The songs from:

A BRIEFE
DISCOVRSE
Of the true (but neglected) vse of
Charact’ring the Degrees by their
Perfection, Imperfection, and Diminution
in Measurable Musicke against the Common
Practise and Customs of these
Times.

Examples whereof are exprest in the

Harmony of 4. Voyces, Concerning the
Pleasure of 5. vsuall
Recreations.

1 Hunting, 3 Dauncing
2 Hawking, 4 Drinking,
5 Enamouring.

By Thomas Rauenscroft, Bachelor

of Musicke.
LONDON 1614.

Edited by Christian Mondrup

Non-commercial copying welcome

Table of contents

Preface 4

HVNTING 1. Iohn Bennet A Hunts vp. 8

2. Edward Pearc e A Hunting Song. 10
HAWKING 3. Thomas Ravenscroft A Hawkes Vp for a Hunts vp. 13
4. Thomas Ravenscroft For the Partridge. 15
5. Iohn Bennet For the Hearne & Duck. 20
DAUNCING 6. Thomas Ravenscroft Fayries Daunce. 23
7. Thomas Ravenscroft Satyres Daunce. 25
8. (Thomas Ravenscroft) Vrchins Daunce. 27
9. Iohn Bennet Elues Daunce. 29
DRINKING 10. Thomas Ravenscroft Of Beere. 31
11. Thomas Ravenscroft Of Ale. 33
12. Thomas Ravenscroft Of Ale and Tobacco. 35
ENAMOURING 13. Iohn Bennet Three Fooles. 38
14. Iohn Bennet The Seruant of his Mistris. 40
15. Edward Pearc e The Mistris of her Seruant. 42
16. Thomas Ravenscroft Their Mariage Zolemnized. 44
17. Thomas Ravenscroft Hodge Trillindle to his zweet hort Malkyn. 46
18. Thomas Ravenscroft Malkinz anzwer to Hodge Trillindle. 48
19. Thomas Ravenscroft Their Goncluzion. 50
20. Iohn Bennet Their Wedlocke. 53

Critical notes 55
Preface
To my best knowledge this little book is the first modern edition of the complete music from Thomas
Ravenscroft’s treaty from 1614. As suggested in the lengthy title of the treaty, A Briefe Discourse
Of the true (but neglected) vse of Charact’ring the Degrees by their Perfection, Imperfection and
Diminution in Measurable Musicke against the Common Practise and Customs of these Times it’s
subject is the learned bachelor of music’s attempt to keep the - at this time already oldfashioned -
mensural notation style alive. It is characteristic, however, that the 20 songs songs said to serve as
examples of this technique, make use of rather few of the subtleties described in the treaty section.
I think this is due to the prevailing music idiom of the songs: they are mostly kept in a simple
homophonic major/minor style requiring few of the complex mensural notation facilities.

Five recreations
Ravenscroft’s introduction to the mensural notation section doesn’t contribute much to the
modern reader’s understanding of this matter. Of greater interest is, however, the last part of the
author’s preface where he introduces five kinds of ’recreations’ forming the headings of the sections
into which he divides the 20 songs by himself and his contemporaries John Bennet and Edward
Pearce. In his characterization of the recreations that men are supposed to enjoy Ravenscroft offers
the modern reader a glimpse into early 17’th English urban culture and way of thinking:

“As for this little worke, and the Diuersities therein, they appertayne all, to the common Recre-
ations that man take, and therein vtter that Passion which men discouer in the vse of those
Recreations: As are
( ) ( )
1 Hunting 3 Dauncing
2 Hawking 4 Drinking

5 Enamoring:
All which are here as liuely Characteriz’d, es euer were any of the kind yet among vs, withall
Measure, and Rule to Art appertayning.
1. 2.
Hunting & Hawking haue the first place, as the most generous and worthy kindes of Recre-
ations. In the performance of both which, such are the Times, Numbers, and Measures, obseru-
able, not in Man alone that vses the Pastime, but euen in the Creatures also, that either make
the Game, or pursue it, as being duely Composed, beget an excellent Harmony, and require the
Singers skill to vtter them, as if he were then abroad at the performing of them.
3.
The next we present is Dauncing, but that with some difference from the common Exercise
now a daies of it, in our Maskes and Reuells: As not grounded on the Dauncing of Measures,
and accordingly bound to some particular Rules and and Numbers, proper to the Nature of the
Daunce onely, which then is afoot: But fashioned like those Antique Daunces, which the Poets
would haue vs beleeue, the Fayries, and the Satyres, and those other Rurall Natures frequented,
and hauing in them, much more variety and change then any other Composition, and withall so
expressing our imperfect Moods and Measures, for their Tact, Prolation, and Diminution, that
in singing, cunningly and Sprightfully to resemble them, must needs giue the performance high
commendation, and the Hearer the most pleasing delight that may be.
4.
Drinking is our fourth Recreation. For so’tis become (at least, if not the first) by the vse &
Delight that men now take in it, and so, for their sakes, I am content now to terme it. And
among all the rest, for theirs Especially, that in the Aery part of our Faculty, for want of Skill
and Reason in that which they performe, set their Strength and Spirits to search it out of the
other Elements, chiefly out of those two, that the Ayre is enuironed with, Fire and Water, well

4
 compos’d and Brew’d together, wherein they are resolued to grow exceedingly skilfull, or else
it shal cost their Braines a fiering, and their Bowells a drowning. The Earth indeed they looke
least after, t’is base that they account, and for Mechanick Spirits to runne so lowe, The Note
they sing is of a higher Strayne, their Recreation lies in a brauer Element, wherein they houer,
so vnlike Men, so long, so desperatly, that at last, in their miserable ends, they scarce get the
Earth honestly to couer them.
’Tis not then either for Direction or Encouragement herein, that I would be thought to
bring this part; they that take me so, much mistake me, who can better hope, that the perfect
presentation of this illaudible demeanour, will turne this Sport into so much Earnest, as shall
teach the Innocent Auditor to loath them, if perhaps not reclayme the guilty.
5.
Ovr last Recreation heere, is, that they terme Enamouring, a Passion as (more or lesse)
possessing and affecting all, so truely exprest by none, but Musick, that is, Song, or Poetry: the
former whereof, giues herein both a relish, and a beauty to the latter, inasmuch as Passionate
Tunes make Amorous Poems both willinglier heard, and better remembred. I haue heard it
said, that Loue teaches a man Musick, who ne’re before knew what pertayned thereto: And the
Philosophers three Principall Causes of Musick, 1. Dolour, 2. Ioy, 3. Enthusiasme or rauishing
of the Spirit, are all found by him within Loues Territories. Besides, we see the Soueraignty of
Musicke in this Affection, by the Cure and Remedy it affoords the Dispasionate, and Infortunate
Sonnes of Loue, thereby to asswage the turmoyles, and quiet the tempest that were raised in
them.”

The music
In his paper on Thomas Ravenscroft A Country Masque for Hodge Trillindle and His Zweet Hort
Malkyn Joel I Kramme characterizes the music in A Briefe Discourse like this:

“The music of A Briefe Discourse includes six works by John Bennet, two by Edward Pearce,
and twelve by Ravenscroft that represent some of his finest effort. All but six require recourse
to instrumental accompaniment-as always, a viol consort-and of this number, four are dances
with lyric texts, obviously designed to be sung, played and danced. Of these, the unattributed
”Urchins Dance” and Bennets ”Elves Dance” can definitely be assigned to the repertoire of
songs from the childrens dramas, and the other two dances are of the same style and voice
disposition. While some scholars see stylistic elements from the madrigal in the four, four-part
dances (Austern 1 ), the present author views the homophonic, four-square nature of the music
to be a reflection of its association with the contemporary London theater, be it real or imagined.
From the Stuart court masque to Shakespeares plays, the satyrs, elves, and fairies that were
said to populate ”... our hallowed greene” were played by young boys singing in the treble and
median voice-range in a musical style reflective of their diminutive stature and simple needs.
Not infrequently, they probably played the instruments upon which they were taught music at
St. Pauls Cathedral, the viol, as well as sundry other common instruments available to the boy
actors 2 .”

and on the Enamouring section says:

“Upon a cursory examination, one might first conclude that the eight selections representing
the ”Enamoring” section of A Briefe Discourse were written to be performed as a ”jig-like can-
tata” (Mateer 3 ) or some other popular stage musical. But scholars have noted that number
fifteen in the collection, Pearces ”The Mistris of her Servant,” is found as a professional love
song to Fontinell from Act V, scene ii of the anonymous, Blurt, Master Constable. Once again,
Ravenscroft is indebted to the childrens drama repertoire for some of his music. The dramatic
continuity of the Enamoring section is further challenged by including two selections by John

1
Linda P. Austern, Music in English Childrens Drama of the Later Renaissance, Amsterdam, 1992, p. 217
2
http://www.gmd.de/Misc/Music/scores/ravenscroft/enamouring.htm
3
David Mateer, article on Thomas Ravenscroft in New Grove Dictionary of Music and Musicians, London 1980,
p. 623

5
 Bennet, the opening ”Three Fooles,” and ”The Servant of his Mistress,” which follows immedi-
ately. The balance and symmetry reflected in the musical styles of Bennets ”The Servant” and
that of Pearces ”The Mistress,” however, should be noted, as they make a perfect paired re-
sponse to the prologue nature of the opening dialogue found in ”Three Fooles.” In their musical
style, they represent the English consort song, with that by Bennet being more in the style of
the lute song ayre set for viols, while that by Pearce has phrases of irregular and unpredictable
length, as one would expect of the 16th-century consort song. The texts of both contain the
usual Arcadian references found in madrigals and masque songs of the period. 4 ”

The composers

Thomas Ravenscroft
Not very much is known of Ravenscroft’s life. The following notes are from Joel I. Kramme’s above
mentioned paper quoting in it’s turn Linda P. Austern 5 , Ian Payne 6 , 1984 and David Mateer 7 .

“The earliest apparent mention of Thomas Ravenscroft is to be found in the records of Chichester
Cathedral where Thomas Raniscroft is listed as a chorister in 1594. His name appears next in
a list of the choir members at St. Pauls Cathedral, London in 1598, although a similar list of
choristers at St. Pauls in 1594 does not include him. Ravenscroft was still at St. Pauls in 1600
when Edward Pearce was the organist and choir director. Austern suggests Ravenscrofts tenure
at St. Pauls continued until 1604 when he left for Cambridge (Austern 8 ). The precise date
of his birth remains a mystery, due in part to his apparent status as a child prodigy, for in the
prefatory poem to A Briefe Discourse, the author (R. LL.) describes Ravenscroft as a youth
of twenty-two years of age, while a marginal note confirming this states that he received the
bachelor of music when he was fourteen (Ravenscroft, Discourse ”In Approbation”). Indeed, the
University Book of Supplicats lists a Thomas Rangecraft from Pembroke Hall as having taken
that degree in 1605. Mateer suggests a birthdate of c. 1582, while Ian Payne in a later article
attempts to show that Ravenscroft was born c. 1587”

While it has been customary to see Ravenscroft as a not very talented composer Linda P. Austern
says that Ravenscroft

“is the single most important figure in the preservation of the meager repertoire of childrens
dramatic songs that have survived to the present day. Ravenscroft published four very eclectic
collections of secular music between 1609 and 1614, each of which includes musical settings of
contemporary dramatic lyrics. But it has recently been shown that the only plays for which
he preserves unique settings of undisputed dramatic origin were acted by the children of Pauls
between c. 1597 and c. 1604, the approximate years for which Ravenscroft was a member of the
St. Pauls Cathedral Choir. Since the musical manuscripts actually used by the childrens com-
panies have apparently vanished into the mists of time, Ravenscrofts collections are extremely
important. They not only add significantly to the extant body of late Renaissance theatrical
songs, but preserve a unique musical record, sparse though it may be, of a once celebrated
London dramatic company 9 .”

Edward Pearce
Uncertain are also the birth- and death years of another of the composers represented in this
collection of songs, Edward Pearce, choir master of the Chapel Royal, 1589-1600.

4
Kramme, op. cit.
5
Austern, op. cit.
6
Introduction to the Boethius Press facsimile edition of A Briefe Discourse
7
Mateer, op. cit.
8
Op. cit., p. 20
9
Op. cit., p. 212-213

6
 “A boy of this name sang at Canterbury Cathedral between 1567 and c.1576 and as a man in
at least 1579-80. Pearce was sworn into the Chapel Royal in place of Ellis Stemp on 16 March
1588/9. He witnessed decrees passed on 2 December 1592 and 19 April 1598, and also the
admission of William Asplend on 26 March 1593. By an indenture of 11 May 1599 Edmund
Pearce was granted the office of almoner at St Paul’s cathedral ”as soon as [it] shall become
void.” That year on behalf of the gentlemen of the Chapel he received the L3 given towards
their Chapel Feast. In 1600 the Cheque-Book notes he ”yealded up his place for the Mastership
of the Children of Poules, and John Heathman was sworne in his place the 15th of August,
from Westminster.” With the boys of St Paul’s he presented plays at court on New Year’s Day
1600/1 and 1601/2. He remained a gentleman of the Chapel extraordinary and in that capacity
attended the funeral of Queen Elizabeth on 28 April 1603. He presented a further play with the
St Paul’s boys on Shrovemonday 1603/4. He is listed as master of the children at St Paul’s in
a visitation of 1 October 1607 10 .”

John Bennet
We do not know the exact birth- and death dates of the third composer, John Bennet. David
Brown 11 deducts his origin from the north-west of England from a dedication in his madrigal
collection (1599) and sets his birth year to 1575–1580 and his death year to 1599–1614. David
Brown’s article on Bennet comments a.o. his sacred and secular and finally remarks:

“His remaining published works, six contributions to Ravenscroft’s A Briefe Discourse (1614),
reveals a vigorous native character, owing nothing to his earlier madrigals. Intended for unso-
phisticated diversion, they are forthright and humorous. Some are straightforward vocal pieces,
while others combine verses with a repeated chorus 12 .”

10
Andrew Ashbee and David Lasocki, ed., A Biographical Dictionary of English Court Musicians, 1485-1714,
Aldershot: Ashgate, 1998, vol II, p. 890
11
Article on John Bennet, New Grove Dictionary of Music and Musicians, London 1980
12
Op. cit.

7
 Hunting

A Hunts vp
Iohn Bennet
A Briefe Discourse, 1614, no. 1

‹ Cho: ˇ
6 ˇ ˇ ˇ ˇ 4ˇ ˇ
TREBLE. G h% G 8 ˇ( ˇ( -
- -
The Hunt ist vp, the Hunt is vp, sing
ˇ
MEDIVS. K
h% G 68 ˇ( ˇ ˇ( ˇ ˇ( ˇ ˇ( ˇ -
The hunt ist vp, the hunt is vp, sing

TENOR. K h% G 68 ˇ ˇ( ˇ ˇ( ˇ ˇ( ˇ ˇ(
ˇ(
The hunt ist vp, the hunt is vp, sing
K h% G 68 ˇ ˇ ˇ ˇ ˇ ˇ ˇ
BASIS. › ˇ( - ˇ( -
8
-
The Hunt ist vp, the Hunt is vp, sing

‹ 4 ˇ`
ˇ` ˇ ˇ
G ÄÄ
ˇ
Á ˇ ˇ ˇ
-
ˇ ˇ ˇ Ä Á ˇ
Ä
ˇ ˇ 3
8
- - -
mer - ri - ly wee, the Hunt is vp, sing mer - ri - ly wee, the

G ˇ`Ď ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ( `ˇ ˇ ˇ ˇ 3
Ą
Ď - - ˇ( 8
mer - ri - ly wee the hunt is vp, sing mer - ri - ly wee the

G ˇ` ˇ ˇ ˇ ˇ ˇ( ĎĎ
Ą ˇ ˇ 3
ˇ( ˇ ˇ( `ˇ ˇ ˇ( 8
mer - ri - ly wee, the hunt is vp, sing mer - ri - ly wee, the
ˇ `ˇ ˇ 3
`ˇ ˇ ˇ ˇ( ˇ Á ˇ ˇ
›G
8 ĎĎĄ ˇ ˇ ˇ( - Ä Ä ˇ - 8
mer - ri - ly wee, the Hunt is vp, sing mer - ri - ly wee, the

˘ = ˇ`
‹ 7
G 38 ˇ ˇ R ˘`
Fine verse
ˇ ˘ ˇ ˇ ˛ ˇ ˇ ˘
Hunt
-
is vp: Hey downe
Å
Å Č
Č
G 38 ˇ ( ˇ R `˘ ˇ `ˇ ˇ( ˇ ˇ ˇ ˇ ˇ 4ˇ ˘ ˇ
hunt is vp. Hey downe
= =
G 38 ˇ ( ˇ
R ˘ <
hunt is vp,
ˇ` ˇ ˇ
ˇ ˇ ˇ ˘
› G 38 ˇ( ˇ R ˘` ˇ - Å
Å ˇ ˇ
8
hunt is vp. Hey downe

8
 Hunting

‹ 11 ` ˇ ˇ ˇ ˇ ˇ
Ã
Ã
ˇ ˇ
G ˇ ˇ( ˇ ˇ ˇ ˇ ˇ 4ˇ

G ˘ < ˇ ˘ 4ˇ ˇ ˇ ˇ ˇ
G > ˇ ĽĽ Ã
à ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
The Birds they sing, the Deare they fling, hey no - ny no - ny
ˇ ˇ ˇ ˇ ˇ ˘
›G
8
˘ ˇ ˇ ˇ

‹ 14 ˘ ČČ Ě
Ě ˇ
G > ˇ ˇ ˇ ˘ 4ˇ ˇ ˇ ˇ ˇ ˇ
Ě
Ě ˇ ˘
G ˇ ˇ ˇ ˇ ˇ ˘ ˘ ˇ ˇ
Ã
à ˇ` ˇ ˇ` ˇ ˇ
G 4ˇ ˇ ˇ > ˇ ˇ ˇ ˇ` ˇ(
- -
no - ny no, the Hounds they crye, the Hun - ters they flye, hey
ˇ` ˇ ˇ ˇ ˘
G - ˘ ˇ` ˇ( ˇ ˇ
› 8

‹ 17 ˇ ˇ ˇ ˇ ˇ ˇ
dc al Fine
˘`
G ˇ ˇ 7
ÃÃ 7
G ˇ ˘ ˇ ˇ ˇ ˇ ˘ `˘
Å
Å
Á ÃÃ ÃÃ
G ˇ` ˇ `ˇ ˇ ˇ ˇ `˘ 7
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
tro - li - lo, tro - lo - li - lo, hey tro - lo - li - lo - li - li lo.
ˇ ˇ ˇ ˇ ˇ ˇ ˘` 7
›G ˘
8

2 The Woods resounds, 3 Then hye apace

To heere the Hounds, Vnto the chase
hey, nony nony nony-no: hey, nony nony nony-no
The Rocks report Whilst euery thing
This merry sport, Doth sweetly sing,
hey, trolilo trololilo. hey, troli-lo trololy-lo.
Cho The hunt is vp, the hunt is vp, Cho The hunt is vp, the hunt is vp,
Sing merrily wee the hunt is vp. Sing merrily wee the hunt is vp.

9
 Hunting
A Hunting Song
Edward Pearce
A Briefe Discourse, 1614, no. 2
‹ ˇ` = ˘ ˘˘ = ˇ` ˇ`ˇ = ˘
_& ˇ `
GR ˘ < 6 ˇ ˇ ` ˇ ˇ ` R < 6
TREBLE. G 8 8 - >
Hey
- >
tro - la,
- >
tro - la, hey tro - la,
& ˘ ˇ ˇ ˘ ˇ ˇ
MEDIVS. G_ GR < 6 ` ˇ ` ˇ R < 6 `
8 > - > - 8 > -
Hey tro - la, tro - la, hey tro - la,
& 6 ` ` 6 `
TENOR. K_ GR < ˘ 8 >
ˇ ˇ( >
ˇ ˇ( R < ˘ 8 > ˇ ˇ(
Hey tro - la, tro - la, hey tro - la,
& ˘ ˇ ˇ
BASIS. K_ GR < 6 ` ˇ( ` ˇ( R < ˘ 6 ` ˇ ˇ
› 8 > > 8 > -
8 Hey tro - la, tro - la, tro - - tro - la,
‹ 6 ˇ ˘ = ˇ`
ˇ ` R ˘ < ˇ ˇ ˇ ˇ ˇ ˇ ˘
G - > > > > ˇ
tro - la,
ˇ ˇ
there, there boyes there there boyes there,
ˇ ˇ ˘
hoi - cka,
ˇ ¨
G `> - R < ˘ < ˇ ˇ >
ˇ >
tro - la, there, there boyes there, there boyes there, hoi -

G `> ˇ ˇ( R <
˘
< 4ˇ ˇ 4ˇ > ˇ ˇ 4˘ ˘
tro - la, there, there boyes there, there boyes there, boyes
ˇ ˇ ˇ ˇ ˇ ˘
` ˇ R < < <
›G > ˇ - ˘ >
˚ ˇ
8 tro - la, there, there boyes there, there boyes there,
‹ 11 ˘ ˇ ˘ ˇ ˇ ˇ
ˇ
G ˇ < <
> > > > >
´ˇ
hoick,
˘
hoi - cka, hoick,
˘ ˘
whoope
ˇ
whoope
ˇ
whoope
ˇ whoope
ˇ
G ˇ ˇ ˇ
> > > > > >
ˇ ˚ ˇ
- cka hoick, hoi - cka hoick, whoop whoop whoop whoop whoop
˘ ˇ ˇ
G ˘ >
ˇ < ˇ
> >
ˇ
> >
ˇ
>
there:
˘ hoi -
˘ cka hoick,
ˇ ˚ ˇ whoop:
˘ whoop: whoop:
ˇ whoop:
ˇ
whoop:
ˇ
›G > ˇ > ˇ > ˇ > > >
8 hoi - cka hoick, hoic - ka hoick, whoop, whoop, whoop, whoop,
‹ 16 ˘ 4`ˇ ˇ ˘ ˘ ˇ` ˇ ˇ ˇ ˇ
G > - ˇ
> > > -
Crie there they goe, crie, there they goe, they goe they
˘ `ˇ ˇ 4˘ ˘ ˇ` ˇ( ˇ ˇ ˇ ˇ
G > > > >
crye there
-
they goe, crye there they goe, they goe they

G > ˘ ˇ` 4ˇ ( ˘ 4˘ `ˇ 4ˇ ( ˇ ˇ ˇ ˇ
> > >
crye there they goe, crye there they goe, they goe they
˘ `ˇ ˇ ˘ ˇ` ˇ
˘
›G > > - > > - ˇ ˇ ˇ ˇ
8 crye there they goe, crye there they goe, they goe they

10
 Hunting

‹ 20 ˘ ˇ ˘ ˇ ˇ ¯P `ˇ ˇ ˇ ˇ ˇ ˇ ¯
G > < ˘ -
goe, they are at a fault, Boy winde the Ho (ho ho ho) rne,
ˇ ˘ ˇ ˇ ¯ `ˇ
G ˘ >
¯ ˇ ˇ ˇ ˇ
ˇ ¯
goe, they are at a fault: Boy, winde
-the Ho (ho ho ho) rne,

G ˘ > ˇ ˘ ˇ ˇ 4¯ < 4˘ ˇ` ˇ( ˇ ˇ ˇ ˇ ¯
goe, they are at a fault: Boy winde the Ho (ho ho ho) rne
ˇ ˘ ˇ ˇ ¯ < ˘
›G ˘ > ˇ` ˇ( ˇ ˇ ˇ ˇ ¯
8 goe, they are at a fault: Boy winde the ho (ho ho ho) rne,
‹ 26 ˘ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ < < -
G
Ho rne, Boy winde the Ho
˘ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ < < -
ho rne, Boy winde the ho

G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ < ˘ < ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
-
Ho rne Boy, winde the Ho
¯ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
›G
8
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ -
ho rne, Boy, wind the ho
‹ 31 ¯ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G Ã
rne, Ho rne, Ho rne: Sing ti - ue, ti - ue, ti - ue,
¯ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G Ã
rne, ho rne, ho rne, sing ti - ue, ti - ue, ti - ue,

G ¯ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
rne, Ho rne, Ho rne: Sing - ue, ti - ue, ti - ue,
tiÕ
¯ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
›G
8 rne, Ho rne, Ho rne: sing ti - ue, ti - ue, ti - ue:
‹ 36 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˘ ˇ ˇ ˇ ˇ ˇ
G ˇ 7 ˇ ˇ ˇ ˇ
>
Sing ti - ue, ti - ue, ti - ue, Now in full crie, with yee -ble ya - ble, gib - ble gab -ble

G ˇ ˇ ˇ ˇ ˇ ˇ ˇ
>
˘ ˇ ˘ ˘ 7
> ˇ ˇ ˇ ˇ ˇ
sing ti - ue, ti - ue, ti - ue, now in full crye, with yee -ble yabble,

G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˘ ˇ 7 ˇ ˇ ˇ ˇ
> ˇ ˇ ˇ ˇ ˇ
Sing ti - ue, ti - ue, ti - ue, Now in full crie, with yee -ble ya - ble, gib - ble gab -ble
ˇ ˘ ˇ 7 ˘
›G ˇ ˇ ˇ ˇ ˇ ˇ > ¯ ˘
8 sing ti - ue, ti - ue, ti - ue, now in full crye, with

11
 Hunting

‹ 40 ˘ ˇ ˇ ˇ ˇ ˘
G ˇ ˇ ˇ ˇ ˇ ˇ
> >
hey with yee - ble ya - ble, gib - ble gab - ble hey with
ˇ ˘ ˇ ˘
G ˇ ˇ ˇ
> ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
gib - ble gab -ble, hey: with yee - ble yab -ble, gib - ble gab -ble, hey:
ˇ ÄÄ
G ¯ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ĎĎ
ˇ ˇ ˇ ˇ ˇ
hey: with yee - ble yab -ble, yee - ble yab -ble, gib - ble gab -ble,
ˇ ˇ ˘`
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
›G ˇ ˇ
8 yee - ble ya - ble, gib - ble gab - ble hey, with: yee - ble ya - ble, gib - ble gab - ble
‹ 43 ˇ ˇ ˘`
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ 6
G ˇ ˇ 8
gib -ble gabble hey, with yee-ble ya -ble, gib-ble gabble hey with hey,
ˇ ˇ ˇ ¯
G > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ Łˇ 6
8
Ł
with hey: with yee-ble yabble, gib -ble gabble, yee-ble yabble, gib -ble gabble, hey:

G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ 8
ˇ
hey: with yee-ble yabble, yee-ble yabble, gib -ble gabble, yee-ble yabble, gib -ble gabble, hey:
˘` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6
›G ˇ ˇ ˇ ˇ ¯ 8
8
hey, with yee-ble yabble, gib -ble gabble, yee-ble yabble, gib -ble gabble, hey:
˘ = ˇ`
‹ 47 `ˇ =
ˇ˘ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ `ˇ 4Ąˇ ˇ ˇ ˇ ( ˘P )
6
G8 > ˇ ˇ ˇ Ď - R ˇ 7
- - - - - >
the Hounds doe knocke it lus - ti - ly, with o - pen mouth and lus -tie crye. With
ˇ ˇ ˇ
G 68 > - ˇ ˇ ˇ` ˇ ˇ ˇ ˇ( ˇ ˇ( ˇ ˇ ˇ ˇ ˇ R ¯ 7
- - ĹĹ -
the Hounds doe knocke it lus - ti - ly, with o - pen mouth and lus - tie crye.
ˇ
G 68 > ˇ( ˇ ˇ( ˇ ˇ( ˇ ˇ( ˇ ˇ(
ˇ ˇ( ˇ ˇ ˇ ˇ( R ˘ >
7
the Hounds doe knocke it lus - ti - ly, with o - pen mouth
-
and lus - tie crye. With
6 ˇ ˇ ˇ ˇ( ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ R ¯ 7
›G8 > - - ˇ ˇ( - -
ˇ( -
8
the Hounds doe knocke it lus - ti - ly, with o - pen mouth and lus - tie crye.

12
 Hawking
A Hawkes-vp, for a Hunts vp
Thomas Ravenscroft
A Briefe Discourse, 1614, no. 3
‹ ˇ ˇ` ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ˇ` ˇ
TREBLE. G ‘‚ % - GR > ˇ
-
-Awake - ÈÈ ÃÃ - -

GR = =
MEDIVS. ‘‚
K % > `ˇ ˇ(
ˇ
A - wake, a -
ˇ Č
Č ˇ ˘`
TENOR. K ‘‚ % GR > ˇ( ˇ( ˇ
ˇ ˇ ˇ ˇ ˇ ˇ
- Č
Č
Awake, awake
K ‘`&
BASIS › GR ˘` `ˇ ˇ( ˘ ˇ
8
ˇ( ˇ( `˘
Awake

‹ 4
ˇ` ˇ ˇ ˇ ˇ ˘ 4ˇ ˇ` ˇ^ ˇ ˇ ˇ ˇ ˇ` ˇ ˇ 4ˇ ˘ ˛
G - - -
Ê
G ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ` ˇ( ˘ ˇ ˇ` ˇ ˇ ˇÊ
ˇ ˇ
> > -
wake, the day doth break, our Spanyels coup - le them: our Hawkes shall flye lowe,
Ê Ê
G ˇ` ˇ ˇ
-
ˇ ˇ ˇ ˇ ˇ ÈÈ
ˇ ˇ ˇ ˘ ˇ 4ˇ ˘` ˇ ˇ` ˇ( ˇ ˇ ;
ÈÈ ˇ ÈÈ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ
›G
8
ˇ ˇ ˇ ˇ ÈÈ ˇ - ˘

‹ 9 ´ˇ ˇ ˇ ˇ ˇ ˇ ˇ `ˇ ˇ `ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G ˇ` ˇ ˇ ˇ ˇ
Ä Č - - Ď Ď Č
Č Ď Ď `ˇ ˇ ˇ
G ˇ ˇ
ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ - -
ˇ( ˇ(
ˇ
ˇ ˇ
-
ˇ ˇ
-
ˇ( ˇ(
ˇ
ˇ(
meane, or high, and trusse it, and trusse it, and trusse it, and trusse it, and
Ï Ţ Ä Ä
G 7ˇ ˇ ˇ `ˇ Ţ
ˇ ˇ ˇ ˇ( ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
˘
›G
8
ˇ ˇ ˘ ˘ ˘ ˘ ˘
˘
Chor: ˇ` = ˘
‹ 13 ˇ` ˇ ˇ ˇ ˇ ¯ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G - ÃÃ ˇ
- ÂÂ Ã Ã - ČČ
hey trol - y lol - ly ly lo ly lo, hey tro - ly ly lo ly ly lo ly
ˇ ˇ ¯ ˇ ˇ ˇ ˇ ˇ ˇ Ãˇ à ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G ˇ ˇ ˇ` - Ãà ˇ ˇ ˇ ( ˇČČ ÃÃ
trusse it if they can, hey trol - y lol - ly ly lo ly lo, hey tro - ly ly lo ly ly lo ly
ÃÃ ÃÃ
G ÎÎ ˇ ˇ ˇ ¯ ˇ` ˇ ˇ( ˇ ˇ ˇ ˇ ˇ( ˇ ˇ( ˇ ˇ ˇ ˇ ˇ
-
ˇ ˇ ˇ
ˇ ˇ
hey trol - y lol -ly ly lol - ly lo hey, trol - y lol - ly ly lol - ly
ˇ` ˇ ˇ ˇ ˇ ( ˇ` ˇ` ˇ
›G
8
˘ ˘ ¯ - ˇ( ˇ ˇ(
ˇ ˇ(
hey trol - y lo ly lo ly lo, hey trol - y lo ly

13
 Hawking

‹ 19 ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ˚ ˇ ˇ
G ˇ( ˇ - - - -
- Ď Ďlo lyĎĎ
˚ ˇ
lo hey trol - y ly lo ly lo hey trol - y ly lo ly lo ly lo, and
Ď
Ď
G ˇ ˇ( ˇ ˇ
-
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ( ˇ ˇ( ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ˇ
-
lo hey trol - y
ÄÄlo ly lo ly
ly lo hey trol - y
ĎĎ
ly lo ly lo ly lo, and

G ˇ ˇ( ˇ ˇ( ˇ ˇ( ˇ( ˇ ˇ ˇ( ˇ ˇ( ˇ ˇ( ˇ ˇ( ˇ` < ˇ ˇ(
lo hey, tro - ly lol - ly ly lo lo hey, trol - y lol - ly lol - ly lo, and
ˇ` ˇ` ˇ`
›G < ˇ
ˇ` ˇ ˇ( ˇ` ˇ ˇ(
8
ˇ` ˇ` ˇ(
lo, hey tro lo ly lo, hey tro lo ly lo, and

‹ 24 ˇ ˇ ¨ ˇ ¨ ˇ =
˘ ˇ`
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯
G - - - - ˇ - R
- - -
trusse it, and trusse it, and trusse it if they can, you can, and trusse it if you can.

G ˇ( ˇ : ˇ ˇ ˇ ˇ ¨ ˇ ˇ
-
ˇ ˇ ˇ ˇ( ˇ ˇ( ˇ
ˇ
- R ˇ ˇ ˇ ˇ ¯
- - -
trusse it, and trusse it, and trusse it if they can, you can, and trusse it if they can.

G ˇ( ˇ : ˇ ˇ( ˇ( ˇ : ˇ ˇ( ˇ ˇ( ˇ ˇ( ˇ ˇ( ˇ ˇ( R ˇ ˇ ˇ ˇ ¯
trusse it, and trusse it, and trusse it if they can, you can, and
˘ ˇ trusse it if you can.

›G ˇ( ˇ : ˇ ˇ( ˇ( ˇ : ˇ ˇ( ˇ ˇ(
ˇ ˇ( ˇ`
ˇ( R ˇ ˇ
ˇ ˇ
¯
8
trusse it, and trusse it, and trusse it if they can, you trusse it if you can.

Then rise, arise And Coveyes lye

For Phœbus dies in Fields hard by,
(in golde) the dawne of day, then Sing we care away.

Chor: Hey trolly, lolly, then sing we care away.

14
 Hawking
Hawking for the Partridge
Thomas Ravenscroft
A Briefe Discourse, 1614, no. 4
‹ ˇ ˇ ˇ ˇ ˇ ˇ ˇ É
TREBLE. G _% GR ˇ - -
ˇ
Ã
ˇ ˇ ˇ ˘ ˇ
Sith Sicles

GR = = =
MEDIVS. K _%

ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
TENOR. K _% GR < Ã ˇ
- - Č Č
8
Sith Sicles
K _ GR = Č
BASIS. ˇ ˇ ˇ ˘
› %
8
ˇ ˇ ˇ ˇ
Sith Sicles
‹ 4 Ã
à ˘
ˇ ˇ` ˇ `ˇ ˇ ˇ ˇ 4ˇ
G ˘ ˇ ˇ
Č
Č -
ˇ ˇ ˇ ˇ ˇ ˇ ˇ
- Č
Č
= Č
Č ˇ ˇ ˇ ˇ ˇ`
G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ(
Sith Sickl-es & the sheer - ing Sythe, hath shorne the Feilds of
˘ ˇ ˇ ˇ ˘` ˇ `˘ ˇ ˇ ˇ ˇ
G ˇ
Č
Č
8
Ã
Ã
ˇ ˇ` ˇ ˇ ˇ ˇ `˘ ˇ ˇ
›G `˘ -
ˇ ˇ ˇ
8

‹ 8 ˘` ˇ ˇ
˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ
G - Ã
Ã
Ã
Ã
G ˘ < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ
late, now shall our Hawkes & we be blythe, Dame Par - tridge ware your
˘` ˇ ˇ ˇ` ˇ ˇ` ˇ ˇ ˇ
G ˇ ˇ ˇ - ˇ
- >
8

˘` ˇ ˇ ˇ ˘`
›G ˇ ˇ ˇ ˘ ˘
8

‹ 12 ˘ ˇ`
ˇ
= ˘`
ˇ ˇ ˇ ˇ` `ˇ ˇ ˇ
G ˘ 6 - - ˇ` ˇ ˇ ˇ ˇ
8 - - -
G ˘ < 6 ˇ ˇ( ˇ ˇ( ˇ
8 > ˇ( ˇ ˇ( ˇ( ˇ ˇ( ˇ( ˇ ˇ( ˇ
pate: our murd - ring Kites, in all their flights, wil sild or neu -er neu -er
˘ ˘ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ`ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G 6 Ä Ãà ˇĎ ˇ` ˇ ˇ ˇ
8 Ä Ď Á
Ä - - - Ä
Ä
8

6 ء `ˇ ˇ ˇ
Ř `ˇ `ˇ
›G ¯ 8 `ˇ ˇ ˇ( ˇ ˇ ÄÁ ˇ( ˇ ˇ`
8

15
 Hawking

‹ 17 ˇ ˇ` ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G - ˇ Ą - ˇ( ˇ ˇˇ ˇ
Ď
Ď - - Ł
Ł Ä
Ä

G ˇ( ˇ ˇ ˇ ˇ ˇ( `ˇ ˇ( ˇ ˇ( ˇ( ˇ ˇ( ˇ
- >
neu - er seld or neu - er misse, To trusse you eu - er eu - er
ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ` ˇ
G ˇ- ˇ ` ˇ ˇ ˇ ˇ ˇ
- Ä ÄÁ ˇĎ Ą
Ď - - -
8
ÐÐ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ`
›G ˇ ÂÂ - ˇ ˇ` ˇ` ˇ` ˇ`
8

‹ 21 ˇ ˇ ˇ `ˇ
˘` = ˇ` ˘ ˇ
G ˇ - ˇ ˇ
- R ˘ >
ˇ ˘
>
ˇ ˇ
- whur ret, whur ret, Quand-do
Ď ˇ ˇ ˇ ˇ R ¯ ˇ
G ˇ( ˇ ˇ ˇ ˇ - - > ˘ ˇ ˇ > ˇ
eu - er eu - er, & make your bale our blisse, whur ret du - ty, whur
ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˘ ˇ ˇ
ˇ
G ˇ- ˇ ˇ ˇˇ -
R >
˘ ˇ
8
Ł Ř whur ret Cat - er, ret Trea, whur

ˇ` R ˘ ˘
› G ˇ` ˇ` ˇ` ¯ > ˇ > ˇ
8
whur ret, whur ret,

‹ 26 ˘ ˇ ˘ ˇ ˘ ˇ ˇ ˇ
G > ˇ < >
ret, whur ret, Nimb - le ret, hey dogs hey

G ˘ ˇ ˘
>
ˇ ˘ ˇ ˇ
>
ˇ ˇ
ˇ ˇ
ret Beau - ty ret, whur ret Loue, whur ret, hey dogs
˘ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˘ ˇ ˇ
G <
8 ret Iew, whur ret, Dam - sell ret, whur ret, hey dogs
ˇ ˘ ˘ ˇ ˘ < ˇ
›G ˇ > ˇ ˇ
ˇ
8
Trau - ell ret, whur ret, Trou - er ret, hey dogs

‹ 30 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ
G > > - >
hey dogs hey dogs hey, ware haunt, ware haunt, ware haunt, hey Wanton ret, Su - gar,

G ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ 2˘ ˇ ˇ ˇ ˇ
> > > ˇ > >
hey hey dogs hey ware haunt, ware haunt, ware haunt, hey Sempster, ret
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ
G > > > > >
8 hey, hey dogs hey, ware haunt, ware haunt, ware haunt, hey Call is ret
ˇ ˇ ˇ 2ˇ 2ˇ ˇ ˇ ˇ 2˘ ˇ 6ˇ ˇ
›G > ˇ > > > ˇ >
8
hey hey dogs hey ware haunt ware haunt ware haunt hey Daunc -er ret

16
 Hawking

‹ 35 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘
G > < ˇ
>
ret, Mis - tris, ret, Tricker ret, Craft-y ret, Minion ret, whur

G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ <
> ˇ ˇ ˇ ˇ ˇ >
Fa - ver, ret Minx, ret Di - do, ret Ci -uill, ret Lemmon, ret, whur,
ˇ ˇ ˇ ˇ
G ˇ ˇ >
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
> <
8 Dou - er, ret Sant, ret Cherrie, ret Caruer, ret Courtyer ret, whur,
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ <
›G ˇ > ˇ ˇ ˇ ˇ
ˇ >
8
Ierk - er ret Quoy ret, Stately ret, Rul - er ret, Ierman ret, whur,

‹ 39 ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ
G < > > Å ĆĆ Å
whur, let flie
ˇ Ålet flie
G < ˇ < ˇ ˇ ˇ ˇ ˇ ˇ
> Ã
à ˇ ˇ ˇ ˇ
whur, let flie
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G > ˇ ˘ ˇ ˇ
> Å > Ě
8 whur, let flie let flie
Å Å
ˇ ˇ ˇ ˇ ˇ
›G ˇ > > ˇ ˇ` ˇ( ˇ ˇ ˇ ˇ `ˇ -
8
whur, let flye let flye let

‹ 42 ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ` =ˇ
ˇ
˘`
`ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G ˇ ˇ < 3 Ã
à 6
> 8 ? Ä ÄÃÃ Ď Ď 8
O wellĹĹ flowne
Ê O well ĹĹ
Ê
< 3 ˇ 6 ˇ
G ˇ ˇ ˇ ˇ ˇ ˇ ˇ > 8 ˇ ˇ 8 ˇ ˇ ˇ( @ ˇ) ˇ ˇ
let flie O well flowne O well flowne O well
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G Ä ˇ ˇ < 3 ˇ 6 ˇ( ˇ ˇ
Ä > 8 ˇ( 8 @ . - Ö Öˇ
8 O well flown O well flown O well
ˇ ˇ ˇ ˇ ˇ < 3 6
›G > 8 ˇ ˇ( 8 ˇ ˇ ˇ ˇ ˇ ˇ
8
flye let flye let flye O well flowne O well flowne O well

‹ 46 `ˇ ˇ ˇ ` ˇ
˘` = ˇ` ˇ ˇ ˇ ˇ `ˇ ˇ ˇ ˇ ˇ ˇ Ď Ď ˇ
G Ä ˇ ˇ ˇ ˇ R - ˇ ˇ ˇ ˇ ˇ
Ä ÃÃ Ł Ł - Ä Ä
flowne
ÊÊ O well
ĹĹ flowne well flown, wel flown, eag - - - - - er
ˇ ˇ ` ˇ ˇ ˇ ˇ ÄÄ ĎĎ
G ˇ ˇ ˇ( @ ˇ) ˇ ˇ R ˇ` ˇ( ˇ ˇ ˇ ˇ ˇ
flowne O well flowne O well
-
flowne well flowne well flowne eag - - -
ˇ ˇ -ˇ ˇ ˇ - er
ˇ `ˇ ˇ ` ˇ ˘
ˇ ˇ ˇ ˇ
G ˇ ˇ ˇ Ö Ö
ˇ ˇ R `ˇ
ˇ( - -
ˇ ˇ
8 Ł
Ł
flown O well flown O well flown well flowne well flowne eag - - - - - er
Ď
Ď ĎĎ R ˇ ˇ ˇ
›G ˇ ˇ ˇ ˇ ˇ ˇ `ˇ ˇ( ¯ ¯
8
flowne O well flowne O well flowne, well flowne, well flowne, eag - - - er

17
 Hawking
verse
‹ 50 ˘ ˇ ˇ ˇ ˘ ˇ `ˇ ˇ `ˇ
G ˘ <
> > -
ˇ
-
`ˇ ˇ(
Kyte, Marke, marke, marke, marke, marke,

G ˘ ˘ ˇ ˇ ˇ ˘ ˇ` ˇ ˇ` ˇ( ˇ`
> > ˇ - ˇ ( ˇ` ˇ(
Kite, marke, Marke, marke, marke, marke, O Marke be -
˘ ˘ ˇ ˇ ˇ ˘ ˇ ˘ ˘
G < ˇ ˇ
> >
8 Kyte marke marke marke marke marke

›G ˘
< ˘
>
ˇ ˇ ˇ ˘
˘ ˘ B ˘ ˘ >
8
Kite, marke : marke marke marke marke

‹ 55 Ď Ď ˇ ˇ ˇ ˘
G ˇ ˇ ˇ ˇ ˇ íˇ
í ˇ ˇ ˇ ˇ ˇ
> ˇ ˇ ˇ

G Ď Ď ˘ ˘
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
the Ley,
ˇ >
this was
ˇ ˇ ˇ
a fayre,
>
most
ˇ

G ˘ ˘ “ ˇ ˇ ˘ ˘
>
ˇ ˇ ˇ ˇ ˘
8
Č
Č

›G 6˘ ˘ ˇ ˇ ˘ ˘ > ˇ ˇ ˇ ˘
8

‹ 59 ˇ` ˇ ˇ ˇ `ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ
G ˘ >
ˇ
- -

G ˘ ˇ ˇ ˇ ˘ ˛ ˇ ˇ ˘ ” ˇ ˇ ˇ ˇ
>
fayre, this was a fayre, most fayre and King - ly
ˇ ˇ` ˇ ˇ `ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ
ˇ ˇ ˇ - ˇ -
G > - Ã
Ã
8
Č
Č É
É
˘ ˇ ˇ ˇ ˇ ˇ
›G > ˇ > ˇ ˇ ˇ ˘ ˇ ˇ ˇ
8

Cho.
‹ 63 ˘` ˇ` ˇ ˇ ˇ ˇ
G ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ¯
- -len Kites, yeeld pleasure fit for
we Falk - ners thus make sul - Kings,
ÂÂ
G ˘` ˇ
-
ˇ` : ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ
flight, we Falk - ners thus make sul - len Kites yeeld pleas -ure fit for Kings, and sport with
˘` ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ `ˇ ˇ ˘
G - ˇ ˇ ˇ ˇ
- >
8 we Faulk - ners thus make sul - len Kites yeild pleas -ure fit for Kings, &
ˇ ˇ ˇ` ˇ( ˇ ˇ ˇ
›G ˘ > ˇ `ˇ ˇ(
ˇ ˇ ˇ ¯
8
we Faulk - ners thus make sul - len Kites, yeeld pleasure fit for Kings,

18
 Hawking

‹ 68 ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ
G > ˇ ˇ ˇ ˇ ˘ ˇ ˇ
> ÃÃ
and sport with them and sport with

:
Ä
Ä
G ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ¡ ˇ ˘ > ˇ ˇ ˇ ˇ ˇ
them and sport with them and sport with
ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ˇ
G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
-
8 sport with them, and sport with them, and sport with
= ˇ ˇ ˇ ˇ
›G > ˇ ˇ ˇ ˇ ˇ ˇ ˇ
8 & sporte with them, & sporte with

‹ 71 ˇ`
G ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˛ ˇ ˇ ˇ ˇ ˇ ˘ ˇ
- ČČ ÃÃ >
them in those \ de - lights, and oft in oth - er things, and

:
Č
Č
G ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ( 4ˇ` ˇ( ˇ ˇ ˇ 4ˇ ˘ > ˇ
them in those de - lights, and oft, and oft in oth - er things, and

G ˇ ˇ ˇ ˇ ˇ ˇ ˘ B ˇ ˇ ˇ ˇ ˘
>
ˇ
8 them in those de - lights, & oft in oth - er things, and
ˇ ˇ ˘`
›G 4ˇ ˇ 4ˇ ˇ ˇ` ˇ( 4ˇ ˇ ˇ ˇ ˇ
8 them in those de - lights, and oft and oft in oth - er things, &

‹ 75 ˇ` ˇ ˇ` ˇ ˇ` ˇ ˇ` ˇ ˇ
G - - ˇ ˇ ˇ
- -
oft, and oft, and oft, and oft, and oft in oth - er things,

G6ˇ ˇ` ˇ( ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ÄÄ oft, and oft,
ˇ ˇˇ ˇ ˇ
and oft, and oft
ˇ ˘ ˇ
in
ˇ
oth - er
ˇ ˇ
things.

G ˇ ˇ ˇ ˇ ˇ ÄÄ ˇ
8 oft and oft in oth - er things.

ˇ
›G ˇ` ˇ ( ˇ` ˇ( ˇ` ˇ ( ˇ` ˇ( ˇ ˇ ˇ
8 oft & oft & oft & oft & oft in oth - er things.

19
 Hunting
For the Hearne and Ducke
Iohn Bennet
A Briefe Discourse, 1614, no. 5
‹ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
TREBLE. G ‘ `% GR ˇ` ˇ ˇ
Ě Ě Å Å Ě Ě
ˇ
Lv -
- - - - - - - - -
`% ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
MEDIVS. G ‘ GR ˇ
-
Lv - - - - - - - - er

TENOR. K ‘& GR ¯ ˘ ˘
Lver Faulk - - ners

BASIS. K ‘& GR ¯ ˘ ˘
› 8
Lver Faulk - - ners

‹ 3 ˘ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ 4ˇ ˇ ˇ ˇ
G Ã
à >
er Faulk - ners lu - - - - er, giue war - ning to the
ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˘
G - ÄÄ > ˇ ˇ ˇ ˇ ˇ
Faulk - ners lu - - - - - - er, giue war - ning to the

G ˇ` ˇ( ˇ ˇ ˇ ˇ ˘ ˘ > ˇ ˇ ˇ ˇ ˇ
lu - er, lu - er Faulk - ners, luer luer, giue war - ning to the
ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
›G ˇ ˘ > ˇ ˇ ˇ
8
- Ã
Ã
luer, luer Faulk - - - ners luer luer, giue war - ning to the
7 ˇ
‹ ˇ ˇ ˇ ˇ ˇ ˇ ˘`
G ˘ < <
>
4ˇ
Feild, let flye let flye, make
< ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4˘`
G ¯ > ˇ
Feild, let flye let flye, make

G 4˘ ˇ ˇ ˇ ˇ ˇ ˇ ˘` ˇ ˘`
> ˇ ˇ
Feild, let
^ flye let flye let flye, make
˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘` ˇ
G > ˘ > ˇ
›
8
Feild, let flye let flye let flye, make
‹ 11
` 4ˇ ˇ` ˇ ˇ 4ˇ ˘ ˘ ˙ ˘
G ˇ
ˇ ˇ ˇ ˇ - < ˇ ˇ
-
moun - ting Hearnes to yeild, make moun - ting Hearnes to yeild. Dye fear - full

G ˇ` ˇ ˇ ˇ
ˇ ˇ` ˇ ˇ ˇ ˘ < ˘ ˙ ˘ ˇ ˇ
- 4ˇ -
moun - ting Hearnes to yeild, make moun - ting Hearnes to yeild. Dye fear - full

G 4ˇ` ˇ( ˇ ˇ ˇ ˇ ˇ` ˇ( ˇ ˇ ˘ < ˘ @ ˘ ˇ ˇ
moun - ting Hearnes to yeild, make moun - ting Hearnes to yeild. Dye fear - full

G
ˇ` ˇ 4ˇ
-
ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˘ < ˘ ˙ ˘ ˇ ˇ
› -
8
moun - ting Hearnes to yeild, make moun - ting Hearnes to yeild. Dye fear - full
20
 Hunting

‹ 16 ˇ ˇ ˇ
G ˘ ˇ ˇ ˘ ˇ
> >
Duckes, and climbe no more so high, and
ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˘
G 4`˘ ˇ -
Ě
Ě
Duckes &\ climbe no more so high, no more so high,
Ě
Ě ˇ ˇ ˇ
G ˘` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ČČ
Duckes, dye fear - full Duckes and climbe no more so high,
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ˇ
ˇ ˇ ˇ
› G ˘` ˇ Ě
Ě Ě
Ě -
8
Duckes, dye climbe no more so high, and climbe no more so high, no
‹ 19 ˇ
G ˇĎˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ` ˇ ˇ ˇ
Ď > -
climbe no more so high, and climbe no more so high. The Ny - as Hawke will
˘ ˇ ˇ ˇ ˇ ˇ ˘ ˇ `ˇ ˇ ˇ ˇ
G ˇ -
>
and climbe no more, no more so high. The Ny - ase Hawke will

G ˘ ˇ ˇ ˘ ˘ ˘ > ˇ ˇ` ˇ( ˇ ˇ
and climbe no more so high. The Ny - as Hawke will
ˇ ˇ ˇ ˇ ˘ ˇ `ˇ ˇ ˇ
ˇ ˇ
›G Ã
Ã
8
˘ ˘ > -
more so high, so high. The Ny - ase Hawke will
23
‹ ˇ ˇ ˇ
G ˇ ˇ ˇ ˇ ˘ ˇ 7 ˇ` ˇ ˇ ˇ 4ˇ
> -
kisse the A - zure Skie, But when our Soare Hawkes flye, & stiffe windes
4ˇ ˇ ˇ ˇ
G 4ˇ
ˇ ˇ ˇ ˘ ˇ 7 ˇ` ˇ ˇ ˇ
> -
kisse the A - zure Skye, But when our Soare Hawkes flye and stiffe windes

G ˇ 4˘ ˇ 7 ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ > -
kisse the A - zure Skie, But when our Soare Hawkes flye and swift windes
˘ ˇ ˇ ˇ ˇ
ˇ 7 ˇ` ˇ ˇ
›G ˇ
ˇ ˇ > ˇ ˇ
8
-
kisse the A - zure Skye, But when our Soare Hawkes flye, & stiffe windes
‹ 27 ˇ ˇ ˘
ˇ` ˇ 4ˇ
G ˘
ˇ ˇ ˇ ˇ <
> -
blowe, then long to late we Faulk - ners crye hey ho,
4`˘ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ `ˇ ˇ ˇ ˇ ˇ ˇ
G ˇ ˇ
- -
blowe, then long to late we Faulk - ners crye, hey ho hey lo hey lo hey
ˇ ˇ ˇ ˇ `ˇ ˇ( ˇ ˇ
G ˘ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ
blowe, then long to late we Falk - ners crye hey ho hey lo hey lo hey
˘ ˇ ˇ ˇ ˇ` 4ˇ ˇ ˇ ˇ ˇ
ˇ` ˇ ˇ ˇ ˇ
›G > -
ˇ -
8
blowe, then long to late we Faulk - ners crye hey ho hey lo hey lo hey

21
 Hunting

‹ 31 ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ˇ` ˇ
G > - - -
hey lo, hey lo, hey lo, hey lo, hey lo, hey lo, hey
ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ` ˇ
G ˇ - Å ˇ ˇ -
lo hey lo hey lo hey lo hey lo hey lo hey lo hey lo hey
Å
G ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ
> -
lo hey lo hey lo hey lo hey lo hey lo hey lo hey
ˇ ˇ ^ ˇ ˇ `ˇ Å
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
›G
8
Å
- ˘ ˘
lo hey lo hey lo hey lo hey lo hey lo hey lo hey lo hey
34 ˇ Fine
‹ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘
G Ä Ä ˇ ˇ ˇ ˇ 7
Ä Ä >
lo, hey lo, hey lo, hey lo, hey lo, hey lo, hey lo, hey lo, hey lo, hey lo, hey lo. But
`ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˘
ˇ ˇ ˇ ˘ ˇ 7
G - Ä Ä > - >
lo hey lo hey lo hey lo hey lo hey lo hey lo hey lo. But
Ď Ď ˇ ˇ
G ˇ ˇ ˘ > ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘
>
7
lo hey lo hey lo hey lo hey lo hey lo hey lo. But
˘ 7
›G ˘ ˘ ˘ ˘ ˘ ˘ > ˇ
8
lo hey lo hey lo hey lo. But

22
 Davncing

The Fayries Daunce

Thomas Ravenscroft
A Briefe Discourse, 1614, no. 6

‹ % `ˇ ˇ
TREBLE. G ‘` G R ˇ
-
ˇ ˇ ˇ ˘
Are you haunt our hal - lowed greene,
ˇ ˇ ˇ ˘
MEDIVS. G ‘ `% G R `ˇ ˇ
-
ˇ
Are you haunt our hal - lowed greene,
ˇ` ˇ ˇ ˇ ˇ ˇ 4˘
TENOR. K ‘ %` G R -
8 Are you haunt our hal - lowed greene,
K ‘ `% ˇ
BASIS. › G R ˇ` ˇ( ˇ ˇ ˇ ˘
8
Are you haunt our hal - lowed greene,

‹ 3
ˇ 6
G `ˇ -
ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˘ ˇ ˇ 4˘
8
none but Fay - ries here are seene, downe and sleepe, wake and weepe:
`ˇ ˇ ˇ ˇ ˇ 6
G ˇ ˇ ˇ 4ˇ ˘ ˇ ˘ ˘ 8
none
-
but Fay - ries here are seene: Downe and sleepe, wake and weepe,
ˇ` ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˘ ˇ ˘
G - ˇ 6
8
8 none but Fay - ries here are seene: Downe and sleepe, wake and weepe,

`ˇ ˇ ˇ ˇ ˇ ˇ ˘ 6
›G
8
ˇ( ˘ ˇ ˇ ˘ ˇ 8
none but Fay - ries here are seene: Downe and sleepe, wake and weepe,

7 ˇ` = ˘ Ä
Ä
‹ ˇ ˇ ˇ ˇ Á
G 68 -
ˇ ˇ ˇ ˇ ˇ ˇ ˇ
-
ˇ` ˇ ˇ ˇ ˇ( ˇ` R
pinch him blacke, and
- pinch
-
him blew, Č
that seekes to steale a Lo - uer true.
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ`
G 68 ˇ ˇ( ˇ
- - ˇ( ˇ ˇ
- - - R
pinch him blacke, and pinch him blew, that seekes to steale a lo - uer true.
ˇ 4ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ`
G 68 - - - - - - - R
8 pinch him blacke, and pinch him blew, that seekes to steale a lo - uer true:
6 ˇ ˇ ˇ ˇ ˇ ˇ( ˇ` R
›G 8 ˇ( ˇ ˇ( ˇ( - ˇ ˇ(
ˇ( ˇ
8
pinch him blacke, and pinch him blew, that seekes to steale a lo - uer true.

23
 Davncing

‹ 11 ˘ = ˇ`
ˇ ˘
GR ˇ` ˇ( ˇ ˇ ˇ ˇ` ˇ ˇ ˇ
-
When you come to heare vs sing, or to tread our

GR ˇ` ˇ ˇ ˇ ˇ ˇ ˘ ˇ` ˇ ˇ
- ˇ(
When you come to heare vs sing, or to tread our
4ˇ` ˇ ˇ ˇ ˇ ˇ 4˘ ˇ` ˇ ˇ ˇ
GR - -
8 When you come to heare vs sing, or to treade our
R ˇ` ˇ ˇ ˇ ˇ` ˇ
›G
8
- ˇ ˇ ˘ ˇ( 4ˇ
When you come to heare vs sing, or to tread our

‹ 14 ˇ` = ˘
ˇ ˇ ˇ ˇ
G ˇ 4ˇ ˘ 6 ˇ ˇ( ˇ ˇ(
8 - -
Fay - rie ring, pinch him black, & pinch him blew, O

G ˇ ˇ 4˘ 6 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
8 - - - ČČ
Fay - rie ring, pinch him black, and pinch him blew, O
ˇ ˇ ˘ ˇ 4ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ
G 6 - - -
8 -
8 Fay - rie ring, pinch him black, and pinch him blew, O

˘ 6 ˇ ˇ ˇ
›G
8
ˇ ˇ 8 ˇ ˇ( ˇ ˇ( ˇ( -
Fay - rie ring, pinch him black, and pinch him blew, O

‹ 17 ˇ ˇ ˇ ˇ ˇ ˇ`
˘ = ˇ`
ˇ
G ˇ - R ˇ` ˇ ˇ ˇ ˇ ˘
- - -
thus our nayles shall hand - le you, thus our nayles shall hand - le you.
Ä ÄÁ
G ˇ ˇ `ˇ
-
ˇ ˇ ˇ ˇ( ˇ` R ˇ` ˇ ˇ ˇ ˇ 4ˇ ˘
thus our nayles shall hand - le you, thus
-our nayles shall hand - le you.
ˇ ˇ ˇ ˇ 4ˇ ˇ` ˇ ˇ
G ˇ - - - R ˇ` -
ˇ ˇ ˇ ˘
8 thus our nayles shall hand - le you, thus our nayles shall hand - le you.
ˇ ˇ( ˇ` R ˇ`
›G ˇ ˇ(
ˇ( ˇ ˇ( ˇ ˇ
ˇ ˇ ˘
8
thus our nayles shall hand - le you, thus our nayles shall hand - le you.

24
 Davncing
The Satyres Daunce
Thomas Ravenscroft
A Briefe Discourse, 1614, no. 7
‹ ˇ ˇ ˇ =
TREBLE. G ‘%( GR ˇ ˇ
Ě
Ě
ˇ
Round a round a round a
= ˇ ˇ ˇ
MEDIVS. G ‘ %( GR ˇ
ˇ
Ě
Ě
ˇ
Round a round a round a
% Ě
Ě =
TENOR. K ‘- GR ˇ ˇ ˇ ˇ ˇ ˇ
Round a round a round a
K ‘ %( = Ě
Ě
BASIS. GR ˇ ˇ ˇ ˇ ˇ ˇ
› 8 Round a round a round a,
3
‹ ˇ 4ˇ
G ˇĎ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ` ˇ ˇ ˇ ˘P
Ď -
Round a round a round a keep your ring to the glo - rious Sunne we sing
ĎĎ Č
Č P
G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ` ˇ
- ˇ ˇ ˇ ˇ ˘
Round a round a round a keepe your ring, to the glo - rious Sunne we sing.
P
G ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˘ ˇ` ˇ( ˇ ˇ ˇ ˇ 4˘
ˇ
Round a round a round a keep your ring to the glo - rious Sunne we sing
ˇ` ˇ ˇ P
`ˇ ˇ ˇ
›G ˇ ˇ ˇ ˇ ˇ( ˇ ˇ ˘ - ˇ ˘
8 Round a round a round a keep your ring to the glo - rious Sunne we sing.
‹ 7 ˇ` = ˘
¯P ¯P 6 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G 8 - - - - -
Hoe! hoe! he that weares the fla - ming rayes, and the Im - pe - riall
-
P ˇ
G ¯ ¯P 6 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
-
8 - - - - -
Hoe!, hoe! he that weares the fla - ming rayes, & the Im - pe - riall
P P 6 ˇ
G ˝^ ¯ ¯ 8 ˇ ˇ( ˇ ˇ( ˇ( ˇ ˇ( ˇ ˇ( ˇ ˇ(
Hoe! hoe! he that weares the fla - ming rayes, and the Im - pe - riall
P P 6 ˇ ˇ ˇ ˇ ˇ ˇ
ˇ
›G ¯ ¯ 8 - - ˇ ˇ(
ˇ
-
ˇ( ˇ(
8 Hoe!, hoe! he that weares the fla - ming rayes, & the Im - pe - riall
12
‹ ˇ ˇ 4`ˇ ˇ ˇ ˘`
G ˇ ˇ ( P`ˇ ˇ ˇ ˇ( ˇ ˇ( ˇ 4ˇ ( ˇ - R
Crowne of Bayes,
-
him with him, with him, with shoutes and songs, we praise, we praise,
ˇ 4ˇ ˇ`P ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ `˘
G - - - ˇ ˇ ˇ R
- - - -
Crowne of Bayes, him with him, with him, with shoutes and songs, we praise, we praise,
P ˇ( ˇ ˇ ˇ` `˘ R
G ˇ( ˇ ˇ` ˇ ˇ( ˇ( ˇ ˇ( ˇ ˇ ˇ ˇ
Crowne of Bayes, him with him, with him, with shoutes and songs,
-
we praise, we praise,
ˇ P Ł
Ł ˇ ˇ
›G ˇ ( `ˇ ˇ ˇ( ˇ ˇ ˇ
ˇ ˇ( ˇ ˇ( `˘ R
8
ˇ( ˇ(
Crowne of Bayes, him with him, with him, with shoutes and songs, we praise, we praise,

25
 Davncing
˘ = ˇ` ˇ` = ˘
‹ 17 ¯P ¯P ˇ ˇ ˇ ˇ
GR 6 ˇ` ˇ ˇ ˇ ˇ ˇ
8 - - -
hoe! hoe! that in his boun - tie would vouch -safe, to
P ¯P `ˇ
GR ¯ 6 ˇ ˇ ˇ ˇ ˇ( ˇ ˇ ˇ ˇ
8 Å ÅÄ
Ä - -
hoe! hoe! that in his boun - tie would vouch -safe, to
P ¯P 6
G R 2¯ 8 ˇ` ˇ ˇ ˇ ˇ( ˇ ˇ( ˇ ˇ(
hoe! hoe! that in his boun - tie would vouch -safe, to
Å
Å ÄÄ
G R 2¯ P ¯
P 6
8
ˇ` 2ˇ ˇ ˇ ˇ ˇ ˇ(
› 8 ˇ( ˇ ˇ(
ho! ho! that in his boun - tie would vouch -safe, to

‹ 21 ˇ`P ˝ ˇ ˇ ˇ`P ˝ ˇ ˇ Pˇ` ˝ ˇ ˇ ˇ`P ˝ ˇ ˇ ˇ ˇ ˇ

G - - ˇ R
- - - -
grace the hum - ble, hum - ble, hum - ble Syl - uans & their

G `ˇ
P ˝ ˇ ˇ Pˇ` ˝ ˇ ˇ(
P
ˇ` ; ˇ ˇ(
Pˇ` ˝ ˇ ˇ ˇ ˇ ˇ ˇ
- R
- - -
grace the hum - ble, hum - ble, hum - ble Syl - uanes and their
P
; ˇ
P
; ˇ
P P
G ˇ` ˇ( ˇ` ˇ( ˇ` ; ˇ ˇ( ˇ` ; ˇ- ˇ( ˇ ˇ( ˇ ˇ(
R
grace the hum - ble, hum - ble, hum ble Syl - uanes and their
P`ˇ ˝ ˇ P Pˇ` ˝ ˇ P
; ˇ
› G ˇ
- ˇ` ; ˇ ˇ( ˇ
- ˇ` ˇ( ˇ ˇ
-
ˇ ˇ( R
8 grace the hum - ble, hum - ble, hum - ble Syl - uanes and their

‹ 26 ˘ = ˇ`
G R ˇ` ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯
shag -
- - -
- - - - -
4ˇ` ˇ ˇ` ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ- ˇ ˇ
- gy
ˇ
race.
¯
GR - -
shag - - - - - - - - - gy race.

GR ¯ ¯ ¯
shag - - - - gy race.

Z
R
›G ¯ ˘ ˘ ¯
8 shag - - - - - - gy race.

26
 Davncing
The Urchins Daunce
Thomas Ravenscroft
A Briefe Discourse, 1614, no. 8
‹ ˘ = ˇ ˇ
TREBLE. G ‘% GR ˇ ˇ ˇ ˇ ˇ ˇ ˘
By the moone By the moone we sport & play,
= ˇ
MEDIVS. G ‘% %( GR ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˘
By the moone By the moone we sport & play,

GR =
TENOR. K‘ % ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˘
ˇ ˇ
By the Moone By the Moone we sport & play
K‘ % = ˇ ˇ
BASIS. › GR ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˘
8 By the Moone By the Moone we sport and play
5
‹ ˇ ˘ ˇ ˘ ˇ ˇ ˇ ˇ ˇ
G ˇ 4˘ ˇ ˇ ˇ ˇ
> >
with the night be - gins our day, as we friske as we friske as we
ˇ ˘ ˇ ˇ
G ˇ ˇ ˘ ˇ ˘ ˇ ˇ ˇ > ˇ ˇ > ˇ
with the night be - gins our day, as we friske as we friske as we

G ˇ ˇ ˘ ˇ ˘ ˇ 4˘ ˇ > ˇ ˇ 4ˇ > ˇ ˇ
ˇ ˇ
with the night be - gins our day, as we friske as we friske as
˘ ˘ ˇ ˇ ˇ 4we
ˇ
›G ˇ ˇ ˇ ˘ ˇ ˇ ˇ > ˇ ˇ >
8 with the night be - gins our day, as we friske as we friske as we
10
‹ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G ˘ ˇ ˇ ˇ ˇ ˇ ˇ
friske the dew doth fall, trip it, trip it, trip it, trip it, trip it, litt - le Vr - chins
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ
G ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ
friske the dew doth fall, trip it, trip it, trip it, trip it, trip it, litt - le Vr - chins

G ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˘ ˇ ˇ ˇ ˇ ˇ
friske the dew doth fall, trip it, trip it, trip it, trip it, trip it, litt - le Vr - chins
ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ
›G ˘ ˇ ˇ
8 friske the dew doth fall, trip it, trip it, trip it, trip it, trip it, litt - le Vr - chins
˘ = ˇ`
‹ 15 ˘ ˇ
ˇ` = ˘
ˇ ˘P ˇ ˇ ˇ ˇ ˇ R 4P˘
G < 6 ˇ `> ˇ `> R > 2 ˇ ˇ
8 - - 4 Ä Ä
all, light - ly light - ly as the littÄle,Ä
litt -le bee, two by

G ˘ < 6 ` ˇ ˇ ` ˇ ˇ R > ˘ ˇ 2 ˇ ˇ ˇ 4ˇ R ˘ <

8 > - > - 4
all, light - ly, light - ly as the little, litt -le bee,

G 4˘ < 6 ˇ ˇ ˇ( ˇ ˇ( ˇ ˇ( R > ˘ ˇ 2 ˇ ˇ ˇ ˇ R ˘ <

8 ˇ( 4
all, light - ly, lightly, light - ly, lightly, as the little, litt -le Bee,
˘ < 6 ˘ ˇ 2 ˇ ˇ
›G 8 ˇ ˇ( ˇ ˇ( ˇ ˇ( ˇ ˇ( R > 4 ˇ ˇ R ˘ ˇ ˇ
8
ĎĎ
all, light - ly, lightly, light - ly, lightly, as the little, litt -le Bee, two by

27
 Davncing

‹ 21 ˇ ˇ
G ˘ < < ˇ ˇ ˇ < ˇ ˇ ˇ ˇ 4ˇ
> >
two, two by two, and three by three, and three by

G < ˇ ˇ ˘ < ˇ ˇ ˇ ˇ < ˇ ˇ ˇ

> > >
two by two and three by three, and three by

G < ˇ ˇ ˘
<
> ˇ ˇ 4ˇ ˇ ˇ ˇ 4ˇ ˇ >
<
two by two and three by three, and three by three,
˘ ˇ ˇ ˇ ˇ ˇ
G < < ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
› 8
two two by two and three by three, and three by three, and three by
ˇ` =˘
‹ 26
G ˇ ˇ ˇ ˇ `˘ P 7 ˇ ˇ 6 ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
8 - - - -
three, and three by three, and a - bout goe we, and a - bout goe we, and a - bout, about, a -
7 ˇ ˇ 6 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G ˇ ˇ ˇ 4ˇ ˘` 8 - ˇ ˇ ˇ ˇ( ˇ - -
three, and three by three, and a - bout goe we, and a - bout goe we, and a - bout, about, a -

G > ˇ 7 ˇ ˇ 6 ˇ ˇ ( 4ˇ ˇ ˇ ˇ ˇ ˇ( ˇ ˇ(
ˇ ˇ ˘` 8 ˇ ˇ ˇ ( 4ˇ
and three by three, and a - bout goe we, and a - bout goe we, and a - bout, about, a -
ˇ
ˇ( ˇ
ˇ 6 ˇ ˇ ˇ ˇ( ˇ ˇ
›G ˇ ˇ ˘` 7 ˇ ˇ 8 ˇ ˇ ˇ ˇ( ˇ ˇ(
8 three, and three by three, And a - bout goe we, and a - bout goe we, and a - bout a -bout a -
˘ = ˇ` ˘` =¯ ˘ = ˇ`
‹ 31 ˇ ˇ ˇ
G
ˇ ˇ ˇ ˇ ˇ
-
ˇ R ˘` P ˇ ˇ 6
4
˘ ˇ ˘ ˇ R ˘` P 7
- -
bout, about, and a - bout, a -bout goe we, and a - bout, a - bout goe we.
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ( R ˘` ˇ ˇ 6 R ˘` 7
G - - 4 ˘ ˇ ˘ 4ˇ
bout, about, & a - bout a -bout goe we, and a - bout a - bout goe we.
6
G ˇ ˇ( ˇ ˇ ˇ 4ˇ ˇ( ˇ 4ˇ ( R `˘ ˇ ˇ 4 ˘ ˇ ˘ ˇ
R
˘`
7
bout, about, and a - bout, a -bout goe we, and a - bout, a - bout goe we.
ˇ ˇ ˇ
ˇ ˇ( ˇ ˇ ˇ ˇ R `˘ 6 ˘ ˇ ˘ ˇ R ˘` 7
›G - -
ˇ ˇ 4
8 bout a -bout and a - bout a -bout goe we, and a - bout a - bout goe we.

28
 Davncing

The Elues Daunce

Iohn Bennet
A Briefe Discourse, 1614, no. 9

‹ ` `ˇ ˇ`
TREBLE. G b% G 68 ÄÄ
ˇ
Á ˇ ÄÄ
ˇ
Á ˇ `ˇ
Ą
ˇ ˇ ˇ( ˇ
ĎĎ
Round a - bout round a - bout in a faire ring a,

G b `% G 68 `ˇ ˇ ˇ ˇ` ˇ ˇ `ˇ ˇ ˇ ˇ ˇ ˇ
MEDIVS. Ą Ą -
ĎĎ ĎĎ
Round a - bout: round a - bout: in a faire ring a,

TENOR. K b `% G 68 `ˇ ˇ ˇ `ˇ ˇ ˇ `ˇ ˇ ˇ 4ˇ ˇ(
Round a - bout round a - bout in a faire ring a,
K b `% G 68 ˇ` ˇ ˇ ˇ ˇ
BASIS. › `ˇ ˇ ˇ `ˇ ˇ ˇ -
8
Round a - bout round a - bout in a faire ring a,

‹ 3
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G ˇ ? ?
Ď ČČĎ Ď ČČĎ -
thus we daunce thus we daunce and thus we sing a,
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G ÃÃ ? Ä ÃÃÄ ? ˇ(
Ä Ä
Thus we daunce, thus we daunce and thus we sing a,

G ˇ ˇ ˇ ? ˇ ˇ ˇ ? ˇ ˇ ˇ 4ˇ ˇ(
Thus we daunce, thus we daunce, and thus we sing a,

ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
›G ˇ ˇ ˇ ? ? -
8
Thus we daunce, thus we daunce, and thus we sing a,

‹ 5
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ`
G Ä Ď
ĚĚĎ Ã
à Ą ?
Å Å Ä ÄÄ Ě Ě
trip and trip and goe, too and fro and fro, too and fro, too and fro,
ˇ ˘ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ
ˇ ˇ
G > Ã
à ˇ ˇ ˇ ˇ ˇ
ÃÅÃ Å Ã
à Ď
Ě Ě Ď
trip and trip and goe, too and fro and fro, too and fro and fro, ^
Å
Ä Å Ä ČČ
G `> ˇ ˇ ˇ ˇ ˇ ? ˇ 4 ˇ ˇ ˇ ˇ ˇ
trip and trip and goe,
ˇtoo and fro and fro, too
ˇ ˇ ^ ˇ ˇ
ˇ ˇ ˇ ˇˇĎˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ
›G ? ÄÄ ĚĚ Ď Č Č
8
trip and trip and goe, too and fro and fro, too and fro & fro & fro

29
 Davncing

‹ 7 P
ˇ` ˇ 7 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G ˇ ˇ ˇ(
o - uer this green a, all a - bout, in and out, all a - bout,
ˇ` ˇ ˇ 4ˇ ˇ 7 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G -
o - ver this green a, All a - bout, in and out, all a - bout,
Å
ÅÁ
G ˇ` ˇ 7 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ(
uer this green a, All a - bout, in and out, all a - bout,
ˇ` ˇ ˇ ˇ( 7 ˇ ˇ ˇ
›G Ë
ËÇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
8
o - uer this green a, All a - bout, in and out, all a - bout,

‹ 9 ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ 7
G -
in and out, all a - bout, in and out o - - uer this greene a.
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ
G ˇ ˇ - 7
in and out, all a - bout, in and out o - - uer this greene a.

G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ( 7
ˇ ˇ
in and out, all a - bout, in and out o - - uer this greene a.
Å
ÃÃ Å ÃÃ ÅÅÁ
ˇ ˇ ˇ ˇ ˇ` ˇ ˇ 7
›G ˇ ˇ ˇ ˇ ˇ ˇ ˇ -
8
in and out, all a - bout, in and out o - - uer this greene a.

30
 Drinking
Of Beare
Thomas Ravenscroft
A Briefe Discourse, 1614, no. 10
‹ ˘P
TREBLE. G b`% G 34 ˇ` ˇ( ˇ ˇ 4ˇ ˇ ˇ` ˇˇ ˇ ˇ
Ď
Ď
Trudge a - way quick - ly & fill the black Bole, de -
MEDIVS. K b`% G 34 ˇ` ˇ( ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ 4˘ ˇ
Trudge a - way quick - ly and fill the black Bole, de -
K b`% G 34 ˇ` ˇ ˇ ˇ ˇ` ˇ
TENOR. ˇ ˇ ˇ( ˇ ˘
8
-
Trudge a - way quick - ly & fill the black Bole, de -
I b`% I 3 ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ
BASIS. › 4 - ˇ ˇ
Trudge a - way quick - ly and fill the black Bole, de -

‹ 5
` P
G ˇ ˇ
-
ˇ ˇ` ˇ ( 4ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
uout - ly as long as wee bide, now wel - come good fel - lowes, both

G 4ˇ ˇ ˇ ˇ` ˇ( ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
uout - ly as long as wee bide, now wel - come good fel - lowes, both

G ˇ ˇ
ˇ ˇ` ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
8
-
uout - ly as long as wee bide, now wel - come good fel - lowes, both
I ˇ ˇ ˇ ˇ` ˇ( ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
› ˘
uout - ly as long as wee bide, now wel - come good fel - lowes, both

‹ 10 ˇ ˘P ˇ ˇ `˘ P
G `ˇ ˇ
-
ˇ` ˇ
-
˘ ˇ ˇ` ˇ( ˇ
stran - gers and all, let mad - nes & mirth set sad - nes a - side.

G `ˇ ˇ( ˇ ˘ ˇ ˇ` ˇ( ˇ ˘ ˇ 4ˇ` `˘
ˇ( ˇ
stran - gers and all, let mad - nes and mirth set sad - nes a - side.
`ˇ ˇ ˇ ˘ ˇ `ˇ ˇ ˇ ˘ ˇ `ˇ ˇ ˇ `˘
G - - -
8
stran - gers & all, let mad - nes & mirth set sad - nes a - side.
I ˇ` ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˘
ˇ `ˇ ˇ( ˇ
› ÄÄ `˘
stran - gers and all, let mad - nes & mirth set sad - nes a - side.

‹ 16 Verse ˇ
G ˇ ˇ ˇ ˘ ˇ ˘ ˇ ˘ ˇ ˇ ˘ ˇ ˘`
> 4˘ ˇ
Of all recko - nings I loue good cheere, with hon - est folkes in com - pa - ny:
˘ ˇ ĆĆ
G ˇ ˇ 4ˇ ˘ ˇ ˇ 4˘` 4ˇ ˇ ˘ ˇ ˘ ˇ 4ˇ ˘`
ˇ ˇ ˘ ˇ ˘ ˇ ˘` ˇ ˇ ˇ ˇ ˘`
G ˇ ˘ ˇ ˘
8 ÂÂ
I ˘ ˇ ˘ ˇ ˘ ˇ ˘` ˘` ˘ ˇ ˇ
› ˘ ˇ ˘`

31
 Drinking

‹ 24 ˇ P ˇ`
G ˇ ˇ ˘ ˇ ˇ` ˇ ˇ ˘ ˇ ˇ` ˇˇ ˇ ˇ ˇ
- Ď
Ď -
and when drinke comes my part for to beare, for still me thinks one

G ˇ ˇ ˇ ˘ ˇ ˘ ˇ 4˘ ˇ 4˘ ˇ
ˇ ˘
˘
G ˇ ˘ ˇ ˇ
ˇ ˇ ˘ ˇ ˇ` ˇ( ˇ ˘ ˇ
8
I ˘ ˇ ˘ ˇ ˘ ˇ ˘ ˇ ˘ ˇ ˘ ˇ
›

‹ 30 ˇ `ˇ
G ˘ ˘ ˇ `ˇ ˇˇ ˇ ˇ ˇ ˇ ˘ `˘
Ď
Ď -
tooth is drye, for still me thinks one tooth is drye.

G ˇ 4˘ ˘ ˇ ˘ ˇ 4˘ ˇ ˇ 4˘ `˘
for still me thinks one tooth is drye.
ˇ ˘ ˘ ˇ `ˇ ˇ ˘ `˘
G ˇ( ˇ ˘ ˇ
8
for still me thinks one tooth is drye.
I ˇ ˘ ˇ ˘ ˇ ˘ ˇ ˘
› ˘ ˇ `˘
for still me thinkes one tooth is drie.

32
 Drinking
Of Ale
Thomas Ravenscroft
A Briefe Discourse, 1614, no. 11
Cho
‹ ĎĎ
Ą ˇ ˇ`
TREBLE. G2 i `% G2 68 `ˇ ˇ Ą
ˇ ˇ
ˇ` ÄÄ
ˇ
Á ˇ ˇ ˇ ˇ
Tosse the pot
ĎĎ
tosse the pot, let vs be mer - ry, and
ĎĎ Ą ˇ
MEDIVS. K2 i `% G2 68 ˇ` ˇ ˇ` ˇ ˇ` ˇ ˇ ˇ
ˇ ˇ ˇ
Tosse the pot tosse the pot let vs be mer - ry, &
ˇ ˇ` ˇ
TENOR. K2 i `% G2 68 `ˇ Ą
ˇ ˇ ˇ` ˇ ÄÄ Á ˇ ˇ ˇ ˇ
8 ĎĎ
Tosse the pot tosse the pot let vs be mer - ry, &
I2 i `% I2 6 ˇ` ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ
BASIS. › 8 ˇ` ˇ ˇ
Tosse the pot tosse the pot, let vs be mer - ry, &
3 Fine Vers.
‹ ĚĎ `ˇ
Ď ÉÉ ĎĎ
2 ˇ ˇ ˇ Ä ˇ `ˇ ˇ 3 ˇ ˇ ˇ
G ˇ` ÄÁ ˇ ˇ ˇ ˇ ? 8 ˇ ˇ
-
drinke till our cheeks be as red as a Cher - ry. We take no thought we
Ä
ÄÁ ĎĎĄ
G2 ˇ` ˇ` 3 ˇ ˇ ˇ(
ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ? 8 ˇ ˇ`
drink till our cheekes be as red as a Cher - ry.
ÄÄ Á ˇ` ˇ ˇ ˇ
G2 ˇ` ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ 3 ˇ ˇ ˇ -
? 8 Ď Ď
8
drink till our cheekes be as red as a á- ry.
Cher
I2 ˇ` ˇ ˇ ˇ á 3 ˇ ˇ ˇ
› Ä
ÄÁ ˇ ˇ` ˇ ˇ` ˇ ˇ ˇ ? 8 ˇ( -
drink till our cheekes be as red as a Cher - ry.

‹ 7
` 2ˇ
G2 ˇÄ Ä
ˇ
Á ˇ ˇ ?
ˇ ˇ ˇ
Ä Ä ˇ ˇ
- -
ˇ ˇ
?
ˇ ˇ ˇ
haue no care, still we spend, and ne - uer spare, till all of
ÄÄ
G2 ˇ ˇ( ˇ` ˇ ˇ ˇ ˇ ˇ( ˇ` ˇ` ˇ ˇ ˇ
ˇ` ˇ ˇ ˇ
G2 Ä Á ˇ
Ä ˇ` ˇ
-
ˇ ˇ
-
ˇ 6ˇ ˇ` ˇ ˇ
8
-
I2 ˇ ˇ` ˇ ˇ ˇ ˇ( ˇ
ˇ` ˇ ˇ
› ˇ( - ˇ( ˇ
d. c. al Fine
‹ 14 Č
Č
`ˇ
G2 `ˇ ˇ ˇ ˇ ˇ( ˇ ˇ ˇ
Ä
ˇ
Á ˇ
ˇ ˇ ˇ` 7
Ä -
mo - ney our pursse is bare, we e - - uer tosse the pot.
Ä Ä Ď Č
Č Ä ÄÁ
Á
G2 `ˇ Ď Ą ˇ ˇ` 7
ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ( ˇ`
Ä Ä ˇ ˇ
G2 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
-
ˇ
- -
ˇ ˇ` 7
8
I2 ˇ` Ä Ä
Á
ˇ ˇ ˇ ˇ ˇ ˇ
ˇ( ˇ 7
› ˇ ˇ( - - ˇ`

33
 Drinking
2 We drinke Carouse with hart most free,
A harty draught I drinke to thee:
Then fill the pot againe to me,
and euer tosse the pot,
Cho: Tosse the Pot &c.

3 And when our mony is all spent,

Then sell our goods, and spend our rent,
Or drinke it vp with one consent,
and euer tosse the pot.
Cho: Tosse the Pot &c.

4 When all is gone we haue no more,

The let vs set it on the score,
Or chalke it vp behinde the dore,
and euer tosse the pot.
Cho: Tosse the Pot &c.

5 And when our credit is all lost,

Then may we goe and kisse the post,
And eat Browne bread in steed of rost,
and euer tosse the pot.
Cho: Tosse the Pot &c.

6 Let vs conclude as we began,

And tosse the pot from man to man,
And drinke as much now as we can,
and euer tosse the pot.
Cho: Tosse the Pot &c.

Cho: Tosse the pot tosse the pot let vs be merry,

And drinke till our cheekes be as red as a Cherry.

34
 Drinking
Ale and Tobacco
Thomas Ravenscroft
A Briefe Discourse, 1614, no. 12
‹ = = ˇ ˇ`
TREBLE. G ‘% GR ˇ ˇ ˇ
Č
Č -
a -
˙
To - bac - co fumes

MEDIVS. K
‘% GR ˇ ˇ ( ˇ- ˇ` ˇ( ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ` ˇ(
Tobacco fumes &c.
ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ` ˇ
TENOR. K ‘% GR ˇ ˇ
- - - Č
Č -
8 Tobacco fumes &c.
BASIS. K ‘% GR ˇ ˇ ˇ ˇ` ˇ( ˇ ˇ ˇ ˘ ˇ` ˇ
› 8
- - ˇ ˘ -
Tobacco fumes, &c.

‹ 4 ÉÉ ˘ ˇ
ˇˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ` ˇ ¯
G Ä Ä ˇ ˇ Ã
Ã
- -
way all nas - tie rheumes, but health a - way it nev - er light - ly frets,
Ä Ä
G ˇ ˇ ˇ ˇ ˇ ˇ >
Ď Ď
ˇ ˇ ˇ ˇ ˇ ˇ ˙ ˇ ˇ ˇ ˇ
ˇ ¯
ˇ ˇ ˇ Ã
Ã
˘` ˇ
G ˇÄ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯
Ä Č
Č
˙
8
É
É
›G ˇ ˇ ˘ ˇ` ˇ( ˇ ˇ ˇ ˇ ˇ
ˇ ˘ ¯
8

‹ 8 ˇ
ˇ ˇ
G ˇ ˇ ˇ ˇ ˇ ˇ 6
8
ˇ ˇ( ˇ
ˇ R ˇ ˇ ˘P
Č Č -
And nap - py nap - py Ale makes mirth, makes mirth (as A - pril raine doth Earth)
ČČ ˇ ˇ
G ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6 ˇ ˇ( ˇ ˇ R ˇ ˇ ˘
8 -
ˇ ˇ ˇ ˇ ˇ
G ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ 6 - R ˘
ČČ 8 -
8

6 R ˇ
›G
8
ˇ ˇ ˇ ˇ ˇ ˇ ˇ 8 ˇ ˇ( ˇ ˇ( ˇ ˘

‹ 11 ˇ ˇ ˇ ˇ ˘` ˇ ˇ ˇ ˇ`
G É
É ˇ ˇ ˇ ˇ ˇ ¯ 6
Ä Ä ÃÁ
à 8
Spring like the pleas - ant spring, where ere it soak - ing wets.
ˇ Ä Ä
G ˇ ˇ ˇ ˇ` ˇ( ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ` ˇ( 6
Č Č - ¯ 8
ˇ ˇ ˇ `ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6
G ˇ É
É
ˇ
- Ä Ä
ˇ ˇ ˇ ¯
8
8
Ã
Ã
›G
ˇ ˇ ˇ ˇ ˇ ˇ ? ˇ ˇ ˇ ˇ ˘
ˇ ˇ ˘
¯
6
8
8

35
 Drinking

‹ 15 Cho.
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
6
G 8 `ˇĎ ˇ S ˇ ˇ
Ď Ą - - ĚĚ
But in that spring of mirth of mirth, such mad - nes mad - nes mad - nes mad - nes

G 68 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ S ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
- ˇ(
-
But
ˇ` ˇ inˇ ˇ ofˇ
that spring
ˇ mirth
ˇ of mirth,
ˇ ˇ such
ˇ
mad - nes mad - nes mad - nes mad - nes
ˇ ˇ ˇ ˇ
G 68 Ď
ĎĄ - - S ˇ ˇ ˇ ˇ
8 But in that spring of mirth of mirth, such mad - nes, mad - nes, mad - nes, mad - nes,
6 ˇ ˇ ˇ ˇ ˇ S ˇ ˇ ˇ
›G8 - ˇ ˇ ˇ ˇ( - ˇ ˇ ˇ ˇ ˇ
8
But in that spring of mirth of mirth such mad - nes mad - nes mad - nes mad - nes

‹ 18 ˇ
G É ˇ ˘ ˇ
Ã
Ã
ˇ ˘ ˇ R ˇ
ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ` ˇ
É > - -
mad Õnes hye doth growe, as fills a foole by birth, a foole a foole by birth, with
ˇ ˘ ˇ ˇ ˘ ˇ R ˇ ˇ ˇ ˇ `ˇ
G ˇ Ã
à > ˇ( ˇ ˇ ˇ ˇ `ˇ ˇ(
madnes hye doth growe, as filles a foole by birth a foole a foole by birth, with
ˇ ˇ ˘` ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ `ˇ
G É ˘ ˇ R ˇ ˇ
É - -
8 madnes hye doth growe, as filles a foole by birth, a foole a foole by birth, with

`˘ R ˇ ˇ
›G
8
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
madnes madnes hye doth growe, as filles a foole by birth by birth with

‹ 22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G - ˇ - - - Ã
à ˇ
- - - - - -
crotchets, with crotchets, with crotchets, with Ale and To - bac - co, To - bac - co, To -

G ˇ- ˇ ˇ ˇ( ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
- - - - ˇ - -
- -
crotchets, with crotchets, with crotchets, with Ale and To - bac - co, To - bac - co, To -
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
- ˇ ˇ ˇ ˇ
G - - - - -
- - - -
8 crotchets, with crotchets, with crotchets, with Ale and To - bac - co, To - bac - co, To -

›G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ( ˇ ˇ(
ˇ ˇ ˇ
8
crotch - ets crotch - ets crotch - ets Ale and To - bac - co, To - bac - co, To -

‹ 25 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G Ä
Ä ˇ -
- - - - -
bac - co with Ale and To - bac - co, To - bac - co, To -
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G - ˇ - - ˇ - -
-
bac - co with Ale and To - bac - co, To - bac - co, To -
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G - - ˇ - - -
8
-
bac - co with Ale and To - bac - co, To - bac - co, To -
ˇ ˇ ˇ ˇ ˇ ˇ
›G - - ˇ ˇ ˇ - - ˇ( ˇ ˇ(
8
bac - co with Ale and To - bac - co, To - bac - co, To -

36
 Drinking

‹ 27 ˇ ˇ ˇ ˇ ˘ ˇ ˇ P˘
G - ˇ ˇ
- >
bac - co, with Ale with Ale and To - bac - co.
ˇ ˇ ˇ
G ˇ- ˇ ˇ
-
˘ ˇ ˇ ˘
>
bac - co, with Ale with Ale and To - bac - co.
ˇ ˇ ˘ ˇ ˇ ˇ ˘
G - ˇ ˇ ˇ
- >
8 bac - co, with Ale with Ale, & To - bac - co.

K
ˇ ˇ ˇ ˇ ˘
›G
8
- - ˘ ˇ ˇ ˘ >
bac - co, with Ale and To - - bac - co.

One cleares the braine, the other glads the heart,

which they retaine, by nature and by art:
The first by nature cleares, by Arte makes giddy will,
the last by nature cheares, by Art makes heady still.

Chorus So we, whose Braynes els lowe swell hye with crotchet rules,
Feed on these two, as fat as headdy giddy fooles.

37
 Of Enamouring
Three Fooles
Iohn Bennet
A Briefe Discourse, 1614, no. 13
‹ = = =
TREBLE. G ‘ % GR < ˇ ˇ
What seekes
& ˘
; ˇ
GR ˇ ˇ ˘ ˇ
MEDIVS. K
‘ ˇ ˇ ˇ` ˇ( ¯
What seekes, &c.
ˇ ˇ ˇ ˇ ˘ ˘ ˇ
TENOR. K ‘‚ % GR > ˘ ˇ ˘` ˇ
Č
8 What seeks,
& IR ˘ ˇ ˇ ˘
BASIS. I ‘ ˘ ˘ ˘ ¯
›
What seekes, &c.

‹ 5 ÎÎ ˘
ĆĆ 4ˇ
G ˇ < < ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˘ >
thou foole, what seekes thou foole in this place ?
ÎÎ ˘ ˇ ˘` ˇ
G ˘ ˇ ˇ ˇ` ˇ( ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
thou foole a wo - mans stouborne
ˇ ˘ ˇ ˇ ˇ` ˇ ˇ` ˇ ˘ ˇ ˇ`
G ˇ ˇ
>
ˇ ˇ - - >
ˇ
-
8 thou foole
˘ ˇ ˇ ˇ
I ˘ ˘ ˘ ˇ ˇ ˘ ˘` ˘
›
‹ 10 ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˝ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘
G ˇ ˇ - ĆĆ ˇ ˇ >
ˇ
ÂÂ ÂÂ
thou foole,
< < ˇ ˇ ˇ ˇ < < ˇ ˇ
G ˘ ˇ ˇ ˇ ˇ
will, what seekes thou foole, ˇ what seekes thou foole in this
˘ ˘ ˇ ˇ ˇ ˇ ˇ
G ˇ` ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ÂÂ
- ŐŐ >
8 thou foole
I ˘ ˘ ˇ ˇ ˘ ˘ ˇ ˘
˘ ˘ ˘ ˇ
›
‹ 15 ˇ` ˇ ˇ ˇ ˇ ˘ ˇ` ˇ ˇ 4ˇ ˇ
G ˇ ˇ ˇ ˇ ˘ - ˇ ˇ ˇ
- ĆĆ
thou foole,

; ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ
G ˘ > ÂÂ ˇ > ˇ ˇ ˇ ˇ
place.
ĆĆ
ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ
˘ 4ˇ ˇ
G < < <
>
8 the bab - le of a foole, what seeks thou foole,
˘ ˘ ˘ ˘
I ˘` ˇ ˇ ˘ ˘ ˘
ˇ
›

38
 Of Enamouring

‹ 20 ˇ ˇ ˇ ˘ ˘ ˘ ˇ` ˇ ˇ ˇ ˇ ˘
G > ˇ ˇ <
ĹĹ
gay cloaths and a purse of gould,

G ˇ ˘ ˇ ˇ ˇ ˇ ˘ ˇ ˘ ˇ ˇ
ˇ > ˇ ˇ ˇ ˇ
thou foole ˇ ˇ ˘ ˇ foole foole,
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˘
G < >
8 what seeks thou foole in this place.
I ˇ ˇ ˘ ˇ ˇ ˘ ˘ ˘ ˘ ˇ ˇ
˘
˘
›

‹ 25 =
G < ˇ` ˇ( ˇ ˇ ˇ ˇ ˘ ˇ ˇ
ˇ ˇ ˇ ˇ
foole foole, foole foole, whom a wo - man sets to schoole, foole foole,
= ˇ < ˇ <
G ˇ ˇ` ˇ( ˇ ˇ ˇ 4ˇ ˘ ˇ
foole foole whom a wo - man sets to schoole, foole foole,
ˇ ˇ ˇ ˇ ˇ ˇ
G < ˇ` ˇ ˇ ˇ ˇ ˇ ˘ < <
8
-
foole foole foole foole whom a wo - man sets to schoole, foole foole,
ˇ ˇ ˇ ˇ
I ˇ ˇ ˘ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ
› -
foole foole, whom a wo - man sets to schoole,

‹ 30 ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ¯
G ˇ ˇ ˇ ˇ ˘
- -
foole foole, whom a wo - man sets to schoole, whom a wo - man sets to schoole
ˇ ˇ` ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ¯
G ˇ - ˇ ˇ ˇ ˘ -
foole foole, whom a wo - man sets to schoole, whom a wo - man sets to schoole
ˇ ˇ ˇ` ˇ ˇ ˘ ˇ` ˇ ˇ ˇ ˇ ˇ ¯
- ˇ ˇ ˇ -
G
8 foole foole, whom a wo - man sets to schoole, whom a wo - man sets to schoole.
ˇ
I ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ` ˇ( ˇ ˇ
ˇ ¯
› ˇ
foole foole, whom a wo - man sets to schoole, whom a wo - man sets to schoole.

39
 Of Enamouring
The Seruant of his Mistris
Iohn Bennet
A Briefe Discourse, 1614, no. 14
‹ ˇ ˇ ˇ ˇ Č
TREBLE. G ‘ `% G R ˇ` - Ã
Ã
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ
My Mistris is &c.
GR = = =
MEDIVS. K
‘ ‚%

ˇ ˇ ˇ ˇ
TENOR. K ‘ `% GR
ˇ`
- Ã
Ã
ˇ ˇ ˇ ˇ ˇ ˇ
Ã
Ã
ˇ ˇ ˇ ˇ ˘
8 My Mistris is as faire as fine, &c.
Č
Č
I ‘ `& I R ˘` ˘ ˇ ˇ ˇ ˘
BASIS. › ˇ ˇ
My Mistris is &c.
‹ 4
ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˝ ˇ ˇ 4ˇ ˇ ĆĆ
G ˘` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ĆĆ - ÂÂ ÂÂ
ÂÂ ˇ
G < > ˇ
ˇ` ˇ( ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ` ˇ( ˘
My Mis - tres is as faire as fine, milkwhite fin -gers, Cher - ry nose,
˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G ˘` ˇ ˇ ˘ ÂÂ ˇ
ÂÂ
I ¯
8
ˇ ˘ ˇ ˇ ˘ ˛
˘` ˘ ˘ ˇ ˇ
›
‹ 9 ˇ
Ď Ď ˇ ˇ ˘ ˇ ˇ ˘ ˇ` ˇ ˇ
G `ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ - ˇ
-
G > ˇ `ˇ ˇ ˇ ˇ ˇ ˘ <
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ(
like
˘
twinckling day - starres lookes her
ÂÂ
eyne,
ˇ ˇ
light - ning all thinges where she goes,
ˇ ˇ ˘ ˙ ˇ ˇ ˇ` ˇ
G ˇ ˇ ˇ ˇ ˇ ˇ `ˇ ˇ( `ˇ ˇ -
-
I `ˇ
8
ÂÂ
E
ˇ ˘ ˘ ˇ ˇ ˘
˘ ˇ ˇ ˇ ˇ ˘ ˇ ˇ
›
‹ 14
G ˇ`
ˇ ˇ ˇ
Õ
ˇ
Č
ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˘
- - É ÈÈ É
G ˇ` ˇ( ˇ ˇ ˇ ˇ ˇ` ˇ( ˇ ˇ
ˇ ˇ ˇ ˇ` ˇ( ˇ ˇ
Faire as Phœ - be though not so sick - le : smooth as glasse though not so brick - le.
ˇ ˇ ˘ ˇ ˇ ˇ ˇˇ ˇ ˇ` ˇ ˘
G ˇ ˇ ˇ ˇ` -
Č Ď
8 ˇ
I ˘` ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ
˘ ˘
› Ď Ď

40
 Of Enamouring
My heart is like a Ball of Snowe,
melting at her luke-warme sight:
Her fiery Lips like Night-worms glowe
shining cleere as Candle-light.
Neat she is, no Feather lighter:
Bright she is, no Dazie whiter.

41
 Of Enamouring
The Mistris of her Seruant
Edward Pearce
A Briefe Discourse, 1614, no. 15
‹ = = = =
TREBLE. K
b `% G 34

`
MEDIVS. K b`% G 34 ˇ -
ˇ ˇ ˘ ˇ ˇ` ˇ ˇ ˘`
8 Loue for such a cherry lip, &c. -
TENOR. K b`% G 34 ˇ` ˇ( ˇ 4˘ ˇ ˇ` ˇ ( 4ˇ ˘`
8 Loue for such a cherry lip, &c.
Ib I3 ĎĎ ˇ` ˇ
BASIS. › `% 4 ˇ` ˇ ˇ ˇ ˇ( ˇ ˇ ˇ ˘`
Loue for such a cherry lip, &c.

‹ 5 Č
Č
ˇ ˇ `ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G `ˇ ˇ
-
ˇ > ˇ ˇ >
Ď Ď
Loue for such a cher - ry lip, would be glad to pawne his Ar - rowes,
ˇ 4˘ ˇ `ˇ ˇ ˇ ˇ ˇ ˘
ˇ ˇ
G ˇ
ˇ -
8
ˇ `ˇ ˇ
G `ˇ ˇ( ˇ ˘ ˇ ˘ ˇ ˇ ˇ ˇ
-
ˇ
8
Č
Č
I ˇ` ˇ ˇ ˘ ˇ `ˇ ˇ ˇ ˇ ˇ ˇ ˘
› - - ˇ

‹ 10 = ˇ `ˇ ČČ ˇ `ˇ
G ˇ ˇ ˇ ˇ( ˇ ˇ 4ˇ ˇ ˇ ˇ
Ve - nus heere to take a sip, would sell her Doues and teeme
-
of
`ˇ ˇ 2ˇ ˇ ˘ ˇ ˇ ˘\ ˘ ˇ ˇ
G ˘ Ã
Ã
8
-
G ˘ ˇ ˇ( ˇ `ˇ ˇ( ˇ ˇ ˘ ˇ` ˇ ( 4ˇ
4ˇ`
8
I 2ˇ` ˘ ˇ ˘ ˇ ˘ ˘
› ˇ( ˇ ˇ ˇ

‹ 15 ˇ ÄÄ
G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ <
> ÄÄ ˇ ˇ ˇ
Spar - rowes, but shee shall not so,
ˇ
hey no no ny no ny no,
ˇ ˇ ˇ ˝
G ˇÃ
Ã
ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ÄÄ ˇ ˘
8
ˇ ˇ ˇ\ ˇ ˘ ˇ Ä
Ä \
ˇ
G ˇ ÄÄ ˇ` ˇ ˇ ˇ ˇ
ˇ
8
Ã
à Ã
à ÄÄ
A
I Ã
Ã
˘ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
›

42
 Of Enamouring

‹ 19 Č \
= ˇĽ
Č ˇ ˇ` ˇ ˇ ˇ ˇ` ˇ ˇ` ˇ ˇ ˇ ˇ ˇ` ˇ
G ˇ ˇ ˇ ?
- Ľ
´ ˇ ˇ\ ˇ
none but I
ˇ
this
ˇ ˇ
lip
˘
must owe,
ˇ\
hey no - ny no - ny
ˇ\ ˇ
no - ny,
ˇ ˇ 4ˇ ˇ
hey no - ny
ˇ
G Ã Ã Ã Ã Õ ˇ
8
Õ
G ˘ ˇ ˘ ˇ ˘ ˘ ˇ
ˇ
8

> ˇ
I ˇ` ˇ ˇ` ˇ ˇ ˘ ˇ
› ˇ( ˇ ˘ ÃÃÁ
‹ 23 É
É
G ˇ` ˇ ˇ` ˇ ˇ` ˇ 4ˇ ˇ ? ˇ ˇ` ˇ 4ˇ` ˇ ˇ` ˇ ˇ` ˇ ˇ ˘ ˘`
no - ny no - ny no - ny no - ny, hey no - ny no - ny no - ny no - ny no - ny no.
ˇ` \
ˇ ˇ ˇ ˇ ˘`
G ˘
ˇ ˇ ˇ ˘ ˇ
- Ľ
Ľ
8
ˇ ˇ ˇ ˇ
G ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ( 4ˇ ˘`
8
I ˇ 4ˇ ˇ ˇ ˇ ˇ ˇ ˇ 4ˇ ˇ ˘
› ˘`

Did Ioue see this wanton eye,

Ganymed should wayte no longer:
Phebe heere one night to lye,
would change her face, and looke much younger.
but shee shall not see,
hey no ny, no ny no.
none but I this lip must owe
hey no ny, no ny no.

43
 Of Enamouring
Their Mariage Zolemnized
Thomas Ravenscroft
A Briefe Discourse, 1614, no. 16
‹ Cho
DREBLE. G ‘& GR ˘ ˘ ˘ ˇ ˇ ˘ 4˘ ˘ ˇ ˇ
Leaue of Hy - men, and let vs bor - row to

MEDVZ. ‘& GR ˘ ˘ ˘ ˇ 4ˇ ˇ ˇ ˘ ˘ ˇ 4ˇ
K
Leaue of Hy - men and let vs Bor - row to
˘ ˘
DENOR. K ‘& GR
4˘ ˇ ˇ ˘ ˘ 4˘ ˇ ˇ
8 Leaue off Hy - men and let vs bor - row, to
K‘ & GR ˘
BAZIS. › ˘ ˘ ˇ ˇ ˘ ˘ ˘ ˘
8
Leaue off Hy - men and let vs bor - row,

‹ 5
ˇ ˇ = ˇ ˇ
G ˇ ˇ ˘ ˘ <
> ˘ ˇ
bid the Sunne good mor - row, good mor - row, good
ˇ ˇ ˇ ˇ ˇ
G ˇ ˇ ˇ ˇ 4˘ ˇ ˇ 4˘ ˇ ˇ ˘ ˇ
8 bid the Sunne good mor - row, to bid the Sunne good mor - row, good mor - row, good
ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˘ ˇ ˇ
G ˇ ˇ ˇ
8 bid the Sunne good mor - row, to bid the Sunne good mor - row, good mor - row, good
= <
›G > ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˘ ˇ ˇ
8
to bid the Sunne good Mor - row, good Mor - row, good

Fine Verse ˇ` = ˘
‹ 10 ˇ ˇ
G ˘ ˇ ˘ ˘ 3 `ˇ ˇ( ˇ ˇ ˇ ˘ ˇ ˇ
4
mor - row, good mor - row. See the Sunne can - not re - fraine, but doth
G 4˘ ˘ 3 `ˇ ˇ( ˇ ˇ ˇ ˇ
ˇ ˇ ˘ 4 4˘ ˇ
8 mor - row, good mor - row.
˘ ˇ ˘ ˘ 3 ˘ ˇ ˇ ˇ ˇ ˘ ˇ
G ˇ 4
8 mor - row, good mor - row.
3
›G ˘ ˇ ˇ ˘ ˘ 4 ˘ ˇ ˇ ˇ ˇ ˘ ˇ
8
Mor - row, good Mor - row.

‹ 15 `
G ˇ ˇ ˇ ˇ ˇÃ Ã
ˇ ˘ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ČČ Ą Č
Č > ÃÃÁ Ľ Ľ Ã Ã
rise and giue a - gaine, that which you of Hy - men bor - row, and with
ČČĄ ÃÃ Ã
Ã
G ˇ` ˇ ˇ ˇ ˇ 4˘` 4ˇ ˇ ˇ ˇ 4˘ ˇ ˇ
8
˘` ˇ
G ˘ 4ˇ ˇ ˇ ˇ ˘
8
ˇ
›G ˘ ˘` ˇ ˇ
ˇ ˘ ˇ
8

44
 Of Enamouring

‹ 19 ` ˇ ˇ ˇ`ˇ ˇ ˇ ˇ ˇ ˇ
G ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ` ˇ ˇˇ
Č ČĄ É É ČČ ČĄ
Č - ÃÃ
smi - ling bidst good mor - row, good mor - row to the Sunne, and to our
Ď
Ď Ą Ď Ď Ą ˇ Ã
Ã
G ˇ` ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˘` ˇ ˇ` ˇ ˇ ˇ
4˘ -
8
` ˇ ˇ ˇ ˘ ˇ ˇ`ˇ ˇ ˇ
G ˇ - ČČ ÃÁ
Ã
ˇ 4ˇ ˘ ˇ ˘
8

` ÃÃ ˇ
G
› 8 ˇ ˇ ( ˇ ˇ ˇ ˘ ˘ ˇ ˘
˘ ˇ
d c al Fine
‹ 24 4ˇ ˇ
Ã
Ã
G ˘ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˘` P 7
- Ľ
Ľ -
Brides good - night to your sweet Beau - ties, sweet Beau - ties touch your side.

ˇ P
G 4˘ ˇ ˇ` ˇ ˇ 4ˇ ˇ ˇ` ˇ ( 4ˇ ˘` 7
8
-
˘ ˇ ˇ ˇ 4ˇ ˇ ˇ ˇ` ˇ ˇ ˘` P
G ˇ - 7
8
P
ˇ `ˇ `˘ 7
›G ˘ ˇ ˘ ˘ ˇ ˇ( ˇ
8

45
 Of Enamouring
Hodge Trillindle to his Zweet hort Malkyn
Thomas Ravenscroft
A Briefe Discourse, 1614, no. 17
Vurst bart.
‹ 2 2 ˇ Ã Ã
ˇ 6ˇ ˇ ˇ ˇ ˇ
DREBLE. G2 ‘% G2 R ˇ - - - -
ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ˇ
Č
Coame Malkyn, &c.
-
2 Ã
MEDVZ. K22 ‘`% G2 R ˇ` ˇ( ˇ ˇ ( ˇ ( 6ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ˇ( ˇ ˇ
Coame Malkyn, &c.
K22 ‘ ‚ 2
G2 R = = <
DENOR. % > ˇ
8 Coame
I 2 ‘& I22 R ˘
BAZIS.
L
2 ˇ ˇ ˇ ˘
› ˇ ¯
Coame Malkyn, &c.

‹ 4 ^
22 `˘ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ 6˘` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G Ã - Ď Ď
2 Ï Ï ˘
G2 ˘` ˇ ˇ` ˇ( ˇ ˇ ˇ 6ˇ ˇ
ˇ ˇ ˇ ˇ ˇ ˇ ˇ
8
2 `ˇ Č
G2 ˇ ˇ( ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇˇ
ˇ > ˇ ˇ > ˇ ˇ
8 Mal - kyn, hurle thine oyz at Hodge Tril - lind - le, And zet a zide thy Dis -
Ŕ
tave, thy
I22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ
7ˇ ?
ˇ ˇ ˘` ˇ
› ˇ ˇ ˇ ˇ ˇ
8
‹ 2 ˇ ˇ^ ˇ ˇ ˇ ˇ ˘` ˇ ˇ ˇ ˇ ˇ `ˇ ˇ ˇ ˇ ˇ `ˇ ˇ
G2 - Č -
2 Ã
G2 ˇ ˇ ˇ ˇ ˘` ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ ˇ ˇ` ˇ( ˇ ˇ ˇ
8
2 Ã ˇ `ˇ ˇ ˇ ˇ ˇ ˇ
G2 ˇ ˇ ˇ ˇ 6ˇ ˇ ˇ > > ˇ ˇ ˇ ˇ
-
ˇ ˇ ˇ
8 Dis - tave and thy Zpindle, a lit - tle lit - tle ty - ny
Č
let a ma brast my
I22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ `ˇ ˇ( ˇ ˇ ˇ
ˇ
› ˇ ˇ ˘` ˇ
‹ 12 2 ˘ ˇ` ˇ ˇ ˇ ˇ ¯ ˇ ˇ `ˇ ˇ
G2 >
ˇ
- Č
Č -
6¯
ç
2
ˇ ( `ˇ ˇ ˇ ç ˘
G2 ˇ ˇ > ˇ `ˇ
- ˇ 4ˇ ¯
8
2 Č
Č
G2 ˘ > ˇ ˇ` ˇ ( `ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯
8
- ČČ
minde, to thee which I haue vownd as ghurst as ghinde,
I22 ˘ ˇ ˇ` ˇ ˇ ˇ
ˇ ˇ` - ˘
› > - ¯

46
 Of Enamouring

‹ 16 2 ˇ ˇ ˇ ˇ ˘ ˇ ˇ` ˇ ˇˇ ˇ ˇ
G2 ˇ ˇ ˇ ˇ` - ˇ` - ˇ ˇ -
> ÄÄ
2
G2 ˇ ˇ ˇ ˇ` ˇ( ˇ` ˇ( ˇ ˇ ˇ ˇ ˘ > ˇ ˘ ˇ ˇ
8
2 ˇ` ˇ` ˇ ˇ ˇ` ÄÄ
G2 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ
- - > -
8
yet loaue ma (Zweet, Zweet, Zweet) a lit - tle ty - ny vit, and wee a lit - tle lit - tle
I22 ˇ ˇ ˇ ˇ` ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˘ ˇ ˇ
› - - >

‹ 20 2 Ï ˇ ˇ ˇ ˘ ˇ ˇ` ˇ
ÄÄ ˘ ˇ
G2 ˇ ˇ ˇ ˇ ˇ ˇ ˇ
> -
2 Ã
G2 ˇ` ˇ ˇ ˇ ˘ > ˇ ˇ `˘ ˇ ˇ
8
- ˘ ˇ
2 ˇ` ˇ ˇ ˇ ˇ ˇ Ã
G2 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ
- ˇ ˇ ˇ ˇ ˇ ˇ ˇ
Ď Ď > Ä Ä
8
Wede - locke wooll gom - mit, a lit - tle lit - tle ty - ny Wedelocke wooll gom -
I22 ˇ ˇ ˇ ˇ `˘ ˇ ˘ ˇ ˇ ˘
› ˇ ˇ

‹ 24 2 6˘` ˇ ˇ ˇ ˇ 6ˇ` ˇ ˇ ¯
G2 ˇ ˇ
ˇ ĹĹ
2 É
É ˇ
G2 `˘ ˇ ˇ` ˇ ( ˇ` ˇ( ˇ ˇ ˇ ˇ 6ˇ ¯
8
ˇ
2 ĹĹ ˇ Ã
Ã
G2 ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯
8
Ã
à -
mit, y vaith wooll wee, wooll wee, that wee wooll y vaith lo.
I22 ˘ ˇ ˇ ˘ ˇ ˇ ˇ ˘
› ˇ ¯
Zegund bart vollowes.

47
 Of Enamouring
Malkinz anzwer to Hodge Trillindle
Thomas Ravenscroft
A Briefe Discourse, 1614, no. 18
Zecund bart.
‹ 2 2 ˇ ˇ
DREBLE. G2 ‘ ‚ % G2 R < > ˇ ˇ ˇ
ÃÃ
ˇ
Yo tell yo tell ma

MEDVZ. K22 ‘ ‚ %
2
G2 R > ˇ( ˇ ˇ ˙ ˇ ˇ ˇ ˇ
ÃÃ
ˇ
ˇ
- zo, &c.
Yo tell yo tell ma
K22 ‘ `% 2
G2 R ˇ` ˇ ˘ ˇ ˘ ˇ
DENOR.
8
-
Yo tell yo tell ma zo, &c.
I22 ‘ I2 2 R ˇ ˇ
BAZIS. › `& ˘` ˇ ˘
Yo tell yo tell ma zo, &c.
3
‹ 2 ˇ 6ˇ ˇ 6ˇ ˇ ˇ ˇ
G2 ˘ > ˇ ˇ ˇ ˇ ˘
>
ˇ
zo : but Ro - ger I cha vound your words but wynde : thon
2 Ã
à Ã
Ã
G2 ˘` ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
- ˇ 6˘`
8
2 ˘` ˇ ˇ` 6ˇ ˇ ˇ ˇ ˘ ˘`
G2 - Ã
Ã
ˇ ˇ 6ˇ ˇ
8
Ŕ
Ŕ
I22 ˇ ˇ 6ˇ ˇ ˇ
ˇ ˇ ˘` ˇ
› ˘` ˇ ˇ
7 ÊÊ
‹ 2 ˇ ˇ ˇ ˇ ˇ` ˇ ˇ` ˇ ˇ` ˇ ˇ ˇ
G2 - - -
ˇ
Ã
Ã
ˇ ˇ ˘
> ˇ
not for vor - ty bound, wool I beeleaue yo vur - ther yon Ich zee your
2
G2 ˘ `ˇ ˇ( ˇ` ˇ ( ˇ` ˇ( ˇ ˇ ˘ ˘` ˇ
8

22 ˇÃ
à ČČĄ
ˇ` ˇ ˇ
Č
Č Č
Č
ˇ ˇ ˇ ˘`
G ˇ `ˇ ˇ `ˇ ˇ(
-
ˇ ˇ ˇ ˇ ˇ
8
I22 ˇ ˇ` ˇ ( ˇ` ˇ( ˇ ˇ ˘
˘` ˇ
› ˘`
‹ 11 2 ˇ ˇ ˇ
G2 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯ ˇ ˇ ˇ ˇ ˇ
words and deeds loyke Beans and
2 Ã Ba
à - coan gree : But if yol loaue ma

G2 ˇ ˇ` ˇ( ˇ ˇ ˇ ˇ ˇ ˇ
ˇ ¯ ˇ ˇ ˇ ˇ
8
2 ˇ ˇ ˇ ˇ ˇ ˇ ¯
G2 ˇ ˇ ˇ ˇ ˇ ˇ ˇ
8
I22 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
› ¯

48
 Of Enamouring

‹ 15 2 ˇ` ˇ ˇ
ÄÄ
ˇ
Ã
à ˇ` ˇ ˇ` ˇ
G2 ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
- > Ã
à - - Ä Ä
long a lit - tle lit - tle vit, Thon wed - locke Ich a lit - tle lit - tle wool go -
2 Ä Ä Ä Ä
G2 ˇ` ˇ ˇ ˇ ˇ 6ˇ ˘ > ˇ ˘ ˇ ˇ ˇ` ˇ( ˇ ˇ ˇ ˇ
8
-
2 Č
Č ÄÄ
G2 ˇ` É
É ˇ ˘` ˇ ˇ ˇ ˇ ˇ ˇ ˇ
ˇ( ˇ ˇ ˇ ˘` ˇ
8
I22 ˘ ˇ ˇ ˘ ˇ ˇ` ˇ ˇ` ˇ( ˘
› > - ˇ ˇ

‹ 19 2 ˇ` ˇ ˇ ˇ ˇ ˇ Ã
à Č
Č
G2 ˘ ˇ - ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ
> ÄÄ >
mit, A lit - tle lit - tle ty - ny wed - locke wool gom - mit y
2 ÄÄ Č
Č
ˇ` ˇ ˇ ˇ ˇ ˇ
G2 6˘` ˇ - ˇ ˇ ˇ ˇ ˇ ˘` ˇ
8
2 ˇ ˇ 6˘` ˇ ˇ
G2 ˘` ˇ ˘ ˇ ˇ ˘
Ã
Ã
8
I22 ˘` ˇ ˘ ˇ ˇ ˘ ˇ ˘` ˇ
› ˇ

‹ 23 2 ˇ Č
Č
ˇ ˇ ˇ Ã
Ã
G2 ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ¯
vayth wool I, thot ich wool
Č
Č
thot ich wool thot ich wool i vayth lo.
2 Č
Č ˇ
G2 ˇ ˇ 6˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ Ã
Ã
ˇ ¯
8
2 ˇ ˇ Ã
Ã
G2 ˇ ˇ ˘ ˇ ˇ
Ã
Ã
ˇ ˇ ˇ ˇ ˇ ˇ 6ˇ ˇ ˇ ¯
8
I22 ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇˇ ˇ ˘
› ˇ ˇ ÊÊˇ ¯
Dthurd bart vollowes.

49
 Of Enamouring
Their Goncluzion
Dhurd bart. Thomas Ravenscroft
A Briefe Discourse, 1614, no. 19
Malkyn.
‹ 2 2 = Č
Č Č
Č
DREBLE. G2 ‘ ‚ % ( G2 R <` ˇ ˇ ˇ ˇ ˘ ˇ
Ich con but zweare,&c.

= ˇ
`% 2
MEDVZ. K22 ‘ G2 R ˇ` ˇ
Ich con but zweare, &c.
ˇ ˇ ˇ ˇ ˘ D ˇ ˇ ˇ 4ˇ
K22 ‘ ‚ % 2
G2 R <` ˘ ˇ
DENOR. ˇ ˇ ˇ > ˇ ˇ
8
Ich con but zweare (ond thot I

D
I22 ‘ I2 2 R ˇ ˇ ˇ ˘
BAZIS. › `& ˘` ˇ ˘ ˇ
Ich con &c.

‹ 4 Ä Ä
2 ˇ ˇ ˇ ˇ ˇ Ď Ď ˇ ˇ ˇ
G2 ˘` ˇ ˇ ˇ ˇ ˘
Ţ
˘
> ˇ ˇ ˇ ˘
Thon Ro - ger zweare
2 Ä Ä ÂÂ
G2 ˘`
8
ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6˘ ˇ ˇ ˇ 6˘ ˘ A ˇ ˇ ˇ ˇ
2 ˇ ˇ ˇ ˇ Ćơ ˇ ÂÂ
G2 ˘ >
ˇ
ÄÄ ˇ ˘ ˇ ˇ ˇ ¯
> ˇ ˇ ˇ
8
chill) vn - bonab - ly to loaue atha ztill, thot wool I lo.

›
I22
˘` ˇ ˘ ˇ
ˇ
˘ ˇ
ˇ ˘ ˘ A ˇ ˇ ˇ ˇ

‹ 9
2 ˇ` ˇ ˇ ˇ ˇ ˇ 6ˇ ¯ <` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
G2 > ˇ -
ˇ
yo wooll be vir - mer thon yo weare : zo
ĆĆ
Ro - ger zweare an
2 ĆĆ ĆĆ Ä Ä
G2 ˇ ˇ ˇ ˇ` ˇ( ˇ ˇ ˇ` ˇ ( 6¯ > ˇ ˇ ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ
8
2
G2 ˇ` ˇ( ˇ ˇ ˚ ˇ ˇ` ˇ 6ˇ ˇ ˘ ˇ ˇ ˇ
˘ =
ČČ >
8
by thease ten Boans

@
I22 ˘ ˇ ˘ ˇ ˘
˘ ˇ ˘ ˘ ˇ ˇ ˇ ˇ ˇ
›
‹ 14 2 ˇ ˇ ˇ ˇ ˇ
G2 ˘ < ˇ ˇ ˇ ˇ ˇ ˇ ˘
> ? - ? -
oape hold Hodge O hold, [hold] oie to wyd yo gape,
2
G2 ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˘ ˇ` ˇ ( 6ˇ
ˇ ˇ
ˇ ˇ ˇ 6ˇ
8
verse
2
G2 <` ˇ
˘
> ˇ ˇ ˇ ˇ ˇ ˘
8
by Ia-
I2 ˇ ˇ ˇ
› 2 `˘ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˘

50
 Of Enamouring

‹ 18 2 ˇ ˇ ˇ ˇ ˇ
ˇ ˇ ˇ 6ˇ ˇ
verse
ˇ ˇ
G2 <` ˇ
? - Ä Ä > > Ã
ˇ ˇ ˇ ˇ
O hold, O hold, thowlt byte I zweare my wozen.
2 Ä Ä ˇ
G2 `˘ ˇ ˇ` ˇ( ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ
8
2 ˘ verse
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇˇ ˇ ˇ Ï ˇ ˚
G2 > > ˇ Ã Ã > Ä Ä ˇ ˇ
8
ˇ
I22 ˘`
by Ia-
ˇ ˇ ˇ ˇ ˇ ˘ ˘
whay thou beleaue ma whon Ich zweare,
˘ ˘ ‹
›
‹ 22 2 ˇ ˇ ˇ ˇ ˇ ˇ
G2 ˇ `ˇ ˇ ˇ ¯ ˘ ˘
>
ˇ ˘
- Ich do good Hodge thon zweare no more,
2 Ã Ã Ţ
G2 ˇ ˇ ˇ ˇ ¯ ˇ ˘ ˇ ˇ 6˘` ˇ ˇ ˇ ˘
2 ´˘
8
ˇ ˇ
verse
G2 ˇ ˇ ˇ < ˘ ˇ 6ˇ ˘` ˇ ˇ ˇ ˘
> >
8

I22 ´ ˇ
zo do thou.
˘ ˘ ˇ ˇ ˇ ˇ
ˇ ¯ ˇ ˘` ˘
›
‹ 27 2 ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6ˇ ˇ ˇ
G2 Ã
à Č
Č Õ
Õ ˇ ˘ Ã
Ã
ˇ
Ã
Ã
ˇ ˇ ˇ Č
Č
Ich wool bee thoyne and God a bee - vore, Ich wool be thoyne, & God a bee -
2 Ã
à ˘
G2 > ˇ ˇ` ˇ( ˇ ˇ ˇ 6˘ ˇ ˇ ˇ ˇ
ˇ ˇ
8
2 Ã Ã
G2 ˇ ˇ
Ã
Ã
ˇ ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ 6ˇ ˇ ˘
8
-
I22 ˘ ˇ ˇ ˘ ˇ ˇ
ˇ ˇ ˇ ˇ ˘
› ˇ ˇ

Cho ˇ` = ˘
‹ 31 2 ¯ ˇ ˇ`
G2 ˇ` ˇ ˇ ˘` ˇ 6 ˇ ˇ( ˇ ˇ ˇ ˇ ˇ
- 8 -
vore. Thon geat wee Growdes ond Boag - bipes ond Boag - bipes ond
2 6
G2 ¯ ˇ ˇ ˘` ˇ 8 ˇ( ˇ ˇ ˇ ˇ ˇ( ˇ ˇ ˇ ˇ
8
˘
Thon geat wee Growdes ond Boagbipes, Boagbipes ond Boagbipes, Boagbipes ond
2 6 ˇ ˇ ˇ` ˇ
G2 ¯ ˇ` ˇ( ˇ ˇ ˘` ˇ 8
ˇ ˇ ˇ
-
ˇ(
8
Thon geat wee Growds ond Boag - bipes ond Boag - bipes ond
I22 ˘ ˇ ˘` ˇ 6 ˇ( ˇ
` ˇ`
› ¯ ˇ 8 ˇ ˇ ˇ(
Thon geat wee Growds, ond Boag - bipes and Boag - bipes and

51
 Of Enamouring

‹ 36 2 ˇ` ˇ
^
ˇ ˇ 6ˇ ˇ ˇ ˇ`
G2 ˇ ˇ( ˇ ˇ ˇ ˇ ˇ Ď ˇ ˇ(
- Ď Ď
Ď
Boag - bipes ond Boag - bipes ond Boag - bipes, Harbes ond Da - bors, ond
2 ˇ ˇ`
G2 ˇ ( ˇ ˇ ˇ ˇ ˇ( ˇ ˇ ˇ ˇ ˇ ˇ (
ˇ ˇ(
8 Boagbipes, Boagbipes ond Boagbipes, Boagbipes ond Boag - ˇ (
bipes, Harbs ond Da - bors, ond
2 ˇ`
G2 ˇ ˇ ˇ ˇ ˇ
-
ˇ ˇ( ˇˇ ˇ ˇ 6ˇ ( ˇ` ˇ ˇ
-
8
Ä
Ä
Boag - bipes ond Boag - bipes ond Boag - bipes, Harbs ond Da - bors, ond
I22 ˇ ˇ` ˇ` ˇ` ˇ`
› ˇ( ˇ ˇ( ˇ` ˇ`
Boag - bipes and Boag - bipes and Harbs and Da - bors,
˘ = ˇ`
‹ 40 2 ˇ ˇ ˇ 6ˇ R ˘ ˇ ˇ ˇ ˇ 6ˇ ˇ ˇ 6ˇ ˇ ˇ ˇ
G2 ˇ - Ã
Ã
Ä Ä
Boag - bipes, Harbes ond Da - bors to leead vs on to eand ower loaues to
2 ˇ ˇ ˇ R ˘ ˇ
G2 ˇ - -
ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ
8 Boag - bipes, Harbs ond Da - bors to leead vs on to eand ower loaues, to
2 ˇ ˇ ˇ 6 ˇ =
G2 Ď Ď ˇ( R ˘ ˘ <` ˇ
8
Boag - bipes, Harbs ond Da - bors to
I2 R ˘ ˇ ˇ 6ˇ ˇ
› 2 `ˇ
ˇ` ˇ ˇ ˇ ˇ
ˇ ˇ
Harbs and Da - bors, to leead vs one to eand ower loaues to

‹ 44 2 ` ˇ ˇ^ ˘ ˘ 6˘ ˘ ˘
G2 ˇ ˇ( ˇ ˇ ˇ ˘ ˇ
Ã
à ˇ
eand ower loaues great la - - bors, to eand ower loaues, great la - bors
2 ˇ ˇ ˇ ˘ ˘
G2 ˇ ˇ ˇ ˘ ˘ ˘ ˘ ˘
8 eand ower loaues great la - - bors, to eand ower loaues, great la - bors
2 6ˇ ˇ ˇ 6ˇ
G2 ˇ
ˇ ˇ ˇ ˇ ˘ ˘
Ã
à ˘ ˘ ˘ ˘
8
leead vs on to eand ower loaues, to eand ower loaues great la - bors.
I22 ˇ ˇ ˇ ˇ ˇ ˘ ˘
› ˘ ˇ ˘ ˘ ˘ ˘
eand ower loaues, great la - - bors to eand ower loaues great la - bors.

52
 Of Enamouring
Their Wedlocke
Iohn Bennet
A Briefe Discourse, 1614, no. 20
‹ ˇ ˘ ˇ ˇ
DREBLE. G2 ‘ ‚ % G2R < >
ˇ ˘ ˇ ˘ ˇ ˇ ˘` ˇ
A Bor - gens a bor - gens, che hard long a - goe bee

MEDVZ.
% G2R < ˇ ˘ ˘ ˇ ˘ 6ˇ ˇ ˘`
K2 ‘ ‚ > ˇ` ˇ( ˇ ˇ
A Bor - gens a Bor - gen cha hord long a - goe bee

DENOR. K2 ‘ ‚ % G2R > ˇ ˘ ˇ ˇ ˘ ˇ ˘ ˇ ˇ ˘` ˇ

A Bor - gens a
ˇ
bor - gen, cha hord long a - goe, bee
K2 ‘ & G2R ¯ ˇ
BAZIS. › ˘ ˇ` ˇ( ˘ ˇ ˇ ˘ ˇ ˇ
8
˘`
A Bor - gens a Bor - gen, cha hord long a - goe, bee
‹ 6
ˇ` ˇ ˇ ˇ ˇ 2ˇ ˇ ˇ ˇ
verse ˘ ˇ
G2 -
˘
ÈÈ
˘ ˘ ˘` ˇ ˇ ˘ ˇ ˘
mer - ry merry merry mer - ry ond a vig vor woe,
ĹĹ =
G2 ˇ` ˇ( ˇ ˇ ˇ ˇ =
ˇ ˘ ˇ ˇ ˘` ˇ ¯ < ˘
8 mer - ry merry merry mer - ry ond a vig vor woe Zing

G2 ˇ` ˇ ˇ ˇ ˇ ˝ ˇ ˇ ˇ ˇ
ˇ( ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˘ ˘ ˘ > ˇ
mer - ry merry merry mer - ry ond a vig vor woe
ÈÈ ˘ ˇ
2 ˇ` ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ` ˇ ˘ ˘
›G 8
- - ˘` ˇ ˇ ˇ ˇ
mer - ry merry merry mer - ry ond a vig vor woe,
‹ 12`ˇ ˇ ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˘ ˘` ˇ ˇ ˇ 6ˇ ˇ Ĺš ˘ ˘ ¨ ˘ ˘
G 2 6˘ ˇ` ˘ ˘ 6
- 8

ˇ ˘ ˚ ˘
G2 6 ˘ ˘ ˘ : ˘ ˘ 6˘ ˘
> ˇ
ˇ ˇ ˇ ˇ ˘
< <
˘ : ˘ ˘
6
8
8 gleare zing zweet and zure, ower Zong zhall bee but zhort Mu - zicke

G2 ˇ ˇ ˘ = ˇ ˇ ˘ `ˇ ˇ(˘ < ˇ ˇ ˘ ¯ `˘ ˇ ˘ ˘ ˘ ˘ ¯ 6
8

G 2 `ˇ ˇ `ˇ ˇ( ¯ ˇ
ˇ ˇ ˘ ¯ ¯ ¯ ¯ 6
8
› - ˘ ˇ ¯
8

‹ 21
G2 68 ˇ
`ˇ =
ˇ( ˇ
˘
ˇ( R <
˘ = ˇ`
˘ ˇ ˇ ˇ ˇ ˇ `˘ ˇ `ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˘
-
O tis salient zport, then let this burden zweet - ly zung be
˘
G2 68 ˇ R >
ˇ( ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˘` ˇ `ˇ ˇ ˇ ˇ ˘` ˇ ˘
8
ˇ (
foice, ond daunzing
-
G2 68 ˇ R > ˇ ˇ ˇ ˇ `˘ ˇ ˇ` ˇ( ˇ ˇ ˘` ˇ ˘ ˘
ˇ( ˇ ˇ( ˘ ˇ
2 68 ˇ R ˘` ˇ ˇ ˇ `ˇ ˇ ˇ ˇ ˘
›G ˇ ( ˇ` ˇ ˇ ˘` ˇ - ˘` ˇ ˘
8

53
 Of Enamouring

‹ 28 ˘ ˇ` ˇ
G2 ˘ ˇ ˘ ˇ` ˇ ˘ ˇ ˇ ˘ ˇ ˇ ˘
ˇ
> - > -
ztill, A Bor - gens a Bor - gen bee’t good be it ill, A Bor - gens a
˘ ˘ ˇ` ˇ ˇ ˇ ˇ ˘ ˇ ˘
G2 ˘` ˇ - ˇ
ĆĆ ˇ ˇ ˘ ˇ ˇ
8 A Bor - gens a

G2 ˘ > ˇ ˘ ˇ ˇ ˇ` ˇ( ˇ ˇ
ˇ ˇ ˘ ˘` ˇ ˘ ˇ ˇ
A Bor - gens a
2 ˘` ˇ ˘ ˘ ˇ ĆĆ ˇ
›G
8
ˇ ˇ ˇ ˇ
˘ ˘ ˘ > ˇ ˘ ˇ
A Bor - gens a

‹ 34 ˘ ˘ ˇ ˇ 2ˇ `ˇ ˇ ˇ ˇ
ÂÂ
G2 ˇ ˇ ˘ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘ ˘
> -
Bor - gen, vor weale or vor woe. So e - uer led dis blea - - sing Bor - den

G2 ˘ ˇ ˇ ˘ 6ˇ ˇ ˘` ˇ `ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˇ ˘` ˇ
8 Bor - gen vor weale or vor woe, zo e -
-
uer led dis blea - - sing Bur - den
Z
G2 ˘ ˘ ˇ ˇ `˘ ˇ ˇ` ˇ( ˇ ˇ ˘` ˇ ˘ ˘
ˇ ˇ
Bor - gen, vor weale or vor woe. So e - uer led dis blea - - sing Bor - den
2 ˘ ˇ `ˇ ˇ ˇ ˇ ˘
›G
8
ˇ ˇ ˘ ˇ ˇ `˘ - ˘` ˇ ˘
Bor - gen vor weale or vor woe, so e - uer led dis blea - - sing Bur - don

‹ 40 ˇ ˇ ˇ ˇ ˇ ˇ P
G2 ˘ ˇ ˇ` ˇ ˇ ˇ ˘ ˘ ˘` ˇ
> -
goe, So e - uer led dis blea - - sing blea - sing Bur - - den goe.
ˇ` ĆĆ
G2 ˘` ˇ ˇ ˇ ˇ ˇ ˇ` ˇ( ˇ ˇ ˇ` ˇ( ˇ ˇ ˇ ˇ ˇ
- ˇ
8 goe, so e - uer led dis blea - sing led this blea - - - sing bur -don goe.

G2 ˘` ˇ ˇ` ˇ( ˇ ˇ ˇ` ˇ( ˇ ˇ ˇ` ˇ( ˇ ˇ ˇ ˇ ˇ ˇ
goe, so e - uer let so e - uer let so e - uer let dis bleasing bur -don goe.
2 ˇ` ˇ( ˇ ˇ ˇ ĆĆ ˘ ˘ ˘
› G `˘ ˇ ˇ ˇ ˇ ˇ ˘
8
goe, so e - uer led, so e - uer led dis blea - sing bor - don goe.

54
Critical notes:

A Hunting Song
Bar No. Part Note No. Comment
42 Treble 2 b in orig .
48 Basis 3 Note missing in orig .
50 Basis 3 Note missing in orig .

A Hawkes-vp, for a Hunts vp

Bar No. Part Note No. Comment
8 Treble 1 Semiminima (crotchet) g not in the source
29 Treble 1 Longa in the source
29 Tenor 1 Longa in the source
29 Basis 1 Longa in the source

Note values have been halved in the second section.

There are quite a few rather freely treated dissonances in A Hawkes-vp, for a Hunts vp justified - I think - by the
imitations of hunting horns, see for instance bar 11 and 12.

For the Partridge

Bar No. Part Note No. Comment
15 Basis 2 Dotted semiminim (crotchet) g not in orig.
39 Tenor 2 d in orig.
69 Medius 2–3 Fusae (quavers) in orig.

For the Hearne & Duck

Bar No. Part Note No. Comment
2 Treble 5 d in orig.
3 Tenor 2–3 fusae in orig.
4 Basis 1–2 fusae in orig.

Fayries Daunce
Bar No. Part Note No. Comment
19 Basis 3 F sharp in orig

Satyres Daunce
Bar No. Part Note No. Comment
12 Basis 3 Fermata lacks in orig.
24 Basis 1–2 D in orig.

55
Vrchins Daunce
Bar No. Part Note No. Comment
18 Treble 1–2 Fermata on pause before note in orig.
18 Tenor 1–2 Fermata between pause and note in orig.

Elues Daunce

Note values have been halved.

Of Ale
Bar No. Part Note No. Comment
19 Medius 3 Point for semibrevis is missing in orig.

Note values in verse have been halved.

Of Ale and Tobacco

Bar No. Part Note No. Comment
5 Treble 3 Semiminim (crotchet) rest after note in orig.

The first two staves of the original print have erroneous alto clefs. The remaining staves have correct tenor clefs.

Note values have been halved in the triple meter sections.

Three fooles
Bar No. Part Note No. Comment
24 Treble 3 b in orig.
27 Tenor 2 c in orig.

The Seruant of his Mistris

Bar No. Part Note No. Comment
7 Tenor 3 Note missing in orig., director points at b, superfluous dotted fusa f follows.
17 Treble 1–5 Double note values in orig.
17 Medivs 3–4 Double note values in orig.
17 Tenor 1–3 Double note values in orig.
17 Bsis 1–2 Double note values in orig.

In the original print there is a conflict between the ending of the medius part and that of the other parts. While the
fourth- and third last notes of the medius part are notated as a dotted semiminima followed by a fusa the note values of
the corresponding notes in the other parts are the double of that. This is unquestionably an error, but the correction of it
is not obvious. One solution - the one I have chosen - is to base the transcription on the relatively strong metric structure
of the song and let the note values of the last phrase in the medius part, the leading part in this song, be analogous to
those of the preceding phrase. This solution requires a halving of the note values of the ending notes of the other parts
and also a halving of the last two notes of the medius part.

56
Another possible, but in my opinion musically inferior, solution is to keep the original values of the treble, tenor and
basis parts and then double the note values of the fourth- and third last notes of the medius part.

The Mistris of her Seruant

Bar No. Part Note No. Comment
11 Tenor 1 dot missing in orig.
13 Tenor 1 note missing in orig.

Their Mariage Zolemnized

Bar No. Part Note No. Comment
17 Dreble 1 Point for semiminima note lacks in orig.
28 Dreble 1 Point for semibreve note lacks in orig.
28 Denor 1 F in orig.

Note values halved in second section.

Hodge Trillindle to his Zweet hort Malkyn

Bar No. Part Note No. Comment
4 Denor 2 Semiminim (crotchet) rest after note lacks in orig.
9 Dreble 2 Semiminim (crotchet) c in orig.
17 Bazis 1–2 Notes lacking in orig.
19 Meduz 3 Note lacking in orig.
23 Denor 6 Semiminim (crotchet) in orig.

Malkinz anzwer to Hodge Trillindle

Bar No. Part Note No. Comment
8 Meduz 2–3 Parallel fifth with Denor note 2–3 (sic !)

Their Wedlocke
Bar No. Part Note No. Comment
1 Dreble 1 Semibrevis rest lacks in orig.
2 Dreble 1 Minima rest lacks in orig.

Their Goncluzion
Bar No. Part Note No. Comment
45 Bazis 1 Brevis in orig.

57