) con - cre - pan - do psal - li - te cum, lu % $$ % $ % $ % $ % $ - $ - $ - $ '$ -$ %$


le le

%$

%$

%$ %$

% $ '$

%$
-

%$ %$
lu lu -

ya,

% $ '$

- le

lu

ya,

Al

ya,

! %$ % % % % % % % % % % % % % %$ % % % % % $ '$ ! ) ) ) ) ) ) )
15

! % $ '$
ya,

Al - le,

cor - de vo - to De - o to - to psal - li - te cum, lu

"

$ $ % % $ $ ! # Al " %$ %$
Al -

%$ % - $$
Al

%$
le le

% % % % % % % (% ( % % ) ) ) % % % % % $ - $$ % % - - - - % - -$ ) ) ) lu %$ % % % % % (%$ % ) )
lu -

% $ '$ $ % - $ '$
-

%$ $ % -$
Al Al

ya,

ya,

% $ '$

%$ %$

% % ) % % % % % % ) ) ) le, - de vo - to $ cor %$ % % $ -$ -$ -$ %$
-

%$
le le

%$
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ya,

! % % ( ( % $ ! ) % ) % % % % %$ '
22

% % % % % - % % - $$ ! ) ) ) # - lu ( %$ " % % % % % % ) ) "
- lu -

De - o to - to psal - li - te cum, lu

% % % % % % % %$ % % % % ) ) ) ) $ % - $ '$ % $ '$
-

Al - le

%$ % % %$ ) %$ %$ $ %$ % -$ -$
Al lu

ya,

% % % % % % $ '$ )
ya.

% % % % % $ '$

19

ya,

Al - le

%$ %$

& . $$
le lu

lu

ya.

&$

ya.

$ % - $ '$ % $ '$

ya,

Al - le

lu

ya.

This motet is sufficiently short it may be worth repeating it, including the intonation. Sometimes the repeat would be sung organum style by one of the tenors, or a perfect fifth above the basses; this is represented by the small noteheads in the tenor part. Each of the two upper parts have the same range, so some sopranos should sing the second part (and likewise some altos should sing the first part).

, !, , $ $ %

Eb Major

Drink to me only
Altos Sopranos Basses

1, 2

Sopranos

! ,8 !, ,9 % % % % ,8 !, ,9

Traditional

Quietly but with feeling

1. Drink to me on - ly 2. I sent thee late a

( % %%% % ( % % % % )

with thine eyes, And I will pledge with mine, ro - sy wreath, Not so much honour - ing thee;

%% %%% ( % % % % )

( % %$ % + +

Altos

Basses

",8% % % % " , ,9

1. Drink to me on - ly with thine eyes, 2. I sent thee late a ro - sy wreath,

% % % %%% % % % )

And I Not so

will pledge with mine, much honour - ing thee;

( % % )

% % % %$ % %

1. Drink to me on - ly with thine eyes, 2. I sent thee late a ro - sy wreath,

And I Not so

will pledge with mine, much honour - ing thee;

( % %$ % +

20

! , !, , % % % %
5

, !, ,

Or leave a kiss As giv - ing it

", % % % % " ,,

Or leave a kiss As giv - ing it

% % % % % % % )

with - in a hope

( % % % % % % % % %
the cup that there

with - in a hope

the cup that there

( % % % % )

and It

and Ill It could

( % % % ) %

Ill not ask for could not with - erd

% % %

( % %$ %$

not ask for not with - erd

( % % % % % % )

wine. be;

% % %

( %
The But

Or leave a kiss As giv - ing it

with - in a hope

the cup that there

and Ill It could

not ask for not with - erd

( % %$

wine. be;

The But

( % % )

wine. be;

The But

! , % !, , % % %
9

", % % % % % % % " ,,

, !, , %

thirst that from thou there - on

thirst that from the soul doth rise Doth ask thou there - on didst on - ly breathe, And sentst

( % % % % %

the didst

( % % % % %

( % %

soul doth rise Doth ask on - ly breathe, And sentst

% % % % %$ ) ( % %
a it drink back

( % % % % %

di - vine, to me,

% +

thirst that from the soul doth rise Doth ask a drink thou there - on didst on - ly breathe, And sentst it back

% % % % % % ) % %

a drink it back

di - vine, to me,

( % % % % % + % %$ ) % +

di - vine, to me,

! , !, , %
13

, !, ,

But might I of Joves nec - tar sip I Since when it grows and smells, I swear, Not

% % %

( % % % % % % % % % % % ( % % ( % % % % )

", % " ,,

But might I Since when it

% % % % % % % % %

would not change of it - self,

of Joves nec - tar sip grows and smells, I swear,

But might I of Joves nec - tar sip Since when it grows and smells, I swear,

% % % % % )

I would Not of

not change for it - self, but

( % % % % %$ % % ) ( % %$

for but

( % %$

thine. thee.

% %

+ +

thine. thee.

% +

I would Not of

not change it - self,

for but

thine. thee.

,$ $ !, %
Sopranos

Bb Major

Gaudeamus igitur
Tenors Altos Sopranos, Basses * It is fairly uncommon to sing all 5 verses verses 1 & 2 are sung, and then either verse 3, verse 5, or maybe verse 4. If it were to be verse 5, the count-in would be: 1, 2, 5.

21

1, 2, X*

! ,4 $ $ !, & $ % % % ,4 ! , & $$ %$ % %

% %

1. Gau - de - a - mus

%$ % & %$ % & %$ % & %$ % &


%

i - gi - tur,

Ju - ve - nes

%$ % % %$ % % %$ % % %$ % %

Anonymous, German early 18th C

dum

% % % %

% % % % % % % % % %

' ' ' '


%

su - mus,

$$ $$ $$ $$

Altos

Tenors

Basses
5

! , !, % $ % % , !, % $ % %
Post

,4 ! , & $$ % $ % % % # 1. Gau - de - a - mus " ,4 $ %% % " , & $ %$ % %

i - gi - tur,

Ju - ve - nes

dum

su - mus,

% % &% % % % % % % %
hu

ju - cun - dum

ju - ven - tu - tem

"

! , $ !, % % %
9

, !, % $ % % % # Post ju - cun - dum " , %$ % % % ,


N.B. Verse 3: q e e
la-bo-ri-

% % &%

%
%

Post mo - les - tam

%$ % % %$ % % %$ % % %$ % %

% % % %

% % &% % % % % % % %
hu

se - nec - tu - tem,

ju - ven - tu - tem

% % &%

%
%

Post mo - les - tam

se - nec - tu - tem,

% %
bit

%
-

5 %
mus,

, !, % $ % % # Nos ha - be " , %$ % % " ,

, !, % $ % %

Nos

ha - be -

% % % % %
bit

% #% % % % %
hu -

5 % 5 % 5 %

nos

%$ % % %$ % % %$ % % %$ % %

% %
bit

ha - be -

% % % % %
bit

% % &

% % %

5 %
mus.

5 % 5 % 5 %

mus,

nos

ha - be -

hu

mus.

2. Vivat academia, Vivant professores, Vivat membrum quodlibet, Vivat membra qulibet, Semper sint in ore.

3. Vivant omnes virgines, Faciles, formos, Vivant et mulieres, Dulces et amabiles, Bon, laborios.

4. Vivat et republica, Et qui illam regit; Vivat nostra civitas, Mcenatum caritas, Qu nos hic protegit.

5. Vita nostra brevis est, Brevi nietur; Venit mors velociter, Rapit nos atrociter, Nemini parcetur.

N.B. the rhythm for laborios above bar 9 also applies in bar 11.

22

$ ! $ %
Sopranos

Now is the month


! * ! * 3 ' % $$ % % % % &
Altos Tenor 1 S, T2, B It has been traditional for TUMS buskers to enjoy the start of the third verse by marking the word Fie! with a long pause. At the repeat however the music continues without pausing.

G Major

1, 2

% %

Altos

* ! * 3 ' % $$ % % % #% &

1. Now is the month of May - ing, When mer - ry lads are play - ing. 2. The Spring clad all in glad - ness, Doth laugh at win - ters sad - ness.Fa la 5 then why sit we mus - ing, Youths sweet de - light re - fus - ing. 3. Fie!... 1. Now is the month of May - ing, When mer - ry lads are play - ing. 2. The Spring clad all in glad - ness, Doth laugh at win - ters sad - ness.Fa la 5 then why sit we mus - ing, Youths sweet de - light re - fus - ing. 3. Fie!...

% %

( % $ % % #% & ( % $ #% % % #&

Thomas Morley

% %( %( ( ( % 0% %

Tenors

& % % %$ % % % & % % % !* * 3 ' % $$ % % % % ) )) # 1. Now is the month of May - ing, When mer - ry lads are play - ing.
2. The Spring clad all in glad - ness, Doth laugh at win - ters sad - ness.Fa la 5 then why sit we mus - ing, Youths sweet de - light re - fus - ing. 3. Fie!...

Basses

"* 3 ' $ " * % $% % % % & % #%


la

* % % % & % %( %( $ 3 ' $ $ !* % % % & % % % ) % % # 1. Now is the month of May - ing, When mer - ry lads are play - ing.
2. The Spring clad all in glad - ness, Doth laugh at win - ters sad - ness.Fa la 5 then why sit we mus - ing, Youths sweet de - light re - fus - ing. 3. Fie!...

! % % % ! %
6

1. Now is the month of May - ing, When mer - ry lads are play - ing. 2. The Spring clad all in glad - ness, Doth laugh at win - ters sad - ness.Fa la 5 then why sit we mus - ing, Youths sweet de - light re - fus - ing. 3. Fie!...

%$ % % % & ) ' % $$ &


2.

% %% )) ' % ' %

( ( ( ! % $ '#(% % % #% %( %( % % % % % % #% % % ! % % #
la la la la la, Fa la la, Fa la

la

la

la

la

la

la, Fa la

% % % % % % % ) )
la la la la

1.

& &

la.

'

1. Now 2. The 3. Fie 1. Now 2. The 3. Fie

&$ &$ &$

% % % % %$ % & ) ) )
la la la la

la.

' % $$ & ' % $$ & '


1. Now 2. The 3. Fie 1. Now 2. The 3. Fie 1. Now 2. The 3. Fie

$$ &

la.

1. Each 2. And 3. Say 1. Each 2. And 3. Say 1. Each 2. And 3. Say

la.

' % ' % ' %

" % " % % %
la la la la la la la la

! % % % % #

la

la

la

la

la,

Fa la

la,

Fa la

( ( % % % % % %
la la la

la

la.

& &

la.

la,

Fa la

% % % % % % ) )
la la la la la la la la

la.

la.

$ % $ &

la.

1. Each 2. And 3. Say 1. Each 2. And 3. Say

la.

! $ ! $%
11

% %

% #% %$

& ( % '#(& & & &


lass, sound, speak,

! $$ %

with his bon - ny to the Bag - pipes dain - ty Nymphs and

' % ' 0% ' % ' % ' %

% % % % %

% % % % % %

% % %

up - on the green - y grass. the Nymphs tread out their ground. shall we play bar - ley break?

& &

'

%% ) )
Fa la

23

% % % $ $ % ! # with his bon - ny % % ! $$ % % # with his bon - ny % % %

with his bon - ny lass, to the Bag - pipes sound, dain - ty Nymphs and speak,

up - on the green - y grass. the Nymphs tread out their ground. shall we play bar - ley break?

( ( % % #%
Fa la la

to the Bag - pipes dain - ty Nymphs and

lass, sound, speak,

up - on the green - y grass. the Nymphs tread out their ground. Fa la la shall we play bar - ley break?

#% 0% % % ) ) & % 3

" $$ % "

to the Bag - pipes dain - ty Nymphs and

lass, sound, speak,

up - on the green - y grass. the Nymphs tread out their ground. shall we play bar - ley break?

% % #% % % %

la

with his bon - ny to the Bag - pipes dain - ty Nymphs and

lass, sound, speak,

up - on the green - y grass. the Nymphs tread out their ground. Fa la la shall we play bar - ley break?

% % #% ) )

%
la

! ! %
15

%
la

&
la,

! %
la

la

&

! %$ #
la,

la,

"

% % ! ) % % ) #
fa la

( %%

fa la

( ( #%( %( % %% % %
la,

fa la la la la la la

( ( ( (#%( %( % % % %% '

%$ % % % )
la, fa la la

1.

& &

' % $$ &
2.

la la la,

% %

( ( % %#%

fa la

( ( % % % #% %% %
la

la.

'

1. Each 2. And 3. Say 1. Each 2. And 3. Say 1. Each 2. And 3. Say 1. Each 2. And 3. Say 1. Each 2. And 3. Say

' ' ' ' '

la

la,

fa la la

" %

Fa la la

la

la,

fa

la la la la

( %( %( %( & $ %
la,

fa la la la la

( (#%( %( % %% %

la

la, fa

% % &

la

la

%$ % & )
la

la.

la

' %
fa

la

la.

& &

' % $$ & ' % $$ & ' % $$ &

$$ &

la.

la.

la.

la,

% % % %
la la la

la.

la.

fa

la

la.

la.

24

# E Minor ! $ $ %

Greensleeves
Altos, Basses Tenors Sopranos
Attributed to Henry VIII

1 & a, 2 &

Sopranos & Altos

! #8 ( ! 9% %

1. A - las my love you do me wrong 2. I have been rea - dy at your hand


bought thee pet-ti coats of the best, smock of silk both fair and white I pray to God on high

( % $#% % ( % $ % % % % % % % % % % %$ ) % % %( % '$ ' % %


you life

( $ % % %% % % % % # % % # % % % ) ) )

to cast me off dis court - eous - ly, And to grant what - e - ver you would crave, I
I Thy And

( % % %

( % %

3. I 4. Thy 5. Well

Tenors & Basses

( " #8 % " 9+

6. Green - sleeves now fare well a - dieu,

( ( % %( % % % % % % % % % % % % % % % ) ) )
God

the cloth as fine as might be, with gold em - broid - ered gor - geous - ly, that thou my con - stan - cy mayst see,

I pray

to pros - per

% % % ) %

( %%% % % % + ( % % % %

thee, For

! # ! % %
5

( % $ #% % % % %$ % %

I have lov - d have both wag - d gave thee jew - els pet - ti - coat of
that yet once

so long and land

( % % %$ ) %

% % % )

de - light - ing in your com - pa - ny. your love and good - will for to have.
and all and these thou will this cost I bought vouch - safe I thee to spent on you. glad - ly. love me.

% $ % % #% $ % % % #% ) % #% % ) #% % % % % ) ( % %$ ( % % %
a - gain and

+ , *

"# % " '$


I

am still

( % % '

for thy chest, sen - dal right, be - fore I die

thy

( % % % % )

lov - er true,

( % % % % % ) ( % %$ ( % % ( % %

come once

%( % % %

% % )

% %% #% % )
love

me.

+ , *

! # %$ !
9

% ! % % % % % #% # Green - sleeves was all my joy % % %$ % % % "# %$ #% ) " #


Green sleeves was all my joy Green - sleeves was all my joy

Green -

% %$ % %

% $ #% % %
sleeves

%% %

was all

my joy

%% % ( % % ( % %

Green -

sleeves was my

( % % % % %$ ( # % % %( % $
was my was my

de - light

Green - sleeves

% %$

Green - sleeves

( % % %

% % %( % % %
de - light

Green - sleeves

was my

% % %( % $ )

de - light

de - light

! # %$ !
13

Green -

# #

"

% ! % % % % % #% # Green - sleeves was my heart "# %$ %


Green sleeves was my

Green -

% %$ % %

sleeves was my heart

% $ #% % % % % %

25

of gold

( % % $ % % % $ % % #% $ # % %
and who but my la -

dy Green - sleeves.

%$

sleeves was my heart

of gold

( % % ( % %

and who but my la -

( % % $ %#% % ( % %$ % % %

dy Green - sleeves.

( ( % #% % % ( ( % % % #% ( % %$ %

% % %$ % % % % %$ % % #% %
heart of gold

of gold

and who but my la -

dy Green - sleeves.

and who but my la -

dy Green - sleeves.

! $ %

E minor

Round on a well-known text


All parts start on B, 8 bars apart

1 and 2

#* ! *
7

The square, the square

$ % &

&$

on the hy

% % % % % % % % % #2
-

po - te - nuse

of

&

&
a

& &

David Ellyard

right - ang - led

% %

! & $ #% & ' % % % & % % % & % & #


2 tri - ang - le is e - qual to, is e - qual to

the sum

of the squares, the

% % &

sum

&

of the

% %

14

! & #

squares on the

% %

two ad - ja - cent sides, fa la la,

( % $ % % %% % %%% ' ' &


on

' %% & % &

fa la la,

' %%& &

fa la la,

19

# ! ' %%% % % % %&

fa la la, and hey, non - ny no!

% % &
the

two

ad - ja - cent

&

'

sides.

26

El Grillo
$ !, $ %
F Major

1, 2, 2, 2

Tenors Sopranos Altos, Basses


Josquin Desprez

Sopranos

! * !* 2 !* *2
El El

& &
gril

Altos

Tenors

Basses

* !* 2 # El "* 2 " *
El

( $ % % & el gril-lo buon can - to - re Che tie - ne lon-go ver gril ( lo, & & %$ % & ' % % %% % % & % % % % % % %$ % ) 2 ' & &
gril gril lo, lo,

lo,

&

' % % % % #% % & % % % % % % 2
el gril - lo buon can - to - re Che tie - ne lon - go

% % %% % % & % % % % % % &

ver

& ' % % %% % % & % % % % % % 2


el gril - lo buon can - to - re Che tie - ne lon - go el gril - lo buon can - to - re Che tie - ne lon - go

ver

! ! 2
8

ver

"

5 ( ( ! & %$ % & %$ % 2 so. 5 %& %& % $ % $ 2 ! ) ) # so. 5 " 2 2 2


so. so.

5 2

Da - le,

% % 3 % % 3 3 3

be - ve,

% % 3 % % 3

gril - lo,

% % 3 % % 3

can - ta,

% % 3 % % 3 % % % %

Da - le,

% % 3 % % 3

be - ve,

% % 3 % % 3 &

gril - lo,

% % 3 % % 3 & & &

can - ta,

Da - le,

be - ve,

gril - lo,

can - ta,

[Repeat optional] ! ! % % % % % % % % % % % % % % $$ 2

Da - le,

be - ve,

gril - lo,

can - ta,

15

! % % % % % % % % % % % % % % $$ 2
Da - le da - le be - ve be - ve gril - lo gril - lo can - ta. El

gril

&

lo,

' % '
el

" % % % % % % % % % % % % % % $$ 2 "
Da - le da - le be - ve be - ve gril - lo gril - lo can - ta. El

! % % % % % % % % % % % % % % $$ 2 # Da- le da - le be- ve be- ve gril-lo gril-lo can - ta. El


Da - le da - le be - ve be - ve gril - lo gril - lo can - ta. El

2 & &

gril

gril

( lo, %$ % &
-

' %
el el

&

lo,

'

gril

lo,

el

! ! % % % #% %
20

! % %% % %

gril - lo buon can - to -

& &

Fine

5 & 5 & 5 & 5 &


re. re. re. re.

$$* *% % & $$* *% % & $$* *% % & $$* *% % & $$ * *& $$ * *& $$ * *& $$ * *&

27

Ma non fa Van de fat

&
-

co - mo gli to in

"

! % %% % % & # gril - lo buon can - to " % %% % % &

gril - lo buon can - to -

Ma non fa Van de fat

&

4 * % % #% % & 4 % % * % % & 4 * % % &

alt - ri_u - cel - li, alt - ro lo - co

& & & &

% % & &

co - mo gli to in

alt - ri_u - cel - li, alt - ro lo - co

Ma non fa Van de fat

co - mo gli to in

gril - lo buon can - to -

Ma non fa Van de fat

co - mo gli to in

4 % % % % * &
& &

alt - ri_u - cel - li, alt - ro lo - co

alt - ri_u - cel - li, alt - ro lo - co

! ! % % &
25

! % % &

Co - me gli Sem - pre el

han can - ta - to_un po - co. gril - lo sta pur sal - do.

% % % #% & & % % % % & & % % % % & &

Quan - do

& & & &

l mag - gior

& & & & & & & &

" % % %$ % % % % % " ) & &


Sem - pre el Co - me gli Sem - pre el

! % % & # Co - me gli
Co - me gli Sem - pre el

han can - ta - to_un po - co. gril - lo sta pur sal - do.

Quan - do

l mag - gior el

' & % % # % #% % ' % & &


gior el cal - do cal - do

el

cal - do

% %

'

Al

han can - ta - to_un po - co. gril - lo sta pur sal - do.

Quan - do

l mag

% %' % % %' %

Al

han can - ta - to_un po - co. gril - lo sta pur sal - do.

Quan - do

l mag - gior

el

&

Al

cal - do

Al

! ! &
31

! & #& " ! & # hor " &


hor hor

hor

can

& & &

ta sol,

% % % %

' '

[Echo]

can

ta sol,

can

ta sol,

% % ' % & % % ' % &


al al

#% & #&
al hor hor

al

% &

hor

can

& & &

%$
ta ta

can

% 0% % % % % % % % %
sol per sol

( %% % %
sol per

&
a

mo - re.

% 2
-

D.C. al Fine

A capite

can

- ta

% % % %%%& ' % %
per per a

% %

a - mo

& &

re.

2 2 2

mo

re.

can

ta sol,

hor

can

- ta sol

a - mo

re.

28

, F$Minor , ! ,%

Il est bel et bon


Altos, Basses Sopranos, Tenors

1, 2, 2, 2

Sopranos

: ! ,* : : : ! , ,* % % % % & ,* ! , ,* ,* ! , ,* # ",* , ,* &

Il est bel et bon,

Altos

Tenors

Basses

"

bon, : : bon, com - m - re, : : & & % % % % & & bon, bon, bon, : : : : Il est bel et bon, & & & & & & % % % % Il est bel et bon, bon, bon, : bon, bon, com : : & & : % % % % bon, bon, Il est bel et bon, bon,

&

&

&

&

&

Pierre Passereau

&

&

& & & &


-

bon, com -

- m

bon, com -

7 : ! ,, : : : % & ! ,% % %

, !, , 2 # re, ", 2 " ,,


m m

, !, , 2

Il est bel et bon,

bon, bon, com : : : : 2 & & % % % % re, : : Il est bel et bon, bon, & & : : % % % % & & bon, bon, Il est bel et bon,

&

&

&

&

- m - re, com - m - re, com - m - re,

& % % & % % & & & & 2 & % % & & & & & & &$ & &

bon, com - m - re, com - m - re,

bon,

bon,

re,

Il est bel et bon, bon,

: : com :- m : % & & % % % & & & &$ &

re, com - m - re

bon, com - m - re,

! ,, ! ,&
14

, !, , & & # mon ma ", " ,, & &

, !, ,

mon ma - ri.

mon ma - ri.

&

& &

2 2 2 2

&$
Ils

% & -

es - taient deux

&$

&

Ils

- ri.

2 2

es - taient deux

% &

% & &

fem - mes

tou - tes dun

fem - mes

tou

&$

&
-

2 % &
ys,

pa -

tes dun pa -

&

mon ma - ri.

! , 2 !, ,
22

&$ &
a -

& % &

, &$ % & & , & & ! , # Di - sons lune lau - tre &$ % & & ", , " ,
ys, Di sons lune

, !, , 2

Il est bel et

: : : : & % % % % 2

& bon,

29

bon,

vez bon

&$
a -

&

ma -

% &

ri?

&
ma -

Il est bel et

: : : : % % % % 2
ri?

lau - tre

vez bon

! ,, & ! ,
29

bon, bon, : : , : : , ! ,% % % % Il est bel et , !, , & & # bon, bon, ", 2 " ,,

&

&
bon,

& & &

bon,

& &

com - m - re,

& & & & & &

& & 2 & &

Il est bel et bon,

: : : : & % % % % 2 2 2
-

&
bon,

&

bon,

bon, bon,

bon, com - m

re,

bon,

bon,

Il est bel et bon, bon,

: : bon, : bon, com : % & & % % %

- m

re,

Il est bel et bon,

: : Il est bel et : : % % % % & & 2 2


bon,

bon, : : : : % % % %

&

bon, com - m

re,

! ,, & ! ,
36

& &

, !, , &

bon,

com - m - re, com - m - re, com - m - re,

& % % & % % & & & & & % % & & & & & & &$ & &

mon ma - ri.

& & & & & &

2 2 2 2

Il

&$ % & & Il

ne me cour -

"

, & & 2 !, , # bon, com - m : : : : % & & ", % % % ,,


bon, bon,

bon, com - m - re, com - m - re,

re, com - m -

re mon ma - ri.

% & &

mon ma - ri.

&$ 2

2 2

ne

Il est bel et bon, bon,

bon, com - m - re,

mon ma - ri.

30

! , !, , &
44

, !, , & , !, , #

& &

2
ne

& & 2
ne me

& & & & -

2 & & &$

2 2 & &
si.

2 & % & & &

2 & &
ne

rou - ce

me cour - rou - ce

& & -

bat aus - si.

me

bat aus -

" ,, " , ! , !, ,
52

Il

ne me cour - rou - ce

Il

&$

ne me cour - rou - ce

& & & & -

&$ % & &


Il

, & & , ! , # me ", 2 " ,,


ne

, !, ,

fait le

mes - nai - ge,

& & &$

2 2

&$
Il

% & &
Il fait le

% & &
Il

&$

% & & & & &$


Il

& & &$ %

donne aux pou - lail - les,

fait le

& & -

mes - nai - ge,

bat aus - si.

mes - nai - ge,

% & &
Il fait le

donne

me

bat

aus

si.

mes -

! , !, ,
60

, !, , & $
Il

"

, & & !, , # aux pou " ,, & & ,


nai - ge,

donne aux

% &
Il

&$ &

& &

% & &

& &

& 3 3

& & & &

&
Et

&$
je

donne aux

pou - lail - les,

pou - lail - les,

- lail - les,

&$
Il

Et

% &
donne aux

2 % % & & & je mes & $ prens % &$ % & &


je

prens mes

% &

&

plai -

Et

&

&

prens mes

pou - lail - les,

Et

&

&

je

prens

&

plai -

! , !, , % % &
67

, !, , % % % % 2 # " , & ,& 2 " ,,


plai mes

, !, ,

&

&

& 2
-

&

sirs. Com - m

&

&

2
-

& 3 2 2

re,

& &

&$
cest

% 2
pour ri

31

2
-

sirs.

2 3 2

sirs.

2 2

Com - m

&

Com - m

2 & 3

re,

& &

& &
-

&$
cest

re,

& &

pour

plai

sirs.

Com

m -

! ,, 2 ! ,
74

2 % 2 2
re

, 2 !, , # ri ", & & " ,,


-

, !, , & $
re

3 &
-

2
les

Quand

& & 3 2
les

&$ 2 & &


les

% 2
cri

2
ent:

pou - lail - les

cest

pour ri

2
re

2 -

&$ % 2

3 & 2
re

Quand

&

& & &$ & &

pou - lail - les

% 2

&$

Quand

re,

cest pour ri

3 &

pou - lail - les cri

& &
pou -

Quand

les

! , !, , 3
82

&
quand

&
les

&

&$
-

% 2
les cri

, !, , 2
cri

pou - lail

"

, !, , 2 # ent: " , &$ ,,


lail

2 % 2 3

ent:

&
quand

2
les

ent:

2 & 3

3 & &
Co,

&

2
ent:

pou - lail - les

&

&

&

Co,

co,

co,

&

Pe

& &

&
-

cri

ent:

co,

co,

& 3

ti - te co -

% % % % & % %

co, co,

% % % % &

Pe -

les

cri

co, co, co, co, dae,

co, co,

32

! , !, , &
89

, !, , % % % % , !, , & # ti & ", ,,


te

quet

te, pe - ti

% % % % % %

& & &


-

te

% % % % % %

co - quet

& & &

co, co, co, co,

dae,

co, co,

co, co, co, co,

% % % %
te

te, pe - ti

% % % % % %

&
-

co, co, dae,

% % & &
-

te

% % % %

co - quet

& & &

co, co, co, co,

% % % %
te

te, pe -

% % % % % %

"

co - quet

% % % %
-

te, pe - ti

co - quet

% % % %

te, pe - ti

co -

dae,

co, co,

co, co, co, co,

dae,

co, co,

co, co, co, co,

dae,

co, co,

! , & !, ,
94

, !, , & # quet ", & " ,,

, !, , &

ti

te

% % & & % %

co -

& & &


ti

quet

&
te

dae,

pe

% % % % % %

% % & & & &


te, -

quest

&
quest

co - quet

te,

& & &

& & &

ce

& & & &

ci?

2 2 2 2

ce

ci?

te,

pe - ti

&
ti

te

co - quet

te,

quest

ce

ci?

dae,

pe

te

co - quet

te,

quest

ce

ci?

99 : ! , : : : & !, , % % % %

, !, ,

Il est bel et bon, bon,

"

, !, , 2 # ", 2 ,,

bon, com - m - re, Il est bel et bon, bon, : : : : & & & & & & 2 2 2 %%%% bon, bon, bon, bon, com - m re, : : : : : : Il est bel et bon, & & : : & & 2 %%%% 2 %%%% & & Il est bel et bon, bon, bon, : bon, bon, com - m - re, Il est bel et : : : % & & & & 2 2 2 %%% 2 bon, bon, Il est bel et bon, bon, bon, com - m re,

&

&

&

&

&

& &

: : : : & % % %%

&

! , & !, ,
107

, !, , # bon, ", " ,, 2

, !, ,

bon,

bon, : : : : & % % % % Il est bel et bon, & & & bon, bon, bon,

&

&

& & &

& &

com - m - re, com - m - re, com - m - re,

% % & & & & & &

33

% % & % % & & & &

& & &

mon

& & &

ma -

& & & &

ri.

2 2
ri.

bon,

bon, com - m - re, com - m - re,

Il est bel et

: : com : - m : % & % % %

&$

re,

com - m

re mon

% &

mon

ma -

ma -

2
ri.

2
ri.

bon, bon,

bon, com - m - re,

mon

ma -

114 : ! ,, : : : % & ! ,%%%

, !, , 2 # ", 2 " ,, ! ,, & ! ,


122

, !, ,

Il est bel et bon, bon,

bon, com - m - re, Il est bel et bon, bon, : : : : & & & & & & 2 2 2 %%%% bon, bon, bon, bon, com - m re, : : : : : : Il est bel et bon, & & : : & & 2 %%%% 2 %%%% & & Il est bel et bon, bon, bon, : bon, bon, com - m - re, Il est bel et : : : % & & & & 2 2 2 %%% 2 bon, bon, Il est bel et bon, bon, bon, com - m re,

&

&

&

&

&

& &

: : : : % % %% &

&

, !, ,

bon,

"

, !, , # bon, ", 2 ,,

bon, : : : : & % % % % Il est bel et bon, & & & bon, bon, bon,

&

&

& & &

& &

com - m - re, com - m - re, com - m - re,

% % & & & & &

% % & % % & & & &

& & &

mon

& & &

ma -

& & & &

ri.

2 2 2 2

bon,

bon, com - m - re, com - m - re,

Il est bel et

: : com : - m : % & & % % %

&$

re,

com - m

re mon

% &

mon

ma -

ri.

ma -

ri.

bon, bon,

bon, com - m - re,

mon

ma -

ri.

34
Minor ,, F $ , ! , $ %

If Music
Sopranos Altos Tenors, Basses
This song has always proved to be on the shorter side, even with the marked repeat, so I have obtained the second verse from the other version of this song by Purcell! The second verse needs to start on a downbeat rather than an upbeat, so please observe the slight difference at the start: in verse 1 sing the upward stem notes, in verse 2 sing the downward stem notes. Singing both at once is not nice.

1, 2, 3

Sopranos

! , , & + %( %% % % % %%%% %%%% $ !, , & ' 0%


1. If

Altos

, ,& + ( % , ! ,& ' % % % % % %%% , % ! , ,, & &' # 1. If


1. If

mu - sic be the 2. Plea - sures in - vade both

food of love, eye and ear,

Sing on, sing on, sing So fierce, so fierce, so

( % %$ ' %$

( % %$ %$

Henry Purcell

( % ( %

mu - sic be the food of love, 2. Plea - sures in - vade both eye and ear,

Tenors

% ' %

Basses

" , ,& ' " ,,&

mu - sic be the 2. Plea - sures in - vade both

% % % % % % % %

% % %$

food eye

1. If mu - sic 2. Plea - sures in - vade both

be the eye and

% %

of love, Sing on, and ear, So fierce,

( % % %

'

Sing on, So fierce,

%%%% %%%% %% %
food of ear, So

sing on, sing, so fierce, so,

( % %

sing so

love, Sing on, sing on, fierce, so fierce, so fierce,

! , , %$ !, ,
4

,, !, , % $

on, fierce,

sing on till I am filld, am so fierce the trans ports

%%% % %$ % ) %% % % ) ( % % % % % % % % % % % % %

% % % % %$ % % % % % % %$ %$ %

filld with joy; For then are they wound, And all

% %%+ ( ) %%%% + ' % %$

my list- ning my sen - ses

" ,, % " ,,

,, %% % , ! , # sing on
on, fierce,

sing on till I am filld, am filld with joy; so fierce the trans - ports are, so fierce they wound,

till so fierce the

%$ % % ) % % %

I am filld, am filld with joy; For then trans - ports are, so fierce they wound, And all

% %%+ ( %%%% ) ' % % %

My My

list - ning sen - ses

( %

my list - ning my sen - ses

sing on till I am filld, am filld with joy; For so fierce the trans - ports are, so fierce they wound, My

then sen

my ses

! ,, !, , %
8

%$

, , % % % % % $ %( % + %( % % % , 0% % % % % 0% % ! , % % # soul you move, for then my list - ning soul you move With plea - sures that can feast - ed are, and all my sen - ses feast - ed are, Tho yet the treat is % % ,% % % % " ,, , % % % % % % % % ' , % "
soul you move, for then my feast - ed are, and all my list - ning soul you move With plea - sures that sen - ses feast - ed are, Tho yet the treat can is

, ! , ,, % % % % % $

soul you move, for then feast - ed are, and all

% %%+ ( ) %%%% ( % %%% % %

% % % %$ % % % %

my list - ning soul you move With plea my sen - ses feast - ed are, Tho yet

% %%%% % % ) % %$
sures the

35

( % %

that can treat is

! ,, , % % % % % % ! ,
12

soul you move, for feast - ed are, my

,, !, , %

ne on

ver ly

" ,, % " ,, ! ,, % !, ,
15

, % ! , ,, ) # ne
ne on ne on

%
-

% % %
ver ly

cloy, sound.

( + % $$ %( % % % %
Your Sure

then sen

my soul you move With plea - sures ses feast - ed are, Tho yet the

on

%
ver ly

( 0% % %

cloy, Your sound. Sure

$$ % $$ % $$ %

eyes, I

eyes, your mien, your I must pe - rish

% % %

your mien, must pe -

% % % ) ) % % %

% % %

your rish

% % % ) ) % %

tongue de by your

% )

% % ) %$ %$ %

that treat

can is

tongue de - clare by your charms,

%$

clare charms,

That Un -

% )

ver cloy, Your ly sound. Sure

eyes, your mien, your I must pe - rish

tongue by

de - clare your charms,

% )

( % +

That Un -

% %
That Un -

,, !, , % $
you less

you less

% % % % % % % ( ,% %
are mu you save

cloy, Your sound. Sure

eyes, your mien, your I must pe - rish

" ,, % " ,,

,, % !, , + % % % # That you are mu % %


you less are you

are mu you save

% % %
-

% % % ' 0(% % 0% % %
sic me

% % % % % % &
1.

tongue de - clare by your charms,

sic me

ev - ry - where, in your arms,

( 2. ' + % $$ & $ ' %


your Sure

Un - less you save

sic me

% %
-

ev - ry - where, in your arms,

% % % % & % %

&

' %

your Sure

$$ &$ $$ & $ $$ &$

where. arms.

where. arms.

ev - ry - where, in your arms,

mu - sic save me

ev in

ry your

& % %

your Sure

where. arms.

where, your arms, Sure

where. arms.

36

# !#$ %
Sopranos

D Major

Since rst
Tenors Sopranos, Altos, Basses
Attributed to Thomas Ford

Altos

! ## & ! &% 1. Since ## & ! &%


1, 2, 3

first

%$ %$ % %$ %
I

( % % ( % % %

I saw your

% % %

face

% % % %

% % % % % %
I

% % % % %

re - solvd To

hon - our and

%$ %$ %$ %$

Tenors

Basses
4

! ## ! %$ ## !

"

## & ! &% # 1. Since " ## & % &


1. Since 1. Since

first

I saw your

face

first

first

( saw your % % %
I saw your

% % %
I

re - solvd To

hon -

face

face

% %
I

re - solvd To

hon - our and

( % % % our and re ( % % % % % ) %

( % %

re -

re -

nown

## ! & # nown " ## & "


nown

% %
nown

( % % %
you; If you; If

% % % % % %

now

%$ %$ %$ %$

( % % % ( % % %
I be

dis - daind I

% % % % % % % % % % % % %

re - solvd To

hon - our and

wish my

heart

%$ %$ %$

had ne - ver

( % % % ( % % % ( % % % % % % )

re -

now

you; If

now

( % % %
I be I I be

dis - daind I

wish my

you; If

now

( be dis - daind I % % % % %
dis - daind I

% % % %$
my

heart

had ne - ver

wish

heart

had ne - ver

wish my

heart

had ne - ver

! ## ! %$
8

# !#& # known " ## & " ! ## ! &


12

## !

known

% %
known

$$ ( % % % $ % $% % $$ ' 3

you. What

you. What

$ % $ % #% $
I

%$ %$
I I

that loved and

( % #% % ( % %$ %$
I

that loved

you. What

known

##wran - gle? ! % #% & # & !# # wran " ## &


wran - gle?

& & &

you.

' %

that loved and

( % % #%

and you that

( % % % % % % ) % %

you

%$

that liked, shall

( % % % % % % % %$

%$
we

%$

be - gin

% % ) ( % % %

%
to

37

liked, shall

we

% %

be - gin

to

% %

you that

liked, shall

No, no, no, no,

% % % %

No, no, no! my heart is fast and can - not dis - en - tan -

% $ %( % $ %( % $ ( % % % $ % % % ( % % %$ % %$ % % %$

What

that loved and

you

that liked, shall we be - gin to

( % % % #% % % %
we be - gin to

( % % % & ( % %%& ( % %%% &

"

- gle?

No, no, no, no, no! my heart is

( % % %$ % %$ % % % )

no! my heart is fast and can - not dis - en - tan - gle.

% &$ &$ &$

gle.

&$

$$ $$ $$ $$

wran - gle?

No, no, no, no, no! my heart is fast and can - not

%$ % %$ % %$ %$ ( % % % % ) % & ) % %%%% )

fast and can - not dis - en - tan -

gle.

dis - en - tan -

gle.

1. Since first I saw your face I resolvd To honour and renown you; If now I be disdaind I wish My heart had never known you. What I that loved and you that liked, Shall we begin to wrangle? No, no, no! my heart is fast And cannot disentangle.

2. The Sun, whose beams most glorious are, Rejecteth no beholder, And your sweet beauty past compare, Made my poor eyes the bolder: Where beauty moves and wit delights, And signs of kindness bind me, There, oh there! Where eer I go I leave my heart behind me.

3. If I desire or praise you too much, That fault you may forgive me; Or if my hands had strayed but a touch, Then justly might you leave me. I asked you leave, you bade me love; Is now the time to chide me? No, no, no! Ill love you still, What fortune eer betide me.

38

!,

F Major

Old Mother Hubbard


Sopranos

1, 2, 2, 2

Sopranos

! , 8ff% % % % % % ! 9
Quick and Lively

Altos

Tenors

Basses

8 !,9 # " 8 " ,9


% % % % % % accel.

8 !,9

Old moth - er Hub - bard, she went to the cup - board, the

% % % % -

% %

% %

% % % % % % -

Alfred Wheeler

% % % %

% % % % % % % % % % % % % % % % -

cup - board, the cup - board, the ff

Old moth - er Hub - bard, she

! % !,
4

!, % !, # " " , ! , ! %
7

cup - board, the cup - board, the

cup - board, the cup - board, the

% % % % % %

cup - board, the cup - board, the

% % %

% % % % % % % % % -

% % % % % %

went

to

the cup - board, the

cup - board, the cup - board, the ff

cup - board, the cup - board, the

Old moth - er Hub - bard, she

went

to

the cup - board, the

!, % % % % % % % % % % % % # cup- board, the cup- board, the cup- board, the cup- board, the ff " % % % % % % % % % % % % " ,
Old moth - er Hub - bard, she went to

!, %

cup - board, the cup - board, the cup - board, the cup - board, the cup - board,

% % % % % %

% % % % % %

% % % % % %

( % % % % '$ ( '$ % % % %
cup - board,

pp mysteriously

Old moth - er Hub - bard, she pp

% % % % % % % % % % % % % % % % % % % % % % % %

cup - board, the cup - board, the cup - board, the cup - board, the cup - board,

% )

% '$

Old moth - er Hub - bard, she pp

the cup - board, the cup - board,

( % % '$

Old moth - er Hub - bard, she pp

Old moth - er Hub - bard, she

! ; !, % % % % % + went to the cup - board, ; , + ! % % % % % went to the cup - board, ; ! , ,% % % % % + # went to the cup- board, " , 0; % % % % % + "
11

'$ '$ '$ '$

( ; + '$ % % % % % % She went to the cup - board, ; ' ( + '$ % % % % % % She went to the cup - board, ; ( ' % ,% % % % % + ' $ ' ; ( ' % 0% % % %
She went to the cup - board,

39

went to the cup - board,

She went to the cup - board,

% + '$

; ( ( % % % % % % She went to the cup - board. ; ' ( ( % 0% % % % % She went to the cup - board. ; ( ' %( % % % % % She went to the cup - board. ;( ( ' % % % % % % '
She went to the cup - board.

! ,ff ! % % % % % % % % % %
16

!, !, # " " , ! , !
20

Old moth - er Hub - bard, she went to the cup - board, she went to the cup - board, she went to the cup - board. ff

Old moth - er Hub - bard, she went to the cup - board, she went to the cup - board. ff Old moth - er Hub - bard, she went to the cup - board, she went to the cup - board. ff Old moth - er Hub - bard, she went to the cup - board, she went to the cup - board.

% % % % % % % % % % % 0%

% % % % % % % % % % % % % % % % % % % % % % % 0%

( % 0 % % % % % % ( % % % % % % % % % % % % % 0% ) % % % % #% % ) %

!, '$

% % % %$

%$

Old moth - er Hub - bard, she went to the cup - board, the

0% % % % % % 0% % % %
for?

!, # " " ,

What did she

go

there

%$

What did she

% % %

go

%$

% %

there

%$

40

24 ( ! , 0 % ! % '$

!, % $

cup - board.

'$

% % 0% )

% '$ '$ -

!, # " '$ " , ! !, '$


29

for?

% % % %$ %$

Old moth - er Hub - bard, she went to the cup - board, the cup - board.

0% % % % % % 0% % % % %$ % % % %$
for? What did she go

%$

%$

What did she go there

there

for?

ff

% % % %$

for? % % % % $ !, '$ %$ &$ # What did she go there for? ff " , '$ % % % % $ " %$ &$ ff What did she go there What did she go there for?

!, '$ % % % % $ % $ & $
ff What did she go there

%$ &$

for?

4 $$ 0&

Waltz time

4 $$ ' f 0& ' ' ' % % % % % % % %


p

4 $$ ' % % ' % % ' % % ' % % 0&


f bow- wow, bow- wow, p bow- wow,

bow- wow,

4 $$ & $ 0&
f

bow- wow,

bones,

bones,

&$

bow- wow, p bow- wow,

bones,

&$

bones,

&$

bow- wow,

! mf %$ ! % % %%% %
36

! ' % % # bow - wow, " " &$


bones,

! ' %

She went to get her dog - gie

% % ) % %

'

bow - wow,

' % ' % &$

a bone,

bow - wow, wow, wow, wow,

; % % ; % % &$

bow - wow,

% % %

% ' ' % ' % &$

+ % % ' ) % %
a bone,

bow - wow,

' % ' % &$

bow - wow,

% % %

% '

+ % ) % %
a

bow - wow,

' % ' % &$

bow - wow,

bow - wow, wow, wow, wow,

bow - wow,

bow - wow,

bow - wow,

bones,

bones,

bones,

bones,

bones,

! % ! '
42

% % '
bow wow,

' '

1.

' ' % % ' % % % % % ' % % ! ' % % % ' # bow- wow,wow, bow - wow, bow- wow, wow, wow, wow, bow- wow, % " % % % &$ % &$ &$ " &$ &$
bow- wow,wow, bow - wow, bow- wow, wow, wow, wow, bow- wow, bones, bow - bow, wow, wow, wow, wow, bones, bones, bones,

! ' % % % '

bone,

she went to get her dog - gie

% % %% % % ' % %

%$

' % % ' % % % % %

% % ' )
a bone,

41

bow wow;

% &$

: : ! marcato % %%% % % % !
48

bow - wow, : : % % : % : ' ' % $$ ' % % ! % %% % % # bone for the lit - tle bow-wow- wow wow. bow - wow, ; ; ; ; ; ; % % 0% % % $$ & $ : % : % : % " % %%% % % " bone for the lit - tle bow - wow - wow wow. bone for the lit - tle bow - wow - wow wow - wow - wow-wow - wow - wow. wow,

: : : : ! % % % % % % % #% % '
bone for the lit - tle bow - wow - wow wow.

: : % % '

' '

%$ $$ % % % % % %
2.

$$ ' %

she went to get her dog-gie

' % ' % &$

bow - wow,

% %

% )
a

bow - wow,

bones,

! & !
54

% %

% %

% %

! ' % % % % % % % % % % % % % &$ # bow- wow, wow, wow, wow, bone forthe lit-tle bow-wow- wow - wow. % " % % " &$ % % % % %%%% % % %
bow - wow, wow, wow, wow, bone forthe lit-tle bow - wow - wow - wow. bones,

! ' %

bone,

bow - wow, wow, wow, bone forthe lit-tle bow - wow - wow - wow.

% %

% %%%% % % % %%%% % %

% %

&$ &$

% % %

' ' ' ' ' '

,8 9 ,8 9 ,8 9

wow, wow, wow, bone forthe lit-tle bow - wow - wow -wow -wow -wow -wow.

% % % ' '

8 ,9

42

! 8 %$ %$ !,9
60

q. = 96 (about)

% % % %$
Sold

8 ! , 9 % $ % $ % % % % $ % $ #% $ # Sold, Sold, Sold a- gain, Sold, Sold, " 8 %$ %$ % % % %$ %$ %$ " ,9


Sold, Sold, Sold a - gain, Sold, Sold, Sold, Sold, Sold a - gain, Sold, Sold,

! ,8 9 %$ %$

Sold, Sold,

% % % %$

a - gain,

Sold, Sold,

%$ %$ %$ %$

% % % %$
Sold

The < ( ( ( % % % %$ % % % % % % % % % Sold a - gain, Sold was old moth - er Hub - bard. The % % % %$ % % % % % % % % <% ) ) ) Sold a - gain, Sold was old moth - er Hub - bard. The % % % % % % % <% $ % %% % % ) ) ) a - gain, Sold was old moth - er Hub - bard. Sold a - gain, Sold was old moth - er Hub - bard. The

< ( % %( % % % %( % % %

! % % ! , % % 0% % % )
66

% % %% ! , 0% % # la - dy that went to the " %%% % %% " , ! , ! %$


71

! , % % % % % % %( % % $ % ) % %$ ,% $ ( % %

la - dy that went to the cup - board,

% % % % $ % % % % % % %( % % % % % % ) )
And sold was the poor lit - tle dog, _who did - nt re - ceive an - y sold was the poor lit - tle dog, _who did - nt re - ceive an - y

la - dy that went to the cup - board, And

( ( %$ % % % % % % % % % % % % % %$ % % % % % % % % % % % % % ) ) %$ % % % % % % % % % % % % % ) )

cup - board, And

sold was the poor lit - tle dog, _who did - nt re - ceive an - y

la - dy that went to the cup - board, And

sold was the poor lit - tle dog, _who did - nt re - ceive an - y

!, % $ % # bone, " " , %$ %


bone, bone,

!, % $

bone,

% %

Try to imitate a dog.

Bow, wow, wow, wow, wow, wow,

% ) + + +

( % %$ '$ '$ %

wow,

% ' % %

'$

'

% )

Bow, wow, wow, wow, wow, How sad, how sad, you

< < ( ( % % % % %( How sad, how sad, you < ( < ( ' % % % % % ) How sad, how sad, you % % % < %( #% < %( )
How sad, how sad, you

( % < ( < ( % % % %

75 to imitate a howl. ; ; ; ! , ! % % % % %( % % % % $

%$

!, % % % % + ' !, % % % % + ' # poor lit-tle dog, " , 0% % % % + '


poor lit- tle dog, poor lit- tle dog,

poor lit- tle dog, Bow,wow, wow,wow.

Bow, wow, wow, wow, wow, wow, wow.

( % % % % % % % % ) % % % % ) / % )

( % % % + ' %$ % % % ) + % + '

; ; ; $ % ( % % % % %
to imitate a howl. Bow,wow, wow,wow,

43

Bow, wow, wow, wow,

( % % % % ( % % % % -

"

Bow, wow, wow, wow.

Bow, wow, wow, wow,

Bow, wow, wow, wow, wow, wow, wow.

! %$ !,
79

% % ) %

!, %

% )
oh

% % % % % % % % % % ,% % % % % % % &$
wow.

poor lit - tle dog,

oh, poor lit - tle dog, _ who did - nt re- ceive an - y

% % % % % % % % % % % % &$

( % % % % % % % % % % % % % % % % % % % '$ '$ '$

"

% ,% % , + ! ) # wow, wow, wow. " ,


wow, wow, wow.

poor lit - tle dog,

+ #% % % % 0%( % % % % % % + +
poor lit - tle dog, _ who did - nt re- ceive an - y poor lit - tle dog, _ who did - nt re- ceive an - y

poor lit - tle dog,

% ) % )

poor lit - tle dog,

poor lit - tle dog, _ who did - nt re- ceive an - y

! % % , ! %
83

% '$ '$ '$

%$ ,% $ %$ %$ %$ %$

( !, % + ( , + % ! # bone. " % + ,)
bone. bone.

bone, bow, wow, wow, wow, wow,

+ + +

'$ '$ '$

slow and sad

%$ %$ %$

Bow,

,% $ %$ &$

wow,

wow.

"

Bow,

wow,

wow.

(savagely)

Bow,

wow,

wow.

Bow, wow, wow.

; ; ; % % %

44

Major #G $ $ ! %

All at once well met


S1, Tenors S2 Altos, Basses
Thomas Weelkes

1 and 2

! #* % % $ $% ! *
Sopranos

% % %

% % %

% % %

& & & & &

&
dies, you,

' % % % % 0% & % & '

% % #% % % 3

#* % ! * % % $$ #* ! * % % $$ %

1. All at once well met fair la 2. Cy - the - re - a shall re - quite

% % % &

Sing we now, we With de - light, de -

1. All at once well met fair la 2. Cy - the - re - a shall re - quite

dies, Sing we now, we you, With de - light, de -

now, sing we light, with de -

% %

Altos

Tenors

Basses

" # * % % $$ % " *

#* % % $$ % % % % ! * # 1. All at once well met fair


2. Cy - the - re - a

1. All at once well met fair la 2. Cy - the - re - a shall re - quite

dies, Sing we now you, With de - light

& % % %
dies, you,

1. All at once well met fair la 2. Cy - the - re - a shall re - quite

shall

la re - quite

dies, fair you, re -

la quite

dies, you,

Sing we now our With de - light lest

! #& !
4

# ! % %

now, light,

' % % & &

'

sing we now, with de-light,

' % % % % &$

sing we now, with de-light,

% % % &

we now, sing we now de - light, with de- light

% % % & ' % % & % % &

our lest

&

' % &
our lest

#' ! % % % %

now, we light, de -

now, light,

sing we now, we now, with de - light, de - light,

"

#' % % % % ! # Sing we now our "# % % &


love re - paid sor - row fright

sing we now, we now, with de - light, de - light,

%$ %

With de - light lest

love re - paid is, sor - row fright you,

% % &

% % % )

sing we now with de-light

% % %

sing we now our love, with de - light,

% % % % % ' '

our lest

sing we now with de- light

love re - paid sor - row fright

is, sing we now, you, with de - light,

sing we now our with de - light lest

% 0% % %

' % % % % & &

is, you,

sing we now our with de - light lest

love sor

re row

! # ! % % &
8

! % & # # #

love re - paid sor - row fright

! % % &

love re - paid is. sor - row fright you.

is. you.

%$ %$ &$ &$ &$

Fa la la la

% % % % ) ( % % % % % % %

&
la

&
la

&
la

& & %

& &

Fa la la la

la

la

la

& &

la

% % % % &
la la

45

la

"

! % % & # love re - paid sor - row fright "# 2


paid fright

re - paid sor - row fright

is. you.

Fa

la

is. you.

Fa

la

is. you.

Fa

la la la la la

% % % % %

la la la la la la

% % % % % % % %
la

la

la

la

la la la la la

% % % % %$
la la la

% % %$

la

la

( % % )

la

! #& !
12

#&
la la

% %
la

2
la

1.

& & & & &

% %
la la

' ' ' ' '

# ! &$
la

la

% % & % &
fa la la

la.

All at Cy - the -

% % $$ &
2.

' ' ' ' '

# ! % % % % % % % % % & # la la la la la la la la la la "# % % % % % % 2 "


la la la la la la la

la

la,

la

la.

All at Cy - the -

% % $$ & % % $$ & % % $$ & % % $ $ &

%
Sweet Then

la.

la.

Sweet Then

% % % %

la.

All at Cy - the -

la.

Sweet Then

la.

All at Cy - the -

la.

Sweet Then

la.

All at Cy - the -

la.

Sweet Then

46

! # $ ! $ &$
15

! !

# $ $ &$ # $ $ &$

hearts help

do not for- sake ye dain- ty la -

% % % & % % &

hearts help

do not for - sake us Till night to sleep be - take ye dain- ty la - dies To sing our love re - paid

% 0% $ % % % & ) #% % ( % % % 0% $ % % & & & 3 3 -

us Till night to sleep be - take dies To sing our love re - paid

( % % %$ % % % &

us, till night to sleep be - take is, to sing our love re - paid

% % $ % #% % & )

" # $$ & $ "

# $ ! $ &$ # hearts
help hearts help

hearts help

do not for- sake ye dain- ty la -

% % % & % % 0% & % #% % &

us, till night to sleep be - take is, to sing our love re - paid

( % % %$ % % % & % ( % % $ 0% % % &

us Till night to sleep be - take dies To sing our love re - paid

us, till night to sleep be - take is, to sing our love re - paid

do not for- sake ye dain- ty la -

us dies

' % % $ 0%( % % & ( ' % %$ % % % &

Till night to sleep be - take To sing our love re - paid

do not for- sake ye dain- ty la -

us dies

Till night to sleep be - take To sing our love re - paid

! # 2 !
21

! #&

us, is, us, is,

3 '

'

# ! % % %%%% us, #
is, Fa la la la la

fa la

% 0% % % % #% % %
la la la la

fa la

%% %%%
la la la

"

! % % % % # us, be - take us. "# % %


is, re - paid us, to sleep is, our love

% ' &

la la la,

la

&

is.

Fa la la la la

%%%%%
la,

&

fa la la la la la la

% 0% % % # % % % % & &
fa la la la la

la

&

la,

& % % %

' % %

% 0% % % % & '

la

la,

fa la la la

% 0% % % % & '

fa la

% 0%

la

la

be re

take paid

&

la

la

us. is.

%% %%%
la, Fa la la la la

fa la la la la

%%%%%
la,

la

! # ! %%%
25

! & # # ! '
la

la la la

la

& &

la,

& ' %

3 % 0% % % % %

"

# % ! #% % # la la la "# &
la,

fa la la la la

%%%%% % ' %

la,

fa la la la la

#%
la

fa la la la la la

%%% % % %

1.

&

la la la

( ( % %% % &
la

la.

' % $$ 2
2.

47

la.

' % $$ 2 '
Sweet Then Sweet Then

Sweet Then

la.

la

la

la

fa la

% #% % % %
la la la

la

&

la

% %% % % %%% la, fa la la la la la la % $ %( % ' &


la,

la.

& & &

la

&

fa

la

la la

&

la la

la.

' % $$ 2 '
Sweet Then Sweet Then

$$

la.

la.

la.

$ % $ 2
la. la.

Lo, how a rose


!, $
F Major

Es ist ein Ros entsprungen


A canon or round in 4 parts; all parts begin on C, 3 bars apart.

3, 4

! , & )$ & ! & $


1

Lo,
Es

!, !, " !,
10 7

- ing, from
- en

% % %

how

% % % %

%
a
ein

&
rose
Ros

%$ %
-

Melchior Vulpius

( % % %
-

eer

% %

% % %

ist

aus

ten - der ein - er

% % %

% % % % %
stem lin
Alt

ent - sprung

bloom -

& &

*2 *3 *4

sprung! Of
zart, wie

Jes - ses
uns die

&

Wur

- ing,
- en

as

men

von

Jes - se

of

%$

old
kam

( % % % %
en

eage

%
-

com
sung

% % & &

hath
zel

have
die

sung.
Art.

&

$$+,1

48

,$ $ !, %
Sopranos

Bb Major

Fa una canzona
Tenors Sopranos Altos, Basses

1, 2, 2, 2

! ,, * $ & ! * $ , $$ & !, * *

Quick and flexible


1. Sing 2. Love 3. Sweet 4. Sing

me a is a are the me a

4 & % % & 4 % % & #&


% % 4 & & % % 4 & & % % % %

Orazio Vecchi

song with not a note of sad bless - ing rare be - yond all mea joys that mu - sic can a - wak song to cool a lov - ers burn

% % % %

& & & &

= % % *& % * * = * * *& % % %
% = % % *& * *

- ness! - sure; - en. - ing!

& & & &

$$ $$ $$ $$

Altos

Tenors

Basses

" , * $$ & " ,* % % % %

, $$ & !, * * # 1. Sing

1. Sing 2. Love 3. Sweet 4. Sing

me a is a are the me a me a is a are the me a

song with not a note of sad bless - ing rare be - yond all mea joys that mu - sic can a - wak song to cool a lov - ers burn song with not a note of sad bless - ing rare be - yond all mea joys that mu - sic can a - wak song to cool a lov - ers burn

- ness! - sure; - en. - ing! - ness! - sure; - en. - ing!

2. Love 3. Sweet 4. Sing

! ,& !,
6

1. Sing 2. Love 3. Sweet 4. Sing

% % % %

me a is a are the me a

, !, &

When Time Mu When

all is sic to

the the can my

4 #; & &

song with not a note of sad bless - ing rare be - yond all mea joys that mu - sic can a - wak song to cool a lov - ers burn

= % % *& % * * = *% = *% = *% = *%
% % % %

",& " ,

,& !, # When

When Time Mu When

all is sic to

the the can my

4 & & ; pain


& 4 0; & & 4 ; &

pain thief calm heart

of of the the

love love pain an -

0& & & &

drives who of guish

% %

me steals hearts keeps

to our for re -

* & * * * #& * & * * & *

- ness! - sure; - en. - ing!

mad plea sak turn

ness: sure. en. ing:

0& & & &

thief calm heart

of of the the

love love pain an -

drives who of guish

,% %

me steals hearts keeps

to our for re -

mad plea sak turn

ness: sure. en. ing:

Time Mu When

all is sic to

the the can my

pain thief calm heart

of of the the

love love pain an -

drives who of guish

me steals hearts keeps

to our for re -

mad plea sak turn

ness: sure. en. ing:

When Time Mu When

all is sic to

the the can my

pain thief calm heart

of of the the

love love pain an -

drives who of guish

me steals hearts keeps

to our for re -

mad plea sak turn

ness: sure. en. ing:

49

! , $ !, $
11

Refrain

% % % % % % & & &

% % % % % % & & &

% % % % % % & & &

& & &

mp

&$ &$ &$


-

%
so

, ! , $$ &
p p

Oh, mp
Dol

ce - men

", $ " , $&


p

, ! , $$ & # Sing
Sing

Sing

Fal -

me to

sleep
tuo

la dun

with a sweet se - re - na - ding, - n chin - vi - ta_al dor - mi - re,

Oh, mp
Dol

so

% #& $ % &$

gent -

&$

ly,
te,

% % %

ce - men

gent -

ly,
te,

Fal -

me to

sleep
tuo

la dun

with a sweet se - re - na - ding, - n chin - vi - ta_al dor - mi - re,

Oh,
Dol

so

ce - men

gent -

ly,
te,

! ,p $ !, &
17

Fal -

me to

sleep
tuo

la dun

% % % %

oh,

,' p , ! 0& , &$ !, # oh,


p p
dol

dol

so

ce - men

gent

&

with a sweet se - re - na - ding, - n chin - vi - ta_al dor - mi - re,

oh,

dol

so

ce - men

gent

", " ,

&$

#& &

0&

ly from
te fa

4 & % % & 4 & % % ,& 4 & % % &


fa

sound
cen

to

% % % %

si
la

& & & &

lence
fi

* % * &
ni

fad

do

ly from
te

sound
cen

to

si
la

do

* % * & lence
lence
fi

ing.
re.

&

$$ $$ $$ $$

so

ce - men

gent

ly from
te fa

oh,
dol

so

ce - men

gent

ly from
te fa

4 & % &
-

sound
cen

to
do

si
la

* % * #&
% * * &
ni fi

fi

fad
ni

0& & &

ing.
re.

fad

ing.
re.

sound
cen

to

si
la

lence

do

fad
ni

ing.
re.

1. Fa_una canzona senza note nere Se mai bramasti la mia grazia_havere. Refrain

2. Per entro non vi spargere durezze, Che le mie_orecchie non vi sono_avezze. Refrain

4. Con questo stile_il fortunato_Orfeo 3. Ne vi far cifra_ segno contra segno, Proserpina la gi placar poteo. Sopra_ogna cosa quest l mio disegno. Refrain Refrain 5. Questo_ lo stile che quetar gi feo Con dolcezza Saul lo spirto reo! Falla dun tuon chinvita_al dormire, Dolcemente, facendo la finire.

50

Your shining eyes


!, $ $ %
D Minor

1, 2, 3, 4

Sopranos Altos Basses

Sopranos

! & mf ( ! ,& % % % % $ % % % &

Your shin - ing eyes and gold - en hair, your li- ly -ros - d mf

% % % % % % % & % % % %$ ( %
lips most fair, your li- ly - ros - d

Thomas Bateson

Altos

Basses

" &% % % % % " ,&


mf

& ! ,& % % % % %

Your shin - ing eyes and

gold - en hair, your li- ly -ros - d

% % #& 0% % % % % % % & % % % % % % % & % % % %$ % % % % % %% ) % & % % %

lips most fair, your li- ly - ros - d

Your shin - ing eyes and

gold - en hair, your li- ly -ros - d lips most fair, your li- ly - ros - d

! !, % % &
6

!, % #% % % " ", % % % %

lips most fair:

' % % % % % % 0% % % % %

your o - ther beau - ties that ex -

% % % % % % % % $ 0% ) &$ % % & ' % % %

lips most fair: your o - ther beau - ties that

( % %%% % $ % #% 0% #% % %
ex -

cel, your o - ther

beau - ties

that ex -

% %

cel, your o - ther beau - ties that ex -

% %

% %

lips most fair: your o - ther beau - ties that ex - cel,

your o - ther

beau - ties

that ex -

! !, 2
11

cel,

!,

" & " ,

#&

cel, men can - not choose but like them

% % % % % % % % 0% % % % % %

men can - not choose but like them well, men can - not choose but like them

% % % % % %$ % & ) % % % % % % % % & &

% % % % % % % % % % % % % #% % % % #% % % %

well, but like them well, men can - not choose but like them p

cel, men can - not choose but like them

well, but like them well, men can - not choose but like them

! ! , #&
16

well.

( ' % $$ % $ % &
f But f

" " , &


21

!, &

well.

' 0% $$ % $ %( % % % % & '


But f

when for them

% % % % %

they say theyll die, they say theyll die,

( %$ % % %

when for them they

! !, % % " & " ,


25

well.

But

when for them they

$$

%$ % % % )

&

say

&

theyll die, they say theyll die, be-lieve them p

( % $ % % % #% % % %
p

&

' %
p

51

be -

say

theyll

die, they say theyll die, be-lieve

%$ % % % )

% % &

; %$ ( % % % % ; %$
not, f not,

!, % $

lieve them

they do

% % % & )
but lie, but

' &

not,

they do but

! !, & " & " , ! !, %


29

them

they do

% % % % % )
lie, but lie,

% % #% %

lie,

be - lieve them

% % %
them

%$
not,

be - lieve

% %

; %$

&

% & )

not,

%$

they do

( % % % ( % % % &
but

but

they do

but

be - lieve them not,

they do

!,

% % % #%
lie, f be lie,

&

&

lieve

be - lieve them f

'

( % % % % not, they do but lie, %$ % % ; % %$ )


not, they do

%$

them

&

% % % % % & ) not, they do but lie, be - lieve ; ( % $ % % % % % % % %


be but lie,
1.

%$

lie,

be - lieve them

% & ) ' ' '

lieve

them not, they do

&

&

but

they f

them

% %

not,

% &

they

do

% & &

but

& #& &

#& & &

lie.

!,

" 2 " ,

#%

But f

5 $$ #2
2.

lie,

they

do

but

lie.

But f

0% %

$$ 5 2 5 $$ 2

lie.

lie.

do

but

lie.

But

lie.

52

Faire Phyllis
!, $ %
F Major

1, 2

Tenors Sopranos, Altos, Basses

Sopranos

! * ! ,* 2

Altos

Tenors

Basses

* ! ,* # " * " ,*

* ! ,*

Fair

( $$ % $ % % % 1.

$$ $$ $$

Phyl - lis I saw

sit - ting all

% % % % -

& 3 3 3

a - lone,

Feed - ing her flock

%$ % % & ) ( %$ % % & ( %$ % % & %$ % % & )

John Farmer

% % % %

near

Feed - ing her flock

near

Feed - ing her flock

near

Feed - ing her flock


2.

near

! !, %
6

% 2 !, % % & # to the mount - ain side; " 2 % % , % " %


to the mount ain side; to the mount - ain side;

!, % % &
to

the mount - ain side; fair

% % % % % % % & $ % $$ & ' % % $ % % % % ) % % % 2 $$ & 3


side.

The shep - herds knew not, they knew not whi - ther she was

$$ & 3
side.

'

The

shep - herds knew not, whi - ther she was

$$ & 3
side. side.

%$

( % % % % % % % ' % %$ 3 % %
lov The shep

'

The

herds

% )

! , ! &
10

3 3 3

' %

!, &

gone,

But

% '

"

!, % % % % % % % % % & # knew not,they knew not whi-ther she was gone, " %$ % % % % % % % & , )
gone, shep - herds knew not, whi - ther she was gone,

But

aft - er her

%%% %

aft - er her

%%% %

%%% % % %

&
lov -

er, her

lov - er,

But

aft - er her

%%% %

her

But

aft - er her

%% &

lov - er, herlov -

%%& &

lov -

&

lov -

! % !, % % % % % % 3
14

!, & 3 # er, " % 3 " , %


- er,

!, % % % % % % % 3
er, but aft- er her lov - er er, but aft- er her lov - er

' '

% % 0%

A -myn- tas

' % % % % % %% % % % ' % % % % %% % %

A -myn - tas hied.

( % %$ % & &

&

3 3

hied.

$$ 3

but aft- er her lov - er A -myn- tas

hied.Up and down

% % % %$

but aft- er her lov - er A -myn- tas

hied.

' % % $$ % $
he

( % $$ &

$$ ' % % &
wan -

' % % % %

53

Up and

Up and down

Up and down

he

( % &

dered,up and

wan

! , %$ !
19

& !, # down, " " ,% %

!, ' % % % $
down

he wan - dered,

( % %

' ( % %

% % %$
up & down

up and down

'

- dered,

he

&

% % %$ 2

he wan - dered,

'

up & down

he wan- derd,

( % %

% % %$ % '

he wan- derd,

( % %

3 ( % % %

' & &


up

up & down

% % %$

he wan

wan

dered,

up & down

he wan -

( % &

' %
&

%
up

derd,

derd,

&

up

! ( !, % $ % %
23

!, ' & # up " " ,2


and

!, % %

down he wan- derd,

& down

%$

% %

' ( % %

up & down he

%% % % ' ( % %

he wan- derd,

&

down

%$ 2

up & down

%% % % '

wan - derd, up & down

% %

% % % %
wan

he

he wan- derd,

2
he

up & down he wan - derd, up & down he wan -

%% % % %

he

% %

& %

wan

% %% % % &
derd, he

wan -

&

down

wan

54

! !, %
27

' 3 ' 3

!,

derd

!, % # derd whilst she was miss- ing; " % % % % % 3 " ,%


derd whilst she was miss - ing;

derd

' % % ' & % % % % % % % % & 0% & & & whilst she was miss - ing; When he found her, O, then they fell a 3 % % % % % 3 3 ' % % % % % % & & & % % 0&
whilst she was miss - ing;When he found her,
3

' % % 0% % % &

&

&

&

&

When he

&

found

&

her, O, then they fell a -

When

he

found

her, O, then they fell a -

3 & & & & % %

! !, 3
33

& %
O,

h = h.

4& & 4 &% 4 && 4 &&

% &
they

%
fell

!, % % & # kiss - ing, O, " " ,% % &


kiss - ing, O, kiss - ing, O,

!, %

&

then

then they

%
they

fell

% % %

& & &


a a

kiss - ing, a - kiss -

%$ %$ %$ %

( % % ( % % ( % % %

%$ %$ % %

ing, O

( % % ( % % % %

kiss - ing, a - kiss -

% %

ing, O

then

then

they

fell

fell

&
a a

kiss - ing, a - kiss - ing,

kiss - ing,

a - kiss - ing,

! !, &
38

!, & # then " " ,&


then then

!, &

then

they

% % % %

fell

% % % %

& & & &


a a a a

h. = h
-

* *% * *% * *%

1.

kiss -

ing;

% %

3 3

they

fell

they

fell

* % % % % %$ *
kiss ing;

kiss - ing up and down;

they

fell

kiss -

ing

'

up and

% % $$ %
he

5 % & kiss - ing. 5 ( $$ % & %


kiss - ing. kiss - ing. kiss - ing.

$$ %
2.

$$

5 &

5 &

Index of Titles
All at once well met .................. Alle psallite ............................... Come again! .............................. Come, ye Sons of Art ............... Dona nobis pacem .................... Drink to me only ...................... El Grillo .................................... Es ist ein Ros entsprungen ....... Fa una canzona ......................... Faire Phyllis .............................. Fine knacks ............................... Gaudeamus igitur ...................... Greensleeves ............................. 44 18 4 10 14 19 26 47 48 52 12 21 24 If music be the food of love ...... Il est bel et bon ......................... Laudate ..................................... Lo, how a rose .......................... Non nobis, Domine .................. Now is the month of maying .... Old mother Hubbard ................ Pase el agoa .............................. Pastyme .................................... Round on a well-known text .... Since first ................................. Weep O mine eyes ................... Your shining eyes ....................

55

34 28 8 47 11 22 38 15 6 25 36 16 50

56

Index of Composers
Alle psallite ............................... Dona nobis pacem .................... Gaudeamus igitur ...................... Non nobis, Domine .................. Pase el agoa .............................. Your shining eyes ..................... Weep O mine eyes .................... Come again! ............................. Fine knacks .............................. Round on a well-known text .... Faire Phyllis ............................. Since first ................................. Greensleeves ............................. Pastyme .................................... El Grillo ................................... Non nobis, Domine .................. Now is the month of maying .... Il est bel et bon ......................... Come, ye Sons of Art ............... If music be the food of love ...... Drink to me only ...................... Laudate .................................... Fa una canzona ........................ Lo, how a rose ......................... All at once well met .................. Old mother Hubbard ................ 18 14 21 11 15 50 16 4 12 25 52 36 24 6 26 11 22 28 10 34 19 8 48 47 44 38

Anonymous ..............................

Bateson, Thomas ...................... Bennet, John ............................. Dowland, John .......................... Ellyard, David .......................... Farmer, John ............................ Ford, Thomas ........................... Henry VIII of England ............. Josquin Desprez ........................ Legge, Philip ............................ Morley, Thomas ....................... Passereau, Pierre ....................... Purcell, Henry .......................... Traditional ................................ Tye, Christopher ...................... Vecchi, Orazio ......................... Vulpius, Melchior .................... Weelkes, Thomas ..................... Wheeler, Alfred ........................