meri oa are alae se e The Original aa eae wT eB COLC Ter OCLC a nr Pac aw CLC iaied Beet for and GuitarLute Songs of John Dowland The Original First and Second Books Including Dowland’s Original Lute Tablature CBOse~M©) Transcribed for Voice and Guitar by David Nadal DOVER PUBLICATIONS, INC. Mineola, New YorkACKNOWLEDGMENTS 1 in deeply indebted to many people for making this book possible Tae senate who ave alays given me unfailing support; omy gran. 1 adel fay: 0 my friends and profesional associates BAC, sae Namie Erasca, Seymour Bernstein, Ronald Herder, Ken Price, Davad Rear ohm Mangan, Renjamin Verdery, Guy Capuzzo, Tom Elliott, Fran ae sahelosGuluses ara Jaap Schroeder; to Paul O'Dette, whom [know on Fee ne magnificent recordings; nd to the Volunteer Lawyers forthe Art 1d ASCAR ; aaa ae stakes, omisions or misinterpretations inthis edition are entirely my comm responsiblity. Copyright Copyright © 1997 by David Nadal and Kithara Editions. Allrights reserved under Pan American and Intemational Copyright Conventions. Published in Canada by General Publishing Company, Ltd., 30 Lesmill Road, Don Mills, Toronto, Ontario. Published in the Unieed Kingdom by Constable and Company, Ltd., 3 The Lanchester, 162-164 Fulham Palace Road, London W6 9ER. Bibliographical Note ‘Lute Songs of John Dowland: The Original First and Second Books / Transcribed for Voice and Guitar 's a new work, first published by Dover Publications, Inc, in 1997. The publisher is indebted to David Nadal and Kithara Editions, Elmhurst, New York, for making this edition possible. . ‘The illustrations on pages 3 and 53 are facsimiles of the ‘original title pages of The First and Sec~ cond Books of Dowland’s lute songs, based, respectively, on copies belonging ro the British Library, Landon, and the Folger Shakespeare Library, Washington, D.C. International Standard Book Number: 0-486-29935-X Manufactured in the United States of America Dover Publications, Inc., 31 East 2nd Street, Mineola, N.Y, 11501Introduction CONTENTS il About the Transcriptions ix Tue First Book oF SoNGs ie IL ML NV. v. VL VIL VIL. IX. x. XL. XIL XiIL XIV. XIVa. xv, XVI. |. Come again |. His golden locks . Awake, sweet love, thou art retumn'd . Come, heavy Sleep . Away with these self-loving lads ‘Unquiet thoughts Who ever thinks or hopes of love My thoughts are wing’d with hopes If my complaints could passions move Can she excuse my wrongs? Now, O now, I needs must part Dear, if you change Burst forth, my tears Go crystal tears Think’st thou then by thy feigning Come away, come sweet love Rest awhile you cruel cares Sleep, wayward thoughts All ye, whom Love or Fortune All ye, whom Love or Fortune Wilt thou, unkind, thus reave me ‘Would my conceit My Lord Chamberlain his Galliard (For two to play . ..) ‘THe SECOND Book oF SONGS L IL ML. Vv. Vv Vi. Vil. VII. “xe XL. XxIL. XIL xv, XV. XVIL XvuL. XIX. . Toss not my soul XXL. XXla. XXIL I saw my Lady weep Flow my tears Sorrow, stay Die not before thy day Mourn, day is with darkness fled Time's eldest son, Old Age (The first part) Then sit thee down (The second part) ‘When others sing Venite (The third part) . Praise blindness eyes .. O sweet woods If floods of tears Fine knacks for ladies ‘Now cease my wand’ring eyes Come ye heavy states of night ‘White as lilies was her face Woeful heart A shepherd in a shade Faction that ever dwells Shall I sue Clear or cloudy Clear ot cloudy Humour say what mak’st thou here (a Dialogue) Dowland’s adieu for Master Oliver Cromwell Song: VI, Vil and VIII of The Second Book are ated at though compose sequence. They foe sng whale 102 106 108 10 uzBut singing tothe lute withthe dite (methinke) is more pleasant than the rest, for it addeth wo the wordes such a grace and strength tha it isa great wonder. Baldassare Castiglione, 1528 (Tearlaed by Sir Thomas Hoby, 1561) INTRODUCTION John Dowland (1563-1626) was one of the greatest musicians of the Elizabethan and Jacobean eras, and his lute songs are among the most highly developed vocal works in the Western tradition. Having spent his late adolescence in France, the influence of the air de cour—most likely those of guitarist Adrian Le Roy—seems most natural as a model for Dowland’s airs. But his genius lay in his distinctive blend of continental styles, an overriding element of English lyricism and the directness of the profound melancholy that dominates his work—a trait very much in accord with aspects of the Elizabethan spirit Dowland published eighty-eight lute songs. Eighty-five appeared in four volumes, the remaining three in his son's anthology of 1610, called A Musical Banquet. The immensely popular First Booke of Songes or Ayres, published in 1597—the first English publication for voice and lute—was reprinted five times during the composer’ lifetime, in 1600, 1603, 1606, 1608 and 1613. No other composer of lute songs was so complimented, nor was any other book of this type reprinted even once. The full title of this collection reflects Dowland’s awareness of the contemporary fondness for singing in a madrigal fashion: “The First Booke of Songes or Ayres of fuse partes with Taber forthe Lut So made that el the pares together, o either ofthe severally ‘may be sung tothe Lae, Orpheran or Vil da gambo. Although it seems that the solo-song version was the ayre’s primary form, most of Dowland’s lute songs were published with alternate versions for a four-part vocal ensemble, suitable as well for consort performance. In all cases the lute tablature was printed below the cantus while the three lower voice parts were printed so that a group sitting around the book could read each partline with ease. All songs in The First Book included four-part versions and were strophic in form. In The Second Book, the first eight songs were published with cantus, bassus and lute tablature only; through-composed (non-strophic) songs appeared for the first time; and the maturation of the lute part as a musically equal partner began the transformaton of the ayre from accompanied vocal piece to art song. Dowland pub- lished this new collection in 1600, under the title: The Second Booke of Songs o Ayres, of 2.4. and 5. pans With Tablewe forthe Lue or Orpherian, with the Vil de Gamba This publication was followed by The Third and Last Booke of Songs or Aires. Newly composed to sing to the Lute, Opharion, or viols (1603); and A Pilgrimes Solace. Wherein is contained Musicall Harmonie of 3.4. and 5. parts, to be sung and plaid with the Lute and Viols (1612) The present Dover edition contains the complete First and Second Books in their solo-song ver- sion, including Dowland’s original lute tablature together with its transcription in modern notation for guitar. All editorial work on The First Book has been based on the reprint of 1613, the only known source for the composer's last documented thoughts. The 1613 edition as well as that of 1606 contain substan: tial amendments of the three earlier versions, changes believed to have been made by Dowland himself. There is no extant copy of the 1608 edition, David Nadal New York Ciey, 1996 vii‘As in a hive of bes all labour alike olay up honey, opposing themselves against rome bus fruless drones; son the house ofleaming and fame al good endeav- ‘urers should strive to add somewhat that i good, not malcing one another, but all together banding against the idle and malcios ignorant. John Dowland, 1603 ABOUT THE TRANSCRIPTIONS ‘The spiritual and aesthetic connection between the lute and the guitar has long been established. The idea, however, that our modern guitar repertoire consumes the repertoire of the lute is far from true. The advent of the early-music movement has demonstrated a widespread following of lute enthusiasts and scholars unto itself—but the guitar literature has, in turn and at the same time, been happily aug- mented through this early-music revival This edition of Dowland’s lute songs is presented with those thoughts in mind—a collection of small, early-music masterpieces together with their original texts, prepared with the care due them, designed as a practical performance book for the modern guitarist and singer. The availability of this deeply felt music is in itself reason to experience fully the gift it offers all musicians and audiences, encouraging us to know better this body of work through performance of all types and experimentation. Performance particulars are as follows: * Except for songs Nos. Il and X in The First Book, Dowland’s original note values have been halved. * Key signatures have been modernized where it was appropriate to do so. + Barring has been regularized between voice and guitar, but the tablature is reproduced (with errors corrected) exactly as it appeared in our source materials. * All texts are anonymous in the original publications. Readers interested in related research may want to consult the works of Dowland scholars Edmund H. Fellowes (The Songs of John Dowland), Edward Doughtie (Lyrics from English Airs 1596-1622), and Diana Poulton (John Dowland), among others. "Text spellings have been modernized for easier reading, but oddities (and some inconsistencies) of punctuation follow the style of the original publications. TUNING AND TRANSPOSITION “Three basic issues confront the guitarist playing the lute-song repertoire: «For the music to lie idiomatically on the instrument, it is often necessary to lower the 3rd string by one half-step, from G down to F-sharp. The resultant pitch spacing of the open strings—fourths with 2 third in the middle—reproduces that of the lute. Although this tuning may be slightly unfamiliar to the guitarist, it should prove, with practice, to be well worth any efforts involved in performance. The performer is of course free to choose standard guitar tuning, editing the printed guitar noration as nec- essary, Some songs may require little or no adjustment, % Dowland often wrote for a lute of more than six courses. When such is the case in these compo- sitions, minor adjustments have been made to compensate for the lower end of the lute’s gamut. The transcriber has different ways of dealing with this issue (see “Types of Transcriptions,” below). The majority of songs in this volume are in a transposing score: for voice and guitar to sound in. the same Key, the guitarist must use a capo on the 3rd fret. Thoughtful use of the capo will aso free performers to shift tonalities to better suit the singer's ideal range. (While there was no absolute Etandard of pitch in Dowland’s day, many expert performers of that general repertoire tune a! to 415 Hz.) ixTYPES OF TRANSCRIPTIONS IN THIS EDITION ©The Sidiomatic® transcription The lute tablature is transcribed to guitar notation with the 3rd string lowered by one balstep P. The majority of transcriptions in this edition are of this type © The “at pitch” transenption We one cuece mat open when the lute’s gamut extends below guitar range and the y architecture would be jeopardized in an “idiomatic” transcription, Here, the actual lute pitch Wht s in G runing) i transcted. When this i the case, one ne longer has the same pitch relationships tote open sirings, «9 the 4rd string need not be lowered This edition includes two instances where performers may choose between an “idig “at piech” transcription of the same song: Nos, XIV and X1Va in The First Book, and Noe in The Sevond Book howe sa mater of personal judgment and practical convenience in a particular perfoming sry ation. hor example, if one is playing with a cellist or a gambist (or perhaps a bass or ) the we tars may not want t bret performing a bas line that would be doubled; if selected veto vs w im a particular tuning, one may not want to disrupt the flow of a concert with a retuning her preces * The “hybrid” transcription In a few cases, tuning the 3rd string to F-sharp and the 6th string to D is the perfect solution problematic piece. This wonderfully resonant tuning is on display in No. XIX of The First Book, pmatic™ and an XX and XXL, toa Guanes, edacator and researcher, David Nadal studied at Yale University and the Manhattan School of Music, and is curenty -n he Ame 2% Fac at the Boys Choi of Harlem, Inc. Dedicated to expanding the guitar repertoire, he has commissioned and premuere! nev nets ot (R05 Pestrmang these 25 well as his own extensive transcriptions of early music. As a soloist, chamber musician and lectures be has ppetes inde’ the auspices of the Metropolitan Opera Young Artist Program, the Spanish Institute and the Yale Smithsonian Forum on Materal ture Me Nadal founderdinector of Kthara Editions, a publishing company specialising n the guitar lteratureLute Songs of John DowlandThe First Book Originally published in 1597 ‘Transcriptions based on Dowland’s revised edition of 1613 CescZ@DA THE FIRST BOOKE O foure parts,with Table- turefor the Lute. SOMADE,THAT ALL THE} | lof parts together oreither of them feuerally may belungiothe Lute, 1 ie gumbo. Compoled by lonnDowLa no, of Latent ad Bacher of nck ‘nbaththe Varies Anker forcnatoplay eg ont Late, Newly correftedandamended. imprinced at Loudon by dueling on Bredtrec il iheligne theI. Unquiet thoughts Guitar Quwtt Capo TI ‘And wrap your wrongs p 4 that makes my. mouth a mint, ‘And stamps my thoughts to coin them words by a fr ? A AAA A RAD A s NSthe str ’ Unquiet thoughts, your civil slaughter stint, ing that makes the ham ~ mer strike ‘A But what can stay my thoughts they may not start "And wrap your wrongs within a pensive hear ‘Or put my tongue in durance for to die? ‘And you my tongve that makes my mouth a mint, ‘When as these eyes the keys of mouth and heart, "And stamps my thoughts 1 coin them words by at, (Open the lock where all my love doth lie, Be sil: for if you ever do the like, Pileut the string that makes the hammer strike. 11 seal them up within their lids forever: So thoughts, and words, and looks shall die together. 3 How shall then gaze on my mistress’ eyes? ‘My thoughts must have some vent: else ent will break, My tongue would rust usin my mouth it Lies, eyes and thoughts were fre, and that not speak Speak then, and tel the passions of desir: ‘Which turns mine eyes to floods, my thoughts to fre.iy II. Who ever thinks or hopes of love Goitr Qwkt = Capo > da, AAA, ALAA Cu-pid’s laws doth glo-ry: Who joys in vows, or Vows not tore - move Er ert PP 2 pARA | A AY Who by __ this light- god hath notdark clouds of | an ! 2 Who ever thinks or hopes of love for love ‘Who thinks that sorrows fel, desires hidden, ‘Or who belov'd in Cupid's laws doth glory: ‘Or hamble faith in constant honour arm’, \Who joys in vows, or vows not Lo remove: ‘Can keep love from the fruit that is forbidden, ‘Who by thi lght-god hath not been made sory ‘Who thinks that change is by enteaty charm, Let him see me eclipsed from my sun, Looking on me let him know, love's delights With dark clouds of an earth quite over-run, ‘Ate toasures hid in caves, but kept by sprites| Il. My thoughts are wing’d with hopes Sir John Souch's Galliard Voi - =P ie My thoughts are wing'd with hopes, my hopes with Jove ort —— ———— een 7 ZF » A, od we Mount Love un - to the Moon in clear-est night ad r oF ae Kors. , dhs ph bay the heavens move, Im earth so wanes and wax — eth my delight 4And whis - per this Hope oft doth hang, the 1 My thoughts are wing'd with hopes, my hopes wit love, ‘Mount Love unto the Moon in clearest night, ‘And say, a8 she doth in the heavens move, ‘Inearth so wanes and waxeth my delight ‘And whisper this but softy in her eas, Hope oft doth hang the head, and Trust shed tears 2 3 ‘And you my thoughts that some mistrust do carry, If she, fortis, with clouds do mask her eyes, If for mistrust my mistress do you blame, [And make the heavens dark with her disdain, Say though you alter yet you do not vary, ‘With windy sighs, disperse them inthe skies, ‘As she doth change, and yet remain the same: ‘Or with thy tears dissolve them into rain; Distrust doth enter heats, but not inf, ‘Thoughis, hopes and love retum to me no more ‘And love is sweetest season’d with suspect ‘Till Cynthia shine as she hath done beforeIV. If my complaints could passions move Captain Digorie Piper's Galliard Voice f == SS ; reps wherein 1 suf fer wrong: © Love, 1 live od had gov em'd me too long. Thy wounds do fish = ly ER F 7 AD by nt 4 Thy grief in deep sighs My heart for oon sal rer bah btYet thou Thou say'st {hou mak’st thou let'st ert 1 Ifmy complains could passions move, (Or make Love see wherein I suffer wrong: My passions were enough to prove, “That my despairs had govern’d me too long, (© Love, | live and die in thee, ‘Thy grief in my deep sighs sill speaks: ‘Thy wounds do feshly bleed in me, ‘My heart for thy unkindness breaks: ‘Yet thou dost hope when I despair, "And when I hope, thou mak’st me hope in vain “Thou say'st thou canst my harms repair, ‘Yet for redress, thou let's me sil complain. u 2 Can Love be rich, and yet I want? Is Love my judge, and yetam I condema’d? ‘Thou plenty hast, yet me dost scant: Thou made a God, and yet thy power condemn ‘That Ido live, iis thy power: ‘That I desire itis thy wor: If Love doth make men’s lives too sour, Let me not love, nor live henceforth. Die shall my hopes, but not my faith, ‘That you that of my fall may hearers be May hear Despair, which truly saith, {Twas more true wo Lave than Love to me.| 2 V. Can she excuse my wrongs? The Right Honourable Robert Earl of Essex, His Galliard icke x my wrongs with Vir — we clear which van’ = ish in |e cae ce) Guitar atpich Late Shall 1 ‘call her good when she proves un - No, no: where sha-dows do for Must I praise the leaves where no fruit I Cold love is like to words writ. Ay A NR tor pF s b ) NS yhp Thou may'stbe a - bus'd if, thy sight’ be dim Or to bub-- bles which on the wa = ter Swim.13 Wilt thou be thus ~ bu ~ sed still, ‘See ing that she will right thee ne - ver? sh ) BB ‘will, Thy love will be thus frut-less ev if fr \ AR VAR NA 1 2 Can she excuse my wrongs with Virwe’s cloak? ‘Was so base, that I might not aspire ‘Shall I call her good when she proves unkind? Unto those high joys which she holds from me? ‘Are those clear fires which vanish into smoke? ‘As they are high, so high is my desire ‘Must | praise the leaves where no fruit find? If she this deny, what can granted be? No, no: where shadows do for hodies stand, she wil yield, vo that which Reason is, “Thou may'st be abus'd if hy sight be dim, Its Reason’s will that Love shouldbe just Cold love is ike to words writen on sand, Dear, make me happy still by granting this, (Or to bubbles which on the water swim. (Or cutoff delays if hat I die must ‘Wilt thou be thus abused stil, Better a thousand times to die, Seeing that she will igh thee never? “Than for to live ths still tormented: thou can'st not o'ercome her will Dear, but remember it was 1 ‘Thy love will be thus fruitless ever. ‘Who for thy sake did die contented + The melody inthe accompaniment is from the popular Elizabethan song "Willy go walk in the woods s wild?”oo 14 VI. Now, O now, I needs must part The Frog Galliard ow 9 now, Teele must pu Pan = ing tg Mie Pe 1 eeds unt el tine it Mo ‘ rrr ? tr : HAD A bd ) once fled cannot re tum, Joy Lovedi - vi ~ ded lov - eth none. eltrrr ip HRA 1 Now, 0 now, I needs must part, ‘Parting though I absent mourn. ‘Absence can no joy impart: Joy once fled cannot retum. ive I needs must love, lives mot when Hope is gone Now at lat Despair doth prove, ‘Love divided loveth none. ‘Sad despair doth drive me hence, “This despair unkindness sends. that parting be offence, Itis he which then offends. 15 des-pairun-kind — ness sends r 1 ? yA b NAD R ob | she which then rte ae py dN DADE) Dear, when Lam from thee gone, ‘Gone ae all my joys at once ‘loved thee and thee alone, In whose ove I joyed once. ‘And although your sight I leave, Sight wherein my joys do Fe Till hat death do sense bereave, Never shall affection die, Sad despair doth drive me hence, “This despair unkindness sends 2 ‘that parting be offence, Dea, if donot return, Tis she which then offends Love and I shall die together. For my absence never mourn, ‘Whom you might have joyed ever. Part we must though now I die, Die I do to par with you Him Despair de Sad despair ; “This despair unkindness sends, that parting be offence, Wisshe which then offends,VII. Dear, if you change Guitar QwoFt Capo I17 Wise, change, shrink nor be not weak my faith shall 1 Dear, i you change, I'l never ehoose again, ‘Sweet, if you shrink, I'l never think of love Fair, if you fil, 1 judge all beauty vain Wise, if to weak, more wits I'l never prove. Dear, Sweet, Fair, Wise, change, shrink, nor be not weak ‘And, on my faith, my faith shall never break. 2 Earth with her flow’rs shall sooner heaven adorn, Heeav'n her bright stars through earth's dim globe shall move, neat shall ose, and frosts of lames be born, ir made to shine as black as hell shall prove Earth, Heaven, Fre Ai, the world transform’d shall view, Ere I prove false to futh, o strange to you, FiVIII. Burst forth, my tears Burst, burst forth my tears, as ~ sist my for ~ ward grief, QOwtt == = Capo tt rf Lb 4 = rious Love —_pro-vokes. ten - der lambs,7 Wise, change, shrink, nor he not weak LAS 9 4 my fut shall 1 Dear if you change, I'l never choose again. Sweet, ifyou shrink, I'l never think of love. Fair, if you fil, I'l judge al beauty vain, Wise, iftoo weak, more wits I'l never prove Dear, Sweet, Fait, Wise, change, shrink, nor be not weak: ‘And, om my faith, my faith shall never break. Earth with her flow'rs shall sooner heaven adorn, ‘eav'n her bright stars through earths dim globe shall move, Fire heat sll lose, and frosts of fumes be bora, 98 black a hell shal prover it the world transform’ shall view, oF strange fo you. Ere I prove falseVIII. Burst forth, my tears Burst burst forth my tears, — as = sist’ my for - ward grief, Ct e Jyh bt bt shbAH IA Lute Love —_pro-vokes. ten - der lambs, Love's scant aaasince pensive Care my free dom yokes. yA AKI ‘Burst forth my tears, assist my forward grief, ‘And show what pain imperious Love provokes Kind tender lambs, lament Love's scant reli ‘And pine, since pensive Care my freedom yokes, ‘Oppine to see me pine, my tender flocks 2 Sad pining Care, that never may have peace, ‘At Beauty's gate in hope of pity knocks, ‘And Beauty Hope inher fair bosom © grieve wo ear my yrief, my tender locks 4 Like to the winds my sighs have winged been, ‘Yet are my sighs and suis repaid with mocks: 1 plead, yet she repineth at my Wen. ruthless rigour harder than the rocks, That both the shepherd kills, and his poor flocks,IX. Go crystal tears orys-tal Capo | shop dN» A OD AND Lute So let your drops of pi - ty be ad dres'h —_—21 To quicken up the, thoughts of my de sleeps 100 sound whilst Go crystal tears, like to the morning show'rs, ‘And sweetly weep into thy lady's breast, ‘And as the dews revive the drooping flows, So let your drops of pty be addres, To quicken up the thoughts of my desert, ‘Which sleeps too sound whilst I from her depar. 2 Haste, restless sighs, and let your burning breath Dissolve the ie oF her indurate hear, Whose frozen rigour like forgetful Death, Feels never any touch of my deser: Yet sighs and tears to her I sucrifice, ‘Both from a spotless heart and patient eyeswith a proud a. bs) X. Think’st thou then by thy feigning Voie Tincs Woriten ty tty ign ~~ ing Sleep Gitar Qwtt Cape With thy craf - ty Pert aati |sight, When sleep yields more de-light, Such rarer 5 hh 8 A while sleep feigm - ed is, May not steal FT? fr yack 1 Think’st thow then by thy feigning Sleep with a proud disdaning. (Or with thy crafty closing Thy cruel eyes reposing. “To drive me from thy sight, When sleep yields more del ‘Such harmless beauty graci ‘And while sleep feigned is, May not 1 steal a kiss, “Thy quiet arms embracing. 3 ‘Should then my love a Forbidden joys desiring, So far exceed the duty That vine owes to beauty? [No Love seek not thy bis, ‘Beyond a simple kiss For such deceits are harmless, Yer kiss a thousand fold For kisses may be bold. ‘When lovely sleep is armless harm-tess beau 7 s 4 © that my sleep dissembled, Were to trance resembled. Thy cruel eyes deceiving. Of lively sense bereaving Then should my love requite ‘Thy love's unkind despite, ‘While fury triumph’ boldly In beauty’s sweet disgrace: ‘And liv'din sweet embrace (Of her that lov'd so coldlyXI. Come away, come sweet love es gto = SS = Siecle, Te pltanon = ot bal Al dea oan guide Po pais te es : ey = i = ze: Pept = ded) Teach thine arms ‘em - brace, And sweet . Ba aac nee i Bua gh pa View -ing. -F ad1 ‘Come away, come sweet love, The golden morning breaks All the earth, all the air, OF love and pleasure speaks. ‘Teach thine arms then to embrace, ‘And sweet rosy lips to kiss. ‘And mix our souls in mutual bliss. Eyes where made for Beauty's grace, ‘Viewing, rueing Love's long pains, Procur'd by Beauty’s nude disdain 2 Come away, come sweet love, The golden moming wastes. ‘While the Sun from his sphere, His fiery arrows casts, ‘Making all the shadows fly, Playing, staying in the groove, To entertain the stealth of love Thither sweet love let us hie, Flying, dying in desire, ‘Wing’d with sweet hopes and heav'nly fire, 3 ‘Come away, come sweet love, Do not in vain adorn. Beauty's grace, that should rise, like to the naked mom. Lilies on the river's side, ‘And fair Cyprian flow’rs new blown, Desire no beauties but their own, Omament is nurse of pride, Pleasure, measure Love's delight, Haste then sweet love our wished flight.26 XII. Rest awhile you cruel cares Vowe ff i= Hf pak = Reta while you em el cares, Be not more Guitar Ott : 4 Capo TL Beauty — kills ‘And sweet smiles sad sighs re ath30 Gotar Owe Capo Ut | XIII. Sleep, wayward thoughts SSS Sa Sleep. way-want thoughts, and rest you with my. i love: Let not my rr ih = py, yf ) Job, NM ih Be it rr _ al I Il]= il = i youher an - ger move, But pine you with my long = ings fe TR rrr yr) py Lr AND 1 ht yp NR Touch not, proud hands, lest long dis - —pleas'd31 —SSo=) her ake’ So sleeps my Thus, while she sleeps, 1 sor = row rf b FF VR» 6 roo hah i 2 Sleep, wayward thoughts, nid rest you with my lve: ‘Bt, the fry of ny testes fer? Le not my love be with my love ciseas'd “he hidden ssh of my Hes deste! “Foach no, proud bands, lst you her anger mows, Tut pine you with my longings long dspleas'd “Thus, while she sleeps. I sorow for he sake: Tus while he sles, mover sighing fr ber sk So sleeps my love and yet my love doth wake, Sorseeps ny lve, an yet my lve doth wake Between her bow, ud yot my love doth ret inl yot my love sere thy sake wake32 XIV. All ye, whom Love or Fortune Voive All ye,whom Love or For tune hath All yes that Guitar Qurt Capo II Lute dream of bliss but live in grief; All. ye, whose hopes = more de = lay'd: All ye, whose sighs, whose sighs, or sick - ess wants33 hap - less man, i Al ye, whom Love or Fortune hath betray Al ye, that dream of bliss but live in grief, All ye, whose hopes ate evermore delay"; Al ye, whose sighs or sickness wants reiet Lend ears and tears to me, most hapless man, ‘That sings my sorrows like the dying swan. Care that consumes the heart with inward pain Pain that presents sad care in outward view Both tyrant-like enforce me 19 complain; But sil n vai: for none my plaints will rue. Tear, sighs and ceaseless eries alone | spend: My woe wants comfort, and my sorrow end,34 XIVa. All ye, whom Love or Fortune voiee All gerwhom Love or For = tunetiah bs = tray uae Guitar | — axpitch @vwpd hb Ab AOA D Lute = = dream of bliss but live in grief; Al ye, whose hopes = er = more de = lay'd: h AA AAA All ye, whose sighs, whose sighs, or = sick = mess) wants re-lek rr \ j35 ‘That sings my sor 1 Ale, whom Love or Fortunes hath betray"é All ye, that dream of bliss but live in grief: Ail ye, whose hopes are evermore delay All ye, whose sighs or sickness wants relief, Lend cars and tears to me, most hapless man, ‘That sings my sorrows like the dying swan, Care that consumes the heart with inward pain, Pain that presents sad care in outward view, Both tyrant-like enforce me to complain; Bu sil in vain: for none my plaints will ae ‘Tears, sighs and ceaseless eres alone | spend: My woe wants comfort, and my sorrow end.XV. Wilt thou, unkind, thus reave me Fare - well: Fare-well, But yetor eer] part (0 ow cl) Kiss me, sweet, kiss me, sweet, sweet my jew-el Fare- jew -el ar i 5 ? nh tf ty € h cFY fF A 437 1 Wilt thou unkind thus eave me ‘Of my heart, of my heart, and s0 leave me? Farewell: Farewell, But yet ore'er I part (O cruel) Kiss me, sweet, sweet my jewel 2 Hope by disdain grows cheerless, Fear doth love, love doth fear, beauty peerless. Farewell: Farewell, But yet ore’er I part (0 eruel) Kiss me, sweet, sweet my jewel. 3 If no delays can move thee, Life shall die, death shall live still to love thee. Farewell: Farewell, But yet or e’er I part (O eruel) Kiss me, sweet, sweet my jewel. 4 Yet be thou mindful ever, Heat from fire, fire from heat none can sever. Farewell: Farewell, But yet or e’er I part (O cruel) Kiss me, sweet, sweet my jewel 5 ‘True love cannot be changed, ‘Though delight from desert be estranged. Farewell: Farewell, But yet ore'er I part (0 cruel) Kiss me, sweet, sweet my jewelXVI. Would my conceit Voce =e —s es con cet that first en - fore'd my woe, or che ine Gitar Ort Capo Itt ? fr | Lute = ‘eyes which still the same in erease, Might be ex-tinct, to end my sor ~ "rows Which now as no-thing_ can three honk Mn ee ee _‘And. eke whose hell Would my conceit, tat frst enfore'd my woe, ‘Or else mine eyes which stil the same increase, Might be extinct, to end my sorrows 50, Which now are such as nothing ean release: ‘Whose life is death, whose sweet each change of ‘And eke whose hell neweth ev'ry hour 39 cach change of re = new-eth ev Each hour amidst the deep hell Lr. Each hour I waste and wither while | sit But that sweet hour wherein I wish to die, My hope alas may not enjoy it yet, Whose hope is such, bereaved of the Biss, ‘Which unto all save me alloted is, a Tova save me free ta live ode, To all save me remaineth But all perforee I must abandon, Sith Fortune stl dieets my hap aston. ‘Wherefore to nether hap nor hope {as ‘ut to my thralls | yield, for so T must hope:XVII. Come again For pr ye bp AA Db NB) RN Ob NAD41 the night My sleeps are full of dreams. My eyes are full of streams. ‘My hear takes no delight. “To sce the Fruits and joys that some do find. ‘And mark the storms are me assign’ 1 Come again: ‘Sweet love doth now invite, “Thy graces that refrain, To do me due delight. ‘To see.to hear, to touch, 1 kiss, 0 die, With thee again in sweetest sympathy. 2 5 ut alas My faiths ever tue, Yer will she never ue. [Nor yield me any grace Her eyes offre, ber heart of flint is made ‘Whom fears, aor tuth may once invade, Come again ‘That I may cease to mourn, “Through thy unkind disdain For now lef and foriom 1 sit I sigh, weep. [faint Idi, In deadly pain and endless misery. S ° All the day Gentle ove ‘The sun that lends me shine, Draw forth thy wounding dat By frowns do cause me pine, “Thou canst nat piece her hear, ‘And feeds me with delay. For! that approve. Her smiles my springs, that makes my joys Brow. ‘By sighs and tears more hot than are thy shafts, Her frowns the Winters of my Woe: Did tempt while she for tiumph laughsa2 XVIII. His golden locks His gold-en locks Time hath to sil - ver Guitar Qurt Capo II ceasing! His youth “gsinst Time rT? FP NAb hath ev er spum'd, But spum’d in vain, youth wan - eth by r Tro P PP oe in - creas-ing43 i gh SC wesw bd 1 His golden Socks Time hath wo silver tum’d (0 Time too swift, O swiftness never ceasing! His youth “gainst Time and Aye hath ever spurn'd, ‘But ypurn'd in vain. youth waneth by increasing. Beauty, seni, youth ae flow'rs but fading seen: Duty, Faith, Love are roots and ever green 2 His helmet now shall make a hive for bees. ‘And lover's soaets turn o holy psalms ‘Aman-at-arms must now serve on his ces. ‘And feed on prayers which re Age's alms: But though from Court to cottage he depart His Saints sure of his unsported heart 4 ‘And when he saddest sits in homely cell, ‘He'll teach his swains this aro for «song, {leat be the hears that wish my Sovereign well, ‘Curst be the soul that think her any wrong, Goddess, allow this aged mao his righ, ‘To be your bedesman now that was your knightXIX. Awake, sweet love, thou art return’d Voice A. - wake, sweet Let” Tove.” which Guitar Owe @wo Capo ttt My heart, which Now live’ ‘for - ev On - ly her - Des - pair did self make hathfair: She die: That h 1 ‘Awake, sweet love, thou art return’ ‘My heart, which long in absence moumn'd, Lives now in perfect joy Let love, which never absent des. Now live forever in her eyes. ‘Whence eame my fist annoy Only herself hath seemed fi She only 1 could love, She only drave me to despair, ‘When she unkind did prove Despair did make me wish to die; ‘That | my joys might end: She only. which did make me fly. My state may now amend. 45 ec on-ly dave SHE ony. Which 2 If she esteem thee now aught worth ‘She will not grieve thy love henceforth, ‘Which so despair hath prov'd. Despair hath proved now in me. “That love will not unconstant be. “Though long in vain I lov'd. she at last reward thy love. ‘Aad all thy harms epaie, ‘Thy happiness will sweeter prove, Rais'd up from deep despa ‘And if that now thou welcome be, ‘When thou with her dost meet, ‘She allthis while but play with thee, ‘Tomake thy joys more sweetXX. Come, heavy Sleep the im-ageof true Death; Guitar Our Capo I mrt pr A AN oy AL ND eel. pF nhs Lue ‘And closeup _____ these my wea fy weep-ing eyes: Whose spring of tears doth stop my re OF OP OF rf Bhd. NAN bb BN MD A er tal breath, ‘And tears—my heart With Sor tows sigh - swoll'n cries: Ir b A}47 SSS = Come and perssess my tir = ed thoughts, worm ut That fv = ing dies, that iv in jh fae — es a4 = CFEFES P Nee 4 j yp Ab aA 4 Noon dies, that TV — ing dies, ‘Come, heavy Sleep the image of true Death; [And close up these my weary weeping eyes: ‘Whose spring of tears doth stop my vital breath, ‘And tears my hear with Sorrow’s sigh-swoll'n cries: ‘Come and possess my tired thoughts, wern soul, “That living dies, il thou on me be stole, ? Come, shadow of my end, and shape of rest, (0 Death, child to his black-fae'd Night Jur these rebels in my breast, ing fancies do my mind aright © come sweet Slep: come or de forever: ‘Come ere my last sleep comes, or come never.XXI. Away with these self-loving lads ora Ste ct php hs, fo, ‘A ~ way poor souls. that sigh-and weep, In love of them that lie and sleep, ; FF Tr Lt b \ phe PAAR DAD49 1 Away with these self-loving lads, ‘Whom Cupid’s arrow never glads. Away poor souls, that sigh and weep. In love of them that lie and sleep. For Cupid is a meadow God, ‘And forceth none to kiss the rod. 2 God Cupid’s shaft, like dest Doth either good or ill decree: Desert is born out of his bow, Reward upon his foot doth go. ‘What fools are they that have not known ‘That Love likes no laws but his own? 3 ‘My songs they be of Cythia’s praise, [wear her rings on holidays, On every tree I write her name, ‘And every day I read the same: ‘Where Honour, Cupid’s rival is, ‘There miracles are seen of his. 4 If Cythia crave her ring of me, Tlot her name out of the tree. If doubt do darken things held dear, ‘Then well fare nothing once a year: For many run, but one must wi Fools only hedge the cuckoo in. 5 ‘The worth that worthiness should move Is love, which is the bow of Love; ‘And love 2s well the for'ster can ‘As can the mighty nobleman: ‘Sweet saint, tis true you worthy be, ‘Yet without love naught worth to me.My Lord Chamberlain his Galliard (For tro to play upor one LuThe Second Book ‘Transcriptions based on the original edition of 1600 CBse~aSSECOND BOOKE of Songs or Ayres, of 2.4.and §.parts: With Tableture for the Lute or Orpherian, with the Violl de Gamba. Compoled by 10H/N DovyL.4 ND Batcheler of Mofick, and Lutenift to the King of Den- matk: Alto an excelent leffon forthe Lute and Bate Viol, called Dowlands sew.Voice Guitar at piteh I. Isaw my Lady weep To the most famous, Anthony Holborne In those fair eyes, im those fir rf rr erert or pope A bh‘eyes where all per-fee ‘woe (be-lieve me)as Wins more hearts.! I saw my Lady weep, ‘And sorrow proud to be advanced so: Tm those fair eyes where all perfections keep, Her face was full of woe, But such a woe (believe me) as wins more hearts, ‘Than Mirth can do with her enticing parts. 2 Sorrow was there made ‘And passion wise, tears a deli Silence beyond all speech a wisdom rare, ‘She made her sighs to sing, And all things with so sweet a sadness move, ‘As made my heart at once both grieve and love. 3 O fairer than aught else, ‘The world can show, leave off in time to grieve, Enough, enough, your joyful looks excels, Tears kills the heart believe. O strive not to be excellent in woe, Which only breeds your beauty’s overthrow.58 II. Flow my tears Lachrimae Voice = = = =] ed as from your s, x - id for ev-er et me mou Blown wrs-tghs she SRM IE RS ae dake nogh or te eit ahd _ pitch Own 7 t Lae night’s black bird her sad in - fa - my sings, There let_me live for in des - pair their last for-tunes de-plore, Light doth butshame dis, AA A A yA) Nev = er may my woes be te = tiev ~ ed, Since pity is fed. From the highest spire of — con = tent - ment, My focetne ig throne, r y tet ar AA NA(Of all joys have de— priv - ed. ‘Are myhopes since hope.is gone BF nk A RD La dwell, Leam fo con-temn light, yp AAA b aiS Mell Feel not the world's —___ = spite Flow my tears fll from your springs, Exil'd forever: let me mourn ‘Where night's black bird her sad infamy sings, “There let me live forlorn, 2 Down vain lights shine you no more, No nights are dark enough for those That in despair their last fortunes deplore, Light doth but shame disclose. 3 Never may my woes be relieved, Since pity is Med, ‘And tears, and sighs, and groans my weary days Ofall joys have deprived, 4 From the highest spire of contentment, My fortune is thrown, ‘And fear, and grief, and pain for my deserts ‘Are my hopes since hope is gone. 5 ‘Hark you shadows that in darkness dell, Lear to contema light, Happy, happy they that in Hell Feel not the world's despite,II. Sorrow, stay Tend true re - pen tant Guitar Qurt Capo Il = yh AS for - ment - ing fears+7 Mark me not to end ~ less 7 mark me not to end - 1eS_ pain, ‘A = las 1am consdemn'd,er, Nohope, —nohelp there doth ye main, But down, down, down, down_1 fall, but down, down, down, down — I fall, down and a rise, oe fF \ pooh65 =! fall, but down, down, down, down 1 fall, down and a - rise, down and a - rise tr F ‘ anh cer shall Pte: yh pd pd Sorrow, stay, lend true repentant tears, ‘Toa woeful wretched wight, Hence, Despair with thy tormenting fears: (0 do not my poor heart affight. Pity, help now or never, Mark me not to endless pain, ‘Alas Tam condemned ever, 'No hope, no help there doth remain, But down, down, down, down I fall, ‘And arise I never shal66 IV. Die not before thy day Guitar Oot Capo tit But lift thy low looks, but ift thy low Jooks from the hum - ble earth, J AF F 8 Kiss ptr F Soh bd a fet eat: ape om ~ Dak = ‘The hag hath no de - lightfle fie be wilhing, To pre - serve thy-self from kill-ing: ro meee oF ro’ errr pho h nQ RoR A LD A parkoe : from thy wrong, So she ends her will - ing. song, ro CEE Die not before thy day, poor man condemned, But lift thy low looks from the humble earth, Kiss not Despair and see sweet Hope condemned: ‘The hag hath no delight, but moan for mirth, fie poor fondling fie be willing, ‘To preserve thyself from killing: Hope thy keeper glad to free thee, Bids thee go and will not see thee. Hie thee quickly from thy wrong, So ends her willing song,70 V. Mourn, day is with darkness fled dad) day is) with dark ness fled, What heav'n. then gov - ems earth, Guitar Our 7 Capo ttt i * Line ded) Mourn, mourn, look now for no Neng, bat‘Then all must as they may In dark = But yet this change, — must — Proertrr pr 0 VAS yA — needs change our de-light, That thus the sun, that thosthe sun the sun should — Corer rr sh h_h_h ‘Mourn, mourn, day is with darkness Ned, with the night ‘What heav'n then governs earth, (© none, but hell in heaven's stead, ‘Chokes with his mists oue mirth "Mourn, mourn, look now for no more day 'Nor night, but tha fom hell, ‘Then all must as they may Indackness learn to del ‘But yet this change, must needs change our delight, That thus the sun should harbour with the aight.Voice Guitar Ourt ‘Capo ttt Lute VI. Time’s eldest son, Old Age Time's eld-est son, (The first part) ‘Agethe heir of Ease, Strength’s foe, Love's woe, rope OF bh obs De-vo - tion, Bids gallant youths in mar - tial prow-ess please,73 sighs, tears, vows, pray = ers,and sa 1 “Time's eldest son, Old Age te her of Ease Strengths foe, Love's woe, and foster to Devotion, Bids gallant youth in martial prowess please, ‘As for himself, he hath no earthly motion, But thinks, sighs, tears, vows, prayers, and sacrifices, ‘As good as shows, masks, jouss, o lt devises Editor's noe: This song and the following two are treated74 VIL. Then sit thee down (The second part Voice Thensit ar een, Tet yy nel Guitar Oo rt Capo mt "TEPER? Lute what now so fit is,75 that thy Saint would take in worth thy heart, repr ba ‘Then sit thee down, and say thy Nune Dims, With De profndis, Cred, and Te Deu, (Chant Miserere for what now so fits, 'As that, otis, Paranum est cor meu (0 that thy Saint would take in worth thy heart, "Thou canst not please her with a better par.76 Voice Gitar Owe Capo mt Lute VIII. When others sing Venite The hid pt cea a When others i muta riAnd teach those swains that ‘men when thon dost pray so roar r rs. .IX. Praise blindness eyes Voice ‘dumb vain tongue, words are Praise blind - ness eyes, for see - ing is de - ceit Guitar La Capo TIL NAA ~ ring winds, Break heart and bleed for there is nore ~ ceipt, To. purge in - constancy Trg rir py phd NBR LANARK BO wak’d a-maz'd and could not move, from most men's 1 Hl I 4A yh 1 Praise blindness eyes, for seeing is deceit, Be dumb vain tongue, words are bt flat'ring winds, Break heart and bled for ther is no receipt. ‘To purge inconstancy from mast men’s mi 2 ‘And if thine ears false heralds to thy heart, ‘Convey into thy head hopes to obtain, “Then tell thy hearing thou art deaf by art, ‘Now love is art that wonted tobe plain. 3 Now none is bald except they see his brains, ‘ASfection isnot known tll one be deed, Reward for love are labours fr his pains, Love's quiver made of gold his shafts of lead Lienvoy ‘And so I wak’d ama2'd and could not move, know my dream was tre, and yet I love,80 X. O sweet woods To Master Hugh Holland Voice (© sweet woods thede -tightor so - lita - rieness, Ow mucho loveyqu, Guitar 7 @wrt Capo tt 7 phan SsA DA Lute. r = From Fame'sde - sire, from Love's de-light, of A In these sad groves an her-mit's life 1 led, ‘And those false plea - p r op Geer AANA 5 Sh ARR vAWith sad re ~ mem - brance of my — fall, my fall, 1 dread, roo sash 8 §' JADA82 1 (© sweet woods the delight of solitariness, ‘© how much do I Tove your soitariness. From Fame’s desire, from Love's delight reir'd, In these sad groves an hermit's life Ted, ‘And those false pleasures which I once admir'd, With sad remembrance of my fall I dread, To birds, to trees, to earth, impart I this, For she less secre and as senseless is. © sweet woods the delight of solitariness, © how much do I love your solitariness. 2 Experience which repentance only brings, Doth bid me now my heart from love estrange, Love is disdain’d when it doth look at kings, ‘And love low-placed base and apt to change, ‘Their pow'r doth take from him his liberty, Her want of worth makes him in cradle di. (© sweet woods the delight of solitariness, ‘© how much do I love your solitariness. 3 ‘You men that give false worship unto love, ‘And seek that which you never shall obtain, ‘The endless work of Sisyphus you prove, ‘Whose end is this to know you strive in vain, Hope and Desire which now your idols be, You needs must lose and feel despair with me. ‘© sweet woods the delight of solitariness. © how much do I love your solitariness. 4 ‘You woods in you the fairest nymphs have walk'd, Nymphs at whose sight all hearts did yield to love, ‘You woods in whom dear lovers oft have talk’d, How do you now a place of mourning prove, ‘Wanstead my mistress saith this is the doom, ‘Thou art Love's childbed, nursery and tomb. O sweet woods the delight of solitariness, ‘© how much do I love your solitariness.84 XI. If floods of tears Voie _ - If floods of com could eleanse my fol-licspast, And smokes of sighs mich vine at pitch tora et pb AAD OL Lute a = = If groan.ing — cries might salve my fault at last, Or endless =F : ayaa bib) Soph OAR AL d.=d)‘weep, sigh, sins, fol - lies, 1 If floods of teers could cleanse my follies past, ‘And smokes of sighs might sacrifice for sin, If groaning cries might salve my fault at last (Or endless moan, for error pardon win, ‘Then would ry, weep, sigh, and ever moan, Mine errors, faults, sins, follies, past and gone, 2 1 see my hopes must wither in their bud, 1 see my favours are no lasing flows, { see that words will breed no better good, ‘Than loss of time and lightning but at hours, ‘Thus when I see, then thus I say therefore, That favour, hopes and words, can blind no more,XII. Fine knacks for ladies - dies, cheap choice brave Gwiter Ours Owo — Capo tt orf keop a fair but’ for the fair to view, cro yh oA. ob A87 wares be Yr erie mh) ' Fine knacks for ladies, cheap choice brave and new, ‘Good penayworths but money cannot move, keep a fair but forthe fai to view, ‘A beggar may be liberal of love, ‘Though all my wares be trash the heart is true. 2 Great gifts are guiles und look for gifts again, [My trifle come, as treasures from my mind, i precious jewel tobe pin Sometimes in shell th’Orient’s pearls we find, Of others take a sheaf, of me a grin, 3 Within this pack pins points laces and gloves, ‘And divers toys iting a country far, ‘But in my heart where duty serves and loves, ‘Turles and twins, Coun’s brood, a heav'nly pair, Happy the heart that thinks of no removesXIII. Now cease my wand’ring eyes Voice Now cease my wan-d'ring eyes, -—‘Strange beauties 10 ad-mire, Guitar Sf Qurt Ovo Capo It In change least com - fort lies, Long joys” yield. long de sire fone love, Makes our frail plea ~ sures e ~ ter Thal, and in sweet ~ ness prove,ae tun-to deep = row de olin in ‘ce still with sor A pA AA 4 1 [Now cease my wand'ring eyes, ‘Strange beauties to admire, Inchange least comfort lies, Long joys yield long desire. ‘One faith, one love, ‘Makes our frail pleasures eternal, and in swectness prove, [New hopes new joys, ‘Are sill with sorrow declining, unto deep annoys. 2 (One man hath bt one sou, Which art cannot divide, Ifa one soul must love, ‘Two loves must be denied (One soul, one love, and merit united cannot remove, Distracted sprites, ‘Are ever changing and hapless in their delights. 3 Nature to eyes hath giv'n, All beauty to impart, ‘As well earth as heav'a, ‘But she hath giv’n one heart ‘That though we see, “Ten thousand beauties yet in us one should be, ‘One steadfast love, ‘Because our hears stand fix'd although our eyes doth move, annoys. hl 89XIV. Come ye heavy states of night Voice hea - vy slates of night, Guitar Qt Capo tt Capo it it ight, Sound ings bale hh91 that sings, 1 ‘Come ye heavy states of night, Do my father's spirit right, Soundings baleful lt me borrow, Burthenng my song with sorrow, ‘Come Sorrow come her eyes that sings, By thee are tured into springs. 2 ‘Come you virgins ofthe night, ‘That in dirges sad delight, ‘Chor my anthems, I do borrow Gold nor peat, but sounds of sorrow, ‘Come Sorrow come her eyes that sings, By thee are turned into springs92 XV. White as lilies was her face Voice Guitar Ow Capo m1 Quitting faith with foul dis - grace, Vir we ser - vice1 White as lilies was her face, ‘When she smiled, she beguiled, Quitting faith with foul disgrace, Virtue service thus neglected, Heart with sorrows hath infected. 2 ‘When I swore my heart her own, She disdained, I complained, Yet she left me overthown, Careless of my bitter groaning, Ruthless bent to no relieving. 3 ‘Vows and oaths and faith assur'd, Constant ever, changing never, Yet she could not be procur’d, ‘To believe my pains exceeding, From her scant neglect proceeding. 4 (O that love should have the art, By surmises, and disguises, To destroy a faithful heart, (Or that wanton-looking women, Should reward their friends as foemen. 93, 5 Allin vain is ladies’ love Quickly choosed, shortly loosed, For their pride is to remove, Out alas their looks first won us, ‘And their pride hath straight undone us. 6 To thyself the sweetest fair, ‘Thou hast wounded, and confounded, ‘Changeless faith with foul despair, And my service hath envied, ‘And my succours hath denied. # By thine error thou hast lost, Heart unfeigned, Truth unstained, ‘And the swain that loved most, ‘More assur'd in love than many, ‘More despis'd in love than any. 8 For my heart though set at nought, Since you will it, spoil and kill it, Iwill never change my thoughts, But grieve that Beauty e’er was borne. Aff tine doe not eppeor nthe origina94 XVI. Woeful heart Woe + ful heart with gre’ op - presse Guitar Qwrt Capo ttt i1 ‘Woetil heart with grief oppressed, Since my fortunes most distressed, rom my joys bath me removed, Follow those sweet eyes adored, ‘Those sweet eyes wherein are stored, All my pleasures best beloved. 2 Fly my breast, leave me forsaken, ‘Wherein Grief his seat hath taken, All his arows through me daring, ‘Thou may'st live by her sun-shining, I shall suffer no more pining, By thy loss, than by her parting, 95XVIL A shepherd in a shade Voice Of love and sheptherdin a shade made, Yourfuir, and A his plain - ine Since Tove and for - tune will 1 ho our stl, Guiter Qu Capo r 7 baa po? ae) j. Lute ass, And thus be- gan —_ a As ra wro into the fairest ss that trod ng, Unto the fi fess that ‘And thus began — What conquest will ft be, sweet nymph for “thee. rp cre Sah bd bd \ Re-store, re - store myTove by thy sweet. looks half sain, * nh ‘A shepherd ina shade is planing made, Of love and lover's wrong, Unto the fairest lass that tod on grass, ‘And thus began his song, ‘Since love and fortune will I honour stil, ‘Your fair and lovely ee, ‘What conquest will tbe, sweet nymph fr thee, I for sorrow die. Restore, restore my heart again, ‘Which love by thy sweet looks hath slain, Les that enfore’d by your disdain, sing, Fie fie on love, i is a foolish thing. 2 ‘My heart where have you laid, O cruel maid, ‘Tokill when you might save, ‘Why have ye cat it forth as nothing worth, In your sweet mind and memory, ‘Lest resound on every warbling string, Fie fe on love, that is foolish thing.98 XVIII. Faction that ever dwells Voice = tion that ev = In Court. where wits Guitar Ort Capo 111 For-tune andLove hath sworn, That + no barline in voice1 Faction that ever dwells, In Court where wits excels, Hath set defiance, Fortune and Love hath sworn, ‘That they were never born, Ofoone alliance. 2 Fortunes swears, weakest hearts ‘The book of Cupid's arts ‘Tur with her wheel, ‘Senses themselves shall prove ‘Venture her place in love ‘Ask them that feel 3 This discord it begot ‘Atheist, that Honour not Nature thought good, Fortune should ever dwell In Court where wits excel Love keep the wood. 4 So to the wood went I With Love to live and die Fortune fortom, Experience of my youth Made me think humble Truth In desert born, 5 My Saint is dear to me, ‘And Joan herself is she Joan fair and true, Joan that doth ever move, Passions of love with love Fortune adieu.100 XIX. Shall I sue Voice Shall 1 sue shall 1 seek for grace?_—‘Shall 1 pray shall 1 prove? _— Guitar — Qwrt Capo tt Cr? Lute z ie Shall 1 sive 0 a heavn ~ ly joy. With an earth - ly —— oS AA AN Shall 1 think that a= bleed - ing heart. = Ora wound - ed 7 5 ES Orr feFe jdh ) AAS ANA Ny 4wre. sigh = cond the clouds 1 ‘Shall I sue shall I seek for grace? ‘Shall I pray shall I prove? Shall I strive to heav’aly joy, With an earthly love? ‘Shall I think that a bleeding heart (Ora wounded eye, (Or a sigh can ascend the clouds ‘To attain so high. 2 Silly wretch forsake these dreams, Of a vain desi (O bethink what high regard, Holy hopes do require Favour is as fair as things are, “Treasure isnot bough Favours not won with words, "Nor the wish ofa thought 3 Pity is but a poor defence, Fora dying hear, Ladies’ eyes respeet no moan, Ina mean desert She is too worth fir, Fora worth so base, Cruel and but just is she, In my just disgrace, ‘ Justice gives each man his own, ‘Though my love be just, ‘Yet will nt she pity my grief, Therefore die | must. Silly heart then yield to die, Perish in despaie, ‘Wines yet how fain | die, ‘When I die forthe fi 101102 XX. Toss not my soul103104 1 Toss not my soul, O Love “twixt hope and fear, Show me some ground where I may firmly stand Or surely fall, [care not which appear, ‘So one will close me in a certain band. Lrenvoy When once of ill the uttermost is known, ‘The strength of sorrow quit is overthrown. 2 Take me Assurance to thy blissful hold, Or thou Despair unto thy darkest cell. Each hath full rest, the one in joys enrolled, Th’other, in that he fears no more, is well: Lemoy ‘When once of il the uttermost is known, ‘The strength of sorrow quite is overthrown,XXI. Clear or cloudy Voice sweet as A = pil Show's ~ ing, Guitar Ort Cet Po—trre , Voice n= ing so is herface to me, Pleas’ or smil ~ ing ? a a like mild May all flow’r = ing, When skies blue silk and mea ri j107 that night-bird that sing = eth, Who thought all sweet yet jar - ring motes out, ring. «== eth. Her th, r P h Ab ABA uf ; 4) NS 1 Clear or cloudy sweet as April show'ring, ‘Smooth oF frowning so is her face to me, Pieas'd of smiling lke mild May all flow'ring. ‘When skit blue silk and meadows carpets be, Her speeches notes ofthat night-bird that singeth, ‘Who thought all sweet yet jarring notes out-ringeth 2 Her grace like June, when earth and trees be trimm’d, ‘In bes attire of eomplete beauty’s height, Her love again like summer's days be dimm: ‘With litle clouds of doubtful const Her trust her doubt, ike rain and hes Gently thund’ring, she lightning to mine eyes. 3 ‘Sweet-Summer-spring that breateth life and growing, In weeds as into healing herbs and flow'es, ‘And secs of service divers sorts in sowing, Some haply seeming and some being yours, Rain on your herbs and flow'rs that truly serve, ‘And let your weeds lack dew and duly starve108, XXIa. Clear or cloudy Voice Guitar atpiteh @wd Voice frown - ing so. is herface to me, Pleas'd or smil - ing A aN AB Y like mild May al flow’ = ing, When skies Blue sik and mea car- pets —109 — qeech cscs Of Ht igh id tat ing = th, Who tough al Pe php RH RA BA 1 Clear or cloudy sweet as April show'ring, ‘Smooth of frowning so is he face to me, Pleas'd of smiling like mild May all low'ring. ‘When skies blue silk and meadows carpets be. Her speeches notes ofthat night-bird that singeth, Who thought all sweet yet jarring notes out-ringeth 2 Her prac like June, when earth and tres be trimm’d, In best attire of complete beauty's height, Her love again like summer's days be dimim’d, With ttle clouds of doubsful constant faith, Her trust her doubt, like rain and heat in skies, Genily thund’ring, she lightning to mine eyes, 3 ‘Sweet-Summer-spring that breatheth life and growing, Jn weeds a into healing herbs and flow ts, ‘And sees of service divers sors in sowing, Some haply seeming and some being yours, Rain on your herbs and flow'rs that iuly serve, ‘And let your weeds lack dew and duly starve.no Voice (Cantus) Voice (Bassus) Guitar Qwkt Capo IHL XXII. Humour say what mak’st thou here 1 Dialogue Cantus sence of a Mu - mour say what mak’st thou here, In the pre “Tt |e i pip PAN DRI A ccon-ceit most dear, Alcon ~ eit in hu-mour seen. in ~ ven-tion’s food. irCantus (d= 4) m Weds Tput never A= mour yet was ii, Bassus —== tg te pepr pre Hut that ur that ut that that that But ney-er Hu = mour yet was true, Dh SS i ee jut that but that but that that that hat aikiai ie b_NB DY AND RA RARA t + = a ded) that which on that which 5m idedy ly on = Wy pleas ! ‘Conn Humour say what mak’s thou ere Inthe presence ofa Queen, ‘Bassus: Princes hold conceit most deat, Allconceit in humour seen, ‘Cant: Thou an heavy leaden mood, asvia: Humour i inventon’s food Bodh But never Humour yet was tue, ‘Bu that which only peaseth you Cantus: Minh then 6 drown" in Soros ©. in sorrow al thi sleep. ight things sm, ass: No, 0 Ft Humour as wel as thu. Heavy things sink to the deep. Cantus: Why then "ts Lan drowned in woe, {Cantus In her presence all things smile ‘Bess: No, no Wit ‘ass: Momus eli then awhile Both: But never Humour yet W481, ‘But hat which any pleaeih you,112 Dowland’s adieu for Master Oliver Cromwell Os (ca Wee END OF EDITIONLute Songs of John Dowland The Original First and Second Books Including Dowland’s Original Lute Tablature Transcribed for Voice and Guitar by David Nadal Considered the greatest lute virtuoso and composer of the English school in the early 17th century John Dowland (1563-1626) composed over 80 pieces of solo lute music His peerless skills as an instrumentalist were hailed by poet Richard Barnfield, who referred to Dowland as one *... whose heav'nly touch upon the Inte doth ravish human sense.” As a composer, Dowland displayed a versatility of mood, with works ranging from the lighthearted to the deeply serious, exquisitely melancholie vein in which he excelled. Now, in this unprecedented new compilition, musicians and musie lovers can enjoy 45 of Dowland!s songs, transcribed for voiee and guitar by David Nadal, plus evo dances for solo guitar. Listeners will be astounded by the amazingly fresh and moder sound embodied in Dowlands numerous innovations of form and harmony ‘Comprising all the works in the original First and Second Books of Songs, the music plates have been specially prepared for this edition, including the original solo voice part, complete song texts, a modern transcription for guitar of the original accompa ent, and Dowland original lite tablature, Attractively bound and presented, this Solum is a wonderfal opportunity for singers, guitarists, and all music hovers to enon these splendid songs—ravishing echoes of the music played and sung in royal courts, chambers, and music halls nearly four centuries ago. Original Dover (1997) compilation of music from the of Songs. Transeribed for voice and guitar by David Na lute tablature, Introduction. About the ‘Transeriptic 8Kx 1, Paperbound, riginal First and Second! Books including Dowkuus original Driginal title pages, 12Spp. Free Dover Musie Catalog (59057-7) awailable upon request Cover design by Teresa Delgado, ISBN O-48b-29935-X | {hl TAI 90000 HVA | | 40-95 IN 9935: usa 91780486!